male ..about 5mm long at the most...turrented abdomen with the turrent only a little larger than the abdomen. large frontal eyes for size...found on leaf and not on a dry twig.

A partir de l'any 1881 van començar a aparèixer notícies a l'entorn de la possible arribada d'un tren a Puigcerdà i del seu enllaç amb França. Hi havia tres projectes: el de Barcelona a Puigcerdà; el de Lleida a Puigcerdà i el de Balaguer a Puigcerdà. Va prosperar el primer a partir de 1904 quan va signar-se un conveni hispanofrancès. Per aquest motiu, des de Puigcerdà es va constituir una comissió gestora per fer el seguiment del projecte. Finalment, el conveni fou ratificat l'any 1908 i, un any més tard, el 1909, van començar les obres.

 

Les obres es portaren a terme amb gran dificultat, ja que s'hagueren d'obrir 24 túnels entre Ripoll i Puigcerdà, entre els quals destaquen l'helicoïdal o Cargol de Palós, de 1.021 m i que supera un desnivell de 40 m, i el del massís de Toses de 3.605 m.

 

Així doncs, el tren va arribar oficialment a Puigcerdà el 3 d'octubre de 1922 amb una gran expectació per part dels cerdans. El 1928, un decret autoritza la conversió de la via a l'ample europeu fins a Barcelona, cosa que mai s'ha acomplert i motiu pel qual de Puigcerdà a la Tor de Querol hi ha dues vies d'ample diferent. També es va discutir molt sobre la ubicació de l'estació internacional d'enllaç entre França i Espanya. Finalment es feren dues estacions: una a Puigcerdà i l'altra a la Tor, per bé que la reconeguda com a tal fou la de la Tor de Querol–Enveig.

 

Des de l'any 1996 que no circula cap tren per les vies d'ample internacional.

 

Aquesta imatge ha jugat a En un lugar de Flickr.

 

A Google Maps.

It is still possible to find an old Studebaker which is in reasonable condition. This one was found somewhere in the States. It had been parked in an old barn, forgotten and untouched for over 20 years.

 

I took these images from a Vice Grip Garage video movie, found on YouTube. This movie was about the challenge if the engine would start after so many years of inactivity.

 

At the end of the YouTube movie the owner asked the viewers to put in the comments what to do with the car now it's finally running. Leave it like it was found, with the original patine? Or clean the car and prepare it for sale?

The majority choose for the last option.

This image is taken just after an entire cleaning treatment.

 

2780 cc L6 petrol engine.

Production Studebaker Champion Series: Autumn 1938-1942/1946-1958.

Production Champion 3rd Generation Series: Autumn 1946-1952.

Production Champion this version: Autumn 1946-1947.

 

Halfweg, June 1, 2024.

 

© 2024 Sander Toonen, Halfweg | All Rights Reserved

go yellow II... :)

Passage, November 17-20, 2022, McClintock Theatre. ©2022 Photos by Brian Feinzimer/Capture Imaging for the USC School of Dramatic Arts.

Breeding behaviour

Where possible, the birds excavate a nesting burrow into the soil. Sometimes they will make use of Manx shearwater or rabbit burrows. Where burrowing is not possible, the birds nest under boulders or in cracks and cavities in cliffs.

The birds defend the nesting site and its immediate surround, and use it in subsequent years. Puffins lay only a single egg, in late April or early May. Both parents incubate it for 36-45 days, and they share the feeding duties until the chick is ready to fledge.

The fledging period is very variable, ranging from 34 to 60 days, depending on the area and year.

Adult birds desert their young shortly before they are ready to leave the nest. The timing of the breeding in puffin colonies is highly synchronised, and so the departure of all adults takes place within a few days.

The young birds leave their nest burrow and make their way to the sea, normally under cover of darkness to avoid predators. In some colonies, for instance in Iceland, nearby bright lights confuse the young birds, which then fly into the light and end up on city streets.

Puffins usually reach breeding age at 5-6 years old, and often live for 20 years.

Anza area, Riverside County, California

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. Blue and red color channels swapped.

 

High Dynamic Range (HDR)

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

Tone mapping

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

 

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

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

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

 

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

 

History of HDR photography

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

 

Mid 20th century

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

 

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

 

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

 

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

 

Late 20th century

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

21st century

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

 

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

 

HDR sensors

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

 

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

 

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

 

Infrared Photography

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

  

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

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

 

en.wikipedia.org/wiki/Infrared_photography

 

Just farting around

Rub-a-dub-dub

Bathing beauty

 

Prompt:

a close up of a woman in a bath tub, 2 0 2 1 cinematic 4 k framegrab, broken hearted, turtles all the way down, lossless, by Kathleen Allen, donnie darko, meme template, 35mm, expressive, technicolor 4 k, guilt, bluray, detailed faces, hyperrealistic, expertly detailed, masterpiece, crying, sad, dark, very dark, low light,

   

Passage, November 17-20, 2022, McClintock Theatre. ©2022 Photos by Brian Feinzimer/Capture Imaging for the USC School of Dramatic Arts.

Oops, missed the sensible shoes!

It is possible to dive in Bangkok! Planet Scuba is the sole operator organising shark dives at Siam Ocean World Aquarium located in Siam Paragon Shopping Mall. The dive takes place in the main tank containing over 20 Grey Reef Sharks (Sandtiger), Leopard Sharks, Black Tip Reef Sharks & Tawny Nurse Sharks, as well as Rays, Snappers, Cobias, Trevally and many other kinds of marine life.

Another of my favourite places, St. Albans Abbey, or Saint Albans if you prefer.

 

View large if possible.

Possible first record from Belgium (found by Arnaud Heusschen). Comments on ID welcome

  

Thank you so much for your visits, comments and favs.

 

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Press L and then F11 to fully enjoy this picture in a large view

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©2021 Bruno Portier, All Rights Reserved. All images of this gallery are not available for use on websites, blogs or other media without the explicit written permission of the photographer.

Exercise in window light portraiture. Taken yesterday, very spur of the moment when the low sun just managed to shine for about 15 min. It was still very soft.

Read all about it here:

blog.c-duncans-photography.com/2011/02/something-new-expl...

 

film. pentax k1000. kodak portra nc.

Kuwait - Fahad Alsalem Street

 

Winter is here and everybody is hiding from the dry cold air , be careful of this weather , our grandfathers say that this cold air can get into your bones !

