View allAll Photos Tagged absorption
The dramatic effect of ozone Chappuis band absorption on the colour of the sky during twilight. The origin of "The Blue Hour".
Abs-line (nm): Iolite pebble - vis
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Abs-line (nm): Iolite pebble - ir
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media: wire, cotton, silk, netting, vintage kimono, waste canvas, 3D printed elements.
Commissioned tapestry for Albert Sherman Center, University of Massachusetts. 4' x 7' x 4". 2015. One of three pieces commissioned for the research center. All three of these pieces reflect on the beauty and mystery in the biological world unseen by our naked eyes. The microscopic world of our bodies can seem remote and make us feel a bit squeamish, so by carefully hand stitching a window onto this world in the warm and comforting medium of quilted textiles, I hope to make this realm more intimate, accessible, tactile, and yet, still mysterious.
This piece was inspired by a slide mount of rabbit intestines.
Wetlands are biodiversity rich sensitive ecosystems that harbor hundreds of plants, insects, birds and other animals uniquely adapted to their wetland mode of life.They are crucial to maintain the regional water balance through ground water recharge and absorption of flood waters and also serve as the rice bowl of developing countries. Nevertheless, wetlands play immense role in the socio-economic and livelihood aspects of local communities living around the wetland. In India, rural communities depend wetland for livelihood through farming, mat making etc; for food through fishing and hunting; for roof thatching by collection of reeds and palm leaf ; for firewood; for fodder etc. However, these wetlands are now under a threat of conversion for big industrial and real estate projects, change in lifestyle of local community, over extraction of resources by increased population, pollution,waste dumping, eutrophication and pesticide farming. There are three important wetlands in the Puducherry region namely Oussudu, Bahour and Kaliveli that provide important resources for local communities and also are a home to tens of thousands of migratory birds that visit the Puducherry region in winter. These wetlands have been acknowledged as Important Bird Areas(IBAs) by IBCN, since many of these birds are represented in more than 1% of their global population.
The recent threat on wetlands of Puducherry is more due to the change in life style of local community living around these wetlands. The younger generation is not much dependent on wetland resources, The younger and modern generation has lost the compassion and bonding to the wetland which their forefathers maintained through sustainable livelihood practices. This has resulted in a change in attitude and perception of the community towards unsustainable farming and resource extraction, game hunting, intensive fishing and reclamation, ultimately resulting in shrinking of wetland area and loss of biodiversity at an alarming pace. Local community is leaving the traditional farming practices for more fertilizer and pesticide based farming; fish stock is depleted using invasive Gill nets. Since Puducherry is fast developing region with rapidly growing commercial tourism and industrial establishments, these wetlands are under the threat of reclamation for resort construction and other commercial establishments. Poaching for a sport as well as open selling of birds including the threatened species is common. School drop-out are noticed to get attracted to such practices to make easy money as well as hunting for a sport with peers. With time, they may grow into expert hunters who will depend on poaching as the main source of income for the family. There are many wetland awareness programs organized by Forest Department as well as NGOs targeting school kids and educated community through workshops. School drop-outs are often not specially targeted by any of such programs and often not brought under the ambit of such programs. This gap needs to be addressed for local conservation efforts to be fully effective. We have chosen birds as the umbrella species whose conservation will in turn protect the lake and biodiversity as a whole. Birds are attractive and beautiful; ,which may easily get compassion from drop-out kids if guided appropriately. With proper efforts, the poachers can be turned to protectors and expert tour guides to facilitate ecotourism.
Following a recent post on purple fluorite, I have measured both the fluorite and the irradiated halite using a reflectance probe that increases the effective transmission pathlength within the crystals. I have also added a UV measurement of the fluorite. These spectra show more structure than the earlier ones.
The colloids are responsible for the broad absorption bands in fluorite (at 560nm) and halite (at ~620nm). I am uncertain, however, of the cause of the absorption band around 400nm that both of these crystals show.
I think it is unlikely that the 400nm band results from a divalent rare earth element (REE) as has been suggested for other fluorites. Is it due to a colour (F-) centre in the crystals?
My body does not absorb B12.
The part of your intestine that absorbs it is the one part of my intestine that has active Crohn's.
So every three months I get an injection with one of these ampules of Neo B12.
I am off to the specialist tomorrow, so I picked these up today.
And being cute like they are, I couldn't resist a photo.
Sonata Vario class A acoustic absorbers installed within Sutton village hall, North Yorkshire to reduce noise and reverberation during use
I received recently an unusual 35mm range-finder camera Graflex Graphic 35 made in the U.S.A. in 1955 (see below the details about Graflex company and the camera). After a complete inventory and blank mechanical/optical checking, I did a test film with a FOMAPAN 100. The light was metered using a Minolta Autometer III fitted with a 10° viewfinder for selective metering privileging this shadow areas.
The camera was equipped with an adapted French FOCA « Dyma » x3.5 36mm push-on filter plus the metal shade hood made for the FOCA Standard camera. To compensate the Dyma filter absorption the Autometer was set on 32 ISO instead of the nominal 100 ISO of the film. The Dyma FOCA filter is an original glass formula containing neodymium giving band-selective visible spectrum absorptions in the green and yellow so that proximate tonalities in these bands are better separated.
I did the all photos along the way to Lyon Saint-Jean, Lyon, France.
