text:
We're moving into a brand new house in May and my husband was thinking of putting a layer of sealant on the garage floor. He has a motorcycle and does work on it and figured a seal on the floor would make it easier to wash, sweep, etc.
Anyone done this before? Is it worth it? Hubby thinks it takes lots of time to do (several layers that take a day each to cure), so we're wondering if we'll have time to do it before all of our stuff needs to be moved in. We're thinking of taking possession 4-5 days earlier just to facilitate this (since we will need the garage for all of our stuff once we're moved in - no way around that). It's gonna cost an extra $500 or so to carry two mortgages at once if we decide to move in several days early. We're wondering if it's worth it. If anyone out there has sealed their floor and can describe how they did it, how long it took, how much it cost and if it was worth the time and effort, it would be much appreciated! |
Follow-Up Postings:
I did it in both of my garages. Its well worth it in my opinion. I bought the paint and sealer through Sherwin Williams commercial division. The cost was about $500 (wholesale)I think. Prep is extremly important. You can find all the applicication details on the internet. I used grey epoxy with multi colored specs with clear coat over it all. DO NOT use some cheap store brand paint. It will wear off quickly due to warm tires. Pay more...get more. |
- Posted by davidandkasie (My Page) on Thu, Apr 3, 08 at 13:50
if you "need the garage for all our stuff" then do it. because in my area a garage floor will sweat during spring and fall with teh big difference in ground and air temps. sealed floors don't have as much of a problem with this. you may also want to look into jsut renting a storage unit for a month or so and stick the stuff in there until teh floor is done. that will be cheaper than paying 2 notes at once! |
- Posted by michael_so_fl (My Page) on Sat, Apr 5, 08 at 13:23
visit www.garageforum.com and get some good advice, they have a section just on garage floors |
Please Note: Only registered members are able to post messages to this forum. If you are a member, please log in. If you aren't yet a member, join now!
Return to the Garages/Workshops Forum
Information about Posting
- You must be logged in to post a message. Once you are logged in, a posting window will appear at the bottom of the messages. If you are not a member, please register for an account.
- Please review our Rules of Play before posting.
- Posting is a two-step process. Once you have composed your message, you will be taken to the preview page. You will then have a chance to review your post, make changes and upload photos.
- After posting your message, you may need to refresh the forum page in order to see it.
- Before posting copyrighted material, please read about Copyright and Fair Use.
- We have a strict no-advertising policy!
- If you would like to practice posting or uploading photos, please visit our Test forum.
- If you need assistance, please Contact Us and we will be happy to help.
Learn more about in-text links on this page here

subset: commoncrawl


text:
Monterey Road Trip Pt1
Adam, Sandy, Donny and a quiet passenger Dave all jump in the car and roll to a weekend of free food and car racing in Monterey California. In part 1 we hear Adam and Donny tell us about good and bad road trips. Great conversation and always a great time, Enjoy!


text:
Douay-Rheims (RHE) | New International Version (NIV) |
14 The beginning of quarrels is as when one letteth out water: and before he suffereth reproach, he forsaketh judgment. | 14 Starting a quarrel is like breaching a dam; so drop the matter before a dispute breaks out. |
The Douay-Rheims Bible is in the public domain. (Douay Rheims Catholic Bible Translation Online) | Scripture quoted by permission. Quotations designated (NIV) are from THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide. (New International Version Bible Online) |


text:
May 15, 2013 5:12 PM by Donna Winnick, KSBY News
Al Moriarty's arraignment was postponed a second time Wednesday morning in San Luis Obispo Superior Court.
The Grover Beach financial services owner accused of fraud and embezzlement, was assigned a new public defense attorney, Thomas Allen, because of a conflict with his prior assigned attorney.
Moriarty, 80, remains in San Luis Obispo County Jail with bail set at $5 million.
He is charged with seven felonies including fraudulently offering or selling securities; three counts of selling securities with false statements or omissions such as telling investors their money would be secured by gold, real estate and his own life insurance policy; grand theft by embezzlement of investor funds; and two counts of acting as an investment adviser and offering or selling securities without the required licenses.
In addition, two enhancements were included for an aggravated white-collar crime and excessive taking of more than $3.2 million.
Moriarty will be back in court on May 29.
» There are multiple updates to this story. Please click here to get the latest information.
Offensive or inappropriate comments are subject to removal. To report a comment, please e-mail us at email@example.com, and include the name of the story and information on the comment.
Thank you! KSBY.com
27 minutes ago


text:
UN partnership with Andhra Legislative Assembly triggers quick action
Vikas Verma Hyderabad, 27 September 2008: The support of political leadership to achieve the Millennium Development Goals (MDGs) is a must, but how to make it happen is a question high on everyone's agenda. Andhra Pradesh (AP) – a state in southern India - is showing the way. Lead by the Speaker of the Andhra Pradesh Assembly, Mr. Suresh Reddy, legislators cutting across party lines are coming forward to participate in MDG related activities in partnership with the United Nations organizations in India. In the last two years legislators have had the opportunity to engage with UN agencies through seminars, exhibitions, special publications and field visits. Starting in November 2006, these activities have been under the aegis of Andhra Pradesh Legislators' Forum for Human Development and MDGs established as part of the Knowledge Partnership between Andhra Pradesh State Legislative Assembly and the United Nations. A special exhibition and film show on the issue of "child marriage" was organized to sensitize legislative members including the Chief Minister and Department of Women and Child Development (DWCD) Minister on the serious problem of underage marriages of girls, an issue which is fuelling a development crisis in the state. The hopes expressed by UN Resident Coordinator in India, Ms. Maxine Olson, at the launch of the partnership are translating to action. "Elected representatives at the state and local levels are a vital link in strengthening state, civil society, corporate and community partnerships in taking the MDG agenda forward. The broad aim of this knowledge partnership is primarily to use a variety of approaches and tools to support legislators to bring a human development dimension to the state level dialogue on policy issues" she stated. The activities of the forum have been in line with these objectives and have in fact broken new ground with various activities being undertaken since the start of this year: March – A special exhibition and film show on the issue of "child marriage" was organized to sensitize legislative members including the Chief Minister and Department of Women and Child Development (DWCD) Minister on the serious problem of underage marriages of girls, an issue which is fuelling a development crisis in the state. April - UN publications were donated to kick start a special corner in the legislative assembly library premises. August 12 – A detailed presentation based on the district-wise data was made to the AP sub-committee on Women, Children and Disabled Welfare to highlight the issues faced by the children in AP. August 30 – A field visit to UNICEF's focus district Medak in Northern part of AP was undertaken by ten women legislators lead by the Chairperson of the sub-committee, Ms. P. Suneetha Reddy. September – A seminar and film show on sanitation challenges in AP in the context of International Year of Sanitation was held for the AP assembly including the Chief Minister. As envisioned, the partnership has resulted in increased awareness, ownership and clarity of MDG targets amongst legislative members and state ministers. Viewing the Child Marriage exhibition, the Chief Minister, Dr. Y. S. R. Reddy commented "it is a nobel effort". He asked his secretary to issue orders to all District Collectors of the state to prepare a report on the issue and monitor the situation regularly. Women's Development and Child Welfare Minister, Mrs. N. Rajyalaxmi addressed the media and promised to take firm action against perpetrators of the offense. The field visit to Medak was an unqualified success as women legislators realized the development possibilities in their own constituencies. They clearly saw: "It is really distressing to know that 74 percent people in India are going for open defecation as compared to just 18 percent of people in the world " • How adolescent girls can be empowered to create awareness in their community through plays on the issue of child marriage. The UN action has also received support in sizeable measure through partnerships with local administration, NGOs and celebrities. During an interaction on sanitation issues, famous local TV personality and UNICEF's supporter, Ms. Jhansi, presented a small five minute film titled "Sanitation - The reality check". Introduced and compeered by Jhansi, the film showcased the ground reality of sanitation in a nearby urban slum right in the neighborhood of plush environs of high rise buildings. In immediate response to the film, the Chief Minister instructed state officials to take stock of the situation and ensured that all slum dwellers in the area were shifted to a permanent low cost housing colony with complete sanitation facilities. He commented, "It is really distressing to know that 74 percent people in India are going for open defecation as compared to just 18 percent of people in the world ". He thanked UNICEF for the focus on sanitation. The whole partnership spearheaded by the Speaker's secretariat has been ably supported by a committed brigade of young Members of Legislative Assembly (MLAs) of the state lead by Mr. Sridhar Babu - Chairman of the Knowledge Partnership between Andhra Pradesh State Legislative Assembly and United Nations System in India and Mr. N. Manohar - AP Assembly Library Chairman. It is hoped that this partnership will be further strengthened in the coming months with a new initiative of "question and answer" analysis and institution of a "Child Friendly Legislator Award" for AP legislators. UNICEF's Representative for the states of Andhra Pradesh and Karnataka, Mr. Michel Saint – Lot says, "We have just made a start. With the assured commitment from the Speaker's office, I foresee this partnership will continue in the years to come and make a tangible difference to development issues faced by AP". For more such stories, please subscribe to our RSS Feed. |


