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In a nationwide study, researchers used magnetic resonance imaging (MRI) to scan the brains of hundreds of participants in the National Institutes of Health’s Systolic Blood Pressure Intervention Trial (SPRINT) and found that intensively controlling a person’s blood pressure was more effective at slowing the accumulation of white matter lesions than standard treatment of high blood pressure. The results complement a previous study published by the same research group which showed that intensive treatment significantly lowered the chances that participants developed mild cognitive impairment.
Read more: www.nih.gov/news-events/news-releases/intensive-blood-pre...
Credit: SPRINT MIND Investigators, NIH
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Scala eXchange 2016, Thursday, 8th - Friday, 9th December at Business Design Centre, London. skillsmatter.com/conferences/7432-scala-exchange-2016#pro.... Images copyright www.edtelling.com
"Dark Matter" Fiver Interlocking Wrinkled Truncated Tetrahedrically Distorted Skew Rhombic Hexahedra
Designer: Byriah Loper
Units: 120
Paper Ratio: 1:4.9375 and 1:6.625
Connection: No Glue
Paper: Astrobrights Copy Paper
Diagram: In the book Mind-Blowing Modular Origami By: Byriah Loper
Scala eXchange 2016, Thursday, 8th - Friday, 9th December at Business Design Centre, London. skillsmatter.com/conferences/7432-scala-exchange-2016#pro.... Images copyright www.edtelling.com
It's the Burning Matter texture created in the Filter Forge plugin. It can be seamless tiled and rendered in any resolution without loosing details.
You can see the presets and download this texture for free on the Filter Forge site here — www.filterforge.com/filters/8402.html (created by Skybase)
To use this texture download Filter Forge 30-day trial version for free here — www.filterforge.com/download/
these are all the great plush that were sent to me by the plushteam! they will donated to
the lauren rose albert foundation's mother's matter program www.laurenslegacy.org/
many thanks to all that sent something in!
you will be making a lot of mom's happy :D
xo
PHOTO: Liberty County, though not hit as severely by Hurricane Ike as other parts of Texas, is dealing with the storm’s ripple of chaos. This pack of displaced dogs, which includes three nursing mothers, is being cared for by a group of neighbors who have banded together to help the strays.
www.aspca.org/site/PageServer?pagename=disasterrelief_ike
Kinship Circle: SOS From Texas: Animals After Ike
---------- Forwarded message ----------
From: Kinship Circle - kinshipcircle [at] accessus.net
Date: Mon, Sep 22, 2008 at 7:18 PM
Subject: SOS From Texas: Animals After Ike
KINSHIP CIRCLE ANIMAL DISASTER AID NETWORK
www.kinshipcircle.org/disasters
9/22/08: SOS From Texas, Animals After Ike
IN THIS ALERT:
1. A Texan Talks About Where Animals May Need Help
2. Can This Be True? 10 Days To Reclaim Pets...
3. Give Them Shelter: Help For Ike’s Animal Victims
4. Caught On Camera In Galveston Island
5. More Photos From Houston SPCA & ASPCA
6. Rescuer Near Galveston Pleads For Help
7. Dogs, Cats Spared In Montgomery County, TX
8. Do Their Lives Matter? Cows Cling To Life In Texas
In post-Ike Texas, large groups (such as HSUS) have reportedly invalidated the MOU (Memorandum of Understanding) smaller groups (such as MuttShack) had formed with local authorities to work in Beaumont, Texas. Such alleged hostility made it increasingly difficult to obtain a realistic snapshot of the animal situation in Ike-ravaged areas. There was concern about the amount of time some large groups devoted to removing other emergency rescue groups, rather than helping animals in the field. Below is some of what we know -- straightforward, without a “public relations” angle.
=====================
1. A Texan Talks About Where Animals May Need Help
=====================
EDITED FOR LENGTH
From Kathy Landry, landrymusic [at] hotmail.com -- I live in Kemah, TX on Galveston Bay. My foster animals/rescues and I are OK, but home impacted -- no electricity but neighbor allowing some hook up to his generator, so just got computer/TV access... Here is what I think about which specific areas most animals will have been left and suffering.
CRITICAL ANIMAL NEEDS AREAS
**BOLIVAR PENINSULA (ESPECIALLY CRYSTAL BEACH) took a 20 ft. plus storm surge. When the island started to flood 12 hrs. BEFORE Ike even arrived, the coast guard tried to evac people and pets... An hour later TV said coast guard had to stop, as weather became too dangerous. They had to leave many people (and pets). There may be MANY companion animals injured or left in houses or on streets. I don’t know how SPCA could possibly handle alone the magnitude of animal rescue in this huge Houston/Galveston affected area.
Bolivar Peninsula - Best Friends Rapid Response
www.youtube.com/watch?v=ITVno-1x4v8&feature=related
Crystal Beach – Best Friends Rapid Response
www.youtube.com/watch?v=caiac8Dqjlc&feature=related
FROM KINSHIP CIRCLE: It is shocking to see dogs left on short chains -- from which they have no chance to escape floodwaters -- bloated and dead. We agree with Best Friends’ Rich Crook that the individuals responsible for abandoning animals in a catastrophic storm should be prosecuted to the full extent under Texas animal cruelty law.
**GALVESTON ISLAND & CITY OF GALVESTON: Large areas submerged, major devastation of entire island... Heard reporter talk about a call from a woman who left 2 dogs in house, in area where houses took on 10 FEET of water. Reporters went in, dogs alive and OK (one on top of refrigerator). They fed and watered, put in backyard and called SPCA (? dogs still there). They said this was area of 57th St. and Avenue R in Galveston... There are always many strays in Galveston. Also many economically challenged people and elderly with animals. Although local officials bussed many out with pets...you know there were still animals left (people with multiple pets, etc.) There have always been many horses, cows also on the island.
