#World Pinhole Day 2019

[rantz]

World Pinhole Day 2019 - Mr Rabbit, Leaking #Pinhole #WPPD

World Pinhole Day 2019 – Mr Rabbit, Leaking #Pinhole #WPPD

This is one of four images shot for this year’s World Pinhole Day and it is the image that has been selected as the image to upload to World Pinhole Day website (you will be able to see the image on that link once the Pinhole Day team have had time to check the image and approve it). (more…)

[thepnictogenwing]

Fictive departments within The Pnictogen Wing! the number’s growing all the time....

CW: allusions to severe child abuse and medical trauma

We are a very fictive-heavy system, here in The Pnictogen Wing, and it’s likely that we have numerous fictives from fictional Universes that we visited all the way back to our earliest childhood. Our human host unfortunately suffered from a profound and prolonged state of dissociation all through childhood into adulthood, thanks to severe and repeated abuse at the hands of parents and a certain pediatrician to whom their parents seem to have...given over their child to be tamed. Chara says that they remember their childhood as though it were viewed through a pinhole, or as if seen and felt through a veil. They were numb, experiencing things that they did not understand. The only things that made sense were some of the things they read and saw on television. It was, however, Toby Fox’s “Undertale” that supplied us with a central sense of identity. Chara bonded first, and for some years they were the only fictive of importance in the system. The complex and confusing year of 2019 brought Frisk and myself into the system, as well as our first “Fate/” fictive, Emiya Shirou. Later events brought in more “Undertale” fictives, Kris from “Deltarune”, and in addition I realized that I was myself a subsystem made of up of four parts at least: myself as a “healed” Asriel Dreemurr, Flowey the Flower as my alter ego, Prince Ralsei of “Deltarune”, and a shadowy and extremely shy “Deltarune” version of myself. Also we added many more “Fate/” fictives. Shirou’s sister Illyasviel von Einzbern emerged in our system. Matou Sakura and her Servant and girlfriend Medusa of Sarpedon joined, as did Medea of Colchis—all from a continuity that seems to merge elements of “Fate/stay night” with “Tonight’s Menu with the Emiya Family”. From “Fate/Zero” we acquired Artoria Pendragon. From “Fate/Apocrypha” we acquired Artoria’s son Mordred, Chevalier Astolfo, Atalante, Jack the Ripper (very peeved at her offensive “Fate/” depiction), and most importantly Jeanne d’Arc, who became Chara’s confessor. (Chara’s background, like Jeanne’s, is Catholic.) Merlin and La da Vinci have been lurking from time to time. And it’s likely there are more Heroic Spirits who are hoping that we will address their problems.

Akemi Homura, Kaname Madoka, and Sakura Kyoko arrived from the world of “Madoka Magica”. Mae Borowski turned up from “Night in the Woods”. All three Wiggin children arrived from the world of “Ender’s Game” (and all three changed their surnames within days). Orual from C. S. Lewis’s “Till We Have Faces” and Winston Smith from Orwell’s “1984″ turned up...and one of our older members turned out to be a fictive as well, our faithful unicorn headmate Duo (formerly “Mono”), who as it turned out was connected to Charles Williams’s strange novel “The Place of the Lion”.

It’s far from over. The total number of fictives we host may be in the thousands, at least, and we need to figure out how we are to deal with them and resolve their tensions. All of them are hoping we can help them somehow. What with? In many cases, we don’t yet know.

~ Pastor Asriel Dreemurr of Pnictogen

[architectnews]

V&A Raphael Court Renewal, London

V&A Raphael Court London Renewal, Victoria and Albert Museum Architecture Design by FCBS

V&A Raphael Court Redevelopment

6 May 2021

V&A Raphael Court Renewal News

Refurbished V&A Raphael Court unveiled ahead of museum reopening to the public

Location: Victoria & Albert Museum, South Kensington, west London

Design: architects Feilden Clegg Bradley Studios ; lighting designers Studio ZNA

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

vam.ac.uk/raphael-cartoons | #RaphaelCartoons

Today the V&A unveils a first look at the newly refurbished Raphael Court – home to the Raphael Cartoons – following a landmark renovation in 2020 to mark the 500th anniversary of Raphael’s death. Together with a new interpretive approach, the refreshed gallery will transform the way museum visitors experience the Cartoons, lent to the V&A from the Royal Collection by Her Majesty The Queen. The gallery will reopen to the public for the first time when the V&A reopens on 19 May.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

The Raphael Cartoons are among the greatest treasures of the Renaissance in the UK. Shortly after his election in 1513, Pope Leo X commissioned Raphael to create a set of ten full-scale designs for a series of tapestries for the Sistine Chapel in the Vatican Palace, illustrating scenes from the lives of Saint Peter and Saint Paul. Once complete, the Cartoons – each measuring around 5 metres wide and 3.5 metres high – were sent to the workshop of merchant-weaver Pieter van Aelst in Brussels, which transformed the monumental designs into tapestries. Seven of the Cartoons survive to this day, brought to Britain in the early 17th century by the Prince of Wales, later Charles I. They remained in the Royal Collection and were lent to the South Kensington Museum – now the V&A – by Queen Victoria in 1865 in memory of Prince Albert and have been on public display in the museum ever since.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

Working with architects Feilden Clegg Bradley Studios and lighting designers Studio ZNA, The Raphael Court has been reconceived to celebrate the Cartoons, focussing on their extraordinary details and vibrant palette. State-of-the-art LED lighting reveals the texture and vitality of the works, whilst acoustic panelling creates a more comfortable environment. Bespoke furniture provides opportunities to sit and enjoy the works and the gallery at leisure.

An extensive high-resolution recording project carried out by Factum Foundation has provided incredible new images of the Cartoons, which will be available for visitors to explore in the gallery, as well as online. Graphics by Polimekanos, and digital gallery interpretation by Spiral Productions produced with the V&A, harness this imagery to reveal in-depth stories about the creation and history of the Cartoons – the first time that audiences have ever been able to explore the masterpieces in such detail.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

To help launch the gallery, the V&A has also collaborated with conductor Oliver Zeffman, violinist Viktoria Mullova and the Academy of St Martin in the Fields. Bringing this iconic gallery to life, the refreshed Raphael Court provides a stunning backdrop for the new visual album ‘Live from the V&A’. Performing a programme of Bach, Mozart, Honegger and Pärt, the video performance will be available from 4 June on Apple Music and Marquee TV, a streaming platform dedicated to art, culture and performance.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

Tristram Hunt, Director of the V&A, says: “We’re delighted to be reopening the Raphael Court following this landmark refurbishment to mark the 500th anniversary of Raphael’s death. The transformed gallery – with its new, digital interpretation – places the Raphael Cartoons at its heart, revolutionising the public’s appreciation of these remarkable works of art and repositioning Raphael as craftsman and designer as much as Renaissance genius. We look forward to welcoming visitors back to experience the Raphael Cartoons in a whole new light when the museum reopens on 19 May.”

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

The refurbished gallery’s new interpretive approach provides the public with a deeper level of access to the Raphael Cartoons, enhancing our understanding of these monumental works of art. In August 2019, the V&A and Royal Collection Trust worked with Factum Foundation and Momart on a high-resolution recording project, supported by the Royal Commission for the Exhibition of 1851. This involved unframing each Cartoon to capture high-resolution 3D data of the surface, and panoramic composite photography to record the colour and gather infra-red data.

Each 3D image took over 95 hours to capture with four of Factum’s Lucida 3D Scanners mounted on scaffold towers. The resulting images reveal the Cartoons’ unique surface texture – from the joins of the composite sheets of paper that make up each Cartoon and the tiny pinholes that were made to translate the Cartoons into tapestries, to the creases and tears, and marks of subsequent restoration and repair, from throughout their lifetime.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

The imagery captured is crucial for the study and future care of the Cartoons, and enabled us to greatly enhance the gallery interpretation, as well as our online content offer, in an unprecedented way. In the Raphael Court, this pioneering imagery informs a suite of new, digital interactive interpretation, available in the gallery on visitors’ mobile devices. Using QR codes to access the interactives, visitors can discover in-depth stories about the creation and history of the Cartoons, which bring to life their design, making, and incredible survival to the present day.

Created by Spiral Productions with the V&A, interactive features and games enable visitors to get up close to the detail and creation of the Cartoons by zooming into the ultra-high-resolution photography, infrared imagery, and 3D scans of the Cartoons; to discover the Cartoons’ function as full-scale tapestry designs for the Sistine Chapel; to uncover the ingenuity of Raphael and his workshop and their design process; and to learn about the rescue, life and status of the Cartoons in England, from their arrival in the 17th century up to the present day. Together, the interactives highlight the significance and status of the Cartoons, illuminating their enduring fascination and enabling visitors to explore the fragile artworks as never before while in their presence.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

Online, the V&A website hosts a range of in-depth, complementary content, providing visitors unique access to explore the Cartoons from anywhere in the world. Launched in January 2021 during a period of temporary closure for the museum, the V&A’s Raphael webpage experienced a 1,500% increase in views.

One of the V&A’s largest and most dramatic galleries, The Raphael Court is almost identical in proportion to the Sistine Chapel and was last refurbished from 1992 to 1996. Combined with enhanced interpretation, the new scheme – with its darker colour palette, state-of-the-art lighting, refreshed furniture, new graphics and on-site digital experience – transform visitors’ viewing experience and their enjoyment of these works of art.

The Raphael Court is also integral to the museum’s programme of events and activities including the V&A’s Fashion in Motion series. Dedicated events lighting and improved acoustics have been central to considerations and now provide the space with even greater flexibility.

The Raphael Court is home to other artworks, including an example of a later tapestry made in the 17th century in England after Raphael’s design – The Miraculous Draught of Fishes, on loan from The Duke of Buccleuch & Queensberry KT KBE, and The Trustees of the Buccleuch Living Heritage Trust. The original set of tapestries for the Sistine Chapel is on view in the Vatican Palace in Rome.

View of refurbished Raphael Court at the V&A, 2021 © Hufton+Crow the Raphael Cartoons, on display in The Raphael Court at the Victoria and Albert Museum (V&A), reopening 19 May 2021

Other important Renaissance works in The Raphael Court include a marble singing gallery from Florence – likely seen by Raphael – and a detached fresco by Perugino, Raphael’s master. On display in the Court apse, a monumental altarpiece from Valencia, Spain, is a rare example of the Gothic International Style and illustrates a founding event of the city under the protection of Saint George.

The refurbishment of the Raphael Court is supported by Lydia & Manfred Gorvy, Julia and Hans Rausing, American Express, the Royal Commission for the Exhibition of 1851, Sir Michael and Lady Hintze, the Robert H. Smith Family Foundation, the American Friends of the V&A, and many other generous donors.

Feilden Clegg Bradley Studios

V&A Raphael Court Renewal London information / images from V&A 060521

Location: London, UK

Architecture in London

Contemporary Architecture in London

London Architecture Links – chronological list

London Architecture Walking Tours

London Architect

V&A London Architecture

V&A Collection and Research Centre in London Architects: Diller Scofidio + Renfro with Austin-Smith:Lord V&A Collection and Research Centre London

Victoria & Albert Museum Boilerhouse Yard image © AL_A Victoria & Albert Museum Boilerhouse Yard

V&A Museum of Childhood Redevelopment Approval News Building Design: De Matos Ryan ; Redevelopment lead designers: AOC V&A Museum of Childhood Redevelopment Approval + Museum of Childhood London

V&A Members’ Room Architects: Carmody Groarke photograph : Rory Gardiner V&A Members’ Room

Elytra Filament Pavilion by Achim Menges at the V&A Design: Achim Menges with Moritz Dörstelmann, Jan Knippers and Thomas Auer photo courtesy of V&A V&A Installation by Achim Menges with Jan Knippers

V&A Photography Centre

Crest Design: Zaha Hadid Architects photo © Crest Installation, V&A in London

Victoria & Albert Museum Boilerhouse Yard Project : Exhibition Road Design Studies

Victoria & Albert Museum London, South Kensington, west London

V&A Medieval and Renaissance galleries Design: McInnes Usher McKnight Architects

V&A European Galleries – Europe 1600-1800 galleries Design: ZMMA

V&A Booktower Design: Rintala, Eggertsson, Jenssen

Victoria & Albert Museum Jewellery Gallery Eva Jiricna Architects

Victoria & Albert Museum Architecture Gallery Gareth Hoskins Architects

V&A Museum Women’s Amenities Glowacka Rennie Architects

V&A at Dundee Museum Building

V&A at Dundee Building

Museum Designs

London Architecture

Museum of Childhood in London

Tate Britain photo © Nick Weall Tate Britain Renewal

Website: V&A

Feilden Clegg Bradley

Comments / photos for the V&A Raphael Court Renewal page welcome

Website: Visit London, UK

The post V&A Raphael Court Renewal, London appeared first on e-architect.

