www.reidbrothers.co.uk/hexarmor-gloves/hexarmor-gloves-ch...

 

Email: uksales@reidbrothers.co.uk

Tele: 0141 425 1060

 

HexArmor Gloves Chrome Core Oasis 4035 are sleek, hi-vis mechanic's glove with a SuperFabric brand material palm and a HexVent back of hand. HexArmor Chrome Core Oasis gloves were built to beat the heat and laceration hazards with the most advanced technology on the market. HexArmor Core Oasis 4035 gloves have a pre-curved design with double-stitched side seams so users won’t have to give up dexterity for the highest level of safety. Our patented SlipFitcuff also means an easy on and off of the chrome oasis gloves between jobs.

 

HexArmor Gloves Chrome Core Oasis 4035 have an advanced HexVent technology which allows for a breathable heat-release system. The SuperFabric brand material palm on the HexArmor gloves provides ISEA Level 5 cut resistance and maintains the highest level of protection available in the industry. The Chrome Core Oasis 4035 glove palm also adds superior wet/dry grip and abrasion resistance. HexArmor Chrome Core Oasis 4035 gloves are machine washable and come in a hi-vis colour scheme which increases visual awareness.

  

HexArmor Gloves Chrome Core Oasis 4035 Benefits

 

Cut Resistant

 

Puncture Resistant

 

Abrasion Resistant

 

Oil Resistant

   

HexArmor Gloves Chrome Core Oasis 4035 Sizes

 

7/S

 

8/M

 

9/L

 

10/XL

 

11/XXL

   

HexArmor Gloves - The Chrome Series

 

Hexarmor spent over a year designing the back-of-hand protection for the HexArmor Chrome Series. Countless prototypes were made whist designing the protection for the bones, fingers and back-of hand for the HexArmor Chrome Series gloves. The HexArmor Gloves Chrome Series changed the hand protection industry with it's ground-breaking design which has 25 times the cut resistance of standard mechanic's gloves and offers level 5 Cut resistance due to the SuperFabric brand material in the palm.

  

Before taking the T189 OU photographic course I had only taken family photos on a compact camera. This short 10 week course was the first time I had used a DSLR. Prior to this the only photo editing I had done was a bit of cropping and adjusting brightness and contrast, I had never used Photoshop before.

I passed the ECA with 95% (mark for the CMA was 98%):

Part 1 Visual Awareness: Outstanding

Part 1 Technical Quality : Excellent

Part 2 Written Component: Excellent

 

Comments were:

Part 1 (i) Visual Awareness - An excellent set of images my favourite of which is the Teddy Bears as I love the warm bright yellow against the grey monochrome of the other bears. An excellent and well thought out choice of colour and mono mix.

I think the scrabble picture is "inspired" and amusing excellent demonstration of using differential focus and choosing the right point of sharpest focus

I appreciated your comparison and contrast of the two pictures of the landscape with cool colours which is a peaceful landscape with an added bonus of the well placed house and the drama and vibrancy of the colours in No.7.

I like your triple image the three different colours used maked a picture which has impact out of a fairly simple subject. Good composition and use of reflections on No.4. The jumping boy image has impact as does the simple image of the bottle. The simple image of the swans head shows a different type of "seeing" to the complex image of the Honeysuckle which for me is one of your best images and the work that you put into it was worth the effort.

 

Part 1 (ii) Techinical Quality - The techniques used on No.8 and 9 work really well and make a simple subject into something quite different and satisfying.

Your technical standard is generally very good and use of clone tool and other tools shows you are mastering Digital Darkroom techniques.

As the strongest highlight draws the eye I would darken down the right side of the sky in No.5 and carefully lighten or brighten the house to make it stand out as the strongest highlight.

Well done Jill - keep taking the pictures and exploring techniques and subject matter, most of all enjoy your photography.

Before taking the T189 OU photographic course I had only taken family photos on a compact camera. This short 10 week course was the first time I had used a DSLR. Prior to this the only photo editing I had done was a bit of cropping and adjusting brightness and contrast, I had never used Photoshop before.

I passed the ECA with 95% (mark for the CMA was 98%):

Part 1 Visual Awareness: Outstanding

Part 1 Technical Quality : Excellent

Part 2 Written Component: Excellent

 

Comments were:

Part 1 (i) Visual Awareness - An excellent set of images my favourite of which is the Teddy Bears as I love the warm bright yellow against the grey monochrome of the other bears. An excellent and well thought out choice of colour and mono mix.

I think the scrabble picture is "inspired" and amusing excellent demonstration of using differential focus and choosing the right point of sharpest focus

I appreciated your comparison and contrast of the two pictures of the landscape with cool colours which is a peaceful landscape with an added bonus of the well placed house and the drama and vibrancy of the colours in No.7.

I like your triple image the three different colours used maked a picture which has impact out of a fairly simple subject. Good composition and use of reflections on No.4. The jumping boy image has impact as does the simple image of the bottle. The simple image of the swans head shows a different type of "seeing" to the complex image of the Honeysuckle which for me is one of your best images and the work that you put into it was worth the effort.