text:
Next topic: The most shocking moments in Sports
Dyman Judo Club is a Family focused Judo Club based in Orangeville Ontario. We focus on teaching the values of sportsmanship, fair play and fun. ( Edited by edmuperdue )
Dyman Judo Club Association & Dyman Karate Associates International
Fred Dyke - 5th Degree Blackbelt (Godan) Fred began Judo in 1968 while attending university. While he had not excelled in any sport, judo became a major part of his life as he progressed through the various junior ranks until he achieved the coveted level of Black Belt in just two and half years. http://www.dymanjudoclub.com/#!instructors/c1yi7
Classes are held at: 75 1st Street Orangeville (Downstairs next to Mac's Milk. Watch for the Millenium Door) Teenagers & adults: Tuesday & Thursday – 8:00 – 9:30 pm Kids 7 - 14: Tuesday and Thursday 7:00 - 8:00 pm Kids 4 - 6 years: Tuesday 6:00 - 6:50 pm http://www.dymanjudoclub.com/#!classes/cnnz
The early history of judo is inseparable from its founder, Japanese polymath and educator Jigoro Kano (1860–1938), born Shinnosuke Kano Kano was born into a relatively affluent family. His father, Jirosaku, was the second son of the head priest of the Shinto Hiyoshi shrine in Shiga Prefecture. He married Sadako Kano, daughter of the owner of Kiku-Masamune sake brewing company and was adopted by the family, changing his name to Kano, and ultimately became an official in the Bakufu government. Jigoro Kano had an academic upbringing and, from the age of seven, he studied English, Japanese calligraphy and the Four Confucian Texts under a number of tutors. When he was fourteen, Kano began boarding at an English-medium school, Ikuei-Gijuku in Shiba, Tokyo. The culture of bullying endemic at this school was the catalyst that caused Kano to seek out a Jujutsu dojo (training place) at which to train. http://www.dymanjudoclub.com/
Contest is a vitally important aspect of judo. Early examples include the Kodokan Monthly Tournament and the biannual Red and White Tournament, both of which started in 1884 and continue to the present day. In 1899, Kano was asked to chair a committee of the Dai Nippon Butoku Kai to draw up the first formal set of contest rules for jujutsu. These rules were intended to cover contests between different various traditional schools of jujutsu as well as practitioners of Kodokan judo. Contests were 15 minutes long and were judged on the basis of nage waza and katame waza, excluding atemi waza. http://dymanjudoclub.weebly.com/
SINGAPORE: Singapore's 34th and final gold medal at the Myanmar Southeast Asian (SEA) Games was won by judoka Ho Han Boon. He took the gold in the men's over-100kg category. The hulking 188-kg athlete wants to continue his winning ways at the 2015 Games, which will be hosted by Singapore. Ho defeated Thailand's Saknarin Kaewpakdee in the first bout of the round-robin tournament before overcoming Malaysia's Abdul Razak in the final. http://www.channelnewsasia.com/news/sport/sea-games-singapore-s/944702.html
Sean Oldfield is revolutionizing the mortgage industry with innovative equity loans company, Castle Trust. Sean Oldfield is a glutton for punishment. In 2002, he gave up a lucrative career in banking to pursue a grueling judo career. He travelled around Europe on his motorbike, training in different judo clubs, with the aim of competing in the 2004 Athens Olympics. The Australian, who has been living in the UK for the past 12 years, represented his home country at the Canadian and US opens. http://www.telegraph.co.uk/finance/businessclub/10507565/Ex-judo-star-gets-to-grips-with-world-of-finance.html
A YOUNG judo fighter who dreams of competing in the Paralympics has been hailed an 'inspiration' by a leading blind charity. Caitlin Leigh, who has glaucoma and is registered blind, competes against fully-sighted youngsters and recently scored her first victory. The 10-year-old, of Leopold Way, Blackburn, took up the sport five years ago after struggling to take part in ball-based sports and her mum is delighted by the huge confidence boost it has given her. Claire, 32, said: "In judo you are grabbing hold of people pretty much the whole time so it's much better suited for her. http://www.lancashiretelegraph.co.uk/news/blackburndarwenhyndburnribble/10912687.Paralympic_judo_dream_for_young_Blackburn...
Preambule of the IJF statutes The International Judo Federation is composed of National Judo Federations and Continental Unions. Each National Federation must be recognized as the sole federation authorized to represent its country in international sporting bodies by its Olympic Committee, which itself is duly recognized by the International Olympic Committee. The major development of judo worldwide made it necessary to create Continental Unions. These Unions are in charge of implementing the policy of the International Judo Federation and the International Olympic Committee. http://dymanjudoclub.livejournal.com/
Tell us what you think....
Topic has been sent to your friends.
Please Login or Create an account


text:
Sat, Jun 9, 12 at 13:54
I've got some daylilies that are smaller this year than they've been in the past. What does that indicate? I was wondering if it's because they didn't get enough water last year, or if they need to be divided. Or maybe something else?
Deanna |
Follow-Up Postings:
- Posted by Polymerous 9b (My Page) on Sat, Jun 9, 12 at 14:05
When I've had that problem, it was because of not enough water. And by that, I mean currently (within a week-10 days or so before bloom), not a year ago. |
- Posted by dipsandtets none (My Page) on Sat, Jun 9, 12 at 14:13
Are the blooms or scapes smaller? |
- Posted by newyorkrita z6b/7a LI NY (My Page) on Sat, Jun 9, 12 at 14:16
I was thinking not enough water also but that is only a guess. |
The first thing I thought of was heat, but I'm in a hotter zone. Everything shrinks around here during Summer. |
- Posted by anniegolden z7a (My Page) on Sat, Jun 9, 12 at 18:18
I have had some very tiny ones also, and I don't think it is a water problem. Happy Returns and Early Days both had very small flowers compared to previous years. And some others growing nearby have normal size or outsized flowers. Another manifestation of the strange weather? Christine |
- Posted by gardenfanatic MO zone5b (My Page) on Sat, Jun 9, 12 at 21:10
When they came out of dormancy this spring, the clumps were smaller, leaves were thinner, and now the scapes are shorter. No blooms open on them yet. Since they started out that way, that's why I thought it was a result of last year's heat and drought. They went into winter not being the healthiest. Most of my hostas are smaller too because of last year's drought. However, they're the daylilies I've had the longest, which is what made me wonder if it's because they need to be divided. Deanna |
Deanna - It might be a combination of last year's drought and the clumps needing to be divided. I have some (mostly early evergreens and tender semievergreens with very short scapes this year. I'm not sure is this is an effect of the strange weather or the lack of rain in April. Debra |
Smaller clumps indicates needing dividing? I thought when they get big and crowded the blooms would decline and that means divide?! I have my property edged in day lilies and they are getting so thick I probably need to divide but the task will be so huge I didn't get to it early enough. I have had lilies just disappear on me and it wasn't because they needed division..they just did not survive. I would be inclined to wonder what is eating the root system. |
I live in St. Louis and I have several hostas that are way smaller than they were last year. I cant tell about daylillies. I think it is d/t drought last year. |
Please Note: Only registered members are able to post messages to this forum. If you are a member, please log in. If you aren't yet a member, join now!
Return to the Daylily Forum
Information about Posting
- You must be logged in to post a message. Once you are logged in, a posting window will appear at the bottom of the messages. If you are not a member, please register for an account.
- Please review our Rules of Play before posting.
- Posting is a two-step process. Once you have composed your message, you will be taken to the preview page. You will then have a chance to review your post, make changes and upload photos.
- After posting your message, you may need to refresh the forum page in order to see it.
- Before posting copyrighted material, please read about Copyright and Fair Use.
- We have a strict no-advertising policy!
- If you would like to practice posting or uploading photos, please visit our Test forum.
- If you need assistance, please Contact Us and we will be happy to help.
Learn more about in-text links on this page here


text:
Gatling gun
Gat·ling gun
noun \ˈgat-liŋ-\Definition of GATLING GUN
: a machine gun with a revolving cluster of barrels fired once each per revolution
Origin of GATLING GUN
Richard J. Gatling †1903 American inventor
First Known Use: 1867
Rhymes with GATLING GUN
Acheron, Algonquin, allemande, all-or-none, Balzacian, give the gun, hit-and-run, jump the gun, machine-gun, machine gun, megaton, midnight sun, one-on-one, one-to-one, on the run, overrun, pellet gun, radar gun, ride shotgun, riot gun, run-and-gun, Sally Lunn, scattergun, smoking gun, tommy gun, twenty-one, underdone, underrun, water gun
Gatling gun
noun (Concise Encyclopedia)Hand-cranked multi barrel rotary gun. It was invented by Richard J. Gatling (1818–1903) during the American Civil War. Making use of the newly invented brass cartridge, he assembled a cluster of 10 barrels, each of which was fired and reloaded during rotation by a crank. The barrels were loaded by gravity and the action of the cartridge container, and the spent cartridge cases were ejected. Without equal in the era of single-shot guns, it could fire as many as 3,000 rounds per minute. It became obsolete in the 1880s when the invention of smokeless powder led to development of a truly automatic machine gun.
Learn More About GATLING GUN
Ask The Editor Videos
Seen & Heard
What made you want to look up Gatling gun? Please tell us where you read or heard it (including the quote, if possible).


text:
Can someone please convert this(or similar) hanging clothes to sims 3?
Unfortunately I have no meshes, because I do not play sims 2.
I've found this wonderful denim jacket from lpvinyl21 here
(looks great, thank you Linda!) But no more ....
So, who is familiar with conversion, please, that would be very nice!
If you need meshes I start one WCIF Thread.
And thanks in advance!


