The Trade Facilitation Programme (TFP) currently includes over 113 Issuing Banks in 26 countries in the EBRD region and more than 800 Confirming Banks worldwide. The event offered the opportunity to review and discuss industry challenges with leading specialists, including regulators and lawyers. It also featured the award ceremony for The Most Active EBRD TFP banks and Best Transactions of 2014.

Facilitated by: Albina Krasnodemska (Lead, Growth and Engagement, Europe and Eurasia, Global Shapers Community), Frédéric Paulet (Corporate Social Innovation Specialist) With: Andrew Caruana Galizia (Deputy Head of Europe and Eurasia), Angela Honegger (Community Champion, Zurich Hub), Rocío Cámara Farré (Curator, Bilbao Hub) speaking in the Intergenerational Approaches to Local Realities in Europe & Eurasia session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 16 June 2023. World Economic Forum Headquarters, Eiger. Copyright: World Economic Forum/Marc Bader

The Trade Facilitation Programme (TFP) currently includes over 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD partner banks the opportunity to review and discuss industry challenges, pricing, limits and trade opportunities with key industry specialists, regulators and representatives from the World Trade Organization, the International Chamber of Commerce HQ and local National ICC Committees.

  

It also featured the highly popular award ceremony for ‘The Most Active EBRD TFP Banks’ and ‘The Best Transaction of 2016’.

 

Live graphic facilitation from a few years ago.

Facilitated by: Katie Hoeflinger (Specialist, North America & Caribbean, Global Shapers Community) With: Celina de Sola (Co-Founder and President, Glasswing International), Michelle Howie (Advisory Council, Adelaide Hub), Claudia Valladares (Co-Founder and CEO, Impact Hub Caracas), Njideka U. Harry (Founder and Member of the Executive Board, Youth for Technology Foundation) speaking in the Leadership Skills Workshop: Inspiring Volunteers & Boosting Engagement session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

Going about it's daily activities

 

The range of the American crow now extends from the Pacific Ocean to the Atlantic Ocean in Canada, on the French islands of Saint-Pierre and Miquelon, south through the United States, and into northern Mexico.[1] The increase in trees throughout the Great Plains during the past century due to fire suppression and tree planting facilitated range expansions of the American crow[11] as well as range expansions of many other species of birds.[12][13][14] Virtually all types of country from wilderness, farmland, parks, open woodland to towns and major cities are inhabited; it is absent only from Pacific temperate rain forests and tundra habitat, where it is replaced by the common raven. This crow is a permanent resident in most of the USA, but most Canadian bird

Facilitated by: Karen Saez (Lead, Impact & Asia, Global Shapers Community ) speaking in the Impact Areas Workshop: Technology & Innovation session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

Facilitated by

· Natalie Pierce, Head of Global Shapers Community, World Economic Forum

Remarks by

· Klaus Schwab, Founder, Executive Chairman, World Economic Forum speaking in the Plenary: Final Takeaways session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by

· Albina Krasnodemska, Lead, Growth and Engagement, Europe and Eurasia, Global Shapers Community, World Economic Forum

With

· Krist Bakiu, Global Shaper, Tirana Hub, Albania

· Olivier Gestas, Digital Success Manager, World Economic Forum

· Dhwani Nagpal, Content and Partnerships Specialist, World Economic Forum

 

speaking in the Impact Skills Workshop: The Art of TopLink & Strategic Intelligence session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Eiger. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by: Katie Hoeflinger (Specialist, North America & Caribbean, Global Shapers Community) With: Celina de Sola (Co-Founder and President, Glasswing International), Michelle Howie (Advisory Council, Adelaide Hub), Claudia Valladares (Co-Founder and CEO, Impact Hub Caracas), Njideka U. Harry (Founder and Member of the Executive Board, Youth for Technology Foundation) speaking in the Leadership Skills Workshop: Inspiring Volunteers & Boosting Engagement session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

The International Sculpture Park in Ayia Napa, Republic of Cyprus, is a remarkable testament to the beauty and power of sculpture. Spanning several decades, the park's history is a story of artistic vision, cultural exchange, and the celebration of human creativity. In this essay, we will explore the fascinating journey of the International Sculpture Park, tracing its origins, evolution, and impact.

