Atmospheric Optics Learning Module
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Enhanced Total Internal Reflection Using Low-Index Nanolattice Materials
Letter Vol. 42, No. 20 / October 15 2017 / Optics Letters 4123 Enhanced total internal reflection using low-index nanolattice materials XU A. ZHANG,YI-AN CHEN,ABHIJEET BAGAL, AND CHIH-HAO CHANG* Department of Mechanical and Aerospace Engineering, North Carolina State University, Raleigh, North Carolina 27695, USA *Corresponding author: [email protected] Received 4 August 2017; revised 14 September 2017; accepted 16 September 2017; posted 19 September 2017 (Doc. ID 303972); published 9 October 2017 Low-index materials are key components in integrated Although naturally occurring materials with low refractive photonics and can enhance index contrast and improve per- indices are limited, there are significant research efforts to formance. Such materials can be constructed from porous artificially create low-index materials close to the index of materials, which generally lack mechanical strength and air. These new materials consist of porous structures through are difficult to integrate. Here we demonstrate enhanced to- various conventional fabrication techniques, such as oblique tal internal reflection (TIR) induced by integrating robust deposition [5–9], the sol-gel process [10], and chemical vapor nanolattice materials with periodic architectures between deposition [11]. Due to the air voids, the fabricated porous high-index media. The transmission measurement from structures can have effective refractive indices lower than the the multilayer stack illustrates a cutoff at about a 60° inci- solid material components. However, such materials typically dence angle, indicating an enhanced light trapping effect lack mechanical stability and can induce optical scattering be- through TIR. Light propagation in the nanolattice material cause of the random architectures of the structures. -
Moons Phases and Tides
Moon’s Phases and Tides Moon Phases Half of the Moon is always lit up by the sun. As the Moon orbits the Earth, we see different parts of the lighted area. From Earth, the lit portion we see of the moon waxes (grows) and wanes (shrinks). The revolution of the Moon around the Earth makes the Moon look as if it is changing shape in the sky The Moon passes through four major shapes during a cycle that repeats itself every 29.5 days. The phases always follow one another in the same order: New moon Waxing Crescent First quarter Waxing Gibbous Full moon Waning Gibbous Third (last) Quarter Waning Crescent • IF LIT FROM THE RIGHT, IT IS WAXING OR GROWING • IF DARKENING FROM THE RIGHT, IT IS WANING (SHRINKING) Tides • The Moon's gravitational pull on the Earth cause the seas and oceans to rise and fall in an endless cycle of low and high tides. • Much of the Earth's shoreline life depends on the tides. – Crabs, starfish, mussels, barnacles, etc. – Tides caused by the Moon • The Earth's tides are caused by the gravitational pull of the Moon. • The Earth bulges slightly both toward and away from the Moon. -As the Earth rotates daily, the bulges move across the Earth. • The moon pulls strongly on the water on the side of Earth closest to the moon, causing the water to bulge. • It also pulls less strongly on Earth and on the water on the far side of Earth, which results in tides. What causes tides? • Tides are the rise and fall of ocean water. -
Colors of the Rainbow 105
©2011 by Connie Bergstein Dow. Published by Redleaf Press, www.redleafpress.org. Unauthorized reproduction or distribution of these pages is strictly prohibited. Colors of the Rainbow 105 This activity is an extended movement study based on the theme of color. It will take about an hour to an hour and a half, including the time it takes to help the children make ribbon bangles. If you expand it into a presentation, plan to add about an extra half hour to hang the large sheet of paper on which you write the children’s suggestions in the opening section of the lesson, hang the paper plate rainbows, place the bangle props, get your music set up, and have the children in their spots ready to begin the dance. What You Need ` a large space ` “Catsup” instrumental (disc 1, track 17), “Goldie Rock” instrumental (disc 2, track 23), “Care of the Earth” instrumental (disc 1, track 16), and “Shine & Brighten” instrumental (disc 2, track 37) ` a large roll of paper; red, yellow, and blue markers; the book Color Dance by Ann Jonas; pipe cleaners and precut ten-inch strips of ribbon in many different colors; crayons of many colors; paper plates What You Do Begin with the children seated in a circle. These places will be their home spots as you introduce each new color. Say to the children: Today we are going to dance about all the colors! What is your favor- ite color? Why is it your favorite color? How does thinking about that color make you feel? First let’s talk about red. -
How the Rainbow Was Made