View Nr. 24: 1/50s f/6.3 focusing at 50 ft
Rue Saint-Jean, July 30,, 2026
69001 Lyon
France
After the last view #37 exposed, the film was rewound to the taking cartridge and revealed in a Posso tank with 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+50. The film was processed for 9min at 20°C.
The frames were then digitized using a Sony A7 camera (ILCE-7, 24MP) adapted to a macro Minolta Auto Bellow III with Minolta Bellow MD Macro lens 1:3.5 f=50mm and the dedicated slide duplicator Minolta. The light source was a LED panel (approx. 4x5') CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (version 15.4.1, June 2026) and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
———————————————
About the Graflex company and Graphic 35 camera:
Graflex (originally the Folmer & Schwing Manufacturing Company, founded in 1887 in New York) had long been renowned for its large- and medium-format press cameras (notably the Speed Graphic), which became the standard for photojournalism in the first half of the 20th century. After its acquisition by Kodak in 1905–1907, the works were moved to Rochester, New York. In 1926, following antitrust rulings, Graflex became independent again and continued production in Rochester until the early 1970s.
By the mid-1950s, large-format press cameras were losing ground to smaller, easier-to-use 35 mm cameras aimed at amateurs. Graflex responded by entering the 35 mm market. It had already marketed the Ciro 35 (derived from the earlier Cee-ay 35 of Candid Camera Corp., acquired via Ciro). In 1955 this design was thoroughly reworked into the Graphic 35.
Launch and Production
* Introduction: First shipments on 25 February 1955; press presentation on 8 March 1955 in New York.
* Manufacture: Body and final assembly in Rochester, N.Y. Lenses and shutters were imported from West Germany (Rodenstock or occasionally Enna “Graflar” 50 mm f/3.5 or f/2.8 lenses; Prontor-SVS leaf shutter, 1 s to 1/300 s + B, M/X sync, self-timer).
* Production period: Roughly August 1954 to July 1957 (sometimes listed as ending in 1958). Advertising continued into late 1960.
* Volume: Approximately 68,000 units (Graflex internal figures list 68,269 cameras distributed). Serial numbers began at 550,000 and later restarted at 1,100,000.
Introductory prices were about $77.50 (f/3.5) to $98–99.50 (f/2.8), making it one of the more affordable fully featured 35 mm rangefinders of its day.
Distinctive Features
* Push-button focusing on either side of the lens (“wing focusing”), invented by Graflex instrument maker Louis M. Traino, who received a $4,000 company award (roughly $35,000–40,000 in today’s money). A “Visi-Ready” distance scale was visible from above.
* Front-mounted, sideways-pull shutter-release lever.
* Spectramatic (later Universal Spectramatic) flash system, devised by engineering director Vernon Whitman: colour-coded bands that simplified aperture selection according to distance and guide number.
* Separate viewfinder and split-image rangefinder windows; film advance by knob (not coupled to shutter cocking, allowing intentional double exposures).
* Solid die-cast metal body with satin chrome finish and silver-grey leatherette covering (some later examples darker).
These features—especially the push-button focusing—were heavily promoted and helped the camera sell strongly in its first year.
After 1957–58 Graflex shifted to Japanese-made models (the Graphic/Century 35 series by Kowa, the Graphic Jet, etc.). The original Rochester-built Graphic 35 remains a characteristic mid-1950s American design: robust, unusually ergonomic in its controls, and still relatively affordable on the used market today.
It is one of the few non-Kodak 35 mm cameras actually made in Rochester and illustrates Graflex’s attempt to adapt to the postwar 35 mm amateur boom.
I did not find at now the optical formula of the lens. The lens takes 27mm screw-on filter and the external diameter is 32mm. With a little adaptation (rind made in a film canister cap...) one could fit the French FOCA filter push-on 36mm.
It seems that no lens cap was proposed for the Graphic 35. With a cap of Kodak 35mm canister, I made a plastic one to protect the front lens.
The range-finder is slightly off calibrated at infinite but it easy to correct the small shift to set the correct value on the distance scale that is only engraved in feet.
A Fomapan Action 400 black-and-white film to test the effect a the special Foca filter "Dyma" produced in France in the 50's.
The filter is called "Dyma" due to the presence of neodymium in the glass giving an unusual absorption by bands in the visible spectrum. In particulier blue and yellow color ans more absorbed than the rest of the spectrum. The filter existed in two different versions with the coefficient x2.5 or 3.5. Here the 42mm push-on Foca Dyma filter used is a x 3.5.
As a consequence, I exposed the Foma 400 for 80 ISO using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. I used my FOCA camera PF2B year 1956 and its normal Oplar lens1:2.8 f=5cm equipped for all the views with the Dyma filter and a Genaco metal shade hood.
Typical settings during the session : 1/100s f/8 to f/11.
Place Chardonnet, May 29, 2023
69001 Lyon
France
After exposure, the film was processed using Adox Adonal (Agfa Rodinal) developer at dilution 1+25, 20°C for 6 min.
The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the camera and the lens:
The Foca type PF2B (PF for "Petit Format") was constructed in France by the company "Optique & Precision de Levallois" (OPL) starting from 1947. It was manufactured in the Chateaudun OPL factory, route de Jallans, France, in 1956 among a late series of the PF2B. The factory, constructed in 1938, is still at the same place under the name of SAFRAN now producing precision devices for aerospace appliances.
The camera is equipped with the collapsible OPLAR lens (a Tessar formula) 1:2.8 f=5cm. The focal shutter of the PF2B has timing of 1/1000, 1/500, 1/200, 1/100, 1/50 and 1/25s plus the B pose. A slow exposure device below 1/25s could be installed by the aftermarket service and was installed basically for the FOCA PF3 and Foca Universel.
