Sentences with phrase «between large image»

I am interested in accessing a scale that can encompass the shift between large image and small detail.

Not exact matches

We are engaged in all forms of document digitization, image scan & data capture, from microfilm / microfiche and aperture card scanning, to automated invoice processing, through to large format scanning and everything in between.

It combines visible light images from Hubble and the Very Large telescope (shown in blue, green, and red)- which show gas and stars - with X-ray images from Chandra (shown in pink) which picks out extremely hot gas in between the galaxies, heated by the collision.

«The deflection of the plumes into these finger - like channels represents an intermediate scale of convection in the mantle, between the large - scale circulation that drives plate motions and the smaller scale plumes, which we are now starting to image.»

The most detailed images yet made of the chemical bonds in a molecule show what large - scale models had long assumed: the more electrons that two atoms share, the shorter the bond between them.

Between 2000 and 2013, they identified 33 such events (including the meteoroid that blazed into the atmosphere and detonated over Chelyabinsk, Russia, in February 2013, see image; the large blip in the meteor trail at right denotes where the 500 - kiloton airburst occurred).

By measuring the size of the largest raindrop imprints (inset) in ash that solidified soon after an eruption 2.7 billion years ago (pocked slab, main image) and comparing them to the imprints made by drops of various sizes and momentums in lab tests, the team estimates that the density of Earth's oxygen - free atmosphere 2.7 billion years ago most likely ranged between 50 % and 108 % of today's air and was certainly less than twice its modern density — a thickness insufficient to offset the dimness of the sun at the time.

«These measurements imply that, given the large angular separation between the three images of our background galaxy, the object must lie very far away,» Zitrin explained.

By looking at high - resolution images taken by SDO and STEREO over the same time period and in different wavelengths, Alzate and her colleagues at the University of Aberystwyth were able to focus down on the cause of the puffs and the interaction between the small and large - scale eruptions.

NASA, Chandra X-Ray Observatory — ring and larger images (more) Magnetic field interactions between giant stars Aa and Ab are thought to energize the corona of the larger star (Aa), generating more x-rays than would be expected for a single star (more) and creating an x-ray luminosity that is 10,000 times that of the Solar corona.

Based on images from Cassini, models of the ring particle environment in the approximately 1,200 - mile - wide (2,000 - kilometer - wide) region between Saturn and its rings suggested the area would not have large particles that would pose a danger to the spacecraft.

The researchers took advantage of the large distance between the planet and its star to obtain images.

As the resolution of Google Earth and satellite images increases, checking between images and the ground condition will provide a powerful way of tracking changes in large populations of circles.

Comparison between the F110W and H - band images is consistent with a grey color of 49 ceti's dust, indicating grains larger than > 2microns.

Mechanically, the only difference between the Avant and the Allroad is a 1.5 - inch suspension lift, but Audi is banking on the image of a tougher wagon appealing to a larger set of Americans.

The Highlander fits that image providing a mid-size SUV that sits right in between the smaller, sportier RAV4 and the very large 4Runner.

# 2, if you are doing a book with images, be aware of the large difference in cost between a full color paper book and a black and white paper book.

The download charges are leading to a lot of problems — higher prices for content that has a larger file size, higher prices for anything that has images, content providers having to choose between raising prices and skimping on images, Kindle owners feeling prices aren't as good as they could be.

User interface needs polishing: carousel too ungainly for large libraries and images from sideloaded apps look terrible, no way to quickly jump between apps like other Android devices

The images below highlight the size differences between the Xoom 2 and the smaller Xoom 2 media edition in landscape mode — in which the larger model is supposed to be used; the size difference in portrait mode, where the media edition is best used; the 8.8 mm thinness of the Xoom 2 against the 8.99 mm of the 8.2 - inch screen version; with the two Xoom 2s and a table of their specifications.

