View allAll Photos Tagged pseudo
Dessa vez não fui nada original e copiei a ideia daqui: www.flickr.com/photos/ru_nailart/4627712056/
Eu estava com o verde Green-wich Village da OPI, mas achei ele muito sem graça, então resolvi passar a Cobertura Intensificadora de Cor com Reflexos Dourados da Colorama, e deu um efeito bem legal (muito apropriado pra esse clima de copa). Mesmo assim, continuava sem graça.
Aí eu cortei a fita crepe em serrinha e passei o Sorbet Gloss (94), da Nivea Beauté Calcium Power Gloss (importado) e fiz pontinhos dourados com o Dourado Metálico, da Colorama, com a ponta do palito.
Achei que os morangos ficaram meio de contos de fadas, não sei, no começo eu não tinha gostado das cores (que por acaso, o vinho deveria ser rosa, de acordo com o vidrinho do esmalte), mas achei que ficou divertido
Has anyone seen these? They are just like Pinkys, but their bodies are a bit smaller. You can change their shoes, I guess. The heads look similar sized...
This was an extra photo from a recent couple's shoot that I did. I got bored and started messing around with it and liked the outcome.
An amazing cloud formation on a smoggy evening. The Wasatch front valleys are Suffering from a persistant inversion. The cold air in the valley is trapped beneath a very warm layer on top, which traps all the pollution in the valley floor.
HDR, Proccessed an Auto-Bracket of 7 images with Photomatix, took several different results (2 different Digital Enhancements and 2 Tone Compression) and digitally blended them in Photoshop CS2, applied the usual Layer masks for some additional blue and red in the sky. Finally, added some smart sharp the the foregroud snow, and masked out the trees and sky to keep the smoggy haze.
Machine Tour 2024
Burvale Hotel, Nunawading
Australia
supports:
Hayley Crymble
Shot for: Live at Your Local
This is one of my favorite subjects to check sharpness of a lens. This was handheld with my new Sigma 70-200mm f/2.8 at 130mm, f/4, ISO 320 and 1/2000 shutter speed. View Large On Black or Original Size.
This is my first Slider Sunday! So a big HSS to you all :)
(Bonus shot for 365 Days in Colour)
-Please, view on black.-
One of the main reasons for our sojourn to Scotland was to visit the Bo'ness & Kinneil Railway, my first time there, we found it to be a well organised and friendly railway, well worth a visit if you have the opportunity. During our time at the B & K R we managed a round trip to Manual, the end of the line and where it connects with the national network; we rode in a TSO (Tourist Second Open) - very nostalgic. Haulage was provided by an ex-NCB Bagnall built in 1945 and acquired from Comrie Colliery (Fife), now painted in early BR livery and given the number of a J94, 68007. Above is an image of 68007 about to depart from Bo'ness at 12.10 for the short journey to Manual on 20 June 2017.
I was looking through some 120 negatives that I shot a few months back. I lost this negative and I'm not sure where it could be. It lives on in this scanned version of the contact print I made. Viva la technologie, or something.
Holga, 1.5 inches by 2 inches print
One of the most unique additions to MBTA's roster is a 25-locomotive fleet of ex-CN GP40-2LWs rebuilt into General Purpose Passenger locomotives. In addition to dynamic brakes and a flared radiator, the GP40-2LWs rebuilt by AMF Technotransport in the 1990s took out the four-piece window and replaced it with a two-piece window, an oddity for a Canadian cab.
MBTA #1128 is one of these 25 rebuilds, classified by the T as GP40MC, and is seen here sitting under the bus terminal at South Station. Originally built as CN #9561 during Canadian National's 268-unit order in the early 1970s, #1128 along with the rest of the GP40MCs are technically some of the oldest locomotives in revenue service on the T, predating even the first-generation F40PHs that were retired in 2014.