*SEABROOK (my area) ON GALVESTON BAY also completely flooded. There are a lot of feral cats, and many outdoor but not feral cats who shop owners feed, etc. I live 8 blocks from Seabrook, but not allowed in, roads blocked, water just went down yesterday.
*KEMAH (across the bridge from Seabrook) also has lots of outdoor feral or semi-feral cats who hang out at restaurants and shops. Also took a lot of flooding. No one allowed in, roads blocked.
**BACLIFF (about 5-10 miles south of Kemah) ON GALVESTON BAY is a coastal area noted for a lot of animal neglect and abuse. Likely many chained dogs left behind, animals left loose, and confined in houses.
**LA PORTE (slightly north of Seabrook) had lots of wind damage, but I don't think as much storm surge (not sure). Also MANY strays and MANY abandoned animals even when not a hurricane. The kill shelter always overfilled...
Thank you all for helping Houston/Galveston animals.
KATHY LANDRY / ph: 281-535-1009
=====================
2. Can This Be True? 10 Days To Reclaim Pets...
=====================
According to the Houston Chronicle’s blog on Ike animal information:
“Rescued animals will be put up for adoption after 10 days.”
blogs.chron.com/hurricanes/animals/
“Pet owners will have a 10-day window of time to identify and collect their animals from the date of the photo's posting. After that point, the animals will be adopted out."
Marilyn Knapp Litt - A Stealth Volunteer in San Antonio, TX writes: Right now I am EXTREMELY concerned with the ten day time limit for Galveston residents to claim their animals. It is will result in very few residents having their animals returned. It is a Houston SPCA policy, but they do not have it anywhere on their website. I had it confirmed by one of the hotline volunteers.
READ MORE HERE:
rescuesandreunions.blogspot.com/2008/09/it-is-true-10-day...
rescuesandreunions.blogspot.com/2008/09/on-your-mark-get-...
ORIGINAL ALERT FROM:
Marilyn Knapp Litt - A Stealth Volunteer in San Antonio
Stealth Helped Reunite Families with their Katrina Pets: 1,000+ Volunteers = 1,000+ Pets Home Safe with Stealth!
groups.yahoo.com/group/stealthvolunteers
www.StealthVolunteers.com * www.MarilynLitt.com
www.MarilynsPictures.com * www.MarilynsBlog.com
=====================
3. Give Them Shelter: Help For Ike’s Animal Victims
=====================
TO LOCATE LOST COMPANION ANIMALS / REPORT FOUND ANIMALS:
www.pets911.com/disaster-response-pet-portal
Photos and descriptions entered by rescue workers from all organizations working on this issue.
If you have lost or found an animal not from Galveston, use HSPCA tool to post report:
hspca.convio.net/site/PageServer?pagename=animal_resource...
Houston area shelters kill around 100 dogs and cats each day because there are not enough homes for them (ON AN ORDINARY DAY). Although everyone is working very hard, the task post-Ike is massive.
HOUSTON SPCA “OPERATION SAVE A LIFE:”
Houston SPCA seeks people to foster a Galveston/Bolivar/Coastal Area animal for TEN DAYS.
Emergency Foster Care: www.houstonspca.org/site/PageServer?pagename=Disaster_Nee...
Read more: www.beloblog.com/KHOU_Animal_Attraction/2008/09/operation...
Families interested in fostering can:
- Download an application: www.houstonspca.org
- Or come to the Houston SPCA / 900 Portway Drive / Houston, TX 77024
HARRIS COUNTY ANIMAL SHELTER:
Harris County's animal shelter also has many animals lost in the storm. Unclaimed animals will be killed (essentially the same story for all local shelters). To find out how you can help, call or check their website: 281-999-3191, www.countypets.com
EMERGENCY INFORMATION:
- SPCA Lost & Found Pet Hotline: 713-861-0161
- SPCA Rescue Hotline: 877-661-0161 or 713-435-2990 / 10am- 6pm daily
Emergency Animal Shelters For Lost Animals:
1st United Methodist Church of Humble
800 Main St. / Humble, Texas 77338
Lamb of God Lutheran Church
1400 FM 1960 East Bypass / Humble, Texas 77338
Bring Injured Wildlife to the SPCA
SPCA Houston / 900 Portway Drive
(near I-10 Hempstead Highway)
Citizens for Animal Protection, also caring for wildlife and pets.
CAP Lost & Found Pets: cap4pets.com
WAYS TO HELP:
RESCUE BANK / FOOD SOURCE FOR ANIMALS
This Houston-based "food bank" for animal rescue and adoption groups has started a shelter restoration fund to help member groups recover from Hurricane Ike and care for the increased numbers of rescued and recovered animals. Rescue bank is a cooperative group of more than 45 Houston-Galveston area non-profit shelter and foster organizations. Created in response to Hurricane Katrina, rescue bank operates on the "food bank" model, collecting and distributing more than a quarter million pounds of pet food and supplies during the last two years.
TAX-DEDUCTIBLE DONATIONS can be made at any Washington Mutual branch by specifying "rescue bank" to the teller. More information:
www.rescuebank.org, infoall [at] rescuebank.org
ONLINE DONATIONS: www.rescuebank.org/pages/wishlist01.htm
Click on PAYPALS link on left side of page.
