Wikipedia: Present Continuous (deutsch: Gebückter Mensch, der nach unten schaut) ist eine Monumentalskulptur des niederländischen Bildhauers Henk Visch, die im Mai 2011 zwischen dem Eingang des neuen Gebäudes der Hochschule für Fernsehen und Film und dem Eingang des Staatlichen Museums Ägyptischer Kunst in München auf einem Grünstreifen entlang der Gabelsbergerstraße aufgestellt wurde.[1]

 

Es handelt sich um eine Aluminiumfigur ohne Arme, die nach vorne gebeugt ist. Die Figur ist 3,60 m hoch. Das Gesicht ist auf den Boden gerichtet. Von der Stirn aus, wie eine Kopfstütze, verläuft ein stählerner, roter Sehstrahl durch den Boden in einen Saal des darunterliegenden Ägyptischen Museums – „als Verbindung von Vergangenheit und forschender Gegenwart“.[2

Midland Metro tram 08 'Joseph Chamberlain' is seen having emerged from the set of continuous tunnels after its arrival at the Jewellery Quarter tram stop on its way north from Birmingham Snow Hill to Wolverhampton St George's on the early afternoon of Saturday 23rd April 2005. There are two sets of short tunnels on this section of the Midland Metro between St Paul's and Jewellery Quarter with one set of tunnels for the Midland Metro and the other set of tunnels (just out of shot on the right) for the train services from Birmingham Moor Street and Birmingham Snow Hill out to Smethwick Galton Bridge, Stourbridge Junction and Kidderminster. These distinctive Midland Metro trams were built by Ansaldo in Italy and are classed as T69, following on from the previous T68 class trams which were built for the Manchester Metrolink system in 1991/92 along with the similar T68a class built for the Manchester Metrolink's extension to Salford Quays and Eccles in 1999/2000.

With only a dozen days still remaining of trolleybus operation in Wellington until the power is finally switched off on 31/10/2017, ending 68 years of continuous trolley operation in the Capital, Go Wellington No. 335 of 2 May 2008, snapped heading away from the Interchange hub on the Route 1 service to Island Bay on Thursday, 12 October 2017.

 

335 EMB785 2/5/2008 / Designline Citybus Trolley / VIN:7A874010908008213 / Designline B43DW bodywork. Go Wellington, Kilbirnie.

 

THE FIRST STEP IN DISMANTLING WELLINGTON'S TROLLEYBUS WIRES BEGINS

Press Release – Greater Wellington Regional Council posted on 3 October 2017

The first step in dismantling Wellington’s trolleybus wires begins next week

Work will start on a disused section in the city centre on 10 October as part of a 12-month contract to remove 82 kilometres of overhead wires.

Work on dismantling the rest of the network will begin on 1 November after power to the trolleys is switched off on 31 October.

Greater Wellington Regional Council Chief Executive Greg Campbell says the trolleys have served the city well over the decades, but it’s time to look to new environmentally-friendly technology that can be used throughout the entire city and region.

“Next year, the region will get a new fleet of low-emission diesels, as well as 10 electric double-deckers – and in the next few years we’ll add another 22 electric double-deckers.

“Over time, more and more electric buses will come into service until we eventually achieve our goal of being the first region in the country to have an all-electric fleet.”

Wellington Cable Car Ltd awarded the wire removal contract in May to specialist firm Broadspectrum on behalf of Greater Wellington. Wellington City Council owns Wellington Cable Car Ltd.

Greater Wellington and the NZ Transport Agency will share the cost of removal work.

Wellington Cable Car Chief Executive Officer Simon Fleisher says the week-long first stage will enable Broadspectrum to fine-tune its equipment, processes and safety procedures before the work begins in earnest.

The disused emergency section runs along Featherston Street, Hunter Street, Victoria Street, Jervois Quay, Wakefield Street, lower Taranaki Street and Whitmore Street.

“Residents along trolley routes should expect some limited machinery noise, but only for one night because Broadspectrum crews anticipate removing about 200 metres of line each evening.

“Residents may also be asked to temporarily park their cars elsewhere so crews can get access to overhead wires and poles. Broadspectrum will do letter drops so there will be plenty of warning, and Broadspectrum will also have information online and through its contact centre.

Crews will concentrate on central city areas in January and February before moving outwards to suburban terminals.

He says the overhead network should still be regarded as “live” after 31 October, because other factors could result in the wires being electrically dangerous.

“All safe distances and overhead restraint requirements should be retained until the network is fully removed.”

The overhead network needs to be removed sooner rather than later because it needs regular maintenance, can be a hazard to overheight vehicles, and can complicate other construction and maintenance work in the city centre.

Extra buses will cover for the trolleys until the region’s new fleet starts service next July.

Mr Campbell says the new fleet will result in an immediate drop in harmful emission levels – 38 per cent in Wellington and 86 per cent in the Hutt Valley, where older buses operate.

“Most of the region’s new fleet will meet the Euro VI standard – the most stringent in the world – and this will give us one of the cleanest fleets in the world.”

He says bus services will continue as usual along routes once serviced by the trolleys.

 

TROLLEYBUS DECOMMISSIONING

End of trolleybus services: Trolleybus services in Wellington will end on 31 October 2017 when the power to the wires will be switched off.

 

Removing the network of trolleybus wires:

Work will involve the removing of 82km of double-tracked wires.

This work will take place in five stages over 12 months, starting in October 2017.

Work will begin in the city centre and then move outwards to the rest of the network in our suburbs.

 

11 – 31 October 2017

The first stage will be removing the disused emergency section of wires running along:

Balance Street

Brandon Street

Customhouse Quay

Featherston Street

Hunter Street

Jervois Quay

Panama Street

lower Taranaki Street

Victoria Street

Wakefield Street

Whitmore Street.

 

Next areas

Work to remove the overhead wires will continue in the following areas in this order:

Victoria Street

Miramar (including Cobham Drive)

Aro Street

Lyall Bay

 

Wellington has eight trolleybus services of which one is rush hour only. With one exception, all services start at Wellington Railway Station and run through the city centre along Lambton Quay and Willis Street.

The first two trolleybuses, 331 and 332, were delivered in November 2007; the final vehicle, 387 arrived in September 2009. A prototype version, 301, was delivered in March 2003.

The fifty-seven Designline trolleybuses, 331-387, introduced between 2007 and 2009 (plus the three prototypes, 301-3 into service in 2003 and 2005) were the last vehicles of their type to operate on Wellington bus routes. They are due to end service at the end of October 2017. 387 is numerically the highest numbered bus in the fleet and was first registered on 8 July 2009.

Trolleybuses in Wellington have been part of the Wellington public transport system continuously since February 1949. They are the only trolleybuses operating commercially in Oceania and the last major system operating in a country that drives on the left.

 

Wellington trolleybus services as at October 2017

1 - Island Bay via Courtenay Place, Wellington Hospital and Newtown.

2 - Miramar via Courtenay Place, Hataitai Tunnel, Hataitai Village and Kilbirnie.

3 - Lyall Bay to Karori Park via Kilbirnie, Newtown, Wellington Hospital, Courtenay Place, Lambton Quay and Karori Tunnel.

6 - Lyall Bay via Courtenay Place, Hataitai Tunnel, Hataitai Village and Kilbirnie (rush hours only and mostly motor bus operated).

7 - Kingston via Te Aro, Brooklyn and the Ridgeway.

9 - Aro Street via City Centre and Te Aro (no service of any kind in evenings, weekends and public holidays).

10 - Newtown Park via Wallace Street, Massey University, Wellington Hospital and Newtown (no service of any kind, weekends and public holidays).

11 - Seatoun via Wallace Street, Massey University, Wellington Hospital, Newtown, Kilbirnie and Seatoun Tunnel.

  

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.

Jennifer Aniston height and perfects figure enables her to always look perfect on red carpet. Her figure and perfect fashion style are continuously proved on all important glamour occasions.

 

celebritypost.net/jennifer-aniston-measurements/

Photos taken in a light box, with continuous photo lights. The inner doll box with the front plastic cover taken off.

 

Here are detailed photos of my Saks Cinderella doll. She is #1990 of 2500. I purchased her during the Cyber Monday sale (on November 26), so got her for $100 less than the list price. I received her today (Saturday December 1) from FedEx. She was double boxed, and the box and doll are in nearly perfect shape. There was a small mark on her nose that I rubbed off, and some stray hairs in her eyes that I removed with tweeters. Her bangs are very neat, as are her eyelashes. Her updo is in pretty good shape, but I'll see if I can make it neater when I debox her. Her dress is slightly bluish silver and is very voluminous. I love the iridescence of the gems in her dress. She looks so elegant and beautiful, and would definitely turn heads in a Royal Ball. She makes the 2012 Disney Store Cinderella LE doll look frumpy and cheap. She is still available from the Saks website.

 

Disney Limited Edition Cinderella Doll

Saks Fifth Avenue

$395

EXCLUSIVELY AT SAKS FIFTH AVENUE. Disney is proud to present the Limited Edition Cinderella Doll that captures her timeless beauty. Disney artists have brought to like one of Disney's most iconic princesses in extraordinary detail. Inspired by Cinderella's grace, this doll features an extravagant skirt, embroidered metallic silver lace, voluminous organza puff sleeves and elegant elbow-length gloves which provide the final touches to a spectacular gown. With her classic up-do and iconic glass slippers, Cinderella is truly the belle of the ball, making this doll a treasured addition to any collection.

 

Original Caption: Man Operating a Continuous Miner in Virginia-Pocahontas Coal Company Mine #3 near Richlands, Virginia. Note the Reddish Box in Front of the Operator. It Automatically Cuts Off the Machine If Methane Gas Reaches a Certain Level. The Continuous Miner Passes the Coal Back to a Shuttle Car Which Takes It Out of the Tunnel to the Conveyor for Transport Out of the Mine 04/1974

 

U.S. National Archives’ Local Identifier: 412-DA-13944

 

Photographer: Corn, Jack, 1929-

 

Subjects:

Richlands (Tazewell county, Virginia, United States) inhabited place

Environmental Protection Agency

Project DOCUMERICA

 

Persistent URL: catalog.archives.gov/id/556396

 

Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.

 

For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html

 

Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html

   

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

 

zorki 3 + jupiter 8 + Ilford pan 100

Continuous girls. Live!

-one strobe thought softbox camera right up above.

-one bare strobe with red gel camera left

-strobe with DIY snoot, in front of subject

Painting over the previous work.

Taken during a MKU3A visit to Shoreditch.

Historic Sanctuary of Machu Picchu

 

Machu Picchu stands 2,430 m above sea-level, in the middle of a tropical mountain forest, in an extraordinarily beautiful setting. It was probably the most amazing urban creation of the Inca Empire at its height; its giant walls, terraces and ramps seem as if they have been cut naturally in the continuous rock escarpments. The natural setting, on the eastern slopes of the Andes, encompasses the upper Amazon basin with its rich diversity of flora and fauna.

 

Brief Synthesis

 

Embedded within a dramatic landscape at the meeting point between the Peruvian Andes and the Amazon Basin, the Historic Sanctuary of Machu Picchu is among the greatest artistic, architectural and land use achievements anywhere and the most significant tangible legacy of the Inca civilization. Recognized for outstanding cultural and natural values, the mixed World Heritage property covers 32,592 hectares of mountain slopes, peaks and valleys surrounding its heart, the spectacular archaeological monument of “La Ciudadela” (the Citadel) at more than 2,400 meters above sea level. Built in the fifteenth century Machu Picchu was abandoned when the Inca Empire was conquered by the Spaniards in the sixteenth century. It was not until 1911 that the archaeological complex was made known to the outside world.

 

The approximately 200 structures making up this outstanding religious, ceremonial, astronomical and agricultural centre are set on a steep ridge, crisscrossed by stone terraces. Following a rigorous plan the city is divided into a lower and upper part, separating the farming from residential areas, with a large square between the two. To this day, many of Machu Picchu’s mysteries remain unresolved, including the exact role it may have played in the Incas’ sophisticated understanding of astronomy and domestication of wild plant species.

 

The massive yet refined architecture of Machu Picchu blends exceptionally well with the stunning natural environment, with which it is intricately linked. Numerous subsidiary centres, an extensive road and trail system, irrigation canals and agricultural terraces bear witness to longstanding, often on-going human use. The rugged topography making some areas difficult to access has resulted in a mosaic of used areas and diverse natural habitats. The Eastern slopes of the tropical Andes with its enormous gradient from high altitude “Puna” grasslands and Polylepis thickets to montane cloud forests all the way down towards the tropical lowland forests are known to harbour a rich biodiversity and high endemism of global significance. Despite its small size the property contributes to conserving a very rich habitat and species diversity with remarkable endemic and relict flora and fauna.

 

Criterion (i): The Inca City of the Historic Sanctuary of Machu Picchu is the articulating centre of its surroundings, a masterpiece of art, urbanism, architecture and engineering of the Inca Civilization. The working of the mountain, at the foot of the Huaya Picchu, is the exceptional result of integration with its environment, the result from a gigantic effort as if it were an extension of nature.

 

Criterion (iii):The Historic Sanctuary of Machu Picchu is a unique testimony of the Inca Civilization and shows a well-planned distribution of functions within space, territory control, and social, productive, religious and administrative organization.

 

Criterion (vii): The historic monuments and features in the Historic Sanctuary of Machu Picchu are embedded within a dramatic mountain landscape of exceptional scenic and geomorphological beauty thereby providing an outstanding example of a longstanding harmonious and aesthetically stunning relationship between human culture and nature.

 

Criterion (ix): Covering part of the transition between the High Andes and the Amazon Basin the Historic Sanctuary of Machu Picchu shelters a remarkably diverse array of microclimates, habitats and species of flora and fauna with a high degree of endemism. The property is part of a larger area unanimously considered of global significance for biodiversity conservation.

