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Well, here's a new technique I worked on today. I won't say it's the world's best photograph, as I don't like the background much and had to do quite a bit more processing than I have been doing on any photography for more than a year now, but I can see how it will be a cool technique once I've nailed it.
And gotten a baby pool. . . And a LOT more towels. . .
And a wet suit?!? Everything was soaked. . .
Strobist: 1 flash on +1 EV on tabletop tripod pointing to camera right at the apple level, 1 flash on +1 EV on the table below the apple, to camera left, pointing slightly up. White background, cup of water, apple suspended from tripod with a paper clip and floss, carefully cropped out. . .
Photography merged with realistic digital illustration. Photograph taken by me.
My mother used to tell me when I was a child during meals: nothing is thrown away.
As a semi-professional photographer I have a fairly large bank of images of my own, and since I have been exploring in depth the field of graphic illustration of nature, in which at the moment I represent isolated subjects, I have been curious about how complicated it would be to merge both techniques to create a final image that shows what I'm looking for.
This is one of those tests, based on a photograph taken of an aspen in autumn, in which I could fit almost perfectly an illustration I had made of a cape sugarbird.
To begin with, I wanted to break the strong contrast between the appearance of a photograph and an illustration, no matter how realistic it may be, so I applied one of my recipes to give a painterly touch to some of my photographs. Once this is done, I trace the drawing on the stage, taking care of the scales of course. After this I begin the digital painting, taking care that the tonal values fit and of course, that the light is coherent.
I know that in this case, which was a study, the specific species may not fit in this scene. Sorry to the biologists ;)
The process could be seen a little in the next image.
I hope you like!
As the sun set, I took 229 photos of this spot for a photo challenge I've joined, and in the end I didn't use any of them. I love these Tibetan prayer flags I strung up at the river edge, and the shadow they left on the snow. But somehow none of the photos were quite right for what I wanted. I learned a lot though - and will go back out at sunset on a sunny day and see if I can get what I want. With thanks to Charles Mercer, and Photocoach in Hout Bay South Africa for the challenge !!
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
I figured out how to non-destructively open up a DUPLO figure. The key is to remove the bar like element. This bar is 2.75L and 3.0mm at the ends but 3.2mm in the middle. You can clip stuff to the middle and poke the ends into Modulex. See the whole writeup at www.dagsbricks.com/2014/07/lego-techniques-duplo-figure-b...
The Hor. & Vert. technique has an advantage in that it can allow for gradual increases in height by adding filler plates. You can see this effect in tracing the fuselage line from the nose to the end of the canopy. A few step increases along the length of the fuselage provide a curve that matches the original aircraft. It's a great technique and one that I usually incorporate into my models. Thanks to Ralph for sharing this with us all!
[HD Wallpaper — Prints best within 67 x 38 cm / 26 x 15 inches]
Artist / Illustrator, William Haskell Coffin (1878-1941)
William Coffin was born in Charleston, South Carolina in 1878. Although little is known about his early life, his education started at the Corcoran School of Art in Washington, D.C.
Coffin later spent a period of time under the guidance of Laurens where he would learn the art of oil painting and the nuance of colour and light. Coffin returned to the New York area, where he spent the formative years of his career. His covers for The Saturday Evening Post began in 1913 with the subject matter consisting of women in fairly stark scenes. He did thirty covers in all for the Post. As his work progressed, Coffin began to introduce props to embellish his fairly simple portrait technique. Coffin’s special touch was to depict women caught in a minimal action — as the woman holding her hat against a sudden wind on the March 13, 1915 cover. William Haskell Coffin, plagued by financial failure, committed suicide in St. Petersburg, Florida in 1941.
What sets this artwork of Joan of Arc apart from other Joan of Arc paintings and illustrations is that the artist, William Haskell Coffin, has depicted Joan in the fashion which women were popularly illustrated during the World War I period — the hair, the lips, the red cheeks, etc. He's taken the iconic woman of that time and made her Joan of Arc... That's what makes this art "World War I," and that's what makes it forever unique in time.
Quite possibly, the most seminal poster from the most seminal conflict in human history...
