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West Rand Photographic Club
A friendly, fun, supportive club on the West Rand May 2019 West Rand Photographic Club Photo of the Month Best Senior Image Best 5 Star Image Pale Billed Aracari 2018/2019 Craig Morgan — 5 star Volume 8 Best Junior Image Best 3 Star Image Vertigo Roland Tutty 3 Star Our Judges were: Karen Kolozsvari—Southern Suburbs Camera Club Martin Barber—PSSA & Southern Suburbs Camera Club We thank them for their time and valuable input. Inside this issue: Page Page Page Committee & Club info 2 Set Subjects 5 Aviation Photography 8 Letter from the Chairman 2 Aviation Photography— Leo Theron Aviation Photography 9 6 Do’s and Don’t of Panning 3 Winning Images 10-11 Upcoming salons 6 Events, Outings, Photo Ops 4 Birthdays 12 Pssa National Congress 7 Club hosted up-coming events 4 Giggle 12 Page 2 Committee Members and other things to know: Chairman: Dave Brimson, [email protected], 081 728 0667 Vice Chairman: Mark Kupczyk, [email protected], 083 2692339 Club Secretary: Deanne Daniel, [email protected], 084 250 1392 WRPC West Rand Photographic Club Treasurer: Lesley Kearns Eastwick, [email protected], 076 184 3383 is affiliate to PSSA Website: Craig Morgan, [email protected], Canada 1437 990 0076 Emma: Dave Brimson, [email protected], 081 582 6663 New Members: Magda Pieterse, [email protected], 082 372 3748 Newsletter: Judy Hardy, [email protected], 084 798 1004 2018/2019 — Catering Magda Pieterse, [email protected], 082 372 3748 Outings and events: All of us! Volume 8 WRPC Details and info: Facebook: www.facebook.com/WestRandPhotographicClub/ “Which of my West Rand Photography Club : http://www.wrpc.co.za/ photographs is my favorite? Formal and Informal meetings are hosted at: The one I’m Florida Lake Canoe Club, Eisteddfod Street, off Albertina Sisulu Road, Florida going to take tomorrow.” This area is closed to the general public, if you wish to visit check date and time of event and then — Imogen just wait at the gate for a member to give you access or call any of the above committee members. -
PHOTOGRAMMETRY for FOREST INVENTORY Planning Guidelines
PNC326-1314 Deployment and integration of cost-effective, high spatial resolution, remotely sensed data for the Australian forestry industry PHOTOGRAMMETRY FOR FOREST INVENTORY Planning Guidelines Osborn J.1, Dell M.1, Stone C.2, Iqbal I.1, Lacey M.1, Lucieer A.1, McCoull C.1 1 Discipline of Geography and Spatial Sciences, University of Tasmania 2 Forest Science, NSW Department of Primary Industries Version 1.1: June 2018 Publication: Photogrammetry for Forest Inventory: Planning Guidelines Project Number: PNC326-1314 This work is supported by funding provided to FWPA by the Australian Government Department of Agriculture, Fisheries and Forestry (DAFF). © 2017 Forest & Wood Products Australia Limited. All rights reserved. Whilst all care has been taken to ensure the accuracy of the information contained in this publication, Forest and Wood Products Australia Limited and all persons associated with them (FWPA) as well as any other contributors make no representations or give any warranty regarding the use, suitability, validity, accuracy, completeness, currency or reliability of the information, including any opinion or advice, contained in this publication. To the maximum extent permitted by law, FWPA disclaims all warranties of any kind, whether express or implied, including but not limited to any warranty that the information is up-to-date, complete, true, legally compliant, accurate, non-misleading or suitable. To the maximum extent permitted by law, FWPA excludes all liability in contract, tort (including negligence), or otherwise for any injury, loss or damage whatsoever (whether direct, indirect, special or consequential) arising out of or in connection with use or reliance on this publication (and any information, opinions or advice therein) and whether caused by any errors, defects, omissions or misrepresentations in this publication. -
LET's GO FLYING Book, at the Perfect Landing Restaurant, Centennial Airport Near Denver, Colorado
Cover:Layout 1 12/1/09 11:02 AM Page 1 LET’S GO LET’S FLYING G O FLYING Educational Programs Directorate & Drug Demand Reduction Program Civil Air Patrol National Headquarters 105 South Hansell Street Maxwell Air Force Base, Ala. 36112 Let's Go Fly Chapter 1:Layout 1 12/15/09 7:33 AM Page i CIVIL AIR PATROL DIRECTOR, EDUCATIONAL PROGRAMS DIRECTORATE Mr. James L. Mallett CHIEF, DRUG DEMAND REDUCTION PROGRAM Mr. Michael Simpkins CHIEF, AEROSPACE EDUCATION Dr. Jeff Montgomery AUTHOR & PROJECT DIRECTOR Dr. Ben Millspaugh EDITORIAL TEAM Ms. Gretchen Clayson; Ms. Susan Mallett; Lt. Col. Bruce Hulley, CAP; Ms. Crystal Bloemen; Lt. Col. Barbara Gentry, CAP; Major Kaye Ebelt, CAP; Capt. Russell Grell, CAP; and Mr. Dekker Zimmerman AVIATION CAREER SUPPORT TEAM Maj. Gen. Tandy Bozeman, USAF Ret.; Lt. Col. Ron Gendron, USAF; Lt. Col. Patrick Hanlon, USAF; Capt. Billy Mitchell, Capt. Randy Trujillo; and Capt. Rick Vigil LAYOUT & DESIGN Ms. Barb Pribulick PHOTOGRAPHY Mr. Adam Wright; Mr. Alex McMahon and Mr. Frank E. Mills PRINTING Wells Printing Montgomery, AL 2nd Edition Let's Go Fly Chapter 1:Layout 1 12/15/09 7:33 AM Page ii Contents Part One — Introduction to the world of aviation — your first flight on a commercial airliner . 1 Part Two — So you want to learn to fly — this is your introduction into actual flight training . 23 Part Three — Special programs for your aviation interest . 67 Part Four Fun things you can do with an interest in aviation . 91 Part Five Getting your “ticket” & passing the medical . 119 Part Six Interviews with aviation professionals . -
