Underwater Camera Software
Posted on Apr 01, 2011 under Canon Waterproof Camera | 25 CommentsStorm Approaching Paradise – Coral Island, Phuket, Thailand
Image by Captain Kimo – Currently in Thailand
captainkimo.com/storm-approaching-paradise-coral-island-p…
Even paradise is not impervious to the rain which has drench Phuket this entire week. But as sudden as it appeared, it vanished over the mountains. Leaving us with a wonderful day to enjoy the beautiful crystal clear waters of Coral Island.
I enjoyed swimming and snorkeling around the island. There are coral reefs all over the shoreline, (hence the name) with fishes swimming fearlessly everywhere, even around the people.
There are times when I wish I had a underwater camera, and this was one of those moments. Even a cheap point-and-shoot would have done fine, since the water was that clear.
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Local Projects in Print Magazine 4/8
Image by DogFromSPACE
project manager, Regina Kwon; a senior graphic designer, Katie Lee; a filmmaker, Ariel Efron; and Ian Curry, an interaction designer. Curry, who met Barton when he studied under him at NYU’s ITP, says, “The traditional calculus is that you have to do a lot of work that you don’t necessarily love in order to keep the lights on while you do bits and pieces of great stuff. Local Projects seems to be exempt from that somehow. To me, at least, pretty much everything they do is interesting.”
The firm’s first job came in July 2001, when Barton collaborated with graphic designer Nancy Nowacek to create Memory Maps, part of an exhibition about New York in the Smithsonian’s Folklife Festival. The two produced a fluorescent mesh structure meant to evoke a subway car, with huge maps of the city pinned inside. Participants could write stories on vellum and attach them to the map at the places where the events had occurred. More than 2,000 people added their tales, blanketing the city’s neighborhoods. “What we didn’t anticipate was that people would actually talk to each other through the exhibition,” says Barton. “I overheard someone saying, ‘Oh, you went to Midwood High School. I went there, but probably 30 years before you did.’ In a way, we made a very un-New York space: a safe place for visitors to just talk to each other. And that was a total revelation.”
That revelation, and Memory Maps itself, led to Barton’s 2002 commission for what is probably Local Projects’ best-known work: the StoryCorps booth, a mobile studio where anyone can record a narrative of personal history; the recording is then archived by the Library of Congress. The exterior is made up of a three-LCD-panel motion graphics loop, and speakers embedded in the walls allow passersby to hear a sampling of the stories.
The booths proved so popular that many commercial concerns wanted their own versions. When J. Walter Thompson ran a publicity campaign for JetBlue, the agency thought a story booth would fit the image of the airline as Everyman favorite. “We had lots of companies approach us, including car companies and tissue companies,” recalls Barton. But JetBlue “produced a huge stack of crazy-people letters that made us truly feel there were people who passionately wanted to share their JetBlue stories.” The booth, created with MESH Architectures and MASdesign, became the focal point of the campaign, recording customer stories around the country.
Turning viewers into contributors is a feat Local Projects has refined with an endlessly inventive use of technology. Last year, when the New-York Historical Society commissioned the firm to create three media pieces for its exhibition “New York Divided: Slavery and the Civil War,” Sterling Ely came up with a way to make visitors feel they were present at the black convention of 1834, during which attendees debated issues pertinent to their future. A film re-creation depicting African-American New Yorkers voting at the convention is paired with an infrared camera ringed by IR LEDs around its lens. By lifting a paddle lined with infrared-sensitive material, museum visitors can register their vote; the infrared light hits the raised paddles, and the light reflects directly back to the camera. “With a bit of additional hardware/software magic,” explains Ely, “we were able to turn that into a method for counting how many paddles were being held up, and display the votes onscreen in real time.”
This kind of participatory drama and technological wizardry emerges again in Local Projects’ work for a new carousel in downtown New York’s Battery Park. A collaboration with the architecture firm Weisz + Yoes, the SeaGlass merry-go-round, tentatively slated to open in 2009, will feature sea creatures whirling under an inverted nautilus made of “smart glass,” which dims when electronically charged. The center axis holds a 7,000-watt Xenon bulb and will rise as the ride begins; cutout images of underwater life will be projected inside the canopy. Riders, starting at the water’s surface, will be plunged into a virtual deep-sea voyage.
Even such a purely pleasurable invention incorporates Barton’s ideas of connection and the importance of place: The ocean theme refers to the fact that Battery Park once was home to the New York Aquarium. This kind of conceptual integrity exemplifies Barton’s concern for the way New York’s history, and its future, are expressed in the built environment.
branches’ mesh mashed up by interfering sunlight — perspective of a dragonfly hovering over a bayou
Image by oedipusphinx — — — — theJWDban
The original image wasn’t taken from within the realm of underwater twilight — as it may seem — but was shot the other way round (‘paradoxically’) from the perspective of a dragonfly zero altitude buzzing across over an out-of-the-way bayou of the small river Wuhle. This camera-angle-illusion is probably co-effected and increased by the enigmatic shades of deep and light blues.
descriptive words: v1.0: shallow water mirrors clear and blurry mesh of branches and twigs by the skylight above.
v2.0: mesh of branches — the mash up is produced by interfering sunlight reflected by two planes (ground of the sandbank & surface of the water) — from a dragonfly-perspective above the bayou.
▓▒░~ illusory ripples and lenses: The apparent ripples and magnifying lense-effects of the image are optical illusions caused by the sunbeams coming from the uneven grounds of the white sandbank interfering with those that were reflected and refracted at the not-rippling, smooth surface of the shallow water. ~░▒▓
music I hear favourably seeing this my image:
underwater twilight [_05:52_] which is track #06 of the studio album Underwater Sunlight recorded in April 1986 at Dream Studios (Berlin) by Tangerine Dream and released in August 1986; remastered 2003.
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Re-Posts (4120 results in Google, July 2010)
…The Elements of Awe, Part II by Donald Maass (<—) April 7th, 2010 @ writerunboxed – about the craft and business of genre fiction
… all mashed up on April 8, 2010 @ listsgalore
… mash @ answerbag
… wallpapers @ myxer
… mashups.tv/ Mashups [data, consumer, enterprise] can be considered to have an active role in the evolution of social software and Web 2.0.
… Central Heating Cover – Boiler Insurance Insurance for things that go bump in the night! (june 2010)
g11-500×366
Image by hopeless128
Canon today announces the launch of the PowerShot G11 digital compact camera, successor to the multi-award winning PowerShot G10, with a host of stunning new features.
Key innovations on the PowerShot G11 include a high-resolution vari-angle LCD screen and greatly improved noise reduction. Canon’s new Dual Anti-Noise System combines a high sensitivity 10.0 Megapixel image sensor with Canon’s enhanced DIGIC 4 image processing technology to greatly reduce noise and increase quality equal to 2-stops. The Dual Anti-Noise System allows photographers to capture full resolution images – using up to ISO 3200 – in difficult low-light conditions. This makes it easier than ever to take stunning low-light portraits or retain the ambient light detail with late-night landscapes. Motion blur can also be substantially reduced.
Flexible shooting options with vari-angle LCD
The PowerShot G11 introduces enhanced flexibility with a new 2.8-inch vari-angle PureColor II VA LCD – a feature introduced as a direct result of customer feedback. The adaptable screen makes the PowerShot G11 ideal for shooting in all situations, such as reportage photography where using the optical viewfinder may not be practical. Perfect for creative and macro photography, the vari-angle lens has a wide viewing angle and 461k dot resolution with natural colour accuracy, giving photographers a detailed view of their subjects – both pre and post-shoot.
The premium quality Canon lens delivers picture-perfect performance, offering a 5x wide angle (28mm) zoom with optical Image Stabilizer (IS). This allows handheld shots to be taken at much slower shutter speeds (4-stops) than conventional non-IS models – allowing perfect shooting in darker conditions or at a lower ISO.
DIGIC 4 – enhanced, improved, expanded
Professional photographers and budding amateurs alike will benefit from improvements to Canon’s DIGIC 4 image processing technology within the PowerShot G11.
These improvements include enhancements to Intelligent Contrast Correction technology – i-Contrast – which optimises the dynamic range of images, to help prevent highlight blowout, while retaining low-light detail. i-Contrast is ideal for use in difficult lighting situations where there is a wide disparity between dark and bright areas of a scene, as can be the case with outdoor portraits. A new Low Light mode can be used to achieve low noise levels at reduced resolution in a higher ISO range – ideal for indoor and low-light photography, users can capture 2.5 Megapixel images at up to ISO 12800 and 2.4 frames per second.
The PowerShot G11 also includes a built-in 3-stop Neutral Density (ND) filter and white balance fine control which enables photographers to more accurately account for variations in natural and artificial light, such as differences in colour tone across various kinds of tungsten light bulbs. The ability to make such fine adjustments in-camera can cut processing time post-shoot – while enabling photographers to be more creative in the field.
Smart Auto Mode – now even smarter
DIGIC 4 now includes an enhanced version of Canon’s Smart Auto Mode with Scene Detection Technology. The PowerShot G11 will automatically analyse and compare the scene to 22 types of scene, applying the best settings for optimum output – a great asset to those who love to point-and-shoot without worrying about the technical details. Smart Auto now also detects the movement of people in a scene, activating Servo AF/AE to ensure that focus and exposure are locked onto that subject. Photographers can also take advantage of Quick Shot – a shooting method that cuts shutter lag by using the optical viewfinder for focus and framing.
Great features for professional results
Whether amateur or professional, the PowerShot G11 offers an exceptional range of features and accessories for expanding a photographer’s shooting opportunities. The digital compact includes the ability to shoot in RAW format and is compatible with Canon’s Digital Photo Professional (DPP) software, ensuring that photo shoots can be easily integrated into a photographer’s workflow.
The PowerShot G11 can also be used with a wide range of Canon accessories, including the Speedlite 270EX, 430EX II and 580EX II; Macro Twin Lite MT-24EX and Macro Ring Lite MR-14EX flashes for enhanced shooting options; the Speedlite Transmitter ST-E2, Speedlite Bracket and Remote Switch RS-60E3. Underwater photographers can even team the PowerShot G11 with the specially designed Waterproof Case WP-DC34 – an underwater housing allowing full control of the camera at depths of up to 40m. The PowerShot G11 includes an HDMI port so users can share their images with friends and family using a compatible TV or display with an optional HDMI cable.
