15 August Ka Image Download [BETTER]
Charles Holley
The intellectual property rights in all software and GlamTribale LLC and GlamTribale Jewelry & Gifts designs and images, and written content made available to you on or through this Website remains the property of GlamTribale LLC or its licensors and are protected by copyright laws and treaties around the world. All written content belongs to GlamTribale LLC, except where noted by quotations from an online source. All such rights are reserved by GlamTribale LLC and its licensors. Fashion images from printed magazines or online websites remain the property of the photographer. You may store, print and display the content supplied solely for your own personal use. You are not permitted to publish, manipulate, distribute or otherwise reproduce and copy the designs, in any format, any of the content or copies of the content supplied to you or which appears on this Website nor may you use any such content in connection with any business or commercial enterprise. All product images of GlamTribale Jewelry & Gifts remain the property of GlamTribale LLC.
Except where expressly stated to the contrary all persons (including their names and images), third party trade marks and content, services and/or locations featured on this Website are in no way associated, linked or affiliated with GlamTribale LLC and GlamTribal Design Jewelry & Gifts hosted by AnneofCarversville.com, and you should not rely on the existence of such a connection or affiliation. Any trade marks/names featured on this Website are owned by the respective trade mark owners. Fashion and art images remain the property of the photographer. Where a trade mark or brand name is referred to it is used solely to describe or identify the products and services and is in no way an assertion that such products or services are endorsed by or connected to GlamTribal Design Jewelry & Gifts hosted by AnneofCarversville.com.
Except where expressly stated to the contrary all persons (including their names and images), third party trade marks and content, services and/or locations featured on this Website are in no way associated, linked or affiliated with AnneofCarversville.com and you should not rely on the existence of such a connection or affiliation. Any trade marks/names featured on this Website are owned by the respective trade mark owners. Where a trade mark or brand name is referred to it is used solely to describe or identify the products and services and is in no way an assertion that such products or services are endorsed by or connected to GlamTribale LLC, GlamTribale Jewelry & Gifts or AnneofCarversville.com
Here is a 3-frame GIF which is reversing at the end so as to move back and forth in time. Each image is a 3-image de-rotation taken at f/11 with my 16" using the ASI678MC camera. I'll post two 9-image de-rotations shortly. GAIN = 350, 8ms exposure. 90s captures (to minimize field rotation). 8% of 11,000 frames. Seeing was predicted to be above average but what presented in the preview window was that high-frequency seeing that makes it a bear to focus. A few thin clouds in the area but not major impact.
Moons feature is turned OFF for these 3-image de-rotations. Tethys is visible just to the right of the meridian moving back and forth in the loop. This close to opposition (less than 24 hours) the shadow is behind the moon. This is just a quickie to see if Tethys was there. The 9-image de-rotations will be up next.
This second 9-image de-rotation is identical to the first (used the same image measurement stack) but with the moons feature turned ON with the mask set to "0". As you can see there appears to be no significant in the visibility of Tethys. It's there but use the GIF above to put you in the right ball park.
Blue Marble: Next Generation improves the techniques for turning satellite data into digital images. Among the key improvements is greater detail in areas that usually appear very dark to the satellite (because a large amount of sunlight is being absorbed), for example in dense tropical forests. The ability to create a digital image that provides great detail in darker regions without washing out brighter regions, like glaciers, snow-covered areas, and deserts is one of the great challenges of visualizing satellite data. The new version also improves image clarity, and gives highly reflective land surfaces, such as salt flats, a more realistic appearance.
Satellites first detected evidence of the fire on July 31, 2017. The Moderate Resolution Imaging Spectroradiometer (MODIS) and Visible Infrared Imaging Radiometer Suite (VIIRS) on Suomi NPP collected daily images of smoke streaming from the fire over the next week. The Operational Land Imager (OLI) on Landsat 8 captured this more detailed image of the fire on August 3, 2017.While it is not unprecedented for satellites to observe fire activity in Greenland, a preliminary analysis by Stef Lhermitte of Delft University of Technology in the Netherlands suggests that MODIS has detected far more fire activity in Greenland in 2017 than it did during any other year since the sensor began collecting data in 2000.
NASA Earth Observatory image by Jesse Allen, using Landsat data from the U.S. Geological Survey. Story by Adam Voiland, with information from Ruth Mottram (Danish Meteorological Institute), Jessica McCarty (Miami University), Mark Parrington (COPERNICUS), and Stef Lhermitte (Delft University of Technology).
