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Video, sound and exercise
Elisabet Apelmo and Marit Lindberg
3/2-18/3 2007
Landskrona Kunsthalle
Slottsgatan
SE-261 31 LANDSKRONA
SWEDEN
Elisabet Apelmo and Marit Lindberg
Elisabet Apelmo uses photography, video, sound and drawing in her works to explore power, identity, the body and sexuality. Apelmo also holds a master’s degree in sociology. Marit Lindberg’s works in video are based on stories, collective memories and language gaps. The point of intersection in the two artists’ work is the absorption with narrative and the shift between the documentary and the fictional. They also share an interest in women’s soccer, Apelmo from a sociological perspective and Lindberg as the parent of a girl who is a serious player of the game.
Marked, unmarked
Landskrona Konsthall was designed in 1963 by architects Sten Samuelsson and Fritz Jaenecke. The austere architecture in concrete and glass is considered one of the best examples of Swedish modernism. The park is present everywhere in the museum: around the building, inside in the atrium and in between, captured in the reflections in the glass. The park is part of the public urban space, but for whom is it public and at what hours of the day? The resonant base of the work is men’s violence against women, in both private and public settings. Cultural geographer Birgitta Andersson describes the violence as a continuum from verbal insult to rape, where the less serious offenses serve to remind the woman of the threat of rape. In response to the threat of victimization, women calculate their risks to avoid violence, which in turn leads to spatial limitations. The risk assessment is often such an obvious part of womanhood that it is not verbalized. But the artists are not intereste d in reproducing the stereotypical picture of the frightened and defenseless woman. Where power is exercised, there is always potential for resistance and the focus of the exhibition is this power/counter power.
Sociologist Pierre Bourdieu believes that the female existence is constituted through male superordination as a perceived object, an object for others to look at. The negative collective expectations of women’s physical ability tends to become part of the body, expressed as permanent states of affairs. Bourdieu discusses sports as a means of changing these states. Intensive practice of sports “leads to a profound transformation of the subjective and objective experience of the body. [...] It [the body] is no longer merely a thing that is made to be looked at or which one has to look at in order to prepare it to be looked at. Instead of being a body for others it becomes a body for oneself; the passive body becomes an active and acting body” writes Bourdieu. Through the practice of sports, the passive and objectified woman becomes an active, and de facto stronger, subject. Sports may also function as one form of resistance against traditional femininity, wherein the risk of be ing the victim of male violence seems to be an accepted ingredient.
Karate is a concrete form of resistance, a martial art of self-defense. Can soccer be used as a more complex picture of resistance? Even though it is the most popular sport among women in Sweden, women soccer players are paradoxically enough considered unfeminine, mannish, or lesbian. The strength, speed, fearlessness and aggression it takes to be a good soccer player do not coincide with either traditional femininity or the image of woman as victim.
A group of women karateka, two women’s soccer teams, a male choir and two young musicians from Landskrona are involved in the exhibition. Shadow pictures of the women athletes in training are projected on the museum’s glass façade. The singers in the male choir are dressed in sports jerseys. They represent the male coaches, fathers, or boyfriends standing alongside the field.
IR HDR. IR converted Canon 40D. Canon 17-55 F2.8 IS lens. Shot at ISO 100, F16, AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE.
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.
Excellent Development, a UK-based not-for-profit organisation, works with local partners to support rural communities in drylands to build sand dams, which provide clean water for life and the opportunity to grow more food to eat and sell. The organisation works with local communities, organised in self-help groups, to identify sections of local rivers where sand dams can be built. The community invests at least 30% of the resources needed to complete a concrete sand dam.
The M-emperors are never seen outside, it happened with the release of the I-M-phone after the Invisible revolution.
So there's not much to say about that aspect, except that the last seen M-emperors looked real young, infantile, sort of sexy in their childish absorption in a game played on the old i-phone when they still walked on the streets.
Such nostalgic memory of seeing it happening in the open.
Nobody could see the m-emperor unless one is subscribed to the channel. And that would be the hardest thing in the Universe we have to admit, dear corporate genius.
I doubt that even your personal Super Collider could work out a solution to this.
It would be same as if you could finally see inside your own physical body and observe your every organ that is a universe of its own to find there one specific cell you don't know by name or number. Impossible. This is what futurism had overlooked.
M-emperor could be subscribed by so many m-fans that a fan or a solicitor would have hard time locating the m-emperor. plus.google.com/photos?pid=6122854360480967042&oid=11...
Acoustic ancient absorb absorption architect architects architectural art artwork artistic ambience accent accessory
Accessories acrylic
Bamboo board backdrop backwall background backlit bedhead bedroom build building built basket bark bar
Brochure
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Coating create creative creation counter casino cupboard closet console credenza category catalogue classical
Class classic circle cozy commercial common
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Department departmental dining dine dim door dot dots dimension durapalm
Enclosure emboss embossed engrave engraving entertainment eco ecology environment environmental exhibits
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Furnish furnishing flat featurewall
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handicraft handcraft handcrafted handmade hospitality hotel hotels headboard home house hinge hang hung HDF
high-density-fiberboard highdensityfiberboard honeycomb husk houz
interior interiordesign icon iconic inter internal industry industrial image imaging imagine imagination inspire inspired install installation installing indoor instill interlam
jigsaw
kireiboard
light lighting layer layered leather lami laminate laminates living laser lasercut library
mosaic modular material mediumdensityfiberboard mediumdensityfibreboard medium-density-fiberboard
medium-density-fibreboard MDF modern modern-tropical moulded mould mold molded manual marquet marquetry
marotte mother of pearl motherof pearl mother-of-pearl matt mural mesh mount mounted mounting
natural nature niche natural-plant-fiber
ornament ornamental ornate organic oldship office offices omarno
product products paint painted painting paintings PU PVC photo pearl plastic proof pangu panel panelite panelkam panelmax paper pulp precast palm polyresin polycarbonate pattern patterns plant partition project palette pieces
penshell
quilt quilted
resin rivershell resort reclaimed route routed routing repeat random retardant ripple resident residence residential
restaurant restaurants retail relief relieve room reference round
screen seashell shell semi sculpture sculptural surfaces source sources store stores stage slide sliding surface
sculptured system systems sustain sustainability show sound special shop shopfront shoplot suspend suspended
swivel substrate shape shapes shade shades sand sandstone sanded sanding spiral suspension strip stripe strips
substance
texture textured translucent tree transmaterial tile tropical trade TV textile trend treatment timber
veneer variety versatile varnish varnishing
wave wavy wood weave woven wall wallcover wallcovering wallcoverings white wardrobe wovin warm
wainscot wooden woodenwave
3d 3-d 3dimension 3-dimension 3form
L'étoile géante rouge ZTF SLRN-2020 de 7 millions de masse solaire, située à 12 000 années-lumière de la Terre dans la constellation de l'Aigle (Aquila), a absorbé son l'exoplanète de la taille de Jupiter, mais plus près par contre de Mercure. Si l'orbite de cette exoplanète s'est rapprochée pendant des millions d'années et donc rétrécie au fil du temps, cette explosion optique a duré environ 6 mois avant que l'exoplanète soit finalement engloutie.