 

The idea for the International Sculpture Park was born in the early 1990s when a group of local artists and art enthusiasts in Ayia Napa recognized the potential of creating a dedicated space for large-scale sculptures. They envisioned a place where artists from around the world could come together to showcase their works and engage with the local community. With the support of the Ayia Napa municipality, the project began to take shape.

 

In 1994, the first edition of the International Sculpture Symposium was organized in Ayia Napa. This symposium brought together sculptors from different countries who collaborated to create a series of monumental sculptures. The event was a resounding success, attracting international attention and paving the way for the establishment of the International Sculpture Park.

 

In 1996, the park officially opened its doors to the public, becoming the first outdoor sculpture park in Cyprus. Situated on a vast expanse of land near the coast, the park provided a serene setting for the display of sculptures. Its location in Ayia Napa, a popular tourist destination, ensured a steady stream of visitors, both local and international, who could experience the power of sculpture in a unique environment.

 

Over the years, the International Sculpture Park grew in size and ambition. The annual sculpture symposium continued to be a highlight of the park's calendar, attracting renowned artists from all corners of the globe. These artists were invited to stay in Ayia Napa for a few weeks, during which they would create sculptures using various materials, such as stone, metal, and wood. The symposiums not only fostered artistic collaboration but also promoted cultural exchange and understanding among the participants.

 

Each year, the newly created sculptures were added to the park's permanent collection, enriching its aesthetic and conceptual diversity. The park soon became a haven for sculpture enthusiasts and art lovers, who could explore the outdoor space and engage with the artworks in a dynamic and immersive manner. The sculptures themselves ranged from abstract and avant-garde to figurative and representational, reflecting the diverse artistic styles and perspectives of the participating sculptors.

 

As the reputation of the International Sculpture Park grew, so did its impact on the local community and the broader cultural landscape of Cyprus. The park became a site for educational initiatives, offering workshops, lectures, and guided tours to students, artists, and the general public. It served as a platform for artistic experimentation and innovation, encouraging dialogue and critical thinking about the role of sculpture in contemporary society.

 

The International Sculpture Park also played a significant role in promoting Ayia Napa as a cultural destination. While the town was primarily known for its beaches and nightlife, the park added a new dimension to its identity, positioning it as a place where art and nature converge. The park's success inspired the development of other cultural projects in Ayia Napa, including art galleries, exhibitions, and public art installations, further enhancing the town's cultural appeal.

 

In recent years, the International Sculpture Park has continued to evolve and adapt to the changing artistic landscape. It has embraced new technologies and art forms, incorporating interactive and multimedia elements into its exhibitions. The park has also expanded its outreach efforts, forging partnerships with international sculpture parks and organizations to facilitate artist exchanges and collaborative projects.

 

Today, the International Sculpture Park stands as a testament to the power of art to transcend boundaries and connect people across cultures. Its collection of sculptures represents a diverse range of artistic expressions and narratives, providing a window into the human experience. The park continues to inspire and captivate visitors, offering a unique space for contemplation, exploration, and artistic enlightenment.

 

In conclusion, the International Sculpture Park in Ayia Napa, Republic of Cyprus, has emerged as a cultural landmark and a hub of artistic expression. From its humble beginnings as a local initiative to its current stature as an international platform for sculpture, the park has evolved and flourished over the years. Its impact on the local community, the art world, and the broader cultural landscape of Cyprus is immeasurable, making it a testament to the enduring power of sculpture as a form of human expression.

Families & Schools Together partners with community-based organizations and schools across the U.S. and internationally to implement evidence-based family engagement programs.

We provide training, support, and technical assistance for:

School teams looking to run our evidence-based family engagement program with families (FAST Program); and

Educators looking for training and coaching on equity-focused family engagement best practices (FAST Institute).

Facilitated by: Karen Saez (Lead, Asia & Impact, Global Shapers Community), Debra Everitt McCormack (Lead, Global Board Effectiveness and Sustainability, Accenture) With: Andrea Moore (Project Fellow, Forum Foundations) speaking in the Leadership Skills Workshop: Finding Purpose and Leading Authentically session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Villa Mundi – Oak. Copyright: World Economic Forum/ Marc Bader

The blue spruce (Picea pungens), also commonly known as green spruce, Colorado spruce, or Colorado blue spruce, is a species of spruce tree native to North America in Arizona, Colorado, Idaho, New Mexico, Utah and Wyoming. It is noted for its blue-green colored needles, and has therefore been used as an ornamental tree in many places far beyond its native range.

