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These are the casting pots(?) at the foundry at Cosanti where the windchimes are started.
I first visited Cosanti in 1968. There was nothing around it in this part of Paradise Valley and it was still being built. Things sure have changed. Paolo Soleri would probably be appalled by what grew up around his vision that is the compete antithesis of his vision.
I live about 2 miles north of here, but I had never made time to photograph it. I made time.
www.arcosanti.org/cosanti-foundation/
Founded in 1965, The Cosanti Foundation is an Arizona-based 501(c)(3) nonprofit organization.
Our mission is to inspire a reimagined urbanism that builds resilient and equitable communities sustainably integrated with the natural world.
Our vision is a world of equitable communities which improve earth/life balance and do better with less.
We pursue this mission and vision at our two flagship locations, Cosanti (in Paradise Valley near Phoenix) and Arcosanti (near Mayer in central Arizona), as well as with projects, programs, and partnerships that hundreds of thousands of people have participated in over the last 57 years.
The word “cosanti” is a combination of the Italians words “cosa” (meaning “things”) and “anti” (meaning “against” or “before”). It signifies The Cosanti Foundation’s commitment to a way of living, working, and building that is oriented away from consumption and materialism, and is respectful of our planet’s natural rhythms and resources. Through ongoing experimentation with and application of the principles of arcology (a combination of the words architecture and ecology), we seek to demonstrate a kind of construction and community that offers an alternative to sprawl development and a solution to modern social and environmental crises.
The Cosanti Foundation also owns and operates the for-profit Cosanti Originals, where we make our world-famous bronze and ceramic windbells and other artisan items.
en.wikipedia.org/wiki/Paolo_Soleri
Paolo Soleri (21 June 1919 – 9 April 2013)[1] was an Italian-born American architect. He established the educational Cosanti Foundation and Arcosanti. Soleri was a lecturer in the College of Architecture at Arizona State University and a National Design Award recipient in 2006. He coined the concept of 'arcology' – a synthesis of architecture and ecology as the philosophy of democratic society.[2] He died at home of natural causes on 9 April 2013 at the age of 93.[3]
Soleri authored several books, including The Bridge Between Matter & Spirit is Matter Becoming Spirit and Arcology – City In the Image of Man.[4]
Soleri was born in Turin, Italy, Europe. He was awarded his "laurea" (master's degree) in architecture from the Politecnico di Torino in 1946. He visited the United States in December 1946 and spent a year and a half in fellowship with Frank Lloyd Wright at Taliesin West in Arizona, and at Taliesin in Spring Green, Wisconsin. During this time, he gained international recognition for a bridge design that was displayed at the Museum of Modern Art.[5]
Paolo and Colly Soleri made a lifelong commitment to research and experimentation in urban planning. They established the Cosanti Foundation, a not-for-profit 501(c)(3) educational non-profit foundation. Soleri's philosophy and works were strongly influenced by the Jesuit paleontologist and philosopher Pierre Teilhard de Chardin.[citation needed]
DSC04083-HDR acd
Designers application: totstreet.wix.com/eggsandbunnies#!designers-application/b...
Bloggers application: totstreet.wix.com/eggsandbunnies#!bloggers-application/d3a1j
Downing Street protesters demand "End the Tampon Tax" - London 02.04.2015
Protesters outside Downing Street adorned with fake tampons and bloodied underwear called for an end to what they say is a "skewed" VAT system which sees 5% paid on tampons which are classed as 'luxury items', yet gambling, houseboat mooring and military aircraft sales are exempted. This week the Salvation Army has reported that in many deprived areas up and down the UK increasing numbers of women can no longer afford to buy sanitary towels, and are having to resort to shockingly primitive and dangerous solutions such as newpaper, old socks or hankies, which makes the women prone to urinary tract infections. In response to this public health issue the Salvation Army has started providing tampons to women unable to afford them, including, of course, homeless women living on the streets.
All photos © Pete Riches
Do not reproduce, alter, re-transmit or blog my images without my written permission. I remain at all times the copyright owner of this image.
These images are now available from International Photo Media picture agency.
Hi-Res, un-watermarked versions of these files are available on application solely at my discretion
Media buyers wanting to use any image found in my Flickr Photostream can also Email me directly.
