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How do we know what is a 360 Photo? - Metadata

Facebook recognizes and processes 360 photos by looking for camera-specific metadata found in photos taken using 360-ready cameras. This information is embedded in photo's Exif (Exchangeable image file format) metadata tags, and if you're sharing 360 photos straight from camera, Facebook should automatically process and present them as interactive 360 photos.

However, when metadata has been stripped from pictures or never existed in the first place, Facebook might not be able to tell that your photo is a 360 photo. Sometimes, metadata is stripped during image editing, but other workflows can also strip metadata from pictures. Here are some common reasons metadata might be missing:

In these cases, the correct metadata must be injected into your photos before they can be shared as 360 photos.

There are two sets of metadata tags Facebook looks for to determine whether a photo is in 360:

parameters, in addition to our own parameters documented here: - seespherical_metadata (tap arrow to expand JSON params and see the documentation on the sub-parameters like ProjectionType ).Note that this is not exactly the same as the full spec linked above.

To inject metadata, you'll need to edit the XMP tags in the Exif data. Here are options for doing so:

Using a Web-based Exif Editor Using a Standalone Exif Editor Using exiftool (Technical)

Full, spherical 360 photos:

These use“equirectangular” projection. 360 Photos must fulfill the following requirements for Facebook to process them properly:

Most photographer-targeted Exif editors do allow the editing of the Exif XMP tag "ProjectionType," but if you're technical, you can use the popular command-line tool, exiftool .

When you're done editing metadata, access Facebook in a desktop web browser to do your upload.

Panoramas (Advanced):

When uploading directly from a mobile device, Facebook first looks for spherical metadata. If that is absent, we consider the “make” and “model” of the device that took the photo to understand how to correctly interpret the panorama (that is, we need to know how far a given amount of pixels wraps around our viewport cylinder). If, for some reason you have edited or otherwise lost metadata, you have the following options:

If you want to create an image that has the correct metadata to be interpreted as 360, we offer the following templates to help you get started.

Photoshop templates :

Photoshop templates

These can be used to create 360 photos and panoramas without injecting metadata, as it is built into the template. Cylindrical panorama templates are described by horizontal field of view (FOV) and vertical FOV, and there is also a full spherical ( equirectangular ) template available.

The Developed Country NGO Delegation

The Developed Country NGO Delegation to the Board of the GF (also referred to as the ‘Civil Society Developed Country Constituency’ ) is represented on the Board by one elected Board Member (BM), one elected Alternate Board Member (ABM) and a designated Communication Focal Point (CFP).

The broader CS Developed Country constituency includes a number of Delegation members who are representatives of NGOs based in Western Europe, the United States, Canada, Japan, Australia and New Zealand as well as international NGOs headquartered in developed countries.

by Beate Ramme-Fülle 0 Comments

Dear colleagues, I’d like to introduce you to the new Communications Focal Point for the Developed Country NGO Constituency – Jack MacAllister. Jack was most recently the Senior Policy Associate at amfAR, the Foundation for AIDS Research in Washington DC. Prior to amfAR he spent time with Médecins Sans Frontières and the African Health Policy […]

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by Beate Ramme-Fülle 0 Comments

The Developed Country NGO delegation was searching for a new Alternate Board Member for the term June 2016 – June 2018. Annemarie Meyer, the Director of Advocacy and Programmes for Malaria No More, UK,served as the Alternate Board Member from 1 June 2014. We would like to thank Annemarie for all her hard work she […]

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by Beate Ramme-Fülle 0 Comments

Please find the open call for nominations for a new alternate board member for the Developed Country NGO Delegation to the Global Fund Board. The closing date for nominations is 1 June 2016. Interviews are to be held on 2 June – 3 June 2016. The candidates should send applications with all required documents to: […]

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As agreed during the 2017-2022 Strategic KPI Framework session on the 27 April at the Board Meeting, we were asked to share any additional feedback on the KPI framework proposals with the Secretariat by 11 May. Please send your additional input to Beate Ramme-Fülle ( no later than 10 May in order to find enough […]

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by Beate Ramme-Fülle Nike Mens Lunar Vapor Ultrafly Elite Metal Baseball Cleats Red/White 115 DM US voqUO6nW

a journal of software studies

Author Lev Manovich


Affiliation Visual Arts, University of California San Diego; Software Studies Initiative, UCSD; California Institute for Telecommunications and Information Technology


Publication Date November 2011

Publication Date
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Photoshop toolbox from version 0.63 (1988) to CS2 (2005).

Contemporary media is experienced, created, edited, remixed, organized and shared with software. This software includes stand-alone professional media design and management applications such as Photoshop, Illustrator, Flash, Dreamweaver, Final Cut, After Effects, Aperture, and Maya; consumer-level apps such as iPhoto, iMovie, or Picassa; tools for sharing, commenting, and editing provided by social media sites such as Facebook, YouTube, Video, and Photobucket, and the numerous media viewing, editing and sharing apps available on mobile platforms. To understand media today we need to understand media software – its genealogy (where it comes from), its anatomy (interfaces and operations), and its practical and theoretical effects. 1 How does media authoring software shape the media being created, making some design choices seem natural and easy to execute, while hiding other design possibilities? How does media viewing / managing / remixing software affect our experience of media and the actions we perform on it? How does software change what “media” is conceptually?

This article approaches some of these questions via the analysis of a software application that has become synonymous with “digital media” – Adobe Photoshop. Like other professional programs for media authoring and editing, Photoshop’s menus contain many dozens of separate commands. If we consider that almost all the commands contain multiple options that allow each command do a number of different things, the complete number runs into thousands.

Photoshop 0.63 (on System 7). Image source:

This multiplicity of operations offered in contemporary application software creates a challenge for Software Studies. If we are to understand how software applications shape our worlds and our imaginations (what people imagine they can do with software), we need some way of sorting all these operations into a fewer categories so we can start building a theory of application software. This can’t be achieved by simply following the top menu categories offered by applications. (For example, Photoshop CS4’s top menu includes File, Edit, Layer, Select, Filter, 3D, View, Window, and Help.) Since most applications include their own unique categories, our combined list will be too large. So we need to design a more general scheme.

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