[apod]

2019 December 21

Solstice to Solstice Solargraph Timelapse Image Credit & Copyright: Sam Cornwell

Explanation: The 2019 December Solstice, on the first day of winter in planet Earth's northern hemisphere and summer in the south, is at 4:19 Universal Time December 22. That's December 21 for North America, though. Celebrate with a timelapse animation of the Sun's seasonal progression through the sky. It was made with solargraph images from an ingenious array of 27 pinhole cameras. The first frame from the Solarcan camera matrix was recorded near December 21, 2018. The last frame in the series finished near June 21, 2019, the northern summer solstice. All 27 camera exposures were started at the same time, with a camera covered and removed from the array once a week. Viewed consecutively the pinhole camera pictures accumulate the traces of the Sun's daily path from winter (bottom) to summer (top) solstice. Traces of the Sun's path are reflected by the foreground Williestruther Loch, in the Scottish Borders. Just select the image or follow this link to play the entire 27 frame (gif) timelapse.

∞ Source: apod.nasa.gov/apod/ap191221.html

[davewhenham]

World Pinhole Photography Day 2020

World Pinhole Photography Day 2020

I enjoy the occasional foray with a pinhole camera, even building one myself not so long ago and so was annoyed with myself for missing World Pinhole Photography Day (WPPD) in 2019. I was determined not to miss it this year however and had even scouted out a couple of suitable locations on the River Calder ready for the big day. I was it seemed all-set and ready to go.

I missed WPD-2019 and…

[kpopmultifan]

Scheduled New Releases: May 2019 - Week 4

This list will continually be updated when MVs, iTunes/Apple Music links, & additional new release information become available.

Yoon Jisung - Winter Flower (Special Digital Single) Release Date: May 19th [iTunes/Apple Music]

GOT7 - Spinning Top: Between Security & Insecurity (Album) Title Track: Esclipe [MV] [highlight medley] Release Date: May 20th [iTunes/Apple Music]

Kim Jaehwan - Another (Solo Debut Mini-Album) Title Track: Begin Again [MV] [highlight medley] Release Date: May 20th [iTunes/Apple Music]

Lovelyz - Once Upon a Time (6th Mini-Album) Title Track: When We Were Us (Beautiful Days) [MV] [highlight medley] Release Date: May 20th [iTunes/Apple Music]

Kyuhyun (of Super Junior) - The Day We Meet Again (Single Album) Title Track: Aewol-ri [MV] Release Date: May 20th [iTunes/Apple Music]

5tion - Wanna Know You (5th Single Album) [MV] Release Date: May 20th [iTunes/Apple Music]

3YE - DMT (Do Ma Thing) (Debut Digital Single) [MV] Release Date: May 21st [iTunes/Apple Music]

Taeyeon (of Girls’ Generation) x Yoon Jong Shin - A Train to Chuncheon (Digital Single) [MV] Yoon Jong Shin Monthly Single Project - May 2019 Release Date: May 21st [iTunes/Apple Music]

N.Flying - Brotherhood (1st Japanese Album) Track: The World Is Mine [MV] Track: Pinhole [MV] Track: Color [MV] Track: Wanna Be [MV] Track: Stand By Me [MV] [highlight medley] Release Date: May 22nd [iTunes/Apple Music]

Hyolyn - youknowbetter (Digital Single) [MV] XHYOLYNX Pt.1 Release Date: May 22nd [iTunes/Apple Music]

Cherry Bullet - Love Adventure (2nd Single Album) Title Track: Really Really [MV] Release Date: May 22nd [iTunes/Apple Music]

AB6IX - B.COMPLETE (Debut Mini-Album) Title Track: Breathe [MV] [highlight medley] Release Date: May 22nd [iTunes/Apple Music]

IZ - RE:IZ (1st Single Album) Title Track: Eden [MV] [highlight medley] Release Date: May 23rd [iTunes/Apple Music]

Hitchhiker - Nada (Digital Single) [MV] SM STATION 3 Release Date: May 23rd [iTunes/Apple Music]

Park Kyung (of Block B) - Gwichanist (5th Single) [MV] Release Date: May 23rd [iTunes/Apple Music]

NCT 127 - We Are Superhuman (4th Mini-Album) Title Track: Superhuman [MV] Pre-Release: Highway to Heaven [MV] Release Date: May 24th [iTunes/Apple Music]

BerryGood - Fantastic (3rd Mini-Album) Title Track: Oh! Oh! [MV] Release Date: May 25th [iTunes/Apple Music]

[brookstonalmanac]

Holidays 11.1

Holidays

All Saints’ Day

Andhra Pradesh Day (India)

Anniversary of the Revolution (Algeria)

Bra Day

Calan Gaeaf (Wales)

Chavang Kut (Mizo)

Cook For Your Pets Day

Cross Quarter Day

Day of the Dead, Day 2 (Mexico)

Day of the Innocents

Dog Day (Japan)

Extra Mile Day

Face Mask Day

Family Literacy Day

Give Up Your Shoulds Day

Go Cook for Your Pets Day

Graveyards Day

Greenwich Mean Time Day

Harvey Day

Haryana Day (India)

Health Day (Turkmenistan)

Hello Kitty Day

International Coaches Day

International Lennox-Gastaut Syndrome Awareness Day

International Pet Groomer Appreciation Day

International Scented Candle Day

Invention of Sex Day

Kalends of November (Ancient Rome)

Karnataka Day (India)

Kerala Foundation Day

Kut (Manipur, India)

Liberty Day (Virgin Islands)

Maastricht Treaty Day

NaNoWriMo begins [until Nov. 30]

National Author's Day

National Awakening Day (Bulgaria)

National Biologic Coordinators Day

National Brush Day

National Chesterfield Sofa Day

National Doubletalk Day

National Pinhole Gum Rejuvenation Day

National Revival Leaders’ Day (Bulgaria)

No Driving with Cell Phones Day

Plate Tectonics Day

Pooka Day

Prime Meridian Day

Remembrance Day (Slovenia)

Revival Leaders’ Day (Bulgaria)

Self-Defense Forces Commemoration Day (Japan)

Soul-Caking Day

Traffic Director’s Day

World Vegetation Day

Food & Drink Celebrations

Cake Appreciation Day

French Fried Clams Day

National Calzone Day

National Cinnamon Day

National Deep Fried Clams Day [also 7.1]

National Pâté Day

National Vinegar Day

Pomona’s Day (Apple Festival) [also 8.13]

World Vegan Day

Xinomavro Day (Greek Wine)

Independence Days

Antigua & Barbuda (from UK, 1981)

Feast Days

Apaturia (Ancient Greece)

Austromoine (Christian; Saint)

Beltane (1st full day; Southern Hemisphere)

Benignus of Dijon (Christian; Saint)

Bozo Day (Church of the SubGenius; Saint)

Caesarius of Africa (Christian; Saint)

Condercet (Positivist; Saint)

Festival of All-Saints (Christian)

Festival of Saturnia (Ancient Rome)

Gnome Awareness Day (Pastafarian)

Harold, King of Denmark (Christian; Saint)

Marcellus, Bishop of Paris (Christian; Saint)

Mary (Christian; Martyr)

Mustache Appreciation Day (Pastafarian)

Pomonia (Ancient Rome)

Samhain (also celebrated as ... 

Allantide (Cornwall, UK)

All Hallow’s Day

La Samhna (Pagan Ireland)

Old Celtic New Year

Samhain (Celtic, Pagan) [7 of 8 Festivals of the Natural Year]

Samhain (1st full day; Northern Hemisphere)

Santa Muerte (Folk Catholicism, Mexico and Southwestern United States)

Scoop Doozer (Muppetism)

Lucky & Unlucky Days

Lucky Day (Philippines) [60 of 71]

Taian (大安 Japan) [Lucky all day.]

Premieres

About Time (Film; 2013)

The Amazing Maurice and His Educated Rodents, by Terry Pratchet (Novel; 2001) [Discworld #28]

Bartleby, the Scrivener, by Herman Melville (Short Story; 1853)

The Bridge of San Luis Rey, by Thornton Wilder (Novel; 1927)

Captains Courageous, by Rudyard Kipling (Novel; 1897)

Cold Spring Harbor, by Billy Joel (Album; 1971)

Death on the Nile, by Agatha Christie (Mystery Novel; 1937) [25]

Dickinson (TV Series; 2019)

Far From the Madding Crowd, by Thomas Hardy (Novel; 1874)

For All Mankind (TV Series; 2019)

Free Birds (Animated Films; 2013)

Interesting Times, by Terry Pratchet (Novel; 1994) [Discworld #17]

Jingo, by Terry Pratchet (Novel; 1997) [Discworld #21]

The Jungle Book, by Rudyard Kipling (Novel; 1894)

Lords and Ladies, by Terry Pratchet (Novel; 1991) [Discworld #14]

The Magic Mountain, by Thomas Mann (Novel; 1924)

Maskerade, by Terry Pratchet (Novel; 1995) [Discworld #18]

Monk’s Music, by Thelonious Monk (Album; 1957)

MTV Unplugged in New York, by Nirvana (Album; 1994)

Night Watch, by Terry Pratchet (Novel; 2002) [Discworld #29]

Odetta Sings Ballads and Blues, by Odetta (Album; 1956)

Othello, by William Shakespeare (Play; 1604)

The Princess and the Goblin, by George MacDonald (Novel; 1872)

The Property of a Lady, by Ian Fleming (James Bond Short Story; 1963)

The Red and the Black, by Stendahl (Novel; 1830)

The Secret Garden, by Frances Hodgson Burnett (Novel; 1910)

Smiley’s People, by John le Carré (Novel; 1980)

The Story of Sigurd the Volsung and the Fall of the Niblungs, by William Morris (Poem; 1876)

The Tempest, by William Shakespeare (Play; 1611)

Terminator: Dark Fate (Film; 2019)

The Theory of General Relativity, by Albert Einstein (Scientific Paper; 1915)

The Truth, by Terry Pratchet (Novel; 2000) [Discworld #25]

Watership Down, by Richard Adams (Novel; 1972)

Witches Abroad, by Terry Pratchet (Novel; 1991) [Discworld #12]

Women in Love, by D.H. Lawrence (Novel; 1920)

Wonderwall Music, by George Harrison (Album; 1968)

Today’s Name Days

Allerheiligen (Austria)

Benigno, Cezarij, Dobroslav, Harald, Svetislav, Sveto (Croatia)

Felix (Czech Republic)

Tiia, Tiiu (Estonia)

Lyly, Pyry (Finland)

Toussaint (France)

Allerheiligen, Harald (Germany)

Anargyros, Argyris, Damianos, Kosmas (Greece)

Marianna (Hungary)

Egidio (Italy)

lvita, Askolds, Ikars, Krivs (Latvia)

Andrius, Milvydė, Žygaudas (Lithuania)

Veslemøy, Vetle (Norway)

Andrzej, Konradyn, Konradyna, Seweryn, Warcisław, Wiktoryna (Poland)

