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Wirrabara.
A Kaurna Aboriginal name meaning “gum trees with running water” was used to name the town when it was proclaimed in 1874 although the local Aboriginal people were the Ngadjuri tribe. Before 1874 the land was firstly leased by Samuel and Frederick White from 1844 who named their run Charlton. A small and not very successful copper mine, the Charlton mine, was established in the 1850s on this run just north of the present town site. The Charlton Mine was run by the Australian Mining Company from 1854 for just a few years. White’s leasehold was purchased by Charles. B. Fisher in 1861 who renamed the property Wirrabara instead of Charlton but Charles White retained his old homestead and some acreage around it. When Surveyor General George Goyder visited Fisher’s Wirrabara run in 1864 he estimated it was carrying 50,000 sheep. In 1866 the Wirrabara run was taken over by Alexander Borthwick Murray and his three sons of Mt Crawford as a sheep stud for their Murray Merinos. When parts of the run were resumed in 1872 for closer settlement Alexander Borthwick Murray used his employees to purchase extensive areas of freehold land in a system known as dummying. The Murray family built a homestead in 1872 on the property called Avonmore shown because they then had freehold to the property. When Alexander Scott Murray married in 1874 he extended and remodelled it into a grand ten roomed house with marble fireplaces and cedar architraves and it became his family home. There is a fine stone memorial to Alexander Scott Murray near the railway station with its silo art. He was only 34 years old when he died of ill health and he was the highly respected manager of Wirrabara Station. He had a large public role and apart from supporting local organisations he did public works like laying the foundation stone of the Laura Institute etc. On his death he left a wife and four children under five years of age. The memorial was unveiled in February 1882 two years after Alexander Scott Murray’s death in 1880. After Alexander Scott Murray’s death his brother John took over Avonmore but he too died of health issues in 1884 aged 35 years. Alexander Borthwick Murray and his remaining son Malcomb of Avonmore also had lands northwards along the ranges. In 1885 A.B. Murray had some of these lands surveyed and put up for sale as a private town named Murraytown after himself. Up to 50,000 sheep were shorn on the Wirrabara run in the late 19th century which by then occupied 20,700 acres freehold. But then son Malcom Murray committed suicide in April 1900. Malcom Pulteney Murray was known for his pranks, drunkenness and rash behaviours and his depressions. Alexander Borthwick Murray died in 1903 and his estate trustees managed Avonmore and the lands at Murraytown. The 20,700 acre Wirrabara Estate was sold as part of Alexander Borthwick’s estate in 1910 for over £141,000. At that time it was known for its fruit orchards, grain paddocks and lucerne flats. It was subdivided into 47 farms.
Apart from pastoralism forestry has been a major industry in the region even after grain farmers arrived in 1874. Some individual foresters were cutting timber and selling it from around 1865. Good quality straight posts were sold by them for the erection of the telegraph line to Melrose and Port Augusta in 1865. The first plantation forest in Australia was established by the SA government in 1875 at Bundaleer near Jamestown. The second forest was declared at Wirrabara in 1877. The government had resumed almost 50,000 acres in 1875 which was set aside as the Wirrabara Forest Reserve. A Forester’s residence and a Nurseryman’s residence were soon erected. The most drought resistant of the pine trees the Aleppo Pine from Syria was planted here in 1878. Tasmanian blue gum and other exotic and native trees were planted at Wirrabara. Most of the lands of the forest were about 1,700 feet above sea level (518 metres) and about 20 small leasehold farm blocks were created in it for fruit growing. The horticulturists were known as the Wirrabara Blockers. In these early years Wirrabara forest was also used to produce seedlings for plantings at Bundaleer. The first saw mill began in 1880 with another in 1902 to mill the Aleppo pines. In 1881 the Wirrabara Forest School opened as so many people lived in this area. A second Forest School was built in 1910. Forestry and saw milling remained an industry until the Bangor bushfires of 2014 destroyed large areas of the forests which the then current Labor government decided not to replant. The native trees along the ranges remain as forest or as conservation parks. Thus it is not surprising that the theme for the Wirrabara grain silo art is the forestry worker and the native birds of the forests like the red capped robin. The King Tree or Eucalyptus camaldulensis (usually called River Red Gum) is one of the main trees of the native forests. By 1889 the Blockers were under the control of the Commissioner of Crown Lands and some purchased their farms freehold. Most Blockers grew vines or fruit trees. Some blocks were sold by the government as soldier settler farms after World War One but this was not successful with farmers deserting their blocks by 1932.
The town began to emerge overnight in 1874 with many buildings being erected by 1875. The first stores in the town were opened by Melrose storekeepers. They were followed by a baker, a butcher, a saddler and the hotel. In fact the Wirrabara Hotel was licensed in 1875 and the fine sandstone building opened shortly thereafter. A government school followed the Free, Compulsory and Secular Education Act for 1875 by opening in 1879. It was replaced with a larger red brick school building in 1921. The Post Office started in 1880 and the Institute foundation stone was laid in 1884. Once open it was used for Anglican and Lutheran church services. It still runs a library service, the only independent library service left in SA. In 1912 a new local Wirrabara stone institute or hall was built and opened by the Governor Sir Day Bosanquet. The War Memorial in front of the Institute was unveiled in 1921. The first courtroom operated in Wirrabara from around 1880 with a temporary police station. One of the biggest events in the town growth was the arrival of the railway line from Laura in 1910 as it pushed northwards to Booleroo Centre. Public meetings in Wirrabara had called for this from 1901. Parliament approved the line in 1908 and the work was finished to Wirrabara in 1910. In 1923 the government bought a block of land in Fifth Street for a new police station but this was not erected until 1929. Apart from industry and commercial premises the town soon churches.
