Ozone: Twilit Skies, and (Exo-)Planet Transits
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@ SOUTHWEST FOREST SERVICE Forest and R U. S.DEPARTMENT OF AGRICULTURE P.0. BOX 245, BERKELEY, CALIFORNIA 94701 Experime Computation of times of sunrise, sunset, and twilight in or near mountainous terrain Bill 6. Ryan Times of sunrise and sunset at specific mountain- ous locations often are important influences on for- estry operations. The change of heating of slopes and terrain at sunrise and sunset affects temperature, air density, and wind. The times of the changes in heat- ing are related to the times of reversal of slope and valley flows, surfacing of strong winds aloft, and the USDA Forest Service penetration inland of the sea breeze. The times when Research NO& PSW- 322 these meteorological reactions occur must be known 1977 if we are to predict fire behavior, smolce dispersion and trajectory, fallout patterns of airborne seeding and spraying, and prescribed burn results. ICnowledge of times of different levels of illumination, such as the beginning and ending of twilight, is necessary for scheduling operations or recreational endeavors that require natural light. The times of sunrise, sunset, and twilight at any particular location depend on such factors as latitude, longitude, time of year, elevation, and heights of the surrounding terrain. Use of the tables (such as The 1 Air Almanac1) to determine times is inconvenient Ryan, Bill C. because each table is applicable to only one location. 1977. Computation of times of sunrise, sunset, and hvilight in or near mountainous tersain. USDA Different tables are needed for each location and Forest Serv. Res. Note PSW-322, 4 p. Pacific corrections must then be made to the tables to ac- Southwest Forest and Range Exp. -
Background Stratospheric Aerosol Investigations Using Multi-Color Wide-Field Measurements of the Twilight Sky
Background Stratospheric Aerosol Investigations Using Multi-Color Wide-Field Measurements of the Twilight Sky Oleg S. Ugolnikov and Igor A. Maslov Space Research Institute, Russian Academy of Sciences Profsoyuznaya st., 84/32, Moscow 117997 Russia E-mail: [email protected] First results of multi-wavelength measurements of the twilight sky background using all-sky camera with RGB-color CCD conducted in spring and summer of 2016 in central Russia (55.2°N, 37.5°E) are discussed. They show the effect of aerosol scattering at altitudes up to 35 km which significantly increases to the long-wave range (624 nm, R channel). Analysis of sky color behavior during the light period of twilight with account of ozone Chappuis absorption allows retrieving the angle dependencies of scattering on the stratospheric aerosol particles. This is used to find the parameters of lognormal size distribution: median radius about 0.08 microns and width 1.5-1.6 for stratospheric altitude range. 1. Introduction It is well-known that most part of aerosol particles in the atmosphere of Earth is distributed in its lower layer, the troposphere. However, upper atmospheric layers are not absolutely free from solid or liquid particles. As early as in late XIX century, after Krakatoa eruption in 1883, the color change of the twilight sky was noticed (Clark, 1883), the phenomenon was called "volcanic purple light" (Lee and Hernádez-Andrés, 2003). Gruner and Kleinert (1927) explained it by aerosol light scattering above the troposphere. Existence of aerosol layer in the lower stratosphere was confirmed in balloon experiments (Junge et al, 1961), and it was called Junge layer. -
How the Sun Paints the Sky the Generation of Its Colour and Luminosity Bob Fosbury European Southern Observatory and University College London
How the Sun Paints the Sky The generation of its colour and luminosity Bob Fosbury European Southern Observatory and University College London Introduction: the 19th century context — science and painting The appearance of a brilliantly clear night sky must surely have stimulated the curiosity of our earliest ancestors and provided them with the foundation upon which their descendants built the entire edifice of science. This is a conclusion that would be dramatically affirmed if any one of us were to look upwards in clear weather from a location that is not polluted by artificial light: an increasingly rare possibility now, but one that provides a welcome regeneration of the sense of wonder. What