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cropping (III)
In the images that follow, I once again cropped to reposition the horizon. I think the placement of the horizon in the initial picture was better than my previous image because I had not placed it exactly in the centre; but there was still room for improvement.
In both the crops, I opted to follow a slightly panoramic approach; and also removed the half boat on the right edge of the picture.
In the first crop, I found myself keeping the weight of the image towards the bottom of the frame and allowing for more sky to be retained. This meant that I lost some of the reflection that had originally encouraged me to take the image. But I did feel there was a visual zig-zag pathway with the viewer seeing the darker boats at the bottom left first and then moving to the brightly-lit huts and then to the boat in the distance on the horizon.
In the second crop, I opted for the opposite approach, cropping the sky and retaining more of the reflection. I think in this image, the viewer would more than likely follow the reflection to the huts first and then notice the dark boats on the left. At this stage, I prefer the first crop, think there is too much sea in the second crop.
I also noticed that in the first crop, I had placed the huts on the intersection of the rules in the lower third of the image. As I had been concentrating on the position of the horizon and removing the part boat on the right, I was not completely aware of this until I looked at the grid as the image appeared in this document. Similarly, in the second crop, the huts were placed on the intersection in the upper third. I'm not sure if this was just a lucky coincidence, or if something good had happened in my head when I took the picture!
It was not my original intention, but after writing this note and looking at the images, I found myself wondering what would happen with a more extreme panoramic crop, where I removed much of the sky and the foreground water. In this crop. In looking at the result, I felt that the darker boats had become too prominent in the image.
Of the three crops, once again I tend to be drawn to the one that has the larger sky area.
This cropping exercise was interesting. I think that possibly it will help me to think more when I am actually taking the shot — a little more of in-camera cropping as opposed to cropping after the fact. But then, I am also aware that the 3:2 constraint of our image sensors means that very often we will have to compose a shot, knowing that we may wish to crop out certain areas in post-production.Read More »
cropping (II)
With this image, I went back to an older image of which I was rather proud; and wondered whether it would benefit from a tighter panoramic crop. I always thought that there was a little too much sky and water. Now I know I must try and position the horizon better within my images — again trying not to split the image by placing the horizon firmly in the middle.
I opted to follow the same procedure as in the previous exercise, using the 'Rule of Thirds' as an aid when cropping the image. I also removed the distracting building on the left hand side of the image.
There are two alternate crops, one giving more weight to the sky, whilst the second emphasises the foreground sea and the jetty.
I prefer both crops to the original; and although I like the way the extended jetty in the second crop leads the eye into the image, I think that the first crop is my final preference. There is more interesting detail in the sky, and this gains prominence in the first crop.Read More »
cropping (I)
When I took this photograph of Maddy, I tried to implement a number of the skills I had hoped to have gleaned from this module. Firstly, I tried not to bulls-eye her in the frame; and to place her on the thirds within the image. I also opted not to shoot her vertically as this would have been my normal approach as mentioned previously.
I was pretty happy with the results, but then decided to see if a definite 'Rule of Thirds' approach would improve the image.
Using the grid vector tool in Photoshop, I cropped the image so that a horizontal third ran through her eyes; and a vertical third through her body.
I know that I must use these rules as a guide; and not be hidebound by them; but it was interesting to see the result, although I did wonder whether she looked better smaller in the frame. I have been criticised because I do not leave sufficient space within the frame.
Read More »
vertical and horizontal frames
In this exercise we were asked to find twenty situations and shoot all those images vertically. The purpose was to not only force us out of the habit of shooting most things horizontally without thought for the subject or composition. It was also to make us aware that although certain subjects may be more suited to either a vertical or horizontal approach, most subjects can be captured in either orientation, albeit with varying degrees of success.
One of the questions posed in the project was whether I would look specifically for tall/vertical things to photograph – but I did not. But still tend to place objects lower in the frame when I was shooting vertically.
Often, without much thought, I choose my camera orientation according to the type of subject matter and not necessarily its dimensions/orientation. So whereas I think that part of the purpose of this exercise was to become more familiar with using our cameras portrait orientation, for me it was slightly different. I tend to be a horizontal for landscape; and vertical for people type of person – without applying much thought to it; and this was why I found the exercise interesting.
There were a number of images which I preferred in what would not be my 'normal' way of shooting; for example, the shot I took in St Mark's Square. Normally because the subject was a building, I would have shot it in a landscape orientation and tried to get as much of the building in the frame as possible. However, because I had to shoot it vertically first, I opted not to let the building take up too much of the frame – but enough so that it was obvious where the shot had been taken. What really appealed to me when I looked at the vertical was how strong the diagonal lines were in the image. Maybe I should have cropped the painted diagonals out – but I liked them because they contradicted the other lines in the pavement and the lamps.
Similarly, in the images depicting the 'Bad Timing, Lamb Chop' sculpture, I found myself preferring the vertical image. In the horizontal image, the sculpture becomes part of the landscape and is not necessarily the focal point of the image. I find the two blue vertical poles distracting as they seem to compete with the vertical cigarettes in the sculpture.
I prefer the vertical image because it removes the poles, allows the sculpture to become more prominent within the image. I think it could have been slightly lower in the image. I see a more logical visual pathway through the image from the chair to the banner board, and then to the reflections which now show in this vertical composition. In the horizontal, my eye goes from the sculpture, up to the banner and then down to the poles.
Found that changing my orientation to vertical for something that I would have normally shot horizontally, did have an impact on what became the focal point of my image. In the vertical image on the gondolas in the foreground, I deliberately choose to throw the background out of focus, but for the landscape image I opted to focus on the buildings in the distance and let the gondolas blur by using a longer shutter speed and hoping that the movement of the water would introduce some blur.
Having found there were surprise images that I actually preferred in the vertical – I also found a number of images, for example the Prince of Venice boat, the metal bridge images and the view across the water with the buildings in the distance – where I still definitely prefer the landscape version. With these images in the vertical, I found that I was getting too much sky and foreground.
Regarding the image of the girl in the market, the vertical image tends to be my normal approach when people are the subject of the image, and in this particular situation, I do not feel that it is necessarily the right approach. I am happy with her positioning within the frame; and with her pose, but feel that it does not show enough of her surroundings. I find the horizontal image more appealing in terms of the content – although I wish she had not changed her pose. I like the fact that her positioning within the frame gives her somewhere to 'look' instead of looking directly out of the image in the vertical. I also like the diagonal lines formed by both the trays in front of her; and the shelves behind her. They seem to follow the direction of her gaze; and I think lead the eye through the image.
And there were images that I would have automatically have shot vertically and still feel it was the better option, like the image of the peppers in the market. The vertical lines of the peppers suit the vertical orientation of the image, while the horizontal image seems to be just a mass/mess of colour.
All in all, an interesting exercise which hopefully will force me to reconsider my natural tendency to shoot people vertically and landscapes horizontally!Read More »
positioning the horizon
Feel on more solid ground again after the balance exercise. In this exercise we were to concentrate on the placement of the horizon within the frame when composing an image. We had to find a viewpoint with a reasonably interesting landscape with a clear and unbroken horizon. Little concerned about my selection. I opted for the tree because I thought it gave some impact to the scene; and it's positioning within the frame would also influence the positioning of the horizon. Once completed, we were to arrange the images and write a short comment as to the effect of the horizon placement on the image.
image 1
In the first image, I have placed the horizon as high in the frame as possible without cutting into the tree trunk. The image is actually more successful than I thought it would be at time of shooting. I was drawn to the scene because of the tree trunk and because of the sky. I also have a natural — maybe borne of habit — tendency to place objects with weight lower in the frame.
However, in this case, if feel the foreground leads to the trunk and then to the sky behind. If the foreground had been more interesting, it may well have been a decent image. Oh; and if I had placed the tree trunk less central horizontally. So focussed on the horizon, that other concerns went out the window, once again. My only regret about having the horizon so high is that a lot of the detail in the clouds is not included.
image 2
In this image, the horizon is slightly lower, but still above the centre, possibly closer to a 1/3 division. I am actually finding the first image more pleasing than this, which is strange because I am so often forcing myself to remember the Rule of Thirds when placing horizons — otherwise they end up plumb in the centre.
image 3
Here the horizon has been placed about in the centre of the vertical; and I think it is the least pleasing of the images thus far. Having a stage of looking at the previous image, and deciding that I prefer it to the one that I am commenting on. But that might change. Guess the only plus here is that more of the sky is coming into the image; but attention is split between the foreground, the sky, the tree trunk; and the aeroplane.
image 4
With image 4, the horizon has moved down to the more traditional 1/3 from the base position. This is actually the shot that I would , more than likely, have shot from habit — or maybe I would have placed the horizon a little bit lower — but not as low as image 5. Actually, now when I look at it, I am starting to prefer the horizon placement in image 5. Thinking that in 4, there is still too much conflict between the foreground, the sky and the tree trunk. If, in my mind's eye, I remove the tree trunk, then I am happier with image 4.
image 5
Horizon is far lower than I would ever have placed it!! Yet, in many respects, I am rather happy with it. I had moved slightly back from the previous images, which is a pity — because of the now visible sandy foreground. But, think this image is cleaner than the preceding image. The foreground is less intrusive, as is the tree trunk — which now directs your attention to the sky as opposed to being part of the sky in image 4.
image 6
Here I think the horizon is far too low. Image 5 was probably the most extreme that I would have been happy with.
