Nice Change Background Image photos

A few nice change background image images I found:

pulling bits

Image by Will Lion
“Being digital will change the nature of mass media from a process of pushing bits at people to one of allowing people (or their computers) to pull at them”

Being Digital (1995) by Nicholas Negroponte (p.84)

Background CC image courtesy of
www.flickr.com/photos/jahdakinebrah/313262766. This citation appears on the image.

View the interactive gallery here www.will-lion.com/digitalbites

executing the perfect flying change

Image by sammydavisdog
dressage rider and background here with thanks
www.flickr.com/photos/snapeverything/3069713555/
www.flickr.com/groups/photoshopcontest/discuss/7215763005...
start image thanks to jaci XIII

Bedroom bunny portait.

Image by Sunny-bunny
Working on my idea of the bunny portrait that I want to hang in my bedroom. I hand drew a bunny that I felt was my "inner" bunny (if you get me). I'm embellishing the image with various Kanji to represent what I embody, what I would like to embody, or things which I feel should be my focus. Need to change the background, I think it muddies the image, but at least I'm getting a little more adept at GIMP.

Nice Change Background Image photos

Some cool change background image images:

Earthshine

Image by flurryofsmoke
A tonemapped version of the previous image where the Earthshine appears. The Earthshine is the dark part of the lunar disk that is illuminated by the solar light reflected back by the Earth, whereas the bright crescent is directly illuminated by the Sun.

The image was created and processed as followed:
-I took 130 exposures shot with 5 different exposure times, from 0.1s to 4s;
-I converted the RAW files to linear FITS files with Nebulosity and preprocessed them (subtraction of the camera offset, flat-field correction and subtraction of the sky background);
- I stacked the images in an HDR fashion using the IDL language;
-the crescent, almost 3000 times brighter than the Earthshine, cast a halo of light all over the image, which I had to remove with some sort of deconvolution process. Some residuals of this halo are still there, close to the terminator (separation bewteen the crescent and the Earthshine);
-I tonemapped the luminance channel in Photoshop, while conserving the colors (red- and blue-to-green ratios);
-finally, I changed the color balance so as to make the crescent appear grey in average.

Boy_books

Image by kaburke10
Used my own original image : www.flickr.com/photos/46694549@N03/4347546468/
Used autotone and autocontrast tool to make the picture look a little better as a whole. Selected the books, using the quick selection tool then made a "Layer via copy." Did the same thing for the boy in another layer. I sharpened books a lot, added drop shadow, increased brightness and contrast, changed curves.
Blurred the background and made it black and white.
Sharpened the boy, increased exposure, decreased offset. Cropped picture.

Cool Change Background Image images

Check out these change background image images:

Behind the Facade

Image by P^2 - Paul
Delta changed my departure gate *twice* within an hour this morning in Detroit. When I looked up at the information display to see where to go next, this is what I found.

Windows .NET threw an unhandled exception error. Lovely.

At least they had the presence of mind to have a reasonable desktop background image to fall back on.

And the weather is 50F warmer here in San Francisco than DTW :-)

70F warmer than Calgary was :-) :-)

Cool Change Background Image images

A few nice change background image images I found:

India Village and City Life book

Image by Jennifer Kumar
Country Insights India: City and Village Life

By: Jennifer Kumar

Want to know how the average person in India lives? What is it like to live in village India? How does living in the village or in the city create a unique way of life? David Cumming attempts to answer in his forty-eight page book, Country Insights India: City and Village Life, while providing an overview of India’s modern culture.
 
 
Through stories of life in the city of Bangalore (Karnataka state) and the village of Thrickodithanam (Kerala state), the reader gets a good impression of how an average person lives; their triumphs, their struggles, their opportunities and desires for change. The narrations are accompanied by vivid, colorful and realistic images of daily life of average people. The photos of average people quoted throughout the book are not models, they are everyday people doing everyday things- eating their dinners, walking barefoot to school and sweating in the heat. These images may not be glamorous, but provide a raw, tangible aspect to the book. This is real life, whether it is India or America or any other country- there are people of all kinds of backgrounds living different lifestyles and making their lives successful with the knowledge, skills and resources they have or aspire to have. This is one of the lessons I have learned from the book.

 
 

I really enjoyed reading the quotations accompanying the photos. People of all ages share some interesting aspect of their life in one or two sentences. The children’s perspectives are always so simple, sweet and bring a smile to my face. For example, Ashok says, “We have to wear a uniform, like all school children in India. I’m going to be in trouble because I’ve lost my tie.” (p. 31) More cute quotations are on pages 12, 25, and 38.
 
 
As India is so diverse and difficult to describe in kid-terms, I give kudos to the author for achieving this. Though the book reduced stereotypes by focusing on individual people and telling their stories, there are parts of the book that I felt could be improved.
 
 
Throughout the book, the terms ‘rich’ and ‘poor’ are used. It is true these descriptors have a grain of truth- but for whom? Why should, for instance slum dwellers or villagers be labeled as ‘poor’? Is this a label they created for themselves or the author has created for them? And to what is this compared to? It is true that many villagers and slum dwellers do not make a lot of money, but being a graduate of a social work program in India, I do not call these people ‘poor.’ In some ways the villagers and slum dwellers taught me an important lesson in prosperity. When visiting their homes, they had few food or drink items. It is also true they had little money. But, as it is considered puniya (good luck) to serve something to guests, they would do anything to offer us any food or drink item, preferably tea, with milk. Villagers would come together and pool ten or fifteen rupees (US .20-.30) to buy a packet of milk to feed tea to me and my friends. To me this is a wealth beyond financial definitions. Their spiritual, mental and emotional wealth helped them temporarily overcome any financial challenges they were facing. Impressive! A specific example of judgmental wording is seen in the photo descriptor on page 20. Next to a picture of a man in a village sitting next to his one room house made out of what appears to be scrap pieces of wood reads, “None of the people in this Colony have the money to build a good home.” In this sentence are two words I contest:  “none” and “good house”.  To illustrate my contention with these terms, I will share one more story. There was a person in a Chennai slum who wanted a new house. Their house would be a one room wood construction with mud walls. This person was so proud, happy and appreciative to provide a roof over the head of his family. He had been saving for months to have a new home. I met the builders of this house. They were happy to provide this service for this man and his family and were also happy to have a job so they could provide for their own families (see a picture of these construction workers here). It is true, if you put a person like me into that situation to live, I may feel lack or need, but the people who live in these situations may not feel this way at all.

 

I understand it is difficult to write any book, story or blog from a true non-judgmental or biased viewpoint. As humans we write from our viewpoint, which is inherently biased in someway. It is often the reader’s intuition and worldliness that inspires questions. This can be done as an adult, but can children always make this discrimination? Would children question the words ‘poor’ and ‘rich’ especially when coupled with powerful images (such as the man sitting next to his house)? This is important for parents to do when reading books and when sharing any type of media with their children. Because I believe it is a rare find to read or watch something truly unbiased with your children, rather than not share it, share the questions that come up in your mind as you read it with your children. Ask them what they think ‘poor’ and ‘rich’ means or any of these black or white descriptor words. Have a discussion with your children, see the world through their eyes and keep teaching each other about the world around you!
 
Have you read David Cumming’s book, Teens In India? Share your thoughts below.
 
Browse other reviewed items at the archive.
Thank you for reading. If you have ideas of products for me to review for this series, e-mail me.
 
Related Posts/Sites:

www.amazon.com/dp/0817247971?tag=alawavofsou-20&camp=...;
Photos of my Social Work Master's Program, Chennai, India 1999-2001
List of Hindu Holidays   
Interfaith India/America Calendar
 
If you want to assure you do not miss a single post, subscribe to my free RSS Feed, Yahoo! Group (monthly e-mails), or Alaivani Facebook Group.

Upright

Image by Jennifer Kumar
Country Insights India: City and Village Life

By: Jennifer Kumar

Want to know how the average person in India lives? What is it like to live in village India? How does living in the village or in the city create a unique way of life? David Cumming attempts to answer in his forty-eight page book, Country Insights India: City and Village Life, while providing an overview of India’s modern culture.
 
 
Through stories of life in the city of Bangalore (Karnataka state) and the village of Thrickodithanam (Kerala state), the reader gets a good impression of how an average person lives; their triumphs, their struggles, their opportunities and desires for change. The narrations are accompanied by vivid, colorful and realistic images of daily life of average people. The photos of average people quoted throughout the book are not models, they are everyday people doing everyday things- eating their dinners, walking barefoot to school and sweating in the heat. These images may not be glamorous, but provide a raw, tangible aspect to the book. This is real life, whether it is India or America or any other country- there are people of all kinds of backgrounds living different lifestyles and making their lives successful with the knowledge, skills and resources they have or aspire to have. This is one of the lessons I have learned from the book.

 
 

I really enjoyed reading the quotations accompanying the photos. People of all ages share some interesting aspect of their life in one or two sentences. The children’s perspectives are always so simple, sweet and bring a smile to my face. For example, Ashok says, “We have to wear a uniform, like all school children in India. I’m going to be in trouble because I’ve lost my tie.” (p. 31) More cute quotations are on pages 12, 25, and 38.
 
 
As India is so diverse and difficult to describe in kid-terms, I give kudos to the author for achieving this. Though the book reduced stereotypes by focusing on individual people and telling their stories, there are parts of the book that I felt could be improved.
 
 
Throughout the book, the terms ‘rich’ and ‘poor’ are used. It is true these descriptors have a grain of truth- but for whom? Why should, for instance slum dwellers or villagers be labeled as ‘poor’? Is this a label they created for themselves or the author has created for them? And to what is this compared to? It is true that many villagers and slum dwellers do not make a lot of money, but being a graduate of a social work program in India, I do not call these people ‘poor.’ In some ways the villagers and slum dwellers taught me an important lesson in prosperity. When visiting their homes, they had few food or drink items. It is also true they had little money. But, as it is considered puniya (good luck) to serve something to guests, they would do anything to offer us any food or drink item, preferably tea, with milk. Villagers would come together and pool ten or fifteen rupees (US .20-.30) to buy a packet of milk to feed tea to me and my friends. To me this is a wealth beyond financial definitions. Their spiritual, mental and emotional wealth helped them temporarily overcome any financial challenges they were facing. Impressive! A specific example of judgmental wording is seen in the photo descriptor on page 20. Next to a picture of a man in a village sitting next to his one room house made out of what appears to be scrap pieces of wood reads, “None of the people in this Colony have the money to build a good home.” In this sentence are two words I contest:  “none” and “good house”.  To illustrate my contention with these terms, I will share one more story. There was a person in a Chennai slum who wanted a new house. Their house would be a one room wood construction with mud walls. This person was so proud, happy and appreciative to provide a roof over the head of his family. He had been saving for months to have a new home. I met the builders of this house. They were happy to provide this service for this man and his family and were also happy to have a job so they could provide for their own families (see a picture of these construction workers here). It is true, if you put a person like me into that situation to live, I may feel lack or need, but the people who live in these situations may not feel this way at all.