SPECIAL PALS ANIMAL SHELTER
This rescue shelter has taken in animals from Kemah, Galveston and the Bay Area shelters. Special Pals usually has about 70 animals in their shelter and currently has about 200. Special Pals needs:
VOLUNTEERS: To help with 8:00am feedings, other assistance.
SUPPLIES: Bleach / Dry dog food (Purina, Beneful, Pedigree Small Bites)
Cat litter / Drinking water for volunteers / Financial aide
DONATIONS: www.specialpalsshelter.org/Ike.asp
TO HELP, CONTACT SPECIAL PALS SHELTER: 281-579-7387
3830 Greenhouse Road / Houston, TX 77084
GALVESTON ISLAND HUMANE SOCIETY
DONATE to the GIHS Hurricane Ike Recovery:
www.galvestonhumane.org/contributions.php
HOUSTON SPCA
DONATIONS & HSPCA WISH LIST:
hspca.convio.net/site/PageServer?pagename=Hurricane_Ike_U...
hspca.convio.net/site/PageServer?pagename=donate_wish
ORIGINAL ALERT FROM:
Shirley Wilkes-Johnson, Vegan World Radio
veggiesue [at] gmail.com, 1-800-864-3501
Tune in every Monday 10:00am at 90.1 FM KPFT Houston (89.5 in Galveston) or live on the web at www.kpft.org and www.veganworldradio.com
(or later on archive archive.kpft.org)
=====================
4. Caught On Camera In Galveston Island
=====================
From: Texas Independent Rescuer in Kinship Circle Disaster Aid Network 9/16/08: I returned from home from Galveston Island last night. I had self-deployed to assist my blind father who lives in Alvin, Texas, about 10 miles from Galveston. Early after the storm on Saturday I took my truck and trailer and headed into town to find the local authorities were conducting their own search and rescue operations for animals. They told me to head south on Hwy 6 to assist in Galveston if I could get onto the island.
I ended up a few miles away in the towns or Santa Fe and Hitchcock, Texas where there were dead cows and other pets. Here I established a small base of operations next to the Santa Fe Police station near a bar where people where congregating. With permission of the local police I went street to street searching out pets in backyards and feeding them. After a days work and collecting a few strays, I got permission of the bar owner to leave the dogs overnight. The locals at the bar began assisting me with feeding and watering them. They asked if I had been down to Galveston yet and said those people need more help there than here.
Leaving local pets in good hands of residents, I headed south to Galveston Island. There I found the local EON and talked to the local police who directed me to the Houston SPCA and stated they were in charge of the rescue efforts for animals on the Island. How that was going to happen I never figured out. Because the Houston SPCA was already overwhelmed as I understood it. Anyway I traveled about the Island feeding dogs and cats until I ran out of food. (I should note that everywhere I went local people and lower officials commented on how great it was that someone was doing something so quick for the animals. One official stated: "About time someone got here to help the animals.")
I made a trip over to the local Humane Society to find the building destroyed and no one nearby. As curfew fell and without communications, I chose to leave the Island. I returned to Santa Fe and made arrangements for the strays I still had a my temporary shelter... The area of devastation is so great that not even the HSUS, ASPCA, or any one organization bearing all it's assets could handle rescue and care of the animals affected by IKE. God Bless those of you who are headed to the southeast Texas area to help. Expect to hit brick walls with the authorities... If you do go, be prepared to operate solely on your own and get permission from the local town Mayors and police departments. Expect no help from FEMA or Texas State officials.
Theodore R Endicott, Jr. MSG RET, ted.endicott [at] us.army.mil
Texas Independent Animal Rescuer
=====================
5. More Photos From Houston SPCA & ASPCA
=====================
PHOTO, left: Five little terrier-mix dogs were left behind on Galveston Island. Alone and frightened they watched as the storm surge rushed into their home. As the water rose, they jumped atop a table and that’s where Houston SPCA rescue teams found them whimpering. The high water mark was over their heads and our rescue teams knew in their hearts that these little dogs spent most of the night swimming for their lives. But they had a strong will to live...
hspca.convio.net/site/PageServer?pagename=Hurricane_Ike_U...
HOUSTON SPCA UPDATES FROM THE FRONTLINE, 9/21/08:
Thousands of dogs, cats, horses, puppies and kittens, birds and other pets have found a safe haven at the Houston SPCA. On Saturday, we sheltered 233 animals from Galveston, took in another 149 at the temporary shelter on the Island and conducted 141 rescues. Overall, nearly 600 animals have arrived from our Island’s temporary shelter and our teams in the field have conducted over 600 rescues...
ASPCA DISASTER RELIEF TEAM, 9/16/08, LIBERTY COUNTY, TEXAS
PHOTO, left: Equines can drop weight quickly -- becoming dangerously thin-- from enduring extreme stress and environmental changes, such as those caused by Hurricane Ike. Now that his owner has been allowed back into his home, this senior horse is once again being cared for.
PHOTO, right: Liberty County, though not hit as severely by Hurricane Ike as other parts of Texas, is dealing with the storm’s ripple of chaos. This pack of displaced dogs, which includes three nursing mothers, is being cared for by a group of neighbors who have banded together to help the strays.
www.aspca.org/site/PageServer?pagename=disasterrelief_ike
=====================
6. Rescuer Near Galveston Pleads For Help
=====================
REPLY TO:
Kathy Blankenship / Halfway Home Animal Rescue Team
Santa Fe, Texas / 713-751-5252 / halfwayhome [at] comcast.net
9/17/08, From Kathy Blankenship, halfwayhome [at] comcast.net -- I founded Halfway Home Animal Rescue Team in January and currently foster 9 dogs and 31 cats. I live in Santa Fe, about 20 miles north of Galveston. This past weekend Hurricane Ike took off half my roof and destroyed the fence enclosing my yard. My house is inhabitable, but I have no choice but to stay there to protect and care for my animals. Without a roof or a fence, it is nearly impossible. It is critical that I find a no-kill shelter or group to take in my animals so that I can focus on caring for my family and rebuilding our home in this time of crisis. Can you please help me?
