Photography - Camera Exposure

Achieving the correct exposure is a lot like collecting rain in a bucket. While the rate of rainfall is uncontrollable, three factors remain under your control: the bucket's width, the duration you leave it in the rain, and the quantity of rain you want to collect. You just need to ensure you don't collect too little ("underexposed"), but that you also don't collect too much ("overexposed"). The key is that there's many different combinations of width, time and quantity that will achieve this. For example, for the same quantity of water, you can get away with less time in the rain if you pick a bucket that's really wide. Alternatively, for the same duration left in the rain, a really narrow bucket can be used as long as you plan on getting by with less water.

In photography, the exposure settings of aperture, shutter speed and ISO speed are analogous to the width, time and quantity discussed above. Furthermore, just as the rate of rainfall was beyond your control above, so too is natural light for a photographer.

Each setting controls exposure differently:

Aperture: controls the area over which light can enter your camera
Shutter speed: controls the duration of the exposure
ISO speed: controls the sensitivity of your camera's sensor to a given amount of light

One can therefore use many combinations of the above three settings to achieve the same exposure. The key, however, is knowing which trade-offs to make, since each setting also influences other image properties. For example, aperture affects depth of field, shutter speed affects motion blur and ISO speed affects image noise.

The next few sections will describe how each setting is specified, what it looks like, and how a given camera exposure mode affects their combination.

A camera's shutter determines when the camera sensor will be open or closed to incoming light from the camera lens. The shutter speed specifically refers to how long this light is permitted to enter the camera. "Shutter speed" and "exposure time" refer to the same concept, where a faster shutter speed means a shorter exposure time.

By the Numbers. Shutter speed's influence on exposure is perhaps the simplest of the three camera settings: it correlates exactly 1:1 with the amount of light entering the camera. For example, when the exposure time doubles the amount of light entering the camera doubles. It's also the setting that has the widest range of possibilities:

Shutter Speed	Typical Examples
1 - 30+ seconds	Specialty night and low-light photos on a tripod
2 - 1/2 second	To add a silky look to flowing water Landscape photos on a tripod for enhanced depth of field
1/2 to 1/30 second	To add motion blur to the background of a moving subject Carefully taken hand-held photos with stabilization
1/50 - 1/100 second	Typical hand-held photos without substantial zoom
1/250 - 1/500 second	To freeze everyday sports/action subject movement Hand-held photos with substantial zoom (telephoto lens)
1/1000 - 1/4000 second	To freeze extremely fast, up-close subject motion

How it Appears. Shutter speed is a powerful tool for freezing or exaggerating the appearance of motion:

Slow Shutter Speed		Fast Shutter Speed

With waterfalls and other creative shots, motion blur is sometimes desirable, but for most other shots this is avoided. Therefore all one usually cares about with shutter speed is whether it results in a sharp photo — either by freezing movement or because the shot can be taken hand-held without camera shake.

How do you know which shutter speed will provide a sharp hand-held shot? With digital cameras, the best way to find out is to just experiment and look at the results on your camera's rear LCD screen (at full zoom). If a properly focused photo comes out blurred, then you'll usually need to either increase the shutter speed, keep your hands steadier or use a camera tripod.

For more on this topic, see the tutorial on Using Camera Shutter Speed Creatively.

A camera's aperture setting controls the area over which light can pass through yourcamera lens. It is specified in terms an f-stop value, which can at times be counterintuitive, because the area of the opening increases as the f-stop decreases. In photographer slang, the when someone says they are "stopping down" or "opening up" their lens, they are referring to increasing and decreasing the f-stop value, respectively.

By the Numbers. Every time the f-stop value halves, the light-collecting area quadruples. There's a formula for this, but most photographers just memorize the f-stop numbers that correspond to each doubling/halving of light:

Aperture Setting	Relative Light	Example Shutter Speed
f/22	1X	16 seconds
f/16	2X	8 seconds
f/11	4X	4 seconds
f/8.0	8X	2 seconds
f/5.6	16X	1 second
f/4.0	32X	1/2 second
f/2.8	64X	1/4 second
f/2.0	128X	1/8 second
f/1.4	256X	1/15 second

The above aperture and shutter speed combinations all result in the same exposure.

