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In response to recent posts about Aerochrome simulation I'm sharing a few images I've taken recently. All where shot with the my now usual filter stack for this : - Midopt TB550/660/850 (behind the lens) - Lee Flesh pink gel - GRB3 This time all images are taken on a Sony a6300. I used the internal Jpegs as working files so all the color science happen in camera. I used the "Still" gamma curve and gamut with the saturation lowered to -10. Noise reduction is abled in camera (usefull because of chroma noise that can happen very fast after the channel swap even at low isos). The channel swap is performed in Darktable with no need for any color substraction. Contrast and film grain are set in Lightroom.

A friend sent me this YouTube link for obtaining IR images with Sony cameras by the use of a magnet! I don't own a Sony camera so can't test. I do wonder what the magnet does for the other components of the camera! https://www.youtube.com/watch?v=2mug6xGPdhY

I've been using my new Aerochrome filter set a lot these past weeks. It produces really articulate colors. At a point that I don't think the original film necessarily did better. (plus digital offers a completely different dynamic range, making digital IRG photos very disctinct from the OG) Until now I haven't noticed any plant health information that isn't distinguishable with the naked eye : young leaves and show pink, older leaves red and the more they wither the more the lean toward orange brown and yellow until it is completely dry and shows grey. My guess is that aerochrome is not intended to be properly white balanced like I do with my photos, and that therefore it shows a strong dichotomy beetween cyan dead plants and pink healthy plants. It is maybe easier to tell the different beetween cyan and pink that beetween grey and green. So yes from what I've seen nothing special is reavealed, it's just way more beautiful than the usual boring green. So to recap my setup for these pictures is : filters : Midopt TB550/650/850 + Lee "Flesh Pink" + GRB3 (+Cokin diffusion filter on some shots) Camera : full spectrum Canon 1200D The channels are swapped in darktable, no IR substraction is needed. I work from sRGB jpegs. No color edits at all. I edit the contasts in Lightroom.

In the 1990s I decided to revisit IR photography using my medium format Pentax 6x7 SLR. It was a clunker of a camera weighing several pounds with an additional lens. I took it on only two or three major trips due to its size and weight. I found a new film in 120 size called Konica Infrared 750nm. It was also available in 35mm. From what I can find now it was discontinued in 2005. Here's a couple pics from a stopover in Fiji on the way to New Zealand in 1995. I was using an SLR so I decided to use a #29 dark red filter so I could frame and focus through the lens normally for bright daylight shots. Next stopover was in the Cook Islands. The red filter didn't yield the black sky I prefer with B&W IR but using opaque filters with an SLR sorta needs a tripod which I didn't have. I never did try the 35mm version of the film but I did like the better tonal range than was possible with Kodak High Speed Infrared film. (Had to change the dimensions of the fourth by one pixel to get it to upload.)???

While shooting a cucumber in UVIVF, I forgot to add the Kolari hot mirror filter. The Tiffen Haze 2E took care of the UV. Cucumbers fluoresce in both visible and IR. So what would the proper designation be? Thanks, Doug A

