View allAll Photos Tagged active
Frazer Nash Norris Special (1934) Engine 3571cc S6 OHV (Alvis)
Race Number 34 Julian Grimwade
FRAZER NASH SET
www.flickr.com/photos/45676495@N05/sets/72157623665136729...
Brothers Frank and Jack Norris created two successful Alvis-engined Frazer Nash racing specials, both still active in VSCC events, both cars on Frazer Nash chassis. The first a red Monoposto powered by a 1½-litre four-cylinder supercharged Alvis overhead-camshaft engine Registration no. AYD 307
Chassis no. 4629
The second this blue monoposto, powered by an Alvis Speed 25 engine fitted by the Brothers in 1937.
This car raced at Silverstone in the Patrick Lindsay Mamorial Trophy Race
Many thanks for a fantabulous 34,235,600 views
Shot at the VSCC Spring Start, Silverstone 18:04:2015 Ref 105-443
©All photographs on this site are copyright: DESPITE STRAIGHT LINES (Paul Williams) 2011 – 2019 & GETTY IMAGES ®
No license is given nor granted in respect of the use of any copyrighted material on this site other than with the express written agreement of DESPITE STRAIGHT LINES (Paul Williams) ©
.
.
I would like to say a huge and heartfelt 'THANK YOU' to GETTY IMAGES, and the 33.849+ Million visitors to my FLICKR site.
***** Selected for sale in the GETTY IMAGES COLLECTION on October 17th 2019
CREATIVE RF gty.im/1181432557 MOMENT OPEN COLLECTION**
This photograph became my 3,756th frame to be selected for sale in the Getty Images collection and I am very grateful to them for this wonderful opportunity.
.
.
Photograph taken at an altitude of Ten metres, at 19:46pm on Monday 6th September 2019 around sunset off in the village of Harrison Hot springs.
Harrison is a small community at the Southern end of Harrison Lake where Harrison River flows inwards in the Fraser valley of British Columbia in Canada. Known for it's hot springs, it has a population of around fifteen hundred people and was named after Benjamin Harrison, who formerly worked as Deputy governor for the Hudson's Bay Company.
Here I am standing above the sandy beach in the village of Harrison Hot Springs, looking past EHemlock Valley, echo Island towards Long Island.
.
.
Nikon D850. Focal length 86mm Shutter speed 1/125s Aperture f/16.0 iso4000 RAW (14 bit uncompressed) Image size L (8256 x 5504 FX). Hand held with Nikon VR Vibration Reduction enabled. Focus mode AF-C focus 51 point with 3D- tracking. AF-Area mode single point & 73 point switchable. Exposure mode - Aperture priority exposure. Nikon Back button focusing enabled. Matrix metering. ISO Sensitivity: Auto. White balance: Natural light auto. Colour space Adobe RGB. Nikon Distortion control on. Picture control: Auto. High ISO NR on. Vignette control: normal. Active D-lighting Auto.
Nikkor AF-S 24-120mm f/4G ED VR. LEE 100 Filter holder. Lee 0.6 (2 stops) Soft resin ND Grad. Lee 77mm standard adapter. Lee filter pouch. Nikon EN-EL15a battery.Mcoplus professional MB-D850 multi function battery grip 6960. Matin quick release neckstrap. My Memory 128GB Class 10 SDXC 80MB/s card. Lowepro Flipside 400 AW camera bag. Nikon GP-1 GPS module. Hoodman HEYENRG round eyepiece oversized eyecup.
.
.
LATITUDE: N 49d 18m 14.19s
LONGITUDE: W 121d 47m 7.71s
ALTITUDE: 16.0m
RAW (TIFF) FILE: 130.00MB NEF: 95.1MB
PROCESSED (JPeg) FILE: 52.60MB
.
.
PROCESSING POWER:
Nikon D850 Firmware versions C 1.10 (9/05/2019) LD Distortion Data 2.017 (20/3/18) LF 1.00
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU 64Bit processor. Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB Data storage. 64-bit Windows 10. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon ViewNX-1 64bit (Version 1.3.1 11/07/2019). Nikon Capture NX-D 64bit (Version 1.4.7 15/03/2018). Nikon Picture Control Utility 2 (Version 1.3.2 15/03/2018). Adobe photoshop Elements 8 Version 8.0 64bit.
ThermAppPlus is simply awesome with a Therm-App thermal imager.
This is a simple LED lamp (in my bedside light) viewed with a Therm-App thermal camera and captured using ThermAppPlus, Rainbow mode, with Black Edges focus aid active. Post-processing (of a ridiculous 30 images) by Autostakkert! and final tweaks by Paint Shop Pro.
Rose chafers are capable of very fast flight, flying with their wing cases down like bumble bees. The adult beetles are active between April and September. The beetles fly clumsily and are typically seen in sunny weather.
Rose Chafer~Cetonia aurata
HMS ACTIVE F171
Class……………………………Type 21 Frigate
Builder………………………..Vosper Thornycroft Ltd., Southampton , Woolston yard
Yard number……………….4233
Laid down..………………….21 July 1971
Launched….…………………23 November 1972
Completed.………………….19 June 1977
Propulsion.…………………..2 shafts : COGOG system: 2 Rolls-Royce Olympus TM3B gas turbines (30 knots max) + 2 Rolls-Royce Tyne RM1A gas turbines (17 knots max)
Speed..…………………………30 knots
Range…………………………..4000 nm at 17 knots / 1200 nm at 30 knots
Fate
•23 September 1994: Decommissioned by RN
•23 September 1994: Transferred to Pakistan and renamed SHAH JAHAN
•12 January 2021: Torpedoed and sunk as a target during a live-firing drill in the Arabian Sea.
HMS ACTIVE on 31 July 1990 at Devonport, Plymouth
Cross at Placa Lalin, Escaldes, E-E, the center, Andorra city, Andorra, Pyrenees
More Escaldes-Engordany parroquia images: Follow the group links at right side.
.......
About this image:
* Medium format 4x3 (645) high quality image
* Usage: Large format prints optional
* Motive is suitable as symbol pic
* "Andorra authentic" edition (10 years decade 2008-2018)
* "Andorra camis & rutes" active collection
* Advanced metadata functionality on dynamic websites or apps
* for large metadata-controlled business collections: photo-archives, travel agencies, tourism redactions
We offer 100.000+ photos of Andorra and North of Spain. The biggest professional image catalog of Andorra from the newer history: all regions, all cities and villages, all times, all seasons, all weather(s). HighRes & HighColor GeoCoded stock-photo images including metadata in 4-5 languages. Prepared for an easy systematic organising of large image portfolios with advanced online / print-publishing as "Culture-GIS" (Geographic Info System). The big stockphoto collection from the Pyrenees.