How the Rainbow Was Made A Creation Tale from the Ojibwe Nation retold by S. E. Schlosser One day when the earth was new, Nanabozho looked out the window of his house beside the wide waterfall and realized that all of the flowers in his meadow were exactly the same offwhite color. How boring! He decided to make a change, so he gathered up his paints and his paintbrushes and went out to the meadow. Nanabozho sat down in the tall grass and arranged his red and orange and yellow and green and blue and violet paint pots next to him. Then he began to paint the flowers in his meadow in many different colors. He painted the violets dark blue and the tiger lilies orange with brown dots. He made the roses red and pink and purple. He painted the pansies in every color combination he could think of. Then he painted every single daffodil bright yellow. Nanabozho hummed happily to himself as he worked in the brilliant daylight provided by Brother Sun. Overhead, two little bluebirds were playing games with each other. The first little bluebird would chase his friend across the meadow one way. Then they would turn around and the second bluebird would chase him back the other way. Zippityzip went the first bluebird as he raced across the sky. Zappityzing went the second bluebird as he chased him in the brilliant sunshine. Occasionally, Nanabozho would shade his eyes and look up…up into the endless blue sky to watch the two little birds playing. -
Esoteric Theories of Color
chapter 18 Esoteric Theories of Color Joscelyn Godwin As with Divine truths so also with colours, we see them as they appear to be, not as they really are. j. stuart bogg1 Although color, like music, is both a science and an art, color theory has al- ways been at a disadvantage vis-à-vis the companion discipline of Harmonics. The latter rests on empirical and mathematical principles, exemplified by the legendary experiments of Pythagoras, which have given rise to the rich vein of musica speculativa that runs parallel to the Western esoteric tradition. Color, lacking harmony’s mathematical anchor and its link to perception (e.g., that the purest perceived interval, the octave, derives from the simplest proportion of 1:2; the perfect fifth from 2:3, and so on), is a fluctuating field, even in its major landmarks such as the primary colors. Its definitions rely not on number but on words, whose translation of the eye’s experience is at best imprecise and at worst contradictory. A second problem is the abstraction of colors from the things colored. To separate them and develop an independent color vocabulary did not come naturally to the ancients, though scholars resist the idea that they didn’t see colors as we do.2 Homer’s “wine-dark sea” and the multiple hues represented by purpureus (the murex dye) are well-known instances of the problem. When Pliny, a walking dictionary and generally so finicky in his categories, comes to write of the color of the eyes, the only one he names is caesius, a word used only of eyes and presumed to mean blue, or gray.3 The classical world, so ad- vanced in harmonics, has little to offer here. -
WHITE LIGHT and COLORED LIGHT Grades K–5
WHITE LIGHT AND COLORED LIGHT grades K–5 Objective This activity offers two simple ways to demonstrate that white light is made of different colors of light mixed together. The first uses special glasses to reveal the colors that make up white light. The second involves spinning a colorful top to blend different colors into white. Together, these activities can be thought of as taking white light apart and putting it back together again. Introduction The Sun, the stars, and a light bulb are all sources of “white” light. But what is white light? What we see as white light is actually a combination of all visible colors of light mixed together. Astronomers spread starlight into a rainbow or spectrum to study the specific colors of light it contains. The colors hidden in white starlight can reveal what the star is made of and how hot it is. The tool astronomers use to spread light into a spectrum is called a spectroscope. But many things, such as glass prisms and water droplets, can also separate white light into a rainbow of colors. After it rains, there are often lots of water droplets in the air. White sunlight passing through these droplets is spread apart into its component colors, creating a rainbow. In this activity, you will view the rainbow of colors contained in white light by using a pair of “Rainbow Glasses” that separate white light into a spectrum. ! SAFETY NOTE These glasses do NOT protect your eyes from the Sun. NEVER LOOK AT THE SUN! Background Reading for Educators Light: Its Secrets Revealed, available at http://www.amnh.org/education/resources/rfl/pdf/du_x01_light.pdf Developed with the generous support of The Charles Hayden Foundation WHITE LIGHT AND COLORED LIGHT Materials Rainbow Glasses Possible white light sources: (paper glasses containing a Incandescent light bulb diffraction grating). -
Light, Color, and Atmospheric Optics