Standard industry image licensing rates apply.
Series: Putinki
From a cycle: Sacraments
"Прошение"
серия: Венчание друзей
Успенский переулок, Центральный округ, Москва, Россия
Храм Успения Пресвятой Богородицы, что в Путинках
январь 2008
из цикла: Таинства
House Sonneveld Rotterdam - Dutch functionalism by Brinkman en Van der Vlugt
Functionalism emerged at the beginning of the twentieth century and had its heyday in the interwar years. Sonneveld House, built between 1929 and 1933, is one of the best-preserved private houses in this style in the Netherlands. Light, air and space were important qualities for Functionalist architects. They strove to create a healthy living environment with abundant fresh air and sunlight for their buildings’ residents and users. The building’s function and the needs of the residents were more important to these architects than the building’s monumentality. They designed efficient and hygienic buildings using modern techniques and materials such as steel and concrete. Functional floor plans with freely divided spaces gave the buildings an open and light appearance, which was reinforced by balconies and terraces. Villa Savoye (1930) at Poissy near Paris can be seen as Le Corbusier’s manifesto because it represents the most radical application of his "five points". The building had a great influence on modernist architecture. All of Le Corbusier’s five points can be found to a lesser or greater degree in Sonneveld House: in the numerous external spaces, the open arrangement of the living room, the bands of windows running the entire length of the façade and the volumes raised on pillars. As in Villa Savoye, in Sonneveld House the servants’ quarters and the garage are on the ground floor with the principal living spaces above.
After application, cover head with plastic shower cap and tuban/towel, whatever. It will be stained! I'm using gloves and a brush from a beauty supply store to apply. Use a glass/ceramic bowl--anything plastic will stain.
Hi there Bats! I just got out of that gross madhouse they call a prison, and as you can see, Im back, and Im given gotham a whole new meanin' for mayhem! Try and stop me now, bat brain!
Hey guys! this is my application for harley quinn in GCW. My take on harley will be a little less insane than how she is normally depicted. See you in Gotham!(hopefully :P)
You might be a big fish
In a little pond
Doesn't mean you've won
'Cause along may come
A bigger one
And you'll be lost
Every river that you tried to cross
Every gun you ever held went off
~ Coldplay, Lost! (again - love this song)
196 : 365
Various applications of spinning forms which utilise the persistence of vision to create recognisable shapes and optical illusions.
Woodcut from The Popular Educator 1868.
A complete illustrated Encyclopaedia for Elementary, Advanced and Technical Education.
Published by Cassell, Petter & Galpin, London. Six volumes in three books, half leather and gilt binding with marbled covers and marbled endplates. Total 2500 pages 26cm x 19.5cm .
motorchase.com/wp-content/uploads/2016/04/Ford-GT-1-770x6...
The new Ford GT is said to be the most advanced vehicle ever created by Ford. And it will have a limited production: only 250 units a year. This is the sort of car you do not choose to buy: you hope to be able to. Not only due to price, but also to exclusivity (being a Ford does not make it...
motorchase.com/en/2016/04/want-ford-gt-apply-like-apply-j...
This is an illuminated and illustrated copy of the Ḫamse (quintet) of the Ottoman Turkish poet and scholar ʿAṭāʾullāh bin Yaḥyá ʿAṭāʾī (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niẓāmī Ganjavī (d. 605 AH / 1209 CE) and the Khamsah of Amīr Khusraw Dihlavī (d. 725 AH / 1325 CE). This Ottoman copy of ʿAṭāʾī's work ends with a portion of his Dīvān (fols. 142b-151b) instead of the fifth poem (mesnevi), Ḥilyet ül-efkār. The text, written in nastaʿlīq script, was copied by Ḫeyrullah Ḫeyrī Çāvuşzade in 1133 AH / 1721 CE. There are thirty-eight illustrations, and illuminated incipits introduce the different poems (fols. 1b, 22b, 63b, 107b, and 142b). The brown leather binding is original to the manuscript.
This illustration depicts the Ottoman fleet, led by Hüseyn Paşa, setting out from the Black Sea against the Polish army.