The Wesleyan Methodists opened their church in 1876 being the first in town. The Bible Christians Methodists opened theirs soon after. The Anglicans held early services in the first Institute until St Margaret’s Church opened in 1909 on the corner of Second and Fifth Streets. The old or first Institute was left vacant for some time after 1912 and then in 1920 it was taken over by Manning’s Furniture Store. In the early 1940s the Anglican began planning for a new and larger church. When Manning’s Furniture store came on the market in the first institute the Anglicans purchased that and it was consecrated in 1964 with the old foundation stone on the front. The Lutheran church opened in 1921. The foundation stone of Catholic Church was laid on 1 June 1930 by the Bishop of Port Augusta with the church opening in February 1931.
Wirrabara received an $80,000 federal government grant through the Fund My Neighbourhood program to have their silos painted. The Mount Remarkable Council conducted a local survey to select the artist and the theme of the painting. The most favoured artist was Sam Bates, alias Smug, of Melbourne and he was awarded the task. The most popular theme voted for was forestry and woodcutters. The woodcutter depicted on the silos is Dion Lebrun of Tumby Bay and the beautiful bird is a red capped robin. Since the closure of the forests the silo art is just one of a number of measures the locals are taking to keep their town alive. A farmers’ market is held once a month on a Sunday morning, they maintain a community website, the volunteer staffed craft shop distributes tourist information and some locals still grow apricots, peaches and nectarines and one enterprising horticulturist is now growing Manuka bushes to produce Manuka honey in a few years’ time.
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 3 exposures processed with Photomatix. Levels adjusted in PSE.
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.
Chad Valley
plywood
112 pieces, used and complete
10x6in
2023 piece count: 68,994
puzzle no: 99
TED: "I'm doin' a fousan' peece cardbord pussle at the mo, but I got fed up wiv it cuz it ain't goin' togevver fast enuff, so I fawt I'd show yew a cupple of lickle woodun pussels wot we got frum eBay the uvver day. This one's a bit smaller than the uvver one but it's still nice. I rekkin we dun well - the postage cost more than the pussles!"
Üse Junger
Bryan Pfister
Dani Bucher
Andreas Neisser
Kata Bucher
Thomas Fretz
Francesco Gasparini
_AR33680-72cg
I like to use this Parker fountain pen which I fill from a bottle of ink. One has to buy a new bottle before the old one has been used up as one needs to dip the nib into the ink to fill the pen. So, having used a quantity of ink from the new bottle, I'm pouring what was left of the old bottle into the new one. I didn't spill any on the paper towel, I use that to wipe the pen when I've filled it.
It just happened that I did this on the 10th of August, the 131st anniversary of the patenting of the screw top bottle by Dan Rylands of Hope Glass Works, Barnsley, Yorkshire.
It took me a few years to get used to everything in school being in English and just as many to hear name “Tatyana” there, something I was never called before. We don’t call kids by their full names in Ukraine or Russia. Eventually I started to like the sound of my full name. Also, hated name “Tanya” so much that was overwhelmed with happiness that finally I didn’t have to hear shortened version of my name in school anymore. As a teenager was terrified to date a non-Russian speaker just because I was scared he wouldn’t know that I like to be called “Tanusha” and not “Tanya”.
Detention ☑️
Fight in cafeteria for bullying me for my Russian dressing style so I got up & smacked her ☑️
Dean’s office after arguement with popular Italian boys in my class after they made fun of Russians ☑️
Hiding in the bathroom during breaks ☑️
Highest gpa & gift certificate each semester & key chains “#1” ☑️
Some published poems that year ☑️
I tried to wear with pride my Russian accent & style but was always embarrassed & scared in local supermarkets . . . what if my classmates saw me pulling food stamps or someone ever will see me walking out of the welfare office. Before HS I had a pair of jeans, top & 2 sweaters. So, first thing I did by that October got a job to make enough money to dress the way I liked. That’s why in High School no one could ever tell I come from the family below poverty level and never even had my room since we left Ukraine.
To this day I consider 1997-98 one of the best years of my life. I went to Washington with mama, met up with her on Decalb Ave by LIU, where she went.
After 1998 everything just went downhill. Mama was in & out of the hospitals and stress over the years eventually turned into major breakdown at 21 to problems in school. My grandma told me to go the Dean and explain. I never did. I never convince anyone to take me back. I was able to get back and graduate but my ability to take tests without getting panic & anxiety attack never came back by graduation.
I thank life & NY for taking this poor girl in and giving her all the magic there was to give or maybe my mom was right when she kept saying that when you keep trying, trying & trying eventually life rewards you 💚
I dreamed about a human being is is part of a project exploring the use of artificial intelligence as applied to photography by using online open source code and data.
More information at fransimo.info/?p=1100
ID:4bb71738eb75192f8fba7abf23cc2932
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- Used a texture from Emma Cox here at Flickr
- Earth as photographed from the moon by the Apollo 11 people
- Photograph of mannequin in box + window + goggles are mine
I'm used to shooting red-tails, norhtern harriers, white-tailed kites and kestrels, so the size difference is pretty amazing when a raptor of this size flies over me. I had far too much lens for such a close encounter!
used the hydrangea and these two
i was not going to use my tipsy tuesday photo for my 365 BUT i want to be sure to mark this day because, for me, it is sort of large!!!! i am out sick and after i felt better i started fooling around with elements and the photo before this one was my very first one that i uploaded to flickr that was all done in elements. and this one is a raw photo processed in elements!!! so this one not only celebrates that BUT it is also a photo of this old bottle that means so much to us! what better day to take a photo of it!!!! i am still so confused by all the stuff i have to learn and i am hoping i have done these correctly. but do and learn, right? and i have so many wonderful friends out there to ask!!! that is the amazing and wonderful part of it all!!!!!
i hope everyone is having a splendid day! i raise my coffee cup to you all!!!
copyright © 2007 sean dreilinger
view sequoia's baby feet - _MG_5397 on a black background.