 

Part 1 (ii) Techinical Quality - The techniques used on No.8 and 9 work really well and make a simple subject into something quite different and satisfying.

Your technical standard is generally very good and use of clone tool and other tools shows you are mastering Digital Darkroom techniques.

As the strongest highlight draws the eye I would darken down the right side of the sky in No.5 and carefully lighten or brighten the house to make it stand out as the strongest highlight.

Well done Jill - keep taking the pictures and exploring techniques and subject matter, most of all enjoy your photography.

Announcing a "Film Intensive Small Group Workshop", Monhegan Island Maine

 

Aimone Art Studios at Carina

Click on Photo to view a Slide Show of Monhegan Island

 

September 8-12, 2014 at Aimone Art Studios at Carina, Monhegan Island, Maine

 

We're going to be learning how to shoot with black and white film cameras and process without a darkroom for 5 days on a beautiful island.

 

This Monday to Friday hands-on small group intensive workshop offers the beginning to intermediate film-based photographer an intense immersion into the basic and advanced processes for film photography with basic tools and without a darkroom. You’ll explore materials, methods, and expressive approaches through a series of guided, hands-on challenges designed to increase your technical ability and visual awareness. Take part in classroom exercises, studio sessions and field work in stunning locations 10 miles out to sea on beautiful Monhegan Island, Maine.

 

The workshop will include lecture, interactive discussions and projects,and an independent project you’ll design and execute yourself under the guidance and encouragement of the instructor. This workshop will focus on creating black and white film images.

 

Prior experience with film welcomed, but not required.

 

Class size limited to five students.

www.reidbrothers.co.uk/hexarmor-gloves/hexarmor-gloves-40...

 

Email: uksales@reidbrothers.co.uk

Tele: 0141 425 1060

 

The HexArmor GGT Arctic Gator 4031 glove gives Level 5 cut protection on the palm and fingers, with an additional reinforcing layer of TP-X technology for high grip and durability. HexArmor Gloves 4031 GGT5 Arctic Gator glove has a hi-vis back of hand which supports HexArmor IR-X impact-resistant exoskeleton, so your entire hand is guarded from smash injuries down to each knuckle. The GGT Arctic Gator glove has a dynamic combination of Hipora and C40 Thinsulate interior liners providing waterproof and cold-resistance. HexArmor 4031 Arctic Gator gloves maintain the highest level of protection and ISEA Level 5 cut resistance using a SuperFabric brand material palm. The GGT5 Arctic Gatoralso has a durable TP-X palm reinforcement which utilises the highest-level abrasion resistance while maintaining oil-resistant grip. The breathable Slipfit cuff on the level cut 5 gator glove adds comfort and convenience whilst the exterior seams implement a double stitched core-spun thread, adding further durability and longevity. HexArmor Gloves 4031 GGT5 Arctic Gator has a hi-vis colour scheme which increases visual awareness and is also machine washable.

  

HexArmor Gloves 4031 GGT5 Arctic Gator Benefits

 

Cut Resistant

 

Abrasion Resistant

 

Puncture Resistant

 

Dry Grip

 

Oil Grip

 

Cold Weather

   

HexArmor Gloves 4031 GGT5 Arctic Gator Sizes

 

7/S

 

8/M

 

9/L

 

10/XL

 

11/XXL

 

12/3XL

  

www.reidbrothers.co.uk/hexarmor-gloves/hexamor-gloves-chr...

 

Email: uksales@reidbrothers.co.uk

Tele: 0141 425 1060

 

HexArmor Gloves Chrome Core Hi-Vis Slipfit 4033 are sleek, hi-vis mechanic's glove with a SuperFabric brand material palm and a HexVent back of hand. HexArmor Chrome Core Hi-Vis Slipfit gloves were built to beat the heat and laceration hazards with the most advanced technology on the market. HexArmor Core Hi-Vis Slipfit 4033 gloves have a pre-curved design with double-stitched side seams so users won’t have to give up dexterity for the highest level of safety. Our patented SlipFitcuff also means an easy on and off of the chrome oasis gloves between jobs.

 

HexArmor Gloves Chrome Core Hi-Vis Slipfit 4033 have an advanced HexVent technology which allows for a breathable heat-release system. The SuperFabric brand material palm on the HexArmor gloves provides ISEA Level 5 cut resistance and maintains the highest level of protection available in the industry. The Chrome Core Hi-Vis Slipfit 4033 glove palm also adds superior wet/dry grip and abrasion resistance. HexArmor Chrome CoreHi-Vis Slipfit gloves are machine washable and come in a hi-vis colour scheme which increases visual awareness.

   

HexArmor Gloves Chrome Core Hi-Vis Slipfit 4033 Benefits

 

Cut Resistant

 

Abrasion Resistant

 

Oil Resistant

   

HexArmor Gloves Chrome Core Hi-Vis Slipfit 4033 Sizes

 

7/S

 

8/M

 

9/L

 

10/XL

 

11/XXL

   

HexArmor Gloves - The Chrome Series

 

Hexarmor spent over a year designing the back-of-hand protection for the HexArmor Chrome Series. Countless prototypes were made whist designing the protection for the bones, fingers and back-of hand for the HexArmor Chrome Series gloves. The HexArmor Gloves Chrome Series changed the hand protection industry with it's ground-breaking design which has 25 times the cut resistance of standard mechanic's gloves and offers level 5 Cut resistance due to the SuperFabric brand material in the palm.