Unique forever.
Codi von Richthofen,
The Red Baron Gallery ©
these two men (rabbis i think) where leading the jewish party you see in my video!
Iphone and Ipad, as it should be ;-)
The technique stayed relatively unchanged for centuries. Sea water is being dried in "salt pools" with brick floors, scraped using a harrow in the afternoon, and collected into baskets. These baskets are left there overnight to allow excess seawater to drip and are then hauled the next morning. Each basket sells for about 40-50 pesos depending on quality. The price more than triples by the time the salt reaches the supermarkets.
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Copyright : Philippe Clabots (#PhilippeCPhoto)
Facebook Page : www.facebook.com/PhilippeCPhotographie
Web Site : photos.philippec.be/
This work by #PhilipppeCPhoto (Philippe Clabots) is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.
Permissions beyond the scope of this license may be available at photos.philippec.be/.
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The Witches Tower build techniques. When I make these large builds I usually try to come up with a technique I haven’t seen before or try something I haven’t done before. It helps make these projects more interesting to build and makes bulk ordering parts a lot simpler.
This build I wanted to try messing around with flex tube to get the correct spacing I wanted for the bricks. I did try mixel ball joints and hinges but I quickly realised the price would get expensive quick. Flex tube just ended up being the simpler option and gave me a lot of options to attach things to.
The technique I use for the framing in the rock has been used in all my show displays. It is the best solution I have come up with to help make elevated terrain. It is very strong and light for transport. Its also quick to build and easy to change if need be.
I had to do something fun with all the portholes I made. I am sure this will turn into something wonderful.
Shoulder Length bob razor haircut with layers – Dry haircutting techniques on mid length hair
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New Tokina AT-X 116 Pro DX lens on my Infrared converted Canon Rebel XTi. HDR IR AEB +/-2.5 total of 6 exposures at F11, 13.5mm, manual focus and processed with Photomatix HDR software. Levels adjusted in PSE. I love the detail from this lens.
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.
For We're Here! who are visiting Books Reviewed.
For my 21st birthday Perry bought me this book.
Perry was someone I met when I first went to college and is someone I love. She was creative, artistic, fun, caring and a unique personality. Val and I shared a flat for a time with Perry and Simon in London. Perry died in a road accident. She was a teacher with young children.
I still think about Perry a lot. She had a big impact on me.
The book is a "sex manual" with drawings and photos that are not really explicit. The title "Sexual Techniques" says it all..
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Using NASA's Hubble Space Telescope and a new observing technique, astronomers have found that dark matter forms much smaller clumps than previously known. This result confirms one of the fundamental predictions of the widely accepted "cold dark matter" theory.
All galaxies, according to this theory, form and are embedded within clouds of dark matter. Dark matter itself consists of slow-moving, or “cold,” particles that come together to form structures ranging from hundreds of thousands of times the mass of the Milky Way galaxy to clumps no more massive than the heft of a commercial airplane. (In this context, "cold" refers to the particles' speed.)
The Hubble observation yields new insights into the nature of dark matter and how it behaves. "We made a very compelling observational test for the cold dark matter model and it passes with flying colors," said Tommaso Treu of the University of California, Los Angeles (UCLA), a member of the observing team.
Dark matter is an invisible form of matter that makes up the bulk of the universe's mass and creates the scaffolding upon which galaxies are built. Although astronomers cannot see dark matter, they can detect its presence indirectly by measuring how its gravity affects stars and galaxies. Detecting the smallest dark matter formations by looking for embedded stars can be difficult or impossible, because they contain very few stars.
While dark matter concentrations have been detected around large- and medium-sized galaxies, much smaller clumps of dark matter have not been found until now. In the absence of observational evidence for such small-scale clumps, some researchers have developed alternative theories, including "warm dark matter." This idea suggests that dark matter particles are fast moving, zipping along too quickly to merge and form smaller concentrations. The new observations do not support this scenario, finding that dark matter is "colder" than it would have to be in the warm dark matter alternative theory.
