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Vanilla is a flavor derived from orchids of the genus Vanilla, primarily from the Mexican species, flat-leaved vanilla (V. planifolia). The word vanilla, derived from the diminutive of the Spanish word vaina (vaina itself meaning sheath or pod), translates simply as "little pod". Pre-Columbian Mesoamerican people cultivated the vine of the vanilla orchid, called tlilxochitl by the Aztecs. Spanish conquistador Hernán Cortés is credited with introducing both vanilla and chocolate to Europe in the 1520s.
Initial attempts to cultivate vanilla outside Mexico and Central America proved futile because of the symbiotic relationship between the vanilla orchid and its natural pollinator, the local species of Melipona bee. Pollination is required to set the fruit from which the flavoring is derived. In 1837, Belgian botanist Charles François Antoine Morren discovered this fact and pioneered a method of artificially pollinating the plant. The method proved financially unworkable and was not deployed commercially. In 1841, Edmond Albius, a slave who lived on the French island of Réunion in the Indian Ocean, discovered at the age of 12 that the plant could be hand-pollinated. Hand-pollination allowed global cultivation of the plant.
Three major species of vanilla currently are grown globally, all of which derive from a species originally found in Mesoamerica, including parts of modern-day Mexico. The various subspecies are Vanilla planifolia (syn. V. fragrans), grown on Madagascar, Réunion, and other tropical areas along the Indian Ocean; V. tahitensis, grown in the South Pacific; and V. pompona, found in the West Indies, and Central and South America. The majority of the world's vanilla is the V. planifolia species, more commonly known as Bourbon vanilla (after the former name of Réunion, Île Bourbon) or Madagascar vanilla, which is produced in Madagascar and neighboring islands in the southwestern Indian Ocean, and in Indonesia. Leptotes bicolor is used in the same way in South America.
Vanilla is the second most expensive spice after saffron, because growing the vanilla seed pods is labor-intensive. Despite the expense, vanilla is highly valued for its flavor, which author Frederic Rosengarten, Jr. described in The Book of Spices as "pure, spicy, and delicate"; he called its complex floral aroma a "peculiar bouquet". As a result, vanilla is widely used in both commercial and domestic baking, perfume manufacture and aromatherapy.
HISTORY
The Totonac people, who inhabit the East Coast of Mexico in the present-day state of Veracruz, were the first to cultivate vanilla. According to Totonac mythology, the tropical orchid was born when Princess Xanat, forbidden by her father from marrying a mortal, fled to the forest with her lover. The lovers were captured and beheaded. Where their blood touched the ground, the vine of the tropical orchid grew.
In the 15th century, Aztecs invading from the central highlands of Mexico conquered the Totonacs, and soon developed a taste for the vanilla pods. They named the fruit tlilxochitl, or "black flower", after the matured fruit, which shrivels and turns black shortly after it is picked. Subjugated by the Aztecs, the Totonacs paid tribute by sending vanilla fruit to the Aztec capital, Tenochtitlan.
Until the mid-19th century, Mexico was the chief producer of vanilla. In 1819, however, French entrepreneurs shipped vanilla fruits to the islands of Réunion and Mauritius in hopes of producing vanilla there. After Edmond Albius discovered how to pollinate the flowers quickly by hand, the pods began to thrive. Soon, the tropical orchids were sent from Réunion Island to the Comoros Islands Seychelles and Madagascar, along with instructions for pollinating them. By 1898, Madagascar, Réunion, and the Comoros Islands produced 200 metric tons of vanilla beans, about 80% of world production. According to the United Nations Food and Agriculture Organisation, Indonesia is currently responsible for the vast majority of the world's Bourbon vanilla production and 58% of the world total vanilla fruit production.
The market price of vanilla rose dramatically in the late 1970s after a tropical cyclone ravaged key croplands. Prices remained high through the early 1980s despite the introduction of Indonesian vanilla. In the mid-1980s, the cartel that had controlled vanilla prices and distribution since its creation in 1930 disbanded. Prices dropped 70% over the next few years, to nearly US$20 per kilogram; prices rose sharply again after tropical cyclone Hudah struck Madagascar in April 2000. The cyclone, political instability, and poor weather in the third year drove vanilla prices to an astonishing US$500 per kilogram in 2004, bringing new countries into the vanilla industry. A good crop, coupled with decreased demand caused by the production of imitation vanilla, pushed the market price down to the $40 per kilogram range in the middle of 2005. By 2010, prices were down to US$20/per kilo.
Madagascar (especially the fertile Sava region) accounts for much of the global production of vanilla. Mexico, once the leading producer of natural vanilla with an annual yield of 500 tons, produced only 10 tons of vanilla in 2006. An estimated 95% of "vanilla" products are artificially flavored with vanillin derived from lignin instead of vanilla fruits.
ETYMOLOGY
Vanilla was completely unknown in the Old World before Cortés. Spanish explorers arriving on the Gulf Coast of Mexico in the early 16th century gave vanilla its current name. Spanish and Portuguese sailors and explorers brought vanilla into Africa and Asia later that century. They called it vainilla, or "little pod". The word vanilla entered the English language in 1754, when the botanist Philip Miller wrote about the genus in his Gardener’s Dictionary. Vainilla is from the diminutive of vaina, from the Latin vagina (sheath) to describe the shape of the pods.
BIOLOGY
VANILLA ORCHID
The main species harvested for vanilla is Vanilla planifolia. Although it is native to Mexico, it is now widely grown throughout the tropics. Indonesia and Madagascar are the world's largest producers. Additional sources include Vanilla pompona and Vanilla tahitiensis (grown in Niue and Tahiti), although the vanillin content of these species is much less than Vanilla planifolia.
Vanilla grows as a vine, climbing up an existing tree (also called a tutor), pole, or other support. It can be grown in a wood (on trees), in a plantation (on trees or poles), or in a "shader", in increasing orders of productivity. Its growth environment is referred to as its terroir, and includes not only the adjacent plants, but also the climate, geography, and local geology. Left alone, it will grow as high as possible on the support, with few flowers. Every year, growers fold the higher parts of the plant downward so the plant stays at heights accessible by a standing human. This also greatly stimulates flowering.
The distinctively flavored compounds are found in the fruit, which results from the pollination of the flower. These seed pods are roughly a third of an inch by six inches, and brownish red to black when ripe. Inside of these pods are an oily liquid full of tiny seeds. One flower produces one fruit. V. planifolia flowers are hermaphroditic: They carry both male (anther) and female (stigma) organs; however, to avoid self-pollination, a membrane separates those organs. The flowers can be naturally pollinated only by bees of the Melipona genus found in Mexico (abeja de monte or mountain bee). This bee provided Mexico with a 300-year-long monopoly on vanilla production, from the time it was first discovered by Europeans. The first vanilla orchid to flower in Europe was in the London collection of the Honourable Charles Greville in 1806. Cuttings from that plant went to Netherlands and Paris, from which the French first transplanted the vines to their overseas colonies. The vines would grow, but would not fruit outside Mexico. Growers tried to bring this bee into other growing locales, to no avail. The only way to produce fruits without the bees is artificial pollination. And today, even in Mexico, hand pollination is used extensively.
In 1836, botanist Charles François Antoine Morren was drinking coffee on a patio in Papantla (in Veracruz, Mexico) and noticed black bees flying around the vanilla flowers next to his table. He watched their actions closely as they would land and work their way under a flap inside the flower, transferring pollen in the process. Within hours, the flowers closed and several days later, Morren noticed vanilla pods beginning to form. Morren immediately began experimenting with hand pollination. A few years later in 1841, a simple and efficient artificial hand-pollination method was developed by a 12-year-old slave named Edmond Albius on Réunion, a method still used today. Using a beveled sliver of bamboo, an agricultural worker lifts the membrane separating the anther and the stigma, then, using the thumb, transfers the pollinia from the anther to the stigma. The flower, self-pollinated, will then produce a fruit. The vanilla flower lasts about one day, sometimes less, so growers have to inspect their plantations every day for open flowers, a labor-intensive task.
The fruit, a seed capsule, if left on the plant, will ripen and open at the end; as it dries, the phenolic compounds crystallize, giving the fruits a diamond-dusted appearance, which the French call givre (hoarfrost). It will then release the distinctive vanilla smell. The fruit contains tiny, black seeds. In dishes prepared with whole natural vanilla, these seeds are recognizable as black specks. Both the pod and the seeds are used in cooking.
Like other orchids' seeds, vanilla seeds will not germinate without the presence of certain mycorrhizal fungi. Instead, growers reproduce the plant by cutting: they remove sections of the vine with six or more leaf nodes, a root opposite each leaf. The two lower leaves are removed, and this area is buried in loose soil at the base of a support. The remaining upper roots will cling to the support, and often grow down into the soil. Growth is rapid under good conditions.
CULTIVARS
Bourbon vanilla or Bourbon-Madagascar vanilla, produced from V. planifolia plants introduced from the Americas, is the term used for vanilla from Indian Ocean islands such as Madagascar, the Comoros, and Réunion, formerly the Île Bourbon. It is also used to describe the distinctive vanilla flavor derived from V. planifolia grown successfully in tropical countries such as India.
Mexican vanilla, made from the native V. planifolia, is produced in much less quantity and marketed as the vanilla from the land of its origin. Vanilla sold in tourist markets around Mexico is sometimes not actual vanilla extract, but is mixed with an extract of the tonka bean, which contains coumarin. Tonka bean extract smells and tastes like vanilla, but coumarin has been shown to cause liver damage in lab animals and is banned in food in the US by the Food and Drug Administration since 1954.
Tahitian vanilla is the name for vanilla from French Polynesia, made with the V. tahitiensis strain. Genetic analysis shows this species is possibly a cultivar from a hybrid-cross of V. planifolia and V. odorata. The species was introduced by French Admiral François Alphonse Hamelin to French Polynesia from the Philippines, where it was introduced from Guatemala by the Manila Galleon trade.
West Indian vanilla is made from V. pompona grown in the Caribbean and Central and South America.
The term French vanilla is often used to designate preparations with a strong vanilla aroma, containing vanilla grains and sometimes also containing eggs (especially egg yolks). The appellation originates from the French style of making vanilla ice cream with a custard base, using vanilla pods, cream, and egg yolks. Inclusion of vanilla varietals from any of the former French dependencies or overseas France noted for their exports may in fact be a part of the flavoring, though it may often be coincidental. Alternatively, French vanilla is taken to refer to a vanilla-custard flavor. Syrup labeled as French vanilla may include custard, hazelnut, caramel or butterscotch flavors in addition to vanilla.
CHEMISTRY
Vanilla essence comes in two forms. Real seedpod extract is an extremely complicated mixture of several hundred different compounds, including vanillin, acetaldehyde, acetic acid, furfural, hexanoic acid, 4-hydroxybenzaldehyde, eugenol, methyl cinnamate, and isobutyric acid. Synthetic essence consists of a solution of synthetic vanillin in ethanol.
The chemical compound vanillin (4-hydroxy-3-methoxybenzaldehyde) is a major contributor to the characteristic flavor and aroma of real vanilla, but hundreds of compounds contribute to a complex flavor that vanillin can only approximate. Another minor component of vanilla extract is piperonal (heliotropin). Vanillin was first isolated from vanilla pods by Gobley in 1858. By 1874, it had been obtained from glycosides of pine tree sap, temporarily causing a depression in the natural vanilla industry. Vanillin can be easily synthesized from various raw materials, but the majority of food grade (>99% pure) vanillin is made from guaiacol.
PRODUCTION
GENERAL GUIDELINES
In general, quality vanilla will only come from good vines and through careful production methods. Commercial vanilla production can be performed under open field and "greenhouse" operations. Both production systems share the following similarities:
Plant height and number of years before producing the first grains
Shade necessities
Amount of organic matter needed
A tree or frame to grow around (bamboo, coconut or Erythrina lanceolata)
Labor intensity (pollination and harvest activities)
Vanilla grows best in a hot, humid climate from sea level to an elevation of 1500 m. The ideal climate has moderate rainfall, 1500–3000 mm, evenly distributed through 10 months of the year. Optimum temperatures for cultivation are 15–30 °C during the day and 15–20 °C during the night. Ideal humidity is around 80%, and under normal greenhouse conditions, it can be achieved by an evaporative cooler. However, since greenhouse vanilla is grown near the equator and under polymer (HDPE) netting (shading of 50%), this humidity can be achieved by the environment. Most successful vanilla growing and processing is done in the region within 10 to 20° of the equator.
Soils for vanilla cultivation should be loose, with high organic matter content and loamy texture. They must be well drained, and a slight slope helps in this condition. Soil pH has not been well documented, but some researchers have indicated an optimum soil pH of around 5.3. Mulch is very important for proper growth of the vine, and a considerable portion of mulch should be placed in the base of the vine. Fertilization varies with soil conditions, but general recommendations are: 40 to 60 g of N, 20 to 30 g of P2O5 and 60 to 100 g of K2O should be applied to each plant per year besides organic manures, such as vermicompost, oil cakes, poultry manure and wood ash. Foliar applications are also good for vanilla, and a solution of 1% NPK (17:17:17) can be sprayed on the plant once a month. Vanilla requires organic matter, so three or four applications of mulch a year are adequate for the plant.
PROPAGATION, PREPARATION AND TYPE OF STOCK
Dissemination of vanilla can be achieved either by stem cutting or by tissue culture. For stem cutting, a progeny garden needs to be established. Recommendations for establishing this garden vary, but in general, trenches of 60 cm in width, 45 cm in depth and 60 cm spacing for each plant are necessary. All plants need to grow under 50% shade, as well as the rest of the crop. Mulching the trenches with coconut husk and micro irrigation provide an ideal microclimate for vegetative growth. Cuttings between 60 and 120 cm should be selected for planting in the field or greenhouse. Cuttings below 60 to 120 cm need to be rooted and raised in a separate nursery before planting. Planting material should always come from unflowered portions of the vine. Wilting of the cuttings before planting provides better conditions for root initiation and establishment.
Before planting the cuttings, trees to support the vine must be planted at least three months before sowing the cuttings. Pits of 30 x 30 x 30 cm are dug 30 cm away from the tree and filled with farm yard manure (vermicompost), sand and top soil mixed well. An average of 2000 cuttings can be planted per hectare. One important consideration is that when planting the cuttings from the base, four leaves should be pruned and the pruned basal point must be pressed into the soil in a way such that the nodes are in close contact with the soil, and are placed at a depth of 15 to 20 cm. The top portion of the cutting is tied to the tree using natural fibers such as banana or hemp.
TISSUE CULTURE
Tissue culture was first used as a means of creating vanilla plants during the 1980s at Tamil Nadu University. This was the part of the first project to grow V. planifolia in India. At that time, a shortage of vanilla planting stock was occurring in India. The approach was inspired by the work going on to tissue culture other flowering plants. Several methods have been proposed for vanilla tissue culture, but all of them begin from axillary buds of the vanilla vine. In vitro multiplication has also been achieved through culture of callus masses, protocorns, root tips and stem nodes. Description of any of these processes can be obtained from the references listed before, but all of them are successful in generation of new vanilla plants that first need to be grown up to a height of at least 30 cm before they can be planted in the field or greenhouse.
SCHEDULING CONSIDERATIONS
In the tropics, the ideal time for planting vanilla is from September to November, when the weather is neither too rainy nor too dry, but this recommendation varies with growing conditions. Cuttings take one to eight weeks to establish roots, and show initial signs of growth from one of the leaf axils. A thick mulch of leaves should be provided immediately after planting as an additional source of organic matter. Three years are required for cuttings to grow enough to produce flowers and subsequent pods. As with most orchids, the blossoms grow along stems branching from the main vine. The buds, growing along the 15 to 25 cm stems, bloom and mature in sequence, each at a different interval.
POLLINATION
Flowering normally occurs every spring, and without pollination, the blossom wilts and falls, and no vanilla bean can grow. Each flower must be hand-pollinated within 12 hours of opening. In the wild, very few natural pollinators exist, with most pollination being carried out by bees of the genus Melipona.[citation needed] These pollinators do not exist outside the orchid's home range, and even within that range, vanilla orchids have only a 1% chance of successful pollination. As a result, all vanilla grown today is pollinated by hand. A small splinter of wood or a grass stem is used to lift the rostellum or move the flap upward, so the overhanging anther can be pressed against the stigma and self-pollinate the vine. Generally, one flower per raceme opens per day, so the raceme may be in flower for over 20 days. A healthy vine should produce about 50 to 100 beans per year, but growers are careful to pollinate only five or six flowers from the 20 on each raceme. The first flowers that open per vine should be pollinated, so the beans are similar in age. These agronomic practices facilitate harvest and increases bean quality. It takes the fruits five to six weeks to develop, but it takes around six months for the bean to mature. Over-pollination will result in diseases and inferior bean quality. A vine remains productive between 12 and 14 years.
PEST AND DISEASE MANAGEMENT
Most diseases come from the uncharacteristic growing conditions of vanilla. Therefore, conditions such as excess water, insufficient drainage, heavy mulch, overpollination and too much shade favor disease development. Vanilla is susceptible to many fungal and viral diseases. Fusarium, Sclerotium, Phytophthora, and Colletrotrichum species cause rots of root, stem, leaf, bean and shoot apex. These diseases can be controlled by spraying Bordeaux mixture (1%), carbendazim (0.2%) and copper oxychloride (0.2%).
Biological control of the spread of such diseases can be managed by applying to the soil Trichoderma (0.5 kg) per plant in the rhizosphere) and foliar application of pseudomonads (0.2%). Mosaic virus, leaf curl and cymbidium mosaic potex virus are the common viral diseases. These diseases are transmitted through the sap, so affected plants must be destroyed. The insect pests of vanilla include beetles and weevils that attack the flower, caterpillars, snakes and slugs that damage the tender parts of shoot, flower buds and immature fruit, and grasshoppers that affect cutting shoot tips. If organic agriculture is practiced, insecticides are avoided, and mechanical measures are adopted for pest management. Most of these practices are implemented under greenhouse cultivation, since such field conditions are very difficult to achieve.