 

Integrity

 

The Historic Sanctuary of Machu Picchu meets the conditions of integrity, as the natural and human-made attributes and values that sustain its Outstanding Universal value are mostly contained within its boundaries. The visual ensemble linking the main archaeological site of the Historic Sanctuary of Machu Picchu with its striking mountain environment remains mostly intact.

 

It is desirable to extend the property to encompass an even broader spectrum of human-land relationships, additional cultural sites, such as Pisac and Ollantaytambo in the Sacred Valley, and a larger part of the Urubamba watershed would contribute to strengthening the overall integrity. In particular, the value for the conservation of the many rare and endemic species of flora and fauna would benefit from the inclusion or a stronger management consideration of the adjacent lands. A considerable number of well-documented threats render the property vulnerable to losing its future integrity and will require permanent management attention.

 

Authenticity

 

Upon the abandonment of the Historic Sanctuary of Machu Picchu at the beginning of the sixteenth century, vegetation growth and isolation ensured the conservation of the architectural attributes of the property. Although the design, materials and structures have suffered slight changes due to the decay of the fabric, the conditions of authenticity have not changed. The rediscovery in 1911, and subsequent archaeological excavations and conservation interventions have followed practices and international standards that have maintained the attributes of the property.

 

Protection and management requirements

 

The state-owned Historic Sanctuary of Machu Picchu is an integral part of Peru’s national protected areas system and enjoys protection through several layers of a comprehensive legal framework for both cultural and natural heritage. The boundaries of the Historic Sanctuary of Machu Picchu are clearly defined and the protected area is surrounded by a buffer zone exceeding the size of the property.

 

The Management Unit of the Historic Sanctuary of Machu Picchu (UGM) was established in 1999 to lead the strategies contained in the Master Plans, which are the regularly updated governing documents for the management of the property. UGM was reactivated in 2011 and is comprised of representatives of the Ministries of Culture, Environment and Foreign Trade and Tourism, the Regional Government of Cusco, serving as the President of the Executive Committee, and the local municipality of Machu Picchu. A platform bringing together key governmental representatives at all levels is indispensable for the management of a property which forms part of Peru’s very identity and is the country’s primary domestic and international tourist destination.

 

Notwithstanding the adequate legislative and formal management framework, there are important challenges to the inter-institutional governance and the effectiveness of management and protection of the property. The dispersed legislation would benefit from further harmonization and despite existing efforts the involvement of various ministries and governmental levels ranging from local to national remains a complex task, including in light of the sharing of the significant tourism revenues. Tourism itself represents a double-edged sword by providing economic benefits but also by resulting in major cultural and ecological impacts. The strongly increasing number of visitors to the Historic Sanctuary of Machu Picchu must be matched by an adequate management regulating access, diversifying the offer and efforts to fully understand and minimize impacts. A larger appropriate and increasing share of the significant tourism revenues could be re-invested in planning and management. The planning and organization of transportation and infrastructure construction, as well as the sanitary and safety conditions for both tourists and new residents attracted by tourism requires the creation of high quality and new long-term solutions, and is a significant ongoing concern.

 

Since the time of inscription consistent concerns have been expressed about ecosystem degradation through logging, firewood and commercial plant collection, poor waste management, poaching, agricultural encroachment in the absence of clear land tenure arrangements, introduced species and water pollution from both urban waste and agro-chemicals in the Urubamba River, in addition from pressures derived from broader development in the region. It is important to remember that the overall risks are aggravated by the location in a high altitude with extreme topography and weather conditions and thus susceptibility to natural disasters. Continuous efforts are needed to comply with protected areas and other legislation and plans and prevent further degradation. There is also great potential for restoring degraded areas.

Long Description

 

Machu Picchu bears, with Cuzco and the other archaeological sites of the valley of the Urubamba (Ollantautaybo, Runcuracay, Sayacmarca, Phuyupamarca, Huiñay Huayna, Intipucu, etc.) a unique testimony to the Inca civilization. Cuzco and the old villages still retain traces of land occupation from the Inca Empire to preserve, in a more global manner, an archaeological heritage which has become susceptible to the effects of urbanization. Furthermore, Macchu Picchu is an outstanding example of man's interaction with his natural environment.

 

Standing 2,430 m above sea level, in the midst of a tropical mountain forest in an extraordinarily beautiful setting, Machu Picchu was probably the most amazing urban creation of the Inca Empire at its height. Its giant walls, terraces and ramps seem as if they have been cut naturally in the continuous rock escarpments. The natural setting, on the eastern slopes of the Andes, encompasses the upper Amazon basin with its rich diversity of flora and fauna.

 

Machu Picchu covers 32,500 ha in some of the scenically most attractive mountainous territory of the Peruvian Andes. As the last stronghold of the Incas and of superb architectural and archaeological importance, Machu Picchu is one of the most important cultural sites in Latin America; the stonework of the site remains as one of the world's great examples of the use of a natural raw material to provide outstanding architecture which is totally appropriate to the surroundings. The surrounding valleys have been cultivated continuously for well over 1,000 years, providing one of the world's greatest examples of a productive man-land relationship; the people living around Machu Picchu continue a way of life which closely resembles that of their Inca ancestors, being based on potatoes, maize and llamas. Machu Picchu also provides a secure habitat for several endangered species, notably the spectacled bear, one of the most interesting species in the area. Others animals include: dwarf brocket, the otter, long-tailed weasel, pampas cat and the vulnerable ocelot, boa, the Andean cock of the rock, and the Andean condor.

 

The natural vegetation is of humid and very humid lower montane forest of the subtropical region, mainly with genera and ferns of the Cyathea and palms.

 

Set on the vertiginous site of a granite mountain sculpted by erosion and dominating a meander in the Rio Urubamba, Machu Picchu is a world renowned archaeological site. The construction of this amazing city, set out according to a very rigorous plan, comprises one of the most spectacular creations of the Inca Empire. It appears to date from the period of the two great Incas, Pachacutec Inca Yupanqui (1438-71) and Tupac Inca Yupanqui (1472-93). The function of this city situated at least 100 km from the capital, Cuzco, has not been formulated which are not verifiable given the absence of written documentation and sufficiently explicit material evidence.

 

Without making a judgement as to their purpose, several quite individual quarters may be noted in the ruins of Machu Picchu: a quarter 'of the Farmers' near the colossal terraces whose slopes were cultivated and transformed into hanging gardens; an 'industrial' quarter; a 'royal' quarter and a 'religious' quarter. Inca architecture reveals itself here in all of its force with the titanic earthen works which multiplied the platforms, levelled the rocky relief, constructed ramps and stairways and literally sculpted the mountain whose cyclopean constructions appear to be a prolongation of nature.

Source: UNESCO/CLT/WHC

I’m not sure why it doesn’t look like it and just looks like a sketch but I promise I didn’t pick up my pencil

En Repsol apostamos por la innovación tecnológica y por ello buscamos la mejora continua de nuestros productos. Más info en

www.repsol.com/es_es/corporacion/conocer-repsol/nuestra-a...

 

At Repsol we focus on technological innovation and therefore we seek continuous improvement of our products . More info at

www.repsol.com/es_es/corporacion/conocer-repsol/nuestra-a ...

Taken handheld (continuous shooting). Merged 25 frames. Software: Focus Stacker for Mac.

IR HDR. IR converted Canon 40D. Canon 17-55 F2.8 IS lens. Shot at ISO 100, F8, AEB +/-2 total of 9 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.

 

en.wikipedia.org/wiki/Infrared_photography

 

St Mary's College is classified as the oldest continuously running school for girls in South Australia, having been established in 1869, following the arrival of 7 Dominican Sisters from Ireland. Today it is an R-12 Catholic Girls School in the Dominican tradition.

 

The original school started in 3 cottages housed on the corner of Franklin Street and West Terrace. Over the years additions were made to the school, namely the 1860's, 1870's and 1890's. During the 20th century, even more additions were added, notably during the 1960's, 1980's and 1990's.

 

From the beginning of 1995, the school was given access to the Convent buildings, including the historic chapel where Mary MacKillop was ex-communicated at one time.

 

A stained window designed by one of the students reflects the college's Irish heritage with green three-leafed clovers, and plane tree leaves representing part of the Australian landscape. The stairs represent the opportunities given to students at the college.

 

In 2006 the centre for Performing Arts was completed and even in more recent times, further building works have been carried out, one area being dedicated to Design and the other a new Library/Resource Centre.

 

Another important heritage site with strong links to providing education for girls.ok to here

  

St Mary's College has combined heritage with modern education additions such as the basketball courts and gym complex (inset) on the West Terrace-Franklin Street, Adelaide, corner in 2019, where the Dominican sisters' mission in the city began 150 years before.

  

I like the lighting better in this photo

Eastside City Park, Birmingham, UK

Continuous Lighting_9355

I am continuing with my experiment in HDR. What I have noticed some who said is that HDR looks flat and one dimensional. So my thought is how to add depth?

 

It has been a challenge doing this on the Blue Ridge. The mountain winds have nearly lifted me off my feet, but I am always drawn back there, but I imagine some of these images are getting boring to you. Yet I am compelled to continue the experiment.

GOVERNOR TOMBLIN DELIVERS

FAREWELL ADDRESS TO STATE LEGISLATURE

CHARLESTON, W.VA. (January 11, 2017)-Gov. Earl Ray Tomblin today

delivered his farewell address to the West Virginia Legislature in the House Chamber at the State Capitol Complex after serving six years as governor and a total of 42 years in public service in the Mountain State.

 

Information on Gov. Tomblin's accomplishments during his six-year

administration can be found here.

 

See below for the speech as prepared for delivery:

 

Mr. Speaker, Mr. President, members of the Board of Public Works, justices of

the Supreme Court of Appeals, members of the Legislature, distinguished guests, and my fellow West Virginians, I stand before you today, after six years in the Governor's office and 42 years in this grand statehouse, with a deep sense of gratitude and reflection and an equally profound hope for West Virginia's future.

 

Public service has anchored my life's work-from a young 22-year-old in this very House chamber, to a desk across the hall in the State Senate, the Senate President's podium for 17 years and now as your 35th Governor.

 

It has been the greatest honor-and the greatest reward-to serve the people of this state that we all love. Together, we have put West Virginia first and moved our state forward-even in the midst of tough times, including far-reaching economic shifts, budgetary challenges and historic natural disasters.

 

West Virginians are strongest in the toughest times. We come together. We lift each other up. And we don't just hope for a better future; we fight for it.

 

ECONOMIC DIVERSIFICATION & JOB CREATION

Working hard is exactly what we've done over the past six years to create new economic opportunities for the Mountain State.

 

We have all seen the dramatic impact of the coal industry's decline in our state. We've seen thousands of jobs lost. Families and communities struggling. People beginning to lose hope.

 

But I believe in-and have fought to reach-the light around the corner.

 

Shortly after becoming Governor, I pledged to go anywhere and meet with anyone to grow our state's economy. Across West Virginia, the country and the globe, we have succeeded.

 

Last year, global giant Procter & Gamble announced it would build its first U.S. manufacturing facility since the 1970s right here in West Virginia in the Eastern Panhandle. This will ultimately be a half-billion dollar investment in the Mountain State and result in hundreds of new jobs.

 

P&G chose our state after an exhaustive search of many others. And as numerous companies have discovered, I know they will find it to be the best decision they've ever made.

 

Toyota Motor Manufacturing West Virginia, which recently celebrated its 20th anniversary, has expanded continuously-nine times, in fact.

 

Today, Toyota employs more than 1,600 people. And the company has invested $1.4 billion since 1996.

 

Manufacturing jobs, like those at P&G in Martinsburg and Toyota in Buffalo, will be among the most critical to our state's economic future.

 

In my time as your Governor, I have fought for jobs like these and many more. From Amazon in Huntington and Macy's in Berkeley County, to Bombardier Aerospace manufacturing in Harrison County-which just in November announced an expansion of 150 jobs.

 

Companies are finding that when they invest in West Virginia, it pays off.

 

In fact, since 2011, West Virginia has seen more than $15 billion in new investments, spanning 275 projects. We have welcomed more than 60 new companies and secured 215 competitive expansion projects.

 

Over the past six years, investment projects have reached 22 industries and provided West Virginians with more than 12,000 good-paying jobs.

 

Right here in the Kanawha Valley, we have one of the best examples of that remarkable progress.

 

Gestamp has grown beyond the bounds of any of our expectations. Since opening in 2013, Gestamp has tripled production and more than doubled its workforce, now employing nearly 900 West Virginians.

 

I know that one of the fundamental reasons behind their growth has been our ability to transform workforce training in West Virginia for the better.

 

STRENGTHENING WORKFORCE TRAINING & EDUCATION

For example, the Learn and Earn program which we launched in 2012, gives our community and technical college students classroom instruction and hands-on work experience simultaneously. These students earn a competitive salary while giving employers a cost-effective way to recruit and train new employees.

 

Joe Atha is one of these students. A former coal miner, Joe is now a student at BridgeValley Community and Technical College where he is also supporting his family by earning a wage through the Learn and Earn program at Gestamp.

 

Joe is here today with his wife, Rita. Please stand to be recognized... along with Dr. Sarah Tucker, Chancellor of our Community and Technical College System.

 

Through forward-thinking programs like this, we can make a real, lasting difference for West Virginians.

 

That's why I personally convened the West Virginia Workforce Planning Council, which has helped us break down bureaucratic silos and better align classroom learning with the workforce needs of our businesses and industries.

 

We've even started that process in high schools through the Simulated Workplace program.

 

Today, our career technical education classrooms have been transformed into businesses. Medical classes are now clinics. Hospitality programs are now catering businesses and restaurants.

 

And instead of just going to a welding or carpentry class, our students are now part of a construction company, complete with job foremen and safety inspectors.

 

Just last month, we celebrated a heartwarming moment as a result of the hard work of more than 2,000 of these students from 12 high schools across the state.

