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Whether you are using an old and reliable heating, ventilation and air conditioning system or you are upgrading your HVAC equipment to a newer and more energy-efficient model, you should be aware that simply having a system that is rated well for efficiency isn’t all you need to do to create a more energy-conscious and efficient home.

 

One of the most important things you can do to keep your HVAC equipment operating at peak performance is to perform routine preventive maintenance. This can include checking hoses, seals, filters and duct work for damage, air leaks or the wear and tear of time. Even regular inspection and maintenance, however, isn’t all you can do to help your heating and cooling system perform in the most energy-efficient way. Here are five tips to help you get the most efficiency from your HVAC equipment:

 

Get a system that is the proper size for your home. An HVAC unit that is too small for the size of your home will work continuously to maintain the desired temperature, which means that the internal components may wear out or break down more quickly than they normally would. A system that is too large will cycle on and off more frequently, using more electricity to do so.

 

Change the direction of your ceiling fans as the seasons change. While you want cool air circulating through your home during the summer, you should likewise want warm air to do so during colder seasons. Changing the direction on your ceiling fans when the temperatures start to fall will help move warm air from the ceiling down into the room. By doing this, the temperatures inside your home will feel warmer longer, reducing the need for your HVAC unit to run frequently to provide you with a comfortable interior climate.

 

Use a humidifier in warmer weather. When air blows on moist skin, it creates a cooling sensation. The use of a humidifier during warm weather will make you feel cooler because the air inside your home will contain more moisture. This means you won’t be running the air conditioning as much to keep the air cooled.

 

Make sure doors, windows and other access points are properly sealed. Air loss is the primary enemy of an HVAC unit, because it means the system has to operate more often to heat or cool the air inside your home. Doors and windows should be sealed to prevent air from escaping, and you should also check other access points like electrical outlets and plumbing pass-throughs to make sure there are no air leaks where wires, pipes or other items go through the walls of your home. This is especially true where those items pass through into an unheated space like a garage, basement, attic or exterior wall.

 

Adjust the thermostat by a few degrees. Rather than keeping your thermostat at 72 during the winter or 68 in the summer, set it at 70 in both seasons. The couple of degrees difference will make a big difference over time in terms of reducing your energy use and decreasing wear and tear on your HVAC equipment.

 

When you do replace your existing HVAC equipment, make sure you choose a unit that is ENERGY STAR rated for maximum efficiency. Combining this with the tips listed here, as well as other steps you can take to reduce your energy consumption and maximize the efficiency of your air conditioner, will help you save money, better regulate the temperature in your home and extend the life of your HVAC system.

 

The post 5 Tips for Maximizing the Efficiency of Your HVAC Unit appeared first on Trophy AC.

 

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IR HDR. IR converted Canon Rebel XTi. AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE.

  

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

 

The M4A1 Mod I is a license-produced turret mounted on a fast domestically-designed chassis in an effort to maximize the mobility and power of the tank. Expected to be a stop-gap until a better chassis can be produced, the M4 nevertheless features a top speed of 26mph, 105mm main gun, and 300mm of frontal turret armor. This is expected to be a more or less effective counter to the Pz60 of the Avratic Protectorate.

 

Due credit to Nightmaresquid for the turret design.

 

Please maximize the image.

Incised onto the surface of this large gravestone is the image of a warrior standing on a ground line facing right. His name, Athanias, is inscribed at the top of the stele in either Boeotian or Sikyonian script. He wears a conical helmet decorated with a wreath, a short belted tunic that exposes his right shoulder, and sandals. A sheathed sword suspended by a baldric hangs by his left side. In his right hand he carries a downward-pointing spear; his left hand rests atop his shield. The interior of the shield is decorated with a scene of Bellerophon astride Pegasos, thrusting his spear into the Chimaera below. Incised stelai such as this were once painted, but no traces of pigment remain.

 

Black limestone grave stele

Height 160 cm; width 75 – 80 cm

Late 5th – Early 4th century BC.

Thebes, Archaeological Museum

  

Maximize this pic.

 

I mean he's nice and loyal towards my channel but just look at his name. Its a mixture of flaminbabies735, David, my name and jpo1997's name all mixed together !

 

I hope he doesn't get offended if he looks at this, but I find this absolutely HILARIOUS

my old triumph collection, no more in production...i love it!!

used bra... i love the brown colour bra.. triumph bra

The main environmental issues associated with the implementation of the 5G network come with the manufacturing of the many component parts of the 5G infrastructure. In addition, the proliferation of new devices that will use the 5G network that is tied to the acceleration of demand from consumers for new 5G-dependent devices will have serious environmental consequences. The 5G network will inevitably cause a large increase in energy usage among consumers, which is already one of the main contributors to climate change. Additionally, the manufacturing and maintenance of the new technologies associated with 5G creates waste and uses important resources that have detrimental consequences for the environment. 5G networks use technology that has harmful effects on birds, which in turn has cascading effects through entire ecosystems. And, while 5G developers are seeking to create a network that has fewer environmental impacts than past networks, there is still room for improvement and the consequences of 5G should be considered before it is widely rolled out. 5G stands for the fifth generation of wireless technology. It is the wave of wireless technology surpassing the 4G network that is used now. Previous generations brought the first cell phones (1G), text messaging (2G), online capabilities (3G), and faster speed (4G). The fifth generation aims to increase the speed of data movement, be more responsive, and allow for greater connectivity of devices simultaneously.[2] This means that 5G will allow for nearly instantaneous downloading of data that, with the current network, would take hours. For example, downloading a movie using 5G would take mere seconds. These new improvements will allow for self-driving cars, massive expansion of Internet of Things (IoT) device use, and acceleration of new technological advancements used in everyday activities by a much wider range of people. While 5G is not fully developed, it is expected to consist of at least five new technologies that allow it to perform much more complicated tasks at faster speeds. The new technologies 5G will use are hardware that works with much higher frequencies (millimeter wavelengths), small cells, massive MIMO (multiple input multiple output), beamforming, and full duplex.[3] Working together, these new technologies will expand the potential of many of the devices used today and devices being developed for the future. Millimeter waves are a higher frequency wavelength than the radio wavelength generally used in wireless transmission today.[4] The use of this portion of the spectrum corresponds to higher frequency and shorter wavelengths, in this case in the millimeter range (vs the lower radio frequencies where the wavelengths can be in the meters to hundreds of kilometers). Higher frequency waves allow for more devices to be connected to the same network at the same time, because there is more space available compared to the radio waves that are used today. The use of this portion of the spectrum has much longer wavelengths than of that anticipated for a portion of the 5G implementation. The waves in use now can measure up to tens of centimeters, while the new 5G waves would be no greater than ten millimeters.[5] The millimeter waves will create more transmission space for the ever-expanding number of people and devices crowding the current networks. The millimeter waves will create more space for devices to be used by consumers, which will increase energy usage, subsequently leading to increased global warming. Millimeter waves are very weak in their ability to connect two devices, which is why 5G needs something called “small cells” to give full, uninterrupted coverage. Small cells are essentially miniature cell towers that would be placed 250 meters apart throughout cities and other areas needing coverage.[6] The small cells are necessary as emissions [or signals] at this higher frequency/shorter wavelength have more difficulty passing through solid objects and are even easily intercepted by rain.[7] The small cells could be placed on anything from trees to street lights to the sides of businesses and homes to maximize connection and limit “dead zones” (areas where connections are lost). The next new piece of technology necessary for 5G is massive MIMO, which stands for multiple input multiple output. The MIMO describes the capacity of 5G’s base stations, because those base stations would be able to handle a much higher amount of data at any one moment of time. Currently, 4G base stations have around eight transmitters and four receivers which direct the flow of data between devices.[9] 5G will exceed this capacity with the use of massive MIMO that can handle 22 times more ports. Figure 1 shows how a massive MIMO tower would be able to direct a higher number of connections at once. However, massive MIMO causes signals to be crossed more easily. Crossed signals cause an interruption in the transmission of data from one device to the next due to a clashing of the wavelengths as they travel to their respective destinations. To overcome the cross signals problem, beamforming is needed. To maximize the efficiency of sending data another new technology called beamforming will be used in 5G. For data to be sent to the correct user, a way of directing the wavelengths without interference is necessary. This is done through a technique called beamforming. Beamforming directs where exactly data are being sent by using a variety of antennas to organize signals based on certain characteristics, such as the magnitude of the signal. By directly sending signals to where they need to go, beamforming decreases the chances that a signal is dropped due to the interference of a physical object.

