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“Mars Global Surveyor's Mars Orbiter Camera obtained its last SPO-2 images of Mars on September 12, 1998. SPO-2, or "Science Phasing Orbit-2," took place between early June and mid-September 1998. Shown above are MOC wide angle (red and blue band) images of the martian north polar region obtained around 3:15 a.m. PDT on September 12, 1998. This color composite was made using red and blue wide angle MOC images 55001 and 55002--these were the last pictures taken of the planet until the camera resumes its work in late-March 1999.
The north polar layered deposits, a terrain believed composed of ice and dust deposited over millions of years, dominates this view. The swirled pattern in the images above are channels eroded into this deposit. The pattern is accentuated by the illumination and seasonal frost differences that arise on sun-facing slopes during the summer. The permanent portion of the north polar cap covers most of the region with a layer of ice of unknown thickness.
At the time this picture was obtained, the martian northern hemisphere was in the midst of the early Spring season. The margin of the seasonal carbon dioxide frost cap was at about 67° N, so the ground throughout this image is covered by frost. The frost appears pink rather than white; this may result from textural changes in the frost as it sublimes or because the frost is contaminated by a small amount of reddish martian dust. Please note that these pictures have not been "calibrated" and so the colors are not necessarily accurately portrayed.
In addition to the north polar cap, the pictures also show some clouds (bluish-white wisps). Some of the clouds on the right side of the images are long, linear features that cast similar long, dark shadows on the ground beneath them.
When the MOC resumes imaging of Mars in March 1999, summer will have arrived in the north polar regions and the area surrounding the permanent polar cap will appear much darker than it does here. The dark features surrounding the cap are sand dunes, and these are expected to darken over the next several months as seasonal ice sublimes and is removed from the surface.
Malin Space Science Systems and the California Institute of Technology built the MOC using spare hardware from the Mars Observer mission. MSSS operates the camera from its facilities in San Diego, CA. The Jet Propulsion Laboratory's Mars Surveyor Operations Project operates the Mars Global Surveyor spacecraft with its industrial partner, Lockheed Martin Astronautics, from facilities in Pasadena, CA and Denver, CO.”
Above, and image, at:
photojournal.jpl.nasa.gov/catalog/PIA01471
And/or:
“MGS MOC view of the north polar region of Mars obtained on September 12, 1998. The swirled pattern at the top center of the picture is an area of polar layered deposits covered in part by the permanent north polar ice cap. This color composite does not represent the "true" color of Mars. To make the composite, MOC images 55001 (red-band) and 55002 (blue-band) were combined with a green-band synthesized by averaging the red and blue bands. The images have been reprojected to simulate the view that a person would have if the person was located about 1200 kilometers (740 miles) above the planet at 65°N, 275° W.”
At:
mars.nasa.gov/mgs/msss/camera/images/9_19_98_endSPO2_rel/...
Credit: Malin Space Science System (MSSS) website
3.875” x 8.5”. I’m not familiar with time period/range of the particular Kodak photographic paper used, so I’m assuming it’s contemporary to 1998.
Welcome to the world, Lily Jane and Daisy Anne, my two precious little flower seedlings.
As from the 15th May, I'm now a mum and it's just the best thing ever.
Looking forward to being able to catch up on some sleep in approxmately the year 2038.
One aspect of this fabulous obsession is the desire to play with style. The top is a simple casual item and I couldn't decide whether to match it with leggings or a denim skirt. So a quick change and a concerted effort to adopt the same pose on the stairs gives rise to this pair of pictures.
I won't say which I like best yet
PS the lens cap was to remind me which step to sit on
Energy difference X-ray photo of a Nautilus shell. The image is the difference of a 70kV and a 40 kV image.
Read more about this image on my blog:
www.himmelslandschaften.de/2019/03/03/x-ray-fusion-of-ene...
© Julian Köpke
The King Vulture is minimally sexually dimorphic, with no difference in plumage and little in size between males and females. The juvenile vulture has a dark bill and eyes, and a downy, gray neck that soon begins to turn the orange of an adult. Younger vultures are a slate gray overall, and, while they look similar to the adult by the third year, they do not completely molt into adult plumage until they are around five or six years of age. Jack Eitniear of the Center for the Study of Tropical Birds in San Antonio, Texas reviewed the plumage of birds in captivity of various ages and found that ventral feathers (belly and chest) were the first to begin turning white from two years of age onwards, followed by wing feathers, until the full adult plumage was achieved. The final immature stages being a scattered black feathers in the otherwise white lesser wing coverts. On the head, the skin is wrinkled and folded, and there is a highly noticeable irregular golden crest attached on the cere above its orange and black bill. This caruncle or wattle does not fully form until the bird’s fourth year.
8/17
So many faces surround me,
Unrecognizable now.
They're all the same - in so many ways,
I cannot tell them apart.
It's the differences I look for, when I try my best to find you.
It's the similar faces - that confuse me.
I'll be lost here without you,
Until I find a way to see you.
Although you stand right before me,
It is as though my eyes are blinded.