Surprise of the day was the fact that I liked both image 1 and image 5; where I had placed the horizon more extremely than I would have normally. Tend to be a thirds type of gal. Also found that it seems easier for me to try different horizon positions in a vertical as opposed to a horizontal orientation. So often when I do a horizontal, I tend to centre it, and then need to crop afterwards. Will in future take more shots of a view and try more horizontal positions. This might help my eye when designing images — especially landscape type images.Read More »
finding balance
In this exercise we had to identify balance within images, this balance could be objects, lines, tones or colour. We had to identify where we saw the balance by using a weighting diagram as shown in the images alongside.
Really had problems finding balance in my images — maybe because there is no balance, or because I don't really understand the concept, or what I am looking for.
I could find balance in very contrived images — like some of those included here, where there were symmetrical objects, or even if the objects seemed to be mirrored — doors and windows. But once away from that, I really battled.
Also wondered whether balance was easier to find in horizontal pictures, rather than in vertical pictures? And then, I'm really wondering what the difference is between balance and symmetry.
image 01
Think this works for balance, in a number of ways. The size of the larger wheel intrudes further into the image than the smaller wheel — both horizontally and vertically. Also the coloured backgrounds work in a similar manner; and they also hold their opposite object — the lighter background holding the darker wheel; and the darker background holding the lighter wheel.
image 02
In this image I think the balance is provided by the two white shapes — the girl in the dress and the similar shape, colour and size of the torn part of the dress which is trailing behind her. But worried that I am looking for, and confusing the concept of symmetry, with balance.
image 03
This is balanced because the larger object, the man and his cart is closer to the centre of the object than the other man. Also think that the contrasting height of the two objects helps; with the smaller object (width) being taller than the wider object.
image 04
Not totally sure about this one. Visually I would say that they are balanced because of the symmetry between the objects — the two windows either side of the door; and also because of the balance in the colours — with an very similar amount of both green and yellow. But then I look at the different spacing between the elements as indicated by the balancing scale above; and I am not sure. Then I think, if focus on the fact that the smaller visual mass occupied by the window on my left is closer to the edge of the frame than the mass of both the door and the window on the right, does that make it balanced?
image 05
I want to say that this is balanced, but I am finding it difficult to explain why, and not sure if I can illustrate it on the balancing diagram. For me it is all about the tones within the image first; and placement of the window second, even though there is nothing on the left of the image to balance with the window. The upper darker area is roughly twice as larger as the lower lighter area; and it is this size discrepancy which seems to balance the two major areas within the image for me. If they had been equal, it would have looked unbalanced as the whiter area would have seemed too large.
image 06
Again, this image is balanced in a number of ways. The diagonal stairway bisecting the image divides the image into two semi-identical areas, there is also areas of light and shade; and the objects in horizontal lit area, balances with the darker objects in the vertical area.
As mentioned above, I did find this exercise rather difficult because I was not entirely sure what I was looking for; and whether the images I selected actually met the criteria of 'balance',
I also found it difficult to sketch in the diagram when elements in the image were not horizontally arranged — like my last two images. Images that contained simple and very visible elements such as the wheels and the dress alongside were far easier to assess and comment on.
Would appreciate some guidance on this particular aspect; and whether what I have seen in the pictures is actually balance.Read More »
focal lengths and viewpoints
In the previous exercise, the purpose was to note how changing focal lengths narrowed the field of view, with the position of the camera remaining pretty static throughout. In this exercise, the object was to show how changing viewpoints when using different lenses will also affect the image — particularly when changing between wide-angle and telephoto lenses.
The subject I chose was my long-suffering partner, who is often a reluctant subject when I need to check something out with a camera or lens. I knew before starting that wide-angle lenses — when used close-up on people can result in caricature-type studies with distortion of features or body-shape, but guess that was half the fun!
lenses used
The first shot was taken with a 70-200mm telephoto set at 200 mm; with the close-ups being taken with a 16-35mm wide-angle set at 16 mm. The aperture stayed constant at f/8. I kept the aperture constant because I wanted to see the different depth-of-field produced by the two lens.
Image 1 was taken at 200 mm at a normal eye-level. There is no evidence of perspective distortion; and the perceived depth in the image is flattened. The distance from the subject to the tree behind on camera-left looks markedly less than what it looks like in the wide-angle lenses. The greenhouse, and the tree on camera-right have been rendered pleasantly out-of-focus which is what I would expect to happen with a telephoto lens.
With all three of the wide-angle lenses, there is both an increased depth-of-field; and an increased sense of depth between the objects within the frame. The distance from the subject to the tree (camera-left) seems markedly more than that in the telephoto lens. The angle of view is increased with more of the surroundings — for example, the shed (camera-right) becoming visible. The ground no longer seems flat — especially visible in images 2 and 3 —where it seems to rise away from the camera. The lines in the grass are more visible; and seem to converge.
In all the wide-angle shots, there is a marked increase sense of depth with the image, with greater space seeming to exist between the objects. The depth of field is also noticeably greater in the wide-angle lens.
Also noticed in other images that the wide-angle lens tended to accentuate the clouds — what minimal clouds there were — and consequently added to the drama of the sky.
use of wide-angle lens in fashion
Although I was aware that using a wide-angle lens on the subject, at both the distance and vertical position that I was using it, would inevitably lead to a non-sympathetic distortion of the subject, I am aware that fashion photographers often use a moderate wide-angle lens when shooting vertical full-length shots of models. They use the perspective change to increase the perceived length of the model's legs and height.
The increased sense of space and depth of field in a wide-angle lens is very suited to landscape shots where we want to increase this sense of space; and not really suited to people as it distorts characteristics when used at extremes.
The telephoto is useful for flattening depth and also for extracting the subjects from its surroundings. [Having assessed these photographs, I wish I had continued with the series, shooting wide-open (f2.8) and stopped down to f16 or f22 to see the difference between the depth of field on the two lenses at those settings. I had anticipated some of the differences in perspective, but had not really anticipated the difference in depth of field.]Read More »
understanding focal lengths
This was an exercise to study the effect that the focal length of the lens — that as we change lenses from one focal length to another — its effect on the amount of view we can take in. The objective was to find a view that was open but which had some details in the distance. Once having found that, we were to tripod the camera and take a series of photographs in the same direction with the different lenses and/or zoom values available. We were allowed to change composition slightly if we felt it would benefit a particular image.
choice of location
I had chosen in Great Windsor Park for this exercise because I remember being stunned by the grotesqueness as I had driven to Windsor for work some time ago; and had made a mental note that these would make a great subject.
the weather does not play ball
Knowing that my subject would be the trees and that it was likely that I would have a fair amount of sky in the image, I had waited about a week to go and do this project . Days passed with noncompliant skies — either pure blue sky with no clouds at all, or just boring, completely overcast skies. I wanted clouds, big and bubbly, to add interest to the image; but in the end, knowing that my deadline was approaching, I just had to pick a day and go. I scheduled my visit for late afternoon, hoping that some raking, low side-lighting would add interest to my subject, but except for one brief moment , the lighting remained flat and boring. Even that image was not that great in terms of lighting, but at least there was some light and shadow evident on the tree trunk. Understand the plight of being a landscape photographer a little more!
the wrong time of year
Also learned from chatting to someone in the park, that the best time of year to photograph these trees is in autumn when the leaves have begun to fall, or in winter when they have fallen. And the best time of day, is either early morning when the mists have not yet burned off; or on nights when there is a full moon. So another visit is planned — hopefully another exercise or assignment will lend itself to this subject!
lenses used
I assembled three zoom lenses, and focused on a large tree trunk in the distance. I took a fair number of images; but the ones that I have selected correlate most closely to the standard lens lengths.
16-35mm f/2.8
24-70mm f/2.8
70-200mm f/2.8
changing composition
The images started off being landscape orientation with my target tree stump centred in the image. However as I zoomed in, it became necessary to switch to a vertical composition to keep all of the tree in the frame; and keep some interest in the photograph.
It is evident that by remaining in the same position and then zooming in on the image with different lenses, that the viewpoint becomes narrower and narrower. One also gets a different sense of the space in the images.
The wider the angle, the greater the sense of space and depth within the image; and surprisingly for me, a greater sense of inclusion of myself within the space — if that makes sense.