Light, Color, and Atmospheric Optics GEOL 1350: Introduction To Meteorology 1 2 • During the scattering process, no energy is gained or lost, and therefore, no temperature changes occur. • Scattering depends on the size of objects, in particular on the ratio of object’s diameter vs wavelength: 1. Rayleigh scattering (D/ < 0.03) 2. Mie scattering (0.03 ≤ D/ < 32) 3. Geometric scattering (D/ ≥ 32) 3 4 • Gas scattering: redirection of radiation by a gas molecule without a net transfer of energy of the molecules • Rayleigh scattering: absorption extinction 4 coefficient s depends on 1/ . • Molecules scatter short (blue) wavelengths preferentially over long (red) wavelengths. • The longer pathway of light through the atmosphere the more shorter wavelengths are scattered. 5 • As sunlight enters the atmosphere, the shorter visible wavelengths of violet, blue and green are scattered more by atmospheric gases than are the longer wavelengths of yellow, orange, and especially red. • The scattered waves of violet, blue, and green strike the eye from all directions. • Because our eyes are more sensitive to blue light, these waves, viewed together, produce the sensation of blue coming from all around us. 6 • Rayleigh Scattering • The selective scattering of blue light by air molecules and very small particles can make distant mountains appear blue. The blue ridge mountains in Virginia. 7 • When small particles, such as fine dust and salt, become suspended in the atmosphere, the color of the sky begins to change from blue to milky white. • These particles are large enough to scatter all wavelengths of visible light fairly evenly in all directions. -
ESSENTIALS of METEOROLOGY (7Th Ed.) GLOSSARY
ESSENTIALS OF METEOROLOGY (7th ed.) GLOSSARY Chapter 1 Aerosols Tiny suspended solid particles (dust, smoke, etc.) or liquid droplets that enter the atmosphere from either natural or human (anthropogenic) sources, such as the burning of fossil fuels. Sulfur-containing fossil fuels, such as coal, produce sulfate aerosols. Air density The ratio of the mass of a substance to the volume occupied by it. Air density is usually expressed as g/cm3 or kg/m3. Also See Density. Air pressure The pressure exerted by the mass of air above a given point, usually expressed in millibars (mb), inches of (atmospheric mercury (Hg) or in hectopascals (hPa). pressure) Atmosphere The envelope of gases that surround a planet and are held to it by the planet's gravitational attraction. The earth's atmosphere is mainly nitrogen and oxygen. Carbon dioxide (CO2) A colorless, odorless gas whose concentration is about 0.039 percent (390 ppm) in a volume of air near sea level. It is a selective absorber of infrared radiation and, consequently, it is important in the earth's atmospheric greenhouse effect. Solid CO2 is called dry ice. Climate The accumulation of daily and seasonal weather events over a long period of time. Front The transition zone between two distinct air masses. Hurricane A tropical cyclone having winds in excess of 64 knots (74 mi/hr). Ionosphere An electrified region of the upper atmosphere where fairly large concentrations of ions and free electrons exist. Lapse rate The rate at which an atmospheric variable (usually temperature) decreases with height. (See Environmental lapse rate.) Mesosphere The atmospheric layer between the stratosphere and the thermosphere. -
Atmospheric Optics
53 Atmospheric Optics Craig F. Bohren Pennsylvania State University, Department of Meteorology, University Park, Pennsylvania, USA Phone: (814) 466-6264; Fax: (814) 865-3663; e-mail: [email protected] Abstract Colors of the sky and colored displays in the sky are mostly a consequence of selective scattering by molecules or particles, absorption usually being irrelevant. Molecular scattering selective by wavelength – incident sunlight of some wavelengths being scattered more than others – but the same in any direction at all wavelengths gives rise to the blue of the sky and the red of sunsets and sunrises. Scattering by particles selective by direction – different in different directions at a given wavelength – gives rise to rainbows, coronas, iridescent clouds, the glory, sun dogs, halos, and other ice-crystal displays. The size distribution of these particles and their shapes determine what is observed, water droplets and ice crystals, for example, resulting in distinct displays. To understand the variation and color and brightness of the sky as well as the brightness of clouds requires coming to grips with multiple scattering: scatterers in an ensemble are illuminated by incident sunlight and by the scattered light from each other. The optical properties of an ensemble are not necessarily those of its individual members. Mirages are a consequence of the spatial variation of coherent scattering (refraction) by air molecules, whereas the green flash owes its existence to both coherent scattering by molecules and incoherent scattering -
A Physically-Based Night Sky Model Henrik Wann Jensen1 Fredo´ Durand2 Michael M
