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A series of industrial concrete support columns is photographed in the basement of a Rotterdam warehouse. The abandoned underground space is lit with a bright light as though a camera flash was used.
photo: conceptual social theme
subject: support
soldier: ryan
photographer : alex calder
location: fort sutter, ca
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Really nice weather, so I'm sitting outside on the lanai and enjoying my Leggs Sheer Energy Active Support Suntan Pantyhose
Support to Harmony Centre in Tbilisi
Many of them calls this place their second home, it's about a group of elderly people coming to "Harmony Centre" in the Georgian capital, Tbilisi. Home is the place where you find the warm welcome, where you can stay with others, where you feel warm, cozy and never hungry. They have no more neither the strength nor the health to work, most of them are jaded heavy, had long-term work, some had even important positions, and there are artists, doctors among them.
Empire, which promised so much left them with nothing, and when they found themselves with no children, husband or wife they realized they have nothing to live for and are completely alone. Then they discovered "Caritas” and Polish priests there. And there was prepared a place for them - "Harmony Centre", where they felt as those who have not been forgotten. So it was like this for the last few years. Today "Harmony" wants to live, to open its doors to those who knows what it means to be there very well, and also for those who come here for the first time and will stay.
... But its functioning is threatened; those who were the sponsors of the Centre due to various reasons cannot support it any longer. Without the support it will be closed this autumn. Some of the elderly, to whom yet no one said anything, as if sensing ask: “What will happen to me when “Harmony” will be closed, I do not have anyone?”
Why the "Harmony"?
“Almost all who come to the "Harmony" are lonely people. In their homes often they do not have hot water, heating - says Nana Nadzlviszvili, manager of the Centre - With us they can be together with others, not alone. For them, it is important to take a warm shower and stay in heated rooms, especially when winter comes. In the capital fairly common feature is the view of elderly people begging on the streets. Caritas Georgia helps as much as it can: organizes the canteen, clothing distribution point and etc. State aid granted to senior citizens social support, which, when converted into zloty, is 180 zł (43 EUR).
For whom is the “Harmony”?
In the "Harmony Centre" there are currently 40 people. They are lonely, sick and destitute people.
- I am a war veteran. I took part in the war in Belarus, Ukraine and Poland. I met Polish people, took care of them that is why I highly respect them. They are very friendly and warm people. "Harmony" is everything to me. My older daughter has died, and if there was no "Harmony" is would definitely lose my mind. Although it is difficult for me, here I feel much better. I am very grateful, thank you, that there is "Harmony" - says Ivlita Kuciaidze, age 92. Among the 40 mentees there are Ola Gardawa, age 87 (engineer), Raisa Giekowa, age 87 (physician, virologist), Dina Bogorodieckaja, age 88 (teacher), Emilia Manukoglian, age 67 (constructor, doctor). Collecting means for seniors in Georgia will continue until the Day of Grandparents, which in Poland is celebrated on 21st and 22nd of January. In Georgia this grandfathers and grandmothers have no one to help. They were alone. Can we support them? As Fr. Jerzy Limanówka, President of the Foundation Salvatti.pl noted - 3€ payment will be used to buy food, 5€ for food and cleaning, and 10€ for food, cleaning products and medications. There are no small amounts. "If the drop said: I'm not needed, there would be no ocean."
Donate any amount to the following account:
Name: Pallotynska Fundacja Misyjna Salvatti.pl
Bank name: Bank Pekao SA - Centrala
SWIFT code: PKOPPLPW
Account number / account (IBAN): PL 44 1240 1095 1111 0010 3468 8020
Title: Donation Harmony
or
PayPal: salvatti@salvatti.pl
Thank you!
Vintage collectors card. Photo: Paramount. This card is a gift from Loek Coenraad from his mother's legacy. Many thanks, Loek!
Olivia de Havilland (1916) is a Japanese-born British-American former actress, whose career spanned from 1935 to 1988. She appeared in 49 feature films, and was one of the leading stars during the golden age of Classical Hollywood. She is best known for her early screen performances in The Adventures of Robin Hood (1938) and Gone with the Wind (1939), and her later award-winning performances in To Each His Own (1946), The Snake Pit (1948), and The Heiress (1949).
