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Camera Model Name: Canon EOS 400D DIGITAL
Lens: EF-S18-55mm f/3.5-5.6
Tv (Shutter Speed): 1/125
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ISO Speed: 100
Focal Length: 18.0 mm
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DAY 07: Over night halt – TEGAR
Altitude: 3, 048 m / 10, 000ft.
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Kyagar better known as Tegar village (also referred to as Tiger village by the Indian army personnel) is at an altitude of 3, 048 m / 10, 000 ft.
About 30–40 minutes drive later the cars stop near a narrow gate covered with creepers and abounded by shrubs. It is not until we enter, that a very large garden bursts on us. The greater part of the plot (on the left) covered by barley, mustard, peas, broccoli, cabbage (red and green), willow, apricot and apple trees; in a corner the newly painted family stupa. Row of tall proud poplars provide veil to the snow-capped mountain range. On the reverse, the stark and smooth contoured peaks act as protective barrier. Another slice of land (on the right) has rose, dahlia, cosmos, poppy, chrysanthemum and marigold blooms. At the tree shaded backyard the special attraction is the hotel pet ‘Pushkar’, a young Bacterian camel! Only scar in this perfect prop, an out of use small Jacuzzi pool hidden amidst the green tangle.
We are the sole guests in the hotel for the night, which works perfectly as here too most of the staffs are away in Leh to attend H.H. Dalai Lama’s speech. Andrea and Shalini opt for rooms in the ground floor, while my preference is a corner room upstairs (offering the best garden and mountain view).
The spacious clean room has floor to ceiling glass windows on two sides, along with an attached small cozy washroom, which has stylish glass opening in the ceiling allowing natural light as well as sky peek!
With mood soaring like Rüppell’s Vulture (Gyps rueppellii - the highest flying bird), shower can wait; need to explore the garden immediately!!!
Image ©Philip Krayna, BoxxCarr, all rights reserved. This image is not in the public domain. Please contact me for permission to download, license, reproduce, or otherwise use this image, or to just say "hello". I value your input and comments. See more at www.boxxcarr.com.
...except for the free food the queen provided the poorest quarters in the city, she would also once a year gifts of gold and food to the one that was singled out as the poorest citizen within the town and its outskirts...
This recipient would be new every year since they got so much gold that they could support themselves for years...
For singling out of this person the queen had assembled a small board consisting of Her, Prince Albert, the town mage and also every city guilds chairman as well as some official minority groups leaders such as from the middle-esterling refugee population living in the capital...
Every year would start the same, the Wizard would say that he was the poorest citizen, anyhow as he argued, compared to the cost of running experiments that his budget would go on a big negative value every year, after this queen would grant him some gold to keep quiet for the rest of the meeting...
...then Prince Albert would complain about that his consumption of alcohol made him have large tabs on every pub and then stated that if he would pay every tavern what he owed them he would be on a minus so huge that even the states entire annual budget couldn´t stuff his holes in the budget, then the queen would given him a gold coin and he would excuse himself and vanish with the speed of drunk-light!!!
Then the meeting could start for real... this year an old miner living in an abandoned mine close to town was the one the board agreed on was the poorest person and should be granted the award, but the members of the board warned the queen, that he was a nutter, so she would better bring a whole army to keep safe...
The queen settled for three soldiers and Puffy iff her favorite dog...
...later that day a horse-drawn chart loaded with food and gold arrived to the abandoned mine...
the queen jumped off her horse, there was no one to be seen, when she peeked inside the main building, there was just a big abyss of a hole, she called down the hole:
- Is there anyone home, it is you majesty Queen Esmeralda, with a surprise...
then it just echoed for ever and ever, then she heard a faint voice:
- I will just be a jiffy, I am here digging, will be up quite soon...
...after a while a dirty old bearded man climbed the walls of the abyss like a mountain goat... very agile despite his ancient age...
- Hello Madam, I am...
oh what is my name now again?
yes nap, nappy, Napoleon, yes that is my name, Napoleon and some number I can´t remember!
Who are you my fair lady?
- Hi, Napoleon I am Esmeralda also with a number, Actually Esmeralda the first...
- Yes, first, one, one that is my number and one more number that is higher than the first, yes one plus three, I am four, no wait I am 1 and three that is 13, oh wait I am, oh I forgot what my first name was...
- Napoleon, the queen replied!
- Yes that is the guy, Napoleon number 13, who are you?