This image may not be used in any way without prior permission
© All rights reserved 2016
Mississauga, Ontario, Canada
Toronto Pearson International Airport CYYZ
D-AIHF
Lufthansa
Airbus A340-642
543
Twitter: @TomPodolec
I made this tea towel using the new SS patterns --- it was a lot of fun creating something with "real" women, although I did slim their midsections just a wee bit. I gave the blonde a tattoo as well :-)
Except for the crop, this image is untouched and available for you to edit. Please credit me as the original author and please link back to this original image. No commercial use allowed. Creative Commons. Enjoy!
Crews use cranes to remove the first girder of the R.H. Thomson "Ramps to Nowhere" during the weekend closure on Saturday, Oct. 18.
Construction crews were busy along the SR 520 corridor during the Oct. 17-20 weekend closure. Critical work activities included beginning stages of the demolition of the R.H. Thomson “Ramps to Nowhere” and installation of piles on Foster Island for the SR 520 West Approach Bridge North Project. Crews working on the SR 520 floating bridge installed toll gantries and crews working on the Eastside Transit and HOV Project continued permanent highway lane striping activities and paving on local streets. Find out more about the new SR 520 on our website.
The SR 520 West Approach Bridge North Project is the next construction phase of the SR 520 Program. When complete in summer 2017, WABN will be built to modern earthquake standards and connect westbound-traveling vehicles, transit/HOV, bicycles and pedestrians from the new floating bridge to the Montlake area.
Using the Leica M246 and Apo-Summicron M 50 (Grreat combination) Probably the best!
Everything you do works so well
Use for Threadless submissions.
DISCLAIMER: PLEASE READ BEFORE USING THIS PHOTO
If you would like to use this photo for a site other than Threadless, please contact me via flickrmail or e-mail me at randyaquilizan (at) yahoo (dot) com. Thanks.
Using this as my 365 photo for 6th October... I picked the We're Here group that day, hats n wigs, and had a plan of what I was going to do but then Jack, my 7 year old decided, just for larks and fun, to headbutt a radiator at his friends house. He said his vision was blurred afterwards so off to A&E I went and no photo was taken! Luckily he hadn't done any damage and he's back to normal now.
I didn't want to miss my day though - but I changed my mind about what to do and just dug out my only wig instead. I need more photography props!
So, after a month where I ended up using over 6 pounds(!) of butter in the kitchen, I figured I should bake something with a lean dough, and I haven't made bagels in a while. Up until my kids were about 2 years old, I used to make a dozen bagels just about every weekend, but now it's not quite so frequent.
It was a gorgeous morning, too, so I just moved the cooling rack out onto the shade of the front porch and grabbed a few photos, and I liked this one so much I thought I'd post it.
This recipe started life as the bagel recipe in The Best Recipe from the folks at Cooks Illustrated, then modified to suit my tastes a bit (really should get around to that web site someday), and finally converted into the weights you see here, which is essentially a 60% hydration dough (or a 5:3 ratio of flour:liquid).
Ingredients
30 oz. high-protein flour (about 6 c.—I use the Sir Lancelot variety from King Arthur Baking)
15 oz. water (1 7/8 c.) at about 110°F
3 oz. barley malt syrup (3/8 c.)
2 1/4 tsp. active dry yeast (1 packet)
1 tbl. kosher salt
Directions
Combine the dry ingredients in the work bowl of a standing mixer fitted with the dough hook. Combine the malt syrup and water in a measuring cup and stir to combine.
Mix the dry ingredients on low speed until the yeast is mixed in well, then pour in the liquid. Continue mixing until a dough ball forms, then mix at low-medium speed for 10 minutes in the stand mixer. This is a real workout for my stand mixer, so keep an eye on yours to avoid it walking or overheating. When done, the dough will be smooth, only very slightly tacky, and easily pass the windowpane test. Remove from the mixer, form into a ball, cover with plastic wrap, and let rest for 5-10 minutes.
Cut dough into quarters, then cut each quarter into thirds (12 pieces total). Shape each into a bagel by rolling into a smooth ball, then poking your finger down through the middle and stretching out like an elastic band. Arrange the shaped dough on two half-sheet pans dusted with cornmeal, cover lightly with plastic wrap and a kitchen towel, and place in the refrigerator overnight to proof. They won't appear to rise much in the fridge; that's expected.
In the morning, preheat your oven to 450°F. In a large, deep skillet or a dutch oven, bring 2 quarts of water plus 2 tbl. of sugar or malt syrup to a boil (for darker bagels, as seen here, add a teaspoon or so of baking soda to the boil as well.)
Working with about 3 bagels at a time, gently stretch the bagels out so the hole is at least an inch in diameter, then boil for about 1 minute on each side. The bagels will puff up almost to their final size while being boiled. Return them to the sheet pan (with a little more cornmeal to prevent sticking).
If you want to put some sort of topping on your bagel, now's the time. The outside of the bagel is usually sticky enough for seeds and the like, but a little egg white can be used as glue if you want more insurance.
Put the sheet pans into your preheated oven in the upper-middle and lower-middle positions, and spray the inside of your oven with water to make a good amount of steam (or, leave a heavy skillet on the floor of the oven during your preheat, and pour in a half cup or so of ice water.) Bake 18-20 minutes until nicely browned, rotating the pans halfway through.