Kathy Blankenship / Halfway Home Animal Rescue Team
Santa Fe, Texas / 713-751-5252 / halfwayhome [at] comcast.net
www.petfinder.com/shelters/TX1195.html
=====================
7. Dogs, Cats Spared In Montgomery County, TX
=====================
REPLY TO:
Kelle Davis, kellek-9 [at] peoplepc.com
9/18/08, Many saw the alert about hundreds of adoptable animals on death row at a Texas pound, due to fallout from Ike: Hi, my name is Kelle and I’m a shelter walker at Montgomery County Animal Shelter... Before Ike they took in many animals from shelters closer to the coast (over 200) and also had the normal owner surrenders that occur during disasters. Now, the shelters they assisted are in no shape to take the animals back. They are going to have to euthanize many, many very adoptable dogs and cats from lack of room and people to care for them. Many of us are also without electricity or running water at this point and in no position to take any more right now.
No outside rescue groups are being allowed on to Galveston and surrounding areas (HSUS is denying any other rescues to help) and maybe if your group was going to help out in the Gulf, now is an opportunity to get some dogs and cats of the storm to a safe place where they can be adopted...
Montgomery County Animal Control
8535 State Hwy 242 / Conroe, Texas 77385 / 936-442-7738
OTHER CONTACTS: Marsha: 713-2017306 / Sandra: 954-336-3222
9/20/08 UPDATE, From: Kelle Davis, kellek-9 [at] peoplepc.com -- I believe almost all dogs and most cats got out yesterday. The media picked up on this and when I got there yesterday the parking lot was full. I took two mangy starved pups who were of course overlooked. But the shelter doesn't need to euthanize anyone, as so many were taken in! I did pick up a golden retriever right after storm who needs a foster... She is young and I believe spayed, if interested. Very loving and dog and cat friendly.
CONTACT KELLE DAVIS: 832-969-8831
=====================
8. Do Their Lives Matter? Cows Cling To Life In Texas
=====================
Doomed -- anyway you look at it. Saving cats, dogs and other animals but who will give sanctuary to the cows? Some 4,000 cows have already been killed by Ike. More than 20,000 cattle and hundreds of horses are dying from eating and drinking salt-contaminated grass and water. The grim chore of disposing of dead livestock still looms, said Bob Hillman, executive director of the Texas Animal Health Commission. Alligators are eating some of them.
Some groups have left hay and water for the cows... One horse rescuer, Elizabeth Asher, with “Rescue Bank” knows where most stranded cows are located. The Texas Dept. Of Agriculture set up “Operation No Fences” to provide relief for horses and cows.
OPERATION NO FENCES, HAY HOTLINE: 877-429-1998
RESCUE BANK / FOOD SOURCE FOR ANIMALS
DONATIONS can be made at any Washington Mutual branch by specifying "rescue bank" to the teller. More information:
www.rescuebank.org, infoall [at] rescuebank.org
ONLINE DONATIONS: www.rescuebank.org/pages/wishlist01.htm
Click on PAYPALS link on left side of page.
ORIGINAL ALERT FROM:
Jerrily Halbert, Vegan World Radio
Shirley Wilkes-Johnson, veggiesue [at] gmail.com
1-800-864-3501, www.VeganWorldRadio.org
FROM KINSHIP CIRCLE: We hope (and have called) rescue groups such as Farm Sanctuary are permitted to help stranded cows...so some may go to sanctuary -- escaping both floodwaters and life as a production unit in a feedlot.
=====================
To Be On File In Kinship Circle’s Disaster Aid Network:
=====================
1. REQUEST VOLUNTEER FORM: kinshipcircle [at] accessus.net
* Fill out form. Email it back to: kinshipcircle [at] accessus.net
* IF YOU ALREADY SENT A KC DISASTER AID VOLUNTEER FORM -- DO NOT RESEND!
* TYPE IN SUBJECT LINE: KC ANIMAL DISASTER AID NETWORK
2. SUBSCRIBE TO KINSHIP CIRCLE ANIMAL DISASTER AID EMAIL LIST FOR UPDATES
* SUBSCRIBE: kinshipcircle [at] accessus.net
* TYPE IN SUBJECT LINE: SUBSCRIBE, KC DISASTER AID EMAIL LIST
=====================
Please help us get relief to the animals in hurricane-stricken regions.
Kinship Circle Animal Disaster Aid cannot cover its nationwide communication costs for volunteer management. DONATIONS are greatly appreciated.
DONATE ONLINE: www.kinshipcircle.org/donation/
DONATE BY MAIL: Kinship Circle * 7380 Kingsbury Blvd. * St. Louis, MO 63130
Kinship Circle is a 501c3 nonprofit animal advocacy organization.
All donations are tax-deductible.