 

In the wild, Picea pungens grows to about 23 m (75 ft), but when planted in parks and gardens it seldom exceeds 15 m (49 ft) tall by 5 m (16 ft) wide. The tree can grow larger if the tip is cut when it is at least 3 years old. It is a columnar or conical evergreen conifer with densely growing horizontal branches. It has scaly grey bark on the trunk with yellowish-brown branches.

 

Waxy gray-green leaves, up to 3 cm (1 in) long, are arranged radially on the shoots which curve upwards. The pale brown cones are up to 10 cm (4 in) long. Male cones are found on the entire tree, whereas the female cones are found at the top of the tree. This helps to facilitate cross-pollination.

 

The specific epithet pungens means "sharply pointed", referring to the leaves.

 

Blue Spruce occurs at high elevation (above 6000 ft/1830m) in the Rocky Mountains of the west-central United States. It grows in mesic montane conifer forests, often associating with Douglas-fir, ponderosa pine, or white fir. It has a riparian affinity.

 

Blue spruce usually grows in cool and humid climatic zones where the annual precipitation mainly occurs in the summer.

 

Blue spruce is most common in Colorado and the Southwest. The annual average temperature ranges from 3.9 to 6.1 degrees C (39 to 43 degrees F). And ranges from - 3.9 to - 2.8 degrees C (25 to 27 degrees F) in January. In July, the average temperature ranges from 13.9 to 15.0 degrees C (57 to 59 degrees F). The average minimum temperature in January ranges from - 11.1 to 8.9 degrees C (12 to 16 degrees F), and the average maximum temperature in July ranges from 21.1 to 22.2 C (70 to 72 degrees F). There is a frost-free period of about 55 to 60 days from June to August.

 

Annual mean precipitation generally vary from 460 to 610 mm (18 to 24 in). Winter is the season with the poorest rainfall, the precipitation is usually less than 20 percent of the annual moisture falling from December to March. Fifty percent of the annual precipitation occurs during the growing season of the plants.

 

Blue spruce is generally considered to grow best with abundant moisture. Nevertheless, this species can withstand drought better than any other spruce. It can withstand extremely low temperatures (-40 degrees C) as well. Furthermore, this species is more resistant to high insolation and frost damage compared to other associated species.

 

Blue spruce generally exists on gentle uplands and sub irrigated slopes, in well-watered tributary drainage, extending down intermittent streams, and on lower northerly slopes.

 

Blue spruce always grow naturally in the soils which are in the order Mollisols, and the soil will also be in the orders histosols and inceptisols in a lesser extent.

 

Blue spruce is considered as a pioneer tree species in moist soil in Utah.

 

Blue spruce seedlings have shallow roots that penetrate only 6.4 cm (2.5 inches) of soil during the first year. Although freezing can't damage much in blue spruce, frost heaving will cause seedling loss. Shadows in late spring and early autumn minimize this frost heaving loss. Despite the shallow roots, blue spruce is able to resist strong winds. Five years before transplanting, the total root surface area of 2-meter-high trees was doubled by pruning the roots of blue spruce. It also increases the root concentration in drip irrigation pipeline from 40% to 60%, which is an advantage in landscape greening.

 

The blue spruce is attacked by two species of Adelges, an aphid-like insect that causes galls to form. Nymphs of the pineapple gall adelgid form galls at the base of twigs which resemble miniature pineapples and those of the Cooley's spruce gall adelgid cause cone-shaped galls at the tips of branches. The larva of the spruce budworm eat the buds and growing shoots while the spruce needle miner hollows out the needles and makes them coalesce in a webbed mass. An elongated white scale insect, the pine needle scale feeds on the needles causing fluffy white patches on the twigs and aphids also suck sap from the needles and may cause them to fall and possibly dieback. Mites can also infest the blue spruce, especially in a dry summer, causing yellowing of the oldest needles. Another insect pest is the spruce beetle (Dendroctonus rufipennis) which bores under the bark. It often first attacks trees which have blown over by the wind and when the larvae mature two years afterwards, a major outbreak occurs and vast numbers of beetles attack nearby standing trees.

