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© 2008 Ken Rockwell.com.
"Photography is the power of observation, not the application of technology." Ken Rockwell.
How have I made all my best shots? By noticing something cool and taking a picture. The important part is noticing something cool. Taking the picture is easy.
Your camera has NOTHING to do with making great photos. You have to master technique of course, but that's just a burden to get out of the way to free yourself to tackle the really hard part. The hard part is saying something with your images.
Photography is art. It's abstract. Therefore it's difficult for many people to grasp. It's easy and lazy to think a camera makes the photos. It's easy to blame bad photos on a camera. When you get better you'll realize you would have been better off to pay more attention to your images and less to your camera.
All cameras, especially digital ones, offer about the same image quality in real use. The real difference is how easy or possible it is to make the needed adjustments to get decent photos in each different kind of real-world condition. Test charts shot under controlled conditions completely ignore the real world and thus only compare performance for one limited aspect of performance under only one combination of conditions, which is why those tests have nothing to do with how your photos look. That's why I ignore lab test reports and just try for myself. Lab work is useful for sorting out minutiae otherwise invisible between similar cameras in real photography and that's it.
Photography is like golf. They are both fun, popular and require some equipment. Very few people can get others to pay them to do either one for the same reason. Each takes a lifetime of constant practice, getting better and better little by little. Most golfers play for decades and never hit a hole-in-one. Photography is more complex than golf. Why does anyone expect ever to make a perfect photograph?
You can't be on a schedule. You have to go out, look around and wait for the light and inspiration.
Many great shots are made only after years of observing a subject, learning when it looks best, and returning to photograph it at its most spectacular. This is how real photographers make anything look extraordinary.
If you're traveling with non-photographers you're going to have to get your schedules straight, since you'll be out shooting while normal people are eating dinner or still sleeping in the morning.
I find it difficult if anyone is expecting me to return on any sort of schedule. You are out in, and at the whim of, nature and your own brilliant crazy ideas and realizations. Sometimes you'll be back in 10 minutes, other times you might be out all night if you get excited about something.
You cripple yourself if you have someone expecting you to be back at a certain time. I've made my best work when I let the group go ahead and I continued to work at something that excited me.
Brilliance doesn't work on a schedule.
"Compositon is the strongest way of seeing." Edward Weston.
You see more if you're looking. The more you look, the more you see worth photographing. If you're not thinking and not looking you'll walk right past some of the most extraordinary opportunities.
For instance, I lived in the real Beverly Hills from 1995 - 1998. I was on Maple Drive, the same street as George Burns. I never saw any stars. I would see them listed as having lived in Beverly Hills when reading an obituary, and remark "how about that!," having never seen them even if they lived a block away. I would rarely notice them when I was in at the studios all day, every day. Why? I didn't care, and I wasn't looking for them. If I was a tourist or a housewife that reads People magazine and found actors interesting I'm sure I would have seen stars a few times every day. When I had guests in they saw actors all over the place.
The actors were all over the place, but I never saw them. Others did. If you care about something, you'll see it. If you don't, you won't. The best photos aren't obvious. Great photo opportunities don't stand out if you're not looking. That's why they're called opportunities: just like any other opportunity, you have to be paying attention to recognize them.
Photo opportunities are everywhere. Pay attention, keep your eyes open, and look for them.
Creation is a solitary act. I can't create photos if I'm being distracted, watched or asked questions. I need to get out on my own and concentrate.
It's OK to go out and photograph as a group. You do have to split up and shoot on your own once you get there. Otherwise everyone in the group winds up with identical mediocre shots. S
plit up and see what you see, then meet up at the end for some socializing.
Photography is communicating passion and sparking excitement in the mind and body of another person. If you don't care about the subject then the results won't get beyond the basics. Care deeply and incredible things happen. Don't care and you are quickly forgotten.
"If I feel something strongly, I make a photograph. I do not attempt to explain the feeling." Ansel Adams.
Photography is the art of communicating passion. You need to be passionate about whatever it is that you photograph. If you are passionate you'll get great results, if you don't care, you won't.
A photograph is not about technique. A photograph is communicating something, be it an idea, concept, feeling, thought or whatever, to a total stranger. For a photograph to be effective you have to be clear with what you're communicating. Ansel Adams said "There is nothing worse than a sharp photograph of a fuzzy idea." It is paramount that your idea, thought or feeling be crystal clear in the image. Merely pointing an expensive and masterfully adjusted camera at something doesn't make a good photo. Knowing what you're saying and saying it loud and clear is what makes a strong image people will remember. If it says nothing to you it will say even less to others.
"The proof of the pudding is in the eating." Cervantes, Don Quixote, 1605. Cervantes is observing that it's the end result, not the process, that matters.
Likewise, hardware has absolutely nothing to do with any of this. Craft is just a way to free your ability to communicate, not the communication itself. Many men blame their inadequacies on their hardware and think that simply buying more will solve the problem, excusing them from having to expend any precious mental effort in anything other than shopping for more hardware. You'd double over laughing if you saw the email I get from this site: 99% is from men who think all they have to do is spend some money and that great images will just pour forth. You need to get involved deeply and take your feelings seriously. You don't need money or any more equipment than you already have. Heck, I use crummy point-and-shoots and get great images, too.
Likewise you need to spend time at it just about every time. You usually cannot do it for just 5 minutes and do a decent job. It's odd how many times I'm someplace popular that I'll see a dozen different tourists get out, make a snap, and disappear while I'm still trying to concentrate, feel and understand the shot I'm going to make. You usually shouldn't rush these things!
It's all in your mind and imagination.
One cannot just keep doing the same thing. One needs constantly to innovate and discover new ways of doing what you've been doing. See and feel things from different angles and in different ways.
Not last nor least, you need to keep doing it with the same subject. The better you know your subject the better your results will be.
Sculptor Henry Moore said it best: "Art is the expression of imagination, not the reproduction of reality."
Photographer Elliot Porter said: "True art is but the expression of our love of nature" and "A true work of art is the creation of love, love for the subject first and for the medium second."
Charles Sheeler said: "Photography is nature seen from the eyes outward, painting from the eyes inward. Photography records inalterably the single image, while painting records a plurality of images willfully directed by the artist."
And even Albert Einstein offers: "Imagination is more important than knowledge."
A good photographer makes great images with a disposable camera because she knows its limits and how to use it. On the other hand, plenty of poor photographs are made every day using very expensive cameras by people lacking passion and vision, regardless of how much technical skill they have and how sharp their lenses are.
People write novels, not typewriters. So why do some people think buying a different camera or learning all about shutter speeds will help them make better images? People make photographs, not cameras. Your choice of camera has NOTHING to do with anything. NOTHING.
"Photography is bringing order out of chaos." Ansel Adams.
Painting is the art of inclusion. Photography is an art of exclusion. Trying to "get it all in" guarantees a poor photo. Anything that does not contribute to a photo distracts from it. Keep your images clean and simple.
Less is more; the less in the frame the stronger the image. Simplicity is a strong virtue.
I'm going to spend a few sections explaining what's not important. If you already understand this then skip down to the important sections starting at "curiosity."
It's critical to be familiar with every nuance of your equipment. You need to know exactly how it responds in every situation. You need to foresee the final results when you look at a natural scene. You need to know exactly how your equipment will interpret reality.
When you know this you can ensure that each photo you make will look as you intend. You'll know exactly how the photos render (look) and be able to make changes in the scene accordingly.
You can't use five cameras and know all of them well. Use one camera and one lens and one film and learn it's every nuance. Don't waste time chasing every new camera: if you do, you'll never learn it well enough to create great images, except by chance.
Don't buy anything yet. You can create magnificent images with ANY camera. Too many people think camera shopping is the first thing to do on a quest for great images. I need to explain that it's really the last. Some of us own fancy cameras because we are rich and these fancy cameras make photography more convenient. They have nothing to do with the final quality of the images.
Whatever you have is all you need, even point-and-shoot or disposable cameras. Thinking you need more makes you skip things today since you're worrying that "if you only had a..."
"Necessity is not a fact, it's an interpretation." Friedrich Nietzsche.
Go take art, painting, drawing, and design classes at your local community college. Learn to see. You may want to start by reading the books I suggest about art and composition. I never took any photo classes. Everyone learns differently; I learn by reading and doing and seeing.
The photographers whose work I admire most often are former painters or at least people who majored in art; not people with computer, engineering, science or technical photography degrees.
Ask artists for help when you are starting. Ask them how to see and show them your images and ask for suggestions. They will see things that you haven't yet, and will help open your eyes to making better images.
Avoid the friend, neighbor or co-worker who works in computers, science or engineering and always talks about cameras. These people's passion is usually just for the cameras or computers themselves, not about photography itself or art or expressing their imagination visually. Watch out for people who prefer to talk about tools instead of actually making photos. There are thousands of people who watch sports on TV and can talk endlessly about sports stats for every one athlete who actually plays professional sports. You want to talk to the rare guy who actually does it.
Likewise, forget the Internet. Starting out you need far more depth than the cursory treatments shared over the Internet and shared on my website. I'd love to help you out in person since this is all too deep to grasp over email. Learning is a two-way process, not a series of one-way emails or web reading.
Also be warned: the internet is still overloaded with the technical people who invented it. These are the last people from whom you'd want to learn, since they are usually equipment fetishists, not artists. They happen to be the ones most likely to post websites or waste their time in photo chat rooms and user groups. Beware.
Talk to professional photographers, not amateurs and hobbyists. If you don't know any pros, go look in the Yellow Pages or ask around at a professional photo lab. Some professional photographers actually enjoy their work and will talk your ear off for hours if you ask nicely.
Find people whose photos you admire and ask them. Find people whose art you admire and ask them, too. Avoid camera collectors and people who own a lot of expensive cameras. Don't talk to someone who can talk endlessly about film technology, but who never has made a photograph you admire. Talk to these engineers and you'll get so flustered worrying about your camera that you'll never get out and make good photos.
Try The Nikon School, which is a day-long slide show that costs $100 when I took it in 2001. It covers more in the very first hour than most photo courses teach in a semester. Pay attention!
You know the best classes to take? Forget fancy schools. Just look up your local community college or adult education program. There you'll find teachers who really enjoy what they do and will share the world with you if you just ask. Even better, these classes are never more than $100, if not free, depending on your location.
Don't waste too much time studying "photography." Most "photo" classes simply waste your creative time fumbling with obsolete concepts of f/stops and film speeds. Rarely do they teach you how to go create the images you really want.
It's important to be fluent with the technical concepts, but those are only a starting point.
People spend too much time worrying about gear and technique. They completely forget that mastery of technique & equipment is merely the first step in a much longer journey toward the creation of great images.
I teach photography very differently from the old farts. In the first 150 years, which were from about 1835 through about 1985 with the introduction of the first real Matrix exposure meters (as opposed to ordinary light meters), one needed to bridle oneself with many clumsy technical inconveniences before one could produce any photograph at all. Since it's only been about ten years now that many cameras know how to set themselves properly over a wide range of conditions, many old timers still haven't learned that for most people one may completely ignore camera settings. That's right, I usually shoot on autofocus and program auto exposure any time I can!
It's sad when people ask me to suggest a camera that fits the pathetic requirements for beginning photo classes, which usually require a totally obsolete manual camera. Good gosh, run away from those classes and learn to love your point and shoot. Automation is good: the camera is not thinking for you, it's just setting the rudiments of focus and exposure which rarely require creative thought. The auto cameras free your creative juices to concentrate on what is important, which is heat, passion, fire, composition, expression and lighting.
I suggest going out and trying to express your feelings carefully and see what you get. Once you get familiar with things you may want to seek out technical advice from someone who really knows. It's more important to go find things about which you are passionate and attempt to convey that fire through images first.
"I am not a scientist. I consider myself an artist who employs certain techniques to free my vision." Ansel Adams in his Autobiography, page 254
Worrying about manual exposure settings and technique distracts you from your passion, just as if your lover were to stop to answer the phone in the middle of a steamy one-on-one.
Many people still mistakenly think that mastering simple issues like shutter speeds and depth of field is all there is to know about photography. Those have as little to do with photography as typewriter repair has to do with composing a novel. They are necessary evils, and by no means the central point.
For larger format cameras like 120 and 4x5 you probably will have to learn technique because those cameras are not made in enough quantity for their manufacturers to justify the efforts in automating them, but for 35mm and digital almost all cameras can do this themselves better than most of the people who would insist you set the camera manually. Don't fret the technique unless you have to. Most of what you see in my galleries was shot in program automatic mode. Tell that to your photo teacher.
Watch out, I know people who actually enjoy having to fool with the settings on their view cameras. This is OK, but don't let that mislead you to worrying too much about it. Start with an automatic camera so you learn the important points of how to express your feelings first. You can learn f/stops later.
Old farts like to make themselves feel important by making you think that you need them to teach you the secrets of fiddling with your camera. They will try to get you to believe that all this crap is required to make photographs. They will insist you waste your time with manual exposure settings, and if you are stupid enough to believe this you'll also spend all your time worrying about which lens is sharper instead of having your own solo show at The Whitney.
There are 150 years of photo technology programmed into your 35mm camera. Use it.
My suggestion is to start off with your 35mm SLR set to matrix metering, program auto exposure and autofocus! Your images will actually be better than dispassionate people who waste their time with manual methods because most cameras have better programming inside them than most photographers do! Your modern SLR camera probably uses the Zone System to figure exposure, which very few photographers understand.
Like what you see on this site? Most of my photos are made in these automatic modes unless conditions dictate something else. I used to use all the manual settings and my photos were boring because I missed the magic moments.
I'll explain what you really need to know about the technical side at the very bottom of this page.
You need to worry about seeing, feeling, composition and lighting, NOT about f/stops as you start out.
Yes, technical ability, in fact, virtuosity, is absolutely required for successful photography, however, this ability is nothing more than a mandatory prerequisite with which one might then be able make great photos. Luckily much of this fluency today is incorporated into automated cameras, making mastery much easier. Technical mastery alone does not make good photos, it's just one of the necessary parts.
Honest. If you believe me, just skip to the next section. If you don't then read the rest of this mandatory page here.
If you insist on going out today and buying a camera, see my page here for inexpensive 35mm cameras and here for digital cameras.
Photograph subjects for which you have a true curiosity. You have to find them interesting if you want the people who see your work to find them interesting, too.
Don't follow gurus, teachers, me or anyone else.
You'll never be better than anyone else at being them. No one will be better at what Ansel did than Ansel, and likewise, no one will ever be better at doing what you do than you.
Be yourself. Show your passions. Don't try to duplicate someone else's.
You have to go out, be yourself, and your own style will develop. Never, ever think that because you like something done by someone else that you have to do the same.
Find something about which you are passionate and explore that. If you get off on figurines or wastebaskets or old people or beautiful naked girls or hubcaps or patterns left by tires in the snow or sewage processing plants or cute little animals, go photograph them.
There is no right or wrong thing to photograph. Just show us what excites you.
If nothing excites you, your photos will suck. Find what you like, and the heck with everyone else.
There is no right and no wrong. The rule of thirds is not a rule and rules are for idiots. Just go make good photos. A good photo is one you or someone else likes. There are no formulas or grades or scores.
Creativity is nice, but all because something is creative does not make it art. When a baby reaches into his diaper and paints the wall with what he finds there, it is a very creative act, but it is not art.
Now that you've read this far let me give you some tips.
Lighting is absolutely the most important technical issue there is. Learn composition as well and you'll have just about everything you need to worry about solved.
First and foremost you need to develop a sensitivity to the way light feels while you are outdoors, and learn through experience how that will look on film. As you develop this sensitivity you will be able to understand when the light looks right to capture the look you want, and when to put away the camera and grab lunch. With this ability you also will learn to be able to modify light with simple reflectors and scrims to help create your look.
The smaller your subject, the easier it is to modify light. Portrait, bug and flower photographers do this all the time; landscape photographers usually have to wait for the right light.
A simple sheet of 8-1/2 x 11" paper can reflect enough sunlight to fill in shadows on a face.
To get the right light on a mountain you may need to wait for the right season, the right weather and the right time of day. This is how Ansel Adams was able to create such masterful works: he lived in Yosemite and only showed his works from when the lighting was fantastic. If you show up on vacation and snap away in whatever light is there you'll not likely get anything extraordinary.
Everyone has different tastes. This is art.
You either need to create your own lighting in a studio (or with ten tons of gear and generators as we do on movie sets), or you need to have the patience to wait for nature to supply the correct lighting.
As explained above, when photographing landscapes one needs patience to get the right light. Since you can't light up the whole outdoors, you just have to wait for the right light.
This is really important!
You may have to wait for hours or days or months or years to get the right light. You cannot have people waiting for you. If you rush you'll miss the good light.
With practice you'll learn what looks good in photographs.
No photograph is an exact reproduction. All photographs distort reality. As you become familiar with how your materials interpret reality you will learn to recognize under what conditions you get the results you want. Knowing that, you will start to photograph more under the right conditions, and also seek out those conditions.
You will learn what things need to look like to your eye to get the results you want in a photograph.
One hint is that the contrast needs to look very low to your eye to look OK in a photograph. Photographs pick up contrast.
You need to photograph often enough to see your results while you can still remember what the scene felt like when you were there. Polaroids are handy for this: you can see the results while you still are there!
Ideally you should develop your film and see the results the very next day while your memory is still fresh. If you wait around for months you'll never be able to correlate your results with what you were feeling when you made the image.
You need to know what results you are going to get when you are feeling something.
Only show your very strongest images.
Throw away most of what you shoot. I do. Most of my photos are awful!
Go through the few photos you save out of a roll, and then throw away all but the one strongest image.
Next time, go through the few you've saved from a few rolls, and throw more away.
This isn't painting. In photography it is a requirement to throw away most of what you do.
You'll see that if you only save or show your strongest images that your body of work will seem to improve. Guess what: as you show only the better images, your body of work as seen by others has improved!
Do you think I shoot a roll of film and get a roll loaded with the images you see in my galleries? Of course not. Most of what I shoot is crap. I'm just good enough to throw most of it away and only show the good stuff.
Ansel Adams said that if you can produce one strong image in a year that you are doing very well. Don't expect to turn out miracles every roll, or even every month. Ansel didn't, I don't, and I don't think anyone does.
I wrote a whole page here. Your choice of film is very important to your look.
Avoid print film, which is what 95% of amateur photographers shoot and gives inconsistent results. I shoot slides, which is what you see on this site.
Go read the film page for much more on this.
7.) EXPOSURE COMPENSATION: your Lighten/Darken control
Forget this if you are shooting print film since no matter how hard you try to get the correct exposure it's usually messed up at the photo lab when your negatives are made into the prints you see. This is why I strongly suggest digital or slide film on my film page.
If you shoot slides or digital or do your own printing then pay attention.
Shoot enough to learn under what conditions your images look too light or too dark. If you find some things always come out too light or too dark (or if the shot you just made on your digital just came out too light or dark) then here are the amounts to compensate.
Don't be bashful. No camera is perfect and one almost always needs to adjust the compensation for some shots. It took me a long time to learn this; I thought my camera was always smarter than I was. It usually is, but not always. It is these times when you need to adjust the exposure compensation.
There are no rules here, just guides. Do whatever looks right to you.
Ideally you should learn the Zone System, since when you do you'll get perfect exposures every time with no guessing or bracketing. Knowing the zone system will make this exposure compensation much clearer.
Here is what each setting does. This is not a replacement for the Zone System:
0: If your photos look fine, then no compensation is required.
+1 Stop: This is a good start for things that usually turn out too dark, like white things on a overcast day. +1 stop will lighten a medium gray to a medium light gray. This is a common setting I'd often use on older cameras without modern matrix or evaluative meters. Use this setting if the subject is mostly light granite or California stucco, for instance. A subject that is completely yellow and fills your screen might need +2/3.
+2 Stops: This is a severe correction for something that would come out way too dark. If something came out a medium gray and you added +2 stops you will get white. On old cameras or with manual light meters you would use this much compensation to make sand or snow look white.
-1 Stop: I don't usually use this. This will take a medium gray and make it a dark gray.
-2 Stops: never used except with a broken camera. This will take a medium gray and lower everything to a very dark, almost black, gray. You'd only use this with a spot meter to set shadows here as part of the Zone System, not as a setting on a camera's exposure compensation dial.
Most amateur photographers and all snapshooters use flash exactly at the wrong times, ensuring amateur-looking images. Proper use of flash is far more important than what kind of camera you have. Any point-and-shoot used properly will give far better results than any Leica, Canon or Nikon used the way most amateurs do.
Most people incorrectly leave the flash OFF in daylight which leads to harsh, ugly sunlight on their friends' faces. Turning the flash ON in bright sunlight will help lighten the shadows to make them look much more natural. On a P/S camera just push the flash button a few times until the little flash icon appears, on a Nikon just turn on the flash. Also in backlit photos you'll be able to see your friends instead of just getting silhouettes.
Most people incorrectly use flash indoors or in low light at night. Using the flash with the usual default sync mode indoors leads to the nasty black backgrounds and washed out people indoors. What's worse, those nasty black backgrounds confuse printing machines into making the prints too light, and then these poor photographers blame the camera for over exposing their flash shots!
If you are doing studio strobe work or macro photography lit only by the flash of course it's OK to use fast sync. This just isn't what most ordinary people photograph.
With disposable cameras this is your only choice. With most point-and-shoots and all Nikons you should either turn the flash OFF and shoot by available light if your subject is reasonably still, or for photographing people or moving objects use the flash in the SLOW REAR or SLOW sync mode.
These SLOW sync modes are also in many P/S cameras. In a P/S camera one typically pushes the flash button until a little moon and city icon ("Night Mode" in Japanese) appears.
The SLOW sync modes allow the camera to make a long enough exposure of the background (ambient) light for it to look natural. Otherwise it always looks way too dark at the usual 1/60 sync speed people use. Really stupid photographers use the 1/250 sync speed for indoor photos and make the effect even worse. Best to try the slowest speed you can, like 1/30, if you're setting the shutter manually.
Both SLOW and SLOW REAR give the same exposure and f/stops. SLOW pops the flash at the beginning of the exposure, and SLOW REAR pops it at the end.
This matters if you have an exposure long enough to blur anything. If you do, the effect of the flash popping at the start of the exposure makes the subject appear to streak backwards from the ghost image frozen by the flash. You see the ghost and the streak moves forwards from it, showing the ghost at the back of the streak. Bad. SLOW REAR reverses this effect and gives the illusion of the subject moving forward from the ghost. This is because you see a streak, and then the flash pops at the end (front) of the streak. It might make more sense to rename SLOW REAR to "front" sync, but that's another story.
Since SLOW REAR mode fires the flash at the end of the long exposure it serves another purpose: people think the photo is taken when the flash fires, so having the flash fire at the end (rear) of the exposure keeps them still and smiling the whole time the shutter is open waiting for your camera to go off. This trick goes away for digital and newer SLR cameras since most of them fire very visible preflashes before the exposure. (The camera companies lie about them being invisible.) Thus you'll get a double flash effect.
Of course if you are trying to freeze moving things you won't with SLOW sync. You'll get the blurry streaks behind people that you see all the time in National Geographic Magazine. These streaks convey a sense of motion and I like them.
Flash on the camera is the nastiest looking light you can get. For use as fill this is usually fine, however you'll get more natural results by using a cheap diffuser if your subject is close enough. Even many professionals don't realize this, and you'll often see famous photographers suggest turning the flash fill level down a stop or two. They have to do this because the harsh on-camera fill flash may look unnatural. If you diffuse the flash (as simple as bouncing it off a big white card) then you can let the camera use the normal amount of fill flash and it will both look natural due to the diffusion, and be more effective because it can be at the correct level and not turned down a stop or two.
I prefer the $20 Lumiquest reflector gizmo that folds flat in my case and attaches with Velcro. Note that the area of the reflector is much bigger than the lens of the flash itself, giving a much softer quality to the light.
Here's how to get great, natural looking fill indoors with most SLR cameras:
a.) Set the camera to SLOW sync
b.) Point camera-mounted flash up at the ceiling
c.) Pull out a built-in little white card or rubber-band one behind the flash so a little bit of light will bounce forward off the card. This light from the card will give a nice catchlight to their eyes while most of the light goes up to the ceiling to fill the room with soft, natural fill light. (Hint: if the room light is too dark to give a reasonably short exposure time in SLOW sync you can try the regular sync mode, in which case the entire shot is lit only by the flash bouncing off the ceiling and the little off the little white card. In this case forget bothering with color compensation filters mentioned in e.) below.)
d.) Set flash to TTL exposure mode. This will vary with camera brand. You want the mode that will blend the levels of ambient and flash light automatically.
e.) Filter or gel the flash to match the color of the existing room light, and filter your camera to match it. This way both the ambient room light and flash fill match. With a digital camera of course you set the camera's white balance to match room lighting and then get a colored gel to put over the flash for tungsten or fluorescent. You can get these gel filters in sheets for a few dollars at theatrical stage and lighting stores found in every decent sized city.
1/500 shutter speed freezes anything. This does not look as it does to our eyes. This is usually what you see in surfing magazines where every wonderful drop of spray is frozen.
1/30 makes moving water look about natural, if that's the effect you seek.
1/8 gives a nice blur.
1 second starts to get really smooth like this.
Several seconds or minutes starts to make all the whitewater flow into what looks like a fog. Here's an example.
In these examples the usual waves continuously came in and crashed on the rocks.
A yellow filter (K2, #8, Y48 etc.) is REQUIRED outdoors for B/W film, otherwise blue skies will be completely washed out. See also the filter page. A yellow filter is required to give natural results outdoors, since film has much more sensitivity to blue than our eyes do. The yellow filter makes film's response to color match our eyes, and thus prevents the darker blue sky from looking as bright as the clouds as it would without the filter.
Go read the tips about b/w film, exposure and processing and printing about halfway down my film page here. If you don't want to take the time for great results as explained on the film page, here are some basic suggestions:
1.) Set your camera for one stop more exposure than the film is rated. Most film ratings lead to a stop of underexposure and dull shadows. In other words, either set the camera manually to an ISO speed one-half of what the box says, or set the exposure compensation to +1.
2.) If you are finishing in digital, instead just shoot color film normally (no filters) and convert to B/W in Photoshop because A.) ICE (the dust and scratch removal feature of better scanners) works with color film but not b/w and B.) you can choose the mixing of the color channels in Photoshop to select filter effects after the fact without having to use a filter for the original photograph! In the old days you had to shoot b/w film through a filter, today color film effectively shoots the color layers with various filters and you may pick and choose (and even mix) later in your computer instead. In the old days I would sometimes shoot several images with different filters; today I just shoot it once on color film if my output is to be B/W digital.
11.) Gesture
The expression on your subject is everything. Want to see great examples of photos where the gesture makes the photo? Go look on the walls of any Buca di Beppo chain restaurant.
12.) Simplify and get closer
The simpler, the better. Anything that isn't directly contributing to a stronger image is weakening it.
When I happen upon a scene, each shot I make usually gets closer and closer, with fewer distractions and more of what's the most important element.
As photographers improve, their work usually has less and less in it, and what is in it, is far stronger. It's a little like the progress of painter Piet Mondrian's work throughout his life. His early paintings were ordinary paintings. They became simpler and more abstract as the years wore on. Eventually his work became became nothing but a few lines and colored squares, for which he now is remembered.
13.) Close one eye
Trees, flowers and bushes look great, but that's because we see in three dimensions.
As you look at a tree you're about to photograph, close one eye. The magic goes away, but that's the only way our cameras see!
To make a good photo of anything three-dimensional, like a tree, be sure to walk around with only one eye open as you look for a good angle. Often you'll discover that there isn't any way to capture what we see with both eyes open.
Doing this will save you the embarrassment of making photos that aren't going to turn out.
14.) Know when to say no
Much of photography is the ability to look at something scenic everyone else is shooting and say "Boring!"
Peak lighting and weather are just that: optimum peaks. Most of the time, things aren't very photogenic by comparison.
Anyone can take pictures today. Some things are simply boring. You can spend a lot of effort trying to make them look otherwise, or you can relax and go find better things to photograph.
As they say in ranching, "don't beat a dead horse."
15.) Shut up when things get good
Stop the BS session and shoot when the light gets good.
All too often I see guys want to chit-chat about Canon versus Nikon or whatever, just as peak conditions are arriving.
Shut up and go shoot.
16.) Don't bunch up; spread out!
The worst photographers are the blind ones who can't see for themselves.
You find these guys all bunched up in one spot, as if the first guy found the only good spot.
The best photos come from the spots no one else has found. If you get stuck in the pile-up, you'll all get the worst shots.
The good photographers are always out by themselves finding the best shots from the best angles.
17.) Forget photo backpacks
Why do so many amateurs carry heavy photo backpacks loaded with all their junk?
Not only is it a pain to carry everything, but they can't get to any of it unless they find a stable place to set it down and deal with it.
Use a photo vest, loaded with pockets, or better, only carry as much as will fit in your pants or jacket pocket. If you must use a bag, use a waist pack into which you can get while it's still around your waist.
18.) Amateurs care what you think. Artists only shoot to impress themselves.
Self explanatory: shoot what you love and forget what anyone else thinks.
19.) Don't worry, be happy
Don't worry if you miss a shot or aren't prepared. You can always come back again some other time, and if its a scenic location, probably will.
By not worrying, you'll be more relaxed and make far better pictures.
20.) Carry Less
Trying to be prepared for everything makes you prepared for nothing.
Carry less and you'll be more relaxed and have better time, again leading to more fun and better pictures. See Carry Less.
21.) Avoid Caffeine
Caffeine is an addictive narcotic, just like morphine and cocaine. The only difference is that caffeine isn't that dangerous, so it's still legal in most places since it's been grandfathered-in for so many decades.
The bad news is that coffee and soda companies love to keep you addicted to needing a jolt in the morning just to get up, and all day to stay alert.
This would be fine if you never needed sleep, but since you do, your morning jolt is still preventing you from getting to sleep fast and sleeping well.
I've never drank coffee, but I love colas.
When I finally got off the cola at lunch, I was amazed at how well I slept, and even more importantly, how much more alert I was all day since I had slept well the night before.
Taking caffeine screws up your body's natural rhythms. It hurts your sleep and makes you dependant on it. Sign off the drugs, and you'll look forward to getting to sleep when you want and getting up before dawn all excited and relaxed for making great photos.
You may have some headaches when you first try to give it up, but in a few days, you'll be much better off.
22.) Don't worry about offending strangers
Any photo that says something is bound to offend someone somewhere. Especially with the Internet's universal audience, it's almost a given that every photo that isn't completely boring will offend someone.
The only way to avoid offending anyone is to be sure your photos are bland and say nothing. That's why motel, office and corporate art is so boring: it has to be that way if the secretary who picks it out wants to be sure that it can't possibly offend anyone.
If someone finds your images disturbing or offensive, maybe they are, or maybe they're just good. There are a lot of weirdoes out there who take offense at anything. If you don't know them personally, ignore them unless you want your photos to bore everyone else.
Don't Think; Just Shoot
Color Balance. enlarge. (5D Mark II, 50mm f/1.4 USM)
I walked by and shot. I don't even know why: I feel and I respond.
Later I realized I was seeing the balance between the tan and teal, toilet and bag. If you're not seeing it; walk back five feet and see if you see the positive/negative space, the yin and yang.
This isn't a photo of a toilet; this work is all about color and balance.
Our subconscious minds perceive this far faster than our conscious minds can explain it. Don't think; just shoot.
Vary Your Shooting Volume with Conditions
I usually shoot as much all the time, whether things are boring or fantastic. I get into a rhythm, and shoot at about the same speed regardless of what's going on.
It s far better to put away the camera when things are boring, and to shoot like there's no tomorrow when light and conditions get exciting.
This way, in for the same amount of photos, a larger percentage of them will be exciting.
Travel Light
You need to be lightly loaded so you'll be happy moving to the best location instead of getting lazy and staying put.
Shoot only one camera; don't try to shoot everything on two formats for each shot.
See Carry Less.