FOTOFAX March 2019
Volume 52 – No. 7 FOTOFAX March 2019 FotoFax The Newsletter of the Northern Virginia Photographic Society Arthur Rose – Embrace Volume 52 – No. 7 FOTOFAX March 2019 TABLE OF CONTENTS TABLE OF CONTENTS ............................................................................................................................................. 2 PRESIDENT’S MESSAGE ......................................................................................................................................... 4 FROM YOUR EDITOR ............................................................................................................................................... 5 PORTFOLIO PROJECT ............................................................................................................................................. 5 PROGRAMS .................................................................................................................................................................. 6 March 5, 2019 – Catherine Simmons – Family and Child Photography ....................................... 6 April 2, 2019 – Alan Sislen – The Art of Self Critique and Evaluation ........................................... 8 COMPETITION ......................................................................................................................................................... 11 February Competition Winners .................................................................................................................. 11 March 19, 2019 Open -
Aerial Aftermathsaerial Aftermaths
AERIAL AFTERMATHSAERIAL AFTERMATHS WARTIME FROM ABOVE WARTIME FROM ABOVE CAREN KAPLAN CAREN KAPLAN AERIAL AFTERMATHS next wave: new directions in women’s studies — Caren Kaplan, Inderpal Grewal, Robyn Wiegman, Series Editors AERIAL AFTERMATHS war time from above CAREN KAPLAN Duke University Press Durham and London 2018 © 2018 Duke University Press All rights reserved Printed in the United States of Amer i ca on acid- free paper ∞ Designed by Heather Hensley Typeset in Minion Pro by Westchester Publishing Services Library of Congress Cataloging- in- Publication Data Names: Kaplan, Caren, [date–] author. Title: Aerial aftermaths : war time from above / Caren Kaplan. Description: Durham : Duke University Press, 2017. | Series: Next wave | Includes bibliographical references and index. Identifiers:lccn 2017028530 (print) | lccn 2017041830 (ebook) isbn 9780822372219 (ebook) isbn 9780822370086 (hardcover : alk. paper) isbn 9780822370178 (pbk. : alk. paper) Subjects: lcsh: Photographic surveying— History. | Aerial photography— History. | War photography— History. | Photography, Military. Classification:lcc ta593.2 (ebook) | lcc ta593.2 .k375 2017 (print) | ddc 358.4/54— dc23 lc rec ord available at https:// lccn . loc . gov / 2017028530 Duke University Press gratefully acknowledges the support of the University of California, Davis, which provided funds to support the publication of this book. Cover art: Grant Heilman Photography Frontispiece: Thomas Baldwin, “The Balloon Prospect from above the Clouds,” in Airopaidia. Hand- colored etching. Yale Center for British Art, Paul Mellon Collection. For Sofia — CONTENTS acknowl edgments ix Introduction AERIAL AFTERMATHS 1 1. Surveying War time Aftermaths THE FIRST MILITARY SURVEY OF SCOTLAND 34 2. Balloon Geography THE EMOTION OF MOTION IN AEROSTATIC WARTIME 68 3. La Nature à Coup d’Oeil “SEEING ALL” IN EARLY PA NORAMAS 104 4. -
Digitizing Aerial Photography - Understanding Spatial Resolution
Digitizing Aerial Photography - Understanding Spatial Resolution Trisalyn Nelson Mike Wulder Olaf Niemann M.Sc. Candidate Research Scientist Professor University of Victoria Pacific Forestry Centre University of Victoria (250) 721-7349 (250) 363-6090 (250) 721-7329 email: [email protected] [email protected] [email protected] Abstract Accuracy, flexibility, and cost effectiveness are advantages of using digitized aerial photographs as a data source. However, the relationship between the resolution of digital images, and the aerial photographs from which they were derived, must be addressed. In the following paper we consider issues that impact the spatial resolution of photographs and digitized images, and suggest how users can optimize spatial resolution by selecting an appropriate scanning aperture. Optimal scanning aperture can be chosen by considering the camera system resolution, the original photograph’s scale, and the desired pixel size of the digital image. There are optimal scanning resolutions to use when digitizing aerial photographs. Optimizing spatial resolution will maximize the spatial information obtained from the original photographs without generating unnecessarily large file sizes. Introduction Digitized aerial photography is increasingly the scanning aperture, thereby allowing being used as a data source for studying and important image information to be retained and managing environmental elements such as trees file sizes to be minimized. Choice of scanning (Niemann et al., 1999) and forests (Leckie et al., aperture is related to the resolution of the 1999; Niemann et al., 1999). The popularity of original photograph and/or the desired pixel size digitizing aerial photography is a result of the of the digital image. -
