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Volevo dire ai visitatori che questo non sono io..grazie !
I wanted to tell people that this is not me .. thanks!
CDF stands for the Collider Detector at Fermilab. CDF is an experiment at Fermilab which uses beams of colliding high-energy protons and antiprotons to study the nature of the universe.
This view shows the central inner part of the detector from below, with the beam vacuum pipe running overhead (vertical in the shot).
A fine device . many good finds with it. Purchased 11/20/89
$318.45
1786 Connecticut ,cent
1700 Brit.
175? Brit.
1734 Brit large cent
1733 Spanish 1 reale
1751 Mexican 1 reale
1722 Rosa Americana 1/2 p.
1833 lg cnt
1837 Montreal Agriculture token .
1841 lg cnt .
1856 French cnt
1898s Barber dime.
1880 Indian cnt
1877cc seated dime
1817 large cnt
1864 2 cnt
1865 2 cnt
1903 Barber dime
1919d,1935d, 3,1939 , 1941, 2 , 1942, 4, 1943 , 3, 1945 ,3,1944 Merc dimes
1942 5cnt
1945 5cnt
1916/17 d ,Standing 1928, 1927, 1930.
1917 Walker.
Few pre 1850's coin spoons
but the most interesting was a small salt spoon made by
Thomas Grant of Marblehead Ma 1750,
which had a beautiful scallop shell design and initials ?L
This actual detector pictured above was given to Tony Pepper
( if that name sounds familiar, yes the same man from WBZTV )
so he could find his wife's earring she had lost in the snow.
was happy he returned it and found his wife's earring.
He and his wife was very nice as a neighbor .
Sadly this detector did not help the next victim of lost property,
my brother while cleaning off snow off his car lost his wedding ring in the parking lot in heavy snow at night.
I found the ring with a Frankenstein'd bounty hunter coil and radio shack receiving board and switches and control box from U do it electronics .
I am holding meteorites from a strewn field located in Maine.
sadly even with my general knowledge of electronics i could not
fix what ever ailed my Whites which was a shame as i was very good with this machine.
2016 i plan on doing some long over due detecting with my new Minelab detector.
You will need not be an energetic smoker to experience the dangerous ramifications of smoke from cigar the cigarette or conduit. Sucking in additional active smokers' smoke is sufficient to trigger you severe injury.Study the facts to the challenges and damages caused to your eyes from smoking.
Neutrinos come in three fundamental flavors: electron, muon, and tau. The particles oscillate between these three forms in a shape-shifting process that only becomes apparent when a given flavor seems to suddenly vanish. The most elusive of these flavor transformations—also called mixing angles—describes the way electron neutrinos transform, and it is essential to understanding the cosmos. The Daya Bay Neutrino Experiment exists to pin that parameter down.
Shown here are the first pair of antineutrino detectors submerged in pure water in the Daya Bay Experimental Hall #1, each being 5 m tall and 5 m in diameter.
Brookhaven National Laboratory plays multiple roles in this international project, ranging from project management to data analysis. In addition to coordinating detector engineering efforts and developing essential software and analysis techniques, Brookhaven scientists perfected the “recipe” for the chemically stable liquid scintillator that fills parts of Daya Bay’s detectors and interacts with antineutrinos.
More information about the Daya Bay experiment.
Photo credit: Chinese University of Hong Kong.
Here's a new Structure Synth / Sunflow creation I made. This one reminds me of a neutrino detector. I had fun watching youtube lectures on neutrinos while it rendered :)
This render uses the "Ward" shader for the blocks and floor, and a red mirror shader for the spheres.
The PHENIX detector at Brookhaven National Laboratory's Relativistic Heavy Ion Collider (RHIC) records many different particles emerging from RHIC collisions, including photons, electrons, muons, and quark-containing particles called hadrons.
This picture belongs to CERN archive
I was counting the number of cables for the analysis programmes
This small planetary rover can scan the surface for traces of rare minerals. Inspired by the classic 1980 Mineral Detector set.
Despite weird looks from my neighbors, I finally metal-detected my front yard. The Matchbox car was the big find, but also two dimes and a 1944 wheat penny.
Lie Detectors taldearen kontzertu argazkiak, Gazteszenako Ttan-ttakun festan...
