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Lost Verses. There is a Minang proverb that says: “akal tak sekali datang, runding tak sekali tiba”, which tells how things come to one’s senses through enduring processes of negotiation. The constitution of one’s mind and one’s self is then perceived as reiterating. It speaks about identifying while always adapting; and assigning meanings in the brevity of time. The Indonesia Pavilion at the Biennale Arte 2019 is based on this proverb, and it reimagines it as the layered experience of living in the present globalised condition. It works as the gamification of one’s narrative absorption in time, in an increasingly broad and divergent world. It tells us how minds saturate in limbo by forever falling into its dissociated self while trying to make sense.
The show must go on, even though the audience seems uninterested in this spectacular physics demonstration of centrifugal and centripetal forces. It exemplifies Newtonian laws of motion and Lagrangian mechanics.
O yeah, and it involves a Hula Hoop too, I guess.
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..
by David T. Hill : Updated March 9, 2020 Anno Domini
"Copper is great at killing superbugs – so why don’t hospitals use it?
Copper and its alloys exhibit impressive antibacterial, anti-fungal and antiviral properties. Copper has been exploited for health purposes since ancient times. Egyptian and Babylonian soldiers would sharpen their bronze swords (an alloy of copper and tin) after a battle, and place the filings in their wounds to reduce infection and speed healing.
The process involves the release of copper ions (electrically charged particles) when microbes, transferred by touching, sneezing or vomiting, land on the copper surface. The ions prevent cell respiration, punch holes in the bacterial cell membrane or disrupt the viral coat, and destroy the DNA and RNA inside.
This latter property is important as it means that no mutation can occur – preventing the microbe from developing resistance to copper. Copper alloys kill superbugs, including MRSA and those from the notorious ESKAPE group of pathogens – the leading cause of hospital-acquired infections."
theconversation.com/copper-is-great-at-killing-superbugs-...
It has been recorded that both Kids and Women (and probably African Americans) have more immunity to Coronavirus then adult Men and the probable reason is that these groups have higher Copper content in their systems. See quotes below.
Copper Tincture :
"Put some copper pennies into vinegar overnight. The vinegar may turn pale blue - that is the cuprous ion. Add a drop of that to your coffee, tea or food for copper. Good idea, but don't overdo it. Copper coating on pennies is fine since it is still copper. You can buy copper supplements but I'd rather do it this way."
lunaticoutpost.com/thread-167147-post-3115235.html?fbclid...
You can use this for ingestion and you could also make a bigger batch and use it for cleaning - dampen a rag and wipe down all surfaces - tables, counters, door handles, etc. You could even take a sponge bath with it. Mix it with vaseline and dab it in your nostrils and every time you breathe in you will be putting copper ions into your lungs but this should probably only be done if you have actually contracted the virus.
The Masks are virtually useless (because they don't make an air tight seal so its a waste of time shaving your beards boys) but if you soak one in this solution it will kill the virus (making masks reusable) and wear it damp every time you breathe in you will be breathing in Copper Ions which will kill the Virus in your lungs as well as making it into your Blood Stream. But you will need to monitor for Copper Toxicity (Headaches, acne, greenish complexion, etc., see url below).
You could pour this solution into a Humidifier and, in theory, Ionize an entire room and turn it into an impromptu clinic if you needed to but, again, this should be only if you have contracted the virus.
There is no proof that Colloidal Silver or Vitamin C kills viruses (see quotes below) and, in fact, the Aids Community tried both and neither one worked so they discarded that practice so you probably don't want to waste your time with Silver or Vitamins to stop a Weaponized Virus (Antiviral Research, Vol. 16, April 2020, Article : The spike glycoprotein of the new coronavirus 2019-nCoV contains a furin-like cleavage site absent in CoV of the same clade) which is probably Airborne like Influenza (New England Journal of Medicine, Feb. 19, 2020 SARS-CoV-2, Article : Viral Load in Upper Respiratory Specimens of Infected Patients). Copper Ions, however, have been proven to kill both the HIV Virus and Coronavirus (see quote below).
Some multivitamins have copper in them. You can make some impromptu 'silverware' so you ingest particulates of copper on a regular basis so it gets in your blood. You can make rings out of copper grounding wire and wear them on you hands and then everything you touch will have copper particles on them. You can even carry a penny in you mouth off and on but make sure you use an older penny cause the recent ones are only copper coated.
"You can buy colloidal copper in liquid form (gold too)."
lunaticoutpost.com/thread-167147-post-3115387.html?fbclid...
You can ask at any pharmacy like Walmart or any good Vitamin Store and they should be able to order liquid colloidal copper for you if they don't already carry it in stock and it should have the normal dosage suggestions on the bottle.
What is Colloidal Copper :
www.healthline.com/health/colloidal-copper
Colloidal Silver :
"Proponents of colloidal silver claim that it can have antiviral effects in your body. Some studies have suggested that different types of silver nanoparticles may help kill viral compounds. However, the amount of nanoparticles in a colloid solution can vary and a recent study found colloidal silver to be ineffective at killing viruses, even in test-tube conditions."
www.healthline.com/nutrition/colloidal-silver?fbclid=IwAR...
Vitamin C :
"Several years ago there was much interest in high-dose Vitamin C as an HIV treatment. By the end of 1987 this interest had greatly diminished, although some people continue to use the treatment today. One reason we have been skeptical of Vitamin C is that if the treatment had worked well, it seems unlikely that the community would have stopped using it."
www.aids.org/2010/10/vitamin-c-laboratory-tests-indicate-...
HIV :
"Incorporation of copper alloy surfaces in conjunction with effective cleaning regimens and good clinical practice could help to control transmission of respiratory coronaviruses, including MERS and SARS.
Copper alloys have demonstrated excellent antibacterial and antifungal activity against a range of pathogens in laboratory studies (14,–19). Copper ion release has been found to be essential to maintaining efficacy, but the mechanism of action is variable (20, 21). A reduction in microbial bioburden and acquisition of nosocomial infection has now been observed in clinical trials of incorporation of copper alloy surfaces in health care facilities (22,–25).
Rapid inactivation of human coronavirus occurs on brass and copper nickel surfaces at room temperature (21°C).Inactivation of coronavirus on copper and copper alloy surfaces results in fragmentation of the viral genome, ensuring that inactivation is irreversible.
Copper ions have been shown to directly inhibit proteases by reacting with surface cysteine and to inflict damage to the viral genome in HIV and herpes simplex virus (40, 41).
The mechanism of bacterial death on copper surfaces is complex, involving not only direct action of copper ion on multiple targets but also the generation of destructive oxygen radicals, resulting in “metabolic suicide” (20). This was not observed for norovirus destruction on copper, presumably because of the lack of respiratory machinery (26). However, it appears that superoxide and hydroxyl radical generation may be important in the inactivation of coronaviruses on copper alloys but that inactivation on 100% copper surfaces is primarily due to the direct effect of copper ions.
In this study, we observed rapid damage, including clumping, breakage, membrane damage, and loss of surface spikes, to the coronavirus particles following exposure to copper, and some particles appeared smaller and seemed to have lost rigidity, folding up on themselves. These changes were not observed with virus recovered from stainless steel surfaces.
There is now a large body of evidence from laboratory studies and small clinical trials to suggest that incorporation of copper surfaces could play a significant role in reducing infection transmission from contaminated surfaces."
www.ncbi.nlm.nih.gov/pmc/articles/PMC4659470/
Plasma Copper in Human Subjects
"Plasma copper was not correlated with age among control subjects or AD patients. Plasma and cerebrospinal fluid copper were not correlated in any group.
Plasma copper is increased in human female (1008 ± 51) compared to male (836 ± 41) control subjects (P = 0.01) when all age groups were combined. When the control subjects were divided by age group, trends to higher plasma copper in females were appreciated in the middle-aged and old control subjects, but not the young subjects."
www.ncbi.nlm.nih.gov/pmc/articles/PMC3199105/
"Copper levels in plasma and erythrocytes in healthy Japanese children and adults.
This study showed differences in plasma and erythrocyte copper concentrations in children and adults. All determinations were performed with a flameless atomic absorption spectrophotometer. The mean plasma copper level at 1 month of age was significantly lower than in adults. After 1 month of age the mean concentration in plasma increased to its peak value at 2 to 5 yr of age, then decreased gradually with age. At 7 months to 10 yr of age, the copper levels in plasma were significantly higher than in adults. The erythrocyte copper levels at 1 month to 1 yr of age were significantly higher than in adults. The copper content of erythrocytes was highest at 2 to 6 months of age and then decreased gradually. The copper concentration of erythrocytes may reflect more accurately liver and total body copper levels than does the plasma copper level. There is less possibility of copper contamination in erythrocytes than in hair. Therefore, the measurement of erythrocyte copper concentration may well be a helpful index of the total copper status."
www.ncbi.nlm.nih.gov/pubmed/7064868
Copper Toxicity Symptoms :
www.holistic-back-relief.com/images/x7-signs-of-Copper-to...
Original Post :
theoferrum.activeboard.com/t66302031/copper-ions-the-silv...
Barnard 150 (LDN1082), is a dark (absorption) nebula located in the constellation of Cepheus.
Due to its shape it’s also known as The Seahorse Nebula. Dark nebulae are clouds of dense interstellar material that obscures the light from objects behind it, such as background stars.
Name: Anna Maire
Age: 27
Species: Human/Mutant
Abilities: Absorption of memories, skills, and powers through skin-to-skin contact (the longer the contact occurs, the longer Rogue will retain the abilities or memories. If she maintains contact long enough, the absorption becomes permanent), super strength and flight, Expert at martial arts and unarmed combat.
Testing out the cuvette holder I just designed and printed today. Upper spectrum is through the nano particle containing cuvette, lower spectrum is the tungsten reference.
A young Sri Lankan boy drawing at an arts exhibition.
"Every child is an artist. The problem is how to remain an artist once we grow up." - Pablo Picasso.
Taken with a 30 years old grating spectrometer. 12 pictures taken through the eyepiece with a pocket camera and combined to a panorama.
VU, Amsterdam
March 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 Moon is an astronomical body that orbits planet Earth, being Earth's only permanent natural satellite. It is the fifth-largest natural satellite in the Solar System, and the largest among planetary satellites relative to the size of the planet that it orbits (its primary). Following Jupiter's satellite Io, the Moon is second-densest satellite among those whose densities are known.
The average distance of the Moon from the Earth is 384,400 km, or 1.28 light-seconds.
The Moon is thought to have formed about 4.51 billion years ago, not long after Earth. There are several hypotheses for its origin; the most widely accepted explanation is that the Moon formed from the debris left over after a giant impact between Earth and a Mars-sized body called Theia.
The Moon is in synchronous rotation with Earth, always showing the same face, with its near side marked by dark volcanic maria that fill the spaces between the bright ancient crustal highlands and the prominent impact craters. It is the second-brightest regularly visible celestial object in Earth's sky, after the Sun, as measured by illuminance on Earth's surface. Its surface is actually dark, although compared to the night sky it appears very bright, with a reflectance just slightly higher than that of worn asphalt. Its prominence in the sky and its regular cycle of phases have made the Moon an important cultural influence since ancient times on language, calendars, art, mythology, and, it is often speculated, the menstrual cycles of the female of the human species.
The Moon's gravitational influence produces the ocean tides, body tides, and the slight lengthening of the day. The Moon's current orbital distance is about thirty times the diameter of Earth, with its apparent size in the sky almost the same as that of the Sun, resulting in the Moon covering the Sun nearly precisely in total solar eclipse. This matching of apparent visual size will not continue in the far future. The Moon's linear distance from Earth is currently increasing at a rate of 3.82 ± 0.07 centimetres per year, but this rate is not constant.
The Soviet Union's Luna programme was the first to reach the Moon with uncrewed spacecraft in 1959; the United States' NASA Apollo program achieved the only crewed missions to date, beginning with the first crewed lunar orbiting mission by Apollo 8 in 1968, and six crewed lunar landings between 1969 and 1972, with the first being Apollo 11. These missions returned over 380 kg of lunar rocks, which have been used to develop a geological understanding of the Moon's origin, the formation of its internal structure, and its subsequent history. Since the Apollo 17 mission in 1972, the Moon has been visited only by uncrewed spacecraft.
FORMATION
Several mechanisms have been proposed for the Moon's formation 4.51 billion years ago, and some 60 million years after the origin of the Solar System. These mechanisms included the fission of the Moon from Earth's crust through centrifugal force (which would require too great an initial spin of Earth), the gravitational capture of a pre-formed Moon (which would require an unfeasibly extended atmosphere of Earth to dissipate the energy of the passing Moon), and the co-formation of Earth and the Moon together in the primordial accretion disk (which does not explain the depletion of metals in the Moon). These hypotheses also cannot account for the high angular momentum of the Earth–Moon system.
The prevailing hypothesis is that the Earth–Moon system formed as a result of the impact of a Mars-sized body (named Theia) with the proto-Earth (giant impact), that blasted material into orbit about the Earth that then accreted to form the present Earth-Moon system.
This hypothesis, although not perfect, perhaps best explains the evidence. Eighteen months prior to an October 1984 conference on lunar origins, Bill Hartmann, Roger Phillips, and Jeff Taylor challenged fellow lunar scientists: "You have eighteen months. Go back to your Apollo data, go back to your computer, do whatever you have to, but make up your mind. Don't come to our conference unless you have something to say about the Moon's birth." At the 1984 conference at Kona, Hawaii, the giant impact hypothesis emerged as the most popular.
Before the conference, there were partisans of the three "traditional" theories, plus a few people who were starting to take the giant impact seriously, and there was a huge apathetic middle who didn’t think the debate would ever be resolved. Afterward there were essentially only two groups: the giant impact camp and the agnostics.
Giant impacts are thought to have been common in the early Solar System. Computer simulations of a giant impact have produced results that are consistent with the mass of the lunar core and the present angular momentum of the Earth–Moon system. These simulations also show that most of the Moon derived from the impactor, rather than the proto-Earth. More recent simulations suggest a larger fraction of the Moon derived from the original Earth mass. Studies of meteorites originating from inner Solar System bodies such as Mars and Vesta show that they have very different oxygen and tungsten isotopic compositions as compared to Earth, whereas Earth and the Moon have nearly identical isotopic compositions. The isotopic equalization of the Earth-Moon system might be explained by the post-impact mixing of the vaporized material that formed the two, although this is debated.
The great amount of energy released in the impact event and the subsequent re-accretion of that material into the Earth-Moon system would have melted the outer shell of Earth, forming a magma ocean. Similarly, the newly formed Moon would also have been affected and had its own lunar magma ocean; estimates for its depth range from about 500 km to its entire depth (1,737 km).
While the giant impact hypothesis might explain many lines of evidence, there are still some unresolved questions, most of which involve the Moon's composition
In 2001, a team at the Carnegie Institute of Washington reported the most precise measurement of the isotopic signatures of lunar rocks. To their surprise, the team found that the rocks from the Apollo program carried an isotopic signature that was identical with rocks from Earth, and were different from almost all other bodies in the Solar System. Because most of the material that went into orbit to form the Moon was thought to come from Theia, this observation was unexpected. In 2007, researchers from the California Institute of Technology announced that there was less than a 1% chance that Theia and Earth had identical isotopic signatures. Published in 2012, an analysis of titanium isotopes in Apollo lunar samples showed that the Moon has the same composition as Earth, which conflicts with what is expected if the Moon formed far from Earth's orbit or from Theia. Variations on the giant impact hypothesis may explain this data.
PHYSICAL CHARACTERISTICS
INTERNAL STRUCTURE
The Moon is a differentiated body: it has a geochemically distinct crust, mantle, and core. The Moon has a solid iron-rich inner core with a radius of 240 km and a fluid outer core primarily made of liquid iron with a radius of roughly 300 km. Around the core is a partially molten boundary layer with a radius of about 500 km. This structure is thought to have developed through the fractional crystallization of a global magma ocean shortly after the Moon's formation 4.5 billion years ago. Crystallization of this magma ocean would have created a mafic mantle from the precipitation and sinking of the minerals olivine, clinopyroxene, and orthopyroxene; after about three-quarters of the magma ocean had crystallised, lower-density plagioclase minerals could form and float into a crust atop. The final liquids to crystallise would have been initially sandwiched between the crust and mantle, with a high abundance of incompatible and heat-producing elements. Consistent with this perspective, geochemical mapping made from orbit suggests the crust of mostly anorthosite. The Moon rock samples of the flood lavas that erupted onto the surface from partial melting in the mantle confirm the mafic mantle composition, which is more iron rich than that of Earth. The crust is on average about 50 km thick.
The Moon is the second-densest satellite in the Solar System, after Io. However, the inner core of the Moon is small, with a radius of about 350 km or less, around 20% of the radius of the Moon. Its composition is not well defined, but is probably metallic iron alloyed with a small amount of sulfur and nickel; analyses of the Moon's time-variable rotation suggest that it is at least partly molten.
SURFACE GEOLOGY
The topography of the Moon has been measured with laser altimetry and stereo image analysis. Its most visible topographic feature is the giant far-side South Pole–Aitken basin, some 2,240 km in diameter, the largest crater on the Moon and the second-largest confirmed impact crater in the Solar System. At 13 km deep, its floor is the lowest point on the surface of the Moon. The highest elevations of the Moon's surface are located directly to the northeast, and it has been suggested might have been thickened by the oblique formation impact of the South Pole–Aitken basin. Other large impact basins, such as Imbrium, Serenitatis, Crisium, Smythii, and Orientale, also possess regionally low elevations and elevated rims. The far side of the lunar surface is on average about 1.9 km higher than that of the near side.
The discovery of fault scarp cliffs by the Lunar Reconnaissance Orbiter suggest that the Moon has shrunk within the past billion years, by about 90 metres. Similar shrinkage features exist on Mercury.
VOLCANIC FEATURES
The dark and relatively featureless lunar plains, clearly be seen with the naked eye, are called maria (Latin for "seas"; singular mare), as they were once believed to be filled with water; they are now known to be vast solidified pools of ancient basaltic lava. Although similar to terrestrial basalts, lunar basalts have more iron and no minerals altered by water. The majority of these lavas erupted or flowed into the depressions associated with impact basins. Several geologic provinces containing shield volcanoes and volcanic domes are found within the near side "maria".
Almost all maria are on the near side of the Moon, and cover 31% of the surface of the near side, compared with 2% of the far side. This is thought to be due to a concentration of heat-producing elements under the crust on the near side, seen on geochemical maps obtained by Lunar Prospector's gamma-ray spectrometer, which would have caused the underlying mantle to heat up, partially melt, rise to the surface and erupt. Most of the Moon's mare basalts erupted during the Imbrian period, 3.0–3.5 billion years ago, although some radiometrically dated samples are as old as 4.2 billion years. Until recently, the youngest eruptions, dated by crater counting, appeared to have been only 1.2 billion years ago. In 2006, a study of Ina, a tiny depression in Lacus Felicitatis, found jagged, relatively dust-free features that, due to the lack of erosion by infalling debris, appeared to be only 2 million years old. Moonquakes and releases of gas also indicate some continued lunar activity. In 2014 NASA announced "widespread evidence of young lunar volcanism" at 70 irregular mare patches identified by the Lunar Reconnaissance Orbiter, some less than 50 million years old. This raises the possibility of a much warmer lunar mantle than previously believed, at least on the near side where the deep crust is substantially warmer due to the greater concentration of radioactive elements. Just prior to this, evidence has been presented for 2–10 million years younger basaltic volcanism inside Lowell crater, Orientale basin, located in the transition zone between the near and far sides of the Moon. An initially hotter mantle and/or local enrichment of heat-producing elements in the mantle could be responsible for prolonged activities also on the far side in the Orientale basin.
The lighter-coloured regions of the Moon are called terrae, or more commonly highlands, because they are higher than most maria. They have been radiometrically dated to having formed 4.4 billion years ago, and may represent plagioclase cumulates of the lunar magma ocean. In contrast to Earth, no major lunar mountains are believed to have formed as a result of tectonic events.
The concentration of maria on the Near Side likely reflects the substantially thicker crust of the highlands of the Far Side, which may have formed in a slow-velocity impact of a second moon of Earth a few tens of millions of years after their formation.
IMPACT CRATERS
The other major geologic process that has affected the Moon's surface is impact cratering, with craters formed when asteroids and comets collide with the lunar surface. There are estimated to be roughly 300,000 craters wider than 1 km (0.6 mi) on the Moon's near side alone. The lunar geologic timescale is based on the most prominent impact events, including Nectaris, Imbrium, and Orientale, structures characterized by multiple rings of uplifted material, between hundreds and thousands of kilometres in diameter and associated with a broad apron of ejecta deposits that form a regional stratigraphic horizon. The lack of an atmosphere, weather and recent geological processes mean that many of these craters are well-preserved. Although only a few multi-ring basins have been definitively dated, they are useful for assigning relative ages. Because impact craters accumulate at a nearly constant rate, counting the number of craters per unit area can be used to estimate the age of the surface. The radiometric ages of impact-melted rocks collected during the Apollo missions cluster between 3.8 and 4.1 billion years old: this has been used to propose a Late Heavy Bombardment of impacts.
