Sentences with phrase «images of objects smaller»

The algorithm can focus on any part of the three - dimensional data the scope captures and produce images of objects smaller than a micron anywhere in the field.

Not exact matches

What we see when we illuminate only a small area of the photographic plate is not a partial image but a whole image somewhat less sharply defined in detail, There is no one - to - one correspondence between object and image.

The field is so small that only a few foreground stars in the Milky Way lie within it; thus, almost all of the 3,000 objects in the image are galaxies, some of which are among the youngest and most distant known.

According to the researchers, each microlens produces a small image of an object with a form dictated by the parameters of the lens and the viewing angle.

VLA Image of Small Portion of Extragalactic Space: About 2,000 discrete objects are identified in this VLA image of the distant UnivImage of Small Portion of Extragalactic Space: About 2,000 discrete objects are identified in this VLA image of the distant Univimage of the distant Universe.

Five images of Saturn's rings, taken by NASA's Cassini spacecraft between 2009 and 2012, show clouds of material ejected from impacts of small objects into the rings.

They hope to obtain images of this small rocky object that are as good as the snapshots of another -LSB-...]

Neural nets are intrinsically probabilistic: An object - recognition system fed an image of a small dog, for instance, might conclude that the image has a 70 percent probability of representing a dog and a 25 percent probability of representing a cat.

New images of Mercury show it to have been mercilessly pummeled by small objects, implying that the space between it and the sun once was, and potentially still is, occupied by as - yet - unseen bodies.

Capturing clear images of objects as tiny as a single virus or a nanoparticle is difficult because the optical signal strength and contrast are very low for objects that are smaller than the wavelength of light.

Elsewhere in the image, we can look into Orion A's dark molecular clouds and spot many hidden treasures, including discs of material that could give birth to new stars (pre-stellar discs), nebulosity associated with newly - born stars (Herbig - Haro objects), smaller star clusters and even galaxy clusters lying far beyond the Milky Way.

If an object is far away, the disparity of that image falling on both retinas will be small.

This image taken by the Hubble Space Telescope shows the spectacular region around an object known as Herbig - Haro 502, a very small part of the vast stellar nursery in the picturesque Orion Nebula.

The image also suggests that low mass brown dwarfs — objects that have the awkward distinction of being too large to be called planets and too small to be categorized as stars — may be more common than observations so far suggest.

ALMA sharpens the Event Horizon Telescope's acuity 10-fold, enabling it to spot objects as small as a golf ball on the moon — and thus image the surprisingly small event horizons of the two black holes.

This enables scientists to capture images of much smaller objects or to determine their size or position with much greater accuracy.

«We, for the first time, can make deep images that resolve objects just 0.02 arcseconds across — this is a very small angle — it is like resolving the width of a dime seen from 100 miles away, or like resolving a convoy of three school busses driving together on the surface of the Moon.»

Bieringer said that satellites are now capable of providing clear images of relatively small objects on the ground, allowing researchers to employ sophisticated computer programs to scan these images and identify potential hotspots capable of harboring large populations of Aedes aegypti mosquitoes.

A shallow depth of field (smaller f - stop number) will only focus on the objects in the foreground and leave the background blurry and a wider depth of field (larger f - stop number) will produce an image with more of the background in focus.

«I'd note the chromatic aberration on the poles and other objects in the image, a small point of contention in GTA V. Chromatic aberration has become increasingly prevalent in modern triple - A games as of late.

A bunch of older games had split graphics like stages into tiles (small images that are, like, 16 × 16, though size can vary) and the devs wrote code to make the tiles repeat in different ways to make different objects in order to reduce size.

As you read on, remember the image of a large object with a small planet - like one above it, seemingly being hunted like prey by the object below.

Screenshots captured at this resolution are incredibly detailed, with even the smallest objects retaining definition when you zoom in, and by enabling Ansel the level of detail in Witcher 3 is further increased to create the highest quality images possible.

Moreover, these condensed images contain a surprising élan vital ---- in no small measure because of the the tightly sprung curves of the window grillwork, radiating out from the still life like abstract signs or the inner force of the objects.

I don't know if it's more my studio school bias as I've seen so many of these full size figures being made here, but when I initially saw this smaller piece it felt like something uniquely personal, I felt something from that image, that object, the handling, the shapes.

Utilizing found objects to create an otherworldly yet traditionally based format, the image of a large female figure and its smaller companions are done in the style of traditional Indian painting, while delicate fabrics interweave amongst images that swirl and stream within and outside the two wooden panels — thus making it engaging and contemplative to look at.

