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Be bold - Photographer Jon Enoch
Let's be bolder. Let's push ourselves forward.
It's certainly working for Jon Enoch. Bold enough to make and seize opportunities. From entering competitions, awards, knocking on doors, filling in for people and then maximising the opportunity, pushing forward to be known for the work you want to do.
Jon chats about becoming more productive in co-work/office spaces, hiring help, regularly marketing, learning from others outside of your field and investing in himself.
Famous sports people, politicians and celebrities - Jon's attention is normally on them, but this time we focus on him.
More from Jon Enoch
More from Steve Folland
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Steve's freelance site
Transcription of Being Freelance podcast interview with photographer Jon Enoch
Steve Folland: Let's crack on, shall we, and chat to freelance photographer Jon Enoch. Hey, Jon.
Jon Enoch: Hello.
Steve Folland: Thanks for doing this. You're based in London. Right?
Jon Enoch: That's it. Yeah. I've been based in London now for about eight years or so.
Steve Folland: Cool. Okay. As ever, let's get started hearing how you got started being freelance.
Jon Enoch: It's a very long and winding story. Basically, I went to university to do a geography degree and in that first, literally in that first month, I went into a branch of HMV and on the council was a competition and it was a put your name on a postcard. Absolutely no luck, no skill rather, involved. Totally forgot about it. Two months later, my phone goes, some PR agents in London saying, "That I've won the first prize in this competition." I couldn't even remember what the competition was.
Jon Enoch: Then it transpires, it was around the world trip, all paid for, essentially, for 12 months. These things really do happen.
Steve Folland: Wow.
Jon Enoch: Yeah. So, I went to see my tutors and they were like, "Of course, you can, you know, it's a once a lifetime opportunity. You can have a, basically, a sabbatical." So, I went off and had a year out in between my first and second year. Obviously, I thought it would be a prudent idea to buy a camera and take some pictures. So, that's really how I started getting into photography.
Jon Enoch: Then, I came back and I did some work on the student newspaper and I did a little bit of work experience with the local newspaper, the Sheffield Star. Then, I think they got a call off the New Musical Express, who were just looking for them to recommend somebody and they very kindly passed my details over.
Jon Enoch: I think my first ever freelance gig was going to a little, tiny little pub, in Sheffield to take some pictures of this band that I'd never heard of. I turned up and the pub was totally packed. I'd never seen anything like that in Sheffield before. And it turned out to be The Arctic Monkeys.
Steve Folland: Wow.
Jon Enoch: So, that was first ever gig and that was, I think, my first ever write up in the New Musical Express. So, that's how I started really. I was freelancing in my third year of university. Then, when I left university, I might actually get a job, using those cuttings and using those contacts on a local newspaper in Lincoln. So, a lot of luck and a lot of good things happening at the right time.
Jon Enoch: I worked at the local news for, I think I did that for two years in Lincoln, so, that was covering everything from wedding anniversaries to the turning on of the Christmas lights, which I actually really enjoyed because it was I good training ground in all sorts of different areas of photography.
Jon Enoch: Then I'd move to a slightly more harder news agency in the Midlands, basically the national newspaper wanted something shooting in Nottingham. They would call up this agency and I was one of those staff photographers working at the agency, just because for newspapers they need boots on the ground quicker than they can send people from London.
Jon Enoch: So, I worked for that agency for about two years and I used that as a way of getting my name known in London, a little bit and then I literally, just one day decided to come down - packed everything up into the back of a very old decrepit Ford Fiesta. I think I had a couple of names written down on a piece of paper and I literally went and knocked on a few doors and that's how I started freelancing.
Jon Enoch: That first month I got in really well with The Times and I think I did 28 days for The Times in the first month. So, that's really how I started.
Steve Folland: By literally knocking on doors.
Jon Enoch: Yeah, yeah. I think when you're younger, you're just busy, you never think it's going to be fine. I think, if I was to do that today, I think it would fill me with absolute dread but I think, literally, I turned up beginning of September. Had no work lined up and just went to see a few people. Obviously, I'd done jobs for them, via the news agency in Nottingham, so I wasn't a totally unknown prospect but I think it was just, again, a little bit of luck. The face fitting, arriving at the right time, yeah.
Steve Folland: So, just put this in perspective. When did you move down to London? Was it eight years ago did you say?
Jon Enoch: Yeah, that was about eight or nine years ago.
Steve Folland: How has it evolved from there? Especially because, so far, we're talking very much about covering news stories, really, which would be very different to somebody who lands on your website today.
Jon Enoch: Sure, yeah. I mean, and that's the other interesting thing. Eight years ago I started shooting news and that was actually quite hard news. So, I was out on the streets covering protests, whatever the breaking news story was of the day but slowly over time, the odd occasion would crop up when they were maybe a little bit short and they needed somebody to shoot a portrait.
Jon Enoch: So, I started to get opportunities to shoot something a little bit more stylized. I really enjoyed that and I think I've reached a point with the new stuff where I look to people, my colleagues who worked for rival publications and they were maybe, in their 60s or their late 50's, and they were standing up a ladder outside the high court in the middle of the summer in three degree heat and I didn't really want to be there, doing what they were doing.
Jon Enoch: So, I made quite a conscious decision to, when those opportunities turned up to do a nice portrait to really put a lot of effort into it and really try and master that art, which was totally, totally different to what I was doing. So, I used those opportunities to slowly build up my portfolio of celebrity faces or well known faces. Almost shooting in a way that you would if you were doing a magazine commission.
Jon Enoch: I then took those pictures to magazines and said, "Look, here's my portfolio." Then I started to pick up other clients.
Steve Folland: Excellent. When you then took those photos to other magazines, at that point you're then stepping out from, presumably, if a paper says, "Can you shoot this? This is where they're going to be. This is when you're going to turn up." Whereas, perhaps, when you go to a magazine, might they expect you to have a studio or something or I don't know?
Jon Enoch: A little bit. I mean, generally, I found it was very similar in terms of the way it was structured. Tends, all that what tends to be on location, so a lot of it, you're going to the person's house or you're going to a hotel or, occasionally, they would expect you to have a studio but you'd just hire one, you just rent a studio. That's increasingly common, nobody really has a full time studio in London these days just because the costs associated with that.
Jon Enoch: Actually, I think the interesting thing was, a lot of the skills that I'd learned operating at a newspaper level, were very transferable to the next step. Which was the magazine world or the design world which is, you've got to make a picture and quite often the time is very, very short. There's no excuses. You've got to deliver an image and actually working under pressure and working on the really, really quite tight time constraints was something that was very, very useful because even if you're shooting an advertising campaign, which I might do these days, you're not going to get hours and hours with the talent.
Jon Enoch: Time is money for those people, so, if you can produce the goods in a very time efficient way, that's something that pleases everybody.
Steve Folland: Yeah, I bet. So, what would your website have looked like if I'd have gone to it 10 years ago? Or eight years ago?
Jon Enoch: Sure. There would have been a picture of the Chancellor of the Exchequer standing outside number 10. There would have been some pictures of people rioting and throwing petrol bombs at each other in the streets of Athens. There would have been pictures of migrants. It was very, very different. There were maybe one or two images in that set of pictures that hinted at the direction that I was going to go but it was, yeah, it was a totally different set up.
Steve Folland: So very much more photo journalism. So, over time did you just gradually take those off or reduce the number?
Jon Enoch: Yeah, yeah. I mean, it was tricky because I think any freelancer, you sometimes get to these points in your career where you've got one foot in two sides of the border and it's very difficult at that stage because you're wary of taking certain material off because that's still is an income stream. Sometimes you've just got to be bold. You've just got to be like, this is what I want to do so I'm going to just show the work that appeals to those people but it's tricky.
Steve Folland: And so your clients today, did they come to you direct or is it through an agency?
Jon Enoch: A bit of both. The vast majority, I'd say 95% come direct and that is just for a whole number of different reasons why that might happen. The best is word of mouth. If you do it, do a good job and you produce good pictures, that's the best policy for generating more work. So, word of mouth, we do a load of marketing, so, we have newsletters. We send out physical things twice a year.
Jon Enoch: We just go and see people for coffee, we can take the portfolio out. So, that's basically where the work comes. Then, my agent concentrates on the very top 5 or 10% of bigger, global advertising agencies who, you basically just are far more comfortable and they expect you to have an agent. So, I'm in that really, really good position where I can pick and choose whether or not the work goes to the agent or whether I deal with it directly.
Jon Enoch: For some clients, they prefer to deal with me directly and other clients, they'd rather have a middle person dealing with everything. So, sometimes that works best for them.
Steve Folland: You said just now, we. We send things out. We do this. Who is the we, in there?
Jon Enoch: So, yeah. I took on a full time marketing person about three years back who just deals with all the office admin and just doing all those tasks I no longer want to spend my time doing.
Steve Folland: That's quite a thing to do. How did you know when you've reached that point to do that and how did you feel about it?
Jon Enoch: Id always had a few people, id use freelance people. In that eight years, I'd probably had two full time people and I've had another couple that I use on a freelance basis. The problem I was having was, I would spend two or three months training them up on how things work and the systems that we use and then inevitably, they would leave.
Jon Enoch: I just got to a stage where I was like. it definitely works. It definitely pays for itself but I need a little bit longer with that person because the initial two or three months with them, also training them it's not the most productive so you need to try and keep them for a little bit longer. I just found, if I was using people on a freelance basis, they would inevitably go and get a full time job or they would go and pick up some other work and they weren't available any longer.
Jon Enoch: So, I took a decision to take somebody on, on an actual PAYE basis and that just means that there's a lot more security for them and there's obviously a lot more security for me.
Steve Folland: Yeah. Was it a tricky thing to actually go through?
Jon Enoch: Oh, yeah, yeah, yeah. I'd say it's probably one of the biggest challenges just because I've never been in that position before of having to effectively be someone's boss. So, it's a totally massive learning curve for me as much as it was for them. I think, like anything, you get out what you put in. So, I think, as I said, I've had those couple of people and I think each time somebody leaves, I take another person on, I'm getting much, much better at being somebody's boss and structuring the workplace and telling them what I want them to do and giving them expectations and setting tasks and challenges for them.
Jon Enoch: That in itself, is a totally different world that I wasn't used to initially and I think, looking back at those first people that I took on, I didn't know what I was doing. It was obvious. It's a skill, like anything. It needs attention and it needs time.
Steve Folland: Yeah. When it comes to marketing, what would they be doing for you?
Jon Enoch: I would have a structure across the year, so that might be, we track where clients are because one of the biggest things we find in the industry, is that people move around all the time. So, most picture editors, most art directors are themselves increasingly freelance. So, they will move around the industry so that email addresses will change, the addresses that they're working at will change all the time.
Jon Enoch: Basically, that in itself is a job. If you've got 400 potential clients, just keeping track of where they are and what they're working on because they might do six months here, four months here. They're moving around constantly, so, just having somebody to track the existing clients and make sure that we don't lose them because it's very easy.
Jon Enoch: If they move to another company and you're not aware of that, it's very easy that they will, over time they will slip away. So, we track people using a CRM system. The way you get work in my industry, is you just want to be in somebody's head at the right time. It's just finding ways of being, not in an aggressive way and not over the top but just being in the back of somebody's mind.
Jon Enoch: So that when that commission lands on their desk and they suddenly need a photographer, you're the person that they turn to or you're the person that they think of emailing. So, that might be managing a social media account so that they, while they're on the bus, on the way to work, they happen to see one of your pictures or it might be that we send them a gift at Christmas.
Jon Enoch: There's a whole range of different things that we do to just make sure that we're always, potentially, that my name is something that they think of when that job turns up.