Blanketed on top of the Moon's crust is a highly comminuted (broken into ever smaller particles) and impact gardened surface layer called regolith, formed by impact processes. The finer regolith, the lunar soil of silicon dioxide glass, has a texture resembling snow and a scent resembling spent gunpowder. The regolith of older surfaces is generally thicker than for younger surfaces: it varies in thickness from 10–20 km in the highlands and 3–5 km in the maria. Beneath the finely comminuted regolith layer is the megaregolith, a layer of highly fractured bedrock many kilometres thick.
Comparison of high-resolution images obtained by the Lunar Reconnaissance Orbiter has shown a contemporary crater-production rate significantly higher than previously estimated. A secondary cratering process caused by distal ejecta is thought to churn the top two centimetres of regolith a hundred times more quickly than previous models suggested - on a timescale of 81,000 years.
LUNAR SWIRLS
Lunar swirls are enigmatic features found across the Moon's surface, which are characterized by a high albedo, appearing optically immature (i.e. the optical characteristics of a relatively young regolith), and often displaying a sinuous shape. Their curvilinear shape is often accentuated by low albedo regions that wind between the bright swirls.
PRESENCE OF WATER
Liquid water cannot persist on the lunar surface. When exposed to solar radiation, water quickly decomposes through a process known as photodissociation and is lost to space. However, since the 1960s, scientists have hypothesized that water ice may be deposited by impacting comets or possibly produced by the reaction of oxygen-rich lunar rocks, and hydrogen from solar wind, leaving traces of water which could possibly survive in cold, permanently shadowed craters at either pole on the Moon. Computer simulations suggest that up to 14,000 km2 of the surface may be in permanent shadow. The presence of usable quantities of water on the Moon is an important factor in rendering lunar habitation as a cost-effective plan; the alternative of transporting water from Earth would be prohibitively expensive.
In years since, signatures of water have been found to exist on the lunar surface. In 1994, the bistatic radar experiment located on the Clementine spacecraft, indicated the existence of small, frozen pockets of water close to the surface. However, later radar observations by Arecibo, suggest these findings may rather be rocks ejected from young impact craters. In 1998, the neutron spectrometer on the Lunar Prospector spacecraft, showed that high concentrations of hydrogen are present in the first meter of depth in the regolith near the polar regions. Volcanic lava beads, brought back to Earth aboard Apollo 15, showed small amounts of water in their interior.
The 2008 Chandrayaan-1 spacecraft has since confirmed the existence of surface water ice, using the on-board Moon Mineralogy Mapper. The spectrometer observed absorption lines common to hydroxyl, in reflected sunlight, providing evidence of large quantities of water ice, on the lunar surface. The spacecraft showed that concentrations may possibly be as high as 1,000 ppm.[92] In 2009, LCROSS sent a 2,300 kg impactor into a permanently shadowed polar crater, and detected at least 100 kg of water in a plume of ejected material. Another examination of the LCROSS data showed the amount of detected water to be closer to 155 ± 12 kg.
In May 2011, 615–1410 ppm water in melt inclusions in lunar sample 74220 was reported, the famous high-titanium "orange glass soil" of volcanic origin collected during the Apollo 17 mission in 1972. The inclusions were formed during explosive eruptions on the Moon approximately 3.7 billion years ago. This concentration is comparable with that of magma in Earth's upper mantle. Although of considerable selenological interest, Hauri's announcement affords little comfort to would-be lunar colonists - the sample originated many kilometers below the surface, and the inclusions are so difficult to access that it took 39 years to find them with a state-of-the-art ion microprobe instrument.
GRAVITATIONAL FIELD
The gravitational field of the Moon has been measured through tracking the Doppler shift of radio signals emitted by orbiting spacecraft. The main lunar gravity features are mascons, large positive gravitational anomalies associated with some of the giant impact basins, partly caused by the dense mare basaltic lava flows that fill those basins. The anomalies greatly influence the orbit of spacecraft about the Moon. There are some puzzles: lava flows by themselves cannot explain all of the gravitational signature, and some mascons exist that are not linked to mare volcanism.
MAGNETIC FIELD
The Moon has an external magnetic field of about 1–100 nanoteslas, less than one-hundredth that of Earth. It does not currently have a global dipolar magnetic field and only has crustal magnetization, probably acquired early in lunar history when a dynamo was still operating. Alternatively, some of the remnant magnetization may be from transient magnetic fields generated during large impact events through the expansion of an impact-generated plasma cloud in the presence of an ambient magnetic field. This is supported by the apparent location of the largest crustal magnetizations near the antipodes of the giant impact basins.
ATMOSPHERE
The Moon has an atmosphere so tenuous as to be nearly vacuum, with a total mass of less than 10 metric tons (9.8 long tons; 11 short tons). The surface pressure of this small mass is around 3 × 10−15 atm (0.3 nPa); it varies with the lunar day. Its sources include outgassing and sputtering, a product of the bombardment of lunar soil by solar wind ions. Elements that have been detected include sodium and potassium, produced by sputtering (also found in the atmospheres of Mercury and Io); helium-4 and neon from the solar wind; and argon-40, radon-222, and polonium-210, outgassed after their creation by radioactive decay within the crust and mantle. The absence of such neutral species (atoms or molecules) as oxygen, nitrogen, carbon, hydrogen and magnesium, which are present in the regolith, is not understood. Water vapour has been detected by Chandrayaan-1 and found to vary with latitude, with a maximum at ~60–70 degrees; it is possibly generated from the sublimation of water ice in the regolith. These gases either return into the regolith due to the Moon's gravity or be lost to space, either through solar radiation pressure or, if they are ionized, by being swept away by the solar wind's magnetic field.
DUST
A permanent asymmetric moon dust cloud exists around the Moon, created by small particles from comets. Estimates are 5 tons of comet particles strike the Moon's surface each 24 hours. The particles strike the Moon's surface ejecting moon dust above the Moon. The dust stays above the Moon approximately 10 minutes, taking 5 minutes to rise, and 5 minutes to fall. On average, 120 kilograms of dust are present above the Moon, rising to 100 kilometers above the surface. The dust measurements were made by LADEE's Lunar Dust EXperiment (LDEX), between 20 and 100 kilometers above the surface, during a six-month period. LDEX detected an average of one 0.3 micrometer moon dust particle each minute. Dust particle counts peaked during the Geminid, Quadrantid, Northern Taurid, and Omicron Centaurid meteor showers, when the Earth, and Moon, pass through comet debris. The cloud is asymmetric, more dense near the boundary between the Moon's dayside and nightside.[
SEASONS
The Moon's axial tilt with respect to the ecliptic is only 1.5424°, much less than the 23.44° of Earth. Because of this, the Moon's solar illumination varies much less with season, and topographical details play a crucial role in seasonal effects. From images taken by Clementine in 1994, it appears that four mountainous regions on the rim of Peary Crater at the Moon's north pole may remain illuminated for the entire lunar day, creating peaks of eternal light. No such regions exist at the south pole. Similarly, there are places that remain in permanent shadow at the bottoms of many polar craters, and these dark craters are extremely cold: Lunar Reconnaissance Orbiter measured the lowest summer temperatures in craters at the southern pole at 35 K (−238 °C) and just 26 K (−247 °C) close to the winter solstice in north polar Hermite Crater. This is the coldest temperature in the Solar System ever measured by a spacecraft, colder even than the surface of Pluto. Average temperatures of the Moon's surface are reported, but temperatures of different areas will vary greatly depending upon whether it is in sunlight or shadow.
RELATIONSHIP TO EARTH
ORBIT
The Moon makes a complete orbit around Earth with respect to the fixed stars about once every 27.3 days (its sidereal period). However, because Earth is moving in its orbit around the Sun at the same time, it takes slightly longer for the Moon to show the same phase to Earth, which is about 29.5 days[h] (its synodic period). Unlike most satellites of other planets, the Moon orbits closer to the ecliptic plane than to the planet's equatorial plane. The Moon's orbit is subtly perturbed by the Sun and Earth in many small, complex and interacting ways. For example, the plane of the Moon's orbital motion gradually rotates, which affects other aspects of lunar motion. These follow-on effects are mathematically described by Cassini's laws.
RELATIVE SIZE
The Moon is exceptionally large relative to Earth: a quarter its diameter and 1/81 its mass. It is the largest moon in the Solar System relative to the size of its planet, though Charon is larger relative to the dwarf planet Pluto, at 1/9 Pluto's mass. Earth and the Moon are nevertheless still considered a planet–satellite system, rather than a double planet, because their barycentre, the common centre of mass, is located 1,700 km (about a quarter of Earth's radius) beneath Earth's surface.
WIKIPEDIA
Apparently, the deep amber color of the fantastic whisky Aberlour a'bunadh is due to absorption and subsequent fluorescence.
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
Amsterdam
May 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
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From My Hero Academia this is the Nomu that was involved in the USJ attack along with Kurogiri, Shigaraki, and the other villains. This Nomu was created from a corpse and was given the stolen quirks shock-absorption and super strength using the power of All For One.All Might was able to defeat the Nomu just in time before the students were killed.
The ultimate Yogi, the diety of salvation, the highest source of attaining a state of bliss and absolute energy for man, Shiva is the personification of enlightenment - the state of nirvana, a freedom from suffering and the transcendence of the mind to the spiritual realm of limitless joy.
Shiva signifies absolute action and at the same time He is the stillness in the movement and the absorption of co-existing contradictions - the absolute reality beyond time, space and reason. He is the conciousness which bestows bliss and the eternal experience of energy, the portrayal of the potential energy contained in every atom.
The dance of Shiva is the divine motion that goes on inside every atom and the universe as a whole - the spectacular celestial dance, the display of all movements that occur in the inside and the outside of us. Represented in the form of a cylinder, the most stable and elementary shape in creation, He sustains all creation and is the source of all energies emanating from what he represents - Silence and Space.
As described on an audio CD titled The Chants of Shiva. Author - Anonymous.
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Om Namah Shivaya is a popular mantra (chant/prayer) in Hinduism.
Its translation is "adoration (namas) to Shiva", preceded by the mystical syllable "Om".
The meaning of the Namaḥ Śivāya mantra was explained by Satguru Sivaya Subramuniyaswami:
Namaḥ Śivāya is the most holy name of God Śiva, recorded at the very center of the Vedas and elaborated in the Śaiva Agamas.
Na is the Lord's concealing grace, Ma is the world, Śi stands for Śiva, Va is His revealing grace, Ya is the soul. The five elements, too, are embodied in this ancient formula for invocation. Na is earth, Ma is water, Śi is fire, Vā is air, and Ya is ether, or Ākāśa. Many are its meanings.
Namaḥ Śivaya has such power, the mere intonation of these syllables reaps its own reward in salvaging the soul from bondage of the treacherous instinctive mind and the steel bands of a perfected externalized intellect. Namaḥ Śivāya quells the instinct, cuts through the steel bands and turns this intellect within and on itself, to face itself and see its ignorance. Sages declare that mantra is life, that mantra is action, that mantra is love and that the repetition of mantra, japa, bursts forth wisdom from within.
The book "The Ancient Power of Sanskrit Mantra and Ceremony: Volume I" by Thomas Ashley-Farrand defines Om Namah Shivaya as:
"This mantra has no direct translation. The sounds relate directly to the principles which govern each of the first five chakras on the spine...Earth, water, fire, air, ether. Notice that this does not refer to the chakras themselves which have a different set of seed sounds, but rather, the principles which govern those chakras in their place. A very rough, non-literal translation could be something like, 'Om and salutations to that which I am capable of becoming.' This mantra will start one out on the path of subtle development of spiritual attainments. It is the beginning on the path of Siddha Yoga, or the Yoga of Perfection of the Divine Vehicle."
"Na" refers to the Gross Body (annamayakosa), "Ma" refers to the Pranic Body (pranamayakosa), "Shi" or "Chi" refers to the Mental Body (manonmayakosa), "Va" refers to the Intellectual Body (vignanamayakosa) and "Ya" refers to the Blissful Body (anandamayakosa) and "OM" or the "silence" beyond these syllables refers to the Soul or Life within.
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The metaphoric representations of Shiva as per the Holy scriptures:
Shiva's form:
Shiva has a Trident in the right lower arm, with a crescent moon on his head. He is said to be fair like camphor or like an ice clad mountain. He has fire and Damaru (drum) and Mala (beads) or a kind of weapon. In some depictions, he wears five serpents as ornaments, and a garland of skulls. He is pressing with his feet the demon Muyalaka, a dwarf holding a cobra. He faces south. Panchakshara (five syllables/elements) itself is his body. It is believed that Shiva became a god through meditating everyday.
Third eye:
Shiva is often depicted with a third eye, with which he burned Desire (Kāma) to ashes, called "Tryambakam", which occurs in many scriptural sources. It is said to symbolize him as the destroyer of all evil and ignorance.
Crescent moon:
Shiva bears on his head the crescent moon. The epithet "Chandraśekhara" - "Having the moon as his crest" (chandra = "moon"; śekhara = "crest, crown") refers to this feature. The crescent moon is shown on the side of the Lord's head as an ornament. The waxing and waning phenomenon of the moon symbolizes the time cycle through which creation evolves from the beginning to the end. Since the Lord is the Eternal Reality, He is beyond time. Thus, the crescent moon is only one of His ornaments. The wearing of the crescent moon in his head indicates that He has controlled the mind perfectly, is the master of time and is Himself timeless.
Sacred Ganges:
The Ganges river flows from the matted hair of Shiva. The epithet Gaṅgādhara ("bearer of the river Gaṅgā") refers to this feature. The Gaṅgā (Ganges), one of the major rivers of the country, is said to have made her abode in Shiva's hair. The flow of the Ganges is said to represent the nectar of immortality as well as signify the flow of scriptural teachings passing wisdom from one generation to the next.
Tiger skin:
He is often shown seated upon a tiger skin, an honour reserved for the most accomplished of Hindu ascetics, the Brahmarishis. Tiger represents lust. His sitting on the tiger’s skin indicates that He has conquered lust and is fearless.
Serpents:
Shiva is often shown garlanded with a snake. His wearing of serpents on the neck denotes wisdom and eternity. It is also said to signify the ego, which once mastered can be worn as an ornament.
Deer Skin:
Represents that He has removed the "Chanchalata" (tossing) of the mind. Deer jumps from one place to another swiftly. The mind also jumps from one object to another.
Trident:
Shiva's particular weapon is the trident. Held in His right hand it represents the three Gunas (qualities) — Sattva, Rajas and Tamas - Knowledge, Desire and Implementation. That is the emblem of sovereignty. He rules the world through these three Gunas.
Drum
The Damaru (hourglass shaped drum) in His left hand represents the Eternal Sound. It represents OM from which all languages are formed. It is He who formed the Sanskrit language out of the Damaru sound. With this language He gave us the teachings of the Holy Scriptures to guide us through life.
Beads:
The wearing of the beads denotes purity, sometimes with a rosary in the right hand denoting concentration.
Nandī:
Nandī, is the name of the bull that serves as Shiva's mount. Shiva's association with cattle is reflected in his name Paśupati, or Pashupati, translated "lord of cattle" or "lord of animals". The bull represents Dharma (righteousness). Lord Siva rides on the bull. This denotes that Lord Siva is the protector of Dharma, is an embodiment of Dharma or righteousness.
Hippopotamuses love water, which is why the Greeks named them the "river horse." Hippos spend up to 16 hours a day submerged in rivers and lakes to keep their massive bodies cool under the hot African sun. Hippos are graceful in water, good swimmers, and can hold their breath underwater for up to five minutes. However, they are often large enough to simply walk or stand on the lake floor, or lie in the shallows. Their eyes and nostrils are located high on their heads, which allows them to see and breathe while mostly submerged. Hippos also bask on the shoreline and secrete an oily red substance, which gave rise to the myth that they sweat blood. The liquid is actually a skin moistener and sunblock that may also provide protection against germs. At sunset, hippopotamuses leave the water and travel overland to graze. They may travel 6 miles (10 kilometers) in a night, along single-file pathways, to consume some 80 pounds (35 kilograms) of grass. Considering their enormous size, a hippo's food intake is relatively low. If threatened on land hippos may run for the water—they can match a human's speed for short distances. Hippo calves weigh nearly 100 pounds (45 kilograms) at birth and can suckle on land or underwater by closing their ears and nostrils. Each female has only one calf every two years. Soon after birth, mother and young join schools that provide some protection against crocodiles, lions, and hyenas. Hippos once had a broader distribution but now live in eastern central and southern sub-Saharan Africa, where their populations are in decline. A partially submerged hippopotamus tries to keep cool in the hot African sun. The hippopotamus (Hippopotamus amphibius), or hippo, from the ancient Greek for "river horse" (ἱπποπόταμος), is a large, mostly herbivorous mammal in sub-Saharan Africa, and one of only two extant species in the family Hippopotamidae (the other is the Pygmy Hippopotamus.) After the elephant and rhinoceros, the hippopotamus is the third largest land mammal and the heaviest extant artiodactyl. Despite their physical resemblance to pigs and other terrestrial even-toed ungulates, their closest living relatives are cetaceans (whales, porpoises, etc.) from which they diverged about 55 million years ago. The common ancestor of whales and hippos split from other even-toed ungulates around 60 million years ago. The earliest known hippopotamus fossils, belonging to the genus Kenyapotamus in Africa, date to around 16 million years ago.