If you're looking for a cheap, effective way to improve recording room acoustics, check out Audimute Absorption Sheets. Absorption Sheets are made specifically to absorb mid and high frequencies and are especially great for studios. To improve recording room acoustics, simply hang the Absorption Sheets in single or multiple layers using Megaclips.
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You may need an iron supplement to replace iron from blood loss. To enhance absorption, take iron
supplements with water or juice on an empty stomach. If nausea or constipation are problems, take iron supplements with food. Absorption may be decreased by as much as 50 percent when taken with a meal or a snack. A woman who's pregnant or breast-feeding. You need more of some nutrients, especially folate and iron-and perhaps calcium if you don't consume enough calcium-rich foods. Check the label's Supplement Facts to make sure you get enough for a healthy pregnancy. Ask about a prenatal vitamin/mineral supplement.
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The Hague
The Netherlands
2012
Candid shots in and around the Public Transport in The Netherlands
Ricoh GR Digital IV
Samadhi: ecstasy, total absorption, or a thoughtless state of the mind. It is the highest state of being.
Wetlands are biodiversity rich sensitive ecosystems that harbor hundreds of plants, insects, birds and other animals uniquely adapted to their wetland mode of life.They are crucial to maintain the regional water balance through ground water recharge and absorption of flood waters and also serve as the rice bowl of developing countries. Nevertheless, wetlands play immense role in the socio-economic and livelihood aspects of local communities living around the wetland. In India, rural communities depend wetland for livelihood through farming, mat making etc; for food through fishing and hunting; for roof thatching by collection of reeds and palm leaf ; for firewood; for fodder etc. However, these wetlands are now under a threat of conversion for big industrial and real estate projects, change in lifestyle of local community, over extraction of resources by increased population, pollution,waste dumping, eutrophication and pesticide farming. There are three important wetlands in the Puducherry region namely Oussudu, Bahour and Kaliveli that provide important resources for local communities and also are a home to tens of thousands of migratory birds that visit the Puducherry region in winter. These wetlands have been acknowledged as Important Bird Areas(IBAs) by IBCN, since many of these birds are represented in more than 1% of their global population.
The recent threat on wetlands of Puducherry is more due to the change in life style of local community living around these wetlands. The younger generation is not much dependent on wetland resources, The younger and modern generation has lost the compassion and bonding to the wetland which their forefathers maintained through sustainable livelihood practices. This has resulted in a change in attitude and perception of the community towards unsustainable farming and resource extraction, game hunting, intensive fishing and reclamation, ultimately resulting in shrinking of wetland area and loss of biodiversity at an alarming pace. Local community is leaving the traditional farming practices for more fertilizer and pesticide based farming; fish stock is depleted using invasive Gill nets. Since Puducherry is fast developing region with rapidly growing commercial tourism and industrial establishments, these wetlands are under the threat of reclamation for resort construction and other commercial establishments. Poaching for a sport as well as open selling of birds including the threatened species is common. School drop-out are noticed to get attracted to such practices to make easy money as well as hunting for a sport with peers. With time, they may grow into expert hunters who will depend on poaching as the main source of income for the family. There are many wetland awareness programs organized by Forest Department as well as NGOs targeting school kids and educated community through workshops. School drop-outs are often not specially targeted by any of such programs and often not brought under the ambit of such programs. This gap needs to be addressed for local conservation efforts to be fully effective. We have chosen birds as the umbrella species whose conservation will in turn protect the lake and biodiversity as a whole. Birds are attractive and beautiful; ,which may easily get compassion from drop-out kids if guided appropriately. With proper efforts, the poachers can be turned to protectors and expert tour guides to facilitate ecotourism.
I received recently an unusual 35mm range-finder camera Graflex Graphic 35 made in the U.S.A. in 1955 (see below the details about Graflex company and the camera). After a complete inventory and blank mechanical/optical checking, I did a test film with a FOMAPAN 100. The light was metered using a Minolta Autometer III fitted with a 10° viewfinder for selective metering privileging this shadow areas.
The camera was equipped with an adapted French FOCA « Dyma » x3.5 36mm push-on filter plus the metal shade hood made for the FOCA Standard camera. To compensate the Dyma filter absorption the Autometer was set on 32 ISO instead of the nominal 100 ISO of the film. The Dyma FOCA filter is an original glass formula containing neodymium giving band-selective visible spectrum absorptions in the green and yellow so that proximate tonalities in these bands are better separated.
I did the all photos along the way to Lyon Saint-Jean, Lyon, France.
View Nr. 20: 1/100s f/5.6 focusing at infinite
Quais de Saône, July 30,, 2026
Pont de la Feuillée
69001 Lyon
France
After the last view #37 exposed, the film was rewound to the taking cartridge and revealed in a Posso tank with 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+50. The film was processed for 9min at 20°C.
The frames were then digitized using a Sony A7 camera (ILCE-7, 24MP) adapted to a macro Minolta Auto Bellow III with Minolta Bellow MD Macro lens 1:3.5 f=50mm and the dedicated slide duplicator Minolta. The light source was a LED panel (approx. 4x5') CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (version 15.4.1, June 2026) and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
———————————————
About the Graflex company and Graphic 35 camera:
Graflex (originally the Folmer & Schwing Manufacturing Company, founded in 1887 in New York) had long been renowned for its large- and medium-format press cameras (notably the Speed Graphic), which became the standard for photojournalism in the first half of the 20th century. After its acquisition by Kodak in 1905–1907, the works were moved to Rochester, New York. In 1926, following antitrust rulings, Graflex became independent again and continued production in Rochester until the early 1970s.