Note: Shutter speed values are not always possible in increments of exactly double or half another shutter speed, but they're always close enough that the difference is negligible.

The above f-stop numbers are all standard options in any camera, although most also allow finer adjustments, such as f/3.2 and f/6.3. The range of values may also vary from camera to camera (or lens to lens). For example, a compact camera might have an available range of f/2.8 to f/8.0, whereas a digital SLR camera might have a range of f/1.4 to f/32 with a portrait lens. A narrow aperture range usually isn't a big problem, but a greater range does provide for more creative flexibility.

Technical Note: With many lenses, their light-gathering ability is also affected by their transmission efficiency, although this is almost always much less of a factor than aperture. It's also beyond the photographer's control. Differences in transmision efficiency are typically more pronounced with extreme zoom ranges. For example, Canon's 24-105 mm f/4L IS lens gathers perhaps ~10-40% less light at f/4 than Canon's similar 24-70 mm f/2.8L lens at f/4 (depending on the focal length).

How it Appears. A camera's aperture setting is what determines a photo's depth of field(the range of distance over which objects appear in sharp focus). Lower f-stop values correlate with a shallower depth of field:

Wide Aperture f/2.0 - low f-stop number shallow depth of field	Narrow Aperture f/16 - high f-stop number large depth of field

The ISO speed determines how sensitive the camera is to incoming light. Similar to shutter speed, it also correlates 1:1 with how much the exposure increases or decreases. However, unlike aperture and shutter speed, a lower ISO speed is almost always desirable, since higher ISO speeds dramatically increase image noise. As a result, ISO speed is usually only increased from its minimum value if the desired aperture and shutter speed aren't otherwise obtainable.

Low ISO Speed (low image noise)	High ISO Speed (high image noise)

note: image noise is also known as "film grain" in traditional film photography

Common ISO speeds include 100, 200, 400 and 800, although many cameras also permit lower or higher values. With compact cameras, an ISO speed in the range of 50-200 generally produces acceptably low image noise, whereas with digital SLR cameras, a range of 50-800 (or higher) is often acceptable.

Most digital cameras have one of the following standardized exposure modes: Auto (), Program (P), Aperture Priority (Av), Shutter Priority (Tv), Manual (M) and Bulb (B) mode. Av, Tv, and M are often called "creative modes" or "auto exposure (AE) modes."

Each of these modes influences how aperture, ISO and shutter speed are chosen for a given exposure. Some modes attempt to pick all three values for you, whereas others let you specify one setting and the camera picks the other two (if possible). The following charts describe how each mode pertains to exposure:

Exposure Mode	How It Works
Auto ()	Camera automatically selects all exposure settings.
Program (P)	Camera automatically selects aperture & shutter speed; you can choose a corresponding ISO speed & exposure compensation. With some cameras, P can also act as a hybrid of the Av & Tv modes.
Aperture Priority (Av or A)	You specify the aperture & ISO; the camera's metering determines the corresponding shutter speed.
Shutter Priority (Tv or S)	You specify the shutter speed & ISO; the camera's metering determines the corresponding aperture.
Manual (M)	You specify the aperture, ISO and shutter speed — regardless of whether these values lead to a correct exposure.
Bulb (B)	Useful for exposures longer than 30 seconds. You specify the aperture and ISO; the shutter speed is determined by a remote release switch, or by the duration until you press the shutter button a second time.