One way that 5G will follow through on its promise of faster data transmission is through sending and receiving data simultaneously. The method that allows for simultaneous input and output of data is called full duplexing. While full duplex capabilities allow for faster transmission of data, there is an issue of signal interference, because of echoes. Full duplexing will cut transmission times in half, because it allows for a response to occur as soon as an input is delivered, eliminating the turnaround time that is seen in transmission today. Because these technologies are new and untested, it is hard to say how they will impact our environment. This raises another issue: there are impacts that can be anticipated and predicted, but there are also unanticipated impacts because much of the new technologies are untested. Nevertheless, it is possible to anticipate some of detrimental environmental consequences of the new technologies and the 5G network, because we know these technologies will increase exposure to harmful radiation, increase mining of rare minerals, increase waste, and increase energy usage. The main 5G environmental concerns have to do with two of the five new components: the millimeter waves and the small cells. The whole aim of the new 5G network is to allow for more devices to be used by the consumer at faster rates than ever before, because of this goal there will certainly be an increase in energy usage globally. Energy usage is one of the main contributors to climate change today and an increase in energy usage would cause climate change to increase drastically as well. 5G will operate on a higher frequency portion of the spectrum to open new space for more devices. The smaller size of the millimeter waves compared to radio frequency waves allows for more data to be shared more quickly and creates a wide bandwidth that can support much larger tasks.[15] While the idea of more space for devices to be used is great for consumers, this will lead to a spike in energy usage for two reasons – the technology itself is energy demanding and will increase demand for more electronic devices. The ability for more devices to be used on the same network creates more incentive for consumers to buy electronics and use them more often. This will have a harmful impact on the environment through increased energy use. Climate change has several underlying contributors; however, energy usage is gaining attention in its severity with regards to perpetuating climate change. Before 5G has even been released, about 2% of the world’s greenhouse gas emissions can be attributed to the ICT industry.[16] While 2% may not seem like a very large portion, it translates to around 860 million tons of greenhouse gas emissions.[17] Greenhouse gas emissions are the main contributors to natural disasters, such as flooding and drought, which are increasing severity and occurrence every year. Currently, roughly 85% of the energy used in the United States can be attributed to fossil fuel consumption.[18] The dwindling availability of fossil fuels and the environmental burden of releasing these fossil fuels into our atmosphere signal an immediate need to shift to other energy sources. Without a shift to other forms of energy production and the addition of technology allowed by the implementation of 5G, the strain on our environment will rise and the damage may never be repaired. With an increase in energy usage through technology and the implementation of 5G, it can be expected that the climate change issues faced today will only increase. The overall contribution of carbon dioxide emissions from the ICT industry has a huge impact on climate change and will continue to have even larger impacts without proper actions. In a European Union report, researchers estimated that in order to keep the increase in global temperature below 2° Celsius a decrease in carbon emissions of around 15-30% is necessary by 2020. Engineers claim that the small cells used to provide the 5G connection will be energy efficient and powered in a sustainable way; however the maintenance and production of these cells is more of an issue. Supporters of the 5G network advocate that the small cells will use solar or wind energy to stay sustainable and green.[20] These devices, labeled “fuel-cell energy servers” will work as clean energy-based generators for the small cells.[21] While implementing base stations that use sustainable energy to function would be a step in the right direction in environmental conservation, it is not the solution to the main issue caused by 5G, which is the impact that the massive amount of new devices in the hands of consumers will have on the amount of energy required to power these devices. The wasteful nature of manufacturing and maintenance of both individual devices and the devices used to deliver 5G connection could become a major contributor of climate change. The promise of 5G technology is to expand the number of devices functioning might be the most troubling aspect of the new technology. Cell phones, computers, and other everyday devices are manufactured in a way that puts stress on the environment. A report by the EPA estimated that in 2010, 25% of the world’s greenhouse gas emissions comes from electricity and heat production making it the largest single source of emissions.[22] The main gas emitted by this sector is carbon dioxide, due to the burning of natural gas, such as coal, to fuel electricity sources.[23] Carbon dioxide is one of the most common greenhouse gases seen in our atmosphere, it traps heat in earth’s atmosphere trying to escape into space, which causes the atmosphere to warm generating climate change. Increased consumption of devices is taking a toll on the environment. As consumers gain access to more technologies the cycle of consumption only expands. As new devices are developed, the older devices are thrown out even if they are still functional. Often, big companies will purposefully change their products in ways that make certain partner devices (such as chargers or earphones) unusable–creating demand for new products. Economic incentives mean that companies will continue these practices in spite of the environmental impacts. One of the main issues with the 5G network and the resulting increase in consumption of technological devices is that the production required for these devices is not sustainable. In the case of making new devices, whether they be new smart-phones or the small cells needed for 5G, the use of nonrenewable metals is required. It is extremely difficult to use metals for manufacturing sustainably, because metals are not a renewable resource. Metals used in the manufacturing of the smart devices frequently used today often cannot be recycled in the same way many household items can be recycled. Because these technologies cannot be recycled, they create tons of waste when they are created and tons of waste when they are thrown away. There are around six billion mobile devices in use today, with this number expected to increase drastically as the global population increases and new devices enter the market. One estimate of the life-time carbon emissions of a single device–not including related accessories and network connection–is that a device produces a total of 45kg of carbon dioxide at a medium level of usage over three years. This amount of emission is comparable to that of driving the average European car for 300km. But, the most environmentally taxing stage of a mobile device life cycle is during the production stage, where around 68% of total carbon emissions is produced, equating to 30kg of carbon dioxide. To put this into perspective, an iPhone X weighs approximately 0.174kg, so in order to produce the actual device, 172 iPhone X’s worth of carbon dioxide is also created. These emissions vary from person to person and between different devices, but it’s possible to estimate the impact one device has on the environment. 5G grants the capacity for more devices to be used, significantly increase the existing carbon footprint of smart devices today. Energy usage for the ever-growing number of devices on the market and in homes is another environmental threat that would be greatly increased by the new capabilities brought by the 5G network. Often, energy forecasts overlook the amount of energy that will be consumed by new technologies, which leads to a skewed understanding of the actual amount of energy expected to be used.[30] One example of this is with IoT devices.[31] IoT is one of the main aspects of 5G people in the technology field are most excited about. 5G will allow for a larger expansion of IoT into the everyday household.[32] While some IoT devices promise lower energy usage abilities, the 50 billion new IoT devices expected to be produced and used by consumers will surpass the energy used by today’s electronics.