happened when our ancient ancestors gazed instead at the sky in daylight or twilight? It is difficult to gauge from written evidence as there was such variation in the language of description among different cultures (see “Sky in a bottle” by Peter Pesic. MIT Press, 2005. ISBN 0-262-16234-2). The blue colour of a cloudless sky was described in a remarkable variety of language, but the question of its cause most often remained in the realm of a superior being. Its nature did concern the Greek philosophers but they appeared to describe surfaces and objects in the language of texture rather than colour: they did not have a word for blue. It was only during the last millennium that thinkers really tried to get to grips with the problem, with Leonardo da Vinci, Isaac Newton and Johann Wolfgang von Goethe all applying themselves. It was not easy however, and no real progress was made until the mid-19th century when there was a focus of the greatest scientific minds of the time on the problem of both the colour and the what was then the novel property of polarisation of the light. -
Colorimetric Analysis of Outdoor Illumination Across Varieties of Atmospheric Conditions
Research Article Vol. 33, No. 6 / June 2016 / Journal of the Optical Society of America A 1049 Colorimetric analysis of outdoor illumination across varieties of atmospheric conditions 1, 2 3 2 2 SHAHRAM PEYVANDI, *JAVIER HERNÁNDEZ-ANDRÉS, F. J. OLMO, JUAN LUIS NIEVES, AND JAVIER ROMERO 1Department of Psychology, Rutgers, The State University of New Jersey, Newark, New Jersey 07102, USA 2Department of Optics, Sciences Faculty, University of Granada, Granada 18071, Spain 3Department of Applied Physics, Sciences Faculty, University of Granada, Granada 18071, Spain *Corresponding author: [email protected] Received 8 February 2016; revised 9 April 2016; accepted 10 April 2016; posted 11 April 2016 (Doc. ID 259168); published 10 May 2016 Solar illumination at ground level is subject to a good deal of change in spectral and colorimetric properties. With an aim of understanding the influence of atmospheric components and phases of daylight on colorimetric specifications of downward radiation, more than 5,600,000 spectral irradiance functions of daylight, sunlight, and skylight were simulated by the radiative transfer code, SBDART [Bull. Am. Meteorol. Soc. 79, 2101 (1998)], under the atmospheric conditions of clear sky without aerosol particles, clear sky with aerosol particles, and overcast sky. The interquartile range of the correlated color temperatures (CCT) for daylight indicated values from 5712 to 7757 K among the three atmospheric conditions. A minimum CCT of ∼3600 K was found for daylight when aerosol particles are present in the atmosphere. Our analysis indicated that hemispheric day- light with CCT less than 3600 K may be observed in rare conditions in which the level of aerosol is high in the atmosphere. -
RAL COLOR CHART ***** This Chart Is to Be Used As a Guide Only. Colors May Appear Slightly Different ***** Green Beige Purple V
RAL COLOR CHART ***** This Chart is to be used as a guide only. Colors May Appear Slightly Different ***** RAL 1000 Green Beige RAL 4007 Purple Violet RAL 7008 Khaki Grey RAL 4008 RAL 7009 RAL 1001 Beige Signal Violet Green Grey Tarpaulin RAL 1002 Sand Yellow RAL 4009 Pastel Violet RAL 7010 Grey RAL 1003 Signal Yellow RAL 5000 Violet Blue RAL 7011 Iron Grey RAL 1004 Golden Yellow RAL 5001 Green Blue RAL 7012 Basalt Grey Ultramarine RAL 1005 Honey Yellow RAL 5002 RAL 7013 Brown Grey Blue RAL 1006 Maize Yellow RAL 5003 Saphire Blue RAL 7015 Slate Grey Anthracite RAL 1007 Chrome Yellow RAL 5004 Black Blue RAL 7016 Grey RAL 1011 Brown Beige RAL 5005 Signal Blue RAL 7021 Black Grey RAL 1012 Lemon Yellow RAL 5007 Brillant Blue RAL 7022 Umbra Grey Concrete RAL 1013 Oyster White RAL 5008 Grey Blue RAL 7023 Grey Graphite RAL 1014 Ivory RAL 5009 Azure Blue RAL 7024 Grey Granite RAL 1015 Light Ivory RAL 5010 Gentian Blue RAL 7026 Grey RAL 1016 Sulfer Yellow RAL 5011 Steel Blue RAL 7030 Stone Grey RAL 1017 Saffron Yellow RAL 5012 Light Blue RAL 7031 Blue Grey RAL 1018 Zinc Yellow RAL 5013 Cobolt Blue RAL 7032 Pebble Grey Cement RAL 1019 Grey Beige RAL 5014 Pigieon Blue RAL 7033 Grey RAL 1020 Olive Yellow RAL 5015 Sky Blue RAL 7034 Yellow Grey RAL 1021 Rape Yellow RAL 5017 Traffic Blue RAL 7035 Light Grey Platinum RAL 1023 Traffic Yellow RAL 5018 Turquiose Blue RAL 7036 Grey RAL 1024 Ochre Yellow RAL 5019 Capri Blue RAL 7037 Dusty Grey RAL 1027 Curry RAL 5020 Ocean Blue RAL 7038 Agate Grey RAL 1028 Melon Yellow RAL 5021 Water Blue RAL 7039 Quartz Grey -
