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Continuing the Black and White Photography theme we've been on lately in the latest forum assignment (where the photos featured in this post were submitted) I thought I'd share five pretty random Black and White Photography Tips.
I know many readers of DPS can't shoot in RAW (because their camera doesn't offer it) or don't shoot in RAW (because they either don't know how or don't like to) but for the most control in the post production phase of converting your color images into black and white ones – you'll want to shoot in RAW if your camera does allow it. Of course shooting in JPEG doesn't stop you shooting in black and white – but if it's an option, give RAW a go, you might be surprised by what it offers you in post production. More on RAW vs JPEG here.
If your camera doesn't allow you to shoot in RAW (or you choose not to) – shoot in color and do your conversion to black and white later on your computer.
While most digital cameras offer you the option to shoot in Black and White (and can produce some reasonable results) you have more control over your end results if you have the color data to work with in your conversion on your computer. (read more on the choice between shooting in black and white or post production conversion).
Update: There is an exception to shooting in Color and it's when you're taking note of point 1 above (shooting in RAW). When shooting in RAW and switching to Black and White mode you see your results in the LCD in black and white but the camera actually records all of the information (including color) – the best of both worlds. But if you're shooting in JPEG – shoot in color and do the conversion later. Thanks to Joost (in comments) for the reminder to include this.
Shoot with the lowest possible ISO possible. While this is something that most of us do in color photography it is particularly important when it comes to black and white where noise created by ISO can become even more obvious. If you're after this 'noise' (or grain) you can always add it later in your post production – but it's harder to go the other way and take noise out.
Many digital photographers actually prefer to shoot images for Black and White in low contrast situations. So an dark or overcast day can be a great time to shoot out door shots.
Ironically these are the days that those who shoot only in color sit at home complaining about the 'poor light'. So next time you find yourself with a dark and gloomy day – shoot some black and white shots.
Most of the general tips on how to compose or frame a good shot apply just as well to black and white photography as they do when shooting in color – however the main obvious difference is that you're unable to use color to lead the eye into or around your shot. This means you need to train yourself to look at shapes, tones and textures in your frame as points of interest. Pay particularly attention to shadows and highlights which will become a feature of your shot.
Read more on Black and White Photography at Key Ingredients for Black and White Photography.
UPDATE: Learn more about Black and White Photography with our new Essential Guide to Black and White Photography.
I just recently played with my black and white effect in post production. I had taken some pic of white flowers,a black dragon fly, and a white peacock. I didn't like the way they looked in color they looked kind of blah. When i converted them to black and white are so amaizingly beautiful, and they look so much nicer. [eimg url='https://www.facebook.com/photo.php?fbid=10201221026160727&l=cd2aab38ea' title='photo.php?fbid=10201221026160727&l=cd2aab38ea']
First off I would like to say terrific blog! I had a quick question that I'd like to ask if you do not mind. I was curious to find out how you center yourself and clear your mind prior to writing. I've
had a difficult time clearing my mind in getting my thoughts
out. I truly do enjoy writing however it just seems like the first 10 to 15 minutes tend to be lost simply just trying to figure out how to begin.
Any ideas or hints? Appreciate it!
I enjoy creating black & white images. I always shoot RAW, in colour, and convert to black & white in Lightroom. There are so many options and pre-sets to choose from - my favourite is B&W Hollywood. I use this a lot, for bringing out the million dollar 'celebrity-look' in my client ;-)
Great article! I would add that black and white digital images almost always need some dodging and burning done to them in a way that images printed in the darkroom in the good old days didn't aways need. For some reason even the most accurately exposed digital files usually come out of the camera looking rather flat.
Take a look at http://minimal-photography. So awesome black and white photography!
Thanks a lot for these tips, I'm starting to like B&W photography, the kind of expression you can get with B&W processing is quite interesting.
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Before telling people to shoot in Raw Format for Black and White....talk to someone who is colour blind. Raw just plain flat stinks for those of us who do not see Colours. All the computer processing in the world will not help. Being Colour blind I have found that the lowly Jpg is the best format for capturing what I see.
I would spend more time learning how to 'think' in black and white. All this technical information
is fine, but it is best try to develop your eye first. I see so many boring, technically good images
on Flickr. I think my Flickr stream gets so many views because I have learnt to see first.
Many Professional Photographers will tell you that they find it impossible to tell the difference between a Photo shot in Raw mode and one shot in High Quality Jpg
@nick +1
Shoot on analogue. Digital B&W is a poor imitation at best.
analogue B&w has grain and emotion, digital B&W is just a colour photo with the colour turned off.
analogue will make u think about each shot properly too
Kodak Tri -x at 800asa is the best film to use for band photography, always has been
sorry i did not see the previous post on the same issue
@ gordon buckley (or whoever can help) how can i change the setting on my comp the clicking the grayscale just doesn't do it
hey all i was wondering if anyone could possibly help me with a little issue im having with up loading my b&w photos to come out in b&w. i apologize if this is the wrong area to post about this so redirection is welcomed. i am fairly new to using my own slr so i need all the help i can get. I went to a concert lately and here is how i shot :
canon rebel xt 50 mm1.8
TV and AV
RAW format
B&W Parameter
now i have a macbook pro and when i put in the sd card into the slot and directly upload them onto iphoto, the b&w photos do not come out b&w but a funky color but where the photos show up to upload they are b&w. same goes to for finder. in the sd folder for finder the you can see the picture in b&w but when you click on it the photo opens in preview with some funky colors.
I did look at one of the pictures under editing on iphoto and it said a saturation of 49 could this be the problem? i have not compared it to another photo not taken in b&w
i will try and post a photo to further explain if need be
thank you.
I have recently purchased my first SLR. Previously used advanced point and shoot. I have
been afraid of RAW but after reading these comments I am going to give it a try. Thanks for
the great information !!
Interesting article, I like the black and white dea lto shoot in RAW b/w to see the shoot in the LCD screen and still have all color information in the RAW file to edit the images at computer, Clever idea ;)
This is my first view at your website but definitely will come back as i also recently started Photographing again and made my own website about it, fotograf.gr is anyone is interested
Lovely article. I tried it to process this bright yellow sunflower in black and white using the tips given.... I used the 100 iso setting, and also chose a cloudy day...
Wonderful article. I tried this image ... a yellow sunflower in black and white.... it seemed to have lovely shades of grey...
I can say that by looking over your website's posts, remarks that there are many different ideas on the similar topic. To be honest it is refreshing to find fellow opinionated people, it is a good website, i like the simplicity of your content and i appreciate your words, which gave me very useful information.
Very advanced tips...and people think black and white is so easy!
My favourite photographs are black and white; they are beautiful and look more professional that colour ones; there are many options with monochromatic photographs and they usually achieve powerful results if you know how to exploit it.
Thank you for the article, some good advices here. I shoot in Raw, sometimes in B&W to see the "rendering" on the back of my camera. When i import in LighRoom, my picture (in Raw) comes in in Colour, so i have the freedom to do my B&W conversion the way i want it. I try to import the cleanest digital(raw file) as possible, even if i add some noise, vignetting later in the process. If you start playi,ng with "grainy" pictures by increasing the ISO, you may end-up loosing precious information on your negative. Raw (pure) is allowing you to do whatever you want, in a reversible way, so why would you damage your negative at the source?
(Seem) to be having problems posting.) Glad I ran into this...I've read (elsewhere) that shooting raw was a "waste of time" and to shoot color, then convert to B&W to achieve greater tonal range. I'm looking to get that (very) old-school look, and was planning to shoot higher ISO to get the "grain". I get set in my ways at times; looks like I need to open up to other methods instead of being so hard-headed. ;) Thanks for the tips!
I really liked the article of it was very specific. I also learned that it is better to get a black and white. It is also mostly preferred by photographers. Mostly cameras offer J PEG and not raw. My camera does offer it raw and I'm happy for it. I also think that J Peg is better than raw. Black and white is more clear for me. To be great photographer you have to study the science of photography. but raw J PEG gives me curiosity of what colors they are.
What lab does you black&white photos on baratya base paper,classic way?
In Croatia we produce them from digital files in a classic b&w lab.
Great tips! I got a new camera about 6 months ago and have yet to try shooting in raw. I love black & white photography and haven't done much of it lately. Makes me want to get back at it!
great tips thanks, I love BW light and contrast are my favourite things, thanks for sharing
Thanks for all the tips, I can not wait for the Christmas break so i get some time to focus on RAW.
Hard to believe that people are still using the true black&white expression, in an era where the Photoshop has the monopole. Good tips, hope a lot of people get to see and use them!
I enjoy black and white a great deal.
I have RAW ability on my camera. But to be honest, I am not all that good with it. The software that came with the camera is "OK", but I prefer Picasa or the Microsoft program. I understand that the Google program will work with RAW. I really enjoy being able to use filters when processing the image. Picasa has that, and Microsoft has that as well, just more limited.
I have heard some people say that they have found that images in the camera done in BW are a little sharper, or better with noise. I can not address that, as I have not tested.
I do have pretty sharp pix though. I have a Leica lens, and I wanted to make sure that I got that for the BW. I wanted to be as sharp as I could get. And at least back in the film days, THAT was the glass to have.
I am open an any insight that you all can offer to me.
Take care![eimg url='http://cid-fb37decc636325ec.photos.live.com/self.aspx/Back%20up%20as%20of%20May%2013%202010%20of%20all%20past%20to%20this%20point/Baboo%20-%2002%20-%20Copy.jpg#resId/FB37DECC636325EC!218' title='FB37DECC636325EC!218']
Hi, I enjoyed reading the articles and wanted to know if I can reference a sentence or two in my book on your exertise in photographing in black and white, in my upcoming book about clouds? You are a pro and I'd like to use youas a reference if I may. I would greatly appreciate it.
Rai Petersen