ARTIFICIAL VANILLA
Most artificial vanilla products contain vanillin, which can be produced synthetically from lignin, a natural polymer found in wood. Most synthetic vanillin is a byproduct from the pulp used in papermaking, in which the lignin is broken down using sulfites or sulfates. However, vanillin is only one of 171 identified aromatic components of real vanilla fruits.
The orchid species Leptotes bicolor is used as a natural vanilla replacement in Paraguay and southern Brazil.
NONPLANT VANILLA FLAVORING
In the United States, castoreum, the exudate from the castor sacs of mature beavers, has been approved by the Food and Drug Administration (FDA) as a food additive, often referenced simply as a "natural flavoring" in the product's list of ingredients. It is used in both food and beverages, especially as vanilla and raspberry flavoring. It is also used to flavor some cigarettes and in perfume-making.
STAGES OF PRODUCTION
HARVEST
The vanilla fruit grows quickly on the vine, but is not ready for harvest until maturity - approximately six months. Harvesting vanilla fruits is as labor-intensive as pollinating the blossoms. Immature dark green pods are not harvested. Pale yellow discoloration that commences at the distal end of the fruits is an indication of the maturity of pods. Each fruit ripens at its own time, requiring a daily harvest. To ensure the finest flavor from every fruit, each individual pod must be picked by hand just as it begins to split on the end. Overmatured fruits are likely to split, causing a reduction in market value. Its commercial value is fixed based on the length and appearance of the pod.
If the fruit is more than 15 cm in length, it belongs to first-quality product. The largest fruits greater than 16 cm and up to as much as 21 cm are usually reserved for the gourmet vanilla market, for sale to top chefs and restaurants. If the fruits are between 10 and 15 cm long, pods are under the second-quality category, and fruits less than 10 cm in length are under the third-quality category. Each fruit contains thousands of tiny black vanilla seeds. Vanilla fruit yield depends on the care and management given to the hanging and fruiting vines. Any practice directed to stimulate aerial root production has a direct effect on vine productivity. A five-year-old vine can produce between 1.5 and 3 kg pods, and this production can increase up to 6 kg after a few years. The harvested green fruit can be commercialized as such or cured to get a better market price.
CURING
Several methods exist in the market for curing vanilla; nevertheless, all of them consist of four basic steps: killing, sweating, slow-drying, and conditioning of the beans.
KILLING
The vegetative tissue of the vanilla pod is killed to stop the vegetative growth of the pods and disrupt the cells and tissue of the fruits, which initiates enzymatic reactions responsible for the aroma. The method of killing varies, but may be accomplished by heating in hot water, freezing, or scratching, or killing by heating in an oven or exposing the beans to direct sunlight. The different methods give different profiles of enzymatic activity.
Testing has shown mechanical disruption of fruit tissues can cause curing processes,[40] including the degeneration of glucovanillin to vanillin, so the reasoning goes that disrupting the tissues and cells of the fruit allow enzymes and enzyme substrates to interact.
Hot-water killing may consist of dipping the pods in hot water (63–65 °C) for three minutes, or at 80 °C for 10 seconds. In scratch killing, fruits are scratched along their length. Frozen or quick-frozen fruits must be thawed again for the subsequent sweating stage. Tied in bundles and rolled in blankets, fruits may be placed in an oven at 60 °C for 36 to 48 hours. Exposing the fruits to sunlight until they turn brown is a method originating in Mexico that was practiced by the Aztecs.
SWEATING
Sweating is a hydrolytic and oxidative process. Traditionally, it consists of keeping fruits, for seven to 10 days, densely stacked and insulated in wool or other cloth. This retains a temperature of 45–65 °C and high humidity. Daily exposure to the sun may also be used, or dipping the fruits in hot water. The fruits are brown and have attained much of the characteristic vanilla flavor and aroma by the end of this process, but still retain a 60-70% moisture content by weight.
DRYING
Reduction of the beans to 25–30% moisture by weight, to prevent rotting and to lock the aroma in the pods, is always achieved by some exposure of the beans to air, and usually (and traditionally) intermittent shade and sunlight. Fruits may be laid out in the sun during the mornings and returned to their boxes in the afternoons, or spread on a wooden rack in a room for three to four weeks, sometimes with periods of sun exposure. Drying is the most problematic of the curing stages; unevenness in the drying process can lead to the loss of vanillin content of some fruits by the time the others are cured.
CONDITIONING
Conditioning is performed by storing the pods for five to six months in closed boxes, where the fragrance develops. The processed fruits are sorted, graded, bundled, and wrapped in paraffin paper and preserved for the development of desired bean qualities, especially flavor and aroma. The cured vanilla fruits contain an average of 2.5% vanillin.
GRADING
Once fully cured, the vanilla fruits are sorted by quality and graded.
Several vanilla fruit grading systems are in use. Each country which produces vanilla has its own grading system, and individual vendors, in turn, sometimes use their own criteria for describing the quality of the fruits they offer for sale.
In general, vanilla fruit grade is based on the length, appearance (color, sheen, presence of any splits, presence of blemishes), and moisture content of the fruit. Whole, dark, plump and oily pods that are visually attractive, with no blemishes, and that have a higher moisture content are graded most highly. Such pods are particularly prized by chefs for their appearance and can be featured in gourmet dishes. Beans that show localized signs of disease or other physical defects are cut to remove the blemishes; the shorter fragments left are called “cuts” and are assigned lower grades, as are fruits with lower moisture contents. Lower-grade fruits tend to be favored for uses in which the appearance is not as important, such as in the production of vanilla flavoring extract and in the fragrance industry.
Higher-grade fruits command higher prices in the market. However, because grade is so dependent on visual appearance and moisture content, fruits with the highest grade do not necessarily contain the highest concentration of characteristic flavor molecules such as vanillin, and are not necessarily the most flavorful.
USAGE
CULINARY USES
There are four main commercial preparations of natural vanilla:
- whole pod
- powder (ground pods, kept pure or blended with sugar, starch, or other ingredients)
- extract (in alcoholic or occasionally glycerol solution; both pure and imitation forms of vanilla contain at least 35% alcohol)
- vanilla sugar, a pre-packaged mix of sugar and vanilla extract
Vanilla flavoring in food may be achieved by adding vanilla extract or by cooking vanilla pods in the liquid preparation. A stronger aroma may be attained if the pods are split in two, exposing more of a pod's surface area to the liquid. In this case, the pods' seeds are mixed into the preparation. Natural vanilla gives a brown or yellow color to preparations, depending on the concentration. Good-quality vanilla has a strong aromatic flavor, but food with small amounts of low-quality vanilla or artificial vanilla-like flavorings are far more common, since true vanilla is much more expensive.
A major use of vanilla is in flavoring ice cream. The most common flavor of ice cream is vanilla, and thus most people consider it to be the "default" flavor. By analogy, the term "vanilla" is sometimes used as a synonym for "plain". Although vanilla is a prized flavoring agent on its own, it is also used to enhance the flavor of other substances, to which its own flavor is often complementary, such as chocolate, custard, caramel, coffee, cakes, and others.
The food industry uses methyl and ethyl vanillin. Ethyl vanillin is more expensive, but has a stronger note. Cook's Illustrated ran several taste tests pitting vanilla against vanillin in baked goods and other applications, and, to the consternation of the magazine editors, tasters could not differentiate the flavor of vanillin from vanilla; however, for the case of vanilla ice cream, natural vanilla won out. A more recent and thorough test by the same group produced a more interesting variety of results; namely, high-quality artificial vanilla flavoring is best for cookies, while high-quality real vanilla is very slightly better for cakes and significantly better for unheated or lightly heated foods.
It was once believed that the liquid extracted from vanilla pods had medical properties, helping with various stomach ailments.
WIKIPEDIA
Brenizer method, photomerged from 49 shots. Used D300 with 85mm @ f1.8.
More info about this method: www.flickr.com/groups/brenizermethod/
A panorama of 19 shots stitched together in Photoshop Elements 11 and showing Freddy in his new Chelsea scarf lovingly knitted by Nana.
The Cross-Harbour Tunnel (abbreviated CHT or XHT) is the first tunnel in Hong Kong built underwater. It has become one of the most congested roads (mainly towards the Hong Kong Island direction) in Hong Kong and the world. The tunnel was constructed using the Immersed tube method.
海底隧道（英文：Cross Harbour Tunnel），又名香港海底隧道、紅磡海底隧道，簡稱紅隧、海隧，是香港首條由九龍通往香港島的過海行車隧道。於1969年9月1日動工，1972年8月2日通車，耗資港幣3.2億港元。隧道全長1.86公里，以沉管式隧道建造，車速限制70公里。海底隧道是世界上最繁忙的4線行車隧道之一，也是香港最繁忙、使用率最高的道路，僅次於東區海底隧道。
Hong Kong • 香港 '11
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Project by:
Federica Bardelli
Alessandro Marino Giuseppe Brunetti
Gabriele Colombo
Giulia De Amicis
Carlo Alessandro Morgan De Gaetano
Infrared converted Sony A6000 with Sony E 16mm F2.8 mounted with the Sony Ultra Wide Converter. HDR AEB +/-2 total of 3 exposures at F8, 16mm, auto focus and processed with Photomatix HDR software.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
He didn’t want to come in out of the rain, so I had to roll him back onto a folded beach towel, grab the ends, and crab-walk him into the house.
Which is why it looks like he was abducted from above.
Because he was.
By a creature whose hands have turned into stiff claws from this method.
NIKON F-801 (1988)
SPECIFICATIONS (from the instructions manual)
Type of camera - Integral-motor autofocus 35mm single-lens reflex
Picture format - 24mm x 36mm (standard 35mm film format)
Lens mount - Nikon F mount
Lens - AF Nikkor lenses, and other Nikon lenses with Nikon F mount (with limitation) available
Focus modes - Autofocus, and manual focus with electronic rangefinder
Autofocus Autofocus detection system - TTL phase detection system using Nikon advanced AM200 autofocus module
Autofocus detection range - Approx. EV minus I to EV 19 (at ISO100)
Autofocus actuation method - Single servo and continuous servo
Autofocus lock - Possible by lightly pressing shutter release button in Single Servo AF mode or by using AF Lock button
Electronic rangefinder - Available in manual focus mode with an AF Nikkor and other Ai-type Nikkor lenses with a maximum aperture of f/5.6 or faster
Exposure metering - Two types of exposure metering systems - Matrix Metering and Centre-Weighted
Exposure meter switch - Activated by lightly pressing shutter release button; stays on for approx. 8 sec. after lifting finger from button
Metering range - EV 0 to EV 21 (at ISO 100 with f/1.4 lens) f
Exposure modes - Programmed auto (PD, P, PH), shutter-priority auto (S), aperture-priority auto (A) and manual (M) modes
Programmed auto exposure control - Both shutter speed and aperture are set automatically; flexible program in one EV step possible
Shutter-priority auto exposure control - Aperture automatically selected to match manually set shutter speed
Aperture-priority auto exposure control - Shutter speed automatically selected to match manually set aperture
Manual exposure control - Both aperture and shutter speed are set manually
Shutter - Electro magnetically controlled vertical-travel focal-plane shutter
Shutter release - Electromagnetic shutter by motor trigger
Shutter speeds - Lithium niolbate oscillator-controlled speeds from 1/8000 to 30 sec.; electro-magnetically controlled long exposure at B setting
Viewfinder - Fixed eye level pentaprism High-eyepoint type; 0.75X magnification with 50mm lens set at infinity; 92% frame coverage
Eye point - Approx. 19mm
Eyepiece cover - Model DK-8 prevents stray light from entering viewfinder
Focusing screen - Nikon advanced B-type Briteview screen with central focus brackets for autofocus operation
Viewfinder information - The following LCD indications appear: focus indicators, exposure modes, shutter speeds/film speeds, aperture/ exposure compensation value, electronic analogue display, exposure compensation mark; ready-light LED; viewfinder display is illuminated automatically or by pressing the viewfinder illumination button
LCD information - The following indications appear: exposure modes, metering types, exposure compensation, electronic analogue display, shutter speeds/film speeds, aperture/exposure compensation value, film speed setting, DX-coded film speed setting, film advance mode, film installation, film advance and rewind, self-timer, multiple exposure, frame counter/ self-timer duration/number of multiple exposure
Electronic beeper - With power switch in beeper position, beeper sounds in the following cases: operation signals; (1) at end of film roll: (2) when film rewinding is complete; (3) during self-timer operation; alert signals; (1) for over- or underexposure and possible picture blur in PD, P, PH or A mode; (2) when lens is not set to the smallest aperture setting in PD, P, PH or S mode; (3) when non-DX-coded film, damaged film or film with an unacceptable DX code is loaded; (4) such as torn or damaged film during film advance
Auto exposure lock - Available via sliding the AE Lock lever while the meter in on
Film speed range - ISO 25 to 5000 for DX-coded film; ISO 6 to 6400 for manual setting
Film speed setting - At DX position, automatically set to ISO speed of DX-coded film used; with non-DX-coded film, ISO speed is set manually
Film loading - Film automatically advances to first frame when shutter release button is depressed once
Film advance - In S (Single-frame) shooting mode, film automatically advances one frame when shutter is released; in CH (Continuous High) or CL (Continuous Low) shooting mode, shots are taken as long as shutter release button is depressed; in CH mode, shooting speed is approx. 3.3fps, and in CL, approx., 2.0 fps (in Continuous Servo Autofocus or manual focus mode, with new batteries at normal temperatures, and a shutter speed faster than 1/125 sec. in manual exposure mode).
Frame counter - Accumulative type: counts back while film is rewinding
Film rewind - Automatically rewinds by pressing film rewind button and multiple exposure film rewind button; approx. 10 sec. per 24-exposure roll; stops automatically when film is rewound
Self-timer;- Electronically controlled; timer duration can be selected between 2 to 30 sec. in one sec. increments; blinking LED indicates self-timer operation; two-shot self-timer is possible; cancelable
Exposure compensation - Possible using exposure compensation button within ±5 EV range in 1/3 EV steps
Multiple exposure - Up to 9 exposures can be set
Depth of Field preview button;- Provides visual verification of depth of field; can be previewed in A or M mode
Reflex mirror - Automatic, instant-return type
Camera back - Hinged back; exchangeable with Nikon Multi-Control Back MF-21 or Data Back MF-20
Accessory shoe - Standard ISO-type hot-shoe contact; ready-light contact, TTL flash contact, monitor contact
Flash synchronization - 1/60 to 1/250 sec. in PD, P, PH or A mode; in S or M mode, shutter fires at speed set, and when set from /250 to 1/8000 sec., shutter is automatically set to 1/250 sec.; down to 30 sec. shutter is available by using SB-24 in rear-curtain sync
Flash ready-light - Viewfinder LED lights up when Nikon dedicated speedlight is ready to fire; links to warn of poor camera/speedlight connection or insufficient light for correct exposure
Autofocus flash photography - Possible with Nikon Autofocus speedlights SB-24, SB-23, SB-22 or B-20 etc.
Power source - Four AA-type batteries
Lens displayed - AF Nikkor 85 mm 1:1.8
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Historic Environment Record for H BUILDING, Malvern, UK
The building, having military purposes and designated locally as H building, sits on a former Government Research site in Malvern, Worcestershire at Grid Ref SO 786 447. This site was the home of the Telecommunications Research Establishment (TRE) from 1946. It has been owned by QinetiQ since 2001 and is in the process (October 2017 to February 2018) of being sold for redevelopment.
This unique building has at its heart a ‘Rotor’ bunker with attached buildings to house radar screens and operators as well as plant such as emergency generators. Twenty nine Rotor operational underground bunkers were built in great urgency around Britain to modernise the national air defence network, following the Soviet nuclear test in 1949. Two factors make H building’s construction and purpose unique; this prototype is the only Rotor bunker built above ground and it was the home to National Air Defence government research for 30 years.This example of a ROTOR bunker is unique instead of being buried, it was built above ground to save time and expense, as it was not required to be below ground for its research purpose.
H Building was the prototype version of the Rotor project R4 Sector Operations Centre air defence bunkers. Construction began in August 1952 with great urgency - work went on 24 hours a day under arc lights. The main bunker is constructed from cross bonded engineering bricks to
form walls more than 2 feet thick in a rectangle approximately 65ft x 50ft. The two internal floors are suspended from the ceiling. The original surrounding buildings comprise, two radar control and operator rooms, offices and machine plant.
The building was in generally good order and complete. The internal layout of the bunker remains as originally designed. The internal surfaces and services have been maintained and modernised over the 55 years since its construction (Figure 3). The first floor has been closed over.
There are some later external building additions around the periphery to provide additional accommodation.
In parts of the building the suspended floor remains, with 1950s vintage fittings beneath such as patch panels and ventilation ducts.
The building has been empty since the Defence Science & Technology Laboratories [Dstl] moved out in October 2008
As lead for radar research, RRE was responsible for the design of both the replacement radars for the Chain Home radars and the command and control systems for UK National Air Defence.
Project Rotor was based around the Type 80 radar and Type 13 height finder. The first prototype type 80 was built at Malvern in 1953 code named Green Garlic. Live radar feeds against aircraft sorties, were fed into the building to carry out trials of new methods plotting and reporting air activity
A major upgrade of the UK radar network was planned in the late 1950s – Project ‘Linesman’ (military) / ‘Mediator’ (civil) – based around Type 84 / 85 primary radars and the HF200 height finder. A prototype type 85 radar (Blue Yeoman) was built adjacent to H Building in 1959. live radar returns were piped into H Building.
Subsequently a scheme to combine the military and civil radar networks was proposed. The building supported the research for the fully computerised air defence scheme known as Linesman, developed in the 1960s, and a more integrated and flexible system (United Kingdom Air Defence Ground Environment or UKADGE) in the 1970s.
The building was then used for various research purposes until the government relinquished the main site to QinetiQ in 2001. Government scientists continued to use the building until 2008. Throughout its life access was strictly controlled by a dedicated pass sytem.
Notable civil spin-offs from the research in this building include the invention of touch screens and the whole UK Civil Air Traffic Control system which set the standard for Europe.