Finished with all the posts, feel free to read and reply Triggered by Kai's thread (https://www.ultravioletphotography.com/content/index.php?/topic/5345-uv-photography-with-a-tilt-lens/), I decided to run some tests of the T/S-lenses. For this, I used the ones I have (17, 24), plus some which I managed to borrow from a friend. I might try to find one of the longer T/S-lenses on ebay, as they are fun to work with. Fortunately, today's weather was overcast, so I managed to get the shots with about the same lighting conditions (at the end I had to hurry else it would have been lightning conditions ). Cameras: UV: Canon EOS 6D, UV b/w by Maxmax IR: Canon EOS 6D, 700nm conversion by Sven Lamprecht VIS: Mobile phone Lenses: TS-E 17mm f/4 L TS-E 24mm f/3.5 L II TS-E 45mm f/2.8 TS-E 90mm f/2.8 TS-E 135mm f/4 L Macro Extenders: Canon Extender 1.4 II Canon Extender 2.0 II I had the cameras mounted on a tripod, but with every change of lenses or filters the position will have changed just a little bit; also I did not take the photos in the order in which I present them, so don't be suprised if there is large change in the field of view. Finally, focussing was a bit tricky (will have to get some reading glasses or one of those magnifying gadgets for the camera), please don't be too harsh. This is especially true for the UV-photos with the 90mm-lens. Five of the UV-shots are takens with an additional S8612 filter, just to get rid of any IR-leaks. I've observered many times, that the S8612 is not really neccesary, escpecially with my Soligor 21mm, but decided to make sure; and indeed, there are couple of shots where there is a difference. Due to the upcoming thunderstorm, I only had time to do a full test in normal-position, plus a couple of tilted or shifted shots with two lenses in UV. I might try another test with my FS-camera in the next couple of weeks, just to see how deep the lenses go into UV, perhaps also some more fun with tilt/shift; but don't hold your breath, work is interfering a lot at the moment. Processing: UV: I only converted to b/w (ooc there is some blueish tinge to the photos) and did global adjustment of exposure, to get the histogramms close to each other. The exposure is noted in the description of the photos. IR: CLiR profile number 5, no further adjustments (there are some differences in the colour casts of the lenses) VIS: nothing If you're interested what's in the photos, it's nothing exciting, just a view in my home-town of Leonding in Austria. Chose this spot because it's not too far away from my place, and it has grass, a field, trees, some buildings, and sky in it. Export was done from lightroom, 1500px long edge, quality 100%. Now, without further ado, the first photo, VIS:

The following experiments are inspired by the findings of @Christoph Here is a series of pictures with my full spectrum canon 1200D and a stack of these three filters : Midopt Triple bandpass 550/660/850nm Lee "Flesh pink" gel GRB3 from Tangsinuo The transmission curve of the three filters combined should look something like this : Both the green and the IR spike are heavily filtered. When the TB is used alone, it seems to suffer from a very weak red transmission : without the GRB3 the red channel records as much (if not more) IR than red, requiring IR subtraction of 100%. The green spike transmission to the contrary is very powerful. To the eye (at least mine) the filter is green. I'm not sure how bright humans are able to percieve red at 660nm, its pretty deep already. I then decided to reduce the transmission of IR and green equally to give room for the red transmission. The GRB3 is used to minimise IR contamination in the RED channel and the Lee gel is used minimise green contamination in the blue/IR channel and to make it more or less match the level of output of the red channel. The blue channel stays very underexposed compared to the two others, and is brought back in white balance (pretty extreme : lower than 1900Kelvin). The exposure value with these filters ranges from 1/50s to 1/100s in sunlight at f5.6, 200iso. It's a very dark combo. All the pictures are channel swapped in Resolve from the camera Jpegs, the process is video ready. No saturation was added and zero IR substraction is needed. The fact that IR transmission is cut by 90% by the GRB3 causes some green leaks to be percieved in the Blue/IR channel. This leads to the need to apply a hue correction to the sky in order to make it look properly blue and not purple-ish. This process is simple and non-destructive. The original color of the sky after channel swap : Important notice : The channel swap causes a significant decrease in contrast and micro-contrast. For a moment I thought this was due to the Jpeg compression but it is not. Do you remember this law ? Y = 0.1 Blue + 0.6 Green + 0.3 Red It is actually crucial in understanding why the images look better unswapped. It describes how the human eye is sensitive to luminosity. The green value is far more decisive in the percieved brightness of an object than the red and blue values. A quick exemple Unswapped image : Swapped image : it looks less detailed and dynamic. The contrast beetween the bright grass and the dark trees is lessened Swapped image but with the "preserve luminance" box ticked : the image is sharper and more alive. (Click on the image and use the viewer to compare both instantaneously.) Explanation : The grass in the unswapped image appears turquoise. Let's make it cyan for the sake of clarity. The trees appear blue. Cyan RGB values are (0; 255; 255) Blue RGB values are (0; 0; 255) The minimum luminance(Y) is 0 and the maximum luminance is 1. Y(cyan grass) = 0.1x Blue(255/255) + 0.6x Green(255/255) + 0.3x Red(0/255) = 0.7 Y(blue trees) = 0.1 x B(255/255) + 0.6 x G(0/255) + 0.3 x R(0/255) = 0.1 in the unswapped image the contrast beetween the brightness of the trees and the grass is important : Y=0.1 versus Y=0.7. Now, let's do the same for the swapped image where the grass is magenta and the trees are red. Y(magenta grass) = 0.1 x B(255/255) + 0.6 x G(0/255) + 0.3 x R(255/255) = 0.4 Y(red trees) = 0.1 x B(0/255) + 0.6 x G(0/255) 0.3 x R (255/255) = 0.3 in the swapped image the contrast beetween the brightness of the trees and grass is less important than in the original image (Y=0.3 versus Y=0.4) In this chart the colors are ranked by luminance. white Y=1, yellow Y=0.9, cyan Y=0.7, green Y=0.6, magenta Y=0.4, red Y=0.3, blue Y=0.1, black Y=0 As you can see here the brightness of Magenta and Red is very close as opposed to cyan and blue that are very far apart. So that's why channel swapping sometimes makes the image lose quality. A solution to this is to tick the box "preserve luminance" in the channel mixer. It doesn't work in every situation since it makes the yellow objects turn way darker, leading to an unnatural look. Ticking the box also makes the sky way brighter. It's a tradeoff that has to be made for each individual picture. In the selection I posted above, a few have the box ticked and most don't.