The small cells required for the 5G network to properly function causes another issue of waste with the new network. Because of the weak nature of the millimeter waves used in the 5G technology, small cells will need to be placed around 250 meters apart to insure continuous connection. The main issue with these small cells is that the manufacturing and maintenance of these cells will create a lot of waste. The manufacturing of technology takes a large toll on the environment, due to the consumption of non-renewable resources to produce devices, and technology ending up in landfills. Implementing these small cells into large cities where they must be placed at such a high density will have a drastic impact on technology waste. Technology is constantly changing and improving, which is one of the huge reasons it has such high economic value. But, when a technological advancement in small cells happens, the current small cells would have to be replaced. The short lifespan of devices created today makes waste predictable and inevitable. In New York City, where there would have to be at least 3,135,200 small cells, the waste created in just one city when a new advancement in small cells is implemented would have overwhelming consequences on the environment. 5G is just one of many examples of how important it is to look at the consequences of new advancements before their implementation. While it is exciting to see new technology that promises to improve everyday life, the consequences of additional waste and energy usage must be considered to preserve a sustainable environment in the future. There is some evidence that the new devices and technologies associated with 5G will be harmful to delicate ecosystems. The main component of the 5G network that will affect the earth’s ecosystems is the millimeter waves. The millimeter waves that are being used in developing the 5G network have never been used at such scale before. This makes it especially difficult to know how they will impact the environment and certain ecosystems. However, studies have found that there are some harms caused by these new technologies. The millimeter waves, specifically, have been linked to many disturbances in the ecosystems of birds. In a study by the Centre for Environment and Vocational Studies of Punjab University, researchers observed that after exposure to radiation from a cell tower for just 5-30 minutes, the eggs of sparrows were disfigured.[34] The disfiguration of birds exposed for such a short amount of time to these frequencies is significant considering that the new 5G network will have a much higher density of base stations (small cells) throughout areas needing connection. The potential dangers of having so many small cells all over areas where birds live could cause whole populations of birds to have mutations that threaten their population’s survival. Additionally, a study done in Spain showed breeding, nesting, and roosting was negatively affected by microwave radiation emitted by a cell tower. Again, the issue of the increase in the amount of connection conductors in the form of small cells to provide connection with the 5G network is seen to be harmful to species that live around humans. Additionally, Warnke found that cellular devices had a detrimental impact on bees.[36] In this study, beehives exposed for just ten minutes to 900MHz waves fell victim to colony collapse disorder.Colony collapse disorder is when many of the bees living in the hive abandon the hive leaving the queen, the eggs, and a few worker bees. The worker bees exposed to this radiation also had worsened navigational skills, causing them to stop returning to their original hive after about ten days. Bees are an incredibly important part of the earth’s ecosystem. Around one-third of the food produced today is dependent on bees for pollination, making bees are a vital part of the agricultural system. Bees not only provide pollination for the plant-based food we eat, but they are also important to maintaining the food livestock eats. Without bees, a vast majority of the food eaten today would be lost or at the very least highly limited. Climate change has already caused a large decline in the world’s bee population. The impact that the cell towers have on birds and bees is important to understand, because all ecosystems of the earth are interconnected. If one component of an ecosystem is disrupted the whole system will be affected. The disturbances of birds with the cell towers of today would only increase, because with 5G a larger number of small cell radio-tower-like devices would be necessary to ensure high quality connection for users. Having a larger number of high concentrations of these millimeter waves in the form of small cells would cause a wider exposure to bees and birds, and possibly other species that are equally important to our environment.As innovation continues, it is important that big mobile companies around the world consider the impact 5G will have on the environment before pushing to have it widely implemented. The companies pushing for the expansion of 5G may stand to make short term economic gains. While the new network will undoubtedly benefit consumers greatly, looking at 5G’s long-term environmental impacts is also very important so that the risks are clearly understood and articulated. The technology needed to power the new 5G network will inevitably change how mobile devices are used as well as their capabilities. This technological advancement will also change the way technology and the environment interact. The change from using radio waves to using millimeter waves and the new use of small cells in 5G will allow more devices to be used and manufactured, more energy to be used, and have detrimental consequences for important ecosystems. While it is unrealistic to call for 5G to not become the new network norm, companies, governments, and consumers should be proactive and understand the impact that this new technology will have on the environment. 5G developers should carry out Environmental Impact Assessments that fully estimate the impact that the new technology will have on the environment before rushing to widely implement it. Environmental Impact Assessments are intended to assess the impact new technologies have on the environment, while also maximizing potential benefits to the environment. This process mitigates, prevents, and identifies environmental harm, which is imperative to ensuring that the environment is sustainable and sound in the future. Additionally, the method of Life Cycle Assessments (LCA) of devices would also be extremely beneficial for understanding the impact that 5G will inevitably have on the environment. An LCA can be used to assess the impact that devices have on carbon emissions throughout their life span, from the manufacturing of the device to the energy required to power the device and ultimately the waste created when the device is discarded into a landfill or other disposal system. By having full awareness of the impact new technology will have on the environment ways to combat the negative impacts can be developed and implemented effectively.

 

jsis.washington.edu/news/what-will-5g-mean-for-the-enviro...

  

Maximization Art print from the Ultramax series ... Stefan Sonntag, October 2023

España - Sevilla - San Nicolás del Puerto - Dehesa en la Sierra Norte

 

ENGLISH:

 

Dehesa is a multifunctional agro-sylvo-pastoral system (a type of agroforestry) and cultural landscape of southern and central Spain (and southern Portugal, where it is known as montado). Dehesas may be private or communal property (usually belonging to the municipality). Used primarily for grazing, they produce a variety of products including non-timber forest products such as wild game, mushrooms, honey, cork, and firewood. It is also used as natural habitat for the Spanish fighting bull and the Iberian pig. The tree component is oaks, usually holm (Quercus ilex) and cork (Quercus suber). Other oaks, including melojo (Quercus pyrenaica) and quejigo (Quercus faginea), may be used to form dehesa, the species depending on geographical location and elevation. Dehesa is an anthropogenic system that provides not only a variety of foods, but also wildlife habitat for endangered species such as the Iberian lynx and the Spanish imperial eagle.