Chronology
1952 - Construction work is begun. The layout of the bunker area duplicates the underground version built at RAF Bawburgh.
1953 - Construction work is largely completed.
1954 - The building is equipped and ready for experiments.
1956-1958 - Addition of 2nd storey to offices
1957-1960 - Experiments of automatic tracking, novel plot projection systems and data management and communications systems tested.
1960-1970 - Project Linesman mediator experiments carried out including a novel display technique known as a Touch screen ( A World First)
TOUCHSCREEN
A team led by Eric Johnson in H building at Malvern. RRE Tech Note 721 states: This device, the Touch Sensitive Electronic Data Display, or more shortly the ‘Touch Display’, appears to have the potential to provide a very efficient coupling between man and machine. (E A Johnson 1966). See also patent GB 1172222.
Information From Hugh Williams/mraths
1980-1990 - During this period experiments are moved to another building and H building is underused.
1990-1993 - The building was re-purposed and the bunker (room H57) had the first floor closed over to add extra floor area.
2008- The bunker was used until late 2008 for classified research / Joint intelligence centre
2019 - Visual Recording of the buildings interior by MRATHS. Be means of a LIDAR scan and photographs being taken. The exterior was mapped with a drone to allow a 3D Image of the building to be created via Photogrammetry. This was created in Autodesk Photo Recap.
2020 - Building demolished as part of the redevelopment of the site.
Information sourced from MRATHS
This Method of castration is very easy to use. Although I was very skeptical in the beginning about it’s safety today I am very pleased with the safety, time and cleanness that it provides.
Read full article: vetmoves.com/equine/quarter-horse-castration-using-the-he...
I spent a fabulous 2 days with Wendy Kromer at the Peggy Porschen acadamy learning the Lambeth Method. More practice required, but I'm hooked!
Using the Brenizer Method, a technique originated by Ryan Brenizer, where you stitch multiple images shots with a large aperture telephoto, and stitch them together in pano that gives a shallow DoF that you normally couldn't get.
This is 16 images shot with a Nikkor 180mm f/2.8 stitched together.
U.S. Army Africa chef earns top honors in culinary competition
By Rick Scavetta, U.S. Army Africa
VICENZA, Italy – When Sgt. Ken Turman drizzled thickened meat juice around a plate of herb pork tenderloin crepinette, he was putting the finishing touches on an entrée that would take top honors at the 35th U.S. Army Culinary Arts Competition.
Turman, a U.S. Army Africa chef who works at Caserma Ederle’s South of the Alps dining facility, served as team captain for U.S. Army Europe’s team during the March 12 competition at Fort Lee, Va.
“Sgt. Turman's performance at the competition was exemplary,” said Maj. L. Trice Burkes, commander of Headquarters Support Company, U.S. Army Africa. “His accolades clearly represent years of commitment to the culinary field. We’re honored to have such an NCO among our ranks.”
Overall, the USARUER team earned 22 gold, nine silver and five bronze awards. The military chefs also earned the top team prize, the Installation of the Year award. It’s the first time since 1992 that a USAREUR team received the title. The USAREUR team also won the best team buffet table award.
“Sgt. Turman showed a keen ability to grasp advanced cookery skills and methods along with understanding the requirements of the rules established for the culinary competition, enabling him to be quite successful,” said Sgt. Maj. Mark Warren, from USAREUR’s logistics directorate, who managed the team.
The meal that won gold for the team included an appetizer of seared salmon on a bed of tagliatelle vegetables, served with a citrus wine cream sauce and tomatoes concasse. The main dish included the herb pork tenderloin crepinette and braised pork belly with savory crimini mushroom bread pudding, plus carrot and ginger puree served with pearl onions, peas and creamed Savoy cabbage. The natural jus-lie – thickened meat sauce – was the final touch.
Following the entrée was a desert of streusel-baked apple with mascarpone cream filling, pistachio sponge cake with raspberry cream and chocolate décor served with warm apples and raspberries in vanilla syrup with lemon.
Turman also served as captain of the student skills team. He received a silver medal in the senior chef of the year category and took gold in both the nutritional hot food challenge and in live hot food cooking. Turman was also selected to represent the Army during the Culinary Olympics World Cup this November in Luxembourg.
Warren is encouraged to see younger chefs like Turman develop skills and study the finer points of cookery, he said.
“I would expect to see great achievements and advancement in his future,” Warren said.
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Ice sculpture "King Neptune", sits in a tent behind the Field House at Fort Lee, Va., March 9, 2010. "King Neptune" created by U.S. Army Chief Warrant Officer 4th Class Robert Sparks, Staff Sgt. Andre "The Worlds Strongest Chef" Rush and U.S. National Guard Staff Sgt. Hernandez is on display during an ice carving event at the 35th Culinary Arts Competition. (U.S. Army photo by Spc. Walter Reeves/Released)
Ms. Nakako Yagisawa presented one of her practices during Share a Method, and I was lucky enough to be in her group. She showed us an icebreaker called Project that had everyone laughing and tossing balls to one another. It was a great metaphor for the tension many of us feel between routine work that goes on day-to-day, and the project work that sometimes gets tossed in from nowhere!
Spinning is an ancient textile art in which plant, animal or synthetic fibers are drawn out and twisted together to form yarn. For thousands of years, fiber was spun by hand using simple tools, the spindle and distaff. Only in the High Middle Ages did the spinning wheel increase the output of individual spinners, and mass-production only arose in the 18th century with the beginnings of the Industrial Revolution. Hand-spinning remains a popular handicraft.
Characteristics of spun yarn vary according to the material used, fiber length and alignment, quantity of fiber used, and degree of twist.
HISTORY
HAND SPINNING
The origins of spinning fiber to make string or yarn are lost in time, but archaeological evidence in the form of representation of string skirts has been dated to the Upper Paleolithic era, some 20,000 years ago. In the most primitive type of spinning, tufts of animal hair or plant fiber are rolled down the thigh with the hand, and additional tufts are added as needed until the desired length of spun fiber is achieved. Later, the fiber is fastened to a stone which is twirled round until the yarn is sufficiently twisted, whereupon it is wound upon the stone and the process repeated over and over.
The next method of spinning yarn is with the spindle, a straight stick eight to twelve inches long on which the yarn is wound after twisting. At first the stick had a cleft or split in the top in which the thread was fixed. Later, a hook of bone was added to the upper end. The bunch of wool or plant fibers is held in the left hand. With the right hand the fibers are drawn out several inches and the end fastened securely in the slit or hook on the top of the spindle. A whirling motion is given to the spindle on the thigh or any convenient part of the body. The twisted yarn is then wound on to the upper part of the spindle. Another bunch of fibers is drawn out, the spindle is given another twirl, the yarn is wound on the spindle, and so on.
The distaff was used for holding the bunch of wool, flax, or other fibers. It was a short stick, on one end of which was loosely wound the raw material. The other end of the distaff was held in the hand, under the arm or thrust in the girdle of the spinner. When held thus, one hand was left free for drawing out the fibers.
A spindle containing a quantity of yarn rotates more easily, steadily, and continues longer than an empty one; hence, the next improvement was the addition of a weight called a spindle whorl at the bottom of the spindle. These whorls are discs of wood, stone, clay, or metal with a hole in the center for the spindle, which keep the spindle steady and promote its rotation. Spindle whorls appeared in the Neolithic era. They allowed the spinner to slowly lower, or drop, the spindle as it was spinning, thus allowing a greater quantity of yarn to be created before it had to be wound onto the spindle; hence the name "drop spindle," which is now most commonly used for the hand spindle with whorl attached.
In mediæval times, poor families had such a need for yarn to make their own cloth and clothes that practically all girls and unmarried women would keep busy spinning, and "spinster" became synonymous with an unmarried woman. Subsequent improvements with spinning wheels and then mechanical methods made hand-spinning increasingly uneconomic, but as late as the twentieth century hand-spinning remained widespread in poor countries: in conscious rejection of international industrialization, Gandhi was a notable practitioner. The hand spinning movement that he initiated as a part of the Indian freedom struggle has made the handwoven cloth known as "Khadi" made from handspun cotton yarn world famous. Women spinners of cotton yarn still continue to work to produce handspun yarn for the weaving of Khadi in Ponduru, a village in South India.
A great wheel (also called a wool wheel, high wheel or walking wheel) is advantageous when using the long-draw technique to spin wool or cotton because the high ratio between the large wheel and the whorl (sheave) enables the spinner to turn the bobbin faster, thus significantly speeding up production.
A Saxony wheel (also called a flax wheel) or an upright wheel (also called a castle wheel), can be used to spin wool or cotton, but are invaluable when spinning flax (linen). The ends of flax fibers tend to stick out from the thread unless wetted while being spun. The spinner typically keeps a bowl of water handy when spinning flax, and on these types of wheels, both hands are free (since the wheel is turned with a treadle, rather than by hand), so the spinner can use one hand to draft the fibers and the other to wet them.
INDUSTRIAL SPINNING
Modern powered spinning, originally done by water or steam power but now done by electricity, is vastly faster than hand-spinning.
The spinning jenny, a multi-spool spinning wheel invented c. 1764 by James Hargreaves, dramatically reduced the amount of work needed to produce yarn of high consistency, with a single worker able to work eight or more spools at once. At roughly the same time, Richard Arkwright and a team of craftsmen developed the spinning frame, which produced a stronger thread than the spinning jenny. Too large to be operated by hand, a spinning frame powered by a waterwheel became the water frame.
In 1779, Samuel Crompton combined elements of the spinning jenny and water frame to create the spinning mule. This produced a stronger thread, and was suitable for mechanisation on a grand scale. A later development, from 1828/29, was Ring spinning.
In the 20th century, new techniques including Open End spinning or rotor spinning were invented to produce yarns at rates in excess of 40 meters per second.
CHARACTERISTICS OF SPUN YARNS
MATERIALS
Yarn can be, and is, spun from a wide variety of materials, including natural fibers such as animal, plant, and mineral fibers, and synthetic fibers. It was probably first made from plant fibers, but animal fibers soon followed.
TWIST AND PLY
The direction in which the yarn is spun is called twist. Yarns are characterized as S-twist or Z-twist according to the direction of spinning (see diagram). Tightness of twist is measured in TPI (twists per inch or turns per inch).
Two or more spun yarns may be twisted together or plied to form a thicker yarn. Generally, handspun single plies are spun with a Z-twist, and plying is done with an S-twist. This is a cultural preference differing in some areas but surprisingly common.
PLYING METHODS
Yarns can be made of two, three, four, or more plies, or may be used as singles without plying. Two-ply yarn can also be plied from both ends of one long strand of singles using a center-pull ball, where one end feeds from within a ball of yarn while the other end feeds from the outside. So-called "Andean" plying, in which the single is first wound around one hand in a specific manner that allows unwinding both ends at once without tangling, is another way to ply smaller amounts of yarn. The name comes from a method used by Andean spinners to manage and splice unevenly matched singles being plied from multiple spindles. "Navajo" (aka "chain-") plying is another method of producing a three-ply yarn, in which one strand of singles is looped around itself in a manner similar to crochet and the resulting three parallel strands twisted together. This method is often used to keep colors together on singles dyed in sequential colors. Cabled yarns are usually four-ply yarns made by plying two strands of two-ply yarn together in the direction opposite to the plying direction for the two-ply yarns.
CONTEMPORARY HAND SPINNING
Hand-spinning is still an important skill in many traditional societies. Hobby or small scale artisan spinners spin their own yarn to control specific yarn qualities and produce yarn that is not widely available commercially. Sometimes these yarns are made available to non-spinners online and in local yarn stores. Handspinners also may spin for self-sufficiency, a sense of accomplishment, or a sense of connection to history and the land. In addition, they may take up spinning for its meditative qualities.
Within the recent past, many new spinners have joined into this ancient process, innovating the craft and creating new techniques. From using new dyeing methods before spinning, to mixing in novelty elements (Christmas Garland, eccentric beads, money, etc.) that would not normally be found in traditional yarns, to creating and employing new techniques like coiling, this craft is constantly evolving and shifting.
To make various yarns, besides adding novelty elements, spinners can vary all the same things as in a machined yarn, i.e., the fiber, the preparation, the color, the spinning technique, the direction of the twist, etc. A common misconception is yarn spun from rolags may not be as strong, but the strength of a yarn is actually based on the length of hair fiber and the degree of twist. When working with shorter hairs, such as llama or angora rabbit, the spinner may choose to integrate longer fibers, such as mohair, to prevent yarn breakage. Yarns made of shorter fibers are also given more twist than yarns of longer fibers, and are generally spun with the short draw technique.
The fiber can be dyed at any time, but is often dyed before carding or after the yarn has been spun.
Wool may be spun before or after washing, although excessive amounts of lanolin may make spinning difficult, especially when using a drop-spindle. Careless washing may cause felting. When done prior to spinning, this often leads to unusable wool fiber. In washing wool the key thing to avoid is too much agitation and fast temperature changes from hot to cold. Generally, washing is done lock by lock in warm water with dish-soap.
EDUCATION
There are number of guilds and educational institutions which offer certificate programs in handspinning. The Handweavers Guild of America (HGA) offers a Certificate of Excellence in Handspinning. Olds College in Alberta, Canada, offers a Master Spinner program both on campus and by distance education. The Ontario Handweavers & Spinners offer both a Spinning Certificate as well as a Master Spinning Certificate. These programs feature in-depth examinations of handspinning topics, as well as extensive assignments and skill evaluations.
TECHNIQUES
A tightly spun wool yarn made from fiber with a long staple length in it is called worsted. It is hand spun from combed top, and the fibers all lie in the same direction as the yarn. A woolen yarn, in contrast, is hand spun from a rolag or other carded fiber (roving, batts), where the fibers are not as strictly aligned to the yarn created. The woolen yarn, thus, captures much more air, and makes for a softer and generally bulkier yarn. There are two main techniques to create these different yarns: short draw creates worsted yarns, and long draw creates woolen yarns. Often a spinner will spin using a combination of both techniques and thus make a semi-worsted yarn.
Short draw spinning is used to create worsted yarns. It is spun from combed roving, sliver or wool top. The spinner keeps his/her hands very close to each other. The fibers are held, fanned out, in one hand, and the other hand pulls a small number from the mass. The twist is kept between the second hand and the wheel. There is never any twist between the two hands.
Long draw is spun from a carded rolag. The rolag is spun without much stretching of the fibers from the cylindrical configuration. This is done by allowing twist into a short section of the rolag, and then pulling back, without letting the rolag change position in one's hands, until the yarn is the desired thickness. The twist will concentrate in the thinnest part of the roving; thus, when the yarn is pulled, the thicker sections with less twist will tend to thin out. Once the yarn is the desired thickness, enough twist is added to make the yarn strong. Then the yarn is wound onto the bobbin, and the process starts again.
SPINNING IN THE GREASE
Handspinners are split, when spinning wool, as to whether it is better to spin it 'in the grease' (with lanolin still in) or after it has been washed. More traditional spinners are more willing to spin in the grease, as it is less work to wash the wool after it is in yarn form. Spinners who spin very fine yarn may also prefer to spin in the grease as it can allow them to spin finer yarns with more ease. Spinning in the grease covers the spinner's hands in lanolin and, thus, softens the spinner's hands.
Spinning in the grease works best if the fleece is newly sheared. After several months, the lanolin becomes sticky, which makes the wool harder to spin using the short-draw technique, and almost impossible to spin using the long-draw technique. In general, spinners who use the long-draw technique do not spin in the grease.
Such spinners generally buy their fibers pre-washed and carded, in the form of roving, sliver, or batts. This means less work for the spinners, as they do not have to wash out the lanolin. Spinners then have available predyed fiber, or blends of fibers, which are hard to create when the wool is still in the grease. As machine carders cannot card wool in the grease, pre-carded yarn generally is not spun in the grease. Some spinners use spray-on lanolin-like products to get the same feel of spinning in the grease with carded fiber.
WIKIPEDIA
Digital technology and emerging platforms have opened up new ways of reflecting life around the world. We will share some content and begin a discussion with producers of five projects that have taken advantage of new technologies and novel production methods to bring global stories to North American and European audiences. What are the agendas in bringing these stories home? How do producers negotiate these cross-cultural exchanges? What strategies are used to engage audiences with distant lives and experiences?
This evening will feature a panel conversation with video clips from Video Nation (BBC 2), WSJ.com, Global Lives, Breakthrough, and Metropolis (VPRO), with producers in attendance for a panel discussion. Complete information on each participant below. Curated with Mandy Rose.
Video Nation was a ground-breaking access television and participatory media project which was co-founded in 1994 by producers Chris Mohr and Mandy Rose of the BBC’s Community Programmes Unit. Fifty people across the UK were given camcorders and training and recorded aspects of everyday life during the course of a year. Selected recordings were broadcast on BBC2 with the best known output, the Video Nation Shorts, broadcast on weeknights forty weeks a year for nearly six years. The project won a Race in the Media Award and the European Prix Iris. During Video Nation’s first decade ten thousand tapes were shot and 1,300 shorts were screened on TV. The project migrated to the web in 2001 and continues today in a new format as Video Nation Network.
Mandy Rose is an award winning producer who has overseen participatory and interactive projects including the BBC’s pioneering digital storytelling project Capture Wales (2001-2008), Voices (2004) & My Science Fiction Life (2005) the latter both webby nominated. Between 1994 and 2000 she was co-founder and producer of Video Nation. In addition to the UK project for which fifty people made recordings about everyday life, Video Nation travelled to the Caribbean, Bangladesh, Hong Kong, Africa, and the Balkans, bringing vivid, first person perspectives from these regions to BBC screens. Mandy blogs at collabdocs.wordpress.com/
WSJ.com, the online arm of The Wall Street Journal, aims to tell the stories behind the numbers and increasingly utilizes multimedia tools and videos on the web to give the audience a glimpse of the lives of people all around the globe.