The hippopotamus is semi-aquatic, inhabiting rivers, lakes and mangrove swamps, where territorial bulls preside over a stretch of river and groups of 5 to 30 females and young. During the day they remain cool by staying in the water or mud; reproduction and childbirth both occur in water. They emerge at dusk to graze on grass. While hippopotamuses rest near each other in the water, grazing is a solitary activity and hippos are not territorial on land. Hippos are recognizable by their barrel-shaped torso, enormous mouth and teeth, nearly hairless body, stubby legs and tremendous size. It is the third largest land mammal by weight (between 1½ and 3 tonnes), behind the white rhinoceros (1½ to 3½ tonnes) and the three species of elephant (3 to 9 tonnes). The hippopotamus is one of the largest quadrupeds and despite its stocky shape and short legs, it can easily outrun a human. Hippos have been clocked at 30 km/h (19 mph) over short distances. The hippopotamus is one of the most aggressive creatures in the world and is often regarded as one of the most dangerous animals in Africa. They are still threatened by habitat loss and poaching for their meat and ivory canine teeth. There is also a colony of non-zoo hippos in Colombia introduced by Pablo Escobar. The most recent theory of the origins of Hippopotamidae suggests that hippos and whales shared a common semi-aquatic ancestor that branched off from other artiodactyls around 60 million years ago.[13][15] This hypothesized ancestral group likely split into two branches around 54 million years ago.[12] One branch would evolve into cetaceans, possibly beginning about 52 million years ago with the proto-whale Pakicetus and other early whale ancestors collectively known as Archaeoceti, which eventually underwent aquatic adaptation into the completely aquatic cetaceans.[17] The other branch became the anthracotheres, a large family of four-legged beasts, the earliest of whom in the late Eocene would have resembled skinny hippopotamuses with comparatively small and narrow heads. All branches of the anthracotheres, except that which evolved into Hippopotamidae, became extinct during the Pliocene without leaving any descendants.[15]
A rough evolutionary lineage can be traced from Eocene and Oligocene species: Anthracotherium and Elomeryx to the Miocene Merycopotamus and Libycosaurus and the very latest anthracotheres in the Pliocene.[18] Merycopotamus, Libycosaurus and all hippopotamids can be considered to form a clade, with Libycosaurus being more closely related to hippos. Their common ancestor would have lived in the Miocene, about 20 million years ago. Hippopotamids are therefore deeply nested within the family Anthracotheriidae. The Hippopotamidae are believed to have evolved in Africa; the oldest known hippopotamid is the genus Kenyapotamus which lived in Africa from 16 to 8 million years ago. While hippopotamid species spread across Asia and Europe, no hippopotamuses have ever been discovered in the Americas, although various anthracothere genera emigrated into North America during the early Oligocene. From 7.5 to 1.8 million years ago an ancestor to the modern hippopotamus, Archaeopotamus, lived in Africa and the Middle East.[19]
While the fossil record of hippos is still poorly understood, the two modern genera, Hippopotamus and Choeropsis (sometimes Hexaprotodon), may have diverged as far back as 8 million years ago. Taxonomists disagree whether or not the modern Pygmy Hippopotamus is a member of Hexaprotodon —an apparently paraphyletic genus also embracing many extinct Asian hippopotamuses that is more closely related to Hippopotamus, or Choeropsis —an older and basal genus.[18][19]
[edit]Extinct species
Three species of Malagasy Hippopotamus became extinct during the Holocene on Madagascar, one of them within the past 1,000 years. The Malagasy Hippos were smaller than the modern hippopotamus, likely through the process of insular dwarfism.[20] There is fossil evidence that many Malagasy Hippos were hunted by humans, a likely factor in their eventual extinction.[20] Isolated members of Malagasy Hippopotamus may have survived in remote pockets; in 1976, villagers described a living animal called the Kilopilopitsofy, which may have been a Malagasy Hippopotamus.[21]
Two species of Hippopotamus, the European Hippopotamus (H. antiquus) and H. gorgops ranged throughout continental Europe and the British Isles. Both species became extinct before the last glaciation. Ancestors of European Hippos found their way to many islands of the Mediterranean during the Pleistocene.[22] Both species were larger than the modern hippopotamus, averaging about 1 meter (3.3 feet) longer. The Pleistocene also saw a number of dwarf species evolve on several Mediterranean islands including Crete (H. creutzburgi), Cyprus (H. minor), Malta (H. melitensis) and Sicily (H. pentlandi). Of these, the Cyprus Dwarf Hippopotamus, survived until the end of the Pleistocene or early Holocene. Evidence from an archaeological site Aetokremnos, continues to cause debate on whether or not the species was encountered, and was driven to extinction, by man. Hippopotamuses are among the largest living mammals; only elephants and some rhinoceroses and whales are heavier. They can live in the water or on land. Their specific gravity allows them to sink and walk or run along the bottom of a river. Hippos are considered megafauna, but unlike all other African megafauna, hippos have adapted for a semi-aquatic life in freshwater lakes and rivers.[9]:3 A hippo's lifespan is typically 40–50 years.[6]:277 Donna the Hippo, 60, was the oldest living hippo in captivity. She lived at the Mesker Park Zoo in Evansville, Indiana, USA[24][25] until her death on August 1, 2012. The oldest hippo ever recorded was called Tanga; she lived in Munich, Germany, and died in 1995 at the age of 61.[26]
Because of their enormous size, hippopotamuses are difficult to weigh in the wild. Most estimates of the weight come from culling operations that were carried out in the 1960s. The average weights for adult males ranged between 1,500–1,800 kg (3,300–4,000 lb). Females are smaller than their male counterparts, with average weights measuring between 1,300–1,500 kg (2,900–3,300 lb).[9]:12 Older males can get much larger, reaching at least 3,200 kg (7,100 lb) with a few exceptional specimens exceeding 3,600 kg (7,900 lb).[27][28] The heaviest known hippopotamus weighed approximately 4,500 kg (9,900 lb).[29] Male hippos appear to continue growing throughout their lives; females reach a maximum weight at around age 25.[30]
Hippos measure 3.3 to 5.2 meters (11 to 17 ft) long, including a tail of about 56 centimeters (22 in) in length and average about 1.5 meters (5 ft) tall at the shoulder.[31][32] The range of hippopotamus sizes overlaps with the range of the white rhinoceros; use of different metrics makes it unclear which is the largest land animal after elephants. Even though they are bulky animals, hippopotamuses can run faster than a human on land. Estimates of their running speed vary from 30 km/h (18 mph) to 40 km/h (25 mph), or even 50 km/h (30 mph). The hippo can maintain these higher speeds for only a few hundred meters. Despite being semi-aquatic and having webbed feet, an adult hippo is not a particularly good swimmer nor can it float. It is rarely found in deep water; when it is, the animal moves by porpoise-like leaps from the bottom. The eyes, ears, and nostrils of hippos are placed high on the roof of the skull. This allows them to be in the water with most of their body submerged in the waters and mud of tropical rivers to stay cool and prevent sunburn. Their skeletal structure is graviportal, adapted to carrying the animals' enormous weight. Hippopotamuses have small legs (relative to other megafauna) because the water in which they live reduces the weight burden. Unlike most other semi-aquatic animals, the hippopotamus has very little hair.[6]:260 The skin is 6 in (15 cm) thick,[33] providing it great protection against conspecifics and predators. The animals's upper parts are purplish-gray to blue-black while the under parts and areas around the eyes and ears can be brownish-pink.[6]:260 The testes of the males descend only partially and a scrotum is not present. In addition, the penis retracts into the body when not erect. The genitals of the female are unusual in that the vagina is ridged and two large diverticula protrude from the vulval vestibule. The function of these is unknown.[9]:28–29
The hippo's jaw is powered by a large masseter and a well developed digastric; the latter loops up behind the former to the hyoid.[6]:259 The jaw hinge is located far back enough to allow the animal to open its mouth at almost 180°.[9]:17 On the National Geographic Channel television program, "Dangerous Encounters with Brady Barr", Dr. Brady Barr measured the bite force of an adult female hippo at 8100 N (1821 lbf); Barr also attempted to measure the bite pressure of an adult male hippo, but had to abandon the attempt due to the male's aggressiveness.[34] Hippopotamus teeth sharpen themselves as they grind together. The lower canines and lower incisors are enlarged, especially in males, and grow continuously. The incisors can reach 40 cm (16 in) while the canines reach up to 50 cm (20 in).[33]
Their skin secretes a natural sunscreen substance which is red-colored. The secretion is sometimes referred to as "blood sweat," but is neither blood nor sweat. This secretion is initially colorless and turns red-orange within minutes, eventually becoming brown. Two distinct pigments have been identified in the secretions, one red (hipposudoric acid) and one orange (norhipposudoric acid). The two pigments are highly acidic compounds. Both pigments inhibit the growth of disease-causing bacteria; as well, the light absorption of both pigments peaks in the ultraviolet range, creating a sunscreen effect. All hippos, even those with different diets, secrete the pigments, so it does not appear that food is the source of the pigments. Instead, the animals may synthesize the pigments from precursors such as the amino acid tyrosine. Hippopotamus amphibius was widespread in North Africa and Europe during the Eemian[36] and late Pleistocene until about 30,000 years ago. The species was common in Egypt's Nile region during antiquity but has since been extirpated. Pliny the Elder writes that, in his time, the best location in Egypt for capturing this animal was in the Saite nome;[37] the animal could still be found along the Damietta branch after the Arab Conquest in 639. Hippos are still found in the rivers and lakes of the northern Democratic Republic of the Congo, Uganda, Tanzania and Kenya, north through to Ethiopia, Somalia and Sudan, west from Ghana to Gambia, and also in Southern Africa (Botswana, Republic of South Africa, Zimbabwe, Zambia, Mozambique). Genetic evidence suggests that common hippos in Africa experienced a marked population expansion during or after the Pleistocene Epoch, attributed to an increase in water bodies at the end of the era. These findings have important conservation implications as hippo populations across the continent are currently threatened by loss of access to fresh water.[10] Hippos are also subject to unregulated hunting and poaching. In May 2006 the hippopotamus was identified as a vulnerable species on the IUCN Red List drawn up by the World Conservation Union (IUCN), with an estimated population of between 125,000 and 150,000 hippos, a decline of between 7% and 20% since the IUCN's 1996 study. Zambia (40,000) and Tanzania (20,000–30,000) possess the largest populations.[1]
The hippo population declined most dramatically in the Democratic Republic of the Congo.[38] The population in Virunga National Park had dropped to 800 or 900 from around 29,000 in the mid 1970s.[39] The decline is attributed to the disruptions caused by the Second Congo War.[39] The poachers are believed to be former Hutu rebels, poorly paid Congolese soldiers, and local militia groups.[39] Reasons for poaching include the belief that hippos are harmful to society, and also for money.[40] The sale of hippo meat is illegal, but black-market sales are difficult for Virunga National Park officers to track. Invasive potential
In the late 1980s, Pablo Escobar kept four hippos in a private menagerie at his residence in Hacienda Napoles, 100 km east of Medellín, Colombia, after buying them in New Orleans. They were deemed too difficult to seize and move after Escobar's fall, and hence left on the untended estate. By 2007, the animals had multiplied to 16 and had taken to roaming the area for food in the nearby Magdalena River.[41] In 2009, two adults and one calf escaped the herd, and after attacking humans and killing cattle, one of the adults (called "Pepe") was killed by hunters under authorization of the local authorities.[42][43] It is unknown what kind of effects the presence of hippos might have on the ecosystem in Colombia. According to experts interviewed by W Radio Colombia, the animals could survive in the Colombian jungles. It is believed that the lack of control from the Colombian government, which is not used to dealing with this species, could result in human fatalities. Hippos spend most of their days wallowing in the water or the mud, with the other members of their pod. The water serves to keep their body temperature down, and to keep their skin from drying out. With the exception of eating, most of hippopotamuses' lives —from childbirth, fighting with other hippos, to reproduction— occur in the water. Hippos leave the water at dusk and travel inland, sometimes up to 8 kilometers (5 mi), to graze on short grass, their main source of food. They spend four to five hours grazing and can consume 68 kilograms (150 lb) of grass each night.[44] Like almost any herbivore, they will consume many other plants if presented with them, but their diet in nature consists almost entirely of grass, with only minimal consumption of aquatic plants.[45] Hippos have (rarely) been filmed eating carrion, usually close to the water. There are other reports of meat-eating, and even cannibalism and predation.[46] The stomach anatomy of a hippo is not suited to carnivory, and meat-eating is likely caused by aberrant behavior or nutritional stress.[9]:84
The diet of hippos consists mostly of terrestrial grasses, even though they spend most of their time in the water. Most of their defecation occurs in the water, creating allochthonous deposits of organic matter along the river beds. These deposits have an unclear ecological function.[45] Because of their size and their habit of taking the same paths to feed, hippos can have a significant impact on the land they walk across, both by keeping the land clear of vegetation and depressing the ground. Over prolonged periods hippos can divert the paths of swamps and channels.[47]
Adult hippos move at speeds up to 8 km/h (5 mph) in water. Adult hippos typically resurface to breathe every three to five minutes. The young have to breathe every two to three minutes.[9]:4 The process of surfacing and breathing is automatic, and even a hippo sleeping underwater will rise and breathe without waking. A hippo closes its nostrils when it submerges into the water. As with fish and turtles on a coral reef, hippo occasionally visit cleaning stations and signal by wide-open mouth their readiness for being cleaned of parasites by certain species of fish. This situation is an example of mutualism in which the hippo benefits from the cleansing while the fish receive food.[ Studying the interaction of male and female hippopotamuses has long been complicated by the fact that hippos are not sexually dimorphic and thus females and young males are almost indistinguishable in the field.[49] Although hippos like to lie close to each other, they do not seem to form social bonds except between mothers and daughters, and are not social animals. The reason they huddle close together is unknown.[9]:49
Hippopotamuses are territorial only in water, where a bull presides over a small stretch of river, on average 250 meters in length, and containing ten females. The largest pods can contain over 100 hippos.[9]:50 Other bachelors are allowed in a bull's stretch, as long as they behave submissively toward the bull. The territories of hippos exist to establish mating rights. Within the pods, the hippos tend to segregate by gender. Bachelors will lounge near other bachelors, females with other females, and the bull on his own. When hippos emerge from the water to graze, they do so individually.[9]:4
Hippopotamuses appear to communicate verbally, through grunts and bellows, and it is thought that they may practice echolocation, but the purpose of these vocalizations is currently unknown. Hippos have the unique ability to hold their head partially above the water and send out a cry that travels through both water and air; hippos above and under water will respond.[ Female hippos reach sexual maturity at five to six years of age and have a gestation period of 8 months. A study of endocrine systems revealed that female hippopotamuses may begin puberty as early as 3 or 4 years of age.[51] Males reach maturity at around 7.5 years. A study of hippopotamus reproductive behavior in Uganda showed that peak conceptions occurred during the end of the wet season in the summer, and peak births occurred toward the beginning of the wet season in late winter. This is because of the female's estrous cycle; as with most large mammals, male hippopotamus spermatozoa is active year round. Studies of hippos in Zambia and South Africa also showed evidence of births occurring at the start of the wet season.[9]:60–61 After becoming pregnant, a female hippopotamus will typically not begin ovulation again for 17 months.[51]
Mating occurs in the water with the female submerged for most of the encounter,[9]:63 her head emerging periodically to draw breath. Baby hippos are born underwater at a weight between 25 and 45 kg (60–110 lb) and an average length of around 127 cm (50 in) and must swim to the surface to take their first breath. A mother typically gives birth to only one hippo, although twins also occur. The young often rest on their mothers' backs when in water that is too deep for them, and they swim underwater to suckle. They also will suckle on land when the mother leaves the water. Weaning starts between six and eight months after birth and most calves are fully weaned after a year.[9]:64 Like many other large mammals, hippos are described as K-strategists, in this case typically producing just one large, well-developed infant every couple of years (rather than large numbers of small, poorly developed young several times per year as is common among small mammals such as rodents. Hippopotamuses are by nature very aggressive animals, especially when young calves are present. Frequent targets of their aggression include crocodiles, which often inhabit the same river habitat as hippos. Nile crocodiles, lions and spotted hyenas are known to prey on young hippos.[53] Hippos are very aggressive towards humans, whom they commonly attack whether in boats or on land with no apparent provocation.[54] They are widely considered to be one of the most dangerous large animals in Africa.[55][56]
To mark territory, hippos spin their tails while defecating to distribute their excrement over a greater area.[57] Likely for the same reason, hippos are retromingent – that is, they urinate backwards.[58] When in combat, male hippos use their incisors to block each others attacks, and their lower canines to inflict damage.[6]:260 Hippos rarely kill each other, even in territorial challenges. Usually a territorial bull and a challenging bachelor will stop fighting when it is clear that one hippo is stronger. When hippos become overpopulated, or when a habitat starts to shrink, bulls will sometimes attempt to kill infants, but this behavior is not common under normal conditions.[52] Some incidents of hippo cannibalism have been documented, but it is believed to be the behavior of distressed or sick hippos, and not healthy behavior. The earliest evidence of human interaction with hippos comes from butchery cut marks upon hippo bones at Bouri Formation dated around 160,000 years ago.[59] Later rock paintings and engravings showing hippos being hunted have been found in the mountains of the central Sahara dated 4,000–5,000 years ago near Djanet in the Tassili n'Ajjer Mountains.[9]:1 The ancient Egyptians recognized the hippo as a ferocious denizen of the Nile.
The hippopotamus was also known to the Greeks and Romans. The Greek historian Herodotus described the hippopotamus in The Histories (written circa 440 BC) and the Roman Historian Pliny the Elder wrote about the hippopotamus in his encyclopedia Naturalis Historia (written circa 77 AD).[37][60] Hippopotamus was one of the many exotic animals brought to fight gladiators in Rome by the emperor Philip I the Arab to commemorate Rome's 1000 years anniversary in 248 AD. Silver coins with hippo's image were minted that year.[citation needed]
Zulu warriors preferred to be as brave as a hippopotamus, since even lions were not considered as brave. "In 1888, Captain Baden-Powell was part of a column searching for the Zulu chief Dinizulu, who was leading the Usutu people in revolt against the British colonists. The column was joined by John Dunn, a white Zulu chief, who led an impi (army) of 2000 Zulu warriors to join the British." [61]
The words of the Zulu anthem sounded like this:
"Een-gonyama Gonyama! "Invooboo! Yah-bo! Yah-bo! Invooboo!"
"John Dunn was at the head of his impi. [Baden Powell] asked him to translate the Zulu anthem his men had been singing. Dunn laughed and replied: "He is a lion. Yes, he is better than a lion—he is a hippopotamus. Hippopotamuses have long been popular zoo animals. The first zoo hippo in modern history was Obaysch who arrived at the London Zoo on May 25, 1850, where he attracted up to 10,000 visitors a day and inspired a popular song, the Hippopotamus Polka.[63] Hippos have remained popular zoo animals since Obaysch, and generally breed well in captivity. Their birth rates are lower than in the wild, but this is attributed to zoos' not wanting to breed as many hippos as possible, since hippos are large and relatively expensive animals to maintain.[9]:129[63]
Like many zoo animals, hippos were traditionally displayed in concrete exhibits. In the case of hippos, they usually had a pool of water and patch of grass. In the 1980s, zoo designers increasingly designed exhibits that reflected the animals' native habitats. The best known of these, the Toledo Zoo Hippoquarium, features a 360,000 gallon pool for hippos.[64] In 1987, researchers were able to tape, for the first time, an underwater birth (as in the wild) at the Toledo Zoo. The exhibit was so popular that the hippos became the logo of the Toledo Zoo. A red hippo represented the Ancient Egyptian god Set; the thigh is the 'phallic leg of set' symbolic of virility. Set's consort Tawaret was also seen as part hippo.[66] The hippopotamus-headed Tawaret was a goddess of protection in pregnancy and childbirth, because ancient Egyptians recognized the protective nature of a female hippopotamus toward her young.[67] The Ijo people wore masks of aquatic animals like the hippo when practicing their water spirit cults.[68] The Behemoth from the Book of Job, 40:15–24 is also thought to be based on a hippo.[69]
Hippos have been the subjects of various African folktales. According to a Bushmen story; when the Creator assigned each animal their place in nature, the hippos wanted to live in the water, but were refused out of fear that they might eat all the fish. After begging and pleading, the hippos were finally allowed to live in the water on the conditions that they would eat grass instead of fish and would fling their dung so that it can be inspected for fish bones.[70] In a Ndebele tale, the hippo originally had long, beautiful hair but was set on fire by a jealous hare and had to jump into a nearby pool. The hippo lost most of his hair and was too embarrassed to leave the water.[70]
Ever since Obaysch inspired the Hippopotamus Polka, hippos have been popular animals in Western culture for their rotund appearance that many consider comical.[63] Stories of hippos like Huberta who became a celebrity in South Africa in the 1930s for trekking across the country;[71] or the tale of Owen and Mzee, a hippo and tortoise who developed an intimate bond; have amused people who have bought hippo books, merchandise, and many a stuffed hippo toy.[72][73] Hippos were mentioned in the novelty Christmas song "I Want a Hippopotamus for Christmas" that became a hit for child star Gayla Peevey in 1953.[74] They also feature in the songs "The Hippopotamus" and "Hippo Encore" by Flanders and Swann, with the famous refrain Mud, Mud, Glorious Mud. They even inspired a popular board game, Hungry Hungry Hippos. Hippos have also been popular cartoon characters, where their rotund frame is used for humorous effect. The Disney film Fantasia featured a ballerina hippopotamus dancing to the opera, La Gioconda.[38] Other cartoon hippos have included Hanna-Barbera's Peter Potamus, the book and TV series George and Martha, Flavio and Marita on the Animaniacs, Pat of the French duo Pat et Stanley, The Backyardigan's Tasha, and Gloria and Moto-Moto from the Madagascar franchise. A Sesame Street cartoon from the early 1970s features a hippo who lives in the country and likes it quiet, while being disturbed when the mouse who likes it loud moves in with her.[citation needed]
The hippopotamus characters "Happy Hippos" were created in 1988 by the French designer Andre Roche [77] based in Munich, to be hidden in the "Kinder Surprise egg" of the Italian chocolate company Ferrero SpA. These characters were not placid like real hippos[contradiction] but rather cute and lively, and had such a success that they reappeared several times in different products of this company in the following years, increasing their popularity worldwide each time.[citation needed] The Nintendo Company published in the years 2001 and 2007 Game Boy adventures of them. In the game of chess, the hippopotamus lends its name to the Hippopotamus Defense, an opening system, which is generally considered weak.The River Horse is a popular outdoor sculpture at George Washington University, Washington, D.C. Botswana, Moremi National Park, Moremi Game reserve, private Reserve, Farm, chobe National park, Chobe Game Reserve, Zambia, Zambezi River, Livingstone, Zimbabwe, Kenya, Tanzania, Wildlife Conservation Project, Maramba River Lodge, South Africa, Krugger National Park. art beach blue bw california canada canon china city concert de england europe family festival film flower flowers food france friends green instagramapp iphoneography italy japan live london music nature new newyork night nikon nyc paris park party people photography portrait red sky snow square squareformat street summer sunset travel trip uk usa vacation water wedding white winter
The Hague
June 2012
The Netherlands
Former Synagoge turned Mosque in de Wagenstraat.
Even today the weak and underprivileged seek alms at houses of prayer.
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...
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
What are the benefits and advantages of Virgin Coconut Oil to Your Health ?
Why drink Virgin Coconut Oil? (Must read) Sinusitis & Alergy, Chronic Tiredness & Asthma
Protection from disease Dandruff and hair fall
Advantages of VCO & Metabolism and Energy Remove excess fat- Obesity
Remedial, Substance digestion and absorption Prostate Enlargement, Ulcer and constipation
Mother's milk & MCFA,pregnancy & Your baby Acute myocardial infarction deterrent
Anti aging, Scars on skin elasticity, Protect & treat skin High blood & Diabetes
Cracked heel, Accident wound, wound and sore Cancer , AIDS Treatment & other Researches
Prof.Dr.Mary G.Enig Director, Nutritional Science Division,
Enig Associates, Inc. 11120 New Hampshire Avenue
500 Silver Spring, MD 20904-2633 U.S.
"Coconut oil is the important and beneficial food for 21st century . With the availability of clinical and scientific information of its healthy qualities of antimicrobial virgin coconut oil particularly and coconut oil in generally, makes it very attractive."