  

Here is my crosswalk design. It incorporates many ideas from the visioning meeting and other vbc's; cob bus stop w/ a living roof, planters, corner and street painting, mosaic, community board w/ book exchange, mail box, and flags. One of the key elements is a kinetic sculpture, re-purposing bicycle rims into pinwheels or windmills to create visual awareness.

 

I think it would be neat to put bicycle parts in the mosaic and inlay in the cob structure. I also really liked the idea someone else put on there drawing about a bicycle repair station!

 

here are some relevant links:

 

www.youtube.com/watch?v=O3l_RMdFDLo

 

www.youtube.com/watch?v=EcuJoKWK-GE

 

-by Ashley Arthur

www.reidbrothers.co.uk/hexarmor-gloves/hexarmor-gloves-ex...

 

Email: uksales@reidbrothers.co.uk

Tele: 0141 425 1060

 

HexArmor Gloves EXT Rescue 4011 is the strongest, most dependable rescue safety glove available, built to last through countless difficult missions. The HexArmor EXT Rescue 4011 gloves are armed with HexArmor's improved IR-X Impact Exoskeleton and an ISEA Level 5 cut-resistant palm, reinforced with HexArmor's proprietary TP-X technology for added durability and grip. HexArmor EXT Rescue gloves also have double-stitching on all exterior and interior seams and an added 2.5" Velcro cuff. The EXT Rescue 4011 is the HexArmor commitment to the rugged vigilance of their first responders.

 

HexArmor Gloves EXT Rescue 4011 SuperFabric material palms provides ISEA Level 5 cut resistance and maintains the highest level of protection available in the industry. The durable TP-X palm reinforcement on the EXT rescue gloves uses the highest level of abrasion resistance while maintaining an oil-resistant grip. The HexArmor EXT Rescue gloves have full Impact Exoskeleton with high-performance IR-X smash guards which provides greater impact protection than the leading competitor. HexArmor EXT gloves have a printed PVC synthetic palm and reinforced finger and thumb saddles which provides a reliable grip in oily or dry situations. HexArmor EXT Rescue 4011 gloves are machine washable and have a Hi-Vis colour scheme which increases visual awareness.

  

HexArmor Gloves EXT Rescue 4011 Benefits

 

Cut Resistant

 

Puncture Resistant

 

Abrasion Resistant

 

Impact Resistant

 

Oil Grip

   

HexArmor Gloves EXT Rescue 4011 Sizes

 

7/S

 

8/M

 

9/L

 

10/XL

 

11/XXL

 

I thought you might like to see the final 10 images I submitted for my Open University work on the TG089 module. My results came in yesterday and were Visual awareness, well achieved. Technical quality, excellent. Written reflection, excellent. Resulting in a mark of 88% To say I am chuffed is an understatement. It was an intense 12 weeks, but worth it I think.

by so.shauna ift.tt/1rvv4JI

www.reidbrothers.co.uk/hexarmor-gloves/hexarmor-chrome-se...

 

Email: uksales@reidbrothers.co.uk

Tele: 0141 425 1060

 

HexArmor Gloves 4036 Chrome Series Waterproof has an added layer of Hipora liner which creates a waterproof layer of defense against wet and cold hazards, so there’s no need to fear frozen digits. The Chrome Series Waterproof glove also has a TP-X synthetic palm which utilises the highest level abrasion resistance while maintaining an oil resistant grip. HexArmor Waterproof 4036 Chrome Series gloves have a SuperFabric brand material palm which provides ISEA Level 5 cut resistance and maintains the highest level of protection available in the industry. HexArmor Gloves 4036 Chrome Series also has a superior back-of-hand impact protection system utilising an advanced design to dissipate forceful blows over a large area. The Exterior seams of the HexArmor waterproof gloves implement a double stitched core-spun thread, adding further durability and longevity. HexArmor 4036 Chrome Series Waterproof Gloves have a hi-vis colour scheme which increases visual awareness and are machine washable.

   

HexArmor Gloves 4036 Chrome Series Waterproof Benefits

 

Cut Resistant

 

Abrasion Resistant

 

Oil Resistant

 

Impact Resistant

   

HexArmor Gloves 4036 Chrome Series Waterproof Sizes

 

7/S

 

8/M

 

9/L

 

10/XL

 

11/XXL

 

12/3XL

   

HexArmor Gloves - The Chrome Series

 

Hexarmor spent over a year designing the back-of-hand protection for the HexArmor Chrome Series. Countless prototypes were made whist designing the protection for the bones, fingers and back-of hand for the HexArmor Chrome Series gloves. The HexArmor Gloves Chrome Series changed the hand protection industry with it's ground-breaking design which has 25 times the cut resistance of standard mechanic's gloves and offers level 5 Cut resistance due to the SuperFabric brand material in the palm.