In addition, the camera may also have several pre-set modes; the most common include landscape, portrait, sports and night mode. The symbols used for each mode vary slightly from camera to camera, but will likely appear similar to those below:

Exposure Mode	How It Works
Portrait	Camera tries to pick the lowest f-stop value possible for a given exposure. This ensures the shallowest possible depth of field.
Landscape	Camera tries to pick a high f-stop to ensure a large depth of field. Compact cameras also often set their focus distance to distant objects or infinity.
Sports/Action	Camera tries to achieve as fast a shutter speed as possible for a given exposure — ideally 1/250 seconds or faster. In addition to using a low f-stop, the fast shutter speed is usually achieved by increasing the ISO speed more than would otherwise be acceptable in portrait mode.
Night/Low-light	Camera permits shutter speeds which are longer than ordinarily allowed for hand-held shots, and increases the ISO speed to near its maximum available value. However, for some cameras this setting means that a flash is used for the foreground, and a long shutter speed and high ISO are used expose the background.Check your camera's instruction manual for any unique characteristics.

However, keep in mind that most of the above settings rely on the camera's meteringsystem in order to know what's a proper exposure. For tricky subject matter, metering can often be fooled, so it's a good idea to also be aware of when it might go awry, and what you can do to compensate for such exposure errors (see section on exposure compensation within the camera metering tutorial).

Finally, some of the above modes may also control camera settings which are unrelated to exposure, although this varies from camera to camera. Such additional settings might include the autofocus points, metering mode and autofocus modes, amongst others.

credit: http://www.cambridgeincolour.com/tutorials/camera-exposure.htm

Photography - Digital Camera Sensor

A digital camera uses a sensor array of millions of tiny pixels in order to produce the final image. When you press your camera's shutter button and the exposure begins, each of these pixels has a "photosite" which is uncovered to collect and store photons in a cavity. Once the exposure finishes, the camera closes each of these photosites, and then tries to assess how many photons fell into each. The relative quantity of photons in each cavity are then sorted into various intensity levels, whose precision is determined by bit depth(0 - 255 for an 8-bit image).

Each cavity is unable to distinguish how much of each color has fallen in, so the above illustration would only be able to create grayscale images. To capture color images, each cavity has to have a filter placed over it which only allows penetration of a particular color of light. Virtually all current digital cameras can only capture one of the three primary colors in each cavity, and so they discard roughly 2/3 of the incoming light. As a result, the camera has to approximate the other two primary colors in order to have information about all three colors at every pixel. The most common type of color filter array is called a "Bayer array," shown below.

Color Filter Array

A Bayer array consists of alternating rows of red-green and green-blue filters. Notice how the Bayer array contains twice as many green as red or blue sensors. Each primary color does not receive an equal fraction of the total area because the human eye is more sensitive to green light than both red and blue light. Redundancy with green pixels produces an image which appears less noisy and has finer detail than could be accomplished if each color were treated equally. This also explains why noise in the green channel is much less than for the other two primary colors (see "Understanding Image Noise" for an example).

Original Scene (shown at 200%)	What Your Camera Sees (through a Bayer array)

Note: Not all digital cameras use a Bayer array, however this is by far the most common setup. The Foveon sensor used in Sigma's SD9 and SD10 captures all three colors at each pixel location. Sony cameras capture four colors in a similar array: red, green, blue and emerald green.

Bayer "demosaicing" is the process of translating this Bayer array of primary colors into a final image which contains full color information at each pixel. How is this possible if the camera is unable to directly measure full color? One way of understanding this is to instead think of each 2x2 array of red, green and blue as a single full color cavity.

→

This would work fine, however most cameras take additional steps to extract even more image information from this color array. If the camera treated all of the colors in each 2x2 array as having landed in the same place, then it would only be able achieve half the resolution in both the horizontal and vertical directions. On the other hand, if a camera computed the color using several overlapping 2x2 arrays, then it could achieve a higher resolution than would be possible with a single set of 2x2 arrays. The following combination of overlapping 2x2 arrays could be used to extract more image information.

		→

Note how we did not calculate image information at the very edges of the array, since we assumed the image continued on in each direction. If these were actually the edges of the cavity array, then calculations here would be less accurate, since there are no longer pixels on all sides. This is no problem, since information at the very edges of an image can easily be cropped out for cameras with millions of pixels.