Action Campaigns I Literature I Animal Disaster Aid Networking
info [at] kinshipcircle.org or kinshipcircle [at] accessus.net
www.KinshipCircle.org * www.kinshipcircle.org/disasters/
UNSUBSCRIBE:
* Select a Kinship Circle ALERT received in your mailbox
* Hit "FORWARD"
* Enter kinshipcircle [at] accessus.net
* Type UNSUBSCRIBE in your subject line and hit send
SUBSCRIBE:
Kinship Circle Primary: subscribe [at] kinshipcircle.org
Action campaigns on animal cruelty issues worldwide
Kinship Circle Animal Disaster Aid Network: kinshipcircle [at] accessus.net
Animal rescue coordination/news in disasters + companion animal alerts
SEND: Address / Phone / Email for placement in geographic disaster zone
Philip Campbell, Editor-in-Chief, Nature, United Kingdom,Tania Dussey-Cavassini, Vice-Director General Federal Office of Public Health, Swiss Ambassador for Global Health, Iris Mauss, Associate Professor, Department of Psychology, University of California, Berkeley, USA, Anmol Madan, Co-Founder and Chief Executive Officer, Ginger.io, USA, Matthieu Ricard, Founder, Karuna-Shechen, France during the Session "Mental Health Matters" at the Open Forum Swiss Alpine High School at the World Economic Forum in Davos, January 20, 2017. Copyright by World Economic Forum / Valeriano Di Domenico.
I have been start and stop drawing for many years. But i will try to continue more effort as I now have inspiration from the group.
[Old work]
Week 10 from my 52 weeks project.
- Lucy Winterlight
____________________
500 px | FB fanpage | Deviant Art (Photography) | Deviant Art (Art)
The last time i did this it completely failed so here i shall try once more. You can tag yourselves.
1.Put your iTunes, Windows Media Player, etc. on shuffle.
2. For each question, press the next button to get your answer.
3. YOU MUST WRITE THAT SONG NAME DOWN NO MATTER HOW SILLY IT SOUNDS.
4. Tag anyone!
5. Everyone tagged has to do the same thing.
6. Have Fun!
1. IF SOMEONE SAYS 'ARE YOU OKAY' YOU SAY?
I Need a Doctor (lol)
2. HOW WOULD YOU DESCRIBE YOURSELF?
Jump Around (mmk?)
3. WHAT DO YOU LIKE IN A GUY/GIRL?
Born This Way
4. HOW DO YOU FEEL TODAY?
Please Please Please (lol tafuq)
5. WHAT IS YOUR LIFE'S PURPOSE?
Last Chance
6. WHAT'S YOUR MOTTO?
Never Gonna Happen (well thats a bit dark)
7. WHAT DO YOUR FRIENDS THINK OF YOU?
Shark in the Water (cuz i bite! lol)
8. WHAT DO YOUR PARENTS THINK OF YOU?
My Moon My Man (cause that makes sense)
9. WHAT DO YOU THINK ABOUT VERY OFTEN?
Seven Nation Army (lol right)
10. WHAT IS 2 + 2?
Pool Shark (pbtfhh)
11. WHAT DO YOU THINK OF YOUR BEST FRIEND?
Honey Bee (?)
12. WHAT IS YOUR LIFE STORY?
Smile (lol thats nice)
13. WHAT DO YOU WANT TO BE WHEN YOU GROW UP?
Bad Influence (no not at all!)
14. WHAT DO YOU THINK WHEN YOU SEE THE PERSON YOU LIKE?
I Don't Wanna Be (lol opposies)
15. WHAT SONG WILL YOU DANCE TO AT YOUR WEDDING?
Monsters Inc. (well that would certainly be interesting)
16. WHAT WILL THEY PLAY AT YOUR FUNERAL?
Fallin' (lol irony)
17. WHAT IS YOUR HOBBY/INTEREST?
Popcorn (haha I would be fat)
18. WHAT IS YOUR BIGGEST FEAR?
The Instrumental (in band sometimes yes)
19. WHAT IS YOUR BIGGEST SECRET?
Over (?)
20. WHAT DO YOU WANT RIGHT NOW?
Chinese (nah actually I just ate)
21. WHAT DO YOU THINK OF YOUR FRIENDS?
Back to the Start (wuh)
22. WHAT WILL YOU POST THIS AS?
Weasel Stomping Day (LMFAO.)
some moments are perfect as they are. no worries. no anticipations. happy with just being. enjoying and flowing in the moment.
Graflex Pacemaker Speed Graphic, c. 1957.
Came with a few holders and an unopened box of Ektar. I'll be in NYC this weekend, so I may not be able to use it until I get back (though what better place to test it out!). But boy howdy, I can't wait to start shootin' with this bad boy.
The mallard (/ˈmælɑrd/ or /ˈmælərd/) or wild duck (Anas platyrhynchos) is a dabbling duck which breeds throughout the temperate and subtropical Americas, Europe, Asia, and North Africa, and has been introduced to New Zealand, Australia, Peru, Brazil, Uruguay, Argentina, Chile, the Falkland Islands and South Africa.[2] This duck belongs to the subfamily Anatinae of the waterfowl family Anatidae.
The male birds (drakes) have a glossy green head and are grey on wings and belly, while the females have mainly brown-speckled plumage. Both genders have an area of white-bordered black speculum feathers which commonly also include irridescent blue feathers especially among males. Mallards live in wetlands, eat water plants and small animals, and are social animals preferring to congregate in groups or flocks of varying sizes. This species is the ancestor of most breeds of domestic ducks.[3]
Taxonomy and evolution
The mallard was one of the many bird species originally described by Carl Linnaeus in his 18th-century work, Systema Naturae, and still bears its original binomial name.[4]
The name mallard is derived from the Old French malart or mallart "wild drake", although its ultimate derivation is unclear. It may be related to (or at least influenced by) an Old High German masculine proper name Madelhart, clues lying in the alternate English forms "maudelard" or "mawdelard".[5] Masle (male) has also been proposed as an influence.[6] Mallards frequently interbreed with their closest relatives in the genus Anas, such as the American black duck, and also with species more distantly related, such as the northern pintail, leading to various hybrids that may be fully fertile.[7] This is quite unusual among such different species, and apparently is because the mallard evolved very rapidly and recently, during the Late Pleistocene. The distinct lineages of this radiation are usually kept separate due to non-overlapping ranges and behavioural cues, but are still not fully genetically incompatible.[8] Mallards and their domesticated conspecifics are also fully interfertile.