Deux instruments ont effectué l’autopsie de la scène : le MIRI (instrument infrarouge moyen) et le NIRSpec (spectrographe proche infrarouge) de Webb. Les données du NEOWISE (Near-Earth Object Wide-field Infrared Survey Explorer) de la NASA ont montré que l'étoile s'était en fait éclairée dans l'infrarouge un an avant le flash de lumière optique, ce qui suggère la présence de poussière. Cette enquête initiale de 2023 indique que l'étoile était en train de devenir une géante rouge sur des centaines de milliers d'années, s'étendant lentement à mesure qu'elle épuisait son carburant d'hydrogène.
Cependant, le MIRI a pu mesurer avec précision l'émission cachée de l'étoile et son environnement immédiat, l'étoile n'étant pas aussi brillante qu'elle aurait dû l'être comme géante rouge, ce qui indique qu'il n'y avait pas gonflé pour engloutir l'exoplanète.
Description de l'image
L'illustration d'artiste à quatre panneaux comprend deux cases sur la rangée supérieure et deux cases sur la rangée inférieure, étiquetées : 1, 2, 3, 4. Le panneau 1 montre une étoile hôte ressemblant à un globe orange avec des éruptions sortant de différents côtés et une ligne bleue avec des flèches formant une spirale autour de l'étoile. À 2 heures dans la spirale extérieure la plus éloignée de l'étoile, se trouve l'exoplanète bleue. Le panneau 2 montre la même étoile et les mêmes lignes, mais l'exoplanète est maintenant à 7 heures et plus proche de l'étoile, un peu étirée vers elle et ressemblant à un ballon de football américain ou de rugby plutôt qu'à une sphère. Le panneau 3 montre la même étoile et les mêmes lignes, mais l'exoplanète est entièrement engloutie par l'étoile, avec de grandes éruptions sortant de l'endroit où elle et son
étoile sont entrées en collision. Le panneau 4 montre les conséquences, avec un nuage très transparent de poussière bleue dispersée à partir de l'étoile hôte, avec un anneau horizontal de matière orange foncé l'entourant (cf. NASA, ESA, CSA, STScI, R. Crawford STScI).
Pour situer l'étoile ZTF SLRN-2020 (Weeb-MIRI) dans la constellation de l'Aigle (Aquila) :
Testing out the cuvette holder I just designed and printed today. Upper spectrum is through the nano particle containing cuvette, lower spectrum is the CFL reference (so I could make sure my focus was okay before switching to tungsten).
High quality and super absorption - with Bella tampons you can enjoy a great feeling of carefreeness and extra security. bellahygiene.com/en_IN/productsType/tampons-1
Amsterdam
June 2012
The Netherlands
On processing:
I've been getting a lot of nice feedback on my processing, but i had never really thought about the process and why i do these things the way that i do them. I wrote a little reflective piece on my workflow, in a way just for myself, but since i have it in writing i'm going to share it with you all. Perhaps it illuminates some aspects of postprocessing or photography in general as i see it.
In shooting color, as a photograper, you have an extra factor that can help you communicate your focus. So where composition and light are all you have in B&W. In color you have an extra dimension (color) to communicate with. Some colors stand out more, are more intense or clash, those contraditions even out in black white and grey.
So what i consciously or unconsciously try to do is remedy that, first off by lighting, just looking for that spot of light amongst the darkess or vice versa and by being very clear (at least i hope) in my composotions.
Secondly in processing, i try to make sure that my main focus is also what draws in the viewer. I do this by vignetting, burning and sometimes (try to limit this as much) local exposure compensation.
I get that some photographers argue that this is artifical, and i agree, but i think that photography is a very subjective and selective process anyway. You are never going to get the truth, or reality in pictures. You are getting what a photographer wants you to see, what he or she selected in shooting, developing and then re-selecting to display it to a certain audience .
I feel free to process and adapt my image untill it fits with what i envisioned when i took the shot. I try to embrace the tools that are available to reach that goal, tools that allow me to be as creative as i want to be. Limiting myself only by my sense of taste and my intuition rather than what is considered to be "the right way" to take a picture, or "the right way" to present a picture.
Furthermore, I don't like the ''soft'' somewhat bland look of a lot of b&w shots. I want contrast and structure, i want the viewer to see every gritty detail, to be in a way, uncompromising."
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
1-12-13 Wyndham Street Races
TOP SPEED REVIEW:
Not long ago, the Japanese motorcycles were considered the uncontested leaders of sport motorcycles and nobody had the guts to challenge them. However, this situation has changed after BMW entered the battle. Its first super sport bike, the S 1000RR was not only a completely newcomer, but it was also so strong and technological advanced that it made any other bike look like defenseless scooter.
THE ABS
The Kawasaki Ninja® ZX™-10R ABS superbike combines anti-lock braking with the numerous technological benefits of the class leading ZX-10R. And it does it with rider-sensitive, race-bred attributes derived from competing and winning at the highest levels.
Kawasaki has developed a new electronic steering damper for the 2013 ZX-10R ABS sportbike, in joint cooperation with Öhlins. Controlled by a dedicated ECU located under the gas tank cover, this new damper reacts to the rate of acceleration or deceleration, as well as rear wheel speed, to help provide the ideal level of damping force across a wide range of riding scenarios. The variable damping provides optimum rider feedback by enabling the use of lower damping forces during normal operation, without sacrificing the firm damping needed for high-speed stability. The result is a light and nimble steering feel at low speed, as well as superior damping at higher speeds or during extreme acceleration/deceleration. The anodized damper unit incorporates Öhlins’ patented twin-tube design to help ensure stable damping performance and superior kickback absorption. It is mounted horizontally at the front of the fuel tank and requires very few additional components and ads almost no weight compared to last year’s steering damper.
At first, anti-lock braking might seem a touch out of place on a purebred sportbike. But this system was designed from the start to maximize performance. And when you consider the many benefits provided by the amazing electronic and hardware technology available today, it begins to make a lot of sense.
Think of it: You’re braking for a blind, decreasing-radius corner after a long day of sport riding. Shadows are long and you’re tired, so you don’t notice a patch of sand until it’s too late to correct. But instead of tucking as you continue braking through the sand, your front tire maintains most of its traction, as the anti-lock braking system intervenes until the surface improves – allowing you to arc gracefully into the corner, a little wiser and a lot more intact physically than you might have been riding a non-ABS motorcycle.
Kawasaki calls its anti-lock system KIBS – or Kawasaki Intelligent anti-lock Brake System. The use of “intelligent” is apropos, too, considering just how smart the KIBS is. It all starts with the smallest and lightest ABS unit ever built for a motorcycle, one designed by Bosch specifically with sport bikes in mind. It’s nearly 50 percent smaller than current motorcycle ABS units, and 800 grams lighter, adding only about 7 pounds of weight compared to the non-ABS machine, a pound of which is accounted for by the larger battery.
KIBS is a multi-sensing system, one that collects and monitors a wide range of information taken from wheel sensors (the same ones collecting data on the standard ZX-10R for its S-KTRC traction control system) and the bike’s ECU, including wheel speed, caliper pressure, engine rpm, throttle position, clutch actuation and gear position. The KIBS’s ECU actually communicates with the bike’s engine ECU and crunches the numbers, and when it notes a potential lock-up situation, it tells the Bosch ABS unit to temporarily reduce line pressure, allowing the wheel to once again regain traction.
Aside from this system’s ultra-fast response time, it offers a number of additional sport-riding benefits, including rear-end lift suppression during hard braking, minimal kickback during ABS intervention, and increased rear brake control during downshifts. The high-precision pressure control enables the system to maintain high brake performance, proper lever feel and help ensure the ABS pulses are minimized.