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Joey: Well, you always want to do well. But it's so crazy because this time around there hasn't yet been an equalizer. Where you started on the leg was where you were going to end. Legs were really short, to be honest. They were really easy this time around and no one was making mistakes. It was really hard to pass anyone, so where you started was where you were going to end, which was kind of frustrating. But we had to deal with it and were trying to keep our cool.Meghan: We figured there would be an equalizer. After watching the Race for this long, there hasn't yet been like a three-hour wait for everyone on the same flight or like an eight-hour wait for some place to open. It just seemed like they wanted one of those three teams on the second flight to get out. Seriously, there wasn't going to be a chance for any of the three of us to pull ahead of the first flight. It was kind of ridiculous. We had come to terms with that, like, "OK. Guess this is the way the Race is gonna be this time."
Twinnies and YouTube spent Easter together Now I feel bad that we couldn't have a Twinnie YouTube alliance on TAR24
UTA Signs YouTube Star & Amazing Race Alum Joey GraceffaBy JEN YAMATO | Friday May 9, 2014 @ 9:00am PDTEXCLUSIVE: YouTube darling Joey Graceffa has signed with UTA for representation in all areas as the agency continues to cultivate a client list of online personalities and new media stars. Graceffa has built himself a YouTube audience of over 4M subscribers and 300M views across his channels and parlayed his Internet presence into numerous brand ambassador deals and a national live tour. The 22-year-old vlogger, gamer, and musician competed on CBS The Amazing Race last year with fellow Internet personality Meghan Camarena, taking 5th place in the competitions 22nd season. He returned for The Amazing Race All-Star Edition and launched a successful Kickstarter to fund his own supernatural webseries Storytellers, which debuted last December. With UTA Graceffa will work to capitalize on his massive online following to create opportunities in film and television acting, publishing, touring, and music all while maintaining his relationship with his 1.2M Twitter fans and YouTube following. Social media is a new potential goldmine for talent, evidenced by UTAs recent signings of prominent YouTubers Justine Ezarik (a.k.a. iJustine), Shane Dawson, Jimmy Tatro (Life According to Jimmy) and Bethany Mota (a.k.a. MacBarbie07). Graceffa is managed by Petar Mandich at Addition.
Quote from: gamerfan09 on April 21, 2014, 02:42:12 AMTwinnies and YouTube spent Easter together Now I feel bad that we couldn't have a Twinnie YouTube alliance on TAR24 YES TWINNIES AND YOUTUBE! They alliance was impossible, though. If one wasn't out on Leg 1, the other would be.
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IT'S a question of the chicken, and of the egg. Not which came first. That is a conundrum best left to the evolutionary biologists.
It's about backyard chicken keeping. There's been an explosion of interest in farming our backyards, but some cities are slow to catch up.
For most of the last 8,000 years, since chickens were first domesticated out of a Southeast Asia jungle fowl, people have lived among chickens, keeping them around for both their meat and their ovum. Perhaps it's no wonder that Thai cooks have such a way with preparing the bird – they've had a lot of practice, as chickens first were corralled there.
But because they were so easy to transport, so have cooks on every continent found thousands of ways to prepare them. Households that were not quite prepared to practice animal husbandry with large cattle or oxen could easily handle a small flock of chickens, and be nourished by them.
It's only in very recent times – in the last century, in fact – that the powers that be in large cities around the world have sometimes felt themselves to be just too impossibly cosmopolitan to live among chickens, and have passed ordinances and municipal codes aimed at keeping the fowl clucking only in the countryside.
Los Angeles County cities came even more recently to their legal disdain for the bird that sustains so many. Our environs were agricultural until so recently that the county was until the mid-20th century the biggest-dollar farming county in California.
And even as suburbia spread, chickens were still kept in backyards from Malibu to La Mirada, from Claremont to Compton. Though the cocks would crow and though there is the matter of animal waste to clean up, they bothered few and were a boon to many, providing food and 4H Club-style husbandry lessons to generations of Angelenos.
As Staff Writer Lauren Gold's front-page story this week detailed, many area cities still allow the keeping of chickens – though some restrict roosters – including Los Angeles, Pasadena, South Pasadena, Monterey Park, Glendora, Chino and Rancho Cucamonga.
Others are getting back in tune with our ancient ways and with the new revitalization called urban homesteading, including San Marino, which recently lifted its ban on chickens, and San Gabriel, whose City Council last month granted resident Vito Clarizio a conditional permit to keep the eight chickens he's housed in his backyard for eight years, and directed staff to develop a new code that would allow backyard chickens with certain regulations.
Good on them.
But other cities are still missing the poultry boat. San Dimas, Ontario, Montebello, San Gabriel and Whittier are among the area cities that ban chickens in residential areas.
They need to get with the program and change their ordinances.