As a special perk of my summer job I'm able to photograph all sorts of activities while on the job such as mountain biking while shuttling riders in The Highlands of Squamish, BC. I don't always have access to the most impressive sections of trail but I'm happy to successfully capture every rider that goes by while making the best of the locations I'm given.
(This is the first time I've ever tried mountain bike photography, I'm not even a biker)
Titre d'Identité / 004
Louis Blanc que vous pouvez retrouver via son site loublancphotos.com/
"Titre d'Identité" *
Aucunes des mentions citées ci-dessous pourraient être respectées. Véritable titre d'identité de votre vie en société, les photos fournies ne seront en rien rejetées et bien au contraire, votre liberté pouvant être encouragée.
Qualité : La photo doit être nette, sans pliure, ni trace.
Format : La photo doit mesurer 35 millimètres de large sur 45 millimètres de haut.
La taille du visage doit être de 32 à 36 millimètres (soit 70 à 80% du cliché), du bas du menton au sommet du crâne (hors chevelure).
Luminosité, contraste et couleurs : La photo ne doit présenter ni sur-exposition, ni sous-exposition. Elle doit être correctement contrastée, sans ombre portée sur le visage ou en arrière-plan.
Une photo en couleurs est fortement recommandée.
Fond : Le fond doit être uni, de couleur claire (bleu clair, gris clair). Le fond blanc est interdit.
Tête : La tête doit être nue sans chapeau, foulard, serre-tête ou autre objet décoratif.
La tête doit être droite et le visage dirigé face à l'objectif
Regard et expression : Le sujet doit fixer l'objectif. Il doit adopter une expression neutre et avoir la bouche fermée.
Visage et yeux : Le visage doit être dégagé. Les yeux doivent être parfaitement visibles et ouverts.
Lunettes et montures : Si vous avez des lunettes, vous n'êtes pas obligé de les porter sur les photos.
Par contre, si vous les portez, les lunettes doivent respecter les conditions suivantes : la monture ne doit pas être épaisse et ne pas masquer les yeux, et les verres doivent être ni teintés, ni colorés et sans reflet.
Le demandeur du titre n'aura pas à fournir les photos pour continuer à vaquer. Un pseudo professionnel se présentera à vous, utilisant un matériel sans cabine, non agréé par aucun ministère...
Photos admises pour aucune demande autre que celle de vivre pleinement sa vie en conscience, totalement libre et consentant d'être filmé en lieux privés ou publics.
Nouvelle série... ICI...
Facebook | stefanog.com | 500px | YouTube
Experiment with converted IR camera using a polarizing filter and HDR software. AEB +/-2 total 3 exposures processed with Photomatix.
High Dynamic Range (HDR)
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
en.wikipedia.org/wiki/High-dynamic-range_imaging
Infrared Photography
In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)
When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.
The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.
Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.
Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.
Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.
False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.
Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.
Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.
Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.
As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.
Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.
Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.
In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.
There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.
Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.
In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.
Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.
An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.
Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.
While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.
Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.
Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.
Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".
Phase One digital camera backs can be ordered in an infrared modified form.
Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.
Sauteed some onions and garlic, threw in some spices (allspice, Spanish paprika, cinnamon, black pepper), laid a couple large chicken breasts on top. Braised until the chicken reached an internal temp. of 175 deg. F. 160 or 165 would have been fine.
Shown here are a geological feature know as pseudo craters that are caused when lava flows oner a lake or marsh. Creates a surreal landscape.
Une « estampe bretonne » .
Un fier vaisseau de pierre sous son aile protège une volée de poussins .
Fières murailles,
Embarcations légères,
Partage des flots .
Concarneau, Finistère, Bretagne, France .
Photographie J-P Leroy .
Aryn is being most helpful today and is reorganizing our bookshelves to make better use of the space.
I think this actually is pseudo-diversity. All the colors are from Sherman-Williams. So while it may be diversity of color it not so for the source.
di·ver·si·ty
[dih-vur-si-tee, dahy-]
–noun, plural -ties.