 

Lens used

Nikkor 70-200

"It is not the world that needs peace; it is people. When people in the world are at peace within, the world will be at peace."

Prem Rawat

 

www.wordpaint.com

 

www.wopg.org

A possible candidate for the icon contest at the Birds & Animals Butt Shots group.

 

Less than sharp, but should show well at icon size.

 

Photographed at Sea World, San Diego in the late eighties

I love fall so much. Like honestly.

6?

OLYMPUS DIGITAL CAMERA

Kim Possible @fiona.phoenix_

My words:

Every spot visit was optimally time-bound in our whole 8-day conducted tour. So I had to take snaps as much as possible to tell you a story of my visit. It was really a laborious task to cover as many elements as possible within that short span of time. This is for the reason I utilized every opportunities I could avail...like majorities of my landscape photographs were taken from our running bus, and I really enjoyed it to do so.

 

This is a series of photographs representing the rich cultural heritage of native Indians of North America. My whole effort will not go to vane if you really like and appreciate this small effort of mine.

  

About the Monument

The Crazy Horse Memorial is a mountain monument under construction on privately held land in the Black Hills, in Custer County, South Dakota, United States. It will depict the Oglala Lakota warrior, Crazy Horse, riding a horse and pointing into the distance. The memorial was commissioned by Henry Standing Bear, a Lakota elder, to be sculpted by Korczak Ziolkowski. It is operated by the Crazy Horse Memorial Foundation, a nonprofit organization.

 

The memorial master plan includes the mountain carving monument, an Indian Museum of North America, and a Native American Cultural Center. The monument is being carved out of Thunderhead Mountain, on land considered sacred by some Oglala Lakota, between Custer and Hill City, roughly 17 miles from Mount Rushmore. The sculpture's final dimensions are planned to be 641 feet wide and 563 feet high. The head of Crazy Horse will be 87 feet high; by comparison, the heads of the four U.S. Presidents at Mount Rushmore are each 60 feet high.

 

The monument has been in progress since 1948 and is far from completion. If completed, it may become the world's largest sculpture.

[ Custer City- is generally considered to be the oldest town established by European Americans in the Black Hills of South Dakota and Wyoming. Gold was found there during the 1874 Black Hills Expedition, conducted by the 7th Cavalry led by Lt. Colonel George Armstrong Custer, a discovery which initiated the Black Hills Gold Rush.

For thousands of years, the Black Hills had been part of the territory of varying tribes of indigenous peoples. They were within historical territory of the Oglala Sioux at the time of United States encounter, and within the Great Sioux Reservation established by the US Treaty of Fort Laramie (1868). Having established dominance in the area by the eighteenth century, the Oglala Sioux had long considered the Black Hills as sacred land]

  

Who was Crazy Horse?

Crazy Horse was a Native American war leader of the Oglala Lakota. He took up arms against the U.S. Federal government to fight against encroachments on the territories and way of life of the Lakota people. His most famous actions against the U.S. military included the Fetterman Fight (21 December 1866) and the Battle of the Little Bighorn (25–26 June 1876). He surrendered to U.S. troops under General Crook in May 1877 and was fatally wounded by a military guard, while allegedly resisting imprisonment. He ranks among the most notable and iconic of Native American tribal members and was honored by the U.S. Postal Service in 1982 with a 13¢ postage stamp that is part of its Great Americans series.

 

History of the monument

Korczak Ziolkowski and Henry Standing Bear.

Henry Standing Bear ("Mato Naji"), an Oglala Lakota chief, and well-known statesman and elder in the Native American community, recruited and commissioned Polish-American sculptor Korczak Ziolkowski to build the Crazy Horse Memorial in the Black Hills of South Dakota. In October 1931, Luther Standing Bear, Henry's older brother, wrote sculptor Gutzon Borglum, who was carving the heads of four American presidents at Mount Rushmore. Luther suggested that it would be "most fitting to have the face of Crazy Horse sculpted there. Crazy Horse is the real patriot of the Sioux tribe and the only one worthy to place by the side of Washington and Lincoln." Borglum never replied. Thereafter, Henry Standing Bear began a campaign to have Borglum carve an image of Crazy Horse on Mt. Rushmore. In summer of 1935, Standing Bear, frustrated over the stalled Crazy Horse project, wrote to James H. Cook, a long time friend of Chief Red Cloud's "I am struggling hopelessly with this because I am without funds, no employment and no assistance from any Indian or White."

 

On November 7, 1939, Henry Standing Bear wrote to the Polish-American sculptor Korczak Ziolkowski, who worked on Mount Rushmore under Gutzon Borglum. He informed the sculptor, "My fellow chiefs and I would like the white man to know that the red man has great heroes, too." Standing Bear also wrote a letter to Undersecretary Oscar Chapman of the Department of the Interior, offering all his own fertile 900 acres (365 ha) in exchange for the barren mountain for the purpose of paying honor to Crazy Horse. The government responded positively, and the National Forest Service, responsible for the land, agreed to grant a permit for the use of the land, with a commission to oversee the project. Standing Bear chose not to seek government funds and relied instead upon influential Americans interested in the welfare of the American Indian to privately fund the project.

 

In the spring of 1940, Ziolkowski spent three weeks with Standing Bear at Pine Ridge, South Dakota, discussing land ownership issues and learning about Crazy Horse and the Lakota way of life. According to Ziolkowski, "Standing Bear grew very angry when he spoke of the broken Treaty of Fort Laramie (1868). That was the one I'd read about in which the President promised the Black Hills would belong to the Indians forever. I remember how his old eyes flashed out of that dark mahogany face, then he would shake his head and fall silent for a long while."

  

Memorial foundation

The memorial is a non-profit undertaking, and receives no federal or state funding. The Memorial Foundation charges fees for its visitor centers and earns revenue from its gift shops. Ziolkowski reportedly was offered US$10 million for the project from the federal government on two occasions, but he turned the offers down. He felt the project was more than just a mountain carving, and he feared that his plans for the broader educational and cultural goals of the memorial would be overturned by federal involvement.