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Jan. 16, 2006
SPRINGFIELD, Mass. - Springfield freshman Will Banulski came from behind on the final leg of the 200 free relay to give Springfield College a 157-143 victory over MIT, Sunday afternoon. Senior Grady Snyder swam a 21.2 second leg to give the Engineers a sizable lead, but two strong anchors propelled the Pride to a win by .04 in the final event of the day.
MIT opened with a solid start by winning the 200 medley relay. Jeremy Chang supplied the event's fastest split in the breaststroke, while Snyder brought the win home for MIT by outpacing the entire field on the anchor. Springfield won the next two events, but the Engineers stayed ahead with a better contingent of depth. Although Tech yielded the 1000 free to senior Dan Moran, Tech gobbled up the next three spots led by rookie Udit Garg.
Senior Matthieu Fuzellier gave MIT its first individual victory in the 100 backstroke. Fuzellier powered ahead with a strong start, then hung on to edge out Roy Burch with a clip of 53.95. Chang followed with a win the 100 breast to keep the Cardinal and Gray ahead, but the Pride assumed control behind a Burch victory in the 50 free and a clean sweep on the one-meter board.
The Engineers answered Springfield's assault with a tremendous race in the 100 free. Josiah Rosmarin led from the gun to take the top spot in 49.30, although rookie Peter Wellings stunned the home crowd by snatching second place from Burch with a split of 49.40. Fuzellier closed in fourth (49.64).
The Engineers placed one-two in the 200 breast and 100 fly as well. Junior Matt Angle edged out Chang in the breast, while Snyder split 53.94 to out-touch freshman Deke Hu.
The Pride won the last four events, including a one-two finish in three-meter diving led by reigning NCAA Champion, Mike Shaw. Although Dan Moran captured the 200 IM in the final individual event of the meet, Chang, Hu and Fuzellier took the next three spots as the Engineers remained resilient until the end.