Each article has one title, one large subtitle, authors» line, abstract, some other subtitles, formulaes (anywhere between 2 and 50) and images (probably none, probably 10) We need a quotation for this service.

My only hassle with them is that there's apparently a very narrow gap between getting flagged for cover images that are too small and those that are too large.

The easy - to - use camera interface lets you toggle between front and rear facing orientation, as well as between photo and video, and zoom is enabled up to 4x for both, but since it's digital and just makes the image larger instead of optical, the zoom just kills image quality.

I wanted to soak in images of being high above a city, running across rooftops and jumping across large gaps between buildings.

Ramos writes: «Half - way between the vibrant exuberance of Rebecca Campbell's images and Luc Tuyman's clinical stroke - by - stroke reproductions lay the gliding, neutral toned figures of LA based French painter Claire Tabouret... The figures in the larger works and monoprints are characters from history, of various levels of obscurity and notoriety, and knowing a little bit of their stories imbue each scene with a poetic fascination.

This play between documentary and staged images, usually shot using a large - format camera, is what Wall has become known for, and, with this exhibition of new work, Wall will continue to mess with what viewers believe to be the truth in his pictures.

Curated in collaboration with Mark Sealy and Renée Mussai of Autograph ABP, whose co-founder and first Chair was Rotimi Fani - Kayode, the exhibition features a selection of his most important photographic works produced between 1985 - 1989, including large - scale color works and arresting black and white images.

Alternating sculpture — the medium in which he develops a broader spectrum, ranging from small three - dimensional creations to large - sized installations and hybrid objects — with photography, drawing, and mural painting, Irazu's work addresses the problems that occur in the relationships established between our bodies, objects, images, and spaces.

The common thread between the work on display is a particular focus on the publishing of image - based books, whether an industrially produced compendium of graphic art, a limited edition, hand - bound «zine of drawing or photography, or a one - of - a kind, paper - cut tomb so large that it can only be «read» at scheduled performances.

She creates large series of indexical works - drawings, images, text panels, photographs - which combine investigations into the diverse relations between psychoanalysis, feminism and art.

Curated in collaboration with Mark Sealy and Renée Mussai of Autograph ABP, whose co-founder and first Chair was Rotimi Fani - Kayode, the exhibition features a selection of his most important photographic works produced between 1985 - 1989, including large - scale color works and arresting black and white images.

The exhibition includes a selection of large - scale posed family portraits from his first one - person show The Good Life in 1994 along with images from his Ektachrome Archive, which the artist photographed between 1986 and 2000.

Somewhere between the ads for milkshakes and legal counsel, there are large - scale images of mountains, and from three exacting positions on the road, they suddenly snap into place; for a few brief moments, they perfectly align with the jagged scenery.

By the use of digital photography and animation, he collects a documentary material of hundreds of photos and film clips that he dissects and reconstruct into large still - or moving images that can be placed between document and fiction.

David Claerbout's paintings on paper are fundamental to his film practice; Ilse D'Hollander's intimate canvases are sensual explorations of the physical act of painting; Jose Dávila interrogates how the modernist movement has been translated, appropriated, and reinvented; Laurent Grasso's meticulous appropriations of classical paintings integrate impossible phenomena, blurring the line between the historical and contemporary; Rebecca Horn's large - scale gestural paintings evoke her early performance work, their dimensions being determined by the artist's physical reach; Callum Innes» Exposed Paintings are concerned with both making and unmaking the work; Idris Khan utilizes language, melding thousands of lines of stamped text into singular abstract images; Hugo McCloud's work fuses industrial and fine art materials; Sam Moyer combines found textures into a fresh, expanded, artistic palette; and James White's oil paintings reimagine the still life as a chance freeze - frame.

Taken between 2005 and 2014, using a large format camera, these images further Shibata's career - long meditation on the intersection of man and nature.

His pioneering investigations into the relationships between words, sounds, and electronic images have helped construct a large and varied body of work.