"Dark matter is colder than we knew at smaller scales," said Anna Nierenberg of NASA's Jet Propulsion Laboratory in Pasadena, California, leader of the Hubble survey. "Astronomers have carried out other observational tests of dark matter theories before, but ours provides the strongest evidence yet for the presence of small clumps of cold dark matter. By combining the latest theoretical predictions, statistical tools and new Hubble observations, we now have a much more robust result than was previously possible."
Hunting for dark matter concentrations devoid of stars has proved challenging. The Hubble research team, however, used a technique in which they did not need to look for the gravitational influence of stars as tracers of dark matter. The team targeted eight powerful and distant cosmic "streetlights," called quasars (regions around active black holes that emit enormous amounts of light). The astronomers measured how the light emitted by oxygen and neon gas orbiting each of the quasars' black holes is warped by the gravity of a massive foreground galaxy, which is acting as a magnifying lens.
Using this method, the team uncovered dark matter clumps along the telescope's line of sight to the quasars, as well as in and around the intervening lensing galaxies. The dark matter concentrations detected by Hubble are 1/10,000th to 1/100,000th times the mass of the Milky Way's dark matter halo. Many of these tiny groupings most likely do not contain even small galaxies, and therefore would have been impossible to detect by the traditional method of looking for embedded stars.
The eight quasars and galaxies were aligned so precisely that the warping effect, called gravitational lensing, produced four distorted images of each quasar. The effect is like looking at a funhouse mirror. Such quadruple images of quasars are rare because of the nearly exact alignment needed between the foreground galaxy and background quasar. However, the researchers needed the multiple images to conduct a more detailed analysis.
The presence of the dark matter clumps alters the apparent brightness and position of each distorted quasar image. Astronomers compared these measurements with predictions of how the quasar images would look without the influence of the dark matter. The researchers used the measurements to calculate the masses of the tiny dark matter concentrations. To analyze the data, the researchers also developed elaborate computing programs and intensive reconstruction techniques.
"Imagine that each one of these eight galaxies is a giant magnifying glass," explained team member Daniel Gilman of UCLA. "Small dark matter clumps act as small cracks on the magnifying glass, altering the brightness and position of the four quasar images compared to what you would expect to see if the glass were smooth."
The researchers used Hubble’s Wide Field Camera 3 to capture the near-infrared light from each quasar and disperse it into its component colors for study with spectroscopy. Unique emissions from the background quasars are best seen in infrared light. "Hubble's observations from space allow us to make these measurements in galaxy systems that would not be accessible with the lower resolution of ground-based telescopes—and Earth's atmosphere is opaque to the infrared light we needed to observe," explained team member Simon Birrer of UCLA.
Treu added: "It's incredible that after nearly 30 years of operation, Hubble is enabling cutting-edge views into fundamental physics and the nature of the universe that we didn't even dream of when the telescope was launched."
The gravitational lenses were discovered by sifting through ground-based surveys such as the Sloan Digital Sky Survey and Dark Energy Survey, which provide the most detailed three-dimensional maps of the universe ever made. The quasars are located roughly 10 billion light-years from Earth; the foreground galaxies, about 2 billion light-years.
The number of small structures detected in the study offers more clues about dark matter's nature. "The particle properties of dark matter affect how many clumps form," Nierenberg explained. "That means you can learn about the particle physics of dark matter by counting the number of small clumps."
However, the type of particle that makes up dark matter is still a mystery. "At present, there's no direct evidence in the lab that dark matter particles exist," Birrer said. "Particle physicists would not even talk about dark matter if the cosmologists didn’t say it's there, based on observations of its effects. When we cosmologists talk about dark matter, we're asking 'how does it govern the appearance of the universe, and on what scales?'"
Astronomers will be able to conduct follow-up studies of dark matter using future NASA space telescopes such as the James Webb Space Telescope and the Wide Field Infrared Survey Telescope (WFIRST), both infrared observatories. Webb will be capable of efficiently obtaining these measurements for all known quadruply lensed quasars. WFIRST's sharpness and large field of view will help astronomers make observations of the entire region of space affected by the immense gravitational field of massive galaxies and galaxy clusters. This will help researchers uncover many more of these rare systems.