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I was Born in El Paso, Texas, and have travelled throughout the world. I admire the magnificence of the desert country in the Southwest U.S. which is awe-inspiring - as in the one I painted with the fiery sky and bluish-toned mountains. My best mediums are pencil on paper and acrylic on canvas. I can do portraits in pencil, oil pastel, or acrylic depending on your preference. I also do pen and ink drawings of buildings and homes on top quality and durable paper. I began to draw at age four or five, shortly before entering the 1st grade in Elementary Public School. Early on in my school years, I excelled more in anything "Art" than other academics like math, science, history, etc. All of that said, my art is a reflection of how I see...
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Billboard campaign urges drivers to not text or drink and drive
Volunteers with Crusade Against Impaired Driving are urging drivers across our area to not text or drink and drive this holiday season with their second annual CAID holiday campaign.
Through the support of Lamar Advertising, billboards have been placed in West Seneca and Kenmore* to remind drivers of the dangers of texting and/or drinking while driving with a very powerful message and photo of an innocent life lost at the hands of an impaired driver. The billboards will be up throughout the holiday season - through the beginning of January.
In 2010, more than 10,000 people were killed in alcohol-impaired driving crashes nationwide - one every 51 minutes, according to the most recent data from the National Highway Traffic Safety Administration. During the holiday period, 21 to 24-year-olds repeatedly make up the highest percentage of impaired drivers.
"I'm hoping that this billboard of my sister reminds people of the countless lives lost at the hands of drunk and texting drivers. Our holidays won't be the same because of a drunk driver, and that's the case for thousands of families like ours. A young woman was torn from our lives at the prime of her life," said Deanna Russo, executive director of CAID Inc. She started the non-profit organization after her younger sister lost her life in March 1998 in a DWI-related crash.
According to AAA, the prevalence of drunk driving is reflected in the fact that more than 1 million people are arrested for driving under the influence of alcohol in the U.S. each year - equating to two arrests every minute.
CAID is dedicated to the memory of Karen Kwiatkowski, a young woman whose life was tragically cut short by a drunk driver. Through education, advocacy and awareness, its mission is to save lives that are tragically lost daily at the hands of drunk drivers. CAID aggressively works to inform people about the dangers of drunk and texting while driving and the threat impaired drivers pose to the community. CAID's message goes beyond the classroom and extends to everyone impacted by DWI, including those who have the power to change DWI policies and laws.
Visit CAID at www.caidonline.com.
*Locations of the CAID Holiday Campaign Billboards:
Southwestern Boulevard at Transit Road - West Seneca
Kenmore Avenue between Delaware Avenue and Elmwood Avenue - Kenmore