Needless to say that the Japanese manufacturers were highly intrigued and the first samurai who challenged the Germans to a duel was Kawasaki.
Kawasaki’s anti S 1000RR weapon is the Ninja ZX - 10R. Packing a lot of advanced features and modern technologies, the bike is fast enough to compete with success against the German oppressor.
Despite the fact that nothing changed for the 2013 model year, except for some color schemes, the Ninja continues to be ahead of the pack when it comes to sporty performances.
Build on a nimble, lightweight chassis, The Kawasaki Ninja ZX - 10R ABS is “blessed” with a powerful 998cc inline four engine which cranks out 197 hp at 11500 rpm.
Among the most important features offered by the Ninja ZX - 10R, you’ll find the advanced Sport-Kawasaki Traction Control (S-KTRC) and an intelligent ABS system which comes as an option ($1000).
ENGINE & PERFORMANCE:
The rest of the 2013 Ninja ZX-10R ABS is equally advanced. Complete with a powerful engine and lightweight chassis, it also boasts a highly advanced and customizable electronic system that allows riders to harness and experience the ZX-10R ABS’s amazing blend of power and razor-edge handling. The system is called Sport-Kawasaki Traction Control.
Motorcyclists have forever been challenged by traction-related issues, whether on dirt, street or track. And when talking about the absolute leading edge of open-class sport bike technology, where production street bikes are actually more capable than full-on race bikes from just a couple years ago, more consistent traction and enhanced confidence is a major plus.
The racing-derived S-KTRC system works by crunching numbers from a variety of parameters and sensors – wheel speed and slip, engine rpm, throttle position, acceleration, etc. There’s more data gathering and analysis going on here than on any other Kawasaki in history, and it’s all in the name of helping racers inch closer to the elusive “edge” of maximum traction than ever before. The S-KTRC system relies on complex software buried in the ZX-10R’s Electronic Control Unit (ECU); the only additional hardware is the lightweight speed sensors located on each wheel.
Unlike the KTRC system on Kawasaki’s Concours™ 14 ABS sport tourer, which primarily minimizes wheel slip on slick or broken surfaces as a safety feature, the S-KTRC system is designed to maximize performance by using complex analysis to predict when traction conditions are about to become unfavorable. By quickly but subtly reducing power just before the amount of slippage exceeds the optimal traction zone, the system – which processes every data point 200 times per second – maintains the optimum level of tire grip to maximize forward motion. The result is significantly better lap times and enhanced rider confidence – exactly what one needs when piloting a machine of this caliber.
The S-KTRC system offers three different modes of operation, which riders can select according to surface conditions, rider preference and skill level: Level 1 for max-grip track use, Level 2 for intermediate use, and Level 3 for slippery conditions. An LCD graph in the high-tech instrument cluster displays how much electronic intervention is occurring in real time and a thumb switch on the left handlebar pod allows simple, on-the-go mode changes.
The potent ZX-10R engine is a 16-valve, DOHC, liquid-cooled inline-four displacing 998cc via 76 x 55mm bore and stroke dimensions. This powerplant is tuned to optimize power delivery, center of gravity and actual engine placement within the chassis. Torque peaks at an rpm range that helps eliminate power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
A primary goal of Kawasaki engineers was linear power delivery and engine manageability throughout all elements of a corner: the entry, getting back to neutral throttle at mid-corner, and heady, controllable acceleration at the exit. Peak torque was moved to a higher rpm range, which eliminates the power peaks and valleys that make it difficult for racers and track-day riders to open the throttle with confidence.
Large intake valves complemented by wide, polished intake ports allow for controllable power delivery and engine braking, just the thing to smooth those racetrack corner entries and exits. Camshafts built from chromoly steel further contribute to optimized engine braking and more controllable power delivery. Lightweight pistons mount to light and strong connecting rods. Compression is a full 13.0:1.
A race-style cassette transmission allows simple trackside ratio changes. An adjustable back-torque limiting clutch assembly is fitted, which allows worry-free downshifts and corner-entry calmness.
Cramming all that fuel and air into this amazing engine is a ram air-assisted fuel injection system featuring large throttle bodies (47mm) and sub-throttle valves, a large capacity airbox (9 liters), secondary injectors that improve top-end power characteristics, and a large ram-air intake that’s positioned close to the front of the bike for efficient airbox filling and power.
The final piece of the ZX-10R’s power-production formula is a race-spec exhaust system featuring a titanium header assembly, hydroformed collectors, a large-volume pre-chamber containing two catalyzers and a highly compact silencer. Due to the header’s race-spec design, riders and racers looking for more closed-course performance need only replace the slip-on muffler assembly.
CHASSIS & SUSPENSION:
With the engine producing a massive quantity of usable and controllable power, engineers looked to the chassis to help refine handling and overall road/track competency. The aluminum twin-spar frame is an all-cast assemblage of just seven pieces that features optimized flex characteristics for ideal rider feedback, cornering performance and light weight. Like the frame, the alloy swingarm is an all-cast assembly, with rigidity matching that of the frame itself.
Chassis geometry offers excellent stability and handling quickness. The front end geometry – with rake at 25 degrees and trail at 107mm (4.21 in.) – allows light, quick handling and complements the engine’s controllable power and the frame and swingarm’s flex characteristics.
Highly advanced suspension at both ends helps as well. Up front is a 43mm open-class version of the Big Piston Fork (BPF). Featuring a piston design nearly twice the size of a conventional cartridge fork, the BPF offers smooth action, less stiction, light weight and enhanced damping performance on the compression and rebound circuits. This compliance results in more control and feedback for the rider – just what you need when carving through a rippled sweeper at your local track or negotiating a decreasing-radius corner on your favorite backroad.
Suspension duties on the ZX-10R are handled by a Horizontal Back-Link design that positions the shock and linkage above the swingarm. Benefits include mass centralization, good road holding, compliance and stability, smooth action in the mid-stroke and good overall feedback. The fully adjustable shock features a piggyback reservoir and dual-range (low- and high-speed) compression damping.
Lightweight gravity-cast three-spoke wheels complement the tire fitment. Up front, Tokico radial-mount calipers grasp 310mm petal discs and a 220mm disc is squeezed by a lightweight single-piston caliper in back. The result is powerful stops with plenty of rider feedback and the added confidence of the KIBS ABS system.
DESIGN & ERGONOMICS:
Finally, Kawasaki engineers wrapped all this technology in bodywork as advanced and stylish as anything on this side of a MotoGP grid. The curvy edges and contrasting colored and black parts create a sharp, aggressive image. Line-beam headlights grace the fairing while LED turn signals are integrated into the mirror assemblies. Convenient turn-signal couplers allow easy mirror removal for track-day use. The rear fender assembly holding the rear signal stalks and license plate frame is also easily removable for track days. High-visibility LED lamps are also used for the taillight and position marker.
The instrumentation is highlighted by an LED-backlit bar-graph tachometer set above a multi-featured LCD info screen with numerous sections and data panels. A wide range of information is presented, including vehicle speed, odometer, dual trip meters, fuel consumption, Power Mode and S-KTRC level, low fuel, water temperature and much more. For track use, the LCD display can be set to “race” mode which moves the gear display to the center of the screen.
The ZX-10R’s ergonomics are designed for optimum comfort and control. A 32-inch saddle, adjustable footpegs and clip-ons mean that this is a hard-core sport bike you can actually take on an extended sport ride – and still be reasonably comfortable doing so.