1.the state or fact of being diverse; difference; unlikeness.
2.variety; multiformity.
3.a point of difference.
diversity. (n.d.). Dictionary.com Unabridged. Retrieved February 28, 2011, from Dictionary.com website: dictionary.reference.com/browse/diversity
#origami cube with cube cutouts on 4 faces.
From one rectangle of stardream paper (21 x 8)
I had this idea for tessellated cube and was able to figure out how to make the folded shape lock in a pretty cool way.
If someone wants crease pattern - please let me know and i'll draw it
SPOTTED or LAUGHING HYENA
The Spotted Hyena, or Laughing Hyena, (Crocuta crocuta) is a carnivorous mammal of the family hyaenidae.
It is the largest of the hyenas, and is native to sub-Saharan Africa, save for the Congo basin. It occurs in many different habitats, from extremely hot and arid lowland areas in its northern and southern ranges, to cold, mountainous terrains in East Africa and Ethiopia. The species can also survive near human habitations.
The species is best known for one of its vocalisations, which resembles the sound of hysterical human laughter. Though often labeled incorrectly as a scavenger, the spotted hyena is actually a powerful hunter, the majority of its nourishment being derived from live prey.
Adult spotted hyenas are typically 1.3 m (4.3 ft) in length, with a shoulder height of 0.75 m (2.5 ft). Average weight ranges from 45 kg (99 lb) for males and 55 kg (121 lb) for females in East Africa, to more than 70 kg (154 lb) in southern Africa. A maximum size of 90 kg (200 lb) has been reported.[6]
The fur's background colour is a cream to light brown, with irregular dark spots that fade with age. The muzzle is black. They have long, heavily muscled necks, lined with a coarse mane of reversed fur.
The forequarters are more heavily built than the hindquarters, giving the hyena a distinctively sloping bear-like gait. Hyenas are built for endurance, possessing a very large heart which allows them to trot at 10 km/h (6 mph) without tiring. During chases, hyenas have been clocked at running speeds of up to 50 km/h (30 mph) for over 3 km. They are good swimmers, capable of controlling their buoyancy and walking at the bottom of pools whilst holding their breath.
Hyenas have extremely strong jaws in relation to their body size. In 2005, Dr. Brady Barr of the National Geographic measured the bite forces of many different animals, including spotted hyenas for the documentary Dangerous Encounters: Bite Force. A one year old cub had a bite measured at 603 pounds-force (2.68 kN), leading to the postulation that a full grown adult could bite at over 1,000 pounds-force (4.4 kN). This mandibular power, combined with its large pyramid shaped molars allows it to easily crush bone, even those of elephants. An experiment conducted in 1955 showed that the spotted hyena easily outclassed the much larger brown bear in bone crushing ability. It is often asserted in television and print that hyenas have the most powerful bite for their overall body mass when compared to other animals, although there is no scientific basis for this claim.
In the wild, the spotted hyena has an average lifespan of 12 years. It can be extended to 25 in captivity.
REPRODUCTION
A pseudo-penis on a female spotted hyena. The female spotted hyena is the only mammal with this.The female Spotted Hyena's urogenital system is unique among mammals; the female's clitoris is elongated to form a fully erectile phallus, and the vaginal opening is at the tip of this phallus. Only the shape of the glans at the tip of the phallus makes it possible to differentiate the sexes. The female urinates, mates and gives birth through this pseudo-penis. Since it is impossible to penetrate without the female's cooperation, female hyenas have full control over whom they choose to mate with. The male hyena's penis lacks a baculum, a bone found in the genitals of most mammals.
Birth is very difficult: the internal birth canal extends almost to the subcaudal location of the vulva (which in Crocuta is fused to form a scrotum containing fatty pseudo-testes) before turning abruptly towards the clitoris, and the clitoris itself is narrow (although it ruptures with the first parturition, making subsequent births easier). In captivity, many cubs of first time mothers are stillborn because of the long labour times involved, and in the wild, it is estimated that 10% of first time mothers die during labour. Spotted hyenas usually have 2 cubs at a time and they are raised for about 10 months.