 

Together with the Department of Education's Career Technical Education division, the West Virginia National Guard and our Voluntary Organizations Active in Disaster, we presented keys to tiny homes that were designed and built by these students for survivors of the historic floods that hit our state last June.

 

REBUILDING FROM NATURAL DISASTERS

Time and again, in the aftermath of this tragic flooding we have seen the selflessness of West Virginians make a difference for one another.

 

The "Big Hearts Give Tiny Homes" project was a shining example of that West Virginia spirit-one that made an overwhelming difference for 15 families impacted by the flooding, including Brenda Rivers from Nicholas County, whose home was a total loss in the flooding. Brenda now lives in a new tiny home built by students, including Chance Ballard from Spring Valley High School in Wayne County.

 

Please join me in welcoming Brenda and Chance ... along with Dr. Kathy D'Antoni ... whose visionary leadership at the Department of Education has made Simulated Workplace the success it is today.

 

Working hand-in-hand with the federal government and local officials, our immediate response to the flooding was quick and effective. We were able to expedite federal assistance to our communities and families in need. And over the past seven months, we have been able to shift our focus to long-term recovery.

 

Through a public-private approach, we launched the RISE West Virginia program, which in total has provided nearly $2 million to 230 small businesses in the flood-impacted counties-funding that is helping them reopen or continue operations and keep fueling our local economies.

 

I would like to thank, once again, West Virginia native and champion Brad Smith-the CEO of Intuit, one of the world's leading financial software companies-and his wife Alys for their family donation of $500,000, which gave the RISE program its first, needed boost.

 

West Virginia has experienced more than its share of disasters during my time as your Governor-this historic flooding, the Derecho, Hurricane Sandy, Winter Storms Thor and Jonas and the water crisis.

 

Through it all, we have grown stronger, we have improved our emergency response capabilities and we have strengthened public safety.

 

Adversity demands resilience. That's what we have shown in these challenges and many more-including one of the most trying epidemics I believe the Mountain State has ever faced-with the sharp rise in substance abuse and addiction.

 

FIGHTING SUBSTANCE ABUSE

That's why in 2011, I issued an Executive Order to create the Governor's Advisory Council on Substance Abuse, made up of representatives of substance abuse prevention, behavioral medicine, law enforcement, child and adolescent psychology, the legal system, residential treatment facilities, the public school system, the faith community and health care.

 

My vision for this Council was a community-driven, ground-up approach to tackling this epidemic. Through community-based task forces in six regions across the state, we have made significant progress and enacted life-saving reforms.

 

We now look at substance abuse as an illness-not a crime.

 

We have decreased the number of meth labs across the state as the result of making it more difficult to obtain pseudoephedrine.

 

We have expanded access to the life-saving drug Narcan to first responders and family members of those struggling with addiction. Last year alone, hundreds of lives were saved as a result.

 

We have substance abuse prevention services in all 55 counties. We have expanded and improved community-based treatment options and recovery services. Across the state, we have 188 crisis detox beds in residential treatment facilities with more sites under development.

 

We have 118 beds designated for youth and postpartum treatment as well as short-term and long-term residential treatment. And we have over 1,000 beds for those seeking help and support through peer and provider recovery homes and facilities.

 

We are working closely with our prisons and correctional facilities to ensure all West Virginians are provided access to substance abuse rehabilitation.

 

In fact, the Division of Corrections operates nine residential substance abuse treatment units in correctional centers across the state and we have expanded this model to our regional jail facilities as well.

 

And-through Justice Reinvestment-we have successfully worked to address substance abuse, which is the root cause of many crimes.

 

Because of that work, we have expanded drug courts, substance abuse counseling and greater supervision after release.

 

And ultimately, we have better controlled incarceration rates, which prevented our state from having to build a new $200 million prison that was projected to be needed because of our previous rising prison population.

 

Just this week, we announced the news that West Virginia reached settlements with two additional drug wholesalers totaling $36 million, which resolves allegations by our state regarding the distribution of controlled substances in West Virginia.

 

This brings the total amount of drug settlement money paid to our state by drug wholesalers to $47 million, which will expand our efforts even further for more law enforcement diversion options, more treatment recovery services and many more efforts to fight this epidemic.

 

I am also deeply proud of the work we have done in creating the state's first 24-hour substance abuse call line, 844-HELP-4-WV, which has received nearly 8,500 calls since it launched in September 2015.

 

The help line provides referral support for those seeking help and recovery services. It's an opportunity for people who are struggling to talk with someone who cares, get connected to treatment options and begin the road to recovery.

 

No caller is ever placed on hold and they are immediately connected with treatment staff representing the best and most appropriate treatment options for them.

 

Administered by First Choice Health Systems of West Virginia, the help line is staffed by certified professionals, many who have overcome addiction themselves and want to help others turn their lives around as well.

 

One young gentleman I met did just that because he picked up the phone.

 

A.J. Walker, a recovering alcoholic and addict, was given the help line number by his brother.

 

A.J. said when he called, he was treated like a person-not like a drug addict-and he found hope. They got him into a detox facility and into recovery, and the help line staff called and checked in on him every step of the way.

  

Today, A.J. is employed by the treatment facility that helped him and he's in school studying to become a substance abuse counselor.

 

A.J. is here today with his brother, Andrew, and Vickie Jones ... Commissioner of our Bureau of Behavioral Health and Health Facilities.

 

A.J. we are so proud of you. And today ... you are giving hope to so many.

 

When I hear stories like A.J.'s, I am incredibly optimistic for West Virginia's future. With economic changes, job losses and families struggling, we have to seize every opportunity before us to become stronger as individuals and as a state.

 

One such opportunity lies in Boone and Lincoln Counties, where I believe we have the chance to revitalize Southern West Virginia and make the Mountain State stronger.

 

EMBRACING THE FUTURE

It was here in this chamber, one year ago during my State of the State Address, where I announced plans for the largest development project in West Virginia's history at the former Hobet surface mine site.

 

Since last year at this time, we have worked every day and we have made tremendous progress on this project, which is now known as Rock Creek Development Park.

 

We have worked with local landowners, who are generously donating land that will result in more than 12,000 developable acres for Rock Creek, which is the size of the city of Huntington.

 

The West Virginia National Guard-Rock Creek's first tenant-is on the ground with newly-expanded operations for maintenance work and training.

 

And we have a long-term strategic plan now in place, which looks at demographics and market trends to help us identify the best investment opportunities for Rock Creek.

 

For generations, our coal miners, workers and their families have kept West Virginia strong. Now, it's our turn to help them.

 

By realizing the full potential of Rock Creek Development Park for job creation and economic diversification, we can build up a region of our state hard hit by the downturn in the coal industry.

 

My vision for Rock Creek started many years ago as I rode my four-wheeler around the hills of Southern West Virginia and saw the possibilities that such an enormous site-with such a great amount of flat land-could have.

 

Embracing opportunities like this takes careful thought and planning, and this public-private project will require some investment by the state. But I believe wholeheartedly that the returns will vastly exceed our investment.

 

That isn't something I say lightly.

 

Throughout my 42 years in public service, fiscal responsibility has been at the heart of every project I've undertaken, every policy I've fought for and every decision I've made.

 

GOVERNING RESPONSIBLY

As a result of much hard work, over the years we have decreased taxes, embraced responsible spending, made great progress toward paying off the state's unfunded liabilities and controlled growth of the state's budget.

 

We have realized milestone tax reforms, including progressive elimination of the food tax, saving West Virginians $162 million each year.

 

We have gradually eliminated the state's business franchise tax and decreased the corporate net income tax-changes that make West Virginia more attractive for business investments.

 

As a result of responsible reforms, last year the National Council on Compensation Insurance filed the 12th reduction in workers' compensation premiums in 12 years. And West Virginia employers have seen a savings of more than $352 million since we privatized the program in 2006.

 

We addressed our Other Post Employment Benefits by dedicating $30 million annually to pay off the $5 billion unfunded liability, which was caused by previous promises that became too expensive to maintain.

 

As I did last year, I present to you today a budget that is balanced, but a budget that requires difficult decisions and thinking about the next generation rather than the next election.

 

I continue to be proud of the fiscal responsibility we have shown not just for the past six years, but over the last generation. Our commitment to paying down our long-term liabilities has not wavered and we have responsibly reduced taxes on both our employers and our employees.

 

Because of our improved fiscal policies, we have been able to refinance bonds that pay for schools, water and sewer lines, college campus improvements and roads to save more than $100 million in the past six years.

 

So when people ask me why I'm so concerned with maintaining our Rainy Day Fund and our bond rating, that's why. It means more schools, more roads and more homes with clean water.

 

As part of tough decisions during tough economic times, we have cut more than $600 million from our budget in the past five years. While we all continue to hope that the coal industry will rebound, that hasn't happened quickly and it likely won't ever return to the levels that we once saw.

 

We continue to work to diversify our economy and I know the improvements we've made will pay long-term dividends in job growth and investment.

 

But we're not there yet, and part of being fiscally responsible means making sure that we can pay our bills without taking the Rainy Day Fund to dangerously low levels or cutting services to the point where we cannot care for our people or educate our students.

 

Therefore, the budget I present to you today includes a 1 percent increase in the consumer sales tax to raise $200 million and elimination of the current sales tax exemption on telecommunications services-a move that would make our system the same as 80 percent of the country.

 

I understand these taxes will not be easy, but asking people to pay a few dollars more now is a far better choice than seeing PEIA cards not accepted by medical providers or going back to the days when we couldn't finance school and road improvements, or even pay the gas bill at the Governor's Mansion.

 

I urge you to consider these responsible actions to balance the budget until the brighter economic picture that we all expect comes into focus.

 

CLOSING

I believe the thing that compelled each of us to public service is our love for West Virginia. And that is the very thing that should compel us to work together.

 

When I became your Governor, I said that we must put West Virginia first.

 

That's what we have done. And I encourage you to continue working together out of that deep devotion to our beloved state-in the coming year and beyond.

 

I am proud of the work that we have accomplished. I look forward to the leadership of Governor-elect Jim Justice and I thank all of you who have worked with me over the years.

 

I thank my cabinet members and agency directors. And I thank my dedicated staff members who have worked every day-not for me, but for the people of West Virginia.

 

It has been the honor of my life to be your Governor-to be West Virginia's Governor. Joanne and I thank the people of West Virginia for your abiding trust, counsel and support.

 

And we look forward-with the greatest hope and optimism-to an even stronger West Virginia.

 

Thank you. God bless you. And God bless the great state of West Virginia.

###

  

Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”

 

GOVERNOR TOMBLIN DELIVERS

FAREWELL ADDRESS TO STATE LEGISLATURE

CHARLESTON, W.VA. (January 11, 2017)-Gov. Earl Ray Tomblin today

delivered his farewell address to the West Virginia Legislature in the House Chamber at the State Capitol Complex after serving six years as governor and a total of 42 years in public service in the Mountain State.

 

Information on Gov. Tomblin's accomplishments during his six-year

administration can be found here.

 

See below for the speech as prepared for delivery:

 

Mr. Speaker, Mr. President, members of the Board of Public Works, justices of

the Supreme Court of Appeals, members of the Legislature, distinguished guests, and my fellow West Virginians, I stand before you today, after six years in the Governor's office and 42 years in this grand statehouse, with a deep sense of gratitude and reflection and an equally profound hope for West Virginia's future.

 

Public service has anchored my life's work-from a young 22-year-old in this very House chamber, to a desk across the hall in the State Senate, the Senate President's podium for 17 years and now as your 35th Governor.

 

It has been the greatest honor-and the greatest reward-to serve the people of this state that we all love. Together, we have put West Virginia first and moved our state forward-even in the midst of tough times, including far-reaching economic shifts, budgetary challenges and historic natural disasters.

 

West Virginians are strongest in the toughest times. We come together. We lift each other up. And we don't just hope for a better future; we fight for it.

 

ECONOMIC DIVERSIFICATION & JOB CREATION

Working hard is exactly what we've done over the past six years to create new economic opportunities for the Mountain State.

 

We have all seen the dramatic impact of the coal industry's decline in our state. We've seen thousands of jobs lost. Families and communities struggling. People beginning to lose hope.

 

But I believe in-and have fought to reach-the light around the corner.

 

Shortly after becoming Governor, I pledged to go anywhere and meet with anyone to grow our state's economy. Across West Virginia, the country and the globe, we have succeeded.

 

Last year, global giant Procter & Gamble announced it would build its first U.S. manufacturing facility since the 1970s right here in West Virginia in the Eastern Panhandle. This will ultimately be a half-billion dollar investment in the Mountain State and result in hundreds of new jobs.

 

P&G chose our state after an exhaustive search of many others. And as numerous companies have discovered, I know they will find it to be the best decision they've ever made.

 

Toyota Motor Manufacturing West Virginia, which recently celebrated its 20th anniversary, has expanded continuously-nine times, in fact.

 

Today, Toyota employs more than 1,600 people. And the company has invested $1.4 billion since 1996.

 

Manufacturing jobs, like those at P&G in Martinsburg and Toyota in Buffalo, will be among the most critical to our state's economic future.

 

In my time as your Governor, I have fought for jobs like these and many more. From Amazon in Huntington and Macy's in Berkeley County, to Bombardier Aerospace manufacturing in Harrison County-which just in November announced an expansion of 150 jobs.

 

Companies are finding that when they invest in West Virginia, it pays off.

 

In fact, since 2011, West Virginia has seen more than $15 billion in new investments, spanning 275 projects. We have welcomed more than 60 new companies and secured 215 competitive expansion projects.

 

Over the past six years, investment projects have reached 22 industries and provided West Virginians with more than 12,000 good-paying jobs.

 

Right here in the Kanawha Valley, we have one of the best examples of that remarkable progress.

 

Gestamp has grown beyond the bounds of any of our expectations. Since opening in 2013, Gestamp has tripled production and more than doubled its workforce, now employing nearly 900 West Virginians.

 

I know that one of the fundamental reasons behind their growth has been our ability to transform workforce training in West Virginia for the better.