Steve Folland: Yeah and so you have a newsletter as well, did you say?
Jon Enoch: Yeah, I have newsletters. So, we blog, we try to do a blog at least once a week and then that forms, four or five blogs a month and we consolidate that into a newsletter that then goes out to a mailing list of existing clients. Then, on top of that, I'll then do, it might be a magazine or a newspaper or something physical, that we'll then post that to people two or three times a year. But also, we're just trying to stay in touch with people so I if I'm not shooting, I'll try and pop in and see someone for coffee or go and meet them for lunch or just generally stay in touch with people.
Steve Folland: Yeah, that's nice. When you say that you blog a newsletter, is that like taking a project that you've worked on, like an example of your portfolio and how you did it?
Jon Enoch: Yeah. It tends to be something that's happened relatively recently. So, it would be new work essentially so, the blog is always, hey, we shot some pictures last week of this person. Here they are, essentially, and there might be a little bit, people behind the scenes so we might show them a little bit of the behind the scenes of how that shoot happened and then we might show them, also, not only the imagery but also, the end result. How it was used in context.
Jon Enoch: Pictures of the magazine cover or pictures of that image on a billboard, on a tube station. Just giving them a little bit more than just the image. Just so that they feel a little bit more engaged.
Steve Folland: Yeah. So, we touched there on evolving it actually into a business. Like being an employer, for example. How have you handled that other side of being a business, of the financial side, for example? Contractual things?
Jon Enoch: Sure. I mean, I think that the financial side has always come relatively straightforward to me. I think the biggest thing I'd say on that is, outsourcing is a good thing. I think when you first start, you very much have this bunker mentality that you have to do everything yourself. That you have to be the web designer, that you have to be the graphic designer that comes up with the logo.
Jon Enoch: Obviously, there's a reason why you do that because you don't have the finances to get other people involved. But I'd say one thing I've learned is, one thing I should have done a bit sooner, is try to get other people to do those areas because somebody whose job it is to build websites is going to build a website far better than you can as a photographer. Nowadays, I have a bookkeeper who does all the finance and an accountant who deals with all the end of year stuff too.
Jon Enoch: What it really allows me to do is, just it allows me to concentrate on what I do best, which is taking pictures and coming up with ideas for imagery and I think as a freelancer sometimes you can get bogged down in having to deal with all those other tasks. I think the best lesson is actually, what I try to do is make sure that my time is focused on the things that I'm good at and give the other things to other people who are experts in that field.
Steve Folland: Yeah, when it comes to working with a bookkeeper, would they send out an invoice and add your expenses to your software and things like that?
Jon Enoch: The only area that I still do is, I do the actual proactive invoicing. I send the invoice but in terms of tracking all the expenses, in terms of paying other people, in terms of logging all the costs, in terms of, basically, all of the financial management, that's something that they do. All I have to do at the end of a shoot, is send the client the invoice and the only reason I do that, is it's actually easier and quicker for me because I can remember, oh, we spent 250 pounds hiring in a giant zebra or whatever it might be and it obviously takes them a little bit longer to work out what that is.
Jon Enoch: I tend to do the invoicing and they will chase the invoices and they will make sure that all the VAT's paid on time, all the taxes paid on time. I find it just works better for me because it means there's probably a couple of days a month where my time is then freed up to do the things that I'm better at.
Steve Folland: Mm-hmm (affirmative). Yeah, that's true. Because I've often thought about that myself. Now I think but then I'd have to send all of this information to that person, in order for them to add it on. And I think, so might I, as well, just add it on myself.
Jon Enoch: Yeah. Everything is all cloud based. The system we use is all based in the cloud, so, all of that financial information is accessible from anywhere, at anytime. So, the bookkeeper won't even necessarily come into the office, on a weekly basis. They will just have access to the bank accounts and see what's coming in and what's going out and they will be able to do everything remotely.
Jon Enoch: Obviously, there's sometimes physical receipts, so, they have to come in and wade through the paperwork but a lot of it's actually, well, all of it's actually on the cloud. It's actually works really well.
Steve Folland: You mention an office there. Do you have a permanent space?
Jon Enoch: Yes, yes. Quite early on in London, I made it down to London just as the credit crash happened and I think, you started to see then the emergence of co-working space or shared space. Basically, as companies laid off people and suddenly realized they had half an office left and were looking for other ways of making money. I think, for me, that was one of the best things I ever did, really.
Jon Enoch: I think, initially, as a freelancer I found it quite isolating. Coming from working in a newsroom where you had 30 or 40 people, all exactly your same age as you, all working in the same industry, suddenly to be based out of your spare bedroom in a city that you didn't know. The potential was there for it to be not a good situation, in terms of isolation.
Jon Enoch: So, I quite quickly took a co-working space and now, essentially, I have too much kit so I can't really work out of a co-working space, so I work out of a small office but it's in part of a larger complex. Basically, I find that you just get all of the benefits of working for a larger company but without any of the hassle.
Jon Enoch: I think, for me, it helps with the work life balance, in terms of, I can go to work and then once I've finished, I can shut the door and walk home and have that little bit of separation.
Steve Folland: Yeah. Did you try working from home originally?
Jon Enoch: Yeah, I did, I did. I think I just missed people, if I'm honest with you. I just missed, obviously, as a photographer, you're meeting people all the time but you're not really meeting them. You might meet them for an hour, once you shoot their pictures and so, I think I really missed just having the same people around and the same faces, on a daily basis. Also, my productivity, I found, by taking the office out of the home was just ... It just rocketed.
Jon Enoch: A task that would take me an hour to do at home took me 15 minutes just because there's no distractions, you're totally focused. You can just concentrate on that task at hand. I just found at home, there was always some distraction, there was always something cropping up. So, while that was, initially, that was a bit of a financial, you're like, okay, do I really need to be spending this money on something that I could do from home, I quite quickly found, that it'll actually pay for itself, effectively. Because all it would take me was to pick up one additional client and that would pay for it.
Steve Folland: How do you find managing your workload?
Jon Enoch: I never really had an issue with it but having said that, I'm sure others around me would say it is an issue. I love it so I don't have any qualms or problems about working seven days a week and still be working at 2:00 in the morning. For me it's just something I love doing so I don't really ever turn off. Obviously, having that office away from home allows me to do that a little bit more.
Jon Enoch: If I go away on holiday, I'm still answering emails every hour. It's the nature of the beast, I think. If you're in this business, you have to accept that it becomes a little bit all consuming.
Steve Folland: Yeah and actually, it sounds like you quite like that.
Jon Enoch: Yeah. I don't have any problems with it. I mean, obviously, there would be weeks when you were just incredibly busy and then there are weeks that are a little bit slower. So, over the course of the year, it will balance itself out. I mean, that's one of the beauties of being freelancers, is that you can decide to go for a swim on a Tuesday afternoon. Or whatever, whatever else you want to do but other times, the downside is, the work's coming in, you can't say no to it, you just have to keep saying yes. Sometimes, you can just have a constant stream of work and you just have to suck it up while you can.
Steve Folland: I noticed, on your website, there's a lot of mention of awards, which is awesome. I sat there looking at them thinking, I wonder, how important they are to you and also, first I thought, oh, he must be entering a lot of awards and then I sat down and thought, I wonder whether sometimes the magazines or newspapers enter them and so, actually, it's not him or the brands, for example or in the case of advertising.
Jon Enoch: Yeah, yeah, yeah. A little bit of that. I mean, I think initially, at the start of my career, they were very important just because they got my name in front of people, who, it would have been trickier for me to get my name in front of. I think the one thing I would say on awards is that there were awards and then there were awards. I think, almost, the awards industry in itself, it mushrooms.
Jon Enoch: Every day I seem to be getting an email about some photography awards or some other photography awards. I thin, in reality, the vast majority of them aren't really worth anything but there are definitely a handful that are. The main thing is, when I look the awards over, if I am entered for an award or if I win an award is, who are the audience. I don't really care if that room is filled with photographers because they're not important to me.
Jon Enoch: Obviously, it's lovely to win an award but what I really care is I want that room to be filled with art directors and art buyers. So, people from the slightly wider industry and I think there are lots of photography awards where the only people looking at them and the only people engaging with them are other photographers, which is pretty pointless from a career perspective.
Steve Folland: Yes, yeah. So, who are my potential clients, where are they?
Jon Enoch: Exactly, exactly and that's what you want. There's some awards that are peer awards and you go to those events and every other person is a picture editor or an art buyer so there are some awards that I've won that have been very beneficial. Again, just in terms of getting your name out there and just helping cement your place in the industry so that people have trust in you or that people just feel that you're more established.
Steve Folland: I mean, given like, you obviously are pretty established, I think it's fair to say, now. Was there a moment where you felt that momentum?
Jon Enoch: Yeah, I can remember it. I can remember exactly when it was. I was working for The Times newspaper, my boss fired me. He said, "We've got a photo shoot with the writer, Caitlin Moran," who, I can't remember what they were doing with that. I think they were dressing her up as Beyonce or something ridiculous but it was a T2 cover, she's obviously The Times star writer.
Jon Enoch: I can't remember, somebody that they normally use had dropped out or they couldn't get a normal person to shoot it and he literally, I remember him saying to me, on the phone, "If you do well on this, it'll really help your career." It made the cover and it was a good set of images and everyone was happy.
Jon Enoch: So, there were definitely turning points in your career where you've literally, oh wow, that, you need to nail it because that opportunity doesn't come along very often. Even when you start out or even in the middle of your career, you get these commissions that come in and you're very much aware that, okay, if I do well on this it'll take me to that next little step.
Steve Folland: And from a business point of view, have you had any help or any mentors or have you just been figuring it out as you've gone along?
Jon Enoch: I wouldn't say that I've had any direct mentors. I mean, there were a lot of people who I keep a close eye on and I look at what they're doing and how they're doing it but, no, I haven't had any mentors. One of the other things I would say about taking the office out of home and working from another space is that you meet other people.
Jon Enoch: A lot of the people that I've shared space with before or they've been in the office next door, they've worked in other industries so they might work in recruitment or they might run a design agency or something like that, which at first seems very unrelated to photography but actually, all small businesses or all freelancers are the same.
Jon Enoch: The end product that you're selling might be different, be that illustration or photography or whatever the nature of the game that you're in but 95% of running a business or being self employed or being freelance is the same. So, I've actually found by working with people from other disciplines, it gives you really good insight into how they work and I think sometimes you can pick things up from them that you would never come across yourself.
Steve Folland: Nice, yeah, yeah. Unless you get a co-work space or listen to a regular podcast, of course.
Jon Enoch: Exactly.
Steve Folland: If you could tell your younger self one thing about being freelance, what would that be?
Jon Enoch: I actually think it would be, everything is going to be okay, so, maybe be a bit bolder and I think what I mean by that is, I think when you first start off, you're quite tentative. I think if I could say to myself something, it would be, go a little bit harder and go a little bit faster. Also, to invest in yourself as much as you do the photography. I think when you first start off in any creative discipline, you're so wrapped up in that creative process that, that's all you think about.
Jon Enoch: So, I just think about pictures and the portfolio and images and actually as a freelancer, I think if I worked out little bit earlier that, that's about 50% of it, in terms of, getting work and getting good paid work, that makes up about 50% of the reasoning as to why you might get a shoot. So, I think maybe just being a little bit more aware of that earlier on and maybe investing a little bit more in myself and not just thinking about the pictures.
Steve Folland: John, it's been a pleasure to chat to you. All the best being freelance!
Jon Enoch: Thank you, Steve. Thanks so much.