That book brought together a fascinating series of Wenders» large - scale photographs taken between 1983 and 2011: iconic images of the exteriors of buildings and panoramic depictions of towns and landscapes.

Using large - scale paintings mounted to a structure that zigzags through the gallery, she creates an economy of images within and between paintings; some are given precedence, others made barely legible.

Among the works included are Jonathan Borofsky's Untitled ping pong table, which all are encouraged to play, it posits the opponents at odds with each other as one side of the table is a «plus» and the other is a «minus»; Andreas Gursky's large scale photograph depicts a soccer match between the Dutch and French teams, however with no ball in sight and a player injured on the field, the image speaks to the larger nationalistic ideas of sports; Mike Kelley's Arena # 2 (Kangaroo) is comprised of tattered stuffed animals on a used children's blanket, creating a tableaux about loss of innocence; Kirsten Geisler's interactive female cyborg beckons the viewer with sound recognition software to engage in a dialogue of sorts; Yinka Shonibare's sculpture Hopscotch incorporates a classic children's game with headless mannequins dressed in Colonial attire and Sol LeWitt plays a game of chance in his wall drawing # 716 from 1991 in which there are eight possible lines (vertical lines, horizontal lines, arcs, etc) to be placed in each square of a grid covered wall.

He has appeared in a large number of group exhibitions, such as «Une forme olympique», HEC — Espace d'Art Contemporain, Jouy - en - Josas, France (2016); «Voice of images», Palazzo Grassi — Fondation Francois Pinault, Venice, Italia (2012); «Waiting for Video: Works from the 1960s to Today», The National Museum of Modern Art, Tokyo, Japan (2009); «Between Art and Life, Performativity in Japanese Art», Centre d'Art Contemporain, Geneva, Switzerland (2008); «Out of the Ordinary: New Video from Japan», MOCA, Los Angeles, USA (2007); «After the Reality», Deith Projects, New York, USA (2006).

Lyle Ashton Harris's Once (Now) Again is part of a larger ongoing project, the Ektachrome Archive, comprising slide images shot between 1986 and 1998, photographic prints from the artist's journals, and diaristic video works.

The sway between a structured, observational approach to image making and the free - form, improvisational gestures of his interventions is very much at the crux of Divola's practice and can be traced from his earliest foundational work of the 1970's to more recent bodies of work such as Dogs Chasing My Car in the Desert (1996 - 2001), where Divola documents the dogs that chased his car while working in the Southern California desert; As Far as I Could Get (1996/1997), where Divola sets up a camera and runs away from it during a given exposure; and Dark Star (2008), where his melding of intervention and observation continues to be in the foreground in large - format, color work made during the last decade.»

The paintings become records of an ongoing dance between the artist, his arsenal of non-traditional materials (craft media like glitter and foam discs among them), and the images and emotions that he channels from the world at large.

In the process, Angst, true to the artist's larger practice, troubles the boundaries of the body, time, and the fleeting images created between them.

The short one - day gap that the exhibition can be referred to is also a coming together of a larger gap, quite intentionally it seems, left open, between «expectation and product» on the artists» part, creating a space for «alternative vision», as there is otherwise very little information to accompany the untitled show, and a plain grey jpeg poses as its leading image.

[Image at top: Working from small black and white line drawings, Victoria Roth makes large - scale paintings that straddle the line between figure and landscape.

(b. 1980) at ShanghART Gallery will consider the connection between the language of painting and of images, and new ceramic works by Olaf Breuning (b. 1970) will be paired with a large - scale mural of one of his humorous drawings at Nils Stærk.

Backlit Rainbow features an installation of new medium - and large - scale color photographs, as well as the U.S. debut of Between Fork and Ladder, the artist's first moving - image work in more than a decade.

There's a mesmerizing quality to these tragi - comic scenes — enhanced by the wise decision to hang them in a large grouping, salon - style, which helps suggest new narratives between disparate images.