View allAll Photos Tagged Absorption
When we visited the current GOMA art works which profiles art by Australian artists, we were totally in awe of an animated work by Deborah Kelly - Beastliness.
These two girls were similarly affected, and the moment needed capturing.
This work is described as:-
The second work, Beastliness 2011, is a fast-paced animation. Taking aesthetic cues from MTV as well as early twentieth-century collage, Kelly’s characters are uncanny fusions of animals, insects and women in a world of frenzied dancing. Kelly re-mythologises femininity, avoiding the stereotypes that constrain and demonise people for their difference.
Kelly’s strategy is to embrace diversity: these creatures represent many female forms, thoughts and experiences, and celebrate acceptance and freedom of expression.
I tried to figure out how to use the Canon 60D movie mode, but couldn't find it in the dimmed lighting. I know it is there, just needed to find the beast.
(Looked just now and found the movie mode button which has obviously been installed on my camera since Saturday while I was sleeping)
I am sure these girls had a story to tell later over coffee about what they interpreted from the display.
Speaking of movies, look at this music video with a DIFFERENCE
Story in a Picture Challenge
The Hague
March 2012
The Netherlands
This shot hopefully concludes my momentary lapse of weakness ;)
It gives you guys a nice impression of how some of my shots are taken.
I've been enjoying the sun for a few days, will get back to my books the day after tomorrow!
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 Hague
April 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
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...
The tight framing of the ill-postured, tightly wound young woman makes a compelling image of readerly absorption.
In the 1870s, Argenteuil, a suburb of Paris on the Seine River, north-west of the city, was a gathering point for a number of Impressionist artists. In this fully developed Impressionist work, Monet portrays his first wife, Camille, seated on the lawn beneath lilac bushes in the garden of the Maison Aubry, their first residence in the Paris suburb. Monet moved to Argenteuil in December 1871. Many of the motifs that he and the other Impressionists favoured could be found in this small town, conveniently connected by rail to nearby Paris. While in Argenteuil, Monet set up a comfortable residence for himself, his wife, and their son Jean, enjoying a period of stability that resulted in great productivity over the next seven years.
During the early 1870s, Monet frequently painted views of his backyard garden that included Camille as his model. Here, her voluminous pink dress appears to float over the grass. The canvas glows with dappled sunlight, suggested by the artist's quick, unblended dabs of color. Camille's serene absorption in her book and the delicacy of her form recall 18th-century representations of women reading. "Springtime" is a prime example of Monet's commitment to painting outdoors and was included in the Second Impressionist Exhibition in 1876.
[Oil on canvas, 50 x 65.5 cm]
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!
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..
Zaahr - in Black * Zaahr - Facebook
SOOC image.
Raganuga - Absorption in Pure Love
Gracias a todos por los amables comentarios, mi amigos/as!
Thank you for all your kind comments, my friends!
Maximum light absorption.
Come see me at : www.Chanyungco.com / Breaking The Ice / Good Press Gallery / Fistful Of Books & follow me @elchanyungco on instagram.
Click here to say hi and here to reach Martin Smolka for booking/print orders ❤︎
A lizard endemic to South Africa and specifically to Table Mountain and the Cape Peninsula with a second location near Langebaan, north of Cape Town.
These are solitary creatures and black in colour, which facilitates absorption of the heat from the sun in what is a relatively cool part of South Africa.
My image was captured on Table Mountain some years ago.
"Date: 2019. Artist: Ulrike Koch-Brinkmann. Medium: Marble stucco on plaster cast, natural pigments in egg tempera, gold foil.
The statue type known as Small Herculaneum Woman has survived in dozens of ancient marble replicas. This reconstruction is based on studies of the extensive color preserved on a replica found in Delos, which has been examined in ultraviolet, infrared, and raking light as well as with X-ray fluorescence spectroscopy and ultraviolet-visible absorption spectroscopy. Decorative elements on the undergarment were painted with a light Egyptian blue, and iron-based pigments in shades of red and brown were used for the hair and facial features. Green malachite survived in large areas of her mantle, blackened through fire.
