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Continuous rain in the middle of autumn One week of after sunny Day Jute washing and drying at the end of the season still remaining Farmers gets The empty space anywhere... They as aesthetics of field background with the jute...
Commentary.
Farnham is a classic and dignified Market town in western Surrey.
There is evidence of settlement in this area, continuously,
through Palaeolithic, Neolithic, Bronze and Iron Ages,
Roman, Anglo-Saxon, Medieval to modern times.
It sits in a shallow valley, south of the Chalk Downs
linking the Hogs Back to the Hampshire Downs.
Springs emerged where Chalk meets Gravels or Gault Clay.
The southern part of the town rises on the Lower Greensand of The Weald.
The town has seen many economic ups and downs.
It thrived with the Wool Industry in early Medieval times,
but suffered a downturn when worsted became popular.
The wool of local sheep wasn’t suitable.
Nearby Waverley Abbey was built in 1128,
but faded to neglect by the time of Henry V111’s Dissolution of the Monasteries.
The town suffered badly in the mid-14th. Century
with a third of the population dying from the Black Death.
Following the eventual victory of Parliamentarians over Royalists,
Bishops were allowed, again, to reside in their Palace, adjacent to the Castle.
It became a successful Market Town by the 17th. Century,
particularly in relation to huge local wheat production.
The underlying Gault and Wealden Clay gave rise to a thriving, local Pottery industry.
The railway arrived in 1848 and eventually was connected to a line to London.
Wealthy merchants could then buy and sell through London markets.
During the 19th. and 20th. Centuries Farnham became a viable “Commuter” town.
Along, East, West and Castle Streets and The Borough many fine
Tudor, Georgian, Regency and Victorian buildings, still exist.
The Creative Arts are still very popular and Architects, Painters and Potters have benefitted from Art Schools and Colleges and Galleries.
Markets for food and the Arts still take place, regularly.
Yet, the town still has a good range of Supermarkets and Chain Stores, as well as a fine range of “Bespoke” shops for home goods, clothes and refreshments.
Farnham still is a fine Market Town, with history and architecture, to boot.
The Rufous Fantail is a small, active bird which has a distinctive reddish brown rump and continuously fanned tail.
St Albans is in southern Hertfordshire, England, around 22 miles (35 km) north of London, beside the site of a Catuvellauni settlement and the Roman town of Verulamium and on the River Ver. St Albans is Hertfordshire's oldest town, a modern city shaped by over 2000 years of continuous human occupation.
Pre-Roman and Roman times
The town is first recorded as Verulamium, a Celtic British Iron Agesettlement whose name means 'the settlement above the marsh'. After the Roman conquest of Britain in AD 43, it developed as Verulamium and became one of the largest towns in Roman Britain and the capital city . Built mainly of wood, it was destroyed during the revolt of Boudica in AD 60-61, but was rebuilt and grew to feature many impressive town houses and public buildings. It was encircled by gated walls in AD 275.
The Romans leave
The Roman City of Verulamium slowly declined and fell into decay after the departure of the Roman Army in AD 410. However, its ruined buildings provided building materials to build the new monastic and market settlement of St Albans which was growing on the hill above, close to the site of Saint Alban's execution. In the Norman Abbey tower, you can still see the Roman bricks removed from Verulamium.
Much of the post-Roman development of St Albans was in memorial to Saint Alban, the earliest known British Christian martyr, executed in AD 250 (the exact date is unknown, with scholars suggesting dates of 209, 254 and 304). The town itself was known for some time by the Saxon name 'Verlamchester'. A shrine was built on the site of his death following Emperor Constantine's adoption of Christianity as the religion of the Roman Empire. In the 5th century a Benedictine monastic church was constructed.
The Abbey is founded
Another abbey was founded by King Offa of Mercia in 793. The settlement grew up around the precincts of another It was 350 feet (110 m) long with a tower and seven apses.
A nunnery, Sopwell Priory, was founded nearby in 1140 by Abbot Geoffrey de Gorham.
The head of the abbey was confirmed as the premier abbot in England in 1154. The abbey was extended by John of Wallingford (also known as John de Cella) in the 1190s, and again between 1257 and 1320 but financial constraints limited the effectiveness of these later additions.
In August 1213 the first draft of Magna Carta was drawn up in St Albans Abbey.
The Liberty of St Albans was given palatine status by Edward I. In 1290 the funeral procession of Eleanor of Castile stopped overnight in the town and an Eleanor cross was put up at a cost of £100 in the Market Place. The cross, which stood for many years in front of the 15th century Clock Tower, was demolished in 1701.
A market was running outside the abbey from the 10th century; it was confirmed by King John of England in 1202 and by a Royal Charter of Edward VI in 1553.
Conflict
Abbey Gateway from the 1360s
During the 14th century the Abbey came into increasing conflict with the townsfolk of St Albans, who demanded rights of their own. This led, among other things, to the construction of a large wall and gate surrounding the Abbey (for instance, the Great Gatehouse, the "Abbey Gateway", which is the only surviving monastic building other than the Abbey Church, dates from 1365).
Richard of Wallingford, a local landowner, who had presented demands to Richard II on behalf of Wat Tyler in London, brought news of this to St Albans and argued with the abbot over the charter. However, this was short lived. Once the 14-year-old king had regained control of the capital and then the whole country, Grindcobbe was tried in the Moot Hall (on the site of the present-day W H Smith stationery shop, where a plaque commemorates the event) and adjudged a 'traitor' alongside John Ball('the mad priest of Kent', one of the rebel leaders who had escaped from Smithfield, London to Coventry) and more than a dozen others. He was hanged, drawn and quartered in July 1381.
Another notable building dating from around this time, the Clockhouse belfy or Clock Tower, built between 1403 and 1412, seems to have been intended both as a visible and audible statement of the town's continuing civic ambitions against the power of the Abbot.
During the Wars of the Roses two battles were fought in and around St Albans. The First Battle of St Albans on 22 May 1455 was a Lancastriandefeat that opened the war. The Lancastrian army occupied the town but the Yorkist forces broke in and a battle took place in the streets of the town. On 17 February 1461 the Second Battle of St Albans on Bernards Heath north of the town centre resulted in a Lancastrian victory.
Following the Reformation, the Abbey was dissolved in 1539 and the Abbey Church sold to the town in 1553 for £400: it became a Protestant parish church for the borough and the Lady Chapel was used as a school. The Great Gatehouse was used as a prison until the 19th century, when it was taken over by St Albans School. In May 1553, in response to a public petition, the first royal charter for the town was issued by King Edward VI, granting it the status of borough. The charter defined the powers of the mayor and councillors, then known as burgesses, as well as specifying the Wednesday and Saturday market days which continue to this day.
In 1555, during the reign of Queen Mary I, a Protestant Yorkshire baker, George Tankerfield, was brought from London and burnt to death on Romeland because of his refusal to accept the Roman Catholic doctrine of transubstantiation.
During the English Civil War (1642–45) the town sided with parliament but was largely unaffected by the conflict.
An early transport hub
Three main roads date from the medieval period - Holywell Hill, St Peter's Street, and Fishpool Street. These remained the only major streets until around 1800 when London Road was constructed, to be followed by Hatfield Road in 1824 and Verulam Road in 1826.
Verulam Road was created specifically to aid the movement of stage coaches, since St Albans was the first major stop on the coaching route north from London. The large number of coaching inns is, in turn, one reason why the City has so many pubs today (another being that it was, and remains, a major centre for Christian pilgrimage).
The railway arrived in 1868, off-setting the decline in coaching since the 1840s.
Growth was always slow and steady, with no sudden burst: in 1801 there were 6,000 people living in St Albans; in 1850 11,000; in 1931 29,000; and in 1950 44,000.
The City Charter
In 1877, in response to a public petition, Queen Victoria issued the second royal charter, which granted city status to the borough and Cathedral status to the former Abbey Church. The new diocese was established in the main from parts of the large Diocese of Rochester. Lord Grimthorpe financed a £130,000 renovation and rebuilding of the then dilapidated cathedral, which is most apparent in his generally poorly regarded Neo-Gothic rebuild of the west front (1880–1883). However, without Grimthorpe's money, it seems reasonable to assume that the Abbey Church would now almost certainly be a ruin, like many other former monastic churches, despite the work performed under Sir George Gilbert Scott in the years 1860 to 1877.