Denisa (Slovakia)

Allhelgonadagen (Sweden)

Kuzma, Leonard (Ukraine)

Amabel, Hall, Halsted, Mabel, Sterling, Sumner, Zion (USA)

Today is Also…

Day of Year: Day 305 of 2022; 60 days remaining in the year

ISO: Day 2 of week 44 of 2022

Celtic Tree Calendar: Hagal (Constraint) [Day 4 of 28]

Chinese: Month 10 (Lùyuè), Day 8 (Wu-Wu)

Chinese Year of the: Tiger (until January 22, 2023)

Hebrew: 7 Cheshvan 5783

Islamic: 6 Rabi II 1444

J Cal: 5 Mir; Fourday [5 of 30]

Julian: 19 October 2022

Moon: 56%: Waxing Gibbous

Positivist: 25 Descartes (11th Month) [Condercet]

Runic Half Month: Ngetal (Reed) [Day 7 of 15]

Season: Autumn (Day 40 of 90)

Zodiac: Scorpio (Day 10 of 31)

[brookston]

Holidays 11.1

Holidays

All Saints’ Day

Andhra Pradesh Day (India)

Anniversary of the Revolution (Algeria)

Bra Day

Calan Gaeaf (Wales)

Chavang Kut (Mizo)

Cook For Your Pets Day

Cross Quarter Day

Day of the Dead, Day 2 (Mexico)

Day of the Innocents

Dog Day (Japan)

Extra Mile Day

Face Mask Day

Family Literacy Day

Give Up Your Shoulds Day

Go Cook for Your Pets Day

Graveyards Day

Greenwich Mean Time Day

Harvey Day

Haryana Day (India)

Health Day (Turkmenistan)

Hello Kitty Day

International Coaches Day

International Lennox-Gastaut Syndrome Awareness Day

International Pet Groomer Appreciation Day

International Scented Candle Day

Invention of Sex Day

Kalends of November (Ancient Rome)

Karnataka Day (India)

Kerala Foundation Day

Kut (Manipur, India)

Liberty Day (Virgin Islands)

Maastricht Treaty Day

NaNoWriMo begins [until Nov. 30]

National Author's Day

National Awakening Day (Bulgaria)

National Biologic Coordinators Day

National Brush Day

National Chesterfield Sofa Day

National Doubletalk Day

National Pinhole Gum Rejuvenation Day

National Revival Leaders’ Day (Bulgaria)

No Driving with Cell Phones Day

Plate Tectonics Day

Pooka Day

Prime Meridian Day

Remembrance Day (Slovenia)

Revival Leaders’ Day (Bulgaria)

Self-Defense Forces Commemoration Day (Japan)

Soul-Caking Day

Traffic Director’s Day

World Vegetation Day

Food & Drink Celebrations

Cake Appreciation Day

French Fried Clams Day

National Calzone Day

National Cinnamon Day

National Deep Fried Clams Day [also 7.1]

National Pâté Day

National Vinegar Day

Pomona’s Day (Apple Festival) [also 8.13]

World Vegan Day

Xinomavro Day (Greek Wine)

Independence Days

Antigua & Barbuda (from UK, 1981)

Feast Days

Apaturia (Ancient Greece)

Austromoine (Christian; Saint)

Beltane (1st full day; Southern Hemisphere)

Benignus of Dijon (Christian; Saint)

Bozo Day (Church of the SubGenius; Saint)

Caesarius of Africa (Christian; Saint)

Condercet (Positivist; Saint)

Festival of All-Saints (Christian)

Festival of Saturnia (Ancient Rome)

Gnome Awareness Day (Pastafarian)

Harold, King of Denmark (Christian; Saint)

Marcellus, Bishop of Paris (Christian; Saint)

Mary (Christian; Martyr)

Mustache Appreciation Day (Pastafarian)

Pomonia (Ancient Rome)

Samhain (also celebrated as ... 

Allantide (Cornwall, UK)

All Hallow’s Day

La Samhna (Pagan Ireland)

Old Celtic New Year

Samhain (Celtic, Pagan) [7 of 8 Festivals of the Natural Year]

Samhain (1st full day; Northern Hemisphere)

Santa Muerte (Folk Catholicism, Mexico and Southwestern United States)

Scoop Doozer (Muppetism)

Lucky & Unlucky Days

Lucky Day (Philippines) [60 of 71]

Taian (大安 Japan) [Lucky all day.]

Premieres

About Time (Film; 2013)

The Amazing Maurice and His Educated Rodents, by Terry Pratchet (Novel; 2001) [Discworld #28]

Bartleby, the Scrivener, by Herman Melville (Short Story; 1853)

The Bridge of San Luis Rey, by Thornton Wilder (Novel; 1927)

Captains Courageous, by Rudyard Kipling (Novel; 1897)

Cold Spring Harbor, by Billy Joel (Album; 1971)

Death on the Nile, by Agatha Christie (Mystery Novel; 1937) [25]

Dickinson (TV Series; 2019)

Far From the Madding Crowd, by Thomas Hardy (Novel; 1874)

For All Mankind (TV Series; 2019)

Free Birds (Animated Films; 2013)

Interesting Times, by Terry Pratchet (Novel; 1994) [Discworld #17]

Jingo, by Terry Pratchet (Novel; 1997) [Discworld #21]

The Jungle Book, by Rudyard Kipling (Novel; 1894)

Lords and Ladies, by Terry Pratchet (Novel; 1991) [Discworld #14]

The Magic Mountain, by Thomas Mann (Novel; 1924)

Maskerade, by Terry Pratchet (Novel; 1995) [Discworld #18]

Monk’s Music, by Thelonious Monk (Album; 1957)

MTV Unplugged in New York, by Nirvana (Album; 1994)

Night Watch, by Terry Pratchet (Novel; 2002) [Discworld #29]

Odetta Sings Ballads and Blues, by Odetta (Album; 1956)

Othello, by William Shakespeare (Play; 1604)

The Princess and the Goblin, by George MacDonald (Novel; 1872)

The Property of a Lady, by Ian Fleming (James Bond Short Story; 1963)

The Red and the Black, by Stendahl (Novel; 1830)

The Secret Garden, by Frances Hodgson Burnett (Novel; 1910)

Smiley’s People, by John le Carré (Novel; 1980)

The Story of Sigurd the Volsung and the Fall of the Niblungs, by William Morris (Poem; 1876)

The Tempest, by William Shakespeare (Play; 1611)

Terminator: Dark Fate (Film; 2019)

The Theory of General Relativity, by Albert Einstein (Scientific Paper; 1915)

The Truth, by Terry Pratchet (Novel; 2000) [Discworld #25]

Watership Down, by Richard Adams (Novel; 1972)

Witches Abroad, by Terry Pratchet (Novel; 1991) [Discworld #12]

Women in Love, by D.H. Lawrence (Novel; 1920)

Wonderwall Music, by George Harrison (Album; 1968)

Today’s Name Days

Allerheiligen (Austria)

Benigno, Cezarij, Dobroslav, Harald, Svetislav, Sveto (Croatia)

Felix (Czech Republic)

Tiia, Tiiu (Estonia)

Lyly, Pyry (Finland)

Toussaint (France)

Allerheiligen, Harald (Germany)

Anargyros, Argyris, Damianos, Kosmas (Greece)

Marianna (Hungary)

Egidio (Italy)

lvita, Askolds, Ikars, Krivs (Latvia)

Andrius, Milvydė, Žygaudas (Lithuania)

Veslemøy, Vetle (Norway)

Andrzej, Konradyn, Konradyna, Seweryn, Warcisław, Wiktoryna (Poland)

Denisa (Slovakia)

Allhelgonadagen (Sweden)

Kuzma, Leonard (Ukraine)

Amabel, Hall, Halsted, Mabel, Sterling, Sumner, Zion (USA)

Today is Also…

Day of Year: Day 305 of 2022; 60 days remaining in the year

ISO: Day 2 of week 44 of 2022

Celtic Tree Calendar: Hagal (Constraint) [Day 4 of 28]

Chinese: Month 10 (Lùyuè), Day 8 (Wu-Wu)

Chinese Year of the: Tiger (until January 22, 2023)

Hebrew: 7 Cheshvan 5783

Islamic: 6 Rabi II 1444

J Cal: 5 Mir; Fourday [5 of 30]

Julian: 19 October 2022

Moon: 56%: Waxing Gibbous

Positivist: 25 Descartes (11th Month) [Condercet]

Runic Half Month: Ngetal (Reed) [Day 7 of 15]

Season: Autumn (Day 40 of 90)

Zodiac: Scorpio (Day 10 of 31)

[lesley-catterall-price]

MP 1 Pilot Project - Carbon Capture

Introduction:

When considering the options for the Major Project I had 2 ideas in-mind, 1, A project regarding Capitalism and the movement of goods around the world. I can order a book, wetsuit, wellies, or a new camera lens and have them delivered within days, if not the next day.

The pandemic brought home what keeps the country running during these times; a healthcare system for everyone, keeping the food chain working and the logistics of movement of goods; not necessarily invaluable but certainly helped a lot of people get used to being at home all day, every day.

I very rarely take photographs of people but was interested in exploring the technical element of moving goods around the world, from a post box to and aeroplane. I arrange to tour the Royal Mail, Mail Centre in Swindon but was advised that, for legal reasons, I would not be allowed to take photographs. My hopes of a Gursky-esk, New York Stock Exchange, type of image was shattered. Having said that, I was considering writing a proposal to collaborate with Royal Mail and sending it to their HQ in London. A future project still to consider.

This project would have been an extension to the to the camera-less project I completed for the Beyond The Frame module, where I sent pinhole cameras through the post with different types of light sensitive material in them to see what images were captured.

Figure 1. L Catterall-Price, Untitled, Beyond The Frame, 2019

The second project idea was concerned with climate change. I did not want to take photographs of plastic bottles and rubbish floating in water, this has been done so many times before and has little impact.

During my portfolio review for the Professional Futures module, it was suggested I look at the work of Fabrice Monteiro and the Prophecies body of work. This work is impactful, it focuses on environmental devastation in Senegal. The models are “imbued with the theme of animism, accentuating each photo’s surreal composition of a jinn (an ancient supernatural genie) experiencing the ravages of modern man’s pollution”. (Nieden, C. (nd ) The Photographic Confrontations of Fabrice Monteiro: an Interview, The Mantel. Although they are very interesting and a creative way of interrupting the destruction we are creating, it is not the type of work I am drawn to in my own practice. I also considered the images of models underwater and their clothing made of waste that pollutes the oceans but again, I didn’t feel that was new.

It wasn’t until a friend sent a message to our group chat to ask if anyone knew of any books dealing with the climate crisis in a positive way, she wanted to share it with her students. This was the lightbulb moment, ‘look at this from a positive stance’. The books I had at the time were: The Uninhabitable Earth, David Wallace-Wells and Silent Spring, Rachel Carson and A Life on out Planet, Sir David Attenborough, I have since increased my library to include, The Future We Choose, Figueres, C & Rivett-Carnac, T, Earthshot, How to Save Our Planet, Butfield, C & Hughes, J and The Vanishing Face of Gaia, a Final Warning, Lovelock, James. If seems ironic that I quite a few books regarding this issue and I am concerned how many trees were felled to make these books and by design have an impact on the environment and climate change.

This was the start of my journey to research climate change and greenhouse gases, specifically carbon dioxide (CO2).

Project Working Title: Carbon Capture

There is no doubt the world is seeing the effects of climate change, sea temperatures rising, bleaching of coral reefs, and the impact on the Earth’s weather systems. It was reported in 2021 that the Amazon Rainforest now produces more CO2 than it absorbs due to deforestation and the increase in wildfires.

The CO2 levels we see today, 416.71 parts per million, January 2022 are a concern (source: https://www.co2.earth) however, during the Jurassic period there were 5 times the amount in the atmosphere than there is today. This is evidence that planet Earth will survive but the chances of the human race surviving, as we know it, is unlikely. We are making ourselves extinct and sadly taking other species with us.

