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Kite Aerial Photography As a Tool for Remote Sensing 06/28/10 06:49:04 June 2010 Volume 48 Number 3 Article Number 3IAW7
Kite Aerial Photography as a Tool for Remote Sensing 06/28/10 06:49:04 June 2010 Volume 48 Number 3 Article Number 3IAW7 Return to Current Issue Kite Aerial Photography as a Tool for Remote Sensing Jeff Sallee Assistant Professor/Extension Specialist [email protected] Lesley R. Meier 4-H Graduate Assistant [email protected] 4-H Youth Development Oklahoma State University Stillwater, Oklahoma Abstract: As humans, we perform remote sensing nearly all the time. This is because we acquire most of our information about our surroundings through the senses of sight and hearing. Whether viewed by the unenhanced eye or a military satellite, remote sensing is observing objects from a distance. With our current technology, remote sensing has become a part of daily activities. A relatively inexpensive and practical method to have a firsthand experience with collecting remotely sensed data is kite aerial photography (KAP). KAP can be used as a geospatial tool to teach youth and adults about remote sensing. Introduction Remote sensing, as defined by Nicholas Short (2005), is the use of instruments or sensors to "capture" the spectral and spatial relations of objects and materials observable at a distance. This is how Earth's surface and atmosphere are observed, measured, and interpreted from orbit. In simpler terms, remote sensing refers to the recording, observing, and perceiving (sensing) of objects or events in distant (remote) places. It allows us to have a bird's eye view of places and features on Earth. The earliest forms of remote sensing began with the invention of the camera. -
Elements of Screenology: Toward an Archaeology of the Screen 2006
Repositorium für die Medienwissenschaft Erkki Huhtamo Elements of screenology: Toward an Archaeology of the Screen 2006 https://doi.org/10.25969/mediarep/1958 Veröffentlichungsversion / published version Zeitschriftenartikel / journal article Empfohlene Zitierung / Suggested Citation: Huhtamo, Erkki: Elements of screenology: Toward an Archaeology of the Screen. In: Navigationen - Zeitschrift für Medien- und Kulturwissenschaften, Jg. 6 (2006), Nr. 2, S. 31–64. DOI: https://doi.org/10.25969/mediarep/1958. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Deposit-Lizenz (Keine This document is made available under a Deposit License (No Weiterverbreitung - keine Bearbeitung) zur Verfügung gestellt. Redistribution - no modifications). We grant a non-exclusive, Gewährt wird ein nicht exklusives, nicht übertragbares, non-transferable, individual, and limited right for using this persönliches und beschränktes Recht auf Nutzung dieses document. This document is solely intended for your personal, Dokuments. Dieses Dokument ist ausschließlich für non-commercial use. All copies of this documents must retain den persönlichen, nicht-kommerziellen Gebrauch bestimmt. all copyright information and other information regarding legal Auf sämtlichen Kopien dieses Dokuments müssen alle protection. You are not allowed to alter this document in any Urheberrechtshinweise und sonstigen Hinweise auf gesetzlichen way, to copy it for public or commercial purposes, to exhibit the Schutz beibehalten werden. Sie dürfen dieses Dokument document in public, to perform, distribute, or otherwise use the nicht in irgendeiner Weise abändern, noch dürfen Sie document in public. dieses Dokument für öffentliche oder kommerzielle Zwecke By using this particular document, you accept the conditions of vervielfältigen, öffentlich ausstellen, aufführen, vertreiben oder use stated above. anderweitig nutzen. Mit der Verwendung dieses Dokuments erkennen Sie die Nutzungsbedingungen an. -
Object Oriented Programming
No. 52 March-A pril'1990 $3.95 T H E M TEe H CAL J 0 URN A L COPIA Object Oriented Programming First it was BASIC, then it was structures, now it's objects. C++ afi<;ionados feel, of course, that objects are so powerful, so encompassing that anything could be so defined. I hope they're not placing bets, because if they are, money's no object. C++ 2.0 page 8 An objective view of the newest C++. Training A Neural Network Now that you have a neural network what do you do with it? Part two of a fascinating series. Debugging C page 21 Pointers Using MEM Keep C fro111 (C)rashing your system. An AT Keyboard Interface Use an AT keyboard with your latest project. And More ... Understanding Logic Families EPROM Programming Speeding Up Your AT Keyboard ((CHAOS MADE TO ORDER~ Explore the Magnificent and Infinite World of