The city's football club (St Albans City F.C.) was founded in 1880.
Ralph Chubb, the poet and printer, lived on College Street in St Albans from 1892 to 1913, and attended St Albans School. His work frequently references the Abbey of St Albans, and he ascribed mystical significance to the geography and history of the town.
World War I
In September 1916, following an attack on St Albans, the German Airship SL 11 became the first airship to be brought down over England. But when London Colney was attacked, the nation was so angered it became united in its battle.
Modern growth
Between the wars
In the inter-war years St Albans, in common with much of the surrounding area, became a centre for emerging high-technology industries, most notably aerospace. Nearby Radlett was the base for Handley Page Aircraft Company, while Hatfield became home to de Havilland. St Albans itself became a centre for the Marconi plc company, specifically, Marconi Instruments. Marconi (later part of the General Electric Company) remained the city's largest employer (with two main plants) until the 1990s. A third plant - working on top secret defence work - also existed. Even Marconi staff only found out about this when it closed down. All of these industries are now gone from the area.
In 1936 St Albans was the last but one stop for the Jarrow Crusade.
Post-war growth
The City was expanded significantly after World War II, as government policy promoted the creation of New Towns and the expansion of existing towns. Substantial amounts of local authority housing were built at Cottonmill (to the south), Mile House (to the south-east) and New Greens (to the north). The Marshalswick area to the north-east was also expanded, completing a pre-war programme.
In 1974 St Albans City Council, St Albans Rural District Council and Harpenden Town Council were merged to form St Albans District Council(part of a much wider local government reorganisation).
The 2001 census returns show a population of 129,000 for St Albans City and District, which had risen to 140,664 at the 2011 census.
JOINT BASE PEARL HARBOR-HICKAM, Hawaii (Dec. 4, 2017) - A U.S. Air Force B-1B Lancer, assigned to the 37th Expeditionary Bomb Squadron, deployed from Ellsworth Air Force Base (AFB), South Dakota, arrives at Andersen AFB, Guam. Two U.S. Air Force B-1B bombers conducted a continuous bomber presence (CBP) mission on return to Andersen Air Force Base, Guam, from Royal Australian Air Force (RAAF) Base Amberley, Australia, where they have been since late November supporting U.S. Pacific Command's Enhanced Air Cooperation initiative. (U.S. Air Force photo/Tech. Sgt. Richard P. Ebensberger) 171204-F-LP948-0008
** Interested in following U.S. Pacific Command? Engage and connect with us at www.facebook.com/pacific.command and twitter.com/PacificCommand and www.pacom.mil/ **
This is shot 4 of 7 on continuous mode capturing a huge wave crashing against the promenade. Flick through 1 to 7 to get the sense of movement and power!
Continuous Tubes 30 units Polar rim view.
The main purpose of this design was to test the viability of triangular tubes with the folded edge variation tubes I usually use. Overall, I am not overly thrilled about the result. The paper from the outer layer in the center of the tube tends to puff out rather unaesthetically. (admittedly, this might perhaps be mitigated with the use of a stiffer paper) The biggest advantage of these tubes is that as the square tubes consist of units where the paper is divided into 5ths, triangular tubes can be made with paper divided into 4ths, which saves so much time. I think it also would be preferable for the paper proportions to be slightly thinner.
The weave itself is simple, but new regardless- a single self-interlocking tube with set of 4-fold center weaves than the previous Endless Tubes model from several years ago.
I can think of no reason why any number of other woven solids could be constructed in the same manner.
Sorry that I haven't posted more online recently- I am back in school (spring semester) as thus will be busy for the next several months to come. I will still continue to fold as often as I can.
Designed by me.
Folded out of kami paper.
The Supermarine Spitfire is a British single-seat fighter aircraft that was used by the Royal Air Force and many other Allied countries during and after the Second World War. The Spitfire was built in many variants, using several wing configurations, and was produced in greater numbers than any other British aircraft. It was also the only British fighter to be in continuous production throughout the war. The Spitfire continues to be a popular aircraft, with approximately 55 Spitfires being airworthy, while many more are static exhibits in aviation museums all over the world.
The Spitfire was designed as a short-range, high-performance interceptor aircraft by R. J. Mitchell, chief designer at Supermarine Aviation Works (which operated as a subsidiary of Vickers-Armstrong from 1928). In accordance with its role as an interceptor, Mitchell designed the Spitfire's distinctive elliptical wing to have the thinnest possible cross-section; this thin wing enabled the Spitfire to have a higher top speed than several contemporary fighters, including the Hawker Hurricane. Mitchell continued to refine the design until his death from cancer in 1937, whereupon his colleague Joseph Smith took over as chief designer, overseeing the development of the Spitfire through its multitude of variants.
During the Battle of Britain (July–October 1940), the Spitfire was perceived by the public to be the RAF fighter, though the more numerous Hawker Hurricane shouldered a greater proportion of the burden against the Luftwaffe. However, because of its higher performance, Spitfire units had a lower attrition rate and a higher victory-to-loss ratio than those flying Hurricanes.
After the Battle of Britain, the Spitfire superseded the Hurricane to become the backbone of RAF Fighter Command, and saw action in the European, Mediterranean, Pacific and the South-East Asian theatres. Much loved by its pilots, the Spitfire served in several roles, including interceptor, photo-reconnaissance, fighter-bomber and trainer, and it continued to serve in these roles until the 1950s. The Seafire was a carrier-based adaptation of the Spitfire which served in the Fleet Air Arm from 1942 through to the mid-1950s. Although the original airframe was designed to be powered by a Rolls-Royce Merlin engine producing 1,030 hp (768 kW), it was strong enough and adaptable enough to use increasingly powerful Merlin and, in later marks, Rolls-Royce Griffon engines producing up to 2,340 hp (1,745 kW); as a consequence of this the Spitfire's performance and capabilities improved, sometimes dramatically, over the course of its life.
Mk V (Types 331, 349 & 352)
Spitfire LF.Mk VB, BL479, flown by Group Captain M.W.S Robinson, station commander of RAF Northolt, August 1943. This Spitfire has the wide bladed Rotol propeller, the internal armoured windscreen and "clipped" wings.
Late in 1940, the RAF predicted that the advent of the pressurised Junkers Ju 86P bomber series over Britain would be the start of a new sustained high altitude bombing offensive by the Luftwaffe, in which case development was put in hand for a pressurised version of the Spitfire, with a new version of the Merlin (the Mk VI). It would take some time to develop the new fighter and an emergency stop-gap measure was needed as soon as possible: this was the Mk V.
The basic Mk V was a Mk I with the Merlin 45 series engine. This engine delivered 1,440 hp (1,074 kW) at take-off, and incorporated a new single-speed single-stage supercharger design. Improvements to the carburettor also allowed the Spitfire to use zero gravity manoeuvres without any problems with fuel flow. Several Mk I and Mk II airframes were converted to Mk V standard by Supermarine and started equipping fighter units from early 1941. The majority of the Mk Vs were built at Castle Bromwich.
The VB became the main production version of the Mark Vs. Along with the new Merlin 45 series the B wing was fitted as standard. As production progressed changes were incorporated, some of which became standard on all later Spitfires. Production started with several Mk IBs which were converted to Mk VBs by Supermarine. Starting in early 1941 the round section exhaust stacks were changed to a "fishtail" type, marginally increasing exhaust thrust. Some late production VBs and VCs were fitted with six shorter exhaust stacks per side, similar to those of Spitfire IXs and Seafire IIIs; this was originally stipulated as applying specifically to VB(trop)s. After some initial problems with the original Mk I size oil coolers, a bigger oil cooler was fitted under the port wing; this could be recognised by a deeper housing with a circular entry. From mid-1941 alloy covered ailerons became a universal fitting.
Spitfire VC(trop), fitted with Vokes filters and "disc" wheels, of 417 Squadron RCAF in Tunisia in 1943.