More information about usage, tips, how-to, conditions: www.flickr.com/people/lutzmeyer/. Get quality, data consistency, stable organisation and PR environments: Professional stockphotos for exciting stories - docu, tales, mystic.
Ask for licence! lutz(at)lutz-meyer.com
(c) Lutz Meyer, all rights reserved. Do not use this photo without license.
Maker: John Plumbe, Jr/Mathew Brady
Born: UK
Active: USA
Medium: albumen print
Size: 2 1/4 in x 4 in
Location: USA
Object No. 2022.082
Shelf: E-22-BRAD
Publication: James D. Horan, Mathew Brady, Historian With A Camera, Bonanza Books, New York, 1955, fig 45
Roy Meredith, Mathew Brady's Portrait of an Era, W.W. Norton & Co, New York, 1982, pg 51
Roy Meredith, Mr Lincoln's Camera Man, Charles Scribner's Sons, New York, 1946, fig 38
Dorothy Kunhardt and Philip Kunhardt Jr, Mathew Brady and His World, Time Life Books, 1977, pg 184
Martha Sandweiss, Ed, Photography in Nineteenth Century America, Amon Carter Museum, Fort Worth, 1991, pg 55
Other Collections: Harry Ransome Center
Provenance: tiff-r-us
Rank: 25
Notes: copy of a daguerreotype copy by Brady of the original daguerreotype by John Plumbe. The original daguerreotype is in the collection of the New York Historical Society.
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Maker: Fratelli Alinari
Born: Italy
Active: Italy
Medium: salted paper print
Size: 10 1/2 in x 14 3/4 in
Location: Italy
Object No. 2018.668
Shelf: N-26
Publication:
Other Collections:
Notes: Fratelli Alinari is the longest running, oldest photographic firm started by brothers Giuseppe, Leopoldo and Giuseppe Alinari in 1852. Early on the brothers ran the business and made the views building a remarkable collection of period images. Over time they engaged the talents of many different photographers. Located in Florence they are still very much in business and said to have a photo archive of over 3.5 million images.
Antonio Canova (1 November 1757 – 13 October 1822) was an Italian Neoclassical sculptor, famous for his marble sculptures. Often regarded as the greatest of the Neoclassical artists, his artwork was inspired by the Baroque and the classical revival, but avoided the melodramatics of the former, and the cold artificiality of the latter. The story of two boxers “Creugas” and “Damosseno” is told by Pausanias: during the Nemean games, having sustained the match more than expected, the fighters agreed to hit each other by imposing a single hit at a time.
Creugas of Durres (Albania) was pierced by the hand that Damosseno of Syracuse sank in his opponent's belly for the hardness of his sharp nails. Removing his hand pulled out the entrails and killed Creugas. The hits, however, were considered to be technically two and Damosseno was disqualified.
They belonged, due to the cruel nature of the subject, as Hercules and Lichas, to the 'terribile' series of heroic neoclassicism, that, in the sublime representation of dramatic events, allowed to explore, to the ends dictated by the respect of the classical expression, exasperated nudes and faces loaded with tension.
To view our archive organized by themes and subjects, visitOUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
Houssam Yehia is the One of the most active persons in Aljazeeratalk Coverage for the 25jan revolution in Egypt
Active Weekly Assignment (Mar. 1-8, 2021) - "There is a number in my photo"
For this assignment, I wanted to find some numbers outside rather then arranging something at home. My girlfriend had the idea that the single spaces in parking decks are often numbered, so I made a tour through the different parking decks in my town (turns out only half of them actually have numbers).
There are only two numbers but at least they consist of six digits, I hope that counts :).
Post-processing: Apart from cropping and the obvious conversion to b&w I adjusted the brightness, mostly by playing around with the "filmic rgb" and "tone equalizer" modules of Darktable which I learned about just recently and are trying to master now.
The St. George's Altarpiece, by the Master of the Legend of St. George who was active in Cologne, depicts the saint in a beautifully detailed Western German/Eastern Netherlandish armour of the early 1460s; a perfect marriage between the so-called 'Italian' (asymmetrical pauldrons with a rondel on the left pauldron, mitten gauntlets) and early 'German gothic' styles (fluted breastplate and fauld, laced fluted couters).
This combination was typical for the Low Countries and Western Germany, the crossroad between Latin (France) and Germanic (The Holy Roman Empire) Europe.
The 'bad guys' on horseback are shown in a variety of contemporary armour with some oriental details (e.g. a turban, a soldier resembling Vlad Dracul etc.).
Aerobee sounding rocket panorama of the Earth - spanning from Nebraska to the fringe of the Pacific Ocean.
Informative reference to this photograph and the whole concept of "weather" satellites...possibly since this one captured a hurricane (tropical storm actually) in action for the first time, is available at the following outstanding website:
www.drewexmachina.com/2015/04/01/the-first-weather-satell...
Additionally:
www.nap.edu/read/11991/chapter/4
mobile.twitter.com/nasahistory/status/783698268085682176
A crappy photograph of it, but at least it still exists:
music.si.edu/object/nasm_A19620042000
Credit: NASM website
Note: No named hurricane was active the date this photograph was taken, 5 October 1954. Further research confirms that the "hurricane" was in fact a tropical depression, thus unnamed.
en.wikipedia.org/wiki/Timeline_of_first_images_of_Earth_f...
Credit: Wikipedia
Sense in the City offered an insight in the use of (sensor) technology in the city for an active and healthy lifestyle. Researchers, students, companies and (non-) governmental institutions gathered on April 18 2016 in Amsterdam to present the latest developments and to discuss the possibilities and challenges.
massagetherapyedmonton.net/ Active Release Massage Clinic Edmonton AB (780) 666-3772
We are your local massage therapy experts. Contact us now to learn more:
Massage Therapy Edmonton
Suite 1, 2316 96 St. NW
Edmonton, AB T6N 1J8
(780) 666-3772
Maker:
Born: France
Active: France
Medium: daguerreotype
Size: 6 in x 7 in
Location:
Object No. 2023.176
Shelf: F-2
Publication:
Other Collections:
Provenance:
Notes: TBAL
To view our archive organized by Collections, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 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.
AR2673 is still full of activity (9th Sept 2017) as it approaches the western limb, with AR2674 not far behind. Captured with a Lunt LS152, PGR Flea3, and a TeleVue 2.5x Powermate.
Roundstone Drive, East Preston, West Sussex.
Delivering the weekly freebie, the Littlehampton Advertiser.
The point of this photo is not my trolley ... that was just an excuse for taking a photo of this garden, which is totally over-run with Japanese Knotweed, a notifiable weed. I'm awfully glad I don't live next door ...
From Wikipedia -
Japanese Knotweed (Fallopia japonica, syn. Polygonum cuspidatum, Reynoutria japonica) is a large, herbaceous perennial plant, native to eastern Asia in Japan, China and Korea. In North America and Europe the species is very successful and has been classified as invasive in several countries.