"The Late Classical prototype of the so-called Small Herculaneum Woman is lost, but dozens of copies of the Hellenistic and Roman periods are preserved. The young woman, her hair composed of several strands woven together into a severe bun, wraps herself in a mantle that she draws tightly around her body with both hands. Beneath the mantle she wears a finely pleated undergarment and sandals with thick soles. The reconstruction was made in 2019, as part of a project financed by the Federal Ministry for Education and Research, "The university collection as living archive. Teaching and research at the intersection of materiality and communication." It is based on studies of the polychromy of a copy found in 1894 on Delos (National Archaeological Museum, Athens, inv. 1827). The cast was taken from the Roman copy that gives the statue type its nickname, discovered in 1706 in Herculaneum (Staatliche Kunstsammlungen Dresden inv. Hm 327).
The polychromy of the copy from Delos has been investigated on several occasions since 1982. The best-preserved colors are a light blue (Egyptian blue) for decorative elements of the under-garment and a whole palette of iron oxides in shades of red and brown, especially on the hair and face. The excavators at the end of the 19th century had already observed traces of a rich pink and violet. Traces of gilding and of a violet color, the result of corrosion, are preserved on the borders of the mantle.
Yellow pigment containing lead, as well as lead white and malachite that had been burned to a grey-black powder, could also be detected with the use of intensive scientific investigation. In ultraviolet light, bands of wave and ray patterns can be seen on the mantle. The reconstruction brings together all the colors that have been detected since the statue was excavated. The application of paint on the mantle makes especially clear what the sculptor's intentions were: the fine, greenish fabric is transparent wherever the garment is pulled tightly around the body. Thus, the flesh color of the arm and elbow, as well as the violet of the undergarment, shines through at the belly and right thigh.
The decoration of the dress hem with sea monsters and the pomegranate branch on the mantle hem are designed in analogy to robe depictions in vase painting of the 4th century BC and on Hellenistic sculpture."" - info from the Met.
"The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.
The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries.
The Fifth Avenue building opened on March 30, 1880. In 2021, despite the COVID-19 pandemic in New York City, the museum attracted 1,958,000 visitors, ranking fourth on the list of most-visited art museums in the world.
New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
"Date: 2010. Artist: Ulrike Koch-Brinkmann. Medium: plaster cast, natural pigments in egg tempera.
As early as 1762, art historian Johann Joachim Winckelmann used the well-preserved colors on the statue of Artemis from Pompeii as evidence that ancient marble sculpture was colorful. The wide range of pigments represented on the reconstruction was identified through ultraviolet-visible absorption spectroscopy, ultraviolet-induced visible luminescence, and visible-induced infrared luminescence. These include Egyptian blue; pink madder; kaolin mixed with lead white; orange and red ocher; hematite; cinnabar; umber; and two yellow pigments made from lead and ocher." - info from the Met.
"The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.
The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries.
The Fifth Avenue building opened on March 30, 1880. In 2021, despite the COVID-19 pandemic in New York City, the museum attracted 1,958,000 visitors, ranking fourth on the list of most-visited art museums in the world.
New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
Just about every rocky shoreline in the Galapagos Islands is home to the marine iguana (Amblyrhynchus cristatus), the only sea-going lizard in the world. The marine iguana is an extraordinary animal that lives on land but feeds in the sea, grazing on a variety of seaweed – on exposed rocks, in subtidal areas, or by diving deeper into the cold seawater. This habit, totally unique in iguanas and in fact all lizard species of the world, provides them with an abundant food source. However, they cannot withstand the cold temperatures of the sea for too long and must pull out on land to warm up.Marine iguanas also mate and nest on land. While they have few predators in the sea, on land, young iguanas fall prey to hawks, herons, and other birds. Predation by introduced cats has had a major impact on many populations. Found throughout the islands, concentrations of up to 4,500 individuals per mile are not uncommon in some areas. The total population has been estimated at between 200,000 and 300,000.
The short, blunt nose is well-adapted to feeding on algae growing on rocks. The flattened tail is perfect for swimming, propelling the iguana through the water while its legs hang useless at its sides. Iguanas rid themselves of excess salt, consumed along with the algae, by a special gland connected to their nostrils. Marine iguanas are an excellent example of a species well-adapted and continuing to adapt to their environment. While marine iguanas feed mainly on algae, they have also been known to consume crustaceans and grasshoppers. On one or two islands, a small percentage of marine iguanas have been observed feeding on terrestrial vegetation, perhaps an adaptation to the near complete absence of nutritional sea algae during strong El Niño events.