A constant flow of modifications were made as production progressed. A "blown" cockpit hood, manufactured by Malcolm, was introduced in an effort to further increase the pilot's head-room and visibility. Many mid to late production VBs - and all VCs - used the modified, improved windscreen assembly with the integral bullet resistant centre panel and flat side screens introduced with the Mk III. Because the rear frame of this windscreen was taller than that of the earlier model the cockpit hoods were not interchangeable and could be distinguished by the wider rear framing on the hood used with the late-style windscreen.
Different propeller types were fitted, according to where the Spitfire V was built: Supermarine and Westland manufactured VBs and VCs used 10 ft 9 in (3.28 m) diameter, 3 bladed de Havilland constant speed units, with narrow metal blades, while Castle Bromwich manufactured VBs and VCs were fitted with a wide bladed Rotol constant speed propeller of either 10 ft 9 in (3.28 m) diameter, with metal blades, or (on late production Spitfires) 10 ft 3 in (3.12 m) diameter, with broader, "Jablo" (compressed wood) blades. The Rotol spinners were longer and more pointed than the de Havilland leading to a 3.5 in (8.9 cm) increase in overall length. The Rotol propellers allowed a modest speed increase over 20,000 ft (6,100 m) and an increase in the service ceiling. A large number of Spitfire VBs were fitted with "gun heater intensifier" systems on the exhaust stacks. These piped additional heated air into the gun bays. There was a short tubular intake on the front of the first stack and a narrow pipe led into the engine cowling from the rear exhaust.
The VB series were the first Spitfires able to carry a range of specially designed "slipper" drop tanks which were fitted underneath the wing centre-section. Small hooks were fitted, just forward of the inboard flaps: when the tank was released these hooks caught the trailing edge of the tank, swinging it clear of the fuselage.
With the advent of the superb Focke Wulf Fw 190 in August 1941 the Spitfire was for the first time truly outclassed, hastening the development of the "interim" Mk IX. In an effort to counter this threat, especially at lower altitudes, the VB was the first production version of the Spitfire to use "clipped" wingtips as an option, reducing the wingspan to 32 ft 2 in (9.8 m).The clipped wings increased the roll rate and airspeed at lower altitudes. Several different versions of the Merlin 45/50 family were used, including the Merlin 45M which had a smaller "cropped" supercharger impeller and boost increased to +18 lb. This engine produced 1,585 hp (1,182 kW) at 2,750 ft (838 m), increasing the L.F VB's maximum rate of climb to 4720 ft/min (21.6 m/s) at 2,000 ft (610 m).
VB Trop of 40 Squadron SAAF fitted with the "streamlined" version of the Aboukir filter, a broad-bladed, 10 ft 3 in (3.12 m) diameter Rotol propeller, and clipped wings.
The Mk VB(trop) (or type 352) could be identified by the large Vokes air filter fitted under the nose; the reduced speed of the air to the supercharger had a detrimental effect on the performance of the aircraft, reducing the top speed by 8 mph (13 km/h) and the climb rate by 600 ft/min (3.04 m/s), but the decreased performance was considered acceptable. This variant was also fitted with a larger oil tank and desert survival gear behind the pilot's seat. A new "desert" camouflage scheme was applied. Many VB(trop)s were modified by 103 MU (Maintenance Unit-RAF depots in which factory fresh aircraft were brought up to service standards before being delivered to squadrons) at Aboukir, Egypt by replacing the Vokes filter with locally manufactured "Aboukir" filters, which were lighter and more streamlined. Two designs of these filters can be identified in photos: one had a bulky, squared off filter housing while the other was more streamlined. These aircraft were usually fitted with the wide blade Rotol propeller and clipped wings.
Triumph Spitfire Mk I Roadster
The Triumph Spitfire is a small English two-seat sports car, introduced at the London Motor Show in 1962.[3] The vehicle was based on a design produced for Standard-Triumph in 1957 by Italian designer Giovanni Michelotti. The platform for the car was largely based upon the chassis, engine, and running gear of the Triumph Herald saloon, and was manufactured at the Standard-Triumph works at Canley, in Coventry. As was typical for cars of this era, the bodywork was fitted onto a separate structural chassis, but for the Spitfire, which was designed as an open top or convertible sports car from the outset, the ladder chassis was reinforced for additional rigidity by the use of structural components within the bodywork. The Spitfire was provided with a manual hood for weather protection, the design improving to a folding hood for later models. Factory-manufactured hard-tops were also available.
The Triumph Spitfire was originally devised by Standard-Triumph to compete in the small sports car market that had opened up with the introduction of the Austin-Healey Sprite. The Sprite had used the basic drive train of the Austin A30/35 in a light body to make up a budget sports car; Triumph's idea was to use the mechanicals from their small saloon, the Herald, to underpin the new project. Triumph had one advantage, however; where the Austin A30 range was of unitary construction, the Herald featured a separate chassis. It was Triumph's intention to cut that chassis down and clothe it in a sports body, saving the costs of developing a completely new chassis / body unit.
Italian designer Michelotti—who had already penned the Herald—was commissioned for the new project, and came up with a traditional, swooping body. Wind-up windows were provided (in contrast to the Sprite/Midget, which still featured sidescreens, also called curtains, at that time), as well as a single-piece front end which tilted forwards to offer unrivaled access to the engine. At the dawn of the 1960s, however, Standard-Triumph was in deep financial trouble, and unable to put the new car into production; it was not until the company was taken over by the Leyland organization funds became available and the car was launched. Leyland officials, taking stock of their new acquisition, found Michelotti's prototype hiding under a dust sheet in a corner of the factory and rapidly approved it for production.
Spitfire 4 or Mark I (1962-1964)
Overview:
Production1962–1964
45,753 made
Powertrain:
Engine1,147 cc (1.1 l) I4
Transmission4-speed manual with optional overdrive on top and third from 1963 onwards
Dimensions:
Curb weight1,568 lb (711 kg) (unladen U.K.-spec)
The production car changed little from the prototype, although the full-width rear bumper was dropped in favour of two part-bumpers curving round each corner, with overriders. Mechanicals were basically stock Herald. The engine was an 1,147 cc (1.1 l) 4-cylinder with a pushrod OHV cylinder head and 2 valves per cylinder, mildly tuned for the Spitfire, fed by twin SU carburettors. Also from the Herald came the rack and pinion steering and coil-and-wishbone front suspension up front, and at the rear a single transverse-leaf swing axle arrangement. This ended up being the most controversial part of the car: it was known to "tuck in" and cause violent over steer if pushed too hard, even in the staid Herald. In the sportier Spitfire (and later the 6-cylinder Triumph GT6 and Triumph Vitesse) it led to severe criticism. The body was bolted to a much-modified Herald chassis, the outer rails and the rear outriggers having been removed; little of the original Herald chassis design was left, and the Spitfire used structural outer sills to stiffen its body tub.
The Spitfire was an inexpensive small sports car and as such had very basic trim, including rubber mats and a large plastic steering wheel. These early cars were referred to both as "Triumph Spitfire Mark I" and "Spitfire 4", not to be confused with the later Spitfire Mark IV.
In UK specification the in-line four produced 63 bhp (47 kW) at 5750 rpm, and 67 lb·ft (91 N·m)of torque at 3500 rpm. This gave a top speed of 92 mph (148 km/h), and would achieve 0 to 60 mph (97 km/h) in 17.3 seconds. Average fuel consumption was 31mpg.
For 1964 an overdrive option was added to the 4-speed manual gearbox to give more relaxed cruising. Wire wheels and a hard top were also available.
Text regarding the Supermarine Spitfire aeroplane and Triumph Spitfire Roadster has been taken from excerpts of Wikipedia articles on each model.
The Supermarine Spitfire Mk VB aircraft and 1962 Triumph Spitfire Mk I road car have been modelled in Lego miniland-scale for Flickr LUGNuts' 79th Build Challenge, - 'LUGNuts goes Wingnuts, ' - featuring automotive vehicles named after, inspired by, or with some relationship to aircraft.