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On a day when weather is heavy, hot and bright - and after months of book writing and recipe testing - the only thing called for in my kitchen is a little light relief (and a burst of sharp citrus). Lemon tagliatelli is recipe that is understated, painless to produce and refreshingly clean tasting. A good squeeze of lemon juice and a scattering of zest, in all their simplicity, do just enough to seep into and coat long strands of taglatelli, and impart a clear, fresh and fragrant flavour. The dish needs little else, other than plump, unwaxed lemons and a few salty morsels to balance, to produce the most simple and elegant of suppers.
Lemon tagliatelli
Serves 2
Ready in 15
200g tagliatelli
2 tbsp extra virgin olive oil, plus extra to drizzle
1 large garlic clove, crushed
2 anchovy fillets in oil, finely chopped
zest of 1 unwaxed lemon, juice of 3, plus extra zest to serve
parmesan, freshly grated, to serve
handful fresh basil leaves
Bring a large pan of salted water to the boil. Add the tagliatelli and boil for 8 minutes, or according to pack instructions, until al dente. Drain, reserving 2 tbsp of the pasta water, and refresh under cold water. Toss through a little olive oil to prevent the pasta sticking.
Meanwhile, heat the 2 tbsp of olive oil in a wide, deep frying pan over a medium-low heat. Add the garlic and anchovy and stir for 2 minutes until the anchovy begins to melt into the oil. Add the lemon zest and juice with the pasta water and season generously. Bring to a simmer.
Add the drained tagliatelli to the pan and toss through the lemon sauce until warmed through and completely coated in the sauce. Dish into bowls with a little more zest. Top with plenty of parmesan, a drizzle of best extra virgin olive oil and basil leaves to serve.


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This A+ list entertainer (singer) has been photographed most days going to the gym and she does go to the gym, but doesn't even work out.
She spends an hour deciding what to wear and changing her hair and make up before a photo op exactly 90 minutes later as she leaves the gym.
Taylor Swift


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She was a Crookston Resident.
Edith Marie Hendrickson, age 93, Crookston, died Monday, April 8, 2013 at her daughter's home in Crookston, surrounded by her loving family. The funeral service for Edith will be held at 2:00 p.m., Friday, April 12, 2013 at Our Savior's Lutheran Church in Crookston, with the Rev. Steven Bohler, officiating. Visitation will be at the Stenshoel-Houske Funeral Home in Crookston on Thursday from 5 to 7 p.m., with a 7 p.m. prayer service, and also at the church for one hour prior to the service. Interment will be at Riverside Cemetery, Mahnomen.


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12:00 pm
Engaging with Literature: A Workshop for Teachers, Grades 3-5 "Workshop 8. Reacting to Students" In this session, you will see various ways to evaluate students, use that information to influence strategies, and communicate expectations to students and families. This session also addresses high-stakes assessments, deciding when to assess and when to evaluate, and suggestions for helping students assess their own work and the work of their peers. D
1:00 pm
Making Meaning In Literature: A Workshop for Teachers, Grades 6-8 "Workshop 8. Planning and Professional Development" In order to grow in their careers, teachers need a great deal of sustenance. In this program, the teachers talk about the ways in which they fulfill this need as they develop individually and as members of a professional community. The group invites us into their classrooms to look at the way they have grown professionally, stimulated by their peers, their membership in professional organizations, and their willingness to seek out new thinking on literature and teaching literature. D
2:00 pm
Artifacts & Fiction: Workshop In American Literature "Workshop 4. Oral Histories" Oral histories can serve a dual role in the classroom: as a type of literature to be studied in itself and as artifacts that help explain other literary works. This session focuses on how folk songs, interviews, and other oral histories provide alternative views of a text. D
3:00 pm
Teaching Channel Presents "Reading Like A Historian" Reading Like A Historian: A detailed look at a cutting-edge history curriculum that turns away from textbooks. We'll join young "Historians in Training" as they examine original documents and engage in lively discussions to discover the complexities of history. D
4:00 pm
Death: A Personal Understanding "What Is Death?" Definitions of death have been debated for centuries, depending on culture, social conditions, and the role of the medical profession. In this program, we see how ideas have changed historically and how our newest definitions, like "brain death," may not yet be adequate for encompassing all of death's meanings. D
4:30 pm
Death: A Personal Understanding "Dying Person" When we are told that we are terminally ill, we are defined, more than ever, by the limits of our bodies. In this program, we meet three women. D
5:00 pm
Connecting with the Arts: A Workshop for Middle Grades Teachers "Workshop 6. What" This program is about planning and teaching toward big ideas. D
6:00 pm
Fons & Porter's Love of Quilting "Bluebonnet Baby Quilt" Marianne and Mary show how to make and machine applique thin stems for flower block. D
6:30 pm
b organic with Michele Beschen "Natural Babies" Michele shares her experiences with their newest little one and talks everything from cloth diapers, the benefits of babywearing, and do it yourself baby foods, to healthy bedding, clothing and toy options. She shows how keeping things simple keeps things healthy, happy and economical. D
7:00 pm
It's Sew Easy "Sewing for Family and Friends" We love to share our sewing skills with all of the people (and even pets) we love. The key word today is functional. Pearl Krush is our first designer. D
7:30 pm
Knit & Crochet Today "Baby Bib Toy" It's all about baby today. Learn how to make a cute baby toy and simple knit and crochet bibs. We also take a look at an innovative program at Mt. D
8:00 pm
It's Sew Easy "Baby and Kids Basics" The key is looking for simple designs that grow with your child. Fun fabrics and embellishments enhance what is often quick sewing. First are Jacinda Boneau and Jaime Morrison Curtis of the prudent baby blog. D
8:30 pm
Knit and Crochet Now! "Baby Sweaters" Today we have an adorable knit baby tux by Judy Lamb and a crochet dress by Robyn Chachula. We will also begin our afghan square of the week with the crochet "Crown" pattern and our tip is how to make button holes in both knit and crochet. D
9:00 pm
Martha's Sewing Room "Princess Pettiskirts" Using a machine ruffler foot to create a pettiskirt; Sew Quick, Sew Easy techniques for embellishing baby knits; And Sew On segment on colorfast Presencia hand fibers; Hand embroidered hemstitched eyelet. Guests: Kari Mecca, Jeff Williams, Wendy Schoen. D
9:30 pm
Martha's Sewing Room "Continuous Border Embroidery" Christening gown with continuous border embroidery; Sew Quick, Sew Easy travel bag with serger quilting; And Sew On segment on creating flounce ruffles; Hand embroidered fishbone stitch. Guests: Pam Mahshie, Kari Mecca, Wendy Schoen. D
10:00 pm
America's Test Kitchen from Cook's Illustrated "Shake and Bake Reinvented" Test cook Julia Collin Davison shows host Christopher Kimball how to make the best Nut-Crusted Chicken Cutlets. Next, equipment expert Adam Ried reviews food processors in the Equipment Corner. And finally, test cook Bridget Lancaster shows Chris how to make the ultimate Crisp Pan-Fried Pork Chops at home. D
10:30 pm
Simply Ming "Damian D'silva & Authentic Singapore Cuisine" This episode of SIMPLY MING is simply like no other. Ming is granted privileged access to the home kitchen of Singapore Chef Damian D'Silva. Damian is a fixture on the Singapore culinary scene, where he is bringing back centuries old culinary traditions. D
11:00 pm
Joanne Weir's Cooking Confidence "You Say Tomato" When it is tomato season, it is sometimes difficult to keep up with the bounty. Joanne prepares a chilled tomato and Greek yogurt soup, and then teaches her student Jack the versatility of roasted cherry tomatoes, showcasing them in a lamb sirloin salad. Recipes: Chilled Tomato and Greek Yogurt Soup, Roasted Cherry Tomatoes, and Lamb Sirloin Salad with Feta and Roasted Cherry Tomatoes. D
11:30 pm
Rick Steves' Europe "Rome: Ancient Glory" Rick takes a fresh look at Rome by exploring the traces of life in the capital of the ancient world - visiting the Colosseum and the Pantheon, and viewing the empire's art. Then he goes by bicycle to see the Appian Way and the other marvels of Roman engineering. Part 1 of 3G