[eimg link='' title='' url='http://farm3.static.flickr.com//4431894063_.jpg'] my second post
I like to shoot the opposite of this article, I shoot black and white in full sun and color in early morning/late afternoon overcast. I prefer full sun for black and white for the hard shadows and contrasts.
Hey, numerous for taking the effort to do this. I love your web pages, when it took a slow reader like me some time to look over over full page and all the comments.
Just tonight bought a Rolliflex 2.8E. Can't wait to get it and start shooting with black and white medium format film. Point #5 is a key point to focus on to train my eye to see differently. -Dave Z
Sorry, my last was addressed to Sara...........
When you take a picture in RAW format and ask the camera to convet it to black and white it will do so just for display purposes on the camera's screen. However, the picture is still in RAW format which is "as seen" and therefore will always be in colour until you change the sttings of the picture using your computer.
Hope this helps......
thanks for the tips in shooting in raw format rather than jpg. i love the tip in ISO, thanks this will help me a lot!
yestrday i started shooting in raw and turned to black and white and i loved it ! bs when i moved my pictures to the laptop it showes colored :( ! whats the problem ? i want to see it on my laptop alsp blackandwhite
pleaaaaaaaaaaase answer
I love photography. I'm now trying it in black and white. Wish me luck...'(:
Setting the camera to B&W or converting later is the same thing.
True B&W is film
Nothing else has the tonal range or 'look'
No Hard & Fast rule can be set for B&w photography. Just enjoy to shoot any thing in B&W. [eimg link='http://www.flickr.com/photos/48322426@N05/4430700083/' title='DSCN1834baba maye1' url='http://farm3.static.flickr.com/2764/4430700083_d9ef5f5bcb.jpg']
This is not good in changing any thing from its original form. If you want a B&W photo so take it in B&W form rather converting it later. Potraits in B&W says Something which Colour Doesn"t.[eimg link='' title='' url='http://farm3.static.flickr.com//4431894063_.jpg']
I can't see, not being technical, what could be gained by making the camera only record in B&W against converting later
Its an interesting point about previewing in B&W though . Of course the old analogue photographers had only their minds eye to see B&W as they were looking at a colour scene every time
What is even harder for us today is to re-imagine the classic B&W shots in the colour the photographer was looking at them in
I find seeing the rare colour footage of the world wars rather unreal! It's as if we can't imagine anything other than lives in B&W!
I would just like to add one view going in the other direction. I have directly tested the methods of getting B&W using digital, and my tests showed that a better quality image was achieved if taken in B&W on the camera, rather than shooting in colour and converting it afterwards. It's true that this does restrict your later choices, but if you have a "prevision" of what you want to achieve before pressing the shutter (as so many great photographers advise), then this isn't an issue. Nothing is stopping you from taking both.
I recommend taking both: one B&W "in camera" and one in colour and converted. Compare the 2 and you might be surprised at the difference.
Cheers, Tom.
For color to B/w conversion, try adding a Channel Mixer layer in Photoshop, and then click the "monochrome" tick .. then you will be able to adjust the r g b levels in the image, and achieve much better results..
And yes, watching the histogram closely is the key to full black, simply clip the unused parts :)
A lot of people seem to have trouble with producing "true black" areas in digital B&W's, and end up with images that appear somewhat washed out and dull. Rather than fumbling around clumsily with "contrast" adjustments, I prefer to instead make precise adjustments to the white and black points, watching the histogram closely, to make sure I only clip the sections I am actually willing to lose.
Most RAW processing programs offer some kind of "highlight / shadow" alert option which visually indicates the areas that will be true black or true white in the final processed image, given the current settings. Turning this feature on makes it very easy to see at a glance where the extremes are, as you are dragging the black point up (making the image darker by setting a new "darkest" value) or dragging the white point down (making the image brighter by setting a new "brightest" value)
Finally, I always recommend at least viewing what the image looks like using a LINEAR interpretation of the raw data. Normally there is a curve that is applied to the raw data to give a more perceptually natural look to the image, but when you are working with B&W many times you prefer contrast to perceptual accuracy. So applying a LINEAR "curve" will initially make the image much darker, you'll likely have to pull down the white point significantly, but you might be surprised by the vibrancy you get with this technique. When used with non B&W images, this tends to dramatically increase not just the contrast but also the specific saturation.
I hope this helps someone.
If you have a Canon point-and-shoot style camera, you really should consider trying this custom firmware upgrade called CHDK, as one of the many awesome features it adds to your camera is the ability to save in raw format. http://chdk.wikia.com/wiki/CHDK Check the right hand side of the page to see if your camera is listed as compatible, most Powershot's are.
Andy - I think I will! *goes hunting for a Nikon FM on eBay*
It seems that you are trying to replicate the effect of black and white roll film, but in digital.
Digital and roll film are different. Neither is superior to the other. They are different. Simple as that.
Instead of making endless adjustments on a computer, why not purchase a simple 25 year old SLR (very cheap second hand) and bang a few rolls of FP4 through. There are still plenty of mail order labs who process black and white and you will find the whole experience liberating. Granted, it is a little more expensive, but this will serve to make you think about what you are doing and, ultimately you will become a much better photographer.
I will never forget the thrill of printing my first photographs at the age of 12. Seeing the image appear before your eyes is truly magical. The whole process of roll film photography is tactile and reassuring. The smell of a newly opened roll of film. The slight resistance as you manually wind the film to the next frame. Manually rotating first the aperture ring, then the focus. Then the mechanical clunk of the mirror flipping up, shutter opening and closing - all at the instant you press the shutter and not a few milliseconds after. I could go on, but conclude that by saying that you are left with something tangible, negatives and prints. These will last 100 years plus if correctly stored. Far better than a few electrons on a memory stick which is all that digital will ever be.
Go on. Join me and give it a try.
Thanks, Nick.
I was referring to digital and I have Photoshop Elements, but I am struggling to get the balck skies I have seen in many B&W shots. Is there a requirement to use a red filter for instance whilst taking the shot?
Infra red filter on Tri X and hi contrast printing paper!
In digital I expect its done in photoshop like everything else.
How are the really black skies in BW photos produced?
I always use the raw + jpg option,
Its belt and braces - as we used to say in the movie world, film is the cheapest thing on the set so use as much as you like because coming back later and doing it all again for something missed is not an option
Memory cards are reasonably cheap and resusable, and hard drive space is getting cheaper all the time. If you have the RAW then you have all the options, so when you get that once in a lifetime image you can make the most of it
great info! I have been focusing on the technical aspect so long, I forgot the basics are the most important!
Shooting in a color is one step that should not be neglected. Shooting in color will give you an opportunity to convert the image or parts of an image to black and white. Leaving a piece in color can be a nice effect.
Excellent Black and white photography tips. thanks for this nice article..
What I tend to use when I want b&w pictures is to shot in colour and use gimp to split the RGB channels. I don't know why but I mostly keep the red one. That as a first try, before trying grayscale conversion.
On some b&w shots I've found interesting the effect of adding some brightness and to put the "constrast" a few steps (bigger value) after the brightness.
Give it a try.
Great black and white photography tips! Thanks for the article.
hey! these are really great i enjoyed reading bout them and as well looking at them . hope to see some more in the future ! =-) Rori .
As a working professional I tend to shoot each image in both RAW and fine Jpeg, Pro Cameras give the option to shoot each image in both. I run 16GB cards which allow me to fit around 400-500 images this usaually is fine during a wedding shoot. I mostly use the Jpeg images in post processing if they are correctly exposed these will usually be fine and much easier to work with rather than the larger Nikon nef or RAW image files, but as a fallback I have the RAW file if in case of difficult lighting - over or under exposure.
I find this works best for me most of the images on my website if not all are taken in JPEG.
Prophoto home page
Great article and tips, thanks! :)
USA 2009 B&W http://www.flickr.com/photos/marcusrevertegat/sets/72157619390872360/show/
While I agree with most of these tips, I have to disagree with shooting with low ISO. High ISO may add some grain, but it makes the image feel more like film. Also, low ISO is impractical, especially for street photography and event photography (such as weddings).
I use JPG+RAW mode. I think that is a great option.
thanks for the b&w tips! i'm a beginner at all this stuff, so what does RAW and ISO stand for? :)
Haha ^^ nice, is there a section to follow the RSS feed
Nice to know there are still many people who love shooting black and white. Learned also a new thing today because of Joost van der Borg's comment/tip to shoot in raw and black and white. Didn't know one could do that. I always shoot in raw and color and process the images in Photoshop. Would definitely try it. Thanks!
Very informative as an instructional post. Would like to receive more of such articles regularly
Great tips! I don't often shoot in B&W but do like the effects. RAW is a different world compared to JPG but not much more complicated if you use the camera software to start. The quality is worth the small learning curve to shoot in RAW. DSLRs make it so much easier to play with and learn the different effects filters can create and other available in camera setting too. Thanks for the great refresher on B&W, I know what I'm doing this weekend.
Ian sounds angry. Just a thought.
I can't remember when the last time I photographed by BAW photos, I have afew of my friends BAW photos and will make it a collection.
Thanks for your great article and excellent advice.
use yellow filter for outdoor b&w pictures and see the differances of cloud, sky and shadows.
Another set of great tips by DPS. We do wedding photography and I find the black and white can really distinguish photos in a way no other effects can.
Ian,thanks for your comments. I must admit, I am from a scientific imaging background. We used 12=bit and 16-bit monochrome camera usually cooled to -30 to -80 degrees C. Try grey scale readings were acqurate to usually +/- 2. Such a pixel might read 54,927 +/- 2 grey scale levels. These images were always saved in uncompressed TIFF Formate, so no brightness data was lost. When you have 4096 or 65,536 grey levels, you have a lot of wiggle room to make an asthetically pleasing or illustritive image in Photoshop. Is is easy to rescale these images in Photoshop rescale command.
Second point: It is really easy to segment purple and pink (H&E stained slide) images by looking at the red or blue image. The monochrome images was just a mush of grey. It really helped to increase comtrast.
The low ISO tip was a litle in jest. If the F-64 club still existed (Adams, Westen, et. al., I would be a member. I almost got a devorce over taking very high res pictures of dead trees with my Rolleiflex with ISO 100 film.