By the mid-1950s, large-format press cameras were losing ground to smaller, easier-to-use 35 mm cameras aimed at amateurs. Graflex responded by entering the 35 mm market. It had already marketed the Ciro 35 (derived from the earlier Cee-ay 35 of Candid Camera Corp., acquired via Ciro). In 1955 this design was thoroughly reworked into the Graphic 35.
Launch and Production
* Introduction: First shipments on 25 February 1955; press presentation on 8 March 1955 in New York.
* Manufacture: Body and final assembly in Rochester, N.Y. Lenses and shutters were imported from West Germany (Rodenstock or occasionally Enna “Graflar” 50 mm f/3.5 or f/2.8 lenses; Prontor-SVS leaf shutter, 1 s to 1/300 s + B, M/X sync, self-timer).
* Production period: Roughly August 1954 to July 1957 (sometimes listed as ending in 1958). Advertising continued into late 1960.
* Volume: Approximately 68,000 units (Graflex internal figures list 68,269 cameras distributed). Serial numbers began at 550,000 and later restarted at 1,100,000.
Introductory prices were about $77.50 (f/3.5) to $98–99.50 (f/2.8), making it one of the more affordable fully featured 35 mm rangefinders of its day.
Distinctive Features
* Push-button focusing on either side of the lens (“wing focusing”), invented by Graflex instrument maker Louis M. Traino, who received a $4,000 company award (roughly $35,000–40,000 in today’s money). A “Visi-Ready” distance scale was visible from above.
* Front-mounted, sideways-pull shutter-release lever.
* Spectramatic (later Universal Spectramatic) flash system, devised by engineering director Vernon Whitman: colour-coded bands that simplified aperture selection according to distance and guide number.
* Separate viewfinder and split-image rangefinder windows; film advance by knob (not coupled to shutter cocking, allowing intentional double exposures).
* Solid die-cast metal body with satin chrome finish and silver-grey leatherette covering (some later examples darker).
These features—especially the push-button focusing—were heavily promoted and helped the camera sell strongly in its first year.
After 1957–58 Graflex shifted to Japanese-made models (the Graphic/Century 35 series by Kowa, the Graphic Jet, etc.). The original Rochester-built Graphic 35 remains a characteristic mid-1950s American design: robust, unusually ergonomic in its controls, and still relatively affordable on the used market today.
It is one of the few non-Kodak 35 mm cameras actually made in Rochester and illustrates Graflex’s attempt to adapt to the postwar 35 mm amateur boom.
I did not find at now the optical formula of the lens. The lens takes 27mm screw-on filter and the external diameter is 32mm. With a little adaptation (rind made in a film canister cap...) one could fit the French FOCA filter push-on 36mm.
It seems that no lens cap was proposed for the Graphic 35. With a cap of Kodak 35mm canister, I made a plastic one to protect the front lens.
The range-finder is slightly off calibrated at infinite but it easy to correct the small shift to set the correct value on the distance scale that is only engraved in feet.
Crews have begun installing noise absorptive ceiling panels on the ceiling of the I-5 express lanes on Ship Canal Bridge in Seattle. They are designed to absorb and block some of the reflected traffic noise that bounces off the ceiling of the express lanes and into the surrounding neighborhoods.
Crews have begun installing noise absorptive ceiling panels on the ceiling of the I-5 express lanes on Ship Canal Bridge in Seattle. They are designed to absorb and block some of the reflected traffic noise that bounces off the ceiling of the express lanes and into the surrounding neighborhoods.
Nike Air Force 1 Mid 07, Obsidian, Denim, Sail, Gum, Light Brown, 315123-408, Men’s, Size 10.5, Off White, leather and textile upper, padded ankle collar, provides a comfortable fit, VELCRO closure across the ankle adds stability and support, Full-length Phylon midsole with heel Air-Sole unit provides added shock absorption, Rubber outsole supplies durable traction, Basketball, Classic/Retro, Mid-Top, Bruce Kilgore, Release Year 2015, AF1, Uptowns, Basketball, Classic/Retro, Mid-Top
Sonata Vario class A acoustic absorbers used within the hall at Kettering Park Primary in Northamptonshire
A Fomapan Action 400 black-and-white film to test the effect a the special Foca filter "Dyma" produced in France in the 50's.
The filter is called "Dyma" due to the presence of neodymium in the glass giving an unusual absorption by bands in the visible spectrum. In particulier blue and yellow color ans more absorbed than the rest of the spectrum. The filter existed in two different versions with the coefficient x2.5 or 3.5. Here the 42mm push-on Foca Dyma filter used is a x 3.5.
As a consequence, I exposed the Foma 400 for 80 ISO using a Minolta Autometer III with a 10° finder for selective measurements privileging the shadow areas. I used my FOCA camera PF2B year 1956 and its normal Oplar lens1:2.8 f=5cm equipped for all the views with the Dyma filter and a Genaco metal shade hood.
Typical settings during the session : 1/100s f/8 to f/11.
May 29, 2023
69004 Lyon
France
After exposure, the film was processed using Adox Adonal (Agfa Rodinal) developer at dilution 1+25, 20°C for 6 min.
