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Numerous early daguerreotypists and photographers were artists and notable examples include Louis Jacques Mandé Daguerre,[2] Eugène Cuvelier, Gustave Le Gray,[3]
Johann Baptist Isenring,[4] Carol Szathmari and Julien Vallou de Villeneuve.
Artists appreciated that Artist studies - Académies which were life studies, often nudes in Classical poses, were an alternative, or addition to, using life models. Nude photographs could be seen as obscene by the authorities and there was a blurred line between what was acceptable for art and what was titillation or worse. Louis Igout, Eugène Durieu[5] and Julien Vallou de Villeneuve all took nude studies.
The vast majority, but not all by any means, of nineteenth century nude studies were taken in France by French photographers. Many artists including Alphonse Marie Mucha[6], Thomas Eakins[7], Edgar Degas[8] and Georg Hendrik Breitner[9] either took photographs of nudes to assist their work or purchased photographs.
Edgar Degas
Georg Hendrik Breitner
Adolphe Braun, photograph / Gustave Courbet, oil painting
Lieutenant Alfred Bastien
Just as there are artists who have painted photographers at work there at photographers who have documented artists at work and play. We can see Eugène Delacroix in a studio portrait by Nadar taken around 1860 and Camille Corot painting in the open air at Saint-Nicolas-les-Arras photographed by Charles Desavary. The artist Charles Fenu who painted only with his feet can be seen on a carte de visite. We can see sculptors at work, a Japanese tattooist at work on the back and shoulder of a prostitute. Some artists are so iconic that their photographs reflect their artistic styles and this can be seen in portraits of Magritte, Salvador Dali and David Hockney.
How artists paint photographic studios
How photographers photograph artists
Henry Fox Talbot in his Pencil of Nature (1844)[10] was far-sighted when he brought together in a single volume the ways it which he predicted that photography would be useful. He included Fac-simile of an Old Printed Page (pt. 2, pl. 9), Copy of a Lithographic Print (pt. 2, pl. 11) and Hagar in the Desert each of which showed how photographs could be used to copy art. He also included two plates with the same name Bust of Patroclus [1] (pt. 1, pl. 5), Bust of Patroclus [2] (pt. 4, pl. 17) which demonstrated how sculptures could be documented.
Henry Fox Talbot: Plates from The Pencil of Nature
In 1848 William Stirling's book Annals of the Artists of Spain was illustrated with Talbotypes.[11] Talbotypes was another name for Calotypes even though Henry Fox Talbot dissapproved of it. In a salted paper print of The Reading Establishment it shows four people working behind the studio run by Nicolaas Henneman in Reading (England) - it is an artwork for Annals of the Artists of Spain that is being copied.
Nicolaas Henneman making the plates for Annals of the Artists of Spain
Within a few years of the announcement of photography in 1839 there were patents by Richard Beard in Great Britain for for improvements in the means of obtaining likenesses and representations of nature, and of other object (September 1842) which was about colouring daguerreotypes.[12] In January 1846 in the America Frederick Langenheim took out a patent For an Improvement in Coloring Daguerreotype Plates. As calotypes were on paper rather than metal it was an even more straight forward process to paint on them.
Painting on photographs
Almost all of metal, glass and paper photographs could be painted on and there are many surviving Hand-painted photographs showing the talented hand of the true artist or the indescribably poor workmanshop of the talent-less. Both can have a charm but it is of a different kind. On occasion there are photographs of Felice Beato showing his Japanese artists at work painting photographs and John Thomson in his book Illustrations of China and Its People (1873-1874)[13] includes an illustration Chinese artist, Hongkong, based on a surviving photograph, of the artist Lumqua at work creating paintings based on photographs.
John Thomson: Chinese artist in Hong Kong, variants
Association with art has been a marketing tool for photographers right through its history. With card photographs such as carte de visite, cabinet cards and to a lesser extent stereocards the actual card itself could be printed on and the wording and designs could provide a clear link. Paint brushes, artist palettes, easels were common motifs, putti (chubby children associated with the divine) holding brushes included within designs to highlight the abilities of the photographer. There are numerous examples of this on both carte de visite and cabinet cards.
Carte de visites with art motifs
Cabinet cards with art motifs
By creating photographs that included photographic and artistic elements the idea was being reinforced from the earliest days that photography was a sophisticated symbol of refinement in upwardly mobile societies. Knowledge of art in a self-help age was a necessity and photography could provide that. As the caption read on a Kilburn stereocard "No home is complete without this work of art!".
Photography and art show refinement
It took time for copyright protection to be afforded to photographers to protect their labours. This was especially important for companies such as Adolphe Braun et Cie / Adolphe Braun and Company[14][15] who specialized in making arrangements with galleries, museums and the Paris Salon to photograph collections and exhibitions in different cities. This required time and expense to accomplish and the market was largely for those teaching art and those who wanted to purchase prints for for their own collections. Pirated copies were made of these prints and sold and in 1888 Adolphe Braun and Company instigated legal proceedings in Lindon under the Copyright Acts (1862 and 1886) to prevent unathorized copying and this was reported in the Photographic News on 17 August 1888, 24 August and the judgement on 21 September.[16] The negatives were destroyed, and damages and costs awarded - this case is important as it provided legal protection against privacy.
Adolphe Baun: Legal case on copyright
One of the most admirable things about Turner's mind was, that it never grew old. It never froze and petrified into unchangeable fixity, but remained to the last thirsty for knowledge, and ready to grow as the world grew.
One of the most interesting proofs of the perpetual growth of Turner's mind is the following account of the interest he took in the science of optics and in the science of photography. It is kindly furnished to me by that eminent professor of the progressing and wonderful art, Mr. Mayall, of Regent-street:
"Turner's visits to my atelier were in 1847, '48, and '49. I took several admirable daguerreotype portraits of him, one of which was reading, a position rather favourable for him on account of his weak eyes and their being rather bloodshot. I recollect one of these portraits was presented to a lady who accompanied him. My first interviews with him were rather mysterious; he either did state, or at least led me to believe, that he was a Master in Chancery, and his subsequent visits and conversation rather confirmed this idea. At first he was very desirous of trying curious effects of light let in on the figure from a high position, and he himself sat for the studies. He was very much pleased with a figure-study I had just completed of ' This Mortal must put on Immortality;' he wished to bring a lady to try something of the kind himself. This was in 1847; and I believe he did fix a day for that purpose. However, it happened to be a November fog, and I could not work. He stayed with me some three hours, talking about light and its curious effects on films of prepared silver. He expressed a wish to see the spectral image copied, and asked me if I had ever repeated Mrs. Somerville's experiment of magnetizing a needle in the rays of the spectrum. I told him I had.
"I was not then aware that the inquisitive old man was Turner, the painter. At the same time, I was much impressed with his inquisitive disposition, and I carefully explained to him all I then knew of the operation of light on iodized silver plates. He came again and again, always with some new notion about light. He wished me to copy my views of Niagara then a novelty in London and inquired of me about the effect of the rainbow spanning the great falls. I was fortunate in having seized one of these fleeting shadows when I was there, and I showed it to him. He wished to buy the plate. At that time I was not very anxious to sell them. I told him I had made a copy for Sir John Herschel, and with that exception did not intend to part with a copy. He told me he should like to see Niagara, as it was the greatest wonder in nature; he was never tired of my descriptions of it. In short, he had come so often, and in such an unobtrusive manner, that he had come to be regarded by all my people as ' our Mr. Turner.'
"This went on through 1848, till one evening I met him at the soiree of the Royal Society; I think it was early in May, 1849. He shook me by the hand very cordially, and fell into his old topic of the spectrum. Some one came up to me and asked if I knew Mr. Turner; I answered I had had that pleasure some time. ' Yes,' said my informant, rather significantly, ' but do you know that he is the Turner?' I was rather surprised, I must confess; and later on in the evening I encountered him again, and fell into conversation on our old topic. I ventured to suggest to him the value of such studies for his own pursuits, and at once offered to conduct any experiments for him that he might require, and, in fact, to give up some time to work out his ideas about the treatment of light and shade. I parted with him on the understanding that he would call on me; however, he never did call again, nor did I ever see him again.
"I recollected putting aside a rather curious head of him in profile, and, you may be sure, on the following morning after this interview I lost no time in looking up the portrait, which, I regret to say, one of my assistants had without my orders effaced. I am almost certain you will be able to trace some of the daguerreotypes of him, for I made at least four, for which he paid me; and some I rubbed out where we had tried the effect of a sharp, narrow cross light, in which some parts of the face were left in strong shadow.
"I need not add, that at that time I was a struggling artist, much devoted to improving my art, and had just bought a large lens in Paris, six inches in diameter. I let Turner look through it, and the expressions of surprise and admiration were such that I ought at once to have known him in his true character; however, he was very kind to me, and by some sort of inuendo he kept up his Mastership in Chancery so well, that I did not. He sent me many patrons. I used to hear about him almost daily. When somewhat desponding of my success one day, I told him London was too large for a man with slender means to get along. He sharply turned round and said, 'No, no; you are sure to succeed; only wait. You are a young man yet. I began life with little, and you see I am now very comfortable.' ' Yes,' I replied; ' and if I were on the same side of Chancery you are, perhaps I might be comfortable also.' I was at that time fighting the battle of the patent rights of the daguerreotype. He smiled and said, ' You'll come out all right, never fear.' My recollection now is, that he was very kind and affable to me, rather taciturn, but very observant and curious; he would never allow me to stop working when he came, but would loiter and watch me polish the plates and prepare them, and take much interest in the result of my labours.
"I recollect Mr. Spence, the naturalist, sitting to me, and was much struck at the time with the resemblance of the two heads. I mentioned this to Turner, and I showed him the portrait of Mr. Spence. Mr. Spence was stouter. Turner stooped very much, and always looked down; he had a trick of putting his hand into his coat-pocket, and of muttering to himself.
"Whatever others may have said of his parsimonious habits, I cannot recollect one act of his that would lead me to infer he was other than a liberal, kindhearted old gentleman."