Fotos de concierto del grupo Lie Detectors, en la fiesta Ttan-ttakun de Gazteszena...
Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.
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.
'Air Draught' is the height of a ship above water. Many ships have masts or superstructure that can be temporarily lowered to reduce their air draught when required.
The Manchester Ship Canal is crossed by a dozen fixed high level bridges. Some of these were originally equipped with a means of alerting over-height ships approaching them. This consisted of a cable stretched between two masts, connected so that a ship which snagged it would lift some weights and perhaps ring a bell.
Here, Arklow Cape passes between the abandoned masts below Warburton Bridge; you can just see the pulleys at the top of each mast but the cable is long gone.
Came across dozens of men and women at a Metal Detecting Event at Kingsbarns, Fife, Scotland.
I got chatting to him....there is a lot more to this than meets the eye! It is a great hobby. Local history, the great outdoors, meeting people, the prospect of a valuable find (historical and/or monetary!). The stubble field where this event is held is close to a medieval settlement and artefacts commonly found are coins, jewellery, and bits of broken tractor!
Scientists move a section of the iTOP detector at the SuperKEKB facility in Japan. Among the flags in the background are those from the four nations whose scientists built iTOP: The United States, Italy, Japan and Slovenia.
Terms of Use: Our images are freely and publicly available for use with the credit line, "Courtesy of Pacific Northwest National Laboratory." Please use provided caption information for use in appropriate context.
End view of a collision of two 30-billion electron-volt gold beams in the STAR detector at the Relativistic Heavy Ion Collider at Brookhaven National Laboratory. The beams travel in opposite directions at nearly the speed of light before colliding.
This view of the STAR detector at the Relativistic Heavy Ion Collider shows endcap calorimeter electronics (blue with black cables) and four new planes of small-strip Thin Gap Chambers (copper colored with white at edges) during insertion into the detector.
©AVucha 2013
Woodstock Fire/Rescue and the Bull Valley Police Department responded to the 10,000 Block of Bull Valley Road for a smoke detector activating for no apparent reason.
Responding Units: Woodstock Truck 81, Bull Valley Police Car 149
The problem was due to a faulty battery in the smoke detector.
Bull Valley, Illinois
Smoke detector and alarm - Feel free to use this photo for your website or blog as long as you include photo credit with a clickable (hyperlinked) and do-follow link to
U.S. Department of Agriculture (USDA) Detector Dogs are participating in a feasibility study to detect the presence of the invasive Asian Longhorned Beetle (ALB); an invasive insect that’s killing trees in Massachusetts, New York, New Jersey and Oh io. Joseph Chopko, Training Specialist with RJ, Labrador Retriever while detecting ALB frass in tree
The Solenoidal Tracker at RHIC (STAR) is a detector which specializes in tracking the thousands of particles produced by each ion collision at RHIC. Weighing 1,200 tons and as large as a house, STAR is a massive detector. It is used to search for signatures of the form of matter that RHIC was designed to create: the quark-gluon plasma. It is also used to investigate the behavior of matter at high energy densities by making measurements over a large area.
This is one of the NIRSpec detectors from the engineering test unit that is in the cleanroom at Goddard. The person holding it is on the European Space Agency team.
Credit: NASA/Catherine Lilly
The remains of the rock slide detector switch in Colby Cut at the Roseville Tunnel. The electrical "guts" are gone, all that remains are the mechanical parts. A wire cable would pass through the center of the unit, through the silver cylinder, and connect to the fence. If the fence was disturbed, it would cause the large armature in the unit to pop forward under spring tension and open switch contacts. Any break in the circuitry would cause signals to go red, warning an approaching train of trouble.
These units were manufactured by Union Switch & Signal (US&S) of Pittsburgh PA.
Single layer PCB IR detectors and a few others. Card format 100x160mm. I just have to cutting the different smaller PCB's.
The boards are now ready to solder the components.
The PHENIX detector at Brookhaven National Laboratory's Relativistic Heavy Ion Collider (RHIC) records many different particles emerging from RHIC collisions, including photons, electrons, muons, and quark-containing particles called hadrons.
4,850 ft (1,478 m) underground
Nikon D4 + 14-24mm f/2.8G | Sanford Underground Laboratory at Homestake, Lead, SD, 28 Aug 2012
Do not use without permission.