- I am ruling queen of t his queendom, eh I mean kingdom!
Step outside I have a small surprise for you!
- No you can´t be ruling this kingdom, because I am King, from here to the land of the forestmen, the barbarian, the middle-asterling emirates, I own it all...
- Oh (*giggle*)! You Majesty would you please step outside and look at the surprise I have brought you...
- ok, ok, ah it is daylight my poor eyes... oh I see now, your brought your King and Emperor three men and two horse to help me dig, I am very pleased my loyal subject... You will be rewarded later, or now, I will award the title: Earl of the eastern wall of my hole between 30 feet and 45 feet...
- Eh Well, your Majesty actually my gift isn´t my henchmen or beast of burden but what we have brought you on the chart over there, one chest of gold, a box of food, a chicken and a sack of cereal seeds...
- My subject, are you trying to make mockery out of me? I have gold, I am the richest man in the world, down my hole I have lumps of gold so huge that a dragon couldn´t lift a grain of them... you really disappoint me citizen, I hope the crate with food is fresh earthworms? since that is the only thing I eat, all other food just gives me constipation or was it the other way around, anyhow I eat only fresh squiggly earthworms...
- Eh, Well you majesty, no I have failed you, I have brought you nothing of value and as a self-punishment for the shame I have brought up on my self, will leave you to your work and retreat to my "prison-like" palace and no longer bother you your majesty...
I am so sorry!
- Well Subject citizen, I Napoleon the 14th forgive you, no need for you to punish your self, but, now leave me alone and get your stuff out of my property... Now I have more important things to do than to squabble and gossip with puny subject...
- Yes your majesty...!
the queen slowly backed away while bowing and kneeling respectfully, she picked up Spotty iff and she and her men mounted a rode away to the farm next door and gave the random family the gifts perhaps they were not the poorest but they surely needed the gifts more than Napoleon!
my wife asked me,
where have you been the last three hours ?
I created a picture.
Wow, she said, looks like a Mackintosh.
I didn't think of Charles Rennie ... I was just in a flow ...
I said, pretending to be indignant
and smiled at her ...
:::))) ...
have left the grid several times, that's the only way good things happen ...
grid versus texture versus pattern ...
;-) ...
Because I mentioned Ch.R.Mc ...
I could have also mentioned Oswald Mathias Ungers ...
Mackintosh was contradictory in a contradictory time of upheaval ... he admired the style, Wiki thinks, because of its restraint and economy of means rather than ostentatious accumulation; its simple forms and natural materials rather than elaboration and artifice; and its use of texture and light and shadow rather than pattern and ornament. In the old western style, furniture was seen as ornament that displayed the wealth of its owner; the value of the piece was established according to the length of time spent creating it. In the Japanese arts furniture and design focused on the quality of the space, which was meant to evoke a calming and organic feeling to the interior.
At the same time a new philosophy concerned with creating functional and practical design was emerging throughout Europe: modernism. The central aim in modernism was to develop a purity of expression with designs explicitly responsive to intended building use. Ornament and traditional styles were demoted. Although Mackintosh has been counted as a pioneer of modernism, his work always retained a decorative sensibility and features ornament. Mackintosh took his inspiration from his Scottish upbringing and blended them with the flourish of
Art Nouveau
and the simplicity of Japanese forms.
While working in architecture, Charles Rennie Mackintosh developed his own style: a contrast between strong right angles and floral-inspired decorative motifs with subtle curves (for example, the Mackintosh Rose motif), along with some references to traditional Scottish architecture. The project that helped make his international reputation was the Glasgow School of Art (1897–1909). During the early stages of the Glasgow School of Art Mackintosh also completed the Queen's Cross Church project in Maryhill, Glasgow. It is the only built Mackintosh church design and is now the Charles Rennie Mackintosh Society headquarters. As with his contemporary
Frank Lloyd Wright,
Mackintosh's architectural designs often included extensive specifications for the detailing, decoration, and furnishing of his buildings. The majority, if not all, of this detailing and significant contributions to his architectural drawings were designed and detailed by his wife Margaret Macdonald whom Charles had met when they both attended the Glasgow School of Art. Their work was shown at the eighth
Vienna Secession Exhibition
in 1900.
_MG_2424_pa_bw3
Camel hair
Pencil, from Old French pincel, from late Latin penicillus a "little tail" originally referred to an artist's fine brush of camel hair, also used for writing before modern lead or chalk pencils.