When Mr. Mayall, the photographer, whose fame is now European, was first known as a young struggling American photographer in a small shop in the Strand, the wonderful art was then uncertain in its results, and few there were who could at that time foresee the influence it would exercise over art. It was one day during that moral epidemic, the railway mania, when Mr. Hudson ruled England, and all the world, from the countess to the costermonger, knelt down and beat their heads on the pavement of Capelcourt, in passionate idolatry to the golden calf. The age of chivalry had indeed gone. At Mr. Mayall's door there were hanging photographs intended to satirize the folly of the day. On one side there was a Stock Exchange man radiant, shares being at a premium; on the other, the same man in maniacal despair at the Great Bubbleton railway shares falling down to nothing. These pictures (almost the earliest attempts to make photography tell a story) attracted crowds, and among them Turner. So interested was he, indeed, that he came into the shop, and asked to see the gentleman who designed them. After this, he came so often, that an Abernethy chair was habitually placed for him, so that he might watch Mr. Mayall, without interrupting him at work. He took great interest in all effects of light, and repeatedly sat for his portrait in all sorts of Rembrandtic positions.[19]
A Hong-Kong Artist
Lumqua was a Chinese pupil of Chinnery, a noted foreign artist, who died at Macao in 1852. Lumqua produced a number of excellent works in oil, which are still copied by the painters in Hong-Kong and Canton. Had he lived in any other country he would have been the founder of a school of painting. In China his followers have failed to grasp the spirit of his art. They drudge with imitative servile toil, copying Lumqua's or Chinnery's pieces, or anything, no matter what, just because it has been finished and paid for within a given time, and at so much a square foot. There are a number of painters established in Hong-Kong, but they all do the same class of work, and have about the same tariff of prices, regulated according to the dimensions of the canvas. The occupation of these limners consists mainly of making enlarged copies of photographs. Each house employs a touter, who scours the shipping in the harbour with samples of the work, and finds many ready customers among the foreign sailors. These bargain to have Mary or Susan painted on as large a scale and at as small a price as possible, the work to be delivered framed and ready for sea probably within twenty-four hours. The painters divide their labour on the following plan. The apprentice confines himself to bodies and hands, while the master executes the physiognomy, and thus the work is got through with wonderful speed. Attractive colours are freely used; so that Jack's fair ideal appears at times in a sky-blue dress, over which a massive gold chain and other articles of jewellery are liberally hung. These pictures would be fair works of art were the drawing good, and the brilliant colours properly arranged; but all the distortions of the badly taken photographs are faithfully reproduced on an enlarged scale. The best works these painters do are pictures of native and foreign ships, which are wonderfully drawn. To enlarge a picture they draw squares over their canvas corresponding to the smaller squares into which they divide the picture to be copied. The miniature painters in Hong-Kong and Canton do some work on ivory that is as fine as the best ivory painting to be found among the natives of India, and fit to bear comparison with the old miniature painting of our own country, which photography has, now-a-days, in great measure superseded.[20]
Camera obscura
Camera lucida
Magic lanterns and Lantern slides
Physionotrace / physiognotrace
Having, a short time since, amused myself with attempts to sketch various interesting views without an adequate knowledge of the art of drawing, my mind was naturally employed in facilitating the means of transferring to paper the apparent relative positions of the objects before me; and I am in hopes that the instrument which I contrived for this purpose may be acceptable even to those who have attained to greater proficiency in the art, on account of the many advantages it possesses over the common camera obscura.
The principles on which it is constructed will probably be most distinctly explained by tracing the successive steps by which I proceeded in its formation.
While I look directly down at a sheet of paper on my table, if I hold between my eye and the paper a piece of plain glass inclined from me downwards as an angle of 45¦, I see by reflection the view that is before me in the same direction that I see my paper through the glass. I might then take a sketch of it, but the positions of the objects would be reversed.
To obtain a direct view, it is necessary to have two reflections. The transparent glass must for this purpose be inclined to the perpendicular line of sight only the half of 45¦, that it may reflect the view a second time from a piece of looking-glass placed beneath it, and inclined upwards at an equal angle. The objects now appear as if seen through the paper in the same place as before; but they are direct instead of being inverted; and they may be discerned in this manner sufficiently well for determining the principal positions.
The pencil, however, and any object which it is to trace, cannot both be seen distinctly in the same state of the eye, on account of the difference of their distances, and the efforts of successive adaptation of the eye to one or to the other would become painful if frequently repeated. In order to remedy this inconvenience, the paper and pencil may be viewed through a convex lens of such a focus as to require no more effort than is necessary for seeing the distant objects distinctly. They will then appear to correspond with the paper in distance as well as direction, and may be drawn with facility, and with any required degree of precision.
This arrangement of glasses will probably be best understood from inspection of fig. 1. (Plate VIII.) in which ab is the transparent glass; bc, the lower reflector; bd, a convex lens (of twelve inches focus); e, the position of the eye; fgh, the course of the rays.
In some cases, a different construction will be preferable. Those eyes, which without assistance are adapted to seeing near objects alone, will not admit the use of a convex glass, but will, on the contrary, require one that is concave to be placed in front, to render the distant objects distinct. The frame for a glass of this construction is represented at ik, fig. 3, turning upon the same hinge at h, with a convex glass in the frame lm, and moving in such a manner that either of the glasses may be turned alone into its place, as may be wanted to suit an eye that is long- or short-sighted. Those persons, however, whose sight is nearly perfect, may at pleasure use either of the glasses.
The instrument represented in that figure differs moreover in other respects from the foregoing, which I have chosen to describe first, because the action of the reflectors there employed would be more generally understood. But those who are conversant with the science of optics will perceive the advantage that maybe derived in this instance from prismatic reflection; for, when a ray of light has entered a solid piece of glass, and falls from within upon any surface at an inclination of only 22 or 23 degrees, as above supposed, the refractive power of the glass is such as to suffer none of that light to pass out, and the surface becomes in this case the most brilliant reflector that can be employed.
Fig. 2. represents the section of a solid prismatic piece of glass, within which both the reflections requisite are effected at the surfaces ab,bc, in such a manner that the ray fg, after being reflected first at g and afterwards at h, arrives at the eye in a direction he, at right angles to fg.
There is another circumstance in this construction necessary to be attended to, and which remains to be explained. Where the reflection was produced by a piece of plain glass, it is obvious that any objects behind the glass (if sufficiently illuminated) might be seen through the glass as well as the reflected image. But when the prismatic reflector is employed, since no light can be transmitted directly through it, the eye must be so placed that only a part of its pupil may be intercepted by the edge of the prism, as at e, fig. 2. The distant objects will then be seen by this portion of the eye, while the paper and pencil are seen past the edge of the prism by the remainder of the pupil.
In order to avoid inconvenience that might arise from unintentional motion of the eye, the relative quantities of light to be received from the object and from the paper are regulated by a small hole in a piece of brass, which, by moving on a centre at c, fig. 3, is capable of adjustment to every inequality of light that is likely to occur.
Since the size of the whole instrument, from being so near the eye, does not require to be large, I have on many accounts preferred the smallest size that could be executed with correctness, and have had it constructed on such a scale that the lenses are only three-fourths of an inch in diameter.
Although the original design and principal use of this instrument are to facilitate the delineation of objects in true perspective, yet this is by no means the sole purpose to which it is adapted; for the same arrangement of reflectors; may be employed with equal advantage for copying what has been already drawn, and may thus assist a learner in acquiring at least a correct outline of any subject.
For this purpose, the drawing to be copied should be placed, as nearly as may be, at the same distance before the instrument that the paper is beneath it; for in that case the size will be the same, and no lens will be necessary, either to the object or to the pencil.
By a proper use of the same instrument every purpose of the pentagraph may also be answered, as a painting may be reduced in any proportion required by placing it at a distance in due proportion greater than that of the paper from the instrument. In this case a lens becomes requisite for enabling the eye to see at two unequal distances with equal distinctness; and, in order that one lens may suit for all these purposes, there is an advantage in varying the height of the stand according to the proportion in which the reduction is to be effected.
The principles on which the height of the stem is adjusted will be readily understood by those who are accustomed to optical considerations. For, as, in taking a perspective view, the rays from the paper are rendered parallel by placing; a lens at the distance of its principal focus from the paper, because the rays from the distant objects are parallel; so also, when the object seen by reflection is at so short a distance that the rays received from it are in a sensible degree divergent, the rays from the paper should be made to have the same degree of divergency, in order that the paper may be seen distinctly by the same eye; and for this purpose the lens must be placed at a distance less than its principal focus. The stem of the instrument (which slides) is accordingly marked at certain distances, to which the conjugate foci are in the several proportions of two, three, four, &c. to one; so that distinct vision may be obtained in all cases by placing the painting proportionally more distant.
By transposing the convex lens to the front of the instrument, and reversing the proportional distances, the artist might also enlarge his smaller sketches in any proportion with every desirable degree of correctness; and the naturalist, by employing a deeper lens, might delineate minute objects in any degree magnified.
Since the primary intention of the camera lucida is already, in some measure, answered by the camera obscura, a comparison will naturally be made between them. The objections to the camera obscura are,
1st, That it is too large to be carried about wiih convenience; but the camera lucida is as small and portable as can be wished.
2d, In the former, all objects that are not situated near the centre of view are more or less distorted.
In this there is no distortion; so that every line, even the most remote from the centre of view, is as straight as those that pass through the centre.
