Inspiration on Contact Walk Slowly
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Secret Digital Image Sharing Using Natural Image Based VSS Scheme
International Journal of Science and Research (IJSR) ISSN (Online): 2319-7064 Index Copernicus Value (2013): 6.14 | Impact Factor (2013): 4.438 Secret Digital Image Sharing Using Natural Image Based VSS Scheme Pinky .V M. Tech Student, Dept. of Computer Science & Engineering Mount Zion College of Engineering, Pathanamthitta, Kerala, India Abstract: Visual cryptography is a technique of sharing secret images. This technique encrypts a secret image into number of shares. Combining these shares generates the original image and it can be directly recognized by the human visual system. Visual Secret Sharing scheme is a method of distributing and sharing the secret image amongst a set of users. In conventional visual secret sharing scheme, the shares May holding the security parameters for protecting the secret image but it will leads to suffering the problem of transmission risk. This is the main problem in conventional VSS scheme. To solve this problem here introduce a new scheme of secret digital image sharing via natural image based VSS scheme. In this proposed scheme the shares are encrypted by using the strong AES encryption technique after that this encrypted share is embedded into the natural image. For recovering the original image, it is necessary to decrypt the encrypted share. This method not only reduces the transmission risk problem but also enhance the security of the secret image. Keywords: Visual Cryptography, Visual Secret Sharing Scheme, Transmission Risk Problem, Natural Image based VSS scheme, Encryption/Decryption technique. 1. Introduction photographs. In the proposed scheme diverse media is used for sharing digital images. Using a variety of media for In communication system security of secret image is very sharing the secret image increases the difficulty of altering important. -
Penelope Umbrico's Suns Sunsets from Flickr
City University of New York (CUNY) CUNY Academic Works Dissertations and Theses City College of New York 2014 Image Commodification and Image Recycling: Penelope Umbrico's Suns Sunsets from Flickr Minjung “Minny” Lee CUNY City College of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/cc_etds_theses/506 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] The City College of New York Image Commodification and Image Recycling: Penelope Umbrico’s Suns from Sunsets from Flickr Submitted to the Faculty of the Division of the Arts in Candidacy for the Degree of Master of Arts Department of Humanities and Liberal Arts by Minjung “Minny” Lee New York, New York May 2014 Copyright © 2014 by Minjung “Minny” Lee All rights reserved CONTENTS Acknowledgements v List of Illustrations vi Introduction 1 Chapter 1. Umbrico’s Transformation of Vernacular Visions Found on Flickr 14 Suns from Sunsets from Flickr and the Flickr Website 14 Working Methods for Suns from Sunsets from Flickr 21 Changing Titles 24 Exhibition Installation 25 Dissemination of Work 28 The Temporality and Mortality of Umbrico’s Work 29 Universality vs. Individuality and The Expanded Role of Photographers 31 The New Way of Image-making: Being an Editor or a Curator of Found Photos 33 Chapter 2. The Ephemerality of Digital Photography 36 The Meaning and the Role of JPEG 37 Digital Photographs as Data 40 The Aura of Digital Photography 44 Photography as a Tool for Experiencing 49 Image Production vs. -
I Am Your D-Slr Finder the Ultimate in Image Quality
I AM YOUR D-SLR FINDER THE ULTIMATE IN IMAGE QUALITY ©Hideyuki Motegi Revered by photographers across the world, Nikon D-SLRs combine the latest imaging Whichever kind of photography you focus on, the creative freedom afforded by 90 million technology with superior ergonomics and legendary NIKKOR lenses to produce truly F-mount NIKKOR lenses along with the vast family of Nikon accessories ensure that using a incredible images. Whether you are a seasoned professional or a complete beginner, Nikon D-SLR is an enriching and liberating experience. shooting with a Nikon D-SLR is the ultimate way to capture the moments that matter. From flagship FX-format D-SLRs to the more compact DX-format models, each camera’s high-resolution image sensor is engineered