 

I understand it is difficult to write any book, story or blog from a true non-judgmental or biased viewpoint. As humans we write from our viewpoint, which is inherently biased in someway. It is often the reader’s intuition and worldliness that inspires questions. This can be done as an adult, but can children always make this discrimination? Would children question the words ‘poor’ and ‘rich’ especially when coupled with powerful images (such as the man sitting next to his house)? This is important for parents to do when reading books and when sharing any type of media with their children. Because I believe it is a rare find to read or watch something truly unbiased with your children, rather than not share it, share the questions that come up in your mind as you read it with your children. Ask them what they think ‘poor’ and ‘rich’ means or any of these black or white descriptor words. Have a discussion with your children, see the world through their eyes and keep teaching each other about the world around you!
 
Have you read David Cumming’s book, Teens In India? Share your thoughts below.
 
Browse other reviewed items at the archive.
Thank you for reading. If you have ideas of products for me to review for this series, e-mail me.
 
Related Posts/Sites:

www.amazon.com/dp/0817247971?tag=alawavofsou-20&camp=...;
Photos of my Social Work Master's Program, Chennai, India 1999-2001
List of Hindu Holidays   
Interfaith India/America Calendar
 
If you want to assure you do not miss a single post, subscribe to my free RSS Feed, Yahoo! Group (monthly e-mails), or Alaivani Facebook Group.

Cool Change Background Image images

Some cool change background image images:

Scruffy corner (back garden in transition, spring 2008, 2/3)

Image by Darkroom Daze
The rather scruffy upper end of our garden in Spring 2008.

We were in the midst here of changing the top end of our garden from an unkempt bare patch to a terrace with borders. The Valrosa Cabin workshop (background) was quite new (2007) and here we are are just moving things into it after we'd painted the inside, put in the floor-covering and fitted the shelving. The deckingand the block path to the cabin were also new. These were all the first steps in the plan for this part of the garden. The untidy area in front of the cabin had become a temporary dumping area for garden materials during the construction work, but was soon to become our upper terrace. Compare this view with the same one five months later.

NOTE ON THE GARDEN
The garden was very plain and bare when we arrived in 1985. We have been developing the design gradually since then, but not from a single pre-planned conception. Eventually we developed the overall shape, with a 'winding river' effect made by the lawns and path (though this is not shown in this view). The shapes of the rockeries, planting and other features are based on the way a small stream winds between 'interlocking spurs' in hilly terrain. We did all the planting, and I built many of the features. For further history of our garden, see set description for 'OUR BACK GARDEN'

GARDEN DETAILS
To see the garden details better, go to Actions (top L) > View all sizes > Original. See also notes on picture. However, notes are not retained in downloaded versions of Flickr images.

Features
- Decking - removable decking 'bridge' (recently completed by Acer Landscapes) over Middle Section of Garden Railway, öowere L. Ideally we'd have been able to make this a fixed bridge in stone but this would have meant having a step-up here in order to give full clearance for the trains.
- Garden Railway (G-scale) - Part of the Middle Section is visible here, lower centre and lower R where it joins the Upper Loop on the Upper (Railway) Rockery. This is a 45mm gauge G-Scale layout using Märklin-LGB track, parts and rolling stock, with my own garden-sized civil engineering.
- Path - concrete block paving with treated wooden edging, recently (2007) laid by Acer Landscapes. This section (L) is the uppermost part of our main garden path and leads to steps of Valrosa Cabin in background.
- Temple of Juno garden shed - only part visible is the singe white column of portico, far L. I made the columns made from a flag pole.
- Valrosa Cabin workshop - in background L, fully insulated, built for us the previous year by Acer Landscapes. Although completed, we had to paint the inside and put floor covering in, before we could fit it out and move in (as we are doing here).
- Water butt - centre R, recently installed, for storing rain water from roof of Valrosa Cabin, just behind.

Plants (also noted on photo)
- Ficus carica 'Brown Turkey' - fig tree, centre R in corner of terrace. 'Brown Turkey' is the commonly-chosen variety recommended for the British climate for yielding fruit. Tree looks new but is actually about 20 years old and had to be cut back to enable Valrosa Cabin construction in 2007. We planted it c.1990 not long after we arrived in the house. As recommended, we confined the roots with a loose brick surround beneath soil level.
- Juniperus horizontalis - prostrate juniper, in poor condition, centre foreground by Upper Loop of Garden Railway.
- Picea glauca var. albertiana 'Conica' - dwarf white spruce, centre foreground, showing some brown die-back.

OTHER DETAILS (also noted on photo)
- 'Banks Cabinet' drawers (ex-NHM - "Rosen Wanted") - L centre, stacked up during transfer from house, and about to be moved into Valrosa Cabin behind.

LOCATION DETAILS
Country: Great Britain: England
City: London
London Borough: Lambeth
District: West Dulwich, SE21
Altitude: 40m
Aspect: view is approx to NW.

Photo
© Darkroom Daze Creative Commons.
If you would like to use or refer to this image, please link or attribute.
ID: CIMG0567 - Version 2

In memory of steve jobs

Image by MarkGregory007

I found this neat image of Steve Jobs on the internet and added a background and words. I love the image. The graphics artist who created it (see comments and link from Flickr member below) was right on in his vision.

Ever since Steve Jobs passed on, the media has been referencing a speech Jobs gave that provides insight into life and death. Below is a quote from his June, 2005 speech at Stanford University.

"....No one wants to die. Even people who want to go to heaven don't want to die to get there. And yet death is the destination we all share. No one has ever escaped it. And that is as it should be, because Death is very likely the single best invention of Life. It is Life's change agent. It clears out the old to make way for the new. Right now the new is you, but someday not too long from now, you will gradually become the old and be cleared away. Sorry to be so dramatic, but it is quite true.

Your time is limited, so don't waste it living someone else's life. Don't be trapped by dogma — which is living with the results of other people's thinking. Don't let the noise of others' opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary...."

Desktop

Image by Kristian20
My desktop, which i bet if most of ya tried to view in origional size, won't be able to fit on your screens...lol. background wallpaper changes every 15 minutes thru 100+ images. wallpaper thanx to lomokev.

Nice Change Background Image photos

Some cool change background image images:

Succulent Blossoms With Bokeh

Image by Bill Gracey
For this flower picture, I wanted to capture some of the colorful out of focus background in our garden, I used my 50 mm 1.8 lens for that purpose. I did change the aperture a little, though, so that I could all of the blossoms in focus. In fact I had to combine blossoms from two different exposures in order to get them all in focus. Kind of a primitive focus stacking. For contrast I also used a strobe and my macro lens so that i could get a really sharp image with lots of depth of field. I'm not sure which version I prefer, because they are so different.

I've included the version taken with flash in the comments below.

I would be interested and grateful for your feedback on these. Hopefully, you don't hate them both.

Timbuktu & Texture Too

Image by Ron's Iterations
This was created from an actual satelite photo of Timbuktu in Africa


Timbuktu in the West African nation of Mali is at the intersection of an east-west and a north-south Trans Saharan trade route across the Sahara. The city-state was an intellectual and spiritual capital in the 15th and 16th centuries. After long years of decline, Timbuktu is still a tourist destination and is a UNESCO World Heritage Site.

This image was captured by the ASTER image aboard the Terra spacecraft. With its 14 spectral bands from the visible to the thermal infrared wavelength region and its high spatial resolution of 15 to 90 meters (about 50 to 300 feet), ASTER images Earth to map and monitor the changing surface of our planet. ASTER is one of five Earth-observing instruments launched December 18, 1999, on NASA's Terra satellite. The instrument was built by Japan's Ministry of Economy, Trade and Industry. A joint U.S./Japan science team is responsible for validation and calibration of the instrument and the data products.

The broad spectral coverage and high spectral resolution of ASTER provides scientists with critical information for surface mapping and monitoring of dynamic conditions and temporal change.

Image Credit: NASA/GSFC/METI/ERSDAC/JAROS, and U.S./Japan ASTER Science Team

Link to photo: www.nasa.gov/images/content/394656main_PIA12305_full.jpg

MIT+150: FAST (Festival of Art + Science + Technology): FAST LIGHT — Liquid Archive, with Light Bridge in background

Check out these change background image images:

MIT+150: FAST (Festival of Art + Science + Technology): FAST LIGHT — Liquid Archive, with Light Bridge in background

Image by Chris Devers
Quoting from the official pamphlet:

FAST LIGHT • May 7 + 8, 2011, 7 pm - 10 pm

Contemporary pioneers in art, science, and technology have come together at MIT to create one of the most exhilarating and inventive spectacles metro Boston has ever seen. On May 7 and 8, 2011, visitors can interact with 20+ art and architectural installations illuminating the campus and the Charles River along Memorial Drive at MIT.

arts.mit.edu / fast

Installations scattered around campus (we didn't quite see all of them), again pasting from the official flyer:

• aFloat
MIT Chapel • Saturday, May 7th ONLY
Inspired by water in the Saarinen Chapel's moat, a touch releases flickers of light before serenity returns as a calm ripple.
By Otto Ng, Ben Regnier, Dena Molnar, and Arseni Zaitsev.

• Inflatables
Lobby 7, Infinite Corridor
A dodecahedron sculpture made of silver nylon resonates with gusts of air, heat from light bulbs, and the motions of passersby.
By Kyle Barker, Juan Jofre, Nick Polansky, Jorge Amaya.