“Virgin Coconut Oil is most salutary oil in the world"
Dr. Bruce Fife (Doctor Naturopati – USA)
" Virgin Coconut Oil has anti virus, anti bacteria, anti fungus and anti natural parasite characteristics can control a variety of diseases "
Dr. John J. Kabara (Universiti Michigan –USA)
" Virgin coconut oil stand strong alone as the most salutary oil that you can use. It contains nutritional value and research treasure that is really valuable. I really indeed want you make virgin coconut oil as part of your daily nutrition's plan "
Dr. Mark Atkinson, Holistic Medical Physician
MBBS Bsc (Hons) FRIPHH FCMA BETD SAC DIP
(Clinical Nutrition)
Dr Joseph Mercola
(Author of Total Health Programand Rachael Droege)
6 ways for your
skin to really look young
1-Control from excessive exposure to sunlight.
2-Avoid from practicing a 'yo-yo diet'.
3-Use Virgin Coconut Oil
Using virgin coconut oil as a lotion is the ideal method to control your skin's youthfulness. It does not only prevent the formation of harmful free radicals, but it also act to protect it from free radical. In fact it is also capable of sustaining the skin from whitehead and other skin problem due to aging factor and excessive exposure to sunlight.
Virgin coconut oil is capable of strengthening the 'connective' tissue of the skin, thereby helping to stop the skin from slack and wrinkle. It contains certain elements that is capable of restoring damaged skin or preventing the skin from contracting a disease.
Virgin coconut oil not only give temporary relief to the skin, but it also helps to restore and improve the skin, and that cannot be done by any other types of lotion. It functioned to r5estore the youthfulness of your skin by removing the external dead skin cells. Virgin coconut oil will penetrate deep into the underlayer skin and will reinforce that layer of tissue. Finally your skin will be soft and healthy.
If you want the maximum restorative effect, you must choose those oil that is genuinely of high quality, free from chemicals, no bleaching and non hydrogenated. All these are available in virgin coconut oil.
4-Rest your face muscles
5-Take plenty of Omega-3.
6-Avoid smoking.
Hj.Ishak Basiran
(Mechanical Engineer)
M.Director Desaku Maju Marketing, Desaku Trading, Mudah Niaga & Teknologi Desa Hijau Sdn Bhd.
Dr.AH.Bambang Setiaji, MSc
(Expert Virgin Coconut oil Nusantara)
Lecturer Fakulti Kimia Matematik dan Ilmu Pengetahuan Alam Universiti Gadjah Mada Indonesia
Everyday drink Virgin Coconut Oil @ Black Seed Oil @ Honey- What you will get?
Relieve breathing– dilute phlegm and cleanse the respiratory tract and throat.
Ease defecation and urination – overcome constipation & uncomfortable urination and remove toxin through excrement.
Increase the metabolism rate on the whole body cells– Virgin coconut oil will be diffused on as the energy component inside the body – your body will consider stronger.
In the ileum and colon, it destroys the harmful organism like viruses, bacteria, fungi and protozoan (worm). The digestion will achieve maximum level.
Reduce the condition of being easily hungry – when the digestion achieves maximum level, the body will gain more nutrition and energy.
Therefore the body weight is controlled – don't need to eat much and often.
Reduce body fat – the body weight decreases to suit the person's body.
Not easily infected by diseases – with the strengthening of the body immunity system.
Reduce the stickiness of the blood platelet – the stickiness of the platelet is the contributing factor of the plaque formation in the blood vessel.
Reduce the risk of heart attack and high blood pressure – avoid the formation of plaque in the blood vessel especially the blood vessel to the heart.
Speeds up the process of repairing the damaged cells – restore the flexibility, tenderness and fineness of skin.
THE LONG TERM EFFECT ON THE BODY FOR CONSUMING VIRGIN COCONUT OIL
Reduce the cholesterol level – it does not contain cholesterol. Therefore it is the best alternative to other oils that have high high cholesterol level.
Control diabetes - the pancreas is more efficient to secrete insulin while the cell work more efficiently to diffuse the needed sugar.
Overcome degenerative disease and old age problem - the natural anti oxidant in virgin coconut oil is the free radical formation obstructer.
Does not increase the stickiness level of platelet in the blood – overcome plaque formation in the vessel which is the factor of heart attack.
The body is more resistant to diseases because VCO has anti virus, anti bacteria, anti fungus and anti protozoan agents.
Restore the flexibility, softness of skin – it speeds up the process of building new cells, besides protecting it from ultra violet radiation.
Stimulate new hair growth and guard against dandruff –the hair cell will gain adequate energy and nutrients for maximum growth.
Prevent allergy – virgin coconut oil acts as an anti histamine agent.
Prevent the risk of cancer disease – virgin coconut oil destroys the presence of any pathogen. Therefore leucocytes can act maximally destroy the cancer cells, because the leucocytes is not capable of attacking the pathogen organisms.
Overcome snoring – because the respiratory tract and uvula will be flexible and elastic due to the existence of new cells.
As a Source of Food, Energy and Health
VIRGIN COCONUT OIL
Ø Does not burden the pancreas
Ø Medium Chain Fatty Acid (MCFA – easily digested)
Ø Digested by only the saliva enzyme and in stomach (very good for those who have digestive disorder, metabolic problem, premature infant that the body system is under growth.
Ø Transmitted to the liver producing maximum energy.
Ø Produce instant energy. It can pass through the membrane cell of mitochondria without the enzyme.
Ø Cells become efficient.
Ø Act to prevent the formation of free radical.
Ø The poisonous trans fatty acid that destroy the body system is not produced.
Ø No cholesterol.
Ø Contain about 45-55 % of lauric acid.
Ø Have antivirus, antibacterial, antifungal, anti protozoan properties.
Ø On skin, it acts as the additional shield against the dangerous ultra violet (UV) radiation (longer skin's youthfulness) and prevent from the bacterial infection (prevent skin disease infection) besides speeding up the formation of new cells (flexibility and softness of skin is more obvious.
Ø Acts as anti cancer and anti histamine (prevent allergy).
Ø Increase metabolism. (Cells have more energy, makethem more efficient).
Ø Improve endurance.
Ø Improve the digestive system. (will not easily get hungry, no need to eat much and the body weight is controlled naturally).
Ø Improve the digestion of vitamins and minerals (good for old folks).
VEGETABLE OIL
Ø Burdening to the pancreas.
Ø Long Chain Fatty Acid ( only certain LCFA can be digested)
Ø Need pancreatic enzyme and various enzymes to be broken down into small units.
Ø It needs specific enzyme to enable it to permeate mitochondria membrane cell - thus it generates energy slower than Virgin Coconut Oil.
Ø Cells not efficient.
Ø Free radical is easily formed.
Ø It is being processed through deodorization, bleaching, dehydrogenation, which in the process, produces trans fatty acid that is known to be harmful to the human body.
Ø Contain cholesterol.
Ø Almost no beneficial acid.
ACUTE MYOCARDIAL INFARCTION PREVENTION
As explain earlier, coconut oil does not increase the blood cholesterol level or triglyceride level or excessive blood clot. It even stimulate the metabolism, thereby lowering the cholesterol level. Research result from 1970 to 1980 showed that coconut oil is good for the heart although at that time the unsaturated fat is blamed for increasing the risk of myocardial infarction. It is proven that taking coconut oil greatly influence towards the decline in the risk of myocardial infarction compared with other edible oil. Coconut oil can also reduce the accumulation of body fat, increasing lifespan, lessen blood clot formation, reduce free radicals in the cells, reduce the cholesterol level in the blood and heart, adding antioxidant in the cells and reduce the possibility of acute myocardial infarction of the society. By consuming coconut oil the risk of heart attack can be reduced.
Based on this evidence coconut oil therefore is good for the heart or at least harmless to the heart. However it is a fact that coconut oil is not only harmless but play an important role in fighting against acute myocardial infarction. Because of its extraordinary role, it is expected to become a new weapon in fighting against acute myocardial infarction.
ACUTE MYOCARDIAL INFARCTION AND HYPERTENSION
To understand how coconut oil can help prevent acute myocardial infarction, we must possess the basic knowledge of how a heart disease develop. Acute myocardial infarction is caused by the hardening of the arteries (atherosclerosis) that happened as a result of plaque formation. Most people say atherosclerosis is caused by too much cholesterol in the blood. This idea call cholesterol hypothesis or lipid from acute myocardial infarction. Presently this idea still is widely spread in popular media by the Soya bean industries, in fact this theory is already obsolete, with the clinical observation and academic research it had been displaced by the response to injury hypothesis.
What causes the formation of plaque and atherosclerosis to develop? Generally it is always thought that hardening of the vein is usually associated with cholesterol. However cholesterol does not only stay freely in the blood vessels but can settle abruptly anywhere in the vessel. Cholesterol is used by the body to patch and repair wounds on the wall of blood vessels. In fact cholesterol is not really required for the formation of plaque in the atherosclerosis. Contrary to popular belief, the key component of blood vessel plaque is not cholesterol but protein especially the network of wounds. Several blood vessels that suffer atherosclerosis contain a small amount of cholesterol or none at all. According to response to injury hypothesis, part of the atherosclerosis develop as a result of wound on the inner wall of the blood vessel. Wound can happen due several reasons such as poisoning, free radicals, virus or bacteria. If the cause of the wound is not removed, it will cause further damage and as long as the complication and inflammation continue, the network will continue developing. Blood coagulant protein called platelets circulate freely in the blood. When it meets the wound it will become sticky and stick with one another in the damaged network to facilitate remedy. This is how blood clot is form. Wound from whatever source will trigger the platelet to coagulate and the cells in the blood vessel will release element to stimulate the growth of muscle cells in the wall. A complex combination of network wound, platelet, calcium, cholesterol and triglyceride work together to cure the wound. Therefore from the fiber network, it is clear that not only cholesterol that form the basic element in plaque. Calcium accumulation in plaque caused the hardening of blood vessel and this is the characteristic of atherosclerosis.
Contrary to popular belief, plaque does not only stick to the internal wall along the blood vessel just like mud does in the garden hose. But plaque grow inside the wall of a blood vessel, and it is part of the wall. The wall of a blood vessel is surrounded by a layer of strong muscle fiber coiling around it to prevent the plaque from spreading. Because plaques grow and developed, but it is unable to propagate outwards, it therefore presses inwards and close the vessel passage, narrowing down the bloodstream and restricting the blood flow.
Platelets gather around the wound to form blood clot. It seals the vent of the damage tube. But if the blood is inclined to clot, it will finally obstruct the blood flow. Finally the vessel narrowed down by the plaque will because clog by the blood clot and this in turn will stop the blood flow. If this happen to the coronary vessel it is known as heart attack. If it happened to carotid vessel going to the brain, the result is what is called stroke. Atherosclerosis cause acute myocardial infarction and other cardiovascular interference.
PROSTATE ENLARGEMENT
Generally adult male has risk in attack prostate disruption during his life. Most common prostate disruption is benign prostaic hyperplasia (BHP) or prostate enlargement. Almost 50% old man among 40-59 year and 90% people those aged between 70-80 year stricken phenomenon BHP. The disease distributed when someone ageing. Is known that lifestyle plays a vital role happened this BHP, and it make main problem in western country. Man who lives in developed country who are less advanced where local food production and consumption usually has been undisturbed by this disease. Yet disease actual cause BHP this not yet leak. Theory most popular concentrate to male hormone dihydrostestosterone (DHT) as his cause. Believed that when we ageing greater testerone are transformed into collected DHT in prostate. Affairs this resulted prostate grow, and it pressing urethra, (fund whereby urine flowing) and bladder until cause often urinate and interference urinate, especially at night, this situation often in knit with gland inflammation. Although it is not cancer ailment, but that potential as upholder happen this disease, (cancer).
Medical that reasonable to BHP is by prevent change testerone become DHT. Finasteride is a medicine function by this way and has proven effective. Herb medication popular and are believed get prevent poisonous influence DHT's formation that excess is saw palmetto. This subtropical climate can found in American region South-East. Indian's person indigenous Florida and his early people use berries and this crop as medicine people to cure disruption reproduction, or vessel disease urinate and influenza. To woman are used to mother's milk and defuse menstruation painful.
Present research that saw palmetto berries powerfully effective in lessen disruption BHP. Relatively proscar (BHP's drug that many formulation), saw palmetto more effective in defuse prostate phenomenon. Lot of scrutiny have pointed out that saw palmetto powerfully effective almost 90% to menstrual period among week 4 to week 6 . Instead proscar only effective in defuse his phenomenon less 37% after drug taking during per years. Convince that saw palmetto had no side effects. Instead proscar may cause impotency, desire decline (libido) sexual and disabled birth. Saw palmetto have solicited his reputation among the physicians alternative health and conventional as a effective medication to BPH. It make a herb has been admitted by conventional medication as secure and effective.
Medication influences saw palmetto can be found especially from fat tamarind in berry. Attract to be observed that saw palmetto make cluster palm and berries and it make among coconut species. Obtain many fat tamarind to saw palmetto berries make similar MCFA with MCFA in coconut. Dr Jon Kabara, biochemist fat (lipid), declared that fat tamarind saw palmetto barriers cope pursue formation DHT hormone. Then be also with fat tamarind to coconut oil. A conclusion is necessarily equal coconut oil effective it even more effective in preventing and cure BPH like extract saw palmetto.
DIABETES DISEASE. (DIABETES)
Among a number of modern society diseases is diabetes. This disease have increased less from a century ago to the need serious attention. Now diabetes become sixth-largest killer in America. Diabetes does not just cause death but can cause other disease such as kidney pain, acute myocardial infarction, high-blood-pressure, stroke, cataract, nerve damage, hearing loss and blindness. Calculated that 45% risky inhabitants this disease (diabetes).
By easier diabetes are disease that related with sugar inside the body in whose know as blood sugar or blood glucose. Every cell inside body should get glucose to spur metabolic. Cell use glucose to strengthen growth process and recovery. When eat food, digestive system change a lot of food become glucose then free in bloodstream. Hormone insulin, issued by gland pancreas, arrange glucose from the blood to be channeled into the cell until operational as fuel. If cell not get glucose total that sufficient cell will become 'hunger' and finally will die. To this moment, network and organs of the body will suffer damage. That is really happened to the diabetes patient.
There are two types diabetes, namely diabetes type I and diabetes type II. Diabetes type I sometimes considered as diabetes youth, namely diabetes which had been dependent insulin. Diabetes this type is ordinary originated during child and it is because by incapacity pancreas to issue total insulin needed by person. While diabetes type II also known as diabetes who do not rely to insulin. Diabetes this kind only occurred when person already adult and it happen because cell not able to absorb normal rate insulin issued by pancreas. In these circumstances insulin may regard as key to a key mango to singles door. Insulin with role as key, open mango key (enter into the cell) and then open the gate to facilitate glucose enter. If his mango's key make from material that are not quality and it damage, key is no longer function, door will not be able to open. This happens to sufferer diabetes tipe II. Insulin available cannot longer open the gate because his mango's key damaged. To both type diabetes this glucose level in the blood increase whereas his cell malfunction.
To diabetes tipe I pancreas not able to produce insulin rate that adequate to deliver glucose ply to all cells inside body. The treatment is with make insulin injection once or more a day with sugar low nutrition table that the tight. Was reported that around 90% sufferer diabetes have been from tipe II and 85% from it caused by obesity. This both tipe diabetes, diet very important whether to patient that stay to the moment disease start though in his handling. While type of food eaten also really influence patient either it enhance or protect
A interesting facts, persons that stay in the archipelago Pacific who practice traditional diet never reportedly catch diabetes ill. Yet when them leave his natural food and replace him with westernized food, all manner type of disease come, and in about is diabetes. For example what that happened in Nautu Island people in South-pacific. During their centuries just rely to food based upon on banana, tuber and coconut.
Yet after being found in their earth phosphate patching his revenue bring to prosperity and their changing lifestyles, majority of the population replace banana, tuber and coconut with food from fine powder, sugar and vegetable oil that while his process already experienced many modify. Consequently emerge disease have never seem before it like diabetes and others. Reportedly World Health Organization (WHO), almost half Nautu's Island urban population that age 30-64 years get diabetes disease.
Doctors have successfully helped patients to operate diabetes with organize patient practice low-fat diet, high carbohydrate. Through diet they get limit fat intake until 30% calorie. Complex carbohydrates as perfect grain and vegetables comprise from 50% to 60% calorie. Medium carbohydrate as fine powder and sugar should avoid. This is because carbohydrate pay tension that not duly to pancreas and this will increase in blood sugar to level that jeopardizes. Reason to fat reduction and also sweet food are gaining body weight reduction. This is because body weight problem is main cause diabetes. In addition other reason to low-fat diet is reduce the acute myocardial infarction risk that general effect from diabetes illness.
Lastly, researchers has shown that flute vegetable oil excessive recruitment cause disease diabetes. This matter was strengthen with a proof study to on animal where it have successfully raised diabetes with only feeding fat content poly unsaturated fat that substantial. Then with only limiting fat intake, that animals has undergone remedial from his disease (diabetes). In a conclusion powerfully effective low-fat diet in the handling diabetes.
Latest suggestion is lessen or limit all fats. Unsaturated mono fat as olive oil, subtly influence diabetes, then approved use at reasonable rates. Yet because all fats including high olive oil caloric content, then his recruitment not are encouraged. However seem unsaturated poly oil classified oil as problem occur. This scrutiny shows that when unsaturated poly fat from diet enclose in cellular arrangement, cell ability to get disturbed glucose. In other words 'mango key' to cell open the gate supply glucose to be entered aggravate his state when too much unsaturated poly oil in take in food. Then insulin not afford open the gate. Unsaturated poly fat oxidizable easily and destroyed by free radicals. With all type of fat, including unsaturated poly oil, used as obstacle hedge supply membrane cell. Unsaturated poly fat oxidizable in membrane cell can influence by detrimental his cellular function, including his ability in permit hormone, glucose and other substance to flow into and outwards his cell. Then thereof, diet high to vegetable unsaturated poly oil distillation increase diabetes. Diet low to oil will help dispel his symptom because all fat potential to increase body weight. Then would be excellent to avoiding him.
In this regard still there fat which can be eaten by diabetes sufferer without foreboding. The fat is coconut oil. Coconut oil not cause diabetes and it get help arrange blood sugar, felled at lessen influence diabetes. Nautu's people take many coconut oil during several generations and was never found diabetes, yet when they replace with eating from other oil his result is disaster.
Attractive one item of coconut oil not claim enzyme production insulin from pancreas. With reduction to process inside the body during lunch time, whereas insulin was still being taken out with many, then would facilitate organs of the body function more efficient. Coconut oil also help give energy to cell because it have been absorbed easily without need enzyme or insulin. Coconut oil has proven can improve secretion insulin and blood glucose. Coconut oil to improving food and improve action and insulin capacity send glucose repeat among cell, when compared with other oil.
In Journal of the Indian Medicine Association reports that diabetes type II in India have increased when person neglect oil traditional, because more selective vegetable unsaturated poly oil that has promoted “good for the heart”. The authors having commentary on the relationship between unsaturated poly oil with diabetes and organize enhance consumption coconut oil as method to prevent diabetes.
A diabetes consequence are diminished energy that related with incapacity cell to get glucose that is required. Without glucose to strengthen cellular activity, metabolic becomes slow and all body fell weak.
Athletic were organized as a method to help diabetes sufferer operate in blood sugar. The reason why beneficial athletic is that it enhance metabolic. Faster metabolic amount will stimulate insulin production increase that is required and enhance glucose absorption in cells. Therefore it can help diabetes sufferer type I though diabetes sufferer type II.
Coconut oil can also increase metabolic amount that cause body fire more calories that mean will add body weight reduction. Therefore decrease body weight can do with only increasing coconut oil into the food. MCFA to coconut oil mail directly to heart are transformed into energy instead of inside the body as fat network.
Diabetes sufferer as good it avoiding consumption all fats, except coconut oil, because it get help stabilize blood glucose rate and help lessen excess body weight. Not extreme if reputedly that coconut oil is as good oil it eaten diabetes sufferer.
Ulcer and Constipation
Some of the ulcers are usually caused by Herpes virus simplex type 2. It will attack when the person's immunity is low such as during fever, cold, diabetes, when menstruating, stress and others, while constipation is caused by lack water, fiber, drug/chemical reaction, incorrect toilet habit, cancer of the intestine, after operation or pregnancy.
Generally by taking Virgin Coconut Oil it will ease the pain, besides reducing inflammation and swelling of the ulcer sufferer. The high content of lauric and capric acid in virgin coconut oil (with antimicrobial characteristics) help to enhance the body's resistance besides acting as an antibiotic in the body. For those suffering from constipation, Virgin Coconut Oil can ease the bowel and help to treat internal wound such as pile.
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Quinine in tonic water. This shows the absorption to both the first and second singlet electronic states and the fluorescence from the lowest vibrational level of the first excited state.