to deliver rich, vibrant colours, natural depth, smooth gradations, and exquisite details in both photos and videos. Nikon’s innovative EXPEED image processors enable superior low-light capabilities, fast continuous shooting rates, flawless autofocus, and Full HD video capabilities. SELECT THE D-SLR FOR YOU SELECT YOUR CATEGORY BEGINNER ADVANCED PRoFESSioNaL if you’re new to D-SLR photography, a The photos and videos you capture with Generations of photographers have Beginner Nikon D-SLR is a powerful yet an Advanced Nikon D-SLR are nothing relied on Nikon’s professional cameras incredibly simple way to capture stunning short of exceptional. With intuitive to take some of the most iconic and results. The high-performance DX-format controls and ergonomics inspired by moving images of all time. Built to deliver image sensors at the heart of these cam- Nikon’s Professional D-SLRs, plus durable outstanding image quality in the most eras are much larger than sensors typi- yet lightweight bodies, these DX- and challenging conditions imaginable, these cally found on smartphones or compact FX-format cameras will ignite your pas- durable, fully weather-sealed cameras cameras, so the images you shoot will be sion for photography as you confidently incorporate the finest autofocus systems that much more spectacular. -
Image-Based Abuse, Non-Consensual Pornography, Revenge Porn: a Study of Criminalization and Crime Prevention in Australia and England & Wales
Yar & Drew – Image-Based Abuse, Non-Consensual Pornography, Revenge Porn Copyright © 2019 International Journal of Cyber Criminology – ISSN: 0974–2891 July – December 2019. Vol. 13(2): 578–594. DOI: 10.5281/zenodo.3709306 Publisher & Editor-in-Chief – K. Jaishankar / Open Access (Authors / Readers No Pay Journal). This is a Diamond Open Access article distributed under the terms of the Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC-BY-NC-SA 4.0) License, which permits unrestricted non-commercial use, distribution, and reproduction in any medium, provided the original work is properly cited. Image-Based Abuse, Non-Consensual Pornography, Revenge Porn: A Study of Criminalization and Crime Prevention in Australia and England & Wales Majid Yar1 University of Hull, United Kingdom Jacqueline Drew2 Griffith Criminology Institute, Australia Abstract Distribution of nude, intimate and sexualized images of individuals without consent and against the wishes of those individuals whose image has been captured, is of growing concern across the world. Moving from the conceptualization of ‘revenge porn’ in the early 2000’s, through to our more sophisticated understanding of the issues of “image-based abuse” and “non-consensual pornography” this paper considers the broad context of these crimes. The paper draws on the concepts of online misogyny, gender-based victimization, and “toxic masculinity”. The progress towards criminalization of such online abuse, with reference to the recent introduction of new laws in England & Wales and Australia is examined. This shift from voluntary to statutory regulation, and from civil to criminal law remedies has been coupled with new crime prevention and control initiatives that seek to encourage reporting leading to prosecution and educate users and empower victims. -
LYNDON B. JOHNSON SPACE CENTER Houston, Textja
.. HANDBOOK OF PILOT OPERATIONAL EQUIPMENT FOR MANNED SPACE FLIGHT Report No. CD42-A/SL-997 Prepared By POE Development Section Crew Equipment and Design Branch Flight Crew Integration Division NatiDnal AeronautiC� aml Space Administration LYNDON B. JOHNSON SPACE CENTER Houston, TextJA JUNE 1973 • MSC-U72l0 PROJECT DOCUMENT COVER SHEET HANDBOOK OF PILOT OPE RATIONAL EQUIPMENT FOR MANNED SPACE FLIGHT REPORT �UMBER jo ATE CD42-A/SL-997 1 June 16 , 1972 PREPARED BY: POE Development Section APPROVED: APPROVED: APPROVED: REVISIONS DATE PREPARED BY APPROVALS CHG. LETTER ,..-IJIV\SION P�-111 BFFIG-�, 9/5/72 H. D. Yeates A 0 t:J + 3/15/73 H. D. Yeates B [\) � -......._ UJ. [-< ;o I C'l \0 ""() \0 �-; -..:) z c !!:: rn C'l ;o MSC FORM !5!A (JUL 66) TABLE OF CONTENTS Foreword Li st of Illustr ations 1.0 Introduction 2.0 16 mm . Sequence Camera System 2.1 Data Acquisition Camera (DAC ) (SEB33100100) 2.2 DAC Film Magazine (140) (SEB33l00l25) 2.3 DAC Transport Mechanism (SEB33l00278) 2.