 

After Ziolkowski died in 1982 at age 74, his widow Ruth Ziolkowski, took charge of the sculpture, overseeing work on the project as CEO from the 1980s to the 2010s. Ruth Ziolkowski decided to focus on the completion of Crazy Horse's face first, instead of the horse as her husband had originally planned.[13] She believed that Crazy Horse's face, once completed, would increase the sculpture's draw as a tourist attraction, which would provide additional funding. She also oversaw the staff, which included seven of her children.

 

Sixteen years later, in 1998, the face of Crazy Horse was completed and dedicated.

Ruth Ziolkowski died 21 May 2014, aged 87. Monique Ziolkowski, Ruth's daughter, became CEO and three of her siblings continue to work on the project, as well as three of Monique's nephews.

  

Completed vision

The memorial is to be the centerpiece of an educational/cultural center, to include a satellite campus of the University of South Dakota, with a classroom building and residence hall, made possible by a US$2.5 million donation in 2007 from T. Denny Sanford, a philanthropist from Sioux Falls, South Dakota. It is called the University and Medical Training Center for the North American Indian and the Indian Museum of North America. The current visitor complex will anchor the center. Sanford also donated US$5 million to the memorial, to be paid US$1 million a year for five years as matching donations were raised, specifically to further work on the horse's head.

  

Controversies

Crazy Horse resisted being photographed and was deliberately buried where his grave would not be found. Ziolkowski envisioned the monument as a metaphoric tribute to the spirit of Crazy Horse and Native Americans. He reportedly said, "My lands are where my dead lie buried." His extended hand on the monument is to symbolize that statement.

Possible portfolio image

Please check me out at Gary P Kurns Oklahoma Photography

Making some floor panels for the crew cabin and cargo area. At the floors thinness it will be these with tiles on top and one plate layer on the bottom. So I need good interconnectivity for the best structural strength possible.

This is the oldest Target store I have been to that was built with a possible Super Target conversion in mind.

After shooting a lot of photos of highly colorful Wood ducks and Mandarin ducks, I was getting ready to wrap up my day at the park and head out, when I saw this white Pekin duck that seemed to be asking me why I wasn't taking his / her photo.

 

Well, white comprises ALL colors in the spectrum, after all. So from the standpoint of Physics, this has to be the most colorful duck possible!

 

So I am happy to present this most colorful duck at the park on this day.

 

7R302028

Lessons learned over Europe and the Pacific showed that the B-24 was vulnerable to attacks from the front—a problem it shared with the B-17. In the field, B-24 crews jammed as many machine guns as possible into the glasshouse nose of the B-24D, but this was not the solution. Consolidated experimented with various kinds of modifications until settling on a redesigned nose with a manned turret. This would cause some loss of aerodynamics on an aircraft already known for its difficult handling, but it at least would give the B-24 better defense from forward attacks. The redesign also made the nose roomier, added chin windows for the bombardier, enlarged the dorsal and tail turrets for better visibility, and enclosed the waist positions. The wet wing used by the B-24D was deleted in favor of self-sealing fuel tanks, eliminating the B-24’s tendency to catch fire.

 

Production shifted to the B-24H in late 1943, but there was a shortage of the electrically-powered Emerson nose turret, and so a hydraulically-powered Sperry turret was used on the B-24J. If that was not confusing enough, Consolidated also produced a lighter version, the B-24L, with no ball or tail turrets, leaving it to individual groups to install heavier turrets, flexible mounts, or no armament at all. All three were produced at once, and all three were used in increasingly heavy combat over Europe. The B-24 would not only become the most produced bomber of World War II, it would be the most produced American combat aircraft in history—no less than 18,482 Liberators would come off the line by the end of the war.

 

B-24Js and like variants would see heavy service worldwide, replacing the B-17 entirely in the Pacific and supplementing it over Europe. B-24s would bomb both Berlin and attack the southernmost Japanese home islands. Besides acting as strategic bombers, Liberators would also act as antisubmarine maritime patrol aircraft for the RAF, the USAAF, and the US Navy as the PB4Y-1; the latter would also be converted to primitive cruise missiles in Operation Aphrodite against German V-weapon sites in Belgium. One Aphrodite mission would claim the life of Joseph Kennedy Jr., older brother of future President John F. Kennedy. By 1945, it was possible to find B-24s literally everywhere, from Alaska’s cold Aleutians to sunny Brazil, from China to Italy.

 

After the end of World War II, the USAAF rapidly scrapped nearly its entire B-24 fleet, but a few soldiered on in the 1960s, mainly in India, where they operated as maritime patrol aircraft. Others served as seed aircraft for postwar airliners, including Qantas of Australia. By 1968, however, nearly all B-24s had disappeared from inventories worldwide; today, only 14 complete Liberators are left, with two aircraft flyable.

 

"Bungay Buckaroo's" odyssey is a fascinating one. Built for the USAAF as 44-44175, it never entered service as a B-24J, and instead was modified in the US as an antisubmarine warfare aircraft; it was then diverted through Lend-Lease to RAF Coastal Command as a Liberator GR.VI, with the serial KH304. It was sent to India to serve with 354 Squadron at RAF Cuttack against Japanese shipping and submarines operating in the Bay of Bengal and Java Sea. When the war ended, KH304 and a hundred other B-24s were simply abandoned in place by the RAF as it began its withdrawal from India. After India gained its independence, it took the 100 aircraft and used them to build 36 complete B-24s, giving the nascent Indian Air Force aircraft to use as bombers, maritime patrol aircraft, and strategic reconnaissance. KH304 became HE877, and joined 6 Squadron at Poona.

 

HE877 would give the IAF 20 years of yeoman service; its record included supporting Sir Edmund Hillary and Tenzing Norgay's first summit of Mount Everest. When India finally retired its B-24s in 1968, it was an incredible boon to warbird collectors: B-24s were extremely rare in 1968, and operational ones nearly unheard of. (Of the surviving 14 B-24s, half came from India.) The Pima Air and Space Museum was one of many who were interested in acquiring a B-24, and HE877 was donated to the museum by the Indian government. A team of USAF aircrew ferried it back to Arizona in 1968, a journey that took three days.

 

Since HE877 was still in good shape, the museum was able to restore it; the only large piece it lacked was a belly turret. It went on display as a B-24 of the 446th Bomb Group, based at RAF Bungay, UK; this group had the distinction of making the first airstrike of D-Day. It wears "Bungay Buckaroo" on the left side; on the right, as a tribute to India, it retains the markings of 6 Squadron IAF. This was another aircraft I had used a picture of as part of my master's program, so I was very happy to see it in person.