“We share the Earth with the living world – the most remarkable life-support system imaginable, constructed over billions of years. The planet’s stability has wavered just as its biodiversity has declined – the two things are bound together.

To restore stability to our planet, therefore, we must restore its biodiversity, the very thing we have removed. It is the only way out of this crisis that we ourselves have created. We must rewild the world.”

Sir David Attenborough (2020) A Life on Our Planet, My Witness Statement, and a Vision for the Future.

Subject/ Concept:

To look at the positive actions that are being completed to combat the effects of climate change and address the imbalance. Explore and showcase sustainable energy solutions, wind turbines, solar farms and natural resources such as seagrass and kelp farm projects.

Aims:

To capture the invisible, CO2, a key greenhouse gas affecting climate change. Looking at natural resources being used to help combat the environmental issues and loss of biodiversity in our oceans.

Context/ Audience (Form, Medium, Presentation):

Carbon Capture project will be an exhibition installation. I have made a model for demonstration purposes. It will focus on the photosynthesis process which all plants both land and marine use to absorb, light, water and carbon dioxide to make sugar (energy).

There will be a backdrop of an underwater scene with the light shining through the water to the seabed. In addition, there will be approximately 10 digital images of varying sizes and shapes displaying my interpretation of photosynthesis i.e., seagrass, seaweed as well as the plant biology.

The methods used is traditional digital photography and microphotography.

Please see end of document for list of images used.

Source of photosynthesis information available at: https://sciencing.com/reduced-oxidized-photosynthesis-6469086.html and https://sciencing.com/10-photosynthesis-7257331.html

Research Methods:

I have used a varied amount of research sources. I have several climate crisis books as mentioned above. I follow several climate scientist and organisation on Twitter as this is a great resource for current information. These links often lead me to published papers or articles to obtain the information from the primary source material.

In general terms I have learnt that:

· Seagrass: captures carbon up to 35 times faster than a tropical rainforest

· It covers 0.2% of the seafloor and absorbs 10% of the oceans carbon each year

· UK – 92% of our seagrass has disappeared in the last century

· WWF, Sky Ocean Rescue and Swansea University are working to bring back underwater meadows by launching the biggest seagrass restoration project ever undertaken in the UK

· 1 million seeds will be planted this winter in Wales to grow into a 20,000m2 seagrass meadow

· Carbon dioxide is measured using infrared light

· CO2 absorbs infrared radiation in 3 narrow wavelengths, 2.7μm, 4.3μm and 15μm.

· 15μm = 15000nm = 0.015mm placing the wavelength in the infrared range

· Hence MP1 using infrared photography

· μm = micrometre: 1 millionth of a metre

· nm = nanometre: 1 billionth of a metre

· 1 μm = 1000nm = 0.001mm

Please see additional Research Report.

Reflection:

I started this project thinking I would be taking photographs of wind and solar farms as well as the seagrass project that are happening around the UK. I realised very early in the project that these types of images are not something I have taken before or enjoy taking and so very quickly dismissed the manmade structural images.

Once I read that carbon dioxide is measured using infrared light, atmospheric and infrared gas, in water, I spent many, many, many, many hours trying to establish the correct light wave for carbon dioxide to find a way of photograph it. It virtually took over every waking hour, it became an obsession.

This obsession started to affect my mental health as I was unhappy with the images I had taken. In the last session with the module lecturers, I realised I had to take a step back and think about the images I do enjoy taking. They are abstract, images, as per figure 1 above and I should go back to that and use it to make a project I am happy with and enjoy producing.

I believe using a combination of microphotography and traditional digital images of the plants in the installation will create sufficient interest of the subject to help raise awareness.

Project mock-up:

Images used in the model, from back to front and left to right are as follows:

Backdrop:

· Lesley Catterall-Price, Underwater Image of Sunlight shining through the ocean on to the seafloor, 2017.

Row 1:

Cropped section from this image:

· Lesley Catterall-Price, 2017, Seagrass Meadow.

· Lesley Catterall-Price, 2021, Seaweed.

Row 2:

· Lesley Catterall-Price, 2021, Seaweed.

· Dr Jeremy Burgess, Chloroplast in a pea leaf, 2019, Science Photo Library, Getty Images. Available at: https://www.thoughtco.com/thylakoid-definition-and-function-4125710

Row 3:

· None

Row 4:

· Robert Markus, Chloroplast, 2019, Science Photo Library, Getty Images. Available at: https://www.thoughtco.com/chloroplast-373614

Row 5:

· Carrasco, M. et al., 2020, Stomata, Automatic Stomatal Segmentation Based on Delaunay-Rayleigh Frequency Distance. Plants, 9(11), p.1613. Available at: http://dx.doi.org/10.3390/plants9111613.

· Daderot, 2013, Seagrass Roots, Exhibit in the National Museum of Nature and Science, Tokyo, Japan. Available at: https://commons.wikimedia.org/wiki/File:Zostera_marina_-_National_Museum_of_Nature_and_Science,_Tokyo_-_DSC07663.JPG

Row 6:

· Carrasco, M. et al., 2020, Stomata, Automatic Stomatal Segmentation Based on Delaunay-Rayleigh Frequency Distance. Plants, 9(11), p.1613. Available at: http://dx.doi.org/10.3390/plants9111613.

· Mei-Yu Chen1 et al, 2014, Plant Biology, Available at: https://doi.org/10.1186/1471-2229-14-175

· Carrasco, M. et al., 2020, Stomata, Automatic Stomatal Segmentation Based on Delaunay-Rayleigh Frequency Distance. Plants, 9(11), p.1613. Available at: http://dx.doi.org/10.3390/plants9111613.

[lpstuff]

Bringing Science to its Senses

Winding up the residency at MSSL Space Lab

It’s taken a few months to digest the experience of being artist-in-residence at Mullard Space Science Laboratory following the Euclid Mission. Reflecting on the multi-layered project I had planned, I asked myself what were the significant outcomes, both in terms of an art/science initiative and the artwork it inspired? Working from September 2018 to September 2019, the aim was to respond to this European Space Agency-led mission through sculpture and print while running a series of creative workshops for the lab staff based in rural Surrey. With funding from Arts Council England, I was able to record this journey on film, documenting the process of integrating philosophical and technical research into a body of work that has effectively crystallised my practice.

Initially I was interested in how the Euclid Mission would alter our perception of the universe as it searched for answers about dark matter and dark energy by mapping billions of galaxies three-quarters back in time to the Big Bang. MSSL are producing the VIS (visible light spectrum) instrument on the 1.2 metre wide telescope destined to be the largest camera in space when it launches in 2022. Peering into the deepest reaches of the cosmos, it will provide a fresh perspective on the evolution and structure of the universe while testing Einstein’s theories about gravity on a cosmological scale.

Admittedly, the complexity of the mission was difficult to take in. The first four months were spent interviewing most of the members of the Euclid team at MSSL (about 13 scientists and engineers) to understand the instrument better through their varied roles. Alongside this, I was invited to watch testing in laboratories and clean rooms as well as component making in engineering workshops. The technical aspects of space science are fascinating – materials, optical experiments, electrical components and the physical quality of the laboratories are at once dazzling and surreal for an outsider. At times there was a dizzying amount of information to take in and I needed to retreat to the library to make notes, little drawings or process thoughts while taking in the idyllic scenery of Holmbury St Mary in the Surrey Hills. In this beautiful and surprising setting for a space science facility, I became convinced the surroundings contributed to the openness and well being of lab staff.

The wood-panelled common room, which adjoins many key areas of the lab, became my base and de-facto meeting room. It was the perfect spot for me, with a wide-ranging selection of science magazines to dive into and where, between meetings, I was able to conduct impromptu conversations with anyone passing through to the canteen or labs. As time progressed these conversations became more friendly and varied – one minute I was learning about plasma physics and the next I was being shown holiday sunset snaps. To be honest, most days I left buzzing with energy and enthusiasm.

From the beginning two things struck me: the enormous amount of data that would be generated via the instrument and the levels of calibration the naked light to which the universe would be subjected after it is collected by the camera CCDs. These areas of interest gradually influenced related personal research and the development of visual responses to experiences at the lab. Alongside these ideas, investigating the concept of dark matter prompted questions about how we were to grasp a new sense of materiality: dark matter is invisible, doesn’t reflect light, is non-luminous yet its mass produces gravity capable of creating structure in the universe. As someone involved with materials and light this was enormously exciting.

The light passing through the VIS instrument will go through about 20 levels of calibration after being transmitted to ground stations for processing. This scrubbing of visual data stimulated questions about what we chose to see and, in turn, to perceive. Photons, travelling billions of years, will be detected on highly polished silicon surfaces showing us faint galaxies formed near the beginning of the universe. The processing of this data will eliminate unwanted information such as cosmic rays streaking though the image which often obscure the field of view. I began to question the purity of the technological viewpoint and turned my thoughts to the construction of perception from a philosophical point of view. This research centred on the writings of Maurice Merleau-Ponty (1908-1961) and quantum physicist/thinker David Bohm (1917-1992). I felt it was important to consider the basis of ‘looking’ itself. The root of observation, essential for artists and scientists, conscious sight is a supremely human sense. Where and how we chose to gaze at our environment dictates much of what we actually see, eventually emerging as thought and, later, knowledge.

In the essay Eye and Mind, Merleau-Ponty (see previous blog Searching the Sky) states that the body is the primary site of all perception. Before we think, we sense. Light, sound and touch are experienced through the human senses that feel the world viscerally before analysing or finding meaning in the sensory. He identifies this primary stage as particularly relevant to artists, claiming that by ‘lending his body to the world’ an artist embodies sensation and meaning by conveying a visual record in his materials. He suggests that science should return to this original state of sensory experience to properly ground thought and move away from seeing the body as ‘an information machine’. I realised that, inadvertently, I had been touching on this through the creative workshops for the scientists. Arranging granules of glass for fusing, layering imagery for cyanotype prints and bending paper sculptures were all extremely tactile activities where eye and mind come together. As an add on to a pinhole camera workshop with artist Olga Suchanova, we constructed a camera obscura in a meeting room, inviting staff to experience the optical phenomenon in darkness. I remember standing with the Euclid instrument, scientist quietly waiting for our eyes to adjust to the fine light piercing through the paper hole. As the inverted image the image of trees and sky gradually appeared on a white board, we remarked on how extraordinary it looked. This comment was from someone who is constructing the most powerful camera in space. For a moment we were hyper-aware of the experience of seeing (see previous blog Sensing).

As the development of my artwork progressed, the words of David Bohm began to influence thoughts and the manipulation of materials. Bohm was interested in how paradigms occur and described perception as a feedback loop of sensory information, abstract analysis and re-testing of our environment. We build up a structure of reality based on consistent experiences. New information disrupts the construction of established paradigms causing science (and the public) to re-see reality. And once we understand a new concept, it is impossible to the original perception in the same way. Our ‘inner show’ depicting reality is suddenly altered. Ever drawn to the properties of illusion and thinking about dark matter, I began to experiment with projecting light through bent glass, casting moving 3D shadows on a studio wall. I recognised this type of perceptual shift in my work: the difference between the physical reality of the glass and the illusory forms of the projection. ‘Truth in Illusion’ became a theatrical installation poking at our reluctance to release old paradigms and reinforce instincts to let fresh information alter assumptions.

The sensory, filtering data and concepts around blind spots threaded through much of my work for the end of residency exhibition at Lumen Gallery in October 2019 (https://www.pettibone.co.uk/mssl-space-lab-residency). The central installation ‘Cosmic Landscape’ explored our expanding view of the universe through the aims of the Euclid Mission in ten metres of fabric and glass. Screen print ‘Found Missing’ relates to the conundrum of dark matter and looking for the invisible. ‘Enfolding’, a lustred glass sculpture, nods to Bohm’s reference to an ‘enfolding and unfolding universe’ and the two-dimensional experience of viewing the night sky. Lab data emerged in several pieces including ‘The Language of Light’ photomontage series where astral data, used to test the VIS instrument, is combined with views from Lizard Point in Cornwall.