� DAC Film Cas sette (400) (SEB33100279) 2.5 5 mm . Lens (SEB33100056) 2.6 10 mm . Lens (SEB33100010) 2.7 18 mm. Lens (SEB33100018) 2.8 25 mm . Lens (SEB33l00054) 2.9 75 mm . Lens (SEB33l000l9) 2.10 100 mm . Lens (SEB33100025) 2.11 180 mm . Lens (SEB33100017) 2.12 Right Angle Mirror (SEB3310005l) 2.13 DAC Power Cable (CM) (SEB33l00038) 2.14 DAC Power Cable (sws) (SEC33l00567) 2.15 DAC Spare Fuse (SEB33100266) 2.16 Remote Control Cable (SEB33100020) 2.17 DAC Power Pack (SEB33l00304) 2.18 Universal Mount (SEC39lo6239) 2.19 DAC EVA Bracket (SEC33lOOOo6) 2.20 DAC Handle (SEB33100303) 2.21 DAC RCU Bracket (SEB33100396) 2.22 DAC Right Angle Adapter Bracket (SEB33100277) 2.23 DAC Wedge Bracket (SEB33100564) 3.0 35 mm. -
Large Format Camera
Large format Camera Movements and Operation Presented by N. David king 619-276-3225 © N. David King All rights Reserved Large Format Camera Movements and Operations Page 1 COURSE CURRICULA he Large format camera, in “View” and “Field” versions, are the T primary tool for many of the commercial/professional photographic disciplines. Especially for product, advertising, illustration, and high-end fashion and portraiture work, as well as for landscape and nature photography this workhorse camera is the tool selected whenever the ultimate in quality is required. This course will teach the rudiments of using this tool to control and enhance the image. Why Large Format Large format cameras shooting a negative in the 4”x 5” size and larger are cumbersome to carry and slow to set up. So why would a working photographer with deadlines to meet, bother? The answer is in the resulting image quality and image control. No other photographic tool, including digital post acquisition image manipulation, provides the degree of control and quality available in this format. Even where the image will be manipulated after acquisition by traditional airbrushing, darkroom techniques, or via digital editing, the old rule of thumb still applies: the better the original image, the better the results will be. Course Objectives After successfully completing this course. The student will be able to set up and operate a large format camera and use its optical and film plane movements to control the distortion and depth of field of their photographs. Course Elements The complete course will contain: 1. An instructor-led lecture and demonstration, 2. -
America Through Street Photography
From the Instructor Sarah wrote this piece for my section of the Genre and Audience WR X cluster. Students had undertaken semester-long research projects and, in the final assignment for the course, were asked to reimagine their academic arguments for a public audience. Deciding to write in the style of The New Republic, which is, in the publication’s own words, “tailored for smart, curi- ous, socially aware readers.” Sarah’s focus on street photography brings her research on classic American images to a non-expert audience with diverse professional and disciplinary perspectives, appealing to their interests in history and the arts while tapping into contemporary culture. — Gwen Kordonowy WR 150: The American Road 135 From the Writer When I enrolled in an experimental writing class entitled “The American Road,” I assumed that the semester would be filled with discussions about the physical American road, its attractions, and its place in American history. While the physical road was an important subject in the class, I learned that this “American Road” was expansive beyond its physical limi- tations, able to encompass topics as broad and abstract as social progress, popular television shows, and, in my case, photography. I ultimately chose to investigate the works of two American street photographers, Robert Frank and Lee Friedlander, whose approaches to photography reveal much about life in America and what it means to be an American. While both photographers frequently feature the road in their pictures, I chose to focus more on the people and culture found alongside it and how they represent America. -
Basic View Camera