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Press Releases
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Even if you consider yourself an indie coffee aficionado, you'll almost definitely find yourself in line at Starbucks sometime in the future. This Seattle-based caffeine juggernaut with a huge international footprint can be found everywhere.
Since the odds of someday ordering a drink at Starbucks are pretty high, it helps to know what the experts like to drink — and what they absolutely don't like to drink — at Starbucks. Here are coffee industry pros' thoughts on 10 popular Starbucks beverages.
The Pumpkin Spice Latte contains tons of sugar and experts say it shows.
Yeah, we're starting with the bad news first. The PSL, the unofficial Coffee Drink Of The Fall, tastes delicious, but experts don't think it has much in terms of flavor balance and coffee structure.
Former long-time Starbucks barista and present-day coffee collector J.R. Duren points to the high sugar content in the PSL as the drink's biggest problem. If you want to taste the nuances and flavor dimension of coffee, "this drink is, in my opinion, far too sweet and full of sugar that you just don't need," Duren told INSIDER.
Of course, if you enjoy a pumpkin spice latte from time to time (as countless other Starbucks customers do), there's nothing wrong with that. Skylar Bowker, e-commerce manager for BuyCoffeeCanada, puts it like this:
"Don't listen to pompous snobs who try to tell you what you should or shouldn't like. Everybody has different tastes, and one of the great things about coffee is the diversity of flavors. Find what you like best, and try something new once in a while. There's even a time and place for the pumpkin spice lattes that supposed 'connoisseurs' look down on."
Experts say the White Chocolate Mochas are too sweet to highlight the flavor of the coffee.
Coffee experts tend to frown on any beverage with a particularly high volume of sugar, as the sweet stuff can mar the flavor of the coffee beans themselves (and, when habitual, these drinks can also compromise the health of the drinkers).
Duren calls out the White Chocolate Mocha as a particularly egregious offender on the sugar front, with overwhelming sweetness caused by the white chocolate syrup.
"I would consider [the White Chocolate Mocha] more of a 'beverage with coffee' than a coffee drink," he told INSIDER.
The Iced Caramel Macchiato bears no resemblance to a traditional Italian Macchiato.
The Caramel Macchiato consistently ranks among Starbucks' most popular beverages, in both its hot and iced forms. While neither version has much to do with Macchiatos as they're known in Italy, the Iced Caramel Macchiato strays particularly far from the original, according to experts.
"[The Iced Caramel Macchiato] has led countless unlucky souls to believe that a Macchiato is some iced concoction," Jhonn Thomassen, former Starbucks barista and current owner of Marine Park Coffee in Brooklyn, New York, told INSIDER.
In reality, the Macchiato is a pour of espresso in a demitasse cup that's topped with a small dollop of foamed milk ('macchiato' means 'marked' in Italian). It definitely doesn't contain caramel, and it's never served cold.
Thomassen doesn't suggest removing the Iced Caramel Macchiato from the Starbucks menu entirely, but he has a suggestion for the 'Bucks team about the drink's name: "Let's call this what it really is: an Iced Vanilla Latte with caramel sauce on top."
Like Iced Macchiato, Iced Cappuccinos aren't really a thing, according to experts (even with Cold Foam).
A definite standby on the Starbucks menu, Iced Cappuccinos start with espresso shots and milk over ice, then get a hearty helping of "Cold Foam," a new Starbucks creation made by whipping cold nonfat milk until it's frothy.
But, because classic cappuccinos rely on hot steam to make a velvety foam, whipping cold milk without the benefit of heat results in a topper that bears little resemblance to the smooth and airy stuff you'll see on top of a properly-made hot cappuccino, experts say.
Thomassen explained that "most baristas working in third-wave shops will tell you that there is no such thing as an Iced Cappuccino."
Even experts agree, a Caffè Mocha makes a satisfying indulgence on a cold day.
Another long-time Starbucks menu item, the Caffé Mocha provides a perfect halfway point between a latte and a hot chocolate. It's a comforting pick with just enough espresso bitterness to cut through the sweet chocolate, and the foamed milk gives it an appealingly silky texture, experts say.
Thomassen considers the Caffé Mocha a great pick for chilly day: "Nothing staves off inclement weather like a hot Mocha, and as long as the milk is steamed properly, it's always a winner."
Plus, this popular drink can even be made dairy-free friendly with a few substitutions because Starbucks' chocolate syrup is dairy-free.
If you want a cold coffee drink with milk, opt for an Iced Caffè Latte, experts say.
Fans of iced coffee beverages that contain milk, don't worry — an iced cappuccino might not be found outside of a Starbucks, but an iced latte sure will be.
Thomassen agrees, urging iced cappuccino fans to "stick to Iced Lattes for a more authentic drink."
Experts say that you'll make your barista happy by ordering a Flat White.
A popular coffee drink in Australia and New Zealand that more recently gained an American foothold in third-wave coffee shops, the Flat White includes a pour of espresso topped with gently-steamed milk with a smoother texture than cappuccino foam.
The Starbucks version first hit menus in 2015, and since its launch, it's become a favorite among Starbucks baristas who like to get creative with their drink-making, according to experts.
If you want to try the "Cold Foam" in a better context than the Iced Cappuccino, try the Cascara Nitro Cold Brew.
Starbucks likes to stay on top of coffee trends popular at smaller indie shops, so they recently released a Nitro Cold Brew, a cold coffee poured by draft.
The coffee gets aerated as it comes out, resulting in a natural float of coffee foam on top. If you order the Cascara Cold Brew, you'll get your Nitro Brew topped with a float of Cold Foam sweetened with Cascara syrup made from the skins of coffee cherries.
Duren counts this beverage among his favorite Starbucks drinks, because "it's a nitro cold brew, which I much prefer to regular cold brew, and you've got a sweet foam head that negates the need to add sweetener or cream to the drink."
Coffee made from Starbucks Reserve beans is excellent, according to experts, especially when brewed in a Clover machine.
Although it's a massive international corporation, Starbucks does pursue projects that focus on artisanal coffees made on a much smaller scale. Their Reserve Roasteries provide a space for coffee experimentation, like the Starbucks Reserve beans, which are harvested from prime coffee-bean terroirs and roasted in small batches before being sent to a limited number of Starbucks locations around the world.
Duren has a positive view of Reserve coffees, especially when they're made in Starbucks' Clover machines, which are basically reverse French presses.
"The third-wave movement has convinced a lot of people that Starbucks is the opposite of quality. However, their Reserve coffees are, in my opinion, a step up from their usual lineup because they're more complex and have a certain level of delicateness you don't get with more popular blends," he told INSIDER.
The Caffè Americano is the Little Black Dress of Starbucks beverages, experts told INSIDER.
When asked to name a favorite Starbucks beverage, Bowker had a simple answer: "Americano. Tall. Black."
Thomassen agreed, claiming that a Caffè Americano (an espresso shot topped with hot water to create a light layer of crema) "is the first Starbucks drink I really learned to love, after being told that an Americano is the 'coffee drinker's drink'. Whether or not that is actually true, it is almost impossible to botch this brew, and it is very consistent from location to location."
For more great stories, head to INSIDER's homepage.


