#single value ND filters

[cocona]

[spellfist-3d]

Guide to that elusive “PS1-pixelated-lowpoly”(but not really)

With the videogame playing population growing up we've finally broke from pixel-art nostalgia into the broadly called "low-poly" nostalgia. On closer look this broad categorization gets further described as “PS1 pixelated textures low-poly”, which is a bit better, but still is a really broad and a pretty wrong description of this style that’s so dear to a plenty of game-playing and game making individuals these days. I’ll try to dive into some of the technicalities and examples of this style in the attempt to find it’s characteristics and some actual technical requirements to meet this style.

Let’s start with the obvious, calling it PS1 low-poly is wrong, mostly because the same games were release on Nintendo 64, Dreamcast and PC. More so, games released later can be put into the same category, plenty of NDS or PSP games fit into the same style and adhere to the same economy principles. The only real surface level thing unifying these games is the game size, that is, the games came on CDs. The advent of a DVD format really changed up how the games look, so the graphical style we’re talking about here is called CD-3D in smaller circles.

First let’s look at the games that fit the criteria would give you some information to describe the style, textures are obviously small enough to have visible pixelation (hidden by texture filtering) and models are obviously low-poly (that is around or less than 500 triangles for a character), but let’s see what doesn’t seem so obvious. Here’s Spyro and Crash, fan favorites

Both games check both points we’ve noted before, but what’s not obvious to an untrained eye is that these games both extensively use Vertex Color, the thing you’ll notice more and more in other games we’ll talk about. Vertex Color is absolutely simple, each vertex of a mesh can be assigned a RGBA value and they’re then linearly blended with other vertex colors. Notice how in Spyro the yellow and purple light is placed on places where texture is repeated, following that you can eyeball where the wireframe is and then you’ll see that the vertex color is used to simulate lighting. Crash himself is filled with Vertex Color, it’s a cheap way to avoid using textures, while having some control over the color of the thing, instead of it being a solid chunk. If you search-engine around you can also find some really fascinating notes on the development of the original Crash and the tricks they’ve pulled! The more ingenious way to use Vertex Color is to take a look at Spyro skyboxes:

Notice how the clouds are diamond-like in shape and are linearly gradiented to the next point in the wireframe.

Vertex color was used extensively and fell off with the increasing complexity of the meshes, delegated mostly to technical masking of stuff like foliage, it’s still a powerful tool for lower triangle counts.

Textures

Now, let’s talk about the textures. Pixelated textures look nice and crisp these days, at the age of 1080p being the norm, turning texture filtering really makes the games look crisp and feel right

Quake 1 is a perfect example of CD-3D style, often undeservingly forgot in discussions about this style.

But this makes us forget that the textures were often authored with texture filtering in mind. Careful step gradienting to make textures seem smoother after being filtered is a craft in itself.

Texture filtering is not bad in itself, some games look better without it these days, because of the display resolutions, but it’s still a valid tool to apply, it can help push low-res texture a bit higher and produce a softening effect make those 4 pixels into a round circle or improve a visual effect.

Of course, some games took a deliberate approach of avoiding smudged look, like Megaman Legends, for example.

Via a very deliberate texture economy and unwrapping the developers were able to produce very crisp and pixel perfect textures (slightly warped by the infamous PS1 rendering), that look absolutely astounding when you render the game in a modern resolution. Pixel-aware UV Unwrapping, is being used in most games that are considered the pinnacle of CD-3D style, this technique is so powerful, that it was used to great effect in PS2 era games, PSP games and even modern games like Guilty Gear (for a different effect though). Let’s take a closer look,

As you can see, our character is unwrapped in square pieces in such a way that a straight line on a texture will produce a straight line on a model. While Vagrant Story is an absolutely perfect in execution of this technique, it’s also used in a same way in Megaman Legends

While I couldn’t find a reliable tool that works with modern 3D modeling software to allow pixel perfect alignment, just using a UV Checker will produce great results. This method also requires some thought put into your topology before unwrapping, but it’s strong point is that you can make changes into your unwrapping and geometry easily, making little tugs won’t break the whole thing.

As you can also note, Vagrant Story textures are authored in a single atlas, while Metal Gear Solid separates this atlas into smaller chunks like this:

Allowing for easier unwrapping, since you can unwrap into the full UV space and then change the size of the texture to scale your results. The other important thing is that you probably want your characters in a T-pose when you’re unwrapping, since this allows for easier use of normal based unwrapping, considering your model would be authored with 4 to 8 sides for limbs and torso it could be box unwrapped and then tweaked for optimal results.

Silent Hill 1 used the same technique, and is also regarded as one of the best looking PS1 games.

While this is the best practice for this kind of look, it’s absolutely not required, Quake 1 used a really loose flat unwrap:

But it’s still looks bloody amazing in the end.

While the topic of using UV Unwrapping for crisper result is endless I’d also love to bring your attention to a certain Jet Set game

It also uses the same technique as Megaman Legends, but it tops it off with some cel-shading, producing crisp, stylish and iconic look.

Here’s some technicalities: Character textures are usually 256x256 for main characters, 128x128 for other characters, character usually have ~100-120 colors per full atlas. MGS breaks down the atlas into chunks so each chunks is usually 8 colors. So when authoring textures, make us of Indexed Color image mode or Save for Web.

 Now let’s move from character textures to

World textures

Universally regarded as best looking CD-3D games share the same trait, not only the characters look amazing, but the environments too. Despite hard limitations, the environments look very much affected by lighting. A lot of the times this is achieved with this one simple trick that was only improved with modern technology. That is, a lot of the lighting is baked into the textures

While this limits you on the amount of lighting scenarios or makes you produce more same-ish assets this certainly elevates the look. While nowadays baked lighting is not something that exciting, it’s also being done on a separate “layer”, so there’s no need to make a separate texture for every lighting scenario, however the resolution of a lightmap should not be higher than your texture, to not produce a cheap and uncanny effect. You still want to bake some fake lighting into your texture, which contradicts the rules of PBR, but since you’re not using normal maps, rules of PBR should not apply in the same way.

The other important tool to use, is the one we’ve talked about, that is, Vertex Color. Vagrant Story uses to great effect, while it’s environment textures don’t have lights baked, they use vertex color extensively to create a variety of moods and lighting scenarios.

Using best texturing practice, Vertex Color and making sure your lightmaps are matching resolution to your textures will produce the best results.

Now let’s talk why I don’t advise using a lot of normal maps for this style. The simple answer, it’s somewhat difficult to produce a normal map that will work with an unfiltered look, but it’s somewhat manageable to do it if you’re using texture filtering. The issue arises when you try make your normal maps unfiltered, this will make your result either a mess or a bunch of visual noise. If you’re trying to make sharp pixel-perfect textures and then will try to make normal maps to match you’ll get very harsh results. The only way I can see it working somewhat nice is to make a normal map that’s less detailed and then use it texture filtered to give some volume to your objects, while not trying to chase pixel details.

The suggested method is to do a rough sculpt -> bake it down -> use ambient occlusion and other masks to author a texture map with more details. Then use a detailed texture and less detailed normal map for optimal result.

 As a closing thought, let’s talk about the

Meshes

A lot of the time you can visually trace the wireframe of things, this makes it easy to pin the style as “low-poly”, but how lowpoly it really is?

Characters in Vagrant story average 500 triangles per character. Characters in MGS go from ~450 for minor characters to ~650 for major characters. So 500-600 triangles is a solid baseline for a main character in a third person game.

This limit brings out some great restriction for every aspiring 3D artist. You have to know your limb deformation techniques (search-engine “Limb Topology” and browse around the polycount wiki to find some great examples and deformation ready examples), but as you might’ve noticed, some games decided to not wrestle with skinning and deformation and straight up detached the limbs or even made their characters out of chunks. This is perfectly noticebla if you compare the OG Grim Fandango and the remaster, where they botched the shading and you can see the bits in all of their glory.

Another easy example is Metal Gear Solid. Characters arms are separate from their torse, but this is covered with other geometry or they’re of the same color and shaded closely.

This way of doing it was used in a number of other games and allows for unlimited range of motion, while not looking weird.

It’s easy to fall into the trap of adding more triangles and loops, but if you’ll follow the rule of “if it doesn’t add to the silhouette, you don’t need it”, you’ll keep to the style. Zoom out often and if an edge doesn’t add anything from the distance and is not critical to the deformation in a character, you really don’t need it.

These principles are so solid they’ve been alive for decades, in fact, one of the best looking PSP games “Peace Walker” sticks to these principles very closely, for example this soldier is just around 1500 triangles

Spilling out of the “low-poly” territory it’s still made with the same economy principles used in CD-3D style, making use of every bit of texture and every triangle available.

Here’s another game of Metal Gear variety, Metal Gear Solid 2 is a direct heir to the design philosophy of MGS1, perfectly pixel-aligned unwraps allow for crisp detailing:

Another honorable mention goes to Animal Crossing on Nintendo 64

Animal Crossing combines meshes and sprites masterfully, uses pixel-aligned UV unwraps and makes up their own trick when creating landscape.