To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The APS-4 was a light-weight, pod-mounted airborne search Radar which was suitable for either Airborne Interception (AI) or Air-to-Surface-Vessel (ASV) applications. It was a member of a series of early air-borne radar equipment and was initially designated as AS-H (“Air-to Surface, version H”). This very advanced equipment for its time was first used by the US Navy on board of carrier-borne night fighter aircraft like respective F6F Hellcat and F4U-2 Corsair variants. The Royal Air Force was impressed enough with the system's performance that it was adopted in 1943 for domestic airframes, too, as an alternative to the British AI radars used on board of early Mosquito, Beaufighter and Defiant night fighters.
One very successful carrier of the APS-4, in RAF service known as the AI Mk XV, was the De Havilland Mosquito in its NF Mk.XIX and NF Mk.30 night fighter incarnations. Aware of the performance and effectiveness of the American single engine aircraft, though, the RAF decided to test similar domestic airframes towards the end of WWII as well. The shorter range of a single engine night fighter would, compared with the bigger but also more sluggish two engine types, be compensated by higher speed, agility and rate of climb. These lighter aircraft were intended as a second defense for homeland defense, esp. around large cities or industrial sites.
One of these projects concerned the Supermarine Spitfire, more specifically the new types powered by a Rolly Royce Griffon engine. The Griffon provided a substantial performance increase over the Merlin-powered Spitfire Mk IX, but initially suffered from poor high altitude performance due to having only a single stage supercharged engine. By 1943, Rolls-Royce engineers had developed a new Griffon engine, the 61 series, with a two-stage supercharger, leading to a slightly modified engine, the 65 series, which was eventually mounted in the Spitfire Mk XIV.
With this performance surplus, a night fighter, despite carrying the AI Mk XV equipment plus a second crew member, was still expected to offer a superior performance over German two-engine bombers that intruded British airspace and the heavy night fighters that lurked over the Channel and attacked grouping RAF night bomber formations before they entered Continental airspace.
From this idea, the Spitfire NF.XX was born, as an alternative to a Hawker Typhoon night fighter with a British radar and only a single crew member. In summer 1944 an initial prototype was built, converted from an early series production Mk. XIV airframe. Since the AI Mk XV came with a rather complicated and voluminous display, a second crew member was deemed necessary for effective operations, esp. at night and under poor visibility conditions. The radio operator would check the radar readings and verbally guide the pilot towards the target, who could concentrate on the flying job and keep the eyes on the surroundings.
In order to fit the equipment and the second crew member into the tight Spitfire airframe, and a separate compartment behind the pilot's cockpit and the real bulkhead was added. This second seat received a separate sliding canopy, resulting in a distinctive camel hump silhouette, which earned the Spitfire NF.XX quickly the nickname 'Camelback'. Supermarine had proposed a new service name for this aircraft, 'Nightfire', but it was not officially accepted, since the machine did not differ enough from the basic Spitfire day fighter to justify a completely new designation.
The AI Mk XV equipment and its antenna were carried in a bullet-shaped pod under the port wing, similar to the US Navy night fighters’ arrangement. The radar dish was designed to scan from side to side for AI applications, but it could also be commanded to look up and down by a few degrees. This enabled the aircraft to attack targets from above, and it could also search for surface vessels below, so that the aircraft could also act in ASV or pathfinder duties in a secondary role (much like the Mosquito night fighters, which frequently guided bomber formations to their targets).
In order to mount the pod to the outer wing and compensate for the gain of weight, the standard 0.303" Browning machine guns normally located there were deleted. Instead, the NF.XX was initially armed with two 20 mm Hispano cannon plus a pair of 0.5" machine guns, mounted in a fashion similar to the Spitfire's standard E wing.
The NF.XX was powered, like the Spitfire Mk. XIV, by the two-stage supercharged Griffon 65, producing 2,050 hp (1,528 kW). A five bladed Rotol propeller of 10 ft 5 in (3.18 m) in diameter was used, and for the night fighter role the standard single exhaust stubs gave way to a collector fairing on each side, which dampened flames and improved the crew's view in the darkness.