The Irish Coast Guard- Sikorsky S61N
Dual hoists (Including variable high speed primary hoist with back-up hoist)
Powerful searchlight
Thermal imaging (FLIR) and low-light sensors
Direction finding equipment
AIS (Automatic Identification System)
PHECC registered Paramedics and advanced medical equipment
Amphibious civil transport version.
RoleMedium-lift transport / airliner helicopter
Manufacturer Sikorsky Aircraft
First flight March 11, 1959
Introduction September 1961
Primary users CHC Helicopter
Bristow Helicopters
AAR Airlift
Number built 119
Developed from
Sikorsky SH-3 Sea King
Range –with Aux tanks (with 30 min reserve) 740 km (1 Aux tank)
Speed (Max Continuous cruise) 222 Km/hr
Service ceiling 12,500 ft (3,810 m)
Rotor Ice protection No
HUMS1 Yes
Maximum take-off weight 8,620 kgs
Space for medical stretcher 1
Hoist type 1x Main, 1x back up
The Corning Museum of Glass has acquired Continuous Mile, an ambitious large-scale sculpture by contemporary artist Liza Lou (American, b. 1969), to be installed in the Museum’s North Wing contemporary galleries, which will open in late 2014.
Continuous Mile (2006–08) is a monumental sculpture composed of 4.5 million, glossy, black glass beads woven onto a mile-long cotton rope that is coiled and stacked. Standing about 3 feet high and stretching nearly 5 feet in diameter, the sculpture took Lou two years to make with a team of beadworkers from several townships in KwaZulu-Natal, South Africa. Conceived as a work about work, Continuous Mile is exquisitely made and manifests the social concerns that run throughout the artist’s work.
Málaga's history spans around 2,800 years, making it one of the oldest continuously inhabited cities in Western Europe. The city was founded around the 8th century BC by seafaring Phoenicians, who called the city Malaka.
From the 6th century BC, the city was under the hegemony of ancient Carthage and from the Second Punic War (218 BC) under Roman rule. The city experienced an economic boom thanks to the production of garum.
The Migration Period meant eventful years for Málaga. After the Vandals and the Alans, Visigoths and Eastern Romans fought for control. In 571, the city was briefly occupied by troops of the Visigothic king Leovigild, but it was not until around 616 that the Eastern Romans finally handed the city over to the Visigoths.
The Moors conquered Málaga in 711 and the city gained importance in the 11th century when the Hammudids established one of their residences here. In 1053, the King of Granada had the last Hammudid caliph poisoned and conquered the city. After the conquest by the Catholic Monarchs in the course of the Reconquista in 1487, "reforms" began to transform the city into a Christian settlement. In Muslim times, the Jewish quarter was located in the eastern part of the city. In the 11th century, the city took in numerous Jews who had fled from the intolerant Berbers in Córdoba. In the middle of the 11th century, around 200 Jews lived in Málaga out of a population of around 20,000. After the city was conquered by Castile in 1487, all of Malaga's Jews were taken prisoner. Around 1490 it was decided that the city should be repopulated by Christians. Jews and Muslims had to leave Málaga within 15 days.
Today Málaga is a city that lives very much from tourism and offers tourists a lot - for example museums
The Museo de Málaga houses the Museo de Bellas Artes (Museum of Fine Arts) and the Museo Arqueológico Provincial (the Provincial Museum of Archaeology).
The museum is located in the Palacio de la Aduana (Customs Palace), designed in 1788.
José Suárez Peregrín (1908 – ? )
Acrobats / 1932
IR HDR. IR converted Canon 40D (Lifepixel.com) . Canon 17-55 F2.8 IS lens. Shot at ISO 100, F8, AEB +/-3 total of 7 exposures processed with Photomatix. Levels adjusted in PSE. Blue and Red color channels swapped with GIMP.
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.
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Using the Lomo LC-Wide, I shot half-frame with no mask to create a continuous panoramic as a diary of a photowalk with @camera_london and @kosmofoto. These 14 shots chart the day from beginning to end.
Day 7 of bird week.
Today's the last day of bird week. I enjoyed taking and posting the many different bird pictures. Thanks everyone for your continuous support.
St Albans is in southern Hertfordshire, England, around 22 miles (35 km) north of London, beside the site of a Catuvellauni settlement and the Roman town of Verulamium and on the River Ver. St Albans is Hertfordshire's oldest town, a modern city shaped by over 2000 years of continuous human occupation.
Pre-Roman and Roman times
The town is first recorded as Verulamium, a Celtic British Iron Agesettlement whose name means 'the settlement above the marsh'. After the Roman conquest of Britain in AD 43, it developed as Verulamium and became one of the largest towns in Roman Britain and the capital city . Built mainly of wood, it was destroyed during the revolt of Boudica in AD 60-61, but was rebuilt and grew to feature many impressive town houses and public buildings. It was encircled by gated walls in AD 275.
The Romans leave
The Roman City of Verulamium slowly declined and fell into decay after the departure of the Roman Army in AD 410. However, its ruined buildings provided building materials to build the new monastic and market settlement of St Albans which was growing on the hill above, close to the site of Saint Alban's execution. In the Norman Abbey tower, you can still see the Roman bricks removed from Verulamium.
Much of the post-Roman development of St Albans was in memorial to Saint Alban, the earliest known British Christian martyr, executed in AD 250 (the exact date is unknown, with scholars suggesting dates of 209, 254 and 304). The town itself was known for some time by the Saxon name 'Verlamchester'. A shrine was built on the site of his death following Emperor Constantine's adoption of Christianity as the religion of the Roman Empire. In the 5th century a Benedictine monastic church was constructed.
The Abbey is founded
Another abbey was founded by King Offa of Mercia in 793. The settlement grew up around the precincts of another It was 350 feet (110 m) long with a tower and seven apses.
A nunnery, Sopwell Priory, was founded nearby in 1140 by Abbot Geoffrey de Gorham.
The head of the abbey was confirmed as the premier abbot in England in 1154. The abbey was extended by John of Wallingford (also known as John de Cella) in the 1190s, and again between 1257 and 1320 but financial constraints limited the effectiveness of these later additions.
In August 1213 the first draft of Magna Carta was drawn up in St Albans Abbey.
The Liberty of St Albans was given palatine status by Edward I. In 1290 the funeral procession of Eleanor of Castile stopped overnight in the town and an Eleanor cross was put up at a cost of £100 in the Market Place. The cross, which stood for many years in front of the 15th century Clock Tower, was demolished in 1701.
A market was running outside the abbey from the 10th century; it was confirmed by King John of England in 1202 and by a Royal Charter of Edward VI in 1553.
Conflict
Abbey Gateway from the 1360s
During the 14th century the Abbey came into increasing conflict with the townsfolk of St Albans, who demanded rights of their own. This led, among other things, to the construction of a large wall and gate surrounding the Abbey (for instance, the Great Gatehouse, the "Abbey Gateway", which is the only surviving monastic building other than the Abbey Church, dates from 1365).
Richard of Wallingford, a local landowner, who had presented demands to Richard II on behalf of Wat Tyler in London, brought news of this to St Albans and argued with the abbot over the charter. However, this was short lived. Once the 14-year-old king had regained control of the capital and then the whole country, Grindcobbe was tried in the Moot Hall (on the site of the present-day W H Smith stationery shop, where a plaque commemorates the event) and adjudged a 'traitor' alongside John Ball('the mad priest of Kent', one of the rebel leaders who had escaped from Smithfield, London to Coventry) and more than a dozen others. He was hanged, drawn and quartered in July 1381.
Another notable building dating from around this time, the Clockhouse belfy or Clock Tower, built between 1403 and 1412, seems to have been intended both as a visible and audible statement of the town's continuing civic ambitions against the power of the Abbot.
During the Wars of the Roses two battles were fought in and around St Albans. The First Battle of St Albans on 22 May 1455 was a Lancastriandefeat that opened the war. The Lancastrian army occupied the town but the Yorkist forces broke in and a battle took place in the streets of the town. On 17 February 1461 the Second Battle of St Albans on Bernards Heath north of the town centre resulted in a Lancastrian victory.