  

Before taking the T189 OU photographic course I had only taken family photos on a compact camera. This short 10 week course was the first time I had used a DSLR. Prior to this the only photo editing I had done was a bit of cropping and adjusting brightness and contrast, I had never used Photoshop before.

I passed the ECA with 95% (mark for the CMA was 98%):

Part 1 Visual Awareness: Outstanding

Part 1 Technical Quality : Excellent

Part 2 Written Component: Excellent

 

Comments were:

Part 1 (i) Visual Awareness - An excellent set of images my favourite of which is the Teddy Bears as I love the warm bright yellow against the grey monochrome of the other bears. An excellent and well thought out choice of colour and mono mix.

I think the scrabble picture is "inspired" and amusing excellent demonstration of using differential focus and choosing the right point of sharpest focus

I appreciated your comparison and contrast of the two pictures of the landscape with cool colours which is a peaceful landscape with an added bonus of the well placed house and the drama and vibrancy of the colours in No.7.

I like your triple image the three different colours used maked a picture which has impact out of a fairly simple subject. Good composition and use of reflections on No.4. The jumping boy image has impact as does the simple image of the bottle. The simple image of the swans head shows a different type of "seeing" to the complex image of the Honeysuckle which for me is one of your best images and the work that you put into it was worth the effort.

 

Part 1 (ii) Techinical Quality - The techniques used on No.8 and 9 work really well and make a simple subject into something quite different and satisfying.

Your technical standard is generally very good and use of clone tool and other tools shows you are mastering Digital Darkroom techniques.

As the strongest highlight draws the eye I would darken down the right side of the sky in No.5 and carefully lighten or brighten the house to make it stand out as the strongest highlight.

Well done Jill - keep taking the pictures and exploring techniques and subject matter, most of all enjoy your photography.

Before taking the T189 OU photographic course I had only taken family photos on a compact camera. This short 10 week course was the first time I had used a DSLR. Prior to this the only photo editing I had done was a bit of cropping and adjusting brightness and contrast, I had never used Photoshop before.

I passed the ECA with 95% (mark for the CMA was 98%):

Part 1 Visual Awareness: Outstanding

Part 1 Technical Quality : Excellent

Part 2 Written Component: Excellent

 

Comments were:

Part 1 (i) Visual Awareness - An excellent set of images my favourite of which is the Teddy Bears as I love the warm bright yellow against the grey monochrome of the other bears. An excellent and well thought out choice of colour and mono mix.

I think the scrabble picture is "inspired" and amusing excellent demonstration of using differential focus and choosing the right point of sharpest focus

I appreciated your comparison and contrast of the two pictures of the landscape with cool colours which is a peaceful landscape with an added bonus of the well placed house and the drama and vibrancy of the colours in No.7.

I like your triple image the three different colours used maked a picture which has impact out of a fairly simple subject. Good composition and use of reflections on No.4. The jumping boy image has impact as does the simple image of the bottle. The simple image of the swans head shows a different type of "seeing" to the complex image of the Honeysuckle which for me is one of your best images and the work that you put into it was worth the effort.

 

Part 1 (ii) Techinical Quality - The techniques used on No.8 and 9 work really well and make a simple subject into something quite different and satisfying.

Your technical standard is generally very good and use of clone tool and other tools shows you are mastering Digital Darkroom techniques.

As the strongest highlight draws the eye I would darken down the right side of the sky in No.5 and carefully lighten or brighten the house to make it stand out as the strongest highlight.

Well done Jill - keep taking the pictures and exploring techniques and subject matter, most of all enjoy your photography.

Here are a few key habits to keep in mind whenever you get behind the wheel. Always wear your seatbelt, even if you're a passenger. Always take a minute to adjust your seat and mirror before you start the car. Remember the rules. Put a safe distance between yourself and other drivers.

Also check out the list to know about the habits you must implement-

1.Visual awareness is a must-

2.DO NOT use the phone while driving-

3.Never over speed-

4.Wear seatbelts-

5.Say NO to reckless driving-

Moreover, adopting these good habits will not only make you a good and trusted driver but also it will be safe for other people on the road. Make sure that you choose the good driver training school in Glendale to learn and execute some nice driving habits in your life.

 

For more information: -https://drivingschoolcalifornia.blogspot.com/2021/03/five-driving-habits-that-you-should.html

He seems to be getting closer to visual awareness. Here he's gazing at grandma.

>>>The book is available to order in soft-back (£9.95) or hard-back (£15.95) from here<<<

 

Well this is the finished portfolio. I sent it off to the blurb.com yesterday and it should arrive in a fortnight.

 

If you'd like a copy then let me know as I think I can allow people to order it online.

 

Thanks to everyone who helped me select the photos!

 

Click for slideshow

 

------------------------------------------------------------------------------------------------------------------------------

 

"We find certain things about seeing puzzling, because we

do not find the whole business of seeing puzzling enough."

Ludwig Wittgenstein

(Philosophical Investigations, part II xi)

 

INTRODUCTION

 

Vision is the most complex and fundamental of the senses. It has evolved over the course of millennia and it has become inextricably linked to how we think and how we communicate, even going so far as to pervade our language and how we refer to thinking - "Do you see what I mean?"