• (now(now(now)))
Building 7, 4th Floor
This installation nests layers of the past into an image of the present, recursively intertwining slices of time.
By Eric Rosenbaum and Charles DeTar.

• Dis(Course)4
Building 3 Stair, Infinite Corridor
A stairwell transformed by a shummering aluminum conduit inspired by the discourse between floors and academic disciplines.
By Craig Boney, Jams Coleman and Andrew Manto.

• Maxwell's Dream
Building 10 Community Lounge, Infinite Corridor
An interactive mural created by magnetic fields that drive patterns of light, Maxwell's Dream is a visually expressive cybernetic loop.
By Kaustuv De Biswas and Daniel Rosenberg.

• Mood Meter
Student Center & Building 8, Infinite Corridor
Is the smile a barometer of happiness? Mood Meter playfully assesses and displays the mood of the MIT community onsite and at moodmeter.media.mit.edu
By Javier Hernandez and Ehsan Hoque.

• SOFT Rockers
Killian Court
Repose and charge your electronic devices using green solar powered technology
By Shiela Kennedy, P. Seaton, S. Rockcastle, W. Inam, A. Aolij, J. Nam, K. Bogenshutz, J. Bayless, M. Trimble.

• LightBridge
The Mass. Ave Bridge
A dynamic interactive LED array responds to pedestrians on the bridge, illustrating MIT's ties to both sides of the river. Thanks to Philips ColorKinetics, CISCO, SparkFun Electronics.
By Sysanne Seitinger.

• Sky Event
Killian Court, Saturday, May 7th ONLY
Immense inflatable stars soar over MIT in celebration of the distinctive symbiosis among artists, scientists and engineers.
By Otto Piene.

• Liquid Archive
Charles River
A floating inflatable screen provides a backdrop for projections that highlight MIT's history in science, technology, and art.
By Nader Tehrani and Gediminas Urbonas.

• Light Drift
Charles River
Ninety brightly glowing orbs in the river change color as they react to the presence of people along the shore.
By Meejin Yoon.

• Unflat Pavilion
Building 14 Lawn
This freestanding pavilion illuminated with LEDs flexes two dimensions into three. Flat sheets are bent and unfurl into skylights, columns, and windows.
By Nick Gelpi

• Gradated Field
Walker Memorial Lawn
A field of enticing mounts create a landscape that encourages passersby to meander through, or lounge upon the smooth plaster shapes.
By Kyle Coburn, Karina Silvester and Yihyun Lim.

• Bibliodoptera
Building 14, Hayden Library Corridor
Newly emerged from the chrysalis of MIT's diverse library pages, a cloud of butterflies flutters above, reacting to the movement of passersby.
By Elena Jessop and Peter Torpey.

• Wind Screen
Green Building Facade, Bldg 54
A shimmering curtain of light created by micro-turbines displays a visual register of the replenishable source of wind energy.
By Meejin Yoon.

• String Tunnel
Building 18 Bridge
A diaphonous tunnel creates a sense of entry to and from the Infinite Corridor and frames the surrounding landscape.
By Yuna Kim, Kelly Shaw, and Travis Williams.

• voltaDom
Building 56-66 Connector
A vaulted passageway utilizes an innovative fabrication technique that creates complex double curved vaults through the simple rolling of a sheet of material.
By Skylar Tibbits.

• Night of Numbers
Building 66 Facade & E15 Walkway
A lighting installation enlivens MIT architectre with numbers that hold special or historical significance to the Institute. Can you decode them all?
By Praveen Subramani and Anna Kotova.

• Overliner
Building E-25 Stairwell
Taking cues from a stairwell's spiraling geometry, Overliner transforms a familiar and busy passageway into a moment of surprise and repose.
By Joel Lamere and Cynthia Gunadi.

• Chroma District
Corner of Ames and Main Streets.
Lanterns react to visitors by passing sound and color from one to another, increasing in intensity along the way and illuminating the path to MIT's campus.
By Eyal Shahar, Akito van Troyer, and Seung Jin Ham.

Mt Sopris

Image by Scott Ingram Photography
This is a HDR shot of Mt Sopris as viewed from Hwy 82 between Carbondale and Basalt, CO.
This was a beautiful fall day and made for one of my favorite shots.

'Mt Sopris' Large On Black

This image is available for sale from my website:
www.scottingramphotography.com
Or directly via my ImageKind storefront here.



This photo has since been updated The new and improved image can be found here:
www.flickr.com/photos/scingram/4837512675/

MIT+150: FAST (Festival of Art + Science + Technology): FAST LIGHT — Liquid Archive, with Light Bridge and John Hancock Building in background

Image by Chris Devers
Quoting from the official pamphlet:

FAST LIGHT • May 7 + 8, 2011, 7 pm - 10 pm

Contemporary pioneers in art, science, and technology have come together at MIT to create one of the most exhilarating and inventive spectacles metro Boston has ever seen. On May 7 and 8, 2011, visitors can interact with 20+ art and architectural installations illuminating the campus and the Charles River along Memorial Drive at MIT.

arts.mit.edu / fast

Installations scattered around campus (we didn't quite see all of them), again pasting from the official flyer:

• aFloat
MIT Chapel • Saturday, May 7th ONLY
Inspired by water in the Saarinen Chapel's moat, a touch releases flickers of light before serenity returns as a calm ripple.
By Otto Ng, Ben Regnier, Dena Molnar, and Arseni Zaitsev.

• Inflatables
Lobby 7, Infinite Corridor
A dodecahedron sculpture made of silver nylon resonates with gusts of air, heat from light bulbs, and the motions of passersby.
By Kyle Barker, Juan Jofre, Nick Polansky, Jorge Amaya.

• (now(now(now)))
Building 7, 4th Floor
This installation nests layers of the past into an image of the present, recursively intertwining slices of time.
By Eric Rosenbaum and Charles DeTar.

• Dis(Course)4
Building 3 Stair, Infinite Corridor
A stairwell transformed by a shummering aluminum conduit inspired by the discourse between floors and academic disciplines.
By Craig Boney, Jams Coleman and Andrew Manto.

• Maxwell's Dream
Building 10 Community Lounge, Infinite Corridor
An interactive mural created by magnetic fields that drive patterns of light, Maxwell's Dream is a visually expressive cybernetic loop.
By Kaustuv De Biswas and Daniel Rosenberg.

• Mood Meter
Student Center & Building 8, Infinite Corridor
Is the smile a barometer of happiness? Mood Meter playfully assesses and displays the mood of the MIT community onsite and at moodmeter.media.mit.edu
By Javier Hernandez and Ehsan Hoque.

• SOFT Rockers
Killian Court
Repose and charge your electronic devices using green solar powered technology
By Shiela Kennedy, P. Seaton, S. Rockcastle, W. Inam, A. Aolij, J. Nam, K. Bogenshutz, J. Bayless, M. Trimble.

• LightBridge
The Mass. Ave Bridge
A dynamic interactive LED array responds to pedestrians on the bridge, illustrating MIT's ties to both sides of the river. Thanks to Philips ColorKinetics, CISCO, SparkFun Electronics.
By Sysanne Seitinger.

• Sky Event
Killian Court, Saturday, May 7th ONLY
Immense inflatable stars soar over MIT in celebration of the distinctive symbiosis among artists, scientists and engineers.
By Otto Piene.

• Liquid Archive
Charles River
A floating inflatable screen provides a backdrop for projections that highlight MIT's history in science, technology, and art.
By Nader Tehrani and Gediminas Urbonas.

• Light Drift
Charles River
Ninety brightly glowing orbs in the river change color as they react to the presence of people along the shore.
By Meejin Yoon.

• Unflat Pavilion
Building 14 Lawn
This freestanding pavilion illuminated with LEDs flexes two dimensions into three. Flat sheets are bent and unfurl into skylights, columns, and windows.
By Nick Gelpi

• Gradated Field
Walker Memorial Lawn
A field of enticing mounts create a landscape that encourages passersby to meander through, or lounge upon the smooth plaster shapes.
By Kyle Coburn, Karina Silvester and Yihyun Lim.

• Bibliodoptera
Building 14, Hayden Library Corridor
Newly emerged from the chrysalis of MIT's diverse library pages, a cloud of butterflies flutters above, reacting to the movement of passersby.
By Elena Jessop and Peter Torpey.

• Wind Screen
Green Building Facade, Bldg 54
A shimmering curtain of light created by micro-turbines displays a visual register of the replenishable source of wind energy.
By Meejin Yoon.

• String Tunnel
Building 18 Bridge
A diaphonous tunnel creates a sense of entry to and from the Infinite Corridor and frames the surrounding landscape.
By Yuna Kim, Kelly Shaw, and Travis Williams.

• voltaDom
Building 56-66 Connector
A vaulted passageway utilizes an innovative fabrication technique that creates complex double curved vaults through the simple rolling of a sheet of material.
By Skylar Tibbits.

• Night of Numbers
Building 66 Facade & E15 Walkway
A lighting installation enlivens MIT architectre with numbers that hold special or historical significance to the Institute. Can you decode them all?
By Praveen Subramani and Anna Kotova.

• Overliner
Building E-25 Stairwell
Taking cues from a stairwell's spiraling geometry, Overliner transforms a familiar and busy passageway into a moment of surprise and repose.
By Joel Lamere and Cynthia Gunadi.

• Chroma District
Corner of Ames and Main Streets.
Lanterns react to visitors by passing sound and color from one to another, increasing in intensity along the way and illuminating the path to MIT's campus.
By Eyal Shahar, Akito van Troyer, and Seung Jin Ham.

Nice Change Background Image photos

A few nice change background image images I found:

Changing women's lives

Image by DFID - UK Department for International Development
Mwanasha, along with nearly 200 women, gather under the shade of a Balboab tree. They’ve come for contraceptives, which for many of them can save their lives and transform their families' futures. In Malawi, one in 36 women die in childbirth compared to one in 4,600 in the UK.

Background

On 11 July 2012 the UK Government and the Bill & Melinda Gates Foundation will host a groundbreaking summit to cut in half the current number of women and girls in the world’s poorest countries without access to contraception, but who wish to avoid pregnancy or space their children.

Every woman and girl deserves the opportunity to to determine her own future. Contraceptives give the world's poorest women the power to decide if and when to have another child.