The Golden Hour Refers to the Hour Before Sunset and After Sunrise
TheThe GoldenGolden HourHour The Golden Hour refers to the hour before sunset and after sunrise. Photographers agree that some of the very best times of day to take photos are during these hours. During the Golden Hours, the atmosphere is often permeated with breathtaking light that adds ambiance and interest to any scene. There can be spectacular variations of colors and hues ranging from subtle to dramatic. Even simple subjects take on an added glow. During the Golden Hours, take photos when the opportunity presents itself because light changes quickly and then fades away. 07:14:09 a.m. 07:15:48 a.m. Photographed about 60 seconds after previous photo. The look of a scene can vary greatly when taken at different times of the day. Scene photographed midday Scene photographed early morning SampleSample GoldenGolden HourHour photosphotos Top Tips for taking photos during the Golden Hours Arrive on the scene early to take test shots and adjust camera settings. Set camera to matrix or center-weighted metering. Use small apertures for maximizing depth-of-field. Select the lowest possible ISO. Set white balance to daylight or sunny day. When lighting is low, use a tripod with either a timed shutter release (self-timer) or a shutter release cable or remote. Taking photos during the Golden Hours When photographing the sun Don't stare into the sun, or hold the camera lens towards it for a very long time. Meter for the sky but don't include the sun itself. Composition tips: The horizon line should be above or below the center of the scene. -
Best Plants for Problem Clay Soils: Perennials
Visit us on the Web: www.gardeninghelp.org Best Plants for Problem Clay Soils: Perennials Perennials Amsonia tabernaemontana — Bluestar This Missouri native features uptight clusters of light blue star-like flowers in late spring. Its narrow willow-like leaves turn yellow to peach-colored in fall. Bluestar may require staking if grown in shade and may be pruned after flowering to maintain a compact shape. It is most attractive when grown massed, in native plant gardens, shade gardens, open woodland areas, and borders. Asclepias incarnata — Swamp milkweed Despite its common name and native habitat, swamp milkweed may be grown in the average garden. Its fragrant white, pink or mauve flowers attract butterflies and mature into slender pods with silky-haired seeds. Swamp milkweed is a good choice for sunny, low or moist areas such as stream or pond banks, borders, and butterfly gardens. Baptisia australis — Blue false indigo Blue false indigo has beautiful purplish blue lupine-like flowers borne in erect spikes above the trifoliate leaves. The flowers mature into black seed pods that rattle in the breeze and are an interesting addition to dried flower arrangements. This herbaceous perennial does best in full sun as plants grown in part shade may grow taller and need support. Due to an extensive root system, blue false indigo will tolerate drought, but it should not be disturbed once it is established. Attractive in almost any situation including borders, prairies, cottage gardens, and native plant gardens, this plant is best used as a single specimen plant or in small groups. Baptisia australis var. -
Planit! User Guide
ALL-IN-ONE PLANNING APP FOR LANDSCAPE PHOTOGRAPHERS QUICK USER GUIDES The Sun and the Moon Rise and Set The Rise and Set page shows the 1 time of the sunrise, sunset, moonrise, and moonset on a day as A sunrise always happens before a The azimuth of the Sun or the well as their azimuth. Moon is shown as thick color sunset on the same day. However, on lines on the map . some days, the moonset could take place before the moonrise within the Confused about which line same day. On those days, we might 3 means what? Just look at the show either the next day’s moonset or colors of the icons and lines. the previous day’s moonrise Within the app, everything depending on the current time. In any related to the Sun is in orange. case, the left one is always moonrise Everything related to the Moon and the right one is always moonset. is in blue. Sunrise: a lighter orange Sunset: a darker orange Moonrise: a lighter blue 2 Moonset: a darker blue 4 You may see a little superscript “+1” or “1-” to some of the moonrise or moonset times. The “+1” or “1-” sign means the event happens on the next day or the previous day, respectively. Perpetual Day and Perpetual Night This is a very short day ( If further north, there is no Sometimes there is no sunrise only 2 hours) in Iceland. sunrise or sunset. or sunset for a given day. It is called the perpetual day when the Sun never sets, or perpetual night when the Sun never rises. -