Discovered by Sir John Herschel in 1845 (Herschel, J.F.W., Phil. Trans. R. Soc. London (1845) 133:143–145), quinine was the first fluorophore to be discovered.
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
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):
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Contains:
Ruby (FL Red >GR,BL/UVa)
Ruby Foam (FL Red >GR,BL/UVabc)
Shown under UVb 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
And this is our group of future deep diving instructors, Brendan, Jen, Stuart and our course director Carl, at our 6 meter safety stop (a very good idea on recreational deep dives). Why is Stuart's t-shirt red, even though we are underwater? I used a strobe for this shot, as I normally do, and the artificial light provided enough long-wavelength, red, light.
We did this dive to become PADI deep diving instructors, so if you like, I can now teach you to dive deep safely in the Deep Diver course with Abyss Scuba Diving in Sydney. Ask to be taught by me when you contact Abyss.
Agnieszka Klementowicz | AG Signal- und Transportprozesse, Dr. Björn Christian Schroeder, MDC
Bildbeschreibung: Diese flureszenzmikroskopische Aufnahme zeigt einen aus der Maus isolierten Dünndarm. Zu sehen ist das Transmembranprotein TMEM16A, das in den Intestinalzellen rot angefärbt ist. Diese Zellen sind Schrittmacherzellen der glatten Darmmuskulatur. Sie spielen eine wichtige Rolle bei der Darmmotorik, wie z.B. in der Peristalsis, sodass das Essen in unserem Darm gut durchmischt und verdaut werden kann. Die Endothelzellen der Blutgefäße sind grün angefärbt. Unser Verdauungssystem benötigt ein gut funktionierendes Netzwerk aus Blutgefäßen, welches für den Transport von Nährstoffen (z.B. Proteine, Lipide und Kohlenhydrate) in andere Organe benötigt wird. Hier werden diese Nährstoffe von unserem Körper für die Bildung von komplexen Substanzen verwendet.
Projektbeschreibung: In unserem Labor erforschen wir Proteine der kürzlich identifizierten TMEM16 Familie. TMEM16A ist ein Calcium -aktivierter Chloridkanal. Es ist bekannt, dass Chloridkanäle eine wichtige Rolle in diversen physiologischen Prozessen spielen, z.B. bei der Muskelkontraktion, Blutdruckregulation, neuronalen Erregbarkeit, Zellvolumenregulation, Absorption / Sekretion und bei verschiedene Arten der Sinneswahrnemung wie z.B. Sehen, Riechen oder der Schmerzwahrnehmung. Wir wollen erforschen wie und in welchen Zellen / Geweben, diese Membranproteine an physiologischen Prozessen beteiligt sind. Z.B. die neuste Veröffentlichung unserer Arbeitsgruppe bekäftigt die Vermutung, dass TMEM16A eine wichtige Rolle bei der Regulierung des Blutdrucks in den Arteriolen und Kapillaren spielt. Daher ist TMEM16A ein vielversprechendes Ziel für die Behandlung von Bluthochdruck.
Light Asylum aka Shannon Funchess
live, Oetinger Villa, 12/2018
A7s
Rodenstock XR-Heligon 1.1/75
modified X-ray lens
Sonata Vario Acoustic Installed to the Walls at Bishop Wilton Village Hall.
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1-12-13 Wyndham Street Races
TOP SPEED REVIEW:
Not long ago, the Japanese motorcycles were considered the uncontested leaders of sport motorcycles and nobody had the guts to challenge them. However, this situation has changed after BMW entered the battle. Its first super sport bike, the S 1000RR was not only a completely newcomer, but it was also so strong and technological advanced that it made any other bike look like defenseless scooter.
THE ABS
The Kawasaki Ninja® ZX™-10R ABS superbike combines anti-lock braking with the numerous technological benefits of the class leading ZX-10R. And it does it with rider-sensitive, race-bred attributes derived from competing and winning at the highest levels.
Kawasaki has developed a new electronic steering damper for the 2013 ZX-10R ABS sportbike, in joint cooperation with Öhlins. Controlled by a dedicated ECU located under the gas tank cover, this new damper reacts to the rate of acceleration or deceleration, as well as rear wheel speed, to help provide the ideal level of damping force across a wide range of riding scenarios. The variable damping provides optimum rider feedback by enabling the use of lower damping forces during normal operation, without sacrificing the firm damping needed for high-speed stability. The result is a light and nimble steering feel at low speed, as well as superior damping at higher speeds or during extreme acceleration/deceleration. The anodized damper unit incorporates Öhlins’ patented twin-tube design to help ensure stable damping performance and superior kickback absorption. It is mounted horizontally at the front of the fuel tank and requires very few additional components and ads almost no weight compared to last year’s steering damper.
At first, anti-lock braking might seem a touch out of place on a purebred sportbike. But this system was designed from the start to maximize performance. And when you consider the many benefits provided by the amazing electronic and hardware technology available today, it begins to make a lot of sense.
Think of it: You’re braking for a blind, decreasing-radius corner after a long day of sport riding. Shadows are long and you’re tired, so you don’t notice a patch of sand until it’s too late to correct. But instead of tucking as you continue braking through the sand, your front tire maintains most of its traction, as the anti-lock braking system intervenes until the surface improves – allowing you to arc gracefully into the corner, a little wiser and a lot more intact physically than you might have been riding a non-ABS motorcycle.
Kawasaki calls its anti-lock system KIBS – or Kawasaki Intelligent anti-lock Brake System. The use of “intelligent” is apropos, too, considering just how smart the KIBS is. It all starts with the smallest and lightest ABS unit ever built for a motorcycle, one designed by Bosch specifically with sport bikes in mind. It’s nearly 50 percent smaller than current motorcycle ABS units, and 800 grams lighter, adding only about 7 pounds of weight compared to the non-ABS machine, a pound of which is accounted for by the larger battery.
KIBS is a multi-sensing system, one that collects and monitors a wide range of information taken from wheel sensors (the same ones collecting data on the standard ZX-10R for its S-KTRC traction control system) and the bike’s ECU, including wheel speed, caliper pressure, engine rpm, throttle position, clutch actuation and gear position. The KIBS’s ECU actually communicates with the bike’s engine ECU and crunches the numbers, and when it notes a potential lock-up situation, it tells the Bosch ABS unit to temporarily reduce line pressure, allowing the wheel to once again regain traction.
Aside from this system’s ultra-fast response time, it offers a number of additional sport-riding benefits, including rear-end lift suppression during hard braking, minimal kickback during ABS intervention, and increased rear brake control during downshifts. The high-precision pressure control enables the system to maintain high brake performance, proper lever feel and help ensure the ABS pulses are minimized.
Needless to say that the Japanese manufacturers were highly intrigued and the first samurai who challenged the Germans to a duel was Kawasaki.
Kawasaki’s anti S 1000RR weapon is the Ninja ZX - 10R. Packing a lot of advanced features and modern technologies, the bike is fast enough to compete with success against the German oppressor.
Despite the fact that nothing changed for the 2013 model year, except for some color schemes, the Ninja continues to be ahead of the pack when it comes to sporty performances.
Build on a nimble, lightweight chassis, The Kawasaki Ninja ZX - 10R ABS is “blessed” with a powerful 998cc inline four engine which cranks out 197 hp at 11500 rpm.
Among the most important features offered by the Ninja ZX - 10R, you’ll find the advanced Sport-Kawasaki Traction Control (S-KTRC) and an intelligent ABS system which comes as an option ($1000).
ENGINE & PERFORMANCE:
The rest of the 2013 Ninja ZX-10R ABS is equally advanced. Complete with a powerful engine and lightweight chassis, it also boasts a highly advanced and customizable electronic system that allows riders to harness and experience the ZX-10R ABS’s amazing blend of power and razor-edge handling. The system is called Sport-Kawasaki Traction Control.
Motorcyclists have forever been challenged by traction-related issues, whether on dirt, street or track. And when talking about the absolute leading edge of open-class sport bike technology, where production street bikes are actually more capable than full-on race bikes from just a couple years ago, more consistent traction and enhanced confidence is a major plus.
The racing-derived S-KTRC system works by crunching numbers from a variety of parameters and sensors – wheel speed and slip, engine rpm, throttle position, acceleration, etc. There’s more data gathering and analysis going on here than on any other Kawasaki in history, and it’s all in the name of helping racers inch closer to the elusive “edge” of maximum traction than ever before. The S-KTRC system relies on complex software buried in the ZX-10R’s Electronic Control Unit (ECU); the only additional hardware is the lightweight speed sensors located on each wheel.
Unlike the KTRC system on Kawasaki’s Concours™ 14 ABS sport tourer, which primarily minimizes wheel slip on slick or broken surfaces as a safety feature, the S-KTRC system is designed to maximize performance by using complex analysis to predict when traction conditions are about to become unfavorable. By quickly but subtly reducing power just before the amount of slippage exceeds the optimal traction zone, the system – which processes every data point 200 times per second – maintains the optimum level of tire grip to maximize forward motion. The result is significantly better lap times and enhanced rider confidence – exactly what one needs when piloting a machine of this caliber.
The S-KTRC system offers three different modes of operation, which riders can select according to surface conditions, rider preference and skill level: Level 1 for max-grip track use, Level 2 for intermediate use, and Level 3 for slippery conditions. An LCD graph in the high-tech instrument cluster displays how much electronic intervention is occurring in real time and a thumb switch on the left handlebar pod allows simple, on-the-go mode changes.
The potent ZX-10R engine is a 16-valve, DOHC, liquid-cooled inline-four displacing 998cc via 76 x 55mm bore and stroke dimensions. This powerplant is tuned to optimize power delivery, center of gravity and actual engine placement within the chassis. Torque peaks at an rpm range that helps eliminate power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
A primary goal of Kawasaki engineers was linear power delivery and engine manageability throughout all elements of a corner: the entry, getting back to neutral throttle at mid-corner, and heady, controllable acceleration at the exit. Peak torque was moved to a higher rpm range, which eliminates the power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
Large intake valves complemented by wide, polished intake ports allow for controllable power delivery and engine braking, just the thing to smooth those racetrack corner entries and exits. Camshafts built from chromoly steel further contribute to optimized engine braking and more controllable power delivery. Lightweight pistons mount to light and strong connecting rods. Compression is a full 13.0:1.
A race-style cassette transmission allows simple trackside ratio changes. An adjustable back-torque limiting clutch assembly is fitted, which allows worry-free downshifts and corner-entry calmness.
Cramming all that fuel and air into this amazing engine is a ram air-assisted fuel injection system featuring large throttle bodies (47mm) and sub-throttle valves, a large capacity airbox (9 liters), secondary injectors that improve top-end power characteristics, and a large ram-air intake that’s positioned close to the front of the bike for efficient airbox filling and power.
The final piece of the ZX-10R’s power-production formula is a race-spec exhaust system featuring a titanium header assembly, hydroformed collectors, a large-volume pre-chamber containing two catalyzers and a highly compact silencer. Due to the header’s race-spec design, riders and racers looking for more closed-course performance need only replace the slip-on muffler assembly.
CHASSIS & SUSPENSION:
With the engine producing a massive quantity of usable and controllable power, engineers looked to the chassis to help refine handling and overall road/track competency. The aluminum twin-spar frame is an all-cast assemblage of just seven pieces that features optimized flex characteristics for ideal rider feedback, cornering performance and light weight. Like the frame, the alloy swingarm is an all-cast assembly, with rigidity matching that of the frame itself.
Chassis geometry offers excellent stability and handling quickness. The front end geometry – with rake at 25 degrees and trail at 107mm (4.21 in.) – allows light, quick handling and complements the engine’s controllable power and the frame and swingarm’s flex characteristics.
Highly advanced suspension at both ends helps as well. Up front is a 43mm open-class version of the Big Piston Fork (BPF). Featuring a piston design nearly twice the size of a conventional cartridge fork, the BPF offers smooth action, less stiction, light weight and enhanced damping performance on the compression and rebound circuits. This compliance results in more control and feedback for the rider – just what you need when carving through a rippled sweeper at your local track or negotiating a decreasing-radius corner on your favorite backroad.
Suspension duties on the ZX-10R are handled by a Horizontal Back-Link design that positions the shock and linkage above the swingarm. Benefits include mass centralization, good road holding, compliance and stability, smooth action in the mid-stroke and good overall feedback. The fully adjustable shock features a piggyback reservoir and dual-range (low- and high-speed) compression damping.
Lightweight gravity-cast three-spoke wheels complement the tire fitment. Up front, Tokico radial-mount calipers grasp 310mm petal discs and a 220mm disc is squeezed by a lightweight single-piston caliper in back. The result is powerful stops with plenty of rider feedback and the added confidence of the KIBS ABS system.
DESIGN & ERGONOMICS:
Finally, Kawasaki engineers wrapped all this technology in bodywork as advanced and stylish as anything on this side of a MotoGP grid. The curvy edges and contrasting colored and black parts create a sharp, aggressive image. Line-beam headlights grace the fairing while LED turn signals are integrated into the mirror assemblies. Convenient turn-signal couplers allow easy mirror removal for track-day use. The rear fender assembly holding the rear signal stalks and license plate frame is also easily removable for track days. High-visibility LED lamps are also used for the taillight and position marker.
The instrumentation is highlighted by an LED-backlit bar-graph tachometer set above a multi-featured LCD info screen with numerous sections and data panels. A wide range of information is presented, including vehicle speed, odometer, dual trip meters, fuel consumption, Power Mode and S-KTRC level, low fuel, water temperature and much more. For track use, the LCD display can be set to “race” mode which moves the gear display to the center of the screen.
The ZX-10R’s ergonomics are designed for optimum comfort and control. A 32-inch saddle, adjustable footpegs and clip-ons mean that this is a hard-core sport bike you can actually take on an extended sport ride – and still be reasonably comfortable doing so.
The old saying, “power is nothing without control” is certainly apt where open-class sport bikes are concerned. But when you factor in all the engine, chassis and ergonomic control designed into the 2013 Ninja ZX-10R, you begin to realize you’re looking at one very special motorcycle – one that can take you places you’ve never been before.
Genuine Kawasaki Accessories are available through authorized Kawasaki dealers.
SPECS:
Engine Four-Stroke, Liquid-Cooled, DOHC, Four Valves Per Cylinder, Inline-Four
Displacement 998cc
Bore X Stroke 76.0 X 55.0 mm
Compression Ratio13.0:1
Fuel System DFI® With Four 47mm Keihin Throttle Bodies With Oval Sub-Throttles, Two Injectors Per Cylinder
Ignition TCBI With Digital Advance And Sport-Kawasaki Traction Control (S-KTRC)
Transmission Six-Speed
Final Drive Chain
Rake/Trail 25 Deg / 4.2 In.
Front Tire Size 120/70 ZR17
Rear Tire Size 190/55 ZR17
Wheelbase 56.1 In.
Front Suspension / Wheel Travel 43 mm Inverted Big Piston Fork (BPF), Adjustable Rebound And Compression Damping, Spring Preload Adjustability/ 4.7 in.
Rear Suspension / Wheel Travel
Horizontal Back-Link With Gas-Charged Shock, Stepless, Dual-Range (Low-/High-Speed) Compression Damping, Stepless Rebound Damping, Fully Adjustable Spring Preload / 5.5 In.
Front Brakes Kawasaki Intelligent Anti-Lock Braking (KIBS), Dual Semi-Floating 310 mm Petal Discs With Dual Four-Piston Radial-Mount Calipers
Rear Brakes KIBS-Controlled, Single 220 mm Petal Disc With Aluminum Single-Piston Caliper
Fuel Capacity 4.5 Gal.
Seat Height 32.0 In.
Curb Weight 443.2 Lbs.
Overall Length 81.7 In.
Overall Width 28.1 In.
Overall Height 43.9 In.
Color Choices - Lime Green/Metallic Spark Black, Pearl Flat White/Metallic Spark Black
Source: www.topspeed.com/motorcycles/motorcycle-reviews/kawasaki/...
Sonata Vario Acoustic Absorbers Installed to the walls and ceilings at Bury College to control reverberation within the Atrium.
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Sonata Aurio Acoustic Absorbers Installed at Harry Gosling School. Sonata Aurio is available in a variety of sizes and colours.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
Sonata Aurio Acoustic Absorbers Installed at Harry Gosling School. Sonata Aurio is available in a variety of sizes and colours.
www.soundreduction.co.uk/Products/Sound-Absorption-Soluti...
Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments. A contemporary calligraphic practice can be defined as, "the art of giving form to signs in an expressive, harmonious, and skillful manner".
Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.[1][page needed] Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both.
Calligraphy continues to flourish in the forms of wedding and event invitations, font design and typography, original hand-lettered logo design, religious art, announcements, graphic design and commissioned calligraphic art, cut stone inscriptions, and memorial documents. It is also used for props and moving images for film and television, testimonials, birth and death certificates, maps, and other written works.
TOOLS
The principal tools for a calligrapher are the pen and the brush. Calligraphy pens write with nibs that may be flat, round, or pointed. For some decorative purposes, multi-nibbed pens - steel brushes - can be used. However, works have also been created with felt-tip and ballpoint pens, although these works do not employ angled lines. There are some styles of calligraphy, like Gothic script, which require a stub nib pen.
Writing ink is usually water-based and is much less viscous than the oil-based inks used in printing. High quality paper, which has good consistency of absorption, enables cleaner lines, although parchment or vellum is often used, as a knife can be used to erase imperfections and a light-box is not needed to allow lines to pass through it. Normally, light boxes and templates are used to achieve straight lines without pencil markings detracting from the work. Ruled paper, either for a light box or direct use, is most often ruled every quarter or half inch, although inch spaces are occasionally used. This is the case with litterea unciales (hence the name), and college-ruled paper often acts as a guideline well.
Common calligraphy pens and brushes are:
Quill
Dip pen
Ink brush
Qalam
Fountain pen
WORLD TRADITIONS
EUROPE
HISTORY
Western calligraphy is recognizable by the use of the Latin script. The Latin alphabet appeared about 600 BC, in Rome, and by the first century[clarification needed] developed into Roman imperial capitals carved on stones, Rustic capitals painted on walls, and Roman cursive for daily use. In the second and third centuries the uncial lettering style developed. As writing withdrew to monasteries, uncial script was found more suitable for copying the Bible and other religious texts. It was the monasteries which preserved calligraphic traditions during the fourth and fifth centuries, when the Roman Empire fell and Europe entered the Dark Ages.
At the height of the Empire, its power reached as far as Great Britain; when the empire fell, its literary influence remained. The Semi-uncial generated the Irish Semi-uncial, the small Anglo-Saxon. Each region developed its own standards following the main monastery of the region (i.e. Merovingian script, Laon script, Luxeuil script, Visigothic script, Beneventan script), which are mostly cursive and hardly readable.
Christian churches promoted the development of writing through the prolific copying of the Bible, particularly the New Testament and other sacred texts. Two distinct styles of writing known as uncial and half-uncial (from the Latin "uncia," or "inch") developed from a variety of Roman bookhands. The 7th-9th centuries in northern Europe were the heyday of Celtic illuminated manuscripts, such as the Book of Durrow, Lindisfarne Gospels and the Book of Kells.
Charlemagne's devotion to improved scholarship resulted in the recruiting of "a crowd of scribes", according to Alcuin, the Abbot of York. Alcuin developed the style known as the Caroline or Carolingian minuscule. The first manuscript in this hand was the Godescalc Evangelistary (finished 783) — a Gospel book written by the scribe Godescalc. Carolingian remains the one progenitor hand from which modern booktype descends.
In the eleventh century, the Caroline evolved into the Gothic script, which was more compact and made it possible to fit more text on a page. The Gothic calligraphy styles became dominant throughout Europe; and in 1454, when Johannes Gutenberg developed the first printing press in Mainz, Germany, he adopted the Gothic style, making it the first typeface.
In the 15th century, the rediscovery of old Carolingian texts encouraged the creation of the humanist minuscule or littera antiqua. The 17th century saw the Batarde script from France, and the 18th century saw the English script spread across Europe and world through their books.
In the mid-1600s French officials, flooded with documents written in various hands and varied levels of skill, complained that many such documents were beyond their ability to decipher. The Office of the Financier thereupon restricted all legal documents to three hands, namely the Coulee, the Rhonde, (known as Round hand in English) and a Speed Hand sometimes simply called the Bastarda.
While there were many great French masters at the time, the most influential in proposing these hands was Louis Barbedor, who published Les Ecritures Financière Et Italienne Bastarde Dans Leur Naturel circa 1650.
With the destruction of the Camera Apostolica during the sack of Rome (1527), the capitol for writing masters moved to Southern France. By 1600, the Italic Cursiva began to be replaced by a technological refinement, the Italic Chancery Circumflessa, which in turn fathered the Rhonde and later English Roundhand.
In England, Ayres and Banson popularized the Round Hand while Snell is noted for his reaction to them, and warnings of restraint and proportionality. Still Edward Crocker began publishing his copybooks 40 years before the aforementioned.