Found Missing, screen print, edition of 12

I can honestly say the work genuinely reflects my experience of working so closely with MSSL Space Lab and the Euclid project. The slow burn of continuing ideas, and desire to share this art/science initiative, indicates that the residency will affect me for a long time. ESA have invited me to speak about my involvement with the mission at their headquarters in the Netherlands in February 2020, so perhaps interest in the science sector is growing. It remains to be seen how the lab has been affected: the workshops were well attended and garnered many positive comments and Dr Tom Kitching*, who hosted me, was enthusiastic throughout. I write this as I prepare for a final presentation at the lab tomorrow where I’ll unveil the film I made with Sam Charlesworth and a selection of artwork. Perhaps the experience will be a slow burn for them as well.

*As a side project, I collaborated with Tom to devise a collaborative artwork titled ‘Fingertip Galaxy’ made by over 250 scientists and engineers at the annual Euclid Consortium Meeting held in Helsinki in 2019. Representing the spirit of the mission, ESA have committed to placing the artwork on the spacecraft when it launches in 2022. (See previous blog Touching Space.)

[camerawifihd]

The Undeniable Reality About Cctv Brands Ranking 2019 That Nobody Is Telling You

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[lydiasonlinelog]

Exercise 3.2 - Trace

Robert Capa

Source: https://www.magnumphotos.com/newsroom/conflict/robert-capa-d-day-omaha-beach/ (1)

US troops’ first assault on Omaha Beach during the D-Day landings by Robert Capa, 1944

Capa’s photographs of the US forces’ assault on Omaha Beach on D-Day (June 6th 1944) are an invaluable historic record of the Allied invasion of German-occupied France, which contributed to the liberation of Western Europe from Nazi control a year later.

This event resulted in the loss of 2,400 American lives by the end of the first day. Capa’s legendary documentation of the event saw him join the soldiers as they advanced, experiencing the landing on Omaha Beach alongside them as he photographed the scene.

His art lay in risking where to be and when, in how he built and conducted the relationships that enabled him to be there, and in how he shaped and presented the narrative of events he witnessed.

His power as a communicator depended too on his mythic status as narrator, or more specifically, on being considered the ‘greatest war photographer ever’.

He combined exceptional courage in fully playing the role of the photographer-as-hero with a deep understanding of the value and purpose of doing so.

The following are quotes from Capa’s written account of June 6th 1944 titled Slightly Out of Focus:

"Waist-deep, with rifles ready to shoot, with the invasion obstacles and the smoking beach in the background - this was good enough for the photographer"

“It was still very early and very grey for good pictures, but the grey water and grey sky made the little men, dodging under the surrealistic designs of Hitler’s anti-invasion brain trust, very effective.”

“Above the boots and faces, my picture frames were filled with shrapnel smoke; burnt tanks and sinking barges formed my background.”

A week later Capa learned that his photographs were the best taken of the event. Due to a darkroom error, only 8 of 106 were salvaged, the rest were heat blurred. These were all captioned, “Capa’s hands were badly shaking”.

I think the fact that Capa has titled his memoirs Slightly Out of Focus would imply that he is satisfied with the motion blur that a lot of his pictures have. Although they have this blurred quality, they perfectly capture the chaos and the fear that’s within the atmosphere of the setting. These pictures would not be the same without the blur, they are emotive and thought-provoking.

Robert Frank

Sources: https://medium.com/photos-we-love/robert-frank-elevator-miami-beach-1955-jona-frank-for-photoswelove-8d90a2c38d1d (2)

https://www.theguardian.com/artanddesign/2004/oct/16/photography (3)

Elevator Girl by Robert Frank, 1955

The elevator girl is stood between the two blurred figures, waiting for the man and woman to leave before she begins her next ride and for her to join the others in their purposeful march onward.

However, her posture suggests that before she moves on, she has to go up and down. She is stuck here in the elevator where she can create her own dreams in the hope that one day she can move on.

Jona Frank writes, “ She makes me think about a time when I was so stuck I just watched time drift past not knowing how or when I would join the accomplished and directed. I like to think she is not lost in the photo. Instead she is caught-up in a wide-eyed reverie.”

I think Jona Frank really captures the essence of the Elevator Girl in this quote as it can be seen as a failure to advance when the world around you continues to succeed and move on. It also has a sense of just waiting for the right moment to take hold of an ambition, which Frank desrcibes as her ‘wide-eyed reverie’.

Geoff Dyer also comments on this saying, “An elevator door is about to close, like a shutter that will open again, for a moment, not on another floor but in another building or another city.” This references both the physical elevator in the photo but also the spirit of the road trip that Frank took when he took this picture which is included in his photobook The Americas, published in 1958.

Frank’s intetntion was that, in some respects, he was travelling down the ever-same road as Lange and Evans. But, in doing so, he was not just observing how what is seen from and on the road has changed; he was actively bringing about a change in perception.

Frank had a fondness for what he called "in-between moments" which is shown clearly in Elevator Girl. He has stopped time to feature only his elevator girl and tell a stroy about her alone. The blurred figures have been captured to add narrative, but they are only mere accessories to the true story, which is that of the girl stuck in her mundane life.

The Americas is one of the most influential photobooks in photographic history which changed our conception of what a photograph could be.

Hirsoshi Sugimoto

Sources: https://www.sugimotohiroshi.com/new-page-7 (4)

https://www.youtube.com/watch?v=rY3nGoZqw9U (5)

The Photo Book published by Phaidon, page 446 (6)

Carpenter Center by Hiroshi Sugimoto, 1993

Sugimoto says his work is a combination of concept and vision together. He thinks about what he will do and then imagines the way he will photograph the scenes.

In Theatres, Sugimoto decided to practice his photography by bringing his camera into the movie theatre.

He opened the shutter when the film began and left it open for 2-3 hours, whatever the length of the film is. When the end credits show up, the shutter is closed.

He has photographed entire movie images and then the film is processed. There is no movie image that shows, it’s just a white light left on the screen which highlights interiors of the theater and this reflects the light.

The people that were in the theater have disappeared. He wanted to say that too much information is really just “nothingness”. To show it, you have to have something surrounded by “nothingness” and in this case the movie theater is the case to hold this emptiness.

I see this series as an abstraction of what a film is. All of the components that go into this film are ignored and come across as being just merely incidental.

Sugimoto asks us how we should think of time. Most photography is instant and only deals with the here and now. However, Sugimoto has slowed time and held it forever within his pictures.

I think Sugimoto’s pictures are beautiful. He has shown the theater in a dream-like state which has proved it to be a fleeting experience. It holds only memories and stories and has no grasp on reality which shows the insignificance of a couple of hours within our entire lifetime.

Michael Wesely

Sources: https://wesely.org/2019/potsdamer-platz-berlin-5-4-1997-24-9-1998/ (7)

http://art.daimler.com/en/artwork/michael-wesely-potsdamer-platz-27-3-1997-13-12-1998-2000/ (8)

https://birdinflight.com/inspiration/experience/time-shows-ultra-long-exposure-in-works-of-michael-wesely.html (9)

Potsdamer Platz, Berlin by Michael Wesely, 1997 – 1998

The extremely long exposure times of Michael Wesely’s analogue photographs allow us to visually experience time and transformation. Between 1997 and 2000, he documented construction work at the Potsdamer Platz.

The exposures lasted up to 26 months which allowed Wesely to create temporal documentations of the process of urban development.

In his photographs you can see several individual moments all linked together which gives an overall picture of each stage of the construction process.

The buildings appear transparent which allow you to see both the scaffolding and the solid concrete.

Weather and time can also be traced by the movement of the sun across the sky burnt into the image several times over. This demonstrates the changing landscape both day and night.

His subject here is historically significant and highly symbolic. The site was condemned to wasteland and was cut in two by the Berlin Wall. When the wall fell it was the symbol of German reunification and the beginning of a new era at the end of the Cold War.

Wesely is the only one who achieves the shooting this long and produces quality, not light-struck shots. He keeps the details of his technology secret.

The photographer builds his devices for each project himself. “These are not pinhole cameras and not industrially made cameras. All the parts of the cameras are handmade, except for the wide-angle lenses”, says Wesely.

Using neutral filters and a very small diaphragm makes exposure thousands of times longer than usually. According to Wesely, he can make exposure endlessly long, 40 years if necessary.

To me, Wesely’s work is inspiring because this style of photography is a technique that takes patience. It is a process spanning over years with no certainty of what the outcome may be. However, if the image is successful, you end up with incredible shots that show architectural development and document the process like no other method can.

This image can not be seen by the human eye alone and it captures the changing universe in a new and informative way that will provide a historical reference in years to come.

Maarten Vanvolsem and Gareth Davies

Sources: http://kusseneerscom.webhosting.be/portfolio_page/maarten-vanvolsem/ (10)

https://www.luca-arts.be/en/nieuws/maarten-vanvolsem-experience-time-still-photographic-images (11)

http://www.imageandnarrative.be/inarchive/Timeandphotography/vanvolsem.html (12)

https://www.tickpan.co.uk/ (13)

Silent Move 12 by Maarten Vanvolsem, 2007

A linear camera rides past a parade of shops in Kingsbury, North West London by Gareth Davies

The technique of strip-scan photography itself is based on a partial exposure of the photo sensitive material, which is moving in front of the shutter or visa versa.

The technique is probably first used in 1843 in a panoramic camera, but it has since been used in all sorts of ‘scientific’ fields. A shift can be noted from the non-scientific use to the meta-photographic use of the technique in which photography itself is questioned.

With this meta-photographic use of the technique it becomes clear, that the generally prevailing thought about photography and time, can no longer be applied to this kind of photography.

The temporal component of the images, previously often ignored or reduced to a fraction of a second, now becomes the main subject of the images. Vanvolsem says, “ My work emphasises this notion of time that is inherently part of the strip images.”

This type of image is something which cannot be seen by the human eye without technology. Photos are often captured within a split second so this type of photography is trying to open up the view on photographic images.

What we see in these images is an evolving time with continuous changes along a horizontal line. This causes sharpness and blur and gives us the real importance of the photograph which is not the subject, but the dynamic time.

Silent Move 12 has a series of dance moves which is visible in the change of position. You get a front, side and rear view in one picture. I think this is an impressive style of photography which captures space as well as time and forces you to evaluate the preconception that time in photography has to be instant.

Alternatively, Garteth Davies uses slitscan to create panoramic photographs. He uses self built roatating panoramic cameras.

In comparison to Vanvolsem, his photographs contain far less motion blur and instead give the feel of compression instead. For example, in the image above, the cars and buses appear to be squashed and compacted.

I think I prefer Davies’ work because it captures a much longer chain of events occuring across a whole system of a location and really shows the character of a place. Vanvolsem’s images are far more fluid and I like the idea of a busy panorama without the chaos of motion blur.

Wong Kar-Wai

Source: https://www.youtube.com/watch?v=DZ1fEC67GO4 (14)

Chungking Express by Wong Kar-Wai, 1994

On the opening scene of the film Chungking Express you get the feeling that you are in Hong Kong.

The most notable and recurrent technique used to dramatise moments in this film is step printing. This is where you shoot the scene in lower frame rates, then duplicate or triplicate them and project it at a normal 24 frames per second.

Kar Wai says, “it delivers something textured, it feels like it’s very speedy but actually it’s very slow.”

The point of this effect is to make it seem as if everything is speeding up while also slowing down. Two things are communicated visually from this.

One is that the subject seems detatched from the world around him and secondly when the subject is in slow motion it emphasizes the importance of that moment in particular.

Kar-Wai often requires his actors to perform as if they are in slow motion in order to drastically achieve this effect.