The old saying, “power is nothing without control” is certainly apt where open-class sport bikes are concerned. But when you factor in all the engine, chassis and ergonomic control designed into the 2013 Ninja ZX-10R, you begin to realize you’re looking at one very special motorcycle – one that can take you places you’ve never been before.
Genuine Kawasaki Accessories are available through authorized Kawasaki dealers.
SPECS:
Engine Four-Stroke, Liquid-Cooled, DOHC, Four Valves Per Cylinder, Inline-Four
Displacement 998cc
Bore X Stroke 76.0 X 55.0 mm
Compression Ratio13.0:1
Fuel System DFI® With Four 47mm Keihin Throttle Bodies With Oval Sub-Throttles, Two Injectors Per Cylinder
Ignition TCBI With Digital Advance And Sport-Kawasaki Traction Control (S-KTRC)
Transmission Six-Speed
Final Drive Chain
Rake/Trail 25 Deg / 4.2 In.
Front Tire Size 120/70 ZR17
Rear Tire Size 190/55 ZR17
Wheelbase 56.1 In.
Front Suspension / Wheel Travel 43 mm Inverted Big Piston Fork (BPF), Adjustable Rebound And Compression Damping, Spring Preload Adjustability/ 4.7 in.
Rear Suspension / Wheel Travel
Horizontal Back-Link With Gas-Charged Shock, Stepless, Dual-Range (Low-/High-Speed) Compression Damping, Stepless Rebound Damping, Fully Adjustable Spring Preload / 5.5 In.
Front Brakes Kawasaki Intelligent Anti-Lock Braking (KIBS), Dual Semi-Floating 310 mm Petal Discs With Dual Four-Piston Radial-Mount Calipers
Rear Brakes KIBS-Controlled, Single 220 mm Petal Disc With Aluminum Single-Piston Caliper
Fuel Capacity 4.5 Gal.
Seat Height 32.0 In.
Curb Weight 443.2 Lbs.
Overall Length 81.7 In.
Overall Width 28.1 In.
Overall Height 43.9 In.
Color Choices - Lime Green/Metallic Spark Black, Pearl Flat White/Metallic Spark Black
Source: www.topspeed.com/motorcycles/motorcycle-reviews/kawasaki/...
Scheveningen/The Hague
May 2012
The Netherlands
Beachlife in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
The show must go on, even though the audience seems uninterested in this spectacular physics demonstration of centrifugal and centripetal forces. It exemplifies Newtonian laws of motion and Lagrangian mechanics.
O yeah, and it involves a Hula Hoop too, I guess.
I am pretty fascinated by the process of absorption of reality into the realm of fantasy. Here we have a Pure Nonsense / Paradox example: dark skinned SS woman - that’s something simply impossible. She is actually a pretty nice person - a vendor of military memorabilia and uniform replicas at Lagunilla Market in Mexico DF. In the innocence of Mexican consciousness the war does not really exist and all the Nazi symbols pass directly into the category of fantasy along with Heavy Metal images of Skulls, Devils etc. It is even pretty common to find at the same street stand Nazi and Anti-Nazi items. Mexico is a huge surrealistic kindergarden.
Mexico DF, 2007
35 mm, Nikon F3, 55 mm macro lens, Sensia 100
Check also: Pink Swastika and Flower Swastika
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Every creative process requires a total absorption in the moment, in whatever you are doing and regardless of the world around you. Anything else is a distraction, a detraction, a deflection, moving you away from what your real and perhaps unknown goal...
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- Critiques welcome and appreciated.
- Use "L" to view images on a black background.
- Please, no awards or graphics in the comments.
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This picture is all about loneliness, self-absorption, suspicion, distance, separation and betrayal.
The Kills - Love Is A Deserter
CM 10-3
Once a bracket for a bird feeder. Now it feeds a hungry Live Oak tree. No rescue, no freedom, no release. And no chance of parole...
In this and the following post, I present spectro-radiometry of the low Sun from 380nm to 2500nm (with a small gap from 780–900nm). These exhibit strong telluric (arising in the Earth’s atmosphere) absorption bands from molecules and short-lived molecular collisional pairs.
The radiometric calibration is provided in the visible spectrum from observations with a Sekonic C-7000 SpectroMaster (the red line spectrum from 360–780nm). This is fitted using a spectral extinction model of the atmosphere that includes Rayleigh and aerosol scattering as well as ozone absorption (thin blue line). The extinction model is applied to the known solar spectral power distribution outside the Earth’s atmosphere (grey line spectrum).
An Ocean Optics NIRQuest 256 channel infrared spectrometer is then used with a relative flux calibration derived from a quartz-halogen lamp operating at 3000K and assumed to be a Planck function at that temperature (red spectrum from 900–2500nm). The vertical scale of the infrared data is determined from the extrapolated visible extinction model. The dashed black line is a Planck function at 3000K and is used to normalise the infrared spectrum to have a continuum close to unity (green line spectrum).
The main infrared absorption bands are marked. These include oxygen, water, carbon dioxide and methane as well as O2-O2 and O2-N2 Collisionally Induced Absorption (CIA) bands. The departure of the solar spectrum above the Planck function centred on 1600 nm is the result of the minimum of the H-minus (the hydrogen negative ion, H-) opacity in the solar atmosphere in this region. This results in the emitted power arising at these wavelengths from deeper in the solar atmosphere where the temperature is higher that that emitting visible light.
The deviation between the extinction model and the spectral data in the blue below about 450nm (shown as the pale blue ‘wedge’) is the result of skylight being included in the field of view of the visible radiometer. The following post explains how this can be corrected. When the Sun is low in the sky and much reduced in intensity by atmospheric scattering and absorption, the light from the sky becomes significant by comparison with direct sunlight at short wavelengths.
While the y-axis of the plot is labelled 'spectral irradiance' (which has the correct units) the radiometer is being restricted to a field with a diameter of about 20 degrees and so excludes much of the scattered skylight.
Both shots taken on a tripod that was not moved between shots. Shot at F/3.5, 1/3s, ISO200, auto WB using a Nikon D3. Both manually focused on the same point. Shot in RAW then rotated and converted to TIFF using CaptureNX. Combined in GIMP.
District 789, Beijing
July 2012
China
Urban life
Canon 550D
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them..
Amsterdam
Mei 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
If you happen to be in one of my frames and have any objections to this.
Please contact me!
Please no glossy awards, scripted comments and big thumbnails back to your own work.
I will remove them...
The name "Red Forest" comes from the ginger-brown colour of the pine trees after they died following the absorption of high levels of radiation from the Chernobyl accident on 26 April 1986. In the post-disaster cleanup operations, the Red Forest was bulldozed and buried in "waste graveyards". The site of the Red Forest remains one of the most contaminated areas in the world today.
Combinaison de cinq clichés réalisés le 14 septembre 2005 vers deux heures du matin, et destinée à illustrer l'absorption atmosphérique affectant la luminosité et la couleur de la Lune alors qu'elle s'approche de l'horizon. Au premier plan, le village de Blaziert voit la lumière de ses lampadaires être diffusée dans une discrète brume nocturne.
Pentax *ist Ds, poses de 15s, iso 800, Sigma 105 EX Macro, premier cliché à 1h53, puis à 2h03, puis un intervalle de trois minutes approximativement pour les trois suivants.