 

The basic question about visual perception is how do people derive rich visual awareness of the world from what is essentially a two dimensional pattern of light falling on the photoreceptors of the eye?

 

We now know that visual processing starts at the retina where there are specialised cells which detect simple shapes and forms such as lines, gradients and contrast. But what is far less well understood is the cognitive processing by which these disparate features are bound together into complex objects such as buildings, people, clouds and shadows. People do not generally perceive the world around them in terms of lines and curves and colours; what we see is a rich world of objects with all their associated meanings and memories.

 

Abstract photography (and art) is an exception to this case. When appreciating abstract images people spend time analysing what is presented to them visually as well as what it means to them conceptually. It challenges us to think about the ways that our concepts and expectations can influence the very nature of our visual experiences by organising shapes and colours into defined units.

 

In the case of abstract art, the links with reality can be quite tenuous, but in the case of photography this contrast between the purely visual and the conceptual is particularly interesting as the image created is far closer to a true representation of what was being presented visually at the time it was taken. In other words an abstract photo strives to turn what is quintessentially representative into pure colour and shape, whereas an abstract painting or sculpture can avoid representation entirely and stick to the raw ingredients of colour, shape, volume and texture that all such art begins from.

 

Of course the definition of what is purely visual and what is conceptual is an interesting issue, and in fact abstract photography presents us with a puzzle. To what extent is our reaction to an image a response delivered by our sense of vision just by unthinkingly opening our eyes, and to what extent is it a response to how we cognitively process that sense (i.e. how we think and conceptualise what we see)? In this way, the abstract photographer is able to carefully control the nature of this puzzle; how easy it is to draw conceptual conclusions from the image and how powerful the raw sense of colour, shape and form become.

Your rose picture is stunning, a good use of contrasing background. Good colours and water droplets which add a gentle touch and interest. T189 Visual Awareness: Assessment Feedback.

77/365 - Thursday 18th March 2010 "ppt 365/2010" and the OU results are in! I receieved 87% in my Open University Photography course. I achieved 'Excellent' for Visual Awareness and Technical Quality and 'Well Achieved' on the Written Component. Well done to my fellow T189 friends - We did it :-)

T189 Assessment (ticks):

Visual awareness - communication

Technical Quality - appropriate exposure

Shake, rattle and go with the Drive & Discover Baby Keys by VTech. Grab these keys and unlock some fun!

 

Press the three colourful buttons or shake the keys to hear fun songs, cute phrases and music. Spin the colourful roller for even more fun! House key features beads and spinning disk; car key includes bead spinners and a cute little mirror for self-discovery! Soft bear key teether will help soothe your little ones gums.

 

Keys include 3 sing-along songs and 15 lively melodies.

 

Keys help encourage interaction, discovery & exploration, imitative play, cause and effect relationships and help develop motor skills.

 

Classic baby keys with electronics, lights and more

 

Keys are textured for discovery and exploration

 

Press the three colourful buttons or shake the keys to hear fun songs, cute phrases and music

 

House key features beads and spinning disk

 

Car key includes bead spinners and a cute little mirror for self-discovery

 

Soft bear key teether will help soothe your little ones gums

 

Keys include 3 sing-along songs and 15 lively melodies

 

Encourages auditory stimulation, visual awareness, motor skills and imitative play

 

Suitable from Birth+

 

VTech Drive & Discover Baby Keys Play Learn Toy Boy Girl Learning Infants Gift

 

bit.ly/3bAn7wn

"We find certain things about seeing puzzling, because we do not find the whole business of seeing puzzling enough."

Ludwig Wittgenstein

(Philosophical Investigations, part II xi)

 

----------------------------------------------------

 

Vision is the most complex and fundamental of the senses. It has evolved over the course of millennia and it has become inextricably linked to how we think and how we communicate, even going so far as to pervade our language and how we refer to thinking - "Do you see what I mean?"

 

The basic question about visual perception is how do people derive rich visual awareness of the world from what is essentially a two dimensional pattern of light falling on the photoreceptors of the eye?

 

We now know that visual processing starts at the retina where there are specialised cells which detect simple shapes and forms such as lines, gradients and contrast. But what is far less well understood is the cognitive processing by which these disparate features are bound together into complex objects such as buildings, people, clouds and shadows. People do not generally perceive the world around them in terms of lines and curves and colours; what we see is a rich world of objects with all their associated meanings and memories.

 

Abstract photography (and art) is an exception to this case. When appreciating abstract images people spend time analysing what is presented to them visually as well as what it means to them conceptually. It challenges us to think about the ways that our concepts and expectations can influence the very nature of our visual experiences by organising shapes and colours into defined units.

 

In the case of abstract art, the links with reality can be quite tenuous, but in the case of photography this contrast between the purely visual and the conceptual is particularly interesting as the image created is far closer to a true representation of what was being presented visually at the time it was taken. In other words an abstract photo strives to turn what is quintessentially representative into pure colour and shape, whereas an abstract painting or sculpture can avoid representation entirely and stick to the raw ingredients of colour, shape, volume and texture that all such art begins from.