Transfer to a cooling rack. These are great still warm from the oven, and, once completely cool, will keep well stored in a plastic bag for 4-5 days, particularly if you're toasting them. They also freeze nicely.
Feliz Páscoa / Happy Easter
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Francisco Aragão © 2013. All Rights Reserved.
Use without permission is illegal.
Attention please !
If you are interested in my photos, they are available for sale. Please contact me by email: aragaofrancisco@gmail.com. Do not use without permission.
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Portuguese
O Santuário Dom Bosco é uma das mais conhecidas Igrejas de Brasília e uma das imagens mais frequentes nos cartões-postais dessa cidade. Ocupa uma boa parte da Quadra 702 Sul, em posição bastante central no Plano-Piloto. Ele foi criado por Lúcio Costa, projetor de Brasília.
História do Santuário Dom Bosco
Construído em homenagem ao padroeiro de Brasília, São João Belchior Bosco, o Santuário tem 80 colunas de 16 metros e é decorado por vitrais em 12 tonalidades de azul. No interior, um lustre de 3,5 m de altura, formado por 7.400 peças de vidro murano, simboliza Jesus, a luz do mundo. Portas produzidas em ferro e bronze lembram a vida de Dom Bosco. Sobre a Pia Batismal, uma delicada estrutura em forma de pirâmide representa o Rio Jordão. A beleza do mármore rosa é realçada pela presença do quadro em bronze de Gianfrancesco Cerri, que mostrou com poesia o momento do batismo de Jesus.
ALTAR:
Um bloco maciço de mármore rosa, de 10 toneladas, é mesa e altar onde a presença de Cristo na Eucaristia é celebrada, como centro da fé e vida em comunidade. Ao fundo, está o Cristo Crucificado. Uma escultura de Gotfredo Traller que utilizou-se de um único tronco de cedro para entalhar a figura de Jesus. A obra tem 4,3 m de envergadura e está sobre uma cruz de 8 m.
OS VITRAIS:
Os vitrais azuis formam um harmonioso conjunto, deixando a quem vai ao Santuário a reconfortante sensação de estar sob um céu estrelado. O efeito se deve à combinação de 12 matizes de azul pontilhados de branco, que partem de tons claros num suave degrade até atingirem tons mais escuros. Em cada um dos quatro ângulos do Santuário, uma coluna de vitrais róseos complementa a suavidade do local. A combinação róseo-azul cria um ambiente de mistério interior semelhante ao das basílicas orientais. Os vitrais foram projetados por Cláudio Naves e fabricados pelo artista belga Hubert Van Doorne, em São Paulo. Cobrem Uma área de 2200 m2.
A LUMINÁRIA:
De dia, os vitrais filtram a luz do sol dando suavidade ao ambiente. À noite, o imenso lustre de 3,5 m de altura e 5 m de diâmetro é a única iluminação do Santuário. Simboliza Jesus, luz do mundo. O lustre é formado por 7400 pequenas peças de vidro Murano, que juntas pesam aproximadamente 3000 kg. Suspenso por 6 cabos de aço capazes de sustentar 6 toneladas, é obra do arquitëto Alvimar Moreira.
O SACRÁRIO:
O pão e o vinho, sinais da presença de Cristo na Eucaristia, estão representados na pintura em acrílico de Cerri. Uma base retangular em mármore rosa realça ainda mais a beleza e simplicidade da obra.
O ÓRGÃO:
Suaves melodias ecoam pelo Santuário através do órgão eletrônico Eminet 650 Classique, de origem holandesa. O instrumento é transistorizado e estereofónico, com dois teclados de cinco oitavas e uma pedaleira polifônica de 30 pedais.
Carrilhão. De hora em hora o som do carrilhão chega às casas e apartamentos próximos ao Santuário. É um som bastante familiar à comunidade. O carrilhão é eletrônico, fabricado pela empresa canadense Maas Rowe, e está programado para tocar das 7 às 22 horas.
SUBSOLO:
Outros e pesa 1000 kg e foram esculpidas pêlos artistas italianos Arrighini e Figlio. Salões destinados a cursos pastorais, reuniões e recepções festivas, aproximam ainda mais a comunidade da Igreja. São três salões: um azul, com 380 m2, um verde e outro rosa com 240 m2 cada. Podem funcionar separadamente ou interligados. No subsolo estão também a sacristia, arquivo paroquial e escritório.
ESTÁTUAS:
Duas estátuas em mármore de Garrara, Itália, lembram a familiar presença de Dom Bosco e Nossa Senhora Auxiliadora, fundador e padroeira das instituições Salesianas. A imagem de Dom Bosco foi doação do Pé. Luís Ricceri, Superior Geral dos Salesianos. A de N. Sra. Auxiliadora, do benfeitor Hugo Borghi. Cada estátua mede 2 metros.
AS PORTAS:
Em cada porta há quadros, de autoria de Cerri, em alto relevo entalhados no bronze. Na fachada principal está representado o sonho de Dom Bosco. Nas laterais, visões missionárias e passagens de sua vida. As portas do Santuário levam para um ambiente de fé e recolhimento. No total são 12 portas, divididas em 3 conjuntos de 4, que junto ao altar, ao lustre e à iluminação róseo-azul celeste, buscam simbolizar o texto bíblico do Apocalipse sobre a Morada de Deus (Apocalipse 21).
http://santuariodombosco.org.br/historia.asp
Wikipedia
A little something to remember the summer from.