Olivia Mary de Havilland was born in 1916, in Tokyo, Japan, to British parents. Her mother was the former film and stage actress Lilian Fontaine (Lilian Augusta Ruse), and her father was an English professor and patent attorney, Walter Augustus de Havilland. He was the author of the 1910 book The ABC of Go, which provides a detailed and comprehensive description of the Japanese board game. Her sister, Joan, later to become famous as Joan Fontaine, was born the following year. Her surname comes from her paternal grandfather, whose family was from Guernsey in the Channel Islands. Her parents divorced when Olivia was just three years old, and she moved with her mother and sister to Saratoga, California. At her high school, she fell prey to the acting bug. She made her acting debut in amateur theatre in Alice in Wonderland. After graduating, Olivia enrolled in Mills College in Oakland, where she participated in the school play A Midsummer Night's Dream and was spotted by Austrian director Max Reinhardt. She so impressed Reinhardt that he picked her up for both his stage version and, later, the Warner Bros. film version in 1935. She again was so impressive that Warner executives signed her to a seven-year contract. No sooner had the ink dried on the contract than Olivia appeared in three more films: The Irish in Us (Lloyd Bacon, 1935) with James Cagney, Alibi Ike (Ray Enright, 1935), and Captain Blood (Michael Curtiz, 1935), with the man with whom her career would be most closely identified, heartthrob Errol Flynn. They acted together in seven more films: The Adventures of Robin Hood (Michael Curtiz, William Keighley, 1938), The Charge of the Light Brigade (Michael Curtiz, 1936), Four's a Crowd (Michael Curtiz, 1938), Dodge City (Michael Curtiz, 1939), The Private Lives of Elizabeth and Essex (Michael Curtiz, 1939), Santa Fe Trail (Michael Curtiz, 1940), and They Died with Their Boots On (Raoul Walsh, 1941). Both are also featured in a ninth film, Thank Your Lucky Stars (David Butler, 1943), although in separate scenes. Years later, she confessed that she had an intense crush on Errol Flynn during the years of their filming, saying that it was hard to resist his charms.
Olivia de Havilland achieved her initial popularity in romantic comedy films, such as The Great Garrick (1937), directed by James Whale. In 1939 Warner Bros. loaned her to David O. Selznick for the classic Gone with the Wind (Victor Fleming, 1939). Playing the sweet Melanie Hamilton, Olivia received her first nomination for an Academy Award for Best Supporting Actress, only to lose out to one of her co-stars in the film, Hattie McDaniel. After GWTW, Olivia returned to Warner Bros. and continued to churn out films. In 1941 she played Emmy Brown opposite Charles Boyer in Hold Back the Dawn (Mitchell Leisen, 1941), which resulted in her second Oscar nomination, this time for Best Actress. Again she lost, this time to her sister Joan for her role in Suspicion (Alfred Hitchcock, 1941). Relations between the sisters were never strong and their mutual dislike and jealousy escalated into an all-out feud after Fontaine won the Oscar. Despite the fact that de Havilland went on to win two Academy Awards of her own, they remained estranged. In a rare act of reconciliation, Olivia and her sister Joan Fontaine celebrated Christmas 1962 together along with their then-husbands and children. Denny Jackson at IMDb: "After that strong showing, Olivia now demanded better, more substantial roles than the "sweet young thing" slot into which Warners had been fitting her. The studio responded by placing her on a six-month suspension, all of the studios at the time operating under the policy that players were nothing more than property to do with as they saw fit. As if that weren't bad enough, when her contract with Warners was up, she was told that she would have to make up the time lost because of the suspension. Irate, she sued the studio, and for the length of the court battle she didn't appear in a single film. The result, however, was worth it. In a landmark decision, the court said not only that de Havilland did not have to make up the time, but that all performers were to be limited to a seven-year contract that would include any suspensions handed down. This became known as the 'de Havilland decision'; no longer could studios treat their performers as mere cattle."