Though the archetypal pencil was an artist's brush, the stylus, a thin metal stick used for scratching in papyrus or wax tablets, was used extensively by the Romans and for palm-leaf manuscripts.
As a technique for drawing, the closest predecessor to the pencil was silverpoint or leadpoint until, in 1565 (some sources say as early as 1500), a large deposit of graphite was discovered on the approach to Grey Knotts from the hamlet of Seathwaite in Borrowdale parish, Cumbria, England.
This particular deposit of graphite was extremely pure and solid, and it could easily be sawn into sticks. It remains the only large-scale deposit of graphite ever found in this solid form.
Chemistry was in its infancy and the substance was thought to be a form of lead.
Consequently, it was called plumbago (Latin for "lead ore").
Because the pencil core is still referred to as "lead", or "a lead", many people have the misconception that the graphite in the pencil is lead, and the black core of pencils is still referred to as lead, even though it never contained the element lead
The words for pencil in German (Bleistift), Irish (peann luaidhe), and some other languages literally mean lead pen.
The value of graphite would soon be realised to be enormous, mainly because it could be used to line the moulds for cannonballs; the mines were taken over by the Crown and were guarded.
When sufficient stores of graphite had been accumulated, the mines were flooded to prevent theft until more was required.
The usefulness of graphite for pencils was discovered as well, but initially graphite for pencils had to be smuggled out of England.
Because graphite is soft, it requires some form of encasement. Graphite sticks were initially wrapped in string or sheepskin for stability.
England would enjoy a monopoly on the production of pencils until a method of reconstituting the graphite powder was found in 1662 in Germany.
However, the distinctively square English pencils continued to be made with sticks cut from natural graphite into the 1860s. The town of Keswick, near the original findings of block graphite, still manufactures pencils, the factory also being the location of the Derwent Pencil Museum.
The meaning of "graphite writing implement" apparently evolved late in the 16th century.[18]
Wood encasement
Palomino Blackwing 602 pencils
Around 1560, an Italian couple named Simonio and Lyndiana Bernacotti made what are likely the first blueprints for the modern, wood-encased carpentry pencil. Their version was a flat, oval, more compact type of pencil.
Their concept involved the hollowing out of a stick of juniper wood. Shortly thereafter, a superior technique was discovered: two wooden halves were carved, a graphite stick inserted, and the halves then glued together—essentially the same method in use to this day.
Graphite powder and clay
The first attempt to manufacture graphite sticks from powdered graphite was in Nuremberg, Germany, in 1662. It used a mixture of graphite, sulphur, and antimony.
English and German pencils were not available to the French during the Napoleonic Wars; France, under naval blockade imposed by Great Britain, was unable to import the pure graphite sticks from the British Grey Knotts mines – the only known source in the world.
France was also unable to import the inferior German graphite pencil substitute.
It took the efforts of an officer in Napoleon's army to change this. In 1795, Nicolas-Jacques Conté discovered a method of mixing powdered graphite with clay and forming the mixture into rods that were then fired in a kiln.
By varying the ratio of graphite to clay, the hardness of the graphite rod could also be varied. This method of manufacture, which had been earlier discovered by the Austrian Joseph Hardtmuth, the founder of the Koh-I-Noor in 1790, remains in use. In 1802, the production of graphite leads from graphite and clay was patented by the Koh-I-Noor company in Vienna.
In England, pencils continued to be made from whole sawn graphite. Henry Bessemer's first successful invention (1838) was a method of compressing graphite powder into solid graphite thus allowing the waste from sawing to be reused.
United States
Pencil manufacturing.
The top sequence shows the old method that required pieces of graphite to be cut to size; the lower sequence is the new, current method using rods of graphite and clay
.
American colonists imported pencils from Europe until after the American Revolution. Benjamin Franklin advertised pencils for sale in his Pennsylvania Gazette in 1729, and George Washington used a three-inch (7.5 cm) pencil when he surveyed the Ohio Country in 1762. William Munroe, a cabinetmaker in Concord, Massachusetts, made the first American wood pencils in 1812.
This was not the only pencil-making occurring in Concord. According to Henry Petroski, transcendentalist philosopher Henry David Thoreau discovered how to make a good pencil out of inferior graphite using clay as the binder; this invention was prompted by his father's pencil factory in Concord, which employed graphite found in New Hampshire in 1821 by Charles Dunbar.