Thanks for your comments,
What rubbish, firstly shooting in RAW is only of use if you want to fiddle around alot in Photoshop or you dont have the skills to capture the image you want at the time.
Taking Photos in colour and conversting, pointless, just choose the shots you want in black and white have a reason and a purpose...
Using a low ISO, this is not a tip, simply use the ISO that is relevant for the situation whether you want a grainy image for effect or if you are in a low light situation adjust the ISO to suit.
Great photos. I do like black and white photos. Perhaps when I go back to OH for the holiday, I'll take a few photos with my niece's camera and see how they turn out.
The difference between RAW (or TIFF or jpg2000) and jpg is that RAW saves all of the data. jpg compresses and discards some data. There are a number of ways to obtain grey scale images from color. Any good software will have an RGB and an HSI choice for adjusting your color image. Play around with the monochrome red, green, blue and intensity images. They will all be different. It's cheap - just a few electrons. For example, a blue object in a monochrome red image will be very dark. Usually, the green or intensity image give the best results. After all, half of the pixels in your digital camera are green (as is most of the world). Now when I want really great B&W images I reach for my totally manual 1946 TLR Rolleiflex and some nice slow film.
Great article and excellent advice to always capture images in the best possible quality possible.
Maybe I should start shooting b/w pics in raw. I didn't realize it made that much of a difference.
I love Black and white for very soft images, add some grain in photoshop and it can save a blurry images.
Definately shoot in color! Then there are so many ways you can re-work it in b/w.
Hi - i enjoy reading your stuff. I'm confused tho. I thought greyscale was different than b/w. Also, does taking the original photo in colour allow more room for channel mixing? Are there any simple guides to channel mixing for the newbie?
Also, what is the difference between filters and channels? Are there filters on cameras? or do you have to use filters in photoshop?
Dear everyone
I apologise for my ridiculous and rude comments. They were totally out of order and unfair, and now I wish they could be deleted.
It seems I'm the one with the problem.
Once again, please accept my sincere apologies, and good luck with all of your forthcoming photographic endevours.
Keith Steadman
Keith - we welcome diversity of opinion here at DPS however I would ask you two things:
1. please keep your language at a level that is appropriate. This site is read by people young and old and from a variety of backgrounds and I'd appreciate you keeping things civil and respectful. Yes - do express your opinion but please do it in a way that isn't aggressive - you'll have a lot better chance of convincing others if you do.
2. I'd ask you to say something constructive. Again - do feel free to express your opinion but I look at your comments and wonder what you're trying to say? ie - how would you improve this post? what advice would you add?
No doubt my previous comment will be ommited, only because you pompous fools with your asses up you own backsides are afraid.
Which one of you mutts has got the guts to admit to what a stinking lowlife racket you are in.
I like photography, but I hate bullxxxxxxrs who tell the public what is good/right and not/wrong.
Get a sense of reality, and remember that every penny you spend is probably stolen in some way or another--think about it big shots.
Keith Steadman
this comment was edited for language
Dear everyone
I have to say quite simply that the subject matter overides the technical jargon anyday.
You always have the most boring photos that are "technically correct"--in your limited opinion, and then you have the photographs that people want to return to and enjoy again and again--the ones that aren't quite so technical in your not quite, yet self imposed expertise opinion.
The public laugh at you, and realise now that in these days you shall not pull the wool over the more intelligent and brighter eyes among us.
Keith Steadman from England--print this damn thing if you have the gutzo to do so.
I own a 30d for quick stuff, but shoot almost everything with my 35mm, 6X7, 4X5, or 8X10, in that order, depending on how much time I have.
I especially love the medium format, and have fallen hard for the FP4 and PanF films.
I've tried to duplicate the tonality, etc with the 30d, and have had some success, but overall, I still prefer film.
I'm very good with Photoshop, for manipulating others images, and assume that at some point I will have to make the investment of time to become proficient in getting exactly what I was shooting for.
Photography is the best when it has a storytelling.
I think that shooting in low ISO is not that important when photographing in black and white because I normally add grain to my pictures anyway to give it that "feel." As an Orange County Wedding Photographer, I use that style frequently in a lot of my pictures!
However, I agree with your other suggestions. :-)
Agree RAW is better, but as mentioned takes more time on the computer. Interesting comments. Grayscale is not suitable for making great B&W prints. I use Paint Shop Pro 9 and use Layers/New Adustment/Channel Mixer.
Great tips! Thanks for taking the time to point these out.
Good article!
shoot images for Black and White in low contrast situations... good point.
It's worth remembering that these are just tips and not hard and fast rules that must be obeyed. I think they're designed to help people progress from only going out on sunny days with the camera set to B&W mode, and are good points that anyone starting out in B&W digital photography can benefit from as they're not obvious to start with.
The rule of thirds is also a guidline and is based on the 'golden mean' which is a ratio humans seem to find naturally pleasing, but i've seen fantastic photos where the focal point is bang in the middle of the photo.
As for the 'glow', that's something we all strive to acheive and only comes when all elements of photography, from the photographer to the paper used to print, are working well and in harmony with one another. There's no easy route to acheiving this, just keep improving and progressing and one day you may well get there. I haven't yet, but i'm trying!
I have to say i don't agree with the above fact that color shots should be shot on sunny days and black and white on overcast days. I believe the quality of light in black and white is highly stylistic and aesthetic. Some people like that 'glow' in black in white which is often achieved on bright sunny days. Others like even tones of white, grey and black in their black and white photographs in which overcast days are suitable. Also i find that colors tend to become washed out by the harsh light on sunny days where as on a grey day colors seem to pop. Does anyone agree?
In response to Jodz:
I've heard that it is always important to use the rule of thirds, which is where you would divide the photograph into hree sections vertically and three sections horizontally. Where the lines match up in the corners is where at either of the four points the focal point of the picture should be.
I'm new to B/W and I'm trying to figure out exactly what makes a great black and white photo. It's the old 'I know one when I see one' but I'm trying to figure out exactly what it is that makes some B/W's so incredible. Some older photos using the film process and dark room technology seem to 'glow' somehow. Is this possible using digital cameras? If anybody has any ideas, I'd love to hear 'em.
great tips.
i always shooting in RAW [EOS 20D].
using EOS DSLR, i have no problem with ISO, sometimes i need to set ISO up to 800 and still get great results, and process the file with C-1-pro RAW converter, it works great for me.
For most of the photography I do, I prefer to shoot RAW..Not because I need it for the immediate need, but just knowing I have the best file format in the can is comforting. As noted by other posters, the large file sizes do take additional RAM. I have to believe that a new file format is in the works that utilizes the best of both world.
i'm confused.. what is shooting in the raw?
I"m new at digital and have a cannon rebel with
LOTS to learn
I shoot RAW, then convert it BW using Google Picasa.
I shot in Raw for the first time last week.
The files are huge,there's not a huge difference in the end result,and when you bring them up on the windows picture viewer, they are tiny.
Jpegs are really not bad.
good article
Yeah I second what Aaron about Photoshop-->Greyscale. Well maybe I just need to be taking photos that are more black and white friendly but it tends to look terrible. Someone told me that in CS3 there are some better B&W tools, but I don't know if this is true or not. Anyone confirm this?
Great tips, I wish you had mentioned more on aperture because I'm clueless on how to get great shots like that.
? What was wrong with my tip? It's certainly much better than changing modes. jeez
A point should be made that if you shoot in color and then convert to BW (in Photoshop), don't use Image > Mode > Grayscale, or worse, Hue/Saturation. Use Image > Calculations and play around with the channels and settings. You'll get a much more dramatic effect.
I've always seem importing raws as way more of a headache, maybe I should re-examine the way I do it with my digital rebel xt.
I am as Raw as they come. No photo skills or experience. However I do have some ideas for b&w cowboy shots. I'm just learning and hope to progress. If you have any basic staring point please share. Thanks
With lower-end point & shoot cameras, B&W or sepia mode can often capture a more pleasing range of tones and especially ambient light than color mode does.
I agree you can save alot of photos when there converted to B&W, but also your printing equitment is very important. I use www.expressphoto.com.au , they produce good prints & there reasonable in there pricing.
love the black and white pictures. pity that i can't shoot in raw. the others, i think i can practise it using my point and shoot cam.
Another "amen" for the tip to shoot in color (or at least in RAW so you have the color data available) even when your final intent is b&w. You never know when you may look at a photo later and decide that the color version is actually better for the final piece. I shot a photo in a "chair" situation like the veteran above, and when I looked at it later in post-production the sea of chairs (blue in this case) was so stunning it made the photo fantastic.
I don't know how many poorly-lit color photos I've "saved" by converting to B/W.
Thanks for the article. I've always tried to shoot in color and convert to black and white later. However, a while ago I was shooting in low light conditions and the color shots were not coming out very sharp. In my camera, I changed to shooting in black and white and the shots came out much sharper. Is there any advantage to shooting in black and white in terms of the ability to shoot in low light conditions? Is there something else that explains the differences in sharpness that I observed?
In my experience, noise is more of a problem when shooting in color, especially in low light situations. I often find myself converting high ISO images to B&W and greatly reducing the perceived noise level. Now I don't know if I'm particularly sensitive to luminance noise, or if my camera (my trusted Canon 10D) is particularly good at producing it, but I'd say noise is generally more pleasant in black and white.
Good points. The "shoot in color" tip is key, but the "low ISO" is also very important. Post processing into black and white can really bring out the noise, especially when you're pulling out more of the red or blue tones rather than greens.
Great article!
Some good pointers for shooting in RAW. It's important to experiment and expand your skills with photography.
A tip when shooting raw: Do shoot in black and white. This way you can check the results in black and white on your LCD, and back at your computer you've still got all colour information in the raw file. (Check before going out all day though)