To help balance the heavy Griffon engine, the radio equipment was moved further back in the rear fuselage. Improved VHF radio equipment allowed for the aerial mast to be removed and replaced by a "whip" aerial further aft on the fuselage spine. Because of the longer nose and the increased slipstream of the big five-bladed propeller, a new tail unit, with a taller, broader fin and a rudder of increased area was introduced.
One problem that hampered all early Griffon-powered Spitfire variants also plagued the NF.XX, though: short legs. The NF.XX carried a total of 109.5 gal of fuel, consisting of 84 gal in two main tanks and a 12.5 imp gal fuel tank in each leading edge wing tank. With this internal capacity, the fighter's maximum range was just a little over 460 miles (740 km) since the new Griffon engine consumed much more fuel per hour than the Merlin engine of earlier variants, and the extra drag and weight through the radar equipment did not make things better.
As a simple remedy, a conformal, fixed belly tank between the radiators was devised. This carried an extra 90 gal, of fuel, extending the fighter's range to about 850 miles (1,370 km) – still not much for aerial patrol and extended loiter time for interceptions, but enough for short-notice home defense duties. Alternatively, a more conventional but jettisonable 100 gal. drop tank could be carried, but it produced considerably more drag and affected overall performance so dramatically that it was never used in service.
The first tests of the new aircraft were conducted in January 1945 and three pre-production machines (all converted Mk. XIV airframes) were allocated to night fighter units for field trials and direct comparison with two engine types. Despite its innate aerodynamic and weight penalties the Spitfire NF.XX still attained an impressive top speed of 400 mph (350 kn; 640 km/h) at 29,500 ft (9.000 m), even though in clean condition only. But it was still more than enough to take on much heavier German bombers and night fighters. The second crewman was another winning factor, since the pilot alone would be overloaded in the face of heavily armed enemy aircraft in the European theatre of operations and the local weather conditions.
Further initial experience with the type resulted in several ad hoc modifications: the wing span was increased in order to improve handling and climb performance, using standard wing tip extensions from Spitfire high altitude variants. Furthermore, a deeper rudder was added to the fin because the second cockpit created significant directional instability.
Armament was changed, too - more firepower and a longer range was deemed necessary to attack the German heavy night fighters, which themselves frequently carried defensive armament in the form of heavy machine guns. Consequently, the initial pair of 0.5" machine guns was deleted and replaced by an additional pair of 20 mm Hispano cannon, and all four guns received extended barrels for a higher weapon range.
In this form, the Spitfire NF.XX quickly entered RAF service in March 1945, but, in the meantime, the German night fighter threat had declined, so that only 50 machines were completed and delivered to RAF units in the UK until the end of hostilities.
The operational use of the machines was hampered by localized skin wrinkling on the wings and fuselage at load attachment points, a problem the type shared with the Mk. XIV day fighter. Even though Supermarine advised that the machines had not been seriously weakened, nor were they on the point of failure, the RAF nevertheless issued instructions in early 1945 that all F and FR Mk XIVs were to be retrospectively fitted with clipped wings to counter the threat. The NF.XX kept their elongated wing tips, however, and were simply limited to a top speed of 370 mph (600 km/h) and not allowed to dive anymore.
General characteristics:
Crew: 2 (pilot, radar operator)
Length: 32 ft 8 in (9.96 m)
Wingspan: 40 ft 2 in (12.2 m)
Height: 10 ft 0 in (3.05 m)
Wing area: 249.7 sq.ft (23.2 m²)
Airfoil: NACA 2213 (root), NACA 2209.4 (tip)
Empty weight: 8,680 lb (3,937 kg)
Gross weight: 10,700 lb (4,853 kg)
Max takeoff weight: 12,530 lb (5,683 kg)
Powerplant:
1× Rolls-Royce Griffon 65 supercharged V12, 2,050 hp (1,530 kW) at 8,000 ft (2,438 m),
driving a 5-bladed Jablo-Rotol propeller
Performance:
Maximum speed: 400 mph (640 km/h; 353 kn) in FS supercharger gear at 29,500 ft.
Combat range: 460 mi (741 km/400 nmi) with internal fuel only
850 mi (1,370 km/757 nmi)
Ferry range: 1,093 mi (1,759 km/950 nmi)
Service ceiling: 43,500 ft (13,259 m)
Rate of climb: 4,300 ft/min (21.8 m/s) in MS supercharger gear at 2,100 ft.
