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Methane pollution from the oil and gas industry is a serious problem for our climate and communities, but it's one most people aren't even aware of. That's because, while methane is a powerful pollutant, it is colorless, odorless and invisible to the naked eye.
But residents of Southern California's Porter Ranch neighborhood had their eyes opened wide to the methane problem when a natural gas storage well in nearby Aliso Canyon ruptured and created a massive leak right next to their homes – an incident detected by residents in October from the putrid smell of mercaptan, an additive utilities use to more easily detect natural gas leaks.
Natural gas is made mostly of methane, and when it is released unburned, it has a warming power over 84 times that of carbon dioxide over 20 years. So, leaking or intentionally emitting unburned natural gas – which happens not just through malfunctions but often during routine production and transportation of oil and gas – can do major climate damage. The California Air Resources Board estimates that Aliso Canyon is pumping out methane at about 50,000 kg per hour, or about 62 million standard cubic feet, per day – that's the same short-term greenhouse gas impact as the emissions from 7 million cars.
Now, on day 48 in a very uncertain timeline of the one of the largest U.S. natural gas leaks ever recorded, infrared cameras are giving us a true glimpse at the size of this man-made methane volcano. Looking at side-by-side images of Aliso Canyon taken on Dec. 9 using an everyday camera and one equipped with infrared technology reveals just how blind we are to this kind of pollution:
In the infrared photos, taken using both a color display (left) and black and white (right), the methane plume is plainly visible even though it can't be seen in the naked-eye view (middle). Shot at a distance of about one and a half miles away, these pictures show how the huge, continuous release of methane forms a massive plume that travels nearly straight up until winds push it northward.
Infrared cameras are one of the many technologies available today to find invisible leaks of methane from oil and gas equipment so they can be repaired, putting a stop to the pollution. The visuals shown here were taken by EDF using an infrared camera rented from FLIR, a manufacturer of methane mitigation equipment.
Again, another stark black and white image clearly shows the massive scale of the leak:
Color images taken with the camera show the methane plume standing out against the surrounding air by displaying infrared light refraction differences as changes in color:
These images – and video footage shot at the site – substantiate the magnitude of the leak, which is estimated to be over 1,000 feet high and several miles long. Spending only a little time comparing the pictures, one can see the methane clearly standing out from any background clouds and coming from the exact location of the well at the center of the mess.
Every day, the Aliso Canyon well is responsible for over a quarter of the state's daily methane emissions from all sources, and these images show us just what those numbers look like. The mega-leak seen here has not only caused serious health problems for nearby residents, it's also making a huge climate impact.
The Aliso Canyon incident is an example of the type of risks we face as natural gas infrastructure ages, and is a sobering reminder of how important it is to have rules that ensure gas stays in the pipeline — not in our air.
By Tim O'Connor
Originally Published on December 10, 2015
The Energy Exchange Blog is a forum where EDF's energy experts discuss how to accelerate the transition to a clean, low-carbon energy economy. Follow them on Twitter here: @EDFEnergyEX
Methane pollution from the oil and gas industry is a serious problem for our climate and communities, but it's one most people aren't even aware of. That's because, while methane is a powerful pollutant, it is colorless, odorless and invisible to the naked eye.
But residents of Southern California's Porter Ranch neighborhood had their eyes opened wide to the methane problem when a natural gas storage well in nearby Aliso Canyon ruptured and created a massive leak right next to their homes – an incident detected by residents in October from the putrid smell of mercaptan, an additive utilities use to more easily detect natural gas leaks.
Natural gas is made mostly of methane, and when it is released unburned, it has a warming power over 84 times that of carbon dioxide over 20 years. So, leaking or intentionally emitting unburned natural gas – which happens not just through malfunctions but often during routine production and transportation of oil and gas – can do major climate damage. The California Air Resources Board estimates that Aliso Canyon is pumping out methane at about 50,000 kg per hour, or about 62 million standard cubic feet, per day – that's the same short-term greenhouse gas impact as the emissions from 7 million cars.