With the zoomed in images, the objects within the image seem flatter, the space relationship between the objects seems to diminish. But also there is a sense that I am an onlooker and no longer involved in the scene.
another time
These trees offer an interesting potential — with the leaves gone and more dramatic skies; and it is definitely a place I will revisit later in the year—as long as the flasher is not there again! But that's a whole another story!Read More »
a sequence of composition
Not much of a people shooter — there was always a chance that this project was going to take me well and truly out of my comfort zone. I always feel very conspicuous when I have a camera in my hand — whether at private functions or in public — especially when the aim is to photograph people. Came to the market with the express purpose of taking photos of Venetians doing what they traditionally did in a traditional fish and fresh produce market — but it was not long before the produce became the subject. Is it okay that although I stayed at the market, the subjects in the image changed throughout this exercise?
lens choice
I opted to take just one lens to the market — 135mm prime, thinking that it would be enough of a telephoto for me to shoot and be inconspicuous. In retrospect, would have preferred a long telephoto zoom which might have allowed me to work from further back — but I would have stuck out with the big lens. But I am really trying to get used to using prime lens and moving my feet as opposed to just staying in one position and zooming.
technical considerations
Shot under a large red tarpaulin, and the area was lit with mostly tungsten lighting — trying to set a white balance for the images was really difficult. They were either too blue, green or red; which made the people look odd and the fish looked lifeless.
It is also interesting looking at the way my shutter speed has reacted to the differing light conditions. I am shooting aperture priority; and changed neither my aperture nor the ISO at all during the shoot. Also I shot with Evaluative as my metering mode throughout; which meant that in some of the photos which were backlight, the subject of the image was under-exposed; and required further processing in Lightroom.
Really want to get more confident shooting manual; making more decisions myself instead of leaving it to the camera Find it difficult to keep track of all the technical aspects as well as paying attention to composition. Hoping in time, that I will take more control over the actual image.
overall conclusion
A really interesting exercise. Was I successful — not totally. Not sure if it was okay that I changed subject as I worked through the market, but the prospect of concentrating on one stall, or person, would have been too intimidating for me.
It is definitely something that I will do again — another market more than likely; but think I will try and get the courage to ask the owner of a stall if he minds if I photograph for a while.
My absolute favourite shot from here — the fish — nothing to do with the people in the market then! But, also like the last images where I moved in closer and captured some of the 'not expected' moments at the market and details with people in them.
Learning that I like abstracts and details more than the pull back shots, but must keep a balance. Really learning so much looking at; and dissecting my images, hoping it shows in progress.
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object in different positions in the frame
For this exercise, I chose a small bench underneath a tree, and in front of a hedge, in Windsor Great Park. The objective was to create a series of photographs where the bench at different positions within the frame— central, left and right, and towards the edge, which I am learning is called eccentric — and then to see the effect the positioning had on the composition. We had to rate the images in order of preference, explaining why some seemed to work better than others — specifically commenting on the relationship between the subject and the background.
The image shown below is the one that I rank best out of this set. Although I do have a query—concerned that the bench is not in a large, even background and that the relationship of the bench to the tree is actually dictating the composition more than it should for this particular exercise?
The reason I rank this one the best is both its position in the frame, the slight angle of the bench into the frame, and the relationship of the bench to the tree on the left hand side of the frame. The bench itself remains the focus of the image, but by positioning it with the tree just into the frame and eliminating a bit more of the foreground, the scene seems to 'hang together' better for me.
I think that if the bench had been slightly lower in the frame; so that more of the overhang of the tree had been included, it would have been a better image, looking more like a place of refuge or shelter.
In Image 2, the bench is too high in the frame, with too much unnecessary foreground, although one could suggest that it provides a pathway through the foreground to a place of rest.
Image 3 has a similar problem, with even more foreground.
Positioning the bench on the left in Image 4 seems wrong because of the angle of the bench pointing out of the image.
And with image 5 the bench is bulls-eye centre, which makes its just a picture of a bench in the centre of the frame. It has no relationship to the rest of the background.
One thing that I am finding with my images, is that I am happiest when I position the element of main focus lower in the frame.Read More »
fitting the frame to the subject (II)
After taking the previous four shots, we were required to find alternate crops of the final image from the previous exercise. In all honesty, I don't think that my previous shots, were as successful as they could have been, so I am not holding out much hope here. The first, rather unambitious crop at a 3:2 ratio, sought mainly to remove some of the residential building, but did little to improve the image.
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In the second crop, I have still maintained the original proportions, but opted for a vertical crop, which surprisingly, I actually prefer to the original. Somehow, because I had not included sufficient of the mosque for it to contribute to the image, it seems better to remove it altogether?
The third image is by far my favourite. It may be the novelty of a panoramic crop, but somehow by removing the excess sky and foreground, the surrounding buildings — left and back, seem to contain the front building better, and tied the smaller building with the mosque? Ideally, I would have liked some more space on the right of the white building, but that was not possible, given the unrelated buildings that I was trying desperately to eliminate from the image.
fitting frame to subject (i)
In this exercise, we were to experiment with the amount of space that a subject takes up in the frame. I chose to photograph the traditional washing station in the grounds of the Selimiye Mosque, Nicosia. All mosques have rules regarding the cleanliness of worshippers, although not all mosques are able to provide dedicated areas for this practise. My first shot shows just the ablution block situated in the square alongside the mosque. As instructed in the exercise material, I took the shot without taking too much time about the composition. Looking at it now, It is pretty much a holiday snapshot of a building. Only the mosque's perimeter walls are evident; and so there is little to relate the block to its actual purpose.
Irrespective of the fact that we were told to take the shot without placing to much emphasis on composition, I can see now that my whole approach was wrong. Should have repositioned myself at least — so as to eliminate the residential building on the right; and included at least some of the mosque building on the left — needed to have created a 'sense of place' for the image to have any sense. As it is at the moment, it is just a photo, and someone looking at it does not know its purpose — because of the exclusion of the mosque wall; and because the detail of the inside of the building is not evident because of the distance from which I have shot.
In the second shot, where the image fills the frame, more of the detailed architecture and patterning becomes apparent; and the seats and taps can be seen. This makes the purpose of the building more evident. A slight improvement on the previous image, in that by changing position, I have managed to nearly eliminate the residential building from the first shot; and I seems important to show the open entrance to the building.
In the third image, we had to close-in so that none of the edges of the subject, were visible; and photograph just a part of it. I think this is one of the more successful images as the detail shot now shows the purpose of the building. I also like the fact that I have chosen to shoot the open entrance, as the close crop has, to a large extent, eliminated the visual clutter evident in the previous two images. More than that, what appealed was how clean the seats and washing area were kept, against the background of the peeling paint on the ceiling.
In image four, the instruction was for the object to fill a quarter of the frame, or less; and for its surroundings to be stressed. Partially successful, in that I included part of the mosque wall on the left of the image; but I don't think I really succeeded in stressing its surroundings.
If I had moved quite a bit more to the right, I may have been able to eliminate the residential building mentioned before, shown more of the mosque walls; and also been able to illustrate the contrast between the size of the ablution block and the large mosque. Possibly may have been a day to bring a wide-angle lens. And the time of day at which I was shooting was not the best for the harsh shadows in the foreground.
What I found interesting about the exercise, especially the fourth instruction, was the stressing of the surroundings — the creating of a 'sense of place'. With too many of my images, I shoot too close and eliminate as much of the surroundings as possible. Have a 16-35mm lens which I so seldom use; and which I think I should try and use more often.Read More »
can't pan, won't pan…
An afternoon sat on the roundabout in Trafalgar Square, handheld camera with limited success…although in retrospect — they seem to be the most successful.
A few hundred shots later, taken from my hotel room window in Venice, with tripod, without tripod, different shutter speeds, different apertures, different days — and a holiday going down the pan!
An afternoon in the garden with a tripod and panning head, in a controlled situation with instructions being delivered to the subject.
It is now a universally accepted truth that Vicki cannot pan; and not for a lack of trying. Maybe I'll try again in the future, but this exercise so got me down that I very seriously considered throwing in the towel. I was really frustrated and dispirited by this exercise, and did not know how to proceed. I think the more I got obsessed with my inability to pan successfully, the more frustrated I became, and the worse my attempts became.
No matter how many options I tried, I just never seemed to be able to pan smoothly — even when on a tripod with a panning head. The subjects were always blurred, although in some instances, not as blurred as the background. I have a new found respect for all photographers who have somehow managed to master this 'dark art'!Read More »
fixed position with shutter speeds
In this exercise, we would investigate how shutter speeds would either freeze motion, or allow motion to be recorded in an image. A series of images were shot, with the subject walking across the frame from left to right/or right to left. The camera was fixed on a tripod; and various shutter speeds were used to record the action.
1/10 sec
None of the motion is frozen — except for the subject's left foot which is firmly placed on the ground. The evidence of motion is such that I am able to 'see through' the subject's shirt to the foliage behind. The blurring gives a sense of speed and motion, yet the subject was only walking comfortably.
Background in focus, subject ghosted because of motion. Extreme ghosting suggests rapid movement, which I know was not the case.
1/15 sec
With subject in mid-stride, there is a sense of motion throughout the body , although the subject does not seem to be moving as fast as in the previous frame. There is slightly less ghosting, but I am still able to see through the shirt.