A member of the family Polygonaceae, Japanese knotweed has hollow stems with distinct raised nodes that give it the appearance of bamboo, though it is not closely related. While stems may reach a maximum height of 3–4 m each growing season, it is typical to see much smaller plants in places where they sprout through cracks in the pavement or are repeatedly cut down. The leaves are broad oval with a truncated base, 7–14 cm long and 5–12 cm broad, with an entire margin. The flowers are small, creamy white, produced in erect racemes 6–15 cm long in late summer and early autumn.
Closely related species include giant knotweed (Fallopia sachalinensis, syn. Polygonum sachalinense) and Russian vine (Fallopia baldschuanica, syn. Polygonum aubertii, Polygonum baldschuanicum).
Other English names for Japanese knotweed include fleeceflower, Himalayan fleece vine, monkeyweed, Huzhang (Chinese: pinyin: Hǔzhàng), Hancock's curse, elephant ears, pea shooters, donkey rhubarb (although it is not a rhubarb), sally rhubarb, Japanese bamboo, American bamboo, and Mexican bamboo (though it is not a bamboo). There are also regional names, and it is sometimes confused with sorrel.
In Japanese, the name is itadori.
Japanese Knotweed is a commercial source of resveratrol supplements. Hu Zhang root extract is a traditional Chinese medicinal treatment.
Invasive species
Old stems remain in place as new growth appearsIn the U.S.A. and Europe, Japanese knotweed is widely considered an invasive species or weed. It is listed by the World Conservation Union as one of the world's 100 worst invasive species.
The invasive root system and strong growth can damage foundations, buildings, flood defences, roads, paving, retaining walls and architectural sites. It can also reduce the capacity of channels in flood defences to carry water.
It is a frequent colonizer of temperate riparian ecosystems, roadsides and waste places. It forms thick, dense colonies that completely crowd out any other herbaceous species and is now considered one of the worst invasive exotics in parts of the eastern United States. The success of the species has been partially attributed to its tolerance of a very wide range of soil types, pH and salinity. Its rhizomes can survive temperatures of −35 °C (−31 °F) and can extend 7 metres (23 ft) horizontally and 3 metres (9.8 ft) deep, making removal by excavation extremely difficult. The plant is also resilient to cutting, vigorously re-sprouting from the roots. The most effective method of control is by herbicide application close to the flowering stage in late summer or autumn. In some cases it is possible to eradicate Japanese knotweed in one growing season using only herbicides. Trials in the Queen Charlotte Islands (Haida Gwaii) of British Columbia using sea water sprayed on the foliage have demonstrated promising results, which may prove to be a viable option for eradication where concerns over herbicide application are too great.
It can be found in 39 of the 50 United States and in six provinces in Canada. It is listed as an invasive weed in Ohio, Vermont, Virginia, New York, Alaska, Pennsylvania, Oregon and Washington state. The species is also common in Europe. In the UK it was made illegal to spread Japanese knotweed by the Wildlife and Countryside Act 1981. It is also classed as "controlled waste" in Britain under part 2 of the Environmental Protection Act 1990. This requires disposal at licensed landfill sites.
Two biological pest control agents that show promise in the control of the plant are the psyllid Aphalara itadori and a leaf spot fungus from genus Mycosphaerella.
Uses
Japanese knotweed flowers are valued by some beekeepers as an important source of nectar for honeybees, at a time of year when little else is flowering. Japanese knotweed yields a monofloral honey, usually called bamboo honey by northeastern U.S. beekeepers, like a mild-flavored version of buckwheat honey (a related plant also in the Polygonaceae).
The young stems are edible as a spring vegetable, with a flavor similar to mild rhubarb. In some locations, semi-cultivating Japanese knotweed for food has been used as a means of controlling knotweed populations that invade sensitive wetland areas and drive out the native vegetation. Some caution should be exercised when consuming this plant because it contains oxalic acid, which may aggravate conditions such as rheumatism, arthritis, gout, kidney stones or hyperacidity.
Both Japanese knotweed and giant knotweed are important concentrated sources of resveratrol, replacing grape byproducts. Many large supplement sources of resveratrol now use Japanese knotweed and use its scientific name in the supplement labels. The plant is useful because of its year-round growth and robustness in different climates.
Japanese knotweed is a concentrated source of emodin, used as a nutritional supplement to regulate bowel motility. The roots of Japanese knotweed are used in traditional Chinese and Japanese herbal medicines as a natural laxative. The active principle responsible for the laxative effect is emodin, present in its natural form as a complex of its analogs. Emodin has a mild laxative effect in doses of 20 to 50 mg per day.
Japanese knotweed has a large underground network of roots (rhizomes). To eradicate the plant the roots need to be killed. Picking the right herbicide is essential, as it must travel through the plant and into the root system below. Glyphosate is the best active ingredient in herbicide for use on Japanese knotweed as it is ’systemic’; it penetrates through the whole plant and travels to the roots. Glyphosate is available under several trade names - all label the product as a "weed and grass killer". Commercial glyphosate concentrates contain approximately 20%-40% glyphosate; the balance is mostly water. Such concentrates need to be diluted in water.
The most effective spraying solution contains about 5%-10% glyphosate in water. Ready-to-use solutions that contain less than 5% glyphosate are too weak and do not work. A small amount of liquid dish-washing detergent can be added to improve wetting of the leaves. If possible, both sides of the leaves should be sprayed until they are completely wet. It takes about 3 weeks for most of the plants to die. After 3 weeks, all remaining plants should be sprayed again. This process needs to be repeated until all the plants die.
The US federal government will come and spray Japanese knotweed for no charge in many areas under the Invasive Species Act. Local county extension agencies can be contacted for more details.
More ecologically friendly means are being tested as an alternative to chemical treatments. Soil steaming involves injecting steam into contaminated soil in order to kill subterranean plant parts. Research has also been carried out on 'Mycosphaerella leafspot fungus, which devastates knotweed in its native Japan. Research with Mycosphaerella, has been relatively slow, due to its complex life cycle.
In the UK, where over £150M is spent annually on Japanese knotweed control, a decision was taken on 9 March 2010 to release a psyllid insect, Aphalara itadori. Its diet is highly specific to Japanese knotweed and shows good potential for its control.
I needed some new speakers for my desktop computer system at home. I've been tolerating JBL creature 2.1 system for a couple of years now and I'd finally had enough. The JBLs suffered from a depressing lack of critical midrange detail. This, coupled with the fact that the kids now hog the main system in the front room, means that I can't get access to my iTunes library readily.
A few years ago I was doing some research into speakers and I came across the Quad 11l actives. They were very well reviewed in a couple of Australian and New Zealand hi-fi publications. From what I could gather at the time they were not widely available in the UK. When I did eventually track them down their price tag was £600 for a pair. Prohibitively expensive for a desktop audio system. These things are marketed as pro-level near field monitors. They have their own build in amps. Two per speaker. 60W for the bass driver and 40W for the treble driver.