3dly, In that the field of view does not extend more than 30, or at most 35 degrees, with distinctness.
But in the camera lucida as much as 70 or 80 degrees might be included in one view.
As it has been thought advisable to secure an exclusive sale by patent, those who are desirous of purchasing the instrument are informed that Mr. Newman, No. 24, Soho Square, has at present the disposal of it.[24]
Q. How does the camera lucida act in the formation of pictures ?
A. The camera lucida, one of the most elegant of optical instruments, consists of the following arrangement CDFG is a glass prism, having four sides inclined, as seen in the figure. The side CD being exposed to the object to be delineated, rays pass through it and fall upon the sloping side DF; from this they are reflected to the side FG, and finally pass out of the prism to the eye at E. Now, from the direction in which rays enter the eye, it receives them as if coming from an image at A'B'. Accordingly, if a sheet of paper be placed below the instrument, a perfect delineation of the object will be formed upon it, which may be easily traced off with a pencil.
The instrument is mounted on a convenient brass frame, which is so constructed as to allow the prism to approach to, or remove from, the paper, according to the size which the picture is required to have.[27]
Painters and architects often make use of a similar contrivance, or portable camera obscura, to take a draught of landscapes or buildings: their glass is fixed in a box, and by means of a mirror, on which the diminished pictures fall, they are reflected upon oiled paper properly placed, upon which the artist sketches his draught. With regard to the contours, or outlines, which this picture gives, nothing can be more exact; but, with regard to the shading and colouring, the artist can expect but little assistance from it: for, as the sun is every moment altering its situation, so is the landscape every moment varying its shade; and so swift is this succession of new shades, that, while the painter is copying one part of a shade, the other part is lost, and a new shade is thrown upon some other object.[28]
The Portable Camera Obscura, which is used chiefly for delineating landscapes, consists of a wooden box, (...) with which is connected a convex lens so exposed to the landscape as to receive the rays of light from the various objects in it, and form a picture of them on a screen placed within the box at the focal distance of the lens.
We recommend this work to our readers. It comes out in numbers containing well executed engravings of scenes and buildings sketched by the Daguerreotype. In this publication the admirable capabilities of photography for architectural delineation is fully shown, and we have no doubt will prove extremely interesting. In this number are the Maison Came at Nismes, the Trajan column at Rome, the Church of Basil the Great at Moscow, and a view of the Mola at Naples.[40]
A CONTINENTAL PRINTING ESTABLISHMENT. When Mr. Wilson, of the Philadelphia Photographer, visited Europe last spring he devoted two days to the inspection of the famous printing establishment of M. Braun. His account of this visit is described in that journal in the following terms :
From the Alps straight to Paris, via Basle, Berne, &c., stopping only at Dornach, on the Rhine, to see Adolphe Braun the great carbon printer and his great manufactory, for such it is, and there is no other just like it or as large in the world. Here the beautiful carbon process, which has been attempted and thrown aside by so many, and which no one in this great country works to any extent, is conducted on an immense scale, and for the two days I was there I found much to interest me in the establishment of M. Braun. The kindness I received from him made me desire to remain two weeks. Photography had already made us familiar with each other's faces, and a long correspondence had made us friends. He employs over one hundred persons constantly, and with him I visited the several departments.
Carbon tissue, as you remember, consists of a coating upon paper of gelatine mixed with a pigment, and made sensitive to light by bichromate of potash. It is then printed the same as albumen paper, transferred to a sheet of caoutchouc paper, the picture developed by means of hot water, and then transferred again to the sheet of paper upon which it is to remain permanently.
And here we see all these operations in all their details actively engaged in by the hundred or more employees, and be assured it is done on a large scale. Here are the grinding-machines for grinding the pigments, ten in a row, wagging their heads in all directions like so many lunatics who have lost control of their necks, but at the same time accomplishing their purpose; the room where the paper is coated, by allowing it to pass over a tank of the melted gelatine mixture by means of rollers, the paper just taking up enough for the purpose as it passes over; the drying-room, where we see thirty strips of the carbon tissue, fifteen feet long and three feet wide, hung there yesterday evening to dry over night for the consumption of the printers today; the printing-room, where is, indeed, a busy, busy scene men handling negatives, great and small, and tearing off the paper as wanted; the transfer-room, where the caoutchouc paper and the tissue are pressed together, and then, with the aid of the benzine, are separated, and the transfer made; the developing-room, where the great tanks are steaming, and the workmen busy and as attentive as all good printers should be when they tone their prints, for the quality of the carbon print depends much upon the length of time it remains in the warm water; the drying-room, where the prints are dried previous to the second transfer; the mounting-room, where gum arabic is the mountant; the touching-out room, where all defects are obliterated, and where the titles are put upon the pictures, mainly by hand; the press-room, where ponderous presses finish the work; the store-rooms, where the finished pictures are kept; the sample-rooms, where proofs of all the negatives are kept; two skylights, one for copying and the other for portraiture; the offices; the engine-room and engine; and last, but not least, a large basement devoted to the Woodbury process, which M. Braun also uses largely.
Photographic printing on such a scale I had never seen before; neither had I ever witnessed such a scene of activity in the interests of photography.
M. Braun turns out from two to three thousand pictures every day. Almost everything in the photographic line he makes; but the speciality which has given him fame, and entitles him to the everlasting gratitude of the civilised world, is the reproduction, in indelible form, of the great masterpieces of art which are found in the galleries of Europe. As literature for a thousand years was imprisoned in cloisters, so has art for centuries been imprisoned in the few great museums of Europe. But we have come upon a new dispensation, and it is possible now for every school and college in America to possess faithful copies of the immortal masterpieces of the chisel, the brush, and the pencil, and every boy and girl in their teens may know Phidias, Michael Angelo, Raphael, and the rest of the "great cloud of witnesses," by a sight of their great deeds.
How many years had I longed for the privilege of wading through his sample portfolios ! And here I did it, making selection which now not only bring to my mind constantly the original gems among which 1 have been wandering, but also are a continual help and delight to me whenever I can turn aside from work and plunge into the bewitcheries of the beautiful.
M. Braun has over 10,000 negatives stored in his works, in strong boxes, as I saw, most systematically numbered and classified, and at his villa near by is a set of duplicates. Some of these negatives on plate glass are of immense weight. I never saw an establishment where all things worked more harmoniously together, or where the results were so beautiful; neither did I ever see a man who seemed so utterly wrapped up in his chosen art as M. Braun. The work he has undertaken alone is a magnificent one, and he has been truly called the "Guttenberg of art." He has placed within the reach of all copies of the works of the old masters, which, heretofore, only the favoured few could go to the galleries of the originals to see.
When I think of the days I have spent with him I feel as if I had been with one whose fame is more deserved than that of poet or statesman. It was a privilege not to be overvalued.[59]
International Copyright Of Photographs. A. E Whitehouse, of the Hyde Park Gallery, 30, St. George's Place, S.W., appeared before Mr. d'Eyncourt, at the Westminster Police Court, yesterday, to answer eighteen summonses under the Copyright Act of 1862 (25 and 26 Vict., chap. 68) at the instance of Sir. Charles Hauff, the London agent of Messrs. Adolphe Braun and Company, of Paris, charging him with selling and multiplying for sale pirated copies of their registered copyright photographs La Longeuse, La Beequee, En Bacchus, and A. Cythere. Mr. Mann (Mann and Taylor) appeared for the prosecution; and Mr. R. C. Glenn was counsel for the defendant. Mr. Maun said that Messrs. Braun and Co., the well known photographers of Paris, had been in the habit of acquiring from artists of celebrated pictures exhibited in the Salon the right to take negatives for the purpose of producing a copyright photograph, copies of which could be sold. Within three months of the opening of the Salon they registered their copyright at Stationers' Hall, England. In 1862 photographs first became the subject-matter of copyright to the author, being a British subject. The author was the person who made the negative, not the mere operator. The Act of 1862 dealt only with the right of a person who was a British subject, but it incorporated the International Copyright Act of 1814, which provided that an Order in Council might be made giving to subjects of foreign countries with whom a treaty or convention might be made the same right of acquiring a full and perfect copyright in their works in this country as an Englishman possessed, subject of course to proper registration. In 1886 the copyright law was amended and consolidated, but it did not take away a foreigner's right of registration in this country, and therefore, by an Order in Council made Jan. 10, 1852, following a treaty or convention with the French Republic, the complainants, who had done everything which the law required to preserve their property rights, complained that the defendant had and still continued to infringe them by selling and exposing for sale the photographs specified in the informations. Mr. D'Eyncourt pointed out that the proceedings were under the Act of 1862 which admittedly only applied to British subjects. It was a case of very great difficulty. Mr. Mann said the complainant was proceeding as if he was a British subject. To all intents and purposes, the Order in Council following the International Copyright Act of 1814 made him one. Mr. Glen stated that his idea of the law was very different from his friend's. This case was of great importance because it raised a large international question, and he thought that it ought to be argued in one of the superior courts. The complainants had no copyright they could register in this country. Mr. d'Enycourt: I confess I should not be sorry to find I have no jurisdiction. Mr. Mann: But you have, sir. You have express jurisdiction conferred by statute. After a great deal of additional argument as to the provisions of the International Copyright Acts, the magistrate adjourned the case, the learned counsel for the defence stating that his client claimed the right to sell the pictures in dispute.[60]