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Farsi 1 TV
Channel: Farsi 1 TV
; Description: Movies TV channel,FARSI1 is the first international free-to-air Persian-language general entertainment channel. It is considered to be an Afghan-Iranian channel, though it's based in Dubai, United Arab Emirates.
; Homepage: http://www.farsi1.tv/
; Stream : http://livelive24.com/tv-asx/iran-farsi-1.asx
; Country: United Arab Emirates
; Language: Arabic
; Category: Movies

subset: commoncrawl


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Contact: Brandon VogelMedia Writer
June 6, 2013
ALBANY-Seven attorneys have been elected to the Executive Committee of the New York State Bar Association.
The 30-member Executive Committee oversees the management and administration of the State Bar within policies determined by its governing body, the House of Delegates.
The new Executive Committee members are:
James B. Ayers of Albany, Section Representative. A graduate of Colgate University and Cornell Law School, Ayers is a partner of Whiteman Osterman & Hanna and chair of its estate planning and administration practice group.
James R. Barnes of Albany, Young Lawyers Section Representative. A graduate of the State University of New York at Binghamton and Wake Forest University School of Law, Barnes, a shareholder at Burke & Casserly, concentrates his practice in elder law, trusts and estates, business succession planning and real estate.
David Louis Cohen of Kew Gardens, Member-at-Large. A graduate of New York University and Brooklyn Law School, Cohen is a solo practitioner and concentrates his practice in state and federal litigation. He also is counsel to the New York State Assembly Codes Committee.
Cheryl Smith Fisher of Buffalo, Vice-President of the 8th Judicial District. A graduate of the State University of New York at Oswego and the University at Buffalo Law School, Fisher is a partner of Magavern, Magavern & Grimm. She practices in the areas of employment law, commercial litigation, bankruptcy and professional responsibility.
Evan M. Goldberg of New Rochelle, Member-at-Large. A graduate of the State University of New York at Albany and Brooklyn Law School, Goldberg is a partner and senior trial attorney at Trolman, Glaser & Lichtman. He practices in all areas of plaintiff's personal injury law, including medical malpractice, products liability and general negligence.
Ira S. Goldenberg of White Plains, Section Representative. A graduate of Brandeis University and George Washington University Law Center, Goldenberg is a partner at Goldenberg & Selker. He represents boards of condominiums, homeowners associations and cooperatives, as well as developers, unit owners, sellers and purchasers.
Scott M. Karson of Melville, Vice-President of the 10th Judicial District. A graduate of the State University of New York at Stony Brook and Syracuse University College of Law, Karson is a partner of Lamb & Barnosky. He concentrates his practice on trial and appellate litigation, as well as municipal, civil rights, commercial, real property, personal injury and criminal litigation.
Their terms began on June 1.
The 76,000-member New York State Bar Association is the largest voluntary state bar association in the nation. It was founded in 1876.


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garden.com > Gardening > Planters & Pots > Planters > Item # G25363
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Of Turkish origin, this style is one of a remarkable collection of antique vessels originally used for transporting wine, olive oil and molasses. Their provenance is confirmed by the government seals attached to them. Our reproductions are as true in detail as possible. Plant this beautiful planter with overflowing Spanish moss for a gorgeous effect.
The iron stand supports this vessel which history reveals were heavy and often not able to stand on their own. Often, in the case of wine, they would be stored on their side. Recent discoveries of pot shards tell of ancient wine making as early as 3500 B.C. and DNA points to Turkey and Egypt as where the earliest wine making and the domestication of the Eurasian grapevine took place. These vessels are as authentic in design as possible.
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May 26 2018
Birds of Prey Feeding
May 26th, 2018, 3:00 PM — 3:15 PM
Observe the naturalists feed our birds of prey. Questions welcome! Rain or shine; included with admission.
Nature's Trading Post
May 26th, 2018, 3:30 PM
Share your collection of nature finds, tell us the story of your item, and trade it for something new.
Please no objects regulated by state or federal law, such as bird feathers, nests, eggs, and any endangered species. Please do not bring in anything that will rot or smell.


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To make the beef roast, preheat the oven to 375 degrees F.
Season the beef with salt and pepper. Season the tomatoes with salt, pepper, and herbs de Provence.
Place a medium, heavy roasting pan or Dutch oven over high heat. Heat the olive oil. Sear the beef over high heat on all sides. Turn off heat. Place the seasoned tomatoes around the seared beef and place the pan in the oven. Roast until a meat thermometer reads 130 degrees F. for medium rare, 135 for medium, about 30 to 40 minutes. Take the roast out of the oven, tent loosely with foil, and let rest for 10 to 15 minutes. The internal temperature of the meat should rise 5 degrees F more and the juices will redistribute into the roast.
To make the sauce, place the parsley and garlic in a food processor and pulse until the parsley is finely chopped. Add the red pepper flakes, salt, red wine vinegar and the roasted tomatoes from the beef pan and process until pureed. Add the olive oil in a steady stream with the machine running.
To serve, slice the roast and place on a serving platter. Drizzle a little sauce over the meat. Serve the remaining sauce in a small bowl alongside.


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Wabash Day Turns Family Dayby Steve Charles • October 14, 2006 Share:
When he first envisioned it in 2005, Jon Pactor '71 saw WABASH Day not only as a time for Wabash men to work together on worthwhile service projects, but also as an opportunity to get their families involved.
"Our guys want to be good fathers, and this is one way to do that while at the same time passing along Wabash values," Pactor said.
And that's just what happened Saturday at one WABASH Day event, as almost as many sons and daughters as dads helped wash vans at the Second Helpings food rescue in Indianapolis. (Click here for photo album.)
"We have such abundance, and we have to teach our kids that they live in a bigger world," said Terry Hamilton '89, whose daughter, Emily, worked alongside him on WABASH Day for the second year running. "This is a great way for them to discover the joy of serving others."
Second Helpings accepts donated perishable and overstocked food from area grocers and prepares nutritious meals for thousands of hungry children and adults every day, distributing them free of charge through local service agencies, Director of Volunteers Nora Spitznogle explained. Before the WABASH Day families began their work, she gave the group a tour through the facility.
"We were all very impressed with the work Second Helpings does," said Pactor. "I can see this day leading to more volunteer opportunities for our alumni and their families in the future."
Spitznogle noted that the day's work of washing the organizations vans and trucks was very helpful.
"This is the sort of thing we need to do but never have the people or time to get around to," the director said. "We really appreciate your help, as well as the encouragement your helping out gives to us."
Youth was also a catalyst at Saturday morning's other WABASH Day event in Indianapolis. (Click here for photo album.)
At a food distribution at Trinity Episcopal Church for Gleaner's Food Bank, Wabash workers ranged from Larry Landis '67 and Gary Gunther '69 all the way to Jake Rowland, son of Eric Rowland '86.
But you couldn't help notice the contribution from a large cadre of younger alumni like Kip Chase '04, John Meyer '05, and Seth Zirkle '04. Meyer's fiancee, Kari Finamore, also lent a hand, as did Seth Zirkle's girlfriend, Scarlett Lant.
John Bridge '72 organized the day, inspired when his wife, Cathy, and son, Bart, participated in a Gleaner's food distribution at the church in July. Cathy and Bart were also on hand Saturday.
"They enjoyed the work so much they told John about it," said Gleaner's Major Gifts and Operations Manager Robert Wilson, who also serves with Bridge on the Trinity outreach board.
The loss of tens of thousands of manufacturing jobs has left an ever-increasing number of Indiana families in need of food assistance, Wilson said.
In central Indiana, more than 200,000 people—almost half of them children or elderly—need food assistance weekly. Gleaner's solicits food from food manufacturers, retailers, and individuals in an attempt to serve this growing need. On Saturday, 22 Wabash men and their families distributed food to about 220 people.
Pictured (top): Jim Kerr '92 and daughters Kaylee and Courtney; (bottom) Kip Chase '04 carries groceries home for a Gleaner's client.