STYLE
Sacred Western calligraphy has some special features, such as the illumination of the first letter of each book or chapter in medieval times. A decorative "carpet page" may precede the literature, filled with ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715–720 AD) are an early example.
As with Chinese or Islamic calligraphy, Western calligraphic script employed the use of strict rules and shapes. Quality writing had a rhythm and regularity to the letters, with a "geometrical" order of the lines on the page. Each character had, and often still has, a precise stroke order.
Unlike a typeface, irregularity in the characters' size, style, and colors increases aesthetic value, though the content may be illegible. Many of the themes and variations of today's contemporary Western calligraphy are found in the pages of The Saint John's Bible. A particularly modern example is Timothy Botts' illustrated edition of the Bible, with 360 calligraphic images as well as a calligraphy typeface.
INFLUENCES
Several other Western styles use the same tools and practices, but differ by character set and stylistic preferences. For Slavonic lettering, the history of the Slavonic and consequently Russian writing systems differs fundamentally from the one of the Latin language. It evolved from the 10th century to today.
EAST ASIA
The Chinese name for calligraphy is shūfǎ (書法 in Traditional Chinese, literally "the method or law of writing"); the Japanese name shodō (書道, literally "the way or principle of writing"); the Korean is seoye (Korean: 서예/書藝, literally "the art of writing"); and the Vietnamese is Thư pháp (書法, literally "the way of letters or words"). The calligraphy of East Asian characters is an important and appreciated aspect of East Asian culture.
HISTORY
In ancient China, the oldest Chinese characters existing are Jiǎgǔwén(甲骨文) characters carved on ox scapulae and tortoise plastrons, because the dominators in Shang Dynasty carved pits on such animals' bones and then baked them to gain auspice of military affairs, agricultural harvest, or even procreating and weather. During the divination ceremony, after the cracks were made, the characters were written with a brush on the shell or bone to be later carved.(Keightley, 1978). With the development of Jīnwén (Bronzeware script) and Dàzhuàn (Large Seal Script) "cursive" signs continued. Moreover, each archaic kingdom of current China had its own set of characters.
In Imperial China, the graphs on old steles - some dating from 200 BC, and in Xiaozhuan style - are still accessible.
About 220 BC, the emperor Qin Shi Huang, the first to conquer the entire Chinese basin, imposed several reforms, among them Li Si's character unification, which created a set of 3300 standardized Xiǎozhuàn（小篆） characters. Despite the fact that the main writing implement of the time was already the brush, few papers survive from this period, and the main examples of this style are on steles.
The Lìshū（隶书） style (clerical script) which is more regularized, and in some ways similar to modern text, have been also authorised under Qin Shi Huangdi.
Kǎishū style (traditional regular script)—still in use today—and attributed to Wang Xizhi (王羲之, 303–361) and his followers, is even more regularized. Its spread was encouraged by Emperor Mingzong of Later Tang (926–933), who ordered the printing of the classics using new wooden blocks in Kaishu. Printing technologies here allowed a shape stabilization. The Kaishu shape of characters 1000 years ago was mostly similar to that at the end of Imperial China. But small changes have been made, for example in the shape of 广 which is not absolutely the same in the Kangxi Dictionary of 1716 as in modern books. The Kangxi and current shapes have tiny differences, while stroke order is still the same, according to old style.
Styles which did not survive include Bāfēnshū, a mix made of Xiaozhuan style at 80%, and Lishu at 20%. Some variant Chinese characters were unorthodox or locally used for centuries. They were generally understood but always rejected in official texts. Some of these unorthodox variants, in addition to some newly created characters, compose the Simplified Chinese character set.
TECHNIQUE
Traditional East Asian writing uses the Four Treasures of the Study (文房四寶/文房四宝): the ink brushes known as máobǐ (毛笔) to write Chinese characters, Chinese ink, paper, and inkstone, known as the Four Friends of the Study (Korean: 문방사우) in Korea. In addition to these four tools, desk pads and paperweights are also used.
The shape, size, stretch, and hair type of the ink brush, the color, color density and water density of the ink, as well as the paper's water absorption speed and surface texture are the main physical parameters influencing the final result. The calligrapher's technique also influences the result. The calligrapher's work is influenced by the quantity of ink and water he lets the brush take, then by the pressure, inclination, and direction he gives to the brush, producing thinner or bolder strokes, and smooth or toothed borders. Eventually, the speed, accelerations, decelerations of the writer's moves, turns, and crochets, and the stroke order give the "spirit" to the characters, by greatly influencing their final shapes.
STYLES
Cursive styles such as xíngshū (semi-cursive or running script) and cǎoshū (cursive or grass script) are less constrained and faster, where more movements made by the writing implement are visible. These styles' stroke orders vary more, sometimes creating radically different forms. They are descended from Clerical script, in the same time as Regular script (Han Dynasty), but xíngshū and cǎoshū were used for personal notes only, and never used as a standard. The cǎoshū style was highly appreciated in Emperor Wu of Han reign (140–187 AD).
Examples of modern printed styles are Song from the Song Dynasty's printing press, and sans-serif. These are not considered traditional styles, and are normally not written.
INFLUENCES
Japanese and Korean calligraphies were greatly influenced by Chinese calligraphy. The Japanese and Korean people have also developed specific sensibilities and styles of calligraphy. For example, Japanese calligraphy go out of the set of CJK strokes to also include local alphabets such as hiragana and katakana, with specific problematics such as new curves and moves, and specific materials (Japanese paper, washi 和紙, and Japanese ink). In the case of Korean calligraphy, the Hangeul and the existence of the circle required the creation of a new technique which usually confuses Chinese calligraphers.
Temporary calligraphy is a practice of water-only calligraphy on the floor, which dries out within minutes. This practice is especially appreciated by the new generation of retired Chinese in public parks of China. These will often open studio-shops in tourist towns offering traditional Chinese calligraphy to tourists. Other than writing the clients name, they also sell fine brushes as souvenirs and lime stone carved stamps.
Since late 1980s, a few Chinese artists have branched out traditional Chinese calligraphy to a new territory by mingling Chinese characters with English letters; notable new forms of calligraphy are Xu Bing's square calligraphy and DanNie's coolligraphy or cooligraphy.
Mongolian calligraphy is also influenced by Chinese calligraphy, from tools to style.
Calligraphy has influenced ink and wash painting, which is accomplished using similar tools and techniques. Calligraphy has influenced most major art styles in East Asia, including ink and wash painting, a style of Chinese, Korean, Japanese painting, and Vietnamese painting based entirely on calligraphy.
SOUTH ASIA
INDIA
On the subject of Indian calligraphy, writes:
Aśoka's edicts (c. 265–238 BC) were committed to stone. These inscriptions are stiff and angular in form. Following the Aśoka style of Indic writing, two new calligraphic types appear: Kharoṣṭī and Brāhmī. Kharoṣṭī was used in the northwestern regions of India from the 3rd century BC to the 4th century of the Christian Era, and it was used in Central Asia until the 8th century.
In many parts of ancient India, the inscriptions were carried out in smoke-treated palm leaves. This tradition dates back to over two thousand years. Even after the Indian languages were put on paper in the 13th century, palm leaves where considered a preferred medium of writing owing to its longevity (nearly 400 years) compared to paper. Both sides of the leaves were used for writing. Long rectangular strips were gathered on top of one another, holes were drilled through all the leaves, and the book was held together by string. Books of this manufacture were common to Southeast Asia. The palm leaf was an excellent surface for penwriting, making possible the delicate lettering used in many of the scripts of southern Asia.
Burnt clay and copper were a favoured material for Indic inscriptions. In the north of India, birch bark was used as a writing surface as early as the 2nd century AD.
NEPAL
Ranjana script is the primary form of Nepalese calligraphy. The script itself, along with its derivatives (like Lantsa, Phagpa, Kutila) are used in Nepal, Tibet, Bhutan, Leh, Mongolia, coastal Japan, and Korea to write "Om mani padme hum" and other sacred Buddhist texts, mainly those derived from Sanskrit and Pali.
THAILAND
Sanskrit is the primary form of Thai calligraphy. Historically Thai calligraphy has been limited to sacred texts of the Pali Canon with few wider artistic applications where graphic calligraphy representing figures and objects is produced. Calligraphy appears on the personal flag of each member of the Thai royal family bearing its owner's initials in calligraphy. The most obvious place in the country where calligraphy is present is in graffiti. A few books have been published with calligraphic compositions.
TIBET
Calligraphy is central in Tibetan culture. The script is derived from Indic scripts. The nobles of Tibet, such as the High Lamas and inhabitants of the Potala Palace, were usually capable calligraphers. Tibet has been a center of Buddhism for several centuries, and that religion places a great deal of significance on written word. This does not provide for a large body of secular pieces, although they do exist (but are usually related in some way to Tibetan Buddhism). Almost all high religious writing involved calligraphy, including letters sent by the Dalai Lama and other religious and secular authority. Calligraphy is particularly evident on their prayer wheels, although this calligraphy was forged rather than scribed, much like Arab and Roman calligraphy is often found on buildings. Although originally done with a reed, Tibetan calligraphers now use chisel tipped pens and markers as well.
ISLAMIC WORLD
Islamic calligraphy (calligraphy in Arabic is khatt ul-yad خط اليد) has evolved alongside Islam and the Arabic language. As it is based on Arabic letters, some call it "Arabic calligraphy". However the term "Islamic calligraphy" is a more appropriate term as it comprises all works of calligraphy by the Muslim calligraphers from Andalusia in modern Spain to China.
Islamic calligraphy is associated with geometric Islamic art (arabesque) on the walls and ceilings of mosques as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions.
Instead of recalling something related to the spoken word, calligraphy for Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam. The Qur'an has played an important role in the development and evolution of the Arabic language, and by extension, calligraphy in the Arabic alphabet. Proverbs and passages from the Qur'an are still sources for Islamic calligraphy.
It is generally accepted that Islamic calligraphy excelled during the Ottoman era. Istanbul is an open exhibition hall for all kinds and varieties of calligraphy, from inscriptions in mosques to fountains, schools, houses, etc.
PERSIA
The history of calligraphy in Persia dates back to the pre-Islam era. In Zoroastrianism beautiful and clear writings were always praised.
It is believed that ancient Persian script was invented by about 600–500 BC to provide monument inscriptions for the Achaemenid kings. These scripts consisted of horizontal, vertical, and diagonal nail-shape letters, which is why it is called "script of nails/cuneiform script" (khat-e-mikhi) in Persian. Centuries later, other scripts such as "Pahlavi" and "Avestan" scripts were used in ancient Persia.
CONTEMPORARY SRIPTS
The Nasta'liq style is the most popular contemporary style among classical Persian calligraphy scripts; Persian calligraphers call it the "bride of calligraphy scripts". This calligraphy style has been based on such a strong structure that it has changed very little since. Mir Ali Tabrizi had found the optimum composition of the letters and graphical rules so it has just been fine-tuned during the past seven centuries. It has very strict rules for graphical shape of the letters and for combination of the letters, words, and composition of the whole calligraphy piece.
MAYAN CIVILIZATION
Mayan calligraphy was expressed via Mayan hieroglyphs; modern Mayan calligraphy is mainly used on seals and monuments in the Yucatán Peninsula in Mexico. Mayan hieroglyphs are rarely used in government offices; however in Campeche, Yucatán and Quintana Roo, Mayan calligraphy is written in Latin letters. Some commercial companies in southern Mexico use Mayan hieroglyphs as symbols of their business. Some community associations and modern Mayan brotherhoods use Mayan hieroglyphs as symbols of their groups.
Most of the archaeological sites in Mexico such as Chichen Itza, Labna, Uxmal, Edzna, Calakmul, etc. have glyphs in their structures. Carved stone monuments known as stele are common sources of ancient Mayan calligraphy.
MODERN CALLIGRAPHY
REVIVAL
After printing became ubiquitous from the 15th century, the production of illuminated manuscripts began to decline. However, the rise of printing did not mean the end of calligraphy.
The modern revival of calligraphy began at the end of the 19th century, influenced by the aesthetics and philosophy of William Morris and the Arts and Crafts movement. Edward Johnston is regarded as being the father of modern calligraphy. After studying published copies of manuscripts by architect William Harrison Cowlishaw, he was introduced to William Lethaby in 1898, principal of the Central School of Arts and Crafts,who advised him to study manuscripts at the British Museum.
This triggered Johnston's interest in the art of calligraphy with the use of a broad edged pen. He began a teaching course in calligraphy at the Central School in Southampton Row, London from September 1899, where he influenced the typeface designer and sculptor Eric Gill. He was commissioned by Frank Pick to design a new typeface for London Underground, still used today (with minor modifications).
He has been credited for reviving the art of modern penmanship and lettering single-handedly through his books and teachings - his handbook on the subject, Writing & Illuminating, & Lettering (1906) was particularly influential on a generation of British typographers and calligraphers, including Graily Hewitt, Stanley Morison, Eric Gill and Anna Simons. Johnston also devised the simply crafted round calligraphic handwriting style, written with a broad pen, known today as the Foundational hand. Johnston initially taught his students an uncial hand using a flat pen angle, but later taught his hand using a slanted pen angle. He first referred to this hand as "Foundational Hand" in his 1909 publication, Manuscript & Inscription Letters for Schools and Classes and for the Use of Craftsmen.
SUBSEQUENT DEVELOPMENTS
Graily Hewitt taught at the Central School of Arts and Crafts and published together with Johnston throughout the early part of the century. Hewitt was central to the revival of gilding in calligraphy, and his prolific output on type design also appeared between 1915 and 1943. He is attributed with the revival of gilding with gesso and gold leaf on vellum. Hewitt helped to found the Society of Scribes & Illuminators (SSI) in 1921, probably the world's foremost calligraphy society.
Hewitt is not without both critics and supporters in his rendering of Cennino Cennini's medieval gesso recipes. Donald Jackson, a British calligrapher, has sourced his gesso recipes from earlier centuries a number of which are not presently in English translation. Graily Hewitt created the patent announcing the award to Prince Philip of the title of Duke of Edinburgh on November 19, 1947, the day before his marriage to Queen Elizabeth.
Johnston’s pupil, Anna Simons, was instrumental in sparking off interest in calligraphy in Germany with her German translation of Writing and Illuminating, and Lettering in 1910. Austrian Rudolf Larisch, a teacher of lettering at the Vienna School of Art, published six lettering books that greatly influenced German-speaking calligraphers. Because German-speaking countries had not abandoned the Gothic hand in printing, Gothic also had a powerful effect on their styles.
Rudolf Koch was a friend and younger contemporary of Larisch. Koch's books, type designs, and teaching made him one of the most influential calligraphers of the 20th century in northern Europe and later in the U.S. Larisch and Koch taught and inspired many European calligraphers, notably Karlgeorg Hoefer, and Hermann Zapf.
Contemporary typefaces used by computers, from word processors like Microsoft Word or Apple Pages to professional designers' software like Adobe InDesign, owe a considerable debt to the past and to a small number of professional typeface designers today.
Unicode provides "Script" and "Fraktur" Latin alphabets that can be used for calligraphy. See Mathematical Alphanumeric Symbols.
WIKIPEDIA
Pyramids for increased optical absorption observed wih FEI Strata 400s.
Courtesy of Cyril GUEDJ
Image Details
Instrument used: Strata Family
Magnification: 12,000x
Voltage: 5 kV
Working Distance: 5
1-12-13 Wyndham Street Races
TOP SPEED REVIEW:
Not long ago, the Japanese motorcycles were considered the uncontested leaders of sport motorcycles and nobody had the guts to challenge them. However, this situation has changed after BMW entered the battle. Its first super sport bike, the S 1000RR was not only a completely newcomer, but it was also so strong and technological advanced that it made any other bike look like defenseless scooter.
THE ABS
The Kawasaki Ninja® ZX™-10R ABS superbike combines anti-lock braking with the numerous technological benefits of the class leading ZX-10R. And it does it with rider-sensitive, race-bred attributes derived from competing and winning at the highest levels.
Kawasaki has developed a new electronic steering damper for the 2013 ZX-10R ABS sportbike, in joint cooperation with Öhlins. Controlled by a dedicated ECU located under the gas tank cover, this new damper reacts to the rate of acceleration or deceleration, as well as rear wheel speed, to help provide the ideal level of damping force across a wide range of riding scenarios. The variable damping provides optimum rider feedback by enabling the use of lower damping forces during normal operation, without sacrificing the firm damping needed for high-speed stability. The result is a light and nimble steering feel at low speed, as well as superior damping at higher speeds or during extreme acceleration/deceleration. The anodized damper unit incorporates Öhlins’ patented twin-tube design to help ensure stable damping performance and superior kickback absorption. It is mounted horizontally at the front of the fuel tank and requires very few additional components and ads almost no weight compared to last year’s steering damper.
At first, anti-lock braking might seem a touch out of place on a purebred sportbike. But this system was designed from the start to maximize performance. And when you consider the many benefits provided by the amazing electronic and hardware technology available today, it begins to make a lot of sense.
Think of it: You’re braking for a blind, decreasing-radius corner after a long day of sport riding. Shadows are long and you’re tired, so you don’t notice a patch of sand until it’s too late to correct. But instead of tucking as you continue braking through the sand, your front tire maintains most of its traction, as the anti-lock braking system intervenes until the surface improves – allowing you to arc gracefully into the corner, a little wiser and a lot more intact physically than you might have been riding a non-ABS motorcycle.
Kawasaki calls its anti-lock system KIBS – or Kawasaki Intelligent anti-lock Brake System. The use of “intelligent” is apropos, too, considering just how smart the KIBS is. It all starts with the smallest and lightest ABS unit ever built for a motorcycle, one designed by Bosch specifically with sport bikes in mind. It’s nearly 50 percent smaller than current motorcycle ABS units, and 800 grams lighter, adding only about 7 pounds of weight compared to the non-ABS machine, a pound of which is accounted for by the larger battery.
KIBS is a multi-sensing system, one that collects and monitors a wide range of information taken from wheel sensors (the same ones collecting data on the standard ZX-10R for its S-KTRC traction control system) and the bike’s ECU, including wheel speed, caliper pressure, engine rpm, throttle position, clutch actuation and gear position. The KIBS’s ECU actually communicates with the bike’s engine ECU and crunches the numbers, and when it notes a potential lock-up situation, it tells the Bosch ABS unit to temporarily reduce line pressure, allowing the wheel to once again regain traction.
Aside from this system’s ultra-fast response time, it offers a number of additional sport-riding benefits, including rear-end lift suppression during hard braking, minimal kickback during ABS intervention, and increased rear brake control during downshifts. The high-precision pressure control enables the system to maintain high brake performance, proper lever feel and help ensure the ABS pulses are minimized.
Needless to say that the Japanese manufacturers were highly intrigued and the first samurai who challenged the Germans to a duel was Kawasaki.
Kawasaki’s anti S 1000RR weapon is the Ninja ZX - 10R. Packing a lot of advanced features and modern technologies, the bike is fast enough to compete with success against the German oppressor.
Despite the fact that nothing changed for the 2013 model year, except for some color schemes, the Ninja continues to be ahead of the pack when it comes to sporty performances.
Build on a nimble, lightweight chassis, The Kawasaki Ninja ZX - 10R ABS is “blessed” with a powerful 998cc inline four engine which cranks out 197 hp at 11500 rpm.
Among the most important features offered by the Ninja ZX - 10R, you’ll find the advanced Sport-Kawasaki Traction Control (S-KTRC) and an intelligent ABS system which comes as an option ($1000).
ENGINE & PERFORMANCE:
The rest of the 2013 Ninja ZX-10R ABS is equally advanced. Complete with a powerful engine and lightweight chassis, it also boasts a highly advanced and customizable electronic system that allows riders to harness and experience the ZX-10R ABS’s amazing blend of power and razor-edge handling. The system is called Sport-Kawasaki Traction Control.
Motorcyclists have forever been challenged by traction-related issues, whether on dirt, street or track. And when talking about the absolute leading edge of open-class sport bike technology, where production street bikes are actually more capable than full-on race bikes from just a couple years ago, more consistent traction and enhanced confidence is a major plus.
The racing-derived S-KTRC system works by crunching numbers from a variety of parameters and sensors – wheel speed and slip, engine rpm, throttle position, acceleration, etc. There’s more data gathering and analysis going on here than on any other Kawasaki in history, and it’s all in the name of helping racers inch closer to the elusive “edge” of maximum traction than ever before. The S-KTRC system relies on complex software buried in the ZX-10R’s Electronic Control Unit (ECU); the only additional hardware is the lightweight speed sensors located on each wheel.
Unlike the KTRC system on Kawasaki’s Concours™ 14 ABS sport tourer, which primarily minimizes wheel slip on slick or broken surfaces as a safety feature, the S-KTRC system is designed to maximize performance by using complex analysis to predict when traction conditions are about to become unfavorable. By quickly but subtly reducing power just before the amount of slippage exceeds the optimal traction zone, the system – which processes every data point 200 times per second – maintains the optimum level of tire grip to maximize forward motion. The result is significantly better lap times and enhanced rider confidence – exactly what one needs when piloting a machine of this caliber.