Find out more at www.dfid.gov.uk/changinglives

To follow the London Summit on Family Planning visit www.dfid.gov.uk/fpsummit

Picture: Lindsay Mgbor/Department for International Development

Terms of use

This image is posted under a Creative Commons - Attribution Licence, in accordance with the Open Government Licence. You are free to embed, download or otherwise re-use it, as long as you credit the source as Lindsay Mgbor/Department for International Development'.

"Now I can breathe a sigh of relief - there is a real change here"

Some cool change background image images:

"Now I can breathe a sigh of relief - there is a real change here"

Image by DFID - UK Department for International Development
Anne Mbusu is the administrator of the Masi Maminba territory, in the Democratic Republic of Congo's Bandundu province. In 2010, she became aware that there was a growing malnutrition problem in Masi Manimba. A survey by the Pool d'Urgence Nutritionel du Congo found very high rates of malnutrition, triggering a response which was lead by the NGO Action Against Hunger, supported by UK aid.

Action Against Hunger sent a team of doctors and nutritionists to Masi Manimba for three months. They identified and treated as many malnourished children as possible.

Following the initial three month response Action Against Hunger stayed on in the town for another few months, training to community leaders like Anne, teaching them how to identify the early signs of malnutrition as well as how to better use locally available produce in order to eat more healthily. Anne Mbusu explains what a difference this has made to her town:

"As a mother, it made me stop and think. Now I can breathe a sigh of relief, there is a real change. Now when you go to the hospital there are only a small number of malnourished children there, whereas before you used to find a lot.

"Action Against Hunger trained us how to look after ourselves better. Thanks to the training, we consider ourselves actors now. The training helps us when we talk to a new community. We have the responsibility to raise people's awareness about the necessity to feed children well first of all, with the food we can produce ourselves.

"I think families used to be reluctant to bring a malnourished child to a health centre because they thought it would bring shame on them. Also malnutrition is a disease that can evolve little by little and cause death without much notice. I think that now, the parents, the families understand that every malnourished child has to be taken to the health centre."

Background

Acute malnutrition is a major public health problem across the Democratic Republic of Congo. UK aid has supported the government of DRC and aid agencies including Action Against Hunger to provide emergency nutrition response programmes across DRC in 2010 and 2011.

In some areas, the communities have taken the ideas that Action Against Hunger brought to them, and organised themselves to tackle malnutrition from the ground up - by forming their own co-operative farms and self-support groups.

Read the full story at www.dfid.gov.uk/Stories/Case-Studies/2012/Sowing-the-seed...

Picture: Russell Watkins/Department for International Development

Terms of use

This image is posted under a Creative Commons - Attribution Licence, in accordance with the Open Government Licence. You are free to embed, download or otherwise re-use it, as long as you credit the source as Russell Watkins/Department for International Development'.

Cartier on the Champs-Élysées at Christmas

Image by Stuck in Customs
I was working on this photo this evening with a friend to show him some of the techniques that have evolved since HDR started getting popular. I find my methodology changes and evolves about every two months or so. I look back at my old stuff in horror!

Ah yes... the wet streets of Paris here... Seems like an idyllic place for this little store called Cartier, eh?

from my daily photo blog at www.stuckincustoms.com

colours - Take 2

A few nice change background image images I found:

colours - Take 2

Image by afroboof
Second version of this image
www.flickr.com/photos/afroboof/5477674718/

Added more texture to the background image in GIMP and gave it more space around the edges to let it breathe. The small polaroid-like images I churned through Poladroid www.poladroid.net

Not quite happy yet, especially since the polaroids still look too neat. But I couldn't find the motivation to have a go at each one of the 14 with more layers and textures.

What do you think of these two versions and the changes made?

Credit to
www.flickr.com/photos/moosebite/3431347101
for setting a bit of a gold standard!

Felicity The Cat in a Kaleidoscope

Image by ♥ Crystal Writer ♥
This one was a just for fun twist of my sister's cat picture where I focused on the eye and nose instead of the frame. Since the kitty is black, and the background of the picture is a gray screen with a brick wall behind it, I went ahead and changed the picture to gray scale for better shadows. It looks pretty neat in the 1680 x 1050 original.

Comparison of dust and oil spots, D7000

Some cool change background image images:

Comparison of dust and oil spots, D7000

Image by imaginedhorizons
I briefly owned a Nikon D7000 but found large spots appearing on my images. I discovered that oil was being flicked on to the sensor when the shutter fired.

A small number of D7000 users have had similar problems and have lengthy sagas to relate about the trouble getting the problem fixed.

The problem is disbelief at Nikon service centres and equal disbelief (often delivered in an ill-mannered fashion) by Nikon fans online. Nothing is perfect and a few misbehaving D7000s may not turn out to be a big issue, but the way the owners of these cameras are treated most certainly is. It is ungracious for them to be accused of negligent use, allegedly resulting in dust contamination, when they are innocent victims.

I thought that this pair of images might better illustrate the difference between dust on a sensor and oil spots. The images were taken at similar apertures, f8 at the top and f6.3 at the bottom.

The top image was taken with a Pentax K10. It was about three years old when the shot was taken and had 40,000 shutter actuations, numerous lens changes and considerable mucky field use. The sensor has never been wet-cleaned (actually never cleaned at all except the occasional puff of air). A few small dark spots can be seen (two are arrowed) and smaller ones do show at higher apertures. They appear anywhere on the image.

The bottom image was taken by a four week old Nikon D7000 which had about 800 shutter actuations. The camera had the same lens attached over the four week period so absolutely zero lens changes. The spots are larger, rounded and predominantly appear at the bottom right (i.e. there's a bias to where they appear, not randomly like dust). I have arrowed a few but you may well see some others that form a stream of splashes running diagonally up and right. A real challenge to 'Photoshop' out due to their size. Also, bear in mind that the image was taken at f6.3 so avoiding high apertures is not going to work. Yet this hardly credible suggestion has been posted in the forums. What is the point of having aperture rings on lenses if we're told to not go beyond f5.6 or something?

I am aware that the bottom image may appear dim on some monitors (I edited the image on a Mac with a bright screen) but hopefully the spots will show up. Click on it to get a view against a dark background.

Copying this image? Please do and show to anyone you like, especially service technicians. They keep saying that haven't seen this before...repeatedly.

I hope this settles the argument but I am not counting on it (actually, by spring 2012 it seems that the problem is now widely acknowleged; it seems only Nikon has never openly written about it). Intelligent feedback welcome; unhelpful remarks may be deleted.

How to improve contrast

Image by ClaraDon
Here is a cool little trick for you Photoshoppers that I happened across. When you have photos that need more contrast, be they people, flowers, or whatever, here is a simple fix.
Make a duplicate copy of your background. Go to Image, Adjust and De-Saturate the copy. Now change the blending mode of the copy from Normal to Soft Light. And you are done.
Normally that is all it takes and I've used this many times. On this particular photo, as you can see by the leaves the whole photo darkens a bit so I lost that pretty yellow color on the stem. Not a problem I just used the eraser tool with a soft brush on the copy and got it back.

THE BUTTERFLY IS JUST A BUG ...

Image by mrbill78636
... the background music is from The Tex-Czechs album of Paul & Lina Hybner. Paul and Lina were the musical entertainment for Michele's birthday party and agreed to let me use their music as background for my slide-shows. Here's the link to their website ...

www.hybners.com

... They have one polka on this album dedicated to their dog, PeeGee or as he has now come to be called The Peege and we're planning a best canine friend and family slide show in the future. If you would like to include your loyal friend, send me a JPEG and I'll be sure and include him or her.

...this is just another Dada, nonsense, fun and hopefully entertaining slide show with some art work I'm inviting you to view and have whatever feelings you are programed to have about it. Art is about you and no one else. In art, nothing is right or wrong, good or bad; there are simply differences. Just the simple juxtaposition of looking up at someone or looking down on them, which is even a part of our language, makes the other person different and that's the way it is with art, so no titles, no narratives, just images with background music. I could change the music to one of Lina's ballads and it would change the perception of the images. Your job in this is simply to respond, which could be anything from a "play it again" to a prompt "delete" and whatever you do is not mean or kind, good or bad, it's just the way it is. It's a lot like "no-fault" insurance.

...even the name has no meaning, of course the butterfly is a bug, we knew that.

Nice Change Background Image photos

A few nice change background image images I found:

Chromazones, try 1b

Image by ☣ cUKi
A first attempt at building a Chromazones swatches table - I don't call this a success, but it points out a few interesting things ("Chromazones"!? Well, here's an explanation, straight from the source - watch the video excerpt).

The Lee gels used are listed below. For each colour, I've measured the base exposure in reflective mode, then bracketed the aperture all the way, then adjusted the flash power, took another base measurement then bracketed the aperture the other way. Lots of exposures:

First row, no gel
716 Mikkel Blue
128 Bright Pink
089 Moss Green
104 Deep Amber
025 Sunset Red
201 Full CTB
244 Full Plus Green
204 Full CTO

#1: My exposures were not accurate enough, even if I used a flash meter. One problem is the meter has a 0.1 stops precision while the camera can be adjusted only in 1/3 stops increments, so I had to randomly round some values. Even at a glance, swatches on a column don't seem to have the same luminosity, even if they're supposed to. Or maybe my camera's response curve was automatically adjusted at some point (RAW developer?), I'll have to try and control it better.

Another problem is that shooting handheld and not having a very uniform coverage of the target means that the averaged values can be randomly skewed by the wrinkles on the cloth and the light's falloff. For a better test, the camera and target should both be fixed, and the illumination soft and from the camera's axis.

#2: It was a surprise how small the difference between full stops can be (but see #1).

#3: It was not such a surprise how saturated the colours can get at their specific exposure (way out of CMYK gamut, for instance) on a simple white nylon screen. Collins was right, they can get scary. The colours can then get much less saturated only a couple of stops away.

#4: There are not just one colour gradients, the hues change as the exposure varies, and that becomes obvious when the channels start to get clipped (below -3Ev and above +2Ev). I think that's OK, the purpose of this table is to provide a realistic representation of the effects of changing the exposure, not just a colour gradient. On the other hand, I'm not sure if clipped exposures belong in this table.

#5: Because of #3 and #4, the results of altering the exposure are not intuitive, so building and referring to such a table is definitely worthwhile.