Munroe's method of making pencils was painstakingly slow, and in the neighbouring town of Acton, a pencil mill owner named Ebenezer Wood set out to automate the process at his own pencil mill located at Nashoba Brook. He used the first circular saw in pencil production. He constructed the first of the hexagon- and octagon-shaped wooden casings. Ebenezer did not patent his invention and shared his techniques with anyone. One of those was Eberhard Faber, which built a factory in New York and became the leader in pencil production.
Joseph Dixon, an inventor and entrepreneur involved with the Tantiusques graphite mine in Sturbridge, Massachusetts, developed a means to mass-produce pencils.
By 1870, The Joseph Dixon Crucible Company was the world's largest dealer and consumer of graphite and later became the contemporary Dixon Ticonderoga pencil and art supplies company.
By the end of the nineteenth century, over 240,000 pencils were used each day in the US. The favoured timber for pencils was Red Cedar as it was aromatic and did not splinter when sharpened. In the early twentieth century supplies of Red Cedar were dwindling so that pencil manufacturers were forced to recycle the wood from cedar fences and barns to maintain supply.
One effect of this was that "during World War II rotary pencil sharpeners were outlawed in Britain because they wasted so much scarce lead and wood, and pencils had to be sharpened in the more conservative manner – with knives.
It was soon discovered that incense cedar, when dyed and perfumed to resemble Red Cedar, was a suitable alternative. Most pencils today are made from this timber, which is grown in managed forests.
Over 14 billion pencils are manufactured worldwide annually. Less popular alternatives to cedar include basswood and alder.
In Southeast Asia, the wood Jelutong may be used to create pencils (though the use of this rainforest species is controversial).
Environmentalists prefer the use of Pulai – another wood native to the region in pencil manufacturing.
Eraser attachment
Attached eraser on the left; Pencil lead on the right
On 30 March 1858, Hymen Lipman received the first patent for attaching an eraser to the end of a pencil.
Try not to become a man of success, but rather try to become a man of Values.
_Einstein
No edit. Straight from camera. Used 300mm lens. Shot at Belandur lake, Bangalore.
Do you know about Sketchcrawl?
The idea is that of a global drawing marathon: taking a day to journal and draw all that is around you.
More about it -> www.sketchcrawl.com/
Results of last sketchcrawl -> www.sketchcrawl.com/forum/viewtopic.php?f=49&t=4925&a...
I am joining tomorrow event. Let me know if anyone in Bangalore interested?
There is facebook based group also. Search for 'sketchcrawl bangalore'.
On 1 July 1933 the vast majority of the ownership and operation of public transport in London was transferred to the newly formed London Passenger Transport Board, better known as London Transport. For the city's tram network this at last saw a common ownership and operation of services that had previously been under multiple undertakings, both municipally and privately owned.
The largest component was that of the London County Council whose tramways operation was highly developed and well run. The LCCT services, that used conduit as well as overhead operation, had several inter-running agreements with both other municipalities (mostly in east London) as well as the three operators owned by the Underground group. These were the Metropolitan Elelectric, the London United and the South Metropolitan Elecric Tramways & Lighting Co Ltd. In summer of 1933 the variously issued maps and guides of the pre-amalgamation concerns appear to have been issued simply overstamped with the details of the new organisation and this November 1933 is, I think, the first attempt at a single map to cover all the merged routes.
It is wholly based on the old LCC map and guide that has been modified to an extent. On the map the old concept of showing the LCC services in a thick red line and connecting or inter-running routes in a thin red line has been perpetuated, the main difference being that in the key the previous distnctions ahve vanished to be replaced by a single line referring to fare sections and route numbers. The map now has the TramwayS logo of the old Underground group now adapted to show London Transport in the semi-circles. It also has an inset to show the ex-Croydon Corporation network. However the LCC evening classes advert survives! The cover also follows the pattern of LCC covers showing a work of art or illustration derived from an advert or poster. This illustration, of the old Waterloo Bridge than trams ran under, along the Subway and Embankment, rather than over is from a series of 1932/33 press adverts issued by the Underground and General companies on London's river crossings and is by, I am sure, R Austin whose "A" can just be made out.