 

STRENGTHENING WORKFORCE TRAINING & EDUCATION

For example, the Learn and Earn program which we launched in 2012, gives our community and technical college students classroom instruction and hands-on work experience simultaneously. These students earn a competitive salary while giving employers a cost-effective way to recruit and train new employees.

 

Joe Atha is one of these students. A former coal miner, Joe is now a student at BridgeValley Community and Technical College where he is also supporting his family by earning a wage through the Learn and Earn program at Gestamp.

 

Joe is here today with his wife, Rita. Please stand to be recognized... along with Dr. Sarah Tucker, Chancellor of our Community and Technical College System.

 

Through forward-thinking programs like this, we can make a real, lasting difference for West Virginians.

 

That's why I personally convened the West Virginia Workforce Planning Council, which has helped us break down bureaucratic silos and better align classroom learning with the workforce needs of our businesses and industries.

 

We've even started that process in high schools through the Simulated Workplace program.

 

Today, our career technical education classrooms have been transformed into businesses. Medical classes are now clinics. Hospitality programs are now catering businesses and restaurants.

 

And instead of just going to a welding or carpentry class, our students are now part of a construction company, complete with job foremen and safety inspectors.

 

Just last month, we celebrated a heartwarming moment as a result of the hard work of more than 2,000 of these students from 12 high schools across the state.

 

Together with the Department of Education's Career Technical Education division, the West Virginia National Guard and our Voluntary Organizations Active in Disaster, we presented keys to tiny homes that were designed and built by these students for survivors of the historic floods that hit our state last June.

 

REBUILDING FROM NATURAL DISASTERS

Time and again, in the aftermath of this tragic flooding we have seen the selflessness of West Virginians make a difference for one another.

 

The "Big Hearts Give Tiny Homes" project was a shining example of that West Virginia spirit-one that made an overwhelming difference for 15 families impacted by the flooding, including Brenda Rivers from Nicholas County, whose home was a total loss in the flooding. Brenda now lives in a new tiny home built by students, including Chance Ballard from Spring Valley High School in Wayne County.

 

Please join me in welcoming Brenda and Chance ... along with Dr. Kathy D'Antoni ... whose visionary leadership at the Department of Education has made Simulated Workplace the success it is today.

 

Working hand-in-hand with the federal government and local officials, our immediate response to the flooding was quick and effective. We were able to expedite federal assistance to our communities and families in need. And over the past seven months, we have been able to shift our focus to long-term recovery.

 

Through a public-private approach, we launched the RISE West Virginia program, which in total has provided nearly $2 million to 230 small businesses in the flood-impacted counties-funding that is helping them reopen or continue operations and keep fueling our local economies.

 

I would like to thank, once again, West Virginia native and champion Brad Smith-the CEO of Intuit, one of the world's leading financial software companies-and his wife Alys for their family donation of $500,000, which gave the RISE program its first, needed boost.

 

West Virginia has experienced more than its share of disasters during my time as your Governor-this historic flooding, the Derecho, Hurricane Sandy, Winter Storms Thor and Jonas and the water crisis.

 

Through it all, we have grown stronger, we have improved our emergency response capabilities and we have strengthened public safety.

 

Adversity demands resilience. That's what we have shown in these challenges and many more-including one of the most trying epidemics I believe the Mountain State has ever faced-with the sharp rise in substance abuse and addiction.

 

FIGHTING SUBSTANCE ABUSE

That's why in 2011, I issued an Executive Order to create the Governor's Advisory Council on Substance Abuse, made up of representatives of substance abuse prevention, behavioral medicine, law enforcement, child and adolescent psychology, the legal system, residential treatment facilities, the public school system, the faith community and health care.

 

My vision for this Council was a community-driven, ground-up approach to tackling this epidemic. Through community-based task forces in six regions across the state, we have made significant progress and enacted life-saving reforms.

 

We now look at substance abuse as an illness-not a crime.

 

We have decreased the number of meth labs across the state as the result of making it more difficult to obtain pseudoephedrine.

 

We have expanded access to the life-saving drug Narcan to first responders and family members of those struggling with addiction. Last year alone, hundreds of lives were saved as a result.

 

We have substance abuse prevention services in all 55 counties. We have expanded and improved community-based treatment options and recovery services. Across the state, we have 188 crisis detox beds in residential treatment facilities with more sites under development.

 

We have 118 beds designated for youth and postpartum treatment as well as short-term and long-term residential treatment. And we have over 1,000 beds for those seeking help and support through peer and provider recovery homes and facilities.

 

We are working closely with our prisons and correctional facilities to ensure all West Virginians are provided access to substance abuse rehabilitation.

 

In fact, the Division of Corrections operates nine residential substance abuse treatment units in correctional centers across the state and we have expanded this model to our regional jail facilities as well.

 

And-through Justice Reinvestment-we have successfully worked to address substance abuse, which is the root cause of many crimes.

 

Because of that work, we have expanded drug courts, substance abuse counseling and greater supervision after release.

 

And ultimately, we have better controlled incarceration rates, which prevented our state from having to build a new $200 million prison that was projected to be needed because of our previous rising prison population.

 

Just this week, we announced the news that West Virginia reached settlements with two additional drug wholesalers totaling $36 million, which resolves allegations by our state regarding the distribution of controlled substances in West Virginia.

 

This brings the total amount of drug settlement money paid to our state by drug wholesalers to $47 million, which will expand our efforts even further for more law enforcement diversion options, more treatment recovery services and many more efforts to fight this epidemic.

 

I am also deeply proud of the work we have done in creating the state's first 24-hour substance abuse call line, 844-HELP-4-WV, which has received nearly 8,500 calls since it launched in September 2015.

 

The help line provides referral support for those seeking help and recovery services. It's an opportunity for people who are struggling to talk with someone who cares, get connected to treatment options and begin the road to recovery.

 

No caller is ever placed on hold and they are immediately connected with treatment staff representing the best and most appropriate treatment options for them.

 

Administered by First Choice Health Systems of West Virginia, the help line is staffed by certified professionals, many who have overcome addiction themselves and want to help others turn their lives around as well.

 

One young gentleman I met did just that because he picked up the phone.

 

A.J. Walker, a recovering alcoholic and addict, was given the help line number by his brother.

 

A.J. said when he called, he was treated like a person-not like a drug addict-and he found hope. They got him into a detox facility and into recovery, and the help line staff called and checked in on him every step of the way.

  

Today, A.J. is employed by the treatment facility that helped him and he's in school studying to become a substance abuse counselor.

 

A.J. is here today with his brother, Andrew, and Vickie Jones ... Commissioner of our Bureau of Behavioral Health and Health Facilities.

 

A.J. we are so proud of you. And today ... you are giving hope to so many.

 

When I hear stories like A.J.'s, I am incredibly optimistic for West Virginia's future. With economic changes, job losses and families struggling, we have to seize every opportunity before us to become stronger as individuals and as a state.

 

One such opportunity lies in Boone and Lincoln Counties, where I believe we have the chance to revitalize Southern West Virginia and make the Mountain State stronger.

 

EMBRACING THE FUTURE

It was here in this chamber, one year ago during my State of the State Address, where I announced plans for the largest development project in West Virginia's history at the former Hobet surface mine site.

 

Since last year at this time, we have worked every day and we have made tremendous progress on this project, which is now known as Rock Creek Development Park.

 

We have worked with local landowners, who are generously donating land that will result in more than 12,000 developable acres for Rock Creek, which is the size of the city of Huntington.

 

The West Virginia National Guard-Rock Creek's first tenant-is on the ground with newly-expanded operations for maintenance work and training.

 

And we have a long-term strategic plan now in place, which looks at demographics and market trends to help us identify the best investment opportunities for Rock Creek.

 

For generations, our coal miners, workers and their families have kept West Virginia strong. Now, it's our turn to help them.

 

By realizing the full potential of Rock Creek Development Park for job creation and economic diversification, we can build up a region of our state hard hit by the downturn in the coal industry.

 

My vision for Rock Creek started many years ago as I rode my four-wheeler around the hills of Southern West Virginia and saw the possibilities that such an enormous site-with such a great amount of flat land-could have.

 

Embracing opportunities like this takes careful thought and planning, and this public-private project will require some investment by the state. But I believe wholeheartedly that the returns will vastly exceed our investment.

 

That isn't something I say lightly.

 

Throughout my 42 years in public service, fiscal responsibility has been at the heart of every project I've undertaken, every policy I've fought for and every decision I've made.

 

GOVERNING RESPONSIBLY

As a result of much hard work, over the years we have decreased taxes, embraced responsible spending, made great progress toward paying off the state's unfunded liabilities and controlled growth of the state's budget.

 

We have realized milestone tax reforms, including progressive elimination of the food tax, saving West Virginians $162 million each year.

 

We have gradually eliminated the state's business franchise tax and decreased the corporate net income tax-changes that make West Virginia more attractive for business investments.

 

As a result of responsible reforms, last year the National Council on Compensation Insurance filed the 12th reduction in workers' compensation premiums in 12 years. And West Virginia employers have seen a savings of more than $352 million since we privatized the program in 2006.

 

We addressed our Other Post Employment Benefits by dedicating $30 million annually to pay off the $5 billion unfunded liability, which was caused by previous promises that became too expensive to maintain.

 

As I did last year, I present to you today a budget that is balanced, but a budget that requires difficult decisions and thinking about the next generation rather than the next election.

 

I continue to be proud of the fiscal responsibility we have shown not just for the past six years, but over the last generation. Our commitment to paying down our long-term liabilities has not wavered and we have responsibly reduced taxes on both our employers and our employees.

 

Because of our improved fiscal policies, we have been able to refinance bonds that pay for schools, water and sewer lines, college campus improvements and roads to save more than $100 million in the past six years.

 

So when people ask me why I'm so concerned with maintaining our Rainy Day Fund and our bond rating, that's why. It means more schools, more roads and more homes with clean water.

 

As part of tough decisions during tough economic times, we have cut more than $600 million from our budget in the past five years. While we all continue to hope that the coal industry will rebound, that hasn't happened quickly and it likely won't ever return to the levels that we once saw.

 

We continue to work to diversify our economy and I know the improvements we've made will pay long-term dividends in job growth and investment.

 

But we're not there yet, and part of being fiscally responsible means making sure that we can pay our bills without taking the Rainy Day Fund to dangerously low levels or cutting services to the point where we cannot care for our people or educate our students.

 

Therefore, the budget I present to you today includes a 1 percent increase in the consumer sales tax to raise $200 million and elimination of the current sales tax exemption on telecommunications services-a move that would make our system the same as 80 percent of the country.

 

I understand these taxes will not be easy, but asking people to pay a few dollars more now is a far better choice than seeing PEIA cards not accepted by medical providers or going back to the days when we couldn't finance school and road improvements, or even pay the gas bill at the Governor's Mansion.

 

I urge you to consider these responsible actions to balance the budget until the brighter economic picture that we all expect comes into focus.

 

CLOSING

I believe the thing that compelled each of us to public service is our love for West Virginia. And that is the very thing that should compel us to work together.

 

When I became your Governor, I said that we must put West Virginia first.

 

That's what we have done. And I encourage you to continue working together out of that deep devotion to our beloved state-in the coming year and beyond.

 

I am proud of the work that we have accomplished. I look forward to the leadership of Governor-elect Jim Justice and I thank all of you who have worked with me over the years.

 

I thank my cabinet members and agency directors. And I thank my dedicated staff members who have worked every day-not for me, but for the people of West Virginia.

 

It has been the honor of my life to be your Governor-to be West Virginia's Governor. Joanne and I thank the people of West Virginia for your abiding trust, counsel and support.

 

And we look forward-with the greatest hope and optimism-to an even stronger West Virginia.

 

Thank you. God bless you. And God bless the great state of West Virginia.

###

  

Photos available for media use. All photos should be attributed “Photo courtesy of Office of the Governor.”

Made from a canyon edge in Canyonlands National Park. The trees near the edge of the river are full-size deciduous. I think I missed the hyperfocal point in this shot. Woops.

 

¤ Medium/Black ¤ Large/Black ¤

More Oscar set to MOYLATOID song

Jeff McMullen, Wayne Muir, (standing) Naomi Wolfe, Ken Ralph, Annette

Schneider (seated)

 

“Closing the Space Between Us”

 

Easing the Crisis in Indigenous

Health and Education

 

Jeff McMullen

 

2007 Annual Aquinas Lecture

Australian Catholic University Ballarat

Jim-baa-yer Indigenous Unit

Friday 14th September 2007

 

I am torn as I stand here tonight between sharing what I know is happening to Aboriginal communities and wanting to be there as the sun rises tomorrow.

 

In Barunga, a Jawoyn community in southern Arnhem Land, they will walk tomorrow along a heavily trodden sandy track through the trees to bury a very young man who died way too soon. He is the son of an Aboriginal teacher, Lorraine Bennett, a woman my family thinks of as one of our favourite people in the world. My words tonight are in honour of this young life and of his wonderful mother who has taught so much to so many other children, even mine.

 

When my son, Will, now 12, and daughter, Claire, now 13, were considerably younger they sent Lorraine books, the right books, the ones she said she needed. This inspiring teacher with the beautiful smile used those books to start the first preschool in Wugularr, 120 kilometres south of Katherine.

 

Lorraine works now for the Sunrise Health Service Aboriginal Corporation which has the huge job of bringing health to people scattered across vast distances in Arnhem Land. Lorraine directs the early learning and health education project supported by Ian Thorpe’s Fountain for Youth trust. She understands that if we are to create a brighter and more hopeful life for all Australian children then we need to create the change that can only come through education. If we are to overcome the crisis in Aboriginal communities around this country we have to educate ourselves to understand the truth.

 

Over fifty years of world wandering has deepened my appreciation of the extraordinary journey made by Aboriginal people to be here today as the world’s oldest continuous culture.

