在《水的生命！！中》文本裡，我們說了篤公劉相地陰陽︰

 

談及科學考證實驗精神︰

假使某些人研究已經得到的『結論』，我們可以『不加考證』認為它是『真』的嗎？又或者講我們可以先行認定它就是『假』的嗎？如果我們『同意』說世上『聞道有先後，術業有專攻』，難到我們就能『作出』其人其事之『虛實』的『判斷』嗎？也許我們果真得有個『□□試金石』，要不然該如何『知道』的呢？？因是之故，作者強調『科學』之『實驗精神』的重要性，然而人類的可『經驗世界』遠大於科學所涉及的內容，故於多篇文章指出『正確思維』的困難性︰

《打開黑箱！！》
《制器尚象，恆其道。》
《觀測之『觀人文』》
《知未知‧既未濟》
《基因改寫 ── Thue 改寫系統之補充《二》》
《改不改？？變不變！！》
《紙張、鉛筆和橡皮擦》

，這正是《樹莓一月記；》一文中所說的

科學的方法在於『實驗』，不斷驗證『人以為知』之事，而這個 方法要求『人人都能』與『時時都可』，是嚴格的『事實』立論的基石，故可以說是強調『他証性』；然而人世間『經驗』的廣褒，自有『如人飲水』『自証』之事，與『朋比道友』『互証』之實。

 

講到郭璞葬書風水之事︰

東晉著名的學者『郭璞』，字景純，河東聞喜縣人，西晉建平太守郭瑗之子。既是文學家和訓詁學家，又是道學術數大師和遊仙詩的祖師。世傳郭璞從河東郭公受《青囊中書》九卷，但並沒講郭璞著有《葬書》一事。《宋志》中記載《葬書》原只一卷，疑似後人『偽託』之作，其後再由多人所增飾以至二十 篇。後來為宋代的『蔡元定』刪定成了八篇，元代『吳澄』又改編成內篇、外篇、雜篇。『風水』一詞最早就是出自《葬書》

氣乘風則散，界水則止，古人聚之使不散，行之使有止，故謂之風水。

這個《葬書 》之『風水』是特指天鍾地愛『庇佑福蔭』，使之『不散』的『寶地』。 事實上『風水之術』其來更古，只是當時並沒有『風水之名』，秦帝國都城所在地『咸陽』連『命名』都很考究，也許等開挖後就可以知道秦始皇『地宮』的『風水』了！祇講『兵馬俑』就已經令人嘆為觀止的啊！！就像『易經』裡就有的『巽』為風、『坎』是水，考察世界古文明營建『都城』時豈有不考慮『風』與『水』的問題的呢？不過這個『環境風水』和那個『風水寶地』卻是『千差萬別』的啊？世界上果真就沒有『福地洞天』的嗎？如果沒有，那些『名山勝境』的『風水』好是不好的呢？假使有，那個『福地』又該『誰居』的呢？也許可以聽聽西漢時期博學多才的『東方朔』怎麽說

『班固』《漢書》卷六十五‧東方朔傳‧第三十五
…
雖然，安可以不務修身乎哉！

《詩》 云：『鼓鍾於宮，聲聞於外。』『鶴鳴於九皋，聲聞於天。』苟能修身，何患不榮！太公體行仁義，七十有二乃設用於文、武， 得信厥說，封於齊，七百歲而不絕。此士所以日夜孳孳，敏行而不敢怠也。辟若鶺鴒，飛且鳴矣。傳曰：『天不為人之惡寒而輟其冬，地不為人之惡險而輟其廣，君子不為小人之匈匈而易其行。』『天有常度，地有常形，君子有常行；君子道其常，小人計其功。』《詩》云：『禮義之不愆，何恤人之言？』

故曰：『水至清則無魚，人至察則無徒。冕而前旒，所以蔽明；黈纊充耳，所以塞聰。』明有所不見，聰有所不聞，舉大德，赦小過，無求備於一人之義也。枉而直之，使自得之；優而柔之，使自求之；揆而度之，使自索之。蓋聖人教化如此，欲自得之；自得之，則敏且廣矣。
…