Hilke Schellmann is a producer with WSJ.com, her first initiative being the multimedia project Faces of Health Care. The videos which were narrated by the protagonists themselves, showed the struggle of every day people in the US with health insurance. It was pegged to almost all the WSJ.com stories about health care reform. In March, Schellmann reported an influential video story about the sexual abuse scandal in the Catholic Church. She met with the stakeholders in Germany and made a very moving video, in which the victims talked about their plights and the church also addressed these issues directly.
The Global Lives Project is a collaboration of more than 700 filmmakers, photographers, artists and everyday people working together to create a video library of human life experience. They have produced ten recordings of 24 hours of daily life of individuals in Brazil, Malawi, Japan, China, Indonesia, India, Serbia, Lebanon, Kazakhstan and the US. Their multi-screen video installations have been shown at museums, galleries, universities and public spaces around the world including the United Nations University in Tokyo and the Yerba Buena Center for the Arts in San Francisco. Currently they are developing an interactive web version of the installation that allows for dynamic navigation within the video content, tagging, participatory subtitling, geolocation and hypervideo navigation, as well as a feature-length film. Producers Rahul V Chittella and Khairani Barokka in attendance.
Breakthrough is an innovative, international human rights organization using the power of popular culture, media, and community mobilization to transform public attitudes and advance equality, justice, and dignity in India and the United States. Through initiatives in India and the United States, Breakthrough addresses critical global issues including violence against women, sexuality and HIV/AIDS, racial justice, and immigrant rights.
Madhuri Mohindar is a Multimedia Manager of Breakthrough’s video documentary campaign Restore Fairness which deploys new media tools like online video, blogs, democracy in action tools and and social networking to mobilize action on fair immigration and racial justice. Its documentaries include “Face the Truth: Racial Profiling Across America” produced with the Rights Working Group, a coalition of 275 organization across America, ‘Restore Fairness’ documentary produced with 26 leading human rights and immigrant rights organizations, and ‘Death by Detention’, voted as ‘Best Long Form Video’ for the 2009 DoGooder TV Nonprofit Video Awards.
VPRO Television’s Metropolis is an award-winning TV show and new media project featuring content produced by a network of more than 60 documentary filmmakers from around the world. In each episode, Metropolis brings viewers a geographically diverse collection of short films, all grouped around a weekly theme. From obesity and the lives of fifteen-year-old girls, to self defense, outcasts and Elvis impersonators, Metropolis presents a new ‘global view’ every week, and exposes the surprising differences and similarities between people and cultures worldwide. The televised version of Metropolis has been airing in The Netherlands since 2008. All short films produced by Metropolis —over 600 in total—are also available worldwide on the show’s website, which recently won a special commendation from at the 2009 Prix Europa Awards.
Kel O’Neill (US) & Eline Jongsma (NL) have been US correspondents for Metropolis since the project’s inception. In addition, they are currently working on a new media project entitled Empire, which investigates the legacy of European corporate-colonialism in former Dutch East India Company colonies and trading posts in Asia and Africa.
www.twitter.com/Memoire2cite #recherche #archives #Banlieue #socialhousing #logement #Collectif #Copropriété #Habitation #Habitat #HLM #Quartier #Béton #immeuble #Cité #Moderne #Europe #World #Mémoire2Cité #Mémoire2Ville @ Les 30 Glorieuses . com l' #Urbanisme d'Antan, et ses belles cartes postales @ mais aussi les clichés d'Archilaid, comme les "prix citron" de la France moche.. ou encore la laideur architecturale en Françe et Ailleurs. Dans le triste sillage des cités de banlieue construites ds les années 50, 60, 70... @ l'apres guerre.. dans l'urbanisation massive des territoires via l'industrialisation du logement @ le Logement Collectif* 50,60,70's dans tous ses états..Histoire & Mémoire de l'Habitat / Rétro-Villes / HLM / Banlieue / Renouvellement Urbain / Urbanisme @ De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments banlieue89 ANRU1 ANRU2 bientot ANRU3 @ le Renouvellement urbain, la rénovation urbaine, des "Ensembles Tout Béton" qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM L'urbanisation à marche forcée des années 60 est devenue synonyme de bétonnage et d'enlaidissement. Dans L'Express du 23 août 1971 @ "La loi du 7 juillet dernier relative à la liberté de la création, à l'architecture et au patrimoine a ainsi créé un label spécifique permettant de veiller sur cet héritage architectural récent, que le Comité du patrimoine mondial de l'Unesco vient lui aussi de mettre en lumière", ajoute la ministre de la Culture.
Pas un village, dans la plus reculée des provinces, qui ne soit atteint. C'est comme une lèpre qui, peu à peu, prolifère sur l'épiderme du paysage urbain français. Un des plus beaux du monde, disait-on. Agressive médiocrité des bâtiments publics, des écoles, des postes, des administrations, monotonie concentrationnaire des grands ensembles, prétention et passéisme débile des maisons individuelles : le bilan architectural des dix dernières années est, en France, catastrophique. Jamais on n'a autant construit. Jamais si mal, si pauvre, si triste. A de rares exceptions. Cela devient si flagrant à la lumière de l'été, que même l'O.r.t.f. s'en est ému. Après Vivre aujourd'hui, l'émission de Jacques Frémontier (dimanche, consacrée à "la rue"), La France défigurée, de Michel Péricart et Louis Bériot, a donné l'alerte : par milliers, des témoignages ont afflué. Les Français prennent conscience du mal et s'interrogent : "Comment, pourquoi, en est-on arrivé là ?" Spéculation Que "cet avachissement, cet avilissement de la qualité architecturale", comme le définit M. Michel Denieul, directeur de l'Architecture au ministère des Affaires culturelles, ne soit pas l'exclusivité de la France, personne ne le conteste. Le monde entier connaît un malaise architectural. Après avoir, des siècles durant, bâti pour le seigneur, le prince, le mécène, l'architecture ne sait pas encore bâtir pour la masse, le peuple, "l'innombrable", comme le dit l'architecte Emile Aillaud. En Grande-Bretagne, en Allemagne, en Italie, aux Etats-Unis, aussi, elle tâtonne. Ce n'est pas une consolation. Ni une raison suffisante pour admettre comme une fatalité la piètre architecture française. Ni pour excuser ceux qui l'ont laissée pousser comme les mauvaises graines, à tous les vents. Le premier des responsables, avant les architectes dépassés (voir page suivante l'opinion de Pierre Schneider) et les promoteurs avides, c'est l'Etat. Qui, par le jeu des servitudes, des permis de construire, etc., contrôle et, le plus souvent, paralyse la totalité de ce qui se bâtit en France. Qui est lui-même le premier client des architectes, le premier maître d'ouvrage des nouveaux édifices (hôpitaux, écoles, logements sociaux). Qui, à ce titre, aurait pu, et ne l'a pas fait, promouvoir une politique de l'habitation qui soit une politique d'embellissement. "Construire beaucoup, c'est une occasion d'embellir", dit Bertrand de Jouvenel.Au lieu de cela, que voit-on, en dépit de la réaction amorcée depuis quelques années par le ministère des Affaires culturelles ? La médiocrité primée, la création handicapée, la spéculation triomphante. Les grands ensembles sont une erreur, mais nous ne savons pas pourquoi. Colin Davidson, professeur à l'Ecole d'architecture de l'université de Montréal.Dans un vieux pays comme la France, pour lutter contre la laideur, il y a deux méthodes : une stratégie de choc qui favorise la qualité architecturale ; une stratégie défensive qui prévient la détérioration du patrimoine ancien. La première n'a jamais été définie. Comment s'étonner des résultats ? On ne s'est même jamais soucié d'en jeter les bases en pratiquant une politique d'urbanisme conséquente. "Une ville comme Paris, dit M. Denieul, se caractérise par une propension à accorder les permis de construire, quand ils sont demandés, au coup par coup. Et cela, faute de documents d'urbanisme suffisamment précis, souples et contraignants en même temps."Appréciation Contre ce système du n'importe quoi, n'importe où, n'importe comment, M. André Malraux avait voulu réagir. Il avait demandé à l'architecte urbaniste Gaston Leclaire d'étudier l'aménagement du quartier de la rotonde de La Villette, et spécialement des abords du bassin, appelé à devenir le pôle d'attraction d'un site urbain peu connu et insolite. L'étude a été menée à terme, mais ses conclusions sont restées lettre morte. De telles études, faites systématiquement, auraient pu freiner bien des désastres, non seulement à Paris, mais sur la Côte d'Azur, autre victime notoire d'une urbanisation désordonnée. Et servir de tremplin à une architecture raisonnée, sinon réussie, alors que celle dont nous souffrons n'est ni l'un ni l'autre. C'est aussi M. André Malraux qui, par la loi du 4 août 1962, dite des secteurs sauvegardés, tenta de consolider la stratégie défensive. De fait, à l'intérieur des quartiers préservés, au voisinage des monuments historiques on ne peut construire ni détruire n'importe quoi. Un immeuble tout en verre où se reflète la cathédrale d'Amiens ? Soit : le mélange des siècles n'est pas prohibé, au contraire, c'est la vie même des villes. A condition que les deux architectures soient, comme c'est le cas, bien intégrées l'une à l'autre. La R.a.t.p., en revanche, n'a pas reçu le droit de construire sur les quais de la Seine, déjà si meurtris, une tour de bureaux qui viendrait s'inscrire entre celles de Notre-Dame. Il y aurait donc sauvegarde sans le drame des dérogations laissées à l'appréciation des administrations. A cause d'une de ces dérogations, va s'élever, rue de l'Université, l'immeuble de bureaux réservé aux membres de l'Assemblée nationale. On le verra, de la place de la Concorde, se profiler derrière les deux étages de l'hôtel de Lassay, résidence du président de l'Assemblée. Dérogation aussi pour la barre massive des immeubles de Maine-Montparnasse et la tour de 200 m qui les couronnera : quand la maquette fut présentée devant la Commission des sites, un ministre et cinq préfets étaient présents pour l'appuyer de leur autorité politique. Il n'y eut pour ainsi dire pas de discussion. Quant à la tour de la Halle aux vins, autre pont aux ânes architectural, c'est l'enfant bâtard d'un grand projet : une flèche hélicoïdale, construite par l'architecte Edouard Albert, et couverte de mosaïque par Georges Braque. Hélas ! Albert et Braque sont morts, et les Parisiens n'ont sous les yeux que la tour sans génie d'Henri Coulomb. Bénédiction A Strasbourg, c'est le maire lui-même, M. Pierre Pflimlin, qui s'est obstiné à permettre la construction, à deux pas de la cathédrale, d'un complexe immobilier de 60 m de haut et de plus de 60 millions de Francs. La Commission départementale des sites, les Monuments historiques, la direction départementale de l'Equipement ont émis un avis défavorable. Les P.t.t. aussi, car cette tour fera écran aux liaisons hertziennes entre Strasbourg et Paris. Rien n'y a fait. M. Pflimlin a gagné. Les P.t.t. devront déplacer le relais de leurs ondes hertziennes, situé à Saverne, et la flèche rose de la cathédrale, point de ralliement de toute l'Alsace, se verra fâcheusement disputer le ciel. La Côte d'Azur regorge, hélas ! d'exemples tout aussi significatifs. Le dernier en date n'est pas le moins accablant. A Mandelieu-La Napoule, sur un terre-plein de 10 ha gagné sur la mer, vient d'être construit un "complexe" d'une quinzaine d'immeubles, hauts de sept étages, et d'une médiocrité affligeante, qui dépare un des plus beaux panoramas de la Côte, entre le massif de l'Esterel et les îles de Lérins. Avant de voir le jour, ce projet a reçu toutes les bénédictions officielles. Quinze organismes différents ont été consultés par le Conseil municipal, et, parmi eux, la Commission des sites. Pas un souffle de protestation ne s'est élevé. L'affaire est remontée à Paris. Finalement, le ministre de l'Equipement lui-même a signé le permis de construire et la concession d'endigage du port. Aujourd'hui, l'Association pour la défense des sites de Cannes et des environs distribue la photo du chantier à des milliers d'exemplaires. "Ce que nous voulons empêcher désormais." Et Mme Louise Moreau, élue maire de La Napoule aux dernières élections, est formelle : "Si, alors, j'avais été maire, je n'aurais jamais permis cela."
Répétition D'une part, l'Etat protège peu ou mal, d'autre part, loin de promouvoir la recherche et la qualité, il impose les normes d'une architecture concentrationnaire. Ainsi par le système des Cos (Coefficients d'occupation des sols), dans Paris et dans les grandes villes, où la pression de la rentabilité est énorme, on construit au maximum, même si c'est dépourvu de toute plausibilité, même si, du point de vue architectural. c'est une hérésie. "Il faudrait, dit M. Denieul, créer des zones de discontinuité : des Cos de 3 à un endroit, et, à d'autres, des Cos de 0 à 5, ce qui donnerait au faciès urbain un modelé, un relief. Au lieu de cela, le mot d'ordre est de 'bourrer' partout. Et le XVIe arrondissement de Paris, entre autres victimes, devient un immense chantier où se multiplient les surélévations intempestives." A quoi M. Jean Chapon, directeur du cabinet de M. Albin Chalandon, rétorque : "Il faut bâtir au maximum, sinon, où logera-t-on les milliers de gens qui affluent dans les villes ?" On touche, ici, au coeur du problème. Parce que les besoins étaient immenses et impérieux, on a construit beaucoup. Très vite. Sans se préoccuper du plaisir de vivre des futurs habitants. Comme si un environnement harmonieux était un luxe, cet environnement que les arbres et les champs fournissaient naturellement aux gens d'autrefois. Comme si l'on ne savait pas que la laideur monotone sécrète l'ennui, la morosité, le désespoir. Était-il impossible, au même prix, de construire bien ? Les réussites d'Emile Aillaud, par exemple, à Grigny-la-Grande-Borne, ou de Michel Andrault et de Pierre Parat à Sainte-Geneviève-des-Bois prouvent le contraire. Même avec les crédits limités des H.l.m., même en respectant les normes étouffantes de l'urbanisme réglementaire, on peut créer des habitations à l'échelle de l'homme, du paysage, des architectures favorables à la détente et au bien-être. Ce n'est pas une question de crédits, ni de servitudes ni de préfabrication. C'est une question d'audace, d'invention. Malheureusement, les inventeurs, en cette époque de conformisme, sont rares, et on les encourage peu. Sauf dans les cas où l'obstination d'un créateur a réussi à vaincre les résistances pour modeler un univers vraiment neuf, on s'est contenté d'additionner, de juxtaposer les machines à vivre, les cités dortoirs, de confondre industrialisation et répétition, fonctionnalisme et monotonie. Multiplication "Quand je me promène autour de Paris, disait, peu de temps avant sa mort, le grand architecte américain Richard Neutra, j'ai l'impression que ceux qui bâtissent n'ont jamais été à l'école maternelle. Ils ne savent pas où le soleil se lève, ni où il se couche. Ils ont oublié que l'homme a besoin de chlorophylle comme les arbres et d'espace comme les oiseaux. Ils ne savent faire que des prisons." Le ministère de l'Equipement, pour sa part, est fier d'avoir mis au point un catalogue de grands ensembles --boîtes géantes et tours de tous calibres -- qui permet aux maires et aux offices d'H.l.m. de choisir sur photos et sur plans des immeubles types, spécialement étudiés par des architectes (certains sont renommés) qui en garantissent la qualité de la fabrication et le prix. Au ministère de l'Education nationale qui, à lui seul, dépense 3 milliards par an pour construire 4 millions de m2 (un C.e.s. par jour), on prône la préfabrication (sauf dans les établissements de l'enseignement supérieur). Chaque année, parmi les propositions des trente-cinq entreprises agréées, qui se sont engagées à ne pas dépasser le prix plafond de 520 Francs le m2, on choisit trois ou quatre types nouveaux de C.e.s. On les expérimente en petite série l'année suivante. Puis, on se lance dans la fabrication industrielle. En soi, le système pourrait être bon. S'il n'aboutissait pas à la multiplication de bâtiments déprimants. Même à Cajarc (Lot), cher à M. Georges Pompidou, le C.e.s. offense la vue. L'Education nationale, à qui incombe, entre autres tâches, le soin de former l'oeil et le goût des enfants, ne s'en émeut pas. "Elle n'accepte, dit un haut fonctionnaire, aucun conseil, et se drape dans sa dignité de gros consommateur d'architecture." Subvention Le ministère de l'Agriculture n'agit pas avec plus de discernement. Il n'impose pas de modèles. Mais les prix plafonds des bâtiments agricoles ont été calculés si bas (en partant de la tôle ondulée et du parpaing non enduit) que l'agriculteur qui souhaiterait construire convenablement ne peut le faire, sans risquer de perdre le bénéfice de la subvention. Ainsi, la campagne française s'est couverte peu à peu de bergeries et d'étables qu'on dirait échappées de bidonvilles. Aucun site n'est épargné. Ni la Bretagne ni la Lozère. Si le classement de Colombey-les-Deux-Eglises n'était pas intervenu à temps, un hangar de tôle ondulée serait venu boucher la perspective historique qui s'étend devant la Boisserie... Une grande part de ces diverses calamités est due à l'incompétence des maîtres d'ouvrage - fonctionnaires et élus - desquels dépend la commande publique. "Le sens de l'architecture est aussi rare chez eux que le bon sens", disait quelqu'un qui les pratique. Et Raymonde Moulin, dans sa récente étude sur l'Etat et les architectes, l'a noté : "L'intérêt pour la qualité architecturale appartient sinon à l'ordre du rêve, du moins de ce qui peut être considéré comme un hasard heureux." Les promoteurs privés ne sont pas plus royalistes que le roi. Pas plus que l'Etat, ils ne se soucient d'apporter aux Français le plaisir que procure un heureux agencement de l'espace. Pour la plupart, ils se contentent d'appâter avec du clinquant - baies vitrées, travertin dans le hall, céramique dans la salle de bains - et offrent des immeubles de (faux) prestige, mal insonorisés, mal compris, étriqués, qui n'ont que de lointains rapports avec l'architecture, même s'ils portent des signatures connues.