1/30 sec
Back foot is clearly in focus as it is one the floor, the rest is blurred by the motion. However, I am no longer able to see through the subject to the foliage behind
1/60 sec
Motion is still visible, but there is less evidence of ghosting. The subject has become solid. The feet show the least amount of movement in this image.
1/100 sec
Focus is not good in this image, but I am still able to make out movement, especially in the leg away from the camera and in the swinging arm. Ghosting in the body has disappeared.
1/125 sec
Another image where the focus is not good, but I need to retain image for the purpose of study. Motion is even more limited especially in the body, but it is evident in the moving leg (closest to camera) and the arm away from camera.
1/250 sec
Very similar to above; with motion nearly stopped especially in forward foot which is placed on the ground. Hind foot, which is lifting, still shows motion.
1/320 sec
Last shot taken in this set and the body is stopped in mid-step. Possibly a little motion still detected in the feet, which would have been stopped if I had gone to 1/500 sec.
Read More »
focus at different apertures
The images illustrate the effect that changing the aperture has on the depth of field within an image; and how the increased depth of field can be a distraction in busy scenes.
image 1
In the first image, the lens has been opened up to its widest aperture — f/2. Consequently the depth of field is very shallow; and to compensate for the amount of light being allowed in, the shutter speed is extremely high. The pleasant thing about a narrow depth of field is that it helps to eliminate, or at least lessen the impact of, distracting foreground and background details.
image 2
With the aperture stopped down to f8. the depth of field has increased fairly substantially; and elements such as the Breitling billboard in the background are becoming recognisable and distracting. As would be expected, stopping down has also had a dramatic effect on the shutter speed which has dropped from 1/6400 in the previous shot to 1/400 in this one.
image 3
With the lens completely stopped down to f/32 most of the image is now in focus — excluding the tourist who was moving. The 'G' in the Breitling sign, the brown awning, the water bottle, bird and even the statues distract from the line of the bridge. As noted before, stopping down has also had a marked effect on the shutter speed which has now dropped to 1/30 consequently recording the movement of the tourist on the bridge.
In my opinion, the effect of the large depth of field is unattractive in this situation because the image looks like a snapshot. This is not to suggest that one must always have a limited depth of field, but that there are definitely times when a more shallow depth of field will work to the photographer's advantage to lesson the impact that nonessential elements have on an image.
apertures and my camera
Before starting the course; and doing these particular exercises on aperture; I had a very simple understanding of aperture and how it would affect my photography. I knew that if the light was low; I would have to work at a wider aperture to let more light in; and conversely, in strong situation, I would stop down. Similarly, I knew that if I wanted a shallow depth of field, I would open up; and stop down if I wanted a greater depth of field.
What I did not know; is that digital cameras do not conform to film cameras when it comes to available aperture options — that technically speaking f/3.2 was not a 'real' aperture, but rather one made possible by digital cameras.
I had heard about how changing aperture one stop either way would either halve or double the amount of light; and thus impact on the shutter speed; but had never really tested it. From these images, it became immediately apparent that when I used traditional aperture values, that a change in an aperture setting reduced the light by exactly half; and consequently doubled the exposure length/shutter speed in order to achieve the same exposure. For example, in Image 02, where I used a 'digital aperture' value; the shutter speed is neither twice as long as that of the preceding image; nor half the duration of the following image. If I had shot at f2.8, my shutter speed would have been 1/3200.
My camera (Canon 5D Mk II) does not seem to offer full aperture settings, but options of 1/3 or 1/2 increments. I have left it on 1/3; but know in future I will have to move the dial 3 times in order to stop-down or open-up a stop.
Similarly, I have noticed that the ISO speeds were also in increments, but have since changed that to be what I understand to be full increments.
I am interested in dabbling with HDR photography; and what I have coincidentally learnt here whilst looking at focus; and thus understanding more about the relationship between aperture, shutter speed and SO will be helpful
focus with a set aperture (ii)
This set of images is a repeat of the previous exercise where I concentrate on focus with a set aperture. These images differ from the previous in that the content is not as uniform throughout the image.In addition to the brick detail, there is also the background sky, spire, advertising board for Breitling watches; and other building details. Prefer these images to the snail images; as there is not such an amorphous mass, and I think that the diagonal line formed by the bridge helps to lead the eye through the image.Read More »
focus with a set aperture (i)
In this exercise we were to become familiar with how a wide aperture affected our depth of field in an image; and also how this affected our perception of the image when the in-focus area was rendered in different parts of the photograph. Unfortunately, not sure if the photos I took fulfil the brief accurately because I did slightly move between the shots — this was to try and maintain some interest in the photos by focusing on snails that were still alive and moving as opposed to just seeing still shells. Consequently, I have another exercise which I will also include here. I chose to include the snails, because I think that with the subject matter, the different areas of focus change the image quite substantially.
image 1
In this particular image I focused at the back of the snails, and with a wide aperture was able to render the foreground out of focus. I find the effect visually disconcerting because I think that with an image like this where the content is essentially the same throughout, it is not logical to have the foreground out of focus and the background in focus.
If the subject matter had been different and there was a single person or object of interest at the back of the photo, then having the foreground out of focus would have made sense.
image 2
Following the brief, I then changed my area of focus to a slightly lower area of the image where once again a snail was moving and I liked the symmetry of the two shells that are in focus on the left of the image.
Although the area of focus has changed slightly, this image still suffers from the same problems as Image 1; where that large out-of-focus area in the foreground detracts from the image; and does not lead your eye logically through the image.
image 3
In this final image of the set, I have moved the area of focus to the lower third of the image, which I think suits the image far more than the previous two. The live snails are now more immediately visible; and the eye is drawn to them and then through to the back of the image.
Having said that, I am not sure whether there is still too much of an out-of-focus area in the foreground and wonder whether the image would benefit from some cropping to remove some of it? What I do like in the image is the fact that the in-focus area of the picture seems slightly higher than the shells behind; and there is a sense of fall-off behind the in-focus area; which I think tends to give the image more of a 3-dimensional as opposed to 2-dimensional feel.
It also seems more logical, in this instance, to have what I perceive to be the 'weight' of the image closer to the base of the image.
Although it is not necessary to always have the in-focus area at the front (or lower portion) of the image; I think that in this instance—where the subject matter is pretty constant through-out—the comparison of the images makes it seem the more logical choice.
I think that having the focus in this area provides a logical pathway into the image in that it gives more weight to the base of the image; and then allows the eye to travel through to the back of the image.
Having the snails in this lower position and in focus, draws one's attention to them immediately as opposed to the snails in Image 1 and 2, where one has to get passed the large mass of blurred material before noticing the snails. In Images 1 and 2, one has to look more carefully at the image to make out what the content is, whereas I think that in Image 3, one is immediately aware of the content.Read More »


text:
I'll enumerate the exact values for simplicity. =)
Single Disease:
Single Disease loses very little on AoE but loses a lot now on single targets because of the ridiculous threat on IT, combined with the same marginal losses from BS, and possibly whatever glyph you could've used in place of HB.
- Ramp up much faster but to a lower cruising threat on single targets, *very* minimal loss on multiple targets (~4-6% from losing Blood Plague).
- On single targets you lose 12.5% OB dmg, 25% BS dmg, and the dmg from PS+Blood Plague, and the dmg/threat from IT.
- Gain one more OB in every 2 rune sets (if you OB on FU pairs that is a 33% increase in OBs fired), which in turn can produce more Rime procs.
- Here Glyph of HB enables this by maintaining your disease without having to use IT, though this is *far* less appealing now than when the guide was originally written.
Double Disease by contrast means you get harder hitting OB/BS, and more disease damage. That can really add up on the single targets.
To answer your question from there, you *can* use the Glyph of HB with a double-disease method, but it is rather less important, and with the threat value of IT now it is really just an insurance policy to be sure that your Frost Fever is always up. You'll almost certainly get more raw threat value from most any other glyph.

subset: commoncrawl


text:
Félix Vallotton, Nu couché sur un tapis rouge, 1909
Figure féminine Janus surmontée d'un avion, Yoruba, Nigeria, vers 1950.
Gustave Courbet, Paysage d'hiver, La gorge aux loups, 1870 (?),
Devoted to Divisionism, the Pierre Arnaud Foundation's first winter exhibition highlighted how painters in a same artistic movement branched out to explore unique individual ways of painting.
The second exhibition in the winter cycle presents the many aspects of Realism which can be seen as a nexus of somewhat contrasting influences.
With each reference to Realism, all manner of adjectives are associated with it such as poetic, social, idealized, allegorical, committed or utopic Realism …
At a time marked by keen antagonism between Romanticism and Classicism, Realism opened up new pathways by evoking reality without idealizing it and by focusing on political or social topics. However, Realism is not necessarily about mimesis.
Artists were not slavishly imitating nature but, as an emblematic figure of the movement Gustave Courbet pointed out, they were seeking to "express the mores, ideas and appearance of their era […] by highlighting its distinctive character". The aim of this exhibition is to focus on the fundamental ambivalence of pictorial Realism constantly swinging between idealism and naturalism, protest and reaction, modernity and melancholy, genre scenes and the historical genre. Works by Gustave Courbet, Ernest Biéler, Albert Chavaz, Rudolf Schlichter, Mario Sironi, Gustave Jeanneret and André Derain will shed light on all the various shades of this multifaceted movement.