Returning to screen in 1946, Olivia de Havilland made up for lost time by appearing in four films, one of which finally won her the Oscar that had so long eluded her. It was the romantic drama To Each His Own (Mitchell Leisen, 1946), in which she played Josephine Norris to the delight of critics and audiences alike. Olivia was the strongest performer in Hollywood for the balance of the 1940s. In 1948 she turned in another strong showing in The Snake Pit (Anatole Litvak, 1948) as Virginia Cunningham, a woman suffering a mental breakdown. The end result was another Oscar nomination for Best Actress, but she lost to Jane Wyman in Johnny Belinda (Jean Negulesco, 1948). As in the two previous years, she made only one film in 1949, but she again won a nomination and the Academy Award for Best Actress for The Heiress (William Wyler, 1949) wth Montgomery Clift. After a three-year hiatus, de Havilland returned to star in My Cousin Rachel (Henry Koster, 1952) with Richard Burton. From that point on, she made few appearances on the screen but was seen on Broadway and in some television shows. In the cinema, she was seen in the romantic drama Light in the Piazza (Guy Green, 1962), and the psychological thriller Hush… Hush, Sweet Charlotte (Robert Aldrich, 1964) opposite Bette Davis. Her last screen appearance was as the Queen Mother in The Fifth Musketeer (Ken Annakin, 1979), and her final career appearance was in the TV movie The Woman He Loved (Charles Jarrott, 1988) about the love story between American divorcee Wallis Simpson and Edward VII. She married and divorced twice: her first husband was writer Marcus Goodrich (1946-1953) and her second writer-husband was Pierre Galante (1955-1979), an executive editor for the French journal Paris Match. With both husbands, she had a child. She lost her son, Benjamin Goodrich (1949), to Hodgkin's disease in 1991. With Galante, she had daughter Gisèle Galante (1956). The former couple remained close friends, and after Galante became ill with cancer, she nursed him until his death in 1998. Since the mid-1950s, she lives in Paris in France. In 1962, she showed flair as a writer with Every Frenchman Has One, a light-hearted autobiographical account of her attempts at adapting to French life. Two weeks before her 101st birthday, she was appointed Dame Commander of the Order of the British Empire in the 2017 Birthday Honours by Queen Elizabeth II for services to Drama. She is the oldest woman ever to receive the honor. In a statement, she called it "the most gratifying of birthday presents." Today Olivia de Havilland enjoys a quiet retirement in Paris.
Sources: Denny Jackson (IMDb), Wikipedia and IMDb.
And, please check out our blog European Film Star Postcards.
Nike, the winged goddess of victory, forms the support of this thymiaterion or incense burner. A dove surmounts the openwork lid of the incense bowl. The goddess gestures with her right hand, while pulling her garment to the side with her left. The thymiaterion was originally brightly colored, and still retains traces of red and blue paint.
This Nike's pose and costume are similar to contemporary large-scale marble statues of women known as korai. The shape of the censer and its openwork lid also suggest the influence of metal prototypes.
Greek, from Sicily, ca. 500-475 BCE. Terracotta with white slip and polychromy (red, dark blue, black, and white).
Getty Villa Museum (86.AD.681)
Leggs Sheer Energy Active Support Suntan Pantyhose and boots 👢 on a cool night. They do keep me warm.
Multipurpose offshire support ship DINA POLARIS (6,986grt) operated by Geoquip seen alongside Liverpool Landing Stage.
Ship was built by Besiktas in Turkey in 2017 and powered by Rolls Royce engines.
Please click here for more photographs of Offshore Supply Ships: www.jhluxton.com/Shipping/Ships/Offshore-Support-Vessels/...
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. Instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoal, chalk, pastels, various kinds of erasers, markers, styluses, various metals (such as silverpoint) and electronic drawing.
A drawing instrument releases small amount of material onto a surface, leaving a visible mark. The most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything. The medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas.[1] The wide availability of drawing instruments makes drawing one of the most common artistic activities.
In addition to its more artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering and technical drawing. A quick, freehand drawing, usually not intended as a finished work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, draftsman or a draughtsman.[2]
Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, where the accurate representation of the visual world is expressed upon a plane surface.[3] Traditional drawings were monochrome, or at least had little colour,[4] while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks. Dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a liquid medium, applied with brushes or pens. Similar supports likewise can serve both: painting generally involves the application of liquid paint onto prepared canvas or panels, but sometimes an underdrawing is drawn first on that same support.
Madame Palmyre with Her Dog, 1897. Henri de Toulouse-Lautrec
Galileo Galilei. Phases of the Moon. 1616.
Drawing is often exploratory, with considerable emphasis on observation, problem-solving and composition. Drawing is also regularly used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies.
There are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as line drawing, stippling, shading, the surrealist method of entopic graphomania (in which dots are made at the sites of impurities in a blank sheet of paper, and lines are then made between the dots), and tracing (drawing on a translucent paper, such as tracing paper, around the outline of preexisting shapes that show through the paper).