The route guide and timetables now has all London's tram routes shown, no longer with the old LCC convention of north or south of the Thames. The list also shows, as well as night trams, the "unnumbered services" inherited from the various east and south-east London operators that had never been given such information. The other interesting panel is the appearance of the relavtively new trolleybus routes in the Kingston area. The LUT had started in 1931 to look at conversion of tram operations not to motor bus but electric trolleybus to utilise the heavy capital investment in electricity generation and distribution that had continued value unlike the depreciated first generation tramcars. The trolleybus soon became the 'way forward' for the new London Transport and over the next few years the tram map steadily became the trolleybus and tram map - a distinction that continued until the final war delayed abandonment of the 'last tram' in 1952. The trolleybus routes here carry their original route numbers before the addition of 6** (or 5**) numbers to the tram routes they replaced in later conversions and when Kingston's routes were re-numbered in the new sequence.
In 1934 LT's cartographers had got to work and a completely new version of the tram/trolleybus map, in the same style as motor bus, Country bus and Green Line operations was issued.
I decided to brake the silence and to write my thoughts and feelings regarding to the production of Jem the movie.
Jem was my favorite cartoon as a child, and even today it is my favorite cartoon show. I love the beautiful animation, the amazing songs, the fascinating plot and the fact that the show has values and morel in it. Unfortunately where I live, the show stops to appear on the tv (also only few episodes appeared a and not the whole 65) and even the dvd of the show aren't available. That is the reason that in the country where I live not a lot of people remember it and know what it is and there even any merchandise that associate to it. But my family knows how much I love the show, my brother even sing until this day the song "glitter and gold". As the announcement video on the movie came out I was excited, like many Jem fans I was missing Jem and wanted a Jem movie for a long time.The movie (at least at the beginning) I thought the movie will help Jem to get more recoginaition where I live and maybe they will understand this magical and pretty show too.
Sadly the crew of the productation decieced to change Jem complatly and even lies and used the fans, but you won't be hearing about all the nasty things they did on the L.A times or at E! as a result I deiced to break my silence and share my thoughts about the movie. I am doing this because I need to express my frustration, anger and disappointed. I am doing that so my voice will be heard and since Flickr is the media which I most active on it (I don't have Tweeter, Instagram or Tumblr). I am hoping it will encourage more fans to speak and to understand what going on about the movie.
I want to apology if what I wrote is messy and too long, I had hard time writing this and maybe it will be hard to follow. But I want to give to all the Jem fans important link that explain all the dishonesty and the deception of the production, you can understand all the things that happened. bklynbarbie wrote to it all down impressively so If you want more explanations about the lies, she also found proofs, please go to bklynbarbie Tumbler : bklynbarbie.tumblr.com/post/85726414210/jem-the-movie-tru...
Let's start from the beginning- At end of March on youtube appeared video that call to world wide Jem fans to submit videos and take a part in the movie from the actors the to music "we want your creativity", "we want you to be our movie star" they said: www.youtube.com/watch?v=yzVnNVrunAE
So fans spend time, money and efforts by creating videos. Only this is all was a set up, a trick to use the fans so that they will spread the world that Jem movie has been made while the casting and other aspects of the movie for example the music was already been made mouths before and so does the actors (will reach to it).
Let's start by the fact that Chu decided to "reinvent" Jem, he made her 17 teenager girl, an orhapn and that she and Holograms get famous on the web: " orphaned teenage girl who becomes an online recording sensation, she and her sisters embark on a music-driven scavenger hunt –- one that sends them on an adventure across Los Angeles in an attempt to unlock a final message left by her father". Source: variety.com/2014/film/news/jon-chu-to-direct-hasbros-live...
All those changing raise the question why? Why change Jem plot when it's already had been exceptional and amazing and it's attract fans, Jem was great show just the way it was. It has action, drama, comedy, love and good educational values. Another thing that has been change is the personality and psychology of the characters.
Jerrica was a grown up women, responsible, smart and caring and she (and so are Jem) was a role model. A teenage can't be a role model because he is busy on what the peer group think of him and he busy with building his personality, by changing her and the Holograms to teens he change their personality. Another thing that he chacacter's psychology. Jerrica turn to Jem after her death of her father. It was the trigger that led chain of events that made her become Jem. After his death she knew she needed to support the Satrlight girls and went to Starlight company only to find out Eric wants the company to support in the new band he found out The Misfit. So he planned to make a false competition and let the Misfit win on it. With the help of last gifts her father made for her (which also include Synergy and the Jem stars earrings) Jerrica mange to stop him and take the whole control on the company.