text:
New Revised Standard (NRS) | New International Version (NIV) |
1 Now Sarai, Abram's wife, bore him no children. She had an Egyptian slave-girl whose name was Hagar, | 1 Now Sarai, Abram's wife, had borne him no children. But she had an Egyptian maidservant named Hagar; |
2 and Sarai said to Abram, "You see that the Lord has prevented me from bearing children; go in to my slave-girl; it may be that I shall obtain children by her." And Abram listened to the voice of Sarai. | 2 so she said to Abram, "The LORD has kept me from having children. Go, sleep with my maidservant; perhaps I can build a family through her." Abram agreed to what Sarai said. |
3 So, after Abram had lived ten years in the land of Canaan, Sarai, Abram's wife, took Hagar the Egyptian, her slave-girl, and gave her to her husband Abram as a wife. | 3 So after Abram had been living in Canaan ten years, Sarai his wife took her Egyptian maidservant Hagar and gave her to her husband to be his wife. |
4 He went in to Hagar, and she conceived; and when she saw that she had conceived, she looked with contempt on her mistress. | 4 He slept with Hagar, and she conceived. When she knew she was pregnant, she began to despise her mistress. |
5 Then Sarai said to Abram, "May the wrong done to me be on you! I gave my slave-girl to your embrace, and when she saw that she had conceived, she looked on me with contempt. May the Lord judge between you and me!" | 5 Then Sarai said to Abram, "You are responsible for the wrong I am suffering. I put my servant in your arms, and now that she knows she is pregnant, she despises me. May the LORD judge between you and me." |
6 But Abram said to Sarai, "Your slave-girl is in your power; do to her as you please." Then Sarai dealt harshly with her, and she ran away from her. | 6 "Your servant is in your hands," Abram said. "Do with her whatever you think best." Then Sarai mistreated Hagar; so she fled from her. |
7 The angel of the Lord found her by a spring of water in the wilderness, the spring on the way to Shur. | 7 The angel of the LORD found Hagar near a spring in the desert; it was the spring that is beside the road to Shur. |
8 And he said, "Hagar, slave-girl of Sarai, where have you come from and where are you going?" She said, "I am running away from my mistress Sarai." | 8 And he said, "Hagar, servant of Sarai, where have you come from, and where are you going?" "I'm running away from my mistress Sarai," she answered. |
9 The angel of the Lord said to her, "Return to your mistress, and submit to her." | 9 Then the angel of the LORD told her, "Go back to your mistress and submit to her." |
10 The angel of the Lord also said to her, "I will so greatly multiply your offspring that they cannot be counted for multitude." | 10 The angel added, "I will so increase your descendants that they will be too numerous to count." |
11 And the angel of the Lord said to her, "Now you have conceived and shall bear a son; you shall call him Ishmael, for the Lord has given heed to your affliction. | 11 The angel of the LORD also said to her: "You are now with child and you will have a son. You shall name him Ishmael, for the LORD has heard of your misery. |
12 He shall be a wild ass of a man, with his hand against everyone, and everyone's hand against him; and he shall live at odds with all his kin." | 12 He will be a wild donkey of a man; his hand will be against everyone and everyone's hand against him, and he will live in hostility toward all his brothers." |
13 So she named the Lord who spoke to her, "You are El-roi"; for she said, "Have I really seen God and remained alive after seeing him?" | 13 She gave this name to the LORD who spoke to her: "You are the God who sees me," for she said, "I have now seen the One who sees me." |
14 Therefore the well was called Beer-lahai-roi; it lies between Kadesh and Bered. | 14 That is why the well was called Beer Lahai Roi; it is still there, between Kadesh and Bered. |
15 Hagar bore Abram a son; and Abram named his son, whom Hagar bore, Ishmael. | 15 So Hagar bore Abram a son, and Abram gave the name Ishmael to the son she had borne. |
16 Abram was eighty-six years old when Hagar bore him Ishmael. | 16 Abram was eighty-six years old when Hagar bore him Ishmael. |
New Revised Standard Version Bible, copyright 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All rights reserved. (New Revised Standard Bible Version Online) | Scripture quoted by permission. Quotations designated (NIV) are from THE HOLY BIBLE: NEW INTERNATIONAL VERSION®. NIV®. Copyright © 1973, 1978, 1984 by Biblica. All rights reserved worldwide. (New International Version Bible Online) |


text:
I recently replaced waterline to refrigerator icemaker as part of a remodeling project. The ice now has a foul oder and bad taste. I subsequently ran about 15 gallons of water thru the water line and the oder/taste improved but still have a slight oder/taste. It is a kenmore refrigerator with bottom freezor.
Suggestions. Only thing I know to do at this point is to replace the water line insider the refrigerator thinking it may have been contaminated with new line. Thanks |
Follow-Up Postings:
Is the icemaker water line copper or vinyl/plastic/PVC? The former shouldn't smell, the latter's odor may dissipate over time. Also check the icemaker itself - they often get grimy or moldy over the years. Remove it and clean it out, using a small amount of chlorine bleach mixed with water (and detergent if it's easily rinsible). (No substitute for undercounter clear ice machines IMO, but that's a topic for another time and place. You'll never get a smell or discolored cube from them) |
Please Note: Only registered members are able to post messages to this forum. If you are a member, please log in. If you aren't yet a member, join now!
Return to the Appliances Forum
Information about Posting
- You must be logged in to post a message. Once you are logged in, a posting window will appear at the bottom of the messages. If you are not a member, please register for an account.
- Please review our Rules of Play before posting.
- Posting is a two-step process. Once you have composed your message, you will be taken to the preview page. You will then have a chance to review your post, make changes and upload photos.
- After posting your message, you may need to refresh the forum page in order to see it.
- Before posting copyrighted material, please read about Copyright and Fair Use.
- We have a strict no-advertising policy!
- If you would like to practice posting or uploading photos, please visit our Test forum.
- If you need assistance, please Contact Us and we will be happy to help.
Learn more about in-text links on this page here