The first image, taken July 31, is low resolution, but it shows the exact location of the initial fire without much smoke yet to mask the terrain. It started between two small drainages in area of homogenous mesic tundra.
An infrared-enhanced satellite image of the fire before it spread. Satellite image from the European Space Agency, pulled as a screenshot from Stef Lhermitte's Youtube animation of the fire progression.
The second one [acquired by a commercial satellite company and published by the BBC] shows a larger area affected by fire, which spread mainly west from the initial ignition into rolling heterogeneous glacial terrain. The fire has burned across a variety of vegetation types, including some glaciated bedrock outcrops. The image is not sharp but the lighter-toned areas look to be burned, south-facing slopes with drier vegetation, where the fire may have exposed bedrock or bare soils.
The third image when enlarged gives a good impression of the vegetation burning on the eastern edge of the fire. Probably not on peat, but organic-rich mineral soils. I would guess it is mainly mesic graminoids [grass-like plants], prostrate dwarf-shrub, moss tundra, with few or no erect shrubs. The yellowish-brown tone of the tundra indicates a lot of standing dead sedges or grasses.
A new AMERICAN EXPERIENCE collection of images celebrating summer in America throughout the 20th century, from historical firsts like the original drive-in movie theater to iconic events like the 1977 New York City blackout.
I first painted the Festival of Lights in 1991. Through the years, many people asked me if it would ever be printed as a serigraph. In October of 1999, in collaboration with Aurora Serigraphics, I began making the serigraph. I developed the image from the painting and made changes. The technique of printing layers of alternating opaque and transparent colors has given the colors more intensity and added more details. The serigraph has slowly developed over these months into a work that is based on the painting but unique in its own way. I drew a stencil for each of the 46 colors printed.
SPEC Kit 335 examines how research libraries and their parent institutions have responded to the transition from analog to digital images and the growth of digital images available from commercial vendors and/or created within institutions or their libraries. The survey gathers information about current practices relating to the development and management of institutional digital image collections and the acquisition and use of licensed image databases. It explores the infrastructure and support provided by research libraries and/or their institutions for the creation and use of digital images in teaching, learning, and research, including systems and platforms, cataloging and metadata, access and training, services and service points, and copyright and other rights issues. It also identifies collaborative strategies among ARL member institutions for providing digital images. The SPEC Kit includes examples of digital image collection websites, finding aids, image use training materials, copyright and use rights policies, selection policies, descriptions of digital image service points, and digital collection promotional materials.
The Voyager 1 and 2 spacecraft explored Jupiter, Saturn, Uranus and Neptune before starting their journey toward interstellar space. Here you'll find some of those iconic images, including "The Pale Blue Dot" - famously described by Carl Sagan - and what are still the only up-close images of Uranus and Neptune.
Photography of Jupiter began in January 1979, when images of the brightly banded planet already exceeded the best taken from Earth. Voyager 1 completed its Jupiter encounter in early April, after taking almost 19,000 pictures and many other scientific measurements. Voyager 2 picked up the baton in late April and its encounter continued into August. They took more than 33,000 pictures of Jupiter and its five major satellites.
NASA's Voyager 2 spacecraft flew closely past distant Uranus, the seventh planet from the Sun, in January. At its closet, the spacecraft came within 81,800 kilometers (50,600 miles) of Uranus's cloudtops on Jan. 24, 1986. Voyager 2 radioed thousands of images and voluminous amounts of other scientific data on the planet, its moons, rings, atmosphere, interior and the magnetic environment surrounding Uranus.
This narrow-angle color image of the Earth, dubbed 'Pale Blue Dot', is a part of the first ever 'portrait' of the solar system taken by Voyager 1. The spacecraft acquired a total of 60 frames for a mosaic of the solar system from a distance of more than 4 billion miles from Earth and about 32 degrees above the ecliptic. From Voyager's great distance Earth is a mere point of light, less than the size of a picture element even in the narrow-angle camera. Earth was a crescent only 0.12 pixel in size. Coincidentally, Earth lies right in the center of one of the scattered light rays resulting from taking the image so close to the sun. This blown-up image of the Earth was taken through three color filters -- violet, blue and green -- and recombined to produce the color image. The background features in the image are artifacts resulting from the magnification.
31c5a71286