A quick, unrefined drawing may be called a sketch.
In fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called "drawings" even when they have been transferred to another medium by printing.
History[edit]
Drawing as a Form of Communication Drawing is one of the oldest forms of human expression, with evidence for its existence preceding that of written communication.[5] It is believed that drawing was used as a specialised form of communication before the invent of the written language,[5][6] demonstrated by the production of cave and rock paintings created by Homo sapiens sapiens around 30,000 years ago.[7] These drawings, known as pictograms, depicted objects and abstract concepts.[8] The sketches and paintings produced in prehistoric times were eventually stylised and simplified, leading to the development of the written language as we know it today.
Drawing in the Arts Drawing is used to express one's creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise.[9] Initially, artists used and reused wooden tablets for the production of their drawings.[10] Following the widespread availability of paper in the 14th century, the use of drawing in the arts increased. At this point, drawing was commonly used as a tool for thought and investigation, acting as a study medium whilst artists were preparing for their final pieces of work.[11][12] In a period of artistic flourish, the Renaissance brought about drawings exhibiting realistic representational qualities,[13] where there was a lot of influence from geometry and philosophy.[14]
The invention of the first widely available form of photography led to a shift in the use of drawing in the arts.[15] Photography took over from drawing as a more superior method for accurately representing visual phenomena, and artists began to abandon traditional drawing practises.[16] Modernism in the arts encouraged "imaginative originality"[17] and artists' approach to drawing became more abstract.
Drawing Outside the Arts Although the use of drawing is extensive in the arts, its practice is not confined purely to this field. Before the widespread availability of paper, 12th century monks in European monasteries used intricate drawings to prepare illustrated, illuminated manuscripts on vellum and parchment. Drawing has also been used extensively in the field of science, as a method of discovery, understanding and explanation. In 1616, astronomer Galileo Galilei explained the changing phases of the moon through his observational telescopic drawings.[16] Additionally, in 1924, geophysicist Alfred Wegener used illustrations to visually demonstrate the origin of the continents.The medium is the means by which ink, pigment or color are delivered onto the drawing surface. Most drawing media are either dry (e.g. graphite, charcoal, pastels, Conté, silverpoint), or use a fluid solvent or carrier (marker, pen and ink). Watercolor pencils can be used dry like ordinary pencils, then moistened with a wet brush to get various painterly effects. Very rarely, artists have drawn with (usually decoded) invisible ink. Metalpoint drawing usually employs either of two metals: silver or lead.[20] More rarely used are gold, platinum, copper, brass, bronze, and tinpoint.
Paper comes in a variety of different sizes and qualities, ranging from newspaper grade up to high quality and relatively expensive paper sold as individual sheets.[21] Papers can vary in texture, hue, acidity, and strength when wet. Smooth paper is good for rendering fine detail, but a more "toothy" paper holds the drawing material better. Thus a coarser material is useful for producing deeper contrast.
Newsprint and typing paper may be useful for practice and rough sketches. Tracing paper is used to experiment over a half-finished drawing, and to transfer a design from one sheet to another. Cartridge paper is the basic type of drawing paper sold in pads. Bristol board and even heavier acid-free boards, frequently with smooth finishes, are used for drawing fine detail and do not distort when wet media (ink, washes) are applied. Vellum is extremely smooth and suitable for very fine detail. Coldpressed watercolor paper may be favored for ink drawing due to its texture.
Acid-free, archival quality paper keeps its color and texture far longer than wood pulp based paper such as newsprint, which turns yellow and become brittle much sooner.
The basic tools are a drawing board or table, pencil sharpener and eraser, and for ink drawing, blotting paper. Other tools used are circle compass, ruler, and set square. Fixative is used to prevent pencil and crayon marks from smudging. Drafting tape is used to secure paper to drawing surface, and also to mask an area to keep it free of accidental marks sprayed or spattered materials and washes. An easel or slanted table is used to keep the drawing surface in a suitable position, which is generally more horizontal than the position used in painting.