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FBI leak probe shuts down 9/11 case at Guantanamo
GUANTANAMO BAY NAVAL BASE, Cuba (AP) — A judge agreed Tuesday to look into how FBI questioning of a defense team member will affect the trial of five Guantanamo Bay prisoners in the Sept. 11 attack.
Army Col. James Pohl, presiding over the trial by military commission, rejected a prosecution argument to go forward with a scheduled hearing into the mental competency of one of the defendants or deal with other pending matters in the case.
Pohl agreed with defense that he must at least explore whether the revelation of an apparent FBI investigation could create a potential conflict of interest for defense counsel who may be a target of federal authorities.
The judge said he would reconvene court on Thursday to consider the next step in the case.
He said he would order anyone working on the defense teams to inform the lead counsel for each defendant if they have been approached by investigators and said he would submit questions about the investigation to the FBI.
James Harrington, a lawyer for defendant Ramzi Binalshibh, said Monday that FBI agents questioned a member of his defense team about the release in January of an essay by the lead defendant in the case, Khalid Sheikh Mohammed, to two media outlets.
Prosecutors acknowledged in court papers that they triggered the investigation by alerting the FBI that the essay, as well as two letters written by Mohammed, had not gone through a required security review. Lawyers for Mohammed say the documents were released under the rules as they understand them.
The issue is the latest of many delays for the five, who face charges that include terrorism and murder for their alleged roles planning and aiding the Sept. 11, 2001, al-Qaida attack.


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Broward College Aviation Institute Tour (Tuesdays 10am)
Broward College Aviation Institute
Event Details
Come tour the Broward College Aviation Institute and learn about our exciting programs which will lead you to a rewarding career in the aviation field.
We offer programs in:
- Professional Pilot Technology
- Aviation Maintenance Management
- Aviation Business
- Airport Management
- Air Traffic Control
Please visit our website at www.broward.edu/aviation for program brochures and more information.
*** Please Note *** This tour will not include tour of the Air Traffic Control Simulation Lab. Please email email@example.com to set up a separate appointment to tour that facility.
Q: Do I have to bring my printed ticket to the event?
A: No, you do not.
Q: Where do I go when I arrive?
A: Please come to the lobby area/Room 147. Tours will begin 15 minutes pass the hour.
Q: Where can I park?
A: The Aviation Institute is located on our South Campus – 7200 Pines Blvd., Pembroke Pines, FL 33024, Building 99. The Aviation Institute is located away from the main cluster of buildings in the extreme southwest corner of the campus tucked up against North Perry Airport. Free Visitor Parking is available in Lot F which is next to the soccer field. Do not park in Lot E.
Q: How long will the tour take?
A: Please allow between 45-60 minutes for the tour.
Q: Will I be able to register for classes during my visit?
A: Depending on the time of year, registration for upcoming terms may, or may not, be open. We have computers in our lobby which you can use to apply to the college. You can also apply to the college directly from home by visiting www.broward.edu and clicking on the 'Apply Now' button.
Save This Event
Event Saved
When & Where
Broward College Aviation Institute
7200 Pines Boulevard
Room 147/Lobby
Pembroke Pines,
Broward College Aviation Institute
The Aviation Institute, established in 1966, links Broward College's Judson A. Samuels South Campus with North Perry Airport. Our beautiful complex is the perfect environment in which to start a career in aviation. Our students receive industry training from highly skilled instructors at an affordable cost. Students are surrounded by aviation professionals and experience flight and maintenance operations in action, and have all the facilities of a full-service college campus.
Broward College's Aviation Institute is the only public facility in Broward County dedicated to the training of aviation professionals. The Institute offers:
• on-site flight training
• a 7,000 sq. ft. hangar
• flight lab and state-of-the-art flight training devices
• tower, radar, enroute air traffic control simulators
• aircraft maintenance training equipment
• computer-based testing
• online courses and spacious workshops
• staff examiners to help prepare students for aviation careers in the 21st century.


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Sandy Alderson said it again, that the Mets have little payroll flexibility and aren't expected to make a splash in the free-agent market.
Again, even if the Mets cut Oliver Perez and Luis Castillo, they are still on the hook for $18 million between them. It's not as if the money could be spent elsewhere.
The Mets need to find two starters, bullpen depth, a second baseman (if it is not Castillo), a back-up catcher and bench depth. Try doing that with about $10 million to spend.
There's not much in the minor league system to help immediately. And, Ruben Tejada and Jenrry Mejia are best served in the minor leagues for this year, Alderson said. There aren't the prospects available to make a trade similar to the one Boston did for Adrian Gonzalez. And, if there was, the Mets are committed to not spending.
Again, we can re-examine trading Jose Reyes and David Wright, but you'd be dealing your two best players. And, with Reyes, his value because of injury and lack of production the past two years, and that he'll be a free agent after 2011, make him difficult to deal.
And, while a solid player, Wright isn't one that would bring a boatload of talent in return. Plus, he'd leave a gaping hole at third base.
Alderson said this would be a process and he's not lying. This is becoming more apparent as the winter meetings approach. They might be able to add a band-aid or two, but other than that, hope for 2011 is for Reyes, Jason Bay and Carlos Beltran to get healthy and continued development from players such as Mike Pelfrey, Jon Niese and Ike Davis.
As of now, hope is the plan.


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Why Book A Cappella Groups
With pop culture phenomenon of Glee and reality TV competitions like The Sing-Off, a cappella singing groups have become increasingly popular as entertainment for all types of events. Kids and adults alike will love to hear and watch these groups who perform fresh, exciting arrangements to already popular songs of all eras. You and your guests will be blown away by the performers' powerful singing voices and their amazing ability to create instrumental sounds with only their voices. Is that a trumpet or a drum set? Heck no… it's just their mouth!
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About Booking A Cappella Groups
Hiring an a cappella singing group to perform at your event or venue can be a terrific entertainment choice. Contemporary a cappella groups are vocal musical bands who do not rely on musical instruments but instead "play" using their voices alone. A cappella music also includes Barbershop and Doo Wop music. Many a cappella acts also add "vocal percussion" or "beatboxers" to mimic the sound of instrumentation. A cappella music was popularized by groups like Rockapella, Straight No Chaser, and by performers like Bobby McFerrin. There also is a strong a cappella presence within the live Christian music community, as in churches and festivals.
Some things to consider when hiring an a cappella singing group are to make sure you listen to audio and watch video clips. This will ensure that you truly do book the best for your next event! Next, you want to get references. Talk to people in the area about the group and get feedback. Finally, talk about all of the specifics of the event. For example, figure out if the group will need certain audio equipment and how much room they'll need to perform - because they might need extra room to bust out some sweet dance moves. Also, if you have a certain song you want performed, some groups will compose a special arrangement just for your event. Now all you have to do is make sure your guests are ready for a darn good time at your upcoming event!
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Taylor 716ce Rosewood/Spruce Grand Symphony Acoustic-Electric Guitar
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A beautiful instrument with a spruce top, Indian rosewood back and sides, and Taylor Expression System electronics.
The Taylor 716ce Rosewood/Spruce Grand Symphony Acoustic-Electric Guitar features a spruce top. A Vintage Sunburst top and ivoroid Heritage fretboard inlays conjure a distinctively old-school Americana vibe.
Grand Symphony (GS)
Body Width: 15" / Body Depth: 4-3/8" / Body Length: 19-1/2"
The ultimate Taylor strummer.
The Grand Symphony shape joined the line in 2006 and delivers Taylor™s boldest, richest acoustic voice. Think of it as a Grand Auditorium with a turbo boost, thanks to expanded physical dimensions, including a slightly wider waist and a bigger lower bout. Strummers and pickers with a driving attack will love the fullness, volume and sustain. Yet for such a robust voice, the GS is also clear and responsive to fast picking runs or a light fingerstyle touch, so if you'e a dynamic player, this shape is a true contender. And the big voice doesn™t come at the expense of balance. The piano-like bass, meaty midrange, and thick, shimmering highs blend seamlessly. These traits also make the GS a great vehicle for 12-strings. If you like a lush, potent guitar tone that has the horsepower to compete with other acoustic cannons out there, the GS shape is a worthy choice.
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The ES is an all-magnetic acoustic guitar pickup system that works like a microphone to produce a pure signal and a warm, natural acoustic sound. When you plug in, you'll hear the sound of your guitar, not the sound of the pickup. No complicated controls. No tone simulators. Just a clean amplified acoustic guitar sound supported by three simple controls " volume, bass and treble.
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- Body Width: 16"
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- Body Length: 20"
- Overall Length: 41"