Other demosaicing algorithms exist which can extract slightly more resolution, produce images which are less noisy, or adapt to best approximate the image at each location.

Images with small-scale detail near the resolution limit of the digital sensor can sometimes trick the demosaicing algorithm—producing an unrealistic looking result. The most common artifact is moiré (pronounced "more-ay"), which may appear as repeating patterns, color artifacts or pixels arranges in an unrealistic maze-like pattern:

Two separate photos are shown above—each at a different magnification. Note the appearance of moiré in all four bottom squares, in addition to the third square of the first photo (subtle). Both maze-like and color artifacts can be seen in the third square of the downsized version. These artifacts depend on both the type of texture and software used to develop the digital camera's RAW file.

You might wonder why the first diagram in this tutorial did not place each cavity directly next to each other. Real-world camera sensors do not actually have photosites which cover the entire surface of the sensor. In fact, they often cover just half the total area in order to accommodate other electronics. Each cavity is shown with little peaks between them to direct the photons to one cavity or the other. Digital cameras contain "microlenses" above each photosite to enhance their light-gathering ability. These lenses are analogous to funnels which direct photons into the photosite where the photons would have otherwise been unused.

Well-designed microlenses can improve the photon signal at each photosite, and subsequently create images which have less noise for the same exposure time. Camera manufacturers have been able to use improvements in microlens design to reduce or maintain noise in the latest high-resolution cameras, despite having smaller photosites due to squeezing more megapixels into the same sensor area.

For further reading on digital camera sensors, please visit:
Digital Camera Sensor Sizes: How Do These Influence Photography?

Fakta-Syiah?

 Apa itu syiah?
- latar belakang syiah di Malaysia-

• Syiah di Malaysia bermula dari kemenangan revolusi Islam yang diketuai oleh Ayatullah Al-Khomeini di Iran pada tahun 1979 dan telah menjadikan Iran sebagai Republik Islam. Atas nama Islam, rakyat Malaysia telah memberikan sokongan ranpa mengetahui fahaman Syiah itu sendiri. Syiah telah menyebarkan fahaman mereka dengan meluas di Malaysia.

• Penyebarannya di Malaysia dilakukan dengan beberapa kaedah:
> lawatan pembesar-pembesar Iran ke Malaysia yang disusuli dengan kempen dan penerangan fahaman mereka.
> melalui pelajar-pelajar Malaysia yang melanjutkan pelajaran mereka di negara Republik Islam itu.
> memberi hadiah berupa buku fahaman mereka kepada perpustakaan umum.

• Terdapat 3 kumpulan syiah yang berkembang di Malaysia beberapa tahun sebelum ini iaitu;

> Syiah Tayyibi Bohra
- berasal dari India dan di Malaysia dikenali sebagai golongan yang memiliki kedai Bombay. Berpusat di Klang dan mempunyai tanah perkuburan dan masjidnya sendiri dengan pengikut dianggarkan 200 hingga 400 orang.

> Syiah Ismailah
- dikenali dengan nama kedai Perbhai yang bergerak di sekitar Lembah Klang. Bilangannya lebih kecil berbanding kelompok Bohra.

> Syiah Ja'fariyah
- dipercayai mula bertapak pada tahun 1979, pengaruh ajaran dan fahaman ini menular melalui bahan bacaan dan individu seperti pensyarah di IPT. Beberapa buku telah diterjemahkan di dalam bahasa Melayu. Pengikut kumpulan ini dianggarkan sekitar 300 hingga 500 orang.

(bersambung...)


