View allAll Photos Tagged Methods
The Dani's use an earth oven method for cooking pig and their staple crops such as sweet potato, banana, and cassava.
They heat some stones in a fire until they are extremely hot, then wrap cuts of meat and pieces of sweet potato or banana inside banana leaves.
The food package is then lowered into a pit which has been lined with some of the hot stones described above, the remaining hot stones are then placed on top, and the pit is covered in grass and a cover to keep steam in.
After an hours pit is opened and the food removed and eaten.
This is Ghillie a 12 year old Golden Retriever. She is sitting in an avenue of chestnut trees in the Bevridge park in Kirkcaldy. This photograph is done using the Brenizer method which involves shooting a panoramic image using a telephoto lens and stitching the parts back together to produce an impossible wide angle view. This image is made up from 8x24Mb images. This was a test shot which actually turned out better than the main shot. I used a canon 5d3, a Sigma 120-300, at 300mm f2.8 which makes for a depth of field of only a few feet.
Taken with my iphone (app Hipstamatic) a few hours ago
Have a look at my photos for this Nikon competition and vote for them if you like. Many thanks in advance : )
Press L to view large
Le mie foto sono coperte da copyright - chiedere esplicitamente il mio permesso scritto prima di usarle su siti web, blog o su altri supporti
© Tutti i diritti riservati.
My photos are copyrighted - ask my explicit written permission before using them on websites, blogs or other media
© All rights reserved
I tried one method of using it. It’s the same one as Lawrence Principe uses in his book, and indeed I asked him about it a year before the book was published. He said the secret was in the temperature, or words to that effect. I had previously tried it this way but had either left it in too long or made it too hot, or maybe not had a very good quality of ‘water’. It is worth nothing that the Leyden papyrus doesn’t specify how to use this water.
So first I dipped the silver into the liquid when it was cold, and not a lot happened except that over 10 minutes in it, the silver turned slightly yellow, but left for longer and it went black. Whilst black is an alchemical colour, it isn’t the one we want here, at the end of the process.
So I heated the golden liquid until it became more red, although nowhere near boiling. Say about hand hot. A few seconds immersed in it gave this, shown with some untreated silver:
Note the shine of the metal and the apparent depth of colour.
I stuck another sample in for longer, it turned black. I’d killed it! (Silver sulphides are black, but a thin layer of them is, as you can see, gold coloured)
Which is of course a possible aim, since much reference is made to the death of metals and their resurrection in Graeco-Egyptian alchemy.
The next step in the use of this substance would probably be to seal the colour in using some kind of varnish, because now, three weeks later, the colour on the silver has faded to a slight yellow as the sulphides have evaporated or oxidised.
The next step after turning the silver black would be to melt it with other ingredients, but exactly what I am not sure.
The funny thing is that I haven’t found any later mention of this recipe than a 9/10th century Arabic text. I suspect that might be because by that time and after, both in Arabic countries and in Europe, such a superficial colour change was nothing special and had no value, since it did not lead to anything really like gold. Whereas the Egyptian alchemists were more interested in the specific colour change using divine/ sulphurous substances, themselves of important colours and unusual behaviour and so it was of great use to them.
Some of the world's most famous scientists did indeed believe iron could be turned into gold, and several of them tried desperately to make it happen for hundreds of years. Long before much of modern science became known, many early scientists were fascinated by a practice called alchemy.
Alchemy was a secret and mysterious practice that reflected a spiritual worldview very different from our modern view of science. The metals we know today as individual elements were believed by alchemists to be alive and growing underground. Metals like iron and lead were thought to be merely immature and undeveloped “early" versions of precious metals, like silver and gold.
Alchemists believed they could refine base metals into precious metals if they could just find the mythical substance they called philosopher's stone. The philosopher's stone they searched for wasn't an actual rock. Instead, it was supposedly a magical wax, liquid, or powder that could heal ailments and prolong life, as well as change base metals into precious metals.
Knowing what we do today about science, alchemy sounds crazy, doesn't it? After all, it's no surprise that alchemists ultimately failed in their quest, since the very idea of alchemy contradicts the basic laws of chemistry and physics. Rather than the atoms and elements we know today, alchemists believed everything in the world was made up of four elements: air, earth, fire, and water.
We now know that air, earth, fire, and water are not actual elements. Therefore, it's not possible to adjust the percentages of those elements within iron to turn it into gold. Despite the utter failure of alchemy to transform iron into gold, it wasn't a completely worthless pursuit. Scientists and historians now credit ancient alchemists for developing the groundwork for what would become modern chemistry.