Indigo: Sources, Processes and Possibilities for Bioregional Blue
Indigo: Sources, processes and possibilities for bioregional blue Nicholas Wenner and Matthew Forkin June 2017 Photo by Kalie Cassel-Feiss by Kalie Photo Table of Contents Introduction . .3 Indigo . .4 The Indigo Process . 11 Conclusions . 15 Photo by Paige Green Green by Paige Photo Indigo Overview 2 Introduction his report was completed with funding generously provided by the Jena and Michael King TFoundation as part of Fibershed’s True Blue project . It is one project of many that support Fibershed’s larger mission: “Fibershed develops regional and regenerative fiber systems on behalf of independent working producers, by expanding opportunities to implement carbon farming, forming catalytic foundations to rebuild regional manufacturing, and through connecting end-users to farms and ranches through public education.” In this report we present the various sources of blue dye and of indigo, and motivate the use of plant-based indigo in particular . We also identify the limitations of natural dyes like indigo and the need for larger cultural and systemic shifts . The ideal indigo dye production system would be a closed-loop system that moves from soil to dye to textiles and back to soil . The indigo process has three basic steps: planting, harvesting, and dye extraction . In this document, we provide an overview of each, and detailed explorations are given in two separate documents that will be available through Fibershed by late-summer 2017 . This report is based on a literature review of academic research, natural dye books, online content, and personal interviews . It benefited greatly from conversations with (and the generosity of) many skilled artisans and natural dyers, including Rowland Ricketts, Jane Palmer, and Kori Hargreaves . -
Opaque Colors
When glazing, it helps to know which colors are transparent and which are opaque. Whether a particular color is transparent or opaque has to do simply with its inherent chemical makeup. An opaque color will offer more coverage than a transparent one; that much is obvious. But it is important to remember that opacity and transparency have nothing to do with color saturation/intensity or color permanence. Both groups contain fugitive colors as well as powerful ones (red can fade quickly in UV light; blue used in even small quantities will turn the mixture strongly blue). This list is provided to help you determine which colors are best used for underpainting, which are best for glazing right out of the tube, and which may require the use of a glazing medium. Opaque Oil Colors Transparent Oil Colors Whites Whites lead white zinc white titanium white transparent white Yellows Yellows cadmium yellow (all tones) aureolin (cobalt yellow) Naples yellow Indian yellow yellow ochre transparent gold ochre jaune brilliant transparent oxide yellow nickel titanate yellow stil de grain jaune Reds and Oranges Reds and Oranges cadmium red (light and dark) alizarin crimson cadmium orange rose madder (light and dark) English red ultramarine red Mars red quinacridone red Venetian red quinacridone burnt orange terra rosa transparent red oxide vermillion naphthol scarlet anthraquinoid red perinone orange Greens Greens chromium green oxide viridian permanent green phthalo green cadmium green phthalo turquoise green gold terre verte Browns Browns burnt umber burnt sienna raw umber raw sienna Pozzuoli earth brown madder alizarin transparent brown stil de grain brun Blues Blues cerulean blue ultramarine blue cobalt blue phthalo blue manganese blue indanthrone blue indigo Violets Violets cadmium purple cobalt violet Mars violet manganese violet caput mortuum violet carbazole violet quinacridone violet rose dore’ dioxazine purple Blacks and Neutrals Blacks and Neutrals lamp black ivory black peach black Davy’s gray Mars black Paynes gray . -