3,100 ft/min (15.8 m/s) in FS supercharger gear at 22,100 ft.
Time to altitude: 8 mins to 22,000 ft (at max weight)
Wing loading: 32.72 lb/sq ft (159.8 kg/m²)
Power/mass: 0.24
Armament:
4× 20 mm (0.787-in) Hispano Mk II cannon with 120 RPG in the wings
Provision for an auxiliary underfuselage tank, either a fixed conformal 90 gal tank or a
100 gal drop tank.
The kit and its assembly:
Well, Spitfire fans might call it crude to create a whiffy variant that incorporates so many ugly details. But this fever creation came into being through the simple thought: "What would a dedicated Spitfire night fighter with a radar look like?" From this initial creative spark I tried to build this fictional NF.XX variant with available late WWII technology from a Griffon-powered Spitfire.
The basis is the Airfix Spitfire PR.XIX kit, a nice and clean offering, even though the use of this photo recce variant meant some additional work. The radar pod comes wholesale from an F4U night fighter (Fujimi), since the wing installation appeared to me to be the only plausible (and proven) option.
The second cockpit and the "double bubble" canopy come from an RS Models Spitfire Mk.IX UTI trainer, which is/was a domestic conversion made in the Soviet Union. The kit comes with an extra two seater fuselage, so that, despite body donors, almost a complete Spitfire remains (just the cockpit missing, but this can be taken from the Airfix kit).
I also considered the Spitfire TR.IX arrangement, with a stepped bubble canopy, but found that the risen rear cockpit for the instructor would not make sense in a night fighter, so the UTI arrangement with separate canopies on the same level appeared to me to be the most suitable solution for this aircraft and its task.
Surgery was not easy, though: The whole cockpit area was dissected from the RS Models trainer and – together with the internal parts like the bulkheads, dashboards and seats – transplanted into an appropriate gap, cut into the Airfix kit fuselage. The windscreen position on both airframes was used as orientation benchmark.
Basically a simple idea, but, even though you have two Spitfire kits at hand, both models differ slightly from each other in many ways. Material thickness is different, as well as panel lines, which are all there on both models but simply do not fall in line. Internal width and available space is also different, esp. the rear bulkhead was not easy to integrate into the Airfix fuselage. It worked, somehow, but it consequently took some PSR effort and rescribing (at least, both donor kits have engraved details) in order to create this Griffon-powered two-seater.
The extended wings were created through the simple implantation of high altitude wing tips from an AZ Model Spitfire I/II/V/VI kit. They match very well with the Airfix PR.XIX wings, which were simply clipped at the correct position outside of the ailerons. Since the recce Spitfire comes without any weapons I added four brass barrels (Pavla) to the wings, plus respective bulges for the magazines (scratched from sprue) and casing ejector fairings under the wings.
I also changed the vertical rudder. Instead of the separate OOB part from the Spitfire PR.XIX I used a deeper and higher rudder from a late Seafire mark (left over from a Special Hobby kit, IIRC). The part lost its hook and the notch for its deployment mechanism, replaced by a piece of styrene that was PSRed into the rest of the rudder. It’s not an obvious change, but the bigger fin area is a good counterpart to the enlarged wings and the bulkier rear fuselage.
The conformal belly tank was scratched from the upper half of a Matchbox A-10 inner wing. There are aftermarket solutions available, but I simply did not want to spend as much money on a single resin part that no one will clearly see and that’s just as expensive as the whole Airfix basis kit. Some things are just ridiculous.
Painting and markings:
Very simple: classic late war RAF night fighter colors, with Medium Sea Grey and Dark Green (Humbrol 165 and 163, respectively) on the uppers surfaces, plus Night (I used Revell Acrylics 06, Tar Black, which is actually a very dark grey tone) underneath, with a high waterline and a black fin. Looks weird on a Spitfire, but also somewhat cool!? The model received a light black ink wash and some panel post-shading, using a blue-ish hue for the Night undersurfaces.
The interior is classic RAF Cockpit Green (Humbrol 78), the only catchy marking is the red propeller spinner – originally I just wanted to keep the spinner black, too, but found that to be too dull overall.