Now, on day 48 in a very uncertain timeline of the one of the largest U.S. natural gas leaks ever recorded, infrared cameras are giving us a true glimpse at the size of this man-made methane volcano. Looking at side-by-side images of Aliso Canyon taken on Dec. 9 using an everyday camera and one equipped with infrared technology reveals just how blind we are to this kind of pollution:
In the infrared photos, taken using both a color display (left) and black and white (right), the methane plume is plainly visible even though it can't be seen in the naked-eye view (middle). Shot at a distance of about one and a half miles away, these pictures show how the huge, continuous release of methane forms a massive plume that travels nearly straight up until winds push it northward.
Infrared cameras are one of the many technologies available today to find invisible leaks of methane from oil and gas equipment so they can be repaired, putting a stop to the pollution. The visuals shown here were taken by EDF using an infrared camera rented from FLIR, a manufacturer of methane mitigation equipment.
Again, another stark black and white image clearly shows the massive scale of the leak:
Color images taken with the camera show the methane plume standing out against the surrounding air by displaying infrared light refraction differences as changes in color:
These images – and video footage shot at the site – substantiate the magnitude of the leak, which is estimated to be over 1,000 feet high and several miles long. Spending only a little time comparing the pictures, one can see the methane clearly standing out from any background clouds and coming from the exact location of the well at the center of the mess.
Every day, the Aliso Canyon well is responsible for over a quarter of the state's daily methane emissions from all sources, and these images show us just what those numbers look like. The mega-leak seen here has not only caused serious health problems for nearby residents, it's also making a huge climate impact.
The Aliso Canyon incident is an example of the type of risks we face as natural gas infrastructure ages, and is a sobering reminder of how important it is to have rules that ensure gas stays in the pipeline — not in our air.
By Tim O'Connor
Originally Published on December 10, 2015
The Energy Exchange Blog is a forum where EDF's energy experts discuss how to accelerate the transition to a clean, low-carbon energy economy. Follow them on Twitter here: @EDFEnergyEX
A renowned German landscape photographer who has held over 50 exhibitions is coming to TaupÅ with his new exhibition, The Magic of the Invisible.
Helmut Hirler photographs landscapes that include elements of light undetectable by the human eye through infrared photography. Traditional photography captures the visible light spectrum, but Hirler's different approach results in black and white images that infuse familiar landscapes with unique lighting.
Exhibitions officer Kerence Stephen said Hirler began taking photos in the 1970s and after completing a Master's degree at the Bavarian College of Photography in Munich, taught the subject for 30 years.
"Hirler's photography is really something special and unique," Ms Stephen said. "He has spent much of his life travelling and capturing different landscapes around the world, which makes it a remarkable exhibition."
Hirler now lives in Waipawa, New Zealand and has had 50 exhibitions, published 27 books and calendars and won more than 50 international awards for his work.
"I was attracted to the dramatic landscapes and the pure nature," Hirler said. "I always like to travel through almost untouched landscapes, where the beauty of nature is visible."
The exhibition opens December 19 and runs until January 25. Hirler will be opening his exhibition with a free talk in the gallery on Saturday at 11am and refreshments will be provided. The museum is open seven days from 10am to 4.30pm. Entry is free to children and TaupÅ District residents with proof of address.
The first try was way back on December 7, 2010, when a malfunction of the main engine sent the spacecraft back into orbit around the Sunday.
The object – designated 1994 JR1 – was around 3.3 billion miles (5.3 billion kilometers) from the sun at the time the photos were taken, the statement said.
"They were cautiously optimistic before the burn, but confident". "We have to wait another two days to confirm the orbit". He is is a NASA-sponsored participating scientist on the Akatsuki mission. At 23:51 UT (6:51pm ET), the spacecraft will start firing a set of four Reaction Control System thrusters.
It spins in the opposite direction of most planets. Now, five years later, engineers at the Japanese Aerospace Exploration Agency (JAXA) confirmed the wayward Akatsuki spacecraft is now officially orbiting Venus. The failure overheated and destroyed much of the main engine.
This means the craft will be thousands – rather than hundreds – of miles away from Venus.
The Akatsuki spacecraft has successfully entered the orbit of Venus.