For Kar-Wai, time is always percieved differently, either objectively or subjectively. The speed of the frames and the manipulation of time are what allows us to appreciate and depreciate every moment. Time seems to elongate and isolate the characters in their own world.

A reader for A Void In Frame describes the film like this, “It speaks to the lonliness and the desperate need for company, an escapism of boredom, but at the same time it is a warning to distractions, the call for attention to things that truly matter in our lives.”

I agree with this statement as I see the motion blur in this film as the chaos of a busy life surrounding someone who already has their own business to contend with. You see the people passing by so quickly yet the character is there alone, progressing slowly.

Francesca Woodman

Sources: https://www.tate.org.uk/art/artworks/woodman-space-providence-rhode-island-ar00350 (15)

http://www.gerrybadger.com/francesca-woodman/ (16)

Space², Providence, Rhode Island by Francesca Woodman, 1976

This black and white, square format photograph is a self portrait of the artist. She is dressed in dark clothing and occupies an empty room with white walls. Light enters the room from the window shown on the right of the image.

Woodman appears to lunge forward in this photograph. She is oriented away from the camera and although her feet are in focus, the rest of her body from the ankles up is blurred and this obscures her face.

This photograph was taken in Woodman’s studio and she was experimenting with exposure time by setting her camera on a slow shutter speed and manipulating the light in order to capture the movement of her body, which blurred her hands and face.

This photograph is part of a series where all the images feature the artist’s body in a similar interior space. For this particular image she blurred and distorted her body, while in others she encased herself in glass display cabinets.

The title of the series, Space², indicates a concern not only with the dimensions of space but with the way in which space is flattened by photography.

Gerry Badger analyses her photographs. “Coupled with a dissolution of corporeal solidity, we have a voice which speaks longingly of fleeing from the earthbound confines of the flesh, bridging the gap between material physicality and immaterial spirituality, and giving poignant articulation to her own sense of mortality.”

In other words he believes that her photographs speak of breaking free of a space, specifically the body, in order to truly understand its workings both spiritually and with the perception of life and death.

It is also thought that there may be a feminist message behind her images too, and that Woodman believed the odds were stacked against her sex and no matter how she tried to escape the restrictions placed on her gender, she could only be truly free by art.

Badger sees the work of Woodman as combining ‘personalised psychodramas with the temporal and spatial displacements of long exposures and blurred movement.’ She commited suicide at age 22 and Badger believes her emotional state can be seen visually through the time and space she portrays in her work.

I think that Badger’s analysis of Woodman’s work may be correct. The fact that the room she is in is so bare speaks to me about an emptiness in this woman’s life and her blurred movement shows she wants to escape from it. I can also see the thought behind the feminist interpretation in that she is entirely blurred and obscured besides the high heeled shoes.

My work

Contact sheets

Final shots

For this exercise I decided I would photograph the same subject as my previous work so that I could compare the effects afterwards.

I photographed my sitter yawning again, but this time I used a slow shutter speed to capture the yawn in motion.

For these photos my camera was set to ISO-100, with an F-stop of f/36 and a shutter speed of 1 second.

I set my camera up on a tripod and as the subject opened his mouth I took photos until he had finished yawning. The pictures capture the yawn at various stages of the process.

On my contact sheet you can see that some photos have a closed mouth and some photos have an open mouth, but all of them show a transition from one stage into another. My contact sheets show some of my thoughts and the photos I selected and rejected.

By having a slow shutter speed I was able to capture not just a freeze frame of a moment, but a continuation of this and a development of a movement.

I altered the brightness slightly of my photos to correct the exposure and make them all the same in Photoshop.

If I compare the effects of a fast and a slow shutter speed, I can see that they both have different qualities. The photos using the faster shutter speed work nicely together as a set, because it makes an interesting collage of portraits but the photographs with a slow shutter speed work better individually, because they capture the whole sequence in one.

Hand written notes and print-outs:

Bibliography

D-Day and the Omaha Beach Landings. (n.d.). Retrieved from Magnum Photos: https://www.magnumphotos.com/newsroom/conflict/robert-capa-d-day-omaha-beach/

Frank, J. (2016, May 17). Robert Frank’s “Elevator — Miami Beach, 1955” — Jona Frank for #PhotosWeLove. Retrieved from Medium: https://medium.com/photos-we-love/robert-frank-elevator-miami-beach-1955-jona-frank-for-photoswelove-8d90a2c38d1d

Dyer, G. (2004, October 16). The road to nowhere. Retrieved from The Guardian: https://www.theguardian.com/artanddesign/2004/oct/16/photography

Sugimoto, H. (n.d.). Theaters. Retrieved from Hiroshi Sugimoto: https://www.sugimotohiroshi.com/new-page-7

Bryan, L. (2009, November 10). Contacts: Hiroshi Sugimoto 2. Retrieved from YouTube: https://www.youtube.com/watch?v=rY3nGoZqw9U

Jeffery, I. (2000). The Photography Book. Phaidon Press.

Potsdamer Platz, Berlin (5.4.1997 – 24.9.1998). (n.d.). Retrieved from Michael Wesely: https://wesely.org/2019/potsdamer-platz-berlin-5-4-1997-24-9-1998/

Michael Wesely. (2010). Retrieved from Daimer Art Collection: http://art.daimler.com/en/artwork/michael-wesely-potsdamer-platz-27-3-1997-13-12-1998-2000/

Gramovich, M. (2015, May 26). Time Shows: Ultra-long Exposure in Works of Michael Wesely . Retrieved from Bird In Flight: https://birdinflight.com/inspiration/experience/time-shows-ultra-long-exposure-in-works-of-michael-wesely.html

Maarten Vanvolsem. (n.d.). Retrieved from Kusseneers Gallery: http://kusseneerscom.webhosting.be/portfolio_page/maarten-vanvolsem/

Vanvolsem, M. (2015, March 26). Maarten Vanvolsem: The Experience of Time in Still Photographic Images. Retrieved from LUCA School of Arts: https://www.luca-arts.be/en/nieuws/maarten-vanvolsem-experience-time-still-photographic-images

Vanvolsem, M. (2008, November). Motion! On how to deal with the paradox in dance photography. Retrieved from Image and Narrative: http://www.imageandnarrative.be/inarchive/Timeandphotography/vanvolsem.html

Davies, G. (2019, May 14). Panoramic Photography by Gareth Davies. Retrieved from Tickpan: https://www.tickpan.co.uk/

A Void in Frame. (2017, March 15). Wong Kar Wai's Chungking Express - Speed and Time. Retrieved from YouTube: https://www.youtube.com/watch?v=DZ1fEC67GO4

Ateer, S. M. (2013, November). Francessca Woodman Space², Providence, Rhode Island 1976. Retrieved from Tate: https://www.tate.org.uk/art/artworks/woodman-space-providence-rhode-island-ar00350

Badger, G. (2012, September). Francesca Woodman. Retrieved from Gerry Badger: http://www.gerrybadger.com/francesca-woodman/

[tonyshelleydiarist-blog]

Three more pinhole images shot for World Pinhole Day 2019, made with a converted Lomography Sprocket Camera. Such fun. (at Leicester, United Kingdom) https://www.instagram.com/p/Bw1gTZkBPM3/?igshid=1r76v8tu8luim

[josephlrushing]

The LG G8X ThinQ Dual Screen Is Something Special

The iPhone ushered in the era of slab phones and quickly became the design-standard for the industry. Companies looking for “the next big thing” are exploring dual-screen phones. Some look more intriguing than others, but all are pricey as hell. With the LG G8X ThinQ Dual Screen, LG has taken a unique approach and kept the phone affordable.

Do more at once with LG G8X ThinQ Dual Screen, and multitask like never before.

That’s how LG describes the G8X ThinQ Dual Screen. As you will see, it is an apt way to capture what this unusual device is all about. To be clear, this isn’t the first time we have been wowed by LG’s approach to dual-screen devices. In February of 2019, Judie wrote about the LG V50 ThinQ and its dual-screen case. And last month, she posted on the LG V60 ThinQ Dual Screen. As both of those posts make clear, LG has settled upon their approach to dual-screen phones and is busy refining it. We have the LG G8X ThinQ Dual Screen in hand and are excited to share some of our thoughts with all of you.

A great deal has been written about the LG G8X ThinQ Dual Screen while I’ve been putting it through its paces. Rather than repeat what is available all over the internet, I thought I would share some of the things that have impressed me during the last few weeks using the phone, as well as some things that have not. Before we dig into that, however, let’s take a quick look at the phone itself.

  For those of you who are not familiar with the LG G8X ThinQ Dual Screen, that last statement might seem a bit odd. After all, how do we look at the phone without… looking at the phone. The answer is one of the key things that differentiate the LG G8X ThinQ Dual Screen from other dual-screen devices on the market. Most dual-screen have a single foldable screen that either fold in on itself, thereby hiding the screen or fold out and, when closed, have a screen on both the front and back. The LG G8X ThinQ Dual Screen takes a different approach. It is a traditional slab phone that can be used as you would any other large phone. It, however, comes with an innovative case that adds a second, separate screen. Ideally, this design gives users the best of both worlds. But does it? That’s the question I’ve been asking myself since the phone first arrived.

So let’s look at the phone itself. The LG G8X ThinQ has a 6.4” FHD+ OLED screen with an aspect ratio of 19.5:9. Inside the phone, there is 128 GB of storage with slightly more than 102GB available. The phone can accept up to 2TB of additional storage via a microSD card. That’s likely more storage than you will ever need on your phone, but it is nice to know it is possible.

Striking Sleek Design: This device is crafted with smooth, contoured glass for a modern aesthetic. Plus, rounded corners and a sophisticated pattern add an extra touch of elegance.

The front of the phone is entirely glass with a small pinhole camera at the center of the top. If you hate pinhole cutouts, you can change a setting and turn it into a black bar across the top. I honestly can’t understand why anyone would do that, but the option is there for those who are troubled by the pinhole camera cutout.

On the left side, there are volume up and down buttons and a dedicated button for activating Google Assistant. I love the Pixel’s innovative approach that allows you to bring up the Assistant by simply squeezing the phone, but this dedicated button gets the job done too. Toward the top of the left side, there is a small hole for the microphone. It is difficult to see, but it is there.

The sleep/wake/power button sits on the right side of the phone. Access to the SIM and microSD expansion slot is at the top.

On the bottom, you will find the speaker, the USB-C charging port, another microphone, and … a 3.5mm headphone jack. Yup, LG has decided to stick with the traditional headphone jack for now. Unfortunately, they didn’t see fit to include headphones in the box, but if you have a pair of wired headphones hanging around, you will be happy to know they can still be used. Of course, the phone can also be charged wirelessly if you have a Qi-enabled charger handy.

On the back, you will find both cameras and the flash. Notably, the cameras sit flush with the phone. And while that indicates that this promises to be a good smartphone camera but not a “great” one, I do love the fact that there is no camera bulge that looks like it was thrown on as an afterthought, gets scratched, and rocks when you put the phone on a desk.

The sides of the back have a gentle curve toward the from that feels fantastic in the hand and gives an otherwise uninspired design a bit of style.

In all, this is a good-looking but not inspired design.

Fast Performance, Bigger Battery: A Qualcomm Snapdragon 855 Octa-core Processor delivers fast, powerful, experiences—all while providing what matters most: insane battery life, powered by our long-lasting 4,000 mAh battery.

The phone is rather zippy. It has a Qualcomm Snapdragon 855 Octa-core processor and a 4,000mAh battery. That means it is not only fast but that it will last an entire day and then some. (Obviously, your mileage will vary depending upon how you use the device.) When you need to charge the phone, you can either connect a cable, is offers Qualcomm Fast charging QC 4.0, and it has wireless charging too.

A Quick Way to Pay: Leave your plastic cards at home and pay quickly with your phone virtually everywhere at both NFC and magstripe payment terminals. LG Pay is a digital wallet that lets you put your credit/ debit, gift, and loyalty cards in one simple-to-use app.

