View allAll Photos Tagged Absorption
Amsterdam
June 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
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789, Beijing
July 2012
China
Nothing like a giant transformer to lay your head to rest against when tired
Ricoh GR Digital IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
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Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them..
Processed using calibrated near-infrared methane absorption band (CB2, MT2, MT3) filtered images of Saturn taken by Cassini on November 27 2012.
NASA/JPL-Caltech/SSI/CICLOPS/Kevin M. Gill
FOV: 6" wide.
This experiment was an attempt to recreate the fluorescence of chromium activated corundum (aka 'ruby'). Aluminum hydroxide was mixed with 1-4 drops of Cr(III) oxide in a basic solution. This was placed on a small amount of aluminum sulfate in an aluminum foil container and a bit of water was added.
The sample was then heated, first with a propane torch until the water was removed and then with a MAPP gas torch until the aluminum sulfate expanded into foam, trapping the aluminum hydroxide which was calcined into aluminum oxide by the torch's flame. (at least that was the plan)
Shown also is a natural ruby from Mysore, India.
See ruby excitation spectrum here (0.03% Cr):
www.northropgrumman.com/BusinessVentures/SYNOPTICS/Produc...
Contains:
Ruby (FL Red >GR,BL/UVa)
Ruby Foam (FL Red >GR,BL/UVabc)
Shown under UVa light.
Key:
WL = White light (halogen + LED)
FL = Fluoresces
PHOS = Phosphorescent
BL = 450nm, GR = 532nm
UVa = 368nm (LW), UVb = 311nm (MW), UVc = 254nm (SW)
'>' = "stimulated by:", '!' = "bright", '~' = "dim"
Ruby2
24 Dec 2016
Series best viewed in Light Box mode using Right and Left arrows to navigate.
Photostream best viewed in Lightbox mode (in the dark).
18 Watt Triple Output UV lamp from Polman Minerals - Way Too Cool UV lamps
Bows and flows of angel hair, and feathered canyons everywhere. (Neil Diamond) The Cone Nebula is located 2,700 light years away in the constellation Monoceros. The cone's shape comes from a dark absorption nebula consisting of cold molecular hydrogen and dust in front of a faint emission nebula containing hydrogen ionized by S Monocerotis, the brightest star of NGC 2264. The faint nebula is approximately seven light-years long.
The horizontal Christmas Tree cluster lies left of the cone; the bright star immediately left of the cone is the tree topper and the very bright star near the center of the image is the center of the tree trunk. The Fox Fur Nebula is at the top center.
The Christmas Tree star formation consists of young stars obscured by heavy layers of dust clouds. These dust clouds, along with hydrogen and helium are producing luminous new stars. The combination of dense clouds and an array of colors creates a color map filled with varying wavelengths. The red regions are ionized hydrogen, while the bluish clouds are ionized oxygen.
Scope: Skywatcher MN190; Camera QSI 683; Mount MYT
This is a false color HOO image (though approximately correct) composed of Ha 9 hours, Oiii 9 hours
To reprocess this image I used a relatively new technique called dynamic color combination, found at: thecoldestnights.com/2020/06/pixinsight-dynamic-narrowban...
Reprocessed December 2023
In V4 I tried to improve the stars, the overall color balance, and to bring up the brightness in the dimmer areas.
LEVELS OF ABSORPTION, 2004 by LAURA MAYOTTE
36”w x 20 1/2”h x 16”d
Handmade flax paper, handspun and dyed linen yarn, indigo dye.
Artist’s Statement
Levels of Absorption holds many meanings for me. Literal meanings, such as the actual absorption of the indigo dye on the pages and watermarks, and abstract meanings, such as (being a book form) how much knowledge we absorb over a lifetime, the fact that we never make use of our entire brain, that there is always room for more knowledge, learning and growth, and that also the tree-like shape adds to this idea of growth over time. All the sewing reflects the pathways of the brain and how we think; how everything is connected, how odd things can remind us of seemingly unrelated things, but they are all there and accessible. This sewing is also rather electricity-like in appearance, and metaphorically, referring to how fast our thoughts can be, our natural reflexes or responses to stimuli, and how knowledge gained over time can be instantly accessed once learned.