Jem and the Hologarms didn't want to be famous, they didn't become a band because they wanted fame, they became a band because the music helped them to support the Starligh girls. When Chu made Jerrica and her sisters to orphaned and "an online sensation" he changed the whole story and also the motives and the needs of the characters. It doesn't sound like Jem at all, it sound more like "Maxie's world" meets Justin Biber story (and honestly with all the changing it was better if was doing a "Maxie's world" movie, unless he wanted to "reinvent" Maxie and make her to a baby).
Another fact is that the story is set on nowadays. To be honest as a child I saw Jem in the early 90's and I didn't realize the show was on the 80's. I mean the clothes looked like Barbie 90's clothes and the character looked like Barbie (I even thought Jem was Barbie but that's story for a different time). Only as an adult I saw how the 80's were reflected in the show. I do think it was much more good to made the movie on the 80's or the early 90's. I understand that it's much more expansive, but I think that if the movie is set on nowadays at least put 80's elements on it, like 80's fashion (the 80's fashion did made a comeback), 80's instruments and make up and etc. I think that if the Synergy could do so much more amazing things in 21 century than just Holograms for start she could add textured to her Hologrmas, recently I saw this amazing clip of group called Enra: blog.petflow.com/these-japanese-girls/#ZcSxKml0B1d5UVdQ.01 I can totally imagine Synergy creating these wonderful effects on Jem clips and performances.
But Chu decided he want to aim this movie to new audience instead of aiming this movie the original audience. He decided to neglect the loyal fan base that grow with the show and turn the new audience without paying attention the initial crowed. Instead of trying to make a movie that will appeal the to initial fan base and then the new crowed will come he decided to make a movie to the new crowed regardless of what the initial crowed wants. Regardless of caring f if the original crowed will come. But the loyal fan base are the people who buy the Jem dolls and invest their money on it. These are the people who build Jem sites, making videos, making convection, going to them and of course watch their beloved show. These are the people who talk with the friends about Jem and doesn't let the name Jem to be forgotten, they are the ones who are devoted to it and because of them her memory isn't deleted.
But Chu and co. works made another worst move- they used fans for publicity. Like I pointed in the beginning they told in the fans that they would take part in this movie. But it was than reveled the professional actresses already had been chosen mounts before the announcement video , so does the make up artist and etc. In this video: www.youtube.com/watch?v=1E9QrGly3GE you can see two things: 1) the actresses didn't even who and what Jem is 2) they saw the youtube videos of the fans. So it's not that Chu and his co works that acted in dishonorable, misleading behavior towards the fans. I also agree the casting did not a good job in the casting of Aja and Shana. The other thing is that those actresses didn't even knew Jem. IMO an actor should understand the character to play her well. He needs to learn her personality, feelings, motives and etc. In this case they should have least known what is Jem (I do understand that they watched some episodes from the show, but in my impression they didn't saw all of it), they should have watched the whole episodes maybe even go the Jem convection just to understand how Jem fans feels about Jem. Evan thought the actresses saw some episodes by their expression on the social media they show their lack of understanding of the show and the characters (twitter.com/BklynBarbie/status/466021433190404096/photo/1)
For them the show is just a carton, for the fans it's more than a cartoon, it's something that inspire them and made them feel happy, gave them hope and lift their spirit. But than again what could you expects if the director don't even bother to stay true to the show and keeps making changing, is it surprise that the actors don't bother to understand the meaning of Jem and the characters and the plot?. Still this is show the lack of appreciation and caring from all the crew.(They casting did cast an actor to play Zipper but fans suspect that he already has been hired, he also actor with experience and his "fan video" he keeps talk on and on about his nuts, very classy 0_O no I am not putting link .).
Another thing that is simply annoys me! Is the fact that Christy Marx (Jem creator) isn't a part of this production: www.themarysue.com/jem-movie-christy-marx
and so doesn't the rest of the original crew (I am sorry I can't consider the gust show of Britta and Samanta because it's just a little cameo, it nice that they in it but they don't take a significant part in the movie). In fact Chu work with all the people that he worked with on past in his projects (LXD, Biber) and Ryan Landels write the script for the Jem movie.
After finding all this info I don't think that there was any room for Christy or the original crew. What I mean is, if the cast already been selected, there was already a script. I think that when an actor goes to audition he needs to play the script before he is accepted to be in the movie. So if nobody in Hasbro bother to tell Christy on the new movie and only Chu did, I think that there already was a script that had been writhen according to Chu vision and well there isn't much Christy could do with it.