By unwrapping the repeating texture on each triangle of a hexagon they create these smooth patches of sand without the need for big or unique textures. It’s only 64x64 and 9 colors, but the mileage you can get out of it is insane!

 And this honestly sums up the CD-3D style perfectly, it’s the style governed by economy. There’s no need for insane textures for sharp lines, and millions of colors for smooth gradients. Now of course all of these are not rules, but recommendations, you can certainly bend the rules and improve on some aspects. Before we go, here’s some more pictures to get you inspired.

[obliviouskind]

The Golden Rule

Please consult this post, in regards to the general structure of Galactic.

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Within Galactic’s formation, the education (indoctrination) in regards to religious themes is a high priority, high maintenance branch that sits as the base of the entire organization. Without it, nothing would be the same; and so it should come as no surprise that it relies heavily on the belief of its followers to be able to continue on. Should the Grunts, the Executives and Admins, lose faith? Then Galactic is doomed to fail. Preventative measures, however, are implemented at every level of analyzes to avoid an internal collapse. --Trust is the fundamental value upheld within the dynamic between Grunts, as well as Executive Commanders and Agents. Not a single cog within the machinery can fall lose, without all the others fairing worse because of it. From the young days of integration, the trust between a Grunt and his or hers Preacher is vital. Rarely does a single Preacher hold a class of more than ten – as it directly could impact the one-on-one flourishing devotion between Gods gospel and those that should follow it. Though it is an activity done in groups, there are secondary motives to keeping the classes small.

To better be able to single out those that eventually would come to be Preachers of their own. As though it’s a sick self-fulfilling prophesy – become a Preacher, so that more Preachers may be created.

Of course, this is not the only reason – as there are branches outside of the aforementioned that need to be catered to and attended. Small groups allows the Grunts to find their own strength within the given material, thus creating a higher moral within themselves to do their later assigned work in the best possible way imaginable. Cargo, Hunting and the Military force are the station most often sought; though it’s not impossible for higher ranks to be reached right away should the circumstances present themselves. --Most designated Preachers, never entered the Squaddie rank – thus never left the ‘academy’ of Galactic. They are typically regarded as better of that way, as field work easily could hinder continued blossoming devotion.

(Most Executive Commanders serving under Jupiter were, however, once Preachers.)

Aside from trust, the system of truth is a laying foundation within all ranks. Lies are not permitted, though it’s never stated as such – for who will truly be able to discern a lie from truth, when there’s nothing to prove either proposition? Trust comes heavily into play in the decision-making of this kind. --As well as the cooperation of every party within each given rank.

There are reports written every. single. day. by every member of the organization – no matter if you’re a Grunt, an Admin, or Commander. Reports of misbehavior of any kind, be they minor or significant – in private or in public, should be written down both by the party that did the act, as well as those around them. Should the offender not write out his or her report of his or hers misconduct, but its brought forth by another member of the unit – then a breach of trust and truth has been made. Should the offender in the act come forth, but not those around them; then they are as responsible for the act as the offender. Because they would not report it, and thus they are willing to withhold information from their peers and superiors.

Should the offence be small enough (a white lie, in regards to things that may not hinder the further development and goal of the organization) then it is expected of the person in questions superior to order a confession to be made at the next available opportunity. Preachers are called forth to deal with the delinquency and often, not much else has to be done after that. --One mistake, is an honest mistake. More often than not, people don’t make more than just that.

That is, of course, when the confession is truthful in regards to the evidence against them. Should the offender lie, then punishment is certain – no second chances permitted. No matter your previous station, be it Squaddie or Executive Commander, you will return to the status of Grunt so that your behavior may be corrected (or so that you’re out of the way, should you not wish to follow the set demands any longer).

In extreme cases, often with higher ranking officials, you may be set towards correctional facilities upheld by religious leaders of every sort. There, you will be put straight and reminded of your purpose within the organization; and it’s expected that you come out of this experience more devoted than ever before. Should you fail? Well, you have years of lectures ahead of you to keep you busy – and these facilities certainly need tending once in a while.

This system of ‘confessional reports’ do, however, have a fault within them. At times members become so devoted, they report acts that are useless or permitted – but that simply rubbed the reporter the wrong way. This often befall Executive Administrators, as well as their higher station; Administrators. High pressure work within the field creates short fuses that then develop into mistrust towards those they are meant to protect and have protect them. --It is, however, not something that tends to overtake them completely should they be corrected efficiently enough. Most of these officials stay in their station and handle them well despite this hiccup.

Agents are a group within the organization, which constantly shifts in numbers. They are the most trusted, as well as the most mistrusted by their peers. Reports within this field is still very much mandatory, no matter if they work alone or with a partner. Any misconduct is misconduct that can fracture Galactic’s foundation, and so no one gets a free pass. However, given that these Agents answer to no one but The Leader himself – it’s easy to slip by and keep things hidden, as that is their trained profession. To gather information, and disappear – to stay in the shadows and take on identities other than their own.

This gives them a life outside of the organization, and extended outside contact very well could shake even the strongest of devotees into doubt.

Agents, because of this, has the highest mortality rate in relation to their number; most Agents lifespan rarely surpass a year. --How they die depend on the situation. They very well could succumb to their work.

. . . Or they get dealt with by the organization itself. At some point, trust no longer is an option; while Galactic’s secrets are required to be kept just that. Secret.

Executive Commanders under Jupiter’s hand are the assigned workers that filter through the reports of the day every day. To find those that don’t matter and attend to those that do. Should a concern be delicate enough, then Jupiter is consulted – thus, at times, The Leader gets to know of his workers errors. This is another factor within the trust and truth foundation, as Grunts all the way up to Executive Commanders dread the judgement of the messiah himself.

No one wishes to be struck by Gods hand, however humane in form it currently may be.

By this rule, Galactic stands as very, very unshakable. At least, within the short term – but that is exactly as Cyrus intended it to be.

[karingottschalk]

Breakthrough Photography, makers of my preferred UV, circular polarizer, fixed neutral density filters due to their high optical quality, excellent materials, innovative design and top-quality manufacturing, has come up with yet another breakthrough innovation, a magnetic filter system consisting of magnetic adapter rings, magnetic wheel, X100 Holder for square and rectangular filters, magnetic filters in a range of types, densities and flavours, all of which is complemented by the company’s brilliantly designed and made knurled brass step-up rings. 

Breakthrough Photography Magnetic Adapter and Magnetic Dark CPL Filter

While other camera accessories makers already have products linking the word “magnetic” with the word “filter” on the market, Breakthrough Photography has attached the two in a way that nobody else has, creating a system potentially attractive to moviemakers and photographers especially if working on location in challenging conditions.

Xume, formerly an independent camera accessories company before selling itself to Manfrotto, was the first magnetic filter system I encountered through Australian director/director of photography Paul Leeming of Leeming LUT Pro who relies on them for his narrative feature and event documentary cinematography work while I came across H&Y Filters while researching for this article but their systems work differently from Breakthrough’s.

Breakthrough Photography’s Magnetic Filter system appears much better suited to my own needs as a one-person, self-funded, documentary moviemaker working in challenging conditions on location and I already know the Breakthrough Photography brand and its products, and recommend them without hesitation.

At the moment Breakthrough Photography is offering a range of magnetic filters and its Magnetic Adapter, with a Magnetic Wheel being released soon partially to tackle wide-angle lens filter vignetting that has been demonstrated by early users of the system.

I am looking forward to learning and seeing more about the Magnetic Filter system and am seriously considering investing in it for my own work, though I would very much like to see Breakthrough Photography expand its ND filter densities to fill the gaps in its current 3-stop, 6-stop, 10-stop and 15-stop range.

Breakthrough Photography Magnetic Filter system

Breakthrough Photography Magnetic Wheel and Magnetic Filter

Breakthrough Photography Magnetic Dark CPL (circular polarizer), 3-stop

Breakthrough Photography Magnetic Adapter and Magnetic Filter in action.

Breakthrough Photography Magnetic Wheel and Magnetic Filter

Breakthrough Photography Magnetic Wheel

Breakthrough Photography Magnetic Wheel and Magnetic CPL Filter

Breakthrough Photography X100 Holder for square and rectangular filters, which works with the Magnetic Filter system.

Links

Breakthrough Photography – Magnetic Filter – video

Breakthrough Photography – Magnetic Filters

Nature Photography Show – Breakthrough Magnetic Polarizer – video

Nature Photography Show – Magnetic Polarizer from Breakthrough Photography

Straight Talk on Photography – Magnetic filters-Are they the future? – video

Help support ‘Untitled’

Clicking on these affiliate links and purchasing through them helps us continue our work for ‘Untitled: Stories of Creativity, Innovation, Success’.

Breakthrough Photography – B&H

H&Y Filters – B&H

Xume – B&H

Breakthrough Photography Lives Up to Its Name with Breakthrough Magnetic Filter System for Circular, Square and Rectangular Filters Breakthrough Photography, makers of my preferred UV, circular polarizer, fixed neutral density filters due to their high optical 

[anandparmar291993-blog]

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[tomasorban]

THE ZODIAC: VIRGO THE VIRGIN

Date of Rulership: 23rd August-22nd September; Polarity: Negative, female; Quality: Mutable; Ruling planet: Mercury; Element: Earth; Body part: Solar plexus and bowels; Colour: Dark brown, green; Gemstone:Sardonyx; Metal: Mercury or nickel.