"Did I ever tell you the definition of insanity?"
The Reisen is an upgraded version of the M4 and M16 assault rifles. With new firing mechanics, this modification solved many of the performance issues with the old weapon systems. This carbine also comes with adjustable scope and Einzbern Recoil Absorption Stock (ERAS).
Explore #496—my first photo to make Explore! Thanks guys!
My favorite Ansel Adams photograph is "Clearing Winter Storm," and so I was desperately hoping for a storm when I visited Yosemite (even though I knew I'd never get a photo as good as Ansel's as I'm not that talented!). Luckily, on the third day, this storm rolled in and brought a ton of fog with it. The fog was pouring down El Capitan like waterfalls and spiraling through the trees on the valley floor. The view was so amazing I shot five rolls of film of the changing views, plus a few shots with the digital camera for some instant gratification. This is one of the digital shots; the film shots will be scanned over the next couple of days as there are a TON of rolls of film from the trip and developing and scanning them takes awhile...
©2010 Tanya Harrison, all rights reserved. Do not reproduce or re-distribute without permission.
The absorption of Robson’s into the United Glass Group in 1980 saw a strong phase of buying Scanias, a marque favoured by the United Group. A121 JLS Border Rebel was the first three-axle tractor unit in the Robson’s fleet. This tag-axle 6x2 was used on short-haul tipper work carrying ten loads a day of specialist silica sand used for glass-making. It may have been fitted with a day cab rather than the sleeper version depicted here (25-Oct-18).
All rights reserved. For the avoidance of doubt, this means that it would be a criminal offence to post this image on Facebook or elsewhere (please post a link instead). Follow the link below for terms and conditions, additional information about my work; and to request work from me:
www.flickr.com/photos/northernblue109/6046035749/in/set-7...
Cumberland MS, ex Kelvin Scottish
Leyland National
218 (OLS 809T)
Whitehaven depot 8/88
BKP
Painted in Yeowart's livery for use on former Yeowart's services, after absorption of that operator by Cumberland MS.
Sprinter Leiden CS - The Hague CS
February 2013
On my new blog thecovertphotographer.wordpress.com i will be providing some background to some of my pictures. Here is the story that goes along with this particular shot: thecovertphotographer.wordpress.com/2013/02/19/rush-hour/
Candid shots in and around Public Transport
Ricoh GRD IV
“Light and dark, dry and wet, reflective and absorptive, these qualities give the different multiples of the painting a distinct visual rhythm. (…) The rhythms change with the light and with the position and movements of the viewer.”
Winston Roeth
April 2012
The Netherlands
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
All rights reserved
pls keep the comments clean.
no banners & awards pls!
© All rights reserved. Use without permission is illegal.If you do so you will be sued!!!
Took a waterproof colour card on a dive and took photos at two different depths as can be seen by the reading on my old decompression computer. Shows vividly how colours are absorbed underwater and that red is the first to go.
See how the red looks totally black at nearly 20m depth.
Both pictures natural light with no white balance correction.
This photo is really just meant to be informative and educational for those that are curious about the Universe, and want to know how things work. As photographers we capture Photons after all, so here is a bit of the Physics behind the light that we love to capture.
This image shows the Electromagnetic Spectrum of light from the Sun, after traveling through Earth's blue Nitrogen rich skies (photographed through a Quantitative Spectroscope).
The nanometer scale in the Spectroscope shows the wavelengths of visible light, that range from 400 nm - 700 nm. Invisible light at shorter wavelengths (beyond violet) include Ultraviolet (UV), X-Ray and Gamma Ray. Longer wavelengths of light (beneath red) include Infrared, Microwave and Radio Waves.