Non-commercial use allowed when name of photographer is mentioned. No derivative works allowed.
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Sittingbourne is a large town up from Faversham on the A2, or the old high road.
Today it is post industrial, mostly, with a one way system and out of town big box stores.
I have seen little of worth in the town when we have passed through. So, Milton Regis was expected to be more of the same.
But the ancient borough is full of fine old timber-framed houses, narrow streets, but beyond them there are endless estates full of identical houses.
Holy Trinity sits the other side of a busy junction, at the end of a short lane, now used mostly by people visiting the large playing field so their dogs don't crap in their owner's back gardens.
Or so it seemed.
Urban churches are rarely open for causal visits, so it proved this time. The young folks paiting the parish offices didn't have a key for the church, so could not help.
So I made do with snapping the outside of the church and large collection of ancient gravestones, one I learn was connected to the Gunpowder Plot.
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The massive 14th century tower grabs attention immediately, but just by the door is a most mysterious headstone which commemorates a man killed by a rocket at an early Guy Fawke`s celebration. Inside, the south aisle is almost as wide as the nave and has a rare rood loft staircase that runs in the thickness of the wall rather than up a spiral staircase. There is little stained glass but the east window, by the firm of Ward and Hughes is rather a masterpiece, with most of the subjects being real portraits – especially the figures of St George and St Uriel. An inscription nearby tells the whole story. At the junction of nave and chancel is a rare benefactions board which is carved to look like a memorial – look out for Faith Hope and Charity. The medieval vestry at the north east corner has an original shuttered window – a rare survival indeed, whilst under the huge tower is a benefactions board recording gifts to dredgermen`s widows. Now you don’t find them very often!
www.kentchurches.info/church.asp?p=Milton+Regis
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MILTON,
OR, more properly, Middleton, lies the next parish north-westward from Sittingborne, last described, and seems to have taken its name from the Saxon Midletun, a name denoting its situation in the middle part of this county.
THE PARISH of Milton is most of it situated on low flat ground, and extends from the high London road as far as the waters of the Swale northward, adjoining to which, the marshes in this parish are both fresh and salt, of a very large extent. In the southern or upper part of the parish, next to the London road, is a small hamlet, called from the soil Chalkwell, in which there are two modern-built houses of the better sort, the lower most of which has a large tan-yard belonging to it; near it there rise some springs, which fill several large ponds, the reservoirs for a corn mill below them, after which they run along the east skirts of the town, which are a continued swamp of watry bogs, into the creek below. The town, antiently called the king's town of Milton, as being part of the antient possessions of the crown, is situated about half a mile from the high London road, at the eastern boundary of the parish, the greatest part of it on the knole of a hill, extending mostly down the east side of it to the head of the creek, which flows north-westward from hence, and at two miles distance, after several meandrings, joins the waters of the Swale. It has a very indifferent character for health, owing both to the badness of the water, and the gross unwholesome air to which it is subject from its watry situation; nor is it in any degree pleasant, the narrow streets, or rather lanes in it, being badly paved, and for the most part inhabited by seafaring persons, fishermen, and oyster-dredgers.
Its commodious situation for navigation near the Swale, to which the town then stood much nearer than it does at present, caused it to be frequented by the Danes, in their piratical excursions into this county, particularly in 893, these pirates, who had been ravaging. France and the Low Countries, being distressed for subsistence, turned their thoughts towards England, for the sake of plunder: for this purpose, with one of their fleets, they sailed up to Apledore, and with the other, consisting of about eighty ships, under the command of Hastings their captain, they entered the mouth of the river Thames, and landing in this parish built themselves a fortress or castle here. Asserius writes, anno 892, Hastengus fecit sibi firmissimum oppidum apud Middeltunam. Sax. Chron. anno 893, interpreted, Arcem extruxit. Simon Dunelm, coll. 151, H. Huntingdon, lib. 5, Florence of Worcester, p. 595, and Chron. Malros, Fecit munitionem. Spelman, in his Life of Alfred, says, Dani castra validis operibus communiunt. This fortress was erected at a place called Kemsleydowne, in the marshes, about midway between the town and the mouth of the creek, the scite of which is still visible, and being overgrown with wood and bushes, has obtained the name of Castberough. (fn. 1) It is of a square form, and is surrounded by a high bank thrown up, and a broad ditch. There is a raised causeway, very plainly to be seen, leading from it towards the seashore. From this fortress they not only made their excursions and plundered the neighbouring country, but secured themselves against such power as the king might send against them.
This town of Milton being part of the royal demesnes, was a cause of its being destroyed by earl Godwin, who being at variance with Edward the Consessor, came here, with a large force, in the year 1052, and burned this town, then of good condition, to the ground; and afterwards ransacked and spoiled many other of the king's estates throughout the county. After which it does not seem to have been ever restored to its former state.
Its condition in the reign of queen Elizabeth may be seen by the survey, made by her order in the 8th year of her reign; by which it appears, that there were then in this town, houses inhabited one hundred and thirty, persons lacking habitations six, landing-places four, one called Fluddmill keye, appertaining to Sir Henry Cheney; the second, Whitlock's key, now the Town key; the third, Reynolds's, now Page's key; and the fourth, Hamond key, appertaining to Thomas Hayward, now Huggins's key; ships and vessels twenty-six, of which twenty were under ten tons; the rest were of twelve, sixteen, and twenty tons; and persons occupied in trade and fishing twenty four.
Since which the town of Milton has considerably increased, as well in the number of its houses and inhabitants, as in its wealth and trade. The number of houses at present is about two hundred and thirty, which are supposed to contain about twelve hundred inhabitants.