The S-KTRC system offers three different modes of operation, which riders can select according to surface conditions, rider preference and skill level: Level 1 for max-grip track use, Level 2 for intermediate use, and Level 3 for slippery conditions. An LCD graph in the high-tech instrument cluster displays how much electronic intervention is occurring in real time and a thumb switch on the left handlebar pod allows simple, on-the-go mode changes.
The potent ZX-10R engine is a 16-valve, DOHC, liquid-cooled inline-four displacing 998cc via 76 x 55mm bore and stroke dimensions. This powerplant is tuned to optimize power delivery, center of gravity and actual engine placement within the chassis. Torque peaks at an rpm range that helps eliminate power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
A primary goal of Kawasaki engineers was linear power delivery and engine manageability throughout all elements of a corner: the entry, getting back to neutral throttle at mid-corner, and heady, controllable acceleration at the exit. Peak torque was moved to a higher rpm range, which eliminates the power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
Large intake valves complemented by wide, polished intake ports allow for controllable power delivery and engine braking, just the thing to smooth those racetrack corner entries and exits. Camshafts built from chromoly steel further contribute to optimized engine braking and more controllable power delivery. Lightweight pistons mount to light and strong connecting rods. Compression is a full 13.0:1.
A race-style cassette transmission allows simple trackside ratio changes. An adjustable back-torque limiting clutch assembly is fitted, which allows worry-free downshifts and corner-entry calmness.
Cramming all that fuel and air into this amazing engine is a ram air-assisted fuel injection system featuring large throttle bodies (47mm) and sub-throttle valves, a large capacity airbox (9 liters), secondary injectors that improve top-end power characteristics, and a large ram-air intake that’s positioned close to the front of the bike for efficient airbox filling and power.
The final piece of the ZX-10R’s power-production formula is a race-spec exhaust system featuring a titanium header assembly, hydroformed collectors, a large-volume pre-chamber containing two catalyzers and a highly compact silencer. Due to the header’s race-spec design, riders and racers looking for more closed-course performance need only replace the slip-on muffler assembly.
CHASSIS & SUSPENSION:
With the engine producing a massive quantity of usable and controllable power, engineers looked to the chassis to help refine handling and overall road/track competency. The aluminum twin-spar frame is an all-cast assemblage of just seven pieces that features optimized flex characteristics for ideal rider feedback, cornering performance and light weight. Like the frame, the alloy swingarm is an all-cast assembly, with rigidity matching that of the frame itself.
Chassis geometry offers excellent stability and handling quickness. The front end geometry – with rake at 25 degrees and trail at 107mm (4.21 in.) – allows light, quick handling and complements the engine’s controllable power and the frame and swingarm’s flex characteristics.
Highly advanced suspension at both ends helps as well. Up front is a 43mm open-class version of the Big Piston Fork (BPF). Featuring a piston design nearly twice the size of a conventional cartridge fork, the BPF offers smooth action, less stiction, light weight and enhanced damping performance on the compression and rebound circuits. This compliance results in more control and feedback for the rider – just what you need when carving through a rippled sweeper at your local track or negotiating a decreasing-radius corner on your favorite backroad.
Suspension duties on the ZX-10R are handled by a Horizontal Back-Link design that positions the shock and linkage above the swingarm. Benefits include mass centralization, good road holding, compliance and stability, smooth action in the mid-stroke and good overall feedback. The fully adjustable shock features a piggyback reservoir and dual-range (low- and high-speed) compression damping.
Lightweight gravity-cast three-spoke wheels complement the tire fitment. Up front, Tokico radial-mount calipers grasp 310mm petal discs and a 220mm disc is squeezed by a lightweight single-piston caliper in back. The result is powerful stops with plenty of rider feedback and the added confidence of the KIBS ABS system.
DESIGN & ERGONOMICS:
Finally, Kawasaki engineers wrapped all this technology in bodywork as advanced and stylish as anything on this side of a MotoGP grid. The curvy edges and contrasting colored and black parts create a sharp, aggressive image. Line-beam headlights grace the fairing while LED turn signals are integrated into the mirror assemblies. Convenient turn-signal couplers allow easy mirror removal for track-day use. The rear fender assembly holding the rear signal stalks and license plate frame is also easily removable for track days. High-visibility LED lamps are also used for the taillight and position marker.
The instrumentation is highlighted by an LED-backlit bar-graph tachometer set above a multi-featured LCD info screen with numerous sections and data panels. A wide range of information is presented, including vehicle speed, odometer, dual trip meters, fuel consumption, Power Mode and S-KTRC level, low fuel, water temperature and much more. For track use, the LCD display can be set to “race” mode which moves the gear display to the center of the screen.
The ZX-10R’s ergonomics are designed for optimum comfort and control. A 32-inch saddle, adjustable footpegs and clip-ons mean that this is a hard-core sport bike you can actually take on an extended sport ride – and still be reasonably comfortable doing so.
The old saying, “power is nothing without control” is certainly apt where open-class sport bikes are concerned. But when you factor in all the engine, chassis and ergonomic control designed into the 2013 Ninja ZX-10R, you begin to realize you’re looking at one very special motorcycle – one that can take you places you’ve never been before.
Genuine Kawasaki Accessories are available through authorized Kawasaki dealers.
SPECS:
Engine Four-Stroke, Liquid-Cooled, DOHC, Four Valves Per Cylinder, Inline-Four
Displacement 998cc
Bore X Stroke 76.0 X 55.0 mm
Compression Ratio13.0:1
Fuel System DFI® With Four 47mm Keihin Throttle Bodies With Oval Sub-Throttles, Two Injectors Per Cylinder
Ignition TCBI With Digital Advance And Sport-Kawasaki Traction Control (S-KTRC)
Transmission Six-Speed
Final Drive Chain
Rake/Trail 25 Deg / 4.2 In.
Front Tire Size 120/70 ZR17
Rear Tire Size 190/55 ZR17
Wheelbase 56.1 In.
Front Suspension / Wheel Travel 43 mm Inverted Big Piston Fork (BPF), Adjustable Rebound And Compression Damping, Spring Preload Adjustability/ 4.7 in.
Rear Suspension / Wheel Travel
Horizontal Back-Link With Gas-Charged Shock, Stepless, Dual-Range (Low-/High-Speed) Compression Damping, Stepless Rebound Damping, Fully Adjustable Spring Preload / 5.5 In.
Front Brakes Kawasaki Intelligent Anti-Lock Braking (KIBS), Dual Semi-Floating 310 mm Petal Discs With Dual Four-Piston Radial-Mount Calipers
Rear Brakes KIBS-Controlled, Single 220 mm Petal Disc With Aluminum Single-Piston Caliper
Fuel Capacity 4.5 Gal.
Seat Height 32.0 In.
Curb Weight 443.2 Lbs.
Overall Length 81.7 In.
Overall Width 28.1 In.
Overall Height 43.9 In.
Color Choices - Lime Green/Metallic Spark Black, Pearl Flat White/Metallic Spark Black
Source: www.topspeed.com/motorcycles/motorcycle-reviews/kawasaki/...
1-12-13 Wyndham Street Races
$140 on ebay for these types of petrol tank cover/bra
TOP SPEED REVIEW OF ZX-10R:
Not long ago, the Japanese motorcycles were considered the uncontested leaders of sport motorcycles and nobody had the guts to challenge them. However, this situation has changed after BMW entered the battle. Its first super sport bike, the S 1000RR was not only a completely newcomer, but it was also so strong and technological advanced that it made any other bike look like defenseless scooter.
THE ABS
The Kawasaki Ninja® ZX™-10R ABS superbike combines anti-lock braking with the numerous technological benefits of the class leading ZX-10R. And it does it with rider-sensitive, race-bred attributes derived from competing and winning at the highest levels.
Kawasaki has developed a new electronic steering damper for the 2013 ZX-10R ABS sportbike, in joint cooperation with Öhlins. Controlled by a dedicated ECU located under the gas tank cover, this new damper reacts to the rate of acceleration or deceleration, as well as rear wheel speed, to help provide the ideal level of damping force across a wide range of riding scenarios. The variable damping provides optimum rider feedback by enabling the use of lower damping forces during normal operation, without sacrificing the firm damping needed for high-speed stability. The result is a light and nimble steering feel at low speed, as well as superior damping at higher speeds or during extreme acceleration/deceleration. The anodized damper unit incorporates Öhlins’ patented twin-tube design to help ensure stable damping performance and superior kickback absorption. It is mounted horizontally at the front of the fuel tank and requires very few additional components and ads almost no weight compared to last year’s steering damper.
At first, anti-lock braking might seem a touch out of place on a purebred sportbike. But this system was designed from the start to maximize performance. And when you consider the many benefits provided by the amazing electronic and hardware technology available today, it begins to make a lot of sense.
Think of it: You’re braking for a blind, decreasing-radius corner after a long day of sport riding. Shadows are long and you’re tired, so you don’t notice a patch of sand until it’s too late to correct. But instead of tucking as you continue braking through the sand, your front tire maintains most of its traction, as the anti-lock braking system intervenes until the surface improves – allowing you to arc gracefully into the corner, a little wiser and a lot more intact physically than you might have been riding a non-ABS motorcycle.
Kawasaki calls its anti-lock system KIBS – or Kawasaki Intelligent anti-lock Brake System. The use of “intelligent” is apropos, too, considering just how smart the KIBS is. It all starts with the smallest and lightest ABS unit ever built for a motorcycle, one designed by Bosch specifically with sport bikes in mind. It’s nearly 50 percent smaller than current motorcycle ABS units, and 800 grams lighter, adding only about 7 pounds of weight compared to the non-ABS machine, a pound of which is accounted for by the larger battery.
KIBS is a multi-sensing system, one that collects and monitors a wide range of information taken from wheel sensors (the same ones collecting data on the standard ZX-10R for its S-KTRC traction control system) and the bike’s ECU, including wheel speed, caliper pressure, engine rpm, throttle position, clutch actuation and gear position. The KIBS’s ECU actually communicates with the bike’s engine ECU and crunches the numbers, and when it notes a potential lock-up situation, it tells the Bosch ABS unit to temporarily reduce line pressure, allowing the wheel to once again regain traction.
Aside from this system’s ultra-fast response time, it offers a number of additional sport-riding benefits, including rear-end lift suppression during hard braking, minimal kickback during ABS intervention, and increased rear brake control during downshifts. The high-precision pressure control enables the system to maintain high brake performance, proper lever feel and help ensure the ABS pulses are minimized.
Needless to say that the Japanese manufacturers were highly intrigued and the first samurai who challenged the Germans to a duel was Kawasaki.
Kawasaki’s anti S 1000RR weapon is the Ninja ZX - 10R. Packing a lot of advanced features and modern technologies, the bike is fast enough to compete with success against the German oppressor.
Despite the fact that nothing changed for the 2013 model year, except for some color schemes, the Ninja continues to be ahead of the pack when it comes to sporty performances.
Build on a nimble, lightweight chassis, The Kawasaki Ninja ZX - 10R ABS is “blessed” with a powerful 998cc inline four engine which cranks out 197 hp at 11500 rpm.
Among the most important features offered by the Ninja ZX - 10R, you’ll find the advanced Sport-Kawasaki Traction Control (S-KTRC) and an intelligent ABS system which comes as an option ($1000).
ENGINE & PERFORMANCE:
The rest of the 2013 Ninja ZX-10R ABS is equally advanced. Complete with a powerful engine and lightweight chassis, it also boasts a highly advanced and customizable electronic system that allows riders to harness and experience the ZX-10R ABS’s amazing blend of power and razor-edge handling. The system is called Sport-Kawasaki Traction Control.
Motorcyclists have forever been challenged by traction-related issues, whether on dirt, street or track. And when talking about the absolute leading edge of open-class sport bike technology, where production street bikes are actually more capable than full-on race bikes from just a couple years ago, more consistent traction and enhanced confidence is a major plus.
The racing-derived S-KTRC system works by crunching numbers from a variety of parameters and sensors – wheel speed and slip, engine rpm, throttle position, acceleration, etc. There’s more data gathering and analysis going on here than on any other Kawasaki in history, and it’s all in the name of helping racers inch closer to the elusive “edge” of maximum traction than ever before. The S-KTRC system relies on complex software buried in the ZX-10R’s Electronic Control Unit (ECU); the only additional hardware is the lightweight speed sensors located on each wheel.
Unlike the KTRC system on Kawasaki’s Concours™ 14 ABS sport tourer, which primarily minimizes wheel slip on slick or broken surfaces as a safety feature, the S-KTRC system is designed to maximize performance by using complex analysis to predict when traction conditions are about to become unfavorable. By quickly but subtly reducing power just before the amount of slippage exceeds the optimal traction zone, the system – which processes every data point 200 times per second – maintains the optimum level of tire grip to maximize forward motion. The result is significantly better lap times and enhanced rider confidence – exactly what one needs when piloting a machine of this caliber.
The S-KTRC system offers three different modes of operation, which riders can select according to surface conditions, rider preference and skill level: Level 1 for max-grip track use, Level 2 for intermediate use, and Level 3 for slippery conditions. An LCD graph in the high-tech instrument cluster displays how much electronic intervention is occurring in real time and a thumb switch on the left handlebar pod allows simple, on-the-go mode changes.
The potent ZX-10R engine is a 16-valve, DOHC, liquid-cooled inline-four displacing 998cc via 76 x 55mm bore and stroke dimensions. This powerplant is tuned to optimize power delivery, center of gravity and actual engine placement within the chassis. Torque peaks at an rpm range that helps eliminate power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
A primary goal of Kawasaki engineers was linear power delivery and engine manageability throughout all elements of a corner: the entry, getting back to neutral throttle at mid-corner, and heady, controllable acceleration at the exit. Peak torque was moved to a higher rpm range, which eliminates the power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
Large intake valves complemented by wide, polished intake ports allow for controllable power delivery and engine braking, just the thing to smooth those racetrack corner entries and exits. Camshafts built from chromoly steel further contribute to optimized engine braking and more controllable power delivery. Lightweight pistons mount to light and strong connecting rods. Compression is a full 13.0:1.
A race-style cassette transmission allows simple trackside ratio changes. An adjustable back-torque limiting clutch assembly is fitted, which allows worry-free downshifts and corner-entry calmness.
Cramming all that fuel and air into this amazing engine is a ram air-assisted fuel injection system featuring large throttle bodies (47mm) and sub-throttle valves, a large capacity airbox (9 liters), secondary injectors that improve top-end power characteristics, and a large ram-air intake that’s positioned close to the front of the bike for efficient airbox filling and power.
The final piece of the ZX-10R’s power-production formula is a race-spec exhaust system featuring a titanium header assembly, hydroformed collectors, a large-volume pre-chamber containing two catalyzers and a highly compact silencer. Due to the header’s race-spec design, riders and racers looking for more closed-course performance need only replace the slip-on muffler assembly.
CHASSIS & SUSPENSION:
With the engine producing a massive quantity of usable and controllable power, engineers looked to the chassis to help refine handling and overall road/track competency. The aluminum twin-spar frame is an all-cast assemblage of just seven pieces that features optimized flex characteristics for ideal rider feedback, cornering performance and light weight. Like the frame, the alloy swingarm is an all-cast assembly, with rigidity matching that of the frame itself.
Chassis geometry offers excellent stability and handling quickness. The front end geometry – with rake at 25 degrees and trail at 107mm (4.21 in.) – allows light, quick handling and complements the engine’s controllable power and the frame and swingarm’s flex characteristics.
Highly advanced suspension at both ends helps as well. Up front is a 43mm open-class version of the Big Piston Fork (BPF). Featuring a piston design nearly twice the size of a conventional cartridge fork, the BPF offers smooth action, less stiction, light weight and enhanced damping performance on the compression and rebound circuits. This compliance results in more control and feedback for the rider – just what you need when carving through a rippled sweeper at your local track or negotiating a decreasing-radius corner on your favorite backroad.
Suspension duties on the ZX-10R are handled by a Horizontal Back-Link design that positions the shock and linkage above the swingarm. Benefits include mass centralization, good road holding, compliance and stability, smooth action in the mid-stroke and good overall feedback. The fully adjustable shock features a piggyback reservoir and dual-range (low- and high-speed) compression damping.
Lightweight gravity-cast three-spoke wheels complement the tire fitment. Up front, Tokico radial-mount calipers grasp 310mm petal discs and a 220mm disc is squeezed by a lightweight single-piston caliper in back. The result is powerful stops with plenty of rider feedback and the added confidence of the KIBS ABS system.
DESIGN & ERGONOMICS:
Finally, Kawasaki engineers wrapped all this technology in bodywork as advanced and stylish as anything on this side of a MotoGP grid. The curvy edges and contrasting colored and black parts create a sharp, aggressive image. Line-beam headlights grace the fairing while LED turn signals are integrated into the mirror assemblies. Convenient turn-signal couplers allow easy mirror removal for track-day use. The rear fender assembly holding the rear signal stalks and license plate frame is also easily removable for track days. High-visibility LED lamps are also used for the taillight and position marker.
The instrumentation is highlighted by an LED-backlit bar-graph tachometer set above a multi-featured LCD info screen with numerous sections and data panels. A wide range of information is presented, including vehicle speed, odometer, dual trip meters, fuel consumption, Power Mode and S-KTRC level, low fuel, water temperature and much more. For track use, the LCD display can be set to “race” mode which moves the gear display to the center of the screen.
The ZX-10R’s ergonomics are designed for optimum comfort and control. A 32-inch saddle, adjustable footpegs and clip-ons mean that this is a hard-core sport bike you can actually take on an extended sport ride – and still be reasonably comfortable doing so.
The old saying, “power is nothing without control” is certainly apt where open-class sport bikes are concerned. But when you factor in all the engine, chassis and ergonomic control designed into the 2013 Ninja ZX-10R, you begin to realize you’re looking at one very special motorcycle – one that can take you places you’ve never been before.
Genuine Kawasaki Accessories are available through authorized Kawasaki dealers.
SPECS:
Engine Four-Stroke, Liquid-Cooled, DOHC, Four Valves Per Cylinder, Inline-Four
Displacement 998cc
Bore X Stroke 76.0 X 55.0 mm
Compression Ratio13.0:1
Fuel System DFI® With Four 47mm Keihin Throttle Bodies With Oval Sub-Throttles, Two Injectors Per Cylinder
Ignition TCBI With Digital Advance And Sport-Kawasaki Traction Control (S-KTRC)
Transmission Six-Speed
Final Drive Chain
Rake/Trail 25 Deg / 4.2 In.
Front Tire Size 120/70 ZR17
Rear Tire Size 190/55 ZR17
Wheelbase 56.1 In.
Front Suspension / Wheel Travel 43 mm Inverted Big Piston Fork (BPF), Adjustable Rebound And Compression Damping, Spring Preload Adjustability/ 4.7 in.
Rear Suspension / Wheel Travel
Horizontal Back-Link With Gas-Charged Shock, Stepless, Dual-Range (Low-/High-Speed) Compression Damping, Stepless Rebound Damping, Fully Adjustable Spring Preload / 5.5 In.
Front Brakes Kawasaki Intelligent Anti-Lock Braking (KIBS), Dual Semi-Floating 310 mm Petal Discs With Dual Four-Piston Radial-Mount Calipers
Rear Brakes KIBS-Controlled, Single 220 mm Petal Disc With Aluminum Single-Piston Caliper
Fuel Capacity 4.5 Gal.
Seat Height 32.0 In.
Curb Weight 443.2 Lbs.
Overall Length 81.7 In.
Overall Width 28.1 In.
Overall Height 43.9 In.
Color Choices - Lime Green/Metallic Spark Black, Pearl Flat White/Metallic Spark Black
Source: www.topspeed.com/motorcycles/motorcycle-reviews/kawasaki/...
The typical 'parai' is a frame drum about 35 centimeters in diameter. It consists of a shallow ring of wood, covered on one side with a stretched cow hide that is glued to the wooden frame. Though the pic doesn't look even a bit like the description, this drum is also parai!!
In Tamil, the word 'parai' means to 'speak' or to 'tell'. Local histories describe the parai as an ancient instrument performed in the courts of Sangam, Chola, and Pandiyan rulers. The drums were used to announce important messages and orders of the great Tamil Kings.
Today the parai folk drum is associated with Dalit communities (formerly known as untouchables). Dalits are the lowest ranking members of the Hindu social order, outside the four classes of Brahmins, Kshatriyas, Vaishyas, and Shudras. The two best-known Dalit drumming castes are the Paraiyars (named after the parai drum) and the Telugu speaking Cakkiliyars. In addition to performing music at their own temple festivals and religious celebrations, Dalits for the last several centuries have provided inauspicious ritual services for higher castes, most notable drumming for funerals. Because of its association with death, Dalit drummers and the parai drum are considered both impure and degraded by upper castes. In recent years, some Dalit communities have reclaimed the parai with pride to become a symbol of Dalit cultural identity and social freedom.