PROFICIENCY REQUIRED Operating Guide for MEDIA LOAN CALUMET 4X5 VIEW CAMERA Media Loan Operating Guides are available online at www.evergreen.edu/medialoan/ View cameras are usually tripod mounted and lend When checking out a 4x5 camera from Media Loan, themselves to a more contemplative style than the more patrons will need to obtain a tripod, a light meter, one portable 35mm and 2 1/4 formats. The Calumet 4x5 or both types of film holders, and a changing bag for Standard model view camera is a lightweight, portable sheet film loading. Each sheet holder can be loaded tool that produces superior, fine grained images because with two sheets of film, a process that must be done in of its large format and ability to adjust for a minimum of total darkness. The Polaroid holders can only be loaded image distortion. with one sheet of film at a time, but each sheet is light Media Loan's 4x5 cameras come equipped with a 150mm protected. lens which is a slightly wider angle than normal. It allows for a 44 degree angle of view, while the normal 165mm lens allows for a 40 degree angle of view. Although the controls on each of Media Loan's 4x5 lens may vary in terms of placement and style, the functions remain the same. Some of the lenses have an additional setting for strobe flash or flashbulb use. On these lenses, use the X setting for use with a strobe flash (It’s crucial for the setting to remain on X while using the studio) and the M setting for use with a flashbulb (Media Loan does not support flashbulbs). -
Making Sense of the Selfie: Keywords: Rudolfs Blaumanis, Gottfried Keller, 19Th Century Literature, Latvian Litera Ture, Autobiographical Novel, Art and Artist
46 RAKSTI BENEDIKTS KALNACS 47 Artist. Reality, and (Auto)biography ALISE TIFENTALE in Rudolfs Blaumanis's and Gottfried Keller's Fiction Making Sense of the Selfie: Keywords: Rudolfs Blaumanis, Gottfried Keller, 19th century literature, Latvian litera ture, autobiographical novel, art and artist. Digital Image-Making Summary and Image-Sharing in Social Media The paper discusses aspects of the Latvian writer's Rudolfs Blaumanis (1863-1908) fiction in comparative perspective. An important aspect of Blaumanis's efforts was devoted to the discussion ofindividual life stories of his characters, and he also dealt with the possibility or impossibility of a person to become his or her true self in the interpretative contexts ofthe l 9th century society and culture. In European perspective, Keywords: History of photography, digital photography, social media, the image of an artist was often put at the centre of writers' attention, and the paper Ins tagram, self-portraits, software studies. provides one such case study, a discussion of the Swiss author's, Gottfried Keller autobiographical novel "Green Henry" (Der Grune Heinrich, 1st version 1855, 2nd Introduction version 1880) to which the works ofBlaumanis are then compared. The paper deals with some of the Latvian author's most important novellas, written between 1882 and 1898, A wide range of photographic practices has flo urished outside the and discusses the impossibility of artistic career in the context of the 19th century institutional framework of the art world or commercial photography since Latvian society due to different historical and social background as discussed in the early 1900s, when the availability and ease of use of the Kodak Brownie Blaumanis's texts. -
Datenbank Kameras
Hersteller Kameraname Objektiv Verschluß Verschlußzeit Format Blende Filmtyp Zustand Baujahr Gewicht Tasche Toptron Microcam fashon 3 3PAGEN Versand Supercolor NoName ca. 11/20mm Zentral ca. 1/30 sec. 13 x 17 mm ca. 11 110er Kassette A-B 2000 70 Gramm Nein Adox 300 Schneider Kreuznach Xenar 2,8/45 mm Compur Rapid B, 1 - 1/150 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1956 870 Gramm Ja Adox Golf 63 Adoxar 6,3/75 mm Vario B, 1/25 - 1/200 sec. 6 x 6 cm 6,3 - 22 120er Rollfilm C-D 1954 520 Gramm Ja Adox Fotowerke Frankfurt a. M. Adoxon 2,8 / 45 Adox Golf Ia mm Prontor 125 B, 1/30 - 1/125 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm B 1964 330 Gramm Ja Adox Polo mat 1 Schneider Kreuznach Radionar L 2,8/45 mm Prontor 500 LK B, 1/15-1/500 sec. 24 x 36 mm 2,8 - 22 35er Kleinbildfilm C 1959 - 60 440 Gramm Nein Adox (Wirgin) Adrette I Adox Wiesbaden Adoxar 4,5/5 cm Vario B, T, 1/25-1/100 sec. 24 x 36 mm 4,5 - 16 35er Kleinbildfilm C 1939 420 Gramm Ja Agfa Agfamatic easy Agfa Color Apotar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1981 200 Gramm nein Agfa Agfamatic Makro Pocket 