Sentences with phrase «light image of the sun»

A visible - light image of the Sun captured during the total eclipse by Southern Research's telescopes.

Not exact matches

Images and colors shift and swirl as the music rises and falls; along the way there are fleeting suggestions of Gothic tracery, images of light shafting down through darkness, and the sun rising through cImages and colors shift and swirl as the music rises and falls; along the way there are fleeting suggestions of Gothic tracery, images of light shafting down through darkness, and the sun rising through cimages of light shafting down through darkness, and the sun rising through clouds.

The philosopher - king exists totally outside of that world of images in the pure light of the sun, directly staring at unmediated truth.

In a 2008 special pull - out section about green energy, an altered version of the anti-Kinnock headline appeared in The Sun featuring Labour prime minister Gordon Brown and the words «Will the last person in Britain to switch to energy - saving bulbs please turn out the old lights» next to an image of Brown's head in a lightbulb.

By looking at the sky through such a crystal and then rotating it so the two images are equally bright, it's possible to spot the rings of polarized light that surround the sun, even under cloudy skies.

He was examining an 11 - inch - wide projected image of the sun, part of his routine monitoring of the solar surface, when he noted the eruption of «two patches of intensely bright and white light... the brilliancy... fully equal to that of direct sun - light.»

Methane from Pluto plus UV light from the sun are responsible for Charon's red pole, seen in this mosaic of images from the New Horizons spacecraft.

Now a new zero power display breathes new life into still images by letting an image change in appearance through the day as the direction of the Sun's light changes.

In March of 2013, Luhman's analysis of the images from WISE uncovered a pair of much warmer brown dwarfs at a distance of 6.5 light years, making that system the third closest to the Sun.

To maximize energy absorption for photosynthesis, especially when the suns have vastly different colors or if at least one of the suns is dim, plants — or, more correctly, their extraterrestrial analogs — may use one or more types of light - absorbing pigments that absorb across a broad range of wavelengths, which would tend to make the plant appear black or gray (main image).

Sunrise provided the highest - resolution images to date in ultraviolet light of this thin corrugated layer, which lies between the sun's visible surface and the sun's outer atmosphere, the corona.

Images of the Sun will primarily be captured at visible light wavelengths, specifically the green light given off by highly ionized iron, superheated by the corona.

The new image, which was taken by the NuSTAR spacecraft, is the best - ever view of the sun in high - energy X-ray light.

Other instruments that are used to reflect light into a fixed telescope are the heliostat, which produces an image of the Sun, and the siderostat, which is like a heliostat but is used to observe stars.

This sequence of images of the the Sun in ultraviolet light was taken by the Solar and Heliospheric Observatory (SOHO) spacecraft on Feb. 11, 1996 from its unique vantage point at the «L1» gravity neutral point 1 million miles sunward from the Earth.

Both images are taken with red light of hydrogen but showing different altitudes above the Sun's surface.

Each image shows a different wavelength of extreme ultraviolet light that highlights a different temperature of material on the sun.

This new image depicts the inner region of the jets around the black hole that is less than 4.2 light - years across, less than the distance between our Sun, Sol, and its closest known stellar neighbors, Alpha Centauri 3.

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It then cuts to an image of Ultra Megalopolis, a new area in Ultra Sun and Ultra Moon, which the trailer explains as «a world where Necrozma has stolen the light».

2007 Jones, Kristin M., Rivane Neuenschwander, Frieze, Issue 104, January - February Comic Abstraction: Image - Breaking, Image - Making, Museum of Modern Art, New York, USA, catalogue cover, pp. 25 - 26, 96 - 101 Sheets, Hilarie M., Waves of Light, ArtNews, March Kunitz, Daniel, Blossoms, Bubbles & Beauty, The New York Sun, 29 March, p. 21

A work like the 2000 photograph I Don't Want to Get Over You perhaps best captures much of his artistic output: Tillmans manipulated a brilliantly lit snapshot of clouds over the sea, with the sun barely breaking through, and the resulting picture is streaked with verdant green ribbons of abstract color, adding a painterly qualities to a technical image.

One of the greatest Italian photographers of the last century, Luigi Ghirri is today known to connoisseurs for his perfectly uncanny images drawn from everyday life — capturing, for instance, the moment a paddle ball hit on the beach hovers in mid-flight on the horizon light, becoming indistinguishable from a distant setting sun — but his influence in his medium is far greater, owing to his single - minded devotion to supporting color photography in his home country.