The team will present its results at the 235th meeting of the American Astronomical Society in Honolulu, Hawaii.
The Hubble Space Telescope is a project of international cooperation between NASA and ESA (European Space Agency). NASA's Goddard Space Flight Center in Greenbelt, Maryland, manages the telescope. The Space Telescope Science Institute (STScI) in Baltimore, Maryland, conducts Hubble science operations. STScI is operated for NASA by the Association of Universities for Research in Astronomy in Washington, D.C.
For more information: www.nasa.gov/feature/goddard/2020/hubble-detects-smallest...
Credits: NASA, ESA, A. Nierenberg (JPL) and T. Treu (UCLA)
I think you can never built in too many styles. This was really just a tablescrap I built around the weird track the barrel runs in to adjust elevation. It's probably impractical for any application more serious than this one, but I like stuff like that anyway. Plus, it's been ages since I built a tank.
From playing around with the new Repair Lift, 30229. See my review here: www.dagsbricks.com/2014/06/set-review-repair-lift-30229.html
Alright, after weeks of no upload I come up with this... uh.. A rather mediocre picture of studs.
What, studs? Not just any studs... some sort of discussion on another pic got me thinking about
ways to make water in my future MOCs. I was thinking of using something similar to this
(the picture sucks pretty much so it doesn't look so good here, but it has been used in
this 'Last March of the Ents' MOC and some others I've seen) and I started to wonder whether
I should even think of using something like this at all, or perhaps move to something else...
This way of making water would be using lots of loose transparent studs, and maybe
cheese slopes as well. For Helm's Deep, I wanted to use either one of these:
a) just trans clear studs etc. or b) trans clear studs mixed with trans lt. blue.
So I wanted to know if you guys thought of this as a good idea,
or if I should start thinking of something else... this would otherwise also be used for water
and it would look better with some layers of blue colors under it, I suppose.
If you've got a suggestion or an idea for water, feel free to post something... I could go for
something like this in Helm's Deep,
and use the "Derfel Cadarn water" for other things, so to call it.
And yes, that is, or rather was, a Rohirrim...
NOTE: Osgiliath is still being made as of now. Planning to do a preview shot soon,
and I want to start some photography improvements in a bit before I post new MOCs of mine...
Has it been over a year since I last publicly posted an actual MOC, other than figures?!
Simply by stacking 12L bars with studs, this really cool texture is created. I will eventually use this for portal’s observation rooms.
Here is a new set of LEGO ideas and techniques, made with LDD
I'm sure you'll find a use to this idea
I tried to make the explanation readable thanks to the colors as if we had a tutorial
Do not forget to watch the album with all the right techniques on your right =>
Find all my creations on Flickr group « News LEGO Techniques ».
This Flickr group includes:
- Ideas for new LEGO pieces
- Techniques for assembling bricks
- Tutorials for making accessories, objects, etc.
Just one of the speakers tonight
A portrait done for issue 5 of Pomp & Circumstance using only a razor and the ads within the magazine.
"TBS students, circa 1958-1960: Pack animal patrolling techniques."
From The Basic School (TBS) Collection (COLL/3706) at the Archives Branch, Marine Corps History Division
OFFICIAL USMC PHOTOGRAPH
Found what I 'think' is a new technique. The black petals under the large flower uses 4 throwbot visors.
This photo + the traction engines was created by what i think is a technique which i think i have discovered.I have seen no other explanation as to how i have done this.It is done in Adobe ACR and takes seconds to create.On some Photo's,especially where there are people it creates a psuedo 3d HDR effect.
Useful put-to-together for a wrist ______. Basically, I've used it for trying multiple things, but I like having the bayonet as some sort of "laser."
The U-Clip gives it a way to click on to the minifigure's hand, the spike gives it some cool "round/middle" piece, and the part that you use on top is up to you! Be creative. :)
You need:
2x r.brown cone
x amount of r.brown cylinders (depends on length of fibre-optics cable)
fibre-optics cable
r.brown headlight brick
green weed-ey plant stem things (any number)
I think the picture explains what you gotta do, and I can't be bothered to qrite up instructions.