Anyway a couple of weeks ago I decided to have a casual squint at eBay and see if I could pick up a second hand pair at a vastly reduced price. There were none available. One seller was selling individual speakers new for £250. apiece. Still too expensive. Crestfallen, I gave up. A couple of days later I had another look. Another seller was offering a pair of Quad actives for £229. Stunned, I had a closer look. Apart from a different badge, Quad Industrial, these looked identical to the Quad 11l actives. Plus, they were brand new, in unopened boxes.
After a few hours of research I discovered that IAG, Quad's parent company, has an Industrial division that market audio equipment for hotels, conference centres, lecture theatres, and the like. Hence the different branding. The speaker also goes by another name, the Quad QPM1. Other than that it is identical in every way to the Quad 11l active monitor.
This was a game changer. Prior to this I was considering the Audioengine 2 model as my desktop speaker replacement. I phoned the supplier to check that there was no mistake in their pricing in the advert. They confirmed that they were on sale for £229 for the pair. I placed my order immediately.
I was very excited to hear these speakers given the reviews I'd read. I'm also a big fan of the Quad sound. My front room consists of the Quad 12l2s as main speakers in my 5.1 kit, Quad Centre, Quad l-ite satellites for rear and Quad l-ite subwoofer. Now I could have the Quad sound as part of my desktop system at a fraction of the price.
Quad speakers are known for being extremely neutral. In other words they take nothing away from or add anything to the original recording or source. Although my Quads were all very well reviewed at the time of their release, around 2004-2007, there are other great speakers out there. For me I liked the cachet associated with being a Quad owner. I clearly liked the sound and most importantly I got all the kit at bargain prices. Most of it was ex-dem so I saved at least 20% on the normal retail price. Another important factor was matching the speakers across the whole 5.1 kit. All of them should work well together. The 5.1 kit is driven by an Arcam AVR 300 that again was ex-dem. The front speakers are bi-amped and bi-wired. This affords them 120 watts per channel and per driver.
Being a hi-fi enthusiast makes you a bit picky about what you’ll listen to. So how do the Quad actives sound? Well put it this way... I've not stopped playing them since the minute they arrived in the house. I've thrown everything at them. From Led Zepp to Beethoven. Alison Krauss through to Prokofiev. Unbelievable! If anything the Quad actives may sound better than the 12l2s in my front room due to the fact that their bi-amp design is perfectly matched to the drivers in a way that any other amp would struggle to better. There is plenty of power and the signal path is not compromised by additional cabling and junction points. So the sound could be characterised as being clean, clear with tight bass control and a surprising amount of depth considering the cabinet size. However being nearfield monitors they are very revealing! If the recording is poor it sounds poor through these. You are very conscious of it. Also after a few days I became very aware of the deficiencies of the iMac's sound card. There was a constant low hum and other nasties such as buzzing and clicks. Hissing too. Another issue was that I wanted to run an old radio tuner through these. All I could lay my hands on at short notice was a phono switchbox. This worked but it was difficult to control the volume of the tuner other than messing around at the back of the monitors. Not really ideal.
I realised I need to look for some kind of preamp. Nothing suitable for desktop audio seemed immediately available. Initially I started looking at pro audio solutions. Mixers and the like. Not only were these really expensive but they also took up a lot of desk space. The other thing that seemed clear was that some kind of external signal processing solution would improve on the sound the iMac was capable of producing. Looked like a DAC was required. This took me into a whole new ballpark. It came down to two companies in the end. Cambridge Audio’s Dacmagic or NuForce’s uDac or Icon products. Fundamentally it came down to my need to switch sources easily and the ability to control volume at the turn of a dial or via an installed remote app on an iPhone. The Dacmagic looked very tempting but there was no preamp function or headphone amplifier. This left me with the NuForce products.
NuForce’s website information is confusing. Being new to the world of DACs and desktop audio I knew little about using USB as a means of feeding an external digital to analogue converter with a digital signal. I was familiar with toslink optical links from the Arcam processor but USB was new to me. So I started reading about jitter and the degrading effect is has on sound quality and the technology used by NuForce to take correct these issues. I also read some astonishing reviews on their uDac, Icon 2 and Icon HDP products. Turns out NuForce are an American company that specialises in really high end digital amplifiers and DACs. We’re talking thousands of pounds. Their ‘desktop’ range is much more affordable however. The uDac was offered to me for £55 for example. In the end I got a fantastic deal on the Icon HDP. I had to make a couple of phone calls at this point. I can’t say how much I saved but I got a better bargain on this than I got on the Quads! The Icon HDP is a combined class A headphone, preamp and top quality DAC rolled into one. Perfect for my needs.
Now we have the combined effect of the iMac and its ability to feed a purely digital signal from iTunes or Spotify Premium to the NuForce Icon HDP via USB and then onto the Quad QPMs. The effect the Icon HDP had on the system was staggering. This truly is a phenomenal product. Undoubtedly the most accomplished, best sounding and most useful piece of hi-fi equipment I’ve ever bought. The whole soundstage opened right up. Subtle nuances present in the recordings were revealed in extraordinary detail. A truly three dimensional space is presented to the listener. Given I’m used to the full Quad/Arcam experience in the front room it’s amazing how lifelike and articulate my bargain desktop audio solution really is. The Quads in themselves are remarkable for the price but the Icon HDP is literally a revelation.
As you’ll see from the photos I’ve experimented with this system in all sorts of combinations. At one point I even hooked up the Quad sub to hear the difference it made. I concluded it’s really not required the system is already capable of producing almost terrifying levels of deep controlled bass without it. Midrange too is superb. Treble crisp and smear free. I’ve been particularly enjoying the albums below. I’ve pretty much moved into the backroom! All in all, a pretty good October week…
Trentemøller – The Very Last Resort
Mercan Dede – 800
Sergei Rachmaninoff – Rachmaninov
Alison Krauss – Lonely Runs Both Ways
John Hiatt – Hiatt Comes Alive At Budokan?
Booka Shade – Memento
Avishai Cohen – Aurora
By the way the Quads are still available on eBay, last few remaining. Other speakers shown for comparison.
Male Efferia cuervana (Hardy, 1943). Thanks to Dr. Eric Fisher for providing the species determination on bugguide. Found at Bitter Lake National Wildlife Refuge in eastern New Mexico. Chaves County, New Mexico, USA.
Prey seems to be a small wasp.
This little guy landed on the ground near me as I was photographing something else. It was the smallest Efferia I've ever seen. It was actively bobbing the tip of its abdomen up and down.
Found in this vicinity: 33.44399N 104.40622W.
Single exposure, uncropped, handheld, in situ. Canon MT-24EX flash unit, Ian McConnachie diffuser.