 

I am not romanticising the past but it is essential to acknowledge the strength, the beauty and the value of Australia’s Indigenous cultures to understand the scale of the crisis afflicting so many of our 460,000 Indigenous people.

 

Wherever you live in Australia you need to find out the longer timelines of the history of this land and its people to understand what is happening now.

 

Here in Victoria, it was plagues of sickness following European occupation that ravaged the Wathawurrung people on this land of theirs. Not since the arrival of those European illnesses has Aboriginal culture as a whole faced such a grave threat.

 

There is a genuine emergency today in the heartland of this country but it is not mentioned once in over 500 pages of legislation rushed through our Federal Parliament to try to legitimise the illegitimate takeover of the rights of Aboriginal communities. Eerily, it is hard to find mention of children in those 500 pages of legislation.

 

The federal intervention, approved by both major political parties, almost completely misreads the real trauma and the greatest threat to Aboriginal lives.

 

What is killing most Aboriginal people 17 to 20 years before their time is a plague of chronic illness known as Syndrome X. This is a new Black Death cutting the heart out of several generations of Aboriginal people. It is both physical and mental sickness on such a scale that Aboriginal communities are now shrouded in a seemingly endless procession of funerals and mourning.

 

In the 1980’s, travelling widely in the remote communities, I used the phrase “a health emergency” to describe for governments and our nation the accelerating plague of diabetes, renal disease, strokes, hypertension and heart disease. Syndrome X has been gathering terrible force. Governments, state and federal, have held numerous inquiries, health strategies have been plotted time and again, but no Government has invested adequately in the integrated program of health, housing, work and, in particular, education that can end this preventable cluster of chronic illnesses.

 

Look at it this way. Over 70% of your family’s good health is determined by your socio-economic status : your education, the money you earn at work, the quality of your home and the health care you access. Aboriginal people, on the UN’s measurement, have the second worst quality of life on earth, outdone in squalor and disadvantage only by the poorest rural Chinese.

 

Here in the midst of a Golden Age for most Australians, when the wealth of this Aboriginal Land has built an astonishing federal surplus of over 17 billion dollars this year, we still have hundreds of thousands of Aboriginal people, the owners of this Land, living in dire poverty. They are by far the most disadvantaged of Australia’s two million people living below the poverty line. I have seen children who wander around looking for food. Thousands of children are not even enrolled for school and many teenagers wander aimlessly. Whole communities have been denied their human right to adequate food, housing, health and education. As a result we are now witnessing the very rapid disintegration of so many Aboriginal families, in remote, rural and urban communities.

 

Aboriginal people have barely wiped the tears from their eyes when there’s news of another death, especially young men who see no future in their own country, ashamed middle aged men in the grip of alcohol and illness who know they can’t support their families and broken men who die in the long grass or sometimes in a police cell.

 

Just a few years ago at Barunga we buried one of the Jawoyn’s great modern leaders. The late Bangardi Lee was just 53, young enough to be my brother. But in these parts I meet few Aboriginal men my age. Mr Lee died after suffering but never complaining about his handful of Syndrome X chronic illnesses. This thoughtful man knew that education was the key to a better chance of health for all of his community and he had asked Ian Thorpe and myself to lend a hand to try to improve the staggering 93% illiteracy in this zone of distress. As he was lowered into the ground, in the Aboriginal custom we pressed our sweat onto the coffin and I whispered a promise that I would do as he asked and do what we could until these children, the Children of the Sunrise, had the same opportunity as my own.

 

When my mother was a country child, growing up on the land near Singleton in the Hunter Valley, she lived opposite a shanty settlement of very poor Aboriginal families. She told my brothers and I that as she walked barefoot to school she came to see that it was wrong that Aboriginal children were then denied a chance to learn in that same school. In my family we felt the same way to know that in the whole of the Northern Territory only 62 Aboriginal children completed high school in government schools in 2004 as we worked with Ian Thorpe to build an early learning and health education program. My son, Will and daughter, Claire, were unsettled when they learned that Aboriginal children had so little. They, too, knew it was wrong. It was the unfairness they couldn’t bear.

 

“I know why these kids find it so hard when they start school”, Will said. “They never see a book at home.” Yes, bookless homes, scores of communities without a library or a pre-school this is part of our failure. Claire and Will truly could not imagine a childhood without books, without that world of pure joy and discovery that is opened up through reading.

 

Yet every Australian literacy study confirms that by Year 3 many Indigenous children have fallen eighteen months behind the national literacy and numeracy standards. The strugglers continue to deteriorate and by grade seven lag five years behind. How will these Australian children make their way through life with the literacy level of a six-year-old?

 

If they can’t read or write properly how will they ever find their way out of the maze of poverty and poor health? How will they get a driver’s licence to move with freedom in the wider world or ever hold down a well paying job? Almost certainly non-readers will become dependent on others for simple but sometimes critical functions. In the Jawoyn communities, Bangardi Lee used to say how distressing it was for his people to turn to outsiders, even to write letters begging for help from Canberra.

  

Closing the gap in life expectancy between Aboriginal people and the rest of Australians is our greatest national challenge. The key is to close the gap in education.

 

It is no coincidence that in regions like Arnhem Land where the median age of death of Aboriginal men is around 46, much lower than the national average of around 56 for Indigenous men, you also find these illiteracy rates as high as 93%. The explanation lies in the complex chain of factors that produce disadvantage beginning at birth and developing into a loss of control over individual lives and even the destiny of whole communities.

 

In the case of some children the disadvantage starts in utero. American scholar, Paul E. Barton, found that of fourteen major factors contributing to the racial gap in educational achievement, eight of them occurred before the child reached school. Of great interest to me was Barton’s finding that hunger, nutrition and low-birthweight were important contributors. He is not alone in these findings.

 

Syndrome X, that cluster of illnesses devastating Aboriginal lives, was for a long time explained by some as the consequence of a weak gene. I heard the same racial excuse used thirty years ago to explain the disproportionate amount of these illnesses among Native Americans or African-Americans I was filming at the time for Four Corners. But this theory has been shattered in recent years. Professor John Bertram of Monash University and a team that included the Menzies School of Health Research in the NT and the University of Mississippi examined autopsies of those who had died of the Syndrome X illnesses. They found a fascinating constant. It crossed over races but it hovered around hunger and poverty. The common factor was being born a dangerously low birth weight baby.

 

Young Aboriginal mothers are often malnourished and have untreated infections. In utero their unborn baby develops too few nephrons in the kidney. These are the tiny filters. You don’t catch up on nephrons. The hand you are dealt at birth is what you will live and die with. With too few nephrons the kidney of the Aboriginal child struggles and overcompensates, with an increased risk of scarring and ultimately early kidney disease, then premature death. I wear another hat as a Trustee of Jimmy Little’s Foundation which is committed to helping Aboriginal people on dialysis get back to their country when they are battling through the last years of their lives. Australian hospitals are now seeing the start of an avalanche of patients requiring costly dialysis but many Aboriginal people won’t get this treatment and they too will die years before their time.

 

This is the epitaph we chisel on their tombstones. Born into disadvantage and died that way.

 

A leading Aboriginal scholar, Professor Ted Wilkes and Dr Fiona Stanley of the Telethon Institute report in their landmark Western Australian assessment of Aboriginal health a disturbing pattern of hunger, poor nutrition and a high incidence of smoking and drinking even while those young Aboriginal mothers were pregnant. 49 per cent of Indigenous mothers smoked through pregnancy and 23 per cent continued to drink alcohol. These are two more of the major causes of those dangerously low birth-weight babies.

 

What distressed the researchers the most was that apparently the health education message had never reached these young people or had been ignored. If you work in education we need to make a far more vigorous and creative effort, with messages shaped by Indigenous people, to help especially young teenage mothers understand that it is not only their health that is threatened. It is the future of their child, including the child’s intellect and ability to learn.

 

This kind of education is not part of the Federal Government’s intervention in the Northern Territory.

The Federal Government has never adequately funded the vital screening and prevention programs to prevent the epidemics of illness and disease. Led by the ex-Army Captain, Mal Brough, some troops lend a hand on logistics but they should be building up the vital services that have never been provided in so many of these communities. The Volunteer GP’s are now paid by the Federal Government to complete health checks to establish an audit of a health disaster that has been assessed numerous times. They will not be there long enough to provide real treatment. When they go home the pattern of chronic illness will remain.

 

The Northern Territory Intervention patronisingly ignores the good work by Aboriginal medical services, staffed by black and white Australians who can never get the adequate primary health care funding they need.

Mal Brough’s Intervention is a show of concern but it offers very little treatment for the conditions or illnesses of poverty that afflict these children.

Most of these children will never access the pharmaceutical benefits scheme because there are chemist shops in Aboriginal communities. They will not access the medical benefits scheme either because there may be only one GP for a vast area of the Northern Territory.

 

According to the National Rural health Alliance the number of Australian-trained GP’s choosing

to bring care to the seven million Australians living in the bush has plummeted.

 

The Aboriginal Health Services need more nurses, dentists and other health professionals. Their patients are about five times sicker than other Australians.

Aboriginal children have ailments hardly seen in our cities in thirty years, including the world’s highest rate of acute rheumatic heart fever, scabies, anaemia and other diseases of poverty, and otitis media, middle ear infections which cause serious loss of hearing and become a life long learning disability for over 80% of the Jawoyn children. These infections, which are detected in babies as young as three months spread rapidly in overcrowded houses, often with ten, fifteen or more people crowded together, sleeping on old mattresses. There’s broken plumbing, stoves and fridges often don’t work and there’s no one with a real plan to help them find their way out of this maze of poverty and bad health.

 

Patrick Dodson has stated firmly that only the Federal Government has the level of funding required to change this health disaster. This year, the Aboriginal Human Rights and Equal Opportunity Commissioner, Tom Calma decided to lead the Close the Gap campaign to focus our nation on this task at the start of a long federal election season. Cathy Freeman, Ian Thorpe and virtually every significant health organization in this land have joined forces to communicate a hopeful and positive message that within a decade we can make true progress and that with the will and the national commitment we will see that the ten thousand Aboriginal children born this year finally move towards a genuine equality of opportunity.

 

The Australian Medical Association, using estimates shaped by the health economist John Deeble, has estimated that an additional $460 million dollars a year is urgently required for primary health care in Aboriginal communities. I have pleaded for the past six years with the Federal Government to create the emergency level of aid that is required to deal with this genuine emergency. Kevin Rudd has put a couple of hundred million dollars on the table for an increased commitment to Indigenous Health. If the Prime Minister wants to see change in the lives of abused and neglected Aboriginal children he should now make a stronger commitment to provide the required level of Primary Health Care. I am not interested in more blaming. Let’s stop talking and get this done. In that prized future fund we have the bounty. Now we must have the belief. Let me share with you the proof that it can be done.

 

A good deal of research, especially by the Canadian scientist, Dr Fraser Mustard, has established that for every additional year of education provided to a whole community of young teenage women, we will add up to four years life expectancy to their first child.

 

Professor Ken Wyatt, formerly head of Aboriginal Health in NSW and now in charge of Western Australia’s Aboriginal health policy, adds another great incentive. Increasing the education of those young women by a single year can also reduce the danger of infant mortality when they give birth by between 7 and 10%. This is what I think of when I say, “Literacy is for life”.

 

What more motivation or sense of purpose can we want to create a very different kind of intervention : primary health care, managed and delivered by well funded Aboriginal health organizations, and education on a revolutionary scale that we have never provided Aboriginal children. Guaranteed pre-school education for all Australian children would be a great place to start. Go Kevin 07! But come on John! If you are going to fight out this election Prime Minister and offer a plan for the future, radically boost the investment in early learning.

 

Indigenous children are so disadvantaged that we need a literacy brigade of well educated people to rapidly lift the rate of learning. After I made this proposal two years ago at the Garma National Education Conference in the Northern Territory, the Minister for Indigenous Affairs responded by inviting the so called Grey Panthers to visit some remote communities in their caravans. This, as every teacher knows, is simply not enough.

 

The most disadvantaged students, in fact, require the highest standards of teaching. Some retired teachers and principals would have those talents and many others with appropriate cultural training could support these badly undermanned schools. The real champions of Indigenous education like Dr Chris Sara believe that the first step is to retrain principals to retrain their teachers to believe that Aboriginal children can reach the same standard of learning as the rest of Australian children.

But as with health workers, we need to fund an adequate education force equal to the great national task ahead of us.

 

I escorted the Federal Education Minister to one of the remote communities to show her that this can be done.

At Ian Thorpe’s Fountain for Youth Trust we have had some good support from the Federal Education department for our seven year effort to help improve the health and education of all Australian children.

 

Ian has been a true champion, visiting many of the remote communities, encouraging the children, their parents and their teachers. He is a strong man, with a big heart and a very fine mind. When asked how long he will persist in this work, he says, until we get the job done.

 

Charles Perkins told me many years ago that for Aboriginal people the road to equality would be a very long and hard one. We have to remain relentless and find the best in one another. Aboriginal people have been teaching me this for years.

 

Our strategy at Ian Thorpe’s Fountain for Youth trust is to focus on the well being of the young mothers, with early learning for their infants and a highly successful program of support for literacy at the primary school level.

 

Our Literacy Backpacks are tackling those bookless homes and supporting the NT teachers by closing the space between the school and the home. First we raise funds from the public. $200 can fund a child’s Literacy Backpack for a year’s worth of good reading. We seek support from companies like Credit Suisse Australia, Kessler and Vodafone to help resource a good school library with books tailored to the Accelerated Learning strategy favoured in the remote area schools. We enrol the kids in the Scholastic or Wombat Book club so they have the same encouragement and enjoyment as my children did as they make their own selections of reading. Instead of forcing truant kids to walk around picking up rubbish and other punitive, humiliating versions of this so called “tough love” approach of the NT intervention, the teachers we work with give the children an incentive to learn, to find themselves in the book. If the kids make good progress they get vouchers to purchase any book they like from the Katherine Bookshop. It’s owner, another spirited woman who believes in education, says many of these Aboriginal families are now saving and spending hundreds of dollars to provide more books for their children.