About the Sun:
The Sun is a G-type Main-Sequence Yellow Dwarf (G2V) Star. Through the process of fusion, the Sun burns approximately 600 million tonnes (metric tons) of Hydrogen each second, turning it into 596 million tonnes of Helium. As the Hydrogen nuclei fuse, Photons are emitted, which in short is why the Sun shines (and all the other stars). The Hydrogen Atom is the simplest and most abundant element in the Universe (with only 1 Proton and 1 Electron).
Through the process of fusion, more complex elements are made at different stages of a star's life and death cycle. This is what Carl Sagan meant with one of his well known quotes from Cosmos, “The nitrogen in our DNA, the calcium in our teeth, the iron in our blood, the carbon in our apple pies were made in the interiors of collapsing stars. We are made of starstuff.”
The Sun is roughly 150,000,000 km from Earth. The speed of light is 300,000 km/sec (186,000 miles/sec), which means that the light took just over 8 light-minutes (8 minutes and 26 seconds) to reach the Spectroscope in front of my camera lens.
Here is a very simplistic explanation of Spectroscopy, and how the Electromagnetic Light Spectrum is used in Astrophysics:
This image was photographed through a basic "High School Science Classroom" Quantitative Spectrometer (100 line resolution). With higher resolution Spectrometers on Telescopes, Astronomers can determine what chemical elements Stars and Planets are made of, as each chemical element has a unique light absorption fingerprint, that shows up as dark lines in the spectrum.
The amount that the absorption lines are shifted to red or blue (redshift and blueshift), is due to the Doppler effect and gives an indication if the celestial object is moving towards or away from us, and at what speed. This is how Scientists and Physicists know what the observable Universe is made of, and that the Universe is expanding.
More Info:
en.wikipedia.org/wiki/Spectral_line
en.wikipedia.org/wiki/Fraunhofer_lines
www.space.com/25732-redshift-blueshift.html
science-edu.larc.nasa.gov/EDDOCS/Wavelengths_for_Colors.html
Interested in Science, Physics & Astronomy?
Visit my Flipboard with lots of interesting articles:
flipboard.com/@mheigan/brain-food
Martin
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This post gives a description of the sky during 'The Blue Hour' some 26 minutes before winter sunrise in Scotland. This is representative of periods during the Arctic winter to which the reindeer have adapted their vision to optimise the ability to feed and survive predation during the long winter twilight north of 60° latitude.
The image shows the reflective mirror (tapetum lucidum) revealed during the dissection of an eye from an animal during the regular cull of animals in northern Norway by the Sámi reindeer herders. The tapetum changes from a golden-turquoise colour in summer to a rich blue in winter.
The photograph of the sky https://www.flickr.com/photos/190452030@N06/52638473207/ was taken by Tom Fosbury in January this year (2023) and illustrates the physical mechanisms responsible for the intense blue environmental light that triggers this seasonal adaptation.
A Commentary on the Colour of the Pre-dawn Twilight Sky
For a direct link to the photo, see the comment below this text.
Looking towards the southwest from Cairngarroch before the winter sunrise, Tom's photograph of light snow-cover in the pre-dawn twilight provides a masterclass in the study of the formation of the colours of the sky.
With the yet-to-appear Sun over your left shoulder, the sky above the shallow peak called Millfore (656m) is beginning to show the familiar pale blue of the clear daytime sky above the pale yellow horizon that precedes sunrise. This is the pure blue produced by the Rayleigh scattering of sunlight by air molecules, mostly of them nitrogen. Unlike many natural pigment colours, this Rayleigh blue carries no hint of purple and demands that the artist chooses a colour that provides this hue.
As we traverse to the top right of the picture, the blue deepens to a fundamentally different hue that perfectly justifies the use of ultramarine pigment made from ground and purified lapis lazuli. This much prized and very costly material was used by Titian to such effect in his Bacchus & Ariadne (1520-3) with the starry sky in the top left of his painting giving the hint that scene is lit by twilight. Titian learned, from his pigment advisor Cennino Cennini, that: "Its hue is that which marks the transition from dusk to night, with a purple tint to enhance its majesty."