The markings come from different sources; the codes were created with single Dull Red letters from Xtradecal, roundels and other markings come from various other sheets. The added “G” to the serial number is, BTW, an indication that the aircraft had to be guarded all the time. A nice and appropriate detail for this high tech aircraft of its time. The roundels/fin flashes were taken from another Xtradecal sheet, IIRC they belong to an FAA SB2C Helldiver.
Finally, some wear marks were added with dry-brushed light grey and silver. Exhaust stains were added with dry-brushed dark and light grey, as well as some grinded graphite. A coat of matt acrylic varnish (Italeri) sealed the kit.
I feel a bit guilty of creating the probably ugliest Spitfire possible, with all the add-ons and the weird proportions through the second cockpit and the belly tank. Very massive, at least for this sleek aircraft. The night fighter paint scheme suits the Spitfire surprisingly well, though. Anyway, it’s whifworld, after all, and I tried to go through with the night fighter idea as good and consequential as possible – the fictional NF.XX is just my personal interpretation of the theme.
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Shot with three large Neewer LED panels, nothing else, no light formers .... seems like I start to like LED light (never would have guessed that).
LIGHT
www.amazon.de/gp/product/B00O8NKQ9K/ref=oh_aui_search_det...
1st LED panel: mainlight, from the left
2nd LED panel: kicker, from the opposite side
3rd LED panel: directed against the background
EXIF
5d3 with EF 70-200 f/2.8 II at f/3.5 and at 80 mm,, ISO 320, Av-Mode, Raw., WB on flash.
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U.S. Marine Corps 1st Lt. Robert Winter assigned to Marine Wing Support Squadron 374 (MWSS-374), combat engineer, clears an area during an aircraft salvage practical application at K-9 Village, Yuma Proving Grounds, Ariz., on Sept. 30, 2015. This training evolution was apart of a Weapons and Tactics Instructor (WTI) Course 1-16, a seven week training event, hosted by Marine Aviation Weapons and Tactics Squadron One (MAWTS-1) cadre, which emphasizes operational integration of the six functions of Marine Corps aviation in support of a Marine Air Ground Task Force. MAWTS-1 provides standardized advanced tactical training and certification of unit instructor qualifications to support Marine Aviation Training and Readiness and assists in developing and employing aviation weapons and tactics. (U.S. Marine Corps photo by Cpl. Summer Dowding MAWTS-1 COMCAM/ Released)
Oh my, I am so nervous. My application is leaving in mail for Florida tomorrow. Oh man, oh man, oh man.
Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.
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.
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Chicago Burlington & Quincy Railroad 2-10-4 Class M-4 6325 presumed at Philadelphia, Pennsylvania in April 1929, photograph by Baldwin Locomotive Works, print by H. L. Broadbelt, Chuck Zeiler collection. Number 6325 was built by Baldwin in April 1929 ( c/n 60770 ) as Class M-4, rebuilt in September 1935 to Class M-4-A by application of 28X32 cylinders ( it was built with 31X32 cylinders ), roller bearings and cross counter-balanced (main wheels only), sold for scrap in May 1961. The following is from the Burlington Route Historical Society's Bulletin 21, 'The Q's Colorado Types', by Hol Wagner:
The ( 1927 ) M-4's quickly proved their superior abilities, and in 1929 six additional locomotives of the class were purchased - engines 6322-6327. They were identical to the first group except for a few small details. They had more modern sloping-front cabs, while the original group had vertical-front rectangular cabs, and the new engines had traditional steam whistles mounted on the large outside steam pipe on the left side of the boiler, just ahead of the forward sand dome (however, in this photo, the whistle is just ahead of the rear sand dome). The air horns of the earlier M-4's were soon replaced with steam whistles too. Finally, all six of the new locomotives were equipped with Worthington BL feedwater heaters.
NDT is a non-invasive technique that assesses the structural integrity of a material, component or structure without destroying its shape, size, chemical or physical properties.
X-ray of the engine of an Airbus A320 of the Austrian Airline Fleet at the Vienna International Airport. This type of NDT method is conducted to check if there is any internal damage. 21 July 2015
Louise Potterton/ IAEA