Impulsion Peut-on enrayer l'épidémie de laideur ? Alertés par les avertissements de la Commission du VIe Plan, les Pouvoirs publics semblent vouloir secouer leur torpeur. Pas question de définir une politique. "On ne peut imposer une architecture officielle, comme en U.R.S.S., se défend M. Chapon. Nous sommes en pays de liberté." Mais on éprouve la nécessité d'agir. Premier essai de stratégie dynamique : le plan-construction, lancé, en mai, conjointement par MM. Chalandon, Jacques Duhamel et François-Xavier Ortoli. Son objectif avoué : rechercher un habitat qui réponde mieux au besoin de l'homme d'aujourd'hui. En fait, il s'agit de trouver des remèdes à l'échec des grands ensembles.
Au ministère des Affaires culturelles, dans la même foulée réformatrice on prépare deux projets de loi : l'un sur la profession d'architecte, l'autre sur les conditions de la commande publique. Toujours sous l'impulsion de M. Duhamel, la Fondation de France finance un concours d'architecture agricole qui sera lancé à l'automne en Franche-Comté, en Bourgogne et en Bretagne. Enfin, une étude a été menée pour voir de quelle façon on pourrait, dès l'école maternelle, sensibiliser les enfants aux problèmes de volumes et d'espaces. Il reste à convaincre l'Education nationale d'inscrire cet enseignement nouveau à ses programmes.A la direction de l'Architecture, malgré les faibles moyens financiers dont il dispose, M. Denieul souhaite influer plus directement sur la qualité de la construction, en développant les services de la création architecturale. Dans les trente prochaines années, la France va construire autant de logements qu'il en existe actuellement. Il est temps de se souvenir que le degré de civilisation d'un peuple se juge à la qualité des édifices qu'il laisse à la postérité. "La France n'est ni belle ni laide", Vasarely "La France n'est ni belle ni laide. C'est le point de vue où nous nous plaçons qui décide. Celui qui se promène à New York ne voit qu'une ville chaotique et sale. Mais si, le soir, on arrive de l'aéroport, on découvre les gratte-ciel illuminés qui émergent au-dessus du fog. C'est un spectacle inoubliable. La Courneuve ou Sarcelles, vues d'avion, présentent des aspects intéressants.""Remédier à la laideur est une tâche extrêmement complexe qui se place sur d'innombrables plans, sociologiques, psychologiques, esthétiques. Le gouvernement actuel est favorable à l'esthétique, mais peut-on imposer la beauté comme on a imposé la vaccination obligatoire ? Actuellement on construit partout des habitations du genre clapier. Ce phénomène est universel. Sarcelles et Saint-Denis ressemblent à Sydney ou à Tokyo." Le droit à la beauté, par Pierre Schneider Le mot "esthétique" a mauvaise presse. Mais l'esthétique, dans la bouche des architectes, c'est ce que font les autres... En réalité, jamais l'architecture n'a été plus préoccupée de beauté. Elle peut prendre les formes les plus diverses. Ici, elle est dans l'intense présence d'un édifice ; là, dans un agencement heureux de l'espace obtenu par des moyens insignifiants. Tantôt harmonieuse, tantôt agressive. L'élégance du chemin le plus court, mais aussi l'extravagance du chemin des écoliers : Ludwig Mies Van der Rohe ne nie pas Antonio Gaudi. L'essentiel est de ne pas se soumettre passivement aux idées reçues, d'exprimer son temps - fût-ce en s'efforçant de le réorienter. "Lorsqu'une oeuvre est à son maximum d'intensité, de proportions, de qualité d'exécution, de perfection, il se produit un phénomène d'espace indicible, les lieux se mettent à rayonner, physiquement. C'est du domaine de l'ineffable." Cette définition du beau est due au père du fonctionnalisme : Edouard Le Corbusier. L'absence de volonté créatrice se traduit par des formes inertes. Et l'inertie démoralise. Le jour n'est pas loin où le plus fanatique des technocrates sera contraint d'inclure le droit à la beauté dans ses frais généraux. A quelques exceptions près, l'histoire de l'architecture moderne - celle du dernier quart de siècle, surtout - ne s'est pas écrite en France. Pourquoi ? La raison la plus évidente est qu'elle n'a pas voulu ou su produire des architectes. La faute en incombe, en premier lieu, à l'Ecole des beaux-arts. La formation, ou plutôt la déformation qu'elle dispensait à ses élèves, était, depuis cent cinquante ans, résolument passéiste : on se référait à Versailles ou au Parthénon, oubliant que leur pouvoir de fascination venait de ce qu'ils avaient été, en leur temps, des bâtiments modernes. Le premier travail des élèves utilisant l'acier, le verre, fut présenté à l'Ecole en 1950.Vers 1956, un groupe d'élèves qui proposaient à Nicolas Untersteller, directeur de l'Ecole, d'organiser une exposition Mies Van der Rohe, s'entendirent répondre : "Je ne connais pas cette demoiselle." Un promoteur définit assez brutalement le produit de cet enseignement figé : "Les architectes ? Ils se croient des artistes. Ils ignorent la vie." Effectivement, l'Ecole n'a pas su assimiler la révolution industrielle. Vers 1840, un divorce s'opère entre architecte et ingénieur. Le premier n'a que mépris pour le second. Lorsque, au début du siècle, Fulgence Bienvenüe, ingénieur en chef du métropolitain, veut enseigner aux élèves de l'Ecole la technique du béton armé, ceux-ci le chahutent au cri de : "Tu nous prends pour des entrepreneurs ?" Bibliothèque nationale, Halles de Baltard, viaduc de Garabit - les chefs-d'oeuvre de la construction industrielle du XIXe siècle sont si peu considérés comme de l'architecture, que le premier d'entre eux à avoir été classé monument historique fut la tour Eiffel. Depuis quelques générations, les architectes apprenaient les techniques modernes, mais comme un mal nécessaire. "Un tuyau, ça se cache", dit l'un d'eux. Ils acceptaient de construire une usine ou une H.l.m. - il faut bien vivre - mais leur rêve restait de bâtir pour un prince. Aucune place n'était faite, dans l'enseignement, à l'économie, à la sociologie - en un mot à la donnée humaine qui est à la fois le grand problème de l'époque et sa chance de renouvellement : les nombres. Que pèsent ces rêveurs anachroniques en face de gens qui ont le sens des réalités - ceux-là mêmes qui les font travailler : les promoteurs ? Rien. Dans les pays anglo-saxons, l'architecte est respecté ; chez nous, c'est le pauvre type qui oublie un escalier. Un promoteur explique : "Comment je choisis un architecte ? C'est simple : je prends celui qui fait ce que je veux." Et ce qu'il veut, c'est ce qui se vend, c'est-à-dire le "standing". Il n'y a pas de grand architecte sans grand client, note l'architecte Michel Bezançon. Or, à l'encontre des Etats-Unis ou de l'Italie, en France, l'architecture ne se vend pas comme image de marque." M. Claude Alphandéry, P.d.g. de la Banque de la construction et des travaux publics, confirme : "Les gens d'affaires français ne considèrent pas encore l'architecture comme le bon signe extérieur de la réussite." Créer, dans ces conditions, tient du miracle. L'architecture abdique ou se condamne à périr de faim. Dans le secteur public, l'accueil à l'architecture vivante n'est pas meilleur que dans le privé. L'architecte, pour faire aboutir un projet, doit avoir l'obstination des personnages de Kafka. Un disciple connu de Le Corbusier se voit refuser une commande parce que, selon les mots du financier désolé, "il n'a personne dans sa manche". Savoir se débrouiller est plus important que savoir créer. "Le secteur public est démembré en parties qui doivent négocier entre elles", explique M. Alphandéry. D'excellentes réalisations, toutes dues à la volonté d'individus, soulignent d'autant plus cruellement la formidable indifférence des hommes politiques (qu'ils soient de droite ou de gauche) et des technocrates à "la dimension poétique". Les ministres se préoccupent de pouvoir proclamer à la fin de l'année qu'on a construit tant de logis, mais II ne vient à l'idée de personne de supposer que ces logis devraient, en toute justice, tomber sous le coup de la loi qui interdit de déposer des ordures sur la voie publique. Pourtant, il est des raisons d'espérer. La principale est l'apparition d'une génération d'architectes pour qui l'industrie n'est plus l'ennemi - pas plus que la panacée - mais un instrument. Un instrument qui, bien utilisé, peut libérer l'architecture de ses servitudes. Ici et là, surgissent des bâtiments, des ensembles dont la réussite démontre qu'aujourd'hui les contraintes techniques et budgétaires ne sont plus que l'alibi facile des médiocres. L'imagination est humainement nécessaire. Elle est techniquement possible. A nous de savoir l'exiger. www.lexpress.fr/culture/1971-architecture-et-urbanisme-la... Métamorphoses des villes : d'hier à aujourd'hui L'oeuvre de Le Corbusier classée au patrimoine mondial de l'Unesco Marseille, d'hier à aujourd'hui Lille d'hier à aujourd'hui... www.lexpress.fr/culture/en-images-l-oeuvre-de-le-corbusie... Dix-sept réalisations de l'architecte franco-suisse, dont dix situées en France, sont désormais inscrites au patrimoine mondial de l'organisation. Une proposition adoptée par consensus et sans changement par le comité en charge du classement. La troisième aura été la bonne. Après deux tentatives infructueuses, l'oeuvre architecturale de Le Corbusier a été inscrite au Patrimoine mondial, a annoncé dimanche l'Unesco. La décision a été prise lors de la 40e session du Comité du patrimoine mondial de l'Unesco à Istanbul. Cette réunion a été suspendue samedi en raison de la tentative de putsch militaire, avant de reprendre dimanche matin. Le classement porte sur dix-sept réalisations de l'architecte franco-suisse dans sept pays. Dix d'entre elles sont situées en France. Parmi elles figure la Maison de la Culture de Firminy A ces réalisations s'ajoutent les Maisons La Roche et Jeanneret à Paris, la Villa Savoye et loge du jardinier à Poissy, l'Immeuble locatif à la Porte Molitor à Boulogne-Billancourt, la Manufacture à Saint-Dié-des-Vosges, le couvent Sainte-Marie-de-la-Tourette à Eveux. Le Corbusier : hommage au virtuose de la modernité www.cotemaison.fr/chaine-d/deco-design/le-corbusier-un-ar... frontières françaises, d'autres créations de Le Corbusier ont également été classées. L'immeuble Clarté à Genève, la petite villa au bord du lac Léman à Corseaux (Suisse), la maison Guiette à Anvers (Belgique), les maisons de la Weissenhof-Siedlung à Stuttgart (Allemagne), la Maison du Docteur Curutchet à La Plata (Argentine), le musée national des beaux-Arts de l'Occident à Taito-Ku à Tokyo (Japon) et le complexe du capitole à Chandighar (Inde)."Cette bonne nouvelle survient après plus de dix ans de travail, de concertation et deux échecs", s'est félicité dans un communiqué Benoît Cornu, premier adjoint à Ronchamp (Haute-Saône), qui préside depuis 2016 l'Association des Sites Le Corbusier créée en 2010. Le Corbusier: hommage au virtuose de la modernité Interrogé par Le Monde, le même interlocuteur considère que Icomos, le Conseil international des monuments et des sites, avait par le passé jugé la série proposé "trop pléthorique et éclectique, et surtout, déploré l'absence du site de Chandigarh en Inde, qui révélait la dimension urbanistique de l'oeuvre". En intégrant ce site qui comprend un quartier, sa maison de la culture, son stade, sa piscine et son église -le plus grand conçu par l'architecte- les promoteurs du dossier de candidature ont tiré parti des expériences passées. La ministre de la Culture et de la Communication, Audrey Azoulay, s'est réjouie de la décision de l'Unesco, en relevant qu'elle soulignait "l'importance de la préservation et de la valorisation du patrimoine récent, de moins de cent ans". l'architecture moderne au rang d'art majeur. L'occasion de revisiter son oeuvre architecturale avec notamment la Cité radieuse à Marseille, sans oublier son parcours de peintre et de designer. L'Express Styles est aussi parti à la rencontre d'artistes comme India Mahdavi ou Ora-ïto qui s'en sont inspirés... Découverte ! L'architecte de tous les possibles est aussi celui de tous les paradoxes. Mort en eaux troubles - on a retrouvé son corps noyé sur la plage de Roquebrune-Cap-Martin le 27 août 1965 -, Le Corbusier est, aussi, l'homme solaire qui a accouché de la Cité radieuse et un "visionnaire persuadé de pouvoir apporter la joie de vivre", affirme Sylvie Andreu, directrice de collection du livre Cher Corbu... (1). Cinq décennies après sa disparition, son aura continue de briller et son héritage est intact, de la villa Savoye, à Poissy (Yvelines), à l'unité d'habitation de Firminy (Loire), en passant par la chapelle de Ronchamp en Franche- Comté ou la ville nouvelle de Chandigarh en Inde. Et pourtant, l'homme n'a pas que des admirateurs... La Cité radieuse à Marseille.La Cité radieuse à Marseille.SDP La ville nouvelle de Chandigarh, en Inde, construite en 1947.La ville nouvelle de Chandigarh, en Inde, construite en 1947.Narinder Nanu/AFP
Critiquant ses excès et sa mégalomanie, ses détracteurs lui reprochent également, encore aujourd'hui, son approche fonctionnaliste trop radicale et d'être à l'origine de l'urbanisme des banlieues. Autant dire que le mystère autour de Charles-Edouard Jeanneret- Gris, dit Le Corbusier - né en Suisse en 1887 -, reste entier. Qui était vraiment cet autodidacte insatiable et obstiné dont l'oeuvre attend toujours son classement à l'Unesco, au titre de sa "contribution exceptionnelle au mouvement moderne"? Un virtuose de l'architecture bien qu'il n'ait pas le diplôme (il a quitté l'école à 13 ans) ? Un grand designer ? Un peintre compulsif ("Le dessin est fait avant que je ne l'aie pensé") ? Un sculpteur majeur ?
De toute évidence, un artiste surdoué et protéiforme "qui a profon dément marqué le XXe siècle et bouleversé notre façon d'habiter, explique Sylvie Andreu. Il sera guidé toute sa vie par l'esprit nouveau de son époque et n'au ra de cesse de combattre les conservatismes". A partir du 29 avril 2015, l'exposition du Centre Pompidou propose une relecture de ses créations - plus de 300 dessins, tableaux, sculptures, photos, meubles, dont certaines pièces réalisées dès 1923 avec Pierre Jeanneret... - qui seront présentées via le prisme de la mesure du corps humain. La villa Savoye (1928-1931), à PoissyLa villa Savoye (1928-1931), à PoissyArcaid/Corbis
Empreinte du modulor dans le béton, visible a Rezé (Loire-Atlantique)Empreinte du modulor dans le béton, visible a Rezé (Loire-Atlantique)SDP "L'homme a toujours été au centre de ses préoccupations, explique Jacques Sbriglio, architecte urbaniste et commissaire de l'exposition organisée à Marseille, en 2013, Le Corbusier et la question du brutalisme. Il a inventé un langage et fait basculer l'architecture dans le XXe siècle. Chacune de ses réalisations inter - rogeait le rapport de l'homme aux usages quotidiens. Quand il dessinait les plans d'une ville, il indiquait l'échelle, mais aussi le temps de déplacement d'un point à un autre." Et Olivier Cinqualbre, commissaire de l'exposition du Centre Pompidou, d'ajouter : "La cellule d'habitation pensée par Le Corbusier est petite mais pratique, à taille humaine. Pour épouser les mouvements du corps, le mobilier devient réglable (dès 1929), modulable ou encastrable." La chapelle Notre-Dame-du-Haut (1950-1955), à RonchampLa chapelle Notre-Dame-du-Haut (1950-1955), à RonchampCalle Montes/Photononstop
Avant-gardiste, ce bâtisseur souhaite libérer l'individu des contraintes, du mal-logement, de l'inconfort. Car, ne l'oublions pas, au lendemain de la guerre, chaque mètre carré compte! Pour modifier la perception des volumes, il use en plus de couleurs franches. Là aussi, il connaît sa palette... Depuis qu'il s'est installé à Paris en 1917, il peint tous les jours et manie le nuancier avec finesse. Voilà qui explique sans doute qu'il ait autant d'influence auprès des créateurs tous azimuts : designers et stylistes de mode! La preuve, ci-contre, en cinq témoignages... . Le Corbusier. Mesures de l'homme, du 29 avril au 3 août 2015, Centre Pompidou, Paris (IVe), www.centre pompidou.fr
Chandigarh, 50 ans après Le Corbusier, du 11 novembre 2015 au 14 mars 2016 à la Cité de l'architecture et du patrimoine, Paris (XVIe). www.citechaillot.fr
"Cher Corbu" Recueil de témoignages de 12 architectes contemporains sur le grand homme, dans lequel chacun lui écrit une lettre."Cher Corbu" Recueil de témoignages de 12 architectes contemporains sur le grand homme, dans lequel chacun lui écrit une lettre.SDP
(1) Cher Corbu..., un ouvrage collectif qui recueille le témoignage de 12 architectes contemporains sur le grand homme : de Paul Chemetov à Odile Decq en passant par Elisabeth de Portzamparc ou Claude Parent, qui lui ont chacun écrit une lettre. Bernard Chauveau éd., 48 p., 22,50 ?
Ils se sont inspirés du Corbusier...India Mahdavi, amoureuse d'innovation
India Mahdavi, architecte d'intérieur et designer. Vient de terminer le restaurant I Love Paris pour Guy Martin.India Mahdavi, architecte d'intérieur et designer. Vient de terminer le restaurant I Love Paris pour Guy Martin.SDP
L'Express Styles : Que représente pour vous le Corbusier ?