- Posted using BlogPress from my iPhone

Fakta - Teori Penguasaan Hujan oleh Dajjal

 

Hadith Berkaitan....Kata Rasulullah s.a.w lagi: "Di antara tipu dayanya juga dia suruh langit supaya menurunkan hujan tiba-tiba hujan pun turun. Dia suruh bumi supaya mengeluarkan tumbuh-tumbuhannya tiba-tiba tumbuh. Dan termasuk ujian yang paling berat bagi manusia, Dajjal itu datang ke perkampungan orang-orang baik dan mereka tidak me-ngakunya sebagai Tuhan, maka disebabkan yang demikian itu tanam-tanaman dan ternakan mereka tidak menjadi. "Dajjal itu datang ke tempat orang-orang yang percaya kepadanya dan penduduk kampung itu mengakunya sebagai Tuhan. Disebabkan yang demikian hujan turun di tempat mereka dan tanam-tanaman mereka pun menjadi..."

Keupayaan Dajjal

Keupayaan Dajjal dapat diringkaskan seperti berikut:

• Dapat mengarah langit menurunkan hujan secara spontan
• Dapat mengarahkan bumi mengeluarkan tumbuh-tumbuhan
• Dapat menyebabkan tanam-tanaman dan binatang ternakan tidak menjadi.

Nabi Muhammad SAW telah menjelaskan keupayaan Dajjal yang amat dasyat ini adalah  tergolong dalam bentuk “fitnah” paling besar di akhir zaman kelak. Keupayaan Dajjal mengalihkan perjalanan hukum bumi dari Barat ke Timur diakui oleh Nabi dalam banyak hadith-hadith sahih yang diriwayatkan oleh banyak imam-imam yang muktabar.

Sebagai umat Islam adalah wajib kita mengimani apa yang dinyatakan Rasulullah SAW, disamping itu wajarlah kita meluaskan ruang pemikiran kita tentang keupayaan Dajjal yang paling hebat ini.

“Menerbitkan Matahari Dari Barat”

Teori 1 : Pembinaan Mega Studio Tanpa Dinding dan Wayar

Pelan kasar penyelidikan untuk mengalihkan peredaran bumi sudah dilakar sejak beratus tahun. Cuma hasil dan kemajuannya baru nampak kini. Konsep utama teknologi gelombang satelait enam penjuru dapat dilihat  pada logo fahaman Cabbala atau ritual ibadat gerakan Illuminati.

Pengalihan Hukum Peredaran Bumi

Bumi berputar setempat dengan kelajuan 1000 km/j dari arah Timur (terbit matahari) ke arah Barat (terbenam matahari) dan melakukan pusingan mengelilingi matahari dengan kelajuan 65,000 km/j. Dengan kelajuan yang luar biasa itu amat menakjubkan objek-objek dibumi tidak pula terpelanting keluar. Objek di bumi pula ditarik rapat ke bumi dengan bola graviti yang berada di tengah-tengah perut bumi.

Untuk membuatkan bumi berputar ke arah berlawanan maka 3 perkara perlu dilaksanakan iaitu Menghentikan Putaran, Memutarkannya Semula dan Mengekalkan Putaran.

Penulis percaya bahawa hukum ini tidak boleh dipecahkan kerana ia sudah masuk peringkat kiamat akhir. Dajjal menyedari hal ini (Dajjal juga mengkaji “al-Quran” untuk tujuan memesongkan umat Islam), dan si laknat itu masih mahu meneruskan hawa nafsunya yang sering mendesaknya menandingi kuasa tuhan. Dia mahukan kuasa seperti tuhan, dia mahu kuasa menurunkan hujan, kemarau, ribut, banjir, gempa bumi berada di tangannya.

Jalan yang paling mudah ialah membina studio besar tanpa dinding yang boleh menggerakkan sesuatu unit sebagai agen tiruan. Unit-unit tiruan itu ialah awan tiruan, langit tiruan, matahari tiruan, kilat tiruan, puring beliung tiruan dan bermacam-macam lagi lagi perkara tiruan. Ingatkah kita kepada pesan Rasulullah SAW dan nabi-nabi sebelumnya iaitu “berwaspadalah dengan fitnah-fitnah yang dibawa oleh Dajjal”. Pernahkah kita mengkaji perkataan fitnah itu. Apakah takrifan bagi fitnah? Kenapa nabi tidak mengguna perkataan menyerangatau memaksa atau membunuh?