The Large Underground Xenon Detector (LUX) is a 350 kg two-phase liquid xenon detector of dark matter particles. Liquid xenon both scintillates and becomes ionized when hit by particles (e.g. photons, neutrons and potentially dark matter). The ratio of scintillation over ionization energy caused by the collision provides a way of identifying the interacting particle. The leading theoretical dark matter candidate, the weakly interacting massive particle (WIMP), could be identified in this way.
Dark matter comprises most of the matter in the universe but its nature has yet to be determined. One of the leading candidates for the non-baryonic dark matter is the WIMP. WIMPs are expected to interact only with nuclei. Most of the events observed in noble liquid detectors such as LUX will be photons which interact predominantly with the electrons, which result in a different ionization signature than that of the WIMP nuclear collisions. This difference allows such detectors to remove much of the background events. [Source: Wikipedia]
The Solenoidal Tracker at RHIC (STAR) is a detector which specializes in tracking the thousands of particles produced by each ion collision at RHIC. Weighing 1,200 tons and as large as a house, STAR is a massive detector. It is used to search for signatures of the form of matter that RHIC was designed to create: the quark-gluon plasma. It is also used to investigate the behavior of matter at high energy densities by making measurements over a large area.
The Solenoidal Tracker at RHIC (STAR) is a detector which specializes in tracking the thousands of particles produced by each ion collision at RHIC. Weighing 1,200 tons and as large as a house, STAR is a massive detector. It is used to search for signatures of the form of matter that RHIC was designed to create: the quark-gluon plasma. It is also used to investigate the behavior of matter at high energy densities by making measurements over a large area.
The Solenoidal Tracker at RHIC (STAR) is a detector which specializes in tracking the thousands of particles produced by each ion collision at RHIC. Weighing 1,200 tons and as large as a house, STAR is a massive detector. It is used to search for signatures of the form of matter that RHIC was designed to create: the quark-gluon plasma. It is also used to investigate the behavior of matter at high energy densities by making measurements over a large area.
734 W. Cambridge Ave.
Phoenix, AZ 85007
4 bedrooms
3 bathrooms
3,753 sq ft
13,242 sq ft lot
Located in Encanto Vista historic district
View more information on our website:
twinsandcorealty.com/2017/02/04/734-w-cambridge-ave/
View 3D tour here:
my.matterport.com/show/?m=qAo7Tf8Gip2
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www.facebook.com/TwinsAndCoRealty/photos/?tab=album&a...
This historic Peter Hauskens, AIA home combines enchanting mid-century modern architecture with classic finishes in a $240,000+ renovation. 150’ of Encanto golf course frontage delivers epic sunset, golf and park views. Take in views from a 25’ wall of glass in the family room. A fireplace, vaulted ceilings and clerestory windows are sure to impress in the living room. The interior courtyard is framed in windows. A high-design kitchen features Thomasville cabinetry, Silestone counters and stainless steel appliances. The master suite has a sitting area and walk-in closet. Retro-cool baths retain vintage charm, with modern updates. Summers are a dream with a salt water diving pool, which has arching waterfalls, LED light, sun shelf and 8-person inground spa. New roof, windows and flooring in 2016.
WANNA KNOW THIS HOME'S STORY...
Storytime with the Twins: 734 W. Cambridge Ave.
Once upon a time, cotton grew high in the fields at 7th Ave and Thomas. Cotton was one of the 5 Cs that the pre-war economy was based on in Phoenix: cotton, citrus, cattle, climate and copper. Cotton was used extensively during WWI to manufacture wartime necessities like tires, airplane wings and airships . The cotton industry crashed, primarily due to reduced demand, after the war. Many acres of these cotton fields were owned by a successful local grocer, J. W. Morris. Morris sold 101 acres to the city of Phoenix in 1934 for $400/acre . 104 additional acres were sold to the city by Dr. James Norton, of Norton Dairy, in 1934, for $350/acre. Norton also sold 6 acres of his Norton Dairy farm to the city for $350/acre. Phoenix Parks and Recreation, with the assistance of its president at the time, William Hartranft, created the vision of Encanto Park. Construction started in 1935 and was completed in 1938. The Enchanted Island amusement park opened in 1948 and is still a local attraction.