 

In the Literacy Backpacks the children take home a selection of reading for the whole family, for their younger brothers and sisters as well. They also carry home Aboriginal newspapers like the Koori Mail and the National Indigenous Times. Magazines on nutrition, cooking and baby care are very popular among the women. It’s incentive. It’s what these families are looking for and when children see their parents reading a newspaper or a magazine about contemporary Indigenous issues they know that learning is not a “gubba thing” just for white fellas..

 

To see people reading in those once bookless homes is a great satisfaction for teachers like Lorraine Bennett. Many of these Aboriginal schools in the Jawoyn communities are seeing significant measurable increases in the reading performances of the children.

 

Some of the girls used to ask my daughter Claire, “What are you going to do next ? “Well high school first,” she’d say. “I want to run fast like Cathy Freeman, swim fast like Ian, and then go to University like mum and dad.” I like to see our kids together, the boys running wild with Will and sharing their stories. Australian children sharing dreams.

 

Most of these children have never been far from their homelands. Learning and finding out what they truly need to know, those life empowering skills, will allow them to travel and come home. The greatest sense of progress is to hear children we know now talk of going to high school in Darwin or Cairns. It’s always hard to leave home and not every kid can handle that journey. Many Aboriginal leaders would love to see new residential high schools built to let children from several different communities share their school week together and then go home for a long weekend. At the moment scholarships and a very long journey is the only way. If they can make it, their mothers and fathers glow with pride.

 

It is so important to most of these parents to see that Indigenous culture is as prized as everything else in the school syllabus. Ian Thorpe’s Trust supports Aboriginal people to train the children in music, art and dance. Where possible these talents can flow into viable work and business that allows people a real chance to move from away from life limiting welfare dependency. In Wugularr, the Aboriginal actor, Tom Lewis, and local men organised the rebuilding of a Cultural Education Centre where young people are now trained in many forms of cultural expression usually shown off proudly at the annual Walking with Spirits festival.

 

In Queensland I have collaborated with the Aboriginal educator, Ernie Grant, on his “My Land, My Tracks” project. This is a teaching aide to help orient children to find out who they really are and how they fit into the longer timelines of Australian history. My experience with communities like Yarrabah and Kuranda, near Cairns, indicates that all forms of learning rapidly improve when Aboriginal children are more secure in their cultural knowledge and can value and respect their elders and their heritage. With Ernie Grant I share a passion to see Indigenous Studies elevated in importance in all levels of Australian education. As much as I learned at University I have made an effort throughout my professional lifetime to expand and deepen my appreciation of what it really means to live in this Aboriginal land. This can be a personal journey for every Australian.

 

What is missing in the Federal Government’s intervention into Aboriginal community life is any real empathy, any sense that we are walking with them, listening and learning. I am sorry but the words do matter and there is a coldness and insensitivity about this new policy of assimilation. There has been little meaningful consultation with the Aboriginal community leaders. Some were so upset they travelled to Federal Parliament but still couldn’t meet with those planning this radical upheaval. Very few Aboriginal people that I know in the Northern Territory agree that traditional lands should be under federal control through five year leases, evolving possibly into 99 year leases. Most are opposed to ending the permit system. Many more are fearful that John Howard’s Northern Territory plan, in the name of protecting children, is attempting to take over most aspects of running their families and communities.

 

In the name of ending welfare dependency we see the return to white management and clearly discriminatory practices. It is hard to see how this punitive approach will provide the training or even the right atmosphere for Aboriginal people to make their own moves to something better.

 

Claiming to “save their children” does not disguise the truth that this policy once more treats Aboriginal parents as incapable of looking after their children. It shames men and women, all of them, regardless of their behaviour. It is a return to the Mission mentality of subservience and inferiority. I thought we had agreed to leave that behind.

 

We must be honest here. The NT legislation is blatant discrimination. One set of rules for someone else. The legislation set aside the provisions of the Racial Discrimination Act. It also ignores the recommendations of the UN Committee against Discrimination urging Australia to uphold the right of Indigenous people to consultation in the decision making about their lives. The First Australians do have a right to autonomy that is once more being denied. Yet once more we are hearing that old misguided argument made when Aboriginal children of the Stolen Generation were denied their rights. We have to save the children, is again the cry.

 

The NT Intervention is an ideological power-play by a Prime Minister who has never believed that Aboriginal people have an exceptional, sacred right to their Land,

the entitlement of Native Title legally established by the High Court. This is a Prime Minister, according to his biography, that told his Treasurer that he would not walk in a Reconciliation March with Cabinet. I have tried to work cooperatively with several of Mr Howard’s federal ministers and know some want far better than this for Aboriginal people. But our federal parliament in a failure of will and judgement has ridden along with this intervention and watched the steady erosion of Aboriginal rights for over a decade.

 

The Federal Government’s refusal to say SORRY effectively ended Reconciliation. The Governments 10 Point Plan undermined Native Title. This was followed by the denial of the Indigenous Right to Self-Determination, the abolishment of ATSC and the isolation of Indigenous leaders who do not support assimilation. Then came the cultivation of a new Conservative agenda to remove or weaken the teaching of Aboriginal culture in schools. For an animist people who see the Land as their Mother the final and greatest insult is to see the Federal Government take control of the community land on which they live.

 

After many lifetimes of denial of who Aboriginal people really are, came many more lifetimes of struggle to win respect for their Culture and see them treated as equals.

 

It is a shameful Big Lie to present the abuse of these rights as in the best interests of Aboriginal people.

The NT intervention is replete with treachery and a looming sense of greater tragedy to come if it is allowed to continue as planned. Thankfully the outcry from many has softened the initial order for mandatory sexual inspections of Aboriginal children.

But the health organizations that do the hard work of caring for all of these children say nothing has yet been done to fund that essential primary health care or education on the scale required.

 

After all of the battles for justice and civil rights, that long road trudged by true Australian heroes like Jack Patton and William Ferguson, the historic claims by Vincent Lingiari, Eddie Mabo, the Wik people and others, are we now going to watch in silence as Aboriginal people once more see their lives taken over by

Government managers.

 

It is forty years since the moral force of Australians expressed clearly in the 1967 referendum our belief in human equality.

 

It is time to speak up and insist that whomever wins the coming federal election our federal government must invest some of that future fund in the real future of a great society, health and education for our children.

 

These are the Children of the Sunrise.

   

SOURCES

 

1. “No Excuses – Closing the Racial Gap in Learning. Stephen and Abigail Thernstrom. Simon & Schuster. New York. 2003.

2.“My Land, My Tracks”. Ernie Grant. Innisfail & District Education Centre. Innisfail.1998.

3.“Preliminary findings in a multiracial study of kidneys in autopsy”. Hoy, W.E., Douglas-Denton, R.N., Hughson, M.D., Cass, A.,Johnson,K., Betram, J.F., Kidney Journal International. 83, 31-37. June 2003.

4.“Benefits of Swimming Pools in Two Remote Communities in Western Australia”. (Includes Aboriginal childhood illness assessment) Lehmann,L., Tennant,M., Silva,D., McAullay,D., Lannigan,F., Coates,H. and Stanley,F. British Medical Journal (2003) 7412, 415-419.

5. “Public Report Card, Aboriginal and Torres Strait Islander Health: Time for Action”. Australian Medical Association. www.ama.com

6.“Parsing the Achievement Gap”, Paul E. Barton.

Analyses 14 factors contributing to the Racial

gap in Learning. Published by The Policy

Information Centre of the Educational Testing

Service. New York. 2003.

7. Western Australia Aboriginal Health Survey. Dr

Fiona Stanley, Assoc. Professor Ted Wilkes et

al. Telethon Institute for Child health

Research. Perth. WA.

8. Details of Health Education, Early Learning at

the Women Centres & Literacy Backpack

Projects available from Ian Thorpe’s Fountain

for Youth Trust. PO Box 402, Manly, NSW.

1655. Telephone : 02-89669422.

www.ianthorpesfountainforyouth.com.au

  

A line of thunderstorm formed just south and east of Cheyenne, Wyoming at sunset. As the skies darkened, lightning increased in frequency until it became continuous. This widefield F.O.V. was taken with a Nikon d7100, Tokina 11-16mm f/2.8 @ 11mm and 16mm.

Roller ball and ink on paper

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.

 

en.wikipedia.org/wiki/Infrared_photography

 

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.

 

en.wikipedia.org/wiki/Infrared_photography

 

Tower Colliery (Welsh: Glofa'r Tŵr) was the oldest continuously working deep-coal mine in the United Kingdom, and possibly the world, until its closure in 2008. It was the last mine of its kind to remain in the South Wales Valleys. It was located near the villages of Hirwaun and Rhigos, north of the town of Aberdare in the Cynon Valley south Wales.

 

With coal located so close to the surface, it was known by locals to be possible to drift mine coal from Hirwaun common. This activity increased from 1805, until in 1864 the first drift named Tower was started, named after the nearby Crawshay's Tower, a folly built in 1848 and named after Richard Crawshay.

 

In 1941, a new shaft was sunk to a depth of 160 metres. From 1943 until closure, this shaft was used as the main "return" ventilation shaft and for the transport of men. In 1958 Tower No. 3 was driven to meet the No. 4 colliery workings, and was used as the main "intake" airway, conveying coal to the surface and transporting materials into the mine working areas.

 

The Aberdare branch of the Merthyr line continued north from Aberdare railway station to the colliery. While passenger services terminate in Aberdare, freight services operated several times a day along this stretch of line, directly owned by the colliery.

 

Post the 1984/5 UK Miner's strike, the Conservative government authorised British Coal to close the majority of the UK's deep mines on economic grounds, nominally including Tower. But from 30 June 1986, with new underground roads having been driven, all coal from Mardy Colliery was also raised at Tower,the two mines effectively working as one coalfield system. Mardy closed as an access shaft on 21 December 1990.

 

In October 1993 the red flag was raised on Hirwaun common as a symbol of unity between workers of Tower Colliery during a march to commemorate the Merthyr Rising in 1831, and highlight the plight of their own pit. In 1994, the constituency MP, Ann Clwyd staged a sit-in in the mine to protest against its closure, accompanied by the late Glyndwr 'Glyn' Roberts (Senior) of Penywaun.

 

British Coal closed Tower Colliery on 22 April 1994, on the grounds that it would be uneconomic in current market conditions to continue production.

 

Led by local NUM Branch Secretary Tyrone O'Sullivan, 239 miners joined TEBO (Tower Employees Buy-Out), with each pledging £8,000 from their redundancy payouts to buy back Tower. Against stiff central government resistance to the possibility of reopening the mine as a coal production unit, a price of £2 million was eventually agreed.

 

With their bid accepted, the miners marched back to the pit on 2 January 1995, with a balloon inflated for each worker. On 3 January 1995 the Colliery re-opened under the ownership of the workforce buy out company Goitre Tower Anthracite.[4] Philip Weekes, the renowned Welsh mining engineer, was a key advisor to the buy-out team and became (unpaid) Chairman.

 

In 2014, John Redwood, the Secretary of State for Wales in 1995, and also Director of Margaret Thatcher's Number 10 Policy Unit 1983-85, wrote of the period of pit closures and Tower Colliery:

 

"At the end of the dispute I tried to get the government to offer the miners the right to work a pit the Coal Board claimed was uneconomic for themselves, as I was suspicious about some of the pits the Coal Board wished to close. I wanted a magnanimous aftermath. John Moore the privatisation Minister worked up some proposals but they got into the press before they were fully thought through or cleared with the PM, so the whole idea was lost. It was not until I was in the Cabinet myself that I was able to help one group of miners do just that, at Tower Colliery. They demonstrated that free of Coal Board control it was possible, at least in their case, to run the pit for longer."

 

Up to 14 coal seams had been worked at Tower Colliery during its history, and the neighbouring mines within the lease area of Tower, which was 14.8 km in circumference to create an area of 221.3 hectares. The actual boundaries of the lease were defined either by faults or seam splits in the local geostructure, or excess water to the northwest in the Bute seam.[8] The seams produced good quality coking coal, which was washed onsite at a coal washing plant built in the mid-1980s, after extraction through the hillside on a conveyor belt.

 

Although the mine remained financially viable and continued to provide employment to the workers, by the time of the buyout the only seam worked at Tower was the Seven Feet/Five Feet, a combined seam of several leaves which offered 1.3m of anthracite in a mined section of 1.65m. Working directly under the shaft of the former Glyncorrwg Colliery's "nine feet" workings, the four faces worked in the western section of the lease were considered uneconomic by British Coal.

 

As the worked seam reduced in capacity, the management team considered three possibilities to extend the length of mine production:

 

Work another nine faces in the existing workings, in coal classed only as mineral potential

Address the water problem in the Bute seam, to the northwest

Open new developments in the Nine Feet seam, 100 m above the existing seam; the Four Feet seam, a further 30 m above

But none of these prospects seemed economic, so the board recommended that work be concentrated on coal to the north of the existing workings, which had been left to protect the safety of the existing shafts. Accepted by the workforce and shareholders in an open vote, this decision effectively accepted the end of Tower as a deep mine.

 

Having mined out the northern coal extracts, the colliery was last worked on 18 January 2008 and the official closure of the colliery occurred on 25 January. The colliery was, until its closure, one of the largest employers in the Cynon Valley.

 

Machinery from Tower was used to boost production at the nearby Aberpergwm Colliery, a smaller drift mine closed by the National Coal Board in 1985 but reopened by a private concern in the mid 1990s.

 

The management announced at closure that one of the possibilities of creating additional short term value was through open cast mining extraction of the residual 6 million tonnes of anthracite. In August 2010, the company filed a planning application for the extraction by open cast mining of coal to a depth of 165 metres (541 ft), on a 200 acres (81 ha) section of the former coal washery site. Coal would then be transported to Aberthaw Power Station by train.