As you would expect, the phone packs Wi-Fi 802.11 a/b/g/n/ac, Bluetooth 5.0, and NFC connectivity. The NFC is ideal for using LG Pay instead of reaching for your wallet.

Superb Pixel-Level Detail + 4x Zoom Power: An immense 32 MP front camera gives you superb detail, 4x zoom capability, and the ability to crop photos with the high-resolution quality you expect—and deserve. This is more megapixels than you’ll find in any LG selfie camera!

The rear cameras are a 12 MP Standard with a 78° FOV and a 13 MP Wide-Angle offering 136° FOV. That’s pretty substantial for any phone, let alone one that is priced as a mid-tier device.

The front camera surprised me when I realized it is an impressive 32MP shooter with a 78° FOV. In all, this isn’t the best camera available on a phone in 2020, but it certainly is no slouch. Moreover, if this were just a year or two ago, the hardware being into this phone would be considered bleeding edge. High-end phone cameras have made it to places unheard of until recently, which pushes this phone back into “really good but not the best” territory, but this system will be more than enough for the vast majority of people.

Camera features include:

Capture Every Whisper: It’s your turn to shine. Capture videos with refined sound and detail that tickle your senses and send tingles down your spine.

The Ultra-Widest Lens, Mic Drop!: With a whopping 136? field of view, truly get it all with the widest camera lens out there. Fully capture epic vistas, sweeping landscapes, beautiful architecture, and huge group shots that take your breath away.

Portrait Keep the Focus on You: Add a professional touch by zeroing in on yourself and softening backdrops for an artistic bokeh-blur effect that allows you to stand out.

Action Shot Clear, Action-Packed Shots: Capture crisp, sharp, and clear photos of fast-moving subjects. This feature automatically adjusts the shutter speed to minimize photo blur and keeps subjects in focus.

AI CAM Smart Photo Enhancement: This clever camera recognizes up to 19 subjects and recommends optimized filter options to enhance the exposure, saturation, and more.

Time Lapse Memories at the Speed of Life: Vivid and intricate time-lapse videos help you turn anything from a flower blooming to an inspiring sunrise into a timeless, storytelling film.

Google Lens Search What You See: Get stuff done faster, and interact with the world around you using your camera and AI integration. Copy and paste text, add events to your calendar, find products online, and see similar styles, identify popular plants and animals, learn about landmarks, and more.

Superior Sound Experience: This is what balance sounds like, with 2.4W audio distributed evenly for optimal stereo sound. And with your headphones on, DTS:X 3D Surround Sound lets you get lost in your movies, music, and games with audio that seems to come from all directions.

Finally, LQ wasn’t content to let mobile audio be the compromise it so often is. Instead, they built a 32Bit Hi-Fi Quad DAC and DTS: X Virtual Surround into it. The audio experience from the phone is superb.

So while the LG G8X ThinQ isn’t a top tier device, it is an impressive phone even by today’s standards and an amazing phone if you compare it to devices from just a few years ago. And while many phones, my iPhone 11 included, cost $1000 or more, this device is under $700 unlocked. (It is even less with carrier activation.) That alone makes it a decent choice if you are in the market for a new, large Android phone.

Specifications:

DISPLAY: 6.4”1 FHD + OLED 19.5:9

MEMORY: Internal Memory: 128 GB ROM (up to 102.8 GB usable), Expandable up to 2 TB with Micro SD Card

AUDIO: 32Bit Hi-Fi Quad DAC and DTS: X Virtual Surround

CHARGING: Fast Charging QC 4.0 + Wireless Charging

CHIPSET: Qualcomm Snapdragon 855 Octa-core

CAMERA: Rear: 12 MP Standard, 78° FOV and 13 MP Wide-Angle, 136° FOV Front: 32 MP with Pixel Binning, 78° FOV

CONNECTIVITY: Wi-Fi 802.11 a/b/g/n/ac, Bluetooth Version 5.0, NFC

BATTERY: 4,000 mAh3

BIOMETRICS: In-display Fingerprint Sensor

So that’s a quick look at the LG G8X ThinQ phone. It’s not exciting but, in a world where premium phones are now more than $1000, this is an excellent phone at a mintier-phone price. That alone makes it a winner in my eyes.

BUT… that is only part of the story here.

The LG G8X ThinQ Dual Screen

As Judie shared in her posts about the LG V50 and LG V60, this company is taking an unusual approach to dual-screen phones. Rather than develop a flexible screen that folds in on itself, LG decided to stick with the proven technology of large screens that don’t fold. Instead of taking a single screen and finding ways for it to fold, LG simply added a second 6.4” OLED FHD Display into the inside of a protective cover. When closed, you get the same slab phone as we described above, only double the thickness. When opened, however, the user is greeted by the 6.4” screen of the phone AND a 6.4” screen to its left. That provides double the screen-estate without the potential failures we’ve seen time and time again with folding screens. As we will see, it isn’t perfect, but it is a unique approach that solves many of the issues seen in devices with folding screens.

Interestingly, the second screen is the same display panel as the one on the phone. It even has the selfie-camera pinhole even though it lacks a camera. Moreover, the second screen is powered by the phone itself, so there is no need to charge the case separately.

Flexible Point of View: With a 360 freestop hinge, flip the screen around or lock it in place at any angle. Open it like a laptop, use it in stand or tent mode, or do a full 360° flip for a versatile viewing experience.

The Hinge:

To make this screen case work properly, LG had to design a hinge that provided maximum flexibility. The hinge on this device is loose enough to open with ease but tight enough that it will hold any position into which it is placed. That will become important when we look at some of the ways this approach can be used.

The hinge has been redesigned and now can flip all the way around to sit flush with the back of the phone. That means you can have the phone in the case but still use it as a slab phone. Yes, the case and screen make it thick, but the design means you don’t have to remove the phone every time you want to use it “normally.”

The front of the screen case is a mirrored plastic that is a fingerprint magnet. The “LG Dual Screen” logo is embossed toward the bottom but, other than that, it would seem there is nothing of interest and no functionality to this glossy surface. In this case, however, looks can be deceiving.

When the phone is one, this cover doubles as a notification display that lets you see the time, remaining battery life, and a variety of notifications. It is a great way to get a general sense of what is going on without needing to open the case and fire up the phone. (If you look closely, you can see a small slit at the top of this surface. That allows the sound from the phone’s speaker to pass through when the case is closed.)

The right side of the phone remains largely exposed, so you still have access to the power button.

  The buttons on the left side are covered by a second “layer” of buttons. These work surprisingly well and, if you didn’t know better, their responsiveness would leave you thinking they were the actual buttons.

At the bottom, there is a cutout so you can access the 3.5mm headphone jack. The cutout should be large enough for most headphones, but thick plugs probably won’t work unless you have an adapter that can fit without the cutout. A second cutout leaves the phone’s speaker exposed.

Between these two cutouts is a charging area that is ready for the included Fast Charge adapter dongle.

On the plus side, this design is the magnetic connection made between the dongle and the case. When the two are brought into proximity with one another, they connect and stay connected until you pull them apart. (The other side of the dongle has a USB-C port into which a USB-C charging cable goes.) But while this approach works … I hate it. I hate that, while the magnets are strong, they can release their grip if the dongle is angled away from the phone. Worse than that, if you don’t have the dongle with you or, worse yet, lose it, you are out of luck. Fortunately, LG sells replacement dongles for the reasonable price of just $7.99. [Were this Apple, you know the same dongle would be $35.] You can still charge the phone directly via USB-C, but you will need to pull it from the case to do that. I hate this design, and I wish LG would find a way to ditch the dongle and use USB-C for charging whether the phone is in the case or not.

Instantly See Notifications: See essentials at a glance. The cover display allows you to view the time and notifications, like when messages are received, while the dual-screen is closed.

At the back of the case, there is a large cutout. It leaves the dual camera lenses and flash exposed and provides space for the G8X ThinQ logo. I don’t understand why they made this cutout as large as they did since it deserves no purpose. It is an interesting design choice but not one I would have made.

There are several ways you can use the dual screens. All of them hinge off of the “360 freest hinge.” As LG puts it, “With a 360 freestop hinge, flip the screen around or lock it in place at any angle. Open it like a laptop, use it in stand or tent mode, or do a full 360° flip for a versatile viewing experience.”

The big question is, of course, why would you want two large screens?

Dual Screen Multitasking Mode

The first way to use the dual-screen setup is to simply think about the screens as individual screens that “speak” to one another.

Tapping the small icon that sits on the side of the phone’s screen yields a “Turn on Dual screen icon.” Tapping it fires up the second screen that sits inside the case.

If you tap the same small icon now, you will be presented with several choices that include Swap Screens, Show Main on Dual Screen, Put Main Screen to Sleep, and Turn off Dual Screen.

You can also adjust the settings of the dual-screen mode by digging a bit deeper with a few taps.

You can now use the dual screens in the simplest way possible. If you open a browser on the phone’s screen, tap the small dual-screen icon and select “Swap Screens” the browser window will move over to the second screen.

This can also be done using three fingers swiped simultaneously on the screen. Now you can select a second browser window or any other app and fire it up on the phone’s screen.

That yields two independent screens that each have their specific app or browser window open. That may not sound like much, but being able to have two 6.4” displays that work independently is far more convenient than you might expect.

Surf the Web in Style: Make the most of your web browsers. Look at the webpage on one screen, and see more details on the other while reading articles, shopping, and more.

But it gets better. In the settings, you can lock which app appears on the secondary dual screen when the phone is fired up in dual screen mode. In my case, I have it set to pull up a browser window with my Gmail. Now, whenever I open up the case, my email is immediately present on the secondary screen, and I can use the phone’s display however I want.

And it gets even better. If I bring up something like the browser app and then activate the dual-screen control and select “Wide View,” the single webpage on the phone’s display is spread over both of the screens. It’s a cool trick, but the gap between the two screens that are created by the hinge doesn’t make this very practical. It does work a bit better if you switch the orientation to landscape, but it isn’t ideal.

Gamepad Mode

Control and Compete: Play for the win by using the second screen as a customizable controller, freeing up your main screen for all the action. Choose from multiple virtual controllers or design your own to match your game play needs and style.

Wanting to leverage the potential of their dual-screen approach LG, the company baked a special gamepad functionality into the LG G8X ThinQ Dual Screen. The phone ships with some built-in gamepads, but you can also create your custom gamepad if not of the stock offerings meet your needs.

The GamePad functionality doesn’t work with every game, but for those it does, you get to enjoy the entire phone display for the game graphics and can use the dual-display to control the action. I’m not much of a gamer, but I can see this functionality being a key selling point for people who use their phones in this way.

Mini Laptop Mode

On-The-Go Mini Laptop: Convert your smartphone into a mini laptop while on-the-go with the LG Smart Keyboard. Use the entire bottom display as a full-screen virtual keyboard to write emails, edit presentations, text, or search the web in full-screen on the top display.

If you pull up your email in either the email app or the browser and turn the dive into landscape position… nothing happens.

BUT, when you tap into a content field and bring up the soft keyboard, you are on the way to something unique. At the top of the soft keyboard, there is an icon that indicates two screens. Tapping, it results in the soft keyboard overlay disappearing and the entire dual-screen display turning into a keyboard.

Now you get the benefit of your entire phone’s screen being the content email screen and the entire dual display screen serving as your keyboard. Best of all, this laptop mode also works with apps like Outlook, so you aren’t locked into the stock Google apps or the browser.

Make the Most of Images Mode:

Add A Personal Touch To Images: Use the second screen to instantly view your pictures without having to exit the camera app. Try out different filters and edit on the main screen while previewing your full-size image on the dual-screen.

If you have ever taken a picture with your phone and then had to jump out of the camera app to check whether or not you captured the image you wanted, you are going to love this.