 

in a world of caos...

reading by the sea, surrounded by birds ...is still possible.

make coasters! I couldn't have an empty box!

Rampgill mine is a disused lead mine at Nenthead, Alston Moor, Cumbria, England UK Grid Reference: NY78184351

 

It was one of the most extensive and productive mines in Nenthead. It can be accessed via the portal of the horse level close to the Heritage Centre car park.

 

The mine was completely closed for many decades due to collapses in the horse level, but in 2006 some work was done and it became possible to access the Bounder End Cross Vein (also known as the Boundary Cross Vein).

In 2013 the Canadian mining company Minco (www.mincoplc.com) sunk boreholes to discover the extent of zinc deposits beneath Nenthead. Test drilling could go on for several years, but the company believes that the village may be sited on huge deposits. The zinc is 150 metres below the surface, which is too deep to reach by old mining techniques.

 

The workings of the original lead mine were mainly in the so-called Great Limestone, which was laid down in the Namurian and is generally 10 to 20 metres thick. The lead sulphide mineral galena PbS was mined as an ore of lead, and the sulphides pyrite FeS2 and sphalerite ZnS were also present. Many carbonates occur there, including ankerite Ca(Fe,Mg)(CO3)2, barytocalcite BaCa(CO3)2, calcite CaCO3, siderite FeCO3, smithsonite ZnCO3 and witherite BaCO3, as well as the non-carbonate minerals fluorite CaF2 and baryte BaSO4.

 

These minerals can react together to alter from one species to another, depending on the prevailing local environment, such as temperature, pressure and acidity. This is demonstrated by the prevalence of pseudomorphs and epimorphs in specimens from this mine. Epimorphs of quartz SiO2 after fluorite CaF2 are characteristic. These occur when quartz crystals grow on the surface of fluorite crystals, then the fluorite dissolves, leaving a cubic cast in the quartz. The cast could in theory be that of any isometric mineral but in 2005 a cube of fluorite was found re-growing in the corner of a cast. This crystal was in perfect alignment with the cast, indicating that both came from the same source, and the original mineral forming the cast was, indeed, fluorite.

 

Baryte, BaSO4, is an extremely stable mineral. Under surface and near surface conditions it is far less soluble in aqueous solutions than are the barium carbonate minerals witherite BaCO3, barytocalcite BaCa(CO3)2 and alstonite BaCa(CO3)2, so baryte replaces the more soluble minerals. This is demonstrated by the numerous pseudomorphs and partial pseudomorphs of baryte after these carbonates. The sharp pointed crystals of baryte that occur, particularly where witherite is also present, are secondary in nature, forming from witherite. The change from witherite to baryte, however, can also go the other way, with barium carbonates, particularly witherite, replacing baryte. Replacement of baryte by both barytocalcite and witherite has occurred on a significant scale at Rampgill mine.

 

Initially cavities formed in the rocks, and some of these were then lined with quartz and sphalerite crystals followed by fluorite. Galena also formed at this time, and later on the barium and carbonate minerals formed. Baryte was the first barium mineral to form, as a primary mineral in slabs up to 10 cm across of irregularly layered crystalline material. Secondary baryte occurred later, typically as encrustations of minute diamond-shaped crystals on earlier minerals. Both barytocalcite and witherite have been found crystallised directly on fluorite and galena, showing that fluorite and galena preceded them in the sequence of deposition. In several fluorite specimens with a coating of barytocalcite, the barytocalcite alters to baryte, which in its turn alters to witherite.

 

Minerals at Rampgill

Sphalerite with selenite and ankerite from the Rampgill Mine, specimen size 3.8 cm

Ankerite Ca(Fe,Mg)(CO3)2: Ankerite occurs as brownish rhombohedral crystals on quartz.

Aragonite CaCO3: There is a photo of aragonite on Mindat, but it does not feature in the list of minerals from Rampgill.

Baryte BaSO4: Baryte occurs both as a primary and as a secondary mineral, and as pseudomorphs and epimorphs after witherite, barytocalcite and alstonite.

Barytocalcite BaCa(CO3)2: Barytocalcite occurs as masses of buff coloured granular crystalline material, with crusts of small euhedral to anhedral crystals in cavities.

Calcite CaCO3: Calcite is present as masses and granular crusts as well as skeletal frameworks epimorphous after baryte. Crusts of minute scalenohedral crystals often associated with minute baryte crystals are common on other minerals, and the outside of much of the witherite and some barytocalcite shows signs of corrosion and an encrustation of calcite crystals.

Chalcopyrite CuFeS2: Chalcopyrite is present as small irregular crystals occurring in all of the barium minerals found here.

Fluorite CaF2: Fluorite is apparent both as pale yellow cubes, sometimes covered with minute dark siderite crystals and as epimorphs of quartz after fluorite. Fluorite from Rampgill fluoresces purple under long wave UV light.

Galena PbS: Galena occurs as dull grey cubes with sphalerite and fluorite.

Gypsum variety Selenite CaSO4·2H2: Selenite occurs as white clusters associated with sphalerite and ankerite.

Hydrozincite Zn5(CO3)2(OH)6: Hydrozincite occurs with sphalerite.

Pyrite FeS2

Quartz SiO2: Epimorphs of quartz after fluorite are common, often with regrowths of fluorite, siderite and sphalerite.

Siderite FeCO3

Smithsonite ZnCO3

Sphalerite ZnS: Sphalerite occurs as black crystals with quartz and ankerite.

Native sulfur S

Witherite BaCO3: Witherite is an abundant barium mineral at Rampgill. Mostly massive and colourless to brown. Barrel-shaped masses up to 15 cm across of radiating witherite, often with a rudimentary hexagonal cross-section, have been found in cavities in the rock.

Witherite from Rampgill fluoresces white and calcite fluoresces red under SW ultraviolet light. Both phosphoresce.

 

Nenthead in the county of Cumbria is one of England's highest villages, at around 1,437 feet (438 m). It was not built until the middle of the 18th century and was one of the earliest purpose-built industrial villages in Britain.

 

Nenthead was a major centre for lead and silver mining in the North Pennines of Britain. The first smelt mill was built at Nenthead in 1737 by George Liddle, and this was subsequently expanded by the London Lead Company. By 1882 the smelt mill was capable of smelting 8,000 bings, i.e., 64,000 long hundredweight (3,300 t), of ore per annum.