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Scotts Valley
Scotts Valley is a small city in Santa Cruz County in the Santa Cruz Mountains between Santa Cruz and the Silicon Valley.
Get in[edit]
Most visitors arrive in Scotts Valley by car. Two exits off of the winding California State Route 17 (Scotts Valley Drive and Mount Hermon Road) take visitors into the city.
There is no train service in Scotts Valley, but a collaboration between Amtrak, Santa Clara County's Valley Transit Authority, and Santa Cruz County's Metro Transit District has resulted in frequent, daily, hour-long bus trips between downtown San Jose and Scotts Valley. The "Highway 17 Express" costs $7 each way; an $14 day pass entitles the bearer to free use of both the VTA and Metro mass transit systems for the day (2016 rates). In San Jose, this bus stops at the Diridon train station (with connections to CalTrain), VTA light rail stops in downtown San Jose, and at San Jose State University. In Santa Cruz County, it stops at the Cavallero Transit Center in Scotts Valley (on King's Village Road, just off Mount Hermon Road). Some routes continue into downtown Santa Cruz. This bus route is popular with students, non-drivers, and regular commuters to the downtown San Jose area.
Greyhound also provides bus service to the area from San Francisco.
The nearest airports with scheduled passenger service are in San Jose and Monterey. The nearest municipal airport for private planes is in Watsonville.
Get around[edit]
Most visitors to Scotts Valley drive to nearby attractions. The main part of the small city is adjacent to California State Route 17. The city itself has two main roads: Scotts Valley Drive and Mount Hermon Road. Scotts Valley Drive parallels Highway 17; Mount Hermon Road proceeds northwest to Felton.
The primary local bus route in the city, which runs approximately every half hour during the day, goes south to downtown Santa Cruz and north on Mount Hermon Road to the communities in the San Lorenzo Valley. Rates are $1.50 per adult per trip; there are no transfers. The main Santa Cruz bus station is in the downtown shopping district and about a fifteen-minute-long walk away from Main Beach in Santa Cruz. The bus system is more useful for getting in and out of Scotts Valley than for getting from one place to another in the city itself.
Visitors can also take the Highway 17 Express and Greyhound buses to San Jose and the San Francisco Bay area.
The main city roads are in relatively good condition for bicycling. Some back roads (such as Bean Creek Road) offer scenic but challenging cycling for the experienced cyclist.
See[edit][add listing]
Do[edit][add listing]
Most visitors use Scotts Valley as a convenient base for exploring the nearby areas and attractions: the Santa Cruz Beach Boardwalk, the redwood forests and steam train in Felton, the kayak-friendly sloughs in Watsonville, and the beaches all along the coast.
Buy[edit][add listing]
Shoppers will appreciate the many stores, restaurants, and even day spas in the neighborhoods of Mt. Hermon and Kings Village Road. [8]. For the bargain hunter, Scotts Valley is also home to a couple of delightful thrift stores.
Eat[edit][add listing]
Drink[edit][add listing]
Sleep[edit][add listing]
Get out[edit]


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Is Disney ready to ditch the princesses and start manufacturing animated version of lesser-known Marvel comics? Looks like it. We've been speculating for months what the first animated Marvel/Disney movie would be, and apparently the two have decided upon the obscure Japanese superhero team Big Hero 6. According to It's On The Grid and Disney news blog Blue Sky Disney, producer Kristina Reed and Winnie the Pooh director Don Hall have been tapped for this project. Reports the latter site:
The slot that is set for 2014 has been put aside for Don Hall's project. Don Hall is the director of "Big Hero 6." In fact, he's the one that pitched the idea to [John] Lasseter, who liked his take on the subject and approved it for development. Now, it's not fully green lit. The project is story boarded and has been deemed strong enough to tentatively put in the production line.
Big Hero 6 is a superhero team sanctioned by the Japanese government. The team is made up of such heroes as whiz kid Hiro Takachiho, his bodyguard android Baymax, Wolverine antagonist Silver Samurai, occasional X-Man Sunfire, and the magical purse-wielding Honey Lemon.
[Via CBR]