Fractals with FRAC LS™ AN ELECTRONIC KALEIDOSCOPE OF NATURES GEOMETRYTM With FracTools, you can modify and play with any of the included images, or easily create new ones by marking a region in an existing image or entering the coordinates directly. Filter out areas of the display, change colors in any area, and animate the fractal to create gorgeous and mesmerizing images. Special effects include Strobe, Kaleidoscope, Stained Glass, Horizontal, Vertical and Diagonal Panning, and Mouse Movies. The most spectacular application is the creation of self-running Slide Shows. Include any PCX file from any of the popular "paint" programs. FracTools also includes a Slide Show Programming Language, to bring a higher degree of control to your shows. -
INSTRUCTION MANUAL Type C / N Design and Specifications Are Subject to Change Without Prior Notice
DIGITAL TTL MACRO FLASH Nissin Japan Ltd., Tokyo http://www.nissin-japan.com Nissin Marketing Ltd., Hong Kong INSTRUCTION MANUAL http://www.nissindigital.com Type C / N Design and Specifications are subject to change without prior notice. MF0611 REV. 1.1 Thank you for purchasing a Nissin product SIMPLE OPERATION When attaching MF18 to the camera, the basic flash exposure operation is fully Before using this flash unit, please read this instruction manual and refer controlled by the camera. It is the same idea as when you use the built-in your camera owner’s manual carefully to get a better understanding of camera flash, but it is placed on the hotshoe of the camera instead of using the proper operation to enjoy flash photography. built-in flash. Nissin Macro Flash MF18 is a flash system for taking close-up photos of small ADVANCED FUNCTIONS subjects using a flash to eliminate shadows, allowing you to enjoy photography. MF18 provides advanced flash functions including 1st curtain synchronization, This instruction manual is intended mainly for Canon or Nikon digital SLR, with Rear curtain synchronization and High speed shutter synchronization are the latest TTL flash control system, and features Nissin’s original rotating color supported. display, easily guiding its operations. It works automatically with Canon ETTL / ETTL II or Nikon i-TTL auto-flash systems. The provided adapter rings make it available for use with different lens. Please note that MF18 is not usable with other branded cameras for TTL Compatible cameras operation. Please refer Nissin’s compatibility chart shown in its home page for details. -
Advanced User Guide
Advanced User Guide E CT2-D068-A © CANON INC. 2020 Contents Introduction. 4 Instruction Manual. 5 About This Guide. 6 Safety Instructions. 8 Nomenclature. 10 Getting Started and Basic Operations. 26 Charging the Battery. 27 Insert the Battery. 31 Attaching and Detaching the Speedlite to and from the Camera. 33 Turning on the Power. 35 Fully Automatic Flash Photography. 40 E-TTL II / E-TTL Autoflash by Shooting Mode. 42 Checking the Battery Information. 47 Advanced Flash Photography. 49 Flash Exposure Compensation. 50 FEB. 52 FE Lock. 54 High-Speed Sync. 56 Second-Curtain Sync. 58 Bounce. 60 Set the Flash Coverage. 67 Manual Flash. 71 Stroboscopic Flash. 78 Flash External Metering. 82 Continuous Shooting Priority Mode. 87 About the Modeling Lamp. 88 Modeling Flash. 89 Color Filter. 90 Clearing Speedlite Settings. 92 Flash Function Settings with Camera Controls. 94 Flash Control from the Camera's Menu Screen. 95 Radio Transmission Wireless Flash Shooting. 102 Radio Transmission Wireless Flash Shooting. 103 Radio Transmission Wireless Settings. 110 Automatic Flash Photography with 1 Flash Receiver. 124 Automatic Flash Photography with Receivers divided into 2 Groups. 133 Automatic Flash Photography with Receivers divided into 3 Groups. 136 Wireless Multiple Flash Shooting with a set Flash Ratio. 141 Shooting in a Different Flash Mode for Each Group. 145 Test Flash / Modeling Flash from a Receiver Unit. 150 Remote Release from a Receiver Unit. 152 Linked Shooting with Radio Transmission. 154 Optical Transmission Wireless Flash Shooting. 159 Optical Transmission Wireless Flash Shooting. 160 Optical Transmission Wireless Settings. 164 Automatic Flash Photography with 1 Flash Receiver. -
Colour Relationships Using Traditional, Analogue and Digital Technology