In 1943, J. W. Morris sold 20 acres of former cotton farmland along 7th Ave, and 25 acres along Thomas Rd, to developers, John H. Lester and L.M Hamman; the Encanto Vista subdivision was born. Encanto Vista means “enchanted view” in Spanish. There was a deed restriction on the land that specified that any homes built must be of a “$6,000 class or better”, and in time of war, that just wasn’t possible. While Lester and Hamman weren’t able to start construction on the homes just yet, the streets were graded in 1943. Fast forward to 1945, post-WWII, and the construction of the first 2 houses in Encanto Vista were underway (702 W. Encanto Blvd and 701 W. Lewis Ave). Due to its desirable location, unique “horseshoe” street layout and proximity to Encanto Golf Course and Park, Encanto Vista was a popular home destination for wealthy buyers. The homesites were marketed March of 1945 for between $1,175-1,275. Encanto Vista was built as a neighborhood of custom homes, many of which were built by prominent local architects and builders.
Peter Bert Hauskens, a.k.a P. B. Hauskens, was a successful local architect, a member of the American Institute of Architects. He advertised his services in the classified advertising section of the Arizona Republic in the 1940s. He is credited with designing the Florence City Hall building in 1948.
Mr. Hauskens and his wife, Alberta Hauskens, set their sights on building a family home for themselves and requested a building permit for a “concrete block residence and carport” on July 6th, 1948. They selected the homesite at 734 W. Cambridge Ave. The cost of construction was estimated at $10,000, according to the original building permit. The home was completed before the end of 1948.
The home has had a handful of owners since 1948, all adding their own touches, and pieces of history, to the home. The clain of title goes something like this…The Hauskens family only owned the home for about a year and then sold to Mr. And Mrs. John C. Pence on May 3rd, 1949. On February 29th, 1956 the Pence family sold to George S. and Dorothea Davison. George Davison quit-claim deeded the property to Dorothea on June 7th, 1957. On December 22nd, 1958, Dorothea sold the property to R. W. Chittester, husband of Frida E Chittester and G. Parks McNaull, husband of Agnes B. McNaull, as a co-partnership of Chittester- McNaull Co. Chittester was the president of Modern Glass Co. 3 years later, on May 23rd, 1961, Chittester-McNaull Co. sells the property to Vee Jayne Hofer, wife of Jacob H. Hoffer. On 1/21/1966, there was a deed release to Guild VeeJayne Van from Hoffer Vee Jayce, but I am not sure if they sold the property the same year because there is a permit record in the names of Dr. John Van Guilder and Jan Van Guilder from 1966. Jan Van Guilder was the director at Cambridge Day School. It has been said that the Van Guilders had many birds living at the home. In fact, neighbors have said that the central courtyard was once an massive aviary. The current owner tells a funny story that confirms the bird history. While renovating the home, he was replacing electrical outlets and came to one in the kitchen area, off the central courtyard. As he was unscrewing the outlet, some small debris fell onto the floor; it ended up being bird seed. A pizza delivery man who was delivering a pizza to the current owner immediately recognized the home from his childhood. He recalls going to the house after Cambridge Day School let out for the day. He reminisced about the black plaster pool with Asian characters/symbols at the bottom. The home was decorated with an Asian-inspired style, which extended to the gardens of the home, ala the Japanese Friendship Gardens. In 1995, after 29 years of ownership, the Van Guilder estate fixed up the house and it was put up for sale. On June 5th, 1995, the John Van Guilder estate sold to Bernard Steinfelt, the uncle of the current owner. Title was then transferred to the current owner, Ted Ciccone.
Encanto Vista was added the Phoenix historic register and the National Register of Historic Places in 2003. The district is bounded by Windsor Ave, Encanto Blvd, 7th Ave. and 8th Ave. 734 W. Cambridge Ave. currently receives historic tax incentives for its inclusion as a conforming property within the district.
This historic Peter Hauskens, AIA, home combines enchanting mid-century modern architecture with classic finishes in a $240,000+ renovation. 150’ of Encanto golf course frontage delivers epic sunset, golf & park views + access. This home sits on the 8th hole with picturesque views. An extended concrete walkway, sits aside a broad front lawn and leads to the oversized front door, which is set back 65’ from the front sidewalk. Upon entering the home, you arrive in the entry foyer, which features exposed, painted block walls, Dal-Tile porcelain floor tile with decorative mosaic insert and Jaima Brown designer wallpaper.