International Copyright Of Photographs. The case in which A. E. Whitehouse, of the Hyde Park Gallery, was summoned by C. Hauff, the London agent of Adolphe Braun and Co. (see page 528 of our issue of last week), came on again for hearing on Wednesday, at the Westminster Police-court. Mr. Mann appeared for the prosecution, Mr. R. C. Glen was counsel for the defendant. Mr. Mann's contention was that the Act of 1862, which spoke of copyright works of a British subject, incorporated the old Act of 1844, and the Order in Council thereunder, dated 10th January, 1852 (made in consequence of the Convention between the Knglish and French Governments) giving reciprocal rights to authors of both countries. Mr. D'Eyncourt pointed out that if this was the case, the preamble of the 1862 Act was inconsistent. It referred to copyright of British subjects. That was the first Act which alluded to photographs. Mr. Mann said he further relied on the recent Act of 1886, which carried into effect the Convention of Berne incorporated in an Order of Council of November 28th, 1887. This gave to the author of a literary or artistic work, first produced in one of the foreign countries of the Copyright Union, the same right of copyright as if the work had been first produced in the United Kingdom. Mr. William F. Benham, solicitor, gave evidence of the purchase of the alleged pirated photographs, and stated that the defendant did not have them in stock at first, his assertion being that they had not been printed owing to the wet weather. After the sale, and when served with a subpoena to produce the negatives, which he promised to do, he said that all the dealers did very much the same thing, and he supposed Messrs. Braun proceeded against him through spite, an assertion which was denied. He also said that he was only conducting the business for the trustees of the late firm, of which he was a member. A partner in the firm of Braun and Company, from Paris, and Mr. Hauff, the London agent, swore that the photographs put in evidence were piracies, and that they had been copied from reduced negatives. Other formal evidence was given as to registration, and at the conclusion of the case for the prosecution Mr. Glen said the pictures were produced before registration, and upon an authority of a decision in the Court of Appeal no penalties could be taken in respect of the sale of such after registration. The case was further adjourned for evidence on behalf of the defendant.[61]
Mb. A. E. Whitehouse, of the Hyde Park Gallery, St. George's Place, Knightsbridge, attended to an adjourned summons at Westminster Police Court yesterday, charging him with pirating and multiplying for sale the registered copyright photographs of Messrs. Adolphe Braun and Co., of Paris. Mr. Mann appeared for the prosecution, and Mr. R. Cunningham Glen for the defence.
The summonses were taken out under the Copyright Act of 1862, and the contention of Mr. Mann was that this statute incorporated the provisions of an Order in Council made ten years before, and the old Copyright Act of 1844, by which reciprocal copyright privilege was given to English and French authors, and producers of works of art.
A great deal of argument of a technical character took place as to the rights conferred on foreigners, and the intention and construction of the old statutes on International Copyright, and Mr. Mann urged that the case for the prosecution was strengthened by the recent Copyright Act of 1886, and an Order in Council of Nov. 26, 1887, which carried into effect the agreement of the Convention of Berne, giving an author of a literary or artistic work first produced in one of the foreign countries of the Copyright Union, the same right of copyright as if the work had been first produced in the United Kingdom.
The evidence as to fact established the sale by the defendant of alleged pirated photographs of well-known salon pictures. There was, moreover, an admission by the defendant that the printing of the pictures had been delayed by wet weather, and the sworn opinion of experts that the photographs did not emanate from Messrs. Braun's studios, and that they were reproductions from reduced negatives.
Mr. Glen urged that no Act or Order in Council anterior to 1862 could affect the issue, as the statute passed in that year first alluded to photographs. Also that the 1887 Order in Council did not come into operation until January of this year, long after the date of registration of Messrs. Braun's photographs. The defence was also set up that the defendant was only a manager of the Hyde Park Gallery business, appointed by a trustee for creditors.
Mr. D'Eyncourt at considerable length reviewed the facts, and gave his reasons for coming to a decision adverse to the defendant. For the offence disclosed in one summons he convicted, and ordered defendant to forfeit £10 to the complainant and five guineas costs.
Mr. Glen asked that there might be a stay of execution, so that the defendant and his advisers could consider whether his Worship should be asked to state a case.
Mr. D'Eyncourt: Yes. It is a sort of civil proceeding, compensation to be given to the prosecutor. There are a good many holes of escape, and my judgment may be reviewed.
It was stated that the negatives of the photographs in question had been broken. Daily News, Sept. 14.[62]
9 June 1843
Mr D.O.Hill presents his respectful compliments to the Revd Dr Gordon and requests that he will favor him by giving him a sitting for his portrait with a view to its being made use of in Mr Hills prospective Historical Picture of The First General Assembly of the Free Protesting Church of Scotland a work undertaken with the sanction and approval of the Reverend Moderator and a number of the leading members of assembly, and friends of the Church. The preliminary studies of the portraits for this work will in the first instance be made by the use of the Daguerreotype and Calotype and as Mr Hill has made the necessary arrangements with Mr Adamson a gentleman recommended to him by Sir David Brewster as an adept in the latter process, he requests that Dr Gordon will consent to meet him at Mr Adamsons house Calton Stairs (at the top of the first flight of steps leading to the Hill from Waterloo Place) on Saturday the 10th Instant between the hours of 10 A M and 2 P.M. or on the Monday, Tuesday, or Wednesday following at the same time. The sitter is detained only a very short time the whole process being affected in a few minutes. Should none of these days suit Dr Gordons convenience, Mr Hill will make it his business to attend any other day and hour he may appoint.[64]
The subject is one full of interest to every one who can admire heroic self-abnegation in the assertion of principle, and to Scotchmen will possess in especial value as an illustration of national character, whatever their especial views on the question at issue. It is a picture commemorative of the Disruption in the Church of Scotland in 1843. The subject is the "Signing of the Deed of Demission," painted by Mr. D. O. Hill, Secretary to the Royal Scottish Academy, a gentleman whoso name has been many years associated with a deep interest in the art capacity of photography, and with some of the most artistic calotype portraits ever produced. The picture contains nearly five hundred portraits of ministers of the Scotch Church, who gave up livings, manses, glebes in short, all the temporalities which their connection with the Church gave them in the assertion of liberty of conscience.[65]
In Les Baigneuses (The Bathers) 1853 (The Musée Fabre, Montpellier) also used a Villeneuve print now in the Biblioteque Nationale (Paris).
Gustave Courbet: Les Baigneuses / The Bathers (1853)
Julien Vallou de Villeneuve: Étude d'après nature, modèle pour Les Baigneuses
In L'Atelier (The Artist's Studio) 1855 (Musée d'Orsay) the woman partially concealed by the towel has been copied from a nude study by Villeneuve now in the Biblioteque Nationale (Paris).
Gustave Courbet: L'Atelier / The Artist's Studio (1855)
Now, it is an extraordinary fact, that from the day in the last century, when Porteus, Bishop of London, animadverted on the practice of having naked women to sit in Art Schools, until this moment, no one has specially called public attention to the principal evil connected with the subject. Commendable anxiety has often been shown for the morals of artists, and the avoidance of offence to frequenters of Art Exhibitions; but no thought or word of sympathy, as far as I have heard or read, has been publicly expressed for that poor creature, the artists' model, through whose degradation these representations of nakedness are alone possible. To put the case plainly from a Christian point of viewif pictures or statues of naked women are to be executed, living naked women must be employed as models. But where is the justification in God's sight for those who induce women so to ignore their natural modesty, and quench their sense of true shame, as to expose their nakedness before men and thus destroy all that is pure and lovely in their womanhood?[71]
The position of the artists' model is improving every day. With the spread of art-knowledge and the increase of art-education the important and lofty part played by the model is gradually winning the appreciation that it deserves. There is no reason why the profession of a model should be less respectable than that of a dealer in pictures or artists' materials. It is part of the art-system and as such deserves respect. Without good models there is no good art possible, and every thinking artist must needs realize that it is his duty to assist in developing the idea of the model. It is not very long since it was difficult to procure models of any kind, even in New York, the great art-centre of the country. Today there are plenty of men and women who are not ashamed to be classed as professional models, and the progress made in recent years by some of our strongest young artists is partly due to the increased facilities for obtaining good human subjects.[76]
The evidence of letters and journals suggests that this was a partnership in the Hill/Adamson mould, Durieu providing the necessary technical expertise while Delacroix arranged the models poses and stamped his artistic authority upon the sessions, utilising natures free design not so much to elevate but to enliven.[79]
Mr. Healy is painting a portrait from the daguerreotype; I have not seen it, but it is thought to be very good. I have been meditating upon something which I wish should be thought of. Edward was ten years old when I made the Hayne speech in the Senate. Why should not Mr. Healy make a picture of him, as of that age, from the daguerreotype, and from Miss Goodrich's little miniature, and place him at my feet? He was then no older than Daniel is now.
See Julia, and tell her what I propose about Edward's picture.[80]
The answer is that I did go check out the Maison Fournaise and the porch there, but because it was high and a bit small, I would have had to build scaffolding outside the porch to stand on. Also, because it was still an operating restaurant, I would have had to pay to shut it down for two days (had they agreed).
What happened is that in my early researches, I was wandering around along the river in the little village of Vétheuil near where Monet had lived sometime before he got involved in his grandiose project at Giverny. Someone who had a house right on the river - Stefan is his name - came down to talk to me and invited me for a drink on his porch which overlooked the Seine ... and Stefan is a set designer whose profession is restaurant design. I kept his name for a year or so until I decided to recreate the scene and then went back to see his porch after looking at the Maison Fournaise. It was just so much easier and nicer to work with and he helped create the set. He is seated in the picture with his children and his wife Nina is in the back, the tallest woman standing. She's talking to my good friend Bénedicte. I also used two other friends, Laurent and a cousin of my assistant who is an acting instructor and helped me assign roles to each of the characters. So I was not only recreating the scene of Renoir in a contemporary mode, I was recreating the process, too, where he had used his friends as models and probably had had a pretty good time with them. Believe me, after rehearsing all morning and having a good lunch with plenty of wine we made a party out of this in the late afternoon and by the time we made the shot it wasn't posed - it had become real. That's the story![87]
