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Developers at the facebook f8 hackathon. Bart and I were going to write an app, but we were a bit tired and decided to hang out with the Red Bull peeps.
•TEPIC
992 hectares (2450 acres) on new hwy with distant ocean views. Ready for development. 4-5 km to beach. Only 65,000 pesos (appros $7150 U.S.)per hectare.(2.47 acres in a hectare)
Went to take photos of the interiors of a historic abandoned building for a developer...a little creepy inside with no electricity for lights. I sat down on the lone staircase waiting for an associate while she was on the phone. I figured I'd do a little "artistic" photography while sitting there...hence the shoe shots....and if you're wondering where I found those - got them on ebay several years ago....love them!
Hasselblad Planar 80mm, SFX (715) eco film developer
a somewhat different use of lith, soft and warm and fine grained
I call this treatment "hidden lith"
moderately overexposed Fomatone 132with hard grade (magenta) filter
two tray
Easy Lith 1+10 8 mins (until the shades are clearly visable, without considerable density of midtones and lights)
Catechol 1+100 3 mins for full tonal range and warm hue
This is part of a Creative Commons Retro Web Developer series.
Visit www.bumbleb2na.com/art/RetroWebDev to download and use high quality pixel and vector versions of this and others like it
A trip to Jem at Real Camera Manchester resulted in a pack of Leicanol powder developer.
Must be dated between 1975 (HP5 introduced) and 1989 (HP5+ replaced HP5) as the times are for HP5. Made byTetenal. Not a lot on the WWW about this developer.
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 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.
Liverpool Caribbean Community Protest against the threat of re-development of their Community Facility
Every software project involves aspects of risk. With respect to the nature from the project, these risks can differ, however they could possibly be grouped into five groups.
5 Kinds of software developer Risk
Budget Risk: the chance of projects groing through budget. Possibly the most typical risk in software development and frequently associated with other risks.
Personnel Risk: the chance of losing or lack of project team people. Even when for a while, this can lead to delays and errors.
Understanding Risk: when you will find understanding silos or even the change in details are poor. The entire process of relearning leads to additional labor, time, and sources.
Productivity Risk: this risk is typical in lengthy projects, specially when deadlines and goals are lengthy-term. This atmosphere creates deficiencies in immediacy which leads to deficiencies in emergency of labor.
Time Risk: product delays are-too-common in software developer often the outcomes of poor planning, impractical timelines, and also the lack of ability to adjust to altering product needs.
Managing These Risks in Agile Development
Startup Stock Photos
The agile methodology inherently addresses a number of these risks. That stated, they're still prevalent in lots of agile environments, frequently due to project team mistakes, planning errors, failures in process, and unpredicted changes as products evolve. Here we will address each software development risk and just how it may be were able to mitigate delays, mistakes, along with other barriers to shipping a effective product.
Risk - Budget
Solution - Moving Wave Planning
In product, you always make assumptions that can't be proven or disproven until more details opens up. As development progresses, objectives or goals may shift, or even the product might need to pivot to become viable.Moving wave planning is made to take into account this. Teams make product decisions when they're within the best position to ensure software developer are, instead of presenting very detailed plans at the outset of the work.
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Old pack I discovered in my shelves. Powder pack for 1 litre, in two parts (A and B). .
Bought in France, 1982 or late 1981 (see the label, dated 09/81, this means that it was manufactured before this date).
Ultra fine grain film developer, for small tanks or trays. It can process up to 10 films with 1 min time increase for each film already processed. I think however that +1 min was too much.
I didn't use it much, I used much more Atomal FF, another Agfa fine-grained developer that wasn't same as Atomal. That one was available in bigger professional packs for 5 litres or more.
I can't say if this 33+ year old pack can still be good for use. I would never throw it away without checking it. :)
The JW Marriott Desert Ridge Resort & Spa was initially conceived by Marriott International even though Marriott already had a strong presence in the Phoenix area with its Camelback and Mountain Shadows Resorts. Marriott planned the property on its own, and then approached CNL Hospitality in the first quarter of 2000 with the idea of coming up with an ownership strategy. CNL’s REIT division made an investment on its own, and the company also sponsored a partnership to fund the $300 million development. Marriott International also became an ownership entity.
The building of the 950-room resort reflects a deep commitment for all those involved. With 170,000 square feet of meeting space, the developers intended the mega-resort at being a major player nationally for meetings and convention business. The resort would face stiff competition in the local marketplace which included The Phoenician, Arizona Biltmore and Scottsdale Princess. Also opening within a month of the JW Marriott were the $180 million 750-room Westin Kierland Resort and the $125 million 500-room Sheraton Wild Horse Pass Resort. Two of the JW Marriott's ballrooms alone will make it stand out from the competition. One is 33,000 square feet, the other is 26,000: either of those are the largest in Arizona.