text:
A Digital View Camera
In Search of Ultimate Image Quality
This is a description of what some might regard as a fool's task – to put together the highest quality digital image capture system that today's technology provides. The process required making decisions about several major components, including the camera platform, digital back, and the lenses to be used.
Though by no means inexpensive – the total system put together here costs about the same as a high-end new car – pros at least can lease as well as write off or depreciate their investment. Whether this particular photographic system would be one that suits anyone's needs other than mine is not for me to say. Each of us has to decide for ourselves what our particular needs and uses may be.
Linhof M 679cs
There are two things you have to know about me. Firstly, I'm compulsive about image quality. Secondly, I'm inconsistent. For example, I'll take getting the shot with whatever gear is needed, over not getting the shot at all, because it would have meant a compromise on image quality. The shot always comes first.
On the other hand, if I'm going to get up at 3 am, drive for 2 hours, then hike in the dark for an hour with a 35lb camera backpack so as to be at the right spot for light as the day breaks, I want to have the best equipment possible. If I'm going to spends thousands, or even tens of thousands traveling to some remote part of the world on a landscape shoot, I damn well insist on the finest image quality possible.
Like I said, I'm inconsistent.
In the 40 some years that I've been doing photography I have shot all formats, from sub-35mm to large format. As a photojournalist I worked mostly with 35mm, but I also used medium format for editorial, and large format for advertising, architecture, and my own personal fine-art work. Horses for courses, as the British say.
Over the past 5 years or so, as I transitioned completely to digital, the size equation has become murkier. In the days of film it was a truism that the bigger the negative the higher the image quality. 4X5" trumped medium format, and medium format trumped 35mm. No one with any real-world experience debated this. But convenience, shooting speed, media costs, and bulk, were all variables that had to be considered, and compromises made.
The low noise and clean images provided by digital was compelling, even if in the early days sensor size wasn't large enough to compete with film. But, once we got beyond 6-8 Megapixels this changed. This as enough for full page magazine reproduction or an A3 sized print. Once we got to 11MP we were able to produce double page spreads and quality 13X19" prints, and by 16MP (where we are now in 135 format) we were not only surpassing 35mm film, but actually equaling medium format. (I know that some holdouts find it hard to accept this, but these are typically people that haven't discovered this first hand for themselves. Professional photographers by the tens of thousand have, so the debate is no longer of much interest).
That left compulsives like me with the question – where do we go for even higher quality? The answer of course was medium format backs. I took this route, first with a 16MP Kodak DCS Proback and then a Phase One P25, both on a Contax 645 system with Zeiss lenses.
But after more than a year of shooting both with a 16MP Canon 1Ds MKII and a 22 MP P25 back on the Contax, I came to a couple of realizations. The Canon and Zeiss lenses on their respective cameras were not the equal of their sensors. In other words, the sensors were outperforming the lenses. Even using the best primes on the Canon proved to me that the 1Ds MKII was not being pushed to its limit, and using lesser lenses often disappointed.
On the Contax with its Zeiss lenses, I believed that there was a match with the P25 back. But this opinion was to subsequently change. But before describing this epiphany, which took place in late 2005, I need to make one additional observation, if not an actual confession. That is – in prints up to 13X19" I often did not see significant real world differences between work done with the 1Ds MKII using my best Canon lenses, and the Contax with P25 and Zeiss lenses. Yes, I know that the P25 is true 16 bit, yes I know that the photosites are larger, yes and know all the other theoretical advantages. What I'm describing is not theory, it's practice.
The gizmo attached to the rear standard's accessory
shoe, with a WhiBal black card attached,
is used as a third arm to shield the lens from flare. It's called a FlareBuster.
But the operative phrase here is "best Canon lenses", because with the Zeiss primes on the Contax compared with almost all the Canon zooms (which I mostly use for convenience sake) it was the opposite story.
All of this produced the following summary. Most of the time the Contax/Zeiss/Phase One system outperformed the Canon system. Not by a huge amount, but noticeable, except when the best lenses and best technique were used with the Canon (heavy tripod, mirror lock up, optimum aperture, prime lenses), in which case the visible differences on prints up to the resolving power of each system were not that significant in comparison with the P25.
Then came the epiphany. I was loaned a Cambo Wide DS body with a 35mm Schneider Digitar lens for with use with the P25 back. This was an eye opener. The image quality, in terms of resolution, detail, contrast, "transparency", and microdetail was so dramatically better than anything that I had ever produced with the same P25 back on the Contax with Zeiss lenses that I was drawn to only one conclusion – once again, as with high-end 35mm digital, the sensor was being let down by the lenses.
I started making some phone calls and writing some emails to the handful of photographers who I knew were working with Schneider and Rodenstock "digital" lenses on medium format view camera systems – asking if they were seeing what I was seeing, and I was told universally – Sure. Didn't you know this?
No! No, I didn't. But what I learned from them and from further discussions with knowledgeable people in the industry, is that about 4-5 years ago both companies set out to design a series of lenses specifically for use with digital backs. But, rather than design them for Hasselblad, Contax, and Mamiya lens mounts, they were designed to be used on technical view cameras. This made them "universal", and also recognized that the photographers that would likely be using them would have the need for technical movements, whether this was for product, advertising, or architectural work. Consequently, in additional to superlative resolution these lenses were designed to have large image circles so that movements on technical cameras would be possible.
The P45 Decision
On top of this revelation (today's sensors are being held back by yesterday's lenses) came the release in early 2006 of the Phase One P45. This was the first medium format back to ship with the new 39 Megapixel Kodak CCD chip – the largest and highest resolution single shot back and sensor commercially available.
So, as a compulsive neurotic when it comes to image quality, I could only imagine what one of those high-end digital-specific lenses in combination with a P45 would be like. Putting the P45 on my Contax/ Zeiss system would, of course, produce larger files than those from the P25, making bigger prints possible as well as the ability to crop when necessary and still have a large, usable file. But, since the weak link in the chain was clearly the lenses on my Contax (remarkably), would it make sense to spend the money for an upgrade to the P45 for file size alone?
My decision was that it wouldn't, and when combined with the knowledge that Contax has almost certainly now gone from the scene, for that big dirt nap in the sky (read – they ain't coming back), I knew that my next upgrade path was to a technical view camera.
This would offer several advantages. Firstly, it could use any of the new ultra-high resolution lenses from any manufacturer. All that's needed is a lens board. Also, the ability to have movements available (more than the Cambo Wide DS' simple rise and shift) would be a big boon on a major multi-year architectural commission that I'm engaged in. Thirdly, having sold my Contax gear, I would be free when upgrading from the P25 to the P45 to switch mounts. I therefore decided to switch to the Hasselblad H mount. This would allow me to test other new backs as they come along, because the H back has now become the new standard, with Hasselblad's H2 becoming one of the few remaining medium format system. Previously, backs in Contax mount were always hard to get ones hands on, as they were never the first to be released, and also were usually not available from manufacturers and dealers as evaluation units.
Finally, if I did want to ever test or use another brand-mount back, a simple change of the rear mounting plate on the view camera would allow this. Maximum flexibility. Compelling logic.
To answer the question that someone is bound to ask – why didn't I consider the Imacon 39MP back – the answer is simply that because I owned a P25 I was able to get a very attractive trade-up to the P45 from Vistek, my Phase One dealer. Also, at the time of this transaction, late February 2006, the Imacon backs are still not shipping (though some dealers have samples available). Finally, I am familiar and comfortable with Phase One products, including their Capture One software, and find them to be reliable for field use and very well designed and built. Image quality has also been nothing short of exceptional.
Why the Linhof M679cs?
Image Courtesy Anagramm
The next question was – which view camera?
There are at least a half dozen "small" view cameras on the market, including those from Arca, Cambo, Linhof and Rollei, the four that I considered. In the end I chose the Linhof 679cs based on a combination of features, weight, bulk, build quality and price. One of the things that I particularly liked was that it comes with a base platform featuring comprehensive adjustments that obviated the need for the added weight and cost of a separate ballhead, leveling base, or something like the Arca Cube. The name of the game in view camera use is precision positioning, and a simple ballhead is too coarse a device when camera movements are involved. The Arca F Line camera is lighter than the Linhof, but when you add the size, weight and cost of the Arca Cube, that equation changes.
It needs to be added that this is not your father's 4X5 view camera. The 6X9 format technical cameras introduced over the past 5-8 years were originally designed for use with film, with 6X9cm as the largest common size when using 120 or 220 roll film. But medium format backs with their roughly 645 format and similarly sized sensors are a perfect match, and many of these cameras have subsequently been reengineered for more appropriate use with digital backs rather than roll film holders. And, while it's unlikely that we'll see sensors larger than 645, if they do come along then these cameras will be able to handle them. In other words, a 6X9 camera offers a high degree of obsolescence protection while high-end digital photography continues its evolution.
At 3.8Kg (8.4 lbs) the Linhof is no lightweight, but remarkably not that much heavier and bulkier than a complete medium format system when it comes to backpacking it to location. (That no tripod head is needed with the particular model also needs to be factored into any weight comparison). Of course the setup and shooting with the technical camera is slower that a medium format SLR, but then if I want speed I can and do use the Canon 1Ds MKII.
Compared to the weight and bulk of a 4X5" view camera, especially a monorail, the choice of a 679 was an easy one to make. I don't expect to ever shoot sheet film again, so I lost little to nothing in downscaling the camera itself, and gained a lot, particularly in terms of bulk, which counts for me more then weight in many situations – especially when traveling and working on location.
Rounding out the Linhof system for use with a digital back one needs a sliding adaptor. This allows for rapid switching between a ground glass with hood or viewer, and the digital back. I chose the Linhof brand version as it offers appropriate features, including stitching capability (more on this below). The Linhof sliding back allows one to focus and compose with the usual ground glass, hood and viewing aids. I chose it rather than one of the third party devices, again because of fit and features. To switch between the ground glass and back one simply presses a lever and the back slides into precise position. Takes just a second and is very secure and accurate.
A final selling point was that Linhof has designed the 679 so as to specifically accommodate the use of digital backs. The early Lightphase and similar tethered backs, with their weight and cable drag, made this design consideration a necessity. The latest generation of backs which are self contained are smaller and lighter, but compared to a sheet film holder, these are still heavy. The 679's design therefore takes this into account.
I decided not to go with a right angle viewer. These are useful in that they provide a right-side up (though laterally reversed) image. The problem though is that they force the camera to be used as much as a foot lower, since one is looking downward. So in the end I went with a simple groundglass surrounded by a compendium bellows with a 4X magnifier. This works well and makes a dark cloth unnecessary (though I still carry one for use in ultra-bright conditions such as when working in snow). The Linhof system also includes a movable fresnel lens inserted into the groundglass holder. This is a critical piece, since it allows the bright spot of the image to be moved for focusing purposes when lens movements are used, and with the very wide 35mm lens – otherwise the image can effectively disappear, especially in the corners.
This all means that the groundglass image, as with all view cameras, is upside down and backwards. Anyone who uses view cameras regularly will quickly become used to this. And, as I learned years ago when teaching view camera technique, it helps people "abstract" the image. In other words, it forces you to consider the image as design, rather that focus on its literal content. In other words – composition above content. The content is there because you chose to take the shot. You can see it with the unaided eye. On the groundglass ones attention becomes focused on framing, DOF, exposure and technical movements, and for these looking at an upside down and laterally reversed image can actually be an aid to composition, not a hindrance.
Rodenstock HR lenses
The lens brand decision came down to – Schneider or Rodenstock. It was a tough call between them as they are two of the most venerable yet innovative lens makers in the world. But in the end I went with Rodenstock for two reasons. The first is that I wanted a 35mm focal length lens (equivalent to about a 21mm in this format), in 135 terms). The Schneider Digitar 35mm will not focus to infinity on a view camera with a sliding adapter. It will on something like the Cambo Wide DS, where it is in a helical mount and can be positioned just millimeters away from the chip plane. But on a camera like the Linhof, even with the wide angle bellows in place and a triple recessed lens board, it won't work.
The Rodenstock HR 35mm f/5 Apo-Sironar will, as it is a retrofocus design. This also means that light hitting the sensor from the lens' edges is arriving at a less acute angle, reducing vignetting and colour shifts. (Whereas retrofocus wide angle lenses are sometimes not that well regarded, this new design turns that assumption on its head.)
The decision to obtain this lens made me look at the HR line in general. (More on what HR means in a moment). There are only now 5 HR lenses in the Rodenstock line-up – a 28mm, 35mm, 60mm, 100mm and a 180mm. The 28mm is too wide for my needs. I've gone for the 35, 100 and 180, skipping the 60, but instead purchased a non-HR lens of that medium-wide focal length, the Apo-Sironar digital 55mm f/4.5. Why? In a word – coverage. And this also helps explain what the HR lenses are all about – the good news and the bad. (NB: The 28mm and 180mm are brand new as of March, 2006 and may not yet be listed by dealers or mentioned on any web sites. Be assured that they do indeed exist and can be ordered).
Rodenstock's' and Schneider's line of digital view camera lenses have relatively large image circles. The 55mm Apo Sironar's, for example, provides a 150mm diagonal at f/8. This is more than enough for all the movements one could want on an imaging chip with a 61mm diagonal.
But the HR lens line's abilities go beyond even the extreme high definition of Rodenstock's other excellent optics, providing resolution comparable to that of the finest prime 35mm format lenses. (Most people know that large format lenses typically have lower resolution than those for medium format, and those for medium format lower that for 35mm. The reason being that they don't need to have high resolution because they will not be enlarged as much. But this rule of thumb from the days of film now needs to be left behind us).
HR lenses are actually specified by Rodenstock as surpassing the resolution capabilities of digital sensors with pixel dimensions down to 5 microns. The P45's pixels are 6.8 microns square, so these lenses should be able to support even any subsequent generation of backs. (A 645 format sensor with 5 micron pixels would have between 55-60 Megapixels, and according to Kodak's chip designers is do-able. Whether anyone needs this, or any back maker will make one, remains an open question. I wouldn't expect to see such a back, if at all, for at least another two years).
To achieve resolution that is at the extremes of what current technology can produce (outside of NASA that is, and without their budget), Rodenstock had to design these lenses with a smaller image circle – 70mm. This just covers the diagonal of a back like the P45, with its 36.8 X 49.1 mm sensor. The diagonal is 61.3mm, which means that one only has a small amount of ability to rise or shift the lens. Sometimes this 5-10mm is all that's needed, but in really it isn't much for some applications.
The good news is that while these lenses have restricted ability with regard to rise or shift, these movements aren't used as much when doing landscape work as are tilt and swing. And by tilting or swinging the rear standard rather than the lens standard, very little if any increase in lens coverage is required. So the Scheimpflug effect is quite usable with HR lenses, offering extended planes of focus. (Rear tilt or swing does, of course, produce some perspective alteration, which such movements do not when done on the front standard. But for landscape work this isn't necessarily a bad thing, because it tends to favorably exaggerate near-far object relationships).
Being able to use Scheimpflug with the HR lenses can be important, because these lens should be used stopped down to no more than to f/8 to avoid reducing resolution due to diffraction effects. (In a rarity among camera lenses, the HRs truly are diffraction limited). The 35mm and 100mm HRs are f/4 lenses, and their optimum apertures are f/5.6, with f/8 still being close to optimum. Beyond f/11 resolution has visibly started to deteriorate, though it is still very high by normal standards.
Machine Art, Toronto – March, 2006
Linhof 679cs with 100mm Rodenstock Apo Sironar HR and Phase One P45 back
View camera users of larger formats are used to stopping down considerably more than this. But, it needs to be borne in mind that with the small imager size used, vs 4X5" for example, comparable depth of field is attained at much wider apertures.
Other areas in which lenses like these differ from lenses made for film use is that they take into account the 2mm thickness of the back's coverglass / IR filter, reduced image size, and greater focal plan flatness. These are also true Apochromats, a necessity to avoid chromatic aberration (fringing).
Finally, the reason I went with the regular (non HR) lens at the 55mm focal length is so that when extreme movements are needed, I would have at least one lens that would provide that ability. At 55mm, which is medium wide-angle in this format, it's probably as close to ideal for architectural work as one would like. So, I believe that this four lens outfit – very wide, medium wide, slightly longer than normal, and short tele, will likely do most of what I need for landscape and architectural work.
One more thought on the issue of camera movements. Some people say – why bother with rise and fall (or shift), when Photoshop provides perspective control capability? This works to some extent, but because it uses interpolation to create new data, image quality suffers, and the perspective produced is usually somewhat distorted. In my experience, simply not good enough for demanding fine art or commercial work, especially commercial architectural assignments.
Shutter Type
I seriously considered ordering the lenses with Rollei electronic shutters. This would have also, of course, required a Rollei hand controller unit. The considerable advantage of such a system is that no cocking of the shutter is needed, and also setting the aperture, shutter speed, and opening and closing the preview lever are all done from the controller, meaning there is no need to move back and forth between the front and the back of the camera.
The considerable extra cost was definitely an issue, but I was also deterred by the added complexity, cables, and need for another battery and charger. Some testing showed that I wasn't going to be happy with the extra components, bulk and complexity. For studio work it would be ideal, but not for use outdoors, when hiking, and in inclement weather. So i put up with cock the shutter, open the aperture, set to preview, close the aperture, reset preview, and then do it all over again for the next shot.
Kish Mini Director's Viewfinder
Photographer's use a lot of gizmos and gadgets. One that is standard equipment for many film directors, cinematographers, and videographers is a Director's Viewfinder. This is typically not something that still photographers use, because to frame up a shot one simply puts the camera to ones eye. But film makers with their bulky equipment, and directors who don't spend their time behind the camera, need to be able to pre-visualize the shot. Asking the camera crew to set up a large film or video camera in a specific spot so that the DOP (Director of Photography) or the film's Director can decide on exact positioning and lens choice simply isn't practical. Consequently there are devices called Director's Viewfinders, which typically hang around the DOP's neck, and which are used to previsualize the shot and choose the focal length needed.
But anyone using a view camera faces the same issues. These aren't carried around one's neck or over the shoulder, readily available to frame the shot. They also don't use zoom lenses or have viewfinders, and so even if you're walking around a potential scene with the camera on a tripod, setting up the shot with the right positioning and focal length choice can be tedious.
For this reason, when working with a view camera I have always enjoyed using a Director's Viewfinder. Simply set the device to the aspect ratio of the film or sensor being used – 1.33 for medium format digital, and then zoom the viewfinder to the focal length needed. Or set the focal length of the most suitable lens available and the find a spot to position the camera that frames best. Then it's simply a matter of unpacking the camera and the appropriate lens right in the spot that you're going to shoot from.
There are about a half dozen different such devices available from companies that provide supplies and services to motion picture and TV production crews. The one that I ordered is the Kish Optics Mini Viewfinder. It retails for about $300. Not the greatest, but the price is right.
Why Not a Scanning Back?
Anyone searching for ultimate image quality has to consider the use of a scanning back such as the Betterlight. With resolution up to 12,000 X 15,900 (1.1 GB files) these surpass single shot backs using the new Kodak 39 Megapixel sensor (225MB). I have seen the work of Steve Johnson (wall-sized prints with jaw-dropping quality), and I have also watched him work with his Betterlight (my Antarctic Workshop in December, 2005), on which Steve was an instructor.
As remarkable as images from such backs are, the don't suit my working style. They require the use of a tethered laptop computer in the field (increasing complexity and gear by a factor of at least 2X), and exposures can run up to a couple of minutes in length, negating their use for many shooting situations in which I regularly find myself.
But, since they are half the price of a state-of-the-art back such as the P45, they may be a viable alternative for some photographers, and offer even higher image quality, though with commensurately less shooting flexibility.
Panoramic Stitching
I have had a long time love affair with wide format photography. I've owned and used a Fuji 617 and Hasselblad Xpan among others. But, I no longer shoot film, and the market is likely (almost certainly) too small for anyone to create a wide aspect ratio large format digital sensor or camera. Consequently, when the subject matter presents itself I'll sometimes take overlapping frames and stitch them together. This works, but often not as well or as easily as one could wish.
With a digital back on a technical camera, and a sliding / stitching back like the one from Linhof, it is simple to create 2.2:1 aspect ratio images. With a P45 this means files that are 11,900 X 5,375 pixels. A file like this is capable of producing a print that's 22 X 50 inches at 240 ppi.
The way that these are produced is simplicity itself. In addition to a center position into which the digital back normally slides when replacing the ground glass, there is a notch to the left and a notch to the right, which positions the back further to each side of the 90mm wide opening. You first take a frame with the back at the left side position and then the right, just re-cocking the shutter between frames. This takes no more than the second or two that it takes the back to write the file to the CF card.
Though Capture One has stitching software built-in, I don't use it as I find that it never does a good job, becauase it is calibrated for the Phase One stiching back, not the Linhof's. There's a simple solution though. Simply process the two raw files using the same white balance, and then process them into Photoshop. Create a new file with a large enough canvas, and then copy the two files onto the new one. Each will be on its own Layer. Line them up to roughly overlap, and then enlarge the join area to about 300%. Reduce the transparency of one of the Layers to about 75% and then move them so that they are in registration. From a P45 back the final file will be about 366MB, so a computer with a fast processor and at least 2GB of RAM are a virtual necessity.
The reason why this system is so easy and perfect in its results is because you are actually taking two separate exposures of the same image though the same lens. Because technical view camera lenses cover a larger image circle than needed, you are in fact just using more of the available circle than one frame can capture by itself. This is why there is no distortion or registration problems.
I have found that all of my lenses with the exception of the 35mm Rodenstock HR have a big enough image circle to accomplish this without any vignetting, even with the back in the horizontal position, thus yielding a distortion free 2.2:1 aspect ratio image of stunning quality and extreeme enlargability.
Film? What's Film?
At my seminars and workshops, when someone asks me a film related question, my usual response is, "Film? What's film?. Oh, ya, I remember. We used to use that in the last century, didn't we?"
Sometimes this gets a laugh. and sometimes a glare, but it is only meant in jest. Indeed there is a place for film, even with the ultimate digital view camera. One of these uses is as backup. One doesn't carry a spare digital back, and unless you are shooting in the heart of one of the world's major cities that has a medium format back dealer, you're going to be SOL. Even getting a next-day Fedex replacement, which Phase One does for its premium support package customers, isn't going to do much good if you're in the middle of the Namibian desert.
The backup solution then is film. A 120 film back and a dozen rolls of film is all that's need to prevent disaster on location. Most people will have fallback lenses, and a shutter can be swapped out for one from another lens. The body of a view camera is so simple that even a torn bellows can be fixed with gaffer tape. So the back is the single greatest point of vulnerability, and so film is the ideal backup for digital.
I also always have a film back along when shooting digital for those things that digital doesn't do as well, such as very long exposure – those measured in hours, such as start trails, and for the time when all battery power fails. In the case of the Linhof, a used Hasselblad A12 magazine and a V series adaptor plate is all that's needed to turn the 679cs into a (dare I utter the words) film camera.
Don't leave home without it.
NB: My initial tests show that the P45 produces stellar (no pun intended) results even with exposures as long as 20 minutes, so it appears that multi-hour star trail photographs will one of the few types of images that this back won't be able to handle.
A Word of Thanks
Equipment like that described in this article isn't put together casually. Not only because in aggregate it costs more than most people's cars, but also because it is comprised of pieces from multiple manufacturers (Linhof, Phase One, Schneider) all of which have to be put together to work in concert. Therefore, while there are on-line stores which will put this together, shopping just for rock-bottom price regardless of source is not the best approach. You'll save some money, to be sure, but in the end who do you turn to when things don't quite work together the way that they should?
I was fortunate to work with people who know this equipment inside out, and who were able to put all the pieces together for me, so that I had the confidence that everything would work properly. My dealer was Vistek, in Toronto, Canada. They sell Phase One, Linhof and Rodenstock products and so were able to act as a single source. The sales consultant who is head of their Digital Capture Group, Joe Behar, was able to help me specify the components needed, avoiding some costly mistakes.
I'd also like to thank Michael Boylan of Blazes Photographic, who acted as an advisor to me when selecting certain components and configurations. His in-depth knowledge of the current medium format digital view camera environment, as well as technical acumen, is unsurpassed. (Incidentally, Blazes is the Canadian distributor for Silvestri camera products).
There are three cables needed, all joined together
by a special device from the KaptureGroup.
A standard shutter release cable runs to the release socket on the lens' shutter
and another to the PC flash connection on the lens. A third goes to the digital
This allows the back to synchronize with the shutter release, since otherwise,
and unlike with
a medium format camera, there is no means of communication between the back
and the lens.
Suggested Reading
There is to my knowledge nothing in print or on the web about large or medium format view camera technique with digital backs. An essay on this site from last year titled Digital View Cameras in Use and on the Go by Ralf Lange, is one of the few references available.
A view camera / digital resource you may find of use is the Medium Format Forum on Rob Galbraith.com. A number of the members there are pros using MF backs on their technical cameras. A search of the history files will turn up a number of interesting discussions.
There are no longer that many books in print on view camera technique. Two which I can recommend are Leslie Stroebel's View Camera Technique, 7th edition. It was published in 1999, and has some references to digital backs, though they are quite dated by now. Unfortunately its description of how camera movements work is simply awful. Nevertheless the book is a goldmine of information for anyone new to technical camera use.
Jack Dykinga's Large Format Nature Photography is more inspirational than instructional, but is also a must-have for any view camera enthusiast's library. If you want to understand the joy of large format nature photography, this is the book to own.
Why Not Film?
View cameras are, if anything, growing in popularity. While medium format in general shrinks, and digital SLRs have virtually replaced film-based cameras, LF sales continue to boom, with more brands and types of these cameras on the market than ever before.
There are likely several reasons for this.The main one, I believe, is that as mainstream digital photography has become commoditized, there are photographers who want to work in a simpler more direct manner – out of the mainstream. They also are after extremely high image quality, and find the rarified prices of top-of-the-line DSLRs to be prohibitive. After all, a modest film-based view camera system with 2-3 lenses can be put together for less than a few thousand dollars.
The use of movements will always remain attractive to many. While Canon has three tilt/shift lenses available, these are not the sharpest knives in the drawer, and for many applications do not offer sufficient movement. Also, Photoshop will never be able to do Scheimpflug.
So, why purchase a $20-$30,000 digital back rather than use film? Setting aside the price part of the equation for the moment, the answer is the same as can be made for high-end DSLRs. Digital image quality is superior to that of film. And when you factor in ease of use, speed and assuredness of results, and flexibility of image processing, there isn't that much of a contest any more.
Then there's the matter of price. With the view camera body and lenses being essentially the same price whether one is shooting film or digital (depending on accessories), it's the cost of the back that is the prime factor. This is where the math will differ for each photographer. (Digital specific lenses are somewhat more expensive than film lenses though).
I have shoot roughly 2,000 frames a year with my medium format system over the past few years. In comparison with $5 / frame for film and processing with 4X5 sheet film, a $30,000 back will be amortized after 6,000 frames, which for me will represent 3 years of use.
But then there is the matter of scanning. (I have long left the chemical darkroom behind me, for all the obvious reasons, including image quality).
If I were to have drum scans done, figure on a minimum of $75 each. Even scanning just 5% of my images will cost $7,500 / year. Buying my own drum scanner (even a used one) is not something I have the physical room or patience for, and a desktop scanner with comparable quality, such as the Imacon 828, cost $15,000. If course then there's also the considerable time involved in scanning and dust retouching.
Put it all together, and at the volume of shooting that I do I can't afford not to buy a $30,000 medium format back rather than shoot film.
As the saying goes, your mileage may vary. But for many working pros, and even fine art photographers with high productivity, the financial equation needs to be examined carefully, even in the absence of compelling operational advantages.
In The Field
Though a sliding back with medium format digital back attached is a lot bulkier than a simple film holder, a single 2GB Compactflash card can hold some sixty 39 Megapixel image files. (These open up to 224 Megabyte images in 16 bit mode in Photoshop). Sixty images would require 30 film holders, more bulk and weight than anyone would want to take in the field. Of course one can load and unload sheet film in a changing bag while on location, but that's not my idea of a good time.
And another 2GB card holds another 60 shots. It's as simple as that. The financial as well as practical equations were compelling for me and the type of work that I do. Others will need to do their own analysis.
Caveat Photographer
If you have worked with 4X5", or any view camera before, then a system such as this will not seem that unfamiliar, either in terms of bulk or workflow. Using the sliding back holder to shift the digital back and ground glass back and forth will be new, but this becomes second nature pretty quickly. Otherwise the use of this system is not that dissimilar.
One thing that will become clear after the first day is that the system is relentlessly unforgiving of any flaws in set-up. The back and lenses draw such a detailed image that even the most minute error of focus, or slight mispositioning of one of the standards, will be glaringly evident when the 225MB file is later viewed on screen at 100% mangification. With large format sheet film errors such as film buckling and film holder mispositioning happen. With a digital view camera the potential errors are different, but no less devastating. Shooting with this system requires a level of attention and concentration unlike that found with almost any other type of photography.
The End of History?
Is a setup like the one that I've put together in any way the end of the line? Likely not, though in some ways I believe that it will be a while until we will see anything markedly superior come along.
The Linhof 679cs is the culmination of literally a hundred years of camera design on the part of that company. The current cs model is the third generation of this particular variant. Since view cameras are such basic devices, as long as you have rugged construction and an appropriate range of movements, combined with light enough weight for field use, it's hard to imagine what could supercede it.
The Phase One P45 at 39 Megapixels has caused many working pros, as well as industry observers and pundits, to ask – do we really need more than this? Some have even asked – do we even need this?
Far be it from me as a seeker after the "ultimate" to say no, but I think that along with the slowdown in Megapixel growth seen recently in the digicam and DSLR markets, we will similarly see a pause for breath at the very high end. There may be a 50 – 60 MP back somewhere down the road, but I don't expect to see it for at least another few years, if at all.
Finally, there's the matter of lenses. With the current Schneider and Rodenstock medium format lenses designed for use with technical cameras with digital backs, and especially Rodenstock's HR line, we have lenses that define the state of the art, and which are truly a match for the highest resolution sensors. So, with a balance of capability between sensors and lenses, we may, for a while at least, have reached an equilibrium that hasn't come yet to the DSLR marketplace.
The end of history? No, naturally not. But maybe an intermission.
Having read this far, you likely want to know – So, was it worth it?
The answer is that as this is being written in early March I have only had the system together for two weeks. Because it's late winter where I live, the opportunities to do any real field work locally are limited. Consequently all I have had time for is a couple of hundred test frames. Enough to become familiar with a new camera, four new lenses and a new back, but not much else.
But, in mid-March I will be doing a week-long shoot in Redwoods National Park in Northern California, and along the central coast, and then beginning in early April a three week shoot in Namibia and South Africa. These will obviously tell the tale, and after each one I anticipate publishing not only images but also field notes and conclusions. I will also be producing a test report on the P45 once I have enough real-world experience with it.
A Final Thought (for now)
My experience has been that my P25 outperformed the Zeiss lenses on my Contax 645. With the question of whether or not to therefore upgraded to the P45 I was left with the question of whether such a step would be worthwhile, or would simply provide me with bigger files (an advantage in many instances to be sure). My solution was, don't raise the bridge, lower the river. In other words, when moving to the P45 I decided to upgrade to a system with lenses that would be a performance match to the back.
The question is bound to be asked by others (and has been several times already) – if I currently own a Contax / Hasselblad / Mamiya or whatever, is a move to a 39 Megapixel back going to be worthwhile?
The only response that I can give is to point to the experience of two photographers who I know that have also purchased P45s in the past couple of months. Charles Cramer has moved from some 30 years of shooting 4X5" film and doing drum scans, to working with a P45 and Mamiya 645 system, and reports that he decided to get the P45 based on some impressive tests comparing 4x5 with the digital back. He adds that while he is "optimistic" about the results, "I really don't know how I'll feel about my decision to change until I get some real work done...". Ditto.
Bill Atkinson, after upgrading from a P25, has reported to me that he has found that a P45 on his Hasselblad H1 with its Hasselblad/Fuji macro lens is clearly showing comparable image resolution to that from his BetterLight Super 6K-2 scanning back using a 120mm Schneider Macro Symmar HM lens. (This is an astonishing result, and will be reported on in full in my forthcoming P45 review. It needs to be said that if this was reported by almost anyone other than Bill I would question the conclusion. But since Bill is one of the most highly respected technical voices in the industry today it has to be taken seriously).
So, to answer the inevitable question – there is regrettably no one single answer. We're talking about the very highest levels of performance, as well as fine gradations of results, individual perceptions, needs, and shooting techniques. There is no question in my mind, or that of any of the half dozen people that I know who have used or purchased a 39MP back (specifically the P45) that it is capable of producing results that challenge the best lenses and the best shooting techniques available. How to take that information and turn it into a purchase decision that's meaningful to ones own needs is up to each individual. Fortunately, such backs are sold by VARs who provide their customers with units for testing and comparison. The only solution therefore is to see for yourself.
Update – Field-worthyness
Immediately upon publication of this article I heard from several people questioning the field-worthness of a system like this. My guess is that these questions are from people that have never shot with a large format or technical camera, and / or who have never used medium format digital.
I've been using my Kodak DCS Pro Back and Phase One P25 in the field for about two years. This use has ranged from the deserts of the American Southwest to Antarctica. I've never had an operational issue, in rain, blowing sand or snow, and neither from extreeme heat or extreeme cold.
As for the Linhof, it is simply a view camera, similar to those used by tens of thousands of landscape and nature photographers for the past hundred+ years. Other than tearing a bellow, (that's what gaffer tape is for) what can break? No instant return mirror, no autodiaphram, no motor, no meter, no nothing. It's simply a light-tight hunk of metal and plastic, and a pretty solid one at that.
As for weight and bulk, the complete system described above, including 4 lens and P45 back, fits in my Thinktank AA backpack, and weights 31 lbs, which incidentally is 3 pounds less than my Contax 645 system weighed. And since I've backpacked that system on five continents, I don't see any reason why doing so with the Linhof / P45 will be any different.
Large format lenses are, well, just lenses. Other than a Copal shutter, they contain no moving parts. Compared to a current Canon EF lens with its motors, moving elements groups, circuit boards, image stabilizers, ROM chips and electronic contacts, such view camera lens are simplicity personified. I can swap a Copal shutter between lenses in the field in less than five minutes with a simple spanner. Anyone care to replace the shutter mechanism on their Canon or Nikon in the field with simple hand tools?
In fact I'd say that this system is likely as rugged for field use as any I've ever used. The sliding back makes it a bit bulky (and can catch the wind) but that's all. And as far as operational convenience goes, it's probably the fastest operating LF camera that I've ever used, and over the past 40 years I've shot with a variety of brands, including Linhof, Sinar, Toyo, etc. (I was Sinar's Canadian Product Manager for a number of years, and used both F and P models in the studio and field (and taught their use) for over a decade.
The biggest danger that I see is losing the expensive KaptureGroup 1-shot synchro cable. My solution there is to have a backup double-shot cable tucked in an inside pocket of my pack.
From the emails I've received it appears that a number of people are unaware that photographers by the thousands are out in inclement weather and inhospitable locations shooting with large format view cameras every day. Their gear ranges from 679, to 4X5, to 8X10" cameras, and even larger. The current issue of The Video Journal has an interview with and shows me shooting in the Florida Everglades with Clyde Butcher, who regards anything less than 5X7" film as small format.
The only difference between what Clyde, and the thousands of large format photographers like him are doing, and what I am doing, is substituting a small self-contained digital back for a sheet film holder (actually many of them). And (oh yes) my camera is smaller and in many cases lighter than theirs.
Field-worthy? You betacha!
One More Thing
There's always one more thing, isn't there?
There have also been several emails from people expressing their dismay that equipment such as this somehow gets in the way of, or is a substitute for creativity. My response – rubbish!
Photographers of all pursuits use the best equipment that they can for their specific task. Working primarily as a fine-art landscape photographer my goal is to immerse the viewer in the image I have captured in an attempt to have them see what I saw, and if possible, how I saw it. This type of photography demands the highest possible image quality, and is achieved by using the best quality tools that one has available.
Does using such tools reduce or somehow get in the way of ones creativity? I really think not. That's like saying that a Formula One driver doesn't need the best possible car, or that a world-class skier doesn't need the best possible skis. Tools are what allow human beings to accomplish their desires, and my desire is to create images that best communicate what I see, be it with a Funkycam or a Linhof / P45.
As one might imagine, since it first appeared this article has engendered a great deal of commentary, on this site's forum as well as a few others. It also generated quite a few emails, including the usual gripes and zingers but also several insightful observations by photographers who struggle with the same issues in their work.
Below is one such email; one that I feel summarizes well the dilemma that many photographers face.
Your article dealing with the many factors involved with your decision to purchase a new outfit, was the best review I've read. Virtually all photographers, serious amateur and professional, have to deal with these questions, which are both time consuming and expensive in todays marketplace. I recently tested the Phase One P25 & P45 backs on my Contax 645 system and compared the results with my 4x5 field camera. My primary camera for many years has been a Toyo 4x5Aii. I drum scanned the 4x5 transparency and printed all three images to 24x30. I do not have a printer that is larger. To my eye, there was no difference between the P25 & P45 prints. I think that both are comparable to the print from the 4x5 film camera, with only subjective differences due to lighting and lenses used. I have been told that at 30x40, I would be able to see a noticeable difference between the film and digital images. Having practiced fine art photography for 15 years, I continue to be amazed at what a continuum the learning curve is for those of us who work in this craft. Everything that I do seems to come with difficulty. Thanks, for a job well done.
March, 2006