The Raft of George Bush" is a contemporary "Ship of Fools" which has as its pictorial basis, the "Medusa" of Gericault. Bush sits lost in his grand ideas, shown as small electric lights. His left hand rests on the large, perfect breast of "Condi" Rice. This, the most powerful woman on earth, is merely a mouth-piece, a token blackie who dresses in haute coutre. Above Bush is his mother, Barbara, basking in the light, the myth of Republicanism. At her feet is Defense Secretary Rumsfeld crushed by the defeat of Iraq. Colin Powell wears the wreath of militarism and the dollar sign vision he now lives for, after lying to the world at the United Nations. Powell taps Bush on the shoulder to make him aware of their rescue. Vice President Cheney and his wife express joyful rapture in their deliverance. Dick Cheney, a "whatever it takes to succeed" type, is dressed in a gown and bra, reminiscent of the cowardly men on the sinking Titanic who dressed as women in order to save themselves. Below the mast is a religious figure representing Theocracy and Priest-pederasts. Has the young man below him received spiritual comfort or oral sex. The angry angel, wearing a bra of tea cups, holds a large bone signifying cannibalistic capitalism, that charnel house of our dismal social progress. All the other models in this tableaux are posed as characters in the Gercault painting with the exception of the black African named Cyril, who waves to the ship. All the other men are M.T.V. and Big Mac prodigals with the soft bodies and minds of corporate culture.[88]
Was ever so much smoke for so little fire? I never in my life seduced a girl, nor tried to, but what else can people think of all this rage and insanity. It is not a rare ambition in a painter to want to make good pupils. My dear master Gerome who loved me had the same ambition, helped me always and has to this day interested himself in all I am doing.
My figures at least are not a bunch of clothes with a head and hands sticking out but more nearly resemble the strong living bodies that most pictures show. And in the latter end of a life so spent in study, you at least can imagine that painting is with me a very serious study. That I have but little patience with the false modesty which is the greatest enemy to all figure painting. I see no impropriety in looking at the most beautiful of Nature's works, the naked figure. If there is impropriety, then just where does such impropriety begin? Is it wrong to look at a picture of a naked figure or at a statue? English ladies of the last generation thought so and avoided the statue galleries, but do so no longer. Or is it a question of sex? Should men make only the statues of men to be looked at by men, while the statues of women should be made by women to be looked at by women only? Should the he-painters draw the horses and bulls, and the she-painters like Rosa Bonheur the mares and the cows? Must the poor old male body in the dissecting room be mutilated before Miss Prudery can dabble in his guts?
Such indignities anger me. Can not anyone see into what contemptible inconsistencies such follies all lead? And how dangerous they are? My conscience is clear, and my suffering is past.[96]
I found it interesting to consider that the medium of photography was coming into its own just as the Impressionists were making their mark on the world. In France, Nadar, Gustave Le Gray, Hippolyte Bayard, and Édouard Baldus were some of the early proponents of the new medium. Le Gray in particular had a visual sensibility that was related to that of the Impressionists; interestingly, he started out as a painter and exhibited work at the Paris Salons of 1848 and 1853, before turning his attention to photography. Could such photographic visions have inspired some of the Impressionist artists?
The idea of capturing transient phenomena certainly fascinated these painters - and this capability was of course the great promise of photography. We see this interest very clearly in Monets work: think, for example, of his 1873 painting Impression, Sunrise, the piece that gave the Impressionist movement its name. But the new visual approach was not confined to obviously poetic effects of winter, twilight, and grand landscape; it extended in both painting and photography to everyday life on the streets, in the cafés and guinguettes, in the train stations and countryside. It was, in fact, a sociological change as well as an aesthetic one.
Still, despite its inspiring potential, photography in the 1880s was a cumbersome process: emulsions and prints were handmade, cameras were large and difficult to handle, demanding skilled operators willing to suffer a fair amount of discomfort to make images. Emulsions were slow and required long exposures of static subjects, denying the instantaneous vision of contemporary life that the medium would later offer. So although some of Impressionist painters might have been conceptually attracted to the medium, they would likely have found it lacking in spontaneity (and of course color, which was a prime interest of these artists). Degas experimented with the medium for a couple of years - with very interesting and beautiful results - but eventually lost interest in it ... perhaps because of its technical awkwardness.[101]
If the Impressionist painters were resurrected today, they would naturally be turning their attentions to modes, subjects, and media far different from those they utilized in the mid- and late nineteenth century.
For this series of images, I was of course working in the world of contemporary France, with elements of the Impressionist aesthetic in my mind, but advanced photographic tools in my hands. I have tried to channel the Impressionists approaches through my own, and to make photographs that reflect their individual interests and perspectives.
When I showed my Impressionists series to Weston Naef, curator of photographs at the J. Paul Getty Museum, he posed a question: "You have so many identities and voices in these photographs that Im bound to ask, which one of them is you?" There is a genre in contemporary photography in which the artist poses him - or herself in different vestments and situations; I have chosen instead to try on other artistic identities - identities of creators whom I admire greatly. It has been an amusing and challenging process, and inevitably my shortcomings as an artist may show through these costumes.
I always try to keep a sharp critical eye on my own efforts, and this project presented the distinctly uncomfortable proposition that I engage with giants. This engagement led me occasionally to construct images with a kind of wryness, or a sly sense of humor, which is evident from time to time in these photographs. Humor will have to be my substitute for humility. My larger purpose in this series is to bring the Impressionist concept to the contemporary viewer in a new way, and to invite you to revel in their work, which remains as fresh, relevant, and compelling today as it was at the time of its creation.
This series treats the oeuvre of Pissarro, Cézanne, Monet, Manet, Morisot, Renoir, Degas and Van Gogh and is drawn from the forthcoming book by Abbeville Press (due Fall 2007), "Travels with Van Gogh and the Impressionists" on which I have collaborated with writer Lin Arison.
When I have had such men before my camera my whole soul has endeavoured to do its duty towards them in recording faithfully the greatness of the inner as well as the features of the outer man. The photograph thus taken has been almost the embodiment of a prayer.[108]
Julia Margaret Cameron: Alfred Lord Tennyson
Julia Margaret Cameron: Thomas Carlyle
Julia Margaret Cameron: Sir John Frederick William Herschel
Julia Margaret Cameron: Charles Darwin
Julia Margaret Cameron: Sir Henry Taylor
Monday, June 10.Fine, warm. To Brockenhurst by invitation to the Bowden Smiths, croquet, roses, hot sun. Field-path to station, red campions and kingcups. Down train comes in with Mrs. Cameron, queenly in a carriage by herself surrounded by photographs. We go to Lymington together, she talking all the time. I want to do a large photograph of Tennyson, and he objects! Says I make bags under his eyesand Carlyle refuses to give me a sitting, he says its a kind of Inferno! The greatest men of the age (with strong emphasis), Sir John Herschel, Henry Taylor, Watts, say I have immortalised themand these other men object!! What is one to doHm?
This is a kind of interrogative interjection she often uses, but seldom waits for a reply. I saw her off in the Steamer, talking to the last. Dine 7.30Sit on doorstep and hear corncrake in the moonlight. Haymaking now.[109]
We hear with some surprise that the Scottish Photographic Society have refused to admit into their Exhibition Mr. Rejlander's picture of the "The two ways of Life;" a subject intended to teach a high moral lesson, and which is certainly the cleverest photograph that has yet been produced. We sincerely hope no such prudery will find its way south of the Tweed.[111]
I am what I call a walking artist
Walking is an art form in its own right. I place emphasis on the experience of walking.[125]
Attached to, but not integral to the binding of the book. We usually use this term to indicate something that has been added: a letter from the author, a newspaper or magazine review or obituary, etc. The nature of what is tipped-in will determine whether this addition will enhance or devalue the book.
"Do you dislike to pose for male artists?" asked Paletta.
"Dislike? Why should I with so fine a figure as this?" answered the woman, throwing off her cloak to resume her pose. "I'd like it better if I had a handsome face, but I'd like it much worse if I had flabby flesh or buniony feet."
Paletta saw that no question of modesty entered the model's mind, and she went back to her easel to paint...
"To Richard Beard, of Earl-street, Blackfriars, Gent., for improvements in the means of obtaining likenesses and representations of nature, and of other objects, being a communication. [Sealed 10th March, 1842.]", The London Journal and Repository of Arts, Sciences, and Manufactures, Conjoined Series, no. CXXXII, Recent Patents, 1843, pp. 358-360.
"22. For an Improvement in Coloring Daguerreotype Plates, by fixing the Colors thereon; Frederick Langenheim, Philadelphia, Pennsylvania, January 30." American Patents, Journal of the Franklin Institute of the State of Pennsylvania, and American Repository, February, 1847, p. 105. Patent was issued in January, 1846.
The invention deserves universal gratitude for this and the numerous facilities which it offers, but it should be kept within its proper limits. The most egregious instance of its exceeding them is to be found in the English department of Photographic Hall; there are some absurd, blurred groups, representing scenes from the Idyls of the King, which everybody who has been to London will recognize as Mrs. Cameron's. The attempt at artistic and dramatic effect is enormous; the result is merely a series of very poor photographs of ill-dressed actors and actresses in exaggerated attitudes. Unfortunately, it is but another case of overdoing a successful experiment: eight or ten years ago Mrs. Cameron, then an amateur, I believe, took very striking and agreeable likenesses; one of her favorite subjects was the druidical physiognomy of Henry Taylor, author of Philip van Artevelde, whom she used as an advertisement.
The Bodmer Oaknamed after the Swiss artist Karl Bodmer (18091893), who exhibited his painting of the tree at the 1850 Salonwas one of several imposing trees in the Fontainebleau Forest that had acquired a special appellation.
The carpet of russet leaves signals that Monet painted this canvas just before he left Chailly-en-Bière, near Fontainebleau, in October 1865. It is probably the last of several landscapes executed in connection with his monumental Déjeuner sur l'herbe (fragments of which are now at the Musée d'Orsay, Paris).
The slash in the upper right-hand corner of the painting may have been made by Monet, who reputedly mutilated some canvases in order to discourage a landlord from seizing them in 1866.
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Zeta Tau Alpha will have a Zumba® party for breast cancer education and awareness and to distress before finals from 10 a.m. to noon and 1 to 3 p.m. Dec. 8 in Gemmell MPR. Cost is $10/students, $15/others, $5 off if you wear pink to the event! First 50 prepaid sign-ups get a free pink water bottle. Sign up in Gemmell, Eagle Commons and the library. Walk-ins are welcome. For more information email@example.com.
Starts On12/8/2012 10:00 AM
Ends On12/8/2012 3:00 PM
Gemmell MPR