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YORK, PA-The York College men's swim team split their tri-meet on Saturday afternoon in York. The Spartans defeated Gallaudet 83-11 before falling to Marymount 52-42 in the second portion of the meet. The loss to Marymount snapped York's 20-meet win streak. The Spartans are now 2-1 overall and 2-1 in the CAC while Marymount improves to 4-0 overall and in the league and Gallaudet falls to 0-4 overall and in the conference.
The meet against the Saints came down to the final relay as Marymount won the 400 free relay with a time of 3:21.84, edging the Spartan foursome of Chris Suehr (North Irwin, Pa./Norwis), Clark Arnold (York, Pa./Northeastern), Garrett Higgins (Yardley, Pa./Pennsbury), and Ben Hilt (Mt. Joy, Pa./Hempfield) by 2.14 seconds.
The green and white started the meet with a victory from the 400 medley relay team. The foursome of Steven Fulcher (Columbia, Md./Calvert Hall), Steven Tobin (Estell Manor, N.J./Holy Spirit), Arnold, and Matthew Jennings (Fairfax, Va./Robinson) earned a pair of wins with their time of 2:46.20.
In the 1000 freestyle, Matt Kempel (Millington, Md./Queen Anne's County) earned a first and a second as he notched a time of 11:26.30. Higgins then finished with a first and a second in the 200 freestyle as he recorded a time of 1:53.09. Teammate Andrew Demarest (Galloway, N.J./Abesegami) earned a second and a third with a time of 1:53.79 in the race.
Fulcher earned a double win in the 50 free as he clocked in with a time of 22.30. Hilt finished second and third with a time of 22.68. In the 200 IM, Jennings notched a first and a second with a time of 2:07.73. That time put him .53 seconds behind double winner JP Goshco of Marymount.
In the 200 fly, A.J. Bean (Ijamsville, Md./Urbana) placed first and third in the race as he touched the wall in a time of 2:10.58. Jennings notched a first and a second in the 100 free as he completed the race with a time of 50.80. Higgins finished behind Jennings with a time of 51.01.
Fulcher recorded another double win with his time of 2:02.93 in 200 backstroke. Sophomore Steve Doemland (Etters, Pa./Red Land) notched a first and a second in the 500 free as he concluded the race with a time of 5:23.41. Tobin recorded a double first in the 200 breaststroke as the freshman clocked in with a time of 2:23.53. That win made the 400 freestyle a winner take all event against the Saints.
The Spartans return to action on Wednesday evening when the green and white hosts Elizabethtown College in a 6:00 pm meet.


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In his first preseason action, Packers rookie running back Eddie Lacy looked like he could be a solid — and perhaps difference-making — addition to the Green Bay offense.
Lacy racked up 40 yards on eight carries in the first half at St. Louis on Saturday evening, repeatedly showing NFL-caliber power and physicality.
A strong running game will simply give Packers coach Mike McCarthy more options on offense. We know the Packers have a superb passing game. An effective ground game that merits respect would leave defenses more stressed than they already are having to cope with Aaron Rodgers.
One first-half play stands out. Rodgers took a shotgun snap, faked the hand-off, then hit tight end Jermichael Finley for a long gain off a short pass into open space. The Rams didn't defend the play all that well, but here's the takeaway: if defenses don't shrug at a Rodgers hand-off, that's progress for Green Bay — and a problem for the opposition.


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Last week we told you about Tweezerman's Mini Go Green tweezers. Now we're giving away 2 pairs of their Animal Print Slant tweezers to two lucky readers.
All you need to do to enter is fill out the form below with your name and email address. Please note that leaving a comment here, while appreciated, is not enough to enter the contest. There is only one entry per email address and it must be a valid email address. You can enter to win from now until next Monday and we'll announce the lucky winners on Tuesday, May 6th. Good luck!


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It amazes me how infrequently I follow through with things I say I'll do. I have written countless "manifestos" stating that I, Kate Hooks, will stop drinking, eating whole pints of ice cream, being late, swearing, gossiping etc. Inevitably, though, one or all of my proclamations ends up broken within a week, my manifesto ends up in the trash, and a new, modified version is written to enable the cycle to repeat itself.
Before I left for Vegas, I vowed I would give my gambling money - if I made a profit - to a good cause. Specifically, I decided I would donate half to the genocide intervention fund, and half to Ronic at the grocery store. Secretly I didn't want to give any surplus cash away; I wanted to buy a new pair of jeans to better compliment my recently burgeoning butt (thus the ice cream manifesto). On my way through the grocery line, though, I found myself telling Ronic that I was going to Vegas for a few days, and that if I won any money, I'd give her half. I sort of winced as the words came out of my mouth, because, like I said, I wanted a new pair of jeans.
In Vegas I met Brett and his friend, Keith, and spent the weekend learning why the City's nickname is "Sin City." We all met to watch a bunch of concerts, but managed to spend a sufficient amount of time at the blackjack tables as well. At least Brett and I did (we both have addictive personalities). So 48 hours after landing in Vegas, I managed to leave $280+ richer, with (what I imagined to be) a permanent headache, a perpetual ringing in my ears from the music, and a grand total of 20 minutes of sleep. When I entered my classroom on Tuesday morning, I noted how difficult it would be to keep what happens in Vegas in Vegas, when I looked like I'd been hit by a truck. Fortunately I must look like I've been hit by a truck on a semi-regular basis, because no one seemed to notice.
That Tuesday afternoon, after school, two things happened:
I bought $225 worth of "Save Darfur" bracelets for my students to sell at the school store.
I gave Ronic $100 at Giant.
So secretly, I managed to lose money. And I realize that the Bible emphasizes that you should give just to give, without sharing every "selfless" thing you do with the world. And of course I agree, but I need to emphasize a revelation - giving does amazing things to one's insides. It's like all the self-doubt and disappointment and guilt that riddles a person's inner-most thoughts is immediately superceded by pure hope and love and softness. My headache, gambling guilt, and beer gut-induced self-deprecation became insignificant when Ronic called my house to tell me she loves me. When I gave her the money on Tuesday afternoon, I was shaking, and she started to cry, held up the money and told everyone to "look at what her customer gave her." (Which was rather embarassing, actually). I cried though, too. Especially when she told me that she'd hit that part in her life where she thought she couldn't go on, and that God had sent her an angel from heaven in the form of, well, me. The customers behind me didn't seem impatient or angry that I'd caused a scene, and had forced the already backed-up line to extend a little further down the cereal aisle. The woman behind me asked where the money had come from, and I told her it came, ironically, from "Sin City." She laughed and assured me that "Jesus knows my heart," and doesn't mind if I gamble every once in a while.
My students think I'm crazy for spending $225 on rubber bracelets to fund the African Union, but I think it's good for them to see follow-through from me for a change (especially since I never return their papers on time).
So what is the point of writing this? It's honestly not to prove how virtuous I am or to suggest that I'm an "angel sent from heaven." I'm neither. I'm a mess, and the only reason I didn't leave Vegas with even more money, is because Brett and I were both physically incapable of leaving the blackjack tables while we were up more than $1800 - neither of us has much self-restraint. It is, however, to say that Brett is probably right: Mother Theresa might have been completely selfish in her selflessness. Because hearing Ronic tell me she loves me, and seeing my students wear their green Darfur bracelets religiously, feels much more gratifying than buying a pair of jeans.
Besides, now I have incentive to stick to my "no more consuming entire pints of ice cream in one sitting" manifesto. I need to fit into my current pairs of jeans.