text:
You can login with your account or Click here to register if you're not a member yet.
If you want to read our terms & conditions before register, click here »
We deliver your flowers to Ireland & worldwide.
Call +353 (0) 9064 94769
Welcome to Dooleys Florists website. We are family owned florists based in Athlone, Co. Westmeath.
Now we supply Ireland and UK on this website. For international orders please phone +353 (0) 9064 94769.
We know flowers....
We are award winning florists. Since 1978 Dooleys have been supplying the highest quality flowers and bouquets to the
people of Athlone, Westmeath, Roscommon, and East Galway.
Trust Dooleysflowers.ie to deliver the hightest quality flowers and bouquets, whatever the occasions.
Welcome and thank you for visiting Dooleysflowers.ie, we are a family owned business who have been serving the people of Athlone since 1978. Kevin & Mary Dooley set up the shop in 1978 and were joined by son & daughter Orlagh & Emmet in 2000.
We are the largest florist in midlands. Our stock is updated 3 times a week. We appreciate our customers and this is reflected in their loyalty over the years. Over time we have established a reputation for creative and quality floristry in Athlone, with all our bouquets and arrangements made to each customers individual requirements.
In addition to our vast range of flowers, Dooleys also carry a vast range of giftware and operate a large fruit and vegetable shop, where we can make up fruit baskets/hampers with the freshest produce. We have a policy of supporting and using high quality local product from local farms where possible.
Payment Options
Contact Details
Magazine Road, Athlone, Co Westmeath,Ireland
Phone: (09064) 94769
E-mail: firstname.lastname@example.com