Kita tinggalkan dahulu perkataan FITNAH itu (akan dibincangkan di bab yang lain).

Semua unit-unit tiruan ini perlu disediakan di seluruh bumi (mustahil juga, mampukah Dajal berbuat demikian?). Selepas disediakan, unit-unit ini mestilah telah siap dipasang di sesuatu tempat agar mudah Dajjal mengarahkan cuaca berubah melalui arahan suara. (rujuk artikel rumah pintar, arahan melalui suara).

Dengan tersedianya semua unit tiruan ini, maka Dajjal akan mudah ke mana-mana tempat untuk dia berdakwah, yakni dalam erti kata lain, dimana-mana sahaja dia berada maka Si Laknat itu mampu memberikan arahan kepada “medium elektronik yang siap dipasang”, dan berlakulah keadaan cuaca seperti yang dikehendaki. (Rujuk artikel berkenaan “Rumah Salji” di Malaysia)

Pelan Persediaan Unit-Unit Tiruan oleh Dajjal

Pelan tindakan menyediakan semua perkakasan-perkakasan amat kompleks dan memerlukan suatu perancangan yang rapi. Ini termasuklah memastikan setiap penjuru bumi dilengkapi kelengkapan yang canggih, yang mana kelengkapan itu berupa suatu bentuk yang tidak disedari manusia bahawa ia adalah kelengkapan pembinaan studio gergasi.

Pembinaan studio gergasi ini harus dilakukan tanpa disedari manusia akan cara ia berfungsi agar Dajjal dapat menipu (memfitnah) semua manusia bila ia keluar nanti. Sebelum melaksanakan tugas besar ini, yang obejktifnya adalah “Dajjal mampu mewujudkan cuaca, mengalihkan matahari, kesuburan tanah dan ternakan“, suatu bentuk eksperimen perlu dijalankan secara kecil-kecilan (pilot project).

Lokasi terbaik melakukan eksperimen ini ialah studio Hollywood yang serba canggih itu yang menjadi syurga semua manusia tanpa iman dalam dunia. Kita sudah sedia maklum akan siapa Lembaga Pengarah Hollywood iaitu seorang Yahudi yang ekstremis.

Hollywood amat sesuai untuk suatu projek percubaan sebelum suatu projek sebenar berjalan. Menyelami projek percubaan (trial project) amat penting bagi kita kerana kunci projek mega Dajjal untuk menjadi tuhan akan terbongkar sedikit demi sedikit.

Ya! Benar ada yang mengatakan “Buat apa susah-susah nak fikir, biarlah semua tu terjadi, Dajjal memang akan muncul, Allah dah tetapkan, kita tak boleh buat apa. Kalau kita tahu rahsia Dajjal sekali pun Dajjal tetap akan menjadi orang jahat dan menentang Nabi Isa dan Imam Mahdi.” Ya benar, ianya semua takdir Allah. Jika itulah hujah yang kita guna untuk tidak mahu berfikir dalam hal ehwal Dajjal maka hujah di bawah ini adalah lawannya.

Menaiki motosikal dalam keadaan tidak bertopi keledar adalah amat bahaya dan semua orang mengetahuinya. Jika jadikan ‘takdir’ sebagai alasan untuk tidak mahu berfikir mengapa kita memakai topi keledar semasa menunggang motosikal, polis bukannya ada selalu di jalanraya, bukankah jika Allah berkehendak untuk ia mati, di mana pun ia boleh mati. Oleh sebab itu, jika orang bertanya kepada kita “Ali mengapa tidak memakai topi keledar, bahaya nanti boleh mati? Kita sepatutnya menjawab “Takpelah Mat, mati adalah takdir tuhan”. Tetapi realitinya kita tidak menjawab begitu malah kita sendiri memakai topi kerana takut mati atau cedera. Tindakan memakai topi adalah tindakan berjaga-jaga agar kita “tidak ditakdirkan dalam golongan yang tercedera”.