Whereas one typically relies on images and objects for narrative cues, these works only offer up small pieces of information, rendering them as seemingly variegated or endless territories.

The surface of the photograph itself is a persistent subject of interest for Tillmans, and his careful combination of small and large formats, and framed and unframed prints, serves to underscore the notion of the photographic image as an object — subjective and idiosyncratic.

Included art objects will be a bulletin board that charts quotations and images of the Biospherans and visionaries of the project, a number of small gouaches from photographs taken by the artist of areas surrounding the Biosphere that have fallen derelict, a video tour of Biosphere2, portraits of the male visionaries (John Allen, Ed Bass, and Buckminster Fuller) of Biosphere2, and a multi-panel stenciled quote from Buckminster Fuller that encapsulates the contradictions inherent in a project that is the product of a single mind imposing its will upon a group:

Using as a point of departure a small but charged set of historical and popular archival images, film clips, writings, and music, they will share their insights on the ideas and themes embedded in these objects and ephemera.

In an ad campaign for Saudi Arabia, the company cleverly portrays this message through creative images of their products built from smaller, less expensive objects.

Each image features a piece of furniture available at their many locations, but instead of a picture of the product itself, the image of the furniture piece is actually comprised of smaller everyday objects accompanied with the tagline «It's that affordable.»

The Masters used a tent like room, with a small hole, in the direction of the object in question, with the inverted image projected on the canvas.

In Magritte's Les mots et les images (1929), there is a small drawing of a brick wall with a caption that reads (in translation): «an object that makes you think there are other objects behind it.»

In each painting, you find smaller image fragments, including found media from Nigerian fashion magazines and tabloids, and original images of objects photographed by Crosby and image - transferred onto paper.

Michael St. John solo exhibition «Portraits of Democracy» features a new series of identically scaled, small - format works that depict aspects of our current culture and society through images of people and objects.

For the edition I am making a group of thirty - five drawings of the items in my «archive» as well as a comprehensive, printed checklist, which will include a small image and a brief description of each of the objects.

Trees in Contemporary Art Altana Kulturstiftung, Bad Homburg Animal Mineral Vegetable Andrew Kreps Gallery, New York Allegory of the Cave Painting Extra City Kunsthal, Antwerp Alchemy NEST, The Hague Size Matters Foundation for Art Fort at Vijfhuizen, Vijfhuizen Picture This SALTS, Birsfelden Halftone: Through the Grid Galerie Max Hetzler, Berlin Beating around the bush Episode # 1 Bonnefantenmuseum, Maastricht Objects in mirror are closer than they appear Lugar a Dudas, Cali RE: Painted S.M.A.K., Ghent video screening 25 Zero, Milan Amnesia Nadácia - Centrum súčasného umenia, Bratislava 2013 Behind Images Garage Rotterdam, Rotterdam (catalogue) Traces Stedelijk Museum, s - Hertogenbosch Agora 4th Athens Biennale, Athens On the Road to... Tarascon, Adrian Ghenie and Navid Nuur Plan B, Berlin Passion de l'Art en Finistère / Collection # 4 Centre d'art contemporain de Quimper (T) HERE Bonnefanten Hedge House, Wijlre Flex - Sil Reloaded Kunst Halle St. Gallen, St. Gallen Casey Kaplan, New York The Image in the Sculpture Centre Pompidou, Paris (curated by Christine Macel and Navid Nuur) Time, Trade and Travel Stedelijk Museum Bureau, Amsterdam Small Gestures MU / Strijp S, Eindhoven Mesures et disparition / Over maat en verdwijning Institut Néerlandais, Paris It wasn't there yesterday Raster Gallery, Warsaw 2012 This Title is an Artwork of Mine Motto Charlottenborg, Copenhagen (curated by Mikkel Carl) The Castle in the Air.

Objects in Mirror are Closer than they Appear, a collaboration between the Tate Modern in London and the Contemporary Image Collective, Cairo, took place in the small, darkened Tate Project Space tucked away in the corner of the Tate Modern's ground level.

What we are left with is a series of abstract feelings forcefully made figurative — small precious objects that are catalysts for further images that we will never be able to visualise as they do not exist but in (y) our memory.

The purple heart shape of the title takes up nearly half of the canvas, and around it smaller, colour / forms harmonize, mediating, for me, a set of binary oppositions like hard and soft, head and heart, colour and line, form and content, object and image, words and music.