text:
found a new home!
Plenty of my friends are looking
for one too. Find a pet to adopt.
Find a pet to adopt |
My name is Stella!
Facts about Stella
- Breed: American Staffordshire Terrier Mix
- Color: Gray/Silver/Salt & Pepper - With White
- Age: Puppy
- Size: Med. 26-60 lbs (12-27 kg)
- Sex: Female
Stella's Info...
I am already spayed, housetrained, up to date with shots, good with kids, good with dogs, and good with cats.
Stella is the sweetest and friendliest dog you will meet. She gets along with EVERYONE-dogs, cats and kids. She was a hit at the park and at day care. She is very submissive and has manners. She loves to cuddle and often thins thath she is a lap dog. Besides a fabulous personality, she is gorgeous. This girl is a dream. At apx 9 months, she is full grown at 50 lbs. She is crate trained, potty trained and has great leash manners. To adopt Stella please visit our website and fill out an application - www.pitifulpups.com. The applciation is located on the available dogs page. You may also call 407-476-6364. Her adopt fee is $250-she is sapyed, UTD on all shots and HW treatment and is microchipped. WE DO NOT ADOPT OUT OF STATE!
Other Pets at Pitiful Pups
Why Adoption is a Great Option
Stella, a Orlando American Staffordshire Terrier puppy was adopted! Here's how you can benefit by looking at adoption as an option to buying a American Staffordshire Terrier for sale in Orlando, or seeking a American Staffordshire Terrier puppy from a breeder in Orlando.
- Rescues and shelter volunteers in Orlando already know the personality and tendencies of their pets. This means they can match you with the right pet. That will makes it much easier transition to owning a pet for yourself and your new pet.
- On average adoption fees are much less than you'd pay a Orlando breeder, or pet store. Plus most often rescue pets have already been to the veterinarian for a check-up, had a round of vaccinations, and are spayed or neutered. That is a lot of savings!
- You will become a hero, and give a needy dog or cat a loving home. In fact, there are even American Staffordshire Terrier breeders who help with American Staffordshire Terrier rescue. One puppy or kitten adopted in Orlando paves the way for another one to be saved.