"The orbit period is 13 days and 14 hours". If it does, observations will begin in April and they will last two years. "We can not present a precise estimate". These smaller engines are normally used to make minor adjustments to the probe's orientation, rather than major changes to its trajectory.
Mission managers put the probe into hibernation to extend its lifespan as it revolved around the sun, using the time before its next encounter with Venus this week to develop a recovery plan. While the maneuvers appear to have done no harm to the probe, it will be another couple of days before JAXA has data to tell if Akatsuki is actually in orbit. But Akatsuki's controllers do not know yet if the craft is where it needs to be.
The probe was launched in May 2010 by an H-IIA rocket.
Akatsuki, designed by JAXA's Institute of Space and Astronautical Science in Sagamihara with the aim of solving the mystery of Venus' dense, cloudy atmosphere, carries five cameras to carry out ultraviolet to infrared photography.
The crucial engine burn involved four of the spacecraft's eight thrusters.
Assuming the arrival was a total success, Akatsuki is now the only spacecraft currently operating at Venus.
If it succeeds, Akatsuki will be the first spacecraft to study Venus since the European Space Agency's Venus Express hit end-of-life and crashed into the atmosphere a year ago.
This image, illustrated before Akatsuki took its second shot at Venus, depicts a scene very much like what happened as it fired its thrusters on December 7.
Methane pollution from the oil and gas industry is a serious problem for our climate and communities, but it's one most people aren't even aware of. That's because, while methane is a powerful pollutant, it is colorless, odorless and invisible to the naked eye.
But, residents of Southern California's Porter Ranch neighborhood had their eyes opened wide to the methane problem when a natural gas storage well in nearby Aliso Canyon ruptured and created a massive leak right next to their homes – an incident detected by residents in October from the putrid smell of mercaptan, an additive utilities use to more easily detect natural gas leaks.
Natural gas is made mostly of methane, and when it is released unburned, it has a warming power over 84 times that of carbon dioxide over 20 years. So, leaking or intentionally emitting unburned natural gas – which happens not just through malfunctions but often during routine production and transportation of oil and gas – can do major climate damage. The California Air Resources Board estimates that Aliso Canyon is pumping out methane at about 50,000 kg per hour, or about 62 million standard cubic feet, per day – that's the same short-term greenhouse gas impact as the emissions from 7 million cars.
Now, on day 48 in a very uncertain timeline of the one of the largest U.S. natural gas leaks ever recorded, infrared cameras are giving us a true glimpse at the size of this man-made methane volcano. Looking at side-by-side images of Aliso Canyon taken on Dec. 9 using an everyday camera and one equipped with infrared technology reveals just how blind we are to this kind of pollution:
In the infrared photos, taken using both a color display (left) and black and white (right), the methane plume is plainly visible even thoug h it can't be seen in the naked-eye view (middle). Shot at a distance of about one and a half miles away, these pictures show how the huge, continuous release of methane forms a massive plume that travels nearly straight up until winds push it northward.
Infrared cameras are one of the many technologies available today to find invisible leaks of methane from oil and gas equipment so they can be repaired, putting a stop to the pollution. The visuals shown here were taken by EDF using an infrared camera rented from FLIR, a manufacturer of methane mitigation equipment.
Again, another stark black and white image clearly shows the massive scale of the leak:
Color images taken with the camera show the methane plume standing out against the surrounding air by displaying infrared light refraction differen ces as changes in color:
These images – and video footage shot at the site – substantiate the magnitude of the leak, which is estimated to be over 1,000 feet high and several miles long. Spending only a little time comparing the pictures, one can see the methane clearly standing out from any background clouds and coming from the exact location of the well at the center of the mess.
Every day, the Aliso Canyon well is responsible for over a quarter of the state's daily methane emissions from all sources, and these images show us just what those numbers look like. The mega-leak seen here has not only caused serious health problems for nearby residents, it's also making a huge climate impact.
The Aliso Canyon incident is an example of the type of risks we face as natural gas infrastructure ages, and is a sobering reminder of how important it is to have rules that ensure gas stays in the pipeline — not in our air.