 

The dehesa is derived from the Mediterranean forest ecosystem, consisting of pastureland featuring herbaceous species for grazing and tree species belonging to the genus Quercus (oak), such as the holm oak (Quercus ilex sp. ballota), although other tree species such as beech and pine trees may also be present. Oaks are protected and pruned to produce acorns, which the famous black Iberian pigs feed on in the fall during the montanera. Ham produced from Iberian pigs fattened with acorns and air-dried at high elevations is known as Jamón ibérico, and sells for premium prices, especially if only acorns have been used for fattening.

 

There is debate about the origins and maintenance of the dehesa, and whether or not the oaks can reproduce adequately under the grazing densities now forced upon the dehesa or montado. Goats, cattle, and sheep also graze in dehesa. In a typical dehesa, oaks are managed to persist for about 250 years. If cork oaks are present, the cork is harvested about every 9 to 12 years, depending on the productivity of the site. The understory is usually cleared every 7 to 10 years, to prevent the takeover of the woodland by shrubs of the rock rose family (Cistaceae), often referred to as "jara", or by oak sprouts. Oaks are spaced to maximize light for the grasses in the understory, water use in the soils, and acorn production for pigs and game. Periodic hunts in the dehesa are known as the monteria. Groups attend a hunt at a private estate, and wait at hunting spots for game to be driven to them with dogs. They usually pay well for the privilege, and hunt wild boar, red deer and other species.

 

The dehesa system has great economic and social importance on the Iberian peninsula because of both the large amount of land involved and its importance in maintaining rural population levels. The major source of income for dehesa owners is usually cork, a sustainable product that supports this ancient production system and old growth oaks. High end ibérico pigs and sale of hunting rights also represent significant income sources.

 

The area of dehesa usually coincides with areas that could be termed "marginal" because of both their limited agricultural potential (due to the poor quality of the soil) and a lack of local industry, which results in isolated agro-industries and very low capitalization.

 

Dehesa covers nearly 20,000 square kilometers on the Iberian peninsula, mainly in:

 

Portugal (33% of total dehesa world's area)

Alentejo

The Algarve

 

Spain (23% of total dehesa world's area)

Córdoba

Extremadura

Salamanca

Sierra Morena

Sierra Norte de Sevilla

Sierra de Aracena

 

*******************************************************************************

 

ESPAÑOL:

 

Dehesa es un bosque formado por encinas, alcornoques u otras especies, con estrato inferior de pastizales o matorrales, donde la actividad del ser humano ha sido intensa, y generalmente están destinados al mantenimiento del ganado, a la actividad cinegética y al aprovechamiento de otros productos forestales (leñas, corcho, setas etc.). Es un ejemplo típico de sistema agrosilvopastoral y típico de la zona occidental de la península ibérica.

 

El término dehesa viene del latín "defesa", pues los primeros pobladores en la reconquista hacían vallados para proteger los rebaños alojados en ellas.

 

Resulta así un ecosistema derivado del bosque mediterráneo, constituido por especies arbóreas del género Quercus (encina, alcornoque) u otras especies como hayas o pinos y el estrato herbáceo para pacer.

 

Se trata de un ecosistema derivado de la actividad humana a partir del bosque de encinas, alcornoques, etc. Es la consecuencia de conquistar al bosque terrenos para destinarlos a pastizales. Pasa por una fase inicial en la que se aclara el bosque denso para pasar a una segunda fase de control de la vegetación leñosa y la estabilización de los pastizales.

 

El sistema adehesado tiene una gran importancia económica y social en la península ibérica, tanto por su extensión superficial como por la función de fijación de población rural en sus núcleos. Reduciendo el flujo emigratorio y sus consecuencias (envejecimiento, incremento de tasas de mortalidad, reducción de tasas de actividad, abandono de explotaciones, etc).

 

La explotación de la dehesa suele coincidir con zonas que podríamos denominar “marginales”, tanto por su limitada vocación agraria (derivado de la pobreza de los suelos), como por la inexistencia de un tejido industrial, que se reduce a industrias agroalimentarias aisladas y de muy reducida capitalización.

 

Su extensión varía mucho según qué autores, pero está entre los dos y los cuatro millones de hectáreas (entre 20 000 y 40 000 km2; para hacerse una idea, 40 000 km2 es la extensión de Extremadura), principalmente en el suroeste y oeste: provincia de Córdoba, Salamanca, Extremadura, Huelva, Sierra Norte de Sevilla, piedemonte del sistema Central en España (especialmente en la zona de Talavera de la Reina) y el Alentejo y Algarve en Portugal.

old and used maximizer triumph bra, i love this one...and love the smell too... sexy!

my new favourite from Triumph

Maximize for better detail/resolution

my old triumph collection, no more in production...i love it!!

used sporty maximizer bra

:D

no more in production

NASA and Boeing workers move solar arrays for the International Space Station to flight support equipment in the high bay of the Space Station Processing Facility at NASA’s Kennedy Space Center in Florida on April 2, 2021. The 63- by- 20-foot solar arrays will launch to the International Space Station later this year. They are the first two of six new solar arrays that in total will produce more than 120 kilowatts of electricity from the Sun’s energy, enough to power more than 40 average U.S. homes. Combined with the eight original, larger arrays, this advanced hardware will provide 215 kilowatts of energy, a 20 to 30 percent increase in power, helping maximize the space station’s capabilities for years to come. The arrays will produce electricity to sustain the station’s systems and equipment, plus augment the electricity available to continue a wide variety of public and private experiments and research in the microgravity environment of low-Earth orbit. Photo credit: NASA/Frank Michaux

NASA image use policy.

 

my old triumph collection, no more in production...i love it!!

Busk next to a cash machine

Located in the heart of Mission Bay, 1700 Owens Street stands as a sleek example of San Francisco’s modern commercial architecture. This eye-catching building, with its distinct angular glass façade, reflects the tech-driven innovation surrounding it. Designed to maximize natural light and efficiency, the exterior's angular geometry paired with turquoise-tinted glass gives a nod to the city’s maritime heritage, while the robust structural lines evoke a sense of forward-thinking momentum. It’s not just about aesthetics here—this building sits at the intersection of biotechnology and healthcare industries, hosting cutting-edge companies contributing to global advancements.