#6: After uploading to Flickr, I can't see the first column anymore, colours got darker and have lost some of their saturation.

This image is "commentware". If for some reason you decide to download it and use it, you're welcome to, but please do also leave a comment here. The image is meant as a visual reference only, and it's obviously inaccurate, so please don't calibrate anything on it.

Beaucoup de kilomètres, 0 photos / A lot of miles, 0 pictures

Image by meantux
Mais il restait dans la caméra cette photo d'écureuil prise hier à la maison, je vous écris d'un hotel en Pensylvannie, je viens de me faire changer de chambre parce qu'il y avait de la merde puante qui sortait du drain du bain.

But there was this picture of a squirrel taken yesterday at home in the camera, I am writing you from an hotel in Pennsylvania, I just had my room changed because there was a lot of dirty and smelly shit coming out of the bath drain (pardon my french).

Fonds d'écrans / Desktop wallpapers:
800x600
1024x768
1280x1024
Format 16:10 / Widescreen:
1280x768
1280x800
1440x900
1680x1050
1920x1200
Format 16:9 / Widescreen:
1920x1080
480x272(Sony PSP)

Depuis janvier 2005 à tous les jours j'ai rajouté une image de fond d'écran (chacune en plusieurs formats). Toutes ces images sont disponibles gratuitement, aucun besoin de s'enregistrer à l'adresse suivante: www.deniscarl.com

Every day since January 2005 I added a picture and converted it to multiple Desktop wallpapers formats. All those pictures are available for free, no hassle, no need to register at the following address: www.deniscarl.com

Mamy - Right

A few nice change background image images I found:

Mamy - Right

Image by Red Black Production
Mamy by RedBlackProduction

This is the studio's main audio workstation. Just thought I'd post this as I'm about to redesign it. I've had several weeks to tinker with Rainmeter and I've got some new setup ideas :]

- - -

This is the secondary monitor.

I use Launchy to launch apps and documents, and in conjunction with NirCmd to email, tweet, shutdown monitors, open and close DVD trays, append items to my ToDo list, send the contents of my clipboard to a predesignated text file, speak aloud the contents of my clipboard [more handy than it sounds :] and to perorm fast indexed file searching through Everything!

The list on the right is the ToDo list that is appended by Launchy. It takes me 2 or 3 seconds to quickly add an idea or reminder for myself, without leaving the program I'm using or breaking my mental flow.

The background image I made to give myself some visual boundaries for icons. The area at the top [above the birds :] is for my current projects. The area in the middle is for random crap that I need to sort out! I turned off icon arranging to give a more of a messy floor look :]

Left Monitor

Both Monitors

- - -

Meters | Rainmeter

Random Quote | Changes hourly, left click changes manually | Code by moi, this particular quote I think was one of many supplied by JSMorley at the Rainmeter forum

CPU Meter | Left click runs 1-Click Maintenance Scan | Modified from Kaelri's Enigma

RAM + Swap File | Left click opens Task Manager | Modified from Dark-Shot666's Next1

Drives Icons | Left click opens drive folder, right click opens a standalone stack | Modified from Kaelri's Enigma

DVD Drive Icon | Left click opens drive folder, right click opens burning program | Left arrow closes physical tray, right arrow opens tray | Code by moi

My Computer Icon | Left click opens My Computer folder, right click opens a standalne stack | Code by moi

System Preferences | Left click opens System Control, right click opens System Information | Code by moi

Clock | Left click opens Date and Time Properties, right click opens Mozilla Prism Google Calender App | Modified from Kaelri's Enigma

Net Traffic | Left click connects to Net, right click opens Net Connection Status | Code by moi

Weather | Left click refreshes weather | Modified from Moxamax's Moxaweather

Docs Folder Dock & Audio Folder Dock | Left click opens folder, right click opens a standalone stack | Code by moi, inspired in part by JSMorley's JMDock

ToDo List | Left click manually refreshes, right click opens text file | Modified from Kaelri's Enigma

- - -

Background | Modified artwork by the amazingly talented dario111

Visual Style | area o4

Icons | Ecqlipse, Reflections

Application Launcher | Launchy

Media Display | CD Art Display v1.0 | CDCard skin

Start Menu hidden with NirCmd batch file loaded on startup

Music can be found on Myspace

/Mamy

Happy 15 years to our hymn

Image by M Soledad Zapico

Este tema habla por sí solo. IMPRESIONANTE


"Live Forever" es una canción la banda británica Oasis, escrita por el guitarrista y compositor Noel Gallagher. Esta canción fue el tercer sencillo de su álbum debut Definitely Maybe, lanzado el 8 de agosto de 1994, justo antes del lanzamiento del álbum.

Gallagher escribió esta canción en 1991, antes de estar en Oasis. Se inspiró en "Shine a Light" de The Rolling Stones; con sonidos básicos y una letra con visión optimista, "Live Forever" contrasta con la actitud de las bandas de grunge de la época. La canción fue el primer sencillo de Oasis en entrar al top ten en el Reino Unido, y fue aclamado por la crítica.

Recientemente fue colocada en primera posición en la lista 50 mejores himnos del indie por la revista NME.

También elegida como la mejor canción de la historia de la música británica.


"Live Forever" is a song by British rock group Oasis. Written by guitarist Noel Gallagher, the song was released as the third single from their debut album Definitely Maybe on 8 August 1994, just prior to that album's release.

Gallagher wrote the song in 1991, before he joined Oasis. Inspired by The Rolling Stones' "Shine a Light," "Live Forever" features a basic song structure and lyrics with an optimistic outlook that contrasted with the attitude of the grunge bands popular at the time. The song was the first Oasis single to enter the top ten in the United Kingdom, and garnered critical acclaim.

Background and recording

Noel Gallagher wrote "Live Forever" in 1991, while working for a building company in his hometown of Manchester. After his foot was crushed by a pipe in an accident, he was given a less-strenuous job working in the storeroom, allowing him more time to write songs. One night he was listening to The Rolling Stones' album Exile on Main St. While playing one of his own chord progressions, Gallagher noted that it sounded good against one of the vocal melodies from the album: "It was the bit from 'Shine a Light' that goes [sings], 'May the good lord shine a light on you,'" Gallagher recalled. Gallagher incorporated the melody, changing the line to "Maybe I don’t really want to know". For a period afterwards, that was the only part of the song Gallagher had completed.

The song was later instrumental in helping the band secure their record deal with Creation Records. Reflecting on when he first heard the song, Creation boss Alan McGee recalled "It was probably the single greatest moment I've ever experienced with them."

The demo version of "Live Forever" begins with an acoustic guitar intro. While recording the album version, the record's producer Owen Morris cut out this intro and replaced it with a drumbeat played by Tony McCarroll. Morris further cut a second section in Noel's guitar solo. Although Gallagher was upset, Morris felt the part had sounded "a bit like fucking Slash from Guns N' Roses".

Reception

"Live Forever" was released on 8 August 1994 as the band's third single, a month before the release of their debut album Definitely Maybe. The song had been part of the band's set for longer than a year at that point, and had amassed so many mentions in reviews of the group that "its release [as a single] had long seemed inevitable." In its review of the single, NME found "Live Forever" to be an improvement over Oasis' previous singles, concluding, "Basically, what thus far looked like obnoxious Manc arrogance suddenly looks like sheer effortlessness. A terrific record."

While Oasis' first two singles, "Supersonic" and "Shakermaker", were modestly received, it was "Live Forever" that "got the world's attention." "Live Forever" became Oasis' first top ten hit, reaching number ten on the British singles charts in 1994. In 1995, the song became the band's first chart success in the United States, reaching number two and ten on Billboard's Modern Rock Tracks and Mainstream Rock Tracks charts, respectively.[8] Noel Gallagher commented on the praise given to the song: "People said to me after 'Live Forever', 'Where are you gonna go after that?' And I was like, I don't think it's that good. I think it's a fucking good song, but I think I can do better."

"Live Forever" has garnered additional acclaim years after its release. In 2006, "Live Forever" was named the greatest song of all time in a poll released by Q; the song had ranked ninth in a similar Q poll three years before.[9] In 2007, "Live Forever" placed number one in the NME and XFM poll of the 50 "Greatest Indie Anthems Ever".[10] The song was selected by Noel Gallagher for inclusion on Oasis' compilation album Stop the Clocks in 2006.

Cool Change Background Image images

Check out these change background image images:

Kris Kros in Action!

Image by Stuck in Customs
I had a great afternoon with Kris Kros (Joe)! We've known one another for years, and, like so many people, I've always admired his work. He's one of many of you cool photographers here on Flickr that inspires me to change and experiment. I was just as impressed with his person as his photography.

I had a few spare hours on Saturday, so I contacted Joe that morning to see if he had some spare time, and, luckily, so did he! We started out by planning to go around LA shooting, but I think we spent about 75% of the time sitting around cafes while discussing photography, art, techniques, and a bunch of other adventures!

My Tutorial is right here - I have over 16,500 unread emails - sorry but I am too swamped - but most of you ask for that tutorial, so there it is! :)

Her Evening Elegance

Image by Stuck in Customs
A Texas sunset settled on the farm as we patiently waited for the sky to repaint itself every few minutes.

It was a very relaxing hour, watching the sun slowly descend through the clouds, interrupted on occasion by a stressful swapping of lenses. I hate to get dust in the chamber, so the changing of lenses is always a high-anxiety event! But the anxiety faded away pretty quick as we started watching the sunset again.

My friend Leslie had invited me out to her parent's farm near Brady. She's an actress, a model, a photographer, and a bunch of other creative things... so I had told her I would spend equal amounts of time shooting the farm, her animals, and her. It's the old 33/33/33 rule of farm-shooting. Anyway, I am sure some of you would rather see photos of her... and still others of her animals... but I can't make everyone happy at once, so you'll just have to wait a few weeks for me to sprinkle those in! Until then, I hope you enjoy the sunset.

Updates may be slow in coming days... I'll be spending about two weeks on an adventure in Patagonia... keep your eye on www.stuckincustoms.com for the latest! :)

Thanks everyone for your comments! :) I read them all!

Cream and Yellow Lacey Background 12.1

Image by ♥ Crystal Writer ♥
I really like these that capture the frosting near enough to the yellow flowers to change the tone of the whole picture, but without actually capturing the flowers in the image.