Following the Reformation, the Abbey was dissolved in 1539 and the Abbey Church sold to the town in 1553 for £400: it became a Protestant parish church for the borough and the Lady Chapel was used as a school. The Great Gatehouse was used as a prison until the 19th century, when it was taken over by St Albans School. In May 1553, in response to a public petition, the first royal charter for the town was issued by King Edward VI, granting it the status of borough. The charter defined the powers of the mayor and councillors, then known as burgesses, as well as specifying the Wednesday and Saturday market days which continue to this day.
In 1555, during the reign of Queen Mary I, a Protestant Yorkshire baker, George Tankerfield, was brought from London and burnt to death on Romeland because of his refusal to accept the Roman Catholic doctrine of transubstantiation.
During the English Civil War (1642–45) the town sided with parliament but was largely unaffected by the conflict.
An early transport hub
Three main roads date from the medieval period - Holywell Hill, St Peter's Street, and Fishpool Street. These remained the only major streets until around 1800 when London Road was constructed, to be followed by Hatfield Road in 1824 and Verulam Road in 1826.
Verulam Road was created specifically to aid the movement of stage coaches, since St Albans was the first major stop on the coaching route north from London. The large number of coaching inns is, in turn, one reason why the City has so many pubs today (another being that it was, and remains, a major centre for Christian pilgrimage).
The railway arrived in 1868, off-setting the decline in coaching since the 1840s.
Growth was always slow and steady, with no sudden burst: in 1801 there were 6,000 people living in St Albans; in 1850 11,000; in 1931 29,000; and in 1950 44,000.
The City Charter
In 1877, in response to a public petition, Queen Victoria issued the second royal charter, which granted city status to the borough and Cathedral status to the former Abbey Church. The new diocese was established in the main from parts of the large Diocese of Rochester. Lord Grimthorpe financed a £130,000 renovation and rebuilding of the then dilapidated cathedral, which is most apparent in his generally poorly regarded Neo-Gothic rebuild of the west front (1880–1883). However, without Grimthorpe's money, it seems reasonable to assume that the Abbey Church would now almost certainly be a ruin, like many other former monastic churches, despite the work performed under Sir George Gilbert Scott in the years 1860 to 1877.
The city's football club (St Albans City F.C.) was founded in 1880.
Ralph Chubb, the poet and printer, lived on College Street in St Albans from 1892 to 1913, and attended St Albans School. His work frequently references the Abbey of St Albans, and he ascribed mystical significance to the geography and history of the town.
World War I
In September 1916, following an attack on St Albans, the German Airship SL 11 became the first airship to be brought down over England. But when London Colney was attacked, the nation was so angered it became united in its battle.
Modern growth
Between the wars
In the inter-war years St Albans, in common with much of the surrounding area, became a centre for emerging high-technology industries, most notably aerospace. Nearby Radlett was the base for Handley Page Aircraft Company, while Hatfield became home to de Havilland. St Albans itself became a centre for the Marconi plc company, specifically, Marconi Instruments. Marconi (later part of the General Electric Company) remained the city's largest employer (with two main plants) until the 1990s. A third plant - working on top secret defence work - also existed. Even Marconi staff only found out about this when it closed down. All of these industries are now gone from the area.
In 1936 St Albans was the last but one stop for the Jarrow Crusade.
Post-war growth
The City was expanded significantly after World War II, as government policy promoted the creation of New Towns and the expansion of existing towns. Substantial amounts of local authority housing were built at Cottonmill (to the south), Mile House (to the south-east) and New Greens (to the north). The Marshalswick area to the north-east was also expanded, completing a pre-war programme.
In 1974 St Albans City Council, St Albans Rural District Council and Harpenden Town Council were merged to form St Albans District Council(part of a much wider local government reorganisation).
The 2001 census returns show a population of 129,000 for St Albans City and District, which had risen to 140,664 at the 2011 census.
The Solomon R. Guggenheim Museum, often referred to as The Guggenheim, is an art museum located at 1071 Fifth Avenue on the corner of East 89th Street in the Upper East Side neighborhood of Manhattan, New York City. It is the permanent home of a renowned and continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director, the artist Hilla von Rebay. It adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952.
In 1959, the museum moved from rented space to its current building, a landmark work of 20th-century architecture. Designed by Frank Lloyd Wright, the cylindrical building, wider at the top than the bottom, was conceived as a "temple of the spirit". Its unique ramp gallery extends up from ground level in a long, continuous spiral along the outer edges of the building to end just under the ceiling skylight. The building underwent extensive expansion and renovations in 1992 (when an adjoining tower was built) and from 2005 to 2008.
The museum's collection has grown organically, over eight decades, and is founded upon several important private collections, beginning with Solomon R. Guggenheim's original collection. The collection is shared with the museum's sister museums in Bilbao, Spain, and elsewhere. In 2013, nearly 1.2 million people visited the museum, and it hosted the most popular exhibition in New York City.
Early years and Hilla Rebay
Solomon R. Guggenheim, a member of a wealthy mining family, had been collecting works of the old masters since the 1890s. In 1926, he met artist Hilla von Rebay, who introduced him to European avant-garde art, in particular abstract art that she felt had a spiritual and utopian aspect (non-objective art). Guggenheim completely changed his collecting strategy, turning to the work of Wassily Kandinsky, among others. He began to display his collection to the public at his apartment in the Plaza Hotel in New York City. As the collection grew, he established the Solomon R. Guggenheim Foundation, in 1937, to foster the appreciation of modern art.
Design
Rebay conceived of the space as a "temple of the spirit" that would facilitate a new way of looking at the modern pieces in the collection. She wrote to Wright that "each of these great masterpieces should be organized into space, and only you ... would test the possibilities to do so. … I want a temple of spirit, a monument!" The critic Paul Goldberger later wrote that, before Wright's modernist building, "there were only two common models for museum design: Beaux-arts Palace ... and the International Style Pavilion." Goldberger thought the building a catalyst for change, making it "socially and culturally acceptable for an architect to design a highly expressive, intensely personal museum. In this sense almost every museum of our time is a child of the Guggenheim."
The museum's atrium
From 1943 to early 1944, Wright produced four different sketches for the initial design. While one of the plans (scheme C) had a hexagonal shape and level floors for the galleries, all the others had circular schemes and used a ramp continuing around the building. He had experimented with the ramp design on the house he completed for his son in 1952, the David & Gladys Wright House in Arizona. Wright's original concept was called an inverted "ziggurat", because it resembled the steep steps on the ziggurats built in ancient Mesopotamia. His design dispensed with the conventional approach to museum layout, in which visitors are led through a series of interconnected rooms and forced to retrace their steps when exiting. Wright's plan was for the museum guests to ride to the top of the building by elevator, to descend at a leisurely pace along the gentle slope of the continuous ramp, and to view the atrium of the building as the last work of art. The open rotunda afforded viewers the unique possibility of seeing several bays of work on different levels simultaneously and even to interact with guests on other levels.
At the same time, before settling on the site for the museum at the corner of 89th Street and Fifth Avenue, overlooking Central Park, Wright, Rebay and Guggenheim considered numerous locations in Manhattan, as well as in the Riverdale section of the Bronx, overlooking the Hudson River. Guggenheim felt that the site's proximity to Central Park was important; the park afforded relief from the noise, congestion and concrete of the city. Nature also provided the museum with inspiration. The building embodies Wright's attempts "to render the inherent plasticity of organic forms in architecture." The Guggenheim was to be the only museum designed by Wright. The city location required Wright to design the building in a vertical rather than a horizontal form, far different from his earlier, rural works.
The spiral design recalled a nautilus shell, with continuous spaces flowing freely one into another. Even as it embraced nature, Wright’s design also expresses his take on modernist architecture's rigid geometry. Wright ascribed a symbolic meaning to the building's shapes. He explained, "these geometric forms suggest certain human ideas, moods, sentiments – as for instance: the circle, infinity; the triangle, structural unity; the spiral, organic progress; the square, integrity." Forms echo one another throughout: oval-shaped columns, for example, reiterate the geometry of the fountain. Circularity is the leitmotif, from the rotunda to the inlaid design of the terrazzo floors.