text:
Casio Launches Higher Brightness Green Projectors
Casio America said it is expanding its line of Green Slim projectors with four new models of increased brightness?the XJ-A255V, XJ-A250, XJ-A155V, and XJ-A150.
Casio XJ-A255V
Casio America said it is expanding its line of Green Slim projectors with four new models of increased brightness–the XJ-A255V, XJ-A250, XJ-A155V, and XJ-A150. Casio touts the Green Slim line as sporting the world's first mercury-free, laser and LED hybrid light source. The new models run at 3,000 lumens, making them suitable for a variety of applications including business, education, digital signage, home entertainment, and gaming, according to the company.
"Casio is proud to build on the Green Slim line of mercury-free projectors with the addition of the 3,000 lumen models," said Frank Romeo, vice president of Casio's business projector division, in a statement. "The additions demonstrate the advancements of technology and convey Casio's commitment to establishing its hybrid light source as the industry's premier solid state lighting solution."
Laser/LED light source uses blue light from a blue laser, green light converted from blue laser light with a fluorescent element, and light emitted by a high-lumen red LED through a DLP chip onto the screen. The resulting projector is also in a slim (1.7") and lightweight (5 pounds), with a light source that lasts 20,000 hours, according to Casio.
Among the new Green Slim projectors are two models with native WXGA resolution at 1280x800 pixels (16:10 aspect ratio), plus new USB-enabled models that can project content without a PC. The USB-enabled Green Slim models include a wireless adapter and can be wirelessly connected to up to 32 Windows-based computers simultaneously with up to four windows displayed on screen at one time.
All the new models come with a wide-angle 2X zoom lens and an HDMI terminal. Ceiling mounting is possible using commercially available hardware and brackets sold separately.
Casio said the Green Slim models will be available at pro AV Dealers and reseller partners in this month with MSRPs of $1,499 to $1,799.


text:
You're leaving Wedding Paper Divas to see the Deal of the Day at our parent site, Tiny Prints.
You won't be able to dismiss this by usual means (escape or click button), but you can close it programatically based on user choices or actions.
"We didn't' need the reference to table number as this was a place card only, not an escort card, so we removed that, changed the colors to navy, and added a reminder about what entree people chose to the back of the card to help guests and servers alike. I love the simplicity of this suite of designs. I wanted to use the 'nuff said invites too but was vetoed by the fiance. I'm glad we got to use them for both the menu and place card."
"I don't have anything to say but thanks for your beautiful work. I've been your client for several months and my satisfaction is over the top :)"
"WPD had tons of styles and options to choose from. Finally settled on this design. We had some customization requests on what text was printed on the cards. The designers emailed me the next day with a proof and it was perfect. Thanks for a great experience and hassle free purchase."


