Sentences with phrase «blue objects in this image»

The various blue objects in this image are the galaxies (except for the very obvious blue star at the lower - left) and the yellow objects are foreground stars.

Not exact matches

Our brain is so good at identifying contours and objects in images that it is sometimes deceived into seeing them even if they do not actually exist (such as the edges of the blue triangle in the foreground of the figure).

The Sloan survey captures the sky in full color rather than just through red and blue filters, produces images twice as sharp as Palomar's, and detects objects one - tenth the brightness of those detectable by its predecessor.

The explanation might lie in small airborne birds» need to detect and track objects whose image moves very swiftly across the retina — for blue tits, for example, to be able to see and avoid all branches when they take cover from predators by flying straight into bushes.

Other objects in the image are mitochondria (red) and nucleus (blue).

In images taken between 2000 and 2002, Pluto became significantly «redder,» a term astronomers use to indicate that an object reflects more red than blue light.

Other highlights of the exhibition include her Neverland series from 2002, where she photographed objects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects, either alone or in groups, on fields of color; Figure Drawings from 1988 - 2008, featuring an installation of 40 framed images of the human figure; Objects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reObjects of Desire from 1983 - 1989, where she made collages of found photographs and rephotographed them against bright background of red, blue, green, yellow, and black; Renaissance Paintings from 1991, featuring individual figures and objects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text reobjects from disparate Renaissance paintings isolated and re-photographed against monochrome backgrounds; Doubleworld from 1995, where the artist transitioned from collaging and re-photographing found images to creating stylized arrangements for the camera; Stills from 1980, where the artist compiled and re-photographed over 70 clippings of press photos that capture people falling or jumping off tall buildings; Available Light from 2012, incorporating many of her techniques utilized over the course of her career; and Modern History from 1979, in which she has re-photographed the front page of the newspaper with the text redacted.

It reads like a desktop of Photoshopped image searches materialised in branded fantasy objects, like gold WKD alcopops and «fluorescent yellow V20 filled with the iridescent bodies of a dozen blue bottle flies».

In Blue Embrace (2016), her depiction of close - up images and active use of foreground space emphasize the freckles and wrinkles of her own flesh, suggesting skin as both evidence and metaphor for age, but also as a decorative patterned surface which firmly situates the object as painting.