One of the distinguishing features of this home is the huge central courtyard, which is framed on all 4 sides by walls of floor-to-ceiling windows and French doors. It is a virtual extension of the living space and a perfect outdoor room for all seasons. It includes a brick, wood-burning fireplace, built-in planters and Dal-Tile 18”x18” Continental Slate porcelain tile.
The eat-in kitchen is all new in 2016. Delight in golf course and park views from your kitchen window, along with views to the interior courtyard, through the 15’ floor-to-ceiling wall of glass. The classic white shaker-style cabinetry by Thomasville has solid wood, dovetail construction, soft-close doors + drawers and glass front display doors. Non-porous, highly-stain resistance Silestone quartz countertops and the crackle-finish gray glass subway tile backsplash are the perfect complements to the timeless design. High-performance appliance package includes Kitchenaid Superba and Bosch stainless steel appliances. Gorgeous tongue and groove, beamed ceilings run throughout much of the home. The contemporary 18” x 18” continental slate porcelain floor tile flows throughout the space.
The expansive family room has a 25’ wall of glass with some of the best views you can find in a single-level home in Central Phoenix. A butler’s pantry connects the family room to the kitchen and features a bar with built-in wine refrigerator. The contemporary Armstrong premium 12mm laminate flooring comes with a 50-year warranty. The dining area is finished with a reproduction sputnik chandelier. Recessed lighting has been added, along with a modern ceiling fan.
The living room is a perfect combination of mid-century modern and usonian styles, with features rarely seen in homes of this era. Some might call the room style ‘rustic modern’, but whatever you call it, it is exquisite. Soaring, vaulted ceilings adjoin an expanse of clerestory windows, which let in gorgeous light throughout the day. The ceilings are adorned with natural tongue and groove wood. A 20’ wall of glass overlooks the interior courtyard. A substantial brick-lined, corner fireplace harkens a modern chalet. Dal-Tile 18”x18” Continental Slate porcelain tile is accented with a decorative mosaic border. A formal dining room shares the natural wood tones and usonian vibe.
The master suite is quite spacious with an attached sitting room that would be perfect for a yoga/meditation space, sewing room, home office, exercise room, craft room, etc. Something you don’t see often in a 1940s Phoenix home are soaring vaulted ceiling with clerestory windows in all of the bedrooms. The Traffic Master commercial-grade carpeting comes with a 10-year warranty. There is a large walk-in closet next to the master bathroom. The master bath maintains a clean, minimalist look with expanses of white tile and Hansgrohe faucets.
The 3 secondary bedrooms all have vaulted and beamed ceilings with clerestory windows, Traffic Master commercial grade carpeting with a 10-year warranty and spacious closets.
A separate office/den is multi-functional and would be perfect for an office or playroom. There are gallery-style halogen track lighting with 8 fixtures. The
Traffic Master commercial grade carpeting comes with a 10-year warranty. There is also a large walk-in closet, which could be used as a workshop space.
One of the hall baths features the original retro-cool powder blue bathtub, toilet and sink. It is updated with penny-round mosaic floor tile, white tiled shower surround with penny-round tile accents and new reproduction mid-century fixtures. The other guest bathroom features period-appropriate basket-weave floor tile, porcelain vessel sink, classic tiled shower and retro-inspired mirror and lighting.
This home has been updated with many new home systems. There are 2 Trane HVAC systems with Trane programmable digital thermostats. An efficient Whirlpool 50-gallon gas water heater is newer, as well. There is an ADT Security System with entry, motion and smoke detectors (existing lease to be taken over by buyer).
This is a one-of-a-kind lot with over 150 feet of golf course frontage. There is a gate for golf course access, which many nearby residents use as a walking path. Check out the sunset photos taken from this home. Some of the best on the horizon in central Phoenix. The front and rear yards have Rainbird zoned irrigation systems.
There is a new front yard landscape design plan and rendering by SUSTAINscape, if someone wanted to take the landscaping to the next level.