In fact, you're probably already familiar with one of the more famous alchemists from ancient history. Ever heard of a guy named Sir Isaac Newton? That's right! Sir Isaac Newton, the guy who invented calculus and is considered the father of modern physics, was a devoted alchemist who believed at one time that he had discovered the mythical philosopher's stone.
Newton's dedication to alchemy has made modern scientists reconsider its importance in the history of the development of modern science. Many experts now agree that alchemy was an important natural step in laying the foundation for modern science. Instead of superstitious witchcraft, alchemy is now often seen as an ancient practice of early scientists trying to make sense of the world around them.
Other experts point out the many scientific advancements that can be traced back to alchemy. For example, alchemists created new alloys and manufactured acids and pigments for the first time. They also invented distillation apparatuses and conceived of atoms hundreds of years before modern atomic theory. Perhaps most importantly, though, they helped to forge the basis for the modern scientific method by repeating controlled experiments over and over.
For hundreds of years alchemists toiled in their laboratories to produce a mythical substance known as the philosopher’s stone. The supposedly dense, waxy, red material was said to enable the process that has become synonymous with alchemy—chrysopoeia, the metamorphosis, or transmutation, of base metals such as lead into gold.
Alchemists have often been dismissed as pseudoscientific charlatans but in many ways they paved the way for modern chemistry and medicine. The alchemists of the 16th and 17th centuries developed new experimental techniques, medicines and other chemical concoctions, such as pigments. And many of them "were amazingly good experimentalists,” says Lawrence Principe, a chemist and science historian at Johns Hopkins University. “Any modern professor of chemistry today would be more than happy to hire some of these guys as lab techs.” The alchemists counted among their number Irish-born scientist Robert Boyle, credited as one of the founders of modern chemistry; pioneering Swiss-born physician Paracelsus; and English physicist Isaac Newton.
But despite the alchemists’ intellectual firepower and experimental acumen, the philosopher’s stone lay forever out of reach. The problem, Principe says, is that the alchemists did not yet know that lead and gold were different atomic elements—the periodic table was still hundreds of years away. Believing them to be hybrid compounds, and therefore amenable to chemical change in laboratory reactions, the alchemists pursued the dream of chrysopoeia to no avail.
With the dawn of the atomic age in the 20th century, however, the transmutation of elements finally became possible. Nowadays nuclear physicists routinely transform one element to another. In commercial nuclear reactors, uranium atoms break apart to yield smaller nuclei of elements such as xenon and strontium as well as heat that can be harnessed to generate electricity. In experimental fusion reactors heavy isotopes of hydrogen merge together to form helium. (An element is defined by the number of protons in its nucleus whereas an isotope of a given element is determined by the quantity of neutrons.)
But what of the fabled transmutation of lead to gold? It is indeed possible—all you need is a particle accelerator, a vast supply of energy and an extremely low expectation of how much gold you will end up with. More than 30 years ago nuclear scientists at the Lawrence Berkeley National Laboratory (LBNL) in California succeeded in producing very small amounts of gold from bismuth, a metallic element adjacent to lead on the periodic table. The same process would work for lead, but isolating the gold at the end of the reaction would prove much more difficult, says David J. Morrissey, now of Michigan State University, one of the scientists who conducted the research. “We could have used lead in the experiments, but we used bismuth because it has only one stable isotope,” Morrissey says. The element’s homogeneous nature means it is easier to separate gold from bismuth than it is to separate gold from lead, which has four stable isotopic identities.
Using the LBNL’s Bevalac particle accelerator, Morrissey and his colleagues boosted beams of carbon and neon nuclei nearly to light speed and then slammed them into foils of bismuth. When a high-speed nucleus in the beam collided with a bismuth atom, it sheared off part of the bismuth nucleus, leaving a slightly diminished atom behind. By sifting through the particulate wreckage, the team found a number of transmuted atoms in which four protons had been removed from a bismuth atom to produce gold. Along with the four protons, the collision-induced reactions had removed anywhere from six to 15 neutrons, producing a range of gold isotopes from gold 190 (79 protons and 111 neutrons) to gold 199 (79 protons, 120 neutrons), the researchers reported in the March 1981 issue of Physical Review C.
The amount of gold produced was so small that Morrissey and his colleagues had to identify it by measuring the radiation given off by unstable gold nuclei as they decayed over the course of a year. In addition to the several radioactive isotopes of gold, the particle collisions presumably produced some amount of the stable isotope gold 197—the stuff of wedding bands and gold bullion—but because it does not decay the researchers were unable to confirm its presence. “The stable isotope would have to be observed in a mass spectrometer,” Morrissey says, “but I think that the number of atoms was, and is still, below the level of detection by mass spec.”