Up until now, the formative forces expressed by the zodiac under the signs of Aries, Taurus, Gemini, Cancer, and Leo have been orientated towards the inner realm of self-expression and self-actualization, and particular an expression that doesn’t wish to be hindered by external influences or contingencies. This all changes with Virgo, a sign whose potency derives from the ethereal element of earth and mutability. Virgos are quite like a combination of metal oxides, minerals, and organic matter otherwise known as clay. They adapt quickly to the pulling, pushing, thrashing, twisting, folding, and overturning caused by the protean elements of the environment through sharpened faculties of common sense and level-headed thinking. If Virgo were a cosmic process, it would be an accelerated version of natural selection; if it were an animal, it would be a rainforest chameleon; and if it were a person, it would more than likely be a molecular biologist. The three just mentioned things partake of the same methodology when it comes to encountering reality and the world: they all start by apportioning a state, condition, or situation into its respective subcomponents; then studying the composition of each piece, its practical purpose, its relation to the other parts, and all possible forms of interaction; and finally pondering all possible outcomes and consequences should any unforeseen mechanistic failure or breakdown in communication between the parts ensue. Moreover, the mutable energies of Virgo are meticulously practical and conscientious; they will measure, demarcate, and map out their worldview before ruffling through to weed out items of information that are superfluous, insignificant, of no intellectual or creative interest, or of no practicable use. Virgo is a focused sign and sees no value in going off on wild goose chases or intellectual tangents that are merely products of curiosity rather than data aligned into a chronological tree of final causes.

Thus Virgo is the “analyst” of the zodiac, the sentient filter that gathers, stores, retrieves, analyses and prioritizes information in a mental filing system designed to sharpen the conscious will and force the ego along its chosen path and trajectory of evolution. To arrive at this state of being, Virgo had to sift through an array of primary characteristics from preceding signs and single out the ones it wanted: from Taurus it borrowed willpower, diligence, and focus; and from Cancer it acquired the desire to mother and nurture others, especially those beings that seem helpless and in need of protection or attention. Virgo’s innate tendency towards analysis, its sedate disposition, and its agenda rendered the traits of the other three signs–Aries, Gemini, and Leo–both undesirable and incompatible, and hence it bypassed the lot without a second thought.

“You know guys and girls, I’m a bit like extra virgin olive oil,” says Virgo. “I am well aware of my own composition, texture, colour, and taste. I know my own essence, what I mix well with, and what I don’t mix with at all. I can also tell you without the slightest doubt that I’m good for you, and that I probably know what’s best for you better than you do. The endeavour that we call life is best approached from an angle that involves formulating plans and putting them into action. Throw in a bit of salt and pepper in the form of self-discipline and hard work and you have a recipe for instant success and satisfaction. It’s as simple as that. Those of you who say or do otherwise are either naïve, ill-informed, delusional, or plain stupid, and you can be certain that I’ll be giving you the “I-told-you-so” lecture somewhere down the track for taking detours onto dirt roads which lead to oblivion. We never, ever let our hearts usurp the position held by our heads–this sentiment extends to all areas of life, including family, love, sex and relationships, profession and career, finance, and so forth.    

In any case, if you’re not quite sure as to how the mechanics of this little secret works I’d be more than happy to forfeit some my own time and give you a demonstration. There’s nothing more satisfying than giving to a fellow projection of the conscious universe, a brother or sister, and you can be more than certain that God, salvation, and peace are to be found in such moral, selfless, and loving acts. I do have some insight into my own psychic makeup, and understand that my love of perfectionism, my sense of righteousness, and my “know-it-all” approach can intimidate, irritate, and anger others. This has nothing to do with conceit or being up myself but rather a love for the world and my devotion to it. Why can’t people wake up and realise what’s good for them I say? Why do they make the same mistakes, over and over, without learning from them? How can the most intellectual of earthly creatures be so incompetent and inefficient sometimes? We need to listen before we speak, prepare before we do battle, and look before we jump. If people adhered to these very simple guidelines, there’d be a hell of a lot less grief in the world!”                  

From what we can see, Virgo is obviously a reflective sign that places a colossal emphasis on education and learning. And what Virgo aptly sees in this temporal and sometimes chaotic world of change and evolution quicker than any other sign is that self-preservation is dependent upon doing things in moderation. When physical, mental or emotional energies are utilized to extremes for prolonged periods of time, the individual will manifest wear and tear that inevitably leads to burnout. The best way to avoid hitting a wall, according to Virgo, is to engage in periodic exercise, eat a nutritious diet high in protein, complex carbohydrates, fibre and coloured vegetables, and cordon off a few hours each day for solitary endeavours intended to cultivate the soul. Learning new skills and refining natural talent is way more important and meaningful to a Virgo than being a social magnet or an energy vampire. From this perspective it’s easy to see why the Virgo man or woman admires, respects and holds in the highest esteem individuals who are intellectually and academically inclined.

In neural physiology, we might align Virgo with the rational, mechanistic, and dominant scientist that lives in the left hemisphere of our brains. Like the latter, Virgo is only interested in knowledge pertaining to reality that is collected by the sense faculties and categorized through deductive reasoning. Unlike the latter though, Virgo discriminates between knowledge collected on the basis of its usefulness. If theory or knowledge cannot be applied in some concrete way to improve the present conditions of life, then there’s no point in even knowing about it. As far as Virgo is concerned, anything abstract and speculative or anything that evades human comprehension and classification is simply not worth any vested time or effort.

There are two symbols associated with Virgo the Virgin. The first is a reclining woman, an obvious allusion to the Great Mother Goddess in all her guises (i.e. the virgin, the crone, the good mother, the temptress or seductress, the whore, and so forth). She is the stellar goddess of innumerable names: for the ancient Babylonians and Assyrians she was Ishtar, the all-encompassing deity of love, war, fertility and sex; for the ancient Egyptians she found expression through the feminine triad of Nut-Hathor-Isis; for the ancient Greeks she was a triune spirit encompassing the Olympian deities Artemis, Athena, and Hestia; and for the Imperial Romans she was Ceres, the maternal goddess of agriculture, grain crops and fertility who was always depicted holding a sheaf of corn. One would have to say that the most recognized religious iconography associated with this zodiacal sign is that of the Christian Mary, the Immaculate Virgin and Queen of Heaven who brought forth the incarnation of God the Father in Jesus Christ the Son.  

In classical mythology, the stellar constellation of Virgo was inextricably linked with Astraea, the goddess of justice and innocence. According to the Hellenes, there was a time when the immortals were thriving alongside the mortals on Earth. Back then the world was largely devoid of diseases, plagues, burdens, and other conditions detrimental to general health, wellbeing and contentment. This was to change with the curiosity of Pandora, who made the tragic mistake of opening a cursed box gifted to her by the immortals themselves for the sake of testing her willpower in consort with her ability to toe the line and follow simple instructions. Save for being the source of all misfortunes for mankind, Pandora also became the reason for the gods and goddesses to desert their corporeal posts. Even Astraea, the most tolerant and patient amongst them, surrendered all hope of a swift redemption for mankind and fled to the mount of heaven when she saw that the ravages of war had escalated to a degree of barbarity that left expired mercenaries without dignity. It is said that Astraea will descend from her celestial throne to Earth again when the human psyche returns to its former Adamic state of spiritualization.

The second symbol, an astrological shorthand for the zodiacal sign, looks like the small letter ‘m’ with a curved projection linking the top and bottom parts of the third leg. As a sygil, it bears a great many resemblances to two subsequent signs, Libra and Scorpio, both of which are intensely concerned with the collective social and psychospiritual evolution of humanity. On a great many occasions we find that the uroboric loop formed by the final leg is represented as a fish, the Piscean totem. Therefore we can infer that the glyph is denoting an ethereal condition where spirit or vital essence is in the process of incarnating in the dense, lower world of physical forms.

Both symbols together recall characteristics central to the Virgo archetype–discrimination, intelligence, refinement, serenity, self-control, dedication, assiduousness, orderliness, and self-discipline.  Over and above the positive connotations linked to them, these qualities are typical by-products of highly evolved and spiritual states of consciousness mediated by Virgo’s formative energies. We can be certain that both signs place immense emphasis on ascension and specifically the ascension of the human soul because the totemic figure is often shown with a pair of angel wings. The position of Virgo on the great cosmic wheel also reveals that both signs have to make do with maternity and fertility, as well as the condition of having fulfilled all prerequisites leading up to any undertakings meant to test physical, psychological, or spiritual parameters.

[sissearchkittpu-blog]

Grand forks dating

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[scottdavenportphoto]

Haida Pro II CPL-VND 2 In 1 Filter - Review

If you are thinking of adding Haida gear to your kit, please consider using my links to Adorama or the Haida Store on Amazon. Referral purchases help support independent photography gear reviews like this. This is not a paid review. Read Scott’s Disclaimer Stuff for more.