Technique[edit]
Raphael, study for what became the Alba Madonna, with other sketches
Almost all draftsmen use their hands and fingers to apply the media, with the exception of some handicapped individuals who draw with their mouth or feet.[22]
Prior to working on an image, the artist typically explores how various media work. They may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The artist's choice of drawing strokes affects the appearance of the image. Pen and ink drawings often use hatching—groups of parallel lines.[23] Cross-hatching uses hatching in two or more different directions to create a darker tone. Broken hatching, or lines with intermittent breaks, form lighter tones—and controlling the density of the breaks achieves a gradation of tone. Stippling, uses dots to produce tone, texture or shade. Different textures can be achieved depending on the method used to build tone.[24]
Drawings in dry media often use similar techniques, though pencils and drawing sticks can achieve continuous variations in tone. Typically a drawing is filled in based on which hand the artist favors. A right-handed artist draws from left to right to avoid smearing the image. Erasers can remove unwanted lines, lighten tones, and clean up stray marks. In a sketch or outline drawing, lines drawn often follow the contour of the subject, creating depth by looking like shadows cast from a light in the artist's position.
Sometimes the artist leaves a section of the image untouched while filling in the remainder. The shape of the area to preserve can be painted with masking fluid or cut out of a frisket and applied to the drawing surface, protecting the surface from stray marks until the mask is removed.
Another method to preserve a section of the image is to apply a spray-on fixative to the surface. This holds loose material more firmly to the sheet and prevents it from smearing. However the fixative spray typically uses chemicals that can harm the respiratory system, so it should be employed in a well-ventilated area such as outdoors.
Another technique is subtractive drawing in which the drawing surface is covered with graphite or charcoal and then erased to make the image.[25]
Tone[edit]
Line drawing in sanguine by Leonardo da Vinci
Shading is the technique of varying the tonal values on the paper to represent the shade of the material as well as the placement of the shadows. Careful attention to reflected light, shadows and highlights can result in a very realistic rendition of the image.
Blending uses an implement to soften or spread the original drawing strokes. Blending is most easily done with a medium that does not immediately fix itself, such as graphite, chalk, or charcoal, although freshly applied ink can be smudged, wet or dry, for some effects. For shading and blending, the artist can use a blending stump, tissue, a kneaded eraser, a fingertip, or any combination of them. A piece of chamois is useful for creating smooth textures, and for removing material to lighten the tone. Continuous tone can be achieved with graphite on a smooth surface without blending, but the technique is laborious, involving small circular or oval strokes with a somewhat blunt point.
Shading techniques that also introduce texture to the drawing include hatching and stippling. A number of other methods produce texture. In addition to the choice of paper, drawing material and technique affect texture. Texture can be made to appear more realistic when it is drawn next to a contrasting texture; a coarse texture is more obvious when placed next to a smoothly blended area. A similar effect can be achieved by drawing different tones close together. A light edge next to a dark background stands out to the eye, and almost appears to float above the surface.
Form and proportion[edit]
Pencil portrait by Ingres
Measuring the dimensions of a subject while blocking in the drawing is an important step in producing a realistic rendition of the subject. Tools such as a compass can be used to measure the angles of different sides. These angles can be reproduced on the drawing surface and then rechecked to make sure they are accurate. Another form of measurement is to compare the relative sizes of different parts of the subject with each other. A finger placed at a point along the drawing implement can be used to compare that dimension with other parts of the image. A ruler can be used both as a straightedge and a device to compute proportions.
When attempting to draw a complicated shape such as a human figure, it is helpful at first to represent the form with a set of primitive volumes. Almost any form can be represented by some combination of the cube, sphere, cylinder, and cone. Once these basic volumes have been assembled into a likeness, then the drawing can be refined into a more accurate and polished form. The lines of the primitive volumes are removed and replaced by the final likeness. Drawing the underlying construction is a fundamental skill for representational art, and is taught in many books and schools. Its correct application resolves most uncertainties about smaller details, and makes the final image look consistent.[26]
A more refined art of figure drawing relies upon the artist possessing a deep understanding of anatomy and the human proportions. A trained artist is familiar with the skeleton structure, joint location, muscle placement, tendon movement, and how the different parts work together during movement. This allows the artist to render more natural poses that do not appear artificially stiff. The artist is also familiar with how the proportions vary depending on the age of the subject, particularly when drawing a portrait.
Perspective[edit]
Linear perspective is a method of portraying objects on a flat surface so that the dimensions shrink with distance. Each set of parallel, straight edges of any object, whether a building or a table, follows lines that eventually converge at a vanishing point. Typically this convergence point is somewhere along the horizon, as buildings are built level with the flat surface. When multiple structures are aligned with each other, such as buildings along a street, the horizontal tops and bottoms of the structures typically converge at a vanishing point.