 

The blue spruce is susceptible to several needle casting diseases which cause the needles to turn yellow, mottled or brown before they fall off. Various rust diseases also affect the tree causing yellowing of the needles as well as needle fall. Canker caused by Cytospora attacks one of the lower branches first and progressively makes its way higher up the tree. The first symptom is the needles turning reddish-brown and falling off. Meanwhile, patches of white resin appear on the bark and the branch eventually dies.

 

Picea pungens and its many cultivars are often grown as ornamental trees in gardens and parks. It is also grown for the Christmas tree industry. It grows best in USDA growing zones 1 through 7, though it also does well in zones warmer than 7 where summer heat is moderate, as at San Francisco.

 

Common cultivars (those marked agm have gained the Royal Horticultural Society's Award of Garden Merit):

 

'Glauca Globosa' agm – shrub from 3–5 feet (0.91–1.52 m) in height

'Fat Albert' – compact perfect cone to 10 feet (3.0 m) of a silver blue color

'Glauca Pendula' – drooping branches, spreads to about 8 feet (2.4 m) wide by 4 feet (1.2 m) tall

'Sester's Dwarf' – denser foliage than the species, slowly grows to about 6–8 feet (1.8–2.4 m) tall

'Hoopsii' agm

'Koster'

'Baby Blue Eyes'

'Baby Blue'

 

The Navajo and Keres Native Americans use this tree as a traditional medicinal plant and a ceremonial item, and twigs are given as gifts to bring good fortune. In traditional medicine, an infusion of the needles is used to treat colds and settle the stomach. This liquid is also used externally for rheumatic pains.

 

The blue spruce is the state tree of Colorado.

Facilitated by

· Natalie Pierce, Head of Global Shapers Community, World Economic Forum

Remarks by

· Klaus Schwab, Founder, Executive Chairman, World Economic Forum speaking in the Plenary: Final Takeaways session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Thibaut Bouvier

A Meridian Raw CIC facilitated photo-walk around the gardens of Cadhay House, as part of the Chasing the Light Photography Project on Friday 15th July, 2022.

 

www.meridianraw.com/

Template

 

by Anne Madsen

DrawMore - Graphic Facilitation & Visual Recording

 

Contact:

drawmorestuff (at) gmail.com

Facilitated by: Micael Bermudez (Community Lead, Latin America, Global Shapers Community)

 

With: Edmund Kwame Botchway (Community Champion, Cleveland Hub), Rana Dajani (Founder and Director, We Love Reading), Gonzalo Munoz (Co-Founder and Executive President, TriCiclos), Ashleigh Streeter-Jones (Community Champion, Melbourne Hub), Global Shapers Community, World Economic Forum, Switzerland

speaking in the Leadership Skills Workshop: Mobilizing Stakeholders session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Eiger. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by: Natalie Pierce (Head, Global Shapers Community), Olivier Schwab (Managing Director, World Economic Forum) With: Klaus Schwab (Founder and Executive Chairman, World Economic Forum), Wanjuhi Njoroge (Foundation Board Member) speaking in the Opening Plenary: Inspiring a New Generation of Leaders session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

Facilitator: Marvin Aragones

Model: Samantha White

Hair and Make-Up Artist: Ching Peña

Leeton. Population 7,500.

Like Griffith, Leeton was a child of the Murrumbidgee Irrigation Area and also a town designed by the architect who laid out Canberra, Walter Burley Griffin. One of the three men behind the establishment of the MIA was Sir Samuel McCaughey who had a grand house built just outside of Leeton in Euroley Road Yanco. It is now the Yanco Agricultural High School. McCaughey had started his own private irrigation system with channel at Yanco in the early 20th century for pastoralism. He bought Yanco pastoral station (he already had several others) and at great cost built over 300 kms of water channels so that he could not irrigate but supply water to 40,000 acres. In 1906, as a Member of the Legislative Council he envisaged a big government scheme that would support of population of over 50,000 people. In 1906 the NSW government passed a bill to construct the Burrinjuck Dam. Water from that dam first became available in 1912. A narrow gauge railway was built from Narrandera to Yanco in 1907 to transport materials for the development of the MIA. The station at Yanco railway was the nearest for Leeton until 1922. By 1960 there were over 1,900 kms of water supply channel, over 1,200 kms of drainage channels. The town was named Leeton after the Minister of Public Works at that time Charles Lee. The MIA water supply is now for horticulture more than pastoralism except in the outer areas. Leeton is now the rice capital of Australia but extensive areas of citrus trees and vines are grown. McCaughey’s dream ended for him in 1919 when he died at his home in Yanco. His estate was valued at £1,600 million of which he left to charities, the Presbyterian Church, hospitals etc. and a quarter of his estate went to the University of Sydney. At one time before his death he owned around 3.25 million acres! His sandstone and brick mansion at Yanco was left to the area as a school.