The film was then digitalized using a Sony A7 body adapted to a Minolta Auto Bellows III and a Minolta Slide Duplicator using a lens Minolta Bellow Macro Rokkor 50mm f/3.5 at a reproduction ratio of 1:1. The reproduced RAW files obtained were processed in LR prior the the final JPEG editions.
All views of the film are presented in the dedicated album either in the printed framed versions and unframed full-size jpeg.
About the camera and the lens:
The Foca type PF2B (PF for "Petit Format") was constructed in France by the company "Optique & Precision de Levallois" (OPL) starting from 1947. It was manufactured in the Chateaudun OPL factory, route de Jallans, France, in 1956 among a late series of the PF2B. The factory, constructed in 1938, is still at the same place under the name of SAFRAN now producing precision devices for aerospace appliances.
The camera is equipped with the collapsible OPLAR lens (a Tessar formula) 1:2.8 f=5cm. The focal shutter of the PF2B has timing of 1/1000, 1/500, 1/200, 1/100, 1/50 and 1/25s plus the B pose. A slow exposure device below 1/25s could be installed by the aftermarket service and was installed basically for the FOCA PF3 and Foca Universel.
Following the Citybus absorption of the New World First operation in 2023, the oldest members of the NWFB Enviro 500 fleet were taken out of service and stored, including all 18 of the initial 12m batch dating from 2008. In an unusual move, a solitary example was returned to service and is often found on the Cross-Harbour 110, as was the case in this view of 5513 turning from Chatham Road South into Cheong Wan Road, Tsim Tsa Tsui.
This image is copyright and must not be reproduced or downloaded without the permission of the photographer.
Odor Absorption Experiment - Filled container with 30lbs of cheap (no fuels added) charcoal brickets, broken up with a hammer to increase the surface area. The paper filter at the bottom is for retaining the charcoal, and for exhaust air flow.
We mostly etch awards made of glass or acrylic, but there are times I have to make up wooden plaques, and we don't have a means to vent the burning wood smell outside. This has so far resolved that problem.
A red giant whose spectrum is dominated by strong absorption bands of carbon-containing molecules. The Swan bands of C2 are especially prominent, with absorption by CN, CH, C3, SiC2, and C aII present to varying degrees, with often a strong sodium D line.
Carbon stars, also known as C stars, have carbon/oxygen ratios that are typically four to five times higher than those of normal red giants and show little trace of the light metal oxide bands that are the usual red giant hallmark. They resemble S stars in their relative proportion of heavy and light metals, but contain far more carbon in their upper layers. The carbon is likely the dredged-up ashes of nuclear helium burning in the stellar interior. Carbon stars lose a significant fraction of their total mass in the form of a stellar wind which ultimately enriches the interstellar medium – the source of material for future generations of stars.
Carbon stars were previously classified as stars of spectral type R (hotter, with surface temperatures of 4,000 to 5,000 K) and N (up to 10 times more luminous but cooler, with a temperature of about 3,000 K). They are typically associated with some circumstellar material in the form of sooty shells, disks, or clouds.
www.daviddarling.info/encyclopedia/C/carbon_star.html
Variability Type: LB
Slow irregular variables of late spectral types (K, M, C, S); as a rule, they are giants (CO Cyg). This type is also ascribed, in the GCVS, to slow red irregular variables in the case of unknown spectral types and luminosities.
Distance: 1,300 light-years
GSC 744:949, HIP 30564, HD 44984
RAJ200006 25 28.2
DEJ2000+14 43 19
+7.9 Magnitude at maximum brightness
+9.7 Magnitude at minimum
SpType: C6,3(Nb,Tc)
R-Bessell Photometric Filter: 10 seconds x6 exposures, flat fielded, aligned and median combined
G-Bessell Photometric Filter: 20 seconds x6 exposures, flat fielded, aligned and median combined
B-Bessell Photometric Filter: 45 seconds x6 exposures, flat fielded, aligned and median combined
B-V-R folder images were then aligned and stacked to give Master B, V and R images; these were then colour combined in CCDSoft v5
CCD Operating Temperature: -37 Degrees Centigrade
Field of View: 46 x 37 arcmins
Pixel Array: 1280 x 1024
Pixel Size: 16um x 16 um
Plate Scale: 2.17 arcsec/pixel
0.2-m SCT+SBIG STL 1301E CCD
f/ratio: 7.6
Date: 05th March 2016
Wetlands are biodiversity rich sensitive ecosystems that harbor hundreds of plants, insects, birds and other animals uniquely adapted to their wetland mode of life.They are crucial to maintain the regional water balance through ground water recharge and absorption of flood waters and also serve as the rice bowl of developing countries. Nevertheless, wetlands play immense role in the socio-economic and livelihood aspects of local communities living around the wetland. In India, rural communities depend wetland for livelihood through farming, mat making etc; for food through fishing and hunting; for roof thatching by collection of reeds and palm leaf ; for firewood; for fodder etc. However, these wetlands are now under a threat of conversion for big industrial and real estate projects, change in lifestyle of local community, over extraction of resources by increased population, pollution,waste dumping, eutrophication and pesticide farming. There are three important wetlands in the Puducherry region namely Oussudu, Bahour and Kaliveli that provide important resources for local communities and also are a home to tens of thousands of migratory birds that visit the Puducherry region in winter. These wetlands have been acknowledged as Important Bird Areas(IBAs) by IBCN, since many of these birds are represented in more than 1% of their global population.