Polarizing filters and neutral density filters are a mainstay for vloggers and landscape photographers. Variable neutral density filters offer the convenience of several ND stops in a single package. And the way variable neutral density filters work, they are in and of themselves polarizers - with one big drawback. You cannot rotate the angle of polarization in a typical VND. The Haida Pro II CPL-VND 2 In 1 filter solves that problem.

This filter packs a circular polarizer and a variable neutral density filter into a single screw-in package. It is very versatile and easy to use. My friends at Haida shared the filter with me so I could put it through its paces.

What Is The Haida Pro II CPL-VND 2 In 1 Filter?

The Haida Pro II CPL-VND 2 In 1 Filter is a circular polarizer (CPL) and a variable neutral density (VND) filter. The VND gives you a range of 3 to 7 stops of ND power. And you can rotate the CPL independently of the VND setting. The critical information:

Circular polarizer

Variable ND filter, 3 to 7 stops

Available in 67mm, 77mm, and 82mm sizes

Incredibly light, less than 50 grams

No vignetting > 17mm and no X patterns - the design of the VND prevents over-rotation

Like any screw-in filter, if you have multiple lenses of varying diameters, purchase the size that will fit your largest lens. Then use stop-down rings to adapt it to your smaller lenses.

Who Is This Filter For?

I think there are two groups of visual creatives the CPL-VND 2 In 1 filter will benefit.

Film makers & vloggers: This filter is a clear win for anyone doing vlogging or capturing B-roll for films. A vlogger does not want to fiddle with filters. Vloggers need to get the footage they need and move on. Likewise with B-roll or a secondary camera capturing behind the scenes footage. The versatility this filter offers means a faster field workflow.

Budding or casual landscape photographers: If you are a part-time landscape photographer or just starting out with landscape photography, a complete filter system with holders and slide-in glass can be a daunting purchase. This 2-in-1 filter offers a great value (see Pricing below) and covers a large portion of the filter space landscape photographers need.My 4 and 6 stop ND filters are my workhorses.

I make landscape images all the time - it’s what I do. I love my Haida M10 system and the line-up of ND filters I have. I can make any image I need in just about any lighting condition. However, my workhorse filters are my 4 stop and 6 stop NDs, plus a polarizer. The Haida CPL-VND 2 In 1 Filter easily covers that space. For a part-time landscape photographer, or are on a budget (who isn’t!), this single package gives you a lot of versatility. I would add a singular polarizer to round out a basic landscape kit, too, though. We don’t always need 3+ stops of ND power for our photos.

I’m using the Haida CPL-VND 2 In 1 for vlogging and behind-the-scenes footage. I can capture video at wider apertures like f/4, keeping my shutter speed at 1/50s for a cinematic feel, and keep the scene well-exposed.

Build Quality

The construction and build quality of the Haida Pro II CPL-VND 2 In 1 Filter is excellent. The filter is metal, an aluminum alloy. The glass is K9 optical glass with 16-layer coatings on both sides. It is waterproof, oil proof, and scratch resistant. The small lever that screws into the VND portion of the filter is also very sturdy. I pressed and pulled and tugged on it in a variety of ways and it held fast and true.

Both the CPL and VND rotate smoothly. Haida has struck a great balance of friction and fluidity. The friction is low enough that the filter rotates cleanly with little effort. Yet, once you have it in the position you want, there is enough resistance that the CPL and VND stay in place. Moving or shaking the filter or camera do not change the settings you’ve dialed in. That’s important for handheld video work, where you may be following a subject and moving your camera with some speed.

Another attention to detail is the clear markings on the VND ring. The ND stops are clearly marked - and the design of the filter prevents over-rotation. 3 stops of VND is the minimum, 7 is the maximum, and you cannot rotate the VND beyond those points. Kudos to Haida on this part of the design.

Using The Filter

When you first unbox the filter, you’ll have to screw the small lever into the VND portion of the filter. It’s very simple. Then screw the filter into your lens. Actual adjustment of the filter is very simple. Dial in the number of stops with the VND lever and rotate the polarizer as needed.

I do recommend that you adjust the VND first, then rotate the CPL. Why? Well … two reasons. First, a VND is in and of itself a polarizer. So dial in the ND stops you need first, get that set. Then, adjust the polarizer to cut glare and reflections as needed. Second, when adjusting the VND, you can slightly move the polarizer setting if you bump the lever against the 3 ND or 7 ND position.

For my behind the scenes work, I often prefer to capture at a wider aperture like f/4 or f/2.8 and keep focus on the subject (usually me). The screen captures here show how blown out the scene was without a filter. Adding the CPL-VND at the 3-stop setting helped tremendously, dialing it down to a 6-stop setting reigned the the sky. A final rotation to the polarizer took care of the glare from the wet rocks and ocean.

Image Quality

I tested this filter for video work using a Sony A6400 (crop sensor) with a 20mm prime lens (a ~34mm-ish equivalence). The image results using the filter are great. I did not encounter any obvious color casts, vignetting, or X patterns.

Pricing And Availability

The Haida Pro II CPL-VND 2 In 1 Filter will be available in late July 2022. The retail pricing is US$78 for the 67mm filter, US$92 for the 77mm, and US$109 for the 82mm. That is a very attractive price point for the features and versatility you get from this filter.

[photomattjames]

<p><h2><strong><span style="color: #f79646;">How Photography Can Be Ruined By Bad Habits</span></strong></h2></p>

Leaving The Camera At Home

Even if it's your smartphone the camera you have with you is always the best one. Not every photo you take will be of commercial value or be photography-competition material. Nevertheless, if you leave your camera at home what use is it having a DSLR with an optimum lens and huge megapixel count? Take it with you if you're being serious.

Relying On A Single Memory Card

What will come back to bite you is the temptation to be frugal when you know that it is expensive to buy lots of those little storage cards, but, when you're shooting that “money shot”– e.g. when the entire group is smiling at you, or when the light is just right– this is precisely the time that your memory card will fill up according to Murphy's Law. Simply buying more memory cards is the remedy to this.

Not Backing Up Your Photos

Another dangerous habit is filling up those memory cards only to buy another to fill up with images and so on. Precious photos will be lost if you fail to back them up or put them on a hard-drive. But, what's worse is having all your commercial photography work that, say, you've done over the past year being lost because your hard-drive fails too– the pain will be indescribable. We recommend that you store your photographs in three different locations just to be super-secure.

Chimping

Chimping is the term that decribes constantly checking your images on the LCD display of your camera. If you're at a party, or a wedding, or you're into street photography then you might want to do this and there may be nothing wrong with it per se, however, the tendency of chimping leads to an engrossment of perfectionism that will ultimately hinder you from capturing that decisive moment!

Shooting From Eye Level

Holding the camera at head-height is a tendency of amateur shutterbugs. If you want predictable results this technique will always get you those, however. Learning to “work the scene” when shooting in a location is a must. Search for fresh angles by lying on the ground or dropping to your knees, for example. Aerial perspectives are also stunning. Remember that your feet are the best tool of composition.

Failing To Consider The Background

Your subject should always be in front of a simple background and that is something that you should be looking for. For example, avoid having a telephone pole (in the distance) that appears to protrude from a person’s head. Backgrounds can be blurred by depth-of-field and narrowed, which is a technique you can employ if you have a long lens. The trick is achieving a degree of separation to isolate your subject from the clutter beyond.

Centring The Subject

Ignore the rules of composition at your peril. In blissful ignorance, most folks like to place their focal point slap band in the middle, but it is better to use the Rule of Thirds to make a photo stand out. Or, by tilting your camera at an angle you can add extra dynamic. Landscape orientation versus portrait orientation are always worth considering before you take the photo to ascertain how different types of framing will affect your shot. Even a really wide panoramic crop could alter the sense of subject in positive ways.

Making Sure The Lighting Is Right

Fair-weather photographers will be the first to say that for capturing good images strong light is necessary, and back in the older days of film this was certainly the case. Lowlight situations can make a cause for taking good photos hopeless, especially if your equipment is a digital camera that can only recognise images in strong light situations. A white haze from a cloudy sky can completely wash out a picture whereas clear, blue skies will provide better framing for your shots. However, images may even lack form and not look three-dimensional if short shadows are cast by a harsh midday sun. Human subjects may squint into the sun, or blink. Sometimes it is better to pose people in the shade when it's sunny like that because of phenomena such as the ugly “sun-dial” effect on people faces. It's all about discerning how to use light in whatever situation you're called upon to shoot your images. For example, for situations like waterfall scenes it would be mandatory to work with diffused light that is softer; landscapers should also be accustomed to working with these types of conditions. Blue skies may be great for clear light but they cannot give you that sense of foreboding that is introduced by thunderclouds overhead. Golden hour lighting will exude warmer tones and longer shadows.

Not Reading The Camera Manual

Let's say you're so eager to use your new gadget that the camera's manual stays inside the plastic bag when you put the box away after buying your new camera. Now would be the time to dig out the manual and use a highlighter pen to attack it. Looks at each function of the camera and work through the manual diligently and methodically. You may find features you didn’t know existed!