I just thought this would be a cheaper way of making palm tree ;)
No clue what the yellow piece was when I picked it up in a bulk bin. Turns out to be pretty handy! www.dagsbricks.com/2016/01/lego-techniques-rhotuka.html
a bit more variety than just lots of 2x4 bricks im trying to post haha
one of the mocs im more happy to have built, but only ever made one wall
the lights and gramophone i got from other people, but the rest is all from me
i kind of got lost on what sort of building i wanted to make, only really had an idea for a good door idea with a little arch. however i dont like lego arches since they have that empty gap under, which in this case would hinder the looks. arguable but i think the walls around the door being all flat is much nicer looking
no lego door also really had that feeling i was going for, so i just made my own
the windows took a while but i found a solution to make the 2x6 grid which i think looks real nice
this was about last year id say
I'm not sure if anyone has come up with this technique for building square-lattice walls, but here's what I came up with while I was building the diorama.
According to the NHS:
‘Most sprains and strains can usually be treated with self-care techniques, such as PRICE therapy – protection, rest, ice, compression and elevation.’
‘Ankle sprain is the most common type of sprain, accounting for an estimated 1-1.5 million visits to accident and emergency (A&E) departments each year in the UK.’
The NHS is trying to instil in us that you may not need to spend half a day in A&E if you sprain something. The fact is that there is little that can be done by a doctor for sprains, it is a case of the limb being allowed to swell up and throb a bit, go purple, get less puffy, go yellow and finally just be a bit stiff. During this time you can hold out the limb limply like an injured puppy and allow everyone to do things for you that you can quite easily still do for yourself.
This is all very well for adults but parents are put in a difficult position. Children have no concept of NHS budgets and have vastly different expectations of the experience of injury. They know just exactly how much sympathy they can get out of each mishap; I think they have a spreadsheet; which quantifies the indulgence time that they can demand. So to hear your father say that your wrist can’t be broken because you would be in mortal agony and that therefore it is just a sprain and therefore there isn’t really much that the hospital can do that can’t be done at home is not what the child wants to hear. If, in previous incidents they have been grandly rushed to the hospital, been made a fuss of by bosomy nurses, come away proudly sporting a bandage that you can buy in Boots for 99p and spent the rest of the weekend being mollycoddled then they want this experience again. They are not interested in hearing that a sprain can be dealt with yourself, or that x-rays are very expensive and too many of them isn’t good for you, that they can’t give the child strong painkillers, only Calpol, which there are already ten half empty, sticky bottles of in the bathroom cabinet at home, they want the whole day long experience. It’s better than Legoland.
Divorced parents also have the added complication of the ‘other parent’, who will without doubt claim that they would have rushed the child straight to A&E, and would not have left them in such terrible agony for as long as the evil neglectful weekend custodian has done. The ‘other’ parent will never allow anyone to forget this incident, especially the child who will be encouraged to fall over more often, ideally just before the father’s weekend and to wait until getting to the father’s home before cranking up the volume of the injury. Never mind the fact that the injury happened during the school day and could have been assessed and treated during school, or straight after school by the sanctimonious parent. The father is therefore guilt-tripped into spending the day in A&E. The grief he will get from ‘self righteous parent’ for delaying this trip slightly until after a house viewing that had been pre-arranged will last for the rest of his life.
So regardless of propaganda aimed at adults telling us that sprains do not require a hospital visit, the NHS need to have some kind of marketing campaign aimed at the children. They need to go to schools and glamourize the kudos they would receive from their peers for saying “Stuff and nonsense, It’s just a sprain, I can treat that myself, I don’t need to burden the already overworked hospital staff just because I fancy a bit of cooing and sympathy from a stranger who will say I am brave. I am perfectly capable of Googling ‘how to treat a sprain. Now, where was I? Oh yes, GIVE ME ALL YOUR DINNER MONEY!’.”
If the NHS had a ‘sprain campaign’ they could reduce their influx to A&E by thousands. In conjunction with the school tour I propose a poster campaign to encourage parents to be strong, and suspicious.