The recent threat on wetlands of Puducherry is more due to the change in life style of local community living around these wetlands. The younger generation is not much dependent on wetland resources, The younger and modern generation has lost the compassion and bonding to the wetland which their forefathers maintained through sustainable livelihood practices. This has resulted in a change in attitude and perception of the community towards unsustainable farming and resource extraction, game hunting, intensive fishing and reclamation, ultimately resulting in shrinking of wetland area and loss of biodiversity at an alarming pace. Local community is leaving the traditional farming practices for more fertilizer and pesticide based farming; fish stock is depleted using invasive Gill nets. Since Puducherry is fast developing region with rapidly growing commercial tourism and industrial establishments, these wetlands are under the threat of reclamation for resort construction and other commercial establishments. Poaching for a sport as well as open selling of birds including the threatened species is common. School drop-out are noticed to get attracted to such practices to make easy money as well as hunting for a sport with peers. With time, they may grow into expert hunters who will depend on poaching as the main source of income for the family. There are many wetland awareness programs organized by Forest Department as well as NGOs targeting school kids and educated community through workshops. School drop-outs are often not specially targeted by any of such programs and often not brought under the ambit of such programs. This gap needs to be addressed for local conservation efforts to be fully effective. We have chosen birds as the umbrella species whose conservation will in turn protect the lake and biodiversity as a whole. Birds are attractive and beautiful; ,which may easily get compassion from drop-out kids if guided appropriately. With proper efforts, the poachers can be turned to protectors and expert tour guides to facilitate ecotourism.
The Science Of Sunset Series # 10* (the finale')
***
Sunlight as it travels through the atmosphere is disbursed some color wise as it does. Most of the short-wave energy is absorbed by the denser surface layers of the atmosphere rather than that of the upper-altitudes
As the sun sets or rises it has to travel further through the atmosphere and closer to the surface layers where the sun is at an altitude closer to the horizon than when it is in the mid=day period. Thusly the blue, green, and some yellows are absorbed by the atmosphere giving a different color to the sun.
In addition to this cloud decks are not “at the same level”. As you go higher in the atmosphere from the ground you see different phase of the sunset. The higher you go the later the sun sets. Also, the higher you go the more differential to the oranges and yellows of light absorption you see with height because of the particulate matter and pollution nearest the surface where we are. With that you get a slightly different color affect with height. This affects the “effect” of the Sunset or Sunrise with height. Low clouds for example at 1,500 feet or lower will seem “dirty” where there is a lot of haze or dust, and more bright when the cloud level is higher at 15,000, 25,000, or 40,000 feet up where the sun is brighter and the air is clearer. This is why you get Sunsets and Sunrise affects that have many different colors if there are more than one cloud deck for the Sun to pass through as it sets.
Here in Oklahoma and in many other areas where thunderstorms form sometimes this becomes very evident when the clouds at the top are fire-like and those near the surface are dark.
High-clouds with mid-level broken cloud cover often give the most dazzling affects because of the many different levels of cloud cover and the setting sun’s varying heights.
If you have any questions feel free to write me back.
(Brian R Cross)
I received recently an unusual 35mm range-finder camera Graflex Graphic 35 made in the U.S.A. in 1955 (see below the details about Graflex company and the camera). After a complete inventory and blank mechanical/optical checking, I did a test film with a FOMAPAN 100. The light was metered using a Minolta Autometer III fitted with a 10° viewfinder for selective metering privileging this shadow areas.
The camera was equipped with an adapted French FOCA « Dyma » x3.5 36mm push-on filter plus the metal shade hood made for the FOCA Standard camera. To compensate the Dyma filter absorption the Autometer was set on 32 ISO instead of the nominal 100 ISO of the film. The Dyma FOCA filter is an original glass formula containing neodymium giving band-selective visible spectrum absorptions in the green and yellow so that proximate tonalities in these bands are better separated.
I did the all photos along the way to Lyon Saint-Jean, Lyon, France.
View Nr. 16: 1/50s f/6.3 focusing at infinite
Musée des Beaux Arts, July 30,, 2026
Place des Terreaux
69001 Lyon
France
After the last view #37 exposed, the film was rewound to the taking cartridge and revealed in a Posso tank with 350 mL of Adox Adonal developer (identical to the original Agfa Rodinal in its formula of 1891) prepared at the dilution 1+50. The film was processed for 9min at 20°C.
The frames were then digitized using a Sony A7 camera (ILCE-7, 24MP) adapted to a macro Minolta Auto Bellow III with Minolta Bellow MD Macro lens 1:3.5 f=50mm and the dedicated slide duplicator Minolta. The light source was a LED panel (approx. 4x5') CineStill Cine-lite.
The RAW files obtained were inverted within the latest version of Adobe Lightroom Classic (version 15.4.1, June 2026) and edited to the final jpeg pictures without intermediate file. They are presented either as print files with frame or the full size JPEG's together with some documentary smartphone color pictures.
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About the Graflex company and Graphic 35 camera:
Graflex (originally the Folmer & Schwing Manufacturing Company, founded in 1887 in New York) had long been renowned for its large- and medium-format press cameras (notably the Speed Graphic), which became the standard for photojournalism in the first half of the 20th century. After its acquisition by Kodak in 1905–1907, the works were moved to Rochester, New York. In 1926, following antitrust rulings, Graflex became independent again and continued production in Rochester until the early 1970s.