Shooting On Auto

Shooting in Automatic mode will inevitably place restrictions on you and your photos may suffer as a result; again, this could be from not reading the manual. There is a lack of consistency to producing shots on Auto and although you can obtain some great results on these amazing modern cameras it is better to take control yourself. Items like Shutter or Aperture Priority are great semi-automatic shooting modes that the professional photographer should attempt to learn to use. Once these have been mastered the next step would be to be extra brave and shoot images on Manual.

Thinking That Post-Production Can Fix Everything

There's no point being lazy. Blown-out highlights cannot be retrieved after a shot so it's much better to get the correct exposure from shooting right in-camera in the first place. When cropping, or rotating, on a computer after you may find that you lose the edges of your images if the horizon was not straight to begin with so ensuring that you have taken this into consideration is paramount. There should either be a spirit level fitted on the hot shoe or a 3x3 grid on your LCD display to help you fix this during the shooting process. ND and ND Grad filters are worth buying if you are shooting landscapes. One filter whose effects cannot be replicated using software is the Polariser. The tedious job of all is being forced to clone parts of images out in Photoshop– better to do a bit of gardening and remove those distractions from a scene while on-the-job.

Shooting Only Jpegs

There is a certain amount of compression added to JPEGs for convenience. According to the camera's presets, changes in colour, as well as the dynamic range of your photographs can be narrowed when shooting in this format and it can't be undone. The more forgiving approach would be to choose the RAW file format to shoot in. When it comes to using computer software to edit images, those images can be more easily sharpened and things like colour and correct exposure can have their latitude altered when shooting in the RAW format. Think of RAW files as digital negatives, that need processing and fine tuning.

Posting Too Many Photos

An unsuspecting public has no need to be inflicted with blurry and badly exposed photos even despite the fact that all good photographers still take poor pictures from time-to-time. Carefully select only your best images, then process these on the computer. Submitting minor variations of the same shot can be a drawback so essentially you want to display a variety of images on social media and on online galleries but these should always be limited. Think quality not quantity!

Words by Elijah James (Content Marketer).

[cameracrate]

Zenit QUARZ-M 8mm Cine Film Movie Camera, loads of accessories - VGC #S8-3019

Tested and fully working, this is in lovely condition. It comes with a huge assortment of accessories including

- Grip

- Case

- Manual

- Lens caps

- ND Filters

- Remote Release cable

- Hand crank

- Original box

Inspection report

Tested and fully working, in great working condition

Lens - clean, free of mould, dust, haze or damage

Focus - smooth, works well

Motor - runs well

Exposure - working well

Body - in good condition, some light scratching

Other features - all tested and working well.

Additional accessories included: None

  We fully inspect all our cameras to ensure they’re fully working and offer a 60 day warranty giving you plenty of time to have a play with your purchase and make sure you’re totally satisfied.

  Product specification                                                       

  Camera for standard 8mm cine film in 25 foot loading reels.

Fitted with a coated lens F: 12.5mm, f/1.9-16,

Model Jupiter 24.

Clockwork motor drive

Variable speeds 12, 16, 24 and 48 fps.

Single frame, continuous run and lock setting wheel. Hand rewind handle.

Pistol grip with provision for storing two filters.

Photocell with needle visible in viewfinder.

At 16fps lens can be set by aligning with two smaller frames (for telephoto attachments).

  UK shipping

CameraCrate.com offer free tracked shipping on all items being delivered to the UK. Due to the high value of our items, we require a signature on delivery for the vast majority of orders. Please note, that although the vast majority of items are delivered within 48-72 hours of dispatch, we’re unable to guarantee it.

We aim to dispatch orders within 24 hours of ordering (Monday-Saturday) although this can occasionally take slightly longer over bank holidays and during peak periods. If you require an item urgently, please contact us to discuss delivery options.

  Worldwide shipping

CameraCrate.com are proud to deliver worldwide. Prices and times vary depending on size and location. Import duties, taxes, and brokerage fees are not included in the product price or shipping and handling cost. These charges are the buyer’s responsibility as we are only charging the transportation fee for your order. You may check with your country’s customs office to determine if there will be additional costs.

  Returns and warranty

All our items are vigorously inspected by our team of experts before listing. Unless noted otherwise, all our items have been fully tested and are working correctly and come with a full 30 day no-quibble returns policy and 60 day warranty.

In the unlikely case that an item arrives not working correctly, please get in touch BEFORE LEAVING FEEDBACK and we’ll do our best to resolve things quickly and efficiently. 

  Model: Wind Up Quartz-M 8mm Modified Item: No Colour: Black Country/Region of Manufacture: Russian Federation Custom Bundle: Yes Product Type: Movie Weight: over 2kilos Manufacturer warranty: None Film Format: 8mm Brand: QUARZ- M Bundle Description: Case. Pistol Grip. Lens Cap. http://nemb.it/p/P0cUquLJsL/tumblr

[erossiniuk]

Dropdown list in Excel

The tutorial shows how to create an Excel drop down list depending on another cell by using new dynamic array functions.

Creating a simple dropdown list in Excel is easy. Making a cascading drop-down has always been a problem. The above linked tutorial describes four different approaches, each including a crazy number of steps, a bunch of different formulas, and a handful of limitations relating to multi-word entries, blank cells, etc.

That was the bad news. The good news is that those methods were designed for pre-dynamic versions of Excel. The introduction of dynamic arrays in Excel 365 has changed everything! With new dynamic array functions, creating a multiple dependent drop-down list is a matter of minutes, if not seconds. No tricks, no caveats, no nonsense. Only fast, straightforward and easy-to-follow solutions.

Note. This new dynamic array way of making dropdown lists only works in the latest versions of Excel 365

How to make dynamic dropdown list in Excel

This example demonstrates the general approach to creating a cascading drop down list in Excel by using the new dynamic array functions.

Supposing you have a list of fruit in column A and exporters in column B. An additional complication is that the fruit names are not grouped but scattered across the column. The goal is to put the unique fruit names in the first drop-down and depending on the user’s selection show the relevant exporters in the second drop-down.

Source data for a dependent drop down list

1. Get items for the main dropdown list

For starters, we shall extract all different fruit names from column A. This can be done by using the UNIQUE function in its simplest form – supply the fruit list for the first argument (array) and omit the remaining optional arguments as their defaults work just fine for us:

=UNIQUE(A3:A15)

The formula goes to G3, and after pressing the Enter key the results spill into the next cells automatically.

Getting the unique items for the main dropdown list

2. Create the main drop down

To make your primary drop-down list, configure an Excel Data Validation rule in this way:

Select a cell in which you want the dropdown to appear (D3 in our case).

On the Data tab, in the Data Tools group, click Data Validation.

In the Data Validation dialog box, do the following:

Under Allow, select List.

In the Source box, enter the reference to the spill range output by the UNIQUE formula. For this, type the hash tag right after the cell reference, like this: =$G$3# This is called a spill range reference, and this syntax refers to the entire range regardless of how much it expands or contracts.

Click OK to close the dialog.

Creating the main dropdown list

Your primary drop-down list is done!

The first dropdown is accomplished

3. Get items for the dependent dropdown list

To get entries for the secondary dropdown menu, we’ll filter the values in column B based on the value selected in the first dropdown. This can be done with the help of another dynamic array function called FILTER:

=FILTER(B3:B15, A3:A15=D3)

Where B3:B15 are the source data for your dependent drop down, A3:A15 are the source data for your main dropdown, and D3 is the main dropdown cell.

To make sure the formula works correctly, you can select some value in the first drop-down list and observe the results returned by FILTER. Perfect!

Getting items for the dependent dropdown list

4. Make the dependent drop down

To create the second dropdown list, configure the data validation criteria exactly as you did for the first drop down at step 2. But this time, reference the spill range returned by the FILTER function: =$H$3#

Configuring the dependent dropdown list

That’s it! Your Excel dependent dropdown list is ready for use.

A dependent dropdown list in Excel

Tips and notes:

To have the new entries included in the drop-down list automatically, format your source data as an Excel table. Or you can include a few blank cells in your formulas as demonstrated in this example.

If your original data contains any gaps, you can filter out blanks by using this solution.

To alphabetically sort a dropdown’s items, wrap your formulas in the SORT function as explained in this example.

How to create multiple dependent dropdown list in Excel

In the previous example, we made a dropdown list depending on another cell. But what if you need a multi-level hierarchy, i.e. a 3rd dropdown depending in the 2nd list, or even a 4th dropdown depending on the 3rd list. Is that possible? Yes, you can set up any number of dependent lists (a reasonable number, of course :).

For this example, we have placed states / provinces in column C, and are now looking to add a corresponding dropdown menu in G3:

Source data for a multiple dependent dropdown list

To make a multiple dependent dropdown list in Excel, this is what you need to do:

1. Set up the first drop down

The main dropdown list is created with exact the same steps as in the previous example (please see steps 1 and 2 above). The only difference is the spill range reference you enter in the Source box.