 

The building was part of the larger Mission Bay redevelopment, which transitioned from rail yards and warehouses into today’s life science hub. Since its completion in the early 2000s, 1700 Owens has housed a variety of tenants, from biotech startups to established research institutions. With close proximity to UCSF’s Mission Bay campus, it plays a pivotal role in fostering collaboration in the research and medical fields.

 

But it’s not all work at 1700 Owens. The building’s design also prioritizes sustainability, boasting energy-efficient systems and eco-friendly materials. Its glass curtain walls provide panoramic views of the San Francisco skyline and the Bay, while interior green spaces offer a respite for workers.

 

Whether you're in the area for business, or just passing by, 1700 Owens Street is a striking example of Mission Bay's rise as a dynamic, urban, and future-facing district.

Plants behave in some oddly intelligent ways: fighting predators, maximizing food opportunities ... But can we think of them as actually having a form of intelligence of their own?

Are plants intelligent? Can they solve problems, communicate, and navigate their surroundings? For centuries, philosophers and scientists have argued that plants are unthinking and inert – yet discoveries over the past 50 years have challenged this idea, shedding new light on the complex interior lives of plants.Are plants intelligent? Can they solve problems, communicate, and navigate their surroundings? Or are they passive, incapable of independent action or social behavior? Philosophers and scientists have pondered these questions since ancient Greece, most often concluding that plants are unthinking and inert: they are too silent, too sedentary -- just too different from us. Yet discoveries over the past fifty years have challenged these ideas, shedding new light on the extraordinary capabilities and complex interior lives of plants.

In Brilliant Green, Stefano Mancuso, a leading scientist and founder of the field of plant neurobiology, presents a new paradigm in our understanding of the vegetal world. Combining a historical perspective with the latest in plant science, Mancuso argues that, due to cultural prejudices and human arrogance, we continue to underestimate plants. In fact, they process information, sleep, remember, and signal to one another -- showing that, far from passive machines, plants are intelligent and aware. Through a survey of plant capabilities from sight and touch to communication, Mancuso challenges our notion of intelligence, presenting a vision of plant life that is more sophisticated than most imagine.

Plants have much to teach us, from network building to innovations in robotics and man-made materials -- but only if we understand more about how they live. Part botany lesson, part manifesto, Brilliant Green is an engaging and passionate examination of the inner workings of the plant kingdom.

In Brilliant Green, leading scientist Stefano Mancuso presents a new paradigm in our understanding of the vegetal world. He argues that plants process information, sleep, remember, and signal to one another – showing that, far from passive machines, plants are intelligent and aware. Part botany lesson, part manifesto, Brilliant Green is an engaging and passionate examination of the inner workings of the plant kingdom.

www.ted.com/talks/stefano_mancuso_the_roots_of_plant_inte...

The Botany of Desire: A Plant's-Eye View of the World is a 2001 nonfiction book by journalist Michael Pollan. Pollan presents case studies that mirror four types of human desires that are reflected in the way that we selectively grow, breed, and genetically engineer our plants. The tulip beauty, marijuana intoxication, the apple sweetness and the potato control.

en.wikipedia.org/wiki/The_Botany_of_Desire

Are plants intelligent? Can they solve problems, communicate, and navigate their surroundings? Or are they passive, incapable of independent action or social behavior? Philosophers and scientists have pondered these questions since ancient Greece, most often concluding that plants are unthinking and inert: they are too silent, too sedentary -- just too different from us. Yet discoveries over the past fifty years have challenged these ideas, shedding new light on the extraordinary capabilities and complex interior lives of plants.

In Brilliant Green, Stefano Mancuso, a leading scientist and founder of the field of plant neurobiology, presents a new paradigm in our understanding of the vegetal world. Combining a historical perspective with the latest in plant science, Mancuso argues that, due to cultural prejudices and human arrogance, we continue to underestimate plants. In fact, they process information, sleep, remember, and signal to one another -- showing that, far from passive machines, plants are intelligent and aware. Through a survey of plant capabilities from sight and touch to communication, Mancuso challenges our notion of intelligence, presenting a vision of plant life that is more sophisticated than most imagine.

Plants have much to teach us, from network building to innovations in robotics and man-made materials -- but only if we understand more about how they live. Part botany lesson, part manifesto, Brilliant Green is an engaging and passionate examination of the inner workings of the plant kingdom.

 

Financial support for the translation of this book has been provided by SEPS: Segretariato Europeo Per Le Pubblicazioni Scientifiche. - See more at: islandpress.org/book/brilliant-green#sthash.ThqSqcvm.dpuf

The stories range from the true story of Johnny Appleseed to Pollan's first-hand research with sophisticated marijuana hybrids in Amsterdam to the paradigm-shifting possibilities of genetically engineered potatoes. Pollan also discusses the limitations of monoculture agriculture: specifically, the adoption in Ireland of a single breed of potato (the Lumper) made the Irish vulnerable to a fungus to which it had no resistance, resulting in the Irish Potato Famine. The Peruvians from whom the Irish had gotten the potato grew hundreds of varieties, so their exposure to any given pest was slight.

Flowers can also be used to convey a message, and to share our feelings. Flowers, similar to colours are often used to convey a message, or to deliver a warning to us.Flowers and plant life have a wide range of uses from sustenance, to medicine, to gestures of affection and almost everything in between.Plant life converts carbon monoxide to oxygen, and without plants, we could not exist in our present human form.As well as traditional and modern medicines, essences and oils extracted from plant life are used for aroma therapy healing practices and the like.Plants extracts and essences are used in many Wiccan rituals.These uses of plants are valid and essential but, they are only the beginning of our understanding of the nature of plant life.

Cosmic Energy Renewal

Mostly, we attempt to obtain cosmic energy from others, either through conflict wherein we take another's cosmic energy, or through providing assistance to others who give us their cosmic energy.Cosmic energy obtained from others is short lived, and unless we can link with a partner, or a series of partners who we can dominate and draw cosmic energy from permanently, we are soon looking for another opportunity to obtain cosmic energy from others.There are many natural sources of cosmic energy which we can, and do draw upon, often unaware that we do so. We do not need to obtain energy from others, and when we discontinue seeking to obtain energy from others, we lose any desire for conflict, in any guise.One excellent and readily available source of cosmic energy is plant life. Being attached to the earth, plants draw cosmic energy directly from the earth. We are able to draw cosmic energy from plant life, which is why we will often return from spending time in a garden feeling renewed and 'up'.When we draw cosmic energy from plant life, we are assisting the plant life to renew their cosmic energy so that instead of a relatively stagnant amount of cosmic energy residing with the plant, a constant stream of renewed energy passes through the plant. This is why some people seem to have a 'green thumb', they draw energy through the plant life in their gardens.

Fairies.