The trade of it chiefly consists in the traffic carrying on weekly at the four wharfs in it, where the corn and commodities of the neighbouring country are shipped for London, and goods of every sort brought back again in return; and in the fishery for oysters, a further account of which will be given hereafter. Besides which, the several mills here do not contribute a little to the benefit of this place; four of these are employed in the grinding of corn, and dressing it into flour; and the fifth, called Perrywinckle mill, was some few years ago applied to the manufacturing of pearl-barley, which used to be imported from Holland; and it was supposed to be the only mill in the kingdom where that article was brought to the same perfection as in Holland, but this manufacture for want of due encouragement has been since discontinued.
The town of Milton is governed by a a portreve, who is chosen annually on St. James's day, by the inhabitants of the parish paying church and poor's rates; whose office is, to oversee the market, and preserve good order within the town, and to execute the office of clerk of the market in all matters, within the hundreds of Milton and Marden; he likewise sets the price of all things which come to the keys, or any other creek within the hundred, being such things as head officers in other towns may set the prices on
The market, which is a very plentiful one for all sorts of butchers meat, poultry, &c. is held on a Saturday weekly, at the shambles, in the center of the town. Adjoining to them is the market-house, having a clock, and a bell, which is rung not only for the purpose of the market, but for the calling of the parshioners to church, for funerals, and for occasional parish meetings. At a small distance northward from the shambles is a king of court-house, being a very low old-timbered tenement, where the courts of the manor are kept, and other meetings held; at other times it is made use of as the school house; underneath it is the town prison.
The school is endowed with the annual sum of nine pounds, an account of which may be seen hereafter, among the charitable benefactions to this parish. The master is appointed by the minister and churchwardens. Nine or ten poor boys are taught to read and write in it.
There is a fair, which used to be held on the feast of St. Margaret, July 13, now, by the alteration of the stile, on the 24th of that month, and the two following days.
The lands in this parish, near the town, and especially on the lower or northern part of it, are very rich and sertile. Adjoining to these are the marshes, which extend to the waters of the Swale. Below the hill westward there is another streamlet, which having turned a mill near the vicarage, runs on not far distant from the church, and court-lodge, situated about half a mile northward below the present town, near which the former one destroyed by Earl Godwin is supposed to have once stood.
In the north-west part of this parish, among the marshes, there is a decoy for wild fowl, the only one, that I know of, in this part of the county. The fowl caught in it, are much esteemed for their size and flavor. Great numbers of them are weekly taken and sent up to London.
In this parish, at a small distance northward from Bobbing-place, is a farm called the Quintin farm, which shews that diversion to have been formerly used in it. (fn. 2)
THE FISHERY belonging to the manor and hundred of Milton is of very considerable account. It seems to have been granted by king John, by his charter, in his 7th year, to the abbot and convent of Faversham, by the description of the fisheries of Milton, which the men of Seasalter then held by the yearly rent of twenty shillings, payable at his manor of Milton, and by doing therefrom the customs and service which were wont to be to it.
King Edward III. in his 4th year, confirmed this grant, as did king Henry VI. and this fishery remained part of the possessions of the abbey till its dissolution, in the 30th year of Henry VIII. when it was surrendered up into the king's hands, together with all its possessions.
After which, the fee simple of this fishery remained with the manor in the hands of the crown, till the 10th year of king Charles I. when it was passed away, with it, by the words recited in the grant then made of the manor, to Sir Ed. Browne and Christ. Favell, as will be more fully mentioned below; after which, James Herbert, esq. coming into the possession of it, by the settlement of it from his father Philip, earl of Pembroke, he in the 26th year of king Charles II. obtained a fresh grant of this fishery, against which there was a quo warranto brought in the reign of queen Anne, on a petition of the fishermen of Rochester and Stroud, to shew by what authority they, the grantees, kept courts within their manor of Milton, and restrained the fishermen of those and the adjacent towns, from fishing and dredging for oysters within this hundred and manor: but on a trial had at bar, a verdict was given in his favor. Since which it has continued down, in like manner as the manor of Milton, to the right hon. Philip, viscount Wenman, and Mrs. Anne Herbert, who are at this time proprietors of this fishery, together with the manor.
The company of Fishermen, or Dredgers, of this fishery, hold it by lease from the owners of the manor, at the yearly rent of one hundred pounds and four bushels of oysters. They are governed by their particular officers, under certain rules or bye-laws, made by antient custom at the court baron of the manor. There are now about one hundred and forty freemen belonging to it.
The oysters produced from these grounds, within the limits of this fishery, are usually called Milton Natives, and are esteemed the finest and richest flavored of any in Europe. They are supposed to be the same that Juvenal particularly describes, in his fourth satire, as being reckoned a delicacy even in his time, in these words, satire iv. l. 144:
— Rutupinove edita fundo Ostrea, callebat primo deprendere morsu.
The sum usually returned for these oysters is from 3000l. to 7000l. per annum. The Dutch have been supposed by many, to have engrossed this article of luxury; but they expend but a very small part of the above sums, and sometimes none, for the space of seven years together.
IN THE WESTERN PART of this parish there are several hundred acres of coppice-wood, which are adjoining to a much larger tract of the like sort, extending southward almost as far as Binbury pound, on the west side of Stockbury-valley, for the space of near five miles. These woods, especially those in and near this parish, are noted for the great plenty of chesnut stubs interspersed promiscuously throughout them, which, from the quick and strait growth of this king of wood, makes them very valuable. These are so numerous in them, as to give name to most of these woods near Milton, which, besides their particular names to each of them, are usually called by the general name of Chesnut-woods. And in the presentment made of the customs of the manor of Milton in 1575, it is mentioned, that the occupiers of the three mills holden of the manor should gather yearly for the lord of it nine bushels of chestenottes, in Chestnott wood, or pay eighteen-pence by the year to the queen, who then had the manor in her own hands, and was possessed of three hundred acres of chesnut wood within this hundred.