********* Please visit my photostream for other photos in this series *****************
Today, Sunday October 28 2007 is her triplet cubs first birthday! A very exciting day!
The Zoo staff are very keen to celebrate, and raise awareness about the parlous plight of wild Sumatran tigers - very endangered with perhaps only 200 actual tigers in the wild.
Mum Binjai is 6 yo and in perfect health. She has been an excellent mother, and the cubs are her first litter.
One of the birthday cubs is sleeping on the job behind her.
The 3 Sumatran Tiger cubs, are called “Isha” (one who protects) for the female and 'Nakal' (naughty or cheeky) for one of the males, and the other male, 'Satu' (meaning number one).
Melbourne Zoo have a wonderful enclosure for the tigers - it is styled very much as Sumatran rainforest, with lots of trees, and even a pond to swim and play in.
Melb Zoo staff are taking part in a proper preservation program for Sumatran wildlife - not just joining an international captive breeding program (although they do, and that is vital given the parlous state of Sumatran tigers in the wild) - they actively buy back land in Sumatra with the intent to rehabilitate the land as a wildlife preserve, to give animals such as the tiger and the Sumatran Orang-utan a chance to flourish again.
Melbourne Zoo, Parkville, Melbourne, Victoria, Australia.
Active Assignemnt Monthly for January 2010: Odd Man Out
This is my FIRST monthly submission, so I apologize if I do anything wrong.
My son is eating a lot of organic foods so we have these cool brown eggs in the house and I thought it would fit the assignment perfectly.
WIT: I used incoming daylight and tried different apertures to get the DOF I wanted. I liked this one best. I upped contrast an added a vignette in Lightroom 2
Ipê Amarelo, Tabebuia [chrysotricha or ochracea].
Ipê-amarelo na CLS 302 (Rua das farmácias), em Brasília, Brasil.
This tree is at CLS 302, in Brasília, Capital of Brazil.
Text, in english, from Wikipedia, the free encyclopedia
"Trumpet tree" redirects here. This term is occasionally used for the Shield-leaved Pumpwood (Cecropia peltata).
Tabebuia
Flowering Araguaney or ipê-amarelo (Tabebuia chrysantha) in central Brazil
Scientific classification
Kingdom: Plantae
(unranked): Angiosperms
(unranked): Eudicots
(unranked): Asterids
Order: Lamiales
Family: Bignoniaceae
Tribe: Tecomeae
Genus: Tabebuia
Gomez
Species
Nearly 100.
Tabebuia is a neotropical genus of about 100 species in the tribe Tecomeae of the family Bignoniaceae. The species range from northern Mexico and the Antilles south to northern Argentina and central Venezuela, including the Caribbean islands of Hispaniola (Dominican Republic and Haiti) and Cuba. Well-known common names include Ipê, Poui, trumpet trees and pau d'arco.
They are large shrubs and trees growing to 5 to 50 m (16 to 160 ft.) tall depending on the species; many species are dry-season deciduous but some are evergreen. The leaves are opposite pairs, complex or palmately compound with 3–7 leaflets.
Tabebuia is a notable flowering tree. The flowers are 3 to 11 cm (1 to 4 in.) wide and are produced in dense clusters. They present a cupular calyx campanulate to tubular, truncate, bilabiate or 5-lobed. Corolla colors vary between species ranging from white, light pink, yellow, lavender, magenta, or red. The outside texture of the flower tube is either glabrous or pubescentThe fruit is a dehiscent pod, 10 to 50 cm (4 to 20 in.) long, containing numerous—in some species winged—seeds. These pods often remain on the tree through dry season until the beginning of the rainy.
Species in this genus are important as timber trees. The wood is used for furniture, decking, and other outdoor uses. It is increasingly popular as a decking material due to its insect resistance and durability. By 2007, FSC-certified ipê wood had become readily available on the market, although certificates are occasionally forged.
Tabebuia is widely used as ornamental tree in the tropics in landscaping gardens, public squares, and boulevards due to its impressive and colorful flowering. Many flowers appear on still leafless stems at the end of the dry season, making the floral display more conspicuous. They are useful as honey plants for bees, and are popular with certain hummingbirds. Naturalist Madhaviah Krishnan on the other hand once famously took offense at ipé grown in India, where it is not native.
Lapacho teaThe bark of several species has medical properties. The bark is dried, shredded, and then boiled making a bitter or sour-tasting brownish-colored tea. Tea from the inner bark of Pink Ipê (T. impetiginosa) is known as Lapacho or Taheebo. Its main active principles are lapachol, quercetin, and other flavonoids. It is also available in pill form. The herbal remedy is typically used during flu and cold season and for easing smoker's cough. It apparently works as expectorant, by promoting the lungs to cough up and free deeply embedded mucus and contaminants. However, lapachol is rather toxic and therefore a more topical use e.g. as antibiotic or pesticide may be advisable. Other species with significant folk medical use are T. alba and Yellow Lapacho (T. serratifolia)
Tabebuia heteropoda, T. incana, and other species are occasionally used as an additive to the entheogenic drink Ayahuasca.
Mycosphaerella tabebuiae, a plant pathogenic sac fungus, was first discovered on an ipê tree.
Tabebuia alba
Tabebuia anafensis
Tabebuia arimaoensis
Tabebuia aurea – Caribbean Trumpet Tree
Tabebuia bilbergii
Tabebuia bibracteolata
Tabebuia cassinoides
Tabebuia chrysantha – Araguaney, Yellow Ipê, tajibo (Bolivia), ipê-amarelo (Brazil), cañaguate (N Colombia)
Tabebuia chrysotricha – Golden Trumpet Tree
Tabebuia donnell-smithii Rose – Gold Tree, "Prima Vera", Cortez blanco (El Salvador), San Juan (Honduras), palo blanco (Guatemala),duranga (Mexico)
A native of Mexico and Central Americas, considered one of the most colorful of all Central American trees. The leaves are deciduous. Masses of golden-yellow flowers cover the crown after the leaves are shed.
Tabebuia dubia
Tabebuia ecuadorensis
Tabebuia elongata
Tabebuia furfuracea
Tabebuia geminiflora Rizz. & Mattos
Tabebuia guayacan (Seem.) Hemsl.