To appear in the SIGGRAPH conference proceedings A Physically-Based Night Sky Model Henrik Wann Jensen1 Fredo´ Durand2 Michael M. Stark3 Simon Premozeˇ 3 Julie Dorsey2 Peter Shirley3 1Stanford University 2Massachusetts Institute of Technology 3University of Utah Abstract 1 Introduction This paper presents a physically-based model of the night sky for In this paper, we present a physically-based model of the night sky realistic image synthesis. We model both the direct appearance for image synthesis, and demonstrate it in the context of a Monte of the night sky and the illumination coming from the Moon, the Carlo ray tracer. Our model includes the appearance and illumi- stars, the zodiacal light, and the atmosphere. To accurately predict nation of all significant sources of natural light in the night sky, the appearance of night scenes we use physically-based astronomi- except for rare or unpredictable phenomena such as aurora, comets, cal data, both for position and radiometry. The Moon is simulated and novas. as a geometric model illuminated by the Sun, using recently mea- The ability to render accurately the appearance of and illumi- sured elevation and albedo maps, as well as a specialized BRDF. nation from the night sky has a wide range of existing and poten- For visible stars, we include the position, magnitude, and temper- tial applications, including film, planetarium shows, drive and flight ature of the star, while for the Milky Way and other nebulae we simulators, and games. In addition, the night sky as a natural phe- use a processed photograph. Zodiacal light due to scattering in the nomenon of substantial visual interest is worthy of study simply for dust covering the solar system, galactic light, and airglow due to its intrinsic beauty. -
I'll Build You a Rainbow
I'll Build You A Rainbow Summary Experiments and demonstrations are used to help students understand that white visible light is composed of the colors of the spectrum. Time Frame 1 class periods of 45 minutes each Group Size Large Groups Materials For the Teacher: Shallow Baking Dish Water Small Mirror Modeling Clay White Paper 3 Flashlights Red, Green, and Blue Cellophane For the Student: Clear Plastic Cup Water Straw Pencil Penny Prism Flashlight White Paper Science Journal Background for Teachers People first thought rainbows were something of a supernatural explanation. The first person to realize that light contained color was a man in 1666 named Sir Isaac Newton. Newton discovered the colors when he bent light. We see a rainbow of colors when we use a prism or water to separate the colors of sunlight. Light is bent as it passes through the water or prism and the colors are spread apart into a spectrum. Each color becomes individually visible. Each color has a different wavelength with red being the longest and violet the shortest. When light passes through a prism or water, each color is bent at a different angle. Color is an essential part of our life. Everything we see has color. Colors are in the clothes we wear, in the plants and animals. The sky is blue. The snow is white. The asphalt is black. Can you imagine what our world would be like if there were no color? If you were asked to draw a rainbow, in which order would you put the colors? Young (and sometimes older) children may think each rainbow, like each person is unique. -
Introduction to Collection Surveys and Condition Reports
Fundamentals of the Conservation of Photographs SESSION: Introduction to Collection-Level Surveys and Condition Reporting INSTRUCTOR: Monique Fischer, Tram Vo SESSION OUTLINE ABSTRACT This part of the course will provide systematic approaches to writing condition reports for photographs and performing collection-level surveys. This section of the course will provide students with the information needed to perform the small scale survey during the distance mentoring phase. LEARNING OBJECTIVES As a result of this session, participants should be able to: Understand photographic materials, processes, and deterioration characteristics in order to write a proper condition report. Know how to implement a systematic preservation program and understand issues such as environmental control, disaster preparedness, storage and handling, potential hazards, reformatting and conservation treatment. Understand that performing a survey is the best way for a collection to survive. CONTENT OUTLINE Introduction with PPT presentations: “Condition Reporting of Photographs” and “Surveying Photograph Collection” Examples of different condition report forms, including electronic formats, will be examined and discussed. Samples will be provided to participants. Provide students with a basic outline of a survey report and discuss. Pros and cons of the condition report and survey form hand -outs will be discussed. “Hands-on” exercise: provide each student with an unknown photograph and have them write a complete condition report using a form that has been made available. Students will present reports in class. During the distance mentoring phase students will conduct a survey of their family photographs. The introduction given during the summer school will provide the information students need for this activity. www.getty.edu/conservation SESSION OUTLINE CONT’D.