India Mahdavi : C'est un révolutionnaire et un provocateur, qui a fait renaître l'architecture moderne en mettant l'homme au centre de la vie et de la ville. Il a eu l'intelligence de s'interroger sur les modes de vie des gens bien avant tout le monde. Son rapport aux proportions m'a imprégnée. Sur mes chantiers, j'utilise aussi le Modulor. Ses références sont devenues les miennes. Il a cassé les normes bourgeoises de l'habitat. L'Express Styles : En quoi a-t-il inspiré vos créations ? India Mahdavi : J'aime beaucoup sa façon d'appliquer la couleur en aplats pour redessiner les volumes, rythmer les espaces, marquer les perspectives. C'était un formidable coloriste. L'ouvrage Le Corbusier. Polychromies architecturalesest d'ailleurs une de mes bibles. Il référence toutes les nuances et permet, grâce à une réglette, de les associer harmonieusement. C'est un outil dont je me sers sur tous mes chantiers.
L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? India Mahdavi : Le tabouret à poignées, en chêne, qu'il a conçu pour son cabanon, d'après une caisse à whiskys. On peut évidemment s'asseoir dessus, mais on peut surtout l'empiler pour séparer une pièce, le transformer en chevet ou en table basse. Il n'y a pas de meuble qui résume mieux son oeuvre. Le Corbusier : hommage au virtuose de la modernitéSDP Ora-ïto et sa fascination pour la minutie
Ora-ïto, architecte designer. Propriétaire du toit terrasse de la Cité radieuse à Marseille.Ora-ïto, architecte designer. Propriétaire du toit terrasse de la Cité radieuse à Marseille.SDP L'Express Styles : Que représente pour vous Le Corbusier ? Ora-ïto : Il est l'inventeur de la modernité. Pour chacune de ses réalisations, il a établi un vrai scénario de vie. La Cité radieuse en est le plus bel exemple. Tout y est pensé au millimètre près et à bonne hauteur grâce au Modulor-une grille de mesures qu'il a inventée et représentée par la silhouette d'un homme debout, le bras levé. C'était aussi un obsessionnel. D'ailleurs, quand il érige cette unité d'habitation, on le surnomme le "Fada". Mais il reste un grand monsieur qui m'a beaucoup influencé.
L'Express Styles : En quoi a-t-il inspiré vos créations ?
Ora-ïto : Je ne suis pas habité par Corbu, mais imprégné de ses concepts. Sa rigueur, sa façon d'organiser les espaces en lien avec les modes de vie et sa simplicité restent des valeurs essentielles. C'est le Steve Job de l'architecture !
L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? Ora-ïto : La villa Savoye à Poissy. Art déco, cette première maison de week-end est spectaculaire : une "boîte en l'air" montée sur pilotis, qui a tout pour elle. Elle est lumineuse, élégante et intemporelle.
Le Corbusier : hommage au virtuose de la modernitéSDP
Pierre Charpin, sensibilité des couleurs Pierre Charpin, designer. Prépare une exposition pour la galerie Kréo à Londres.Pierre Charpin, designer. Prépare une exposition pour la galerie Kréo à Londres.SDPL'Express Styles : Que représente pour vous Le Corbusier ?Pierre Charpin : Ce n'est pas un maître à penser, mais un grand architecte et aussi un étonnant plasticien doué d'une sensibilité aux formes hors pair. La chapelle de Ronchamp - tout en courbes et en harmonie avec le paysage - en est un des plus beaux exemples, le contraire d'un bâtiment standardisé. L'Express Styles : En quoi a-t-il inspiré vos créations ? Pierre Charpin : Je ne sais pas s'il m'a influencé, mais son travail sur les couleurs m'a beaucoup intéressé. Il utilise une gamme de coloris plus subtile et sophistiquée que celle des primaires. Comme lui, je n'aime pas les fausses couleurs et les demi-teintes, ni les objets trop lisses. J'apprécie sa façon d'appréhender le béton, notamment à la Cité radieuse. Il en a fait une surface vivante et pas si brutale que ça ! Pour y avoir séjourné, je suis frappé par la sophistication et la simplicité de ce grand vaisseau. Corbu fait partie, avec Sottsass, des gens qui comptent pour moi. C'est à la fois un théoricien et un être très sensible. L'Express Styles : Quelle est pour vous la pièce ou le bâtiment culte ? Pierre Charpin : Son cabanon de Roquebrune-Cap-Martin, de 3,66 mètres sur 3,66, est un modèle d'intelligence : il a optimisé chaque centimètre carré. Cette réalisation démontre à quel point il était libre. Eux aussi l'apprécient... Jérome Dreyfuss, créateur de sacs"Mes grands-parents étant les voisins de Jean Prouvé, à Nancy ; j'ai été sensible, très jeune, à l'architecture et à Corbu, qui a toujours eu une longueur d'avance. A chaque problème il trouvait une solution. Il avait cette capacité d'inventer des concepts et des principes de construction. Il était à la fois rationnel et créatif. Quand j'ai aménagé mon cabanon à Fontainebleau, j'ai optimisé chaque mètre carré. Chaque objet a sa fonction et sa raison d'être." www.jerome-dreyfuss.com Frédérique Dessemond, créatrice de la marque de bijoux Ginette NY "Je vis aujourd'hui à New York mais j'ai grandi - juqu'à 28 ans - à la Cité radieuse, dont je garde un souvenir ému. On vivait en autarcie, entre copains, c'était mieux que le Club Med ! Les appartements étaient très lumineux, remarquablement bien étudiés. J'ai conçu ma future boutique [66, rue des Saints-Pères, Paris VIe] à partir du Modulor. Et mes bijoux sont simples, faciles à vivre et sans ostentation, comme l'étaient ses réalisations." www.ginette-ny.com - www.ladepeche.fr/article/2010/11/02/940025-140-ans-en-arc... dreux-par-pierlouim.over-blog.com/article-chamards-1962-9... missionphoto.datar.gouv.fr/fr/photographe/7639/serie/7695...
Official Trailer - the Pruitt-Igoe Myth: an Urban History
www.youtube.com/watch?v=g7RwwkNzF68 - la dérive des continents youtu.be/kEeo8muZYJU Et la disparition des Mammouths - RILLIEUX LA PAPE & Dynacité - Le 23 février 2017, à 11h30, les tours Lyautey étaient foudroyées. www.youtube.com/watch?v=W---rnYoiQc …
Ginger CEBTP Démolition, filiale déconstruction du Groupe Ginger, a réalisé la maîtrise d'oeuvre de l'opération et produit les études d'exécution. L'emblématique ZUP Pruitt Igoe. vaste quartier HLM (33 barres de 11 étages) de Saint-Louis (Missouri) USA. démoli en 1972 www.youtube.com/watch?v=nq_SpRBXRmE … "Life is complicated, i killed people, smuggled people, sold people, but perhaps in here.. things will be different." ~ Niko Bellic - cité Balzac, à Vitry-sur-Seine (23 juin 2010).13H & Boom, quelques secondes plus tard, la barre «GHJ», 14 étages et 168 lgts, s’effondrait comme un château de cartes sous les applaudissements et les sifflets, bientôt enveloppés dans un nuage de poussière. www.youtube.com/watch?v=d9nBMHS7mzY … - "La Chapelle" Réhabilitation thermique de 667 logements à Andrézieux-Bou... youtu.be/0tswIPdoVCE - 11 octobre 1984 www.youtube.com/watch?v=Xk-Je1eQ5po …
DESTRUCTION par explosifs de 10 tours du QUARTIER DES MINGUETTES, à LYON. les tours des Minguettes ; VG des tours explosant et s'affaissant sur le côté dans un nuage de fumée blanche ; à 13H15, nous assistons à l'explosion de 4 autres tours - St-Etienne Métropole & Montchovet - la célèbre Muraille de Chine ( 540 lgts 270m de long 15 allees) qui était à l'époque en 1964 la plus grande barre HLM jamais construit en Europe. Après des phases de rénovation, cet immeuble a été dynamité en mai 2000 www.youtube.com/watch?v=YB3z_Z6DTdc … - PRESQU'ILE DE GENNEVILLIERS...AUJOURD'HUI...DEMAIN... (LA video içi parcours.cinearchives.org/Les-films-PRESQU-ILE-DE-GENNEVI... … ) Ce film de la municipalité de Gennevilliers explique la démarche et les objectifs de l’exposition communale consacrée à la presqu’île, exposition qui se tint en déc 1972 et janvier 1973 - le mythe de Pruitt-Igoe en video içi nextcity.org/daily/entry/watch-the-trailer-for-the-pruitt... … - 1964, quand les loisirs n’avaient (deja) pas le droit de cité poke @Memoire2cite youtu.be/Oj64jFKIcAE - Devenir de la ZUP de La Paillade youtu.be/1qxAhsqsV8M v - Regard sur les barres Zum' youtu.be/Eow6sODGct8 v - MONTCHOVET EN CONSTRUCTION Saint Etienne, ses travaux - Vidéo Ina.fr www.ina.fr/video/LXF99004401 … via - La construction de la Grande Borne à Grigny en 1969 Archive INA www.youtube.com/watch?time_continue=12&v=t843Ny2p7Ww (discours excellent en seconde partie) -David Liaudet : l'image absolue, c'est la carte postale" phothistory.wordpress.com/2016/04/27/david-liaudet-limage... … l'architecture sanatoriale Histoire des sanatoriums en France (1915-1945). Une architecture en quête de rendement thérapeutique..
passy-culture.com/wp-content/uploads/2009/10/Les-15-Glori... … … & hal.archives-ouvertes.fr/tel-01935993/document … explosion des tours Gauguin Destruction par implosion des Tours Gauguin (quartier de La Bastide) de Limoges le dimanche 28 novembre 2010 à 11 heures. Limoges 28/11/2010 youtu.be/cd0ln4Nqqbs … 42 Roanne - c'etait le 11 novembre 2013 - Souvenirs des HLM quartier du Parc... Après presque 45 minutes de retard, les trois dernières tours Chanteclair sont tombées. Le tir prévu etait à 11h14 La vidéo içi www.leprogres.fr/loire/2013/11/01/roanne-les-3-dernieres-... … … www.leprogres.fr/loire/2013/11/01/roanne-une-vingtaine-de... …Besançon (25) - la Nouvelle cité d'HLM La Planoise en 1960 avec la video des premiers habitants de Planoise en juin 1968 www.youtube.com/watch?v=LVKAkJSsCGk … … … archive INA … BEGIN Japanology - les utopies de l'extreme et Kenzo Tange l'architecte japonnais - la video içi www.youtube.com/watch?v=ZlAOtYFE4GM … 71 les Prés Saint-Jean a Chalon-sur-Saône - L'Implosion des 3 tours HLM de 15 etages le 5 décembre 2009 par FERRARI DEMOLITION içi www.youtube.com/watch?v=oDsqOjQJS8E … … … & là www.youtube.com/watch?v=ARQYQLORBBE … 21 DIJON Cité des Grésilles - c'etait l'implosion de la residençe HLM Paul Bur le 19 02 2010 www.youtube.com/watch?v=fAEuaq5mivM … … & la www.youtube.com/watch?v=mTUm-mky-sw … 59 - la technique dite du basculement - Destruction de l'immeuble Rhone a Lille avec pleins de ralentit içi video-streaming.orange.fr/actu-politique/destruction-de-l... … 21 Chenôve (le GRAND DIJON) - Implosion de la barre François RUDE le 3 nov 2010 (top video !!) www.youtube.com/watch?v=ClmeXzo3r5A … …Quand l histoire çe repete et çe repetera autant de fois que nesçessaire quand on voie la quantitée de barres 60 70's...dans le collimateur de l'ANRU2.. 77 MEAUX 3 grandes tours..& puis s'en vont.. Démolition Pierre Collinet Batiment Genêt, Hortensia et Iris - Reportage Journal le 26 juin 2011 youtu.be/fpPcaC2wRIc 71 CHALON SUR SAONE C'etait les Prés Saint Jean le 05 décembre 2009 , pour une implosion hlm hors du commun !!! Caméra mise à même le sol , à une vingtaine de mètres de la première tour .... www.youtube.com/watch?v=kVlC9rYU-gs … 78 les MUREAUX le 3 octobre 2010 ,Les dernières minutes de la Tour Molière aux Mureaux (Yvelines) et sa démolition par semi-foudroyage, filmés du quartier de la Vigne Blanche. www.youtube.com/watch?v=u2FDMxrLHcw …71 MACON LES GRANDES PERRIERES C'etait un 30 juin 2013, avec l'implosion de la barre HLM des Perrières par GINGER www.youtube.com/watch?v=EzYwTcCGUGA … … une video exceptionnelle ! c'etait Le Norfolk Court un ensemble résidentiel, le Norfolk Court, construit dans les années 1970, a été démoli à Glasgow en Ecosse le 9 mai 2016 . Il rate la démolition d'un immeuble au tout dernier moment LES PASSAGERS DU BUS EN PROFITE A SA PLAçE lol www.20minutes.fr/tv/t-as-vu/237077-il-rate-la-demolition-... … 69 LYON Quand La Duchère disait adieu à sa barre 230 le jeudi 2 juillet 2015 www.youtube.com/watch?v=BSwidwLw0NA … www.youtube.com/watch?v=BdLjUAK1oUk … www.youtube.com/watch?v=-DZ5RSLpYrM …Avenir Deconstruction : Foudroyage de 3 barres HLM - VAULX-EN-VELIN (69) www.youtube.com/watch?v=-E02NUMqDno Démolition du quartier Bachelard à Vaulx-en-Velin www.youtube.com/watch?v=DSAEBIYYpXY Démolition des tours du Pré de l'Herpe (Vaulx-en-Velin)
www.youtube.com/watch?v=fG5sD1G-QgU REPORTAGE - En sept secondes, un ensemble de 407 appartements à Vaulx-en-Velin a été détruit à l'explosif dans le cadre du renouvellement urbain... www.youtube.com/watch?v=Js6w9bnUuRM www.youtube.com/watch?v=MCj5D1NhxhI - St-QUENTIN LA ZUP (scic)- NOUMEA - NOUVELLE CALEDONIE historique de la cité Saint-Quentin içi www.agence-concept.com/savoir-faire/sic/
www.youtube.com/watch?v=_Gt6STiH_pM …[VIDEOS] Trois tours de la cité des Indes de Sartrouville ont été démolies dans le cadre du plan de rénovation urbaine du quartier Mille quatre cent soixante-deux détonateurs, 312 kilos le 06/06/2010 à 11 heures. la belle video içi www.youtube.com/watch?v=fY1B07GWyDE VIGNEUX-SUR-SEINE, VOTRE HISTOIRE, VOS SOUVENIRS. içi www.youtube.com/watch?v=8o_Ke26mB48 … , Film des Tours et du quartier de la Croix Blanche, de 1966 à 1968. Les Tours en train de finir de se construire, ainsi que le centre commerciale. Destruction de la Tour 21, pour construire de nouveaux HLM... l'UNION SOCIALE POUR L HABITAT fete ses 90 ans "TOUT savoir tout voir, tout connaitre, sur le LOGEMENT SOCIAL des HLM aux HBM avec le Musée HLM" en ligne sur le WEB içi musee-hlm.fr/ www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … içi www.banquedesterritoires.fr/lunion-sociale-pour-lhabitat-... … De grandes barres d’immeubles, appelées les grands ensembles, sont le symbole de nos banlieues. Entrée Libre revient sur le phénomène de destruction de ces bâtiments qui reflètent aujourd’hui la misere www.youtube.com/watch?v=mCqHBP5SBiM twitter.com/Memoire2cite/status/1121877386491043840/photo... Avril 1993, 6 ans après l'implosion de la tour DEBUSSY des 4000, 30% seulement des travaux de rénovation ont été réalisés et le chômage frappe toujours 1/3 des hbts. C'est un échec. A Mantes la Jolie, 6 mois après la destruction des 4 tours du Val Fourré, www.youtube.com/watch?v=ta4kj05KJOM … Banlieue 89, Bacalan à Bordeaux 1986 - Un exemple de rénovation urbaine et réhabilitation de l'habitat dans un des quartiers de Bordeaux La Cité Claveau à BACALAN. A l'initiative du mouvementla video içi www.youtube.com/watch?v=IN0JtGBaA1o … L'assoçiation de ROLLAND CASTRO @ Le Plan Banlieue 89 - mode d'emploi - Archive INA - La video içi. TRANSFORMER LES PAYSAGES URBAINS AVEC UNE APPROCHE CULTURELLE www.youtube.com/watch?v=Aw-_f-bT2TQ … SNCF les EDITIONS DU CABRI PRESENTE PARIS LA BANLIEUE 1960-1980 -La video Içi. www.youtube.com/watch?v=lDEQOsdGjsg … Içi la DATAR en 1000 clichés missionphotodatar.cget.gouv.fr/accueil - Notre Paris, 1961, Réalisation : André Fontaine, Henri Gruel Les archives filmées de la cinémathèque du ministère de 1945 à nos jours içi www.dailymotion.com/video/xgis6v?playlist=x34ije
31 TOULOUSE - le Mirail 1962 réalisation : Mario Marret construction de la ville nouvelle Toulouse le Mirail, commentée par l'architecte urbaniste Georges Candilis le film www.dailymotion.com/video/xn4t4q?playlist=x34ije Il existe de nos jours, de nombreux photographes qui privilégient la qualité artistique de leurs travaux cartophiles. A vous de découvrir ces artistes inconnus aujourd’hui, mais qui seront peut-être les grands noms de demain.Les films du MRU - Le temps de l'urbanisme, 1962, Réalisation : Philippe Brunet www.dailymotion.com/video/xgj2zz?playlist=x34ije … … … … -Les grands ensembles en images Les ministères en charge du logement et leur production audiovisuelle (1944-1966) MASSY - Les films du MRU - La Cité des hommes, 1966, Réalisation : Fréderic Rossif, Albert Knobler www.dailymotion.com/video/xgiqzr?playlist=x34i - Les films du MRU @ les AUTOROUTES - Les liaisons moins dangereuses 1972 la construction des autoroutes en France - Le réseau autoroutier 1960 Histoire de France Transports et Communications - www.dailymotion.com/video/xxi0ae?playlist=x34ije … - A quoi servaient les films produits par le MRU ministère de la Reconstruction et de l'Urbanisme ? la réponse de Danielle Voldman historienne spécialiste de la reconstruction www.dailymotion.com/video/x148qu4?playlist=x34ije … -les films du MRU - Bâtir mieux plus vite et moins cher 1975 l'industrialisation du bâtiment et ses innovations : la préfabrication en usine, le coffrage glissant... www.dailymotion.com/video/xyjudq?playlist=x34ije … - TOUT SUR LA CONSTRUCTION DE NOTRE DAME LA CATHEDRALE DE PARIS Içi www.notredamedeparis.fr/la-cathedrale/histoire/historique... -MRU Les films - Le Bonheur est dans le béton - 2015 Documentaire réalisé par Lorenz Findeisen produit par Les Films du Tambour de Soie içi www.dailymotion.com/video/x413amo?playlist=x34ije …
