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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...
St Marks NWR
I blew out the whites here trying to maximize the green iridescence. Only post-processing was cropping. Any ideas on how to bring the whites out better in a shot like this without compromising the greens in full sun?
Graphic Courtesy Daniel W Crompton of FriendFeed Fun
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ditto with MyBlogLog on yahoo... do that before yahoo closes down MyBlogLog
get it while it lasts... you already missed out on Digg
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!
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In an effort to "explore" my vast collection of photos, from when I started taking my photography "seriously" I am working to maximize, edit and preserve some of my older work. I hope you all enjoy...
**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...
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I visited the RSPB nature reserve at Dungeness and was out and about trying to find a Bitten bird with the hope of finding some butterflies as well.
I am pleased with the way this image turned out considering that I didn't use a dedicated macro lens
The green-veined white (Pieris napi) is a butterfly of the family Pieridae.
Appearance and distribution
A circumboreal species widespread across Europe and Asia, including the Indian subcontinent, Japan, the Maghreb and North America.
It is found in meadows, hedgerows and woodland glades but not as often in gardens and parks like its close relatives the large and small whites, for which it is often mistaken. Like other "white" butterflies, the sexes differ.
The female has two spots on each forewing, the male only one. The veins on the wings of the female are usually more heavily marked. The underside hindwings are pale yellow with the veins highlighted by black scales giving a greenish tint, hence green-veined white.
Unlike the large and small whites, it rarely chooses garden cabbages to lay its eggs on, preferring wild crucifers. Males emit a sex pheromone that is perceptible to humans, Citralthe basic flavour-imparting component of lemon peel oil.
Life cycle and food plants
The eggs are laid singly on a wide range of food plants including hedge mustard (Sisybrium officinale), garlic mustard (Alliaria petiolata), cuckooflower (Cardamine pratense), water-cress (Rorippa nastutium-aquaticum), charlock (Sinapis arvensis), large bitter-cress (Cardamine amara), wild cabbage (Brassica oleracea), and wild radish (Raphanus raphanistrum), and so it is rarely a pest in gardens or field crops.
The caterpillar is green and well camouflaged. When full grown it is green above with black warts, from which arise whitish and blackish hairs. There is a darker line along the back and a yellow line low down on the sides. Underneath the colour is whitish-grey.
The spiracular line is dusky but not conspicuous, and the spiracles are blackish surrounded with yellow. There is extensive overlap with other leaf-feeding larvae of large and small whites in some wild populations (e.g. in Morocco).
It is often found feeding on the same plant as the orange tip but rarely competes for food because it usually feeds on the leaves whereas the orange tip caterpillar feeds on the flowers and developing seed pods. Like other Pieris species it overwinters as a pupa.
This is green in colour, and the raised parts are yellowish and brown. This is the most frequent form, but it varies through yellowish to buff or greyish, and is sometimes without markings.
Habitat
P. napi is found in damp, grassy places with some shade, forest edges, hedgerows, meadows and wooded river valleys. The later generations widen their habitat use in the search for alternative food plants in drier, but flowery places.
Flight times
The generations vary with location, elevation and season. In northern Europe, there are two or three generations from April to early September. In warmer areas and in some good years there is a fourth generation. In southern Europe, there are three or more partially overlapping generations from March to October.
Seasonal variation
In Great Britain, April, May, and June specimens have the veins tinged with grey and rather distinct but are not so strongly marked with black as those belonging to the second flight, which occurs in late July and throughout August. This seasonal variation, as it is called, is also most clearly exhibited on the underside.
Now and then a specimen of the first brood may assume the characters properly belonging to the specimens of the second brood; and, on the other hand, a butterfly of the second brood may closely resemble one of the first brood. As a rule, however, the seasonal differences referred to are fairly constant.
By rearing this species from the egg it has been ascertained that part (sometimes the smaller) of a brood of eggs laid in June attains the butterfly stage the same year, and the other part remains in the chrysalis until the following spring, the butterflies in each set being of the form proper to the time of emergence.
Behaviour
Senses
Recent research has shown that when males mate with a female, they inject methyl salicylate along with their sperm. The smell of this compound repels other males, thus ensuring the first male's paternity of the eggs—a form of chemical mate guarding.[5]
After a female mates, she will display a mate refusal posture that releases methyl salicylate during a subsequent courtship. The release of this anti-aphrodisiac will quickly terminate the courtship. Males are very sensitive to differences in methyl salicylate levels, and will use this sense to influence their mating behaviour.
However, a virgin female displaying a very similar posture will release a different chemical that will prolong the courtship ritual. Males are sensitive to these chemical and postural differences and can discriminate between a receptive virgin female and an unreceptive mated female.
The adult male of this species has a distinctive odour that resembles lemon verbena.
This smell is associated with specialized androconial scales on male wings.
Mating system
In the usually polyandrous P. napi, females who mate multiple times have higher lifetime fecundity, lay larger eggs, and live longer compared to females who mate only once.
In most organisms, it is the female who contributes the most to the reproduction of offspring as she must invest an egg and then carry the zygote. Males, on the other hand, need only provide a sperm that is of low cost.
In P. napi, however, mating is unusually costly to males as the ejaculate matter produced contains not only sperm but accessory substances as well. These substances average 15% of male body mass and are incorporated into female soma and reproductive tissues during the mating process.