Rudy Arnold Photo Collection
Rudy Arnold Photo Collection Kristine L. Kaske; revised 2008 by Melissa A. N. Keiser 2003 National Air and Space Museum Archives 14390 Air & Space Museum Parkway Chantilly, VA 20151 [email protected] https://airandspace.si.edu/archives Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Arrangement..................................................................................................................... 3 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 3 Container Listing ............................................................................................................. 4 Series 1: Black and White Negatives....................................................................... 4 Series 2: Color Transparencies.............................................................................. 62 Series 3: Glass Plate Negatives............................................................................ 84 Series : Medium-Format Black-and-White and Color Film, circa 1950-1965.......... 93 -
Utilization of Photogrammetry During Establishment of Virtual Rock Collection at Aalto University Jeremiasz Merkel
Utilization of photogrammetry during establishment of virtual rock collection at Aalto University Jeremiasz Merkel School of Engineering Master’s thesis Espoo, 30.09.2019 Supervisor Prof. Jussi Leveinen Advisors M.Sc. Mateusz Janiszewski D.Sc. Lauri Uotinen Aalto University, P.O. BOX 11000, 00076 AALTO www.aalto.fi Abstract of the master’s thesis Author Jeremiasz Merkel Title Utilization of photogrammetry during establishment of virtual rock collection at Aalto University. Master Programme European Mining, Minerals and Environmental Programme. Major European Mining Course Code of major ENG3077 Supervisor Prof. Jussi Leveinen Advisors M.Sc. Mateusz Janiszewski, D.Sc. Lauri Uotinen Date 01.09.2019 Number of pages 56+7 Language English Abstract In recent years, we can observe increasing popularity of the term industry 4.0 which is defined as a new level of organization and control over the entire value chain of the life cycle of products. Experts distinguished nine different technologies, which are essential for the development of industry 4.0. One of them is virtual reality, which is used during processes of data visualisation and digitization. These processes can also include geological collections. Due to limited access to different geological spots, the popularity of destructive techniques during rock testing and high complexity of the process of learning geosciences, geologists are looking for new methods of digitization of different samples of rocks and minerals. The aim of this master thesis was to create a virtual collection of selected rocks and minerals using photogrammetry and virtual reality (VR) technology and develop new tool and interactive learning platform for study mineralogy and petrography. -
Image Geometry of Vertical & Oblique Panoramic Photography
FIG. 1. Vertical panoramic photograph of Washington, D.C. with the Capitol on the left. DONALD A. KAWACHI* Fairchild Space & Defense Systems Syosset, L. I., N. Y. Image Geometry of Vertical & Oblique Panoramic Photography A transparent grid overlay, like the Canadian Grid, provides a practical means for overcoming the effects of image motion and geometric distortion. (Abstract on page 300) INTRODUCTION the fil m. The radius of the cylinder is the y FAR THE MOST COMMON TYPE of camera focal length of the lens. The fil m is exposed B used in aerial photography is the frame by rotating both lens and slit on the axis of camera, but another type, the panoramic the cylinder, as shown in Figure 3. camera, has found increasing usage in recent I t is easy to visualize how this camera years. This increased usage stems from the ex achieves a much larger field of view. By tensive enlargement of the continuous field of rotating the lens the viewing angle is con view for each photograph, a factor which tinuously varied for the same piece of film. comes at the cost of distorting the view of the In one direction the coverage extends to ground space. nearly 180°, limited only by the film getting in its own way. For some of the more sophisti DESCRIPTION OF PANORAMIC PHOTOGRAPHY cated configurations even this limitation is In its simplest form the panoramic camera circumvented, with the result that more than consists of a film curved in the shape of a 180° of coverage is achieved. This is an im cylinder with the lens on the axis of this portant factor, for it allows horizon-to cylinder and an exposure slit just in front of horizon coverage in vertical aerial photog raphy. -
General Management Essays on the Discursive