#87 astrodeep200407aab10a.png 16.38 MB 2483X2482 HUDF center NASA original

Check out these change background image images:

#87 astrodeep200407aab10a.png 16.38 MB 2483X2482 HUDF center NASA original

Image by rmforall@gmail.com
#87 astrodeep200407aab10a.png 16.38 MB 2483X2482 HUDF center NASA original

See also:
#91 astrodeep200407aab10aa.png 4.12 MB 1244X1243 HUDF top center NASA original

This image is 15.86% of the area of the Hubble Ultra Deep Field,

which is 186 arc-seconds wide and high = 3.1 arc-minutes

= 1/10 width of the Full Moon or Sun, about 0.5 degrees,

so the HUDF is about 1% of the area of the square that holds the Full Moon or Sun,

short introduction re viewing lovely subtle earliest structures in HUDF: AstroDeep, Rich Murray 2009.02.23

I've found since 2005 myriad ubiquitous bright blue sources, always on a darker fractal 3D web, along with a variety of sizes of irregular early galaxies, in the Hubble Ultra Deep Field, simply by increasing the gamma from 1.00 to 2.00 and saturating the colors, while minimizing the green band to simplify the complex overlays of complex fractal structures.

Dozens of these images, covering the entire HUDF in eight ~20 MB segments, are available for viewing at many scales [ To change the size of images on Windows PCs, use Control - and + ] on www.Flickr.com at the "rmforall" photostream. Try #86 for the central 16% of the HUDF.

ubiquitous bright blue 1-12 pixel sources on darker 3D fractal web in five 2007.09.06 IR and visible light HUDF images, Nor Pirzkal, Sangeeta Malhotra, James E Rhoads, Chun Xu, -- might be clusters of earliest hypernovae in recent cosmological simulations: Rich Murray 2008.08.17 2009.01.20
rmforall.blogspot.com/2008_08_01_archive.htm
Sunday, August 17, 2008
groups.yahoo.com/group/AstroDeep/25
groups.yahoo.com/group/rmforall/85

www.flickr.com/photos/rmforall/1349101458/in/photostream/

The 5 closeups are about 2.2x2.2 arc-seconds wide and high, about 70x70 pixels.
The HUDF is 315x315 arc-seconds, with N at top and E at left.
Each side has 10,500x10,500 pixels at 0.03 arc-second per pixel.

Click on All Sizes and select Original to view the highest resolution image of 3022x2496 pixels, which can be also be conveniently seen directly at their Zoomable image:

www.spacetelescope.org/images/html/zoomable/heic0714a.html

Notable in the deep background of the five closeups are ubiquitous bright blue sources, presumably extremely hot ultraviolet before redshifting, 1 to a dozen or so pixels, as single or short lines of spots, and a few irregular tiny blobs, probably, as predicted in many recent simulations, the earliest massive, short-lived hypernovae, GRBs with jets at various angles to our line of sight, expanding bubbles, earliest molecular and dust clouds with light echoes and bursts of star formation, and first small dwarf galaxies, always associated with a subtle darker 3D random fractal mesh of filaments of H and He atomic gases.

As a scientific layman, I am grateful for specific cogent, civil feedback, based on the details readily visible in images in the public domain.

www.spacetelescope.org/images/html/heic0714a.html

Hubble and Spitzer Uncover Smallest Galaxy Building Blocks

Rich Murray, MA Room For All rmforall@comcast.net 505-501-2298
1943 Otowi Road, Santa Fe, New Mexico 87505
groups.yahoo.com/group/rmforall/messages
groups.yahoo.com/group/AstroDeep/messages
www.sfcomplex.org Santa Fe Complex

You are welcome to visit me and share your comments as I share these images at home on a 4X8 foot screen -- no fee.

Anyone may view and download for free 91 images, presenting the HUDF in eight 20 MB pieces at rmforall at www.FlickR.com -- #86 is about 20% of the HUDF in their red and blue colors, as leaving out the green greatly simplifies interpreting the overlapping layers of transparent fractal webs of gas with a wide range of sizes of rather distant sources, beyond z = 5.
_____________________________________________________________


astrodeep200407aab10ada.png 3.10 MB flickr.com rmforall #90 astrodeep200407aab10ada.png 3.68 MB 1244X1243 px HUDF center top left: Lillian J Kelly: Rich Murray 2008.12.30

The attachment is my image from my hard drive:
astrodeep200407aab10ada.png

www.flickr.com

www.flickr.com/photos/rmforall/3103426063/
#90 astrodeep200407aab10ada.png 3.68 MB 1244X1243 px HUDF center top left

Click on All Sizes to see and download the Original
or find it directly at
farm4.static.flickr.com/3161/3103426063_df229d2202_o.png


In Windows Vista, use CTRL +/= over and over to magnify images,
and CRTL _/- to reduce.


You can also go to Control Panel to Ease of Access
to Ease of Access Center
to Optimize visual display
to turn on Magnifier,
which creates a box of any size and location that magnifies
from 1 to 16 times in width and height,
whatever area the cursor is pointed at on any image on the screen.
You can even make "stereo" pairs side by side,
by setting Magnifier to 1X,
and putting its box to the left or right half of the screen,
and using the cursor to adjust
until the two images are matching and side by side.
Then if you can, gaze with crossed eyes at the two images
to get a third image in between,
which may well look 3D and have much more detail.


This image is 3.965% of the area of the Hubble Ultra Deep Field,

which is 186 arc-seconds wide and high = 3.1 arc-minutes

= 1/10 width of the Full Moon or Sun, about 0.5 degrees,

so the HUDF is about 1% of the area of the square that holds the Full Moon or Sun,

while the image is .9765 times 1/1,000 of the area of the HUDF,

so the image is about 1/100,000 area of the square that holds the Full Moon or Sun.

The image is 23.25 are-seconds wide and high,

while the pixels are 0.03 arc-seconds wide in the original HUDF.

The background of many small blue spots are about 1-10 pixels in area.

I have used a simple, low-cost program, MGI PhotoSuite 4.0 to process these images:

double the Gamma to 2.00,
raise the color saturation,
shift colors a bit to accentuate the reds,
remove most of the Green band,
so the image is mostly made of Blue (coding for visible blue),
with Red codes for the invisible infrared just longer in wavelength than visible red.

Mixed Blue and Red make green, yellow, orange, red, and white.

However these colors are downshifted in frequency (lengthened in wavelength)
more and more the more they are distant in space (light travel time from us):

The "Little Feller", like the figure "8" in the top center
to the right of the red galaxy with a red swirl on the right,
has been measured to be at redshift distance z = 4.88,
so its light is changed by a factor of 4.88 --
its apparent reds, oranges, and yellows represent radiation in the hot ultraviolet,
and its age from us is about 13 billion years,
about a billion years after the Big Bang,
13.7 billion = 13,700 million years ago.
The Sun and solar system are 4.6 billion = 4,600 million years ago.

The myriad tiny background blue spots,
along with some green ones,
always on a dark 3D fractal mesh,
are probably the first stars,
made of pure hydrogen and helium,
about 100-100 solar masses in size,
extremely hot and short-lived,
exploding as hypernovae after 1-2 million years,
often with intense bipolar jets,
often leaving relic neutron stars and black holes,
flinging new elements like carbon, nitrogen, and oxygen into space to become the substance of later generations of stars,
which are closer to us in space (nearer in time), smaller, more numerous, cooler, longer-lived,
collecting together by gravity to make clouds, clusters, dwarf galaxies, clump cluster galaxies, irregular galaxies, and mature galaxies,
flat slowly rotating spirals and rounded ellipticals,
which often collide, especially at first
before the constant expansion of space-time separated them more and more --
the expansion of space-time itself that originated from a minute region in a source reality
that had at least 10 dimensions of space and one of time -- the Big Bang.

So, we see far-away early gatherings of hot blue and green objects,
and closer (nearer to us in time) more numerous gatherings of cooler red objects,
which all seem exist as a 3D fractal network of twisted tubes,
rather transparent, as there was little dust in early time to darken light.

It is well known that for every mass of ordinary matter, gas, dust, stars,
there is about 6 times more mass of completely invisible dark matter,
which pulls itself together by gravity into a 3D fractal network, making
the scaffold that ordinary matter collects within.
Dark matter surrounds glalaxies and superclusters of galaxies,
bending light gently by gravity,
so that the dark matter appears as subtle transparent bubbles
against the complex background of deeper structures.

Additionally the cosmic zoo may include galaxy-wide strings of
condensed space-time geometry, formed during the Big Bang,
that are massive enough to bend light
and make double twin images of objects far behind them from us.


ubiquitous bright blue 1-12 pixel sources on darker 3D fractal web in five 2007.09.06 IR and visible light HUDF images, Nor Pirzkal, Sangeeta Malhotra, James E Rhoads, Chun Xu, -- might be clusters of earliest hypernovae in recent cosmological simulations: Rich Murray 2008.08.17
rmforall.blogspot.com/2008_08_01_archive.htm
Sunday, August 17, 2008
groups.yahoo.com/group/AstroDeep/25
groups.yahoo.com/group/rmforall/85

www.flickr.com/photos/rmforall/1349101458/in/photostream/

The 5 closeups are about 2.2x2.2 arc-seconds wide and high, about 70x70 pixels.
The HUDF is 315x315 arc-seconds, with N at top and E at left.
Each side has 10,500x10,500 pixels at 0.03 arc-second per pixel.

Click on All Sizes and select Original to view the highest resolution image of
3022x2496 pixels, which can be also be conveniently seen directly at their
Zoomable image:

www.spacetelescope.org/images/html/zoomable/heic0714a.html

Notable in the deep background of the five closeups are ubiquitous bright blue
sources, presumably extremely hot ultraviolet before redshifting,
1 to a dozen or so pixels,
as single or short lines of spots, and a few irregular tiny blobs,
probably, as predicted in many recent simulations, the earliest massive,
short-lived hypernovae, GRBs with jets at various angles to our line of sight,
expanding bubbles, earliest molecular and dust clouds with light echoes and
bursts of star formation, and first small dwarf galaxies, always associated with
a subtle darker 3D random fractal mesh of filaments of H and He atomic gases.