 

Nenthead village in 1861 had 2,000 people, mostly Methodist and employed by the Quaker-owned London Lead Company in the Nenthead Mines - some of the most productive in the country. The Quakers built housing, a school, a reading room, public baths and a wash-house for the miners and their families.

 

Nenthead has accessible mines remaining, horse whims and a 260 feet (79 m) engine shaft in Rampghill. The mines closed in 1961 and there is a heritage centre displaying their history.

 

The economy of the village relies on tourism. A long distance cycle route, the C2C, passes through Nenthead. The Grade 2 listed Wesleyan Methodist chapel has not been used since 2002 but benefitted from a Heritage Lottery Grant of £134,500. The post office and community shop occupies the building which was once a reading room for the miners.

 

Nenthead is around 4.4 miles (7.1 km) east of Alston, 44.3 miles (71.3 km) west of Newcastle upon Tyne, 34.4 miles (55.4 km) south east of Carlisle, 24 miles (38.6 km) east of Penrith, and 20.5 miles (33.0 km) west of Hexham.

 

County Council subsidies have maintained limited bus services to Alston and beyond. However, in 2014 cuts to these subsidies were being discussed, threatening the existence of bus services for the village.

 

Nenthead is in the parliamentary constituency of Penrith and The Border. Neil Hudson (Conservative) was elected as Member of Parliament at the 2019 General Election, replacing Rory Stewart.

 

For Local Government purposes it is in the Alston Moor Ward of Eden District Council and the Alston and East Fellside Division of Cumbria County Council. Nenthead does not have its own parish council, instead it is part of Alston Moor Parish Council.

 

Before Brexit, its residents were covered by the North West England European Parliamentary Constituency.

 

In 2013 the Canadian mining company Minco sank 1,640 feet (500 m) deep boreholes in an effort to discover the extent of zinc deposits beneath Nenthead. Although test drilling could go on for several years, the company believes that the village may be sited on huge deposits of the chemical element. The zinc is 490 feet (149 m) below the surface and was previously too deep to reach by old mining techniques.

 

With a northernly latitude of 55° N and altitude of 1,434 feet (437 m) Amsl, Nenthead has one of the coldest and snowiest climates in England, yielding a borderline subpolar oceanic climate (Cfc) and cool oceanic climate (Cfb). The average annual temperature in Nenthead is 6.5 °C; 1,095 mm of precipitation falls annually, chiefly in winter as heavy snowfall, and in autumn.

 

Cumbria is a ceremonial county in North West England. It borders the Scottish council areas of Dumfries and Galloway and Scottish Borders to the north, Northumberland and County Durham to the east, North Yorkshire to the south-east, Lancashire to the south, and the Irish Sea to the west. Its largest settlement is the city of Carlisle.

 

The county is predominantly rural, with an area of 6,769 km2 (2,614 sq mi) and a population of 500,012; this makes it the third largest ceremonial county in England by area but the eighth-smallest by population. After Carlisle (74,281), the largest settlements are Barrow-in-Furness (56,745), Kendal (29,593), and Whitehaven (23,986). For local government purposes the county comprises two unitary authority areas, Westmorland and Furness and Cumberland. Cumbria was created in 1974 from the historic counties of Cumberland and Westmorland, the Furness area of Lancashire, and a small part of Yorkshire.

 

Cumbria is well-known for its natural beauty and much of its landscape is protected; the county contains the Lake District National Park and Solway Coast AONB, and parts of the Yorkshire Dales National Park, Arnside and Silverdale AONB, and North Pennines AONB. Together these protect the county's mountains, lakes, and coastline, including Scafell Pike, at 3,209 feet (978 m) England's highest mountain, and Windermere, its largest lake by volume.

 

The county contains several Neolithic monuments, such as Mayburgh Henge. The region was on the border of Roman Britain, and Hadrian's Wall runs through the north of the county. In the Early Middle Ages parts of the region successively belonged to Rheged, Northumbria, and Strathclyde, and there was also a Viking presence. It became the border between England and Scotland, and was unsettled until the Union of the Crowns in 1603. During the Industrial Revolution mining took place on the Cumberland coalfield and Barrow-in-Furness became a shipbuilding centre, but the county was not heavily industrialised and the Lake District became valued for its sublime and picturesque qualities, notably by the Lake Poets.

possible present

NPS / Hannah Schwalbe

 

Always use designated trails when possible instead of creating social trails.

 

Alt text: A trail, Joshua tree, and rock formation at sunset.

Bridgeport police investigate apparent Santeria curse

Noelle Frampton, STAFF WRITER

Published: 11:17 p.m., Wednesday, April 21, 2010

 

BRIDGEPORT -- In the latest of several incidents of apparent occult practice in the city, police are investigating what they believe was a Santeria curse against a Derby man -- in the form of dead, headless roosters and other animal parts.

 

Stuffed with some kind of root and sewn up, the two beheaded roosters were found last week, hanging by their feet about 10 feet up from a tree near the intersection of Housatonic Avenue and Grand Street, according to police and paranormal investigators.

 

At the base of the tree was a bag containing a black knit cap and a box cutter, and nearby there were three coconut halves in a semi-circle, an apparent sheep's jawbone and a snakeskin, said Nicole Hall, a paranormal investigator with CT Soul Seekers Paranormal Investigations.

 

Animal control was notified on Wednesday, and a patrol officer was later called to the scene.

 

The matter is still under investigation and no charges have been filed, said Sgt. James Myers, who is also a paranormal investigator.

 

Preliminarily, it appears the curse was linked to a dispute between a man who works near the spot where the roosters were found and his ex-girlfriend, according to Hall, who visited the scene and talked to the man's wife.

 

The disputing pair was due to appear in court soon because the man recently discovered that the teenage son he'd been supporting all of his life wasn't his and is suing for back child support, Hall said.

 

The ex-girlfriend apparently set up the curse with offerings to a Santerian god and symbols related to money, as well as negative wishes toward the man. She called to inform him of it early last week, Hall said.

 

Reached at home Wednesday evening, the man, whose name was withheld to protect his privacy, declined comment.

 

In the past year, the city has seen an upswing in incidents involving occult activity, Myers said, noting numerous times he's gone to city homes and noticed symbolism related to Voodoo and Santeria, a Caribbean religion that combines elements of West African Yoruba and Roman Catholicism.