Valley Cottage, NY -- (SBWIRE) -- 12/03/2015 -- Optical liquid level sensor is a contact-type sensor used for point level sensing of organic, corrosive and aqueous liquids that exhibits upper free surfaces. Optical liquid level sensor works on principle of optical reflection and detects change in transmission of light emitted from light emitting diode (LED) mounted on infrared LED and infrared photo detector. Based on the presence or absence of liquid, change in transmission is sensed. Optical liquid level sensors are used to detect level of liquid-liquid interfaces and liquids with suspended solids. Optical liquid level sensors are comparatively Inexpensive as compared to other liquid sensing technologies. Optical sensors can work only with in clean translucent to transparent liquids. Optical liquid level sensors finds applications in Medical Laboratory, petrochemicals, Hydraulic Reservoirs, beverage systems etc. Depending upon applications, optical liquid level sensors with diff erent specifications in terms of operating temperature range, supply voltage range, current consumption, data rates etc. are used.
Global Optical Liquid level Sensor market Segmentation
Globally, Optical Liquid level Sensor market is segmented on the basis of applications and geography. Optical Liquid level Sensor has various applications in consumer sector, Oil & liquefied petroleum gas (LPG), Automotive & Transportation, Military, defence a& aerospace, Power & Manufacturing, Healthcare, chemicals, industrial usage and others.
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Global Optical Liquid level Sensor market: Region-wise Outlook
Globally, The Optical Liquid level Sensor market is segmented on the basis of geography into seven regions ? North America, Latin America, Eastern Europe, Western Europe, Japan, Asia-Pacific and Middle East & Africa. The global Optical Liquid level Sensor mark et is expected to reflect a single digit CAGR over the forecast period. The market for optical liquid level sensors is quite niche and expected to gain more market due to its increasing applications for industrial use. At present, share contribution of North America is the highest in global Optical Liquid level Sensor market. Asia-Pacific region is expected to show dramatic adoption of Optical Liquid level Sensor for various applications in upcoming decade. Market in Latin America and Middle East & Africa are expected to show comparatively slow penetration.
Global Optical Liquid level Sensor market: Drivers
The prominent factors which drives the global optical liquid level sensor market are technological advancements in optical liquid level sensors and increasing implantation of optical liquid sensors in industrial applications. Optical liquid level sensors offers numerous advantages as compared to other liquid level sensors. Optical liquid level sensors are compact and easy to maintain. They are generally unaffected by vapours, even at High Concentrations and have no moving parts.
On other hand, optical liquid levels sensors offers fixed level detection and its limited ON/OFF functionalities, limits its use in protecting from dry runs and overflows.
Tremendous opportunities lies in developing end user specific optical liquid level sensor component, modules and system solutions.
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Global Optical Liquid level Sensor market: Key Players
The Optical Liquid level Sensor market is highly competitive market, characterised by active presence of many big players. Honeywell International, Inc. (US), Siemens AG (Germany), Gems Sensors & Control Co. (US), OMEGA Engineering Inc. (US), and SST Sensing Ltd (UK) etc. among others are some of the top players in global Optical Liquid level Sensor market. Players in Optical Liquid level Sensor market are heavily i nvesting on research and development followed by strategic collaborations with other players. The players in global optical liquid level sensor market are directing efforts to integrate optical liquid level sensor with communication system. For instance, Honeywell offers fiber optic sensors with Serial Real-time Communication System (SERCOS) liquid level sensors. Fully customized products which meet harsh environment demands are expected to drive the demand for optical liquid level sensors for wide range of emerging applications.