 

The central park in Leeton is McCaughey Park. Walter Burley Griffin was a follower of the Garden City Movement, like Charles Reade the designer of Colonel Light Gardens hence the curved and circular roads, and the avoidance of rectangles and squared corners. Streets were designed to follow contours and the highest point of Leeton, opposite the Hydro Hotel has three decorative water towers named after Walter Burley Griffin. The oldest was erected in 1913, the second in 1937 and the last in 1974 to feed water by gravity to the town. The first solid building built in Leeton was the Murrumbidgee Irrigation Trust offices in 1912 which later became the Water Conservation and Irrigation Commission building in 1937 when a new Art Deco building was opened. . It is now the town museum and art gallery. This Trust employed the men who built the town and in the early years 250 homes were built each year, and the Trust workshops employed about 100 men. Because so much of the town was built during the Art Deco period with 21 buildings registered by the NSW Art Deco society which is impressive as they only list about 80 in the Sydney region. Most of the best examples of Art Deco in Leeton are mainly in: Pine and Kurrajong Avenues. Leeton has an annual Art Deco festival during July each year. Most of the earliest building in Leeton were timber framed and the beautiful Art Deco ones came along in the 1920s to 1940s.

 

In terms of development of the region at lot happened in 1914 as farmers were on their lands and residents were accommodated in Leeton and workers accommodated in barracks. The Leeton Progress Association was formed in 1914 as were the Yanco Agricultural and Horticultural Society, the Murrumbidgee Dairy Farmers Association (the butter rectory opened in 1913), the Murrumbidgee Farmers Union and the local newspaper, The Murrumbidgee Irrigator began publishing. Clarkes brothers General Store was in a solid shop as opposed to the 1911 tin shed. The one teacher school built in 1911 had five teachers and around 300 children by 1914. A Catholic School began in 1917 using the church as its school room until 1936. By 1914 Leeton had Methodist (replaced 1937), Baptist (replaced 1937), Anglican (the parish hall added in 1929) and Catholic churches (replaced in 1955). The current Presbyterian Church was built in 1957, replacing the 1916 timber framed one. By 1914 Leeton had only one Bank that of NSW (replaced in 1938). A second bank did not open until 1920 – the Commercial Bank of Sydney (replaced in 1957.) Leeton is a prosperous still growing town. One of the important employers in town is the Sunrise rice mill. It is the headquarters of Sunrise Australia which exports much of the rice not destined for the domestic market in Australia. In recent years Leeton has made a positive attempt to attract and befriend immigrant workers and families. Many are needed for the local abattoirs and agricultural work. There is now a sizeable Afghan community in Leeton with the highest proportion outside of Sydney. Leeton has small communities of Fijians, Pacific Islanders and East African workers. Cotton is also grown near Leeton. In terms of industry the town cannery was crucial and the major employed.

 

The NSW government cannery opened in Leeton in 1914 with government contracts for tinned fruit, vegetables and orange juice. The State Cannery eventually became Leeton Cooperative Cannery. It employed around 750 people throughout the year with a peak work force double that during the harvest season. In its last decades is marketed fruit etc as Letona brand. Sadly the cannery closed in 1994. Letona also sold locally grown rice as Letona Rice. The rice growing industry in Leeton began in 1924 and two sisters. Lois and Margaret Grant were among the first six pioneers of rice growing when it started. Lois Grant succeeded so well in this male industry and she was a founding member of the MIA Rice growing Cooperative Society. The cooperative marketed its rice as SunRice. It is now marketed as SunWhite Rice. Leeton is still a major rice producing region of Australia and most is produced for export. Australia including Leeton and the Riverina region leads the world in water efficient and sustainable and highly mechanised rice growing. The MIA grows much of Australia’s rice with more grown in other regions of the Riverina. About 25,000 to 65,000 hectares are used for rice growing in the MIA depending on the season and water allocations. There are between two rice mills in the Riverina with a major one near Leeton. The other major mill for SunWhite is at Deniliquin. One hectare sown in rice can produce about 12 tons of rice grain.