The building's surface was made out of concrete to reduce the cost, inferior to the stone finish that Wright had wanted. Wright proposed a red-colored exterior, which was never realized. The small rotunda (or "Monitor building", as Wright called it) next to the large rotunda was intended to house apartments for Rebay and Guggenheim but instead became offices and storage space. In 1965, the second floor of the Monitor building was renovated to display the museum's growing permanent collection, and with the restoration of the museum in 1990–92, it was turned over entirely to exhibition space and christened the Thannhauser Building, in honor of one of the most important bequests to the museum. Wright’s original plan for an adjoining tower, artists’ studios and apartments went unrealized, largely for financial reasons, until the renovation and expansion. Also in the original construction, the main gallery skylight had been covered, which compromised Wright’s carefully articulated lighting effects. This changed in 1992 when the skylight was restored to its original design.
Even before it opened, the design polarized architecture critics.Some believed that the building would overshadow the museum's artworks. "On the contrary", wrote the architect, the design makes "the building and the painting an uninterrupted, beautiful symphony such as never existed in the World of Art before." Other critics, and many artists, felt that it is awkward to properly hang paintings in the shallow, windowless, concave exhibition niches that surround the central spiral. Prior to the opening of the museum twenty-one artists signed a letter protesting the display of their work in such a space. Historian Lewis Mumford summed up the opprobrium:
"Wright has allotted the paintings and sculptures on view only as much space as would not infringe upon his abstract composition. ... [He] created a shell whose form has no relation to its function and offered no possibility of future departure from his rigid preconceptions. [The promenade] has, for a museum, a low ceiling – nine feet eight inches [limiting painting size. The wall] slanted outward, following the outward slant of the exterior wall, and paintings were not supposed to be hung vertically or shown in their true plane but were to be tilted back against it. ... Nor [can a visitor] escape the light shining in his eyes from the narrow slots in the wall."
On October 21, 1959, ten years after the death of Solomon Guggenheim and six months after the death of Frank Lloyd Wright, the Museum first opened its doors to large crowds. The building became widely praised and inspired many other architects
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.
Continuous movement into portrait experimentation using the LIFX lighting system. Paige is wearing the latest sweepings from my studio floor.
Strolling through Old Aberdeen on my way to the University this beauty caught my eye, just had to capture the image to archive on Flickr.
Vehicle make: LAND ROVER
Date of first registration: October 2012
Year of manufacture: 2012
Cylinder capacity (cc): 2198 cc
CO₂Emissions: 266 g/km
Fuel type: DIESEL
Export marker: No
Vehicle status: Tax not due
Vehicle colour: BLUE
Vehicle type approval: N1
Wheelplan: 2 AXLE RIGID BODY
Revenue weight: 2505kg
The Land Rover Defender (initially called the Land Rover Ninety and Land Rover One Ten) is a British four-wheel-drive off-road SUV developed from the original Land Rover Series launched in June 1948.
In October 2013 Land Rover announced that production would end in December 2015 after a continuous run of 67 years.
Production finally ended on 29 January 2016 when the last Defender, H166 HUE, rolled off the production line at 9:22.
Jaguar Land Rover announced their intention to launch a replacement new Defender, which motoring journalists speculate will be different from the original version.
The model was introduced in 1983 as "Land Rover One Ten", and in 1984 the "Land Rover Ninety" was added - the numbers representing the respective wheelbases in inches. (In fact the Ninety was nearer 93 inches at 92.9".)
The number was spelled in full in advertising and in handbooks and manuals, and the vehicles also carried badges above the radiator grille which read "Land Rover 90" or "Land Rover 110", with the number rendered numerically.
The Ninety and One Ten replaced the earlier Land Rover Series, and at the time of launch, the only other Land Rover model in production was the Range Rover.
In 1989, a third model was brought out by Land Rover to be produced in parallel with the other two: the Land Rover Discovery.
To avoid possible confusion, from 1991 the Ninety and the One Ten were renamed the "Defender 90" and "Defender 110". These carried front badges that said "Defender", with a badge on the rear of the vehicle saying "Defender 90" or "Defender 110".
The most recent model, from 2007-2016, still featured the space above the radiator for the badge but was blank. Instead had "Land Rover" spelled across the leading edge of the bonnet in raised individual letters, in keeping with the Discovery and Freelander. At the rear was a new style of '"Defender" badge with an underlining "swoosh". On these last models there are no badges defining the wheelbase model of the vehicle.
The 127-inch (3,226 mm) wheelbase Land Rover 127, available from 1985, was always marketed with the name rendered numerically. Following the adoption of the Defender name, it became the "Defender 130", although the wheelbase remained unchanged.
The North American Specification (NAS) Defender 110 sold for the 1993 model year carried a badge above the radiator grille which read "Defender," whereas the NAS Defender 90 sold for the 1994 to 1997 model years had "Land Rover" spelled across the top of the radiator grille in individual letter decals. NAS Defenders also carried a cast plaque on the rear tub in the original style of the Series Station wagons with "Defender 110" or "Defender 90" below the Land Rover lozenge and the vehicle's unique limited edition production run number.
Production of the model now known as the Defender began in 1983 as the Land Rover 110, a name which reflected the 110-inch (2,800 mm) length of the wheelbase. The Land Rover 90, with 93-inch (2,362 mm) wheelbase, and Land Rover 127, with 127-inch (3,226 mm) wheelbase, soon followed.[4]
Outwardly, there is little to distinguish the post-1983 vehicles from the Series III Land Rover. A full-length bonnet, revised grille, plus the fitting of wheel arch extensions to cover wider-track axles are the most noticeable changes. Initially the Land Rover was also available with a part-time 4WD system familiar to all derivatives produced since 1949. The part-time system failed to sell and was quickly dropped from the options list by 1984. While the engine and other body panels carried over from the Series III, mechanically the 90 and 110 were modernized, including:
Coil springs, offering a more comfortable ride and improved axle articulation
A permanent four-wheel-drive system derived from the Range Rover, featuring a two-speed transfer gearbox with a lockable centre differential
A modernised interior
A taller one-piece windscreen
A new series of progressively more powerful and modern engines
The 110 was launched in 1983, and the 90 followed in 1984. From 1984, wind-up windows were fitted (Series models and very early 110s had sliding panels), and a 2.5-litre (153 cu in), 68 horsepower (51 kW) diesel engine was introduced. This was based on the earlier 2.3-litre (140 cu in) engine, but had a more modern fuel-injection system as well as increased capacity. A low compression version of the 3.5-litre (214 cu in) V8 Range Rover engine transformed performance. It was initially available in the 110 with a four-speed transmission with integral transfer case, then later in conjunction with a high strength "Santana" five-speed transmission.[5]
This period saw Land Rover market the utility Land Rover as a private recreational vehicle. While the basic pick-up, 4x4 and van versions were still working vehicles, the County 4x4s were sold as multi-purpose family vehicles, featuring improved interior trim and more comfortable seats. This change was reflected in Land Rover starting what had long been common practice in the car industry — detail changes and improvements to the County model from year to year in order to attract new buyers and to encourage existing owners to trade in for a new vehicle. These changes included different exterior styling graphics and colour options, and the introduction of new options, such as radio-cassette players, styled wheels, headlamp wash and wipe systems, as well as accessories such as surfboard carriers and bike racks. The switch from leaf spring to coil spring suspension was a key part of the new model's success. It offered improved off-road ability, load capacity, handling, and ride comfort.
The 127 (and 130)
From 1983, Land Rover introduced a third wheelbase to its utility line-up, a 127-inch (3,226 mm) wheelbase vehicle designed to accommodate larger, heavier loads than the 110. Called the "Land Rover 127", it was designed specifically with use by utility and electrical companies in mind, as well as military usage.
In its standard form, it is a four-door six-seater consisting of the front half of a 110 4x4, and the rear of a 110 high-capacity pick up (HCPU).