The remarkable property of this photograph is that it so beautifully illustrates the transition between these two blues that are entirely different in their physical origin. The "Blue Hour" ("l'heure bleue"), so favoured by painters around the turn of the 19th – 20th centuries, is now known (Hulburt, 1953) to be the result of the absorption of horizon-grazing sunlight by ozone in a layer between about 12 and 40 km altitude. With its long tangential passage through the atmosphere, much of the yellow-orange region of the solar spectrum is removed by the 'Chappuis' absorption band that results in the continuous destruction of the ozone gas by causing this rather unstable molecule to furiously vibrate and self-destruct.
Fortunately for us, the sunlight also stimulates the formation of new ozone at almost exactly the same rate. If it did not, life on the surface of the Earth would shrivel under a rain of deadly ultraviolet photons. We live under a fragile shield of ozone gas that we nearly destroyed last century with leaking refigerators and air-conditioning systems.
It is not widely appreciated that that atmosphere provides us with the delight of two entirely different blues. One of the reasons that we are not so aware of this is that our vision changes dramatically during the passage of twilight. As the sky dims at sunset (or brightens at sunrise), we switch from our 'cone' photoreceptors, whose (usually) three types give us daytime colour vision, to our more sensitive 'rods' that are tuned to blue/green light but give us no colour perception. The remarkable blue of deep twilight when the Sun is below the horizon is well captured by modern digital cameras that are both sensitive and can be made to control their colour balance (white balance) to avoid automatic colour-correction that would unwittingly compensate for the real ozone-blue.
One of the most remarkable animal visual adaptations to the extreme blue of twilight is seen in Arctic reindeer (caribou) that live and feed for about 10 hours a day in the twilight conditions of winter. These animals seasonally and reversibly change the reflected colour from the mirror behind their eyes (the tapetum lucidum) to match the spectrum of the winter sky (Fosbury and Jeffery, 2022).
The Chappuis band of ozone is the strongest indicator of oxygen that we may see in the visible spectrum of transiting exo-planets as an indicator of the presence of oxygen and the possibility of life.
This activity on the sky is reflected in the snow-dusted landscape with the lighter patches reflecting the brightening eastern horizon while the apparently shaded regions reflect the deep, metallic ozone blue of the western sky and the Earth shadow. The fresh snow has a very high albedo due to the efficient Lambertian scattering of light from myriads of tiny ice crystals.
This whole photograph is suffused with a mixture of colours derived from the two dominant physical mechanisms that paint the sky: scattering and molecular absorption.
References
Hulburt EO. 1953 Explanation of the brightness and color of the sky, particularly the twilight sky. J. Opt. Soc. Am. 43, 113–118. (doi:10.1364/JOSA.43. 000113) opg.optica.org/josa/viewmedia.cfm?uri=josa-43-2-113&s... (unfortunately not open access, but see the book: "Why the Sky is Blue" by Götz Hoeppe, Princeton University Press, English translation 2007, for an excellent explanation of the nature of ozone absorption in the atmosphere.)
Fosbury Robert A. E. and Jeffery Glen 2022 Reindeer eyes seasonally adapt to ozone-blue Arctic twilight by tuning a photonic tapetum lucidum Proc. R. Soc. B.2892022100220221002
doi.org/10.1098/rspb.2022.1002
Appendix: Image and location geometry
The image was exposed at 2023-01-20 07:57 UT at a location in Dumfries & Galloway called Cairngarroch.
Lat: 55° 04' 12" N, Long: 4° 21' 54" W at an altitude of 548 m
The broad, shallow peak visible at the left side of the image at a bearing (cw from N) of around 210°, consists of a high point (Millfore, 656m) at 2.6km with a 2 km ridge dropping slowly to the southwest for a further 2 km. The photo covers an azimuth angle of 74° from approximately S to WSW.