subset: commoncrawl


text:
Click on Event listing for details.
Upcoming Events
replaced with flash
August 20, 2014!!!!
First day of school
Please click here for
School lunches, class dues, organization dues, etc.
can be paid online via PaySchools.
If you thought you could never drive a school bus, think again! Guthrie Public Schools is seeking responsible, caring people to drive school buses. Call the number below for more information on becoming a school bus driver for GPS, or better yet, stop by the transportation office and meet the friendly folks and learn more about this rewarding career.
The district is providing paid training. Certified drivers start out at $12.65 per hour, health and retirement benefits are paid by the district, and 90 days after certification, new drivers will receive a $100.00 sign on bonus!
You can apply online at http://guthrie.cloud.talentedk12.com/hire/index.aspx, or in person at the transportation department at 520 Crooks Dr. where we will help you with the application process. Or you can call us at 405-282-5919 (transportation department) or at 405-282-8900 (Board of Education) anytime between the hours of 8:00am and 4:00pm.
School lunches, class dues, organization dues, etc.
can be paid online via PaySchools.
Fizz, Boom, Save for College Sweepstakes
Enter for your chance to win $2,529 towards an Oklahoma 529 College Savings Plan Account
For the sixth consecutive year, the Oklahoma 529 College Savings Plan is partnering with the Oklahoma Department of Libraries during the 2014 Summer Reading Program to offer the Fizz, Boom, Save for College Sweepstakes.
One lucky Fizz, Boom, Save for College Sweepstakes child and teen will each win $2,529 towards an Oklahoma 529 College Savings Plan. Legal residents of the state of Oklahoma who are at least 21 years of age or older, are the parent, legal guardian or grandparent of a child who is participating in the 2014 Fizz, Boom, Read Summer Reading Program may enter for a chance to win.
Entry forms are available at all participating Oklahoma libraries or you may submit your entry online by completing the information below between May 1 - August 31, 2014.
Limit of one (1) entry per eligible person, per child. Follow the link below to submit your online entry!
Visit ok4savings.org
School begins at 8:15 a.m. and ends at 3:10 p.m. for all sites.
Elementary schools open at 7:30 a.m.


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By John Carter - bio l email
CHARLOTTE, NC (WBTV) - It can be tough to find your way around Charlotte. And even if you have a GPS it still helps if there are street signs posted. That isn't the case in this See, Click, Fix story.
We looked for Lawndale Road in south Charlotte. It's off Poindexter Drive. But take it slow because you could pass right by Lawndale without seeing it. Per a See, Click, Fix heads up we found there is no street sign at Lawndale and Poindexter.
We did find the post where it appears the missing sign should be. It looks as if there could have been a sign here at some time.
However, even if there were a sign here it might be hard to see for folks coming down Lawndale towards Poindexter. The area where the sign should be is obscured by a lot of tree branches.
So what can be done about this? See, Click, Fix has done stories on missing signs in the past. Here in Charlotte, they're typically the responsibility of the Charlotte Department of Transportation.
I have calls and an email message into the good folks with C-DOT and as soon as we get some answers we'll let you know.
Copyright 2010 WBTV. All rights reserved.
1 Julian Price Place
Charlotte, NC 28208
FCC Public File
EEO Report
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1Want to Go to Mexico Sort of Courtesy of Flava Flav?
Come on now, that's not something you can tell your kids every day.
And it's easy! All you have to do is take a photo of yourself wearing your UGLIEST Christmas sweater and send it to our good friends at Celebutaunt.
Until the end of December, anyone can submit a photo of themselves wearing their ugliest holiday sweater. Then, after the New Year, Flava Flav will announce the contest winner and Celebutaunt will send the ugly sweater champion and a friend on a four day cruise to Baja, Mexico (including airfare to L.A.).
Head on over to Celebutaunt to enter for your chance to win!
December 20, 2011 at 6:30 am by Sarah
11Flava Flav Can't Decide If He's a Wolf or a Skunk
In NYC before a TRL taping.
February 26, 2008 at 2:44 pm by Evil Beet
0Someone's Taking a Little Breather from Rehab
Okay, if we're gonna be all over LiLo's ass for breaking out of rehab every now and then, let's note that Brigitte Nielsen checked into rehab, like, five minutes before this photo was taken. She stepped out to attend the Comedy Central Roast of Flava Flav with her husband, Mattia Dessi, and I am saddened to admit that I know exactly who this guy is because I watched both The Surreal Life and Flavor of Love and honestly if anyone wants to be my boyfriend the position is open and really needs to be filled because this morning I watched the entire hour-long "Best Of" episode of Girls Next Door and honestly people I can't go on like this indefinitely.
Flav showed up with his mom, and Snoop Dogg was there too. And Jimmy Kimmel hosted but he gets no pictures on this blog because of that fucking bullshit he pulled with Emily Gould.


text:
By Ken de la Bastide
Kokomo Tribune
For the past three decades, Republican Dan Burton has represented large portions of central Indiana in the U.S. House of Representatives.
A staunch conservative, Burton had the ability to attract controversy during his 30 years in Washington, from the investigation of campaign finance, to vaccines and the administration of President Bill Clinton.
First elected in 1982 in the old 5th Congressional District, Burton was viewed as a long-shot in the Republican Party primary when he challenged former party chairman Bruce Melchert for the nomination.
"When I ran against Melchert, he drew the district for himself," Burton said during a recent interview with the Kokomo Tribune. "I thought whoever won would serve for at least ten years, I never imagined serving for 30 years."
Burton said in the 1980 redistricting, Indiana lost a seat in the House and he thought his chances to win had disappeared.
"[Melchert] took parts of five districts," he laughed. "I was in the new district by a mile. I thought I might be able to beat him if I worked real hard. The [Indianapolis] Star said I ran a kitchen campaign and didn't have a chance."
Melchert relied on the political machine and Burton counted on knocking on doors and meeting people, he said. A third candidate was put in the race by the name of Ricky Bartle to be first on the ballot.
Burton said he went home on election night believing he lost the election.
"I got a call that we were winning in Hancock County by a five to one margin," Burton recalled. "The Star had already declared Melchert the winner. We carried Tipton and Clinton counties.
"They beat us in Indianapolis, but we beat them in the sticks,' he said. "It was the happiest political night of my career."
Burton said the highlight of his political career was getting mercury removed from all but ten vaccines, believing it caused autism in children.
He is working now with a Florida doctor who believes chelation, putting minerals and vitamins directly into the blood stream clears arteries.
"I worked through the [Food and Drug Administration] on a blind study," Burton said. "They tried to shut it down, we kept the study going."
He said conventional cardiologists don't want to accept chelation treatment and there is a still a long way to go and further studies are needed.
In his role as chairman of the House Government Oversight Committee, Burton helped expose FBI corruption that led to the wrongful conviction of Joseph Salvati, Peter Limone, Henry Tameleo and Louis Greco for the murder of Edward "Teddy" Deegan. Burton investigated the case for three years before the four were eventually found innocent and were awarded $102 million.
Burton said he got President George W. Bush to release documents in the case after agreeing to vote in favor of fast track approval of trade with Central America.
"Some of my regrets, I've been a hard-nosed guy when I thought I was right," Burton said. "I took on the House leadership, I took on Newt Gingrich many times, he threatened to take away my chairmanship."
Burton said there are things that took place behind the scenes that most people don't know about - like when he battled the FDA, FBI and Justice Department.
"I was a fighter," he said.
Burton said when he was first elected, Democrat Tip O'Neill was the speaker of the House, who he called the consummate politician.
"The first time I went down to the floor to raise hell, Tip was in the chair," he laughs. "He controlled the place. Tip got mad about a freshman raising hell about spending. He had someone else take the chair and came down to the floor to raise hell with me."
Burton said there was a congeniality among House members when he first took office.
"The leaders got together and solved the problems we had, like Social Security at the time," he said. "Today it is a very caustic attitude toward one another.
"It's not like it used to be. We used to go out and play in golf tournaments for charity. We knew each other, today it's not that way. There is a lot of animosity toward one another, that's why there is the loggerhead."
Burton was known for his investigation into the suicide of Vincent Foster, a top aide to President Clinton.
"I will always believe until the day I die that we would find evidence that he was killed in that park," he said. "He either committed suicide someplace else and was moved there, or that he was shot there."
Burton had a police officer shoot at a pumpkin that was meant to represent Foster's head and contends that guards at the Saudi Arabian ambassador's residence across the street from the location would have heard any gun shot.
He was also known for referring to Clinton as a "scumbag" during an interview with the Star.
"I was at an editorial meeting and a reporter said I believed he was a scumbag. I never used that term, but I agreed that he was. They said I called him a scumbag, which I never did."
Without a doubt Ronald Reagan was the best president that served during Burton's three decades in office.
Burton said he doesn't want to become a lobbyist when he retires Dec. 31, but is hoping to represent some companies that do international business or represent a foreign country providing advice and counsel on dealing with Americans.
"I'm 74 years old," he said. "I want to make a little money and spend time with my beautiful wife. I know I only have another 10 or 15 years, so I want to smell the roses a little bit.
"It's been a good ride, I have no regrets," Burton smiled.


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Kids Craft #2: Mum & Me Shoes
My niece and I have this crazy kismet where we'll turn up in the same place with the same outfit on without consulting each other first. It's pretty cute.
It got me thinking about how sweet it is to see little folk dressed the same as their parents (like this – adorable right?).
So here is a lovely little DIY to do with your kiddo (or your niece or nephew, grandchild, friend's kid…) so you can be a bit matchy-matchy without looking like total mini-me's.
- Shoes (I bought these canvas shoes from Big W for $4 each pair!)
- Felt
- Fabric glue
- Pencil
- Scissors
- Paper
- Mini cookie cutters
We chose an apple and a pair from our mini cookie cutter selection. Animal shapes or letters would look cute too.
Trace the shapes onto your paper and then cut the paper shape out to use as your template.
You could skip the paper step and just draw onto the felt (but I wanted to teach her about templates so this was a great project for that!)
Step 02 // CUT YOUR FELT PIECES
We cut out our apple and pear shapes using our template and then cut out the stem and leaves using seperate colours.
NOTE: Safety scissors may have difficulty getting through the felt which means an adult will need to help out with this step if you only want your little friend to use safety scissors. My niece was old enough to use "big" scissors so she did this step no worries.
Using the rest of your paper to catch any glue drips, put some glue onto a part of the shape and stick to your shoe.
I held the shapes there for a minute or see each so they were firmly attached.
Now you have a cute pair of shoes for you and your little mini-me!
Trust me, you'll get lots of lovely ladies at your local grocery store saying how cute you both look.
This was a super quick DIY that my niece loved and we got to be crafty together – hooray!
[see what other kids projects we've been cooking up lately]
PS. I guess I should have called this "Aunty and Me Shoes" but it just didn't have the same ring. Sigh.