Gustave Courbet (1819-1877), Paysage d'hiver, La gorge aux loups, 1870 (?),
The Pierre Arnaud Foundation's second summer exhibition will highlight the deep relationship Western and African arts have built up over the centuries.
Since medieval times, Europeans have set up trading posts up and down the coast of Africa, providing welcome ports of call on the route to India which fostered trading in European fabrics, glass beads and metals for carved African objects and ivory.
However, it was not until the latter half of the 19th century that Europeans truly grasped the full extent of the wealth of the African continent and embarked on systematic colonization. Exploration of the vast inland areas involved the English, French, Belgians, etc., in a veritable race against time. The army would march in first, followed by the missionaries, scientists and merchants. This enthusiasm for Africa could be seen through the prism of the Great Exhibitions at the time and its influence was omnipresent, especially in art.
The exhibition presents works ranging from the 17th to the 20th century by European 'Africanist' artists as well as African artists. White and black would watch, discover and admire each other … offering their own view of the other and his characteristics: physical features, regalia, accessories, etc. The paintings, sculptures and photographs displayed show how, rather than revealing mutual influences, African and European arts enriched one another to generate new forms of expression.
Plane and "janus" figure, Yoruba, Nigeria, about 1950.
© Collection Alain Weill


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Perfect! Really great work :)
The shape of this coat is pretty cool! Kind of boxy but not too much. Anyway it's very nice.
Gorgeous! I love everything about this shirt. The silhouette, the fabric, the fit.. it's so lovely.
My black pleather jacket is a must-have! I don't know how I got along without it…
This is so pretty :)
It looks nice and super comfortable! :)
Thanks so much! It's one of my favorite skirts :)
This great tutorial helped me create the patter…
This is one of the cutest swimsuits I've seen!
This is beautiful! The last picture took my breath away
My traced patterns are kept in binders, organised according to the type of garment. I keep the or…
I love the whole look :)
Gorgeous! l I'll fall in love with almost any wine-colored dress but yours is really beautiful.
Gosh I love the open back! Nettie suits you well :)
I love the print, it makes the coat so cool and unique!
I'm glad you were featured because I never noticed your lovely projects.. and it would be a shame…
Blake Lively's Gucci dress is by far my favorite.. wow!
Happy Birthday! I love this outfit.. my question is, why make culottes and not a skirt? ;)
Wow, you're quick! Cute dress, and I like how you edited the second picture _
I love special little details in clothes! Great job :)
Great dress! The stripes going in different directions make it interesting, and I just love how t…
So pretty! I'm thinking about sewing my prom dress but I don't know if it's worth all the effort …
Cute dress, the beaded details make it so pretty :)
Backstage Report
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text:
When Catoosa County Sheriff Phil Summers leaves his position to his successor on Dec. 31, he will head back to where he began his career.
Summers, who is retiring after 22 years as sheriff, has taken an unranked deputy job at the Walker County Sheriff's Office in the court services division, where he hopes to finish his law enforcement career away from the stresses of being sheriff.
"It was my time to retreat from politics," Summers said. "I'm looking forward to getting back to the basics."
The 58-year-old from Rossville began his career under Walker County Sheriff Ralph Jones in 1975. He transferred to Catoosa County five years later. There he spent 32 years working in a number of positions but mostly in administrative roles.
At the beginning of the year, Summers will began drawing a pension with the Sheriffs' Retirement Fund of Georgia, and he will be eligible for the county pension in 18 months when he turns 591/2. While his salary hasn't been set in Walker County, Sheriff Steve Wilson said Summers will make between $14.25 and $17 per hour based on his experience.
In his new position, Summers will help with courtroom security, transporting prisoners and serving warrants. He said the position will take time to get used to but he doesn't think it will be difficult to relinquish control and work under another person's authority.
The two sheriffs have been friends for more than 30 years, and Wilson and Summers had discussed the retiring sheriff's still wanting to be in law enforcement when he left Catoosa County. After the November election, when Summer's chief deputy, Gary Sisk, was elected sheriff, Wilson offered Summers a job.
"You can't hide the fact that we're very close friends," Wilson said. "He didn't want to retire and go home, and he felt like he had a lot of years left to give back."
Wilson said he looks forward to Summers bringing his experience and background to his office. Even so, Summers had to complete standard hiring procedures by taking a polygraph exam and undergoing a background check. If all goes well, Wilson said, Summers will begin work in Walker on Jan. 7.
Contact staff writer Joy Lukachick at firstname.lastname@example.com or 423-757-6659.
Joy Lukachick Smith is the city government reporter for the Chattanooga Times Free Press. Since 2009, she's covered crime and court systems in North Georgia and rural Tennessee, landed an exclusive in-prison interview with a former cop convicted of killing his wife, exposed impropriety in an FBI-led, child-sex online sting and exposed corruption in government agencies. Earlier this year, Smith won the Malcolm Law Memorial Award for Investigative Reporting. She also won first place in ...


text:
Photos and Description of this 1 bedroom holiday apartment in Sudan - Test Space in Zambia
Apartment in Zambi, 1 bedroom, 1 bathroom, sleeps 1
As soon as you arrive in the entrance the tone is given thanks to the large antique door and a statue of Ganesha.
In front of you the long garden full of tropical plants and statues.
On the left, a first building with the kitchen, the bar, the dining table and the living room in a vast open and luminous space which dominated all the villa.
- Suitability:
- Events Allowed
- non smoking only


text: Mr. McNeal represents businesses as lead litigation counsel in a variety of environmental, employment, commercial, and tort matters in both federal and state courts. In addition, he advises clients regarding energy and environmental regulatory matters. He has extensive experience in litigation concerning the cleanup of legacy oilfield properties, including handling a large number of these cases in trial and appellate courts. Additionally, he has worked on a broad range of litigation associated with other environmental and energy issues, including numerous class actions, environmental citizen suits, refinery-related litigation, pipeline matters, oil & gas disputes, landfill suits and commercial litigation. He has represented clients in environmental disputes with Louisiana regulators. He has also handled a substantial number of employment discrimination lawsuits in federal and state courts and ERISA cases. Mr. McNeal was formerly trial counsel for an integrated oil company and is familiar with upstream and downstream operations and related legal issues.Honors & Affiliations•Best Lawyers' 2013 New Orleans Environmental Law Lawyer of the Year•The Best Lawyers in America, 2007-2015•Chambers USA America's Leading Lawyers for Business - Environment: Litigation, 2007-2014•Louisiana Super Lawyers•New Orleans CityBusiness Leadership in Law Class of 2012•American Employment Law Counsel•Environmental Law Institute•Federal Bar Association•Federation of Defense & Corporate Counsel•Louisiana Association of Defense Counsel•Louisiana Bar Foundation•Louisiana State Bar Association•Rocky Mountain Mineral Law InstitutePresentations•Presentation on Southeast Louisiana Flood Protection Authority - East v. Tennessee Gas Pipeline Co., et al., Louisiana State Bar Association, Environmental Law Section (2014)•Act 312 (Legacy Site) Plan Approval Process, Louisiana Department of Natural Resources Annual Seminar, Louisiana Oil & Gas: From SONRIS to Sunset (2013)•Adjunct Professor, Vanderbilt Law School (2012)•Lecturer, University of Houston Law Center (2012)•Deposing Non-Medical Opposing Experts, Louisiana State Bar Association Mastering the Deposition: Tips & Techniques Seminar (2012)•Laws Governing Legacy Sites in Louisiana, Louisiana Department of Natural Resources Annual Seminar, Louisiana Oil & Gas: From SONRIS to Sunset (2012)•The Limited Admission at Trial, Louisiana Oil & Gas: Legacy Lawsuit Seminar & Legislative Recap (2012)•Louisiana Legacy Litigation Update, Liskow & Lewis Energy Law Seminar (2011)•Louisiana Ground Water Resources, Louisiana Department of Natural Resources Annual Seminar, Louisiana Oil & Gas: From SONRIS to Sunset (2011)•Ethical Issues and Communications When Dealing With State or Federal Agencies, Louisiana Department of Natural Resources Annual Seminars, Louisiana Oil & Gas: From SONRIS to Sunset (2008-2010), Louisiana Oilfield Cleanup Litigation, Tulane Environmental Law Seminar (2007), Act 312: Louisiana's New Oilfield Cleanup Legislation, La. State Bar Assn Envtl. Section Meeting (2006)Publications•Louisiana Legislature Modifies Oilfield Cleanup Legislation, The Energy Law Blog (2012), Awarding Fees to Prevailing Party Discourages Frivolous Suits, 21 The Envtl. Forum 3 (2004)•The Dischargeability of Environmental Liabilities in Bankruptcy, 6 Tul. Envt. L. J. 1 (1992)


text:
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text:
Shipwrecked: Lost Island
by Kiwi, Inc.