Using the spreadsheets available from gml.noaa.gov/grad/solcalc/calcdetails.html, we can calculate the solar position at the time of the photograph. The solar elevation (at sea level) was then -4.5° and the azimuth was 119° which results in an irradiance on a horizontal surface about 1/15 of that at sunrise.
At the camera altitude above sea level of 550m, the zenith distance of the Sun at sunrise can be calculated using the the approximate formula given in the Explanatory Supplement to the Astronomical Ephemeris, HM Stationery Office (1961), p401:
zd_Sun = 90° 50' + 2.08 * √h(m)
= 91° 39'
where h is the altitude of the camera in metres. Using the NOAA tables above, this indicates the time of sunrise with a clear horizon of 08:23 UT, ie. 26 min after the photo was taken, in the direction of Castle Douglas about 31 km away.
The gradual absorption of Germanwings into a growing Eurowings continues with pace, and whilst the airline operates a subsidiary of the larger low-cost unit with their own flight number and crews, that is soon coming to an end as a number of Germanwings Airbus A319/A320's are in the process of being repainted into Eurowings colours.
Another transition is the ending of Germanwings abandoning its 4U IATA flight codes and going over the Eurowings EW code from 25th March 2018. With Eurowings growing, Germanwings is now becoming a more redundant brand, and with the amount of planes Eurowings intends to repaint, it is likely they will be gone by 2018.
The first 2 Airbus A319's from Germanwings have already transferred over to Eurowings Europe in Vienna. Meanwhile at Eurowings, 2 Airbus A319's have since transferred with another 3 expected to join the fleet, whilst one older Airbus A320 is also expected to join the fleet.
Currently, Germanwings operates 48 Airbus A320 family aircraft, which includes 36 Airbus A319's and 12 Airbus A320's (4 currently in storage).
Alpha Golf Whiskey Alpha is no longer in service with Germanwings, delivered new to the low-cost carrier in July 2006 initially on lease from SAAM and now SMBC since July 2013. She is currently at Norwich since October 2017 being repainted into Eurowings colours. She is powered by 2 International AeroEngines IAE V2524-A5 engines.
Airbus A319-132 D-AGWA powers out of Runway 23L at Manchester (MAN) on 4U343 to Cologn/Bonn (CGN).
The Hague
August 2012
The Netherlands
I found this man lying on the sidewalk when i walked out my door yesterday. He was totally out of it, would barely respond to anything let alone say something coherent. He was so drunk he had soiled himself and he was lying across the sidewalk without any form of shelter.
I called for an ambulance but they sent the police, who proceeded to "wake" him up before taking him to the station. I hope he had a good night sleep in a holding cell, it was storming and raining yesterday so it was probably better than staying on our sidewalk..
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely i will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
All rights reserve
The phenomenon of the Green Ray (or Flash) occasionally seen at sunset or — with greater difficulty — at sunrise is beautifully described by Marcel Minnaert In his book: "The nature of Light and Colour in the open air" (Dover publications inc., New York, 1954, pp. 58–63). As I have reported in a previous post ( www.flickr.com/photos/bob_81667/40402297274/ ), the visibility of the phenomenon is dependent on scattering and absorption processes occurring during the long path that sunlight takes through Earth's atmosphere to reach our eyes at these times. These processes result in what is known as the telluric spectrum of the sun which is distinct from the absorption resulting from the escape of light through the solar atmosphere.
The telluric spectrum of the sky and of the sun itself varies during the day (and night) depending on both the altitude of the sun above the horizon and on the varying content of atmospheric gases, most notably that of water vapour. In his book, Minnaert shows a rough sketch of the visual spectrum of the setting sun seen through a visual spectroscope (Fig. 55, credited to N. Dijkwel, Hemel en Dampkring, 34, 261, 1936). This shows the development of the gap between the green and the red segments of the spectrum as the sun reaches the horizon but is attributed by him to water vapour absorption which, although it does play a minor role, the much larger effect of ozone absorption on the spectrum of twilight was not widely appreciated at that time.
In this picture, I assemble some of the historical drawings along with modern digital spectra to help give a clearer picture of the contributors to the sunset spectrum.