Fairies have long been the subject of fantasy and debate. Fairies have been photographed and investigated, and fairies have been discounted by sceptics.Fairies have been said to have special powers, and to inhabit realms such as 'middle earth'. Fairies have been seen in dreams and reality. Fairies have been witnessed by children and adults, both intoxicated and sober.The key to understanding the truth of the existence of fairies is to consider the common denominator which is prevalent in most tales of fairies, which is the connection between fairies and plant life.There are many who know that fairies reside 'at the bottom of their garden'. Fairies do reside at the bottom of gardens, every garden.Just as we, and every living thing has a physical body and a spirit body, so too do plants. The spirit bodies of those in human form have been witnessed on astral travels, and have been labelled when unattached to a physical body as ghosts or spirits. The spirit bodies of plant life have been witnessed on many occasions, sometimes with acceptance, and other times with disbelief. The spirit bodies of plant life, have been labelled Fairies.Fairies are no different to any other spirits. Fairies exist on the spirit plane, and fairies are occasionally witnessed, more often than we realise, by those of us in a physical existence.

The Meaning Of Flowers.

Flowers can also be used to convey a message, and to share our feelings. Flowers, similar to colours are often used to convey a message, or to deliver a warning to us.We can receive a message in this way either when we encounter a flower on the physical plane, or when we encounter a flower on the spirit plane, in our 'dreams'.If we encounter a broken flower, the meaning of the flower will usually be reversed.

 

www.eaglespiritministry.com/works/flower.htm

The intelligent Plant. That is the title of a recent article in The New Yorker — and new research is showing that plants have astounding abilities to sense and react to the world.The Intelligent Plant. That is the title of a recent article in The New Yorker — and new research is showing that plants have astounding abilities to sense and react to the world.

This story is based on a radio interview. Listen to the full interview.But can a plant be intelligent? Some plant scientists insist they are — since they can sense, learn, remember and even react in ways that would be familiar to humans.Michael Pollan, author of such books as "The Omnivore's Dilemma" and "The Botany of Desire," wrote the New Yorker piece about the developments in plant science. He says for the longest time, even mentioning the idea that plants could be intelligent was a quick way to being labeled "a whacko." But no more, which might be comforting to people who have long talked to their plants or played music for them.The new research, he says, is in a field called plant neurobiology — which is something of a misnomer, because even scientists in the field don't argue that plants have neurons or brains."They have analagous structures," Pollan explains. "They have ways of taking all the sensory data they gather in their everyday lives ... integrate it and then behave in an appropriate way in response. And they do this without brains, which, in a way, is what's incredible about it, because we automatically assume you need a brain to process information."And we assume you need ears to hear. But researchers, says Pollan, have played a recording of a caterpillar munching on a leaf to plants — and the plants react. They begin to secrete defensive chemicals — even though the plant isn't really threatened, Pollan says. "It is somehow hearing what is, to it, a terrifying sound of a caterpillar munching on its leaves."

 

Pollan says plants have all the same senses as humans, and then some. In addition to hearing, taste, for example, they can sense gravity, the presence of water, or even feel that an obstruction is in the way of its roots, before coming into contact with it. Plant roots will shift direction, he says, to avoid obstacles.So what about pain? Do plants feel? Pollan says they do respond to anesthetics. "You can put a plant out with a human anesthetic. ... And not only that, plants produce their own compounds that are anesthetic to us." But scientists are reluctant to go as far as to say they are responding to pain.How plants sense and react is still somewhat unknown. They don't have nerve cells like humans, but they do have a system for sending electrical signals and even produce neurotransmitters, like dopamine, serotonin and other chemicals the human brain uses to send signals."We don't know why they have them, whether this was just conserved through evolution or if it performs some sort of information processing function. We don't know. There's a lot we don't know," Pollan says.And chalk up another human-like ability — memory. Pollan describes an experiment done by animal biologist Monica Gagliano. She presented research that suggests the mimosa pudica plant can learn from experience. And, Pollan says, merely suggesting a plant could learn was so controversial that her paper was rejected by 10 scientific journals before it was finally published.Mimosa is a plant, which looks something like a fern, that collapses its leaves temporarily when it is disturbed. So Gagliano set up a contraption that would drop the mimosa plant, without hurting it. When the plant dropped, as expected, its leaves collapsed. She kept dropping the plants every five to six seconds."After five or six drops, the plants would stop responding, as if they'd learned to tune out the stimulus as irrelevent," Pollan says. "This is a very important part of learning — to learn what you can safely ignore in your environment."Maybe the plant was just getting worn out from all the dropping? To test that, Gagliano took the plants that had stopped responding to the drops and shook them instead. "They would continue to collapse," Pollan says. "They had made the distinction that [dropping] was a signal they could safely ignore. And what was more incredible is that [Gagliano] would retest them every week for four weeks and, for a month, they continued to remember their lesson."That's as far out as Gagliano tested. It's possible they remember even longer. Conversely, Pollan points out, bees that are given a similar dishabituation test forget what they've learned in as little as 48 hours.Pollan says not everyone accepts that what Gagliano describes is really learning. In fact, there are many critics with many alternative theories for explaining the response the plants are having. Still ..."Plants can do incredible things. They do seem to remember stresses and events, like that experiment. They do have the ability to respond to 15 to 20 environmental variables," Pollan says. "The issue is, is it right to call it learning? Is that the right word? Is it right to call it intelligence? Is it right, even, to call what they are conscious. Some of these plant neurobiologists believe that plants are conscious — not self-conscious, but conscious in the sense they know where they are in space ... and react appropriately to their position in space."Pollan says there is no agreed definition of intelligence. "Go to Wikipedia and look up intelligence. They despair of giving you an answer. They basically have a chart where they give you nine different definitions. And about half of them depend on a brain — they refer to abstract reasoning or judgment."And the other half merely refer to a problem-solving ability. And that's the kind of intelligence we are talking about here.... So intelligence may well be a property of life. And our difference from these other creatures may be a matter of difference of degree rather than kind. We may just have more of this problem-solving ability and we may do it in different ways."Pollan says that really freaks people out — "that the line between plants and animals might be a little softer than we traditionally think of it as."And he suggests that plants may be able to teach humans a thing or two, such as how to process information without a central command post like a brain.

 

Check out this video of Michael Pollan discussing time-lapse photography of bean plants looking very purposeful.

www.pri.org/stories/2014-01-09/new-research-plant-intelli...

 

so I grew up I am? For ten years, a lively debate on the intelligence of plants animates the community of biologists of the plant world. Heresy, shout some, truth, say others.

At the head of the latter, Stefano Mancuso, founder of the International Plant Neurobiology Laboratory, confirmed and signed in his latest book, Brilliant Green (Michael Pollan, 2015, not translated): "The most recent studies of the plant world have shown that plants are sensitive (and therefore are endowed with sense), they communicate (with each other and with animals), sleep, remember and can even manipulate other species. They can be described as intelligent. "Among researchers interviewed on the subject, the discomfort is systematic. Already in 2008, Thirty-six European and North American biologists signed a manifesto published in Trends in Plant Science, led by the Italian Amedeo Alpi (University of Pisa), to denounce the use of "Neurobiology" which under -entendrait intelligence of plants.

