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The Daily Shoot : A person's hands can tell a story. Take a picture of someone's hands today. (@houkazan) ds294
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HDR using a Canon 7D and Tokina 11-16mm F2.8 lens. AEB +/-3 total of 7 exposures at F8. Processed with Photomatix.
High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.
HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.
The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.
Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).
In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).
Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.
In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.
An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.
Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.
Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.
Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range
Tone mapping
Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.
Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include
Adobe Photoshop
Aurora HDR
Dynamic Photo HDR
HDR Efex Pro
HDR PhotoStudio
Luminance HDR
MagicRaw
Oloneo PhotoEngine
Photomatix Pro
PTGui
Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.
HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.
History of HDR photography
The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.
Mid 20th century
Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.
Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.
With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.
Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.
Late 20th century
Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.
In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.
In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.
Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.
In 1993, another commercial medical camera producing an HDR video image, by the Technion.
Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.
On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.
The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.
21st century
In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.
On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.
HDR sensors
Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.
Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.
Well, a nice open salad sandwich for lunch today. I don't normally play around with selective colouring but did so today!
7 Days of Shooting Week #47 - In Between - Technique Tuesday
Thanks, in advance, to everyone who views this photo, adds a note, leaves a comment and of course BIG thanks to anyone who chooses to favourite my photo .... thanks to you all.
Selective laser melting is an AM process that uses a laser to selectively melt and fuse sections of a layer of powder onto a substrate. After each layer is fused, the substrate is retracted vertically, another even layer of powder is spread across the top, and the process repeats.
The path of the laser is determined by a CAD model that is sliced into layers less than 100µm thick using specialist software. Selective laser melting takes place in a vacuum chamber filled with inert gas, to prevent oxidisation of the powder. Unused powder can be recycled and used for the next build.
For more information please visit www.twiadditivemanufacturing.com/capabilities/metal-proce...
If you wish to use this image each use should be accompanied by the credit line and notice, "Courtesy of TWI Ltd".
Shot at night, did selective color red. First photo with my new D7100. Settings: 50mm F2.2 Shutter: 1/60 Iso: 200. No tripod used.
My sister took the liberty of editing this one. She's really good if you ever need any help.
It rained.
Have a good day.
Maybe not exactly what you had in mind Marc, but this is where my "creative" eye took me. I'm a sucker for selective color shots, ever since Marc taught me how to do it (lol, thanks!) and the idea came from him. I played with diffuse glow, saturation, and several blur effects on semi-transparent layers to create the effect. Yes, it's the same photo as the full color, as well as the b/w version, but it's popular! ;)
Thoughts?
Hope you like it Marc! LOL. I know it's not EXACTLY what you suggested, but it's along the (very thin) line lol. :)
Against Germany, with exception of participation in the 1945 incendiary attack on Dresden, the U.S. restricted it's self to daylight "precision" bombing raids using high explosives the objective of this was to avoid unnecessary civilian deaths. However, against the Japanese people the United states officials openly announced they were in favor of the "extermination of the Japanese people in toto"- their preferred method was night time saturation bombing by mass aircraft dropped incendiaries to create "firestorms" in which large numbers of non-combatants were deliberately cremated. During the "Great Tokyo Fire Raid" of March 9-10, 1945, to give one example, over 267,000 buildings were obliterated, 1million made homeless, and 100,000 burned alive.
More Japanese civilians were killed in just 6 months time than those killed in all the branches of the Japanese military during the entirety of World War II.
Source:
H. Bruce Franklin, "Star Wars: the Super weapon and the American Imagination" (New York: Oxford University Press, 1988) pp. 107-11, The Public Statement by US War Manpower Commissioner Paul V. McNutt as quoted by John W. Dower, "War Without Mercy: Race and Power in the Pacific" (new York: Pantheon, 1986)
www.dannen.com/decision/int-law.html
Appeal of President Franklin D. Roosevelt on Aerial Bombardment of Civilian Populations, September 1, 1939
The President of the United States to the Governments of France, Germany, Italy, Poland and His Britannic Majesty, September 1, 1939
The ruthless bombing from the air of civilians in unfortified centers of population during the course of the hostilities which have raged in various quarters of the earth during the past few years, which has resulted in the maiming and in the death of thousands of defenseless men, women, and children, has sickened the hearts of every civilized man and woman, and has profoundly shocked the conscience of humanity.