Tabebuia haemantha
Tabebuia heptaphylla (Vell.) Toledo – tajy
Tabebuia heterophylla – roble prieto
Tabebuia heteropoda
Tabebuia hypoleuca
Tabebuia impetiginosa – Pink Ipê, Pink Lapacho, ipê-cavatã, ipê-comum, ipê-reto, ipê-rosa, ipê-roxo-damata, pau d'arco-roxo, peúva, piúva (Brazil), lapacho negro (Spanish); not "brazilwood"
Tabebuia incana
Tabebuia jackiana
Tabebuia lapacho – lapacho amarillo
Tabebuia orinocensis A.H. Gentry[verification needed]
Tabebuia ochracea
Tabebuia oligolepis
Tabebuia pallida – Cuban Pink Trumpet Tree
Tabebuia platyantha
Tabebuia polymorpha
Tabebuia rosea (Bertol.) DC.[verification needed] (= T. pentaphylla (L.) Hemsley) – Pink Poui, Pink Tecoma, apama, apamate, matilisguate
A popular street tree in tropical cities because of its multi-annular masses of light pink to purple flowers and modest size. The roots are not especially destructive for roads and sidewalks. It is the national tree of El Salvador and the state tree of Cojedes, Venezuela
Tabebuia roseo-alba – White Ipê, ipê-branco (Brazil), lapacho blanco
Tabebuia serratifolia – Yellow Lapacho, Yellow Poui, ipê-roxo (Brazil)
Tabebuia shaferi
Tabebuia striata
Tabebuia subtilis Sprague & Sandwith
Tabebuia umbellata
Tabebuia vellosoi Toledo
Ipê-do-cerrado
Texto, em português, da Wikipédia, a enciclopédia livre.
Ipê-do-cerrado
Classificação científica
Reino: Plantae
Divisão: Magnoliophyta
Classe: Magnoliopsida
Subclasse: Asteridae
Ordem: Lamiales
Família: Bignoniaceae
Género: Tabebuia
Espécie: T. ochracea
Nome binomial
Tabebuia ochracea
(Cham.) Standl. 1832
Sinónimos
Bignonia tomentosa Pav. ex DC.
Handroanthus ochraceus (Cham.) Mattos
Tabebuia chrysantha (Jacq.) G. Nicholson
Tabebuia hypodictyon A. DC.) Standl.
Tabebuia neochrysantha A.H. Gentry
Tabebuia ochracea subsp. heteropoda (A. DC.) A.H. Gentry
Tabebuia ochracea subsp. neochrysantha (A.H. Gentry) A.H. Gentry
Tecoma campinae Kraenzl.
ecoma grandiceps Kraenzl.
Tecoma hassleri Sprague
Tecoma hemmendorffiana Kraenzl.
Tecoma heteropoda A. DC.
Tecoma hypodictyon A. DC.
Tecoma ochracea Cham.
Ipê-do-cerrado é um dos nomes populares da Tabebuia ochracea (Cham.) Standl. 1832, nativa do cerrado brasileiro, no estados de Amazonas, Pará, Maranhão, Piauí, Ceará, Pernambuco, Bahia, Espírito Santo, Goiás, Mato Grosso, Mato Grosso do Sul, Minas Gerais, Rio de Janeiro, São Paulo e Paraná.
Está na lista de espécies ameaçadas do estado de São Paulo, onde é encontrda também no domínio da Mata Atlântica[1].
Ocorre também na Argentina, Paraguai, Bolívia, Equador, Peru, Venezuela, Guiana, El Salvador, Guatemala e Panamá[2].
Há uma espécie homônima descrita por A.H. Gentry em 1992.
Outros nomes populares: ipê-amarelo, ipê-cascudo, ipê-do-campo, ipê-pardo, pau-d'arco-do-campo, piúva, tarumã.
Características
Altura de 6 a 14 m. Tronco tortuso com até 50 cm de diâmetro. Folhas pilosas em ambas as faces, mais na inferior, que é mais clara.
Planta decídua, heliófita, xerófita, nativa do cerrado em solos bem drenados.
Floresce de julho a setembro. Os frutos amadurecem de setembro a outubro.
FloresProduz grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em menos de 90 dias após coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978). As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A germinação ocorre após 30 dias e de 80%. As sementes são ortodoxas e há aproximadamente 72 000 sementes em cada quilo.
O desenvolvimento da planta é rápido.
Como outros ipês, a madeira é usada em tacos, assoalhos, e em dormentes e postes. Presta-se também para peças torneadas e instrumento musicais.
Tabebuia alba (Ipê-Amarelo)
Texto, em português, produzido pela Acadêmica Giovana Beatriz Theodoro Marto
Supervisão e orientação do Prof. Luiz Ernesto George Barrichelo e do Eng. Paulo Henrique Müller
Atualizado em 10/07/2006
O ipê amarelo é a árvore brasileira mais conhecida, a mais cultivada e, sem dúvida nenhuma, a mais bela. É na verdade um complexo de nove ou dez espécies com características mais ou menos semelhantes, com flores brancas, amarelas ou roxas. Não há região do país onde não exista pelo menos uma espécie dele, porém a existência do ipê em habitat natural nos dias atuais é rara entre a maioria das espécies (LORENZI,2000).
A espécie Tabebuia alba, nativa do Brasil, é uma das espécies do gênero Tabebuia que possui “Ipê Amarelo” como nome popular. O nome alba provém de albus (branco em latim) e é devido ao tomento branco dos ramos e folhas novas.
As árvores desta espécie proporcionam um belo espetáculo com sua bela floração na arborização de ruas em algumas cidades brasileiras. São lindas árvores que embelezam e promovem um colorido no final do inverno. Existe uma crença popular de que quando o ipê-amarelo floresce não vão ocorrer mais geadas. Infelizmente, a espécie é considerada vulnerável quanto à ameaça de extinção.
A Tabebuia alba, natural do semi-árido alagoano está adaptada a todas as regiões fisiográficas, levando o governo, por meio do Decreto nº 6239, a transformar a espécie como a árvore símbolo do estado, estando, pois sob a sua tutela, não mais podendo ser suprimida de seus habitats naturais.
Taxonomia
Família: Bignoniaceae
Espécie: Tabebuia Alba (Chamiso) Sandwith
Sinonímia botânica: Handroanthus albus (Chamiso) Mattos; Tecoma alba Chamisso
Outros nomes vulgares: ipê-amarelo, ipê, aipê, ipê-branco, ipê-mamono, ipê-mandioca, ipê-ouro, ipê-pardo, ipê-vacariano, ipê-tabaco, ipê-do-cerrado, ipê-dourado, ipê-da-serra, ipezeiro, pau-d’arco-amarelo, taipoca.
Aspectos Ecológicos
O ipê-amarelo é uma espécie heliófita (Planta adaptada ao crescimento em ambiente aberto ou exposto à luz direta) e decídua (que perde as folhas em determinada época do ano). Pertence ao grupo das espécies secundárias iniciais (DURIGAN & NOGUEIRA, 1990).
Abrange a Floresta Pluvial da Mata Atlântica e da Floresta Latifoliada Semidecídua, ocorrendo principalmente no interior da Floresta Primária Densa. É característica de sub-bosques dos pinhais, onde há regeneração regular.