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I absolutely loved the tour! Not only we had very good food sampling, but also the very tour was so informative regarding the area we were visiting (history, architecture, events, people, etc, etc) that it really brought a huge added value to the whole experience! Our guide was super knowledgeable about everything and it was a pleasure listening to him! Highly recommend the tour!
– Olga R. from Riga (LVA)
I would highly recommend this tour. Our Australian tour guide was well organised, fun and knowledgeable. We saw parts of the city we would have been reluctant to explore on our own and were delighted with the many and various food offerings as we worked our way around the area. Highly recommended.
– Watson B. from Elgin (GB)
Our tour guide not only took us around some nice cafes with yummy snacks but also told a lot about the history in the area we walked, so you also get to listen to interesting stories and get a lot of ideas of other places to visit in the area. The group size was not big so everyone could ask questions! In each cafe we visited we were made fell very welcome!
– Aina M. from Sydney (AU)
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We organize unique exploration tours giving you one-of-a-kind information about the history, architecture, and entertainment offerings in your city of choice; sample delicious specialties and learn about the culinary and cultural highlights of your city!
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- Off the beaten track
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Our tours last approximately three hours. The time you need to arrive, park, etc. is not included in this, so please factor this into your own schedule. It is important to begin the tours on time as we have a precise schedule to follow.
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Depending on the city district, we can accommodate up to 48 persons per tour, with a maximum of 16 persons per tour guide. In the case of several groups, the groups will start at staggered times and/or in different city districts.
Tour Start Times
|Tuesday-Saturday 14:00-16:00
|Tuesday-Sunday 12:00-16:00
|Tuesday-Friday 13:00-15:00 | Saturday 12:00-15:00 | Sunday 13:30-15:00
|Tuesday-Friday 13:00-15:00
|Tuesday-Friday 15:00 | Saturday 11:00
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Tours for more than one group are possible on request, depending on the respective capacities, and are calculated like the first group.
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Most of the food tastings are done on the go. The majority of our participants find the amount of food offered to be sufficient and do not require a meal afterwards.
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Please let us know if you or someone from your group has certain dietary requirements. We can accommodate vegetarians. For other dietary restrictions, we ask for your understanding if an equivalent sample cannot be offered in every location.
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UNIVERSITY PARK, Pa. -- Two journalists who have earned numerous awards for their work will highlight the Foster-Foreman Conference of Distinguished Writers on Oct. 1 and 2 at Penn State.
Each visitor will present a free public lecture, followed by a question-and-answer session.
Dean Baquet, managing editor of The New York Times, opens the conference at 7 p.m. Tuesday, Oct. 1, in Heritage Hall of the HUB-Robeson Center. Baquet leads the editors and reporters who produce the paper's daily news report. He was Washington bureau chief before becoming managing editor in 2011.
From 2000 to 2007, he was with the Los Angeles Times, first as managing editor and then for two years as editor. Earlier in his career he was the Chicago Tribune's chief investigative reporter, leading a team of three that won a Pulitzer Prize in 1988 for documenting corruption in the Chicago City Council.
Beth Macy of The Roanoke (Va.) Times concludes the conference with her session at 10:10 a.m. Wednesday, Oct. 2, in the HUB-Robeson Center Auditorium. Macy has reported on diverse subjects for more than 20 years at The Times.
One of her prize-winning projects for the paper has led to a book, "Factory Man," to be published in June. It is a nonfiction narrative about the globalization of the American furniture industry, told through a third-generation factory owner's battle to keep his factory going in tiny Galax, Va. Last summer her manuscript won the J. Anthony Lukas Work-in-Progress Award.
The Foster-Foreman Conference of Distinguished Writers, made possible by a gift from Penn State alumni Larry and Ellen Foster, was designed to bring students together with some of the best reporters and writers in journalism. Under the direction of Gene Foreman, the retired Foster Professor of Communications, the conference is an opportunity for students to acquaint themselves with distinguished role models. This is the 29th conference and the fifth renamed as the Foster-Foreman Conference to honor the leadership of Foreman, who has directed the event since its inception in 1999.