archipostcard.blogspot.com/search?updated-max=2009-02-13T... -Créteil.un couple à la niaiserie béate exalte les multiples bonheurs de la vie dans les new G.E. www.youtube.com/watch?v=FT1_abIteFE … La Ville bidon était un téléfilm d'1 heure intitulé La Décharge.Mais la censure de ces temps de présidence Pompidou en a interdit la diffusion télévisuelle - museedelacartepostale.fr/periode-semi-moderne/ - archipostalecarte.blogspot.com/ - Hansjörg Schneider BAUNETZWOCHE 87 über Papiermoderne www.baunetz.de/meldungen/Meldungen_BAUNETZWOCHE_87_ueber_... … - ARCHITECTURE le blog de Claude LOTHIER içi leblogdeclaudelothier.blogspot.com/2006/ - - Le balnéaire en cartes postales autour de la collection de David Liaudet, et ses excellents commentaires.. www.dailymotion.com/video/x57d3b8 -Restaurants Jacques BOREL, Autoroute A 6, 1972 Canton d'AUXERRE youtu.be/LRNhNzgkUcY munchies.vice.com/fr/article/43a4kp/jacques-borel-lhomme-... … Celui qu'on appellera le « Napoléon du prêt-à-manger » se détourne d'ailleurs peu à peu des Wimpy, s'engueule avec la maison mère et fait péricliter la franchise ...que dire de RICARDO BOFFIL Les meilleures balades que j’ai fait autour de Paris je les ai faites dans l’application Plans. Je ne minore pas le rôle de Google Maps, révolution cartographique sans précédent et sans égale, qui aura réalisé nos fantasmes d’Aleph borgesien — l’idée d’un point d’où le monde serait visible en totalité — parachevé Mercator et permis d’explorer des parties du globe inconnues de Cook, Bougainville et Amundsen. Je n’oublie pas non plus cet exercice de cartographie au collège, qui nous avait démontré que nous étions à 3 cartes IGN de la capitale, et que le tissu urbain était de plus en plus serré à mesure que nous avancions vers le nord. Mais Plan possédait une fonctionnalité inédite, le Flyover, technologie à l’origine destinée aux pilotes de chasse, et qui fournissait des rendus 3D spectaculaire des bâtiments survolés — ainsi que des arbres et des déclivités du sol On quittait enfin les champs asphyxiants de la photographie aérienne pour des vues à l’oblique des villes visitées : après un siècle d’écrasement — la photographie aérienne est étroitement contemporaine du bombardement aérien — les villes reprenaient enfin de la vigueur et remontaient vers le ciel. J’avais d’ailleurs effectué moi-même une manœuvre de redressement similaire le jour où j’étais parti, à pied depuis Paris, visiter à Nanterre une exposition sur la photographie aérienne. J’étais à la quête des premières vues de Paris qu’avait prises Nadar depuis un ballon captif. À défaut de ces images, définitivement manquantes, j’avais parcouru, après la Grande Arche, les derniers kilomètres de la Voie Royale, cette prodigieuse perspective historique partie du Louvre — rare exemple de frise chronologique implémentée dans une structure urbanistique.J’avais en réalité un peu dévié de la ligne droite pour aller voir les tours Nuages d’Emile Aillaud, le Facteur Cheval du modernisme, dont je connaissais déjà les autres chefs d’œuvres d'architecture naïve, les nouilles chinoises de Grigny et le spaghetti de Pantin.C’était précisément l’usage que j’avais fait de l’application Plans : j’étais parti à la recherche de tous les groupements de tour qu’elle m’avait permis d’identifier, sur mon iPad. Je les faisais tourner avec deux doigts, comme un éclaireur qui marcherait autour d’un donjon, avant de les immortaliser, sous leur plus bel angle, par une capture d’écran.Un éclaireur autour d’un donjon : c’était exactement cela, qui m’avait fasciné. Les guerres territoriales entre Les Tarterêts de Corbeil et les Pyramides d’Evry avaient marqué mon enfance. La notion de cité, telle qu’elle avait été définie, à partir des années 80, dans le second âge des grands ensembles, l’âge du déclin, avait conservé un cachet médiéval. Ici, vivaient guetteurs et trafiquants, condottieres à la tête d’une écurie de go-fast et entretenant des chenils remplis de mâtins rares et dangereux. Ici, l’État central ne remplissait plus ses tâches régaliennes, ici la modernité laïque était entrée en crise. Mais ce que j’avais découvert, en collectionnant ces captures d’écran, c’était à quel point l’urbanisme de la banlieue parisienne était, strictement, d’obédience médiévale. On était passé, d’un seul mouvement et sans même s’en rendre compte de Château-Gaillard à la Cité 4000, du Donjon de Vincennes aux tours de Sarcelles, du château de Gisors aux choux fleurs de Créteil.J’ai même retrouvé la colonne détruite du désert de Retz dans le babylonien château d’eau de Noisiel.Des hauteurs de Rosny à celle de Chanteloup, du plateau de Clichy à la dalle d’Argenteuil, on avait bizarrement livré des pastiches inconscients de la grande architecture militaire médiévales : les environs de Paris s’étaient retrouvés à nouveau fortifiés, la vieille tour de Montlhéry n’était plus solitaire, et même les immeubles de briques rouges qui avaient succédé à l’enceinte de Thiers évoquaient des murailles.Et ce que j’avais initialement pris pour des anomalies, des accidents malheureux du post-modernisme, les grand ensembles voûtés et cannelés de Ricardo Boffil, étaient peut-être ce qui exprimait le mieux tout cela — ou du moins qui clôturaient avec le génie le plus clair cet âge des grands ensembles.Car c’était cela, ces Carcassonnes, ces Acropoles, ces Atlandides qui surnageaient avec le plus de conviction au milieu des captures d’écrans de ruines médiévales qui s’accumulaient sur mon bureau.Si décriées, dès leur construction, pour leur kitch intolérable ces mégastructures me sont soudain apparues comme absolument nécessaires.Si les Villes Nouvelles n’ont jamais existé, et persisteront dans la mémoire des hommes, elles le doivent à ces rêveries bizarres et grandioses, à ces hybridations impossibles entre les cités idéales de Ledoux et les utopies corbuséennes.L’Aqueduc de Saint-Quentin-en-Yvelines, les Espaces d’Abraxas à Marne-la-Vallée, les Colonnes de Saint-Christophe à Cergy-Pontoise sont les plus belles ruines du Grand Paris. www.franceculture.fr/emissions/la-conclusion/ricardo-bofill immerssion dans le monde du logement social, l'univers des logements sociaux, des H.B.M au H.L.M - Retour sur l'histoire du logement collectif d'apres guerre - En Françe, sur l’ensemble du territoire avant, 4 millions d’immeubles étaient vétustes, dont 500.000 à démolir; au total 10% des logements étaient considérés comme insalubres et 40% réputés d’une qualité médiocre, et surpeuplés. C’est pour ces raisons que, à partir de 1954, le Ministre à la Reconstruction et au Logement évalue le besoin en logements à 2.000.660, devenant ainsi une priorité nationale. Quelques années plus tard à l’appel de l’Abbé Pierre, le journaliste Gilbert Mathieu, en avril 1957 publiait dans le quotidien Le Monde une série d’articles sur la situation dramatique du logement : Logement, notre honte et dénonçant le nombre réduit de logements et leur impitoyable état. Robert Doisneau, Banlieue après-guerre, 1943-1949 /Le mandat se veut triple : reconstruire le parc immobilier détruit durant les bombardements essentiellement du printemps/été 1944, faire face à l’essor démographique et enfin résorber l’habitat insalubre notamment les bidonvilles et les cités de transit. Une ambition qui paraît, dès le début, très élevée, associée à l’industrialisation progressive de la nation entre autre celle du secteur de la construction (voir le vidéo de l’INA du 17 juillet 1957 intitulée La crise du logement, un problème national. Cela dit, l’effort pour l’État français était d’une ampleur jamais vue ailleurs. La double nécessité de construire davantage et vite, est en partie la cause de la forme architecturale excentrique qui constituera les Grands Ensembles dans les banlieues françaises. Cinq caractéristiques permettent de mieux comprendre ce terme : la rupture avec le tissu urbain ancien, un minimum de mille logements, une forme collective (tours, barres) de quatre jusqu’à vingt niveaux, la conception d’appartements aménagés et équipés et enfin une gestion destinée pour la plupart à des bailleurs de logement social.Pour la banlieue parisienne leur localisation s’est opérée majoritairement dans la périphérie, tandis que dans les autres cas, plus de la moitié a été construite dans le centre ville, le plus souvent à la limite des anciens faubourgs. Architecture d’Aujourd’hui n° 46, 1953 p. 58-55 C’est le triomphe de l’urbanisme fonctionnel et rationaliste cher à Le Corbusier. Entre 1958 et 1973, cent quatre-vingt-quinze Zones à Urbaniser en Priorité (ZUP)
Karate For Kids
Karate for kids classes in Cave Creek, Chandler, Mesa, Glendale, Arizona are taught in a method to develop life skills such as respects, enhanced self-discipline, greater confidence and respect in children. The karate for kids programs with the local ATA martial arts schools doesn’t only teach how to kick and punch. The karate classes will teach kids the valuable life lessons of self-control and the ability to defend themselves. All of the Karate Kids classes teach the attributes necessary to be a confident individual within our community.
Our Local ATA Martial Art schools in Cave Creek, Chandler, Mesa, Glendale, Arizona have carefully designed the karate programs for the youth within the community- age appropriate programs that are specifically aimed at the child’s development both physically and mentally. These karate lessons are taught through a top ranked and nationally recognized “Karate For Kids” program, that has a well established training curriculum designed school aged students.
bullying seminars, martial arts business coaching mesa karate, chandler karate, cave creek karate,
#1 with parents in the ATA Karate Schools in Cave Creek, Chandler, Mesa, Glendale, Arizona is the renowned Karate for Kids character development “ATA Life Skills” program designed for personal Victory in Martial Arts with skills such as perseverance, integrity, courtesy, self-esteem and the respect for others while incorporating social life skills that develops naturally within the group.
It is always a good time to start a program at one our three locations as the #1 Karate For Kids schools in Las Vegas and Henderson. Together with kids their own age, every youngster can mature and grow with the self confidence that a karate kids program develops within them.
Martial Arts Classes For Women
In today’s world of fitness, women are looking for a structured and interesting workout in a manner to stay fit that breaks away from their traditional daily routine. Repeating the same exercise every day can be draining and break ones motivation and is rarely goal oriented. It isn’t the normal daily gym workout. ATA Martial Arts of Cave Creek, Chandler, Mesa, Glendale, Arizona is a training facility that women are finding the variety of goal oriented conditioning that is exciting. While the physical nature of martial arts is rewarding and a personal martial arts victory, it also teaches the self defense and survival tactics that is needed in todays ever changing world.
There are many important mental and physical health benefits in our women’s martial art classes in Las Vegas and Henderson. While toning vital muscles and building coordination will enhance self-confidence, awareness and increase cardiovascular is health. Women who Attend ATA karate classes will improve balance, flexibility, increase exercise stamina levels while developing a greater sense of self-esteem, hence the term… “Victory” in Martial Arts.
Martial Arts have been known to provide much needed stress relief, promote self-control, concentration, and boost the ability to remain calm under stress. ATA Martial Arts routines are even helping women keep their memory sharp on a day-to-day basis!
Cave Creek, Chandler, Mesa, Glendale, Arizona ATA Martial Arts facilities are the community martial arts experts that provide rigorous karate classes for women of all ages to develop their strength of body and mind.
It’s a fact! Women are breaking away from their traditional exercise routines such as gym workouts and finding balance, freedom and motivation at ATA Martial Arts. It’s time for you to experience the benefits of karate classes designed for women with the community Martial Art experts in Las Vegas and Henderson.
Adult Martial Arts Classes for Men
Martial Arts classes for men in Cave Creek, Chandler, Mesa, Glendale, Arizona is more then just kicking and punching. ATA Karate Classes create a stronger self awareness, enhanced confidence, greater focus, and a true Victory in Martial Arts for men of all ages.
In an adult class a karate student will train will practical concepts in a safe, clean and enjoyable facility, while incorporating life skills to de-stress from life’s everyday challenges. Las Vegas ATA Martial Arts and Henderson ATA Martial arts offers three location to serve our community. Learning a skill set that will stick with you for life, no matter what age, allowing you to gain the self confidence desired so that you can feel comfortable with confrontation in any real life situation.
As one of the top martial arts training facilities in the community our Martial Arts programs such as Karate for Kids, Taekwondo and MMA and Fitness is a key method of enhancing the body’s functions, including flexibility, coordination, and balance with strength and endurance. Yes! It relieves stress while having some fun as well as meeting new people. As an adult, you do not need to have prior training before you get into a Martial Arts class. ATA Martial Arts has a defined teaching curriculum designed to take each student to the peak of their performance while greatly enhancing their skills creating a personal “Martial Arts Victory”.
KRAV MAGA & MMA FITNESS
Krav Maga and ATA’s MMA and athletic training is combined to provide a diverse full body workout while incorporating real life scenario drills for self defense.
This class features a structured curriculum that is in continuous motion utilizing all levels of MMA and Krav Maga skills with self defense drills in a manner to enhance cardio-respiratory for your cardiovascular system. Krav Maga students don’t’ just perform blocks, punches, kicks and movements you would find at a gym to music or in the mirror, students train in an environment that is preparing them for real life conditions.
The Krav Maga & MMA Fitness in Cave Creek, Chandler, Mesa, Glendale, Arizona is a true Conditioning Program that specializes in a Total Body Workout that doesn’t feel like to boring fitness class you may have taken before. Krav Maga Conditioning Program brings a fresh experience and keeps each and every student motivated in class on a day to day basis.
With a strong dedication and commitment to the Krav Maga and MMA Fitness Training student, Krav Instructors teach a combination of strength training, combatives, flexibility skills, and workouts with our top notch academy training facility. There is a emphasize on muscular strength and cardiovascular endurance for Krav students in Henderson and Las Vegas while instilling the distinctive awareness and self defense techniques needed for street survival in our ever changing world.
Correct body alignment to maximize efficiency can be key, our team of professional instructors will work on refining Krav Maga technique through exciting repetition drills and training.
All levels of Krav Maga, MMA & Fitness from the beginner to the experienced can train at anyone of our three locations. Call today and don’t delay.
AS350B-3 Squirrel built in 2007 and using its c/n as the registration. Operated by Air Methods for Native Air.
One of the fascinating Hoodoos seen on a recent visit to the McIntyre Ranch in southern Alberta.
On Saturday, 26th May 2007, I joined a group of Field Naturalists on a day's bus trip down to the Milk River Ridge area in southern Alberta. About two years ago, a friend had told me about the McIntyre Ranch, and his passion about the Ranch and how it was being run on a "balance of/with nature" method rubbed off on me. A trip was planned a year ago, but torrential rain made it impossible for a large bus to drive on the Ranch land and the trip was cancelled. Now, a year later, I have finally stood on Ranch land, breathed in its fresh air, listened to its silence, admired some of its flora and fauna, met its General Manager (Ralph Thrall 111) and taken some photos that don't do any justice at all to the immense beauty of this special land. For anyone interested in this very precious and protected area, the Ranch has a great website (www.mcintyreranch.com). Also, two documentaries have been made. One, by Janet and John Foster, is called "A Passion for Prairie". The other is called "The Gift". Both are superb.
"The McIntyre Ranch has changed very little since it was established in 1894. The 'balance of nature' philosophy that guided fifty-three years of McIntyre ownership has continued since Ralph Thrall bought the 87 section property from the McIntyre estate in 1948 (one section equals 640 acres, 1581 hectares or one square mile). Twelve sections that were once farmed have been seeded back to tame grasses for grazing while the other seventy-five sections remain in their native condition. Several factors are considered in order to maintain and enhance the healthy range condition. Appropriate stocking rates (number of cattle) in conjunction with duration and time of year grazing, water requirements, natural shelter, strategic fencing and salt distribution all must be considered for effective balanced grazing. Our goal of achieving excellence with all aspects associated with the McIntyre Ranch will be worked at while functioning in harmony with nature. Sustainable ranching has been and continues to be the main objective of this company.
Ralph A. Thrall passed away in 1978. The Ranch is presently owned by Ralph A. Thrall Jr. and managed by Ralph A. Thrall III (General Manager 1990), Duane Spitzer (Controller 1973) and Jamie Christie (Foreman 2001)."
From the Ranch website.
Added on 30th October 2011, from the Lethbridge Herald Newspaper. I noticed that quite a number of people were looking at my photo via Google yesterday and today. I was greatly saddened when I read the reason.
"MR. RALPH AMBROSE THRALL JR. of Lethbridge, beloved husband of Mrs. Catherine C. Thrall, passed away in Calgary on Friday, October 28, 2011 at the age of 78 years."
I send my condolences to the family and friends of Ralph Thrall Jr. A friend and I met this gentleman just the one time, at an exhibition about the McIntyre Ranch, but a group of us was privileged to spend a wonderful day on the Ranch back on 26th May 2007. I know that there will be a great number of people offering support to the family at this very difficult time and keeping them in their thoughts and prayers.
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HDR using a Canon 7D and Tokina 11-16mm F2.8 lens. AEB +/-3 total of 7 exposures at F8. Processed with Photomatix.