Samalah juga dalam hal ehwal Dajjal, berfikirlah untuk tidak tergolong dalam kelompok yang termakan fitnah Dajjal.

Berbalik hal studio mega tadi, kita perlu melihat statistik studio Yahudi ini dalam menghasilkan filem-filem berkaitan keadaan cuaca, perubahan alam, gempa bumi, ledakan nuklear, banjir dan sebagainya. Perkara yang perlu dikaji ialah;

• bilangan filem yang dihasilkan.
• Siapakah pengarah dan penulis skrip (adakah mereka anggota illuminati atau freemason atau kelompok rahsia lain atau sekurang-kurangnya mereka berbangsa Yahudi seperti Steven Spielberg)
• Melihat plot atau kronologi cerita tersebut.
• Konsep yang digunakan dalam mencetuskan bencana alam tiruan.

credit: http://ibnuyaacob.com/?p=16

Fakta - Kurt Cobain bunuh diri atau dibunuh!!

Penguasaan Illuminati (melalui CIA) dalam dunia Hollywood

         

Mungkin anda mengetahui mengenai Kurt Cobain, bekas penyanyi kumpulan alternatif terkenal Nirvana. Berita gempar mengenai kematian Kurt Cobain pada 4 April 1994 mengejutkan semua pihak terutamanya peminat-peminat setianya. Kematiannya berlaku ketika beliau mencapai tahap populariti kemuncak dalam dunia muzik antarabangsa.

Punca kematian Kurt Cobain dilaporkan oleh media massa Amerika sebagai ‘bunuh diri’ (suicide). Namun begitu, setahun selepas kematiannya itu timbul pelbagai khabar-khabar angin tentang kematian Kurt. Khabar-khabar angin itu kelihatan lebih jelas dengan beberapa bukti diketemukan oleh beberapa orang penyiasat persendirian.

Salah seorang penyelidik sosial Stewart juga seorang ahli muzik, percaya bahawa Kurt Cobain tidak membunuh diri tetapi dibunuh. Berita media mengenai punca kematian Kurt sebagai bunuh diri adalah PALSU. Stewart juga mendakwa bahawa Kurt dibunuh oleh seseorang, berkemungkinan seorang anggota Mafia yang juga pernah mengugut aggota-anggota Nirvana kerana enggan membayar wang perlindungan.

Khabar angin lain pula mengatakan cerita bunuh diri Kurt hanya direka-reka. Kurt dikatakan masih hidup dan menikmati kehidupan yang selesa di luar Amerika. Khabar angin itu juga menyebut, penyanyi tersebut pernah dilihat berjalan-jalan di bandar Rio De Jenario dan Paris. Selain itu, Kurt juga didakwa pernah dilihat di Disobey Club, di bandar London, dipanggung-panggung wayang serta di Festival Hackney Homeless. Selain itu, salah seorang peminat mendakwa pernah menjumpainya membeli-belah di supermarket Kwik Save, bandar Canning.

Cerita yang paling boleh dipercayai ialah berkenaan Kurt Cobain mati kerana ia menjadi eksperimen CIA.  Salah seorang yang terlibat dengan eksperimen CIA ini cuba menghubungi Stewart bagi mendedahkan perkara-perkara yang sebenar.  Stewart bersetuju berjumpa dengan individu tersebut di Gereja Temple, Fleet Street. Stewart memberitahu lelaki yang berjumpa dengannya itu sangat muda tetapi kelihatan seperti ketakutan semasa duduk di sebelahnya. Menurut lelaki muda itu, CIA terlibat secara langsung dan mengambil berat tentang pengaruh-pengaruh muzik popular ke atas golongan muda. Hal itulah yang menjadi punca kepada pembunuhan penyanyi-penyanyi terkenal sebelum ini seperti Brian Jones, John Lennon dan Jim Morrison.