text:
Follow this recycled NASCAR truck motor as it drives away with 750 hp!
It seems like there is an alphabet soup of engine and head combinations out there: LSx, RO7, P7, D3, and the W7, W8, and W9. When straying from a traditional engine build of a small-block (insert brand here), unless you are an über-gearhead, it's next to impossible to know all the different iterations and permutations. That's why when it comes time to build something really special and off the wall, it's best to head to a specialist. For small-block Mopar engines, that means talking to Brett Miller of Dillsboro, Pennsylvania.
Miller wrenches on flavorless mom-mobiles during the day, but when the bell rings 5 o'clock, he sprints to his home shop where the real fun happens. It is a place where metric wrenches are meant to feel unwelcome and if you can't tell the difference between a pushrod and a connecting rod, you might be unwelcome, too. Honestly, Miller and his wife, Tina, are as nice as the day is long, and PHR has gotten to know them well as multiple-time competitors in the AMSOIL Engine Masters Challenge (EMC). As alluded to, Miller is a hard-core Mopar guy and has been involved in building serious small-block power since the days of the old NHRA Pro Stock Trucks and later Craftsman Truck Series NASCAR racers.
Not long ago, Miller was trying to figure out what combination would make monster power for the 2011 EMC, and looking through his pile of old "junk," figured he had enough parts to build a 412ci love child based on one of those Craftsman Truck engines. Miller built the W8-headed Mopar as a dare-to-be-different statement. "I tried to do something pretty neat that wasn't going to show up otherwise."
When Mopar first got into racing trucks in the mid '90s, there wasn't much in their performance line of cylinder heads that would make the kind of power to really shine. They had just developed the W7 head ("W" for Wedge), but the early versions were sluggish 18-degree valve-angle castings that weren't a whole lot better than the W5 castings designed for hi-po street cars. They quickly retooled and made a 15-degree version of the W7 that gave them a little breathing room, so to speak, before a totally redesigned head came out. That new head was the W8; it became the standard of Mopar small-block race engines for years to come. Even though a later head called the W9 was cast, it was specifically a lightweight offering and made no more power than the W8.
It was a pair of W8 heads, which Miller had, that gave him the real starting point for this build. Typical to circle track engines of the day, the W8 heads had relatively small runners, which should make decent torque, but Miller says they didn't flow worth a darn. He said they just laid over above .650-inch lift. Unacceptable. He went to work doing his magic with a grinder and flow bench to see what the potential was. "The intake runner is 3 square inches at the flange. It's 1.405 inches by 2.25 inches, minus corner radii, and 4 square inches over the short turn." By removing a bunch of material in just the right places, the results were intake ports that flowed 404 cfm. That is well into big-block race head territory. And a big-block usually needs 3.4 or more square inches at the opening to make the same numbers. The exhaust was in great shape as it was, so Miller didn't need to lean on it nearly as much.
It isn't just the peak flow number and minimum cross-sectional area of the port that makes a cylinder head work. The way the air moves throughout the entire port makes as much difference as anything else. This is shown in a velocity profile, which is basically a map of how fast the air moves at different places in the port. Figuring out average port velocity in feet per second requires just a fairly simple formula:
FPS = 2.4 × cfm/(port area in square inches)
This is a good start, but comparing this number against different places within the port gives a better view if there are dead spots that might require filling in with weld or epoxy, or extremely fast spots that require more grinding to slow them down. A common place to probe the velocity with a pitot tube is across the floor of the short side radius. If this number is over 400 feet per second, then you can bet there is going to be some unhappiness in the airflow. Keeping the number to 325-375 is a good target and is right where Miller's W8 heads landed.
One of the weak points of regular small-block Mopar heads is that there's very little room to widen the intake ports. The W8 heads address that by requiring a heavily offset rocker arm set and offset lifters to shove the pushrod out of the way and allow for all that aforementioned grinding. Speaking of lifters, the block Miller used was set up for double throwdown Jesel keyed solid-roller lifters. That's because this was no ho-hum stock-block. It was an old NASCAR piece he got for a song since all this "old" technology was out of date. R3 blocks like Miller's were offered in a number of configurations with different bore sizes, deck heights, and other variations. A quick peek at the lack of an oil filter pad is a quick way to recognize this as a block specifically designed for dry-sump oiling and not a street piece. That particular variant also was only available with a 9.025-inch deck height, destined for skinny, lightweight pistons and a short-throw crank.
The other thing about this particular block is that it is machined for lifters that are at a 48-degree angle as opposed to a 59-degree angle found in stock and some R-series blocks. The shallower lifter angle sets the lifter up in a better relationship between the cam and the pushrod/rocker arm, and ultimately reduces frictional losses along the way. The other benefit is that with a traditional 59-degree angle, getting a solid-roller lifter to fit is pretty much impossible without grinding on the block, as the lifter retaining bar will rub against it. Core shift and unsteady grinder use have led to more than one stock-block being destroyed by grinding into a water passage when trying to fit solid-roller lifters. Beware.
The main motivator for this powerplant is the set of Mopar Performance W8 cylinder heads. Designed specifically for NASCAR use, the heads' offset rockers hint at the possibility of extra-big intake ports. Though there were several iterations throughout the years with different intake port locations, the exhaust height and bolt locations remained basically unchanged due to rules regulating exhaust port height.
To keep oil from piling up in the cylinder heads, extra drain holes were drilled and tapped to run straight to the oil pan.
On the southern end of the cylinder head oil drain line, a fitting was welded to the Charlie's oil pan. It's pretty easy to spot the patch hole in the middle of the side indicating this pan design was originally for a stock-style steering system with the drag link running through the pan.
With the super deep sump design, the oil pump had a long reach to suck up the AMSOIL 10W-30 synthetic, but by keeping it as far from the block as possible, Miller was able to control oil temp. Throughout a number of warm-up, test, and final dyno pulls, the oil never got over 150 degrees.
The bottom end looks similar to any other LA block at first blush. Oh, except for the ARP main studs holding billet steel main caps. And, glancing to the right side, a fitting where the oil filter should be locates where the oil is fed into the block. A minor misalignment when tapping the hole for the fitting led to a little leak, which was easily fixed with some epoxy.
One of the good things about a quality crankshaft like Miller's LA Enterprises piece is that even when offset ground, the oil holes are still in good enough position not to starve the bearings or create a stress area that could lead to a crack.
Miller picked up this trick billet oil filter adapter and a case of filters for pennies on the dollar. He says that during testing, he normally ran around 60 psi of pressure but if they wanted to pick up power in a hurry, they could just unscrew the built-in pressure regulator and pick up 15 hp.
W8 heads use a dry intake manifold, meaning that there are no provisions to get water out of the heads. Building a water manifold like this is commonplace, and it allows for the intake itself to be pulled off for testing and modification without draining the block.
A tried-and-true MSD Digital 6 Programmable ignition box was triggered by a flying magnet crank trigger. Keeping the ignition box far from the high-output coil is recommended to reduce any possibility of cross talk and ignition misfire.
On the other end of the spark box, instead of a typical distributor, an MSD beltdriven dizzy was used. A small cog replaces the regular bolt on the front of the camshaft beltdrive and motivates a thin belt to spin the distributor. This combination is common in the highest ranks of racing for accuracy and ease of maintaining the engine.
Dale Cubic of CFM carburetors built the Holley 4500-style fuel mixer for the project. Cubic is one of the hidden secrets in the racing world, known to the insiders as a true carb guru who's built carbs for and tuned some of the biggest racing name engines around. His down-to-earth personality and the fact that he's readily accessible to look at a dyno sheet help keep him a busy and highly respected asset.
Though it looks massive, this is the smaller of the Mopar Performance intakes available for the W8. In testing, Miller found the big "420" intake picked up 30 horses up top, but just killed the low and midrange power.
It is easy to spot the highly placed intake runners on the head, which feed manhole-sized intake valves. It is commonly considered that the intake valve should not exceed about 52 percent of the bore size. Miller hit it right on the head using a 2.180-inch valve and 4.180-inch bore, giving 52.1 percent. With an intake valve that big, there isn't room for a huge exhaust valve, so a 1.60-inch valve was used, smaller than the stock Magnum's 1.625-inch exhaust valve, but able to flow well over 200 cfm.
Miller is a cylinder head guy by nature and a Mopar guy by heart. Combining those two, he spent countless hours perfecting an intake port design, then had it digitized so he could reproduce it over and over. He says that his port design works both on the W8 heads and on the lightweight W9 heads, as well as for customers who want a 400-cfm small-block head. He's going to need to send samples to PHR for long-term testing …
A small dome was needed to get the compression up high, but there was some give and take along the way. He had to fly-cut the pistons a bit to clear the valves, then after machining a bit of the valves to thin down the margins, he found his compression ratio dropped into the low 13s. Great for the rest of us, but not good enough for Miller. He went back and milled the decks of the heads some more and shot the compression ratio up to 14.5:1 to take full advantage of the VP Q16 race fuel.
Miller's repurposed NASCAR powerplant wasn't just built for show; it was meant to go! Miller pulled the old small-block out of his 2,880-pound small-tire '66 Dart, and blowing the tires away, clicked off a killer 5.77 at 122.5 mph in the eighth-mile. Not half bad for no traction and a torque converter that didn't know what hit it!
Yet another piece of this super-mamma-jamma block is the 50mm cam core. Those of the Pentastar persuasion will no doubt know that oiling to the top end is done with the help of the factory camshaft. Oil is fed across a groove or holes in the No. 2 and 4 cam journal then through passages in the block up to the factory shaft rockers up top. This race block with 50mm roller cam bearings is designed to oil the top end through the lifters and up the pushrods so it does not have the trademark cam journal grooves or holes. The thing about special cam cores like this is that they can be really expensive. Miller had a few sitting in his pile of goodies, which he was able to send to Predator Cams to grind for this 412. The other thing about cam cores is that when regrinding them, you can only grind off so much to move the duration and lobe centers around. "I tried to get the duration as short as I could with the lobes I had available. I had a bunch of 50mm cams from that Truck stuff, but I could only shrink them so much and move the lobe separation a degree or two. With that, the cores kind of dictated what I could do with the cams." That said, the specialists at Predator were able to whittle up a pair of lobes with 255 degrees at .050-inch lift on the intake and 259 degrees on the exhaust. Coupled with T&D 1.8 rocker arms, the valves lofted open to a peak .781-inch lift. Regarding the rocker arms for W8 heads, and any of the W series racing heads, they were very specific about what rocker arms they used. The W7s were more notorious for multiple rocker bolt patterns and locations, but since these were designed for NASCAR use and those old boys in North Carolina were known for moving things around here and there, you might not always get something that works when buying a set of heads and rockers from two different people. Lesson is, if you plan on buying a set of used NASCAR heads, get the matching rockers. This wasn't Miller's first rodeo, so he cut that headache off at the pass when he bought the donor motor complete.
To make all the valvetrain components do their dance, the cam had to be coupled to the crank in some manner. More specifically, a Jesel beltdrive joined the bumpstick to a reground crankshaft. Not a cheesy factory regrind, of course. This forged LA Enterprises piece was sent to the delicate hands of Adney Brown at Performance Crankshaft. The specialist took the forging in and offset ground it to pick up a quarter inch of stroke in hopes of increasing the torque in the 3,500-7,500 rpm operating range of the EMC.
Looking to save a little money, Miller found a set of bejeweled 6-inch Carillo rods on eBay for a quarter of their original cost. It helps to shop around. On the top end of the rods were a set of pistons that Miller didn't want to skimp on. He called his buddy at Wiseco to hook him up with a low-drag skirt design that would work with the 15-degree heads and produce a killer 14.5:1 compression ratio. It wasn't just the pistons that were maximum effort. The rings were super-skinny low-friction parts common to the top NASCAR ranks. Talking with another pal at JE, he asked what the desired hone job would be. "I've read up and people say you can get cylinder walls too smooth. Well, the cylinder walls in that motor were like glass. It wouldn't even grab lint off a paper towel." It didn't hurt that the gentleman honing his block was a guy honing top NASCAR and Pro Stock blocks all day long.
Once Miller had it all figured out how to convert the reciprocating energy of combustion into rotating energy transmitted through his crankshaft, there was the matter of controlling an unwanted byproduct of that rotational motion: windage. Charlie's Oil Pans has been a major player in building race pans and oiling systems, especially for those inclined toward Chrysler products. Miller called Charlie up and described the combination he was putting together for the EMC. As mentioned before, the block was designed for a dry-sump oiling system but the rules for competition dictated using a wet sump. Charlie whipped up an aluminum pan and pickup that would fit, but it was up to Miller to modify the rear main cap to hold an oil pump. Dry-sump blocks have a solid rear main cap, so he machined it to mount a Melling pump on it and make it all work.
After all the innards were carefully wrenched together, Miller went to work trying to get the most out of the powerplant. That meant heading to his buddy's dyno at Rider Race Engines and screwing it to the pump. Usually, there are some rounds of ignition timing and carb jetting going back and forth and this was no different, except the efforts weren't giving the results he knew were supposed to be there. It was time to delve a little deeper into the bag of tricks and move the cam around. He found that with the cam's 105-degree lobe separation, it liked to be advanced all the way to 97 degrees to get the best average torque and horsepower score across a range of 3,500 to 7,500 rpm. Still, it was lacking down low. "It's the weirdest stuff that builds score. We put a reducer on the collector from 3.5 inches down to 3 inches, and it picked up 50 lb-ft of torque at the hit." That was the magic combination that made the fat lady sing. The old girl belted out a whopping 749.4 hp. While he could have spent another day fussing with it to pick up that extra .6 hp, where we hang out that is just one bad 750-horse small-block.
|On The Dyno
|412ci Small-Block Mopar
|By The Numbers
412ci Small Block Mopar
|4.180 inches
|3.747 inches
|412 actual cubic inches
|Compression ratio:
|Predator solid roller
|Cam duration:
|255/285 degrees at .050-inch tappet rise
|Valve lift:
|.780/.780 inch
|Rocker ratio:
|OEM 1.8 ratio
|Top ring:
|.031 inch
|Second ring:
|.031 inch
|Oil ring:
|Mopar Performance R3
|LA Enterprises
|Carrillo 6-inch
|Cylinder head:
|Mopar Performance W8
|Intake valve diameter:
|2.18 inches
|Exhaust valve diameter:
|1.60 inches
|Intake manifold:
|Mopar Performance
|Holley Dominator modified by CFM
|MSD Digital 6
|AMSOIL Synthetic 10W-30
|VP Fuels Q16


text:
Dr. Arturo Casadevall to Deliver Einstein's 2014 Commencement Address
Boost Careers of Female Scientists: Make Sure Women Help Choose Meeting Speakers
Professor, Department of Microbiology & Immunology
Professor, Department of Medicine (Infectious Diseases)
Perhaps the most important medical advance in history was the reduction in deaths by infectious diseases in the 20th century. This resulted from improved sanitation, the development of many vaccines and the introduction of antibiotics. Unfortunately, the last two decades have witnessed a return of infectious diseases as a major contributor to death and illness. The causes include the emergence of new pathogens (disease-causing agents), the spread of resistant organisms, medical progress that predisposes to infection, and the HIV pandemic. Also, medical researchers are realizing that many organisms can be engineered as biological weapons, providing a new specter for terrorism. These two phenomena have heightened the resurgence of research in microbes (disease-causing microorganisms) and the means by which they cause disease. Furthermore, it is now apparent that all healthy humans have a complex microbial flora that regulates many of the physiological process of the body and contributes to both wellness and disease. These changes, together with tremendous advances in immunology and molecular biology have launched a new golden age of microbiological research.
Dr. Arturo Casadevall is a microbiologist and immunologist. His laboratory studies two fundamental questions: First, how do microbes cause disease? Second, how do hosts, such as humans, protect themselves against microbes? To address these large questions, the laboratory has a multidisciplinary research program spanning several areas of basic immunology and microbiology.
A major focus of the laboratory is the fungus Cryptococcus neoformans, a ubiquitous environmental microbe that is a frequent cause of disease in individuals with impaired immunity. The fungus causes lung infection, including a particularly dangerous fungal meningitis observed primarily in immune-compromised patients such as those with AIDS. Many of the laboratory's projects seek to understand how hosts defend against C. neoformans and how the Cryptococcus organism's virulence contributes to disease. For example, melanin production in C. neoformans, is associated with virulence. Melanin is a pigment with an undefined chemical structure and tremendous physical stability. This pigment accumulates in the cell wall of C. neoformans and allows growth and budding to occur. But melanin research also has wide reach: an antibody to fungal melanin made in the Casadevall laboratory is currently in evaluation for the treatment of melanoma, a type of skin cancer.
In recent years the laboratory has also worked with other microorganisms including Bacillus anthracis, a bacterium that causes anthrax and is a major agent of biological warfare because it produces spores that can be easily dispersed. The laboratory is interested in devising antibody-based countermeasures to protect against anthrax.
More Information About Dr. Arturo Casadevall
Material in this section is provided by individual faculty members who are solely responsible for its accuracy and content.
Johns Hopkins Bloomberg
School of Public Health
615 N. Wolfe Street , Room E5132
Baltimore, MD 21205
NPR's Morning Edition interviews Dr. Arturo Casadevall on the controversy surrounding research on dangerous lab-made pathogens.
NBC News interviews Dr. Arturo Casadevall about the history of using serums and antibodies to combat disease in light of an experimental Ebola treatment.