 

In 2012 Tower Regeneration Ltd, a joint venture partnership between Tower Colliery Ltd and Hargreaves Services plc was formed. The partnership company received planning permission that year to allow opencast coal extraction on what were termed the surface workings of the former colliery site, on the pre-condition that the site would be subject to land remediation and reclamation, followed by land restoration of the entire Tower Colliery site. The land reclamation works includes: removal of structures; removal of residual contamination; re-profiling of colliery spoil tips; removal of coal workings and mine entries; and provision of surface drainage. The project will create a sloping landform to reproduce semi-natural habitats on the site, and hence prepare the area ground for future mixed-use development.

 

The shareholders are still debating the future of the site, which they eventually wish to have developed to leave a legacy for the area which provides employment. Eventually there are plans to develop the site, with combinations of housing, industrial estate, industrial heritage museum or tourism resort being debated with several potential partners.

 

source: Wikipedia

   

After the cutting. The last step here is to fill in the groove and set the proper depth. This is also done with apoxie sculpt and a custom depth tool a made for this purpose.

Built for my continuous story "Flight of the Phoenix" in the SW Factions RPG game.

 

The R93 first appeared in the Star Wars Outlaws DLC "A pirates fortune". I really liked the change of perspective in game and to fly with the Refractor. The different flight modes give it some appealing silhouette and function.

 

The Flame of Zhar syndicate is recruiting! DM me, join an active and supportive community of Lego Star Wars builders and share your builds and stories in an immersive and rich Lego Star Wars universe!

New building along Freeway 110... Last time I witnessed this kind of (lending) activity, things didn't work out so well. But history is just any idiot waiting to tell you what you did wrong. : > )

Los Angeles, California

Soldes - Window Shopping

 

Quick contour/continuous line drawing.

 

Ink pen

Grained paper

21 x 14,8 cm

IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

These are a combination of continuous, blind and point to point drawing. I find that not lifting my pen helps me keep my eyes focussed on the subject.

 

Thing is...I think I was so focussed that my imagination kicked in and I was seeing a whole dialogue happening with these humble 'characters' from my kitchen. Actually it wasn't a dialogue but an altercation of sorts. Not sure what it was about. Oh dear, do proper artists have distractions such as this?!

Wikipedia: Present Continuous (deutsch: Gebückter Mensch, der nach unten schaut) ist eine Monumentalskulptur des niederländischen Bildhauers Henk Visch, die im Mai 2011 zwischen dem Eingang des neuen Gebäudes der Hochschule für Fernsehen und Film und dem Eingang des Staatlichen Museums Ägyptischer Kunst in München auf einem Grünstreifen entlang der Gabelsbergerstraße aufgestellt wurde.[1]

 

Es handelt sich um eine Aluminiumfigur ohne Arme, die nach vorne gebeugt ist. Die Figur ist 3,60 m hoch. Das Gesicht ist auf den Boden gerichtet. Von der Stirn aus, wie eine Kopfstütze, verläuft ein stählerner, roter Sehstrahl durch den Boden in einen Saal des darunterliegenden Ägyptischen Museums – „als Verbindung von Vergangenheit und forschender Gegenwart“.[2

Continuous cost cutting of the Matchbox line up predictably saw their Garbage King casting become plastic bodied and with no opening rear hatch. Lots of dull unpainted grey plastic too though as a concept I still appreciate its modern Eurocentric style cab which looks particularly Scania-esque. Part of the latest Case F which is literally just about to be released. Mint and boxed.

Le stazioni GPS sono strumenti geodetici usati per monitorare le deformazioni lente e veloci della crosta terrestre. Qui una stazione remota di monitoraggio continuo alimentata da pannelli solari e trasmissione dati via radio modem / GPS stations are geodetic instruments used to monitor deformations of the Earth's crust. Here is a continuous monitoring station powered by solar panels and data transfer via radio modem. Photo: Marco Anzidei

Amman is the capital and largest city of Jordan. It is the area's political, cultural and commercial centre and one of the oldest continuously inhabited cities in the world. The city has the population of 2,842,629 as of 2010. During its long history, Amman has been inhabited by several civilizations. The first civilization on record is during the Neolithic period, around 10050 BC, when archaeological discoveries in 'Ain Ghazal, located in eastern Amman, showed evidence of not only a settled life but also the growth of artistic work, which suggests that a well-developed civilization inhabited the city at that time. In the 13th century BC Amman was called Rabbath Ammon or Rabat Amon by the Ammonites. In the Hebrew Bible, it is referred to as Rabbat Ammon. It was later conquered by the Assyrians, followed by the Persians, and then the Macedonians. Ptolemy II Philadelphus, the Macedonian ruler of Egypt, renamed it Philadelphia. The city became part of the Nabataean kingdom until 106 AD when Philadelphia came under Roman. In 1921, Abdullah I chose Amman instead of As-Salt as seat of government for his newly created state, the Emirate of Transjordan, and later as the capital of the Hashemite Kingdom of Jordan. Amman has experienced exceptionally rapid development since 2010 under the leadership of two Hashemite Kings, Hussein of Jordan and Abdullah II of Jordan.

 

en.wikipedia.org/wiki/Amman

Varanasi, also known as Benares, or Kashi is an Indian city on the banks of the Ganga in Uttar Pradesh, 320 kilometres south-east of the state capital, Lucknow. It is the holiest of the seven sacred cities (Sapta Puri) in Hinduism, and Jainism, and played an important role in the development of Buddhism. Some Hindus believe that death at Varanasi brings salvation. It is one of the oldest continuously inhabited cities in the world. Varanasi is also known as the favourite city of the Hindu deity Lord Shiva as it has been mentioned in the Rigveda that this city in older times was known as Kashi or "Shiv ki Nagri".

 

The Kashi Naresh (Maharaja of Kashi) is the chief cultural patron of Varanasi, and an essential part of all religious celebrations. The culture of Varanasi is closely associated with the Ganges. The city has been a cultural centre of North India for several thousand years, and has a history that is older than most of the major world religions. The Benares Gharana form of Hindustani classical music was developed in Varanasi, and many prominent Indian philosophers, poets, writers, and musicians live or have lived in Varanasi. Gautama Buddha gave his first sermon at Sarnath, located near Varanasi.

 

Varanasi is the spiritual capital of India. It is often referred to as "the holy city of India", "the religious capital of India", "the city of Shiva", and "the city of learning". Scholarly books have been written in the city, including the Ramcharitmanas of Tulsidas. Today, there is a temple of his namesake in the city, the Tulsi Manas Mandir. The current temples and religious institutions in the city are dated to the 18th century. One of the largest residential universities of Asia, the Banaras Hindu University (BHU), is located here.

 

ETYMOLOGY

The name Varanasi possibly originates from the names of the two rivers: Varuna, still flowing in Varanasi, and Asi, a small stream near Assi Ghat. The old city does lie on the north shores of Ganges River bounded by its two tributaries Varuna and Asi. Another speculation is that the city derives its name from the river Varuna, which was called Varanasi in olden times.[11] This is generally disregarded by historians. Through the ages, Varanasi has been known by many names including Kāśī or Kashi (used by pilgrims dating from Buddha's days), Kāśikā (the shining one), Avimukta ("never forsaken" by Shiva), Ānandavana (the forest of bliss), and Rudravāsa (the place where Rudra/Śiva resides).

 

In the Rigveda, the city is referred to as Kāśī or Kashi, the luminous city as an eminent seat of learning. The name Kāśī is also mentioned in the Skanda Purana. In one verse, Shiva says, "The three worlds form one city of mine, and Kāśī is my royal palace therein." The name Kashi may be translated as "City of Light".

 

HISTORY

According to legend, Varanasi was founded by the God Shiva. The Pandavas, the heroes of the Hindu epic Mahabharata are also stated to have visited the city in search of Shiva to atone for their sins of fratricide and Brāhmanahatya that they had committed during the climactic Kurukshetra war. It is regarded as one of seven holy cities which can provide Moksha:

 

The earliest known archaeological evidence suggests that settlement around Varanasi in the Ganga valley (the seat of Vedic religion and philosophy) began in the 11th or 12th century BC, placing it among the world's oldest continually inhabited cities. These archaeological remains suggest that the Varanasi area was populated by Vedic people. However, the Atharvaveda (the oldest known text referencing the city), which dates to approximately the same period, suggests that the area was populated by indigenous tribes. It is possible that archaeological evidence of these previous inhabitants has yet to be discovered. Recent excavations at Aktha and Ramnagar, two sites very near to Varanasi, show them to be from 1800 BC, suggesting Varanasi started to be inhabited by that time too. Varanasi was also home to Parshva, the 23rd Jain Tirthankara and the earliest Tirthankara accepted as a historical figure in the 8th century BC.

 

Varanasi grew as an important industrial centre, famous for its muslin and silk fabrics, perfumes, ivory works, and sculpture. During the time of Gautama Buddha (born circa 567 BC), Varanasi was the capital of the Kingdom of Kashi. Buddha is believed to have founded Buddhism here around 528 BC when he gave his first sermon, "Turning the Wheel of Law", at nearby Sarnath. The celebrated Chinese traveller Xuanzang, who visited the city around 635 AD, attested that the city was a centre of religious and artistic activities, and that it extended for about 5 kilometres along the western bank of the Ganges. When Xuanzang, also known as Hiuen Tsiang, visited Varanasi in the 7th century, he named it "Polonisse" and wrote that the city had some 30 temples with about 30 monks. The city's religious importance continued to grow in the 8th century, when Adi Shankara established the worship of Shiva as an official sect of Varanasi.

 

In ancient times, Varanasi was connected by a road starting from Taxila and ending at Pataliputra during the Mauryan Empire. In 1194, the city succumbed to Turkish Muslim rule under Qutb-ud-din Aibak, who ordered the destruction of some one thousand temples in the city. The city went into decline over some three centuries of Muslim occupation, although new temples were erected in the 13th century after the Afghan invasion. Feroz Shah ordered further destruction of Hindu temples in the Varanasi area in 1376. The Afghan ruler Sikander Lodi continued the suppression of Hinduism in the city and destroyed most of the remaining older temples in 1496. Despite the Muslim rule, Varanasi remained the centre of activity for intellectuals and theologians during the Middle Ages, which further contributed to its reputation as a cultural centre of religion and education. Several major figures of the Bhakti movement were born in Varanasi, including Kabir who was born here in 1389 and hailed as "the most outstanding of the saint-poets of Bhakti cult (devotion) and mysticism of 15th-Century India"; and Ravidas, a 15th-century socio-religious reformer, mystic, poet, traveller, and spiritual figure, who was born and lived in the city and employed in the tannery industry. Similarly, numerous eminent scholars and preachers visited the city from across India and south Asia. Guru Nanak Dev visited Varanasi for Shivratri in 1507, a trip that played a large role in the founding of Sikhism.

 

In the 16th century, Varanasi experienced a cultural revival under the Muslim Mughal emperor Akbar who invested in the city, and built two large temples dedicated to Shiva and Vishnu. The Raja of Poona established the Annapurnamandir and the 200 metres Akbari Bridge was also completed during this period. The earliest tourists began arriving in the city during the 16th century. In 1665, the French traveller Jean Baptiste Tavernier described the architectural beauty of the Vindu Madhava temple on the side of the Ganges. The road infrastructure was also improved during this period and extended from Kolkata to Peshawar by Emperor Sher Shah Suri; later during the British Raj it came to be known as the famous Grand Trunk Road. In 1656, emperor Aurangzeb ordered the destruction of many temples and the building of mosques, causing the city to experience a temporary setback. However, after Aurangazeb's death, most of India was ruled by a confederacy of pro-Hindu kings. Much of modern Varanasi was built during this time by the Rajput and Maratha kings, especially during the 18th century, and most of the important buildings in the city today date to this period. The kings continued to be important through much of the British rule (1775–1947 AD), including the Maharaja of Benares, or Kashi Naresh. The kingdom of Benares was given official status by the Mughals in 1737, and continued as a dynasty-governed area until Indian independence in 1947, during the reign of Dr. Vibhuti Narayan Singh. In the 18th century, Muhammad Shah ordered the construction of an observatory on the Ganges, attached to Man Mandir Ghat, designed to discover imperfections in the calendar in order to revise existing astronomical tables. Tourism in the city began to flourish in the 18th century. In 1791, under the rule of the British Governor-General Warren Hastings, Jonathan Duncan founded a Sanskrit College in Varanasi. In 1867, the establishment of the Varanasi Municipal Board led to significant improvements in the city.

 

In 1897, Mark Twain, the renowned Indophile, said of Varanasi, "Benares is older than history, older than tradition, older even than legend, and looks twice as old as all of them put together." In 1910, the British made Varanasi a new Indian state, with Ramanagar as its headquarters but with no jurisdiction over the city of Varanasi itself. Kashi Naresh still resides in the Ramnagar Fort which is situated to the east of Varanasi, across the Ganges. Ramnagar Fort and its museum are the repository of the history of the kings of Varanasi. Since the 18th century, the fort has been the home of Kashi Naresh, deeply revered by the local people. He is the religious head and some devout inhabitants consider him to be the incarnation of Shiva. He is also the chief cultural patron and an essential part of all religious celebrations.

 

A massacre by British troops, of the Indian troops stationed here and of the population of the city, took place during the early stages of the Indian Rebellion of 1857. Annie Besant worked in Varanasi to promote theosophy and founded the Central Hindu College which later became a foundation for the creation of Banaras Hindu University as a secular university in 1916. Her purpose in founding the Central Hindu College in Varanasi was that she "wanted to bring men of all religions together under the ideal of brotherhood in order to promote Indian cultural values and to remove ill-will among different sections of the Indian population."

 

Varanasi was ceded to the Union of India on 15 October 1948. After the death of Dr. Vibhuti Narayan Singh in 2000, his son Anant Narayan Singh became the figurehead king, responsible for upholding the traditional duties of a Kashi Naresh.