By the mid-1950s, large-format press cameras were losing ground to smaller, easier-to-use 35 mm cameras aimed at amateurs. Graflex responded by entering the 35 mm market. It had already marketed the Ciro 35 (derived from the earlier Cee-ay 35 of Candid Camera Corp., acquired via Ciro). In 1955 this design was thoroughly reworked into the Graphic 35.
Launch and Production
* Introduction: First shipments on 25 February 1955; press presentation on 8 March 1955 in New York.
* Manufacture: Body and final assembly in Rochester, N.Y. Lenses and shutters were imported from West Germany (Rodenstock or occasionally Enna “Graflar” 50 mm f/3.5 or f/2.8 lenses; Prontor-SVS leaf shutter, 1 s to 1/300 s + B, M/X sync, self-timer).
* Production period: Roughly August 1954 to July 1957 (sometimes listed as ending in 1958). Advertising continued into late 1960.
* Volume: Approximately 68,000 units (Graflex internal figures list 68,269 cameras distributed). Serial numbers began at 550,000 and later restarted at 1,100,000.
Introductory prices were about $77.50 (f/3.5) to $98–99.50 (f/2.8), making it one of the more affordable fully featured 35 mm rangefinders of its day.
Distinctive Features
* Push-button focusing on either side of the lens (“wing focusing”), invented by Graflex instrument maker Louis M. Traino, who received a $4,000 company award (roughly $35,000–40,000 in today’s money). A “Visi-Ready” distance scale was visible from above.
* Front-mounted, sideways-pull shutter-release lever.
* Spectramatic (later Universal Spectramatic) flash system, devised by engineering director Vernon Whitman: colour-coded bands that simplified aperture selection according to distance and guide number.
* Separate viewfinder and split-image rangefinder windows; film advance by knob (not coupled to shutter cocking, allowing intentional double exposures).
* Solid die-cast metal body with satin chrome finish and silver-grey leatherette covering (some later examples darker).
These features—especially the push-button focusing—were heavily promoted and helped the camera sell strongly in its first year.
After 1957–58 Graflex shifted to Japanese-made models (the Graphic/Century 35 series by Kowa, the Graphic Jet, etc.). The original Rochester-built Graphic 35 remains a characteristic mid-1950s American design: robust, unusually ergonomic in its controls, and still relatively affordable on the used market today.
It is one of the few non-Kodak 35 mm cameras actually made in Rochester and illustrates Graflex’s attempt to adapt to the postwar 35 mm amateur boom.
I did not find at now the optical formula of the lens. The lens takes 27mm screw-on filter and the external diameter is 32mm. With a little adaptation (rind made in a film canister cap...) one could fit the French FOCA filter push-on 36mm.
It seems that no lens cap was proposed for the Graphic 35. With a cap of Kodak 35mm canister, I made a plastic one to protect the front lens.
The range-finder is slightly off calibrated at infinite but it easy to correct the small shift to set the correct value on the distance scale that is only engraved in feet.
Rebecca Guyon is doing summer undergraduate research working with Dr. Colleen Mouw doing particulate absorption testing at the Great Lakes Research Center (Geological & Mining Engineering and Sciences)
AirDrain Agronomic Natural Grass Drainage at the Chesapeake Energy Roof Top Sports Field
74,000 sqft. Natural Grass Field
Benefits of AirDrain in a green roofing system include:
AirDrain creates and helps maintain a constant Gmax for artificial turf (See below)
Thickness and resin consistency of AirDrain provides uniform shock absorbency
Shock absorption reduces the strain on joints and ligaments
AirDrain is only limited by the drainage capacity of the profile above it
Installation time measured in days instead of weeks
AirDrain can be reused when the artificial turf must be replaced
Water harvesting reclamation and reuse
Helps qualify for LEED and other green building credits
A smaller carbon and development footprint with reduced site disturbance
100% vertical drainage under the entire field surface
Minimizes water related injuries / Less infill migration due to superior drainage
AirDrain is a 100% recycled product
Less infill migration due to superior drainage
GMAX Information Existing Conditions for Testing
Turf - 2 1/2” Slit Film, in filled with 50% Green Rubber Infill and 50% Silica Sand.
The drainage/shock pad and turf underlying substrate consists of a concrete deck/rooftop, coated with a waterproof membrane and 10 ounce 100% recycled polyester geo-textile filter fabric.
The Standard Test Method for Shock-Absorbing Properties of Playing Surface Systems and Materials (ASTM F1936-98 American Football Field) testing locations and procedure were preformed. The tests were performed using a Triax 2000 A-1 Missile, tripod mounted Gmax registration unit(www.triax2000.com). This report presents background information on the test procedures, existing conditions, test results and observations in football, baseball, softball, soccer, lacrosse, and field hockey artificial sports fields.
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A typical AirDrain green roof
Taktsang, also known as Taktsang Palphug Monastery and Tiger's Nest or Tiger’s Lair is a prominent Himalayan Buddhist sacred site located along the edge of a cliff in the upper Paro Valley in Paro, Bhutan in the Eastern Himalayas. The monastery clings to the rock towering 2,600 feet above the valley and 9,678 feet above sea level.
I was sure glad when I finished my hike up to Taktsang Monastery (Tiger’s Nest) and then back to the start of the trail, but I now wish I could do it again and beat my time. I know, from the time on the photos, that it took me an hour and 50 minutes from the start of the trail to the half way point, Taktsang Restaurant, where we regrouped before starting out again. I did stop a lot to take pictures and probably spent more time than I should have at one location because a fellow Sierra Club member said, “Ginger, we’ve got to get going. Others are probably waiting for us at the restaurant”.