Developer Notes
Explore an uncharted island, build a beautiful sanctuary and discover a new world!
In Shipwrecked, an adventure leaves you a stranded castaway on an unknown island. Now it's up to you and your brave crewmates to rise up and build a beautiful civilization!
(You must be at least 13 years of age to...


text:
So it's Tuesday, and I'm at work. Lots of fun. I actually like Tuesdays because I know I get to be home the rest of the week. I was so proud of myself this morning. When I get to work first thing, I have to work out the finances from the day before, making sure that what we have in our hands equals what the computer says we have. Well, if any of you know me, I'm more of an art/subjective/creative type. As in, I hate math and anything to do with it. But I have actually gotten really good at this finance stuff! My friend Brooke, who is an accounting major, used to say that it made her day to see an accounting problem work out correctly. And, honest to goodness, now I know what she means. When I figure out what to add and subtract where, and adjust payments, and even it all out, I feel so much satisfaction that I did it. So I just needed to tell my friends that I am PROUD of myself today :)
I watched the Oscars on Sunday evening. And I must say, the highlight for me was seeing the nominated songs for Best Original Song. I really liked the one that won, called "Falling Slowly" in the movie "Once." (I've actually got this movie on my netflix list.) It's that indie/guitar/piano/acoustic vibe, which I always love. And Enchanted got 3 songs nominated! Way to go, Disney. I did pretty well this year, because I had seen 2 of the nominated movies for Best Picture (Juno and Atonement). Neither of them won, but they each won something...
Celebrities are really interesting. It's amazing what they can get away with. For instance, I think Tilda Swinton is hideously scary:
I think this girl (who won Best Actress) is ADORABLE:
I think Ellen Page was a genius in Juno:
I think this guy is SEVERELY overrated (and annoyingly liberal):
Props to Amy Adams for singing live in front of billions:
And this guy did an awesome job singing "So Close" from Enchanted!
Well, that's basically my Oscar recap. One of the docs is out today so it should be a little easier to manage around here. Happy day to all!
February 26, 2008
Happy Little Working Song
6 comments:
- winstead family said...
i love your opinion on the oscars! tilda lady was in narnia i think. she IS scary! can we say, eyeliner?
- February 26, 2008 at 11:59 AM
- Christy said...
I agree with everything you said. Especially about Clooney. Gag me with a spoon.
- February 26, 2008 at 1:02 PM
The guy who sang the Enchanted song is HOT! Who is he? I think the girl who won best actress is beautiful, but her dress looked like a fish. If you look at her waist you will see that it looks like fish scales.
- February 26, 2008 at 1:46 PM
- Ashley said...
Jon McLaughlin sings So Close. He's a cutie! Who wrote the anonymous comment by the way?
- February 26, 2008 at 2:23 PM
I'm sorry I didn't leave my name, it's Alexis. I am from California and came across your blog, and enjoy reading it!
- February 26, 2008 at 2:45 PM
- Liv said...
you're like a blogging world celebrity :)
- February 26, 2008 at 2:50 PM
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text: Ukraine and Russia Are Closer Than Ever to All-Out War Pro-Russian rebels ride their APC and truck as they celebrate Paratroopers' Day in the city of Donetsk, eastern Ukraine Saturday, Aug. 2, 2014. Image: Dmitry Lovetsky/Associated Press By Christopher Miller2014-08-02 16:26:32 UTC KIEV, Ukraine — The conflict in eastern Ukraine has escalated to its most critical level yet, with Russia giving signs that experts say show it is closer than ever before to invading and waging a full-scale war against its Slavic neighbor. In the past week, Russia has deployed thousands of troops and combat vehicles, and advanced multiple launch rocket systems along its western border, according to Ukrainian and U.S. officials. See also: At Least 10 Ukraine Soldiers Killed Near MH17 Crash Site Russia's Defense Ministry has denied the allegations, and instead said it was Ukraine that has intensified actions along its border. However, satellite imagery and amateur videos suggest that Russia's military is within a mere hour's journey to Ukraine's embattled Luhansk and Donetsk regions, where Russian-backed separatists continue to fight pitched battles with government forces. Mashable could not verify the authenticity of the video, below, but it purports to show Russian armored vehicles, military trucks and helicopters staging near the Ukrainian border. In another video from Thursday, a column of Russian armored vehicles appears to roll through the town of Gukovo, Rostov region, near the border to Ukraine. NATO military commander General Philip Breedlove said on Wednesday that the number of Russian troops and weaponry massing along the border with Ukraine is increasing and is already "well over 12,000." "We watch the materials move from inside the central military district in Russia to the area of Rostov, where they are assembled, then meet, train and move towards the border, and we see them across the border," he reportedly said during a press conference after visiting NATO troops in Kosovo. Reuters quoted Tony Blinken, a national security adviser to U.S. President Barack Obama, as saying the "significant rebuild-up of Russian forces along the border" may be preparations "for a so-called humanitarian or peacekeeping intervention in Ukraine." Moscow has spoken on several occasions of the possibility of sending peacekeepers to eastern Ukraine to ensure the safety of ethnic Russians, much to the dismay of Kiev. There is no need to send peacekeepers –- least of all Russian peacekeepers –- to eastern Ukraine, Valeriy Chaly, deputy chief of Ukrainian President Petro Poroshenko's staff, said in a statement posted to the presidential website Wednesday. Russian military helicopters carried out ground-fire exercises on Friday in the country's Rostov region, which borders Ukraine's eastern Donetsk region. At the same time, Russian combat aircraft and helicopters violated Ukraine's airspace, flying as far as 10 miles across the border, according to Andriy Lysenko, spokesperson for the Information and Analytical Center of Ukraine's National Security and Defense Council. "In particular, the flights of four Ka-52 attack helicopters from the side of the Russian Federation were recorded yesterday," he told reporters at a briefing in Kiev. Some may argue that the war has already started. On Thursday, officials in both Kiev and Washington reported that Russia had bombarded Ukrainian forces with artillery fire from Russian territory. Previously, the U.S. released images it said proved Russia had fired into Ukraine. Moscow responded by saying the images were doctored. On Friday, reports indicated the Ukrainians and Russians exchanged rocket fire across the border; both have blamed each other in the past for doing so. In one case, Russia said a rocket fired from Ukraine struck a home on Russian soil, killing a man and injuring two women. A Russian combat helicopter spreads anti missile flares during a military drill outside the southern Russian city of Rostov-on-Don on August 1, 2014.Image: ANDREY KRONBERG/AFP/Getty ImagesMark Galeotti, a Russian security services expert and global affairs professor at New York University, told Mashable by phone that Russia's moves were indicative of pre-invasion preparation, but he emphasized that Ukraine and Russia are not yet engaged in all-out war. "Russian planes would be hammering Ukrainian bases and such," he said. "We're at the point where Moscow is continuing to ratchet up its support for the insurgents." But the decision point for Moscow will likely come in August, said Galeotti, "which is also coincidentally one of the high points of Russian military capability, because of the cycle of the [military] draft." It is also the same time of year when Russia invaded Georgia in 2008. Back then, Russia moved troops to the border, and flew warplanes over Georgian territory. (Russian jets have also on several occasions in past months violated Ukrainian airspace, according to officials in Kiev.) Shortly after, Russia carried out airstrikes in South Ossetia before moving tanks and troops through South Ossetia and into Georgia. Olexiy Melnyk, co-director for foreign relations and international security programs at the Kiev-based Razumkov Centre, told Mashable that the military exercises announced this week "gives us huge concern about an escalating crisis and escalating aggression by Russia's military." Ukrainian servicemen from the Donbass volunteer battalion on August 4, 2014 prepare for redeployment from Popasna, Lugansk region.Melnyk also pointed to the Georgian scenario that seems to be playing out. And like Galeotti, he said Ukraine and Russia aren't quite at all-out war. "It's still like testing grounds. But I wouldn't rule out that one day Putin will task his forces to either launch a massive attack from the Russian territory using artillery, airpower to attack Ukrainian forces. Or, he will task the so-called peacekeepers to cross the border and take over … not only Luhansk and Donetsk territories, but across a wider area," he said. "But signs of military exercises is a classic first step of aggression," Melnyk said. "Exercises, then after a couple of days or weeks, [troops] get the order to move in." Have something to add to this story? Share it in the comments.


text:
Chane Behanan
Luke Hancock's Heroics Propel Louisville To NCAA Title
Luke Hancock's knack for making big shots was on display well before he transferred to Louisville. But he craved something bigger. He finally got it last night.
Rothstein: Louisville, Michigan Set To Give Us A Thrill
The season that none of us could predict is set to give us a title game that none of us will forget.
Five Things: Rupp Streak Snapped And Cincy Wins At The Buzzer
No top-25 teams played on Sunday, but there was plenty of action on Saturday, with a few ranked teams needing late baskets to avoid upsets and a pair of blue-blood programs losing their third game. The biggest news of the weekend, however, was off the court, as legendary coach Rick Majerus passed away.