Therefore, the nuptial gift given by P. napi males qualifies both as paternal investment and mating effort. This system is unlike other types of butterflies such as Pararge aegeria, where female reproductive effort is independent of male ejaculate.
The amount of ejaculate of virgin males during mating is larger than that of non-virgin males. Females therefore must mate more frequently with non-virgin males in order to obtain the necessary amount of male-derived nutrition.
Sexual cooperation and conflict
In P. napi, the nuptial gift is an example of sexual cooperation towards a common interest of both males and females. The existence of nutrients in the ejaculate is beneficial to the females because it increases female fecundity and longevity, and eventually promotes re-mating. The existence of the anti-aphrodisiac, methyl salicylate, is effective in reducing female harassment by other males.
However, the transfer of this ejaculate can cause a conflict over re-mating due to sperm competition.
After a female mates, infertile sperm ejaculated by the male will fill the female's sperm storage organ and prevent her from mating. The amount of infertile sperm stored is correlated with the refractory period of a female after mating.
Infertile sperm makes up 90% of the sperm count, showing that males manipulate females by preventing them from mating with another male for a certain period of time.
Although polyandry benefits females of P. napi by maximizing the amount of transferred nutrients from the male, the infertile sperm storage prolongs female re-mating.
This refractory period makes it harder for females to mate, and females will continue to have difficulty as their age and mating frequency increase. Males who have recently copulated will not transfer as many nutrients to their next mate, but will spend a longer duration of time for each mating.
This increases the mating costs for females because they are spending more time copulating and receiving fewer nutrients from the ejaculate. Males take advantage of this because females do not reduce their mating costs by copulating with virgin males.
In addition, males will transfer the most methyl salicylate to their first mate to ensure its paternity. However, a female who mates with a virgin male will have the most difficulty re-mating, therefore delaying her from engaging in the preferred polyandry.
Males tailor their ejaculate in the sense that the first ejaculate is meant to prolong the refractory period of the female, and every subsequent ejaculate is meant to maximize efficiency in sperm competition.
Size difference and mating frequency
Smaller females may be able to compensate for their size by receiving male ejaculate through increased mating frequency. However, this is not the case, as larger females are more polyandrous.
Larger females are able to break down the spermatophore and reduce the refractory period to increase mating frequency
Link -
en.wikipedia.org/wiki/Green-veined_white#Appearance_and_d...
Ilene S. Gordon, Chairman, President and Chief Executive Officer,.Ingredion, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Christian Clavadetscher
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Certification in Evolved Visualization Techniques TM
Evolved Life Visions is an A rated member of WAOLS - World Alliance of Life coaches and Stylists.
Evolved Life Visions supports accreditation programs including those of the ICF - International Coaching Federation
Evolved Guided Visualization Techniques TM - GVT - is an accredited training program
Media and Experts - Say What!?
The latest reports from leading Universities arousing great worldwide media interest shows that neurosciences research proves that Visualization Techniques TM trick your brain into transforming your thoughts and behavior!
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Clear, Comprehensive Certification gives you a recognized Life Coaching Accreditation within 6 weeks!
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I enjoyed finding this snake “resting” in the warmth of the day.
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Certification in Evolved Visualization Techniques TM
Evolved Life Visions is an A rated member of WAOLS - World Alliance of Life coaches and Stylists.
Evolved Life Visions supports accreditation programs including those of the ICF - International Coaching Federation
Evolved Guided Visualization Techniques TM - GVT - is an accredited training program
Media and Experts - Say What!?
The latest reports from leading Universities arousing great worldwide media interest shows that neurosciences research proves that Visualization Techniques TM trick your brain into transforming your thoughts and behavior!
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EVOLVE MAXIMIZE. EXPAND. ACTIVATE
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Certification in Evolved Visualization Techniques TM
Evolved Life Visions is an A rated member of WAOLS - World Alliance of Life coaches and Stylists.
Evolved Life Visions supports accreditation programs including those of the ICF - International Coaching Federation
Evolved Guided Visualization Techniques TM - GVT - is an accredited training program
Media and Experts - Say What!?
The latest reports from leading Universities arousing great worldwide media interest shows that neurosciences research proves that Visualization Techniques TM trick your brain into transforming your thoughts and behavior!
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Ilene S. Gordon, Chairman, President and Chief Executive Officer,.Ingredion, USA at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Christian Clavadetscher
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Dates have been a staple food of the Middle East and the Indus Valley for thousands of years. They are believed to have originated around Iraq, and have been cultivated since ancient times from Mesopotamia to prehistoric Egypt, possibly as early as 4000 BCE. The Ancient Egyptians used the fruits to make date wine, and ate them at harvest. There is archaeological evidence of date cultivation in eastern Arabia in 6000 BCE.
There is also archeological evidence of date cultivation in Mehrgarh around 7000 BCE, a Neolithic civilization in India now western Pakistan. Evidence of cultivation is continually found throughout later civilizations in the Indus Valley, including the Harappan period 2600 to 1900 BCE.
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Tonye Cole, Co-Founder and Chief Executive Officer, Sahara Group, Nigeria at the Annual Meeting 2017 of the World Economic Forum in Davos, January 19, 2017
Copyright by World Economic Forum / Christian Clavadetscher
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
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IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.