When marine iguanas go hungry, they don’t just become thinner, they get shorter too. A scientist recently found that in times of El Niño-induced famine, the marine iguanas will shrink in length and then regrow as food becomes plentiful again. This finding, reported in the scientific journal Nature, is the first of a shrinking adult vertebrate. The adult iguanas can switch between growth and shrinkage repeatedly throughout their lifetime – a perfect adaptation to the boom and bust cycles in Galapagos associated with El Niño. The researchers postulate that bone absorption accounts for much of the reduction, with iguanas literally digesting part of their bones to survive.
Marine iguanas show their color as they mature – the young are black, while adults range from red and black, to black, green, red and grey, depending on the island, with Española marine iguanas being the most colorful of all, and earning them the nickname “Christmas Iguanas.” Marine iguanas become more colorful in the breeding season, at which time males defend territories on land where they mate with the females, who then lay their eggs in burrows. Marine iguanas lay 2 to 3 large eggs, which hatch between 2 ½ and 4 months later. Marine iguanas are known to live up to 60 years.
Tyndall, South Dakota (pop. ~1,000) has two significant European connections. The first is that the town, incorporated in 1879, was named after Irish physicist John Tyndall.
In 1859 Tyndall demonstrated with absorption spectroscopy that sunlight, which is predominantly visible light with short wavelengths, readily passes through most gases that compose the atmosphere, but that the longer wavelength infrared energy emitted by the Earth gets absorbed by those same gases (primarily water vapor). The difference in energy absorption is what keeps the Earth warm, and the increasing concentrations of gases like carbon dioxide and methane is what is causing the climate to warm.
For a long time it was believed that Tyndall was the discoverer of what became known as the "greenhouse effect" but more recently the work of American scientist Eunice Newton Foote was rediscovered. In 1856, three years before Tyndall, Foote noted that glass cylinders, when filled with air, hydrogen and carbon dioxide and placed in the sun, were warmest when filled with carbon dioxide and surmised that an atmosphere with more CO2 would result in a warmer climate. And that's your history of climate science lesson for today!
Anyway, as you can see, Tyndall has a very wide Main Street.
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
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.
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.
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
The name "Red Forest" comes from the ginger-brown colour of the pine trees after they died following the absorption of high levels of radiation from the Chernobyl accident on 26 April 1986. In the post-disaster cleanup operations, the Red Forest was bulldozed and buried in "waste graveyards". The site of the Red Forest remains one of the most contaminated areas in the world today.
The Hague
The Netherlands
2012
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
In Transit
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...
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...
"Date: 2010. Artist: Ulrike Koch-Brinkmann. Medium: Polymethyl metacrylate.
"This richly decorated statue stood on the tomb of a girl named Phrasikleia. She wears a crown of lotus buds and holds a single bud in her left hand. The epigram on the base tells us that she died young, before she could marry.
The famous sculptor Aristion of Paros signed the work. With the help of ultraviolet-visible absorption spectroscopy (UV-Vis spectroscopy) and X-ray fluorescence spectroscopy (XRF), traces of a numbers of colors on the flesh and clothing could be identified: red and brown madder, red and brown ocher, lead white for the eyes, flesh, and hair, as well as three different reds and yellows (red and yellow iron oxide and orpiment for the garment). Wherever the underside of the fabric is visible - on the sleeve and the lower hem - a dark red pigment (hematite) was deliberately used. Gold leaf and lead tin foil that gleams like silver were applied to the dress and the jewelry.
Metal rosettes and shiny yellow swastikas (painted with orpiment and gold ocher) were scattered over the entire garment. Additionally, stars appear on the back of the garment, evidently intended to represent a constellation.
The reconstruction made in 2010 follows the incised patterns and colors that were identified by scientific analysis. But after the latest discoveries by the conservators in the Athens National Museum, the red ocher of the robe has been mixed with cinnabar, giving the color an even more intense effect. The polish of the skin was based on contemporary Egyptian mummy portraits and was
done using agate, while a shimmering lacquer (gum arabic) was applied to the irises of the eyes. In 2019, gilding was added to the volute ornament of the belt and precious stones were inserted into the round depressions that are still preserved."" - info from the Met.
"The Metropolitan Museum of Art of New York City, colloquially "the Met", is the largest art museum in the Americas. Its permanent collection contains over two million works, divided among 17 curatorial departments. The main building at 1000 Fifth Avenue, along the Museum Mile on the eastern edge of Central Park on Manhattan's Upper East Side, is by area one of the world's largest art museums. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains an extensive collection of art, architecture, and artifacts from medieval Europe.