Until I find my way to you,
I'll be here searching - alone - in a sea of faces.
Until I figure out a way to see more clearly-
& See the similar differences - between you & the other million faces.
Until then,
I'll be here.
The Blue Angels flying over with daring precision
at the Treasure Island during Fleet Week in San Francisco.
Comparing the LE 2500 Snow Queen Elsa 17'' Doll (November 2013) versus LE 5000 Frozen Fever Elsa 17'' Doll (November 2015). They have similar appearances and outfits, but also many differences. Lying down side by side, with open capes. SQ Elsa's cape is shorter, but much wider. Its bottom edge is circular and the sides are straight. FF Elsa's cape has a square shape with pointed corners at the bottom and the sides.
SQ Elsa has a darker face, with pale purplish skin, longer eyelashes and darker makeup giving her smoky eyes, darker rouge. Their braids are about the same length and style, but FF Elsa has neater hair on top, and in the back (which is helped by being tied down with nylon thread). SQ Elsa has two jeweled 8 sided snowflakes in her hair, FF Elsa has three pink 6 sided flowers in her braid, and a larger one on the side of her head.
Their outfits are similar, with a slinky one piece dress with a slit in the skirt, and a permanently attached cape that is jeweled and has embroidered decorations. SQ Elsa has embroidered snowflakes in the cape, but only jewels (rectangular and round) in her dress. FF Elsa has a jeweled and embroidered floral design in her cape and her bodice, but no decorations in her skirt. However FF Elsa's cape is heavily decorated in the back of the cape, whereas SQ Elsa's cape has decorations only on the sides and bottom, so the back of the cape is almost bare (except on the bottom). SQ Elsa's cape has a round bottom edge, that is much wider than FF Elsa's cape, and is also longer on the sides. So it can wrap around and cover much of the front of the dress, and drags on the floor all around. SQ Elsa's skirt is also longer than floor length, and much wider at the bottom than the FF Elsa's skirt, which doesn't quite reach the floor. SQ Elsa's dress has full length sheer sleeves, while FF Elsa's dress is basically sleeveless. Finally their high heeled shoes have the same design, representing snowflakes and icicles. But SQ Elsa's shoes are opaque light blue with dark blue striations, whereas FF Elsa's are transparent light green that are also iridescent and have embedded fine glitter. FF Elsa's shoes are much more impressive.
In general, FF Elsa has a much brighter appearance. But SQ Elsa is closer to the character's true nature, and of course her iconic image. And her outfit is much more impressive to me despite the lack of details in the cape compared to the FF cape. So SQ Elsa is my favorite of the two.
Release and purchase information:
2013 Elsa Limited Edition Doll - 17'' - Frozen
$99.95
Item No. 6070040900950P
US Disney Store
Released online and in store on 2013-11-20
Sold out online in about 15 minutes
Purchased in store 2013-11-20
#102 of 2500
2015 Limited Edition Elsa Doll - Frozen Fever - 17''
$119.95
Item No. 6003040901307P
US Disney Store
Released in stores 2015-11-03
Released online 2015-11-04
Sold out online in less than 10 minutes
Purchased in store 2015-11-03
#1559 of 5000
Distinctive building features, difference is that this lift shaft is on the outside, the fantastic Lloyds of London AKA Inside-out building. It really does offer a multitude of architectural photography options.
35mm film, sooc
pentax k1000 for the first exposure, then ran through my pentax honeywell spotmatic for the second
St Martin, Nacton, Suffolk
Nacton is one of a number of lovely villages in close proximity to Ipswich. And it really is close to town - I live near the centre of Ipswich and I can cycle out to Nacton church in twenty minutes. The village is scattered in a valley, with two great houses, Broke Hall and Orwell Park.
There are a couple of exciting 1960s modernist buildings as well, although the village does have the unenviable reputation of not having had a pub for a couple of centuries, thanks to the temperance tendencies of not just one but two major landowning families in the parish. Technically, the vast Shepherd and Dog on Felixstowe Road is within the bounds of Nacton parish, but it is not the kind of pub I expect many villagers would make the effort to get to when the smashing Ship Inn at neighbouring Levington is closer and more convivial.
The two great families were the Vernons and the Brokes. St Martin is in the grounds of Orwell Park, and a gateway in the wall shows where the Vernons used to come to divine service, but the Brokes must have arrived by road. Orwell Park today is a private school, and Broke Hall has been divided into flats, but St Martin still retains the memory of the great and the good of both families.
Externally, St Martin gives no indication of the early 20th Century treasures in store within. It only takes the sun to go in, and that rendered tower ends up looking like a grain silo, the colour of cold porridge. This is a pity, because on a sunny day there is something grand and imposing about it, especially with that pretty dormer window halfway along the nave roof. It gives a pleasing Arts and Crafts touch to the austerity of a building which was almost entirely rebuilt between 1906 and 1908 by Charles Hodgson Fowler. They'd actually been two dormers, and Fowler retained that on the south side. They had been installed in the 1870s by a budding medievalist, but there had been an earlier going-over by Diocesan architect Richard Phipson in 1859. Mortlock tells us that Fowler added the aisle, the organ chamber and vestry, the porch and the east window. The roofs and floors were also replaced. The small south transept survived from the earlier restoration, largely because it forms a memorial chapel to the Broke family of Broke Hall. Grand memorials record their miltary deeds, including captaining the Shannon when it captured the Chespeake during the American War of Independence.