Talk about next level outdoor living…it doesn’t get much better than this entertainer’s paradise rear yard. The deep diving pool is a Shasta Built Master pool with a salt-water system, sun shelf and QuikClean in-floor cleaning system. The pool is finished in a 3M quartz finish and has an LED color-changing pool light and fiber optic surround lighting. The 5 arching fountains can be remote-controlled. The 8-person in-ground spa features 2 hydrotherapy jet settings and new Sta-Rite pool and spa heater (2015).
The patio is finished in ShastaDeck patio coating and has a custom Sunbrella cover with retractable privacy screens. The built-in barbeque has a workspace counter with a Turbo 3 burner gas barbeque, complete with dedicated plumbed gas line. The block fencing features a unique pattern of “cross” architectural breeze block and pop-out blocks. A generous 2 car carport offers a separate storage space and a brand new modern entry door.
Homes of this price point rarely offer this caliber of architectural details, distinctive finishes and stellar views. This home is truly designed for indoor/outdoor living; the outdoor spaces are a virtual extension of the livable space. The home's windows frame the exquisite views and the outdoor spaces were designed with privacy and entertaining in mind. With the home feeling very private and tranquil, it should be noted that the location is convenient to many destinations. Outdoor enthusiasts will love being close to Encanto Park. Within 1 mile, you will find great coffee shops (Vovomeena, D’Lish, Starbucks, Central Café, etc.), popular restaurants (Original Hamburger Works, Sacks sandwiches, Z Pizza, Wild Thaiger, Durants, Duck And Decanter, Zoes Kitchen, etc) and city parks (Encanto Park, Monterey Park, Margaret T Hance park and dog park, etc), It is a rare opportunity that a treasured residence such as this comes to market, especially at an affordable price.
Physicist Jamie Dunlop in front of the STAR detector at Brookhaven National Laboratory's Relativistic Heavy Ion Collider (RHIC).
Physicist Bill Christie stands behind what's called a carbon fiber inner detector support structure at the Relativistic Heavy Ion Collider’s STAR Detector. Inside this support structure is the beam pipe in which accelerated particles travel prior to collision inside the detector. The support structure allows RHIC physicists to install new particle detection sub systems into the center of the STAR Detector. It will support a device called the Forward GEM Tracker (FGT) and the first engineering prototype of a new Pixel Silicon detector. In the future, it will support the FGT, the complete new Pixel Silicon detector, as well as two more Silicon detectors/technologies: the Intermediate Silicon Tracker (IST) and the Silicon Strip Detector (SSD).
The new silicon detectors will improve many physics measurements for STAR, and allow physicists for the first time to directly measure particles emerging from collisions that carry what is known as "open charm."
The FGT detector allows scientists to measure the positrons or electrons that result from the decay of particles known as W bosons, where these decay products are produced at forward angles. It is used as part of the 500 gigaelectron-volt (GeV) polarized proton-proton physics program.
A sturdy and versatile Sensitive Detector is standard fare for the instrument banks of any well-appointed ray-worker's shop.
The Lightweight Chemical Agent Detector (LCAD) is designed to detect classical Chemical Warfare Agents (CWA) and alarm at attack level concentrations. It forms part of a two-tier detection capability with the Manportable Chemical Agent Detector (MCAD).
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Photographer: Martin Jones
Image 45152662.jpg from www.defenceimages.mod.uk
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Muon Resistive Plate Chamber (RPC-1) in the PHENIX detector at Brookhaven's Relativistic Heavy Ion Collider (RHIC).
PHENIX weighs 4,000 tons and has a dozen detector sub-systems. Three large steel magnets produce high magnetic fields to bend charged particles along curved paths. Tracking chambers record hits along the flight path to measure the curvature and thus determine each particle's momentum. Other detectors identify the particle type and/or measure the particle's energy. Still others record where the collision occurred and determine whether each collision was "head-on" (central), a "near-miss" (peripheral), or something in between.
Top half of the muon Resistive Plate Chamber (RPC-1) in the PHENIX detector at Brookhaven's Relativistic Heavy Ion Collider (RHIC).
PHENIX weighs 4,000 tons and has a dozen detector sub-systems. Three large steel magnets produce high magnetic fields to bend charged particles along curved paths. Tracking chambers record hits along the flight path to measure the curvature and thus determine each particle's momentum. Other detectors identify the particle type and/or measure the particle's energy. Still others record where the collision occurred and determine whether each collision was "head-on" (central), a "near-miss" (peripheral), or something in between.