It must be said that trauma has long shaken plant biologists. In 1973 the release of the book The Secret Life of Plants by Peter Tomkins and Christopher Bird (The Secret Life of Plants, Robert Laffont ,.

www.lemonde.fr/sciences/article/2016/02/29/un-vif-debat-s...

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Solar panels can be just as effective in the winter as they can during the peak of the summer season. However, for property owners to maximize the output of their solar power system, they must commit to a comprehensive winter maintenance regimen. There are several important elements to consider...

 

bendygo.com/blog/three-solar-panel-winter-maintenance-tip...

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2018 Maximize Conference in Carlsbad, California on Tuesday, October 2, 2018. Photo by David Ahntholz, Tracy + David Stills and Motion, www.tracydavid.com

Are you on the bus?

What is your destination?

Will you cross the road?

What is behind the machine?

 

The privilege of possessing a curious mind and an urge to make sense.

 

When Flinders circumnavigated New Holland.

He took Trim.

Suitable for service.

Faithful and affectionate.

 

So it became.

Forging ahead and getting around restrictions.

Breaking national protections.

Cutting the red tape.

 

To this day

Encroachments are made to preserve Australia's prosperity.

And maximizing returns,

by reorganizing structures.

To maintain productivity and continuous growth.

 

Read more: www.jjfbbennett.com/2021/01/are-you-on-bus.html

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IR HDR. IR converted Canon 40D. Canon 17-55 F2.8 IS lens. Shot at ISO 100, F16, AEB +/-3 total of 7 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

 

my old triumph collection, no more in production...i love it!!

TUESDAY, SEPTEMBER 29, 2015

Fortune Brainstorm E - Austin, TX, USA

 

3:55 PM

HOW THE INTERNET OF THINGS WILL REVOLUTIONIZE CITIES

The mash-up of sensors, Big Data and the Internet promises to bring radical new efficiency to cities. The new trend: Tens of billions of devices and systems are connecting online, allowing revolutionary changes to how things are done from improving traffic flows, boosting building efficiency, and maximizing water use, to mention just a few. Some say this is a trillion-dollar opportunity. Who will the players be, and which applications show the most promise?

 

Smart Cities Track Hosted by Hitachi

Fahd Al-Rasheed, Group CEO/Managing Director, King Abdullah Economic City

Doug Baker, Chairman and CEO, Ecolab

Mahesh Ramanujam, Chief Operating Officer, U.S. Green Building Council

Moderator: Brian O’Keefe, Fortune

 

Photograph by Stuart Isett/Fortune Brainstorm E

How much can you get out of a Mokume Gane stack? I set out to find out. My answer: 58 cabochons, 13 swirly lentil beads, 32 beads, 19 sets of earrings. My secret weapon? My Simple Slicer!

Rosaly helping me with my obsessive maximizing of my favorite red wig, recently covered in white paint. (See previous photoshoot.) I was going for a sense of confused yet controlled upward flow. Make-up by me.

Featureing Rosaly Welsh.

Maximize image or View LARGE image

 

Another misty morning in Allegany State Park.

 

No cropping or processing.

 

Thomas L. Kelly Covered Bridge, Allegany State Park, western NY – October 18, 2009

 

**Maximize this pic**

 

Sorry for the horrible pic guys but its the best I could do :(

 

I am not going to say anything, but all I will say is Savage Opress goes to visit Darth Maul (who apparently survived!?!?) to be trained.

 

I don't know how he survived maybe someone found him and game him new legs :D but I dunno lol

 

Watch CW S3 Episode 14 "Witches of the Mist" : www.mastertoons.com/Witches-of-the-Mist.php don't worry there are no viruses on that site 09webcam and I spent hours looking for this episode in the middle of the night :P

 

Watch trailer for the next three episodes (including Ahsoka turning to the dark side) : www.youtube.com/watch?v=Wj4NOdIqokE

 

I overall don't know what to think of this, it doesn't say that Dark Maul died anymore on Wookiepedia...

 

Forex Maximizer is a Forex robot that trades 100% automatically. Like most robots, it works on MetaTrader 4 platform, is easy to install and easy to use.

 

Forex Maximizer features:

 

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jojoblog.blog.com/2010/05/11/why-you-must-read-our-forex-...

jojo2528.blogge.rs/2010/05/10/forex-maximizer-complete-re...

jojo2528.sosblog.com/The-first-blog-b1/Forex-Maximizer-Ho...

 

my old triumph collection, no more in production...i love it!!

We Wrap Up the October #conservationlands15 Social Media Takeover with the Top 15 Bucket List Adventures on BLM’s National Conservation Lands!

 

1. View manatees on the Florida coast. Visitors to the Jupiter Inlet Lighthouse can have a front row seat during the winter months to view Florida’s beloved manatees. Wear polarized sunglasses to maximize your underwater view.

 

2. Explore a lava tube, ID. Bear Trap Cave in Craters of the Moon National Monument is an easy opportunity to go underground and get a taste of a major lava tube system. The tube, which once served as a conduit for a major lava flow, can be traced for more than 15 miles. The total cave length accessible from Bear Trap is about 150 feet.

 

3. Kayak and camp on the continental U.S. coastline’s northernmost island, WA. Patos Island in the San Juan Islands National Monument is a stone’s throw from Canada. Visitors can camp on the island and explore the headlands and Patos Island Lighthouse, built in 1893. The mountains of Canada and the Cascade and Olympic ranges provide scenic backdrops.

 

4. Walk in the footsteps of an ancient civilization, UT. Grand Gulch Wilderness Study Area in Utah is famous for its Ancestral Puebloan cliff ruins and rock art. Hikers and backpackers can follow miles of winding canyons lined with overhanging cliffs that provided shelter to ancient peoples. Some ruins are amazingly inaccessible, perched high on ledges and under overhangs.

 

5. View the brightest Milky Way under the darkest night skies, AZ. Arizona’s Grand Canyon Parashant National Monument was designated as an International Night Sky Provence” due to its amazing dark skies and freedom from light pollution. Come during the summer when the core of the Milky Way is most visible.

 

6. Fish and raft Montana’s legendary Madison River, MT. Flowing through the heart of the Beartrap Canyon Wilderness, the Madison offers challenging whitewater and a blue ribbon trout fishery.

 

7. Hike the Continental Divide, NM. You don’t need to be a mountain goat to explore the Continental Divide in New Mexico. Segments of the Continental Divide trail in the El Malpias National Conservation Area cross rolling volcanic tablelands dotted with Ponderosa pines & are suitable for day hikes and family outings.

 

8. Follow the route of Pony Express riders, WY. The Pony Express National Historic Trail follows the corridor of the legendary fast-moving mail service, operated between April 1860 and November 1861. Stop at the National Historic trails Interpretive Center in Casper, WY and learn about nearby trail corridor locations to hike, bike or ride your horse.