The medieval font also survives, and is a good one, although perhaps a bit recut. Around the bowl, angels bearing carved shields alternate with symbols of the four evangelists.The wild men are striking, and the smiling lions are reminiscent of those you often find on Norfolk fonts of this type.
There are two image niches in one of the window embrasures, but otherwise this is almost entirely a Victorian and Edwardian interior, full of Brokes and Vernons. Their greatest legacy to St Martin has been the large range of stained glass which ultimately gives St Martin its character. It is interesting to compare the church to St Peter at Levington, a mile or so off. There, the church is simple and rustic; the difference that the money spent here has made is accentuated by a visit to both. But St Martin has been given a sober gravitas, a self-confidence that falls short of triumphalism.
There are some fragments of medieval glass surviving, including a fine shield of the Instruments of the Passion which may or may not have come from this church originally, But the glass in Fowler's north aisle is the star of the show. At the west end is a finely drawn 1913 Adoration of the Shepherds and Magi by Burlison & Grylls. The shepherds are lifted directly from the late 15th Century Portinari altarpiece by Hugo van der Goes, today in the Uffizi gallery in Florence. The use of images from Northern European old masters was common practice for the workshop. To the east of it is a rather less successful window by By Christopher Powell, and believed to be his only work in Suffolk, depicting the three figures of the Sower, the Good Shepherd and St Martin. It is interesting to compare it with his similar window at Dersingham in Norfolk.
Next along is a memorial to the Pretyman family. Herbert Pretyman died in 1891, and when Fowler's aisle was complete in 1906 his widow installed the central light, a typically predestrian image of St George by Clayton & Bell. However, the two figures that flank it, St Michael as Victory and St Raphaeil (but actually St Gabriel, surely?) as Peace are something else again, tremendous images installed in 1920 to give thanks for the safe return of two Pretyman sons from the horror of the First World War. The angels are wise and triumphant, their feathered wings flamboyant. No one seems to know who they are by (it certainly isn't Clayton & Bell) and it would be interesting to know.
To the east again is a lancet of the Blessed Virgin and child by Kempe under the guiding hand of Walter Tower, and the Kempe/Tower partnership was also responsible for the east window, a not entirely successful collection of workshop cartoons of the crucifixion and Old Testament prophets. Beside it on the south side of the chancel is the earliest modern glass in the church, two post-resurrection scenes by William Wailes. The only other 19th Century window is on the south side of the nave, a chaotic assemblage of heraldic symbols from Broke family marriages, showing arms and crests over the generations. It dates from the 1860s, and is by Clayton & Bell.
When the church reopened in 1908, people were said to be delighted by the Anglo-catholic mood of the time which had been injected into the building. Outside, their ancestors lie beneath headstones that have been eroded and smoothed clean by the salty air that comes from the great river beyond the school. Hardly any of the 18th and early 19th century inscriptions are legible now. One exception is to a man who died in the middle years of the 19th century who fought at Traffalgar. This is as clearly read now as it was when Arthur Mee came this way in the 1930s.
On the left is Ladybellegate House,built around 1704.
The building on the right is part of the telephone exchange,built,I would guess in the 1960s or 70s.
Bull Lane,Gloucester.
Here's the difference between the three most common types of instant film used nowadays.
On the left is the now defunkt Polaroid 600 film. Note the slightly off tone colour. It's less punchy than you'd expect, but has a nice retro feel to it. Some people prefer this.
The two on the left right are the Fuji Instax range.
The colours on the mini film are a lot more condensed and therefore more saturated than the standard Instax films. I've shot many and find this to be the case.
The most real to life colours are on the Instax standard size.
The camera doesn't make a bit of difference. All of them can record what you are seeing. But, you have to SEE.
I am trying to "SEE" as you can understand from this photo ;p
Some experimentation with light and equipment... some photoshop and here it is! The photo of my eye was taken with a different lens in order to capture it as close as possible. As for the strobist info... again this is a weird setup!
This was taken with a single Nissin di866 on my left side through a reflective umbrella. It was in wireless "dump" mode at 1/4th power and was triggered by a small Casio point and shoot camera which was on my right side at 4 o'clock, 2 meters behind with its flash set at full power. The only problem was that I had to find the right timing for the second flash shot from the small Casio.
I am not sure if this counts as a single strobe or long exposure (0.5 sec) photo!
Studio like photography with whatever equipment available ;p
Best viewed large (Press "L")
IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
From my garden. Ferns to Flickr. They are steadily unfolding and now's the perfect time to get some macro shots.
Fern: Polypodiopsida, Polypodiophyta
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