 

MAIN SIGHTS

Varanasi's "Old City", the quarter near the banks of the Ganga river, has crowded narrow winding lanes flanked by road-side shops and scores of Hindu temples. As atmospheric as it is confusing, Varanasi's labyrinthine Old City has a rich culture, attracting many travellers and tourists. The main residential areas of Varanasi (especially for the middle and upper classes) are situated in regions far from the ghats; they are more spacious and less polluted.

 

Museums in and around Varanasi include Jantar Mantar, Sarnath Museum, Bharat Kala Bhawan and Ramnagar Fort.

 

JANTAR MANTAR

The Jantar Mantar observatory (1737) is located above the ghats on the Ganges, much above the high water level in the Ganges next to the Manmandir Ghat, near to Dasaswamedh Ghat and adjoining the palace of Raja Jai Singh of Jaipur. Compared to the observatories at Jaipur and Delhi, it is less well equipped but has a unique equatorial sundial which is functional and allows measurements to be monitored and recorded by one person.

 

RAMNAGAR FORT

The Ramnagar Fort located near the Ganges River on its eastern bank, opposite to the Tulsi Ghat, was built in the 18th century by Kashi Naresh Raja Balwant Singh with creamy chunar sandstone. It is in a typically Mughal style of architecture with carved balconies, open courtyards, and scenic pavilions. At present the fort is not in good repair. The fort and its museum are the repository of the history of the kings of Benares. It has been the home of the Kashi Naresh since the 18th century. The current king and the resident of the fort is Anant Narayan Singh who is also known as the Maharaja of Varanasi even though this royal title has been abolished since 1971. Labeled "an eccentric museum", it has a rare collection of American vintage cars, sedan chairs (bejeweled), an impressive weaponry hall and a rare astrological clock. In addition, manuscripts, especially religious writings, are housed in the Saraswati Bhawan. Also included is a precious handwritten manuscript by Goswami Tulsidas. Many books illustrated in the Mughal miniature style, with beautifully designed covers are also part of the collections. Because of its scenic location on the banks of the Ganges, it is frequently used as an outdoor shooting location for films. The film titled Banaras is one of the popular movies shot here. However, only a part of the fort is open for public viewing as the rest of the area is the residence of the Kashi Naresh and his family. It is 14 kilometres from Varanasi.

 

GHATS

Ghats are embankments made in steps of stone slabs along the river bank where pilgrims perform ritual ablutions. Ghats in Varanasi are an integral complement to the concept of divinity represented in physical, metaphysical and supernatural elements. All the ghats are locations on "the divine cosmic road", indicative of "its manifest transcendental dimension" Varanasi has at least 84 ghats. Steps in the ghats lead to the banks of River Ganges, including the Dashashwamedh Ghat, the Manikarnika Ghat, the Panchganga Ghat and the Harishchandra Ghat (where Hindus cremate their dead). Many ghats are associated with legends and several are now privately owned.

 

Many of the ghats were built when the city was under Maratha control. Marathas, Shindes (Scindias), Holkars, Bhonsles, and Peshwas stand out as patrons of present-day Varanasi. Most of the ghats are bathing ghats, while others are used as cremation sites. A morning boat ride on the Ganges across the ghats is a popular visitor attraction. The extensive stretches of ghats enhance the river front with a multitude of shrines, temples and palaces built "tier on tier above the water’s edge".

 

The Dashashwamedh Ghat is the main and probably the oldest ghat of Varansi located on the Ganges, close to the Kashi Vishwanath Temple. It is believed that Brahma created it to welcome Shiva and sacrificed ten horses during the Dasa -Ashwamedha yajna performed here. Above the ghat and close to it, there are also temples dedicated to Sulatankesvara, Brahmesvara, Varahesvara, Abhaya Vinayaka, Ganga (the Ganges), and Bandi Devi which are part of important pilgrimage journeys. A group of priests perform "Agni Pooja" (Worship to Fire) daily in the evening at this ghat as a dedication to Shiva, Ganga, Surya (Sun), Agni (Fire), and the whole universe. Special aartis are held on Tuesdays and on religious festivals.

 

The Manikarnika Ghat is the Mahasmasana (meaning: "great cremation ground") and is the primary site for Hindu cremation in the city. Adjoining the ghat, there are raised platforms that are used for death anniversary rituals. It is said that an ear-ring (Manikarnika) of Shiva or his wife Sati fell here. According to a myth related to the Tarakesvara Temple, a Shiva temple at the ghat, Shiva whispers the Taraka mantra ("Prayer of the crossing") in the ear of the dead. Fourth-century Gupta period inscriptions mention this ghat. However, the current ghat as a permanent riverside embankment was built in 1302 and has been renovated at least three times.

 

TEMPLES

Among the estimated 23000 temples in Varanasi, the most worshiped are: the Kashi Vishwanath Temple of Shiva; the Sankat Mochan Hanuman Temple; and the Durga Temple known for the band of monkeys that reside in the large trees nearby.

 

Located on the outskirts of the Ganges, the Kashi Vishwanath Temple – dedicated to Varanasi's presiding deity Shiva (Vishwanath – "Lord of the world") – is an important Hindu temple and one of the 12 Jyotirlinga Shiva temples. It is believed that a single view of Vishwanath Jyotirlinga is worth more than that of other jyotirlingas. The temple has been destroyed and rebuilt a number of times. The Gyanvapi Mosque, which is adjacent to the temple, is the original site of the temple. The temple, as it exists now, also called Golden Temple, was built in 1780 by Queen Ahilyabai Holkar of Indore. The two pinnacles of the temple are covered in gold, donated in 1839 by Ranjit Singh, the ruler of the Punjab and the remaining dome is also planned to be gold plated by the Ministry of Culture & Religious Affairs of Uttar Pradesh. On 28 January 1983, the temple was taken over by the government of Uttar Pradesh and its management was transferred to a trust with then Kashi Naresh, Vibhuti Narayan Singh, as president and an executive committee with a Divisional Commissioner as chairman. Numerous rituals, prayers and aratis are held daily, starting from 2:30 am till 11:00 pm.

 

The Sankat Mochan Hanuman Temple is one of the sacred temples of the Hindu god Hanuman situated by the Assi River, on the way to the Durga and New Vishwanath temples within the Banaras Hindu University campus. The present temple structure was built in early 1900s by the educationist and freedom fighter, Pandit Madan Mohan Malviya, the founder of Banaras Hindu University. It is believed the temple was built on the very spot where the medieval Hindu saint Tulsidas had a vision of Hanuman. Thousands flock to the temple on Tuesdays and Saturdays, weekdays associated with Hanuman. On 7 March 2006, in a terrorist attack one of the three explosions hit the temple while the Aarti was in progress when numerous devotees and people attending a wedding were present and many were injured. However, normal worship was resumed the next day with devotees visiting the temple and reciting hymns of Hanuman Chalisa (authored by Tulidas) and Sundarkand (a booklet of these hymns is provided free of charge in the temple). After the terrorist incident, a permanent police post was set up inside the temple.

 

There are two temples named "Durga" in Varanasi, Durga Mandir (built about 500 years ago), and Durga Kund (built in the 18th century). Thousands of Hindu devotees visit Durga Kund during Navratri to worship the goddess Durga. The temple, built in Nagara architectural style, has multi-tiered spires[96] and is stained red with ochre, representing the red colour of Durga. The building has a rectangular tank of water called the Durga Kund ("Kund" meaning a pond or pool). Every year on the occasion of Nag Panchami, the act of depicting the god Vishnu reclining on the serpent Shesha is recreated in the Kund.

 

While the Annapurna Temple, located close to the Kashi Vishwanath temple, is dedicated to Annapurna, the goddess of food, the Sankatha Temple close to the Sindhia Ghat is dedicated to Sankatha, the goddess of remedy. The Sankatha temple has a large sculpture of a lion and a nine temple cluster dedicated to the nine planets.

 

Kalabhairav Temple, an ancient temple located near the Head Post Office at Visheshar Ganj, is dedicated to Kala-Bhairava, the guardian (Kotwal) of Varanasi. The Mrithyunjay Mahadev Temple, dedicated to Shiva, is situated on the way to Daranagar to Kalbhairav temple. A well near the temple has some religious significance as its water source is believed to be fed from several underground streams, having curative powers.

 

The New Vishwanath Temple located in the campus of Banaras Hindu University is a modern temple which was planned by Pandit Malviya and built by the Birlas. The Tulsi Manas Temple, nearby the Durga Temple, is a modern temple dedicated to the god Rama. It is built at the place where Tulsidas authored the Ramcharitmanas, which narrates the life of Rama. Many verses from this epic are inscribed on the temple walls.

 

The Bharat Mata Temple, dedicated to the national personification of India, was inaugurated by Mahatma Gandhi in 1936. It has relief maps of India carved in marble. Babu Shiv Prasad Gupta and Durga Prasad Khatri, leading numismatists, antiquarians and nationalist leaders, donated funds for its construction.

 

RELIGION

HINDUISM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

ISLAM

Varanasi is one of the holiest cities and centres of pilgrimage for Hindus of all denominations. It is one of the seven Hindu holiest cities (Sapta Puri), considered the giver of salvation (moksha). Over 50,000 Brahmins live in Varanasi, providing religious services to the masses. Hindus believe that bathing in the Ganges remits sins and that dying in Kashi ensures release of a person's soul from the cycle of its transmigrations. Thus, many Hindus arrive here for dying.

 

As the home to the Kashi Vishwanath Temple Jyotirlinga, it is very sacred for Shaivism. Varanasi is also a Shakti Peetha, where the temple to goddess Vishalakshi stands, believed to be the spot where the goddess Sati's earrings fell. Hindus of the Shakti sect make a pilgrimage to the city because they regard the River Ganges itself to be the Goddess Shakti. Adi Shankara wrote his commentaries on Hinduism here, leading to the great Hindu revival.

 

In 2001, Hindus made up approximately 84% of the population of Varanasi District.

 

OTHERS

At the 2001 census, persons of other religions or no religion made up 0.4% of the population of Varanasi District.

 

Varanasi is a pilgrimage site for Jains along with Hindus and Buddhists. It is believed to be the birthplace of Suparshvanath, Shreyansanath, and Parshva, who are respectively the seventh, eleventh, and twenty-third Jain Tirthankars and as such Varanasi is a holy city for Jains. Shree Parshvanath Digambar Jain Tirth Kshetra (Digambar Jain Temple) is situated in Bhelupur, Varanasi. This temple is of great religious importance to the Jain Religion.

 

Sarnath, a suburb of Varanasi, is a place of Buddhist pilgrimage. It is the site of the deer park where Siddhartha Gautama of Nepal is said to have given his first sermon about the basic principles of Buddhism. The Dhamek Stupa is one of the few pre-Ashokan stupas still in existence, though only its foundation remains. Also remaining is the Chaukhandi Stupa commemorating the spot where Buddha met his first disciples in the 5th century. An octagonal tower was built later there.

 

Guru Nanak Dev visited Varanasi for Shivratri in 1507 and had an encounter which with other events forms the basis for the story of the founding of Sikhism. Varanasi also hosts the Roman Catholic Diocese of Varanasi, and has an insignificant Jewish expatriate community. Varanasi is home to numerous tribal faiths which are not easily classified.

 

Dalits are 13% of population Of Varanasi city. Most dalits are followers of Guru Ravidass. So Shri Guru Ravidass Janam Asthan is important place of pilgrimage for Ravidasis from all around India.

 

RELIGIOUS FESTIVALS

On Mahashivaratri (February) – which is dedicated to Shiva – a procession of Shiva proceeds from the Mahamrityunjaya Temple to the Kashi Vishwanath Temple.

 

Dhrupad Mela is a five-day musical festival devoted to dhrupad style held at Tulsi Ghat in February–March.

 

The Sankat Mochan Hanuman Temple celebrates Hanuman Jayanti (March–April), the birthday of Hanuman with great fervour. A special puja, aarti, and a public procession is organized. Starting in 1923, the temple organizes a five-day classical music and dance concert festival titled Sankat Mochan Sangeet Samaroh in this period, when iconic artists from all parts of India are invited to perform.

 

The Ramlila of Ramnagar is a dramatic enactment of Rama's legend, as told in Ramacharitamanasa. The plays, sponsored by Kashi Naresh, are performed in Ramnagar every evening for 31 days. On the last day, the festivities reach a crescendo as Rama vanquishes the demon king Ravana. Kashi Naresh Udit Narayan Singh started this tradition around 1830.

 

Bharat Milap celebrates the meeting of Rama and his younger brother Bharata after the return of the former after 14 years of exile. It is celebrated during October–November, a day after the festival of Vijayadashami. Kashi Naresh attends this festival in his regal attire resplendent in regal finery. The festival attracts a large number of devotees.

 

Nag Nathaiya, celebrated on the fourth lunar day of the dark fortnight of the Hindu month of Kartik (October–November), that commemorates the victory of the god Krishna over the serpent Kaliya. On this occasion, a large Kadamba tree (Neolamarckia cadamba) branch is planted on the banks of the Ganges so that a boy acting the role of Krishna can jump into the river on to the effigy representing Kaliya. He stands over the effigy in a dancing pose playing the flute; the effigy and the boy standing on it is given a swirl in front of the audience. People watch the display standing on the banks of the river or from boats.

 

Ganga Mahotsav is a five-day music festival organized by the Uttar Pradesh Tourism Department, held in November–December culminating a day before Kartik Poornima (Dev Deepawali). On Kartik Poornima also called the Ganges festival, the Ganges is venerated by arti offered by thousands of pilgrims who release lighted lamps to float in the river from the ghats.

 

Annually Jashne-Eid Miladunnabi is celebrated on the day of Barawafat in huge numbers by Muslims in a huge rally coming from all the parts of the city and meeting up at Beniya Bagh.