Researchers originally thought that one of the things that causes this characteristic of the genitals is androgens that are expressed to the fetus very early on in its development. However, it was discovered that when the androgens are held back from the fetus, the development of the female genitalia was not altered. Other hyena species lack this adaptation, making it a fairly recent one in the hyena line. Masculinised female genitalia also appears in some lemurs, spider monkeys, and the Binturong but the fused vulva is unique to the hyena.
Hyenas are born with their eyes open and teeth already fully developed after a 4 month gestation period. At birth, the cubs weigh 1 to 1.6 kg (2.2–3.6 lb), and are among the few mammals to commit neonatal siblicide. A same sexed litter will result in vicious fighting between the cubs, often resulting in death. This siblicide is estimated to contribute to 25% of hyena cub mortality. Since a single cub will receive more food and mature faster, this behavior is probably adaptive. Spotted hyena milk is very rich, having the highest protein content (14.9%) of any terrestrial carnivore, and the fat content (14.1%) is second only to the polar bear, so unlike lions and wild dogs, they can leave their cubs for about a week without feeding them. Two to six weeks after whelping, young are transported to the communal den. Young depend entirely on milk for about 8 months and are not weaned until 12 to 16 months old. Maturation is at three years, females later than males. Female offspring remain in their natal clan while males leave at around two years.
Excerpt from Wikipedia, the free encyclopedia
--------------------------------------------------------------
MALA MALA
Mala Mala is the oldest and largest private game reserve in South Africa. One of the first areas of private land to switch from hunting to conservation, it is spread over 33,000 acres (13,500 hectares) of the Mpumalanga Lowveld. The property shares a 12 mile unfenced border with Kruger National Park and contains the longest stretch of the Sand River of any of the Sabi Sand resorts. Its varied habitats - riverine forest, acacia bushveld, and savannah - support a broad selection of wildlife, and provide excellent opportunities for spotting the Big 5 (Buffalo, Elephant, Leopard, Lion & Rhinoceros).
Upon checking in, your game ranger will greet you and accompany you throughout your stay. The rangers, selected for their knowledge of African plant, animal, and bird-life, oversee your personal service. They will be your guide for your twice daily, four-hour game drives, sit with you at meals and impart their knowledge of African wildlife with stories about the individual behavior of animals within the MalaMala reserve.
Game drives are conducted in an open safari vehicle, accompanied by a professional Shangaan tracker. Despite the refined attention to detail, you are immediately aware that you are in Africa and that the unexpected may happen. Breakdowns and stuck vehicles are a hazard of driving through donga and bush, but the staff handles this with aplomb. Radio contact, a large reserve, and excellent guides enhance the probability of seeing the big five. The camp also offers guided bush walks.
A Volvo Olympian/Alexander RH that was new to Dublin Bus in dual door layout, but was carrying a pseudo London Transport livery when I caught-up with it in Melton Mowbray on a freezing January day.
19 - 003
06/1996 - new to Dublin Bus (RA281) as 96-D-281 .
??/???? - passed to Chalkwell; Sittingbourne and re-registered N624 JNO.
??/???? - passed to Jackson; Quenniborough (LE)
This is a still from an interactive map created using Geoserver and OpenLayers. The cartography was applied using Styled Layer Descriptors (SLDs) which is an XML schema specified by the Open Geospatial Consortium (OGC) for describing the appearance of map layers.
The product used is OS VectorMap Local and this map was created to demonstrate the flexibility of using the vector dataset. The building heights are not accurate but have been extruded to add an element of depth and reality.
I have spent the whole day chopping you lot down. And I have not finished. PLEASE DO NOT COME BACK. You are not welcome. Your thorns are too sharp.