I overlayed five 15-seconds exposures to show the role played by atmospheric absorption, which reduces Moon's brightness and turn it red as it get closer to the horizon. This was made very late in the evening of September 13, 2005, with a Pentax *ist Ds DSLR and a Sigma 105 EX Macro lens. Iso 800 shots where taken at 1:53 am, then 2:03 and later with an approximate 3-minutes delay.
Acoustic ancient absorb absorption architect architects architectural art artwork artistic ambience accent accessory
Accessories acrylic
Bamboo board backdrop backwall background backlit bedhead bedroom build building built basket bark bar
Brochure
Carve carved cut cutout cut-out ceiling coco cocohusk coconut cocoshell capiz cnc comtemporary cork cast coat
Coating create creative creation counter casino cupboard closet console credenza category catalogue classical
Class classic circle cozy commercial common
Design detail decoration deco décor decorative divider diffuse diffused diffusion density dura durable display
Department departmental dining dine dim door dot dots dimension durapalm
Enclosure emboss embossed engrave engraving entertainment eco ecology environment environmental exhibits
Exhibition exhibiting element effect engineered elegant
Feature fixture foam form faux focus fusion fair frame fiber fiberboard fibre fibreboard future futuristic furniture
Furnish furnishing flat featurewall
Gouge gouged grille geometry geometric glass grass green gallery galleries graffiti gloss
handicraft handcraft handcrafted handmade hospitality hotel hotels headboard home house hinge hang hung HDF
high-density-fiberboard highdensityfiberboard honeycomb husk houz
interior interiordesign icon iconic inter internal industry industrial image imaging imagine imagination inspire inspired install installation installing indoor instill interlam
jigsaw
kireiboard
light lighting layer layered leather lami laminate laminates living laser lasercut library
mosaic modular material mediumdensityfiberboard mediumdensityfibreboard medium-density-fiberboard
medium-density-fibreboard MDF modern modern-tropical moulded mould mold molded manual marquet marquetry
marotte mother of pearl motherof pearl mother-of-pearl matt mural mesh mount mounted mounting
natural nature niche natural-plant-fiber
ornament ornamental ornate organic oldship office offices omarno
product products paint painted painting paintings PU PVC photo pearl plastic proof pangu panel panelite panelkam panelmax paper pulp precast palm polyresin polycarbonate pattern patterns plant partition project palette pieces
penshell
quilt quilted
resin rivershell resort reclaimed route routed routing repeat random retardant ripple resident residence residential
restaurant restaurants retail relief relieve room reference round
screen seashell shell semi sculpture sculptural surfaces source sources store stores stage slide sliding surface
sculptured system systems sustain sustainability show sound special shop shopfront shoplot suspend suspended
swivel substrate shape shapes shade shades sand sandstone sanded sanding spiral suspension strip stripe strips
substance
texture textured translucent tree transmaterial tile tropical trade TV textile trend treatment timber
veneer variety versatile varnish varnishing
wave wavy wood weave woven wall wallcover wallcovering wallcoverings white wardrobe wovin warm
wainscot wooden woodenwave
3d 3-d 3dimension 3-dimension 3form
"Pride goes before destruction, and a haughty spirit before a fall." Proverbs 16:18
Remember the statement I made in my post Strongholds? Let me remind you if you don't want to click on the link. I think I said, "Not sure why I chose this book (Beth Moore's Praying God's Word: Breaking Free from Spiritual Strongholds). Like I don’t have any strongholds." I would take a big guess and say one of my #1 stronghold is PRIDE.
Here is why I think this: Beth Moore said something about pride and low self-esteem, "Pride is not the opposite of low self-esteem. Pride is the opposite of humility. We can have a serious pride problem that masquerades as low self-esteem. Pride is self-absorption whether we're absorbed with how miserable we are or how wonderful we are." (Beth Moore, Praying God's Word pg.49)
WHAT? Hold on a minute . . . could this be true?
When I think about it I believe Mrs. Moore is on to something because I have suffered from low self-esteem all my life. Not sure why because I've got a lot going for me. I was raised in a loving home (with the usual family issues that all families suffer from), parents who remained married, lived in a nice middle class neighborhood and went to good schools, enjoyed several hobbies (swimming, horseback riding, piano, violin and ballet), didn't have to worry about my needs, met the most wonderful man who became my best friend who became my husband, have two amazing daughters who are blessed with amazing gifts and abilities, the most wonderful group of friends and above all am a child of God. What more can a girl ask for? But that low self-esteem still rears its ugly head to this day.
For me, it can take the form of feeling sorry for myself because I'm not as talented, not as good looking, getting older . . . . the list is too long to type out but you get the picture. When I feel this way I start to nitpick on those around me who I perceive as having those things I see myself as not having. When this happens the nitpicking becomes talking ill about them.
Yes, I am that kind of person who can and does stoop that low . . . . . :-(
When I do this I give myself a false sense of feeling good which only lasts a short time because it is a lie. A lie based upon hurting others which is based upon pride.
Another form of pride that shows up in me is not wanting help. I have a hard time accepting help. I take pride in the fact that despite some life challenges I can do it myself. I can keep a house clean, work part-time, be a wife, be a mom of teenagers, keep my gardens looking nice have time to exercise, blog and take pictures. I can do it all all by myself thank you. And, I can do it all even when I'm sick!
It is when I am sick that I struggle with allowing others to help me without feeling guilty. I learned how to allow others to help me when I was going through treatment and could not help myself. It was a humbling experience. I had to learn that my loved ones didn't know what to do or how to help. They can't fight the cancer for me. But they could help bring me food, take care of the girls while I was at treatments or taking scans/tests and clean my house. I learned that it made them feel like they were helping me fight cancer by doing those things for me and I needed to let them do it. To this day I still struggle with this when I'm too sick to do it all. But I'm more willing to let it happen than I use to . . . still learning I guess.
The one thing about pride is that it is a specialty of Satan. He knows all about it because it is what banished him from heaven, “How you are fallen from heaven, O Day Star, son of Dawn! How you are cut down to the ground, you who laid the nations low! You said in your heart, ‘I will ascend to heaven; above the stars of God I will set my throne on high; I will sit on the mount of assembly in the far reaches of the north; I will ascend above the heights of the clouds; I will make myself like the Most High.’ But you are brought down to Sheol, to the far reaches of the pit" (Isaiah 14:12-15).
Satan loves to use pride to keep people from knowing Jesus and also "keep believers from being full of the Spirit is to keep us full of ourselves." This makes me mad because I don't want to fall into this trap set by Satan! And yet I always do. Hence it being one of my strongholds.
One thing I am certain is that God will knock pride out of our lives if we don't take the steps to do so ourselves. I like what my bible commentary has to say about this verse, "A tall tree attracts lightening. So God puts down those who are conceited. Stuck-up people usually suffer some humiliating experience, designed to deflate their ego. It takes only a small pin to prick a large balloon."
When I read this verse I thought of the picture I took of Mt. Rainier. I love Mt. Rainier because it is so beautiful and is always the backdrop of the area I live in. It is hard to believe that beneath the surface it really is a volcano. It reminds me of another beautiful mountain in our area - Mt. St. Helens. It too was majestic and beautiful. But on May 18, 1980 it lost its beauty as it erupted causing devastation and loss all around it. We are like these beautiful mountains. If we allow our beauty to puff us up the Lord will very well cause us to make changes in order to work the pride out of us.