The report covers exhaustive analysis on:
Optical Liquid level Sensor market SegmentsOptical Liquid level Sensor market DynamicsHistorical Actual Market Size, 2012 - 2014Optical Liquid level Sensor market Size & Forecast 2015 to 2025Supply & Demand Value ChainOptical Liquid level Sensor market Current Trends/Issues/ChallengesCompetition & Companies involvedTechnologyValue ChainOptical Liquid level Sensor market Drivers and Restraints
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Regional analysis for Optical Liquid level Sensor market includes
North America
US & Canada
Latin America
Brazil, Argentina & Others
Western Europe
EU5
Nordics
Benelux
Eastern Europe
Asia Pacific
Australia and New Zealand (ANZ)
Greater China
India
ASEAN
Rest of Asia Pacific
Japan
Middle East and Africa
GCC Countries
Other Middle East
North Africa
South Africa
Other Africa
Unknown artist, "The Kiss of Judas," c. 1460 (image via HKI Institute/The Fitzwilliam Museum, Image Library)
During the Protestant Reformation in 16th century Europe, Puritan iconoclasts destroyed an estimated 97% of religious art in England during the English Civil War. Very few church paintings survived. But recently, researchers in Cambridge discovered a medieval painting depicting Judas Iscariot's betrayal of Christ, which, thanks to a bit of 16th century recycling, managed to escape the Reformation's tide of destruction. It's one of the rarest artworks of its type.
The Fitzwilliam Museum's Hamilton Kerr Institute discovered that "The Kiss of Judas," painted on a wooden panel, was turned around during the Reformation and its back surface reused. It was most likely used to list the Ten Commandments, typical of a Protestant church furnishing, the researchers speculated.
"We cannot know for sure why the painting was re-used in this fashion, perhaps it was simple economy, reversed so it could still fit the space for which it was intended," Dr. Lucy Wrapson, the art conservator who made the discovery, said in a statement. "Or perhaps it could have been deliberately saved."
The painting was purchased by the Fitzwilliam Museum in 2012 from the Church of St Mary, Grafton Regis, Northamptonshire, which didn't have the funds to fix it up. It arrived at the Fitzwilliam covered in bat feces, cobwebs, surface dirt, and discolored varnish, making it hard to see the image. The back had been covered by a plywood board. When Wrapson removed the board, infrared photography revealed the painting had been turned around and whitewashed to be repurposed.
Infrared detail of the back of The Kiss of Judas, revealing traces of faint lettering (image: Lucy Wrapson © Hamilton Kerr Institute & Fitzwilliam Museum, Cambridge)
Extensive restoration revealed that the painting, rendered in bright oil colors with gold and silver leaf details, depicts a treacherous Judas gives Jesus a kiss in a flowering patch of grass. Angry soldiers and St. Peter look on as birds circle overhead. "The painting is fascinating, and conservation and cleaning has revealed the vibrant original medieval colors," Wrapson said.
It's even more remarkable that the painting survived considering it depicts Judas. Catholics used to scratch and gouge at images of the loathed Biblical traitor, so during the Reformation, the painting would have been under threat from Catholics and Protestants alike. Only one other English painting of Judas survives from the Reformation period, located in St Michael's church in Mitcheldean, Gloucestershire.
Dendrochronologist Ian Tyers studied the growth rings in the wood panel and found it's made up of boards imported to England from the eastern Baltic from a tree felled after 1423. The painting itself dates from around 1460. It's been moved many times over the course of its strange life.
The story of the painting's survival of the Reformation's attacks on culture comes as ISIS continues to destroy historical monuments, art, and artifacts. It's been argued that Thomas Cromwell, who started and legalized the destruction of what Protestants considered idolatrous art during the Reformation, was the ISIS of his day. On the surface, in his 16th-century British garb, Cromwell hardly resembles modern-day Jihadists, but the effects of his Christian extremism were just as ugly as what we're seeing across West Asia and North African today, and did similar damage to world heritage. Thousands of European frescoes, statues, mosaics, shrines, paintings, illuminated manuscripts, and wood carvings were reduced to ashes and rubble at the hands of fundamentalist iconoclasts. The frenzied looting of the Reformation offers a reminder of how destructive extremism is never confined to one ideology or religion.
Back of The Kiss of Judas (image: Chris Titmus © Hamilton Kerr Institute & Fitzwilliam Museum, Cambridge)
"The Kiss of Judas" is on display in the Rothschild Gallery of medieval works in the Fitzwilliam Museum.
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Toronto-based cinematographer Jon Simo created this trippy portrait showing how an infrared camera sees things compared to an ordinary camera.Simo shot the photos using a modified Panasonic GH2 that had its sensor's infrared filter removed. For the portrait half on the left, Simo placed a blue infrared blocker (which filters out infrared light) in front of his lens to show what a normal DSLR would capture. The half on the right was shot with a 720nm infrared filter (which filters out visible light) to create an infrared photo.