Lately, I have been having much fun taking pictures of different objects in many bands and then combining the data I get in different ways. I have gotten many interesting results which I will share later but for now I would like to share images of this beautifully blue mineral I got on a flea market on saturday. The images are in full hd. As I usually do, I took several images of the rock in different bands. Three IR bands with my GRB3 method, a normal RGB image (as seen above), and a UV image with a ZWB2 and QB39. 950nm 850nm 720nm red green blue UV Out of curiosity, I also did a UV picture with the same exposure time, aperture and ISO with a 510nm longpass filter screwed on top of the two filters. I think the result was very impressive considering this was a halogen spotlight and not even the sun or some other better lightsource. This image was pushed by 8.612 stops in Darktable. Now for the more artistic interpretations. G-B-UV 950nm-850nm-720nm Aerochrome simulation 850+720+R full spectrum (850nm+950nm+720nm)-(R+G+B)-UV Edit: here's a full spectrum stack made with a hybrid method I developed using advice from both @Stefano and @Andrea B. (found in this thread): I think it looks much better. (stackmode maxium)-(stackmode median)-(stackmode minimum) stackmode range, normalized Brighter areas show where the minaral is the least consistent in its reflectance. It's very inconsistent overall.

I have been taking a lot of photos lately. This time I decided to investigate a pair of cucumbers. I illuminated them with a halogen spotlight, which emits enough light for IR, visible and UV. IR tri color is using my GRB3 method UV is taken with a ZWB2+QB39 stack (which surprisingly does not leak significantly, even with halogen) I will also be including the individual pictures if anyone else wanted to take a shot at processing them (please, do post). I'd especially appreciate if someone managed to stack all 7 channels continually. I only could stack them by binning the visible and the IR part of the spectrum together. The pictures are in full hd so if you still have a 1080p display, you might want to enlarge. visible IR tri color 850nm+720nm+red Aerochrome simulation GBUV full spectrum individual color channels: 950nm longpass ~850nm band ~720nm band red band green band blue band UV band (400-350nm) I also decided to stack the images in Photoshop and pick the range stack mode, I got interesting results. All of the bands stacked: All of the bands except for UV stacked: IR only stacked: IR only stacked (normalized): Bonus: IR stacked, normalized and processed with Topaz Denoise AI: Here's the IR range mapped on the visible image: Here's the range between 720 and 850 bands mapped on the visible image:

I spent some time yesterday taking many images of this unremarkable piece of plastic fantastic. I got these on a flea market the other day, thinking they were cool, but given that they're made from pretty cheap plastic, I might have changed my mind on that over time. Regardless, it was interesting "investigate" them. First thing I did was an IR tri color, using the GRB3 method I discovered recently. Very underwhelming, but expected. Next thing I did was I illuminated the glasses with three different IR filtered LED lightsources, a green one, a blue one and a 395nm one, I recorded the fluorescence in IR for each using my 850nm longpass filter and made a tri color image out of them afterwards. Lastly, I opened up the lens all the way to f/1.4, since I knew I would need a lot of light. I mounted the blue spotlight I was using beforehand and I did an IR tri color of the IR fluorescence under blue. I'm not exactly sure if I learned anything from this, besides maybe the fact that the orange shot glass really likes to fluoresce, but it was interesting, still. I would like to investigate more objects this way later.