The Metropolitan Museum of Art was founded in 1870 with its mission to bring art and art education to the American people. The museum's permanent collection consists of works of art from classical antiquity and ancient Egypt, paintings, and sculptures from nearly all the European masters, and an extensive collection of American and modern art. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, and Islamic art. The museum is home to encyclopedic collections of musical instruments, costumes, and accessories, as well as antique weapons and armor from around the world. Several notable interiors, ranging from 1st-century Rome through modern American design, are installed in its galleries.
The Fifth Avenue building opened on March 30, 1880. In 2021, despite the COVID-19 pandemic in New York City, the museum attracted 1,958,000 visitors, ranking fourth on the list of most-visited art museums in the world.
New York, often called New York City or NYC, is the most populous city in the United States. With a 2020 population of 8,804,190 distributed over 300.46 square miles (778.2 km2), New York City is also the most densely populated major city in the United States. The city is within the southern tip of New York State, and constitutes the geographical and demographic center of both the Northeast megalopolis and the New York metropolitan area – the largest metropolitan area in the world by urban landmass. With over 20.1 million people in its metropolitan statistical area and 23.5 million in its combined statistical area as of 2020, New York is one of the world's most populous megacities, and over 58 million people live within 250 mi (400 km) of the city. New York City is a global cultural, financial, and media center with a significant influence on commerce, health care and life sciences, entertainment, research, technology, education, politics, tourism, dining, art, fashion, and sports. New York is the most photographed city in the world. Home to the headquarters of the United Nations, New York is an important center for international diplomacy, an established safe haven for global investors, and is sometimes described as the capital of the world." - info from Wikipedia.
The fall of 2022 I did my 3rd major cycling tour. I began my adventure in Montreal, Canada and finished in Savannah, GA. This tour took me through the oldest parts of Quebec and the 13 original US states. During this adventure I cycled 7,126 km over the course of 2.5 months and took more than 68,000 photos. As with my previous tours, a major focus was to photograph historic architecture.
Now on Instagram.
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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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
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
Leiden Central Station
March 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
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
The Hague
May 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
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Although carrying its Greater Manchester Transport legal lettering following the absorption of the Lancashire United fleet just under two months earlier, not a great deal else had changed by the time of this May 1981 shot of ex-LUT Leyland Fleetline / NCME 497, having just set out on the long run from Manchester to Liverpool. It had still to be renumbered 6913 in the GMT series and its eventual repaint might have also been some way off.
This was one of a pair from this batch that saw further service with Chesterfield Transport after their sale by GM Buses.
This image is copyright and must not be reproduced or downloaded without the permission of the photographer.
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
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!
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Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
Dashilan, Beijing
July 2012
China
Urban life
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!
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..
so much to say.
biofluorescence is the topic of my PhD dissertation. it is a translational phenomenon; light in a wavelength band translated to a different wavelength band, dictated through electronic absorption, classical vibration, and electronic emission. there are more proposals for its possible functions than i would care to count. biofluorescence is spectacular. it is a challenge+++ to photograph, let alone to be creative with that photography. photographed here is the ultraviolet-/violet-excited biofluorescence of a white globe lily, also known as fairy lanterns, found in the Volcan Mountains. the photograph itself is a multi-entendre speaking of the technical photography of fluorescence, the flower's colloquial ties to the magical, the nature of light itself, and other honors to intangibility and uncertainty. this photograph was inspired by one of my favorite nature photographers, Jiří Hřebíček. it is one of my favorite photographs i have ever made, for all the clever layers buried in it, and i am proud to have presented it as part of the artistic body it crowned.
seen on Kumeyaay land.
This work was produced under the Marjorie and Joseph Rubenson Endowment for Art and Science at Volcan Mountain.
*
VANISHING POINT
By Jean Baudrillard
Caution: Objects in this mirror may be closer than they appear!
Nostalgia born of the immensity of the Texan hills and the sierras of New Mexico: gliding down the freeway, smash hits on the Chrysler stereo, heat wave. Snapshots aren’t enough. We’d need the whole film of the trip in real time, including the unbearable heat and the music. We’d have to replay it all from end to end at home in a darkened room, rediscover the magic of the freeways and the distance and the ice-cold alcohol in the desert and the speed and live it all again on the video at home in real time, not simply for the pleasure of remembering but because the fascination of senseless repetition is already present in the abstraction of the journey. The unfolding of the desert is infinitely close to the timelessness of film...