Two-point perspective drawing
When both the fronts and sides of a building are drawn, then the parallel lines forming a side converge at a second point along the horizon (which may be off the drawing paper.) This is a two-point perspective.[27] Converging the vertical lines to a third point above or below the horizon then produces a three-point perspective.
Depth can also be portrayed by several techniques in addition to the perspective approach above. Objects of similar size should appear ever smaller the further they are from the viewer. Thus the back wheel of a cart appears slightly smaller than the front wheel. Depth can be portrayed through the use of texture. As the texture of an object gets further away it becomes more compressed and busy, taking on an entirely different character than if it was close. Depth can also be portrayed by reducing the contrast in more distant objects, and by making their colors less saturated. This reproduces the effect of atmospheric haze, and cause the eye to focus primarily on objects drawn in the foreground.
Artistry[edit]
Chiaroscuro study drawing by William-Adolphe Bouguereau
The composition of the image is an important element in producing an interesting work of artistic merit. The artist plans element placement in the art to communicate ideas and feelings with the viewer. The composition can determine the focus of the art, and result in a harmonious whole that is aesthetically appealing and stimulating.
The illumination of the subject is also a key element in creating an artistic piece, and the interplay of light and shadow is a valuable method in the artist's toolbox. The placement of the light sources can make a considerable difference in the type of message that is being presented. Multiple light sources can wash out any wrinkles in a person's face, for instance, and give a more youthful appearance. In contrast, a single light source, such as harsh daylight, can serve to highlight any texture or interesting features.
When drawing an object or figure, the skilled artist pays attention to both the area within the silhouette and what lies outside. The exterior is termed the negative space, and can be as important in the representation as the figure. Objects placed in the background of the figure should appear properly placed wherever they can be viewed.
Drawing process in the Academic Study of a Male Torso by Jean-Auguste-Dominique Ingres (1801, National Museum, Warsaw)
A study is a draft drawing that is made in preparation for a planned final image. Studies can be used to determine the appearances of specific parts of the completed image, or for experimenting with the best approach for accomplishing the end goal. However a well-crafted study can be a piece of art in its own right, and many hours of careful work can go into completing a study.
Process[edit]
Individuals display differences in their ability to produce visually accurate drawings.[28] A visually accurate drawing is described as being "recognized as a particular object at a particular time and in a particular space, rendered with little addition of visual detail that can not be seen in the object represented or with little deletion of visual detail”.[29]
Investigative studies have aimed to explain the reasons why some individuals draw better than others. One study posited four key abilities in the drawing process: perception of objects being drawn, ability to make good representational decisions, motor skills required for mark-making and the drawer's own perception of their drawing.[29] Following this hypothesis, several studies have sought to conclude which of these processes are most significant in affecting the accuracy of drawings.
Motor function Motor function is an important physical component in the 'Production Phase' of the drawing process.[30] It has been suggested that motor function plays a role in drawing ability, though its effects are not significant.[29]
Perception It has been suggested that an individual's ability to perceive an object they are drawing is the most important stage in the drawing process.[29] This suggestion is supported by the discovery of a robust relationship between perception and drawing ability.[31]
This evidence acted as the basis of Betty Edwards' how-to drawing book, Drawing on the Right Side of the Brain.[32] Edwards aimed to teach her readers how to draw, based on the development of the reader's perceptual abilities.
Furthermore, the influential artist and art critic John Ruskin emphasised the importance of perception in the drawing process in his book The Elements of Drawing.[33] He stated that "For I am nearly convinced, that once we see keenly enough, there is very little difficult in drawing what we see".
Visual memory has also been shown to influence one's ability to create visually accurate drawings. Short-term memory plays an important part in drawing as one’s gaze shifts between the object they are drawing and the drawing itself.[34]
This is one of the supports for the Interurban Bridge near Waterville, Ohio. Different views of the bridge are here.
This photograph highlights the deterioration of the bridge and why it is considered a hazard. Entire concrete sections have broken off and exposed steel reinforcing rods and the dirt that fills much of the bridge, which provides a medium for trees to grow on the bridge. On the left a large block of concrete dangles over the river—where people kayak—suspended by steel reinforcing rods.