As a scientific layman, I am grateful for specific cogent, civil feedback, based
on the details readily visible in images in the public domain.


www.spacetelescope.org/images/html/heic0714a.html

Hubble and Spitzer Uncover Smallest Galaxy Building Blocks

In this image of the Hubble Ultra Deep Field, several objects are identified
as the faintest, most compact galaxies ever observed in the distant
Universe.
They are so far away that we see them as they looked less than one billion
years after the Big Bang.
Blazing with the brilliance of millions of stars, each of the newly
discovered galaxies is a hundred to a thousand times smaller than our Milky
Way Galaxy.

The bottom row of pictures shows several of these clumps (distance expressed
in redshift value).
Three of the galaxies appear to be slightly disrupted.
Rather than being shaped like rounded blobs, they appear stretched into
tadpole-like shapes.
This is a sign that they may be interacting and merging with neighboring
galaxies to form larger structures.

The detection required joint observations between Hubble and NASA's Spitzer
Space Telescope.
Blue light seen by Hubble shows the presence of young stars.
The absence of red light from Spitzer observations conclusively shows that
these are truly young galaxies without an earlier generation of stars.

Credit: NASA, ESA, and N. Pirzkal (European Space Agency/STScI)

Id: heic0714a
Object: HUDF, UDF, Hubble Ultra Deep Field
Type: Cosmology
Instrument: ACS
Width: 2750
Height: 3312
Downloads
Images

www.spacetelescope.org/images/original/heic0714a.tif
Fullsize Original 17.085 MB

www.alternatiff.com/
view with free software AlternaTIFF

alternatiff-1_8_4.exe for Firefox browser


Large JPEG
3,422 KB

Screensize JPEG
387 KB

www.spacetelescope.org/images/html/zoomable/heic0714a.html
Zoomable

Copyright-free material (more info).


www.esa.int/esaSC/SEMCGRMPQ5F_index_1.html

hubblesite.org/newscenter/archive/releases/2007/31

hubblesite.org/newscenter/archive/releases/2007/31/image/

www.spitzer.caltech.edu/

www.spacetelescope.org/news/html/heic0714.html

www.spacetelescope.org/news/text/heic0714.txt

HEIC0714: EMBARGOED UNTIL 18:00 (CEST)/12:00 PM EDT 06 September, 2007
www.spacetelescope.org/news/html/heic0714.html

News release:
Hubble and Spitzer Space Telescopes find "Lego-block" galaxies in early
Universe

06-September 2007 The NASA/ESA Hubble Space Telescope and the NASA
Spitzer Space Telescope have joined forces to discover nine of the
smallest, faintest, most compact galaxies ever observed in the distant
Universe. Blazing with the brilliance of millions of stars, each of the
newly discovered galaxies is a hundred to a thousand times smaller than
our Milky Way Galaxy.

The conventional model for galaxy evolution predicts that small galaxies
in the early Universe evolved into the massive galaxies of today by
coalescing. Nine Lego-like "building block" galaxies initially detected
by Hubble likely contributed to the construction of the Universe as we
know it. "These are among the lowest mass galaxies ever directly
observed in the early Universe" says Nor Pirzkal of the European Space
Agency/STScI.

Pirzkal was surprised to find that the galaxies' estimated masses were
so small. Hubble's cousin observatory, NASA's Spitzer Space Telescope
was called upon to make precise determinations of their masses. The
Spitzer observations confirmed that these galaxies are some of the
smallest building blocks of the Universe.

These young galaxies offer important new insights into the Universe's
formative years, just one billion years after the Big Bang. Hubble
detected sapphire blue stars residing within the nine pristine galaxies.
The youthful stars are just a few million years old and are in the
process of turning Big Bang elements (hydrogen and helium) into heavier
elements. The stars have probably not yet begun to pollute the
surrounding space with elemental products forged within their cores.

"While blue light seen by Hubble shows the presence of young stars, it
is the absence of infrared light in the sensitive Spitzer images that
was conclusive in showing that these are truly young galaxies without an
earlier generation of stars," says Sangeeta Malhotra of Arizona State
University in Tempe, USA, one of the investigators.

The galaxies were first identified by James Rhoads of Arizona State
University, USA, and Chun Xu of the Shanghai Institute of Technical
Physics in Shanghai, China. Three of the galaxies appear to be slightly
disrupted -- rather than being shaped like rounded blobs, they appear
stretched into tadpole-like shapes. This is a sign that they may be
interacting and merging with neighbouring galaxies to form larger,
cohesive structures.

The galaxies were observed in the Hubble Ultra Deep Field (HUDF) with
Hubble's Advanced Camera for Surveys and the Near Infrared Camera and
Multi-Object Spectrometer as well as Spitzer's Infrared Array Camera and
the European Southern Observatory's Infrared Spectrometer and Array
Camera. Seeing and analysing such small galaxies at such a great
distance is at the very limit of the capabilities of the most powerful
telescopes. Images taken through different colour filters with the ACS
were supplemented with exposures taken through a so-called grism which
spreads the different colours emitted by the galaxies into short
"trails". The analysis of these trails allows the detection of emission
from glowing hydrogen gas, giving both the distance and an estimate of
the rate of star formation. These "grism spectra" -- taken with Hubble
and analysed with software developed at the Space Telescope-European
Coordinating Facility in Munich, Germany -- can be obtained for objects
that are significantly fainter than can be studied spectroscopically
with any other current telescope.

# # #

Notes for editors
The Hubble Space Telescope is a project of international cooperation
between ESA and NASA.

Pirzkal's main collaborators were Malhotra, Rhoads, Xu, and the GRism
ACS Program for Extragalactic Science (GRAPES) team.

Image credit: NASA, ESA and N. Pirzkal (European Space Agency/STScI)

If you wish to no longer receive these News and Photo Releases, please
send an email to distribution@spacetelescope.org with your name.

For more information, please contact:
Nor Pirzkal ;
European Space Agency/Space Telescope Science Institute, Baltimore, USA
Tel: 410-338-4879

Lars Lindberg Christensen ;
Hubble/ESA, Garching, Germany
Tel: +49-(0)89-3200-6306
Cellular: +49-(0)173-3872-621

Ray Villard ;
Space Telescope Science Institute, Baltimore, USA
Tel: +1-410-338-4514

Whitney Clavin
Jet Propulsion Laboratory, Pasadena, USA
Tel: +1-818-354-4673


AST HUDF Spitzer IR 9 galaxies z 4-5.7, N Pirzdal, S Malhotra, JE Rhoads, C Xu,
2007.05.01 28p

www.spacetelescope.org/news/science_paper/0612513.pdf


arXiv:astro-ph/0612513v2 1 May 2007
Optical to mid-IR observations of Lyman-a galaxies at z about 5 in the HUDF: a
young and low mass population
N. Pirzkal 1,2,
S. Malhotra 3,
J. E. Rhoads 3,
C. Xu 4

ABSTRACT

High redshift galaxies selected on the basis of their strong Lyman-a emission
tend to be young ages and small physical sizes.

We show this by analyzing the spectral energy distribution (SED) of 9 Lyman-a
emitting (LAE) galaxies at 4.0 < z < 5.7 in the Hubble Ultra Deep Field (HUDF).

Rest-frame UV to optical 700A < wavelength < 7500A luminosities, or upper
limits, are used to constrain old stellar populations.

We derive best fit, as well as maximally massive and maximally old, properties
of all 9 objects.

We show that these faint and distant objects are all very young, being most
likely only a few millions years old, and not massive, the mass in stars being
about 10E6 to 10E8 M sun.

Deep Spitzer Infrared Array Camera (IRAC) observations of these objects,
even in cases where objects were not detected,
were crucial in constraining the masses of these objects.

The space density of these objects, about 1.25 x 10E-4 per cubic Mpc is
comparable to previously reported space density of LAEs at moderate to high
redshifts.

These Lyman-a galaxies show modest star formation rates of about 8 M sun per
year, which is nevertheless strong enough to have allowed these galaxies to
assemble their stellar mass in less than a few 10E6 years.

These sources appear to have small physical sizes, usually smaller than 1 Kpc,
and are also rather concentrated.

They are likely to be some of the least massive and youngest high redshift galaxies observed to date.

Subject headings: galaxies: evolution, galaxies: high redshift, galaxies:
formation, galaxies: structure, surveys, cosmology

1 Space Telescope Science Institute, 3700 San Martin Drive, Baltimore, MD 21218, USA
2 Affiliated with the Space Science Telescope Division of the European Space
Agency, ESTEC, Noordwijk, The Netherlands
3 School of Earth and Space Exploration, Arizona State University, Tempe, AZ
4 Shanghai Institute of Technical Physics, 500 Yutian Road, Shanghai, P.R. China 200083
____________________________________________________________


See similar images:


notable bright blue tiny sources on darker 3D fractal web in HUDF VLT ESO
28 images from 506 galaxies, z about 6 , RJ Bouwens, GD Illingworth,
JP Blakeslee, M Franx 2008.02.04 draft 36 page: Rich Murray 2008.08.17
rmforall.blogspot.com/2008_08_01_archive.htm
Sunday, August 17, 2008
groups.yahoo.com/group/AstroDeep/26
groups.yahoo.com/group/rmforall/86


bright blue 1-4 pixel sources on darker 3D fractal web in IR and visible light
HUDF images -- might be the clusters of earliest hypernovae in the
Naoki Yoshida and Lars Hernquist simulation: Rich Murray 2008.07.31
rmforall.blogspot.com/2008_07_01_archive.htm
Thursday, July 31, 2008
groups.yahoo.com/group/AstroDeep/24
groups.yahoo.com/group/rmforall/84
____________________________________________________________


Rich Murray, MA Room For All rmforall@comcast.net
505-501-2298 1943 Otowi Road Santa Fe, New Mexico 87505

groups.yahoo.com/group/rmforall/messages

groups.yahoo.com/group/AstroDeep/messages
____________________________________________________________

It caught my eye - pink Canna flower ("Canna Lily")

Image by MomentsForZen
This flower caught my eye. So many fascinating elements - color, form, pattern, etc.

As has often been the case lately, I had no idea what plant it was. The plant stands 0.5 m high, with a single flower on top. It appears to be growing from a rhizome. The leaves unwrap from the main stem, and are typically 20-30 cm long and 10 cm wide. This example is flowering in autumn in Canberra.