 

Of course the definition of what is purely visual and what is conceptual is an interesting issue, and in fact abstract photography presents us with a puzzle. To what extent is our reaction to an image a response delivered by our sense of vision just by unthinkingly opening our eyes, and to what extent is it a response to how we cognitively process that sense (i.e. how we think and conceptualise what we see)? In this way, the abstract photographer is able to carefully control the nature of this puzzle; how easy it is to draw conceptual conclusions from the image and how powerful the raw sense of colour, shape and form become.

Sokuzan Bob Brown, an ordained Buddhist priest, led participants through a meditative process to increase visual awareness during a workshop on Wednesday, Feb 20, 2013. Photo by Allison Taylor / Kemper Art Museum.

✰ This photo was featured on The Epic Global Showcase here: bit.ly/1pq43WF ------------- Ice Station Zebra 🌌⛴ #visual_awareness #mextures #agameoftones #moodygrams #artofvisuals #caligrammers #createcommune #fatalframes #heatercentral #mobilmag #conquer_ca #way2ill #westcoast_exposures #main_vision #folktravel #usaprimeshot #global_hotshotz #musecam #rawcalifornia #gearednomad #abc7eyewitness #watchthisinstagood #theimaged #ig_color #nightphotography #space #universetoday #houseoftones #amazing_longexpo by @jason.bates.photography on Instagram.

"Visual awareness is more varied and rich than the details of 20/20 vision. Almost everything is more interesting than the two bottom lines of an eye chart."

—photographer Fred Burrell

 

Best large, on black.

 

Sokuzan Bob Brown led a workshop in the Georges Braque exhibition teaching participants to navigate art through meditative visual awareness drawn from Buddhist practices. Photo by Allison Taylor / Kemper Art Museum.

This participant uses a painting by Georges Braque as inspiration for navigating visual awareness during a workshop on Wednesday, Feb 20, 2013. Photo by Allison Taylor / Kemper Art Museum.

Artists: Brigitte Dawson and Melissa Turner (Melbourne Murals)

 

Alice in Wonderland is an age-old classic with universal appeal across generations. It gives the library a colourful, playful and friendly entrance. Melbourne’s Murals artwork engages children while paying homage to the importance of storytime in children’s development.

 

Artist Bio: Brigitte and Melissa are visual storytellers with 40 years’ experience and a keen eye for detail. They teamed up ten years ago to beautify walls in streets, homes and businesses. They love the large scale canvases that the streets offer. Painting in abstract and realism, Melbourne Murals tell whatever story the surface, site or customer wants to reveal. The love of wildlife is their passion. They strive to bring a visual awareness to the plight of our endangered animals and hope that they can remind everyone just how amazingly wonderful our earth is.

   

Before taking the T189 OU photographic course I had only taken family photos on a compact camera. This short 10 week course was the first time I had used a DSLR. Prior to this the only photo editing I had done was a bit of cropping and adjusting brightness and contrast, I had never used Photoshop before.

I passed the ECA with 95% (mark for the CMA was 98%):

Part 1 Visual Awareness: Outstanding

Part 1 Technical Quality : Excellent

Part 2 Written Component: Excellent

 

Comments were:

Part 1 (i) Visual Awareness - An excellent set of images my favourite of which is the Teddy Bears as I love the warm bright yellow against the grey monochrome of the other bears. An excellent and well thought out choice of colour and mono mix.

I think the scrabble picture is "inspired" and amusing excellent demonstration of using differential focus and choosing the right point of sharpest focus

I appreciated your comparison and contrast of the two pictures of the landscape with cool colours which is a peaceful landscape with an added bonus of the well placed house and the drama and vibrancy of the colours in No.7.

I like your triple image the three different colours used maked a picture which has impact out of a fairly simple subject. Good composition and use of reflections on No.4. The jumping boy image has impact as does the simple image of the bottle. The simple image of the swans head shows a different type of "seeing" to the complex image of the Honeysuckle which for me is one of your best images and the work that you put into it was worth the effort.

 

Part 1 (ii) Techinical Quality - The techniques used on No.8 and 9 work really well and make a simple subject into something quite different and satisfying.

Your technical standard is generally very good and use of clone tool and other tools shows you are mastering Digital Darkroom techniques.

As the strongest highlight draws the eye I would darken down the right side of the sky in No.5 and carefully lighten or brighten the house to make it stand out as the strongest highlight.

Well done Jill - keep taking the pictures and exploring techniques and subject matter, most of all enjoy your photography.

Off Beaulieu Road

 

T189 Assessment (ticks):

Visual awareness - composition/viewpoint

Technical Quality - appropriate exposure + colour/tonal properties

Participants practice visual awareness under the guidance of Sokuzan Bob Brown during a workshop titled "Opening the Eye Mind: Visual Art Through Focused Awareness" on Wednesday, Feb 20, 2013. Photo by Allison Taylor / Kemper Art Museum.