The genome of Anas platyrhynchos was sequenced in 2013.[9]
Mallards appear to be closer to their Indo-Pacific relatives than to their American ones judging from biogeography. Considering mitochondrial DNA D-loop sequence data, they may have evolved in the general area of Siberia; mallard bones rather abruptly appear in food remains of ancient humans and other deposits of fossil bones in Europe, without a good candidate for a local predecessor species.[10] The large ice age palaeosubspecies which made up at least the European and west Asian populations during the Pleistocene has been named Anas platyrhynchos palaeoboschas.[citation needed]
In their mitochondrial DNA, mallards are differentiated between North America and Eurasia,[11] however, in the nuclear genome there is a particular lack of genetic structure.[12] Haplotypes typical of American mallard relatives and spotbills can be found in mallards around the Bering Sea.[13] The Aleutian Islands hold a population of mallards that appear to be evolving towards a subspecies, as gene flow with other populations is very limited.[10]
The size of the mallard varies clinally, and birds from Greenland, although larger than birds further south, have smaller bills and are stockier. They are sometimes separated as subspecies, the Greenland mallard (A. p. conboschas).[citation needed]
Description
The mallard is a medium-sized waterfowl species although is often slightly heavier than most other dabbling ducks. It is 50–65 cm (20–26 in) long (of which the body makes up around two-thirds), has a wingspan of 81–98 cm (32–39 in),[14] and weighs 0.72–1.58 kg (1.6–3.5 lb).[15][16] Among standard measurements, the wing chord is 25.7 to 30.6 cm (10.1 to 12.0 in), the bill is 4.4 to 6.1 cm (1.7 to 2.4 in) and the tarsus is 4.1 to 4.8 cm (1.6 to 1.9 in).[17]
The breeding male mallard is unmistakable, with a glossy bottle-green head and white collar which demarcates the head from the purple-tinged brown breast, grey brown wings, and a pale grey belly. The rear of the male is black, with the dark tail having white borders.[18] The bill of the male is a yellowish orange tipped with black while that of the female is generally darker ranging from black to mottled orange. The female mallard is predominantly mottled with each individual feather showing sharp contrast from buff to very dark brown, a coloration shared by most female dabbling ducks, and has buff cheeks, eyebrow, throat and neck with a darker crown and eye-stripe.[18]
Owing to their highly 'malleable' genetic code, Mallards can display a large amount of variation, as seen here with this female, who displays faded or 'apricot' plumage.
Both male and female mallards have distinct iridescent purple blue speculum feathers edged with white, prominent in flight or at rest, though temporarily shed during the annual summer moult. Upon hatching, the plumage colouring of the duckling is yellow on the underside and face (with streaks by the eyes) and black on the backside (with some yellow spots) all the way to the top and back of the head. Its legs and bill are also black. As it nears a month in age, the duckling's plumage will start becoming drab, looking more like the female (though its plumage is more streaked) and its legs will lose their dark grey colouring.[18] Two months after hatching, the fledgling period has ended and the duckling is now a juvenile. Between three to four months of age, the juvenile can finally begin flying as its wings are fully developed for flight (which can be confirmed by the sight of purple speculum feathers). Its bill will soon lose its dark grey colouring and its sex can finally be distinguished visually by three factors. The bill colouring is yellow in males, black and orange for females. The breast feathers are reddish-brown for males, brown for females. The centre tail feather is curled for males (called a drake feather), straight for females.[citation needed]
During the final period of maturity leading up to adulthood (6–10 months of age), the plumage of female juveniles remains the same while the plumage of male juveniles slowly changes to its characteristic colours.[citation needed] This plumage change also applies to adult mallard males when they transition in and out of their non-breeding eclipse plumage at the beginning and the end of the summer moulting period. The adulthood age for mallards is 14 months and the average life expectancy is 3 years, but they can live to twenty.[19]
Several species of duck have brown-plumaged females which can be confused with the female mallard. The female gadwall (A. strepera) has an orange-lined bill, white belly, black and white speculum which is seen as a white square on the wings in flight, and is a smaller bird.[18] More similar to the female mallard in North America are the American black duck (A. rubripes), which is notably darker hued in both sexes than the mallard, and the mottled duck (A. fulvigula), which is somewhat darker than the female mallard, with no white edge on the speculum and slightly different bare-part colouration.
In captivity, domestic ducks come in wild-type plumages, white, and other colours. Most of these colour variants are also known in domestic mallards not bred as livestock, but kept as pets, aviary birds, etc., where they are rare but increasing in availability.