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.
Photograph taken at 15:46pm an altitude of Four hundred metres on Wednesday 10th September 2014 in the wilderness, off Adams Forest Services Road, on the shoreline of Adams Lake in British Columbia, Canada.
Adams Lake is a large, deep, coldwater lake, with a maximum depth of Five hundred metres, the southern end of the lake is approximately 30 km north of the town of Chase in the Shuswap Country region of British Columbia, Canada
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Nikon D800 24mm 1/80s f/5.6 iso100 RAW (14 bit). Hand held. AF-S single point focus. Manual exposure. Matrix metering. Auto white balance.
Nikkor AF-S 14-24mm f/2.8G ED IF. UV filter. Nikon MB-D12 battery grip. Two Nikon EN-EL batteries. Nikon DK-17M Magnifying Eyepiece. Nikon DK-19 soft rubber eyecup. Digi-Chip 64GB Class 10 UHS-1 SDXC. Lowepro Transporter camera strap. Lowepro Vertex 200 AW camera bag. Nikon GP-1 GPS unit
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LATITUDE: N 51d 4m 33.70s
LONGITUDE: W 119d 45m 5.98s
ALTITUDE: 400.0m
RAW (TIFF) FILE SIZE: 103.00MB
PROCESSED (JPeg) SIZE: 36.13MB
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PROCESSING POWER:
HP 110-352na Desktop PC with AMD Quad-Core A6-5200 APU processor. AMD Radeon HD8400 graphics. 8 GB DDR3 Memory with 1TB SATA storage. 64-bit Windows 8.1. Verbatim USB 2.0 1TB desktop hard drive. WD My Passport Ultra 1tb USB3 Portable hard drive. Nikon VIEWNX2 Version 2.10.3 64bit. Adobe photoshop Elements 8 Version 8.0 64bit
Ford - V8
Not the first maker of Vee-eights, Ford most definitely made them available to the common man. Having first democratised the car, with the Model-T, production methods for which helped reduce the cost to under $500. The following model, the 'A' would begin production in 1927. The next Model the 'B' arrived in 1932, and with it a V8 version, the model '18'. This 'V8' became the staple for the hotrodding fraternity for decades.
The original V8 was configured as a 90-degree V8, of 'flathead' design. A feature of the engine was the casting and machining of the block as a single unit.
The replacement for the 'Flathead' was the 'Y-Block', inroduced into Ford cars in 1954, and into the truck model in 1955. The engine was available in a number of capacities from early on, beginning with a 256 CID (4.2 litre). The model featured here is the 292 CID (4.8 litre) which produce 212 hp. The engine was designated the 'Thunderbird' engine, and was used in Mercurys, the Ford Thunderbird, and other high-end Ford models, including Fairlanes (the top trim level of the full-sized Ford from 1957).
An even larger 312 CID was available, also used in Thunderbirds, Mercurys and high-trim Fords. Optional higher power configurations via induction carburation and even a supercharged version.
The model 1957 Ford Fairlane and the 292 CID Y-Bock Vee-Eight have been built for Flickr LUGNuts' 64th build challenge - 'Mad Motor Skills' - focusing on the engines that power our favourite rides, be they car, bike or truck.
If you want to know about the franklin method then, Visit josiebray.com/work-with-me/franklin-method/. The Franklin Method is a student-centered system that uses anatomy and imagery to teach functional movement so you feel better in body and mind. Josiebray is a level-3 Franklin Method Educator and have worked and studied directly with Eric Franklin, who is an international teacher. Watch this video for more details.
Giverny I, Frankreich/France 2010 C-Print, AluDibond
Photos of thought up
With his photo book "Combray", Elger Esser the work of Marcel Proust let rise. He made the photos in the French provinces, where France still looks like at the times of Proust's novel In Search of Lost Time. The landscapes of which Esser reassembles the fictitious place of Combray he photographed in analogue method and made of the negatives heliogravures. They are the complete opposite to digital photography. The book is published by Schirmer/Mosel.
Fotos vom Ausgedachten
Mit seinem Bildband "Combray" lässt Elger Esser das Werk von Marcel Proust auferstehen. Die Fotos machte er in der französischen Provinz, dort, wo Frankreich noch aussieht wie zu Zeiten aus Prousts Roman Auf der Suche nach der verlorenen Zeit. Die Landschaften, aus denen Esser den fiktiven Ort Combray neu zusammensetzt, nahm er analog auf und fertigte von den Negativen Heliogravüren. Sie sind das vollständige Gegenteil zur digitalen Fotografie. Das Buch ist bei Schirmer/Mosel erschienen.
www.zeit.de/zeit-magazin/leben/2016-03/combray-frankreich...
Collection
The foundation of the collection consists of 205 mostly French and Dutch paintings from the 17th and 18th centuries which Margravine Karoline Luise acquired 1759-1776. From this collection originate significant works, such as The portrait of a young man by Frans van Mieris the Elder, The winter landscape with lime kiln of Nicolaes Pieterszoon Berchem, The Lacemaker by Gerard Dou, the Still Life with hunting equipment and dead partridge of Willem van Aelst, The Peace in the Chicken yard by Melchior de Hondecoeter as well as a self-portrait by Rembrandt van Rijn. In addition, four still lifes of Jean Siméon Chardin and two pastoral scenes by François Boucher, having been commissioned directly by the Marchioness from artists.
A first significant expansion the museum received in 1858 by the collection of canon Johann Baptist von Hirscher (1788-1865) with works of religious art of the 15th and 16th centuries. This group includes works such as two tablets of the Sterzinger altar and the wing fragment The sacramental blessing of Bartholomew Zeitblom. From 1899 to 1920, the native of Baden painter Hans Thoma held the position of Director of the Kunsthalle. He acquired old masterly paintings as the tauberbischofsheim altarpiece by Matthias Grünewald and drove the expansion of the collection with art of the 19th century forward. Only his successors expanded the holdings of the Art Gallery with works of Impressionism and the following generations of artists.
The permanent exhibition in the main building includes approximately 800 paintings and sculptures. Among the outstanding works of art of the Department German painters of the late Gothic and Renaissance are the Christ as Man of Sorrows by Albrecht Dürer, the Carrying of the Cross and the Crucifixion by Matthias Grünewald, Maria with the Child by Lucas Cranach the Elder, the portrait of Sebastian Brant by Hans Burgkmair the elder and The Nativity of Hans Baldung. Whose Margrave panel due to property disputes in 2006 made it in the headlines and also led to political conflicts. One of the biggest buying successes which a German museum in the postwar period was able to land concerns the successive acquisition of six of the seven known pieces of a Passion altar in 1450 - the notname of the artist after this work "Master of the Karlsruhe Passion" - a seventh piece is located in German public ownership (Wallraf-Richartz Museum, Cologne).
In the department of Dutch and Flemish paintings of the 16th century can be found, in addition to the aforementioned works, the portrait of the Marchesa Veronica Spinola Doria by Peter Paul Rubens, Moses strikes the rock and water flows for the thirsty people of Israel of Jacob Jordaens, the still life with kitchen tools and foods of Frans Snyders, the village festival of David Teniers the younger, the still life with lemon, oranges and filled clay pot by Willem Kalf, a Young couple having breakfast by Gabriel Metsu, in the bedroom of Pieter de Hooch, the great group of trees at the waterfront of Jacob Izaaksoon van Ruisdael, a river landscape with a milkmaid of Aelbert Jacobsz. Cuyp as well as a trompe-l'œil still life of Samuel van Hoogstraten.
Further examples of French paintings of the 17th and 18th centuries are, the adoration of the golden calf of Claude Lorrain, preparations for dance class of the Le Nain brothers, the portrait of Marshal Charles-Auguste de Matignon by Hyacinthe Rigaud, the portrait of a young nobleman in hunting costume of Nicolas de Largillière, The storm of Claude Joseph Vernet and The minuet of Nicolas Lancret. From the 19th century can be found with Rocky wooded valley at Civita Castellana by Gustave Courbet, The Lamentation of Eugène Delacroix, the children portrait Le petit Lange of Édouard Manet, the portrait of Madame Jeantaud by Edgar Degas, the landscape June morning near Pontoise by Camille Pissarro, homes in Le Pouldu Paul Gauguin and views to the sea at L'Estaque by Paul Cézanne further works of French artists at Kunsthalle.
One focus of the collection is the German painting and sculpture of the 19th century. From Joseph Anton Koch, the Kunsthalle possesses a Heroic landscape with rainbow, from Georg Friedrich Kersting the painting The painter Gerhard Kügelgen in his studio, from Caspar David Friedrich the landscape rocky reef on the sea beach and from Karl Blechen view to the Monastery of Santa Scolastica. Other important works of this department are the disruption of Adolph Menzel as well as the young self-portrait, the portrait Nanna Risi and The Banquet of Plato of Anselm Feuerbach.
For the presentation of the complex of oeuvres by Hans Thoma, a whole wing in 1909 at the Kunsthalle was installed. Main oeuvres of the arts are, for example, the genre picture The siblings as well as, created on behalf of the grand-ducal family, Thoma Chapel with its religious themes.
Of the German contemporaries of Hans Thoma, Max Liebermann on the beach of Noordwijk and Lovis Corinth with a portrait of his wife in the museum are represented. Furthermore the Kunsthalle owns works by Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner and Max Klinger.
In the building of the adjacent Orangerie works of the collection and new acquisitions from the years after 1952 can be seen. In two integrated graphics cabinets the Kupferstichkabinett (gallery of prints) gives insight into its inventory of contemporary art on paper. From the period after 1945, the works Arabs with footprints by Jean Dubuffet, Sponge Relief RE 48; Sol. 1960 by Yves Klein, Honoring the square: Yellow center of Josef Albers, the cityscape F by Gerhard Richter and the Fixe idea by Georg Baselitz in the Kunsthalle. The collection of classical modernism wandered into the main building. Examples of paintings from the period to 1945 are The Eiffel Tower by Robert Delaunay, the Improvisation 13 by Wassily Kandinsky, Deers in the Forest II by Franz Marc, People at the Blue lake of August Macke, the self-portrait The painter of Ernst Ludwig Kirchner, the Merzpicture 21b by Kurt Schwitters, the forest of Max Ernst, Tower gate II by Lyonel Feininger, the Seven Deadly Sins of Otto Dix and the removal of the Sphinxes by Max Beckmann. In addition, the museum regularly shows special exhibitions.
Sammlung
Den Grundstock der Sammlung bilden 205 meist französische und niederländische Gemälde des 17. und 18. Jahrhunderts, welche Markgräfin Karoline Luise zwischen 1759 und 1776 erwarb. Aus dieser Sammlung stammen bedeutende Arbeiten, wie das Bildnis eines jungen Mannes von Frans van Mieris der Ältere, die Winterlandschaft mit Kalkofen von Nicolaes Pieterszoon Berchem, Die Spitzenklöpplerin von Gerard Dou, das Stillleben mit Jagdgeräten und totem Rebhuhn von Willem van Aelst, Der Friede im Hühnerhof von Melchior de Hondecoeter sowie ein Selbstbildnis von Rembrandt van Rijn. Hinzu kommen vier Stillleben von Jean Siméon Chardin und zwei Schäferszenen von François Boucher, die die Markgräfin bei Künstlern direkt in Auftrag gegeben hatte.
Eine erste wesentliche Erweiterung erhielt das Museum 1858 durch die Sammlung des Domkapitulars Johann Baptist von Hirscher (1788–1865) mit Werken religiöser Kunst des 15. und 16. Jahrhunderts. Zu dieser Gruppe gehören Werke wie zwei Tafeln des Sterzinger Altars und das Flügelfragment Der sakramentale Segen von Bartholomäus Zeitblom. Von 1899 bis 1920 bekleidete der aus Baden stammende Maler Hans Thoma die Position des Direktors der Kunsthalle. Er erwarb altmeisterliche Gemälde wie den Tauberbischofsheimer Altar von Matthias Grünewald und trieb den Ausbau der Sammlung mit Kunst des 19. Jahrhunderts voran. Erst seine Nachfolger erweiterten die Bestände der Kunsthalle um Werke des Impressionismus und der folgenden Künstlergenerationen.
Die Dauerausstellung im Hauptgebäude umfasst rund 800 Gemälde und Skulpturen. Zu den herausragenden Kunstwerken der Abteilung deutsche Maler der Spätgotik und Renaissance gehören der Christus als Schmerzensmann von Albrecht Dürer, die Kreuztragung und Kreuzigung von Matthias Grünewald, Maria mit dem Kinde von Lucas Cranach der Ältere, das Bildnis Sebastian Brants von Hans Burgkmair der Ältere und die Die Geburt Christi von Hans Baldung. Dessen Markgrafentafel geriet durch Eigentumsstreitigkeiten 2006 in die Schlagzeilen und führte auch zu politischen Auseinandersetzungen. Einer der größten Ankaufserfolge, welche ein deutsches Museum in der Nachkriegszeit verbuchen konnte, betrifft den sukzessiven Erwerb von sechs der sieben bekannten Tafeln eines Passionsaltars um 1450 – der Notname des Malers nach diesem Werk „Meister der Karlsruher Passion“ – eine siebte Tafel befindet sich in deutschem öffentlichen Besitz (Wallraf-Richartz Museum, Köln).
In der Abteilung niederländischer und flämischer Malerei des 16. Jahrhunderts finden sich, neben den erwähnten Werken, das Bildnis der Marchesa Veronica Spinola Doria von Peter Paul Rubens, Moses schlägt Wasser aus dem Felsen von Jacob Jordaens, das Stillleben mit Küchengeräten und Lebensmitteln von Frans Snyders, das Dorffest von David Teniers dem Jüngeren, das Stillleben mit Zitrone, Orangen und gefülltem Römer von Willem Kalf, ein Junges Paar beim Frühstück von Gabriel Metsu, Im Schlafzimmer von Pieter de Hooch, die Große Baumgruppe am Wasser von Jacob Izaaksoon van Ruisdael, eine Flusslandschaft mit Melkerin von Aelbert Jacobsz. Cuyp sowie ein Augenbetrüger-Stillleben von Samuel van Hoogstraten.
Weitere Beispiele französischer Malerei des 17. bzw. 18. Jahrhunderts sind Die Anbetung des Goldeen Kalbes von Claude Lorrain, die Vorbereitung zur Tanzstunde der Brüder Le Nain, das Bildnis des Marschalls Charles-Auguste de Matignon von Hyacinthe Rigaud, das Bildnis eines jungen Edelmannes im Jagdkostüm von Nicolas de Largillière, Der Sturm von Claude Joseph Vernet und Das Menuett von Nicolas Lancret. Aus dem 19. Jahrhundert finden sich mit Felsiges Waldtal bei Cività Castellana von Gustave Courbet, Die Beweinung Christi von Eugène Delacroix, dem Kinderbildnis Le petit Lange von Édouard Manet, dem Bildnis der Madame Jeantaud von Edgar Degas, dem Landschaftsbild Junimorgen bei Pontoise von Camille Pissarro, Häuser in Le Pouldu von Paul Gauguin und Blick auf das Meer bei L’Estaque von Paul Cézanne weitere Arbeiten französischer Künstler in der Kunsthalle.
Einen Schwerpunkt der Sammlung bildet die deutsche Malerei und Skulptur des 19. Jahrhunderts. Von Joseph Anton Koch besitzt die Kunsthalle eine Heroische Landschaft mit Regenbogen, von Georg Friedrich Kersting das Gemälde Der Maler Gerhard Kügelgen in seinem Atelier, von Caspar David Friedrich das Landschaftsbild Felsenriff am Meeresstrand und von Karl Blechen den Blick auf das Kloster Santa Scolastica. Weitere bedeutende Werke dieser Abteilung sind Die Störung von Adolph Menzel sowie das Jugendliche Selbstbildnis, das Bildnis Nanna Risi und Das Gastmahl des Plato von Anselm Feuerbach.
Für die Präsentation des Werkkomplexes von Hans Thoma wurde 1909 in der Kunsthalle ein ganzer Gebäudetrakt errichtet. Hauptwerke des Künstlers sind etwa das Genrebild Die Geschwister sowie die, im Auftrag der großherzöglichen Familie geschaffene, Thoma-Kapelle mit ihren religiösen Themen.
Von den deutschen Zeitgenossen Hans Thomas sind Max Liebermann mit Am Strand von Noordwijk und Lovis Corinth mit einem Bildnis seiner Frau im Museum vertreten. Darüber hinaus besitzt die Kunsthalle Werke von Ferdinand Georg Waldmüller, Carl Spitzweg, Arnold Böcklin, Hans von Marées, Wilhelm Leibl, Fritz von Uhde, Wilhelm Trübner und Max Klinger.
Im Gebäude der benachbarten Orangerie sind Werke der Sammlung und Neuankäufe aus den Jahren nach 1952 zu sehen. In zwei integrierten Grafikkabinetten gibt das Kupferstichkabinett Einblick in seinen Bestand zeitgenössischer Kunst auf Papier. Aus der Zeit nach 1945 finden sich die Arbeiten Araber mit Fußspuren von Jean Dubuffet, Schwammrelief >RE 48:Sol.1960< von Yves Klein, Ehrung des Quadrates: Gelbes Zentrum von Josef Albers, das Stadtbild F von Gerhard Richter und die Fixe Idee von Georg Baselitz in der Kunsthalle. Die Sammlung der Klassischen Moderne wanderte in das Hauptgebäude. Beispiele für Gemälde aus der Zeit bis 1945 sind Der Eiffelturm von Robert Delaunay, die Improvisation 13 von Wassily Kandinsky, Rehe im Wald II von Franz Marc, Leute am blauen See von August Macke, das Selbstbildnis Der Maler von Ernst Ludwig Kirchner, das Merzbild 21b von Kurt Schwitters, Der Wald von Max Ernst, Torturm II von Lyonel Feininger, Die Sieben Todsünden von Otto Dix und der Abtransport der Sphinxe von Max Beckmann. Darüber hinaus zeigt das Museum regelmäßig Sonderausstellungen.