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Sorry, drama lovers, the feud between The Wanted and One Direction is over.
Max George, once the most vicious 1-D basher out there, tells the British arm of MTV that he's through competing with them. He says, "To me they're so different, they're this brand, this phenomenal brand. We're at a level we're very proud of and a level that we never thought in a million years we'd get to. I don't think you can compare One Direction to anyone, if I'm brutally honest. They're a phenomenon and it only happens once in our lifetime and it's happened. Fair play to them."
That's a full 180 from June, when Max suggested that he and one of the 1D guys get into the boxing ring for a charity match.


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The newest line of barbecues from Kalamazoo Outdoor Gourmet can turn a backyard amateur into a bona fide grill mas
Read Article
Bec Brittain has added four dynamic lighting designs to her eponymous collection of geometric chandeliers, rope-inspired jewelry, and assor
Whether newly built or undergoing renovation, these remarkable homes have recently hit the market—and are poised to capture the attention o
Those seeking a design-worthy venue on the West Coast for an important business meeting or social event may wish to investigate One
Users of Dornbracht's fittings for the bath can now take their showers lying down.
Following its 2008 U.S. release of Tattoo Pouf—a round stool made to resemble a large marble ball—furniture manufacturer Cerruti Baleri introduced two new marble-like furniture pieces this year in the United States.
Driven to replicate the vibrant paint colors she remembered from her childhood home in Puerto Rico, artist Gretchen Schauffler founded
The British designer Ross Lovegrove has created a four-piece outdoor furniture collection that is inspired by the geometric shapes of Anton
Two new offerings and a recent product announcement from Snaidero attest the Italian kitchen-cabinet manufacturer's impressive range.
Available as a humidor or a jewelry box, the Linley Limited Edition London Box (


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Just got back from the field here in Vegas. The whole day I have just been off, I can not describe it, nor come up with the reason why. Was extremely unproductive at work, almost fell asleep driving home. So my wing gets us into Ghost Bar at the Palms, its cool, I still just feel off, not bad, just off. I try and open a set, but don't really feel like trying, its like im doing it just to do it. He ends up getting locked into these 2set of HB5's (I am still not sure why, he is weird and will game odd sets sometimes, and sincerely enjoys it, who am I to judge). I go along with it, they talk about how they know the promoter at Surrender Club in Wynn, so we go there. I break off since they are annoying me, and start going direct just to dick around, once again i'm not in state, and for some reason gain no social momentum. Sets fade off, lose interest fast, the only thing that kept them their at first is my lack of AA I assume.
State is Everything!
So this is pretty much a rant/self reflection. But state is everything, I still had a good time, do not regret going out. But I can tell a massive difference in my results since I am in this funk. Weird shit.


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When Beauty Tamed the Beast
Paperback, 374 pages, HarperCollins, List Price: $7.99 | purchase
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Linnet Berry Thynne thinks that she will easily be able to make her fiancâe, Piers Yelverton, the Earl of Marchant, who is rumored to be immune to the womanly charms, fall in love with her, but she loses her heart to him instead.
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text:
Riverdale Police Investigators and Crime Stoppers Atlanta are asking the public for information on a burglary at Wally World.
Just after 3 a.m., suspects threw a large brick through the front glass door.
Once inside the suspects attempted to steal an ATM, but were unsuccessful.
The suspects then jumped over the cashier's counter and removed the cash register drawer.
A flat screen television, and a laptop computer were also taken.
The suspects fled the store in a newer model Chrysler 200 or Dodge Stratus.
A reward of up to $2,000 is being offered for information leading to the arrest and indictment of the person or persons responsible.
Any information on the case can be submitted anonymously to the Crime Stoppers Atlanta tip line at 404-577-TIPS or online www.crimestoppersatlanta.org
Copyright 2013 WGCL-TV (Meredith Corporation). All rights reserved.
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The WBA at its recent convention in China is going to be experimenting with a fractional version of the 10-point must system, similar to what the British Boxing Board of Control used up until the mid 90's. This will only be for regional belts. Also they are trying 9 and 11 round fights for two minor league Latin American Belts. World Championship fights will remain at 12 rounds with the customary 10-point must system. I am also pretty certain that the Association of Boxing Commissions would have to approve of the changes in the 35 States under ABC jurisdiction.
Fight news has a story here:
It's better than the WBC experimental Open Scoring System. I normally hate these types of changes, but look at the present 10-point must system. All rounds without a knockdown or total domination are scored 10-9. A one round change by any of the three officials can mean a FOUR POINT disparity on the scorecards. Could this help, or hurt the present scoring system?
This is the closest thing to what I was saying about encouraging more even rounds. If you have two many dominate rounds 10-8 without a knockdown, it could create a scenario where the losing fighter can't come back without a knockdown or TKO.
In other news, the WBA will experiment with 9 round fights for Latin-American Federation bouts and 11 round fights for Latin-American Federation titles. This move is being tried to see if it can reduce draws and the often controversial decisions that occur because of draws. While odd numbered rounds may help reduce the effects of some draws, I find this approach too gimmicky. W.9 and W. 11 doesn't look right on a record. In the 80's, some USBA title fights had overtime rounds, such as a thirteen round if the scoring after 12 was a draw. The judges were instructed that they had to pick a winner in the 13th round. I recall a fight in Ohio where the State Commission still used it, after the IBF had abandoned the rule. A winner was given in round 13 after the cards showed a draw. However, the IBF was forced to nullify the overtime round and reinstated the original draw verdict. What do you think about overtime rounds in boxing in the event of draws? With the stipulation that the judges must pick a winner in the overtime round?


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|Thursday, August 22
|4:30 p.m. – 7:00 p.m.
Registration and Informal Reception
Norma Lea Beasley Entrance Hall
|Friday, August 23
|7:00 a.m. – 9:00 a.m.
Norma Beasley Entrance Hall
|8:30 a.m. – 9:00 a.m.
EJ Ball Courtroom Foyer
Dean Stacy Leeds
|9:15 a.m. – 10:15 a.m.
Plenary I
EJ Ball Courtroom
The Future of Clinical Legal Education in the New Regulatory Environment
The American Bar Association (ABA) and various state bars are considering significant changes to existing standards for law school accreditation and admission to the bar. These changes include new legal education requirements relating to professional skills instruction, law clinics, and field placement programs, and the status of clinical faculty. If adopted, the new requirements may dramatically impact how law schools educate students and the role of clinical faculty in developing the mission and curriculum of their schools. This presentation will begin with an overview of activities within the ABA and state bar associations and will look at how these regulatory changes, some of them helpful and others worrisome, may affect clinical legal education and clinical educators.
|10:15 a.m. – 10:30 a.m.
|10:30 a.m. – 11:30 a.m.
Concurrent Sessions I
Doing Things Differently (Right?) from the Start to Finish: How the Faculty at a New Law School Is Changing the Legal Education Landscape
Beginning Fall 2013, Charlotte School of Law will implement the CharlotteLaw Edge for incoming Students, an innovative approach to preparing students to step directly into roles as practicing attorneys after law school. Charlotte School of Law is leading legal education in an exciting new direction by placing a strong emphasis on experiential learning, starting on the first day of classes and continuing throughout the law school experience. In this presentation, we will discuss both the newly designed curriculum that emphasizes practical training required to practice law, run a law practice, communicate with clients, and manage cases and transactions; as well as how faculty across the curriculum are collaborating with the Clinics to deepen students' experiential learning opportunities.
Promoting Law Reform in Access to Justice Clinics
Through discussion of experiences as clinicians and educators, the panel will address the need to include law reform work as an element of clinical legal education. The panel will address critical shortages they have witnessed in both civil and criminal litigation work regarding access to justice and representation, and how these needs can be addressed through law reform projects. Topics highlighted will include integrating student participation in law reform as part of client representation, ethical understanding raised and reinforced for students through this participation, and working with non-clinical faculty to address the issue of law reform needs in doctrinal courses.
Taking the Clinical Model on the Road: Creating Law Student Learning Opportunities while Responding to Community Needs
This presentation seeks to educate clinicians about the benefits and challenges of using the clinical education model to respond to emerging legal needs through "alternative" Pro Bono initiatives. Panelists will use participant engagement and discussion of successful example programs, such as those that responded to Hurricane Katrina and that continue to work with small, minority farmers in the Mississippi Delta. The goal of the presentation is to give participants an understanding of the ethical complexities students will learn from, the skills-building opportunities provided on a shortened time frame, and the development of student awareness of community centric, social justice needs.
|11:45a.m. -1:00 p.m.
EJ Ball Courtroom
|1:15 p.m. -3:00 p.m.
Roundtable Discussions
EJ Ball Courtroom
|Facilitated small group sessions with a guided introduction by Dean Michael Schwartz of the University of Arkansas at Little Rock William H. Bowen School of Law.
|3:15 p.m. – 4:30 p.m.
Concurrent Sessions II
Learning from Leaders: Collaborations Between Clinics and Lawyers to Narrow the Justice Gap and Teach Students Lawyering Skills
In their efforts to prepare students for work in the legal field, one resource many clinics aren't utilizing are outside practicing or retired attorneys, who can bring a lifetime of practical experience to the table. The panel will discuss different models they have utilized for exposing students to outside attorneys, including those who teach as adjuncts, those who volunteer to help students analyze cases and serve as judges for hearing moots, and those who spearhead outside partnerships to provide Pro Bono assistance to cases that are too complex for the clinics to handle. Costs and benefits of these partnerships will also be discussed.
Integrating Negotiation into the 1L Curriculum:A Model for Clinic, Lawyering and Doctrinal Collaboration
This presentation will look at the benefits of incorporating negotiation skills into the doctrinal classes of the traditional 1L curriculum. Pedagogical tools for implementation, including in class role play and group work, as well as peer critique and self-reflection based assessment tools will be discussed. The presenters will also discuss examples of in class integration in Civil Procedure and Criminal Law, and will explain how integration of techniques into a standard doctrinal curriculum can help answer the Carnegie Report's critique by creating a unity between doctrine and practice.
Tearing Down the Walls Between Doctrine, Theory and Practice Special Education Law & Advocacy Across the Curriculum
Utilizing a transferable example from special education, this panel will explore ways to teach students how to incorporate doctrinal theory into practice. Current legal education models operate as separate silos of theory and practice with doctrine placed in either silo but all rarely combined. The exercise planned for this presentation is designed to explore theoretical questions about whether the meaning of the law changes depending on the context and the client, and if so, how that affects advocacy and practice. Transference to other practice areas will also be explored by the audience.
|6:00 p.m.
The Garden Room
215 West Dickson Street
Co-Hosted by the University of Arkansas School of Law at Fayetteville and the University of Arkansas at Little Rock William H. Bowen School of Law.
|Saturday, August 24
|8:30 a.m. – 9:00 a.m.
|9:15 a.m. – 10:30 a.m.
Concurrent Session III
Embracing Change (or At Least Shaking Its Hand): Working with Non-Clinical Colleagues on Experiential Learning
This program looks at the best way to approach and shape conversations with faculty who have traditionally taught doctrinal classes and who now want to create new, experiential learning based courses. The goal is to make these dialogues positive and collegial, and to avoid "flashpoints" which can derail positive discourse. The program will build on a panel from the AALS 2013 Clinical Conference, and will utilize role play to identify potential pitfalls and to develop, as a group, the strategies for avoiding or overcoming them.
Partnerships with Purpose: Seizing on the Opportunities and Challenges of the Field Supervisor Relationship in the New Era of Law School Externships
In order to meet the rising demand for experiential learning opportunities in law school curriculums, many schools are turning to externships, which rely on field supervisors to provide a quality learning experience. This session will focus on the specific opportunities and challenges externship programs encounter when working with field supervisors and will offer ideas and suggestions for developing the relationship between program and field supervisor. The session will also examine opportunities to draw from in-house clinical and other teaching models to enhance the supervision of students and to foster learning opportunities between and among field supervisors.
Case Rounds Session
In this session participants will participate in a rounds conversation on a specific issue facing one or two participants in the session having do to with the overall conference theme. This conversation will thus provide two simultaneous opportunities: a chance to talk in more depth about the issues of the conference theme and a modeling of rounds methodology, which clinicians can use to enhance their classroom discussions.
|10:45 a.m. – 11:30 p.m.
Plenary II
Now More Than Ever: Teaching Students Readiness for Future Practice
In a world where legal practice is changing, what does it mean to strive to develop "practice-ready" lawyers? If law practice of the future differs in fundamental ways from the law practice we have known, how do we prepare law students for the profession that has yet to emerge? Good answers can already be found within clinical education, but the need has intensified for clinical educators to live up to our most ambitious pedagogical aspirations. Helping students develop an accessible understanding of their own thinking and acting, as the basis for learning from experience, will enable them to adapt to the changes ahead and to apply their understanding to future choices and actions. Law students who internalize rigorous methods of learning from experience will have the capacity to grow and change as the legal profession transforms. Like other generalizable skills, reflective learning methods reach beyond the particular experience in which they are developed. Skills such as self-awareness, communication, collaboration, strategic planning, problem-solving, and evaluation are likely to have some enduring value even if they are used in somewhat different contexts in the legal profession of the future.
|11:30 a.m. – 12:00 p.m.
Closing Session
|Lunch on your own
1045 W. Maple Street, Suite 107
Fayetteville, AR 72701
Email: email@example.com
(479) 575-3056
Fax: (479) 575-2815
School of Law
1045 W. Maple St.
Robert A. Leflar Law Center
Waterman Hall
University of Arkansas
Fayetteville, AR 72701
Phone: (479) 575-5601