The JW Marriott Desert Ridge opened in Dec 2002 as the largest hotel in Arizona with 950 rooms (869 standard rooms and 81 suites) at a cost of $311 million. The hotel claimed 10 restaurants, two championship golf courses designed by Arnold Palmer and Nick Faldo, 8 tennis courts, and a 28,000 sq ft spa. The grounds include 267 palm trees, broad lawns and several ponds, not to forget the lazy river and three swimming pools including an Olympic sized pool.
At opening the fine dining outlet was Ristorante Tuscany headed by chef Dina S. Davies. Another major outlet was Blue Sage with Southwestern cuisine. Also Chef/Owner Roy Yamaguchi opened a branch of his Hawaiian-fusion themed restaurant Roy's. The 5-story atrium lobby has limestone pillars lined with alabaster light fixtures. Opening room rates started at $260 per night.
The Phoenix JW Marriott along with the 998-room JW Marriott Orlando, Grande Lakes and 582-room The Ritz-Carlton Orlando, Grande Lakes have been linked for well over a decade. They were formerly owned by CNL Hotels & Resorts of Orlando. In 2007, the team of Morgan Stanley Real Estate, California State Teachers and Florida State Board acquired CNL for $6.5 billion which included the three hotels. In 2011, the Morgan Stanley partnership defaulted and surrendered the properties to the holder of mezzanine debt — an investment group consisting of Paulson & Co. of New York (a 43% stake), Capital Trust of New York (42%) and Winthrop Realty of Boston (14%). In 2012 Blackstone took control of Capital Trust and assumed its interest. In 2015, Blackstone bought out Paulson & Co in a transaction that valued the three properties at $1.2 billion. It financed each resort separately with floating-rate loans, totaling $1 billion, from Deutsche, Barclays and J.P. Morgan. Some $722.4 million of those two debt packages was securitized in a single-borrower deal (BXHTL 2015-JWRZ).
In September 2019 Blackstone Group sold the 950-room JW Marriott Desert Ridge Resort & Spa in Phoenix for $602 million, or $633,684/room to a venture of Trinity Real Estate Investments and Elliott Management Corp. For comparison the Arizona Biltmore sold in 2018 for $403 million and in 2015 the Phoenician Resort sold for $400 million.
Sean Hehir, Managing Partner of Trinity, said the JW Marriott Desert Ridge was purchased at well below replacement cost. Trinity and Elliott intend to implement a multi-million dollar capital improvement plan to further enhance the Resort and unlock embedded value. In addition to guestroom renovations, planned improvements include upgrades to the Resort’s meeting spaces and ballrooms, water features, and food offerings. Trinity Investments is a private real estate investment firm. Recently Trinity acquired the Westin Maui Resort on Kaanapali Beach, Maui and divested itself from the Ritz-Carlton Kapalua, Maui, Hawaii and the Kahala Hotel in Honolulu. Hehir is a graduate of Cornell University with a Bachelor of Science degree in Hotel Administration and holds a Diploma in Hotel Administration from the Hotel Institute Montreux, Switzerland.
Paul Singer created the hedge fund firm Elliott Associates in January 1977. In 2019 Elliott Management acquired Barnes & Noble for around $683 million and in 2018 acquired the A.C. Milan the professional football club in Milan, Italy, Elliott Management Corporation specializes in distressed debt acquisitions.
According to legal documents The JW Marriott Desert Ridge generated $42 million of net operating income in 2018 with a 73% occupancy rate. Blackstone, during its ownership, spent about $37 million on renovations. Steve Hart was the opening General Manager and today continues as Area Vice President and General Manager.
Compiled by Dick Johnson, October, 2019
After studies have been conducted on the specific group of users, it’s switched right into a profile or user persona that imitates a genuine customer. Basically, a persona is personified data produced from user behaviours, attitudes, discomfort points, as well as their wants and needs inside a particular product. Instead of tailoring an software developer to meet the requirements of the generic group, a persona was created having a specific number of users in your mind.
Personas illustrate the goals and behaviors of users while areas examine patterns in census for example age, location, sex, salary, and so forth. Both of them are essential however, personas offer lots of advantages throughout the development process.
1. Promote User-Focused Outcomes
Frequently, an application can morph in to the desires from the designer as opposed to the user. To avert this, the expansion process must focus on a person-focused goal all actions should be created using the consumer in your mind. With this to happen, they must adopt the outlook during the finish user to create an application that resonates using its users. Personas ought to be used through the development process and never as just one phase. Reinforcing the consumer persona through the entire process will be sure that the entire team remains centered on their primary goal. Without having done this, the end result from the final software developer might not match the users’ wants.