Isolating the minute quantities of gold would be even more difficult using lead as a starting material, but smashing high-speed nuclei into a lead target would indeed complete the long-sought transmutation. Some of the collisions would be expected to remove three protons from lead, or one proton from mercury, to produce gold. “It is relatively straightforward to convert lead, bismuth or mercury into gold,” Morrissey says. “The problem is the rate of production is very, very small and the energy, money, etcetera expended will always far exceed the output of gold atoms.”
In 1980, when the bismuth-to-gold experiment was carried out, running particle beams through the Bevalac cost about $5,000 an hour, “and we probably used about a day of beam time,” recalls Oregon State University nuclear chemist Walter Loveland, one of the researchers on the project. Glenn Seaborg, who shared the 1951 Nobel Prize in Chemistry for his work with heavy elements and who died in 1999, was the senior author on the resulting study. “It would cost more than one quadrillion dollars per ounce to produce gold by this experiment," Seaborg told the Associated Press that year. The going rate for an ounce of gold at the time? About $560.
If you had lived hundreds of years ago, do you think you would've wanted to be an alchemist? Be sure to explore the following interesting activities with a friend or family member:
You might not be able to turn iron into gold, but you can change the form of a simple compound you use every day. What are we talking about? Water, of course! Get an ice cube out of your refrigerator and turn it to liquid water. You can do that a number of ways. You could simply let it melt on the kitchen countertop, or you could put it in a pan and heat it up to watch it melt quickly. You will definitely need that pan if you want to turn your liquid water into a gas. Keep heating some water in a pan until it reaches the boiling point. When it does, you'll see the water in the pan turning into water vapor right before your eyes. Have fun exploring the different states of water!Want to learn more about Isaac Newton's Experiments with Alchemy? Just follow the link to watch videos of some of Isaac Newton's most famous alchemy experiments. How do you think these experiments helped Newton become the famous scientist he was? Was all of alchemy a waste of time? Why or why not?If you could turn one element into another, what would you do? Think about what elements or things you have plenty of. Then think about things that you don't have much of, but would like more of. For example, if you could do it, would you invent a machine that could change air into soda? How about vegetables into ice cream? Let your imagination run wild and write a short story about what you would do as a modern-day alchemist. Have fun and be sure to share your story with a friend or family member!
distillatio.wordpress.com/2013/05/28/how-to-use-the-divin...
The Pink Amazon was still parked at the same spot as earlier in the week so I tried again to shoot a bokeh panorama, setting the focus on the eyelashes. For some reason the auto focus acts up a bit and I guess that happened again here. I took 11 photos this time.
What do you do when all hell breaks loose and the fans charge the stage? Just press the damn button.
Photo taken at Red Rocks 4/19/18
JeffSTAT (Thomas Jefferson University Hospital / Air Methods)
2008 Eurocopter EC145 (MBB-BK 117 C-2)
N145TJ
JeffSTAT 1, substituting for JeffSTAT 3
I just found out about the Brenizer Method and had to try it out. It's awesome. It's the kind of photos I always wanted to take and now I know how to create my favorite kind of images!
The dough was not experimental - just the baking;
Flour, water, salt, yeast. Small loaf based on 250G flour, about 70% hydration. Overnight cold ferment.
The bake: At some point in my wanderings, I had seen a video on baking in one of those oven baking bags - the ones usually used for meats. And this is the result.
Not worth doing again. Nothing that a dutch oven, etc. cant take care of. But, it was fun to see what would happen.
Oh - during the baking, I smelled the bag - not the bread.
Another attempt with the Brenizer method. Not sure how many pictures this is compiled of, but I remember it being quite a few. Looking forward to trying this out on a human subject for once. :P
JeffSTAT (Thomas Jefferson University Hospital / Air Methods)
2007 Eurocopter EC135 T2+ (Airbus Helicopters H135)
N527ME
ex-STAT MedEvac
JeffSTAT 1 substitute
A 40 image stitch, Brenizer style, taken at a wedding this past Friday. Taken with a D800E and 85mm f/1.4. This was the most difficult stitch I've done because of all the work it took to straighten all the lines. There is always bad warping when using this method, so its never recommended when there are a lot of straight lines...like this. But, this was a good challenge, and one that Im pretty happy with the results.
Interested in learning more about the setup and execution of this shot? I wrote up an article on SLR Lounge explaining it a little more in detail. Check it out!
www.slrlounge.com/wedding-bokeh-with-image-stitching-how-...
A re-edit of a shot from a couple of years ago. Using Milky Way Mike's (Mike Ver Sprill) Spiral Star Trails method to add a bit of dynamic feel to an otherwise quiet evening under the stars looking due north.