¶These chesnuts are undoubtedly the indigenuous growth of Britain, planted by the hand of nature. They are interspersed throughout the whole tract, without any form or regularity, and are many of them, by their appearance, of great age; and by numbers of them, which now seem almost worn out and perishing, being made use of as the termini or boundaries, as well of private property as of parishes, it is plain they were first pitched upon, in preference to others, for that purpose, as being the largest and most antient ones of any then existing; and as these are hardly ever cut down or altered, they must have stood sacred to this use from the first introduction of private property into this kingdom, and the first division of it into parishes. Four letters were printed in 1771, after having been read before the Royal Society, two of which were written by Dr. Ducarel, and the other two by Mr. Thorpe and Mr. Hasted, to prove that chesnut-trees were the indigenous growth of this kingdom, in answer to an idea of the hon. Daines Barrington, who had a wish to establish a contrary opinion.
DR. PLOT says, that Herba Britannica, which Twyne and Johnson think to be bistort, Trisolium acetosum, or Oxys; Empetron, quæ est petrafindula Britanniæ prope peculiaris, and Crocus, were found at Milton by Scribonius Largus, when he came into Britain with the emperor Claudius. And he further says, that Crocus sativus, saffron, was heretofore sown and gathered (as now at Walden, in Essex) at Milton, and quotes for his authority, a manuscript rental of the manor of Milton, in the library of Christ-church, Canterbury.
MILTON is within the ECCLESIASTICAL JURISDICTION of the diocese of Canterbury, and deanry of Sittingborne.
The church is dedicated to the Holy Trinity. It is a large handsome building, consisting of two isles and two chancels, the southernmost of which belongs to the manor of Northwood. It has a well built tower at the west end, in which are five bells. In this church, among others, were formerly the arms of Barry, Diggs, Finch, of the Five Ports, of Norwood and Norton, with their several crests, trophies, and banners; of Marten quartering Boteler; one coat, Barry, argent and azure, on a canton of the first, a bird of the second; Argent, three bends azure, within a bordure, eight mullets; Gules, a fess or, between three mullets, argent; and in one of the windows, a man kneeling, with a coat of arms, Six lions rampant, three and three, and underneath, Orate paia Guliel Savage Armigi.
Mauricius ap John, rector of St. George's, in Exeter, was buried in the choir of this church, as appears by his will, anno 1499.
In the year 1070, being the 5th year of his reign, William the Conqueror gave to the abbot and convent of St. Augustine, the church of Middelton, and the tenths of all the products accruing from that manor, and the tenths of all its appurtenances, of the land, wood, meadows, and water, excepting the tenths of honey, and rent paid in money. (fn. 12)
Pope Lucius XI. in 1144, at the petition of abbot Hugh de Trottesclive, confirmed the annual pension of ten marcs from this church to that abbey.
In 1168, the conventual church of St. Augustine was the greatest part of it burnt; on which account this church was allotted to the sacristy there, for the repair of it. (fn. 13) But they did not keep it long, for in 1178, at the king's instance, they gave it up, and lost all property both in the church, and the advowson of it. A composition was entered into between the archbishop and the abbot in 1182, concerning the privileges and exemptions of the latter; when it was agreed, that the archdeacon, or his official, should receive his accustomed dues and procurations from the churches of St. Augustine, excepting those of Minster, Northborne, and Chistelet, and from this church likewise, when the monks should again get possession of the appropriation of it.
Four years after which, the abbot demised to the prioress of St. Sexburg of Shepey, the tiches which his monastery possessed, in right of this church, in Bobbing, at the yearly rent of ten shillings, on condition that all housekeepers, which should be on the estates from which they arose, should yearly repair to this the mother church, with their oblations, on Christmas-day, the Purification, and Easter day. And in 1188, the abbot demised to the prioress there, the tenths of Westlonde, within her parish, for the rent of fourteen shillings, payable yearly to the sacrist of St. Augustine.
About the year 1198, the abbot and convent recovered this church, which was then become vacant by the death of one Franco, the person to whom they had given it up, at the instance of king Henry. But they had kept it but a small time, before the archbishop disturbed them in their possession of it. However, by the mediation of mutual friends, and at the king's request, that he would not molest them in their appropriation of it; he out of respect to the king, ratified this church to them, to be possessed by them for ever. (fn. 14)
There was a pension of forty shillings payably yearly from this church, with the chapel belonging to it, to the above monastery, which, with the other pensions from their several churches, was given up by agreement in 1242, for a compensation out of the profits of the church of Preston.