 

Some Art Deco structures to look for in Chelmsford Place and in the Main St which is Pine Ave. Starting at the top of Chelmsford Place by the Art Deco Walter Burley Griffin designed water tanks.

•The Walter Burley Griffin water towers. Oldest is 1913.

•The Hydro Hotel. Built as a coffee palace as Leeton originally teetotal site. Built in 1919 and burnt down in 1924. Rebuilt in Art Deco style 1924-26 and re-opened in 1927.The interior has many deco features.

•Water Conservation and Irrigation Commission headquarters. Erected 1937. It has many heritage items in the excellent little museum. It is also the Leeton Art Gallery. Worth a visit. It closes 3 pm.

•Leeton Town Council and Shire Offices. No Art Deco features. Built in 1962. Modernist style.

•The Art Deco Fire station with rounded corners, inset brick work etc. Includes stepped features over doorway. Built in 1938.

•At the roundabout turn left near the modern Art Deco style bus shelter. In front is the Roxy Theatre and the Art Deco memorial clock in the roundabout. The Roxy is to re-open in 2025 after renovations. Built in 1929-30. Check foyer if you can. The memorial clock was unveiled in 1926 in Art Deco style and the clock added in 1965.

•In Pine Ave. First on left is the Commonwealth Bank. This structure built in 1935.

•On the next corner intersection is Leeton Mall in brick with some Art deco features. This was the former Richards Store. A cream and red brick structure with stepped shapes on chamfered corner entrance. Building has vertical and horizontal banding. Built in 1936.

•Next left is the Hotel Leeton a much earlier structure but some Art Deco features. It was built in 1926.

•Nearly opposite is the Seton and Beyond Bank building with some great Art Deco detail with stylistic Rose and radiating rays.

•Just before the next side street adjacent to the Leeton Hotel is the Murrumbidgee Irrigator newspaper offices. Established 1915 but this Pine Ave building is marked as 1928.

•Over the next side street on opposite is the former Kinlock’s store. Built in 1938. Turn around here/

•Almost opposite it is the current Leeton Steel building. It was built in 1930s as the Leeton Fruit Growers Cooperative.

•On the way back take Church Street through to the Park. The Wade Hotel is on the corner with excellent Art Deco motifs. Architect designed and built in 1937. Named after the first head of irrigation for the MIA. As you cross Mountford Park on your left will be the modern St Peters Anglican Church. The first church was built in 1913 of locally made adobe bricks. The newer Church Hall was built in 1929. This Church was built in 1973.

•The next building on your right is the Leeton Courthouse. It was built in 1922 and opened in August 1924.

•On your left is the impressively large red brick Catholic Church. Wagga architect S J O’Halloran designed it in 1951. To facilitate the building, the Wagga Wagga diocese purchased the Yanco Brickworks in 1951 to produced 440,000 bricks for the church. The Romanesque style church is asymmetrical with a round stained glass window over the entry. It was completed in 1955 and at that time was the largest Catholic Church in country NSW. Return to the roundabout and the Roxy Theatre going past some good Art Deco buildings including the Morris Chambers.

 

Facilitated by

· Natalie Pierce, Head of Global Shapers Community, World Economic Forum

Remarks by

· Klaus Schwab, Founder, Executive Chairman, World Economic Forum speaking in the Plenary: Final Takeaways session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by: Svenja Ruger (President, The Value Web ApS) With: Pratik Kunwar (Advisory Council, Kathmandu Hub) speaking in the Impact Skills Workshop: Design Thinking and Project Planning session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Villa Mundi – Oak Copyright: World Economic Forum/ Marc Bader

Facilitated by: James Forsyth (Community Lead, South Asia/ASEAN, and Member Relations, Young Global Leaders), Trang Vergari (Operations and Coordination Lead, Schwab Foundation for Social Entrepreneurship) With: Joo-Ok Lee (Head, Regional Agenda, Asia-Pacific; Member of the Executive Committee), Henna Dazo (Curator, Davao Hub), Roya Baghai (Co-Founder and Chief Creative Officer, High Resolves) speaking in the Intergenerational Approaches to Local Realities in Asia Pacific & Greater China session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 16 June 2023. World Economic Forum Headquarters, Villa Mundi – Cedar. Copyright: World Economic Forum/Marc Bader