A noisy species, the male has a nasal call, and a high-pitched whistle, while the female has a deeper quack stereotypically associated with ducks.[20][21]
The mallard is a rare example of both Allen's Rule and Bergmann's Rule in birds. Bergmann's Rule, which states that polar forms tend to be larger than related ones from warmer climates, has numerous examples in birds. Allen's Rule says that appendages like ears tend to be smaller in polar forms to minimize heat loss, and larger in tropical and desert equivalents to facilitate heat diffusion, and that the polar taxa are stockier overall. Examples of this rule in birds are rare, as they lack external ears. However, the bill of ducks is very well supplied with blood vessels and is vulnerable to cold.[citation needed]
Due to the malleability of the mallard's genetic code, which gives it its vast interbreeding capability, mutations in the genes that decide plumage colour are very common and have resulted in a wide variety of hybrids such as Brewer's duck (mallard × gadwall, Anas strepera).[22]
Distribution and habitat
The mallard is widely distributed across the Northern and Southern Hemispheres, North America from southern and central Alaska to Mexico, the Hawaiian Islands, and across Eurasia, from Iceland and southern Greenland and parts of Morocco (North Africa) in the west, Scandinavia to the north, and to Siberia, Japan,and South Korea, in the east, Australia and New Zealand in the Southern hemisphere.[14] It is strongly migratory in the northern parts of its breeding range, and winters farther south. For example, in North America, it winters south to Mexico, but also regularly strays into Central America and the Caribbean between September and May.[23]
The mallard inhabits a wide range of habitat and climates, from Arctic tundra to subtropical regions. It is found in both fresh- and salt-water wetlands, including parks, small ponds, rivers, lakes and estuaries, as well as shallow inlets and open sea within sight of the coastline. Water depths of less than 1 metre (3.3 ft) are preferred, birds avoiding areas more than a few metres deep. They are attracted to bodies of water with aquatic vegetation
Behaviour
Feeding
The mallard is omnivorous and very flexible in its foods choice. Its diet may vary based on several factors, including the stage of the breeding cycle, short-term variations in available food, nutrient availability, and inter and intraspecific competition.[24] The majority of the mallard's diet seems to be made up of gastropods, invertebrates (including beetles, flies, lepidopterans, dragonflies, and caddisflies), crustaceans, worms, many varieties of seeds and plant matter, and roots and tubers. During the breeding season, male birds were recorded to have eaten 37.6% animal matter and 62.4% plant matter, most notably Echinochloa crus-galli, and nonlaying females ate 37.0% animal matter and 63.0% plant matter, while laying females ate 71.9% animal matter and only 28.1% plant matter.[25] Plants generally make up a larger part of the bird's diet, especially during autumn migration and in the winter.[26][27]
It usually feeds by dabbling for plant food or grazing; there are reports of it eating frogs. It usually nests on a river bank, but not always near water. It is highly gregarious outside of the breeding season and forms large flocks, which are known as sords.[28]
Breeding
Mallards usually form pairs (in October and November in the Northern hemisphere) only until the female lays eggs at the start of nesting season which is around the beginning of spring, at which time she is left by the male who joins up with other males to await the moulting period which begins in June (in the Northern hemisphere). During the brief time before this, however, the males are still sexually potent and some of them either remain on standby to sire replacement clutches (for female Mallards that have lost or abandoned their previous clutch) or forcibly mate with females that appear to be isolated or unattached regardless of their species and whether or not they have a brood of ducklings.
The nesting period can be very stressful for the female since she lays more than half her body weight in eggs. She requires a lot of rest and a feeding/loafing area that is safe from predators. When seeking out a suitable nesting site, the female's preferences are areas that are well concealed, inaccessible to ground predators, or have few predators nearby. This can include nesting sites in urban areas such as roof gardens, enclosed courtyards, and flower boxes on window ledges and balconies more than one story up, which the ducklings cannot leave safely without human intervention. The clutch is 8–13 eggs, which are incubated for 27–28 days to hatching with 50–60 days to fledgling. The ducklings are precocial and fully capable of swimming as soon as they hatch. However, filial imprinting compels them to instinctively stay near the mother not only for warmth and protection but also to learn about and remember their habitat as well as how and where to forage for food. When ducklings mature into flight-capable juveniles, they learn about and remember their traditional migratory routes (unless they are born and raised in captivity). After this, the juveniles and the mother may either part or remain together until the breeding season arrives.[citation needed]
When they pair off with mating partners, often one or several drakes end up left out. This group sometimes targets an isolated female duck, even one of a different species, and proceeds to chase and peck at her until she weakens, at which point the males take turns copulating with the female. Lebret (1961) calls this behaviour "Attempted Rape Flight" and Cramp & Simmons (1977) speak of "rape-intent flights". Male mallards also occasionally chase other male ducks of a different species, and even each other, in the same way. In one documented case of "homosexual necrophilia", a male mallard copulated with another male he was chasing after the chased male died upon flying into a glass window.[29] This paper was awarded with an Ig Nobel Prize in 2003.[30]
Mallards are opportunistically targeted by brood parasites, occasionally having eggs laid in their nests by Redheads, ruddy ducks, lesser scaup, gadwalls, northern shovelers, northern pintails, cinnamon teal, common goldeneyes, and other mallards. These eggs are generally accepted when they resemble the eggs of the host mallard, although the hen may attempt to eject them or even abandon the nest if parasitism occurs during egg laying.[31] Mallards of all ages (but especially young ones) and in all locations must contend with a wide diversity of predators including raptors, mustelids, corvids, snakes, raccoons, opossums, skunks, turtles, large fish and felids and canids, including domesticated ones.[32] The most prolific natural predators of adult mallards are red foxes (which most often pick off brooding females) and the faster or larger birds of prey, i.e. peregrine falcons or Haliaeetus eagles.[33][34] In North America, adult mallards face no fewer than 15 species of birds of prey, from hen harriers and short-eared owls (both smaller than a mallard) to huge bald and golden eagles, and about a dozen species of mammalian predator, not counting several more avian and mammalian predators who threaten eggs and nestlings.[31]
Mallards are also preyed upon occasionally by 'unorthodox' species, such as the Grey heron (Ardea cinerea), European herring gull (Larus argentatus) and the Northern pike (Esox lucius).