As some of you might remember, I keep pet rats. Not for much longer since I am leaving my home to live in a dorm and starting my university studies. I took IR portraits of them some time ago, I will post some visible references as well. Despite what people usually think, pet rats are really smart, clean and affectionate. I routinely get licked and groomed by them since they consider me one of their own. So, very friendly animals overall. Kind of like dogs. They also clean themselves about as much as cats do. Portrayed here are Ceres and Xanthia of Lavan. They come from a certified breeder, so that's why the weird names. I also have a third girl named Apricot but I guess she was busy chewing on something somewhere when I was taking the pictures.

Continuing my studies in edible things, I decided to take pictures of some apples. visible reference infrared 850nm LED UV induced infrared fluorescence (850nm longpass, 365nm LED) UV (illuminated with 365nm LED)

The fluorescence was very weak. I had to use ISO 800 with a 30s exposure to achieve this photo. I also had a relatively strong UV LED chip's entire output focused directly onto the banana (using the built in "zoom" feature of the torch).

As you know, all cameras react differently to IR light once they are converted to full spectrum. I don't know if this is really well understood so I wanted to start a topic and have your opinion about it. I just got the Sony f828 (the camera that can be converted to full spectrum with just a magnet) and I can now compare its fullspectrum colors to my Canon. Canon 1200D, white balanced full spectrum colors, no additional filters : Sony f828, white balanced full spectrum colors, no additional filter : The pictures were white balanced and saturated from the RAW files in Lightroom. The two cameras are pretty far apart as we can see from these pictures. They are also pretty far apart in terms of technology : the first is an 18Mpx CMOS and the second is a 20 years old 8Mpx CCD one of a kind RGBE sensor. Sony camera are known to not perform as good as Canon with the IRchrome filter. The images above indeed show that this Canon camera has a predisposition to record IR in the red channel compared to the Sony. Now do more recent Sony cameras produce blue SOOC like this one does ? I don't know... Maybe the sony users here can help me from their experience.

Grabbed some pistachios after work and decided to try UVIIF. I was kind of tired and things didn't go as well as expected. First mistake was using stock Pentax 645z. Hey, it works great for UVIVF, so why not here? Because it takes a very long exposure to force enough IR thru the stock sensor filter. Will use full spectrum camera next time. There are other questions. 1. Using Nemo torch or Adaptalux UV arms Is it enough to use a 25 red or Hoya 72 filter on the camera lens? Or is the Tiffen Haze 2E also needed to block UV? 2. Does my custom IR landscape white balance work here? This isn't vital since I shoot Raw, but nice to get in the ballpark. Thanks, Doug A

This is a very informal topic, but I still find it interesting because it shows how deep learning models such as DALL-E 2 have "learned" what a NIR photo looks like (especially the Wood effect). I tried the same with UV, but only got UVIVF images, which shows how little known reflected UV photography is. These AI models are a reflection of what people know (and what is posted online). Not surprisingly, NIR photography is much more known than the UV counterpart. All images have been entirely generated using DALL-E 2. No edits were done, posted at full resolution (1024x1024). The prompt for all images is "Near infrared photography".

Recently the 50th anniversary of the release of Pink Floyd's Dark Side Of The Moon was observed. Remember that poster insert that came with the original LP? If you look at the original full size Dark Side poster you can see reddish weeds in the foreground soil which really gives away that it was color IR. (I can't post a hi-res version here because I'm sure it's still copyrighted). I realized at the time it was probably a false-color infrared photo as it looked rather similar to this one I took at White Sands NM on Ektachrome IR with a #21 orange filter in the Spring of 1973. From what I can gather on the internet the poster photo was taken by Storm Thorgerson (PF's longtime graphic arts guy) while visiting the Giza pyramids. What I have never seen is an explanation of of how the image was made. I believe it likely was taken on Kodak Ektachrome Infrared (or Infrared Aerochrome 2443) with an orange or light red filter. Does anyone have any more about this?