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2. Establishes Consensus During Development
Raw information is frequently hard to interpret however, a persona encapsulates the study and communicates the trends to other people in a manner that they are able to understand and visualize. Inside a team of developers, you will find usually individuals with different skills and expertise that could cause a positive change of opinions. A person persona is a superb tool to prevent confusion and miscommunications through the development process. The persona communicates ideas and ideas using the team of developers, stakeholders, and users. Effectively, it helps to ensure that everybody is on a single page and understands who the prospective audience is.
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3. Validates All Decisions
An application idea is made, but could it be really exactly what the user needs and wants? While it’s important to determine who the application will target, it’s more essential to understand the consumer particularly desires. Without validation, the end result won’t deliver just what the finish user needs and can ultimately be pointless. All decisions and actions which are made throughout the development process must have a person-focused reasoning. When the development process starts to stray from concentrating on meeting the users’ needs, the application will likely fail.
User personas are valuable for everybody throughout the development process to be able to boost the quality and efficiency of the work. A persona increases product quality since it directly addresses the finish users discomfort points and fixes issues that software developer presently experience. Understanding and meeting a particular categories of users’ needs will be sure that the application is really a success. Narrowing in on the specific group of users will yield greater download rates and most importantly, it'll keep up with the engagement from the users.
I will probably not like it in the morning.
Its the morning and I don't mind it but it looked better when all the lights were off..
New York State Chief Digital Officer & Deputy Secretary for Technology Rachel Haot speaks during an App Quest 3.0. event sponsored by the Metropolitan Transportation Authority, AT&T, Transit Wireless, and New York University’s Center for Urban Science and Progress (CUSP), to announce winners in their global competition to solicit development of new mobile solutions designed to help improve commutes for millions of subway, bus and rail riders across the five boroughs. Photo: Metropolitan Transportation Authority / Patrick Cashin
Test photo using my new 1983 Fujica GS645 Pro medium format folding camera. 120 Kodak T-Max 100@100 (as processes anyway) in Rodinal 1:150 semi-stand developing 50mins
Annoyingly the developed film came out almost completely clear. I managed to pull this detail using the scanner and photoshop. The Rodinal I used is more than a year old so I am glad it happened to this test roll rather than a film used for a model shoot.
It certainly gives a good vintage film look! War Memorial Park, Coventry
A family affair. Husband and wife team traveled from Washington, DC to New York City with six-year-old son to win Best Use of Alcatel-Lucent Rapport(TM) Call Management APIs in Internet of Things category.
I developed this one using a paintbrush instead of dipping it into the developer.
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Darkroom[2006]
Would You Offer An INTERACTIVE MEMBERSHIP PORTAL For The People?
An interactive membership portal is essential to maintain your audience interested and engaged. Can your area of people communicate with one another? Would they collaborate together? Would they open attorney at law on the particular subject and/or issue? Would they upload happy to your membership-driven web developer? Many of these questions are essential when you're thinking about creating a membership driven website. It’s vital that you provide your people with helpful tools that promote engagement. For instance, for those who have a subscription-driven site that is tailored for attract individuals users that are curious about organic gardening, you need to provide interactive tools where users can upload their gardening projects and/or gardening questions. Whenever a user uploads their specific organic gardening project, all people get access to produce a community wide discussion and/or share that project across multiple platforms. Now, it is also just like vital that you have somebody out of your membership driven site that is definitely open to provide assistance, support, and become a tight schedule-to person who supplies a solution/response to individuals member questions that arise.
PLAN YOUR MEMBERSHIP DRIVEN WEBSITE Having A KNOWLEDGEABLE Web Design AGENCY, ATILUS
There are plenty of components to some effective membership driven web developer. If you're while intending to construct your membership driven website, we can’t stress the significance of the look stage. The look stage is an essential take into account making certain your membership driven web site is successful. Spend nearly all your time and effort planning any project, scoping any project out, and mapping out all of the different variables having a knowledgeable web design company.
In each and every project, including member driven websites we always recommend our clients undergo a strategy planning stage, before we begin the lookOrimprovement from the site. There are lots of components that organizations/associations miss when developing their membership driven website plan. We all do provide a planning and talking to phase for individuals organizations/associations that will like professional assistance when preparing their membership driven website. Within the finish you want to make certain that the membership driven web site is successful and you're seeing the outcomes that you’ve envisioned.
To begin planning your membership driven website having a seasoned professional, please get in touch, the brand new Client Specialist at Atilus. I’d gladly talk using your project and get the best recommendation to make sure your member driven web site is successful. For those who have any queries regarding an associate driven web developer
please leave the questions you have within the comment field below and I’d be at liberty to offer you a solution!