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Uganda - 2x3 ft Flag
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5:00 am
Daniel Tiger's Neighborhood "Daniel Visits School/Daniel Visits The Doctor" Daniel Visits School - Daniel is visiting school for the first time and he's a little nervous until he learns that asking questions so that he knows what to expect is the best way to handle the anxiety that comes with new experiences. Daniel Visits the Doctor - Daniel is going to Dr. Anna for his checkup - but he is very anxious! Mom Tiger teaches him that talking about the situation will help him feel calmer, so Daniel makes a book with all the information he knows about the doctor. D
5:30 am
Martha Speaks "Cora! Cora! Cora!/Cora Encore!" Cora! Cora! Cora! - Helen's family friend Kit Luntanne (Jennifer Westfeldt) is upset. She's had to leave her lovable dog, Cora, at home while she travels with her acting troupe. Backstage at the theater, Martha meets Ham Johnson (Jon Hamm), an actor who admires Kit and wants to impress her. D
6:00 am
NOVA "Ice Age Death Trap" In a race against developers in the Rockies, archaeologists uncover a unique site packed with astonishingly preserved bones of mammoths, mastodons and other giant extinct beasts, opening a vivid window on the vanished world of the Ice Age.G
7:00 am
Rick Steves' Europe "Florence: Heart of the Renaissance" Rick explores the city that is the home of the Renaissance and birthplace of the modern world, taking in works of art and architecture before climbing the dome that kicked off the cultural movement. Part 1 of 2G
7:30 am
Rudy Maxa's World "Istanbul, Turkey" Rudy visits the Topkapi Palace, Aya Sofia, the Blue Mosque and some of the Grand Bazaar's 2,000 shops.G
8:00 am
The Desert Speaks "Royal Road Across The Frontier" In the second part of the journey along the ancient highway, learn about the traditional hot springs of Aguas Calientes that gave the ancient traveler a brief respite from the dry, dusty roads. While the springs no longer exist, the town still marks the boundary between the lush green landscape behind and the dry dangerous desert frontier that looms ahead. The first stop in the desert is the mining town of Zacatecas. D
8:30 am
Chef John Besh's New Orleans Stuffed Crab Shells, Breaded Red Snapper with Shrimp, Fennel and Oranges, and Hollandaise Sauce. D
9:00 am
Lidia's Italy In America "New Orleans: A Cup and a Slice of Capuccino" Lidia heads south to New Orleans, where she visits Brocato's to sample a few of her favorite desserts. She then checks out the bustling, produce-filled, open-air Crescent City Farmer's Market, where farmers and shoppers are brought together by their love of fresh food. Lidia makes Meat-Stuffed Eggplant, Veal Scallopine Marasala, and for dessert, she prepares a Cappuccino Cake. D
9:30 am
GardenSMART Think your yard is too rock-strewn for a good garden? GardenSMART visits a garden that really is rocky and the garden is fantastic. If they can do it, you can too. Be sure to tune in. D
10:00 am
Christina "Trick Or Treat" It's that time of year when the air is crisp and little goblins and grown up ghosts want to indulge their sweet tooth. In this class, we'll discover ways to trick your own little monsters into treating themselves to healthy sweets, from chocolate to candied apples.with a little fun magic as well!. D
10:30 am
Cook's Country from America's Test Kitchen "Thrill of the Grill" Test cook Bridget Lancaster shows host Christopher Kimball how to make the best South Carolina Pulled Pork. Then, equipment expert Adam Ried reveals his top picks for portable charcoal grills. Next, tasting expert Jack Bishop challenges Chris to a tasting of ice cream bars. D
11:00 am
Austin City Limits "Norah Jones/Kat Edmonson" Jazz and pop cross with the two musicians. Jones sings songs from her album Little Broken Hearts. Edmonson showcases the song stylings of her recording Way Down Low.G
12:00 pm
Sesame Street "The Good Bird's Club" Big Bird receives an invitation to join the Good Birds Club. On his way to join he sings about how happy he is to be himself. When Big Bird meets the president of the club, he ridicules Big Bird because of his physical appearance. D
1:00 pm
Dinosaur Train "Long Claws/Tank's Sleep Over" Long Claws - Buddy, Tiny, Don and Mrs. Pteranodon head to the thicket to ask a Therizinosaurus family about their colossal claws. Mr. and Mrs. T strike a pose to demonstrate how they use their claws for self-defense, while their daughter, Teri, shows the kids her favorite practice spot. Tank's Sleep Over - When Tank spends the night at Pteranodon Terrace, the last thing he wants to do is sleep. D
1:30 pm
Super Why! "Momotaro The Peach Boy" Pig and his brothers want to build a treehouse but they're so busy squabbling, they'll never get the job done. The Super Readers head into a Japanese Folktale and meet a little boy whose friends are arguing so loudly, it actually angers an ogre! Will they be able to show their new pals that arguing is the pits?G
2:00 pm
Cat in the Hat Knows A Lot About That! "Tough Enough/How Cool Is Coral" Tough Enough - Nick and Sally are trying to guess what animal is the toughest one - is it a lion? Oh no, it must be the enormous elephant! Why not at all, says The Cat. The toughest of all is a teeny tiny Waterbear. Huh? Off to meet Cat's friend Wally the Waterbear. D
2:30 pm
Wild Kratts "Neck and Neck" As Chris and Martin search for the answer to why giraffes have long necks, a mischievous giraffe begins secretly taking Creature Power Suit parts and supplies from the Tortuga. D
3:00 pm
Dialogue for Kids "Electricity" Electricity is a basic form of energy. Joan Cartan-Hansen and her guest scientist Dr. John Gardner, Director, CAES Energy Efficiency Research Institute, Boise State University, answer students' questions about electricity.G
3:30 pm
Rick Steves' Europe "Oslo" Rick finds evidence of the proud Norwegian spirit in the country's capital - from Viking ships to a sleek new opera house, from World War II tales of terrorism to the constant festival at the thriving harbor. He takes in major art pieces and sails with friends in a fjord.G
4:00 pm
Antiques Roadshow "Corpus Christi, Hour Two" The show first investigates vintage flash art at a local tattoo parlor. A guest brings in John Lennon's signature from a memorable meeting with the Beatles. Another guest brings a book inscribed by Salvador Dali that is valued up to $15,000. Part 2 of 3G
5:00 pm
PBS NewsHour NULL
6:00 pm
Globe Trekker "Globe Trekker Special: World War II in the Pacific" Trekkers visit key locations in the Pacific, a region where great battles were fought and military history was made.G
7:00 pm
Outdoor Idaho "Chasing The Light" Some of Idaho's professional landscape photographers share their secrets for positioning themselves to capture a special scene in a photograph, often waiting hours, even days, for the natural lighting they seek to preserve. OUTDOOR IDAHO travels with them to locations that encapsulate Idaho's treasured scenery.G
7:30 pm
Dialogue "Role of the Humanities" Host Marcia Franklin talks with Jim Leach, chairman, National Endowment for the Humanities. As this is a taped program, there will be no call-ins.G
8:00 pm
Idaho Reports 2013 Host Greg Hahn, with a panel of news professionals, plus political analysts, examines the week's events at the Idaho Legislature.G
9:00 pm
Legacy: Austria's Influence On American Skiing "Hannes Schneider & His Disciples (1940)" With the onset of World War II, Austrian ski instructors and racers were viewed with both suspicion and interest. Suspicion they might be Nazi collaborators, interest in recruiting them to teach ski and rock climbing skills to U.S. troops. D
10:00 pm
Globe Trekker "Globe Trekker Special: World War II in the Pacific" Trekkers visit key locations in the Pacific, a region where great battles were fought and military history was made.G
11:00 pm
Outdoor Idaho "Chasing The Light" Some of Idaho's professional landscape photographers share their secrets for positioning themselves to capture a special scene in a photograph, often waiting hours, even days, for the natural lighting they seek to preserve. OUTDOOR IDAHO travels with them to locations that encapsulate Idaho's treasured scenery.G
11:30 pm
Dialogue "Role of the Humanities" Host Marcia Franklin talks with Jim Leach, chairman, National Endowment for the Humanities. As this is a taped program, there will be no call-ins.G


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Shelton moves to 3-0 for first time since 2008
WOODBRIDGE -- Whenever Amity threatened Shelton's perfect start, the Gaels had an answer Friday night, usually with a big play to make the statement.
Quarterback Mark Piccirillo was in on five of the Gaels' seven touchdowns, and Jason Thompson ran for the other two in a 49-30 win at Johnson Field. Shelton is 3-0 for the first time since 2008.
"Our offense just starts rolling," said Thompson, who ran for 231 yards on 20 carries. "We don't look back. That's what we did, we executed on offense. That's what we've got to do when teams score points, execute our offense."
Shelton, ranked 11th in the state writers' poll and tied for ninth in the coaches' poll, opened a 27-3 lead late in the second quarter before Amity scored its first touchdown.
"They're underrated. We knew that coming in," said Spartans coach Bert Mozealous, whose team was looking for its first 3-0 start since 2007.
"We jump offside. We blitz two guys in one gap; they run through the other gap. There are little things we've got to correct."
But there wasn't much stopping the Gaels' big weapons Friday.
"We moved the ball, I don't want to say at will, but very well offensively," Shelton coach Jeff Roy said. "We threw the ball more tonight than we did the first two games. We opened up a bit."
Thompson had 18 yards on his first eight carries, but then with the passing game clicking, seven of his last 12 rushes went for 17 yards or more ("big holes," Thompson said). He had explosive scoring runs of 24 and 32 yards.
Piccirillo threw for 258 yards and three touchdowns, two of them to 6-foot-3, 210-pound senior receiver Kyle Drost; Drost also caught a pair of two-point conversions.
"That kid 84 (Drost) is just a beast and a half," Mozealous said. "Anything you do short of tackling him, you're not going to stop him."
The teams traded turnovers on their first drives. Shelton's Mike Pingree recovered a fumble, then caught a 45-yard pass to set up the first touchdown to Drost. Amity appeared to be driving for an answer, but Troy Vasilescu's sack of Dave Ryan left Amity to settle for Lyle Luth's 39-yard field goal. Pingree took the kickoff 50 yards to the Amity 41, and a short drive later it was 13-3.
The Gaels have scored 149 points in three games.
"Their quarterback can run," Mozealous said. "They're really a running team first, but they have great receivers, and they have depth. They can afford the opportunity to play guys only one way. We don't have that depth."
It wasn't a perfect night for the visitors. Shelton was hit with 11 penalties for 90 yards. Ryan threw for 372 yards and four touchdowns, two of them to speedy Ben Feola in the third quarter for 64 and 67 yards.
"We had a couple of big stops, a couple of big plays," Roy said. "We've got to get better on defense. We can't give up that many points."
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S--Kyle Drost 10 pass Mark Piccirillo (Joe Zoppi kick)
A--Lyle Luth 39 FG
S---Piccirillo 1 run (kick blocked)
S--Kevin Robinson 24 pass Piccirillo (Drost pass Piccirillo)
S--Jason Thompson 24 run (kick failed)
A--Joseph Choiniere 18 pass Dave Ryan (Luth kick)
S--Piccirillo 1 run (Drost pass Piccirillo)
A--Ben Feola 64 pass Ryan (Luth kick)
S--Thompson 32 run (Piccirillo run)
A--Feola 67 pass Ryan (Luth kick)
S--Drost 14 pass Piccirillo (pass failed)
A--Nick Bottone 13 pass Ryan (no try)
Records: Shelton 3-0, 1-0 SCC Division I West; Amity 2-1, 0-1


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Skylar Laine's Mom Worries Fame Will Change the 'American Idol' Contestant
One minute she's serving sandwiches at the Beatty Street Grocery, the next she's protected by an entourage, sashaying the streets of Nashville in high heels and a revealing mini. That's a scenario the parents of 18-year-old 'American Idol' contestant Skylar Laine are asking God to protect the singer from.
It doesn't seem like Ed and Mary Haden have much to worry about. The down-to-earth country girl from Brandon, Miss. has already made the Top 10 — guaranteeing her a spot on next summer's tour — but still makes mama her first phone call after every show.
"One thing I've told her is, 'Watch your language' and 'I'd better not see one of those American Idol bubbles pop up to hide a dirty word coming from you,'" Mary Harden told the Jackson, Mississippi Clarion Ledger. "You're representing your family, your church, your town and your state.'"
The family grocery is enjoying a business boom since Laine left for Hollywood to become the next Reba McEntire. Mary Harden says it's become a tourist destination. "We've had people come in here from Texas, Arkansas, Florida. Sometimes they don't even buy anything, they just look around."
"We had one little boy from Petal who came up to spend spring break week with his dad," she adds. "His first request was to see Skylar Laine's family store."
This week, the remaining 'American Idol' contestants will be asked to sing Billy Joel songs. Laine has not been in the bottom three yet, and USA Today called her a contestant who's "safe for now." But that doesn't mean stop voting!


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The parents of Michael Jackson -- Joe and Katherine -- along with his brother Randy, enjoyed a nice dinner at Madeo in West Hollywood last night.
We asked the usually chatty Joe if he -- like La Toya -- believes in a conspiracy theory regarding Michael's death. He was surprisingly quiet.
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