If resort is had to this form of inhuman barbarism during the period of the tragic conflagration with which the world is now confronted, hundreds of thousands of innocent human beings who have no responsibility for, and who are not even remotely participating in, the hostilities which have now broken out, will lose their lives. I am therefore addressing this urgent appeal to every government which may be engaged in hostilities publicly to affirm its determination that its armed forces shall in no event, and under no circumstances, undertake the bombardment from the air of civilian populations or of unfortified cities, upon the understanding that these same rules of warfare will be scrupulously observed by all of their opponents. I request an immediate reply.
FRANKLIN D. ROOSEVELT
Draft Rules of Aerial Warfare, The Hague, February 1923
RULES OF AERIAL WARFARE
The Hague, February 1923
[Although drafted as the basis for an international treaty, the enactment of which was supported by the United States, these rules were never formally adopted]
[excerpts]
ARTICLE XXII
Aerial bombardment for the purpose of terrorizing the civilian population, of destroying or damaging private property not of military character, or of injuring non-combatants is prohibited.
ARTICLE XXIII
Aerial bombardment for the purpose of enforcing compliance with requisitions in kind or payment of contributions in money is prohibited.
ARTICLE XXIV
(1) Aerial bombardment is legitimate only when directed at a military objective, that is to say, an object of which the destruction or injury would constitute a distinct military advantage to the belligerent.
(2) Such bombardment is legitimate only when directed exclusively at the following objectives: military forces; military works; military establishments or depots; factories constituting important and well-known centres engaged in the manufacture of arms, ammunition or distinctively military supplies; lines of communication or transportation used for military purposes.
(3) The bombardment of cities, towns, villages, dwellings or buildings not in the immediate neighborhood of the operations of land forces is prohibited. In cases where the objectives specified in paragraph 2 are so situated, that they cannot be bombarded without the indiscriminate bombardment of the civilian population, the aircraft must abstain from bombardment.
(4) In the immediate neighborhood of the operations of land forces, the bombardment of cities, towns, villages, dwellings or buildings is legitimate provided that there exists a reasonable presumption that the military concentration is sufficiently important to justify such bombardment, having regard to the danger thus posed to the civilian population.
(5) A belligerent state is liable to pay compensation for injuries to person or to property caused by violation by any of its officers or forces of the provisions of this article.
ARTICLE XXV
In bombardment by aircraft, all necessary steps must be taken by the commander to spare as far as possible buildings dedicated to public worship, art, science, or charitable purposes, historic monuments, hospital ships, hospitals and other places where the sick and wounded are collected, provided such buildings, objects, or places are not at the time used for military purposes. Such buildings, objects, and places must by day be indicated by marks visible to aircraft. The use of marks to indicate other buildings, objects, or places than those specified above is to be deemed an act of perfidy. The marks used as aforesaid shall be in the case of buildings protected under the Geneva Convention the red cross on a white background, and in the case of other protected buildings a large rectangular panel divided diagonally into two pointed triangular portions, one black and the other white.
A belligerent who desires to secure by night the protection for the hospitals and other privileged buildings above mentioned must take the necessary measures to render the special signs referred to sufficiently visible.
Protection of Civilian Populations Against Bombing From the Air in Case of War, League of Nations, September 30, 1938
PROTECTION OF CIVILIAN POPULATIONS AGAINST BOMBING FROM THE AIR IN CASE OF WAR
Unanimous resolution of the League of Nations Assembly,
September 30, 1938.