The lower frame in the picture is the sketch from Minnaert's book of the of the sunset spectrum developing downwards with time. I assume that this is a prismatic spectrum which is squashed up towards the red end compared with the linear grating spectrum in the upper plot. I have coloured Minnaert's picture to show the correct orange colour between the middle two absorption bands. The 4th strip from the top shows two pairs of absorption bands that I have labelled, from the right to left, A, B, R and Greek(delta).
[Note added in December 2020: I am not certain in my attribution of the of the two reddest absorptions in row 4 to Fraunhofer A and B as was suggested by their position in the drawing. My own examinations of the setting sun with a visual prism spectroscope reveal that the two bands, alpha near 630nm and the combination of Fraunhofer C (H-alpha) and the water band near 650nm form a more prominent pair. If this is the case, it is worth remarking that these four features drawn in row 4 contain two bands from tetra-oxygen that could not be identified as such at the time of the original investigations by Ångström and others in the 19th century. It is now known that such CIA (see below) transitions contribute a small but significant part of the ensemble of absorptions that produce the global greenhouse effect. I think that the fact that we can see these bands with the eye through a simple spectroscope is interesting.
I have now (10/12/2020) replaced the figure with this new, and more likely, interpretation of Dijkwel's drawing.]
Above this, I have reproduced (in mirror image to reverse the spectral direction) the observations of the telluric spectrum made by Ångström and shown in the book "Spectrum Analysis" by H. Schellen, D Appleton and Company, New York, 1872, Fig. 95, p183. This is on a linear wavelength scale aligned with the spectral plots at the top of the picture. Download the full size version of the image to read the labelling on this. The drawing shows the strong solar Fraunhofer lines as well as the telluric features. Note that it also includes the blue tetra-oxygen feature at ~476nm that was shown at a shorter wavelength in one of Ångström and Thalén's (presumably earlier) maps shown in plate VI of the above book.
The top plot shows a sunset spectrum (blue line) and also a spectrum of the eclipsed moon (Pallé, E. et al. Nature volume 459, pages 814–816 (11 June 2009) — red line). These are marked with the major telluric lines and bands from H_2 O (water), O_2 (molecular oxygen), O_3 (ozone) and the O_2 * O_2 dimer (now known as the CIA O_4 Collisionally Induced Absorption). Overlayed on this is the first reported spectral plot I have found of the central part of the ozone Chappuis band absorption and reported in the Astrophysical Journal in 1934 ( articles.adsabs.harvard.edu/cgi-bin/nph-iarticle_query?19... ). This is inverted and flipped left-right but you can see the characteristic double dip at the centre of the Chappuis band. The red and blue line spectra are plotted as a ratio of the the spectrum of an uneclipsed moon (top) and the spectrum of the sun seen high in the sky (bottom, blue line). This results in the removal of the intrinsic spectrum of the sun, leaving only the telluric spectrum.
So what's going on here? The principal difference between the red and blue line spectra (eclipse and sunset) in the top plot is the path that the sunlight takes through the atmosphere in these two situations. In the lunar eclipse, the light grazes the Earth on its way to producing the 'copper-coloured' moon but, in this case, the path avoids the low altitude atmosphere where most of the water vapour resides. You can see that the water band absorptions are much weaker than in the blue sunset spectrum. The other difference — a more subtle one — is that the CIA features (notice especially the one around 578nm) are stronger in the sunset spectrum which was obtained from a low altitude observing site, essentially sea-level. This is because the formation of the CIA lines needs two adjacent oxygen molecules and so its strength is dependent on the oxygen partial pressure squared and so is only really produced in the low atmosphere.