Fortunately, my mother came to my rescue (once again), suggesting that it was a "Canna Lily". The link below has some images, which allowed me to be confident that this suggestion was correct!

en.wikipedia.org/wiki/Canna_(plant)

Photographed in the grounds of St Andrew's Presbyterian Church (State Circle, Forrest).

Forrest, ACT, Australia.

iPhone 4 - Photograph taken using an iPhone 4 with the native Camera app using the HDR option.
Touch Retouch - Some minor blemishes on the leaves and background regions made less noticeable and distracting.
Snapseed - Selective lighting changes applied to the background elements.
Paint Shop Pro X5 - Image re-sized to 1936 x 1936 pixels. Digital camera speckle noise attenuated (60% fine and large scale, 60% blend). A trace of square black vignette applied. Final lighting adjustments applied using the Smart Photo Fix option with manual settings.

(Filed as 20120527_iPad3 002 TouchRetouch-Snapseed-PSPX5-Resize-DNR-60006060-V-SPF.JPG)

What Would You Do #142

Image by Vail Marston
From an original image at www.flickr.com/photos/douglas999/4520656493/ for digital-photography-school.com/forum/games-challenges/115...

In Paint Shop Pro:
Cropped the original image.
Applied noise reduction to the background area.
Duplicated the image on a new layer and converted to black & white with a blue filter.
Set the b&w layer to blend mode to Luminance and merged.
Duplicated the image on a new layer.
Adjusted the brightness/contrast, applied Gaussian Blur, and the Brush Strokes art media effect.
Duplicated the original again on a new layer.
Applied heavy sharpening, deleted everything except the cat's face, and applied the Brush Strokes effect with a finer brush style.
Set the layer to Dodge and adjusted visibility.
Duplicated the original layer again.
Adjusted to very high contrast, applied heavy sharpening, and median filter.
Set layer to dodge, adjusted visibility, and then erased any areas of the layer where the highlights were too extreme.
Merged Image.
Duplicated image on a new layer, applied Zoom Blur, and masked the layer with a circular gradient to reduce the effect on the center of the cat's face.
Merged the image.
Added a hue adjustment layer and masked everything except the eyes to change the eye color to a greener color, merged the image.
Cropped the image again and added a vignette.
Applied a very fine Brush Strokes effect.
Added a border.

The Purpling Storm

A few nice change background image images I found:

The Purpling Storm

Image by Stuck in Customs
As night was falling in Dresden, I moved from location to location around the city to chronicle the changing light conditions across the old buildings...

from the blog at www.stuckincustoms.com

Haleakala - Looking Down the Crater - Maui Hawaii Posters Series

Image by Denis Dore Photography
A stunning view of the Haleakala Crater - Haleakala Volcano National Park - Maui, Hawaii

---------------------
This photo is released under a Creative Commons license (Attribution-NonCommercial-NoDerivs CC BY-NC-ND).

That means that you are ALLOWED to download my work and share it with others.

BUT:
1. You are NOT ALLOWED to change it in ANY WAY or use it COMMERCIALLY.
2. You must CREDIT the author(me): mention my name "Denis Dore" and link to www.maui-hawaii-dream-vacations.com.

Please respect this license to promote sharing in an ethical way.

If you are interested in negotiating another license or downloading a full-size version of this image, please contact me: denisdore@hotmail.com

Thank you!
Denis :)

Denis Dore Photographs by Denis Dore is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.Permissions beyond the scope of this license may be available at www.maui-hawaii-dream-vacations.com/contact-maui.html.

#30. astrodeep200407aecc

Check out these change background image images:

#30. astrodeep200407aecc

Image by rmforall@gmail.com
#30. (#24) field from Hubble Ultra Deep Field 832 X 833 p tif 2.72 MB png 1.86 MB
This field is 61 sec wide = 1 minute wide. RTM-1 is the pair of blue spots just above the large magenta galaxy in the lower left. There are six more suggestive blue spot pairs in this field.

RTM-1, closeup view in #21, is very like CSL-1, only blue and more separated, but with the similar equality of size and color. It turns out that there are so many easily found pairs of all sizes, down to single pixel bright spots separated by a pixel space, that statistical studies are appropriate. Views # 20 to 29 will explore the HUDF, and provide many helpful links.

The colors have been adjusted to reveal a few faint distant red sources, as well as a background of tiny blue sources, 1-2 pixel size, which are always on the background of dark tangled Murray mesh -- easier to see at first behind the red light scattered inside the Hubble Space Telescope by the much nearer bright star, and also behind the large blue white galaxy in the upper right. Click on All Sizes to view the Original.

I used an excellent low cost image processing program, MGI PhotoSuite 4.0, to adjust the colors to bring out the subtle background details:
Touchup feature: Soften: reduced from 3 to 0, as I wanted to maximize the raw detail.
Color Adjustment: Cyan-Red +100 Magenta-Green +25 Yellow-Blue +50,
as empirically this created a pleasing, easy to view image with maximum detail.
Brightness: increased from 0 to 50, to increase the dark background details.
Gamma: reduced from 1.00 to 0.80, to increase the dark background details.
Fix Colors: Hue: shifted 0 to -60, to accentuate the background of myriad minute
bright blue sources without losing information from the red end of the spectrum.

www.aip.de/groups/galaxies/sw/udf/index.php# The UDF Skywalker allows you to scan the entire HUDF with a movable magnifying glass that shows about this scale of detail. You can discern Murray mesh with it.

www.damtp.cam.ac.uk/user/gr/public/cs_interact.html
Cosmic String Dynamics and Evolution

'After formation, an initially high density string network begins to chop itself up by producing small loops. These loops oscillate rapidly (relativistically) and decay away into gravitational waves. The net result is that the strings become more and more dilute with time as the universe expands. From an enormous density at formation, mathematical modelling suggests that today there would only be about 10 long strings stretching across the observed universe, together with about a thousand small loops!

In fact the network dynamics is such that the string density will eventually stabilize at an exactly constant level relative to the rest of the radiation and matter energy density in the universe. Thus the string evolution is described as `scaling' or scale-invariant, that is, the properties of the network look the same at any particular time t if they are scaled (or multiplied) by the change in the time.'

If you inspect this carefully, especially holding a 4 inch reading glass close to both of your eyes, focussing on the tiny bright blue sources, you will easily discern many suggestive pairs, right down to the limit of two single pixel spots separated by a pixel, or even the many double pixel spots. The two sides of the convex reading glass function as opposed prisms, separating the reds and blues in such a way as to make the reds appear about a centimeter closer, creating a lovely, revealing 3D image, while moving the glass back and forth can flexibly adjust the smoothness and the sharpness of the image.

I found that using a 6X5 inch concave glass, which in effect has prisms opposed in the opposite direction of a convex lens, makes a smaller overall image in which the blues appear closer than the reds, which I surmise is the actual reality for these images for the background.

#24. astrodeep200407aecc.png

Image by rmforall@gmail.com
#24. (#30) field from Hubble Ultra Deep Field 832 X 833 p tif 2.72 MB png 1.86 MB
This field is 61 sec wide = 1 minute wide. RTM-1 is a pair of double blue spots just above the large magenta galaxy in the lower left. There are six more similar blue spot pairs in this field.

static.flickr.com/13/19717874_18d6b931b4_o.png

RTM-1, closeup view in #21, is very like CSL-1, only blue and more separated, but with the similar equality of size and color. It turns out that there are so many easily found pairs of all sizes, down to single pixel bright spots separated by a pixel space, that statistical studies are appropriate. Views # 20 to 29 will explore the HUDF, and provide many helpful links.

The colors have been adjusted to reveal a few faint distant red sources, as well as a background of tiny blue sources, 1-2 pixel size, which are always on the background of dark tangled Murray mesh -- easier to see at first behind the red light scattered inside the Hubble Space Telescope by the much nearer bright star, and also behind the large blue white galaxy in the upper right. Click on All Sizes to view the Original.

I used an excellent low cost image processing program, MGI PhotoSuite 4.0, to adjust the colors to bring out the subtle background details:
Touchup feature: Soften: reduced from 3 to 0, as I wanted to maximize the raw detail.
Color Adjustment: Cyan-Red +100 Magenta-Green +25 Yellow-Blue +50,
as empirically this created a pleasing, easy to view image with maximum detail.
Brightness: increased from 0 to 50, to increase the dark background details.
Gamma: reduced from 1.00 to 0.80, to increase the dark background details.
Fix Colors: Hue: shifted 0 to -60, to accentuate the background of myriad minute
bright blue sources without losing information from the red end of the spectrum.

www.aip.de/groups/galaxies/sw/udf/index.php# The UDF Skywalker allows you to scan the entire HUDF with a movable magnifying glass that shows about this scale of detail. You can discern Murray mesh with it.

www.damtp.cam.ac.uk/user/gr/public/cs_interact.html
Cosmic String Dynamics and Evolution

'After formation, an initially high density string network begins to chop itself up by producing small loops. These loops oscillate rapidly (relativistically) and decay away into gravitational waves. The net result is that the strings become more and more dilute with time as the universe expands. From an enormous density at formation, mathematical modelling suggests that today there would only be about 10 long strings stretching across the observed universe, together with about a thousand small loops!

In fact the network dynamics is such that the string density will eventually stabilize at an exactly constant level relative to the rest of the radiation and matter energy density in the universe. Thus the string evolution is described as `scaling' or scale-invariant, that is, the properties of the network look the same at any particular time t if they are scaled (or multiplied) by the change in the time.'

If you inspect this carefully, especially holding a 4 inch reading glass close to both of your eyes, focussing on the tiny bright blue sources, you will easily discern many suggestive pairs, right down to the limit of two single pixel spots separated by a pixel, or even the many double pixel spots. The two sides of the convex reading glass function as opposed prisms, separating the reds and blues in such a way as to make the reds appear about a centimeter closer, creating a lovely, revealing 3D image, while moving the glass back and forth can flexibly adjust the smoothness and the sharpness of the image.

I found that using a 6"X5" concave glass, which in effect has prisms opposed in the opposite direction of a convex lens, makes a smaller overall image in which the blues appear closer than the reds, which I surmise is the actual reality for these images for the background.