 

Last June, officers found a human skull, a beheaded chicken, chickens' blood and other animal parts in a Madison Avenue basement during a drug raid. The next month, there were two human skulls in a circular blanket of loose dirt and bloody papers with names on them at Mountain Grove Cemetery. And just days later, the body of a 2-year-old girl stolen from her Stamford grave showed up in a New Jersey river with chicken bones nearby.

 

Police believed all three incidents may have involved Santeria or similar religious rituals, but weren't connected.

 

A police report indicates that the ex-girlfriend, who lives in Bridgeport, may also have been involved in the Mountain Grove ritual.

 

Myers declined to comment on whether there is a criminal element to the apparent curse, saying that such cases, in general, can be tricky because people have a legal right to freely practice the religion of their choice.

 

"You have that fine line," he said. "When does it become animal cruelty? When does it become harassment? You have to really, really watch that line. People have Constitutional rights for a purpose."

 

Due to the apparent increase in occult activity in Bridgeport, Myers is advocating for city police training in occult identification so officers "know what they're actually looking at when they go out into the field."

 

Hall said the man's wife told her she'd found other evidence of possible curses around their home and "in the past few months or so, they've had nothing but bad luck."

 

She said the couple has renewed their attendance at a Catholic church and asked that their house be blessed by a priest.

 

"That's the best thing they can do," she said, adding that she believes people can protect themselves against spiritual curses through their own beliefs.

 

Marci Fernino, a sensitive with CT Soul Seekers, said the man "doesn't want to put any belief in" the curse, and went as far as to assert that "Somebody can't curse you if you don't believe in it and your faith is strong enough and you don't let that happen."

 

There is an element of mind-over-matter in such cases, Myers said, but "it really doesn't matter if the person believes or doesn't believe."

 

Some people don't believe in paranormal or occult activity, he said, but their opinions don't determine whether it is real: "There are things beyond us that we can't explain; it doesn't mean they're not there."

 

Even so, he said the curse was directed toward a specific goal and should not cause alarm to the general public.

 

Mercedes SLS AMG Coupe Electric Drive

 

With the new Mercedes-Benz SLS AMG Coupé Electric Drive, Mercedes-AMG is entering a new era: the locally emission-free super sports car featuring advanced technology from the world of Formula 1 is the most exclusive and dynamic way in which to drive an electric car. The most powerful AMG high-performance vehicle of all time has four electric motors producing a total output of 552 kW and a maximum torque of 1000 Nm. As a result, the gullwing model has become the world's fastest electrically-powered series production vehicle: the Mercedes-Benz SLS AMG Coupé Electric Drive accelerates from zero to 100 km/h in 3.9 seconds.

 

A new dimension of driving performance - a convincing synonym for the AMG brand promise are the outstanding driving dynamics which come courtesy of AMG Torque Dynamics as well as torque distribution to individual wheels, which is made possible by means of wheel-selective all-wheel drive. The most "electrifying" gullwing model ever has been developed in-house by Mercedes-AMG GmbH. The high-voltage battery for the SLS AMG Coupé Electric Drive is the result of cooperation between Mercedes-AMG and Mercedes AMG High Performance Powertrains in Brixworth (GB). This is an area in which the British Formula 1 experts were able to contribute their extensive know-how with KERS hybrid concepts.

 

"The SLS AMG Coupé Electric Drive is setting new standards for cars with electric drives. As the most powerful gullwing model ever, it is also representative of the enduring innovational strength of Mercedes-AMG. Our vision of the most dynamic electric vehicle has become a reality. With the help of our colleagues at Mercedes AMG High Performance Powertrains in Brixworth, we are bringing exciting advanced technology from the world of Formula 1 to the road", according to Ola Källenius, Chairman of the Board of Management of Mercedes-AMG GmbH.

 

Mercedes SLS AMG Coupe Electric Drive (2014)

2014 Mercedes-Benz SLS AMG Coupe Electric Drive

  

Pioneering, visionary, electrifying: the powerful and locally emission-free super sports car with electric drive also embodies the development competence of Mercedes-AMG GmbH. With this innovative and unique drive solution, AMG - as the performance brand of Mercedes-Benz - is demonstrating its technological leadership in this segment. The Mercedes-Benz SLS AMG Coupé Electric Drive is aimed at technology-minded super sports car fans who are open to new ideas and enthusiastic about ambitious high-tech solutions for the future of motoring.

 

Enormous thrust thanks to 1000 Nm of torque

 

The pioneering drive package in the SLS AMG Coupé Electric Drive is impressive and guarantees a completely innovative and electrifying driving experience: enormous thrust comes courtesy of four synchronous electric motors providing a combined maximum output of 552 kW and maximum torque of 1000 Nm. The very special gullwing model accelerates from zero to 100 km/h in 3.9 seconds, and can reach a top speed of 250 km/h (electronically limited). The agile response to accelerator pedal input and the linear power output provide pure excitement: unlike with a combustion engine, the build-up of torque is instantaneous with electric motors - maximum torque is effectively available from a standstill. The spontaneous build-up of torque and the forceful power delivery without any interruption of tractive power are combined with completely vibration-free engine running characteristics.

 

The four compact permanent-magnet synchronous electric motors, each weighing 45 kg, achieve a maximum individual speed of 13,000 rpm and in each case drive the 4 wheels selectively via a axially-arranged transmission design. This enables the unique distribution of torque to individual wheels, which would normally only be possible with wheel hub motors which have the disadvantage of generating considerable unsprung masses.

 

Powerful, voluminous, dynamic, emotional and authentic: the characteristic sound of the Mercedes-Benz SLS AMG Coupé Electric Drive embodies the sound of the 21st century. After an elaborate series of tests as well as numerous test drives, the AMG experts have created a sound which captures the exceptional dynamism of this unique super sports car with electric drive. Starting with a characteristic start-up sound, which rings out on pressing the "Power" button on the AMG DRIVE UNIT, the occupants can experience a tailor-made driving sound for each driving situation: incredibly dynamic when accelerating, subdued when cruising and as equally characteristic during recuperation. The sound is not only dependent on road speed, engine speed and load conditions, but also reflects the driving situation and the vehicle's operating state with a suitable driving noise. Perfect feedback for the driver is guaranteed thanks to a combination of the composed sound, the use of the vehicle's existing inherent noises and the elimination of background noise - this is referred to by the experts as "sound cleaning". The impressive sound comes courtesy of the standard sound system with eleven loudspeakers.