The wonderful thing about God is that He will not leave us wounded by our pride. He will bring healing when we learn from the lessons He brings into our lives to change us. I was around when Mt. St. Helens erupted. I remember walking up to a park on a hill near our house to see the big ash cloud above the mountain. I saw the ash fall on my city like snow and read stories of those caught in the path of this eruption. Over the years I have also watched this mountain change and grow into a different kind of beauty. Nature has grown over the destruction and lives once again. The mountain doesn't look like it use to because it has a big chunk out of one side of it but it is still majestic in its new beauty.
I want to end this devotional thought on a positive note as I remind myself and you of what our lives should look like, "I therefore, a prisoner for the Lord, urge you to walk in a manner worthy of the calling to which you have been called, with all humility and gentleness, with patience, bearing with one another in love, eager to maintain the unity of the Spirit in the bond of peace. There is one body and one Spirit—just as you were called to the one hope that belongs to your call — one Lord, one faith, one baptism, one God and Father of all, who is over all and through all and in all. But grace was given to each one of us according to the measure of Christ's gift" (Ephesians 4:1-7). The one thing about pride is that it eventually brings disunity which is another one of Satan's specialties.
Let us throw off the veil of pride together!
Krista Jones - 6.27.14
Taken from Stillness of the Morning Blog
Between cosy pictures of a beautiful nature I post this dark one. Most emotional so far by me. Possibly not very delicious for most of people. Needs a deeper absorption. I hope to get only interesting comments about it.
I worked with this piece quite a lot. Very personal and energetic. I have 2 songs for this picture, because they both came in the same time into my life and I had vision how I can express my feelings of certain things. If you are a ’nice’ person and try to keep away of everything dark and incomprehensible, please leave me now. But if you have a deeper interest which songs I want to illustrate my work, please take a listen. These 2 bands are total cult bands in black metal and blackened death metal world, the first song is my main telephone ring. Melodies are super cool, the growing inside of music is amazing. Using of vocals and music instruments are gorgeous. Close your eyes for videos if you are very religious.
My final thought is about the music and picture is – if you don’t know Satan, how could you know God?
Dimmu Borgir - Sorgens Kammer Del.2
www.youtube.com/watch?v=-gt7YWwOmRo
BEHEMOTH / At The Left Hand Ov God
www.youtube.com/watch?v=TSkiT1Ypjcs
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Faves without comments = I will block you.
Sensitivity training - experiencing how it feels when the Maximum Absorption Garment is filled with water.
Taipei, Peace Park
Taiwan
2013
Urban Life in Taiwan
Nikon D7100 + 35mm 1.8
Latest blogpost: thecovertphotographer.wordpress.com/2013/08/29/in-transit...
April 2012
The Netherlands
Candid shots in and around the Public Transport in The Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
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Millets are a group of highly variable small-seeded grasses, widely grown around the world as cereal crops or grains for fodder and human food. Millets are important crops in the semiarid tropics of Asia and Africa (especially in India, Mali, Nigeria, and Niger), with 97% of millet production in developing countries. The crop is favored due to its productivity and short growing season under dry, high-temperature conditions.
The most widely grown millet is pearl millet, which is an important crop in India and parts of Africa. Finger millet, proso millet, and foxtail millet are also important crop species. In the developed world, millets are less important. For example, in the United States, only proso millet is significant, and it is mostly grown for bird seed.
While millets are indigenous to many parts of the world, it is believed that they had an evolutionary origin in tropical western Africa, as that is where the greatest number of both wild and cultivated forms exist. Millets have been important food staples in human history, particularly in Asia and Africa. They have been in cultivation in East Asia for the last 10,000 years.
DESCRIPTION
Consumption of the minor millets has been practiced since the beginning of the ancient civilizations of the world. Generally, the millets are small-grained, annual, warm-weather cereals belonging to grass family. They are highly tolerant to extreme weather conditions such as drought and are nutritious compared to the major cereals such as rice and wheat. They contain low phytic acid and are rich in dietary fiber, iron, calcium, and B vitamins. Moreover, these millets release sugar slowly in the blood and also diminish the glucose absorption. These properties of the minor millets made the present consumers attracted to the consumption of millet.
MILLET VARIETIES
MAJOR MILLETS (the most widely cultivated species)
Eragrostideae tribe:
- Eleusine coracana: finger millet (also known as ragi, nachani,mandua or Kezhvaragu in India), fourth-most cultivated millet
Paniceae tribe:
- Panicum miliaceum: proso millet (syn. : common millet, broom corn millet, hog millet or white millet, "chena" or Chin' in Hindi, "Pani-varagu" in Tamil, "Baragu" in Kannada), third-most cultivated millet
- Pennisetum glaucum: pearl millet (also known as Sajjalu in Andhra Pradesh, Sajje in Kannada and kambu as referred by other South Indian states and bajra in Hindi), the most cultivated millet
- Setaria italica: foxtail millet, the second-most cultivated millet (also known as korralu in Andhra Pradesh and thinai in Tamil Nadu and kang or rala in Maharashtra, kakum in Hindi)
Andropogoneae tribe : Sorghum is also counted as major millets and known as jonna in Andhra Pradesh, Jolla' in Kannada, cholam in Tamil Nadu and Jowar in Hindi
MINOR MILLETS
Andropogoneae tribe:
- Coix spp.: Job's tears
Eragrostideae tribe :
- Eragrostis tef: teff
Paniceae tribe :
- Digitaria spp.: white fonio, black fonio, raishan, Polish millet
- Echinochloa spp.: Japanese barnyard millet, Indian barnyard millet (syn.: sawa millet) (also known as kodisama in Andhra Pradesh and kuthirai vaali in Tamil Nadu and bhagar or varai in Maharashtra), burgu millet
- Panicum sumatrense : little millet (also known as samalu in Telugu and samai in Tamil Nadu)
- Paspalum scrobiculatum: kodo millet (also known as varigalu in Andhra Pradesh and varagu in Tamil Nadu)
- Urochloa spp. (also known as Brachiaria): browntop millet, Guinea millet
HISTORY
Foxtail Millet is known to have been the first domesticated millet. Chinese legends attribute the domestication of millet to Shennong, the legendary Emperor of China. Similarly, millets have been mentioned in some of the oldest extant Yajurveda texts, identifying foxtail millet (priyangava), Barnyard millet (aanava) and black finger millet (shyaamaka), indicating that millet consumption was very common, pre-dating to 4500 BC, during the Indian Bronze Age. Specialized archaeologists called palaeoethnobotanists, relying on data such as the relative abundance of charred grains found in archaeological sites, hypothesize that the cultivation of millets was of greater prevalence in prehistory than rice, especially in northern China and Korea. Millets also formed important parts of the prehistoric diet in Indian, Chinese Neolithic and Korean Mumun societies. Broomcorn (Panicum miliaceum) and foxtail millet were important crops beginning in the Early Neolithic of China. For example, some of the earliest evidence of millet cultivation in China was found at Cishan (north). Cishan dates for common millet husk phytoliths and biomolecular components have been identified around 8300–6700 BC in storage pits along with remains of pit-houses, pottery, and stone tools related to millet cultivation. Evidence at Cishan for foxtail millet dates back to around 6500 BC. A 4,000-year-old well-preserved bowl containing well-preserved noodles made from foxtail millet and broomcorn millet was found at the Lajia archaeological site in China.