Caravan + Chairs in Beige

 

Missed this caravan first time around ,i mean how can you miss something this big,i suppose it kind of blends in? no ! im trying to justify my momentary lack of urban visual awareness. I was trying to work out why someone had put up a huge board across the back,big dog perhaps? no way it was to screen off the alarming amount of rubbish deposited in the their back yard, man i would love to check that out ha ha !!

 

Lumix@isthatastarwarstroopercaravan.com

 

Ridgefield Road where it all happens

Oxford 2011

  

Little egret catching fish

 

T189 Assessment (ticks):

Visual awareness - communication + decisive moment

Technical Quality - focus and sharpness

Thomsons

Gazelle

 

During migration, as tommies spread out over the plains in the wake of zebra and wildebeest herds, the strongest males set up territories. They use an exaggerated display posture when urinating or defecating on dung piles. To mark the boundaries the males deposit a small amount of secretion from their scent glands (located beneath the eyes) onto a blade of grass, leaving these markers daily about every 20 feet. As the herd migrates, new territories are established.

 

The females along with their immature offspring form groups of five to 50 that wander through male territories. The groups change members and numbers from hour to hour, so no obvious patterns of hierarchy or leadership emerge. Nonterritorial males gather together in small groups along the outskirts of the larger herd, generally avoiding other male territories unless one of the group attempts to take one over.

 

In the early morning and again in the evening, the herd, which may have spread out during the day, comes together. This is playtime for the younger gazelles, when they engage in stotting and pronking (bouncing along on stiff legs) and sprint around the perimeter of the herd.

 

The relatively silent tommies rely on visual awareness of one another to stay in contact. Their distinctive coloring may help-they can contract the skin so the black side stripe becomes more obvious. They also stamp their front feet to signal when they are disturbed.

Artists: Brigitte Dawson and Melissa Turner (Melbourne Murals)

 

Alice in Wonderland is an age-old classic with universal appeal across generations. It gives the library a colourful, playful and friendly entrance. Melbourne’s Murals artwork engages children while paying homage to the importance of storytime in children’s development.

 

Artist Bio: Brigitte and Melissa are visual storytellers with 40 years’ experience and a keen eye for detail. They teamed up ten years ago to beautify walls in streets, homes and businesses. They love the large scale canvases that the streets offer. Painting in abstract and realism, Melbourne Murals tell whatever story the surface, site or customer wants to reveal. The love of wildlife is their passion. They strive to bring a visual awareness to the plight of our endangered animals and hope that they can remind everyone just how amazingly wonderful our earth is.

   

I have included this sketch of a wolf as I believe it illustrates my ability to create 3D pencil sketches with good visual awareness.

Garett Cambell Wilson – We Can live in a prosperous world by bringing harmony to each other and with nature.

 

"I joined the Earth Summit 2012 movement knowing environmental sustainability is an immediate concern for every nation. The passion that I feel for life is expressed through creativity and imagination. The role I play within this project is to bring a visual awareness to the global cause. By the power of visual art, my goal is to transmit and reinforce the vision of a pristine Mother Earth."

 

GCAMWIL’s drawings and paintings display a lightness and sensitivity gathering inspiration intuitively from nature in its most elemental forms – earth, wind, fire, water. He employs oil and mixed medium techniques in his painting where he turns paint into conduits of organic energy through brushwork that is both vigorous and gentle. Just as life grows out of the ground and occupies the expanse between earth and sky, GCAMWIL'S art grows out of the canvas and inhabits the beautiful space between body and soul where the aura of infinite dwells. GCAMWIL holds a degree from Lesley University Art Institute in Boston and currently lives and paints full time from his private studio in Vancouver. His work is collected and exhibited in Vancouver, Toronto, London, New York and the Caribbean.

 

www.gcamwilstudio.com

twitter.com/#!/gcamwil

Thomsons

Gazelle

 

During migration, as tommies spread out over the plains in the wake of zebra and wildebeest herds, the strongest males set up territories. They use an exaggerated display posture when urinating or defecating on dung piles. To mark the boundaries the males deposit a small amount of secretion from their scent glands (located beneath the eyes) onto a blade of grass, leaving these markers daily about every 20 feet. As the herd migrates, new territories are established.

 

The females along with their immature offspring form groups of five to 50 that wander through male territories. The groups change members and numbers from hour to hour, so no obvious patterns of hierarchy or leadership emerge. Nonterritorial males gather together in small groups along the outskirts of the larger herd, generally avoiding other male territories unless one of the group attempts to take one over.

 

In the early morning and again in the evening, the herd, which may have spread out during the day, comes together. This is playtime for the younger gazelles, when they engage in stotting and pronking (bouncing along on stiff legs) and sprint around the perimeter of the herd.

 

The relatively silent tommies rely on visual awareness of one another to stay in contact. Their distinctive coloring may help-they can contract the skin so the black side stripe becomes more obvious. They also stamp their front feet to signal when they are disturbed.

Thomsons

Gazelle

 

During migration, as tommies spread out over the plains in the wake of zebra and wildebeest herds, the strongest males set up territories. They use an exaggerated display posture when urinating or defecating on dung piles. To mark the boundaries the males deposit a small amount of secretion from their scent glands (located beneath the eyes) onto a blade of grass, leaving these markers daily about every 20 feet. As the herd migrates, new territories are established.