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Is it true that
even this tiniest flower,
watered by grieving Mother's tears
is flaming with the joy
of far-flung stars?
Anne Dellenbaugh
Yellow petals emerging
from a vast sea of green
—startling moment
seeing the beauty of the Dharma.
Marion Hunt-Badiner
Rivers of fear, doubt, joy, and sorrow
—on the other side a swallow sings,
and you and I meet again.
Eileen Kiera
Dead branches break forth into bloom.
Liberty is reclaimed
Thank you for this Triple Gem—
washing dishes among kindhearted friends
Judy Gilbert


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Leading independent Scottish property consultancy CKD Galbraith is offering for sale Barskaig, a beautiful small estate situated on the banks of the River Stinchar – one of the most productive salmon fishing rivers in Ayrshire.
The property dates from 1802 and has been lovingly maintained by the present owners in keeping with the original Georgian character and charm.
The accommodation is formed over 3 levels, and includes a wonderfully proportioned drawing room, formal dining room with bay window, a charming snug and a fully fitted kitchen with Aga.
A useful utility room opens to the rear gardens and there is also a cloakroom and WC.
Three spacious bedrooms and two bathrooms are located on the first floor with two further bedrooms and a shower room on the second floor.
Barskaig extends to approximately 11 acres and is naturally sheltered by the surrounding rolling countryside and some policy woodland.
The house overlooks a formal lawn and the gardens have been carefully planted to provide year round colour and interest. There are over fifty specimen Acers as well as various conifers, exotic ferns and palms.
In addition Barskaig offers excellent stabling within a traditional stone and slate building, a tack room, feedstore, garage and garden equipment store. An all-weather riding arena lies to the north of the house as well as a general purpose shed, summerhouse and large greenhouse. Five excellent paddocks are all well drained and fenced with an electrical connection.
Fishing rights along a 250 yard stretch of the east bank of the River Stinchar offers a reliable run of sea trout and salmon. The river forms the western boundary of the property and the Barskaig beat has two good holding pools.
Barskaig offers the complete sporting package with a wonderful Georgian country house at the heart and is available at offers over £775,000.
PDF available on www.ckdgalbraith.co.uk
CKD Galbraith
7 Killoch Place
Ayr KA7 2EA
Ayrshire, Scotland
Tel: 01292 268181
Fax: 01292 292300
E-mail: email@example.com
CKD Galbraith's Ayr Office is a Founder Member of the Elite Ayrshire Business Circle.


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Now 10 Percent Off Baby Boy Crib Quilt Homemade Etsy Furniture
31 Ways to DIY a Dreamy Baby Room. What are you DIY-ing to create dreamy digs for your baby? Tell us about your hand-made goodies on twitter @BritandCo. Bethany Kosten. Bethany Kosten is a freelance editor at Brit + Co. and an information junkie who is passionate about creating and consuming clever content. Being an idea enthusiast makes. Whether you're looking for kids room ideas that incorporate baby furniture or big kids' furniture, we have a variety of sizes and styles to fit your child's age and personality. Our selection of kids' beds include bunk beds , loft beds, storage beds, daybeds and more. Kids and Baby Furniture Essentials Furnish your child's bedroom or playroom with durable pieces that will transition from baby furniture to furniture for older kids. For a coordinated look, choose a kids furniture set, or build your room one piece at a time. • Kids Beds. Uniting beautiful solid wood, eco-friendly design with innovative functionality, Countryside Amish Furniture offers a wide variety of baby cribs and youth beds. The crib will likely be the most prominent piece of furniture in the room, so picking this item first is wise. Explore stylish baby furniture and read reviews on the latest cribs, rockers, shelving, and more. watch this video for all the decoration ideas for your baby's room to take flight. Top 31 Of The Coolest DIY Kids Pallet Furniture Ideas That You Obviously Must See 0 comments When it comes for the pallet DIY projects, many of us are delighted, and we want to know more and more DIY ideas. DIY Furniture Store KnockOffs - Do It Yourself Furniture Projects Inspired by Pottery Barn, Restoration Hardware, West Elm. Tutorials and Step by Step Instructions" "DIY Outdoor bench ideas can help you to decide which one suits your outdoor setting and personal preferences. Find the best designs for. 16 Baby Furniture Plans Free Cradle Plans, Free Crib Plans and More! cslagle Categories Project Showcase. 4 Comments. My baby boy turns 2 weeks old this Friday (stealth gloat) ) I dedicate this free-plan collection to all the new woodworking parents and grandparents (hi Dad!) out there who want to make a lasting contribution to their. Gorgeous DIY Baby Cradles for Handy Parents. If you're quite experienced with wood working and looking for a more challenging piece of DIY furniture than the average crib high-quality and on-trend DIY projects and tutorials in home design, fashion, and crafts. Recognizing the value of the do-it-yourself movement of the last several. Baby Furniture Decorating for Kids. Baby Furniture How to Build a Homemade Baby Cradle Building a homemade baby cradle will not only save is provided "AS IS." Website operating problems contact [email protected] Questions of a Do It Yourself nature should be submitted to our "DoItYourself.com Community Forums.


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Published at Sunday, April 28th, 2019 - 16:48:35 PM. Kitchen. By Georgitte Jouan.
Designing and fitting in storage spaces for all the things usually needed in the kitchen is no easy task. Lots of things need storage. For example, where will you keep all your plates, the knives, the spice jars and what about all the other items you'll be needing? You can't just throw them all in one place. The key to a practical and functional kitchen design is being organized. A pegboard can be a very useful thing in the kitchen. It allows you to store lots of things like pots and pans close at hand. You can also customize it however you want and, for example, add shelves. It's a relatively easy DIY project.
Go down the traditional route with this rustic style of kitchen. You can spice up your conventional wooden kitchen with splashes of warm red. This colour scheme is perfect for the current cold months. In direct contrast to the previous colour scheme, we now have a cool palette. You can't deny how elegant and classy this kitchen looks. When going for a frosty feel it's best to use highlights rather than an overall shade of pale blue.
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In response to the emailed question:
Oh Nature!,
I wonder what you are and what language you speak?
- From your friend and admirer.
One theoretical physicist wrote:
Oh Admirer!
I wonder at your hubris, marvel at your simplicity.
The vanishingly small part of me you perceive already captures all possible languages comprehensible to you. The contingencies upon which your particular perception of me was formed will always limit your understanding of me. And yet you persist, and I am proud of you for that.
- Nature