The abbot and convent, among the extensive privileges from the papal see, had obtained an exemption from all archiepiscopal authority, and about the year 1295 made an institution of several new deanries, and apportioned the several churches belonging to his monastery, to each of them, according to their vicinity; one of these was the deanry of Lenham, in which this church was included. This raised great contests with the several archbishops, and after more than five years altercation, the abbot was stripped of these exemptions, and was declared, by the pope's bull, to be subject to the archbishop's jurisdiction, in like manner as before; which entirely dissolved these new deanries, and that of Lenham among them. (fn. 15)
Notwithstanding the abbot and convent seem to have held the appropriation of this church almost from held the appropriation of this church almost from the first grant of it, and though there had been vicars instituted to it long before this time, for Robert de Wikes, who stiles himself vicar of Middelton, by his deed in 1247, granted seven deywerks of land, with the houses built on it, for the habitation of the vicar of Middelton, for the time being; and the abbot and convent had in 1286, assigned a portion for the maintenance of the vicar here; yet there does not appear to have been any regular endowment of a vicarage to it, till the reign of king Edward III. when archbishop Stratford, in 1345, anno 20 Edward III. by his instrument, decreed, that the vicar of the church of Middelton, and his successors, should have the usual mansion of the vicarage, with the garden adjoining to it, together with one acre of the glebe of the same; and that he should have, in the name of the vicarage, all manner of oblations in the church of Middelton, and in all places, situated within the bounds and limits or titheable places of it; and that they should have in the name of the vicarage, all tithes of sylva cædua, wool, lambs, calves, pigs, ducks, geese, swans, pidgeons, cheese, milk-meats, herbage, apples, pears, and other fruit, growing in gardens and orchards, pulse, flax, hemp, eggs, rushes, merchandizes, and of all mills built, or which might in future be built, within the bounds and limits or titheable places of the church, and all other small tithes whatsoever belonging to it, and all legacies left in future to it, which the rectors or vicars of it might of right or custom take; also, that the vicars, in right of the vicarage, should have of the religious, the annual pension of 4s. (fn. 16) sterling, one seam or quarter of corn, and three quarters or seams of barley, on the feast of St. Michael, at Middelton, by them to be yearly paid, on pain of the sequestration of the fruits and profits of the church, belonging to the religious, to be laid on as often and whenever they should cease in the payment of the pension or barley, or should not pay either of them in the time above-mentioned.
But that the vicars should undergo the burthen of serving by themselves, or some other fit priest, the church in divine services, in the finding of one lamp, to burn before the altar of St. Mary there, and the ministering of bread, wine, lights, and other things, which should be necessary for the celebration of divine rights in the church. The burthen likewise of the payment of tenths and other impositions, whenever they might be imposed on the English church, or incumbent on the church, for the taxation of twelve marcs, beyond the burthens allotted to the religious underneath, they should undergo at their own costs and expences.
But the burthen of the reparation and rebuilding of the chancel of the church, both within and without, and also the finding and repairing of books and vestments, and ornaments of the church, which were wont or ought of right or custom, to be found and repaired by the rectors of churches, and all other burthens, ordinary and extraordinary, incumbent on the church, the religious should undergo and acknowledge for ever, &c. (fn. 17)
The church and vicarage, after this, remained part of the possessions of the monastery, till the final dissolution of it, in the 30th year of Henry VIII. when it was, with all its revenues, surrendered up into the king's hands, who by his dotation-charter, in his 33d year, settled both the appropriation of this church, and the advowson of the vicarage, among other premises, on his new-founded dean and chapter of Christchurch, Canterbury, with whom the inheritance of the parsonage still remains, the interest in the lease of it being now in the heirs of John Cockin Sole, esq. deceased, but the advowson of the vicarage the dean and chapter retain in their own hands, and are the present patrons of it.
The vicarage of Milton is valued in the king's books at 13l. 2s. 6d. and the yearly tenths at 1l. 6s. 3d.
¶In 1578, there were here, dwelling-houses on hundred and eight, communicants three hundred and seventy-four. In 1640 this vicarage was valued at eighty pounds. Communicants five hundred and twenty-nine.
The antient annual pension of four shillings, one quarter of wheat, and three quarters of barley, stipulated to be paid by the religious as before-mentioned, still continues to be paid by the lessee of the parsonage, by the covenants of his lease.
The agreement made between the prior of the brethren of the hospital of St. John of Jersalem and the abbot and convent of St. Augustine, about king Henry the IId.'s reign, that whenever their chapel of Rodmersham should be dedicated, and the cemetery consecrated, they would diminish by it none of the mother church of Middleton's rights; has already been more fully mentioned in the account of that parish before. (fn. 18)
Used the Canon EF 135mm f/2.0 L USM Lens with Canon 1.4x III extender as I was not carrying any of my longer lenses. That explains why this bird shot looks more like a portrait ;)
Snuggly, cuddly Benni usually snuggles up to his buddy Bubba. Lately, he has not only been playing more with Zooie but also snuggling more. I just love when he does this. He's just not completely content unless he's touching someone.
Zooie's back to feeing well again. He finished is oral chemo yesterday. Your prayers are felt and appreciated.
I'll have a busy Halloween. We are having a neighbohood party at my house. I've got some cooking to do, including Halloween cookie decorating, carving pumpkins, cleaning, etc. I'll snap some photos of all the festivities. I've got the SouthPark CMACC Adoption event on Saturday and a family party for my youngest daughter's birthday on Sunday, so I'll check in on and off over the next few days!
Using the center part of one of my tessellations (Teardrop twist ring), I folded this tessellation.
It can be folded without the six triangle twist in each flower. but I prefer this one.
Paper: EH, hexagon from 30x30 square, 48 division grid
Several views: molecule, back and from view, with and without flash
Stamps used: Hero Arts
Clear Design Thinking of You CL140
Dot Pattern #2097
Clear Design Birds and Branches CL219 (small butterfly)
I wanted the flowers to look like they were sitting in flower pots so I used my Cricut to cut out the flower pots. The cartridge that I used is "Walk in my Garden". I stamped the flowers 6 times onto white paper and then stamped the butterflies. Then I applied a little bit of china blue distress ink for the sky and small amounts of shabby shutters for the grass (can't see very well in the picture). After I finished that, I applied the flower pots with pop dots.
Please don't use this photo on websites, blogs or other media without my written permission.
(c) Yago Veith www.yago1.com
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