The bridge spans the Maumee River and was built in 1907-1908 for an electric trolley line between Toledo and Lima, Ohio. The bridge has a “Roman Aqueduct” design and was constructed of steel reinforced concrete filled with dirt. With a length of 1,200 feet (372m), when it was built some people considered it the longest reinforced concrete bridge in the world.
Use of the bridge for electric trolley service ceased in 1937 due to competition from automobiles and due to the Great Depression. In the 1940s the bridge was used temporarily for automobiles after a nearby highway bridge collapsed.
The bridge was added to the National Register of Historic Places in 1972. The State of Ohio, which owns the bridge, has said that it plans to demolish the bridge. While there is some interest in maintaining at least a portion of the bridge, it is not clear if that will be feasible.
The bridge was built by the National Bridge Company of Indianapolis and the Chief Engineer was J. M. Walker. It was used by the Lima-Toledo Traction Company and Ohio Electric. The bridge is referred to by multiple names, including the Interurban Bridge, the Lima and Toledo Traction Company Bridge, the Ohio Electric Railroad Bridge, and the Old Electric Bridge.
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 6 exposures processed with Photomatix. Tokina 11-16mm lens
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
en.wikipedia.org/wiki/Infrared_photography
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palazzo nuovo occupato - università di Torino
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Verdi 15 Occupata. Un'esperienza di vita, un progetto di lotta.
All’Università di Torino, lo scorso anno (anno accademico 2011-12) studenti esterni alla Regione e meritevoli hanno vinto, con regolare domanda e graduatoria, posti-letto e borse di studio gestite, come da decenni ormai, dall’EDISU, l’ente regionale del Piemonte per il diritto allo studio. Peccato che questi posti, queste borse di studio, non si siano mai concretizzati: l’EDISU, in grave crisi economica per i terribili tagli voluti dalla Regione Piemonte, ha tagliato quei posti e non ha concesso quelle borse. E gli studenti, in mezzo a una strada, si sono mobilitati. In Via Verdi 15, a Torino, c’è stata fino all’anno scorso una residenza universitaria da 200 posti letto per studenti fuori sede, e doveva chiudere. Gli studenti hanno iniziato una bella esperienza di autogestione, trasformandola in “Verdi 15 occupata” e sostituendosi alle istituzioni che volevano chiuderla e renderla un fantasma.
blog.ilmanifesto.it/scienziato/2012/10/31/verdi15 || www.facebook.com/verdi.occupata?fref=ts
Cockeysville Volunteer Fire Company
Baltimore County, Maryland
Tanker Support 394
2022 F550/Vengeant (1000/200)
Please support on Lego Ideas: ideas.lego.com/projects/0b565e40-80a4-46bb-bf10-9bbcc26b40e5
This build is specifically inspired by the novel "Ilse Witch", the first in a trilogy aptly entitled "The Voyage of the Jerle Shannara". These books are part of Terry Brook's classic "Shannara" series of novels (some of which were adapted into a popular TV series as well) - this was the series that proved fantasy could be accessible and commercially successful with mainstream audiences after the breakout success of Tolkien's Middle Earth novels. Unlike many other fantasy series, it's set in a world which sees substantial technological and magical innovation over the course of 32 novels and thousands of years.
The Jerle Shannara is the fastest and most advanced airship ever built, and her crew of the Jerle Shannara are voyaging west from the Elven capital city of Arborlon, across the Blue Divide, to the uncharted continent of Parkasia, in search of the lost Blue Elfstones, guided only by a mysterious map washed ashore with a lost prince, their last known user.
The crew have been selected from across the many races of the Four Lands, for their unique talents.
• From Paranor, the Druid's Keep, comes one-armed Walker Boh, the last of the druid order.
• From the Southlands, comes highlander Quentin Leah, heir to the mysterious Sword of Leah, and his childhood friend Bek Rowe.
• From the Eastlands, comes the dwarf woodsman Panax, and the mysterious shapeshifter Truhls Rohk.
• From the Westland elves, come Prince Ahren Elessedil, Captain Ard Patrinell of the Home Guard, the tracker Tamis.
• From the Wing Hove, the elf Hunter Predd and his mighty roc, Obsidian.
• From the Rover communities of the Westlands, the ship's captain Redden "Big Red" Alt Mer, his twin sister Rue "Little Red" Meridian, and the mysterious seer Ryer Ord Star.