text:
We are currently revamping our site and are set for a October relaunch, in the meantime please email us at firstname.lastname@example.com for more information or drop in to see us at The Clubhouse or The Dining Room.
Welcome to The Clubhouse
The Clubhouse is a premium bar & brasserie, based in Dalgety Bay, Fife, Scotland. We strive to go the extra mile and ensure that your visit with us is as enjoyable as it can be. We cater for birthday parties, corporate events, family meals and work nights out in a relaxed and welcoming atmosphere.
Opening Times
Monday - Thursday 8am until midnight
Friday - Saturday 8am until 1am
Sunday 10am untill midnight


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Estimated 2.5 million uprooted by Syrian civil war
An estimated 2.5 million people have been uprooted within Syria by the civil war, more than doubling the figure previously projected by aid agencies.
The United Nations refugee agency announced the Syrian Arab Red Crescent's latest estimate, which a spokeswoman said was still "very conservative."
It came as more Syrian residents fled trouble in the rebel-held border town of Ras al-Ain, which has been subjected to two days of bombing raids by planes flown by forces loyal to President Assad.
"The figure they are using is 2.5 million. If anything, they believe it could be more, this is a very conservative estimate," Melissa Fleming of the UN High Commissioner for Refugees said. "People are moving, really on the run, hiding. They are difficult to count and access."


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Monday, September 16
Willis Case Golf Course, 4999 Vrain St, Denver, CO 80212
Directions to Willis Golf Course:
From I-70- Take the Sheridan Blvd exit and head North to 52nd street. You will drive by the Golf Course on your right hand side. Head East on 52nd Ave to Tennyson St. Turn West onto 50th Ave, and make a left at the fork. Parking will be available at club house or secondary parking on the street.
2:30 pm Boy's Open Race (unlimited -score Top 5)
3:15 pm Girl's Open Race (unlimited -score Top 5)
4:00 pm Boy's Varsity Race (7 runners – Top 5 score)
4:45 pm Girl's Varsity Race (7runners – Top 5 score)
5:15 pm Middle School (2.5K) /Citizens/Community Fun Run (Viking 5K)


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Vikings Work out DT Andre Fluellen
It was obvious to most of us here on the Daily Norsemen that the Vikings failed to find an adequate starting NT during the off-season. And after last week's atrocious offering in Detroit with Kevin Williams sidelined, it's good to see the Vikings scouting other options at NT and doing their due diligence. But, this might be a little too late.


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Wow some good running going on here. Well done.
I did a lovely 45min run this morning. Swim drills tomorrow. Long bike on Tuesday weather permitting.
No racing for me today. I did however have a 44 mile group bike yesterday with the club, followed very shortly by a 5km road race wearing the colours of my running club. That was surprisingly good, with no signs at all of the dreaded dead legs. Amazingly, they delivered 6:32 m/m for the distance.
Today was swim training with the group.
Sigh..... my swim drills don't include toys. I'm learning TI and the only toy they allow is a tempo trainer.
jamie tardi wrote (see)
I could do with doing some t1 training got a duathlon on Sunday and done bugger all transition practise.... It's just finding the time at the moment oh well off for a swim and a ride for a couple of hours as back too work tommoro...
Do some R/B/R/B/R sets. You'll learn to take trainers off at same time as put helmet on. Don't just discard your trainers - you'll need them later!
OrangeCannon - I'm from Near Stansted Airport so not very local to Roding Valley and I'm Stortford Tri Club. Is is you in pirate gear on the results page? Not sure if we are close enough for a ride meet? Are you doing Henley?
Managed to get up Howe Hill on the TT bike today - I'm running a 53/39 with a 12/27 cassette set up ready for Lanza - so it was a little easier. But its gonna hurt the third time round but did hit 43mph on the way down
Good stuff Raf. I did a 32 mile ride this morning and loved it. Got one of my fastest descents too but only 32.5mph. I think I'd scream at 43. The rest of the ride was very slow, but I'm not fretting about speed now, just getting time in the saddle and a few climbs.
Nice training guys
(I think I too would scream at 43 mph )
I did get to 41 mph on my std Specialized Allez on Saturday. Then hit a series of potholes and cats eyes. Scream? No. But I did sh!t myself when I got the front wheel shakes. First time on this bike.
Can I ask what everybody uses for fuel on the bike? I can't stomach gels for 8 hours especially as I'll be having the on the run as well so would prefer some solid food. I tried porridge oat breakfast bars today on the basis that they aren't too sweet but they were a bit dry and got stuck in my throat a bit. I know some people have eaten pork pie - but after 8 hours in the (hopefully) sun?!. My next thought is for mini marmite butties but any suggestions appreciated.
haven't tried it out yet, but I'm going for cheese/marmite butties and cold roast potatoes and probably home made flapjack, and possibly bounty bars
For training I stuck with a High5 gel every 40 minutes. Plus an ice-cream every now and then if hot. Plus a museli bar or two. Each museli bar is about 80-100cal.
For Outlaw I had 2 big museli bars (200 cal each) cut in to 4, a piece each 20 minutes, then on to gels and bits of bannanas when available. Tried 1 gel on the run and couldn't manage it.
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"You really ought to perhaps mind your manners" says Jenny Jones
Greenhalgh and Jenny Jones argue about police numbers. She calls him "offensive" and tells him to "mind your manners" @itvlondon
Yes, sorry @simonharrisitv @itvlondon All a bit fractious. Greenhalgh sits there smirking like a schoolboy. Grrrr ...
One of Boris Johnson's deputy mayors has been involved in a heated exchange over police numbers.
Opposition politicians cast doubt on the mayor's pledge toput an extra 1,200 police officers on the streets.
During a debate at City hall, the Deputy Mayor for Policing Stephen Greenhalgh clashed with London Assembly member Jenny Jones.
Mr Greenhalgh: "Your line of questioning indicates your lack of understanding of the figures we are presenting."
Ms Jones: "Well I think that your answer is actually a complete fudge."
Mr Greenhalgh: "You clearly don't understand the figures."
Ms Jones: "Mr Greenhalgh you're very offensive and I'd like to say that you really ought to perhaps mind your manners."