Informações Botânicas
Morfologia
As árvores de Tabebuia alba possuem cerca de 30 metros de altura. O tronco é reto ou levemente tortuoso, com fuste de 5 a 8 m de altura. A casca externa é grisáceo-grossa, possuindo fissuras longitudinais esparas e profundas. A coloração desta é cinza-rosa intenso, com camadas fibrosas, muito resistentes e finas, porém bem distintas.
Com ramos grossos, tortuosos e compridos, o ipê-amarelo possui copa alongada e alargada na base. As raízes de sustentação e absorção são vigorosas e profundas.
As folhas, deciduais, são opostas, digitadas e compostas. A face superior destas folhas é verde-escura, e, a face inferior, acinzentada, sendo ambas as faces tomentosas. Os pecíolos das folhas medem de 2,5 a 10 cm de comprimento. Os folíolos, geralmente, apresentam-se em número de 5 a 7, possuindo de 7 a 18 cm de comprimento por 2 a 6 cm de largura. Quando jovem estes folíolos são densamente pilosos em ambas as faces. O ápice destes é pontiagudo, com base arredondada e margem serreada.
As flores, grandes e lanceoladas, são de coloração amarelo-ouro. Possuem em média 8X15 cm.
Quanto aos frutos, estes possuem forma de cápsula bivalvar e são secos e deiscentes. Do tipo síliqua, lembram uma vagem. Medem de 15 a 30 cm de comprimento por 1,5 a 2,5 cm de largura. As valvas são finamente tomentosas com pêlos ramificados. Possuem grande quantidade de sementes.
As sementes são membranáceas brilhantes e esbranquiçadas, de coloração marrom. Possuem de 2 a 3 cm de comprimento por 7 a 9 mm de largura e são aladas.
Reprodução
A espécie é caducifólia e a queda das folhas coincide com o período de floração. A floração inicia-se no final de agosto, podendo ocorrer alguma variação devido a fenômenos climáticos. Como a espécie floresce no final do inverno é influenciada pela intensidade do mesmo. Quanto mais frio e seco for o inverno, maior será a intensidade da florada do ipê amarelo.
As flores por sua exuberância, atraem abelhas e pássaros, principalmente beija-flores que são importantes agentes polinizadores. Segundo CARVALHO (2003), a espécie possui como vetor de polinização a abelha mamangava (Bombus morio).
As sementes são dispersas pelo vento.
A planta é hermafrodita, e frutifica nos meses de setembro, outubro, novembro, dezembro, janeiro e fevereiro, dependendo da sua localização. Em cultivo, a espécie inicia o processo reprodutivo após o terceiro ano.
Ocorrência Natural
Ocorre naturalmente na Floresta Estaciobal Semidecicual, Floresta de Araucária e no Cerrado.
Segundo o IBGE, a Tabebuia alba (Cham.) Sandw. é uma árvore do Cerrado, Cerradão e Mata Seca. Apresentando-se nos campos secos (savana gramíneo-lenhosa), próximo às escarpas.
Clima
Segundo a classificação de Köppen, o ipê-amarelo abrange locais de clima tropical (Aw), subtropical úmido (Cfa), sutropical de altitude (Cwa e Cwb) e temperado.
A T.alba pode tolerar até 81 geadas em um ano. Ocorre em locais onde a temperatura média anual varia de 14,4ºC como mínimo e 22,4ºC como máximo.
Solo
A espécie prefere solos úmidos, com drenagem lenta e geralmente não muito ondulados (LONGHI, 1995).
Aparece em terras de boa à média fertilidade, em solos profundos ou rasos, nas matas e raramente cerradões (NOGUEIRA, 1977).
Pragas e Doenças
De acordo com CARVALHO (2003), possui como praga a espécie de coleópteros Cydianerus bohemani da família Curculionoideae e um outro coleóptero da família Chrysomellidae. Apesar da constatação de elevados índices populacionais do primeiro, os danos ocasionados até o momento são leves. Nas praças e ruas de Curitiba - PR, 31% das árvores foram atacadas pela Cochonilha Ceroplastes grandis.
ZIDKO (2002), ao estudar no município de Piracicaba a associação de coleópteros em espécies arbóreas, verificou a presença de insetos adultos da espécie Sitophilus linearis da família de coleópteros, Curculionidae, em estruturas reprodutivas. Os insetos adultos da espécie emergiram das vagens do ipê, danificando as sementes desta espécie nativa.
ANDRADE (1928) assinalou diversas espécies de Cerambycidae atacando essências florestais vivas, como ingazeiro, cinamomo, cangerana, cedro, caixeta, jacarandá, araribá, jatobá, entre outras como o ipê amarelo.
A Madeira
A Tabebuia alba produz madeira de grande durabilidade e resistência ao apodrecimento (LONGHI,1995).
MANIERI (1970) caracteriza o cerne desta espécie como de cor pardo-havana-claro, pardo-havan-escuro, ou pardo-acastanhado, com reflexos esverdeados. A superfície da madeira é irregularmente lustrosa, lisa ao tato, possuindo textura media e grã-direita.
Com densidade entre 0,90 e 1,15 grama por centímetro cúbico, a madeira é muito dura (LORENZI, 1992), apresentando grande dificuldade ao serrar.
A madeira possui cheiro e gosto distintos. Segundo LORENZI (1992), o cheiro característico é devido à presença da substância lapachol, ou ipeína.
Usos da Madeira
Sendo pesada, com cerne escuro, adquire grande valor comercial na marcenaria e carpintaria. Também é utilizada para fabricação de dormentes, moirões, pontes, postes, eixos de roda, varais de carroça, moendas de cana, etc.
Produtos Não-Madeireiros
A entrecasca do ipê-amarelo possui propriedades terapêuticas como adstringente, usada no tratamento de garganta e estomatites. É também usada como diurético.
O ipê-amarelo possui flores melíferas e que maduras podem ser utilizadas na alimentação humana.
Outros Usos
É comumente utilizada em paisagismo de parques e jardins pela beleza e porte. Além disso, é muito utilizada na arborização urbana.
Segundo MOREIRA & SOUZA (1987), o ipê-amarelo costuma povoar as beiras dos rios sendo, portanto, indicado para recomposição de matas ciliares. MARTINS (1986), também cita a espécie para recomposição de matas ciliares da Floresta Estacional Semidecidual, abrangendo alguns municípios das regiões Norte, Noroeste e parte do Oeste do Estado do Paraná.
Aspectos Silviculturais
Possui a tendência a crescer reto e sem bifurcações quando plantado em reflorestamento misto, pois é espécie monopodial. A desrrama se faz muito bem e a cicatrização é boa. Sendo assim, dificilmente encopa quando nova, a não ser que seja plantado em parques e jardins.
Ao ser utilizada em arborização urbana, o ipê amarelo requer podas de condução com freqüência mediana.
