Sentences with phrase «qualities of images often»

Throughout the book, the formal qualities of images often relate in a poetic or lyrical way, allowing for unlikely juxtapositions and connections to emerge between subjects.

Not exact matches

The strangely otherworldly or supernatural quality of these images arises of course at least in part from the simple fact that babies and toddlers do not usually sit poised and upright and do not often bear such a knowing wisdom in their eyes.

What smartphone cameras gain in ease - of - use and accessibility, however, they often lose in terms of features and image quality.

Such use of computers to enhance the quality of low - resolution images is familiar to fans of CSI and other TV police procedurals, where law enforcement lab technicians often crack a case by magnifying some small detail of a digital image pulled from grainy surveillance footage.

CGI is used for visual effects because the quality is often higher and effects are more controllable than other more physically based processes, such as constructing miniatures for effects shots or hiring extras for crowd scenes, and because it allows the creation of images that would not be feasible using any other technology.

Previously described techniques of fundus imaging often proved difficult to repeat, partly because video capture using Apple's built - in camera app in the iPhones can not independently control the focus and the exposure during filming, which results in glare and poor image quality.

The film's only redeeming quality is the special effects, but Gorak relies on the image of the invisible aliens turning its victims to dust so often that you wonder if it's the only card he has to play.

The film was shot on three - perf 35 mm stock to allow for smaller magazines and therefore lighter cameras / increased mobility; according to Greg Carson's worthwhile supplemental featurette, «Obtaining Cover: Inside Code 46», director Michael Winterbottom purposely avoided digital video because he wanted the crispness of celluloid, and yet there is often a PAL - like quality to the image here that considerably softens definition and shadow detail.

This attention to detail, and in the quality of the art itself, can draw teachers and students alike into a world of odd, elegant, and often surprising images — each with its own story to tell.

The quality is often superior to other forms of publishing, especially for books that include color images, photos, and drawings.

If you have hired someone else to do them, make sure you ask for a stable of varying sizes (and note that resizing them yourself without proper image - editing software can often result in a poor quality image).

There is one thing however that is still preventing me from going entirely 100 % digital (besides the fact that not all books are available in digital format), and that is the often unacceptable quality of images in books.

«By not providing Wi - Fi and high - quality computer facilities, libraries often present a negative image of being old fashioned places that have little relevance in today's society,» says the report, which calls for the Wi - Fi to be delivered «in a comfortable, retail - standard environment, with the usual amenities of coffee, sofas and toilets».

In addition, image quality is limited by a resolution of just 1280x720 with no anti-aliasing, while alpha effects were rendered at a low resolution, textures suffered from in - surface colour banding, depth of field was mostly removed, shading was often inaccurate, and HUD elements were stretched.

Moreover, art books remain expensive to produce due to the necessity of high - quality, and often high - priced, image reproductions, among other vexing issues.

Guided by their formal qualities, notably a lattice of beiges, mauves, and vermillion, Melee collages, crops, rotates, and mounts the images, often attaching this territory to segments of track lighting or sculpted and painted fiberglass curtains.

The sturdy froth of color and texture that comprises his images creates a «glancing, immaterial quality,» an impression not of the world as it is, but as it is remembered.1 While the artist finds that «the subject matter of (his) pictures is often established in one sitting,» he may take up to three years to complete a painting, even one as profoundly simple as After Corot (1979 - 1982).2 Hodgkin's process of recollection is related to that of the master mnemonist, Marcel Proust, whose all - over attention did not discriminate between the most significant details of memory and the most obscure.

The Bruce High Quality Foundation, known for their humorous and irreverent projects and performances that often take a subversive and critical stance towards the current market's seemingly insatiable appetite for hyped new artists, answers this question ad nauseum by insinuating the image cum icon of their namesake, Bruce High Quality, into thousands of images from popular culture and art history.

About her process, Newman has said, «My paintings often take specific qualities of particular places as points of departure, but I try to approach the image without preconceived ideas and to discover forms through improvisation.»

The uses of loose brush strokes, often in broken geometric shapes, add a dreamlike quality to the images she produces.

When Murray first began making her raucous, eccentrically shaped, often multi-part paintings, during the decade under review, their burgeoning, layered shapes, sci - fi images, and, often, high - key color, made them read at once as affronts to the reductive qualities of minimalism and as aesthetic challenges to the mass - culture quotations of Pop art.

Finally, cameras were often placed at an odd angle, at the back of the room, and therefore didn't produce the optimal angle and image quality for interacting with a displaced third party.

While color appears fairly vibrant in well - lit shots, the relatively low - quality lens and sensor often struggle with any serious degree of light contrast in a scene, making the image appear washed - out.