"Infrared photography doesn't show freckles," Simo tells PetaPixel. "You end up with this beautiful porcelain-doll like effect and it's a very unique look."
This looks like it's the opposite of what happens when you photograph subjects under ultraviolet light. Last year, artist Tom Leveritt showed how freckles and other skin features that aren't seen in normal light can be captured with an ultraviolet camera setup.
Image credits: Photograph by Jon Simo and used with permission
Unknown artist, "The Kiss of Judas," c. 1460 (image via HKI Institute/The Fitzwilliam Museum, Image Library)
During the Protestant Reformation in 16th century Europe, Puritan iconoclasts destroyed an estimated 97% of religious art in England during the English Civil War. Very few church paintings survived. But recently, researchers in Cambridge discovered a medieval painting depicting Judas Iscariot's betrayal of Christ, which, thanks to a bit of 16th century recycling, managed to escape the Reformation's tide of destruction. It's one of the rarest artworks of its type.
The Fitzwilliam Museum's Hamilton Kerr Institute discovered that "The Kiss of Judas," painted on a wooden panel, was turned around during the Reformation and its back surface reused. It was most likely used to list the Ten Commandments, typical of a Protestant church furnishing, the researchers speculated.
"We cannot know for sure why the painting was re-used in this fashion, perhaps it was simple economy, reversed so it could still fit the space for which it was intended," Dr. Lucy Wrapson, the art conservator who made the discovery, said in a statement. "Or perhaps it could have been deliberately saved."
The painting was purchased by the Fitzwilliam Museum in 2012 from the Church of St Mary, Grafton Regis, Northamptonshire, which didn't have the funds to fix it up. It arrived at the Fitzwilliam covered in bat feces, cobwebs, surface dirt, and discolored varnish, making it hard to see the image. The back had been covered by a plywood board. When Wrapson removed the board, infrared photography revealed the painting had been turned around and whitewashed to be repurposed.
Infrared detail of the back of The Kiss of Judas, revealing traces of faint lettering (image: Lucy Wrapson © Hamilton Kerr Institute & Fitzwilliam Museum, Cambridge)
Extensive restoration revealed that the painting, rendered in bright oil colors with gold and silver leaf details, depicts a treacherous Judas gives Jesus a kiss in a flowering patch of grass. Angry soldiers and St. Peter look on as birds circle overhead. "The painting is fascinating, and conservation and cleaning has revealed the vibrant original medieval colors," Wrapson said.
It's even more remarkable that the painting survived considering it depicts Judas. Catholics used to scratch and gouge at images of the loathed Biblical traitor, so during the Reformation, the painting would have been under threat from Catholics and Protestants alike. Only one other English painting of Judas survives from the Reformation period, located in St Michael's church in Mitcheldean, Gloucestershire.
Dendrochronologist Ian Tyers studied the growth rings in the wood panel and found it's made up of boards imported to England from the eastern Baltic from a tree felled after 1423. The painting itself dates from around 1460. It's been moved many times over the course of its strange life.
The story of the painting's survival of the Reformation's attacks on culture comes as ISIS continues to destroy historical monuments, art, and artifacts. It's been argued that Thomas Cromwell, who started and legalized the destruction of what Protestants considered idolatrous art during the Reformation, was the ISIS of his day. On the surface, in his 16th-century British garb, Cromwell hardly resembles modern-day Jihadists, but the effects of his Christian extremism were just as ugly as what we're seeing across West Asia and North African today, and did similar damage to world heritage. Thousands of European frescoes, statues, mosaics, shrines, paintings, illuminated manuscripts, and wood carvings were reduced to ashes and rubble at the hands of fundamentalist iconoclasts. The frenzied looting of the Reformation offers a reminder of how destructive extremism is never confined to one ideology or religion.
Back of The Kiss of Judas (image: Chris Titmus © Hamilton Kerr Institute & Fitzwilliam Museum, Cambridge)
"The Kiss of Judas" is on display in the Rothschild Gallery of medieval works in the Fitzwilliam Museum.
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