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I'm currently sat on the floor outside the toilets on a DB train to Münster so what I write here isn't a deeply edited and considered account of Documenta 14, just some thoughts.
Overall, it was ok. As with any of these big things you very quickly go art-blind and can find yourself wandering around museums and venues like you're in IKEA on a Sunday morning. It's often after you've left that things begin to percolate through and you realise what you've really liked.
First thing to say is that the Kultur Bahnhof and the Neue Neue Galerie were my real highlights. Like a lot of people, I guess, I have a fondness for odd and repurposed spaces as they just tend to offer a more interesting proposition in which to site and read work. Both of these spaces are exactly that.
Outside Kassel's main train station sits a shipping container. A constant stream of people go in but don't come out again - like a reverse Keystone Cops kind of thing. On entering the container you discover it's placed over the top of the entrance to a, now-disused, underground station. What's not to love about getting access to a disused subterranean space?
There are a handful of works in there, the most striking of which being a large video installation at one end. Now, at this point I'll state I've no idea who made the works I'm about to mention. I'm sorry, it's unprofessional, but unless the name plaque was immediately apparent I just couldn't be arsed to track it down as I just wanted to enjoy the work and experience.
Exit from this amazing space was by following the tracks out of the station and back in to the world - an ambiguous and alien experience that was enjoyable in itself. The parting shot is this work, meaning 'Hello/Welcome' in Greek and relating to a bunch of Greek soldiers transported here during the war and who occupied a space somewhere between PoW and guest.
My other favourite space was the Neue Neue Galerie - a disused post office building across town. This holds a considerable number of the new commissions and hangs together well as a curated show.
A work about the murder of an Internet cafe owner in Kassel is fascinating - an incredibly well-researched and deeply disturbing account of, what appears to be, a state-sanctioned murder. It also taps neatly in to the current Netflix 'Making of a Murderer/The Keepers' zeitgeist. That, in itself, is an observation, not a criticism.
The show carries on over several floors, meandering through every media and form you'd expect to meet in such a show. Artur Zmijewski gets a room to himself for some new videos (no pic, sorry) of amputees undressing and performing exercises. As with so much of his stuff there's a moral ambiguity as to how we're supposed to be feeling as they, at once, feel a bit voyeuristic and exploitative but maybe quite sexual and a bit homo-erotic. Who knows.
In all honesty, if I'd have seen these two venues and no others, I'd have seen the lion's share of what I really wanted to see. That's not to say that there's no other good work around, but I largely found myself enjoying one or two works in each of the other venues.
Minujin's Parthenon of banned books, on a site where the Nazis used to burn books, was a fine visual statement, but then I'm a sucker for the grand public gesture.
Another highlight was Romuald Karmakar's video 'Agni Parthene' in the Orangerie. The best I can offer you is a screenshot from my Instagram, but if you want to see a clip of it then you can find one there.
These big shows/projects are always great, for the sheer volume of work one gets to see in such a short space of time, but I invariably leave, whether it be Venice, Documenta, any biennale anywhere, feeling that I've a) probably missed the best thing somewhere (this is invariably proven to be the case by checking others Instagram feeds after the fact) or b) there could have been half as much work and it would have, somehow, been twice as good (nonsense, of course).
The whole trip was thanks to a bursary from a-n due to my role as an AIR Council Member, so a big thanks to them. It wa great to meet a few of the recipients of the member bursaries too. So, to finish up, here's just a little collection of additional works from the various shows.


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I am excited to announce that we are adding a very special guest instructor to the third week of the Botanical Workshop at the National Tropical Botanical Garden this year. During the week of March 21 - 24 multi award winning Asuka Hishiki from Japan will be teaching her technique of working with watercolor to create paintings with minute detail.
About Asuka
Asuka Hishiki holds a Master of Fine Arts from Kyoto City University of Arts in Japan where she studied oil painting. Her work has been shown in exhibitions including the 14th International Exhibition at Hunt Institute(2013), the 12th-18th ASBA exhibition at HSNY(2009-2015), Focus on Nature at The New York State Museum, Albany (2010/2012-Jury award winner), and Green currency (2011/Silver medal), Wierd, Wild & Wonderful (2014 / Gold medal)at The New York Botanical garden, A window on nature (solo show) at The Arsenal gallery in Central park (2012), and Wave Hill winter workspace program (2013).


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We offer the best auto service shop in town. We have highly qualified technicians on hand to assist whether you need car repairs, or just cosmetic updates to your vehicle. Our custom stereo installation team is the best in the business, offering you the opportunity to customize the interior to your particular needs with a wide variety of packages that are guaranteed to make your car the envy of audiophiles.
Please speak with our trade advisor for more information.


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Picture a standard data center and describe what you see. Chances are, you're envisioning rows and rows of black cabinets filled with black equipment, and a sea of cabling.
Black has been the standard for data center racks and equipment for years but we're now learning that it's not always the optimum choice. This is especially true as data center owners looking to cut energy use are dimming the lights in their data centers, or turning them off altogether. Black equipment installed in black racks with dimmed lighting usually means IT staff need special lighting when working on servers and gear inside the cabinets. It's not uncommon to see auxiliary lighting installed inside the cabinet or special angled lighting in the room. Even with all that extra lighting, IT staff still often wind up using flashlights or headlamps so they can see what they're doing.
To help remedy the situation, APC by Schneider Electric recently introduced its line of NetShelter SX white cabinets. Available in eleven different standard SKUs, NetShelter SX white cabinets have all of the same features of the standard black NetShelter SX cabinets that your customers love, but they're white inside and out.
White reflects light while black absorbs it. With black cabinets and equipment absorbing so much light, it costs more money to provide adequate lighting in a data center that uses black cabinets.
White cabinets reflect light, making the room seem brighter and requiring less energy to properly light the data center. NetShelter SX white cabinets also create a contrast to the black equipment housed inside, making it easier for data center and IT staff to see what they are doing without holding a flashlight. This makes the staff more effective and reduces the likelihood of human error.
APC by Schneider Electric has standardized the white NetShelter SX in the most popular cabinet sizes to meet a wide range of equipment densities for server and networking applications. The options include 42, 45, and 48U height cabinets in multiple widths and depths. The most recent addition to the offer is in 45U that are 84 inches tall (7 feet) and a popular size among consultants, installers and contractors.
To provide a clean and coordinated look, APC also offers in white, airflow management accessories including vertical exhaust ducts (VED) and overhead cable extensions for routing cabling overhead when using a VED.
Customers have many options to consider when selecting the correct cabinet for their data center or network closets. Now they have an option that saves money by reducing energy consumption while making it easier for IT staff to operate the equipment – just by changing the color of the cabinet. Review other considerations for selecting a data center cabinet in APC by Schneider Electric's new, free whitepaper, "How to Choose an IT Rack".
APC by Schneider Electric has long set the standard for data center cabinets and now with the new NetShelter SX in white, in the most popular sizes, they have once again proven to be the leader in energy management. Keep up with the latest trends in data center cabinets and IT racks by following @APCNetShelter on Twitter #NetShelter.