Along the way I ate beef jerky and drank lots of water. I carried two 32 oz, bottles of water. The night before I added a lemon-lime Nuun electrolyte tablet to one of the bottles --- had never taken electrolytes before, but a friend recommended doing so. Anyway, this is what I learned: Nuun electrolyte tablets contain sodium, potassium, magnesium, and calcium which aid in the absorption of water to keep you hydrated. I sure didn’t have a problem hiking up so I guess it worked!
At the restaurant we were greeted by our Sierra Club trip leader who surprised us with a piece of chocolate! I’m not a chocolate eater, but that was sooooo good. We were then served crackers and tea. From the restaurant to the top was another hour and 50 minutes --- again I know this from the time on the photos I took, and I sure took a lot of photos. When I was close to the top I had finished the 32 ounces of water+ electrolytes so I took out another tablet and dropped it into the second bottle of 32 ounces of water.
No photos were allowed in the monastery. In fact, we had to put all of our belongings into lockers, and of course, we had to remove our shoes. We had been removing our shoes daily as we entered monasteries, dzongs, lhakhangs, and Butanese homes. Since I knew this ahead of time I took some older socks that I could put on once I removed my shoes in order to keep the bottoms of my good socks clean.
After our tour of the monastery we headed down to the restaurant for our meal. The only thing I didn’t like in the monastery was the burning incense. It’s pretty prevalent throughout Bhutan in places of worship. For me, it was difficult to breathe so I didn’t stay inside the rooms of the monastery very long. I didn’t take many pictures on the way down so I don’t know the time it took for me to get to the restaurant or to return from the restaurant to the start of the trail.
It probably took a little less time than going up. At one point I stopped to take off my vest. That put a little distance between me and others. I even saw people pass me by as I was putting my vest into my backpack and then putting on my backpack. Later I stopped to get my knee support out of my backpack and put it on. That took longer, but it was very necessary. My knee was killing me each time I bent it. It was soooo painful. Now I was really alone on the trail. I didn’t see any one in front of me or behind me.
For me, it was more difficult going down, especially over rocks because no one was in front of me. It’s much easier for me to follow in the steps of an experienced hiker when going over rocks or when there isn’t a set trail.
And then . . . a third . . . and last stop. Because there were lots of horses going up the trail I had to wait for them. There were too many horses and not enough room to pass. The horses even stopped to drink water from the trough and I couldn’t go around them. Now there was lots of distance between me and the others.
Well, that’s what happens when you make stops! I thought I was going to be the last to return, but once I reached the others I learned there was one more behind me!
We were a group of 17 Los Angeles and Orange County Sierra Club members. Two members did not attempt the Taktsang Monastery hike due to leg and knee problems. One of the 15 who started out in the morning with us rode a horse from the trail head to the restaurant. That’s as far as the horses could go. Once everyone had tea, crackers, and a rest at the restaurant we headed up, kind of staggered, each going at his/her own pace. The plan was to re-group at the top and enter the monastery together with our guide.
About 30 minutes after leaving the restaurant, as I was going up, I was surprised to see the person who had been on horseback coming down. She said she wasn’t feeling well at all, sick to her stomach and dizzy (probably due to the high altitude) so she decided to return to the restaurant and wait for us there.
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Visible along the bottom of the fireball's surface are what have been referred to as rope tricks. Absorption of thermal energy by the tower's guy wires result in such spike-like extensions. There are two striking features about this picture - the spikes projecting from the bottom of the fireball, and the ghostly mottling of the fireball surface. The peculiar spikes are extensions of the fireball surface along ropes or cables that stretch from the shot cab (the housing for the test device at the top of the tower) to the ground. This novel phenomenon was named a rope trick by Dr. John Malik who investigated it. The cause of the rope trick is the absorption of thermal radiation from the fireball by the rope. The fireball is still extremely hot (surface temperature around 20,000 degrees K at this point, some three and a half times hotter than the surface of the sun; at the center it may be more than ten times hotter) and radiates a tremendous amount of energy as visible light (intensity over 100 times greater than the sun) to which air is (surprise!) completely transparent. The rope is not transparent however, and the section of rope extending from the fireball surface gets rapidly heated to very high temperatures. The luminous vaporized rope rapidly expands and forms a spike-shaped extension of the fireball. Malik observed that if the rope was painted black spike formation was enhanced, and if it was painted with reflective paint or wrapped in aluminum foil no spikes were observed. Cause of the surface mottling. At this point in the explosion, a true hydrodynamic shock front has just formed. Prior to this moment the growth of the fireball was due to radiative transport, i.e. thermal x-rays outran the expanding bomb debris. Now however the fireball expansion is caused by the shock front driven by hydrodynamic pressure (as in a conventional explosion, only far more intense). The glowing surface of the fireball is due to shock compression heating of the air. This means that the fireball is now growing far more slowly than before. The bomb (and shot cab) vapors were initially accelerated to very high velocities (several tens of kilometerssec) and clumps of this material are now splashing against the back of the shock front in an irregular pattern (due to initial variations in mass distribution around the bomb core), creating the curious mottled appearance. The photograph was shot by a Rapatronic camera built by EG&G. Since each camera could record only one exposure on a sheet of film, banks of four to 10 cameras were set up to take sequences of photographs. The average exposure time was three millionths of a second (3 ms). The cameras were last used at the Test Site in 1962.