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2001 Flora St.
Dallas, TX 75201
Category: Art Galleries
Region: Downtown & Deep Ellum
Grab your "Ira Glass-es" and fountain pen and meet us at the intersection of aesthetic and cerebral where art and philosophy collide during two upcoming art talks on Thursday, March 8. First, the DMA and the Nasher partner to bring you The Art of Language: Mark Manders and Elliott Hundley, a workshop led by poet Farid Matuk and UNT English professor Dr. Cynthia King. Participants will explore the role of language in exhibitions by Manders and Hundley and respond, in turn, through writing of their own. The workshop begins at 7:00 p.m. and participation – including light refreshments - is $15. Reserve your spot by calling 214-922-1818. More of a West Dallasite? Photographs Do Not Bend Gallery is also talking it out on 3/8 with a reception and discussion by internationally-acclaimed Dutch photographer Teun Voeten on his work featured in PDNB's BORDER exhibition. Free and open to the public, the reception begins at 5:30 at 1202 Dragon St. #103, with Voeten to follow at 6:30, expanding upon his intrepid documentation of the virulent drug wars in Ciudad Juárez, Mexico. Call 214-969-1852 or visit pdnbgallery.com for more details.
Thu., March 8, 2012


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The Dependent Care Assistance Program (DCAP) is only offered to PEBB benefits-eligible state and higher-education employees.
The PEBB Program DCAP is administered by Flex-Plan Services. To help provide more details about DCAP and flexible spending arrangements (FSA), Flex-Plan Services offers educational webinars during our annual open enrollment. Visit their GoToWebinar page, select a presentation date, and register.
Note: Space is limited, so please register early.
DCAP allows you to set aside money from each paycheck—before taxes—to pay for dependent care expenses.
DCAP can help you:
Qualifying dependents include:
You can set up a DCAP account:
You decide how much you want to set aside when you enroll. The maximum annual amount is $5,000 ($2,500 if you and your spouse file separate tax returns).
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The PEBB Program's Dependent Care Assistance Program is administered by Flex-Plan Services.


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November 26, 2014
It's the inaugural chilling and grilling competition for B107.3's Gina and Joe morning show.. "Our listeners got on line, they regisgered with their specialties and the top five were picked," said Gina Sherwood- Kline of B 107.3 Radio.
They competed for a 300 dollar prize package.
The finalists included a shrimp dish, a sunny chicken, a blazing burger, a blackberry pork chop and a chicken pizza.
"I think the way it's going it will be an annual thing. It looks pretty good," said Sherwood-Kline.
Four judges including Nader from Billy's Restaurant.
"Since you got the fish pants, you've got to go for the shrimp, right?", asked Bill Steckis "I love seafood, I love fixing it and I like the idea of the flavoring he's doing with the shrimp," Replied the chef with one name, Nader.
John and Taryn Vanderford also were appointed as judges. "Are judges supposed to eat really fast, like stuff it in?," asked Jon.
Lincoln's Tim Mattan's garlic shrimp with orange sauce won the competition. "Just to be on the Gina and Joe show and show what I can do it's awesome" said Mittan.
Just as awesome as his shrimp.
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GreatSchools Rating
Teacher quality
Principal leadership
Parent involvement
We moved to Island Creek based on the school reviews & LOVED the school. The teachers & education our child received were exemplary. The teachers really cared about my child & were thoroughly vested in his development. They were wonderful in supporting the subjects he accelerated in & getting him interested in ones he maybe wasn't . We had emails/flyers weekly on classroom activities. There were ample opportunities to volunteer & participate, for both working & stay at home parents. I can't say enough about the excellent staff they have from the administration down to the volunteers. It was a lovely community to be a part of & we will miss it greatly.
My kid is attending Island Creek, and I couldn't be any happier. The teacher in his class is very nice and caring. I get e-mails about his progress, and weakness, as well as how to work with him. I am very much impressed by the way the teacher cared, and took time to communicate with me. I am also impressed by how much the PTA is invloved. It is great to see a community that cares about not only their own kids, but the school in general. We have friends/neighbors who are sending their kid to a private school, and when we were comparing notes about our kids activities, as well as their ability to read,our friends were very much impressed by our school. They have decided to enroll their daughter to the school next year. Overall we are impressed. For kindergarten, our son's reading ability is comparable to 2nd grade. Math is at par with 1st grade.
The school has new administration which is not as relaxed and kid-oriented as in the past. The school is focused mainly on SOL's and seems to be losing a lot of the best teachers. I have two children who attend one graduating to middle school. Even they have commented on the change and how unhappy they are.
We moved from out of state in August 2013 from Rochester, NY and my son has severe ADHD and tendencies of Autism. When coming to this school I did not know what to expect and he recently received an IEP for Special ED, Speech Therapy, and Occupational Therapy. He has done good so far and his teachers and the staff at ICES have been amazing. He's finally excelling in some areas compared to others, but they keep me in the loop for everything. We're actually moving this Summer to Lorton so unfortunately we won't be attending ICES anymore (unless a Pupil Placement gets approved) but if you choose to go here my recommendation is this school is absolutely amazing. My son has had Mrs. Anderson for 1st grade and he does well for the most part and struggles in other areas like Math (that's a given I was horrible in Math) and some listening skills and what not.. typical with his ADHD.
My children attended this school for five years. The staff and faculty are wonderful and work together as a team. There are always volunteers in the school which I think makes the school even more effective. There is a real community feel since the school's footprint is very small.
This school does a very poor job teaching children with learning differences. Indeed, the administrators and Special Ed teachers appear to have little knowledge of how to teach children with ADHD and dyslexia. And the school throws every roadblock in the path of children who need evaluations and services. I strongly recommend avoiding Island Creek Elementary.
I am pleased with the staff at Island Creek. The teachers, counselors, and principals genuinely care about the students. My two children are happy to go to school each day. Just like most Fairfax County Public Schools, I feel the classes are large especially for the younger grades and often do not have assistants. This is a large school, but it has a nice community/neighborhood feel.
The staff is great to work with. the special education teachers are wonderful! They are very helpful and attentive to the needs of the child and understanding of parents. My daughter is thriving at this school
As a parent of a special needs child, my experience at Island Creek has been nothing short of wonderful. I have only kind words for the staff and faculty of Island Creek. I am always involved in the decisions regarding my child and teachers go above and beyond to make my child's each and every day a great learning experience. One improvement that I would like to see at this school is a more welcoming staff in the office. Many times I myself have not been acknowledged or simply ignored upon entering. This is a subject that has been discussed by other parents as well. It would be nice to hear a simple hello or, how can I help you today? More often than not, you are simply ignored. Very unprofessional at the very least.
We moved here because we thought this school was going to be excellent. We have had many sad experiences. One teacher can change your child's personality, and of course the principal will always side with the teacher. I as a parent of child who was happy and says that someone is not talking to him/her kindly, will always believe my child first. This one teacher is very militant and I think is as nice as they can be...which is sad to say. There is also one particular front staff person who is always rude in words and gestures. I always wonder why the other staff members allow her to be this way? (They are kind by the way) This one person is rude and makes you tense just trying to get your child to a doctor appt. Our family cannot wait for next year.
The school seems to offer lots of interesting projects and opportunities for learning outside of the book (writing, music, foreign language, etc). The principle is very enthusiastic and we have been satisfied with the teacher our child had so far (kindergarten). However, I do have to agree with the prior poster who noted that there is a person in the front office who puts up unnecessary hurdles and comments in ways that imply you (the parent) have bothered her by coming to pick up your student or dropping off an item. Service and friendliness are not evident in interactions with this particular person. Setting this bad apple aside, we are otherwise very happy with the school.
As it is with every school, there are always a few teachers that make the experience unpleasant. Our child, unfortunately, got that kind of teacher. There is absolutely no communication between the teacher and the parents other than requests for more supplies without even saying thank you. However, the school overall does a fair job of communicating--and we appreciate it very much. I've observed some fantastic teachers at this school and my child gives very positive feedback about 'specials' (art, music, library, etc.). But because of the primary teacher, it has been a very difficult year, and it has definitely painted our experience in a negative light. One additional turnoff is one of the front office staff--probably one of the most anti-customer-service people I've ever dealt with, which is really disappointing given that she is the 'face' of the school--the first person you see when you arrive.
The teachers and staff are wonderful. We moved from Ohio to Virginia, and the transitional was seamless. I would recommend this school to any new family moving to the area.
The teachers at this school show constant enthusiasm, energy and caring for their students. They seem to be observant of the behaviors of all children even with sizable classes. The staff continually challenge the students while simultaneously providing a helpful and intriguing environment.
I have a Kindergartener and 6th grader at this school and have been very pleased with the teachers (excellent) and the staff.
My son and my two daughters go to this school. It could use some more disipline and the cafeteria lunch is below average but it is a great school.