Castle Ennsegg is located in the Austrian city of Enns (https://de.wikipedia.org/wiki/Schloss_Ennsegg, sorry, no English Wiki for this, perhaps this will serve: https://en.wikipedia.org/wiki/Enns_(city)). Enns is famous (well, within the country) for two reasons: 1. In Roman times, it was a pretty important town, going by the name of Lauriacum (https://en.wikipedia.org/wiki/Lauriacum). 2. It was given city-rights in the year 1212, and the corresponding document is the oldes one of its kind in Austria, making Enns the oldest city of Austria. Due to its particular shape it's not as splendid as other castles, but it's very popular for weddings (as you can see in one of the photos, where the wedding party is seen waiting for the happy couple. The statue in from of it goes by the name "Der Mensch - ein Empfangender" (The Human - a recieving One). All the photos taken with Canon EOS 6D, fixed 700nm, and Canon 17-40mm lens

Hello, my name is Fedia, I'm 31 and I spend lot of time creating images through digital photography. I'm stoked to be able to join this forum since it has been an incredible ressource without which I couldn't have developed the techniques I use today. I have talked to some of the people of this forum on other platforms, used their advice and want to thank them also. I've been doing photography since 2014 when I entered film school. I got my first full spectrum camera in the fall of 2020. Even before I got into full spectrum photography, the main thread I explored was color, that I achieved through filters or extreme white balance settings on regular cameras. Even today with full spcetrum photography I don't really use softwares. I try to do everything in camera. Therefore I exclusively shoot jpegs and only work contrast in Lightroom. I never opened Photoshop. I am a big technical nerd I guess you could say, but the truth is my relation to technicity has a lot to do with my artistic sensitivity, both are entangled. I have a lot of ideas of subjects to discuss on this forum so I will post about them in the near-future. But for now I figured I will post some of my photos to introduce myself. Every one of the following photos are the result of a different filter combination with no color processing outside of the body of the camera. I will precise the camera and the filters each time. Canon 1000D full spectrum + Lee "CID to Tungsten" Canon 1000D FS + Lee "loving amber" + db850 Canon 1200D FS + DB850 + Lee "Liberty green" Canon 1000D + unknown dark pink gel Canon 1000D + Lee "steel blue" Canon 1200D FS + Lee "peacock blue" + GRB3 Canon 1200D FS + hoya 80A + hoya x(0) + cokin 089 (warm diffuser) Sigma DP1s FS Sigma DP1s FS + Hoya 80C Sigma DP1s FS + GRB3 Bonus : Sigma DP1s FS no filter. If you want to see more I have an instagram : https://www.instagram.com/fedialebarboc/?hl=fr And a tumblr : https://fedialegrill.tumblr.com/ Thanks again, Fedia.

Last Sunday it was more cloudy so I returned to Borgeby Slott and it's surroundings. I had two objectives for the trip. One, to test yet another lens for IR. Two, to get some photos of the castle in a less contrasty illumination. Down by the river there were more activity by the canoe rental shed and out on the water. I saw people on SUP-boards, in sea kayaks and canoes. Camera: FS-converted Sony A7III, Filters Zomei 850nm, on the Irix lenses rear putty mounted filter glass rounds from 37mm filter rings, else front mounted filters. Irix 15mm f/8 By the Canoe rental shed I got some interesting photos. Irix 11mm at f/6.3 Irix 11mm at f/6.3 The innermost canoe was blue while the rest were green causing the difference in brightness. I wanted these two images to be darkish to enhance the dramatic feeling of the clash between man made objects and the naturalistic surroundings of the dark river, the trees and clouds. I have always had a soft spot for wide angle lenses. The Irix 11mm is my most extreme one and I am very happy that I got it. I was inspired to buy it by Birnas photo of the Camaro wreck here on the forum. I know that you have to compose very carefully to avoid too much of the stretching effect of a rectilinear super wide angle lens. It was easier than I expected. When down by the river I took some new photos of the river alone: Irix 15mm at f/8 Canon TS-E 24mm at f/10