This time, the UNIQUE formula is in E8, and the main dropdown list is going to be in E3. So, you select E3, click Data Validation, and supply this reference: =$E$8#

Setting up the first drop down list

2. Configure the second drop down

As you may have noticed, now column B contains multiple occurrences of the same exporters. But you want only unique names in your dropdown list, right? To leave out all duplicate occurrences, wrap the UNIQUE function around your FILTER formula, and enter this updated formula in F8:

=UNIQUE(FILTER(B3:B15, A3:A15=E3))

Where B3:B15 are the source data for the second drop down, A3:A15 are the source data for the first dropdown, and E3 is the first dropdown cell.

After that, use the following spill range reference for the Data Validation criteria: =$F$8#

Configuring the second dropdown

3. Set up the third drop down

To gather the items for the 3rd drop down list, make use of the FILTER formula with multiple criteria. The first criterion checks the entire fruit list against the value selected in the 1st dropdown (A3:A15=E3) while the second criterion tests the list of exporters against the selection in the 2nd dropdown (B3:B15=F3). The complete formula goes to G8:

=FILTER(C3:C15, (A3:A15=E3) * (B3:B15=F3))

The last thing for you to do is to create one more Data Validation rule with this Source reference: =$G$8#

Setting up the third dropdown

Your multiple dependent dropdown list is good to go!

Multiple dependent dropdown list in Excel

How to make an expandable dropdown list in Excel

After creating a dropdown, your first concern may be as to what happens when you add new items to the source data. Will the dropdown list update automatically? If your original data is formatted as Excel table, then yes, a dynamic dropdown list discussed in the previous examples will expand automatically without any effort on your side because Excel tables are expandable by their nature.

If for some reason using an Excel table is not an option, you can make your dropdown list expandable in this way:

To include new data automatically as it is added to the source list, add a few extra cells to the arrays referenced in your formulas.

To exclude blank cells, configure the formulas to ignore empty cells until they get filled.

Keeping these two points in mind, let’s fine-tune the formulas in our data preparation table. The Data Validation rules do not require any adjustments at all.

Formula for the main dropdown

With the fruit names in A3:A15, we add 5 extra cells to the array to cater for possible new entries. Additionally, we embed the FILTER function into UNIQUE to extract unique values without blanks.

Given the above, the formula in G3 takes this shape:

=UNIQUE(FILTER(A3:A20, A3:A20<>""))

Formula for the dependent dropdown

The formula in G3 does not need much tweaking – just extend the arrays with a few more cells:

=FILTER(B3:B20, A3:A20=D3)

The result is a fully dynamic expandable dependent dropdown list:

Making an expandable dropdown list in Excel

How to sort drop down list alphabetically

Want to arrange your dropdown list alphabetically without resorting the source data? The new dynamic Excel has a special function for this too! In your data preparation table, simply wrap the SORT function around your existing formulas.

The data validation rules are configured exactly as described in the previous examples.

To sort from A to Z

Since the ascending sort order is the default option, you can just nest your existing formulas in the array argument of SORT, omitting all other arguments which are optional.

For the main dropdown (the formula in G3):

=SORT(UNIQUE(FILTER(A3:A20, A3:A20<>"")))

For the dependent dropdown (the formula in H3):

=SORT(FILTER(B3:B20, A3:A20=D3))

Done! Both drop down lists get sorted alphabetically A to Z.

Sorting a dropdown list alphabetically

To sort from Z to A

To sort in descending order, you need to set the 3rd argument (sort_order) of the SORT function to -1.

For the main dropdown (the formula in G3):

=SORT(UNIQUE(FILTER(A3:A20, A3:A20<>"")), 1, -1)

For the dependent dropdown (the formula in H3):

=SORT(FILTER(B3:B20, A3:A20=D3), 1, -1)

This will sort both the data in the preparation table and the items in the dropdown lists from Z to A:

Sorting a dropdown list descending

That’s how to create dynamic dropdown list in Excel with the help of the new dynamic array functions. Unlike the traditional methods, this approach works perfectly for single and multi-word entries and takes care of any blank cells. Thank you for reading and hope to see you on our blog next week!

Practice workbook for download

Excel dependent drop down list (.xlsx file)

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Evaluation of Antagonistic Effect of Trichoderma Harzianum against Fusarium oxysporum causal Agent of White Yam (Dioscorearotundata poir) Tuber Rot

Abstract

Studies were carried out on biological control using dual culture method to assess the potential of Trichoderma harzianum against Fusarium oxysporum, the causal agent of tuber dry rot disease of white yam in vitro. The rot-causing fungal organism was isolated from rotted yam tubers collected from different storage barns in Zaki-Biam, Benue State of Nigeria. The biological agent (T harzianum) was introduced at three different times (same time with the pathogen, 2 days before the inoculation of the pathogen and 2days after the inoculation of the pathogen). The experiment was conducted in the Advanced Plant Pathology Laboratory, Federal University of Agriculture, Makurdi, Nigeria. The plates were incubated for 192 hours and measurements of mycelial radial growths were done at 24 hours intervals beginning from 72hour. The result of the in vitro interactions showed that the highest percentage growth inhibition of mycelia of the pathogen (77.99%) was recorded when T. harzianum was introduced two days before the inoculation of F. oxysporum, followed by introduction of T. harzianum same time with F. oxysporum (45.69%) and the least percentage growth inhibition (13.72%) was recorded when the antagonist was introduced two days after inoculation of the pathogen. In all the treatments, T. harzianum was able to significantly (P<0.05) inhibits the growth of F. oxysporum throughout the period of incubation. T. harzianum was observed to be effective in reducing the mycelial growth of F. oxysporum in culture in all the treatments and therefore showed the potential for biological control of the pathogen. Minimum inhibition concentration recorded showed that the effectiveness levels of T. harzianum were slightly effective to effective across treatments. It is therefore concluded that the antagonistic potentials of T. harzianum could be used as a good biological control agent of yam tuber rot caused by F. oxysporum.

Keywords:   Rot; In vitro; T. harzianum; Antagonistic; F. oxysporum; Yam; Inhibition

Abbreviations:   PDA: Potato Dextrose Agar; PGI: Percent Growth Inhibition; MIC: Minimum Inhibition Concentration; CRD: Completely Randomized Design; LSD: Least Significance Difference

    Introduction

Yam (Discorea) is a major staple food crop in West Africa, where it provides food for over 60 million people [1,2] estimated that the world production of yams is around 20 million tons per year. In spite of the high volume of yam production, rotting of yam in storage continue unabated. Fungal organisms commonly involved in yam rots includes: Aspergillus niger, Botryodiplodia theobromae, Fusarium solani, Fusarium oxysporum, Penicillium, Rhizopus stolonifer and Mucor [3-5]. Losses due to post-harvest rot significantly affect farmers' and traders' income, food security and seed yams stored for planting. Studies conducted by Okigbo RN [6] indicated that between 20 and 39.5% of stored tubers may be lost to rot organisms in storage. The use of synthetic chemicals such as sodium orthiophenylphenate, mancozeb and borax has been found to reduce storage rot in yam [4,7]. However, biological control is generally favoured as a method of plant disease management [8,9].This is because it is selective in action, produces no side effect and cost less. Resistance to biological control is rare and biological control agents are self- propagating and self-perpetuating [6]. The aim of this research was to study the antagonistic activities of a bio agent, T. harzianum introduced at different times in vitro to control Fusarium oxysporum, the causal agent of dry rot of yam tubers.

    Materials and Methods

The study area

The experiment was conducted at the Advanced Plant Pathology Laboratory, Federal University of Agriculture, Makurdi, Nigeria.

Source of T. harzianum isolate

The biological control agent (T. harzianum) was obtained from yam Pathology Unit of University of Ibadan, Oyo State, Nigeria. Stock cultures of the isolate were maintained on slants of acidified Potato Dextrose Agar (PDA) in McCartney bottles for subsequent studies.

Collection of disease yam tubers

Rotten yam tubers of white yam varieties (Dioscorea rotundata) showing various diseased symptoms of dry rots were obtained from yam farmers from various storage barns in Zaki- Biam, Ukum local government area of Benue State, Nigeria which lies between longitudes 9° 25' and 9° 28'E, and latitude 7° 32' and 7° 35'N respectively The rotten yam tubers were packaged in sterile polyethylene bags. The tubers were protected using wire mesh to prevent rodent attack [10]. Potato Dextrose Agar (PDA) was the medium used. Test fungus for this study was F. oxysporum.

Isolation and identification of F. oxysporum

F. oxysporum was isolated from naturally infected yam tubers. Small sizes of approximately 2x2mm were cut out with sterile scalpel from yam tubers infected with rot at inter-phase between the healthy and rotted portions of the tubers. The cut tissues were soaked in 5% sodium hypochlorite for 2minutes for surface sterilization and then rinsed in four successive changes of sterile distilled water as reported by Ritchie B [11]. The infected tissues were later picked onto sterile filter paper using a sterile forceps and then wrapped with filter paper for 2-3minutes. The dried infected tissues were placed on several prepared sterile plates of acidified Potato Dextrose Agar (PDA) and the plates were incu-bated at ambient room temperature (30±5 °C) for 192 hours. The different fungi that grew from infected tissues were sub-cultured on separate sterile acidified PDA plates and incubated to obtain pure cultures of pathogens. Macroscopic and microscopic examination and morphological characteristics and identification were made and compared with already established authorities [12,13].