Custom order of heads for a client using various printing methods
From left to right:
masks rows 1-5 - laser cut vinyl
row 6,7 - laser engraved & color filled; existing customBRICKS design
row 8 - foil printing, client requested custom design
row 9,10 - laser engraved & color filled; existing customBRICKS design
Methods: Time-ensemble-averaged sigma0 from #Copernicus #Sentinel1
images #GoogleEarthEngine
Date: 9-mar-2016
source: Edward Morris
Statue of iris ( Goddess of rainbow ) by Machiko Kodera, Iwamizawa park, Hokkaido. Canon AV-1, NFD 50mm F1.4, negative for recording ISO 100 expired in 2010, processed with Negaposi development method ( C41 based reversal development of color negative ) original of Michitaro Kohno as described previously( www.flickr.com/photos/threepinner/34789505943/ ), scanned with Plustek OpticFilm 8100 + VueScan at 7200DPI, edited with GIMP.
The condition was unfavorable rainy evening.
Brenizer method, photomerged from 36 shots. Used D700 with 135mm @ f2
Thanks Marko for letting me use your D700 and 135 DC for this one ;)
More info about this method: www.flickr.com/groups/brenizermethod/
Testing a new method of electromagnetic docking between two satellites in orbit.
Test einer neuen Methode zum elektromagnetischen docken zweier Satelliten im orbit.
Credits: ESA/NASA
337_0920
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.
I had never even heard of the Brenizer method of taking shots before, and it is kind of complex. It seeks to give a wide-angle feeling to a shot while keeping some background blur that you can't get with a wide angle lens. To do this you have to take multiple shots and stitch them together, using a somewhat longer lens to get the blur, as wide open as you can. This is nine shots stitched together in AutoStitch. I worked on this all morning because I wasn't getting seamless stitching at first. f5.6 (as wide as this lens would go at that length), 116mm, 1/200 shutter speed, ISO 400, White balance set at 6100K (auto balance changes a bit as you move the camera so you have to set it manually
), manual focus (important to keep the same focus throughout the shot). Other than crop the edges of the shot where the stitching shows, I did no editing.
JeffSTAT (Thomas Jefferson University Hospital / Air Methods)
2007 Eurocopter EC135 T2+ (Airbus Helicopters H135)
N527ME
JeffSTAT 3
Even if they created that lens, I am the last person on this planet that could afford this. That is why this photo is actually taken with a 50mm f/1.8. With that said, I used the Brenizer Method again, and took 23 photos into a panorama to retain the DOF that is shown in this image. Otherwise, just go grab yourself the new fisheye f/0.59 lens at your local Wal-Mart. It is actually a fun photo to take. The only issue, is that they have to stand super still! It takes about five minutes to take all the photos, and if they move, I may have to start all over again depending on whether or not I was done photographing them. Fortunately I didn't have any problems with it. Well, try this if you can! It is really a cool technique, and it really can add a lot to a photo!
Sorry the background sucks, but just appreciate the technique by the photo, because lets face it, I'm not putting it in my portfolio for a job at National Geographic.
Enjoy :D
20 pictures stitched in a simple android app, all of the pictures were taken using sony nex 3 and Rokinon 85 f1.4
"The method of writing smooth narrative can't be right. Things don't happen in one's mind like that. We experience, all the time, an overlapping of IMAGES and ideas, and modern novels should convey our mental confusion instead of neatly rearranging it. The READER must sort it out"
Virginia Woolf (the capital was my own wish...)
Copyright ©
All My Photographic Images Are Subject To Copyright ! Each Of My Photographs Remain My Intellectual Property ! All Rights Are Reserved And As Such, Do Not Use, Modify, Copy, Edit, Distribute Or Publish Any Of My Photographs ! If You Wish To Use Any Of My Photographs For Any Reproductive Purposes, Or Other Uses, My Written Permission Is Specifically Required, Contact Me Via Flickr Mail!
Finally tried out the Brenizer method during a wedding portrait shoot. Shot with the 70-200mm 2.8 L. 16 exposures, lit by 2 Phottix Mitros units in deep-octas on either side and merged with PS.
Brenizer method tests @ 200mm 2.8
The number in the title shows the number of shots each bookeh panorama is made up of. I ended up with crazy shaped photos so I cropped them. Some also needed a little cloning in some areas that were missing. Definetly not easy to do and an 85 1.4 is next on the list!! Thanks to my mum for her patience while posing for ages while trying to get everything in!!
For more info check out my blog!
oisingormallyphotography.blogspot.fr/2015/03/brenizer-met...