Palaeoethnobotanists have found evidence of the cultivation of millet in the Korean Peninsula dating to the Middle Jeulmun pottery period (around 3500–2000 BC). Millet continued to be an important element in the intensive, multicropping agriculture of the Mumun pottery period (about 1500–300 BC) in Korea. Millets and their wild ancestors, such as barnyard grass and panic grass, were also cultivated in Japan during the Jōmon period some time after 4000 BC.
Millet made its way from China to the Black Sea region of Europe by 5000 BC. The cultivation of common millet as the earliest dry crop in East Asia has been attributed to its resistance to drought, and this has been suggested to have aided its spread.
Pearl Millet was domesticated in the Sahel region of West Africa, where its wild ancestors are found. Evidence for the cultivation of Pearl Millet in Mali dates back to 2500 BC, and Pearl Millet is found in South Asia by 2300 BC
Finger Millet is originally native to the highlands of East Africa, and was domesticated before the third millennium BC. It's cultivation had spread to South India by 1800 BC.
Research on millets is carried out by the International Crops Research Institute for the Semi-Arid Tropics in Telangana, India, and by the USDA-ARS at Tifton, Georgia, United States.
PRODUCTION
Pearl millet is one of the two major crops in the semiarid, impoverished, less fertile agriculture regions of Africa and southeast Asia. Millets are not only adapted to poor, droughty, and infertile soils, but they are also more reliable under these conditions than most other grain crops. This has, in part, made millet production popular, particularly in countries surrounding the Sahara Desert in western Africa.
Millets, however, do respond to high fertility and moisture. On a per hectare basis, millet grain produced per hectare can be two to four times higher with use of irrigation and soil supplements. Improved breeds of millet improve their disease resistance and can significantly enhance farm yield productivity. There has been cooperation between poor countries to improve millet yields. For example, 'Okashana 1', a variety developed in India from a natural-growing millet variety in Burkina Faso, doubled yields. This breed was selected for trials in Zimbabwe. From there it was taken to Namibia, where it was released in 1990 and enthusiastically adopted by farmers. Okashana 1 became the most popular variety in Namibia, the only non-Sahelian country where pearl millet – locally known as mahangu – is the dominant food staple for consumers. 'Okashana 1' was then introduced to Chad. The breed has significantly enhanced yields in Mauritania and Benin.
India is the world's largest producer of millet. In the 1970s, all of the millet crops harvested in India were used as a food staple. By the 2000s, the annual millet production had increased in India, yet per capita consumption of millet had dropped by between 50% to 75% in different regions of the country. As of 2005, most millet produced in India is being used for alternative applications such as livestock fodder and alcohol production. Indian organizations are discussing ways to increase millet use as food to encourage more production; however, they have found that some consumers now prefer the taste of other grains.
In 2010, the average yield of millet crops worldwide was 0.83 tonnes per hectare. The most productive millet farms in the world were in France, with a nationwide average yield of 3.3 tonnes per hectare in 2010.
ALCOHOLIC BEVERAGES
Millets are traditionally important grains used in brewing millet beer in some cultures, for instance by the Tao people of Orchid Island and in Taiwan. Various peoples in East Africa brew a drink from millet or sorghum known as ajono, a traditional brew of the Teso. The fermented millet is prepared in a large pot with hot water and people share the drink by sipping it through long straws.
Millet is also the base ingredient for the distilled liquor rakshi in Nepal and the indigenous alcoholic drink of the Sherpa, Tamang, Rai and Limbu people, tongba, in eastern Nepal. In Balkan countries, especially Romania and Bulgaria, millet is used to prepare the fermented drink boza.
AS A FOOD SOURCE
Millets are major food sources in arid and semiarid regions of the world, and feature in the traditional cuisine of many others. In western India, sorghum (called jowar, jola, jonnalu, jwaarie, or jondhahlaa in Gujarati, Kannada, Telugu, Hindi and Marathi languages, respectively; mutthaari, kora, or pangapullu in Malayalam; or cholam in Tamil) has been commonly used with millet flour (called jowari in western India) for hundreds of years to make the local staple, hand-rolled (that is, made without a rolling pin) flat bread (rotla in Gujarati, bhakri in Marathi, or roti in other languages). Another cereal grain popularly used in rural areas and by poor people to consume as a staple in the form of roti. Other millets such as ragi (finger millet) in Karnataka, naachanie in Maharashtra, or kezhvaragu in Tamil, "ragulu" in Telugu, with the popular ragi rottiand Ragi mudde is a popular meal in Karnataka. Ragi, as it is popularly known, is dark in color like rye, but rougher in texture.
Millet porridge is a traditional food in Russian, German, and Chinese сuisines. In Russia, it is eaten sweet (with milk and sugar added at the end of the cooking process) or savoury with meat or vegetable stews. In China, it is eaten without milk or sugar, frequently with beans, sweet potato, and/or various types of squash. In Germany, it is also eaten sweet, boiled in water with apples added during the boiling process and honey added during the cooling process.
Per capita consumption of millets as food varies in different parts of the world with consumption being the highest in Western Africa. In the Sahel region, millet is estimated to account for about 35 percent of total cereal food consumption in Burkina Faso, Chad and the Gambia. In Mali and Senegal, millets constitute roughly 40 percent of total cereal food consumption per capita, while in Niger and arid Namibia it is over 65 percent (see mahangu). Other countries in Africa where millets are a significant food source include Ethiopia, Nigeria and Uganda. Millet is also an important food item for the population living in the drier parts of many other countries, especially in eastern and central Africa, and in the northern coastal countries of western Africa. In developing countries outside Africa, millet has local significance as a food in parts of some countries, such as China, India, Burma and North Korea.
The use of millets as food fell between the 1970s and the 2000s, both in urban and rural areas, as developing countries such as India have experienced rapid economic growth and witnessed a significant increase in per capita consumption of other cereals.
People affected by gluten-related disorders, such as coeliac disease, non-celiac gluten sensitivity and wheat allergy sufferers, who need a gluten-free diet, can replace gluten-containing cereals in their diets with millet.
It is a common ingredient in seeded bread.
Millets are also used as bird and animal feed.
GRAZING MILLET
In addition to being used for seed, millet is also used as a grazing forage crop. Instead of letting the plant reach maturity it can be grazed by stock and is commonly used for sheep and cattle.
Millet is a C4 plant which means it has good water efficiency and utilizes high temperature and is therefore a summer crop. A C4 plant uses a different enzyme in photosynthesis from C3 plants and this is why it improves water efficiency.
In southern Australia millet is used as a summer quality pasture, utilizing warm temperatures and summer storms. Millet is frost sensitive and is sown after the frost period, once soil temperature has stabilised at 14 °C or more. It is sown at a shallow depth.
Millet grows rapidly and can be grazed 5–7 weeks after sowing, when it is 20–30 cm high. The highest feed value is from the young green leaf and shoots. The plant can quickly come to head, so it must be managed accordingly because as the plant matures the value and palatability of feed reduces.
The Japanese millets (Echinochloa esculenta) are considered the best for grazing and in particular Shirohie, a new variety of Japanese millet, is the best suited variety for grazing. This is due to a number of factors: it gives better regrowth and is later to mature compared to other Japanese millets; it is cheap – cost of seed is $2–$3 per kg and sowing rates are around 10 kg per hectare for dryland production; it is quick to establish; it can be grazed early; and it is suitable for both sheep and cattle.