How do we interpret the spectrum sketches in Minnaert's book? The clear separation between the green and red segments in the 5th strip down is predominantly due to the ozone Chappuis absorption (see the model spectra in: www.flickr.com/photos/bob_81667/40402297274/ ). The central pair of absorptions seen in the 4 strips above is partly the result of the shape of the central part if the ozone Chappuis band but it is enhanced by the CIA absorption on the short wavelength side and by the water absorption on the long wavelength side. This water band was known by Victorian observers as "The Rain Band" since is was supposed to appear more strongly in damp weather and so was used for forecasting rain (though not very successfully!) This spectral region has a very characteristic appearance in a visual spectroscope with what appears to be a broad yellow 'emission' band flanked on either side by significant absorption. It is strong in both the sky and solar spectra when the sun is low: I have labelled these absorptions by 'delta' (as used by Ångström) and 'R' for Rainband. These are shown very clearly in the Spectral drawings by Piazzi Smyth made in 1875/6.
See: www.flickr.com/photos/bob_81667/11433988063/
The absorptions further to the red in the Minnaert sketch I suggest should be identified with the very strong molecular oxygen bands known as Fraunhofer 'A' and 'B' although it is not obvious why only a single band is shown on the 3rd strip. Maybe the observation was influenced by a strong water band marked 'a'?
Why should we be so interested in this apparently rather arcane branch of observational astronomy, even though it was all-the-rage in the late 19th century? The reason is that the use of long light paths through planetary atmospheres that can be extracted from observations of a planetary transit (when the planet crosses the disc of its ‘sun’) is one of the primary ways of learning about exoplanet atmospheres, currently a major ‘industry’ in astrophysics.
The Hague
May 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely i will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
All rights reserved
The Horsehead, also known as Barnard 33, is a cold, dark cloud of gas and dust, silhouetted against the bright nebula, IC 434. The bright area at the top left edge is a young star still embedded in its nursery of gas and dust. But radiation from this hot star is eroding the stellar nursery. The top of the nebula also is being sculpted by radiation from a massive star located out of Hubble's field of view.
Only by chance does the nebula roughly resemble the head of a horse. Its unusual shape was first discovered on a photographic plate in the late 1800s. Located in the constellation Orion, the Horsehead is a cousin of the famous pillars of dust and gas known as the Eagle nebula. Both tower-like nebulas are cocoons of young stars.
01-12
Improved insole; premium, 3x better moisture absorption, 100% better energy absorption
•Standard: EN ISO 20345:2011 S5 CI SRC
•Resistance: minerals, animal and plant oils and fats, disinfectants, fertilizer, solvents, various chemicals
•Lining; antibacterially treated, recognisable Dunlop red
Scheveningen/The Hague
June 2012
The Netherlands
Beachlife in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
In the late fifties Foden, a well established and respected lorry manufacturer, realised that they had to offer new improved models if they were to maintain their independence in the face of takeovers and absorption by the larger manufacturers.
Traditionally Foden cabs had been of composite build, a timber frame clad with aluminium panels but now Foden decided to move into the use of fibreglass for its new cab design.
First unveiled in 1958 the S21 cab with its elaborate curves was quickly dubbed the “Sputnik” by the trade press but lorry drivers almost always referred to them as Mickey Mouse and many S21s survived by virtue of being corrosion-free.
Like many a haulier Moreton C. Cullimore started out with a Model T Ford in the Stroud area of the Cotswolds in the 1930s but here, in the 1960s, one of his sizable fleet of Foden tippers threads its careful way though a Glouchester village while in the background a Midland Red single decker approaches its bus stop.
The original painting is in oils on a canvas board 20”x30” and was painted for a transport calendar.
Please remember this image is protected by copyright law.
You may download any image for personal or non-commercial use only.