But Chu made more changes like no Misfits, no Jem star earrings and no Syrangy
Also the original music won't be in the movie and Eric character maybe will be now Erica (it could be the female version of Eric but it could be new character that wasn't in the original show). And he also said this movie is the "Batman begins" movie of Jem (twitter.com/CoolTrashMag). But Jem begins with Synergy and the Misfits and Eric, Jerrica become Jem because of them (and Jem without Synergy is like Sailor moon without Luna). And Synergy was the one of things that distinguish the show from any other shows. Honestly the analogy to Batman looks like an excuse to use less money (Jew is low cost movie and that why characters are disappear because if they will appear it will cost more money).
Another thing is that Jem clothes were colorful, fun and yes even a bit crazy but they always have unique glam style that made them look distinguish than the other bands in the show. In fact there were times where in the show you could identify the band by it's clothes and the punk, rock bands used to have dark back clothes just like you can see on the right pic. At the beginning I thought that they look more like the Misftis because of the dark color (which Pizzaz love) but while looking on the amazing and wonderful
"IT'S SHOWTIME SYNERGY!" tumblr I saw the pic of the rock band that Eric hired on the first episode and I thought that those clothes look like the rock style band.
So lets go over the outfits from the movie:
Aja- No, just no, maybe if you want to be a part of the PCD, this dark revealing look
isn't glam or colorful and don't even has any resemble to the clothes that Holograms wear, even when they weren't famous their clothes were colorful and chic.
Kimber- Again just no, it's not how Kimber will dress in the 21 century, she would rather break her keyboard than to wear this.
Jem- Cool dress but Jetta from the Misfits wants it back.
Shana- The nackles kinda neat and I like the heart shape line and the jacket, but skulls?!. This is not the Holograms style at all, it's punk rock style! and even it's it not 80's style you could used colors and more stylish girly clothes.
And even the makeup doesn't look like the Holograms at all, with all the changing can't you least be loyal the original make up, it's too much to ask right?. I don't like the half face make up, it reminds the creepy guy with the coin from Batman. The hair colors also look cheap, Aja has dirty blue color where you can see her black roots rather than soft light blue hair, Jem seems to have pink mix with blonde hair instead of soft pink luscious hair, Kimber hair is orange instead of red and Shana doesn't even have her big purple afro. They don't look like the Holograms at all, it may be silly to complain about the hair and makeup but with if you'll go to see "the Little Mermaid" movie and Ariel would have orange or blonde hair with purple lips?. Those things are matter even if they small and those little details help the actor to be the character and to portray the character well and the correct look help the viewers to see the actor more like the original characters (we wouldn't want a movie with blonde superman right? not because it's ugly or bad, but because it doesn't look like the character that we know and like).
So after the changing the looks, style, plot the personality of the characters (even the Jem logo had been changed)what left?. Only the name, it's awful Jem and Jem fans deserve a better production crew and Hasbro also shouldn't give Chu and his co workers free hand to change their franchise so much. It also shows the lack of caring Hasbro has to the fans and to Jem and to the original crew that created Jem.
I think that a good Jem movie needs to include as many people that were a part of the original show, it's has be with the original plot, characters and songs and to stay loyal to the show, which the fans love. I also think that maybe animation movie was better because we could see Jem in 3D or with computer animation that is close as much as it can be to the cartoon animation (a movie like this can also give Brittan and Samantha the opportunity to play Jem again and so for the rest of the people who did speaking nd singing voices in the show).
To all Jem fans out there I want to tell you to speak up! If what is happing in this movie upset you use the social media, you don't have to write it if you can't, you can just give the link that I posted: bklynbarbie.tumblr.com/post/85726414210/jem-the-movie-tru...
and show you protest by advertise it, just break the quite and speak.
Links:
The cartoon pics of Jem taken from the amazing "IT'S SHOWTIME SYNERGY!" tumblr:
The cast link take from farrian twitter, she just like bklynbarbie, is a Jem fan that speaks her mind against all the lies in the movie:
The pic of the Chu and his co workers were taken from the the announcement video: www.youtube.com/watch?v=yzVnNVrunAE
More links to fans the trying to show the lies:
leggyone.tumblr.com/post/83910320326/jemthemovie-jem-movi...
everybodywearsamask.tumblr.com/
This is an example of how modern Jem movie could look like, I do admit that Jerrica is a bit out of her character and I don't like the fact everybody knows she is Jem. But you can see the respect to the show and it's always an amazing thing and the style is great and the whole video looks so cool: www.youtube.com/watch?v=UGKqjs3KDiw
This is another example to a person who appreciate Jem and show his dedication and respect to the show, I don't always agree with the casting choice (or with the outfits) but the music and the little comic in the video is really lovely:
www.youtube.com/watch?v=ghAdiwvvVpo
Thank you for taking the time to read it, even if you just read just some of the things it's enough for me.