5008 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 300 Gramm nein Agfa Agfamatic Optima 5000 Set Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 510 Gramm nein Agfa Agfamatic Optima 6000 Agfa Solinar 2,7 Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1977 320 Gramm nein Agfa Agfamatic Pocket 1000 S Agfa Color Agnar 26 mm Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1974 120 Gramm nein Agfa Agfamatic Pocket 2008 Agfa Color Agnar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 180 Gramm nein Agfa Agfamatic Pocket 3000 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1976 300 Gramm nein Agfa Agfamatic Pocket 4008 Agfa Color Apotar Zentral Auto 13 x 17 mm Auto 110er Pocketfilm B 1975 200 Gramm nein Agfa Billy (I) Jgestar 8,8 / ca. -
The Nikon F System
The Nikon F system: FILTERS-Optical quality is as indispensable in filters as in lenses. Only the finest optical glass is employed. Precision ground, polished to plano-parallel flatness and strain-free mounted, these filters are free from striation, stress, or other flaws which might deteriorate image quality. Both surfaces are hard coated to reduce reflection. A complete variety of Nikon filters is available for b&w as well as color (see price list for types and sizes). LENS HOODS - Snap-on hoods are specially designed to combine "slip-on" ease with "screw-in" holding power. Can be reversed on lens for compactness in carrying. Screw-in hoods are also available. All lens hoods are calculated for each focal length to give maximum protection without danger of vignetting. REAR LENS CAPS & BODY CAPS - Use of these is recommended to protect lenses and camera body and keep them dust-free when handled and stored separately. PANORAMA HEAD (Prod. No. 2020)-Mounts between camera and tripod, and accurately spaces series of exposures that will join as a single panorama picture covering up to 360. Click-stop positions for 35, 50 and 105mm lenses, and color coded stop indicators to 28, 85 and 135mm lenses. Bubble level accessory available to check whether camera and Panorama Head are horizontal. FILM CASSETTES - All metal, easy to load with standard bulk film. Cost is quickly defrayed by economy of bulk film. Can be loaded for fewer than 20 exposures. Cassettes are recommended for use with motor drive. Available in 36 and 250-expo sure capacity, latter for 250-exposure motor drive only. -
2Nd Hand List Updated on 07/10/2016 6-Month Warranty on All Items Without an Asterisk
1 of 3 2nd Hand List Updated on 07/10/2016 6-month warranty on all items without an asterisk NIKON BODIES £ +VAT NIKON AF LENSES £ +VAT (SEE ALSO SIGMA LIST) NIKON D800 BODY (fr. 18,932) £995 NIKON D700 BODY (fr. 123,300) £449 NIKON D3 BODY (fr. 193,000) £495 NIKON TC-17E II £160 NIKON D3 BODY (fr. 215,721) £499 NIKON TC-17E II £155 NIKON D3 BODY (fr. 251,105) £525 NIKON TC-17E II £165 NIKON D3 BODY (fr. 264,050) £525 NIKON TC-20E £95 NIKON D3 BODY (fr. 182,000) £495 NIKON TC-20E III £199 NIKON D3S BODY (fr: 250,000) £795 NIKON TC-20E III £200 NIKON D3S BODY (new shutter) £895 NIKON 12-24MM F4 G AF-S DX £280 NIKON D3S BODY (fr: 502,000) £750 NIKON 12-24MM F4 G AF-S DX £275 NIKON D3S BODY (fr. 320,000) £895 NIKON 14-24MM F2.8 G N FX £895 NIKON D800 BODY (fr. 27,700) £895 NIKON 14-24MM F2.8 G N FX £950 NIKON Df KITinc 50mm LENS (fr. 24,910) £1,300 NIKON 14-24MM F2.8 G N FX £950 NIKON D4 Body (fr, 146,150) £1650 NIKON 16-35MM F4 G VR £550 NIKON D4 Body (fr,172,688) £1,699 NIKON 16-35MM F4 G VR £579 NIKON D4 Body (fr,420,597) £1,699 NIKON 16-35MM F4 G VR £595 NIKON D4S Body (fr, 291,158) £2,500 NIKON 24MM F1.4 AF-S G N £950 NIKON 24MM F2.8 AF-D £179 NIKON 24-70MM F2.8 G N AF-S £650 NIKON 35-135MM F3.5-4.5 AF £65 NIKON MANUAL LENSES £ +VAT NIKON 70-200MM F2.8 G VR £625 NIKON 70-200MM F2.8 G VR 11 £899 NIKON 70-200MM F2.8 G VR 11 £950 NIKON 24MM F3.5 PC-E £850 NIKON 200-400MM F4 G AF-S VR II £1,950 NIKON 300MM F4 AF-S D £479 NIKON 300MM F4 AF-S £595 NIKON FLASHES £ +VAT NIKON 300MM F2.8 AF-I £1,325 NIKON 300MM F2.8 G ED VR 11 £2349 NISSIN DI 622 MK II FLASH (NIK FIT) £65 NIKON 300MM F2.8 G ED VR 11 £2495 NIKON 400MM F2.8 G N VR £3,595 NIKON 400MM F2.8 G N VR £3,599 NIKON 400MM F2.8 G N VR £3,750 SIGMA & OTHER LENSES £ +VAT SIGMA 50-150MM F2.8 DC EF 11 EX APO £245 SIGMA 80-400MM F4.5-5.6 APO DG EF FIT £295 NIKON ACCS.