 

The females along with their immature offspring form groups of five to 50 that wander through male territories. The groups change members and numbers from hour to hour, so no obvious patterns of hierarchy or leadership emerge. Nonterritorial males gather together in small groups along the outskirts of the larger herd, generally avoiding other male territories unless one of the group attempts to take one over.

 

In the early morning and again in the evening, the herd, which may have spread out during the day, comes together. This is playtime for the younger gazelles, when they engage in stotting and pronking (bouncing along on stiff legs) and sprint around the perimeter of the herd.

 

The relatively silent tommies rely on visual awareness of one another to stay in contact. Their distinctive coloring may help-they can contract the skin so the black side stripe becomes more obvious. They also stamp their front feet to signal when they are disturbed.

Forced perspective is a technique that utilizes visual illusion to create an item that seems farther away, closer than it is. It influences human visual awareness through the use of scaled objects

 

“4me4you” visits "Art First Gallery" which featured work by Bridget McDonald ALSO Guler Ates

 

Art First Gallery ..>The works themselves - shot in entirely natural light - have a cinematic quality, capturing the gestural movements or carefully posed stillness of the professional model Ates employs as her subject. From the rich visual material available to her Ates weaves a series of evocative tableaux that through the intervention of her model, swathed in silk, explore the sympathies and tensions in our current idea of the exotic, and of the historical significance of cross-cultural visual awareness. Past and present concerns merge as the arabesque tapestries and furnishings of the C15th interiors are juxtaposed against contemporary readings of the veil.

  

NK1505.F58 2001

 

This is the extraordinary creation of a self-described 'visual jackdaw', and it is indeed a kind of visual jackdaw's nest. An exploration of visual awareness and its interrelation with the verbal, the book is a compilation of images, quotations and juxtapositions of thoughts. From 'a grapefruit is a lemon that had a chance and took advantage of it' through Escher-like drawings to a discussion of the evolution of alphabets, Fletcher looks not only sideways but from above, below and all angles between at the human condition.

 

“4me4you” visits "Art First Gallery" which featured work by Bridget McDonald ALSO Guler Ates

 

Art First Gallery ..>The works themselves - shot in entirely natural light - have a cinematic quality, capturing the gestural movements or carefully posed stillness of the professional model Ates employs as her subject. From the rich visual material available to her Ates weaves a series of evocative tableaux that through the intervention of her model, swathed in silk, explore the sympathies and tensions in our current idea of the exotic, and of the historical significance of cross-cultural visual awareness. Past and present concerns merge as the arabesque tapestries and furnishings of the C15th interiors are juxtaposed against contemporary readings of the veil.

  

 

“4me4you” visits "Art First Gallery" which featured work by Bridget McDonald ALSO Guler Ates

 

Art First Gallery ..>The works themselves - shot in entirely natural light - have a cinematic quality, capturing the gestural movements or carefully posed stillness of the professional model Ates employs as her subject. From the rich visual material available to her Ates weaves a series of evocative tableaux that through the intervention of her model, swathed in silk, explore the sympathies and tensions in our current idea of the exotic, and of the historical significance of cross-cultural visual awareness. Past and present concerns merge as the arabesque tapestries and furnishings of the C15th interiors are juxtaposed against contemporary readings of the veil.

  

an exercise in visual awareness and continuity

Sponsored by 10 local organizations, 37 people lined the Union River

Bridge in Ellsworth, Maine offering a visual awareness opportunity for

our community holding signs saying "We Care" and "Smile, Reduce,

Reuse, Recyle, Cleans Our Planet." Photo credit: Joy Cartwright

 

DSCN0440.JPG

 

These pictures were sent with Picasa, from Google.

Try it out here: picasa.google.com/

New edit to remove road in background

 

T189 Assessment (ticks):

Visual awareness - communication + use of light/colour/texture

Technical Quality - colour/tonal qualities

 

“4me4you” visits "Art First Gallery" which featured work by Bridget McDonald ALSO Guler Ates

 

Art First Gallery ..>The works themselves - shot in entirely natural light - have a cinematic quality, capturing the gestural movements or carefully posed stillness of the professional model Ates employs as her subject. From the rich visual material available to her Ates weaves a series of evocative tableaux that through the intervention of her model, swathed in silk, explore the sympathies and tensions in our current idea of the exotic, and of the historical significance of cross-cultural visual awareness. Past and present concerns merge as the arabesque tapestries and furnishings of the C15th interiors are juxtaposed against contemporary readings of the veil.

  

Sunrise over Southampton for T189

 

T189 Assessment (ticks):

Visual awareness - use of light/colour/texture

Technical Quality - colour/tonal qualities

She likes to guard the main door because it gives her maximum aural and visual awareness of the house. Notice how one ear is kept trained on said door.

 

Speedlite 580 EX II attached on camera, bounced off ceiling with bounce card for catch light.

Don't mess with me, Buster!

 

T189 Assessment (ticks):

Visual awareness - communication

Technical Quality - Exposure + Focus and sharpness