You can use the phone’s display as your image finder when shooting pictures and set it so that each new image you take immediately appears on the dual display. This lets you check each shot before taking the next. It also lets you test out various filters before going to the next shot. It is a nice convenience, but I’m not convinced it justifies the added weight and bulk of the dual-screen approach.

Dual Mirror Mode: With Mirror Mode, use the second screen to shoot from creative angles, such as over your head during a concert. Or, use the second screen as a live viewfinder to preview your selfies as you take them.

If you fire up the camera app, you will see a dual-screen icon at the upper left of the screen. Tapping it mirrors the phone’s display to the dual-screen dimply, so both displays function as the camera’s viewfinder. This allows you to use the dual-display as the camera viewfinder and get shots at angles that would otherwise be possible.

Fun, but It Still Falls Short

This dual-screen functionality is fun, and there are some neat tricks it can perform, but the design has its limitations. For example, I can watch a Netflix video on either display, but I can’t extend it to appear on both, thereby doubling the image. At the same time, since there is a thick black space between the screens, watching a video that is split in half wouldn’t be all too enjoyable. I’m sure I will find more examples of this limitation as I do more with it.

All of this is rather cool, but I’m still not quite sure if it is worth the added bulk and weight of the dual-screen case. So while I am still fascinated by LG’s approach to larger and dual screens, the thick border between the screens that are created by the hinge makes it a bit of a puzzle to me. It doesn’t double the phone’s 6.4” screen, but it does offer some unique ways to use your phone and your phone’s camera. In a world where phones feel iterative one model to the next, that’s not a terrible thing. It also doesn’t make me want to run out and get such a device. Still, at under $700 unlocked, there is a compelling argument one can make for purchasing this phone on its own. Then, if you think about the dual-screen case as a free add-on, it suddenly makes sense why someone might purchase this phone. It is a solid, large-screen performer that has a microSD expansion slot, retains the 3.5mm headphone jack, and gets good battery life. $700 for that is completely reasonable in today’s market, and the add-on accessory just makes it even more compelling. It is a phone worth checking out. Learn more here.

Source: Manufacturer supplied review sample of the LG G8X ThinQ Dual Screen

What I Like: Phone has a large screen and tons of power at a reasonable price; Expansion slot for microSD card; Good battery life; USB-C and Qi wireless charging available; Dual-screen case included; Hinge is solid and holds any angle or folds completely back to sit flat against the phone; Front notification display so phone doesn’t need to be opened as often

What Needs Improvement: Case requires a dongle for wired charging; Dual-screen is fun but not entirely practical, the curiosity will likely diminish over time; Dual-screen works with some but not all apps; With the case, the phone is big, bulky and heavy

  from Joseph Rushing https://geardiary.com/2020/03/09/the-lg-g8x-thinq-dual-screen-review/

[letsgoforacoffee]

Hikvision: Review of the CCTV Cameras and IP Cameras from Hikvision

For the complete range of Hikvision’s product and solutions, contact the Hikvision Official Reseller in Singapore today!

Hikvision is one of the most important companies in the field of video surveillance around the world, with a presence in more than 155 countries and regions. In fact, it is considered as the number one company in CCTV and video surveillance equipment production worldwide.

Hikvision designs and manufactures high-quality CCTV related products, based on a strong program of research and development. With a wide range of devices, from IP cameras, Turbo HD (HD-TVI) CCTV cameras to the required software and alarm systems, Hikvision is a reference when it comes to video surveillance devices.

Innovation is the main characteristic of Hikvision’s products, offering state-of-the-art technology suitable for many environments such as retail shops, warehouses, buildings, offices, restaurants as well as residential and industrial applications.

Hikvision: Turbo HD (HD-TVI) CCTV Cameras

Hikvision’s analog CCTV cameras, for instance, is among the most affordable options but with very remarkable results. Turbo HD technology makes it easy for you to migrate from analog security systems to a digital installation, bringing the possibility of obtaining full HD footage with analog cameras.

Hikvision-Turbo-HD-TVI

Turbo HD technology offers video transmission via a coaxial cable and it’s compatible with the existing analog cameras. These products are based on the HDTVI (High Definition Transport Video Interface) standard which turns out to be the most adequate for migrating from analog systems already installed, delivering resolutions up to 8MP(4K) (As of Oct 2019). The variety of Hikvision Turbo HD cameras come with various shapes like dome, turret, and bullet models. Outdoor, indoor, low-light and motorized cameras are available.

Regarding video storage, Turbo HD systems can be installed along with Turbo HD DVR (Digital Video Recorders) which offer simultaneous connectivity to both network and analog camera types thanks to their capability of automatic signal detection and recording it using the existing cable installations.

There are also other types of analog cameras offered by Hikvision like DIS&PICADIS, CCD and HD-SDI cameras.

DIS&PICADIS analog cameras deliver a high-quality video image with outdoor and indoor models available. This segment offers dome-shaped and bullet type cameras. The latter model comes in two forms: fixed lens and varifocal.

Varifocal cameras have a lens that allows the covering angle adjustment and the focal depth.

CCD cameras come in various types. CCD stands for Charge Coupled Device and it means these cameras are more sensitive to light, capturing a wider range of image tones. Several models are offered by Hikvision under this technology: dome (for indoor and outdoor), box cameras, pinhole, fixed lens , and varifocal cameras.

HD-SDI cameras are the High Definition alternative among analog surveillance equipment. They are capable of delivering resolutions of 720p and 1080p. Some models are built as vandal-proof, offering color or black/white footage, and also come in several shapes (dome, box, bullet) as well as tow lens options (fixed and varifocal).

Hikvision: Smart IP Cameras

Hikvision’s IP Cameras offered by Hikvision are superior in terms of resolution and the range of features that can be achieved with it. This technology, being based on a network installation supported by the internet, allows even more functionalities than analog cameras such as:

Hikvision Smart IP Cameras

Artificial Intelligence IP Cameras and NVRs which come with facial recognition, people counting functions, etc

Smart features such as those included in the Smart IP Solution 2.0, an innovative set of features that include the following: Target Cropping Stream, Object Counting, Region enter/exit, Object Left Behind / Object Removed, license plate recognition features (ANPR), Smart Playback, Smart Backup, People Counting Mode, etc., all of them designed to make the most out of video surveillance.

A wide range of camera resolutions, day/light vision devices, motion sensors, audio recording.

Greater storage capacity thanks to the NVR (Network Video Recorder) technology, allowing compressed high definition video to be stored in a Hard Disk Driver, and even audio from IP cameras. Compared to DVR systems, this option is highly superior regarding resolution and image quality, since data is sent and received through a local network.

Thanks to their enhanced functionalities, IP based CCTV cameras have a better performance in a greater number of applications and environments, especially those with hard conditions such as night surveillance, manufacture plants or any other environment with high traffic, places where control over workers and merchandise is highly required, etc.

Hikvision has a very complete product catalog for each particular case, from home applications to industry safety needs. Cutting edge technology is a characteristic that comes with the Hikvision brand, from beginning to end, and bringing a lot of options that can be adapted to every budget but always keeping high-quality results in all cases.

Contributed by: CCTV Camera Singapore, IP Camera Singapore, Safe Box Singapore

The post Hikvision: Review of the CCTV Cameras and IP Cameras from Hikvision appeared first on CCTV Camera, IP Camera, CCTV Singapore.

Source: https://cctvcamera.com.sg/review-cctv-ip-cameras-hikvision/

[justlistedrealestate]

Hikvision: Review of the CCTV Cameras and IP Cameras from Hikvision

For the complete range of Hikvision’s product and solutions, contact the Hikvision Official Reseller in Singapore today!

Hikvision is one of the most important companies in the field of video surveillance around the world, with a presence in more than 155 countries and regions. In fact, it is considered as the number one company in CCTV and video surveillance equipment production worldwide.

Hikvision designs and manufactures high-quality CCTV related products, based on a strong program of research and development. With a wide range of devices, from IP cameras, Turbo HD (HD-TVI) CCTV cameras to the required software and alarm systems, Hikvision is a reference when it comes to video surveillance devices.

Innovation is the main characteristic of Hikvision’s products, offering state-of-the-art technology suitable for many environments such as retail shops, warehouses, buildings, offices, restaurants as well as residential and industrial applications.

Hikvision: Turbo HD (HD-TVI) CCTV Cameras

Hikvision’s analog CCTV cameras, for instance, is among the most affordable options but with very remarkable results. Turbo HD technology makes it easy for you to migrate from analog security systems to a digital installation, bringing the possibility of obtaining full HD footage with analog cameras.

Hikvision-Turbo-HD-TVI

Turbo HD technology offers video transmission via a coaxial cable and it’s compatible with the existing analog cameras. These products are based on the HDTVI (High Definition Transport Video Interface) standard which turns out to be the most adequate for migrating from analog systems already installed, delivering resolutions up to 8MP(4K) (As of Oct 2019). The variety of Hikvision Turbo HD cameras come with various shapes like dome, turret, and bullet models. Outdoor, indoor, low-light and motorized cameras are available.

Regarding video storage, Turbo HD systems can be installed along with Turbo HD DVR (Digital Video Recorders) which offer simultaneous connectivity to both network and analog camera types thanks to their capability of automatic signal detection and recording it using the existing cable installations.

There are also other types of analog cameras offered by Hikvision like DIS&PICADIS, CCD and HD-SDI cameras.

DIS&PICADIS analog cameras deliver a high-quality video image with outdoor and indoor models available. This segment offers dome-shaped and bullet type cameras. The latter model comes in two forms: fixed lens and varifocal.

Varifocal cameras have a lens that allows the covering angle adjustment and the focal depth.

CCD cameras come in various types. CCD stands for Charge Coupled Device and it means these cameras are more sensitive to light, capturing a wider range of image tones. Several models are offered by Hikvision under this technology: dome (for indoor and outdoor), box cameras, pinhole, fixed lens , and varifocal cameras.

HD-SDI cameras are the High Definition alternative among analog surveillance equipment. They are capable of delivering resolutions of 720p and 1080p. Some models are built as vandal-proof, offering color or black/white footage, and also come in several shapes (dome, box, bullet) as well as tow lens options (fixed and varifocal).

Hikvision: Smart IP Cameras

Hikvision’s IP Cameras offered by Hikvision are superior in terms of resolution and the range of features that can be achieved with it. This technology, being based on a network installation supported by the internet, allows even more functionalities than analog cameras such as:

Hikvision Smart IP Cameras

Artificial Intelligence IP Cameras and NVRs which come with facial recognition, people counting functions, etc

Smart features such as those included in the Smart IP Solution 2.0, an innovative set of features that include the following: Target Cropping Stream, Object Counting, Region enter/exit, Object Left Behind / Object Removed, license plate recognition features (ANPR), Smart Playback, Smart Backup, People Counting Mode, etc., all of them designed to make the most out of video surveillance.

A wide range of camera resolutions, day/light vision devices, motion sensors, audio recording.

Greater storage capacity thanks to the NVR (Network Video Recorder) technology, allowing compressed high definition video to be stored in a Hard Disk Driver, and even audio from IP cameras. Compared to DVR systems, this option is highly superior regarding resolution and image quality, since data is sent and received through a local network.

Thanks to their enhanced functionalities, IP based CCTV cameras have a better performance in a greater number of applications and environments, especially those with hard conditions such as night surveillance, manufacture plants or any other environment with high traffic, places where control over workers and merchandise is highly required, etc.

Hikvision has a very complete product catalog for each particular case, from home applications to industry safety needs. Cutting edge technology is a characteristic that comes with the Hikvision brand, from beginning to end, and bringing a lot of options that can be adapted to every budget but always keeping high-quality results in all cases.

Contributed by: CCTV Camera Singapore, IP Camera Singapore, Safe Box Singapore

The post Hikvision: Review of the CCTV Cameras and IP Cameras from Hikvision appeared first on CCTV Camera, IP Camera, CCTV Singapore.

Source: https://cctvcamera.com.sg/review-cctv-ip-cameras-hikvision/