As an aural tradition, parai folk drumming does not have a codified system of written notation. Musicians learn through years of unconscious absorption, conscious listening, imitation, and practice. Drumming is also learned through the recitation of spoken syllables reminiscent of solkattu in Carnatic music . Each rhythm has a corresponding set of syllables. However, the correspondence of strokes to syllables is not absolutely fixed. A drummer's choice of syllables depends upon the specific combination or permutation of drum strokes, the speed at which they are played, and his own personal aesthetic and lineage. Unlike the Carnatic system, rhythmic syllables in the parai tradition are not recited in relationship to a tala cycle designated by prescribed hand gestures.
Calligraphy is a visual art related to writing. It is the design and execution of lettering with a broad tip instrument, brush, among other writing instruments. A contemporary calligraphic practice can be defined as, "the art of giving form to signs in an expressive, harmonious, and skillful manner".
Modern calligraphy ranges from functional inscriptions and designs to fine-art pieces where the letters may or may not be readable.[1][page needed] Classical calligraphy differs from typography and non-classical hand-lettering, though a calligrapher may practice both.
Calligraphy continues to flourish in the forms of wedding and event invitations, font design and typography, original hand-lettered logo design, religious art, announcements, graphic design and commissioned calligraphic art, cut stone inscriptions, and memorial documents. It is also used for props and moving images for film and television, testimonials, birth and death certificates, maps, and other written works.
TOOLS
The principal tools for a calligrapher are the pen and the brush. Calligraphy pens write with nibs that may be flat, round, or pointed. For some decorative purposes, multi-nibbed pens - steel brushes - can be used. However, works have also been created with felt-tip and ballpoint pens, although these works do not employ angled lines. There are some styles of calligraphy, like Gothic script, which require a stub nib pen.
Writing ink is usually water-based and is much less viscous than the oil-based inks used in printing. High quality paper, which has good consistency of absorption, enables cleaner lines, although parchment or vellum is often used, as a knife can be used to erase imperfections and a light-box is not needed to allow lines to pass through it. Normally, light boxes and templates are used to achieve straight lines without pencil markings detracting from the work. Ruled paper, either for a light box or direct use, is most often ruled every quarter or half inch, although inch spaces are occasionally used. This is the case with litterea unciales (hence the name), and college-ruled paper often acts as a guideline well.
Common calligraphy pens and brushes are:
Quill
Dip pen
Ink brush
Qalam
Fountain pen
WORLD TRADITIONS
EUROPE
HISTORY
Western calligraphy is recognizable by the use of the Latin script. The Latin alphabet appeared about 600 BC, in Rome, and by the first century[clarification needed] developed into Roman imperial capitals carved on stones, Rustic capitals painted on walls, and Roman cursive for daily use. In the second and third centuries the uncial lettering style developed. As writing withdrew to monasteries, uncial script was found more suitable for copying the Bible and other religious texts. It was the monasteries which preserved calligraphic traditions during the fourth and fifth centuries, when the Roman Empire fell and Europe entered the Dark Ages.
At the height of the Empire, its power reached as far as Great Britain; when the empire fell, its literary influence remained. The Semi-uncial generated the Irish Semi-uncial, the small Anglo-Saxon. Each region developed its own standards following the main monastery of the region (i.e. Merovingian script, Laon script, Luxeuil script, Visigothic script, Beneventan script), which are mostly cursive and hardly readable.
Christian churches promoted the development of writing through the prolific copying of the Bible, particularly the New Testament and other sacred texts. Two distinct styles of writing known as uncial and half-uncial (from the Latin "uncia," or "inch") developed from a variety of Roman bookhands. The 7th-9th centuries in northern Europe were the heyday of Celtic illuminated manuscripts, such as the Book of Durrow, Lindisfarne Gospels and the Book of Kells.
Charlemagne's devotion to improved scholarship resulted in the recruiting of "a crowd of scribes", according to Alcuin, the Abbot of York. Alcuin developed the style known as the Caroline or Carolingian minuscule. The first manuscript in this hand was the Godescalc Evangelistary (finished 783) — a Gospel book written by the scribe Godescalc. Carolingian remains the one progenitor hand from which modern booktype descends.
In the eleventh century, the Caroline evolved into the Gothic script, which was more compact and made it possible to fit more text on a page. The Gothic calligraphy styles became dominant throughout Europe; and in 1454, when Johannes Gutenberg developed the first printing press in Mainz, Germany, he adopted the Gothic style, making it the first typeface.
In the 15th century, the rediscovery of old Carolingian texts encouraged the creation of the humanist minuscule or littera antiqua. The 17th century saw the Batarde script from France, and the 18th century saw the English script spread across Europe and world through their books.
In the mid-1600s French officials, flooded with documents written in various hands and varied levels of skill, complained that many such documents were beyond their ability to decipher. The Office of the Financier thereupon restricted all legal documents to three hands, namely the Coulee, the Rhonde, (known as Round hand in English) and a Speed Hand sometimes simply called the Bastarda.
While there were many great French masters at the time, the most influential in proposing these hands was Louis Barbedor, who published Les Ecritures Financière Et Italienne Bastarde Dans Leur Naturel circa 1650.
With the destruction of the Camera Apostolica during the sack of Rome (1527), the capitol for writing masters moved to Southern France. By 1600, the Italic Cursiva began to be replaced by a technological refinement, the Italic Chancery Circumflessa, which in turn fathered the Rhonde and later English Roundhand.
In England, Ayres and Banson popularized the Round Hand while Snell is noted for his reaction to them, and warnings of restraint and proportionality. Still Edward Crocker began publishing his copybooks 40 years before the aforementioned.
STYLE
Sacred Western calligraphy has some special features, such as the illumination of the first letter of each book or chapter in medieval times. A decorative "carpet page" may precede the literature, filled with ornate, geometrical depictions of bold-hued animals. The Lindisfarne Gospels (715–720 AD) are an early example.
As with Chinese or Islamic calligraphy, Western calligraphic script employed the use of strict rules and shapes. Quality writing had a rhythm and regularity to the letters, with a "geometrical" order of the lines on the page. Each character had, and often still has, a precise stroke order.
Unlike a typeface, irregularity in the characters' size, style, and colors increases aesthetic value, though the content may be illegible. Many of the themes and variations of today's contemporary Western calligraphy are found in the pages of The Saint John's Bible. A particularly modern example is Timothy Botts' illustrated edition of the Bible, with 360 calligraphic images as well as a calligraphy typeface.
INFLUENCES
Several other Western styles use the same tools and practices, but differ by character set and stylistic preferences. For Slavonic lettering, the history of the Slavonic and consequently Russian writing systems differs fundamentally from the one of the Latin language. It evolved from the 10th century to today.
EAST ASIA
The Chinese name for calligraphy is shūfǎ (書法 in Traditional Chinese, literally "the method or law of writing"); the Japanese name shodō (書道, literally "the way or principle of writing"); the Korean is seoye (Korean: 서예/書藝, literally "the art of writing"); and the Vietnamese is Thư pháp (書法, literally "the way of letters or words"). The calligraphy of East Asian characters is an important and appreciated aspect of East Asian culture.
HISTORY
In ancient China, the oldest Chinese characters existing are Jiǎgǔwén(甲骨文) characters carved on ox scapulae and tortoise plastrons, because the dominators in Shang Dynasty carved pits on such animals' bones and then baked them to gain auspice of military affairs, agricultural harvest, or even procreating and weather. During the divination ceremony, after the cracks were made, the characters were written with a brush on the shell or bone to be later carved.(Keightley, 1978). With the development of Jīnwén (Bronzeware script) and Dàzhuàn (Large Seal Script) "cursive" signs continued. Moreover, each archaic kingdom of current China had its own set of characters.
In Imperial China, the graphs on old steles - some dating from 200 BC, and in Xiaozhuan style - are still accessible.
About 220 BC, the emperor Qin Shi Huang, the first to conquer the entire Chinese basin, imposed several reforms, among them Li Si's character unification, which created a set of 3300 standardized Xiǎozhuàn（小篆） characters. Despite the fact that the main writing implement of the time was already the brush, few papers survive from this period, and the main examples of this style are on steles.
The Lìshū（隶书） style (clerical script) which is more regularized, and in some ways similar to modern text, have been also authorised under Qin Shi Huangdi.
Kǎishū style (traditional regular script)—still in use today—and attributed to Wang Xizhi (王羲之, 303–361) and his followers, is even more regularized. Its spread was encouraged by Emperor Mingzong of Later Tang (926–933), who ordered the printing of the classics using new wooden blocks in Kaishu. Printing technologies here allowed a shape stabilization. The Kaishu shape of characters 1000 years ago was mostly similar to that at the end of Imperial China. But small changes have been made, for example in the shape of 广 which is not absolutely the same in the Kangxi Dictionary of 1716 as in modern books. The Kangxi and current shapes have tiny differences, while stroke order is still the same, according to old style.
Styles which did not survive include Bāfēnshū, a mix made of Xiaozhuan style at 80%, and Lishu at 20%. Some variant Chinese characters were unorthodox or locally used for centuries. They were generally understood but always rejected in official texts. Some of these unorthodox variants, in addition to some newly created characters, compose the Simplified Chinese character set.
TECHNIQUE
Traditional East Asian writing uses the Four Treasures of the Study (文房四寶/文房四宝): the ink brushes known as máobǐ (毛笔) to write Chinese characters, Chinese ink, paper, and inkstone, known as the Four Friends of the Study (Korean: 문방사우) in Korea. In addition to these four tools, desk pads and paperweights are also used.
The shape, size, stretch, and hair type of the ink brush, the color, color density and water density of the ink, as well as the paper's water absorption speed and surface texture are the main physical parameters influencing the final result. The calligrapher's technique also influences the result. The calligrapher's work is influenced by the quantity of ink and water he lets the brush take, then by the pressure, inclination, and direction he gives to the brush, producing thinner or bolder strokes, and smooth or toothed borders. Eventually, the speed, accelerations, decelerations of the writer's moves, turns, and crochets, and the stroke order give the "spirit" to the characters, by greatly influencing their final shapes.
STYLES
Cursive styles such as xíngshū (semi-cursive or running script) and cǎoshū (cursive or grass script) are less constrained and faster, where more movements made by the writing implement are visible. These styles' stroke orders vary more, sometimes creating radically different forms. They are descended from Clerical script, in the same time as Regular script (Han Dynasty), but xíngshū and cǎoshū were used for personal notes only, and never used as a standard. The cǎoshū style was highly appreciated in Emperor Wu of Han reign (140–187 AD).
Examples of modern printed styles are Song from the Song Dynasty's printing press, and sans-serif. These are not considered traditional styles, and are normally not written.
INFLUENCES
Japanese and Korean calligraphies were greatly influenced by Chinese calligraphy. The Japanese and Korean people have also developed specific sensibilities and styles of calligraphy. For example, Japanese calligraphy go out of the set of CJK strokes to also include local alphabets such as hiragana and katakana, with specific problematics such as new curves and moves, and specific materials (Japanese paper, washi 和紙, and Japanese ink). In the case of Korean calligraphy, the Hangeul and the existence of the circle required the creation of a new technique which usually confuses Chinese calligraphers.
Temporary calligraphy is a practice of water-only calligraphy on the floor, which dries out within minutes. This practice is especially appreciated by the new generation of retired Chinese in public parks of China. These will often open studio-shops in tourist towns offering traditional Chinese calligraphy to tourists. Other than writing the clients name, they also sell fine brushes as souvenirs and lime stone carved stamps.
Since late 1980s, a few Chinese artists have branched out traditional Chinese calligraphy to a new territory by mingling Chinese characters with English letters; notable new forms of calligraphy are Xu Bing's square calligraphy and DanNie's coolligraphy or cooligraphy.
Mongolian calligraphy is also influenced by Chinese calligraphy, from tools to style.
Calligraphy has influenced ink and wash painting, which is accomplished using similar tools and techniques. Calligraphy has influenced most major art styles in East Asia, including ink and wash painting, a style of Chinese, Korean, Japanese painting, and Vietnamese painting based entirely on calligraphy.
SOUTH ASIA
INDIA
On the subject of Indian calligraphy, writes:
Aśoka's edicts (c. 265–238 BC) were committed to stone. These inscriptions are stiff and angular in form. Following the Aśoka style of Indic writing, two new calligraphic types appear: Kharoṣṭī and Brāhmī. Kharoṣṭī was used in the northwestern regions of India from the 3rd century BC to the 4th century of the Christian Era, and it was used in Central Asia until the 8th century.
In many parts of ancient India, the inscriptions were carried out in smoke-treated palm leaves. This tradition dates back to over two thousand years. Even after the Indian languages were put on paper in the 13th century, palm leaves where considered a preferred medium of writing owing to its longevity (nearly 400 years) compared to paper. Both sides of the leaves were used for writing. Long rectangular strips were gathered on top of one another, holes were drilled through all the leaves, and the book was held together by string. Books of this manufacture were common to Southeast Asia. The palm leaf was an excellent surface for penwriting, making possible the delicate lettering used in many of the scripts of southern Asia.
Burnt clay and copper were a favoured material for Indic inscriptions. In the north of India, birch bark was used as a writing surface as early as the 2nd century AD.
NEPAL
Ranjana script is the primary form of Nepalese calligraphy. The script itself, along with its derivatives (like Lantsa, Phagpa, Kutila) are used in Nepal, Tibet, Bhutan, Leh, Mongolia, coastal Japan, and Korea to write "Om mani padme hum" and other sacred Buddhist texts, mainly those derived from Sanskrit and Pali.
THAILAND
Sanskrit is the primary form of Thai calligraphy. Historically Thai calligraphy has been limited to sacred texts of the Pali Canon with few wider artistic applications where graphic calligraphy representing figures and objects is produced. Calligraphy appears on the personal flag of each member of the Thai royal family bearing its owner's initials in calligraphy. The most obvious place in the country where calligraphy is present is in graffiti. A few books have been published with calligraphic compositions.
TIBET
Calligraphy is central in Tibetan culture. The script is derived from Indic scripts. The nobles of Tibet, such as the High Lamas and inhabitants of the Potala Palace, were usually capable calligraphers. Tibet has been a center of Buddhism for several centuries, and that religion places a great deal of significance on written word. This does not provide for a large body of secular pieces, although they do exist (but are usually related in some way to Tibetan Buddhism). Almost all high religious writing involved calligraphy, including letters sent by the Dalai Lama and other religious and secular authority. Calligraphy is particularly evident on their prayer wheels, although this calligraphy was forged rather than scribed, much like Arab and Roman calligraphy is often found on buildings. Although originally done with a reed, Tibetan calligraphers now use chisel tipped pens and markers as well.
ISLAMIC WORLD
Islamic calligraphy (calligraphy in Arabic is khatt ul-yad خط اليد) has evolved alongside Islam and the Arabic language. As it is based on Arabic letters, some call it "Arabic calligraphy". However the term "Islamic calligraphy" is a more appropriate term as it comprises all works of calligraphy by the Muslim calligraphers from Andalusia in modern Spain to China.
Islamic calligraphy is associated with geometric Islamic art (arabesque) on the walls and ceilings of mosques as well as on the page. Contemporary artists in the Islamic world draw on the heritage of calligraphy to use calligraphic inscriptions or abstractions.
Instead of recalling something related to the spoken word, calligraphy for Muslims is a visible expression of the highest art of all, the art of the spiritual world. Calligraphy has arguably become the most venerated form of Islamic art because it provides a link between the languages of the Muslims with the religion of Islam. The Qur'an has played an important role in the development and evolution of the Arabic language, and by extension, calligraphy in the Arabic alphabet. Proverbs and passages from the Qur'an are still sources for Islamic calligraphy.
It is generally accepted that Islamic calligraphy excelled during the Ottoman era. Istanbul is an open exhibition hall for all kinds and varieties of calligraphy, from inscriptions in mosques to fountains, schools, houses, etc.
PERSIA
The history of calligraphy in Persia dates back to the pre-Islam era. In Zoroastrianism beautiful and clear writings were always praised.
It is believed that ancient Persian script was invented by about 600–500 BC to provide monument inscriptions for the Achaemenid kings. These scripts consisted of horizontal, vertical, and diagonal nail-shape letters, which is why it is called "script of nails/cuneiform script" (khat-e-mikhi) in Persian. Centuries later, other scripts such as "Pahlavi" and "Avestan" scripts were used in ancient Persia.
CONTEMPORARY SRIPTS
The Nasta'liq style is the most popular contemporary style among classical Persian calligraphy scripts; Persian calligraphers call it the "bride of calligraphy scripts". This calligraphy style has been based on such a strong structure that it has changed very little since. Mir Ali Tabrizi had found the optimum composition of the letters and graphical rules so it has just been fine-tuned during the past seven centuries. It has very strict rules for graphical shape of the letters and for combination of the letters, words, and composition of the whole calligraphy piece.
MAYAN CIVILIZATION
Mayan calligraphy was expressed via Mayan hieroglyphs; modern Mayan calligraphy is mainly used on seals and monuments in the Yucatán Peninsula in Mexico. Mayan hieroglyphs are rarely used in government offices; however in Campeche, Yucatán and Quintana Roo, Mayan calligraphy is written in Latin letters. Some commercial companies in southern Mexico use Mayan hieroglyphs as symbols of their business. Some community associations and modern Mayan brotherhoods use Mayan hieroglyphs as symbols of their groups.
Most of the archaeological sites in Mexico such as Chichen Itza, Labna, Uxmal, Edzna, Calakmul, etc. have glyphs in their structures. Carved stone monuments known as stele are common sources of ancient Mayan calligraphy.
MODERN CALLIGRAPHY
REVIVAL
After printing became ubiquitous from the 15th century, the production of illuminated manuscripts began to decline. However, the rise of printing did not mean the end of calligraphy.
The modern revival of calligraphy began at the end of the 19th century, influenced by the aesthetics and philosophy of William Morris and the Arts and Crafts movement. Edward Johnston is regarded as being the father of modern calligraphy. After studying published copies of manuscripts by architect William Harrison Cowlishaw, he was introduced to William Lethaby in 1898, principal of the Central School of Arts and Crafts,who advised him to study manuscripts at the British Museum.
This triggered Johnston's interest in the art of calligraphy with the use of a broad edged pen. He began a teaching course in calligraphy at the Central School in Southampton Row, London from September 1899, where he influenced the typeface designer and sculptor Eric Gill. He was commissioned by Frank Pick to design a new typeface for London Underground, still used today (with minor modifications).
He has been credited for reviving the art of modern penmanship and lettering single-handedly through his books and teachings - his handbook on the subject, Writing & Illuminating, & Lettering (1906) was particularly influential on a generation of British typographers and calligraphers, including Graily Hewitt, Stanley Morison, Eric Gill and Anna Simons. Johnston also devised the simply crafted round calligraphic handwriting style, written with a broad pen, known today as the Foundational hand. Johnston initially taught his students an uncial hand using a flat pen angle, but later taught his hand using a slanted pen angle. He first referred to this hand as "Foundational Hand" in his 1909 publication, Manuscript & Inscription Letters for Schools and Classes and for the Use of Craftsmen.
SUBSEQUENT DEVELOPMENTS
Graily Hewitt taught at the Central School of Arts and Crafts and published together with Johnston throughout the early part of the century. Hewitt was central to the revival of gilding in calligraphy, and his prolific output on type design also appeared between 1915 and 1943. He is attributed with the revival of gilding with gesso and gold leaf on vellum. Hewitt helped to found the Society of Scribes & Illuminators (SSI) in 1921, probably the world's foremost calligraphy society.
Hewitt is not without both critics and supporters in his rendering of Cennino Cennini's medieval gesso recipes. Donald Jackson, a British calligrapher, has sourced his gesso recipes from earlier centuries a number of which are not presently in English translation. Graily Hewitt created the patent announcing the award to Prince Philip of the title of Duke of Edinburgh on November 19, 1947, the day before his marriage to Queen Elizabeth.
Johnston’s pupil, Anna Simons, was instrumental in sparking off interest in calligraphy in Germany with her German translation of Writing and Illuminating, and Lettering in 1910. Austrian Rudolf Larisch, a teacher of lettering at the Vienna School of Art, published six lettering books that greatly influenced German-speaking calligraphers. Because German-speaking countries had not abandoned the Gothic hand in printing, Gothic also had a powerful effect on their styles.
Rudolf Koch was a friend and younger contemporary of Larisch. Koch's books, type designs, and teaching made him one of the most influential calligraphers of the 20th century in northern Europe and later in the U.S. Larisch and Koch taught and inspired many European calligraphers, notably Karlgeorg Hoefer, and Hermann Zapf.
Contemporary typefaces used by computers, from word processors like Microsoft Word or Apple Pages to professional designers' software like Adobe InDesign, owe a considerable debt to the past and to a small number of professional typeface designers today.
Unicode provides "Script" and "Fraktur" Latin alphabets that can be used for calligraphy. See Mathematical Alphanumeric Symbols.
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