 

9. Pan for gold in California’s Mother Lode. The Merced and North fork of the American Wild and Scenic Rivers are in the heart of CA gold country. Patient prospectors will still find “color” in their pans and everyone is rewarded with spectacular beauty and crystal clear waters.

 

10. Hike the granddaddy of all slot canyons, UT. Utah’s Buckskin Gulch in the Paria Canyon – Vermilion Cliffs Wilderness is legendary among slot canyon explorers – No canyon in North America, and probably the world, combines its depth, narrowness and length.

 

11. Hike the northernmost national recreation trail, AK. The Pinnell Mountain trail in Alaska’s Steese National Conservation Area offers sweeping mountain vistas and brilliant wildflower displays under the unceasing light of the midnight sun. Located 100 miles (161 km) northeast of Fairbanks, this 27-mile trail traverses mostly tundra with a few scattered black spruce.

 

12. Float & fish author Zane Grey’s favorite river, OR. The legendary salmon and steelhead runs along the Rogue first attracted western author Zane Grey to the region in 1919 and later led to its designation as one of the first 8 designated Wild and Scenic Rivers in the country.

 

13. Drive where the world land speed record was set, NV. The 100,000 acre playa (dry lake bed) in the Black Rock-High Rock-Emigrant Trails National Conservation Area made history in 1997 when the world land speed record of 766 mph was set. Visitors can drive on the flat expanse of the playa as long as conditions are dry.

 

14. Get a jump on your birding life list, AZ. The San Pedro Riparian NCA is a birders paradise where 350 species have been documented. The Globally Important Bird Area attracts thousands of birdwatchers from all over the world each year. The 100 breeding species represent roughly half the number of known breeding species in North America.

 

15. Mountain bike through the red-rock of the Colorado Plateau, CO. The Kokopelli’s Area Trail network, located near Grand Junction, CO at the western edge of McInnis Canyon’s National Conservation Area, is arguably the best collection of trails in Colorado one of the best networks in the entire southwest. Miles of super fine singletrack with amazing views of the Colorado River canyon’s makes Kokopelli’s a World Class trails mecca.

my old triumph collection, no more in production...i love it!!

KANEOHE BAY, Hawaii (July 14, 2015) Lt. Christopher Malherek, assigned to the Golden Eagles of Patrol Squadron (VP) 9, prepares to land a P-3C Orion maritime patrol aircraft during a routine training flight for the squadron's advanced readiness program. VP-9 is involved in preparations for their inter-deployment readiness cycle, conducting exercises, and maintenance to maximize operational performance and efficiency. (U.S. Navy photo by Mass Communication Specialist 3rd Class Amber Porter/Released)

 

"Maximize Mortgage Applications with Women Clients - t.co/9rf0qBiIJN (press release)" t.co/4FsmXc6hpE (via Twitter twitter.com/downpaymentaz/status/816578044433494016)

SRT Viper TA

 

Configured in-house by the Chrysler Group's SRT (Street and Racing Technology) team in collaboration with professional road racers, the exclusive, street-legal and single-spec 2014 SRT Viper TA (Time Attack) package is specifically built for the performance enthusiast driver who likes to exercise their machines at the more than 150 road-race courses around North America.

 

Less than one year since the long-awaited world debut of the new 2013 SRT Viper at the 2012 New York International Auto Show, the 2014 SRT Viper TA is set to make its public debut on the same show floor at the Jacob Javits Center in New York City.

 

Based on the SRT Viper model - the lightest vehicle in the lineup, the 2014 SRT Viper TA package builds upon the legendary on-track capability of the American hand-built supercar using a majority of pre-developed components straight from the SRT stable, that are combined into a carefully balanced package that extract the most out of the Viper ultralow center of gravity, 50/50 weight distribution and largest contact patch in the production car world.

 

"The new 2014 SRT Viper TA is being engineering for the dedicated track enthusiast, who still wants to drive to the track and take their hobby to the next level" said Ralph Gilles, President and CEO - SRT Brand and Motorsports, Chrysler Group LLC. "We're re-launching some of the fastest production-built cars that people can buy straight from the factory. Our engineers revised the suspension settings to refocus the Viper specifically for track duty, using a blend of components from the GTS and the SRT models, add in the extensively developed aero package and the new Time Attack package is born. We're not only saluting the existing capabilities of our current models, we're also targeting another niche in our customer base with a tremendously capable track machine."

 

SRT Viper TA (2014)

2014 SRT Viper TA

  

The suspension on the 2014 SRT Viper TA is uniquely tuned and upgraded specifically for on-track usage and to maximize the performance of the Pirelli P Zero Corsa tires which are mounted on ultra-lightweight, multi-spoke Sidewinder II wheels. A two-mode Bilstein Damptronic suspension system features firmer levels of damping and a smaller spread between modes than what is found on the current Viper GTS models.

 

Shock dampers, springs and road racing derived stabilizer bars have been retuned for optimal on-track performance. The standard aluminum structural X-brace is replaced with a lighter carbon fiber brace that effectively ties the four corners of the engine compartment together and contributes to the 50-percent increase in torsional rigidity and stiffness across the Viper lineup.

 

Based on the outstanding performance of the world-class brake system on the 2013 SRT Viper, SRT engineers are working in parallel with Brembo on a system that increases thermal capacity and optimizes heat dissipation providing improved extreme use. The brake calipers on the 2014 SRT Viper TA feature a black anodized finish with the Viper logo shown in Crusher Orange.

 

The unmistakable exterior of the SRT Viper TA features exclusive Crusher Orange paint with black 2D TA logos behind both front wheels, black Stryker logo on the front fascia and matte black, ultra-lightweight Sidewinder II wheels.

 

An advanced exterior aerodynamics package includes carbon fiber front splitters and rear spoiler, while a carbon fiber rear applique accentuates the rear width proportions and adds another level of detail.

 

Under the hood of the 2014 SRT Viper TA is the handcrafted, all-aluminum 8.4-liter, mid-front V-10 overhead-valve engine. Performance ratings are 640 horsepower and 600 lb.-ft. of torque - the most torque of any naturally aspirated sports-car engine in the world.

 

Inside, the performance driver-oriented cabin of the 2014 SRT Viper TA uses the same standard premium ballistic fabric racing seats from Sabelt, featuring a lightweight fiberglass shell created by a state-of-the-art resin transfer molding technology for mass reduction and long-term durability. Both driver and passenger seats can also accommodate a 3- or 6-point harness for racing belts.

 

The standard black interior combination includes unique Crusher Orange accent stitching on the cloth seats, instrument panel (through the cowl), center stack, console, pull brake, shifter boot, shifter head, steering wheel and upper doors.

 

Curb weight is an estimated 3,348 pounds.

 

Only 33 units of the 2014 SRT Viper TA in Crusher Orange will be built at the Conner Avenue Assembly Plant in Detroit, beginning in third quarter 2013

 

Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software. Blue and red color channels swapped.

 

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