Menurut lelaki muda itu lagi, pihak CIA sentiasa memastikan bahawa corak muzik dan lirik yang dibawa penyanyi atau kumpulan mestilah mengekalkan nilai-nilai sentimen perkauman, sifat benci terhadap warna kulit yang berbeza dan pengekalan jurang hubungan sesama kaum. Dalam kes Nirvana ini, khususnya Kurt Cobain, beliau mungkin disyaki tidak mengikut landasan yang dikehendaki oleh CIA sebagai mana yang dipersetujui bersama.

Informer itu juga memberitahu Stewart bahawa penyanyi-penyanyi telah diracuni pemikiran mereka untuk melakukan ‘tindakan bunuh diri’ ketika di saat kemuncak populariti. Semua ini kerana CIA mahu memastikan para peminat bersimpati kepada penyanyi tersebut dan terus menerus mendengar muzik-muzik yang dinyanyikan penyanyi tersebut walaupun penyanyi atau band itu telag berkubur.

Kebenaran ini dapat dilihat kepada beberapa kumpulan rock zaman dahulu dan sekarang yang masih digemari ramai dan album-album mereka masih dibeli oleh kebanyakan peminat misalnya Elvis Presly dan The Beatles.

Persoalan yang boleh ditimbul sekarang, adakah tembakan itu datang dari tangannya sendiri? Laporan paling lengkap mengenai tragedi sebenar ini hanya diketahui 9 tahun selepas kejadian itu. Bekas penulis lagu-lagu rock dan penyanyi sebuah kumpulan rock iaitu Max Wallace dan Ian Halperin mendedahkannya dalam buku mereka yang bertajuk In Love and Death : The Murder of Kurt Cobain, diterbitkan pada 3 April 2004. Buku mereka ini berjaya mendedahkan teori bahawa Kurt Cobain telah dibunuh (murdered) bukannya bunuh diri (suicide). Teori mereka disokong oleh bukti-bukti siasatan forensik pihak polis daerah Seattle.

Siasatan Wallace dan Halperin mendapati pada masa kematiannya tahun 1994, Kurt Cobain telah meninggalkan isterinya Courtney Love dan menempah dua tiket penerbangan ke Seattle untuk dirinya dan seorang perempuan yang tidak dikenali. Courtney percaya perempuan tersebut adalah teman wanita Kurt.

Hal ini dibuktikan melalui laporan mereka yang mengatakan sejam sebelum kematiannya, Kurt telah hilang dari pusat pemulihan dadahnya di Los Angelas, dia didapati telah menghubungi United Airlines untuk menempah tiket penerbangan yang masih belum digunakan sehingga sekarang. 

Wallace dan Halperin dalam awal siasatan mereka mendedahkan laporan bedah siasat ke atas mayat Kurt yang dikeluar Jabatan Polis Seattle. Rekod bedah siasat untuk melaporkan Cobain telah mengambil dos heroin yang berlebihan sebelum membunuh diri dengan pistol. Hasil temuramah dengan doktor-doktor bedah siasat itu, mereka percaya seseorang telah memberikan sejenis dadah kepada Kurt, kemudian menunggu Kurt menghisap dadah tersebut hingga khayal dan akhirnya melepaskan tembakan ke arah Kurt. Tiada  tanda atau cap-cap jari dikesan pada pistol Kurt Cobain. Namun siasatan rambang mendapati kemungkinan sekurang-kurangnya 3 orang berada bersamanya di bilik itu sebelum ia mati.

Kurt Cobain bukanlah orang pertama yang dibunuh, terdapat berpuluh-puluh lagi artis terkenal yang dibunuh oleh agen-agen Illuminati kerana tidak mengikut arahan pihak mereka. Terdapat banyak pendedahan-pendedahan yang diterbitkan tetapi memandangkan media massa Amerika milik sepenuhnya bangsa Yahudi, maka hal-hal demikian ditutup rapat tanpa diberi sebarang ruang untuk didedahkan kepada masyarakat.

credit: http://ibnuyaacob.com/?p=19