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Home › Home accessories › Photograph Frames › Photo Frame - Antique Cream with Diamonte Butterfly
Pretty cream wood frame in an antique finish and beautifully decorated with a diamante surround and a large pearl and diamante butterfly.
The overall size of the frame is 175mm x 175mm and is suitable for a photo cut down to a size of 90mm x 90mm.
Wooden strut.
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A husband and wife are shopping for wallpaper in one of those huge home centers when she realizes, "I don't need big. I need someone who knows wallpaper." That's one of the scenarios in a new radio commercial from Siperstein's, a New Jersey-based home decorating chain that has shifted much of its advertising budget from newspapers to radio in order to distinguish itself from the large, multi-purpose home centers such as Home Depot.
"Radio is giving Siperstein's a personality," says Ernie Fossa, partner at The GFS/Levinson Group, Siperstein's ad agency. "It's something they couldn't get in newspaper ads." The target customer, Fossa adds, is adults, 25-54, with a male skew. In another of the creative executions, a husband tells a home center salesperson he's looking for paint, and, "my wife wants it to be the same blue as this cup..." The store employee responds, "What do you think this is, Siperstein's?"
The retailer had recently added some Connecticut locations to its New Jersey base, and this made the move to radio, combined with outdoor advertising, even more opportune. Siperstein's, says Fossa, is only using newspapers on an insert basis, "to supplement heavy radio and outdoor. They're 12 to 15 stations deep, taking advantage of weekend radio -- Friday thru Sunday.
"We looked at their competition in the market," Fossa continues, "and decided they could create awareness in radio." The campaign started the last week in March and will run through October. By early April, the creative was already breaking through with the message that, "If it has anything to do with wallpaper [not lawn mowers], paint [not plumbing] and window treatments [not the treatment], you'll find it at Siperstein's."
Nymrad Blog
"There are 16.9 million New Yorkers over the age of 6. Of these consumers, 15.7 million of them listen to New York Market Radio each week. That's a 93% penetration rate. This rate is unachievable by most other media.
And, New York Market Radio holds its audience throughout the weekdays and into the weekends. During morning drive (Mon-Fri 6am-10am), 11.2 million (66%) New York consumers listen to the Radio. Although New Yorkers get busier during the day, more than 12.2 million (73%) New York consumers are still listening in middays (Mon-Fri 10am-3pm). In the afternoon (Mon-Fri 3pm-7pm), Radio listening increases to over 12.6 million consumers
New Yorkers return to Radio in the evening and on weekends. Since evenings and weekends are the prime time for purchases, these are critical dayparts for any advertiser. In the evenings, 9.3 million New York consumers tune to their Radios. On the weekends, 12.8 million consumers are tuning in. Weekends is the highest daypart for reaching New York consumers.
Click here for more information
Now that you have seen the headlines, let's dig a little deeper into the story behind this massive audience.
Radio's reach in New York covers all demo groups. Whether your advertising target is younger or older consumers, New York Radio reaches an audience that matches the population. In the key 25-54 buying demos, New York Radio exceeds the population!
This reach holds true both for the total audience to Radio and the time these consumers spend listening to New York Radio stations. In the hardest to reach younger groups (Persons 6-11, teens and Adults 18-24) New York Radio reaches 88% to 95% of these key consumer groups. And, even with the competition with other mediums, Adults 18-24 listen to the Radio an average of 11 hours and 15 minutes a week. This is a captive audience!
In the older demo groups, New York Radio's reach is tremendous, with penetration at 92% or higher in all groups. Time spent listening for these groups averages more than 13 hours a week!
Click here for more information
As advertisers focus on their key targets, we will focus on Radio's heavy listeners. There are almost 3 million New York consumers who listen to the Radio for at least 22 hours a week. What does an advertiser need to know about New York Radio's heavy hitters? According to Scarborough:
51% of these listeners are male. 49% are female. 65% of these consumers are between the ages of 25-54.
53% have pursued at least some college education. 29% have achieved a college degree or higher certification.
48% are employed in management, business, professional or sales occupations.
32% have a household income of $100,000 or more.
51% are married.
46% have children under the age of 18 in their household.
Click here for more information
Now that you know the basics on New York's heavy Radio listeners, what do they plan to buy? Where do they like to vacation and shop? What do they invest in? Are they heavy cellular/wireless phone or Internet users? How much are they spending on groceries?
Over 722,000 of New York's heavy Radio listeners own a home valued at over $500,000.
Over 843,000 of these listeners' households have stock or stock options.
Over 654,000 of these listeners' households plan to purchase or lease a new or used automobile in the next year.
Over 644,000 of these listeners plan to take a foreign trip in the next year.
Over 1.3 million of these listeners have spent over $75 on their last cellular phone bill in the past month.
Over 1/2 million of these listeners have spent $1,000 or more on Internet purchases in the past year.
Nearly 1.0 million of these listeners' households have spent $150 or more on groceries in the past week. Click here for more information
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"The current economic downturn has altered people's lifestyles and spending habits. Things people did without giving it a second thought are now not being done at all. These changes have affected the relative influence of different advertising mediums. While Radio is a valuable advertising medium in good economic times, its value explodes during difficult economic times.
Radio Is Free and Popular
Radio is and always has been free to the end users. There is no subscription or user fee. The recession has greatly impacted newspaper circulation. As money gets tight people question the price they pay for their monthly cable subscription. However, Radio is free entertainment.
Just about everyone tunes to the Radio. In an average week 94.5% of New York metro Adults 18+ tuned to the Radio. On an average day 71.1% listened to the NY Market Radio.
In other words, Radio reaches nearly three-quarters of all New York Adults on an average day. Not only are they tuning in, but they are also listening. The average Adult spends thirteen hours a week with Radio. Radio's reach and great TSL have both been consistent over the past year.
It doesn't matter the level of a person's affluence, free entertainment is ideal in an economy where money is tight.
Radio Is Right as Both a News and Entertainment Source
As the economy has turned, many in the population have become glued to news and business. New York Market Radio offers these folks several different choices to keep listeners up-to-date on world events. There are several stations that offer news and business 24 hours a day. There are also several stations where listeners can hear opinion-makers talk about news events.
Others wish to ignore these events and are need of entertainment. New York Market Radio has dozens of free entertainment choices. From a variety of music stations to sports and talk, New Yorkers can escape their concerns and feel good again.
Radio's Targetability Makes it an Efficient Advertising Medium
In tough economic times, Radio's ability to target specific audiences is more important than ever. Due to the great variety of stations, Radio is a great target marketing choice.
• If you want to reach a specific age segment – there are specific Radio stations for you
• If you want to reach a specific gender – there are specific Radio stations for you
• If you want to reach a specific ethnic group – there are specific Radio stations for you
• If you want to reach a specific geographic region – there are specific Radio stations for you
Simply put – NY Market Radio enables you to reach the portions of the population you want without paying for the segments that are not needed.
A wrong advertising decision this holiday season could make or break your business. There is just no room for error. You've made the smart choice to use Radio. What can you do to boost your confidence that each dollar you spend in our medium will be spent effectively?
It all starts with finding the right match. That's the match between your potential customers and the people that listen to the Radio stations you are considering as advertising partners. Get it right and your odds of success just went up dramatically. Miss the match and even the best message in the world may not bring enough customers through your door. Plenty of listeners will hear your message. Just not enough who have the greatest potential of being your customers.
While every Radio station isn't right for every advertiser, every station is right for some advertiser. Are the stations you are considering right for you? How do you know? Sure, the size of a station's audience is important, but who are those listeners? Do they look like your customers? Will your commercial message reach the consumers who are most likely to need what you do or you sell? Are you reinforcing your brand to your existing customers, or are you reaching out to new customers?
Most stations can do a very effective job of painting a picture of their audience. Just ask them! They can actually show you pictures of their listeners from station events. They can use the latest Arbitron data to tell you how many people listen, as well as audience characteristics such as:
o Age
o Gender
o Race
o Socio-Economic Status (income, education, employment)
o Geography
In today's PPM world, it is more common to find several stations with identical ratings! But while their audience size may be the same, it is critical to look at the composition of the different audiences.
Let's use a simple example of two stations with the same AQH Rating. As you can see below, one delivers the advertiser's audience much closer than the other.
New York Population
Advertiser's Target Audience
Station A's Audience
Station B's Audience
Male 12+ %
Female 12+ %
25-34% of 6+ Pop
35-44% of 6+ Pop
45-54% of 6+ Pop
Black % of 6+ Pop
Hispanic % of 6+ Pop
Other % of 6+ Pop
5 Boroughs 6+ Pop %
New Jersey 6+ Pop %
One of best reasons that Radio consistently delivers for its advertisers is its ability to reach consumers wherever they are. Radio's portability allows New Yorkers to listen at home and away, and often at the moment that they are making important purchasing decisions.
Radio's advertisers benefit regardless of where their message is heard.
· At Home Listening: An advertising message reaches a captive audience when its listeners hear that message at home. The Radio is turned on and stays on and is heard for long periods of time. A great way to get results is to deliver your message first thing in the morning and at the end of the day.
· At Work Listening: What better location to reach a consumer than in the workplace as they plan their lunchtime errands and their after-work shopping and dining? The Radio is often on all day long at the office. Talk about a way to build frequency!
· In Car Listening: Reaching consumers just before the point of purchase as they listen in their cars remains one of Radio's greatest strengths. Radio can deliver the last advertising message heard before they enter the store. Selling cars? Selling tires? What better time to reach your prospective customers than while they are actually driving? Isn't a car just a Radio with four wheels?
In New York, almost 58% of the Radio listening is done away from home. But look how that number varies by age, ethnicity and gender.
Chart A—New York Listening Location AQH Composition By Demographic
Arbitron, New York Metro, January 2009
through December 2009 (12-month average)
· The majority of teen Radio listening is done at home (55.2%). That's in sharp contrast to adult listening. Among Adults 18-34, 25-54 and 35-64, at-home listening accounts for only about a third of their Radio usage. As the audience ages, the at-home audience increases, with nearly half of Persons 50+ listening occurring at home.
· Among ethnic groups, the Hispanic population spends most of its time listening to Radio away from home, with almost 62% of its listening occurring somewhere outside of where they live. Listening by African-Americans and Others is more balanced between listening locations.
· There even is a significant difference between male and female listening by location. Far more female listening occurs at home (45.8% ) compared to male at-home listening (only 38.5%).
Listening location in New York also varies based on the time of day.
Chart B—New York Listening Location AQH Composition By Daypart
Arbitron, New York Metro, January 2009
through December 2009 (12-month average)
· At-home listening peaks in the mornings, as consumers begin their day by turning on their Radios.
· In middays and afternoon drive, listening shifts to out of home (in the office and in the car).
· As consumers return home in the evening, at-home listening increases.
· Listening location on the weekends is split almost evenly between home and away.
You may have noticed that in a PPM world, Arbitron no longer tells us specifically where a radio station's away-from-home listening is occurring. We're only given a total away-from-home estimate. Just because you can no longer quantify that listening is in car and in office certainly does not mean that it no longer exists.
Ask your Radio representative to give you a listening location breakout for their station. Consider tailoring your message to appeal specifically to the in-car listener in the afternoon, or the at-home listener in the morning. The more you know about where your prospective customers are when they hear your commercial, the more effective your campaign will be.