The logic was that this allowed a workcrew and their equipment to be carried in one vehicle at the same time. The 127 could carry up to a 1.4 tonnes (1.4 long tons; 1.5 short tons) payload, compared to the 1.03 tonnes (1.01 long tons; 1.14 short tons) payload of the 110 and the 0.6 tonnes (0.59 long tons; 0.66 short tons) of the 90
Land Rover 127s were built on a special production line, and all started life as 110 4x4 chassis (the model was initially marketed as the 110 crew cab, before the more logical 127 name was adopted). These were then cut in two and the 17 inches (432 mm) of extra chassis length welded on before the two original halves were reunited. These models did not receive their own dedicated badging like the other two models, instead they used the same metal grille badges as used on the Series III 109 V8 models, that simply said "Land-Rover".
Land Rover Defender 130; fully equipped car in the desert
Although the standard body-style was popular, the 127 was a common basis for conversion to specialist uses, such as mobile workshops, ambulances, fire engines and flatbed transports. In South Africa, the Land Rover assembly plant offered a 127 4x4 with seating for 15. Land Rover also offered the 127 as a bare chassis, with just front bodywork and bulkhead, for easy conversion.
127" chassis with double cab and bimobil camper module
Initially held back by the low power of the Land Rover engines (other than the thirsty petrol V8 engine), the 127 benefited from the improvements to the line-up, and by 1990 was only available with the two highest power engines, the 134 hp (100 kW) 3.5-litre V8 petrol, and the 85 hp (63 kW) 2.5-litre turbo diesel .
Engine development
The original 110 of 1983 was available with the same engine line-up as the Series III vehicles it replaced, namely 2.25-litre (137 cu in) petrol and diesel engines, and a 3.5-litre (210 cu in) V8 petrol unit, although a small number of 3.2-litre (200 cu in) V8s were produced.
In 1981 the 2.25 l engines were upgraded from three- to five-crankshaft bearings in preparation for the planned increases in capacity and power.
The 2.5-litre version of the diesel engine, displacing 2,495 cubic centimetres (152.3 cu in) and producing 68 hp (51 kW), was introduced in both the 110 and the newly arrived 90. This was a long-stroke version of the venerable 2.25-litre unit, fitted with updated fuel injection equipment and a revised cylinder head for quieter, smoother and more efficient running. A timing belt also replaced the older engine's chain.
In 1985 the petrol units were upgraded. An enlarged four-cylinder engine was introduced. This 83 hp (62 kW) engine shared the same block and cooling system (as well as other ancillary components) as the diesel unit. Unlike the diesel engine, this new 2.5-litre petrol engine retained the chain-driven camshaft of its 2.25-litre predecessor. At the same time, the 114 hp (85 kW) V8 was also made available in the 90- the first time a production short-wheelbase Land Rover had been given V8 power.
The V8 on both models was now mated to an all-new five-speed manual gearbox.
The year 1986 saw improvements in engines to match the more advanced offerings by Japanese competitors. The "Diesel Turbo" engine was introduced in September, a lightly turbocharged version of the existing 2.5-litre diesel, with several changes to suit the higher power output, including a re-designed crankshaft, teflon-coated pistons and nimonic steel exhaust valves to cope with the higher internal temperatures.[4][6] Similarly, an eight-bladed cooling fan was fitted, together with an oil cooler.
The changes for the turbo diesel were kept as slight as possible, in the aim of making the car saleable in Land Rover's traditional export markets across the globe.
The 2.5 diesel, 2.5 petrol and Diesel Turbo engines all shared the same block castings and other components such as valve-gear and cooling system parts, allowing them to be built on the same production line. The Diesel Turbo produced 85 hp (63 kW), a 13% increase over the naturally aspirated unit, and a 31.5% increase in torque to 150 lb·ft (203 N·m) at 1800 rpm.
Externally, turbo-diesel vehicles differed from other models only by having an air intake grille in the left-hand wing to supply cool air to the turbo. The engine was adopted as the standard engine for UK and European markets.
Early turbo-diesel engines gained a reputation for poor reliability, with major failures to the bottom-end and cracked pistons. A revised block and improved big end bearings were introduced in 1988, and a re-designed breather system in 1989. These largely solved the engine's problems, but it remained (like many early turbo-diesels) prone to failure if maintenance was neglected.
At the same time that the Diesel Turbo was introduced, the V8 engine was upgraded. Power was increased to 134 hp (100 kW), and SU carburettors replaced the Zenith models used on earlier V8s.
Sales turnaround
The new vehicles with their more modern engines, transmissions, and interiors reversed the huge decline in sales that took place in the 1980s (a 21% fall in a single year, 1980–1981). This growth was mainly in the domestic UK market and Europe. African, Australian and Middle-Eastern sales failed to recover significantly - Land Rover had not been immune to the poor reputation caused by poor build quality and unreliability which had afflicted the rest of British Leyland, of which Land Rover was still part. In these markets Japanese vehicles such as the Toyota Landcruiser and Nissan Patrol gradually took over what had been a lucrative export market for Land Rover for decades. Meanwhile, the company itself adopted more modern practices, such as using marketing campaigns to attract new buyers who would not previously have been expected to buy a Land Rover. The operation was streamlined, with most of the satellite factories in the West Midlands that built parts for the Land Rover being closed and production brought into the Solihull factory, which was expanded.
To maximise sales in Europe, Land Rover set up the Special Vehicles Division, which handled special low-number conversions and adaptations to the vehicles. The bulk of the division's work was the construction of stretched-wheelbase mobile workshops and crew carriers for British and European utility companies, often including six-wheel-drive conversions, but more unusual projects were undertaken, such as the construction of an amphibious Land Rover 90 used by the company as part of its sponsorship of Cowes Week from 1987 to 1990.
The Special Projects Division also handled specialised military contracts, such as the building of a fleet of 127-inch (3,226 mm)
V8-powered Rapier missile launchers for the British Army. The Rapier system actually consisted of three Land Rovers: a 127 which carried the launching and aiming equipment, and two 110s which carried the crew and additional equipment.
Land Rover Defender
The biggest change to the Land Rover came in late 1990, when it became the Land Rover Defender, instead of the Land Rover 90 or 110. This was because in 1989 the company had introduced the Discovery model, requiring the original Land Rover to acquire a name.
The Discovery also had a new turbodiesel engine, the 200TDi. This was also loosely based on the existing 2.5-litre turbo unit, and was built on the same production line, but had a modern alloy cylinder head, improved turbocharging, intercooling and direct injection.
It retained the block, crankshaft, main bearings, cambelt system, and other ancillaries as the Diesel Turbo. The breather system included an oil separator filter to remove oil from the air in the system, thus finally solving the Diesel Turbo's main weakness of re-breathing its own sump oil. The 200Tdi, produced 107 hp (80 kW) and 195 lb·ft (264 N·m) of torque, which was nearly a 25% improvement on the engine it replaced (although as installed in the Defender the engine was de-tuned slightly from its original Discovery 111 hp (83 kW) specification due to changes associated with the turbo position and exhaust routing).
This engine finally allowed the Defender to cruise comfortably at high speeds, as well as tow heavy loads speedily on hills while still being economical.
In theory it only replaced the older Diesel Turbo engine in the range, with the other four-cylinder engines (and the V8 petrol engine) still being available. However, the Tdi's combination of performance and economy meant that it took the vast majority of sales. Exceptions were the British Army and some commercial operators, who continued to buy vehicles with the 2.5-litre naturally aspirated diesel engine (in the army's case, this was because the Tdi was unable to be fitted with a 24 volt generator). Small numbers of V8-engined Defenders were sold to users in countries with low fuel costs or who required as much power as possible (such as in Defenders used as fire engines and ambulances).
Along with the 200Tdi engine, the 127's name was changed to the "Land Rover Defender 130". The wheelbase remained the same; the new figure was simply a tidying up exercise. More importantly, 130s were no longer built from "cut-and-shut" 110s, but had dedicated chassis built from scratch. The chassis retained the same basic structure as the 90 and 110 models, but with a longer wheelbase.
1994 saw another development of the Tdi engine, the 300Tdi. Although the 200Tdi had been a big step forward, it had been essentially a reworking of the old turbocharged diesel to accept a direct injection system. In contrast the 300Tdi was virtually new, despite the same capacity, and both the Defender and the Discovery had engines in the same state of tune, 111 bhp (83 kW), 195 lbf·ft (264 N·m).