SAN ANTONIO
The Mexicans, become Chicanos, act as guides on the visit to El Alamo to laud the heroes of the American nation so valiantly massacred by their own ancestors. But hard as those ancestors fought, the division of labour won out in the end. Today it is their grandchildren and great-grandchildren who are there, on the same battlefield, to hymn the Americans who stole their lands. History is full of ruse and cunning. But so are the Mexicans who have crossed the border clandestinely to come and work here.
SALT LAKE CITY
Pompous Mormon symmetry. Everywhere marble: flawless, funereal (the Capitol, the organ in the Visitor Center). Yet a Los-Angelic modernity, too -all the requisite gadgetry for a minimalist, extra-terrestrial comfort. The Christ-topped dome (all the Christs here are copied from Thorwaldsen’s and look like Bjorn Borg) straight out of Close Encounters: religion as special effects. In fact the whole city has the transparency and supernatural, otherworldly cleanness of a thing from outer space. A symmetrical, luminous, overpowering abstraction. At every intersection in the Tabernacle area - all marble and roses, and evangelical marketing – an electronic cuckoo-clock sings out: such Puritan obsessiveness is astonishing in this heat, in the heart of the desert, alongside this leaden lake, its waters also hyper real from sheer density of salt. And, beyond the lake, the Great Salt Lake Desert, where they had to invent the speed of prototype cars to cope with the absolute horizontality... But the city itself is like a jewel, with its purity of air and its plunging urban vistas more breath taking even than those of Los Angeles. What stunning brilliance, what modern veracity these Mormons show, these rich bankers, musicians, international genealogists, polygamists (the Empire State in New York has something of this same funereal Puritanism raised to the nth power). It is the capitalist, transsexual pride of a people of mutants that gives the city its magic, equal and opposite to that of Las Vegas, that great whore on the other side of the desert.
MONUMENT VALLEY DEADHORSE POINT GRAND CANYON
Geological - and hence metaphysical - monumentality, by contrast with the physical altitude of ordinary landscapes. Upturned relief patterns, sculpted out by wind, water, and ice, dragging you down into the whirlpool of time, into the remorseless eternity of a slow-motion catastrophe. The very idea of the millions and hundreds of millions of years that were needed peacefully to ravage the surface of the earth here is a perverse one, since it brings with it an awareness of signs originating, long before man appeared, in a sort of pact of wear and erosion struck between the elements. Among this gigantic heap of signs - purely geological in essence – man will have had no significance. The Indians alone perhaps interpreted them - a few of them. And yet they are signs. For the desert only appears uncultivated. This entire Navajo country, the long plateau which leads to the Grand Canyon, the cliffs overlooking Monument Valley, the abysses of Green River are all alive with a magical presence, which has nothing to do with nature (the secret of this whole stretch of country is perhaps that it was once an underwater relief and has retained the surrealist qualities of an ocean bed in the open air). You can understand why it took great magic on the Indians’ part, and a terribly cruel religion, to exorcize such a theoretical grandeur as the desert’s geological and celestial occurrence, to live up to such a backdrop. What is man if the signs that predate him have such power? A human race has to invent sacrifices equal to the natural cataclysmic order that surrounds it. It is perhaps these reliefs, because they are no longer natural, which give the best idea of what a culture is.
MONUMENT VALLEY: blocks of language suddenly rising high, then subjected to a pitiless erosion, ancient sedimentations that owe their depth to wear (meaning is born out of the erosion of words, significations are born out of the erosion of signs), and that are today destined to become, like all that is cultivated - like all culture-natural parks.
SALT LAKE CITY: the world genealogical archives, presided over in the depths of the desert caves by those rich-living, puritanical conquistadors, the Mormons, and, alongside, the Bonneville track on the immaculate surface of the Great Salt Lake Desert, where prototype cars achieve the highest speed sin the world. Patronymic genesis as the depth of time, and the speed of sound as pure superficiality.
ALAMOGORDO: the first atomic-bomb test against the backdrop of White Sands, the pale blue backcloth of the mountains and hundreds of miles of white sand - the blinding artificial light of the bomb against the blinding light of the ground.