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I spent a stunning evening with Sioned & Strachan in Moel Famau, North Wales back in the gorgeous sunsets of Summer. The session was a Christmas gift to the happy couple from Sioned's mother. I knew Sioned was super excited having followed my work for a while and her enthusiasm was infectious. We were both really excited for the couples shoot in the Denbighshire mountains.
The whole evening was beautiful, we couldn't have picked a better evening. Moel Famau, where I am often spotted, camera in hand was incredibly breathtaking, the weather was on our side and love was in the air. The area was relatively quiet for a sunset and we made the most of it soaking up the golden hour sunshine.
The duo oozed happiness, I simply observed and captured them just being…them! No directions, no posing, just natural beautiful surroundings and moments. We had a great laugh and it was fab to meet them. I look forward to catching up with the pair again in Summer 2017 when I photograph Sioned's sisters wedding <3.
Happy Saturday,


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The present work shows and discusses the GBInSAR measurements for the Ingelsberg area, where one of the most dangerous landslide of Salzburg region is located (Bad Hofgastein – Austria). It is a rockfall developing on an area of about 40000 m2 which is characterized by the outcropping of anti-dip stratified green and calc-mica schists. The...conference paper 2015


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"If you ever think about giving up, remember why you held on for so long"- Hayley Williams.
Why is it every time we have an episode we have to make the ultimate decision as to whether to allow the episode to do it's thing or whether we should fight on the off chance it'll disappear?
This question just so happens to be the focal point of today's post because lately although the shaking episodes have diminished somewhat they did make an appearance on Thursday much to my dismay. This shaking episode was a one that didn't make me disappointed in myself it just made me have that off taste in my mouth until yesterday.
Wednesday just so happens to be my day off. I've been fortunate lately to be given the opportunity to trial a new working pattern to see if by having a rest day mid week will allow me to see whether this reduces my current shaking pattern benefiting me long term. So far so good however Thursday I wasn't so lucky.
The quote chosen today pinpoints how an eventful Wednesday spent exercising, spending time with the family and regenerating my batteries can unfortunately take a different turn the day after. So how come?
Wednesday night was a mixed bag of emotions I'd had a lovely day however the evening was completely the opposite. I was ratty, I was tired and all I wanted to do was be left alone because my head was pounding. I didn't think nothing of it I put it down to a bad headache end of.
Trying my utmost to shake off (pardon the pun) these headaches with regular intervals of paracetemol I decided to turn my frown upside down and crack on as usual.
After having an early night on Wednesday evening my shakes were to hit me quite hard early Thursday morning and to be honest it threw it me off guard.
With no warning signs I was woken by my shakes and couldn't sleep.
After being assisted by my husband I sat on the sofa focusing on the TV screen to regain some form of control, my mind went blank and my hands started trembling uncontrollably. My husband as supportive as he is made breakfast took my breakfast bowl out of my hands as the shake developed fully.
Trying to put on a brave face I was adamant I would get up because I didn't want to be sitting down. Stepping up my husband caught me as my legs went from underneath me and put me to bed to try and sleep it off.
An additional two episodes were to follow over the course of the day totalling seven hours of shaking and hoping that they would subside sooner rather than later.
Fortunately in this scenario I was awake when all of this is happening, responsive but babbling at times I tend to gravitate towards a bear of mine called Geoff that I've had since childhood.
Many may question why a 28 year old woman would still grab a bear who in times of need has been a comfort blanket to clutch when the other side of Saz comes out.
Feeling weak, not sleeping afterwards and wanting to raid the contents of my refrigerator tends to be the first thoughts that enter my mind shortly after. My body is exhausted and my mind is ready to drift off however when the shaking episodes reach their peak it's safe to say that no element of me is in control.
What I've explained there is only half of what these shaky bouts contain.
To this day my neurologists and I have queried the what's, where's and why's to this aspect of Epilepsy and whether the shaky bouts are picking up where the seizures left off. Personally speaking the close network around me have drawn similar conclusions with each and every one of us hoping that they will eventually find a word to explain what I have.
Numerous words have been used throughout my ten year struggle with these shaky bouts. Words such as medication, anxiety, worry, and stress are four to name a few to describe what could potentially trigger these episodes.
As you are all aware so far I've been to see therapists, councillors, travelled to support meetings and written down my own personal view of my perception towards my shakes.
What I do know is this. When I've worried in the past I've sat down and thought to myself why do I allow myself to let this get to me? That's simple because I have no control when they do happen.
This then prompts me to ask the next question? Is there anything I can do about these shakes? And the answer is no.
Self belief is something that over the years has taken a significant amount of time for me to accept and giving up has on many occasion been a possibility. When we use the word giving up it's like saying "we've quit" at something and no-one wants to be labelled a quitter.
What I have come to realise though is that when you're shaking or when you're fully aware of a seizure hitting you it's perfectly fine to allow nature to take it's course, it's not "giving up" because you have no control of this happening.
It's fabulous to be known as a fighter because you refuse to be beaten however my personal opinion is that it takes more of a person to allow your body to do what it must at that particular time then try to act as though nothing's happening. Trust me I know because I've done this myself and it's only made matter's worse.
After looking back at my own experiences with Epilepsy I've noticed that I'm not a machine. This machine I longed to be growing up can be oiled up and gleaming perfectly however what am I trying to prove? I have a condition. Yep. I have to take time out from time to time. Yep. And is there anything wrong with that? Nope.
What I've said there is not about giving up it's about differentiating right from wrong when you're health is involved. It's like asking yourself if you've being burnt once by putting your hand in the fire is your immediate reaction to go back and do it all again? I'd like to think not. In my eyes the same rules apply.
As for the rest of the week…
Food wise my mother made my appearance at mine on Thursday to check up on me after work. Bringing my a large saveloy dip and a galaxy chocolate bar made definitely made me smile. In fact it was safe to say that it was gone in all of 30 seconds I was that hungry.
Exercise on the other hand has been going extremely well. I've stuck to my routine and completed my exercise plan at least four times per week. I know perseverance is key on this one so fingers crossed I stick it out.
Family well.. Many days out are scheduled with the family over the upcoming months. Presents to be bought and bank balances dwindling however as long as I get a couple of yankee candles in there for myself to appreciate then I'm not complaining.
To conclude today's post. The quote pretty much says it all. Why give up when you've held on for so long? Why have we held on?
I think we all have different answers to that question however would like to think the reason why we do this is because by giving up can be portrayed is showing weakness and under no circumstance do we ever feel like we want to be defeated. There's a fine line between quitting and giving up. Some may think it's exactly the same thing however when it comes to Epilepsy I may have to disagree on that one.
What do you think?


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Energy customers get switch rights under Ofgem plans
Households with pre-payment meters who owe up to £500 to their energy supplier will be able to switch to cheaper deals with another firm under new measures.
Customers of the biggest six companies are currently able to move only if they have debts of less than £200.
Regulator Ofgem has already been urging firms to work more closely with bill-payers and limit disconnections.
Meanwhile, the energy secretary has unveiled plans to compensate customers if suppliers break industry rules.
Ofgem is to be given the power to force firms to make direct payments to households after mis-selling and other breaches, rather than imposing fines which go to the Treasury.
Repayment plans
Under the regulator's announcement, British Gas, EDF, Eon, SSE, Scottish Power and Npower will allow people on pre-payment meters to switch from 1 November.
It is thought tens of thousands of users will be helped by the move.
There are 320,000 gas and 315,000 electricity customers with pre-payment meters who owe money to their supplier, according to Ofgem.
The majority racked up the debts when they were given credit by the suppliers and moved to pre-payment meters as a condition of their repayment plans.
Ofgem is due to report figures next week that will show a 59% fall in the number of people disconnected from their gas supply and a 54% drop in electricity disconnections, partly as a result of people being given more time to repay debts.
However, the average amount of debt people are repaying on their gas accounts rose to £371 in 2011, up from £339 the previous year.
Meanwhile, the average electricity debt fell slightly to £357.
Sarah Harrison, senior partner for sustainable development at Ofgem, said: "We welcome the significant falls in the number of households being disconnected, but Ofgem remains determined to ensure suppliers continue to focus on helping consumers manage their energy bills and reduce their debt."
People power
Ofgem already has the power to penalise energy firms heavily when they break the terms of their licences, for example by mis-selling products or overcharging, but the money from those fines goes straight to the government.
The new powers will allow Ofgem to force suppliers to pay compensation directly to their customers, in cases where a voluntary agreement cannot be reached.
They also include a £5m fund for schemes which bring local people together to switch energy supplier en masse in a bid to secure lower bills.
The cash will go to the best initiatives drawn up by local councils and community groups, with Mr Davey warning that without them the best deals were reserved for "well-heeled internet savvy" consumers.
He was inspired to offer the funding after being present at the launch of such a move in Cornwall - set up jointly by a local authority, the NHS, a trade union, the Eden Project and a brewery.


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If your Homeowner's Association is looking for a cost-effective, maintenance-free solution to your boat dock needs, EZ Dock is the answer.
On a private 300 acre lake, this gated community finally got tired of repairing their old wooden dock and elected to install EZ Dock This dock provides swimming, fishing, and sunning platforms and also serves as a breakwater to smooth out the swimming area off of their sandy beach. The lake side of the dock can accommodate several boats tied off. This also serves as a take-off and drop-off point for the water skiers.
This Condo Owners' Association needed a place for their residents to park their Personal Watercraft. The 12-Slip PWC Dock shown above was the answer. The dock also has a swim platform and a place for residents to load and unload boat passengers. EZ Dock was easily expanded to increase the personal watercraft lift capacity to 24 total units.
Each homeowner in this development in South Texas gets their own waterfront boat dock in this community marina. Each boat dock has a center walkway along with room to park two boats or personal watercraft. Additional docks will be added as additional lots are purchased.