Cadets from 6th Company at the United States Military Academy complete the Leadership Reaction Course as a part of the cadet summer training at West Point, N.Y. May 27. Soldiers from 2nd Battalion, 87th Infantry Regiment, 10th Mountain Division (LI) facilitated the LRC course. (U.S. Army photo by Sgt. Gregory Muenchow)

Facilitated by

· Natalie Pierce, Head of Global Shapers Community, World Economic Forum

Remarks by

· Klaus Schwab, Founder, Executive Chairman, World Economic Forum speaking in the Plenary: Final Takeaways session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by: Natalie Pierce (Head of the Global Shapers Community), Albina Krasnodemska (Lead, Growth and Engagement, Europe and Eurasia, Global Shapers Community) speaking in the Multilateral: Governance Bodies Briefing session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 16 June 2023. World Economic Forum Headquarters, Eiger. Copyright: World Economic Forum/ Thibaut Bouvier

IR HDR. IR converted Canon 40D. Canon 17-55 F2.8 IS lens. Shot at ISO 100, F8, AEB +/-2 total of 9 exposures processed with Photomatix. Levels adjusted in PSE. Blue and Red color channels swapped with GIMP.

 

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.

 

en.wikipedia.org/wiki/Infrared_photography

 

Facilitated by: Karen Saez (Lead, Asia & Impact, Global Shapers Community), Debra Everitt McCormack (Lead, Global Board Effectiveness and Sustainability, Accenture) With: Andrea Moore (Project Fellow, Forum Foundations) speaking in the Leadership Skills Workshop: Finding Purpose and Leading Authentically session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Villa Mundi – Oak. Copyright: World Economic Forum/ Marc Bader

The Trade Facilitation Programme (TFP) currently includes over 100 Issuing Banks in the EBRD region and more than 800 Confirming Banks worldwide. The event gave EBRD partner banks the opportunity to review and discuss industry challenges, pricing, limits and trade opportunities with key industry specialists, regulators and representatives from the World Trade Organization, the International Chamber of Commerce HQ and local National ICC Committees.

  

It also featured the highly popular award ceremony for ‘The Most Active EBRD TFP Banks’ and ‘The Best Transaction of 2016’.

 

Facilitated by: Katie Hoeflinger (Specialist, North America & Caribbean, Global Shapers Community) With: Celina de Sola (Co-Founder and President, Glasswing International), Michelle Howie (Advisory Council, Adelaide Hub), Claudia Valladares (Co-Founder and CEO, Impact Hub Caracas), Njideka U. Harry (Founder and Member of the Executive Board, Youth for Technology Foundation) speaking in the Leadership Skills Workshop: Inspiring Volunteers & Boosting Engagement session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

Facilitated by: Natalie Pierce (Head, Global Shapers Community), Olivier Schwab (Managing Director, World Economic Forum)

With: Klaus Schwab (Founder and Executive Chairman, World Economic Forum), Wanjuhi Njoroge (Foundation Board Member)

speaking in the Opening Plenary: Inspiring a New Generation of Leaders session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by: Micael Bermudez (Community Lead, Latin America, Global Shapers Community)

 

With: Edmund Kwame Botchway (Community Champion, Cleveland Hub), Rana Dajani (Founder and Director, We Love Reading), Gonzalo Munoz (Co-Founder and Executive President, TriCiclos), Ashleigh Streeter-Jones (Community Champion, Melbourne Hub), Global Shapers Community, World Economic Forum, Switzerland

speaking in the Leadership Skills Workshop: Mobilizing Stakeholders session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Eiger. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by: James Forsyth (Community Lead, South Asia/ASEAN, and Member Relations, Young Global Leaders), Trang Vergari (Operations and Coordination Lead, Schwab Foundation for Social Entrepreneurship) With: Joo-Ok Lee (Head, Regional Agenda, Asia-Pacific; Member of the Executive Committee), Henna Dazo (Curator, Davao Hub), Roya Baghai (Co-Founder and Chief Creative Officer, High Resolves) speaking in the Intergenerational Approaches to Local Realities in Asia Pacific & Greater China session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 16 June 2023. World Economic Forum Headquarters, Villa Mundi – Cedar. Copyright: World Economic Forum/Marc Bader