text: For anyone who spends days and nights camping, hiking or climbing in the wilderness, this survival kits is an absolute must! Think of it as an insurance plan of sorts... It has everything you need to survive if the worst case scenario happens to you. Though hopefully you'll never have to actually put this kit to use.


text:
by John M. Taylor
Nathaniel Greensmith lived in Hartford, south of the little river, in
1661-62, on a lot of about twenty acres, with a house and barn. He also
had other holdings "neer Podunk," and "on ye highway leading to
He was thrifty by divergent and economical methods, since he is credited
in the records of the time with stealing a bushel and a half of wheat,
of stealing a hoe, and of lying to the court, and of battery.
In one way or another he accumulated quite a property for those days,
since the inventory of it filed in the Hartford Probate Office, January
25, 1662, after his execution, carried an appraisal of L137. l4s.
1_d_.--including "2 bibles," "a sword," "a resthead," and a "drachm
cup"--all indicating that Nathaniel judiciously mingled his theology and
patriotism, his recreation and refreshment, with his everyday practical
affairs and opportunities.
But he made one adventure that was most unprofitable. In an evil hour he
took to wife Rebecca, relict of Abraham Elson, and also relict of Jarvis
Mudge, and of whom so good a man as the Rev. John Whiting, minister of
the First Church in Hartford--afterward first pastor of the Second
Church--said that she was "a lewd, ignorant and considerably aged
This triple combination of personal qualities soon elicited the
criticism and animosity of the community, and Nathaniel and Rebecca fell
under the most fatal of all suspicions of that day, that of being
possessed by the evil one.
Gossip and rumor about these unpopular neighbors culminated in a formal
complaint, and December 30, 1662, at a court held at Hartford, both the
Greensmiths were separately indicted in the same formal charge.
"Nathaniel Greensmith thou art here indicted by the name of Nathaniel
Greensmith for not having the fear of God before thine eyes, thou hast
entertained familiarity with Satan, the grand enemy of God and
mankind--and by his help hast acted things in a preternatural way beyond
human abilities in a natural course for which according to the law of
God and the established law of this commonwealth thou deservest to die."
While Rebecca was in prison under suspicion, she was interviewed by two
ministers, Revs. Haynes and Whiting, as to the charges of Ann Cole--a
next door neighbor--which were written down by them, all of which, and
more, she confessed to be true before the court.
(Note. Increase Mather regarded this confession as convictive a proof of
real witchcraft as most single cases he had known.)
THE MINISTERS' ACCOUNT--_Promise to Satan--A merry Christmas
meeting--Stone's lecture--Haynes' plea--The dear Devil--The corvine
guest--Sexual delusions_
"She forthwith and freely confessed those things to be true, that she
(and other persons named in the discourse) had familiarity with the
devil. Being asked whether she had made an express covenant with him,
she answered she had not, only as she promised to go with him when he
called (which she had accordingly done several times). But that the
devil told her that at Christmas they would have a merry meeting, and
then the covenant should be drawn and subscribed. Thereupon the
fore-mentioned Mr. Stone (being then in court) with much weight and
earnestness laid forth the exceeding heinousness and hazard of that
dreadful sin; and therewith solemnly took notice (upon the occasion
given) of the devil's loving Christmas.
"A person at the same time present being desired the next day more
particularly to enquire of her about her guilt, it was accordingly done,
to whom she acknowledged that though when Mr. Haynes began to read she
could have torn him in pieces, and was so much resolved as might be to
deny her guilt (as she had done before) yet after he had read awhile,
she was as if her flesh had been pulled from her bones, (such was her
expression,) and so could not deny any longer. She also declared that
the devil first appeared to her in the form of a deer or fawn, skipping
about her, wherewith she was not much affrighted but by degrees he
contrived talk with her; and that their meetings were frequently at such
a place, (near her own house;) that some of the company came in one
shape and some in another, and one in particular in the shape of a crow
came flying to them. Amongst other things she owned that the devil had
frequent use of her body."
Had Rebecca been content with purging her own conscience, she alone
would have met the fate she had invoked, and probably deserved; but out
of "love to her husband's soul" she made an accusation against him,
which of itself secured his conviction of the same offense, with the
same dire penalty.
THE ACCUSATION--_Nathaniel's plea--"Travaile and labour"--"A red
creature"--- Prenuptial doubts--The weighty logs--Wifely tenderness and
anxiety--Under the greenwood tree--A cat call--Terpsichore and Bacchus_
"Rebecca Greenswith testifieth in Court Janry 8. 62.
"1. That my husband on Friday night last when I came to prison told me
that now thou hast confest against thyself let me alone and say nothing
of me and I wilbe good unto thy children.
"I doe now testifie that formerly when my husband hathe told me of his
great travaile and labour I wondered at it how he did it this he did
before I was married and when I was married I asked him how he did it
and he answered me he had help yt I knew not of.
"3. About three years agoe as I think it; my husband and I were in ye
wood several miles from home and were looking for a sow yt we lost and I
saw a creature a red creature following my husband and when I came to
him I asked him what it was that was with him and he told me it was a
"4. Another time when he and I drove or hogs into ye woods beyond ye
pound yt was to keep yong cattle severall miles of I went before ye hogs
to call them and looking back I saw two creatures like dogs one a little
blacker then ye other, they came after my husband pretty close to him
and one did seem to me to touch him I asked him wt they were he told me
he thought foxes I was stil afraid when I saw anything because I heard
soe much of him before I married him.
"5. I have seen logs that my husband hath brought home in his cart that
I wondered at it that he could get them into ye cart being a man of
little body and weake to my apprhension and ye logs were such that I
thought two men such as he could not have done it.
"I speak all this out of love to my husbands soule and it is much
against my will that I am now necessitate to speake agaynst my husband,
I desire that ye Lord would open his heart to owne and speak ye trueth.
"I also testify that I being in ye wood at a meeting there was wth me
Goody Seager Goodwife Sanford & Goodwife Ayres; and at another time
there was a meeting under a tree in ye green by or house & there was
there James Walkely, Peter Grants wife Goodwife Aires & Henry Palmers
wife of Wethersfield, & Goody Seager, & there we danced, & had a bottle
of sack: it was in ye night & something like a catt cald me out to ye
meeting & I was in Mr. Varlets orcherd wth Mrs. Judeth Varlett & shee
tould me that shee was much troubled wth ye Marshall Jonath: Gilbert &
cried, & she sayd if it lay in her power she would doe him a mischief,
or what hurt shee could."
The Green smiths [and Mary Barnes] were convicted and sentenced to suffer death. In [25] January, 166[3], they were hung on "Gallows Hill," on the bluff a little north of where Trinity College now stands--"a logical location" one most learned in the traditions and history of Hartford calls it--as it afforded an excellent view of the execution to a large crowd on the meadows to the west, a hanging being then a popular spectacle and entertainment.
Other family connection to this witch trial:
The magistrates holding the court were Matthew Allyn, moderator, Samuel Wyllys, [likely our grandfather] Richard Treat, [possible uncle] Henry Wolcott, Daniel Clark, secretary, John Allyn. The jury were [likely our grandfather] Edward Griswold, Walter Filer, Ensign Olmsted, Samuel Boardman, Gregory Winterton, John Cowles, [likely our grandfather] Samuel Marshall, Samuel Hale, Nathaniel Willett, John Hart, [possible uncle] John Wadsworth and [likely our grandfather] Robert Webster.
Ancestral Chain:
Rebecca STEELE-b.1590 /Sarah ELSON Emigrant-b.1611 / David ENSIGN-b.1644 / David ENSIGN-b.1688 / Datus (Datis) ENSIGN-b.1729 /Isaac ENSIGN Rev.WarVet-b.1756 / Horace Datus ENSIGN-b.1797 / Martin Luther ENSIGN-b.1831 / Harriett Camilla ENSIGN-b.1859 / George Ensign SMITH-b.1898 / Camilla SMITH-1b.1926 / Lark / J.R.