Espécie heliófila apresenta a pleno sol ramificação cimosa, registrando-se assim dicotomia para gema apical. Deve ser preconizada, para seu melhor aproveitamento madeireiro, podas de formação usuais (INQUE et al., 1983).
Produção de Mudas
A propagação deve realizada através de enxertia.
Os frutos devem ser coletados antes da dispersão, para evitar a perda de sementes. Após a coleta as sementes são postas em ambiente ventilado e a extração é feita manualmente. As sementes do ipê amarelo são ortodoxas, mantendo a viabilidade natural por até 3 meses em sala e por até 9 meses em vidro fechado, em câmara fria.
A condução das mudas deve ser feita a pleno sol. A muda atinge cerca de 30 cm em 9 meses, apresentando tolerância ao sol 3 semanas após a germinação.
Sementes
Os ipês, espécies do gênero Tabebuia, produzem uma grande quantidade de sementes leves, aladas com pequenas reservas, e que perdem a viabilidade em poucos dias após a sua coleta. A sua conservação vem sendo estudada em termos de determinação da condição ideal de armazenamento, e tem demonstrado a importância de se conhecer o comportamento da espécie quando armazenada com diferentes teores de umidade inicial, e a umidade de equilíbrio crítica para a espécie (KANO; MÁRQUEZ & KAGEYAMA, 1978).
As levíssimas sementes aladas da espécie não necessitam de quebra de dormência. Podem apenas ser expostas ao sol por cerca de 6 horas e semeadas diretamente nos saquinhos. A quebra natural leva cerca de 3 meses e a quebra na câmara leva 9 meses. A germinação ocorre após 30 dias e de 80%.
As sementes são ortodoxas e há aproximadamente 87000 sementes em cada quilo.
Preço da Madeira no Mercado
O preço médio do metro cúbico de pranchas de ipê no Estado do Pará cotado em Julho e Agosto de 2005 foi de R$1.200,00 o preço mínimo, R$ 1509,35 o médio e R$ 2.000,00 o preço máximo (CEPEA,2005).
Shot for Active Assignment Weekly, theme "Since When?"
This bread topping is mostly sugar (92%), the rest is crushed anise seeds. It is a sort of powder that you need to apply very gently, in order not to cover the whole kitchen in dust. I am not fond of this, but my other family members love it.
Our BC Active Transportation Design Guide workshops are underway.
A part of Move, Commute, Connect - BC's New Active Transportation Strategy - the Active Transportation Design Guide (and workshops) outline planning, selection, design, implementation and maintenance design principles for professionals to follow and implement.
Learn more about funding and grants for active transportation:
www2.gov.bc.ca/gov/content/transportation/funding-engagem...
Read the Design Guide:
www2.gov.bc.ca/gov/content/transportation/funding-engagem...
Active Assignment Weekly: Capture Your Country
I know Joe already went with this theme for America, but it's one of the first photos I took for this assignment but wasn't sure about it. Then I noticed some details I liked and decided to go for it. SOOC, except for a little clarity enhancement.
Olympic Park, Seoul, Korea.
May 2011.
Canon 550D.
I'm also active on 500px.com. if you want to add me as a contact.
Ex. NHS motor with space to carry a stretcher patient. Now used by Active First Aid Scotland to transfer patients from off-road event to the roadside for road ambulance transport to hospital.
Sub-Lieutenant Danielle Turner a Maritime Surface and Sub-Surface Officer checks a vessels bearing from Her Majesty's Canadian Ship Charlottetown's bridge during Operation ACTIVE ENDEAVOUR with, Standing NATO maritime Group 1 in the Mediterranean Sea on February 5, 2012.
L’Enseigne de vaisseau de 1re classe Danielle Turner, officier des opérations maritimes de surface et sous-marines, vérifie l’azimut sur la passerelle du Navire canadien de Sa Majesté CHARLOTTETOWN lors de l’opération Active Endeavour dans la mer Méditerranée, avec le 1er Groupe de la Force navale permanente de réaction de l’OTAN, le 5 février 2012.
Photo : Cpl Ronnie Kinnie
HS2012-0071-095
Maker: Pierre-Hippolyte Vauvray
Born: France
Active: France
Medium: albumen print
Size: 9.1 in x 7.1 in
Location:
Object No: 2020.093
Shelf: B-26
Publication:
Other Collections:
Notes: Vauvray was active as a photographer from 1853 until 1887. He had studios at 159 Rue Montmartre in 1857, which he sold to Aumiter in 1867, next at 48 Rue Vivienne in Paris, and finally at 13 Ave Thiers in Melun in 1876. He also worked as an operator at Mayer and Pierson between 1867 and 1876. He exhibited at the S.F.P in 1864 and 1870, and at the 1867 Exposition Universelle in Paris.
The Paris Commune was the first important event in French history to be the object of full-scale photographic coverage, as the American Civil War had been a few years before. The vision of the Commune proposed by photography differs from that offered by engravings and drawings of the same period. It is more static, less dramatic and generally less partisan. A mere fraction of the professional photographers active in Paris a the time went out in the streets to document the insurrection, leaving precious images (barricades and groups of insurgents around the Hôtel de Ville and the Place Vendôme, the two centres of the insurrection) still hampered by technical constraints. On the other hand, photographers remained blind to the violence and repression: the pictures of the dead that subsist to this day were mostly taken on the initiative of the Commune government, towards administrative ends, in morgues and hospitals, in order to identify the national guards dead in action. These shots were not the object of any trade. Although reticent when confronted by the event itself, the photographers amply covered the aftermath of the Commune and in particular the ruins in Paris and the outskirts of the city. These dramatic, spectacular pictures, then described as "picturesque", were taken for the benefit of the numerous "tourists" drawn into the capital city by this show of desolation – the aftermath of fires lit by insurgents, bombardment by the Prussians or by the followers of the official government based in Versailles. Sold in diverse formats, individually or in albums, and published as engravings in the newspapers, these photographs show an entirely devastated Paris.At the same time, the first political photomontages appeared, with evocative titles - Crimes of the Commune (Eugène Appert), Martyrs of La Roquette (Hippolyte Vauvray) - faked pictures, with an anti-communard purpose, reconstructions after the event of episodes from the Commune with the help of actors in costume, highlighting mostly the executions of hostages by insurgents in May 1871.This period was also marked by the extensive use for the first time by public authorities of photography as a means of judicial identification. Photographs were taken of arrested communards in Versailles prisons, and shots of insurgents on the run were sent to border checkpoints. In their use of these portraits of insurgents, the police authorities endeavoured to control closely their distribution. Sale of pictures of the Commune was forbidden at the end of 1871, as it was claimed that such pictures disturbed public order, reminding people of distressing events. Only "purely artistic" pictures of Paris ruins escaped this policy. (source: Musee d'Orsay)
To view our archive organized by themes and subjects, visit: OUR COLLECTIONS
For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE