Balance Scale Images Free Download
Viktoria Klett
We present two methods to measure contact angles inside porous media using high-resolution images. The direct determination of contact angle at the three-phase contact line is often ambiguous due to uncertainties with image segmentation. Instead, we propose two alternative approaches that provide an averaged assessment of wettability. The first uses fundamental principles in topology to relate the contact angle to the integral of the Gaussian curvature over the fluid-fluid meniscus. The advantage of this approach is that it replaces the uncertain determination of an angle at a point with a more accurate determination of an integral over a surface. However, in mixed-wet porous media, many interfaces are pinned with a hinging contact angle. For predictive pore-scale models, we need to determine the contact angle at which displacement occurs when the interfaces move. To address this problem we apply an energy balance, ignoring viscous dissipation, to estimate the contact angle from the meniscus curvature and changes in interfacial areas and saturation. We apply these methods to characterize wettability on pore-scale images of two- and three-phase flow. We also discuss the implications of the results for recovery and storage applications.
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In this lesson, students create a balance scale puzzle for their classmates to solve. Students will use algebraic thinking as they maintain equality on the balance scale to both create their own puzzle and solve the puzzles created by their classmates.
Below are two examples of balance scale puzzles. One uses winter-themed pictures and the other is based on facts about a 7th-grade math teacher. Consider making one up about yourself to share with the class. Students will learn about you as they solve the puzzle.
Invite students to create their own balance scale puzzle. To add an image to the canvas, simply drag the file onto the canvas or click on the Upload Image on the bottom toolbar. The Using Polypad: Algebra tutorial page provides a detailed overview of the how to set values for images on the balance scale. Below are some of the most important ideas, but visit the tutorial page to learn more:
Lady Justice (Latin: Iustitia) is an allegorical personification of the moral force in judicial systems.[1][2] Her attributes are scales, a sword and sometimes a blindfold. She often appears as a pair with Prudentia.
The personification of justice balancing the scales dates back to their goddess Maat,[4] and later Isis, of ancient Egypt. The Hellenic deities Themis and Dike were later goddesses of justice. Themis was the embodiment of divine order, law, and custom, in her aspect as the personification of the divine rightness of law.
Lady Justice is most often depicted with a set of scales typically suspended from one hand, upon which she balances the act and consequences of the act to achieve equilibrium and, therefore, justice.[citation needed]
Since the 16th century, Lady Justice has often been depicted wearing a blindfold. The blindfold was originally a satirical addition intended to show Justice as blind to the injustice carried on before her,[5] but it has been reinterpreted over time and is now understood to represent impartiality, the ideal that justice should be applied without regard to wealth, power, or other status. The earliest Roman coins depicted Justitia with the sword in one hand and the scale in the other, but with her eyes uncovered.[6] Justitia was only commonly represented as "blind" since the middle of the 16th century. The first known representation of blind Justice is Hans Gieng's 1543 statue on the Gerechtigkeitsbrunnen (Fountain of Justice) in Bern.[7]
Instead of using the Janus approach, many sculptures simply leave out the blindfold altogether. For example, atop the Old Bailey courthouse in London, a statue of Lady Justice stands without a blindfold;[8] the courthouse brochures explain that this is because Lady Justice was originally not blindfolded, and because her "maidenly form" is supposed to guarantee her impartiality which renders the blindfold redundant.[9] Another variation is to depict a blindfolded Lady Justice as a human scale, weighing competing claims in each hand. An example of this can be seen at the Shelby County Courthouse in Memphis, Tennessee.[10]
I tend to shoot on the warmer side. Honestly, most of the time, I find my images too yellow, and in this example I would choose 4760K or 4550K as the most accurate. Also, notice how the images looks underexposed in the last photo with the temperature set at 3450K.
Here, the sun was beginning to set, so a beautiful warm light was illuminating my little girl. I liked the warmness of the light, so I set my white balance around 5260K because I did not want to neutralize it. In ACR the settings read a little differently, which said I had it set at 4800K.
Over the years, I have taught numerous workshops for photographers and during those classes one of the most appreciated techniques that we discuss is shooting proper white balance using Kelvin temperatures. If it is something new to you, it might at first seem a bit overwhelming but I guarantee it is actually quite simple to learn. Read on to learn just how easy it is and the benefits of shooting in Kelvin versus Auto White Balance.
Tired of your images getting a strange color cast? Fed up of sickly-blue grey skin when shooting in the shade? Wish your colors were more consistent in a set making it easier to make batch edits or sync settings across the board? If so, you need to shoot with your white balance set to Kelvin temperatures as opposed to auto white balance.
So, what exactly is Kelvin? It is simply a unit of measurement for temperature and in photography we most often use it to measure the color temperature of light sources. The temperature scale most often used in photography ranges from about 2000K (K=Kelvin) to 9000K. While editing a RAW image in Lightroom we can push the white balance slider all the way to 50,000K but it is very rarely used at such high numbers. I have found on average most of my photographs are shot between 5000K-7500K. If this is all new to you I might already be losing you, but stick with me a tad longer as I promise it will all make sense with the examples I will show.
If you review this graphic you will notice that the temperature of light of a candle is roughly about 2000K. So if you walked into a room lit entirely by candles, in order to get a nice white balance you would set your Kelvin temperature very low on the scale (2000K). Same principle applies when we walk into a room lit by regular tungsten yellow lightbulbs, we would then set our white balance to around 3500k to match the temperature of light in the room. If you are shooting in the shade and want nice warm natural looking skin tones then you'll want to shoot with a temperature around 6500-8000K depending on how deep you are positioned into the shade and how much natural sunlight is influencing the light temperature.
Now, these numbers are of course all just rough estimates and depending on numerous factors we might be adjusting them to better match the temperature of light we are shooting in. But generally speaking I do a lot of shooting outdoors and in the shade so I know most of my shots are going to fall in the temperature scale of 5500K to 8000K. On the other hand if I walk into a room (let's say a bridal suite lit up with tungsten light bulbs) I will immediately change my Kelvin temp to 3500K or lower to better match the light there and capture perfect colors in camera just as I see them. Now one thing to keep in mind is if I am shooting indoors but much of the light in the room is coming from a nearby window then instead of shooting at a lower temperature I would instead raise it to around 4500K or possibly even higher to account for the daylight balanced light coming from the windows. You will see that with time and a bit of practice you'll be walking into different scenarios and will be able to dial in the temperature of the light just as you do your shutter, aperture or ISO.
Some people might argue it takes too much time to change your white balance and that it is easier to shoot in Auto White Balance. I will agree it is easier. But as I mentioned above, with a little bit of practice (2 weeks of shooting on Kelvin for example) and you'll find yourself not only reading light temperature but dialing it in on your camera like a pianist playing the piano keys. It takes seconds and ultimately will save you tons of time in post processing.
Because 'White Balance' is one of the the most important settings on your camera, you will most often find the WB button easily accessible on your camera body (either on the back or top of the camera.) Once you push the button you will be presented with a few different options including some little icons representing a lightbulb, house, sun, clouds, flash etc. While these white balance settings are a good option to use other than AWB, the best option is to go through the options till you get to K (Kelvin) and dial in the exact temperature you want. Each camera is different but if you search Google or read your camera manual I am certain you will be able to figure it out. If you have a model of camera that does not include the ability to dial in the Kelvin temperature than you will want to get familiar with the little icons and the temperatures they generally represent on the scale. In short the lightbulb is 3200K, white fluorscent is 4200K, sun is 5200K, cloud is 6000K, and house with shade is 7000K.
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