 

Advanced Formula 1 technology: high-voltage lithium-ion battery

 

Battery efficiency, performance and weight: in all three areas Mercedes-AMG is setting new standards. The high-voltage battery in the SLS AMG Coupé Electric Drive boasts an energy content of 60 kWh, an electric load potential of 600 kW and weighs 548 kg - all of which are absolute best values in the automotive sector. The liquid-cooled lithium-ion high-voltage battery features a modular design and a maximum voltage of 400 V.

 

Advanced technology and know-how from the world of Formula 1 have been called on during both the development and production stages: the battery is the first result of the cooperation between Mercedes-AMG GmbH in Affalterbach and Mercedes AMG High Performance Powertrains Ltd. Headquartered in Brixworth in England, the company has been working closely with Mercedes-AMG for a number of years. F1 engine experts have benefited from its extensive expertise with the KERS hybrid concept, which made its debut in the 2009 Formula 1 season. At the Hungarian Grand Prix in 2009, Lewis Hamilton achieved the first historic victory for a Formula 1 vehicle featuring KERS hybrid technology in the form of the Mercedes-Benz KER System. Mercedes AMG High Performance Powertrains supplies the Formula 1 teams MERCEDES AMG PETRONAS, Vodafone McLaren Mercedes and Sahara Force India with Mercedes V8 engines and the KERS.

 

The high-voltage battery consists of 12 modules each comprising 72 lithium-ion cells. This optimised arrangement of a total of 864 cells has benefits not only in terms of best use of the installation space, but also in terms of performance. One technical feature is the intelligent parallel circuit of the individual battery modules - this helps to maximise the safety, reliability and service life of the battery. As in Formula 1, the battery is charged by means of targeted recuperation during deceleration whilst the car is being driven.

 

High-performance control as well as effective cooling of all components

 

A high-performance electronic control system converts the direct current from the high-voltage battery into the three-phase alternating current which is required for the synchronous motors and regulates the energy flow for all operating conditions. Two low-temperature cooling circuits ensure that the four electric motors and the power electronics are maintained at an even operating temperature. A separate low-temperature circuit is responsible for cooling the high-voltage lithium-ion battery. In low external temperatures, the battery is quickly brought up to optimum operating temperature with the aid of an electric heating element. In extremely high external temperatures, the cooling circuit for the battery can be additionally boosted with the aid of the air conditioning. This also helps to preserve the overall service life of the battery system.

 

Quick charge function via special wall box

 

Ideally the Mercedes-Benz SLS AMG Coupé Electric Drive is charged with the aid of a so-called wall box. Installed in a home garage, this technology provides a 22 kW quick-charge function, which is the same as the charging performance available at a public charging station. A high-voltage power cable is used to connect the vehicle to the wall box, and enables charging to take place in around three hours. Without the wall box, charging takes around 20 hours. The wall box is provided as an optional extra from Mercedes-AMG in cooperation with SPX and KEBA, two suppliers of innovative electric charging infrastructures for the automotive industry.

 

Eight-stage design for maximum safety

 

To ensure maximum safety, the SLS AMG Coupé Electric Drive makes use of an eight-stage safety design. This comprises the following features:

•all high-voltage cables are colour-coded in orange to prevent confusion

•comprehensive contact protection for the entire high-voltage system

•the lithium-ion battery is liquid-cooled and accommodated in a high-strength aluminium housing within the carbon-fibre zero-intrusion cell

•conductive separation of the high-voltage and low-voltage networks within the vehicle and integration of an interlock switch

•active and passive discharging of the high-voltage system when the ignition is switched to "off"

•in the event of an accident, the high-voltage system is switched off within fractions of a second

•continuous monitoring of the high-voltage system for short circuits with potential compensation and insulation monitors

•redundant monitoring function for the all-wheel drive system with torque control for individual wheels, via several control units using a variety of software

 

By using this design, Mercedes-AMG ensures maximum safety during production of the vehicle and also during maintenance and repair work. Of course the Mercedes-Benz SLS AMG Coupé Electric Drive also meets all of the statutory and internal Mercedes crash test requirements.

 

All-wheel drive with AMG Torque Dynamics enables new levels of freedom

 

Four motors, four wheels - the intelligent and permanent all-wheel drive of the SLS AMG Coupé Electric Drive guarantees driving dynamics at the highest level, while at the same time providing the best possible active safety. Optimum traction of the four driven wheels is therefore ensured, whatever the weather conditions. According to the developers, the term "Torque Dynamics" refers to individual control of the electric motors, something which enables completely new levels of freedom to be achieved. The AMG Torque Dynamics feature is permanently active and allows for selective distribution of forces for each individual wheel. The intelligent distribution of drive torque greatly benefits driving dynamics, handling, driving safety and ride comfort. Each individual wheel can be both electrically driven and electrically braked, depending on the driving conditions, thus helping to

•optimise the vehicle's cornering properties,

•reduce the tendency to oversteer/understeer,

•increase the yaw damping of the basic vehicle,

•reduce the steering effort and steering angle required,

•increase traction,

•and minimise ESP® and ASR intervention.

 

The AMG Torque Dynamics feature boasts a great deal of variability and individuality by offering three different transmission modes:

•Comfort (C): comfortable, forgiving driving characteristics

•Sport (S): sporty, balanced driving characteristics

•Sport plus (S+): sporty, agile driving characteristics

 

AMG Torque Dynamics enables optimum use of the adhesion potential between the tyres and the road surface in all driving conditions. The technology allows maximum levels of freedom and as such optimum use of the critical limits of the vehicle's driving dynamics. Outstanding handling safety is always assured thanks to the two-stage Electronic Stability Program ESP®.