Conservation
Unlike many waterfowl, mallards have benefited from human alterations to the world. They are very adaptable, being able to live and even thrive in urban areas which may have supported more localized, sensitive species of waterfowl before development. The release of feral mallards in areas where they are not native sometimes creates problems through interbreeding with indigenous waterfowl. These non-migratory mallards interbreed with indigenous wild ducks from local populations of closely related species through genetic pollution by producing fertile offspring. Complete hybridization of various species of wild ducks gene pools could result in the extinction of many indigenous waterfowl. The wild mallard itself is the ancestor of most domestic ducks and its naturally evolved wild gene pool gets genetically polluted in turn by the domesticated and feral populations.[35][36][37]
The mallard is considered an invasive species in New Zealand.[14] There, and elsewhere, mallards are spreading with increasing urbanization and hybridizing with local relatives.[38] Over time, a continuum of hybrids ranging between almost typical examples of either species will develop; the speciation process beginning to reverse itself.[39] This has created conservation concerns for relatives of the mallard, such as the Hawaiian duck,[38][40] the A. s. superciliosa subspecies of the Pacific black duck,[38][41][42][43] the American black duck,[38][44][45][46] the mottled duck,[38][47][48] Meller's duck,[49] the yellow-billed duck,[39] and the Mexican duck,[38][48] in the latter case even leading to a dispute whether these birds should be considered a species[50] (and thus entitled to more conservation research and funding) or included in the mallard.
The availability of mallards, mallard ducklings, and fertilized mallard eggs for public sale and private ownership, either as livestock or as pets, is currently legal in the United States except for the state of Florida which has currently banned domestic ownership of mallards. This is to prevent hybridisation with the native mottled duck.[51]
Mallards are also causing severe "genetic pollution" of South Africa's biodiversity by breeding with endemic ducks, although the Agreement on the Conservation of African-Eurasian Migratory Waterbirds applies to the mallard. The hybrids of mallards and the yellow-billed duck are fertile and can produce more hybrid offspring. If this continues, only hybrids will occur and in the long term this will result in the extinction of various indigenous waterfowl. The mallard duck can cross breed with 63 other species and is posing a severe threat to the genetic integrity of indigenous waterfowl. Mallards and their hybrids compete with indigenous birds for resources such as food, nest sites and roosting sites.[37]
The Eastern or Chinese spot-billed duck is currently introgressing into the mallard populations of the Primorsky Krai, possibly due to habitat changes from global warming.[13] The Mariana mallard was a resident allopatric population—in most respects a good species—apparently initially derived from mallard-Pacific black duck hybrids;[52] unfortunately, it became extinct in the late twentieth century.[53]
The Laysan duck is an insular relative of the mallard with a very small and fluctuating population. Mallards sometimes arrive on its island home during migration, and can be expected to occasionally have remained and hybridized with Laysan ducks as long as these species have existed. But these hybrids are less well adapted to the peculiar ecological conditions of Laysan Island than the local ducks, and thus have lower fitness, and furthermore, there were—apart from a brief time in the early 20th century when the Laysan duck was almost extinct—always many more Laysan ducks than stray mallards. Thus, in this case, the hybrid lineages would rapidly fail.[citation needed]
In the cases mentioned above, however, ecological changes and hunting have led to a decline of local species; for example, the New Zealand grey duck population declined drastically due to overhunting in the mid-20th century.[43] Hybrid offspring of Hawaiian ducks seem to be less well-adapted to native habitat, and utilizing them in reintroduction projects apparently reduces success.[38][54] In summary, the problems of mallards "hybridizing away" relatives is more a consequence of local ducks declining than of mallards spreading; allopatric speciation and isolating behaviour have produced today's diversity of mallard-like ducks despite the fact that in most if not all of these populations, hybridization must have occurred to some extent.[citation needed]
Relationship with humans
The mallard is depicted in a marginal decoration of the 15th century English illuminated manuscript the Sherborne Missal.[55]
Since 1933, the Peabody Hotel in Downtown Memphis, Tennessee has maintained a long tradition of keeping one mallard drake and four mallard hens, called The Peabody Ducks, as a popular hotel attraction and as guests of honour. The mallards are provided by a local farmer and friend of the Peabody Hotel and are rotated out and returned to the farm for a new team of mallards every three months. This tradition has also been maintained and observed at the other Peabody Hotels in Little Rock, Arkansas and Orlando, Florida.[56]
Although mallard do not have as fine a flavour as teal, they have the advantage of being one of the larger ducks, so are selected for breeding for shooting and the table.[57] Shot sizes four and five are recommended for a clean and efficient kill in shooting mallard.[58]
The children's picture book Make Way for Ducklings, published in 1941 and winner of the 1942 Caldecott Medal for its illustrations, is the story of a pair of mallards who decide to raise their family on an island in the lagoon in Boston Public Garden in Massachusetts.[59]
Duck Head, a U.S. clothing brand, uses the image of a mallard's head as its logo.
This is a quite old picture, taken for a still life presentation. I used an old flash firing from behind the candle, connected to the camera with a self-made flash cable.
Is taking this picture that I discovered that the smoke you see when you blow out a candle in truth is not exactly smoke, but a mass of particulate matter, probably deriving from the extinguishing wick.