Dean presents a series of contrasting pairs: time against sequence, image against sound, day against night, light against dark, sun against moon, and, finally, the distinction between the spelling (Burnewhall) and pronunciation (Banewl) of the farm on which the film is shot.

These images juxtapose light and time conditions at the top of the mountain as the sun strikes the long fuzzy head of a shotgun microphone, known as a «dead cat» in filmmaking.

Push through a dark curtain, and you emerge blinking into a dark space lit by a huge, elemental orange sun, glimmering against a black background: Katharina Sieverding's projection Die Sonne Um Mitternacht Schauen, SDO / NASA (Looking at the Sun at Midnight), 2011 - 12, which uses high - resolution Nasa images to create a dramatic, up - close image of the sun's surfasun, glimmering against a black background: Katharina Sieverding's projection Die Sonne Um Mitternacht Schauen, SDO / NASA (Looking at the Sun at Midnight), 2011 - 12, which uses high - resolution Nasa images to create a dramatic, up - close image of the sun's surfaSun at Midnight), 2011 - 12, which uses high - resolution Nasa images to create a dramatic, up - close image of the sun's surfasun's surface.

Painting on canvas predominated, and sculpture abounded, but video material was scarce and, with such notable exceptions as a Mapplethorpe self - portrait, there was a paucity of photography, due, said one dealer, to the sun - washed tent's harsh light, but credited by collectors to the poor return of any but the rarest images, given that the cost of showing here is the highest of any fair — even Art Basel.

Cracco's influences range from astronomy to particle physics to music, shifting and oscillating between the macro and the micro, between the illusions of light in works like Staring at the Sun (detail shown on top) and the disruptions the images dissolve into when viewed at close range.

The exhibition features images of close - ups of the Moon and its Henry Frères craters from the 1890s, the first photographs of the Sun from 1870 by Rutherfurd and from 1878 by Janssen, an image of the solar corona during a total eclipse proving the curvature of the light; catches of comets and shooting stars and, of course, the images of nebulae and galaxies taken between 1910 and 1960 by the observatories of Lick, Mont Wilson and Mont Palomar.

PART 2: LIGHT AND SHADOW The ESSAY «Light and Shadow» discusses... flicker films, Plato's allegory of the cave, H.P. Robinson's allegorical images, working with the absence of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and moLIGHT AND SHADOW The ESSAY «Light and Shadow» discusses... flicker films, Plato's allegory of the cave, H.P. Robinson's allegorical images, working with the absence of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and moLIGHT AND SHADOW The ESSAY «Light and Shadow» discusses... flicker films, Plato's allegory of the cave, H.P. Robinson's allegorical images, working with the absence of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and moLight and Shadow» discusses... flicker films, Plato's allegory of the cave, H.P. Robinson's allegorical images, working with the absence of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and moLight and Shadow» discusses... flicker films, Plato's allegory of the cave, H.P. Robinson's allegorical images, working with the absence of light, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight, Tony Conrad's slow emulsions, photography as fairy magic and sun drawings, Adam Fuss's photograms, Hiroshi Sugimoto's feature - length exposures, Cai Guo - Qiang's explosions, light as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight as cancerous radiation, light and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight and shadow in city planning, contrast and lighting in works by Rineke Dijkstra, Jacob Riis, Weegee, Adrienne Salinger, and others, O. Winston Link's environmental light, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight, darkness and light as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight as metaphors for knowledge, morality, and power, pools of light in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight in Expressionism, film noir, and works by Hans Bellmer, Esther Bubley, and Anna Gaskell, Group f / 64, available light in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and molight in the work of Roy DeCarava, Yinka Shonibare's interpretation of Dorian Gray, public projected images, Indonesian shadow play, Gregory Barsamian's kinetic sculptures, flickering portraits by Christian Boltanski, Kara Walker's silhouettes, and more...

The Honor 8 captured clear, largely noise - free images during an upstate New York evening, when then the only source of light was a setting sun.

We found that the main cameras of the Samsung Ativ S and the Nokia Lumia 920 delivers pretty similar daytime images, however, the Lumia 920 shines when the sun goes down due to its optical image stabilization which helps a lot in low light conditions.

We all associate light and warmth from images of the sun, so naturally we love to incorporate décor that is directly inspired by the sun's rays.