或許可以說『行止之別』才是導致後代『禍福之因』，這也就是講『禍福』它本『無門可入』，怎麽又會有個『終南捷徑』的呢？況且所謂『相由心生』，其實不過是『心行相應』所呈現出的『內貌外顯』，因此假使有人『福至心靈』，又豈能不居『福地』的呢？縱使說那本非『福地』，其人『靈心致福』，它果真會不化作『福地』的嗎？？作者感覺風水術的『信之不信』彷彿是與心理學上『安慰劑效應』之『有無爭論』相似的呢？作者心想古人『敬天禮地』祈求『風調雨順』，恐非為著『 不勞而獲』，是冀盼免於人力所『不可控制』的因素危害，希望能夠在『辛勤耕耘』之後『五穀豐收』。商代的人『篤信鬼神』，遇事必『卜筮』，只要考『神』字與『示』 ── 祭祀 ──，『申』 ── 雷電 ──，『坤』── 歸藏於大地 ──，到了『文王八卦』 ── 後天八卦 ──，『坤』位於『申』位，就說明了『敬天禮地』的傳統之久遠。另一同樣久遠的是『慎終追遠』的觀念，祈求『子孫綿延』能夠『克家承業』。所謂『祠堂』之『祠』就是講後代『司』其『祖先』之『祭祀 』之處。既然『商王』已是『天子』，又是『先王』的『後裔』，難到會有『神不保佑』與『祖先不庇蔭』的嗎？天顯『異像』，地發『災殃』，怕是『今王』已失其德，故『示其兆』的吧！所以才講『湯武革命』『得天應人』的了！現今有人反倒是『本末倒置』，『顛因倒果』以為『風水』是『誠心信行』之外『可求能得』之物，豈不怪哉！！

 

恰好此時比擬景深 DOF 概念一詞，對舉古今應用之同異︰

Fixed-focus lens

A photographic lens for which the focus is not adjustable is called a fixed-focus lens or sometimes focus-free. The focus is set at the time of lens design, and remains fixed. It is usually set to the hyperfocal distance, so that the depth of field ranges all the way down from half that distance to infinity, which is acceptable for most cameras used for capturing images of humans or objects larger than a meter.

Rather than having a method of determining the correct focusing distance and setting the lens to that focal point, a fixed-focus lens relies on sufficient depth of field to produce acceptably sharp images. Most cameras with focus-free lenses also have a relatively small aperture, which increases the depth of field. Fixed-focus cameras with extended depth of field (EDOF) sometimes are known as full-focus cameras.

Early-21st-century camera phone (iPhone 3G) showing small fixed-focus lens

Mid-20th-century medium-format fixed-focus camera

Concept

In order to reach a minimal focal distance the aperture and the focal length of the lens are reduced (a slow wide-angle lens), to make the hyperfocal distance small. This allows the depth of field to extend from a short distance to infinity.

A disadvantage on this is the reduction of light that will reach the film or sensor through the small aperture.^{[clarification needed]} Therefore the lenses are usually not suitable for fast-moving objects which require short exposure times – see lens speed.^{[unbalanced opinion]} The amount of collected light can be increased by opening the angle of view, which is achieved with an even shorter focal length resulting in a wide-angle lens. Telephoto lenses are not feasible at a reasonable lens speed.

The advantage of this design is that it can be produced very inexpensively, more so than autofocus or manual focus systems. The system is also effectively automatic; the photographer need not worry abocal point for a given scene. Fixed-focus lenses are unable to produce sharp close-ups, or images of objects that are only a fraction of the hyperfocal distance from the camera which, depending on factors including the size of the camera, may be within 2.4 – 3.7 meters (8–12 feet).