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Defense has been the calling card for Kansas State, but it will be another game or two before the man at the center of it all is back to make the Wildcats whole.
Dean Wade went through mild practice Thursday but is not ready to return when Kansas State visits No. 20 Iowa State on Saturday in Ames.
Without Wade, the Wildcats are 4-2. With him, they expect to be Big 12 contenders.
A proving ground of sorts is ahead Saturday against the Cyclones, who bring a frenzied pace and high-scoring offense putting up 81.8 points per game during a 12-3 start.
Iowa State is looking for more from freshman Talen Horton-Tucker, who was quiet against Baylor this week but had a five-minute stretch that displayed his scoring potential.
"The thing about Talen is he can really impact our game and not score," Iowa State coach Steve Prohm said. "Just because he's such a facilitator. He's at the top (of the key), the ball is in his hands a lot. We just need to get him to move it quicker and be more efficient with it."
Another underclassman, sophomore Cameron Lard, hasn't regained his freshman form due to an ankle injury. Prohm said Thursday Lard might be prescribed some rest, even though X-rays were clear.
Iowa State ran more tests to "double-check some things so we can get confirmation in whether it's going to be a week thing, or it could be longer. Optimistic it's going to be a couple of days or a day-to-day injury. But we need to get some finality with it."
Horton-Tucker has only eight field goals in Iowa State's past four games. Prohm has plenty of other options, and the advantage of a system that spreads the wealth while operating at a breakneck pace.
Even at their frenetic pace the Cyclones take care of the ball -- 10.7 turnovers per game -- and shoot nearly 50 percent from the floor. Almost one third (32 percent) of Iowa State's points so far this season are from 3-point shots.
That shrinks the margin for error for the visitors, but the Wildcats are riding some momentum.
Kansas State had only six turnovers -- and forced 17 -- to knock off West Virginia, 71-69, earlier this week and get to 11-4 on the season. K-State rallied from a 21-point deficit.
But keeping pace with the Cyclones will be a significant challenge minus Wade, the team's only all-league pick last season and the team's second-leading scorer (13.6 points per game) in 2018-19.
Weber expects Wade to be evaluated with a chance to return as soon as next week.
"He's done workouts, he's done running, he's done walking, he's done jumping in the water," Weber said of Wade's recovery from a torn ligament in his foot Dec. 15. "So now get him on the court and practice a little bit. I don't want to say yes or no, but we're moving forward, so hopefully, if there's no major setback, I would say in the next week or 10 days, we hope to have him back."
--Field Level Media


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In our increasingly complex and time-tabled lives, fitness is now taking up a fixed slot – whether its strapping on your FitBit before an evening jog at Carter Road or a personal training session with Yasmin Karachiwalla. Our collective consciousness is leaning towards a fitter lifestyle. This phenomenon, in my opinion, can be quite perfectly summed up in a quote by stand-up comedian George Carlin – and while he was specifically referring to USA, I believe it can be generalized – "Regarding the fitness craze: we have lost our souls, now we're trying to save our bodies."
Presenting, the top five fitness mantras trending these days.
Aerial Yoga
Sure you've heard of Yoga. Around the late 19th century we introduced to the Western world our most ancient and spiritual form of physical exercise; and somewhere in the past decade, New York came back to us with this.
What is it?
Anti-gravity yoga, more commonly known as aerial yoga combines traditional yoga poses, Pilates and even some dance – all performed on a hammock of sorts. Imagine yourself suspended off a rig consisting of support chains, a webbing strap, a silk hammock connected with carabiners. (If you're lucky, you may just find yourself a lavender silk one).
How it works?
Like a graceful trapeze artist*, you will find yourself stretching parts of your body you never knew could bend is such ways. Aerial silk helps you be fit by enhancing your mind and body coordination, improves neuromuscular skills, strength, endurance and flexibility. It not only guarantees greater flexibility – given that you have increased freedom of movement, but also contributes to strengthening your muscles and garnering more focus.
Expert Speak:
"Aerial Yoga is a major stress-buster due to its high fun quotient and superb blood rush. It teaches you how to handle your body against the gravity and improves your aerial sense" says Aditi Deshpande, founder of Fly High.
Our Verdict: This could be your swan song. May take a few classes to get the drift, depending upon your flexibility.
What is it?
Technically a fitness company, CrossFit Inc. is ragingly known worldwide as the new way to gym. It incorporates HIIT (high intensity interval training), powerlifting, gymnastics, calisthenics, Tabata, and other exercises. Fitness based on discipline, form and endurance, CrossFit is one of those rare fads that has an equal appeal amongst women and men.
How it works?
You know CrossFit is your thing if you have dreamed about saying the words '0% body fat' or follow a belief that resembles the 'NO PAIN NO GAIN' formula. Trainers focus on core strength and conditioning bodies to be fitter, leaner and more capable with every class. This is a class where it stops mattering whether you are a housewife, cross-country biker or middle-aged workaholic.
Expert Speak:
CrossFit L1 trainer Ashish Shah, founder of Rudebox Fitness says, "CrossFit is for overall full body fitness – it not only develops mental toughness and keeps your motivated, but also helps advance overall physical fitness skills such as: Cardio endurance, strength, speed, flexibility, stamina, power, agility, body balance and coordination. It's about working on various physical tasks within a pre-defined time frame and together as a group which only adds to the overall competitiveness of an athlete."
Our Verdict: An addiction we'd highly recommend. And as someone who has subscribed to this school of training I can say that it is addictive, fulfilling, never monotonous and has definite, tangible results.
*CrossFitters daily schedule is called the Workout of the Day
Aqua Zumba
What is it?
Zumba the international dance fitness sensation originating in Colombia took India by storm early last year. Part hip-hop, part salsa, part aerobics, part mambo, part Bollywood and part-ten other dance forms come together to create this workout regime. Throw in some squats, lunges and stretching and you've got a perfect hour's worth of exercise.
How it works?
However, fads are about taking it up a notch. Aqua Zumba is the very same but, you guessed it – immersed in water. Swimming pools and gear being a must, the rest is pretty easy. Aqua Zumba focuses on cardio, and has proved to be much more efficient. This high-energy, low-impact aquatic exercise places much less stress on your joints. Water offers a natural resistance, which makes every step more challenging, toning your muscles in a safer way. The regular Zumba dance moves have been specially adapted to suit this environment. An invigorating workout, Aqua Zumba is fun and lively, while allowing you to burn calories without even realizing so!
Expert Speak:
Licensed Zumba instructor Rachna Raichandani has this to add: "Aqua Zumba is loads of fun and doubly effective as you work against gravity as well as the buoyancy of water without even realising it! You don't have to know how to swim and being in the water is very refreshing."
Our Verdict:
Perfect workout for Mumbai weather. This is definitely the pool party of a lifetime – or if you choose so, the pool party you attend twice a week.
Yes, I'm talking about the toy you had when you were 9 and your idea of a good time was colouring within the lines. Hula-hoops are all the rage right now, be it a fitness class, an Instagram post or a music festival.
What is it?
Most commonly hula-hoops are made of plastic, but they're not really the most effective ones. When it's about the waist, wooden and weighted are the way to go.
How it works?
Hooping is low on impact, high on cardio and excellent in results. It helps tone ab muscles, improves body posture and is an excellent form of mediation. A study conducted by the University of Wisconsin found that hooping burns seven calories a minute, and a total of 420 calories in an hour.
Expert Speak:
"Hooping is new, exciting and fun. It is so enjoyable that it makes you forget you're working out. A great form of cardio, it doesn't take one more than one session to pick up." says Swati Shah, founder of Hoopnotism.
Our Verdict: We dare you not to enjoy this.
The martial art originating in Kerala, Kalaripayattu was the combat code of ancient warriors in India. Known as the 'mother of all martial arts', this 3000-year-old art form is a source of self-expression in dance form.
What is it?
Kalarippayattu is a rare combination of martial training, physical culture, self-defence practice and physiotherapic treatment. It has a high reputation as an art with highly developed body language and expression. It is a certifiable balance between health, fitness and strength training.
How it works?
The main elements of Kalaripayattu include training in physical culture, armed and unarmed combat, breath control, higher forms of meditation and specific classes of treatments. All the limbs, faculties and systems in one's body from head to toe are brought into play in the practice of Kalaripayattu which endows it with a unique power to diagnose and heal many of the physical ailments of non-congenital nature. Breath control is an integral part of the practice and due to which lung related problems wanes away in short time.
Expert Speak:
Professional coach with over 30 years of experience to back him, Belraj Soni says, "While other forms of martial arts, gym, and aerobics concentrate on the improvement and strengthening of physique and to a lesser extent the mental capabilities, Kalari aims at balanced growth of both."
Our Verdict: Known to help mitigate obesity and other physical ailments, Kalari definitely has our vote.
Know of other interesting fitness regimens we should know of too? Tell us in comments below or email your ideas to us at firstname.lastname@example.com.