Island Creek is a wonderful neighborhood school. My daughter is in her second year there, and I am very happy with the education she is receiving. We nearly went the private school route but are now thrilled with our decision to use the public school system. The school does an excellent job with differentiation in the classroom, allowing all students to succeed to their potential. Emphasis is placed on good character, and the program they use to encourage it is evident throughout the school day. Teachers are responsive. The principals are professionals yet very accessible to the parents. The PTA is active. No school is perfect, but we have no regrets about our decision to send our daughter to Island Creek.
Our son attended the PAC program at Island Creek for 8 months, and it was an amazing, supportive, stimulating environment for him. The school's principal has a strong background in special education and we were never made to feel like outsiders while we were there. It was very sad to leave when he returned to his base school.
ICES was an interesting experience for me as a parent. Our oldest went k-2 there, starting the first year the school opened. His teachers were outstanding. I am a little puzzled by the school's rating. My son's scores were very high. He qualified to go to the gifted school the next year, but we moved. Maybe having the gifted students go makes a difference, I didn't examine the numbers too closely. The principal thinks everyone is in elementary school, but she is very good at inspiring her teachers. Their policy of 'once your kid walks in the door, he's ours' was a tad overbearing. The front office staff must be overworked because they were pretty stiff when a parent came in to the office--as if we were interrupting. My child really enjoyed school there, and I thought the quality of education was great.
This is and was a great school. The teachers, staff and principal were top of its kind. I really hate that we had to move and leave this wonderful school. My children improved so much since coming to this school. Keep up the great work
Community ratings and reviews do not represent the views of GreatSchools nor does GreatSchools check their accuracy or verify the reviewers' identities. Use your discretion when evaluating these reviews.
The Community Rating is the school's average rating from its community members (e.g., parents, students, and school staff). The highest possible rating is five stars; the lowest is one star.
7855 Morning View Ln.
Alexandria, VA 22315
Phone: (571) 642-6300
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Find records of Ernest Altopp
Find birth, death, marriage, military, and other records of Ernest H Altopp at Ancestry.com.Search for records
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Ernest H Altopp (1928 - 2003) was born on June 28, 1928. He was born into the Altopp family.
Ernest had no spouses. Ernest died on January 21, 2003 at age 74.
Ernest H Altopp's last known residence is at Seminole, Pinellas County, Florida.
The data on this page comes from the official record for Ernest H Altopp in the SSDI (United States Social Security Master Death Index). According to information provided to the SSDI, this death record has been verified by a family member of the deceased. This data can be considered very accurate. What is the SSDI?
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Town serves as 'Amity Island' for fest, DVD bash
Building buzz for the June 14 release of the "Jaws 30th Anniversary" DVD, Universal Studios Home Entertainment invited a slew of "Jaws" fans and journos out to Martha's Vineyard June 3-5 for Jaws Fest. As part of the celebration, Vineyard's Chamber of Commerce transformed the town back to the iconic "Amity Island" film set and held more than 25 events, including a beach screening under the stars.
Follow @Variety on Twitter for breaking news, reviews and more


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|List A - Z | Top 1000 | Random | Origins
AlydaRate Alyda: Do you like this name?
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Alyda meaning and name origin
Alyda \a-ly-da\ as a girl's name has the meaning "small winged one" and is a variant of Alida (Latin): also variant of Alda.
Alyda has 10 variant forms: Alaida, Aleda, Aleida, Alidah, Alidia, Allidah, Allidiah, Allydah, Alydah, Elida.
Alyda is also pronounced similarly to Alleda, Allida, Allyda and Olida. Other suggested similar baby names are Alda, Aldea, Aleta, Alita, Allda, Allta, Alta, Altha, Alya, Alyna, Alysa, Alyza and Ayda.
Popularity of Alyda
Alyda is not a popular first name for females and an equally uncommon surname or last name for all people (2000 U.S. Census).
Displayed below is the baby names popularity of Alyda name for girls (2012 statistics). Compare Alyda with its variant forms and related girl baby names.
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Chewy Chocolate Peanut Butter Cookies >
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Chewy Chocolate Peanut Butter Cookies
This soft and chewy low-carb cookie recipe, developed by our Test Kitchen, calls for canola oil instead of butter to reduce the saturated fat. It's hard to eat just one!
48 Servings
Prep/Total Time: 25 min.
1 cup chunky peanut butter
1/4 cup canola oil
3/4 cup packed brown sugar
1/2 cup sugar
2 eggs
1 tablespoon
McCormick® Pure Vanilla Extract
1 cup all-purpose flour
1/3 cup baking cocoa
1 teaspoon baking soda
1/2 teaspoon salt
1/2 cup miniature chocolate chips
In a large bowl, beat the peanut butter, oil and sugars until
blended. Beat in eggs and vanilla. Combine the flour, cocoa, baking
soda and salt; gradually add to peanut butter mixture just until
blended (dough will be sticky). Stir in chocolate chips.
Drop by rounded teaspoonfuls 2 in. apart on ungreased baking sheets.
Flatten slightly with a glass.
Bake at 350° for 8-10 minutes or until set and tops are cracked.
Cool for 2 minutes before removing to wire racks. Yield: 4 dozen.
© Taste of Home 2014
2 of 2
Chewy Chocolate Peanut Butter Cookies
Nutritional Facts:
One cookie equals 86 calories, 5 g fat (1 g saturated fat), 9 mg cholesterol, 81 mg sodium, 10 g carbohydrate, 1 g fiber, 2 g protein.
Diabetic Exchanges:
1 starch, 1/2 fat.
© Taste of Home 2014


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Start Date" field.
Click here to visit the Motorsports page for all the latest news and information.
DEARBORN - Weekend racing results for April 20 - 22, 2012. Matt Kenseth paced three Ford drivers in the top-10 at Kansas Speedway in NASCAR Sprint Cup action. Greg Biffle remains atop the Sprint Cup points standings. Brian Deegan won Round 3 in both the Pro2 Unlimited and Pro Lite Unlimited and Kyle Leduc won Rounds 3 and 4 in Pro 4 Unlimited in Lucas Oil Off Road Racing action.
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Free e-Book Reader
About FBReader
- FBReader is a free (and ad-free) multi-platform ebook reader.
- Supports popular ebook formats: ePub, fb2, mobi, rtf, html, plain text, and a lot of other formats.
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- Highly customizable. Choose colors, fonts, page turning animations, dictionaries, bookmarks, etc. to make reading as convenient as you want.
Release 2.1.9 for AndroidNovember 23, 2014Missing book download from the book network
Some material design support (for Android 5.0)
Updated Czech localisation (by Marek Pavelka)
Updated Dutch localisation (by Frank Fesevur)
Updated German localisation (by Matthias Dill)
Updated Portuguese l...
Release 2.1.8 for AndroidNovember 12, 2014Synchronization process optimization for large (300+ books) collections
Works with third-party OPDS plugins (How to create your own plugin for FBReader)
ePub/CSS improvemens:
Supported padding, padding-*, and vertical-align properties
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- Online storage for your electronic library.
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- Organise books by authors, by series, etc.
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- Easy access from web browser and from FBReader for Android.
- Integration with FBReader with other platforms coming soon.
Our plans
- Thumbnail view plugin for Android.
- Updates for desktop (Windows, Linux). These updates will include new CSS support from Android version as well as synchronisation feature.
- Version for MacOS X.
- New features in FBReader Book Network.
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Date(s): 09/22/14 - 11/30/14
From: Trout Creek Condominium Resort - Harbor Springs
Phone: (231) 526-2148
The Honeyboomer Special makes for a great second honeymoon or great getaway with friends? Stay in a Trout Creek Condo for three or more nights during this beautiful season to enjoy hiking, golf, a bike ride & relaxation. This package...
Date(s): 10/08/14 - 12/19/14
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The fall in Traverse City is one-of-a-kind. It's the seasons that's filled with great smells, tasty foods, and incredible sights. We have a fabulous package that you can use to take full advantage of the fall season. The package...
Date(s): 10/17/14 - 12/31/14
From: Courtyard by Marriott - Detroit Downtown
Phone: (800) 228-9290
Enjoy time with your favorite person while we help make this a stay to remember at the Courtyard Detroit Downtown. Rates from: $184-$254 Valid Thursday–Sunday through December 31, 2014. After enjoying a romantic evening on the town,...
So what if dessert is their favorite part of the meal? It's on us. In fact, all kids meals are free. Detroit is a celebrated city with many historical and cultural attractions, and not to mention, great sports! Enjoy the convenience of...
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Start your day off on the right foot when you spend the evening at a Detroit hotel and stay for breakfast. Make it a weekend with plenty of activities including Shopping at The Somerset Collection or Great Lakes Crossing, a visit to The...
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Kevin Garnett Warns Against Coming To Brooklyn Following "F*** Brooklyn"
It's like they're in a buddy cop movie and Kevin Garnett is playing good cop while Paul Pierce plays bad cop for this Brooklyn team. While Pierce was busy calling the Nets soft, KG was positive about the Nets getting one of two on the road. Then the Big Ticket wondered whether Raptors GM Masai Ujiri should come to Brooklyn after his $25,000 "F*** Brooklyn" comment before the series tipped off. Read More »