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Metro
Beijing, China
July 2012
Candid shots in and around Public Transport
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
The Hague,
June 2012
THe Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
Den Haag
May 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely i will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
All rights reserved
Metro
Beijing, China
July 2012
Candid shots in and around Public Transport
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
Planets, stars, nebulas and a galaxy -- this impressive image has them all. Closest to home are the two planets Mars (right) and Saturn (center), visible as the two bright orange spots in the upper half of the featured image. On the central right are the colorful Rho Ophiuchus star clouds featuring the bright orange star Antares lined up below Mars. These interstellar clouds contain both red emission nebulas and blue reflection nebulas. At the top right of the image is the Blue Horsehead reflection nebula. On the lower left are many dark absorption nebulas that extend from the central band of our Milky Way Galaxy. The featured deep composite was composed of multiple deep exposures taken last month from Brazil. Although you need a telescope to see the nebulosities, Saturn and Mars will remain visible to the unaided eye this month toward the east, just after sunset. via NASA ift.tt/1Xj749i
Leiden
The Netherlands
2013
"Look what i found! Its the covert photographer's blog!"
Since today there is a blog: thecovertphotographer.wordpress.com/
On the blog i will attempt to provide more background to my images and discuss photography and everything else worth discussing on a blog.
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A slide from the webinar introduced in the adjacent post. Thanks to Yuri Baletsky for the use of two of his wonderful sky images from the Chilean Observatories.
The colour bands arise from the balance between the opacity of the atmosphere at different wavelengths and the total column density of atmosphere taken when sunlight traverses different paths to reach us from different directions in the sky.
Train
The Netherlands
2012
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
Den Haag
May 2012
The Netherlands
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
All rights reserved
Amsterdam
June 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
Scheveningen/The Hague
May 2012
The Netherlands
Beachlife in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
May 2012
The Netherlands
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
Appreciate the awards and scripted comments
But I will remove them...
All rights reserved
The Hague
The Netherlands
2013
Blog: thecovertphotographer.wordpress.com
Urban life in the Netherlands
Ricoh GR Digital IV
Wall in Calle dei Cerchieri. Eroded brickwork like this is one of the most common textures of Venice - the erosion is partly caused by the absorption of salt water during floods. The salt crystallises, weakening the bricks.
Not really my cup of tea. Plaxton body, of a design I always thought bland, uninteresting and embarrassingly named ...the "Supreme". But, where one might have expected to descry the winged blue-and-red triangle of AEC, or one of the Leyland "menagerie" badges, there was VOLVO, bold as brass. What were Volvos to me? All those rather ugly, angular-looking cars, sidelights self-righteously ablaze, built in somewhere like Uppsala by a lot of tufty-eyebrowed, sauna-steamed, angst-tormented, pine furniture-loving social democrats called Sven or Björn who lived in darkness for half the year. They meant nothing, being unconnected with what had gone before in this country. They had simply arrived out of the blue from somewhere else and were not part of the national omnibological tradition. In small things so in great. What is "globalisation" but the abolition of all that is local and its absorption into something universal and inescapable?
So it was the thin end of the wedge: Van Hool bodies were beginning to appear on domestically produced chassis and we'd had Caetanos for a while, but soon would come all those Bovas, Ivecos and the rest, and home-grown products would be quietly killed off ...AEC and Leyland side by side like two kittens drowned in a bucket. The coach was new to Morris Bros, Swansea ...a long-established user of Leylands, AECs and Bristols... in April 1976. It was photographed somewhere in London on Sunday 3rd September 1978. I can't remember exactly where it was. I suppose I must've focused on the front of the coach and the street name is slightly blurred. The previous frame on the negative strip was snapped at Vauxhall Bridgefoot coach park and the one after was shot in one of the side streets off Whitehall. Double kerb. Would it be Birdcage Walk or Horse Guards Road, with the park on the opposite side?
It took so long to decide what photo was going to be used for the eighth week in my project.
I decided on this one because I have been longing to put up a bright 'summery' photo for a while now.
This is of my brother on a beach in Glenn Maye, Isle of Man.
Even though we don't always get along, I am glad I have him in my life.
He is practically one of the closest mates I have.
He understands when I'm feeling upset, he makes me laugh on a daily basis and we can act like a pair of jokers and not care about how others think of us. He kinda brings the child out in me.
The one thing I'm not completely happy about is the light exposure.
I personally think it's way too bright.
But this is only a minor annoyance... so I'm not too worried. :)
Check it out on Tumblr