Yesterday I went to revisit the site for the image "Gated community", to see how it turned out in 850nm NIR in the summer: https://www.ultravioletphotography.com/content/index.php?/topic/5650-gated-community/#comment-60102 When I arrived the sky had cleared up without any clouds in sight. That led to very contrasty images with a pitch black sky, as normal for some NIR 850nm images. Maybe I could return later for less contrasty images when the sky is slightly veiled. This time I could not bring out the magic of the scene I got in November due to the light. I think I have found the same camera position ans lens settings as the first image. The low contrast of the stems of the trees in the background is not due to any hotspot. I have not seen any problems with this lens with hotspots. I think it is due to a very diffuse reflected illumination by the very IR-bright foliage around the trees. However, with the Irix 15mm lens at f/11 I got a rather nice picture of the garden and house, just beyond the gate: The elderly pair living in the house with their dog are very nice people. A bit down the road I found another interesting motif, a dam with water lilies: To me it gives a sense of calmness. Camera FS-converted Sony A7III. IR Filters Zomei 850nm. Lenses, first image Canon TS-E 24mm shifted upwards, Image 2 and 3 Irix 15/2.8 at f/10 All images can be magnified a bit by clicking on them and then click again to magnify.

Yesterday I went to revisit the site for the image "Gated community", to see how it turned out in 850nm NIR in the summer: https://www.ultravioletphotography.com/content/index.php?/topic/5650-gated-community/#comment-60102 A new topic will come later about that. On my way home I spotted an interesting shape of what I thought was a dead tree that I hoped would give some interesting images. It turned out that the tree was not completely dead and had sprouted a rather long think branch at one side. Most of the three-top and branches are dead. I think that the tree lost some big branches in a big storm many years ago. A few tens of meters down the road there is another oak of the same size that looks to be of the same age. I used my Irix 15mm lens at f/9 with a rear putty-mounted 850nm filter and on my FS-converted Sony A7III for these images. Images are reduced in size to fit the forum pages. The original 6024 x 4024 pixel images has a lot of small interesting details. The lens is very sharp

Hello. How are you. Hi. Just a video guy who dilly dabbles around in all creative things. Ended up here because I was searching for how a 550 filter works on an unmodified camera. (Need to look at what I just shot to find out, lol). I currently work in infrared with an unmodified GFX50sII and a Hoya R72. I have an eos M awaiting full spectrum modification overseas. Can't wait to see what fun things I can learn by digging around and reading through some stuff. Just the sampling I saw trying to get in was pretty wild. Enclosed are some recent shots with the 50sII and the R72. Sorry if the images are too big. How do I make them less huge?

Lately I have been exploring NIR-photography with 850nm-filters and Tilt-shift lenses. Here is a result from my very first day, some weeks ago, checking out a used Canon TS-E 90mm lens with a Zomei 850nm filter: That day the view of the glittering water felt very inspiring. I like the high contrasts in the water against the soft clouds in the sky and how smaller and smaller waves further away give a perception of depth. I am very impressed with the sharpness and low distortion of the lens. The lens aperture was set at f/5 and tilted forward, to try to place the sharp focus wedge along the water. Close by the image is not quite sharp but further away it is. The image is downsampled ca 50% to be manageable in the forum. The black spec at the horizon is not a defect, but a smallish light house 6km away, the Höllviken lighthouse. Here is a crop at 200% of the original image file: : This picture is taken in a SSE direction. Here is a picture of the same lighthouse towards ENE: https://www.pxfuel.com/en/free-photo-jduvp

In March & April of 1973 there was a "UFO flap" in Piedmont, Missouri, east of the Ozarks. I decided to take my cameras with IR film down there to see what I could capture. I had with me a Yashica rangefinder loaded with Ektachrome Infrared, an Agfa rangefinder with Kodak High Speed Infrared and another rangefinder with 2475 Recording Film (ASA 1600). I saw some strange lights but never caught them on film. I did however snap some sidelights from the journey. Here's a few of the IR photos. Caught some ducks by the roadway and captured them from out the car window on Ektachome Infrared. t Next, a Kodak High-Speed Infrared timelapse, about 10 minutes. This pic shows a rising star and a couple of planes with blinking lights flying by. Nothing unidentified here. Another pic on High Speed Infrared. A rainy day showing the motel where the famous UFO icon J. Allen Hynek was staying. This was the only motel in town and it was full so I got some valuable experience sleeping in the car and listening to Pink Floyd's recent Dark Side Of The Moon album on 8-track. My desktop back home on Ektachrome Infrared. The 'UFO detector' I took with me-- the top half of a modified metal detector that I added a Geiger counter and RF field strength meter to. (Those old White's Electronics metal detectors had a lot of empty space inside). Other artifacts in this pic-- an old Press 25 flashbulb with opaque IR coating, a red apple, a black golfing glove and a 400V Heathkit power supply.