TORREY CANYON: the Salk Institute, sanctuary of DNA and all the Nobel prize winners for biology. There all the future biological commandments are being devised, within that architecture copied from the palace of Minos, its white marble staring out over the immensity of the Pacific. . . Extraordinary sites, capitals of fiction become reality. Sublime, trans-political sites of extraterritoriality, combining as they do the earth’ sun damaged geological grandeur with a sophisticated, nuclear, orbital, computer technology.
I went in search of astral America*, not social and cultural America, but the America of the empty, absolute freedom of the freeways, not the deep America of mores and mentalities, but the America of desert speed, of motels and mineral surfaces. I looked for it in the speed of the screenplay, in the indifferent reflex of television, in the film of days and nights projected across an empty space, in the marvellously affectless succession of signs, images, faces, and ritual acts on the road; looked for what was nearest to the nuclear and enucleated universe, a universe which is virtually our own, right down to its European cottages. I sought the finished form of the future catastrophe of the social in geology, in that upturning of depth that can be seen in the striated spaces, the reliefs of salt and stone, the canyons where the fossil river flows down, the immemorial abyss of slowness that shows itself in erosion and geology. I even looked for it in the verticality of the great cities. I knew all about this nuclear form, this future catastrophe when I was still in Paris, of course. But to understand it, you have to take to the road, to that travelling which achieves what Virilio calls the aesthetics of disappearance. For the mental desert form expands before your very eyes, and this is the purified form of social desertification. Disaffection finds its pure form in the barrenness of speed. All that is cold and dead in desertification or social enucleation rediscovers its contemplative form here in the heat of the desert. Here in the transversality of the desert and the irony of geology, the transpolitical finds its generic, mental space.
The inhumanity of our ulterior, asocial, superficial world immediately finds its aesthetic form here, its ecstatic form. For the desert is simply that: an ecstatic critique of culture, an ecstatic form of disappearance. ‘L’Amerique siderale’: this term and its variant forms have been rendered throughout by ‘astral’ or the less familiar ‘sidereal’, according to context. The grandeur of deserts derives from their being, in their aridity, the negative of the earth’s surface and of our civilized humours. They are places where humidity and fluids become rarefied, where the air is so pure that the influence of the stars descends direct from the constellations. And, with the extermination of the desert Indians, an even earlier stage than that of anthropology became visible: a mineralogy, a geology, a side reality, an inhuman facticity, an aridity that drives out the artificial scruples of culture, a silence that exists nowhere else.
The silence of the desert is a visual thing, too. A product of the gaze that stares out and finds nothing to reflect it. There can be no silence up in the mountains, since their very contours roar. And for there to be silence, time itself has to attain a sort of horizontality; there has to be no echo of time in the future, but simply a sliding of geological strata one upon the other giving out nothing more than a fossil murmur. Desert: luminous, fossilized network of an inhuman intelligence, of a radical indifference - the indifference not merely of the sky, but of the geological undulations, where the metaphysical passions of space and time alone crystallize. Here the terms of desire are turned upside down each day, and night annihilates them. But wait for the dawn to rise, with the awakening of the fossil sounds, the animal silence.
Speed creates pure objects. It is itself a pure object, since it cancels out the ground and territorial reference-points, since it runs ahead of time to annul time itself, since it moves more quickly than its own cause and obliterates that cause by outstripping it. Speed is the triumph of effect over cause, the triumph of instantaneity over time as depth, the triumph of the surface arid pure objectality over the profundity of desire. Speed creates a space of initiation, which may be lethal; its only rule is to leave no trace behind. Triumph of forgetting over memory, an uncultivated, amnesic intoxication. The superficiality and reversibility of a pure object in the pure geometry of the desert.
Driving like this produces a kind of invisibility, transparency, or transversality in things, simply by emptying them out. It is a sort of slow-motion suicide, death by anextenuation of forms - the delectable form of their disappearance. Speed is not a vegetal thing. It is nearer to the mineral, to refraction through a crystal, andit is already the site of a catastrophe, of a squandering of time. Perhaps, though, its fascination is simply that of the void. There is no seduction here, for seduction requires a secret. Speed is simply the rite that initiates us into emptiness: a nostalgic desire for forms to revert to immobility, concealed beneath the very intensification of their mobility. Akin to the nostalgia for living forms that haunts geometry. Still, there is a violent contrast here, in this country, between the growing abstractness of a nuclear universe and a primary, visceral, unbounded*vitality, springing not from rootedness, but from the lack of roots, a metabolic vitality, in sex and bodies, as well as in work and in buying and selling.