焦點合成

焦點合成是一種數字圖像處理技術，可用來合併多張在不同焦距下拍攝的照片，合成後的照片具有比任一張原始照片都要大的景深。^[1]

在微距攝影中，要取得恰當的景深並不是件易事。提高景深的方法往往是縮小光圈（即使用更大的f值），但要將光圈縮小到特定點以外，就不能避免衍射造成的模糊。使用焦點合成技術，可以顯著地提高在最銳利光圈下拍攝的照片的景深。通過合成多張底片的方法 ，可以實現右側圖像中示範的景深提升。

焦點合成技術具有良好的靈活性，可以在後期處理和比較中生成不同景深的圖像；同時，該技術還可生成非平面聚焦區域的圖像，這是物理手段所無法實現的。

其他用於提高景深的數字圖像處理技術還包括波前編碼和全光照相機。

Focus stacking

Focus stacking (also known as focal plane merging and z-stacking^[1] or focus blending) is a digital image processing technique which combines multiple images taken at different focus distances to give a resulting image with a greater depth of field (DOF) than any of the individual source images.^[2][3] Focus stacking can be used in any situation where individual images have a very shallow depth of field; macro photography and optical microscopy are two typical examples. Although focus stacking technique can be found in landscape photography also.

Focus stacking offers flexibility: as focus stacking is a computational technique, images with several different depths of field can be generated in post-processing and compared for best artistic merit or scientific clarity. Focus stacking also allows generation of images physically impossible with normal imaging equipment; images with nonplanar focus regions can be generated. Alternative techniques for generating images with increased or flexible depth of field include wavefront coding and plenoptic cameras.

Technique

The starting point for focus stacking is a series of images captured at different focal depths; in each image different areas of the sample will be in focus. While none of these images has the sample entirely in focus they collectively contain all the data required to generate an image which has all parts of the sample in focus. In-focus regions of each image may be detected automatically, for example via edge detection or Fourier analysis, or selected manually. The in-focus patches are then blended together to generate the final image.

This processing is also called z-stacking, focal plane merging (or zedification in French).^[4][5]

In photography

Getting sufficient depth of field can be particularly challenging in macro photography, because depth of field is smaller (shallower) for objects nearer the camera, so if a small object fills the frame, it is often so close that its entire depth cannot be in focus at once. Depth of field is normally increased by stopping down aperture (using a larger f-number), but beyond a certain point, stopping down causes blurring due to diffraction, which counteracts the benefit of being in focus. Focus stacking allows the depth of field of images taken at the sharpest aperture to be effectively increased. The images at right illustrate the increase in DOF that can be achieved by combining multiple exposures.

The Mars Science Laboratory mission has a device called Mars Hand Lens Imager (MAHLI) which can take photos which can later be focus stacked.^[6]

In microscopy

In microscopy high numerical apertures are desirable to capture as much light as possible from a small sample. A high numerical aperture (equivalent to a low f number) gives a very shallow depth of field. Higher magnification objective lenses generally have shallower depth of field; a 100× objective lens with a numerical aperture of around 1.4 has a depth of field of approximately 1 μm. When observing a sample directly the limitations of the shallow depth of field are easy to circumvent by focusing up and down through the sample; to effectively present microscopy data of a complex 3D structure in 2D focus stacking is a very useful technique.

Atomic resolution scanning transmission electron microscopy encounters similar difficulties, where specimen features are much larger than the depth of field. By taking a through-focal series, the depth of focus can be reconstructed to create a single image entirely in focus.^[7]

Series of images demonstrating a six-image focus bracket of a Tachinid fly. First two images illustrate typical DOF of a single image at f/10 while the third image is the composite of six images.

 

Example procedure performed with free Software Combine ZP

 

Use in microscopy: Head of a young butterfly caterpillar, 104 images

 

若此地將成就創新寶地好風水︰

Enfuse

Enfuse is a command-line program used to merge different exposures of the same scene to produce an image that looks very much like a tonemapped image (without the halos) but requires no creation of an HDR image. Therefore it is much simpler to use and allows the creation of very large multiple exposure panoramas.

Enfuse is based on a paper by Tom Mertens, Jan Kautz and Frank Van Reeth: “Exposure fusion” The implementation was done by Andrew Mihal (developer of Enblend) and the hugin team around Pablo d’Angelo

An extended documentation could be found on Enfuse reference manual

Other programs using Exposure Fusion: tufuse and PTGui Pro

Four exposure panorama blended with enfuse

 

或可吃派直取乎☆

sudo apt-get install hugin enfuse