The Assembly,
Considering that on numerous occasions public opinion has expressed through the most authoritative channels its horror of the bombing of civilian populations;
Considering that this practice, for which there is no military necessity and which, as experience shows, only causes needless suffering, is condemned under the recognised principles of international law;
Considering further that, though this principle ought to be respected by all States and does not require further reaffirmation, it urgently needs to be made the subject of regulations specially adapted to air warfare and taking account of the lessons of experience;
Considering that the solution of this problem, which is of concern to all States, whether Members of the League of Nations or not, calls for technical investigation and thorough consideration;
Considering that the Bureau of the Conference for the Reduction and Limitation of Armaments is to meet in the near future and that it is for the Bureau to consider practical means of undertaking the necessary work under conditions most likely to lead to as general an agreement as possible:
I. Recognizes the following principles as a necessary basis for any subsequent regulations:
1) The intentional bombing of civilian populations is illegal;
2) Objectives aimed at from the air must be legitimate military objectives and must be identifiable;
3) Any attack on legitimate military objectives must be carried out in such a way that civilian populations in the neighbourhood are not bombed through negligence;
II. Also takes the opportunity to reaffirm that the use of chemical or bacterial methods in the conduct of war is contrary to international law, as recalled more particularly in the resolution of the General Commission of the Conference for the Reduction and Limitation of Armaments of July 23rd 1932, and the resolution of the Council of May 14th, 1938.
Here is an HDR I created with Photomatix Pro 3.1.1. Near default settings were used but smoothing was turned to -2 and saturation for shadows was taken down to -30. I finished up the shot in Adobe Lightroom 2.2 to convert to grayscale by reducing the saturation of all colors except orange, red, and aqua, which were boosted in saturation.
I've driven past these old-style pumps a thousand times, and always thought they'd make a good subject for a few photos. I had fun playing around with the processing!
Sony A7R II
Minolta 50mm F2.8 Macro lens
This set is a photo project I did for school along with my artist statement.
About Photography Peeves
This photo series is a combination of things that many photographers do in their work that irks me. With this series, I am being blatant. I am going beyond deep meaning or rather not going deep at all, but staying at the realistic view of things.
I felt that writing the words on paper would portray the most realism, since I want to make a few points here. With the train track photographs, you see the train tracks in the image, but with the word “cliche” added, it really puts it into perspective that I am mocking the use of the train tracks. Having the word in my hands as a physical element says so much more to me than just a word that is photoshopped onto an image.
When you see these images, I want you to agree with me and say, “Selective color really is cheesy!”, or realize that comfortable lounge chairs from your living room in the middle of a random field are not unique (because it is overused and doesn’t makes sense), but actually are really convenient! “Why yes! I would love to sit in this conveniently placed lounge chair in this random field that has possibly fallen from the sky!” If I am being brutally honest, to me, those types of images are plain stupid.
When I see watermarks on images, I see “Hey look, I am a ‘professional’ photographer. I’m a business. Buy my photography.” The mark takes away from the original intent of the art and becomes a marketing technique that has been abused and misused so many times that the process is now seen as almost unprofessional. In my photograph mocking the watermarks, I wanted to make sure the word was big and distracting of what is behind it. I am most irritated by “photographers” who have the equipment but know nothing about how to use it. I presented this idea in the photograph reading “SLR?” I have a friend who owns a dSLR, she knows not what it means, she knows only of the auto setting, and people call her a photographer because she takes pictures with her “fancy” camera. I am sincerely devoted to my work and both being compared as a photographers is insulting. Coming off as superior is the last thing I want to portray with these statements. It is the ignorance of people not knowing what amazing technology they are holding and what they are capable of by using it correctly, yet still calling themselves something that I am not even sure I am comfortable yet calling myself, a photographer.
I want to make a point that may or may not be correct, but it is where I stand. These things that many photographers do actually hurt the viewer’s response rather than help it.