IR HDR. IR converted Canon Rebel XTi. AEB +/-2 total of 6 exposures processed with Photomatix. Tokina 11-16mm 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.
en.wikipedia.org/wiki/Infrared_photography
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There's still a beauty in Greece and in being Greek. Even if these days it means reminding myself of what it was like growing up with Greek values and Greek traditions outside of Greece.
The drawing is part of a set created for Art Source Publishing illustrating what being Greek means to Greeks living abroad.
You can see the rest of the Traditionally Greek set too.
... discovering the beautiful light sunshiny days or even brightly grey days bring in our under construction living room ~ it seems that a new reading corner is getting formed step by step.
... smiles :*)
... more here ~
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SEAT Leon MK2, is a sporty and practical hatchback known for its sharp handling and good value, sharing its chassis with the Volkswagen Golf. MK2 was introduced in May 2005.
The Leon MK2 is best known for its sporty handling, good value for money, and distinctive styling. It achieved a five-star Euro NCAP safety rating.
The Leon MK2 received a facelift in July 2009; model trims were Ecomotive, S, S Copa, SE Copa, FR, FR+, FR+ Supercopa, Cupra, Cupra R.
In the end of 2012, the Leon MK2 was succeeded by the the Leon MK3.
Announced at the Munch Motor Show, the SEAT car brand and the Leon range would cease production in 2030 and would be replaced by the Cupra brand, with SEAT's role as a mainstream car maker being taken over by Cupra.
Sacrifice: an act of giving up something valued for the sake of something else regarded as more important or worthy.
People since the beginning, have been wondering what is the greatest sacrifice.
Some people would say its giving up everything for there kids for there happiness and success. Others would say its giving up there job, there money for others. But the real sacrifice must be a question of life and death.
The biggest sacrifice is giving up your life, something that you can never get back, for someone else. It is the most selfless action that exist.
Today, doing something that is for the sake of something/someone else is disappearing. Because we are so caught up with ourselves, we never think about the other 6 billion people on this planet. I personally think that this thinking is not helping anything. This is one of the reasons why war, pain, depression and ultimately death continues to exist. Because we are unwilling to help the person next to us instead of thinking of ourselves.
On another note, something very cool is happening today. I meeting with the head pro photographer for the magazine Worldwide Challenge. He has been the photographer for this magazine for over 25 years. We are going to shoot studio portraits. Im very happy for this!
Have a great Day!
Nathan
Playing with a possible layout. Not crazy about the zigzag; I'll probably try something else. Mostly Kaffe Fassett prints, but some others sprinkled in -- my main goal was to disregard color entirely, choosing multicolored prints and focusing on value alone.
Crude tanker VALUE on her way to the Shell Refinery Pier in Geelong.
Ship Type: Crude Oil Tanker
Year Built: 2011
Length x Breadth: 244 m X 42 m
Gross Tonnage: 61336 t
DeadWeight: 115984 t
Flag: Malta
IMO: 9470131
MMSI: 215137000
Quick value study sketch. I think this may become one of my next watercolors. This was a bright, sunny day and the shapes of these barns creates a scene that caught my eye immediately.
Hopefully coming soon . . .
Another interesting reuse of a vacated drugstore location by family-owned retailer Value Drugs. This one is quite obviously a former Eckerd on Long Island.
In 1998, Eckerd (owned by JCPenney) had swallowed the largest pharmacy on Long Island, Genovese Drug Stores. Genovese was a family-owned and run pharmacy chain with 141 stores in NY/NJ/CT. JCPenney continued to run the stores as Genovese for 5 years, re-bannering them as Eckerd in 2003.
This building was a former supermarket which was taken over when JCPenney relocated the existing Genovese store from a few blocks away around 2002. The standard Eckerd facade was added to the existing building and the name changed to Eckerd soon after.
The Eckerd store was converted to Rite-Aid in 2007 when Rite Aid purchased the Eckerd and Brooks chains from the Jean Coutu Group, and it closed soon after in 2009. Value Drugs opened here in 2009 and runs an extremely successful store.