The airships of the Four Lands are solar-powered and require active thrust to stay aloft. The sails, called "light sheaths", absorb solar energy, which is channeled through special rigging, the "radian draws", into the parse tubes which house the diapson crystals. It is these crystals which store the solar energy and distribute it through the ship's thrusters.
The Jerle Shannara comes with many play features, making it not only a display piece for adult collectors, but also a fun playset!
• The captain's cabin in the front of the ship has been converted into two smaller cabins with folding bunks to account for the unusual crew. Captain "Big Red" shares the port cabin with Prince Ahren Elessedil, and his sister, "Little Red", shares the starboard cabin with Ryer Ord Star. A privacy curtain separates the two cabins on the aft side of the mast, and sliding panels allow access to a shared washroom in the fore of the cabin.
• A removable platform between the main hull and port pontoon provides landing space for Obsidian to roost between scouting flights.
• Other crew members can wrap themselves in their cloaks and sleep in the pontoons.
• The ship is armed with a complement of ballistae to defend against hostile airships, and the ramps may be lowered to send over a boarding party.
• The galley occupies the center of the ship and features a long table where the crew can dine together, or study their maps and charts.
• The storage room in the aft of the ship has fresh water, food, the armory, and spare parts to make repairs on the long voyage.
• The rope ladder may be raised and lowered to take on supplies and passengers.
• The ship's wheel in the pilot box really controls the thrusters on either side of the ship's rudder, and the capstan hauls up the dual anchors!
• The masts are grippable so crew members can climb up into the rigging.
• Obsidian's wings fold and unfold realistically to move between flying and roosting positions.
Set consists of approximately 2700pcs, including 12 minifigures. The ship is quite spacious and this number of figures does not feel crowded - as you can see from the renderings, they spread out quite nicely.
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Chip 'n Dale: Rescue Rangers
Watching this colorful classic as a kid I dreamed to be a member of their brave team and face breakneck adventures daily! Pretty sure so did many of you :) Time passes by and here is another great childhood memory that inspired me to build this idea!
About The Build
This idea consists of close to 500 pieces and features all 5 members of Rescue Rangers team and their iconic aircraft built by Gadget :) Also there is a stand designed to look like a part of a tree and a ladder for balancing the plane and extra play-ability.
In this build I used only existing molds with some recolors and custom prints!
Easter Egg
Those who follow me know that every MOC I make features an Easter Egg! If you were able to find it - leave a comment :)
Personal
I've put as much love and nostalgia in this creation as I could. This cartoon is very special to me and this time I'm not setting a goal to reach 10k since I'm not even sure it can pass a moderation, so basically if you're reading this - I'm already one happy guy behind a screen!
Football is not just about scoring. It is full of small incidents, dramatic or just fun ones. I don't remember how the referee looked upon this situation...
Supporting the very batch of buses it used to work alongside daily, the new liveried 10 plate spare made an appearance on the Lime circuit today.
990 climbs Arnot Hill Road with a 59 to Nottingham via Daybrook and Sherwood.
I ran my Leggs last night, so today I get to have a Brand New pair of Leggs Sheer Energy Active Support Pantyhose. I hate when I run my Leggs, but at least I get to wear a new pair!!!
In summer running near the Alster is really nice. The view is fantastic.
It would be great, if you could support me with a like on my facebook page!
NORTH PACIFIC OCEAN (May 6, 2021) - An F-35B Lightning II, assigned to Marine Medium Tiltrotor Squadron 164 (Reinforced), 15th Marine Expeditionary Unit, prepares to land on the amphibious assault ship USS Makin Island (LHD 8) in support of Northern Edge 2021. Approximately 15,000 U.S. service members are participating in a joint training exercise hosted by U.S. Pacific Air Forces May 3-14, 2021, on and above the Joint Pacific Alaska Range Complex, the Gulf of Alaska, and temporary maritime activities area. Northern Edge 2021 is one in a series of U.S. Indo-Pacific Command exercises designed to sharpen the joint forces’ skills; to practice tactics, techniques, and procedures; to improve command, control and communication relationships; and to develop cooperative plans and programs. (U.S. Navy photo by Mass Communication Specialist 2nd Class Heath Zeigler) 210506-N-JC800-1070
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www.instagram.com/indopacom | www.flickr.com/photos/us-pacific-command; | www.youtube.com/user/USPacificCommand | www.pacom.mil/ **