Alma Mater Studiorum – Università di Bologna DOTTORATO DI RICERCA IN General Management Ciclo XXX Settore Concorsuale: 13/B2 Settore Scientifico Disciplinare: SECS-P/08 Essays on the discursive formation of emerging organizational fields: The role of technology, institutional logics, and identity Presentata da: Andrea Carlo Lo Verso Coordinatore Dottorato Supervisore Chiara Orsingher Prof. Cristina Boari Co-supervisori Prof. Simone Ferriani Prof. Raffaele Corrado Esame finale anno 2019 1 General abstract The thesis aims at shedding light on the process of organizational field emergence as resulting from a collectively enacted discursive endeavor. The investigation hinges upon the perspective that the generation of institutional and organizational domains of activity is primarily driven by the encounter of multiple and potentially misaligned social constituencies who attempt to sort out their mutual incongruences by engaging in communicative-dialectical activities. The three essays composing the thesis are to be understood as autonomous, though complementary, pieces of research, all linked by the emphasis on discursive processes. Essay 1 provides a theoretical investigation addressing one of the most critical factor spurring field emergence, i.e. technological progress. The introduction of new technologies is framed as the occasion for multiple and formerly disconnected actors to join a shared space of negotiation about the meanings carried on by those technologies. These dialectical interplays are motivated both by coordination and legitimation needs and typically regard (1) the defining features of technological artifacts, (2) the identities of actors joining the nascent field, and (3) the constitution of infrastructures that shape the actors‘ interactions. The paper advances our understanding on the discursive process of field emergence by providing insights on how these different issues, debated among actors with competing interests and worldviews, are indeed interrelated with one another. -
From God's-Eye to Camera-Eye: Aerial Photography's Post-Humanist and Neo-Humanist Visions of the World
History of Photography ISSN: 0308-7298 (Print) 2150-7295 (Online) Journal homepage: http://www.tandfonline.com/loi/thph20 From God's-eye to Camera-eye: Aerial Photography's Post-humanist and Neo-humanist Visions of the World Paula Amad To cite this article: Paula Amad (2012) From God's-eye to Camera-eye: Aerial Photography's Post-humanist and Neo-humanist Visions of the World, History of Photography, 36:1, 66-86, DOI: 10.1080/03087298.2012.632567 To link to this article: https://doi.org/10.1080/03087298.2012.632567 Published online: 15 Feb 2012. Submit your article to this journal Article views: 1132 View related articles Citing articles: 2 View citing articles Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=thph20 From God’s-eye to Camera-eye: Aerial Photography’s Post-humanist and Neo-humanist Visions of the World Paula Amad I would like to thank Gordon Beck, Graham Smith, Nick Yablon, and Terry Finnegan for research advice and Lorraine Daston, Kelley Wilder, and Gregg Mitman for their helpful suggestions and for inviting me to present an early version of this essay at the Aerial photographs are most commonly associated with notions of panoptic vision Documenting the World workshop at the or the environmental sublime. This paper reviews the dystopian and utopian dis- Max Planck Institute for the History of courses surrounding aerial photography and suggests a third approach to under- Science, Berlin, in January 2010. standing aerial vision as dialectically situated between the poles of science and art, rationality and imagination, abstracted and embodied knowledge, visibility and Email for correspondence: invisibility, the archive and the museum. -
Aircraft Photography Part 4
KiwiFlyer Aviation Photography Aviation Photography surprised about which ones looked the best. If you are in doubt, background behind it, you can achieve a blurred background at Aircraft Photography Part Four Contributed by Chris Gee move or zoom back a little bit and put some more space around about 1/250th of a second, while you might need to go as slow Composition, Panning, and Putting it all Together. your subject. This will make it easier for you by keeping your as 1/80s to achieve the same amount of blur for an aircraft that is editing options open – once you get home, you’ll be able to crop just taking off or landing. Of course, the faster the shutter speed, WELCOME to episode four of our aircraft, try and keep the subject to the top or tilt your image in your the easier it is to capture ‘how-to’ series on aviation photography. or bottom third of the image. digital darkroom to get the a smoothly panned shot, I hope you have all been out having fun The other common rule of composition, composition you want. but the less motion photographing your local aviation scene, which is especially important when taking you will get out of the and have some good shots to send in to our images of flying aircraft, is called ‘the rule Panning Shots background. With slower photo competition! of space’. This refers to whether your The ‘panning shot’ is moving subjects, it can be In the past three episodes we subject is moving ‘into’ or ‘out of ’ the an excellent display of difficult to avoid vertical have covered some of the theory of frame.