Colour Relationships Using Traditional, Analogue and Digital Technology Peter Burke Skills Victoria (TAFE)/Italy (Veneto) ISS Institute Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc MAY 2011 © ISS Institute T 03 9347 4583 Level 1 F 03 9348 1474 189 Faraday Street [email protected] Carlton Vic E AUSTRALIA 3053 W www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne Extract published on www.issinstitute.org.au © Copyright ISS Institute May 2011 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report or any links therein, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary This Fellowship study explored the use of analogue and digital technologies to create colour surfaces and sound experiences. The research focused on art and design activities that combine traditional analogue techniques (such as drawing or painting) with print and electronic media (from simple LED lighting to large-scale video projections on buildings). The Fellow’s rich and varied self-directed research was centred in Venice, Italy, with visits to France, Sweden, Scotland and the Netherlands to attend large public events such as the Biennale de Venezia and the Edinburgh Festival, and more intimate moments where one-on-one interviews were conducted with renown artists in their studios. -
Bronica Product Guide
BRONICA PRODUCT GUIDE . D MARKETED BY o Ehren reich P hoto~ Opti cal Industries, Inc. ~liJ@JO 623 Stewart Avenu e, Ga rden City, New York 11530, USA '" .. (516) 248 -5200. ~ BRONICA DELUXE ("0") The Bronica Deluxe, or "0" model was the first camera introduced by Zenza Bronica. As the forerunner of an unbroken series of 2% square SlR cameras, it incorporated many design features still not found on competitive equipment after more than 16 years. The Deluxe is easily recognized by the following key features: 1. Focusing mount integral part of body. 2. No advance crank on right side. 3. Focusing scale on upper part of advance/focus knob. 4. Speed dial on outside face of advance/focus knob. 5. Self-timer scale on left side of body. 6. Double exposure dial on right side of body. 7. 3 stud male bayonet fitting on bottom of camera body. 8. Focus lock lever on right front of body. The Deluxe has double exposure capability, shutter speeds to 1/1250th second, a 2 - 10 second self-timer which also allowed timed long expo sures of 2 - 10 seconds and a locking lever to lock the camera's focusing mount at any desired point. All small bayonet mount Auto-Nikkor and Zenzanon lenses fit the De luxe, as well as all five "5" series prisms and hoods. The S2A grips, however, will not fit due to the bayonet fitting on the camera base, and a special tripod adapter #81502 was required to use either of these grips. 2 BRONICA "S" This is the second model introduced by Bronica. -
Local Motion Picture Exhibition in Auburn, from 1894-1928: A
LOCAL MOTION PICTURE EXHIBITION IN AUBURN, FROM 1894-1928: A CULTURAL HISTORY FROM A COMMUNICATION PERSPECTIVE Danielle E. Williams Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. ______________________ Danielle E. Williams Certificate of Approval: _________________________ _________________________ Susan L. Brinson J. Emmett Winn, Chair Professor Associate Professor Communication and Journalism Communication and Journalism _________________________ _________________________ George Plasketes Stephen L. McFarland Professor Acting Dean Communication and Journalism Graduate School LOCAL MOTION PICTURE EXHIBITION IN AUBURN, FROM 1894-1928: A CULTURAL HISTORY FROM A COMMUNICATION PERSPECTIVE Danielle E. Williams A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Arts Auburn, Alabama August 5, 2004 LOCAL MOTION PICTURE EXHIBITION IN AUBURN, FROM 1894-1928: A CULTURAL HISTORY FROM A COMMUNICATION PERSPECTIVE Danielle E. Williams Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. _______________________ Signature of Author _______________________ Date Copy sent to: Name Date iii VITA Danielle Elizabeth Williams was born September 11, 1980, in Springfield, Massachusetts, to Earle and Patricia Williams. After moving across the country and attending high school in Hendersonville, Tennessee, and Lead, South Dakota, she graduated from Olive Branch High School in Olive Branch, Mississippi, in 1998. In September 1998, Danielle started Auburn University, where she majored in Mass Communication. In addition to her academic studies, she was involved with Eagle Eye News, where she served as an Assistant Director from 2000-2001, and the Auburn Film Society, where she served as President from 2000-2004. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Fireworks Photography Tips Fireworks Public Displays Are Usually Best; There Are Free Ones