Deep down, the US, with its space, its technological refinement, its bluff good conscience, even in those spaces which it opens up for simulation, is the only remaining primitive society. The fascinating thing is to travel through it as though it were the primitive society of the future, a society of complexity, hybridity, and the greatest intermingling, of a ritualism that is ferocious but whose superficial diversity lends it beauty, a society inhabited by a total Meta social fact with unforeseeable consequences, whose immanence is breath taking, yet lacking a past through which to reflect on this, and therefore fundamentally primitive. . . Its primitivism has passed into the hyperbolic, inhuman character of a universe that is beyond us, that far outstrips its own moral, social, or ecological rationale. Only Puritans could have invented and developed this ecological and biological morality based on preservation – and therefore on discrimination -which is profoundly racial in nature. Everything becomes an overprotected nature reserve, so protected indeed that there is talk today of denaturalizing Yosemite to give it back to Nature, as has happened with the Tasaday in the Philippines. A Puritan obsession with origins in the very place where the ground itself has already gone. An obsession with finding aniche, a contact, precisely at the point where everything unfolds in an astral indifference.
There is a sort of miracle in the insipidity of artificial paradises, so long as they achieve the greatness of an entire (un)culture. In America, space lends a sense of grandeur even to the insipidity of the suburbs and ‘funky towns’ .The desert is everywhere, preserving insignificance. A desert where the miracle of the car, of ice and whisky is daily re-enacted: a marvel of easy living mixed with the fatality of the desert. A miracle of obscenity that is genuinely American: a miracle of total availability, of the transparency of all functions in space, though this latter nonetheless remains unfathomable in its vastness and can only be exorcised by speed.
The Italian miracle: that of stage and scene. The American miracle: that of the obscene. The profusion of sense, as against the deserts of meaninglessness. It is metamorphic forms that are magical. Not the sylvan, vegetal forest, but the petrified, mineralized forest. The salt desert, whiter than snow, flatter than the geological formations, which ultimately testify to no human will, while keeping intact an image of upheaval. This form of travel admits of no exceptions: when it runs up against a known face, a familiar landscape, or some decipherable message, the spell is broken: the amnesic, ascetic, asymptotic charm of disappearance succumbs to affect and worldly semiology.
This sort of travel creates its own peculiar type of event and innervation, so it also has its own special form of fatigue. Like a fibrillation of muscles, striated by the excess of heat and speed, by the excess of things seen or read, of places passed through and forgotten. The defibrillation of the body overloaded with empty signs, functional gestures, the blinding brilliance of the sky, and somnabulistic distances, is a very slow process. Things suddenly become lighter, as culture, our culture, becomes more rarefied. And this spectral form of civilization which the Americans have invented, an ephemeral form so close to vanishing point, suddenly seems the best adapted to the probability - the probability only - of the life that lies in store for us. The form that dominates the American West, and doubtless all of American culture, is aseismic form: a fractal, interstitial culture, born of a rift with the Old World, a tactile, fragile, mobile, superficial culture - you have to follow its own rules to grasp how it works: seismic shifting, soft technologies.
The only question in this journey is: how far can we go in the extermination of meaning, how far can we go in the non-referential desert form without cracking up and, of course, still keep alive the esoteric charm of disappearance? A theoretical question here materialized in the objective conditions of a journey which is no longer a journey and therefore carries with it a fundamental rule: aim for the point of no return. This is the key. And the crucial moment is that brutal instant which reveals that the journey has no end, that there is no longer any reason for it to come to an end. Beyond a certain point, it is movement itself that changes. Movement which moves through space of its own volition changes into an absorption by space itself - end of resistance, end of the scene of the journey as such (exactly as the jet engine is no longer an energy of space-penetration, but propels itself by creating a vacuum in front of it that sucks it forward, instead of supporting itself, as in the traditional model, upon the air’s resistance). In this way, the centrifugal, eccentric point is reached where movement produces the vacuum that sucks you in. This moment of vertigo is also the moment of potential collapse. Not so much from the tiredness generated by the distance and the heat, as from the irreversible advance into the desert of time.
Tomorrow is the first day of the rest of your life.
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 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).