Antagonistic potential of T. harzianum against F. oxysporum in vitro

The assay for antagonism was performed on Potato Dextrose Agar (PDA) on Petri dishes by the dual culture method [14]. The mycelial plugs (5mm diameter) of 5 day old fungal antagonist and pathogen were placed on the same dish 6cm from each other. Isolate of test fungal antagonist was plated same time with pathogen, two days before the inoculation of the pathogen and two days after the inoculation of the pathogen. Paired cultures were incubated at room temperature (30±5 °C) for 192hours. Dishes inoculated only with test pathogens served as controls. Treatments comprised times of introduction of antagonist which were replicated three times for each treatment and arranged in completely randomized design [15].

Measurement of radial mycelial growth

Measurement of mycelia radial growths of the pathogen in dual culture and in control plates were done at 24 hour interval beginning from the 72nd hour up to the 192nd hour of incubation at ambient room temperature (30 ± 5 °C). Percent Growth Inhibition (PGI) of pathogen was also calculated as described by Korsten L [16].

PGI = Percent Growth Inhibition

R = the distance (measured in mm) from the point of inoculation to the colony margin in control plate,

R1 = the distance of fungal growth from the point of inoculation to the colony margin in treated plate in the direction of the antagonist.

The percent growth inhibition was calculated and values were used in selecting the Minimum Inhibition Concentration (MIC) that will be effective in controlling F. oxysporum. Antagonist was also rated for inhibitory effects using a scale by Sangoyomi T [17]:

≤ 0% inhibition (not effective),

>0-20% inhibition (slightly effective)

>20-50% inhibition (moderately effective),

>50-<100% inhibition (effective)

100% inhibition (highly effective)

Experimental design and data analysis

The experimental design was Completely Randomized Design (CRD) with three replicates as described by Gomez KA [15]. Test of variance was calculated using Analysis of variance (ANOVA) and statistical F-tests were evaluated at P≤0.05. Differences among treatment means for each measured parameter were further separated using fishers Least Significance Difference (LSD) to determine levels of significance according to Cochran GW [18].

    Results

Isolation and identification of F. oxysporum

Fungal organisms including F. oxysporum were isolated and identified as one of the rot-causing pathogens of white yam tubers in storage in the study area. F. oxysporum was used as test pathogen in this study. Colony of F. oxysporum on PDA was moderately fast growing and produced a varying amount of aerial mycelium, initially white, and changing to peach, salmon, wine grey to purple or violet colour (Figure 1). Mycelia became thickly matted and sometimes wrinkled in older colonies. Spore masses were creamy white in colour. Macroconidia borne on short, branched conidiophores were generally abundant, hyaline, single-celled and variable, oval to kidney shaped. Macroconidia were hyaline, thin walled, only slightly curved and pointed at both ends, 3-7 septate, with a somewhat hooked apex and a foot-shaped basal cell (Figure 1).

Antagonistic potential of T. harzianum against F. oxysporum in vitro

The antagonistic potential of T. harzianum against F. Oxysporum show increased in inhibition with days of incubation in the dual culture method. The control plates that were not inoculated with T. harzianum grew much faster when compared with F. oxysporum in the dual culture plates. The dual culture plates showed initial rapid growth of F. oxysporum which terminated at the point of contact with T. harzianum (Figure 2 & 3). When T. harzianum was introduced 2 days before inoculation of the pathogen, the antagonist overgrew the pathogen and completely colonized it (Figure 4). The interaction between T. harzianum and F. oxysporum produced spores from both the antagonist and the pathogens at the point of contact when they were introduced same time. However, spores of F. oxysporum were not seen when the antagonist was introduced 2 days before inoculation of the pathogen. Chlamadosphore were observed when the antagonist was introduced two days after the inoculation of the pathogens (Figure 5).

Table 1 show that, T. harzianum assessed in this study was able to reduced mycelia growth of F. oxysporum when grown in dual culture irrespective of the time of introduction of the antagonist. The results of dual culture indicated that T. harzianum significantly (P≤0.05) inhibited the growth of F. oxysporum at varying degrees across duration of incubation (Table 1). The findings revealed that T. harzianum introduced 2days before inoculation of F. oxysporum has the highest mean percentage growth inhibition (77.99%), followed by the introduction of T. harzianum same time with the pathogen (45.69%) and the least mean percentage growth inhibition (13.72%) was recorded when the antagonist was introduced 2 days after inoculation of the pathogen (Table 1).

Means on the same column with the same superscript are not statistically significant (P≤0.05). Means on the same row (for Mean) with the same superscript are not statistically significant (P≤0.05) by time of introduction of T. harzianum. Thxpath = T.harzianum introduced same time with pathogen; Th2 dbipath = T.harzianum introduced 2 days before inoculation of pathogen; Th2daipath = T. harzianum introduced 2 days after inoculation of pathogen.

Radial mycelial growth and determination of inhibition

Figure 6 shows the radial mycelial growth of T. harzianum and F. oxysporum in dual culture and F. oxysporum in control plates for each of the treatments from 72 hours to 196 hours of incubation. The result revealed that growth of the pathogen was more rapid in the control plates than in the dual culture plates in all the treatments. It was also found that T. harzianum grew much faster than F. Oxysporum in all the treatments in dual culture there by inhibiting the growth of the fungus.

Minimum inhibition concentration recorded showed that the effectiveness levels of T. harzianum were slightly effective (introduction of T. harzianum 2days after inoculation of pathogen) to effective (introduction of T. harzianum 2 days before inoculation of pathogen) and was found to be significantly different (P≤0.05) across treatments (Table 2).

Thxpath = T.harzianum introduced same time with pathogen; Th2dbipath = T.harzianum introduced 2 days before inoculation of pathogen; Th2daipath = T. harzianum introduced 2 days after inoculation of pathogen; MIC = Minimum Inhibition Concentration (%); ≤0% inhibition (not effective); >0-20% inhibition (slightly effective); >20-50% inhibition (moderately effective); >50-x003C;100% inhibition (effective); 100% inhibition (highly effective).

    Discussion

Fungal pathogenic organisms are the major cause of yam losses in storage in major yam producing areas of Nigeria. The rot-causing pathogens reduce output and productivity of yam annually. This has always placed the demand for yam tubers above its supply [19]. This result is similar to the work of [3,20,21] who had earlier on identified this organism in rotted yam tubers at different parts of Nigeria.

T. harzianum assessed in this work was able to reduced mycelial growth of F. oxysporum when grown in dual culture irrespective of the time of introduction of the antagonist. The inoculation of the test antagonists two days before the pathogen was done because there are no bio control agents that have enough competitive ability to displace an already established pathogen. The time lapse allows adequate increase in cell concentration and subsequent colonization by antagonist before the arrival of the pathogen [22]. The results of the dual culture showed that T. harzianum inhibited the growth of the target organisms through its ability to grow much faster than the pathogenic fungi thus competing efficiently for space and nutrients. Starvation was the most common cause of death for F. oxysporum, so that competition for limiting nutrients resulted in biological control of the test pathogen. This finding is similar to the work of [9,23]. Antagonists may also affect growth of pathogen either through antibiosis or mycoparasitism [24]. It was observed microscopically that the interaction region between F. oxysporum with T. harzianum showed mycelia of T. harzianum grew on the surface of the pathogen and later penetrated the cell walls directly without formation of appresorium structures. It also prevented the formation of both micro and macro conidia of the test fungus when the antagonist was introduced 2 days before inoculation of the pathogen. The pathogen mycelial then disintegrated suggesting enzyme action. This result agreed with the work done by Mokhtar H et al. [2 5] who reported the inhibition of the growth and spore formation of F. acuminatum by 66.66% using T. harzianum in vitro. Research conducted by Lorito M et al. [26] demonstrated possible role of chitinolytic and/or glucanases enzymes in bio-control by Trichoderma. They showed that the enzymes function by breaking down the polysaccharides, chitin, and glucans that are responsible for the rigidity of fungal cell walls, thereby destroying cell wall integrity limiting the growth of the pathogen.

Microscopic observation also showed that the antagonist, T. harzianum prevented the formation of spores of the test pathogen. It was observed in the study that a clear zone of interaction was formed in all T. harzianum and F. oxysporum interactions except in the interaction between T.harzianum and F. oxysporum; where T. harzianum was introduced 2 days before inoculation of F. Oxysporum where T. harzianum over grew the pathogen in the dual culture plates. The zones of inhibition produced might be due to the production of antifungal metabolites by the test antagonist as reported by Adejumo TO et al. [27].