Facilitated by: Natalie Pierce (Head, Global Shapers Community), Olivier Schwab (Managing Director, World Economic Forum) With: Klaus Schwab (Founder and Executive Chairman, World Economic Forum), Wanjuhi Njoroge (Foundation Board Member) speaking in the Opening Plenary: Inspiring a New Generation of Leaders session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

Facilitated by: Natalie Pierce (Head, Global Shapers Community), Olivier Schwab (Managing Director, World Economic Forum)

With: Klaus Schwab (Founder and Executive Chairman, World Economic Forum), Wanjuhi Njoroge (Foundation Board Member)

speaking in the Opening Plenary: Inspiring a New Generation of Leaders session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Thibaut Bouvier

Facilitated by

· Albina Krasnodemska, Lead, Growth and Engagement, Europe and Eurasia, Global Shapers Community, World Economic Forum

 

With

· Krist Bakiu, Global Shaper, Tirana Hub, Albania

· Busra Kamiloglu, Community Champion, Ankara Hub, Türkiye

· Annabelle O'Donnell, Community Champion, London III Hub, United Kingdom

· Simge Sandal, Community Champion, Dusseldorf Hub, Germany

· Anita Seprenyi, Community Champion, Budapest hub, Hungary

· David Alexandru Timis, Community Champion, Brussels Hub, Belgium

· Zygimantas Zabieta, Community Champion, Vilnius Hub, Lithuania

 

speaking in the The Road Ahead: Europe & Eurasia session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Community Hub Copyright: World Economic Forum/ Thibaut Bouvier

 

speaking in the The Road Ahead: Europe & Eurasia session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 18 June 2023. World Economic Forum Headquarters, Community Hub Copyright: World Economic Forum/ Thibaut Bouvier

I don't believe brand as "broadcaster" is going away any time soon, but I do think the exciting challenge which lies ahead of us is to figure out what tactics actually work in the "brand as facilitator" category.

 

David Armano, VP of Experience Design with Critical Mass

 

darmano.typepad.com/logic_emotion/2008/07/brand-as-facila...

 

www.will-lion.com/digitalbites

  

IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 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.

 

en.wikipedia.org/wiki/Infrared_photography

Facilitated by: Katie Hoeflinger (Specialist, North America & Caribbean, Global Shapers Community) With: Celina de Sola (Co-Founder and President, Glasswing International), Michelle Howie (Advisory Council, Adelaide Hub), Claudia Valladares (Co-Founder and CEO, Impact Hub Caracas), Njideka U. Harry (Founder and Member of the Executive Board, Youth for Technology Foundation) speaking in the Leadership Skills Workshop: Inspiring Volunteers & Boosting Engagement session at the Global Shapers Annual Summit 2023 in Geneva, Switzerland, 17 June 2023. World Economic Forum Headquarters, Tent. Copyright: World Economic Forum/ Marc Bader

The helmet: The first stage. The armour wasn't based on any specific period, but the helmet most closely resembles the "crusader-bucket" helm.

To reduce adversarial attitudes between Arabs and Jewish youth living in Israel, the U.S. Embassy in Tel Aviv has supported a Negotiation Project for the past 3 years in cooperation with the Amal Educational Network and the Program on Negotiation at Harvard Law School with the aim encouraging good communication and team work and to learn how to understand each other’s interest, think openly and creatively, build trust, and learn how to deal with conflicts as a shared problem-solving challenge. This year’s project which was funded by the Middle East Partnership Initiative brought together 350 high school students from diverse cultures, communities, and religions to learn practical negotiation skills instructed by professional facilitators using Harvard’s interest-based / joint problem solving negotiation methodology. On October 1st students from 12 Arab and Jewish schools celebrated the culmination of the year-long program and participated in a full day of workshops led by well-known experts from the U.S., Israel and Jordan, who shared their personal and professional negotiation narratives. The students were divided into breakout discussion groups facilitated and moderated by the guests. Actress, singer songwriter and activist Mira Anwar Awad closed the day with several ballads in English, Arabic and Hebrew.

 

The goal of the Negotiation Program is to create a network of young adults, representing Israel’s varied geographic, cultural, religious and ethnic groups, who are able to negotiate constructively, to analyze the situation critically, examine and challenge their own and others’ assumptions, listen to other parties’ needs and interests, and cooperate in seeking and developing mutually beneficial, legitimate and sustainable solutions.