Compared to forage sorghum, which is grown as an alternative grazing forage, animals gain weight faster on millet and it has better hay or silage potential, although it produces less dry matter. Lambs do better on millet compared to sorghum. Millet does not contain prussic acid which can be in sorghum. Prussic acid poisons animals by inhibiting oxygen utilisation by the cells and is transported in the blood around the body — ultimately the animal will die from asphyxia. There is no need for additional feed supplements such as sulphur or salt blocks with millet.
The rapid growth of millet as a grazing crop allows flexibility in its use. Farmers can wait until sufficient late spring / summer moisture is present and then make use of it. It is ideally suited to irrigation where livestock finishing is required.
NUTRITION
In a 100 gram serving, raw millet provides 378 calories and is a rich source (20% or more of the Daily Value, DV) of protein, dietary fiber, several B vitamins and numerous dietary minerals, especially manganese at 76% DV (USDA nutrient table). Raw millet is 73% carbohydrates, 4% fat and 11% protein (table).
Millet contains no gluten, so is not suitable for raising bread.
WIKIPEDIA
We ended up with 4 inches of Thinsulate insulation in the walls and ceiling. We chose Thinsulate because of its superior insulation, sound deadening, and super low moisture absorption.
Gumbo had terrible absorption issues on BaRF (Bones and Raw Food), nearly dying before we discovered that he had a significant B12 deficiency. He received weekly shots and recovered nicely (although he never regained all the weight he lost). I switched this beautiful 19yo boy back to standard cat food. Gumbo did fabulous for many months.
About a week ago, a shift in the balance of authority occurred. Mr. Grigsby picked on Gumbo relentlessly, and Gumbo laid down and took it. I repeat, Gumbo laid down and took it. Obviously something was terribly wrong. I checked, and Gumbo had his near-clonus back in his back legs. Squeeze his back legs and the muscles contract and contract and contract and contract. Gumbo's gut isn't working right, and he has developed loose stools as well. The vet put Gumbo on a ten-day course of metronidazole (finishes next weekend). And he is back on B12.
Well, today, Gumbo whacked Mr. Grigsby. Nothing fierce, merely an assertion that he still is King. . . Emperor. . . Ruler of the Home. Rather than fighting back, Mr. Grigsby acquiesced. Yep, Gumbo's still got it. And, I will say, Gumbo is a much more benevolent ruler than Mr. Grigsby one day will be.
[SOOC, f/1.6, ISO 125, shutter speed 1/500]
cross section: Zea may embryo
common name: corn grain
magnification: 100x
Triarch quadruple stain
Berkshire Community College Bioscience Image Library
Technical Questions:bioimagesoer@gmail.com
Petroleum makes the world go round, doesn't it...
If this were a "Tardis" (a magical phone booth for transporting "Dr. Who") all of our transportation fantasies could come true! Maybe Algore will start working on that soon so we can all be saved from our Doomsday devices. Until then... "Fill 'er up!"
A question for you to ponder... If all the polar ice melted, would it be enough to flood the planet? Do you really believe it could? Let's leave aside the calculations about the mass of the ice versus the size of the planet for absorption of all that liquid runoff, because it's at least partially irrelevant and easy enough for even a child to prove. When's the last time you had a cup of ice water overflow because the ice melted? Ever happened to you? The proposition that polar ice melting will flood the planet could hardly be more absurd. Anyone with a glass of ice water can see it for themselves. Admittedly this only accounts for the seaborn ice that's not over the land, yet the seaborn ice is a huge factor in the overall equation accounting for from thousands to tens of thousands of square miles of ice.
Algore would've had a coronary if he'd have been around at the end of the last Ice Age wouldn't he have? All that "man made" global warming with neither a computer, nor a microphone with which to convince the lowly peons of their imminent demise. Only God knows how mankind has ever made it this far without having to move our huts out of the rising salt water. Ohhhh... maybe we just moved the huts. My bad! (...or did all "intelligent" life die at the end of the last Ice Age?)
The earth has a well established history of repeating itself in it's weather patterns, which demonstrates that it heals itself and finds an equilibrium. We've gone from warming periods to Ice Ages and back again. If it could be proven that we are in "another" warming trend, it wouldn't be a cause for alarm. Our life spans just aren't long enough to see both ends of the cycle so we are easily manipulated by the so called experts. The fact is that in the '70's they were telling us we were bringing the next Ice Age upon ourselves by our car driving/polluting ways. In all fairness, I might have missed an Ice Age between then and now... I've been known to miss things like that when I wasn't paying attention. We're a lot smarter now though, aren't we?
The "hypothetical" problem is a "manufactured" political problem about how to deal with lost titles to land (political boundaries)... it's not an environmental problem. It's about the "hypothetical" problem of people being displaced from their property by rising sea levels. I don't know anyone stupid enough to drown because they couldn't figure out how to move to higher ground. Do you know anyone like that? Think about the presumptions that have been made about your level of intelligence in order to convince you of the danger of "man made" global warming. Do they think we're daft? I think they just might... I think they're counting on it.
So... What about all this talk about "Carbon Dioxide"?
We need greenhouse gases to survive on this planet. CO2 is a greenhouse gas. They taught us in school that plants need Carbon Dioxide to live, and that they need it as humans need Oxygen to live. This is a truly symbiotic relationship. This is not a parasitic relationship. If it were a parasitic relationship we would only take and and give nothing in return. We would only drain the life out of the host organism until it died (or we died). Plants clean the air for humans, humans clean the air for plants. If we stopped producing CO2 (that's what we exhale along with animals and cars) plant life could die. It's a symbiotic relationship that we have. To add a little bit of "green" parlance to the discussion feel free to substitute the word "sustainable" for the word "symbiotic" as in this case the connotations are consistent.
Methane is another greenhouse gas that humans produce along with animals, rice paddies, and volcanoes. Yes, rice paddies produce greenhouse gases! There, I said it! Even some plant life and the earth itself produce greenhouses gases and then we have all the animals that are producing greenhouse gases 24 hours a day, 7 days a week right alongside us. Greenhouse gases are to plants what strawberry syrup is to humans! How could you even think of depriving plant life of such a treat? Have a heart! en.wikipedia.org/wiki/Paddy_field
Ready for another greenhouse gas? How about "water vapor"? That's right, water vapor is a greenhouse gas. Greenhouse gases are a vital part of the process of photosynthesis.
en.wikipedia.org/wiki/Photosynthesis
Photosynthesis maintains livable conditions for both plants and humans. Yes, we "need" greenhouse gases to live in this world as we know it. I shouldn't be so presumptuous about what you were taught in school... Maybe these were "Inconvenient Truths" that were never taught in your classroom. Maybe they were too busy teaching propaganda films. We've long joked about politicians who would tax us on the air we breathe if they could only figure out how to do it. Think about that, let it sink in... "Our" politicians (yours and mine) are trying to tax us on the air we breathe! Do you support them in this? Are you doing it "for the children"? Are you being manipulated???
If your friends could use a refresher on common sense send them here! ...and don't allow the politicians to steal both your tax money and your common sense!
Everyone join in! Three cheers for critical thinking skills! Pass them on! Just do it quick; they tell us that soon we'll be up to our eyeballs in seawater!
P.S. Please leave a note about where you saw this if you're so inclined. I've had many viewers outside of flickr.com and I'm curious to know where it's being seen. Thanks
Amsterdam
June 2012
The Netherlands
Urban life in the Netherlands
Ricoh GRD IV
Please do not reproduce or use this picture without my explicit permission.
If you ask nicely I will probably say yes, just ask me first!
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