Fireworks Photography Tips Fireworks Public displays are usually best; there are free ones. Stand at the back for the aerial display or at the front for the Catherine wheels. Set up in plenty of time and shoot upwind if you can. Take a torch to see the camera's settings. Full battery, big empty memory card + spare. Use a tripod – this is mandatory. Use a remote release, if you have one. Using the self-timer wastes valuable shooting time. Use a clean wide-angle lens or standard lens at widest setting; focus manually at infinity. Use a lens hood to keep off the rain and protect the lens. File type: Raw only, or Raw + JPG. Turn off the flash. Turn off Long-exposure noise reduction; otherwise you'll be just waiting half the time. Use Manual mode. ISO: 100-400 – something with not too much noise Aperture: around f8 but anything between f5.6 to f16 may suit you. Shutter speed: Bulb (with remote release) or 2 to 10 seconds Bulb: Open the shutter and wait for the firework to peter out before closing. 2-10s: Open as the fireworks are launching. Don't expose for too long, you can easily overexpose. White balance: Auto or Cloudy; it doesn't matter for RAW. Start shooting as soon as the show starts and keep going until the very end. Recompose to ensure that you are filling the frame. Vertical or horizontal and level horizon. Including the crowd or scenery often adds to the image. The last one is always a good one. -
English 271.2: Literature for Young Children Fall 2013 Professor Jan Susina Class Meeting: Tuesday & Thursday 11:00-12:15 P.M
English 271.2: Literature for Young Children Fall 2013 Professor Jan Susina Class Meeting: Tuesday & Thursday 11:00-12:15 p.m. Class Room: Stevenson 347-B Office: Stevenson 402 Office Hours: Tuesday & Thursday 12:30-1:30 p.m. Office Phone: 438-3739 Email: [email protected] . Web site: http://ghostofthetalkingcricket.squarespace.com Tentative Syllabus: Aug. 20 Introduction and Overview to the Course Aug. 22 French Fairy Tales in M.C. Waldrep’s Favorite Fairy Tales: Perrault’s “Cinderella, or the Little Class Slipper,” “Little Red Riding-Hood,” “Toads and Diamonds,” “The Master Cat; or, Puss in Boots.” Madame De Villeneuve’s “Beauty and the Beast,” & Perrault’s “Sleeping Beauty in the Wood” (website) Aug. 27 German Folk Tales in M.C. Waldrep’s Favorite Fairy Tales: Grimm’s” Snowdrop [Snow White],” “Rapunzel,” “Rumplestiltkin,” “The Goose-Girl,” Grimm’s “Little Red-Cap” & “Hansel and Gretel” (website) Aug. 29 Hans Christian Andersen's Literary Fairy Tales in M.C. Waldrep’ Favorite Fairy Tales: “ How to Tell a True Princess (The Princess and the Pea),” “The Nightingale,” “The Ugly Ducking,” “The Story of the Emperor’s New Clothes,” & in Hans Christian Andersen’s The Little Mermaid and Other Fairy Tales “The Little Mermaid” “The Swineherd,” “The Steadfast Tin Soldier,” “The Little Match Girl” Deadline for Sign-up for Children’s Film for Film Paper Sept. 3 English Folk Tales in M.C, Waldrep’s Favorite Fairy Tales: “Jack and the Beanstalk,” “The Ratcatcher [Pied Piper of Hamelin],” & “Three Little Pigs” Sept. 5 American Fairy Tales: Walt Disney’s film adaptation of fairy tales: “Steamboat Willie” “The Three Little Pigs” “Snow White and the Seven “Dwarfs,” “Cinderella” & “The Little Mermaid” Sept. -
Leaf Credo Digital Camera Backs
© Cameron Davidson © Cameron Leaf Credo Digital Camera Backs Leaf Credo 80 80MP Leaf Credo 60 60MP Leaf Credo 50 50MP Leaf Credo 40 40MP © Maikka Trupp The Leaf Credo series of digital camera backs brings the legendary Leaf image quality along with speed, flexibility and versatility that are second to none Uncompromising Image Quality Capture One Software The Leaf Credo delivers stunning, film-like quality that has been Leaf’s Photographers are able to leverage the unique features and workflow trade-mark for many years. The large, specially designed sensor with environment of Capture One workflow software to optimize and enhance unsurpassed 14 f-stops of dynamic range provides unmatched detail, their images, create web galleries and print contact sheets directly from richness of color, low noise and beautiful tonality. Lossless 14/16-bit file the computer. compression accelerates file handling without loss of image quality. Wireless Preview, Control and Liveview High Resolution and High Speed With the Leaf Credo, you, your client, or an art director can use Capture Pilot to preview and rate images during the shoot on an Apple iPhone, The Leaf Credo uses unique, high resolution DELSA CCD sensors iPad or iPod touch, and remotely control your camera. High quality Live sensors with up to 80 Megapixel, measuring up to 53.7 x 40.3 mm. View of the Credo 50 allows for easy composition and focusing - on the The Leaf Credo 80 offers the best price-performance ratio of any 80 MP digital back, or on your mac/PC through Capture One. single-shot capture device, allowing you to take your photography further by capturing the highest quality, single-shot images possible.