 

"AMG Lightweight Performance" design strategy

 

The trailblazing body shell structure of the Mercedes-Benz SLS AMG Coupé Electric Drive is part of the ambitious "AMG Lightweight Performance" design strategy. The battery is located within a carbon-fibre monocoque which forms an integral part of the gullwing model and acts as its "spine". The monocoque housing is firmly bolted and bonded to the aluminium spaceframe body. The fibre composite materials have their roots in the world of Formula 1, among other areas. The advantages of CFRP (carbon-fibre reinforced plastic) were exploited by the Mercedes-AMG engineers in the design of the monocoque. These include their high strength, which makes it possible to create extremely rigid structures in terms of torsion and bending, excellent crash performance and low weight. Carbon-fibre components are up to 50 percent lighter than comparable steel ones, yet retain the same level of stability. Compared with aluminium, the weight saving is still around 30 percent, while the material is considerably thinner. The weight advantages achieved through the carbon-fibre battery monocoque are reflected in the agility of the SLS AMG Coupé Electric Drive and, in conjunction with the wheel-selective four-wheel drive system, ensure true driving enjoyment. The carbon-fibre battery monocoque is, in addition, conceived as a "zero intrusion cell" in order to meet the very highest expectations in terms of crash safety. It protects the battery modules inside the vehicle from deformation or damage in the event of a crash.

 

The basis for CFRP construction is provided by fine carbon fibres, ten times thinner than a human hair. A length of this innovative fibre reaching from here to the moon would weigh a mere 25 grams. Between 1000 and 24,000 of these fibres are used to form individual strands. Machines then weave and sew them into fibre mats several layers thick, which can be moulded into three-dimensional shapes. When injected with liquid synthetic resin, this hardens to give the desired structure its final shape and stability.

 

Optimum weight distribution and low centre of gravity

 

The purely electric drive system was factored into the equation as early as the concept phase when the super sports car was being developed. It is ideally packaged for the integration of the high-performance, zero-emission technology: by way of example, the four electric motors and the two transmissions can be positioned as close to the four wheels as possible and very low down in the vehicle. The same applies to the modular high-voltage battery. Advantages of this solution include the vehicle's low centre of gravity and balanced weight distribution - ideal conditions for optimum handling, which the electrically-powered gullwing model shares with its petrol-driven sister model.

 

New front axle design with pushrod damper struts

 

The additional front-wheel drive called for a newly designed front axle: unlike the series production vehicle with AMG V8 engine, which has a double wishbone axle, the SLS AMG Coupé Electric Drive features an independent multi-link suspension with pushrod damper struts. This is because the vertically-arranged damper struts had to make way for the additional drive shafts. As is usual in a wide variety of racing vehicles, horizontal damper struts are now used, which are operated via separate push rods and transfer levers. Thanks to this sophisticated front-axle design, which has already been tried and tested in the world of motorsport, the agility and driving dynamics of the Mercedes-Benz SLS AMG Coupé Electric Drive attain the same high levels as the V8 variant. Another distinguishing feature is the speed-sensitive power steering with rack-and-pinion steering gear: the power assistance is implemented electrohydraulically rather than just hydraulically.

 

AMG ceramic composite brakes for perfect deceleration

 

The SLS AMG Coupé Electric Drive is slowed with the aid of AMG high-performance ceramic composite brakes, which boast direct brake response, a precise actuation point and outstanding fade resistance, even in extreme operating conditions. The over-sized discs - measuring 402 x 39 mm at the front and 360 x 32 mm at the rear - are made of carbon fibre-strengthened ceramic, feature an integral design all round and are connected to an aluminium bowl in a radially floating arrangement.

 

The ceramic brake discs are 40 percent lighter in weight than the conventional, grey cast iron brake discs. The reduction in unsprung masses not only improves handling dynamics and agility, but also ride comfort and tyre grip. The lower rotating masses at the front axle also ensure a more direct steering response - which is particularly noticeable when taking motorway bends at high speed.

 

Exclusive, high-quality design and appointments

 

Visually, the multi-award-winning design of the SLS AMG is combined with a number of specific features which are exclusive to the Electric Drive variant. The front apron has a striking carbon-look CFRP front splitter which generates downforce on the front axle. The radiator grille and adjacent air intakes adorn special areas painted in the vehicle colour and with bionic honeycomb-shaped openings. They are not only a visual highlight but, thanks to their aerodynamically optimised design, also improve air flow over the cooling modules mounted behind them. Darkened headlamps also impart a sense of independence to the front section. Viewed from the side, the "Electric Drive" lettering stands out on the vehicle side, as do the AMG 5-twin-spoke light-alloy wheels with their specific paint design. The SLS AMG Electric Drive comes as standard with 265/35 R 19 tyres on the front and 295/30 R 20 tyres on the rear. The overall look is rounded off to dynamic effect by the new diffuser-look rear apron, and the darkened rear lamps. One feature reserved exclusively for the SLS AMG Coupé Electric Drive is the "AMG electricbeam magno" matt paint finish. A choice of five other colours is available at no extra cost.

 

When the exterior colour AMG electricbeam magno is chosen, the high-quality, sporty interior makes use of this body colour for the contrasting stitching - the stitching co-ordinates perfectly with designo black Exclusive leather appointments. AMG sports seats and numerous carbon-fibre trim elements in the interior underscore the exclusive and dynamic character of what is currently the fastest electric car. Behind the new AMG Performance steering wheel there is a newly designed AMG instrument cluster: instead of a rev counter, there is a power display providing information on the power requirements, recuperation status, transmission modes and battery charge.

 

AMG Performance Media as standard

 

The AMG DRIVE UNIT comprises the electronic rotary switch for selecting the three transmission modes of "C" (Controlled Efficiency), "S" (Sport) and "S+" (Sport plus), which the driver can use to specify different performance levels from the electric motors, which in turn also changes the top speed and accelerator pedal response. Behind the buttons for "power" and "ESP On/Off", there are also buttons for AMG Torque Dynamics and AMG Setup.

 

In addition to carbon-fibre exterior mirrors, AMG carbon-fibre engine compartment cover, COMAND APS, Media Interface, Blind Spot Assist and reversing camera, the standard equipment also includes the AMG Performance Media system. Besides full high-speed mobile internet access, the system provides information on engine performance, lateral and longitudinal acceleration, tyre pressure, vehicle setup and lap times, as well displaying a variety of additional information such as:

•vehicle energy flow

•battery charge status

•burrent range

•AMG Torque Dynamics

•temperatures of the battery and motors

•energy consumption kWh/100 km

 

The Mercedes-Benz SLS AMG Coupé Electric Drive will be celebrating its market launch in 2013. The price in Germany (incl. 19% VAT) will be 416,500 EUR.