Studies conducted by Ekefan EJ et al. [28] showed that T. harzianum isolates suppressed the growth of Colletotrichumcapsici eventually overgrowing it within seven days. Report by Ekefan EJ et al. [29] demonstrated that the Trichoderma isolates have a strong antagonism against wilt diseases caused by Fusarium sp, invitro, on potato dextrose agar medium, when growth was decreased by 88%, 86% and 80% for Trichoderma harzianum, T. hamatum and T. viride respectively. According to [30] the antagonism in vitro of Trichoderma harzianum against Fusarium oxysporium showed an inhibition on the pathogenic fungus growth with a ratio more than 65%, moreover the volatile metabolism substances of the antagonism reduced the pathogenic fungus growth by 63% compared with controls.

The inoculation of the test antagonists two days before the pathogen was done because there are no bio control agents that have enough competitive ability to displace an already established pathogen. The time lapse allows adequate increase in cell concentration and subsequent colonization by antagonist before the arrival of the pathogen [22].

Minimum Inhibition Concentration (MIC) showed that the introduction of T. harzianum 2 days before the inoculation of F. oxysporum was more effective in controlling the pathogen compared with the introduction of the antagonist same time with the pathogen as well as the introduction of the antagonist 2 days after inoculation of the fungus [31,32]. Introduction of T. harzianum 2 days before inoculation of F. oxysporum was therefore considered more effective in controlling the pathogenic fungus in vitro [33].

    Conclusion

The study found out the antagonistic potentials of T. harzianum as good biological control agent of yam tuber rot caused by F. oxysporum. The study also revealed that the best time for the introduction of bio-agent is before the arrival of the pathogen. This is because the introduction of the antagonist 2days before inoculation of F. Oxysporum in vitro gave the highest inhibition of the mycelial growth of the pathogen.

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News Shooter: SLR Magic Circular Fixed ND Filters Review - COMMENTARY

News Shooter: SLR Magic Circular Fixed ND Filters Review – COMMENTARY

http://www.newsshooter.com/2017/10/26/slr-magic-circular-nd-filters/ “The most common option for shooters using still photography lenses on digital cameras that don’t have in-built ND is to use a variable ND filter, but often this can lead to compromises in image quality. Using fixed ND filters often results in better overall image quality, but it does come at the cost of convenience….”…

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DOWNLOAD MD300 SONY DRIVER

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The one question we, as well as every photo/video related site, get is “What Camera Should I Buy?” I’ve spent a lot of time figuring out how to answer that question but maybe the best approach is to walk through how I decided to buy our new camera.

VIDEO

Now I knew that I needed to make the transition to 4K (yeah, I know I’m a little late to the game). Although I still plan on delivering 1080 for most projects for the foreseeable future, there are just a lot of advantages to 4K acquisition that cannot be denied.

About a year ago I decided to rent a Sony AR7 II. I had heard so much about these second generation Sony cameras and wanted to get a feel for the different brand as I was still shooting on my trusty Canon 5D Mk II. Well I figured out that if I rented the camera on Tuesday before Thanksgiving, I would only be charged for 2 days rental even though I wouldn’t have to return the camera till the following Monday (6 days).

One of the photos from my Sony AR7 mk II photoshoot

Although I mainly used it to shoot stills, this was my first foray into shooting 4K motion picture (outside of a GoPro or something like that). I liked the 4K imagery but frankly I just wasn’t too impressed with the way the camera felt in my hands. As a photo camera it was okay but for video I prefer a lot more tactile control on the camera itself – instead of having everything buried in a menu.

A few months past (and now we’re in March) and I got a call to shoot thank you video (a greenscreen documentary) honoring a patron of a regional playhouse. I had been doing a lot of greenscreen documentaries, renting a Blackmagic Pocket Camera as a second close up camera to my BMCC which captured the master shot. For this project, why not just rent a single camera that could shoot 4K and get my master and closeup just by reframing the shot in post?

I went to LensProToGo.com for my rental – I found that not only did they have the best selection of video cameras – they also had a great deal going on at the time. Now this is long before they became a sponsor of ours. Since I had always been partial to Sony, I started with the FS5 – and got for a very reasonable price and shipped directly to my office.

I completed the project with the FS5 and was really impressed by the beast. The FS5 when stripped completely down is incredibly tiny while still having a terrific feel to it. To me this kind of modular design is a pretty important thing. There are some rare times where I may want to deck out a camera and, but there are probably even more times when I just want everything really nice and compact. Another grand slam for the FS5 was it’s variable ND filter – you could actually adjust the strength of the ND filter smoothly up and down. That was some next level wizard stuff right there!

But… and he’s what I just didn’t like about the FS5… the 4K codec was brutal on my computer. It bogged down Premiere so much I really had to master in 1080 to get decent playback. It wasn’t that my computer was that outdated, it was just a very difficult codec to deal with.

A few more months pass (now we’re in July) and I get a call for another greenscreen documentary, this time on a research center for Alzheimer’s – time to try out another camera: the Blackmagic Ursa Mini Pro.

The Ursa Mini Pro felt like Blackmagic at least moving in the right direction in terms of the feel of their cameras. I hate the button layout on the Cinema Camera and frankly wasn’t impressed with the layout on the Ursa when I looked at it at NAB. But the Ursa Mini Pro finally looked a real “big boy camera”.

Again I order it from LensProToGo. It arrived, as all their cameras do, in a hard Pelican case and really well shipped. On the whole the Ursa Mini Pro is an impressive camera – Since I was shooting hours of footage I opted for shooting ProRes Proxy to conserve space (worked just fine for greenscreen as talking heads had very little movement), the files played perfectly fine on my computer. I also really like the ability to shoot all kinds of flavors of ProRes… even overshooting to 4.6K but I wasn’t really able to do much with that as I didn’t rent CFast cards to save on the rental.

But… the dang thing was a tank. LIke literally a tank. Where as the Sony FS5 felt nimble like a roadster, the Ursa Mini felt like driving a school bus.  It was just too heavy. I couldn’t imagine putting it on a gimbal or jib. Even the viewfinder was stiff – it took a bit of muscle just to pry it open.

Almost a week after we wrapped on the the Alzheimer shoot, I get another call to do a greenscreen piece for an Autism Center. The Canon C200 had just come out I ordered the last on that LensProToGo had in stock.

Like the Sony, the Canon C200 had a great tactile feel. It wasn’t as small and nimble as the FS5 but it was still a good modular design. I’m still a bit confused with how the viewfinder is suppose to close when in storage (actually I think you’re suppose to pop off the assembly).

Now I’ll be honest, when I first saw the footage on my laptop as I was transferring files off the card I was a bit underwhelmed. Something didn’t quite look right. It wasn’t bad, maybe something weird with the saturation… but something trivial enough that I thought could be fixed in post.

When I got the files on my main editing machine and started to key out the green, I shocked to find that the quality of the images was AMAZING. What jumped out immediate was the skin tone – after apply just a minimal amount of Red Giant Cosmo, the skin tone had a warmth and softness that just felt right. That C200 did something special – I don’t know exactly what, but everybody’s skin looked absolutely amazing.

The other two MAJOR bonus points for the C200 was the 4K MP4 format it recorded to was robust, played well with my computer, and wasn’t a total space hog (good for documentary work) and the you had the option for a

Unfortunately the Canon C200 was also the most expensive camera that I ended up testing. Months went by until I was just browsing the prices of these cameras and saw that Canon was offering a Financing deal that let me pay it off over 3 years. Well now it suddenly made financial sense for me and I pulled the trigger.

Axel the Rabbit approves

If you are looking to buy or upgrade your camera – you really need utilize a site like LensProToGo.com to do your homework and test the cameras you want to buy first (They became a sponsor after I had rented all these cameras and paid for them out of my own pocket – or at least out of my budgets for these greenscreen documentaries).

I think people can get overly obsessed with spec sheets and camera reviews. As someone that has done camera reviews I can tell you they have a bit of value in determining the “gotcha’s” of a particular camera system but the footage from them is mostly bunk. The shots you see in a camera review aren’t a testimony to the camera but rather to talents of the photographer themselves. I’ve also stayed far away from the toxic camera flame wars – especially in regards to Canon (so much hate…)

The most important thing to determining if a camera is a fit FOR YOU is to rent on and try it out on a PROJECT. Not just a series of tests that don’t reflect your workflow – but put it through the paces on an actual project. And don’t be afraid to take your time. I started this process of camera testing 8 months ago, it’s okay to take your time.

Now I know that the cameras might be cost prohibitive to many of my readers. But LensProToGo does rent a wide variety of camera bodies where you’ll find something that fits your budget. And if you’re doing industrials, you can always work these rentals into your projects. 

And of course, they don’t just carry camera bodies, you can rent lenses, lighting, and all manner of accessories.

Ultimately using LensProToGo gives you flexibility and options. Need a second camera? Rent one. Got a big client and need the best camera money can buy… well don’t buy… rent one! (here’s a secret – big Hollywood movies don’t buy cameras – they rent them!)

When LensProToGo came onboard as a sponsor, I was ecstatic. I would have written this post with or without their sponsorship. Please take a look at their service as a thanks for supporting the kind of content we create here.

I came up in my career with the notion that I couldn’t rent gear because I wasn’t close enough to a rental facility to make it work. But with the freedom and flexibility that a service like LensProToGo offers, well anything really is possible.

via FilmmakerIQ.com

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