Throughout the 1990s the vehicle attempted to climb more and more upmarket, while remaining true to its working roots. This trend was epitomised by limited-edition vehicles, such as the SV90 in 1992 with roll-over protection cage, alloy wheels and metallic paint and the 50th anniversary 90 in 1998, equipped with automatic transmission, air conditioning and Range Rover 4.0-litre V8 engine.
A new variant was the Defender 110 double cab, featuring a 4x4-style seating area, with an open pick up back. Although prototypes had been built in the Series days, it was not until the late 1990s that this vehicle finally reached production.
2012 updates
In August 2011, Land Rover announced an update of the Defender for the 2012 model year. By this time, Land Rover publicly acknowledged that it was working on a project to produce an all-new replacement for the Defender. This would lead to the unveiling of the first DC100 concept vehicle in September that year. While emissions and safety regulations have threatened the Defender since the early 2000s, these had either been avoided or Land Rover had found ways to modify the vehicle to economically meet the new requirements. However, safety regulations due for introduction in 2015 requiring minimum pedestrian safety standards and the fitment of airbags to commercial vehicles cannot be met without a wholesale redesign of the Defender.
The main change for the 2012 models was the installation of a different engine from the Ford Duratorq engine range. Ford decided, due to cost reasons, not to modify the 2.4-litre engine introduced in 2007 to meet the upcoming Euro V emissions standards and so the engine was replaced with the ZSD-422 engine, essentially a 2.2-litre variant of the same engine. Although smaller than the existing unit the power and torque outputs remained unchanged and the same six-speed gearbox was used as well.
The engine included a diesel particulate filter for the first time on a Defender. The only other change was the reintroduction of the soft top body style to the general market. This had been a popular option for the Land Rover Series but by the introduction of the Defender had been relegated to special order and military buyers only. Land Rover stated that the option was being brought back due to customer feedback.
The last Defender, a soft-top "90" rolled off the Solihull production line at 9:22 on Friday 29 January 2016. The BBC reports that the Defender's replacement is due to be launched in 2018/2019.
Visit my MOCpage for a continuous stream of all the Turbo Tank's comic. It's more easy go through without having to click picture after picture.
For those wondering, this Turbo Tank may be for sale later on my upcoming website, www.artifexcreation.com, after it's up & running. Don't know how much yet but more updates soon!
Checkout the stop motion animation video of this custom Turbo Tank! You can see it here
Come visit my ebay store for more custom creations and Lego Gadgets!
- Add lights in your Lego set with Brick Lights and
- Clean your Lego fast & easy with Brick Duster.
Especially, there are continuous escalators in Kinki regions of Japan. I don't know the reason why, people seems like that design. :)
京都駅といい、近畿はこういう設計がお好きですよね。これの怖いところは、一度なんとなく上まで行っちゃうところですｗ
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Grand Front Osaka Tower B (グランフロント大阪タワーB).
Architect by Nikken Sekkei, NTT Facilities, Mitsubishi Estate (設計：株式会社日建設計、株式会社NTTファシリティーズ、三菱地所).
Completed in February 2013 (竣工：2013年2月).
Location at Ofukacho 3-1, Kita-ku, Osaka, Japan (所在地：大阪府大阪市北区大深町3-1).
Due to continuous heavy rain, Waterlogging has occurred in various parts of Chittagong. In that situation, a woman came to the market to buy essential items in the waterlogged situation. Due to flooding, almost half of the city's roads and streets are submerged in water.
Waterlogging has occurred in various parts of Chittagong due to continuous heavy rain, waterlogging has occurred on various roads of Chittagong city due to heavy rain. It has caused severe traffic jam on the road. Due to flooding, almost half of the city's roads and streets are submerged in water. One of the causes of this water pollution is plastic polythene cokesheets and man-made waste, such as many shops selling one-time cups and polythene packaging products. After using that product, as there are no bins in the shops, the packaging is thrown directly by the shopkeepers and common people into the streets or drains. As these packaging products are non-biodegradable, they accumulate in drains and increase the intensity of waterlogging.
Yayoi Kusama: Infinity Mirrors | Hirshhorn Museum
“There’s an embarrassment of phalluses, and that is the point. The phalluses were Kusama’s way of turning fear into something funny. Mika Yoshitake, the curator of the exhibition, explains that when Kusama was a child, her mother, suspecting that Kusama’s father was having an affair, had young Yayoi spy on the lovers and report back. This early vision of sex left her traumatized; she suffered hallucinations. Years later, as self-therapy, she began making soft phalluses and attaching them to furniture and floors. ‘By continuously reproducing the forms of things that terrify me’, Kusama has said, ‘I am able to suppress the fear … and lie down among them. That turns the frightening thing into something funny, something amusing’.” ―Sarah Boxer
www.theatlantic.com/magazine/archive/2017/07/yayoi-kusama...
I met a really nice person this summer and we had an unbelievably good time together, she has now gone away from here but before she left I made a picture for her new place. It's an imalgamation of all the simple and fun things that we did over and over again....hence continuous.
INK on 300gsm card
Old Masters At The Gallery
Quick contour/continuous line drawing roughly based on a photo in a magazine.
Ink pen
Grained paper
14,8 x 21 cm
We are finally up in the resort; cable cars were seen continuously operating, even though most of them were all empty, no passengers.
First set from a creative shoot I did recently. The main objective was to incorporate blur into the images. But to allow both the mua and stylist to get images that clearly show their work, we started with shooting some that did not incorporate any blur.
The background was lit by a continuous light (halogen) shone through four empty, clear Pepsi bottles and a pink gel. Model was lit by a single ProTungsten with beauty dish.
Model: Eri Watanabe
Stylist: Yu-Ka
HMUA: Eri Sato
D3s
NIkkor 24-70mm f2.8
Profoto ProTungsten
Samarkand is a city in southeastern Uzbekistan and among the oldest continuously inhabited cities in Central Asia. Samarkand is the capital of the Samarkand Region and a district-level city, that includes the urban-type settlements Kimyogarlar, Farhod and Khishrav. With 551,700 inhabitants (2021)] it is the third-largest city in Uzbekistan.
There is evidence of human activity in the area of the city dating from the late Paleolithic Era. Though there is no direct evidence of when Samarkand was founded, several theories propose that it was founded between the 8th and 7th centuries BC. Prospering from its location on the Silk Road between China, Persia and Europe, at times Samarkand was one of the largest cities in Central Asia, and was an important city of the empires of Greater Iran. By the time of the Persian Achaemenid Empire, it was the capital of the Sogdian satrapy. The city was conquered by Alexander the Great in 329 BC, when it was known as Markanda, which was rendered in Greek as Μαράκανδα. The city was ruled by a succession of Iranian and Turkic rulers until it was conquered by the Mongols under Genghis Khan in 1220.
The city is noted as a centre of Islamic scholarly study and the birthplace of the Timurid Renaissance. In the 14th century, Timur made it the capital of his empire and the site of his mausoleum, the Gur-e Amir. The Bibi-Khanym Mosque, rebuilt during the Soviet era, remains one of the city's most notable landmarks. Samarkand's Registan square was the city's ancient centre and is bounded by three monumental religious buildings. The city has carefully preserved the traditions of ancient crafts: embroidery, goldwork, silk weaving, copper engraving, ceramics, wood carving, and wood painting. In 2001, UNESCO added the city to its World Heritage List as Samarkand – Crossroads of Cultures.
Modern Samarkand is divided into two parts: the old city, which includes historical monuments, shops, and old private houses; and the new city, which was developed during the days of the Russian Empire and Soviet Union and includes administrative buildings along with cultural centres and educational institutions. On 15 and 16 September 2022, the city hosted the 2022 SCO summit.
Samarkand has a multicultural and plurilingual history that was significantly modified by the process of national delimitation in Central Asia. Many inhabitants of the city are native or bilingual speakers of the Tajik language, whereas Uzbek is the official language and Russian is also widely used in the public sphere, as per Uzbekistan's language policy.