text:
- What is P&R?
- Steering Committee
- Academic Programs
- Support Programs
Several academic centers did not present convincing cases for meeting criteria in this review. Their reports did not demonstrate centrality to the institution's mission, assessment of program quality, or opportunity. We recommend the following Centers not receive general fund support and that their use of university space be re-examined:


text:
Hi everyone.
It's about time I appeared here among the happiest people around. I am currently freezing my........nose off here in bonnie Scotland. My next trip to WDW is in June. I'll be taking my wife and two kids (4 and 14 yrs old.) This will be our second trip as a family. Personally, this will be my sixth (or is it seventh?). I've been in March a few times, July / August and one truly magical time at Christmas.
I'll disappear now into the forums to ask some questions etc. but before I go, I'd just like to thank Lou for 'doing' this site and sorry for taking so long to come in. To everyone else.............let's have as much fun as possible.


text:
There are currently no published books in this section.
Zed Blog
- Yanis Varoufakis: Exclusive FREE e-book from Zed Books
- Join our mailing list and win the ENTIRE "Critique. Influence. Change." series!
- Register for The Coming Insurrection in Publishing - Feb 4th
- Islamism - a eurocentric position?
- Michael Brown and Eric Garner: Peace and Violence in "American Democracy" | Arnold August


text:
Hello, everyone:
We have a 6.5 foot long by 42" shower. There are two shower heads on the long wall only. The showerheads are pretty much evenly spaced out. This shower is on the wall just as you walk in the bathroom. They are getting ready to tile and then we will have our shower enclosure made. I had wanted to put a door on the long wall of the shower, at the end closest to the entrance to the bathroom, but that may be a design and code violation (water leaking out through door). Is that your understanding as well, or is there a seal or other that could make it work? The other options would be: a) a slider door on the long shower glass wall or b) move the door to the "short" 42" wall instead. There are pros/cons to each of course. The short wall door would enable a seemless piece of glass on the 6.5' wall...but would not allow a small storage cabinet with sliding doors that I had originally planned. What do you suggest? Here are the options visually... |
Follow-Up Postings:
- Posted by hollysprings (My Page) on Sun, Apr 8, 12 at 14:25
You cannot have a door across from a shower head. If you wanted a door on the long wall, the heads should have been located on the short walls. You'll have to choose the short wall. And you may need the controls moved if you cannot reach them from that end. A shower should be designed so that you can open the door, turn on the shower and wait for it to get warm before you step into it and close the door. |
Please Note: Only registered members are able to post messages to this forum. If you are a member, please log in. If you aren't yet a member, join now!
Return to the Bathrooms Forum
Information about Posting
- You must be logged in to post a message. Once you are logged in, a posting window will appear at the bottom of the messages. If you are not a member, please register for an account.
- Please review our Rules of Play before posting.
- Posting is a two-step process. Once you have composed your message, you will be taken to the preview page. You will then have a chance to review your post, make changes and upload photos.
- After posting your message, you may need to refresh the forum page in order to see it.
- Before posting copyrighted material, please read about Copyright and Fair Use.
- We have a strict no-advertising policy!
- If you would like to practice posting or uploading photos, please visit our Test forum.
- If you need assistance, please Contact Us and we will be happy to help.
Learn more about in-text links on this page here


text:
Please login to get more out of this site
You are currently not logged in, do so now to add comments, like articles as well as photos, submit to competitions, translate articles and gain access to unlimited photo upload! If you are not registered yet, go here to find out more about Lomography and join now! If you just want a limited account for now you can use Twitter or Facebook. We would love to have you as a member here!
21 people like this photo
Liking photos helps us to present the best ones to you and others. 21 people like this photo. 21 people like this photo: scootiepye, blikka, fruchtzwerg_hh, suizidekid, adamo-75, tracyvmoore, bloomchen, fadjaradiputra, mafiosa, rik041, robertofiuza, gheinz, akula, grazie, yago56, bnjmn, why-yu, blueskyandhardrock, wafflesaurus, frenchyfyl, and wil6ka.
No comments yet, be the first
Walking along the lake of Ouagadougou and the bridge that crosses the town
This photo was shot on film. Taken by vicuna with a Widelux F6B loaded with polypan f 50 film in Ouagadougou, Burkina Faso. These tags describe this photo: wil6ka, trees, traffic, water, bridge, people, nature, lake, contrast, sun, home processed, black and white, and bw. Date: 2013-11-02. Time: Morning. This photo can also be found in the album Ouagadougou Lake [Widelux].Where is this?
Nearby popular photos – see more
Nearby LomoLocations
Ouagadougou, an african big city
The first place where I landed when I arrived in Burkina Faso was Ouagadougou, the capital c…
Missionary Center "Les Lauriers" in Ouagadougou
When you arrive in an unknown country and don't want to spend a lot of many in any crappy Ho…


text:
COULD graffiti scrawled in a rented house in the 1970s be as important as
prehistoric cave paintings?
Well these caricatures were done by punk pioneers the Sex Pistols.
Here a top archaeologist argues that they are a major historical find.
THE graffiti found in the Denmark Street flat in London was created during a very exciting year, 1975.


text:
Gear Review
Better than I expected
I just got back from a few days at Copper Mountain and the jacket performed flawlessly. I only wore the shell on the mountain and was plenty warm, but a liner worked on colder days too. The wind didn't cut through me as I went down the mountain and i stayed dry. I would recommend to anyone because it's affordable, looks nice, packs away tightly, durable (so far), and no complaints. The only thing is that it ran a little large for me based on the measurements, so i had to go down in size.
View More Details on DC Amo 13 Jacket - Men's


text:
The Global Intelligence Files,
files released so far...
Index pages
by Date of Document
Our Partners
Al Akhbar - Lebanon
Al Masry Al Youm - Egypt
Asia Sentinel - Hong Kong
Bivol - Bulgaria
Carta Capital - Brazil
CIPER - Chile
Dawn Media - Pakistan
L'Espresso - Italy
La Repubblica - Italy
La Jornada - Mexico
La Nacion - Costa Rica
Malaysia Today - Malaysia
McClatchy - United States
Nawaat - Tunisia
NDR/ARD - Germany
Owni - France
Pagina 12 - Argentina
Philip Dorling - Fairfax media contributor - Australia
Plaza Publica - Guatemala
Publica - Brazil
Publico.es - Spain
Rolling Stone - United States
Russian Reporter - Russia
Ta Nea - Greece
Taraf - Turkey
The Hindu - India
The Yes Men - Bhopal Activists
Sunday Star-Times - New Zealand
Community resources
courage is contagious
The Global Intelligence Files
On Monday February 27th, 2012, WikiLeaks began publishing The Global Intelligence Files, over five million e-mails from the Texas headquartered "global intelligence" company Stratfor. The e-mails date between July 2004 and late December 2011. They reveal the inner workings of a company that fronts as an intelligence publisher, but provides confidential intelligence services to large corporations, such as Bhopal's Dow Chemical Co., Lockheed Martin, Northrop Grumman, Raytheon and government agencies, including the US Department of Homeland Security, the US Marines and the US Defence Intelligence Agency. The emails show Stratfor's web of informers, pay-off structure, payment laundering techniques and psychological methods.
Re: INSIGHT - CHINA/DPRK - China perspective & other econ thoughts - OCH007
Released on 2013-02-13 00:00 GMT
Email-ID | 1660460 |
Date | 2010-11-29 19:28:20 |
From | email@example.com |
To | email@example.com |
List-Name | firstname.lastname@example.com |
one before that - so I'm guessing it must have been the shooting over the
On 11/28/10 10:01 PM, Jennifer Richmond wrote:
Yes he means child slavery and I will double check to see if his friend
had this discussion over Cheonan or whether it was at another time.
On 11/28/10 9:47 PM, Chris Farnham wrote:
If I remember correctly the last crisis was the Chonan sinking and
relations have actually increased economically since then, I would
have to check to be 100% sure on that.
I think he means Child slavery rather than Chile slavery. [chris]
ATTRIBUTION: Old China Hand
SOURCE DESCRIPTION: Well connected financial source
PUBLICATION: Yes
SPECIAL HANDLING: No attribution if used
DISTRO: Analysts
SOURCE HANDLER: Meredith/Jen
The last time there was a N Korea crisis he (a friend of the source)
went to the national head of China security, who sits on the State
Council, and asked him what was China's views. He said the last thing
they wanted was to provoke a confrontation with either S Korea or the
USA, that they would cutback programs with NK and if necessary send
Chinese troops in. Passage of time may have changed all of that.
We then focussed not on the positives of China's growth but on the
negatives - you should read George Magnus's new book Uprising - will
emerging markets shape or shake the world. He concludes that there is
a risk of the latter.
Anyway XXX and I focused on the negatives since few people do these
days. Here is our simple list
1. Corruption, not just politically but financially and within
many companies both SOEs and private
2. Fraud: contracts, customs, investment
3. Stock market - manipulation
4. Mis-pricing of money leading to inflated asset values and
mis-allocation of capital - FAI, real estate, speculation in
commodities etc.
5. Easy availability of illegal substances such as drugs - very
serious issue in Shanghai - go into any pub and freely available.
There is a Nigerian cartel of some description in the city.
6. Chile slavery and snakeheads
7. Discrimination against foreigners and foreign owned companies
8. Demographics - the fastest aging country in the world
9. The system of import duties and VAT repayment
10. Growing resentment against China from other Asian countries.
Jennifer Richmond
China Director
Director of International Projects
(512) 422-9335
Chris Farnham
Senior Watch Officer, STRATFOR
China Mobile: (86) 1581 1579142
Email: email@example.com
Jennifer Richmond
China Director
Director of International Projects
(512) 422-9335
Jennifer Richmond
China Director
Director of International Projects
(512) 422-9335


text:
You may be able to get Extra Help to pay for your prescription drug premiums and costs. To see if you qualify to get Extra Help, call:
- 1-800-MEDICARE (1-800-633-4227). TTY users should call 1-877-486-2048, 24 hours a day/7days a week;
- The Social Security Office at 1-800-772-1213 between 7 am and 7 p.m., Monday through Friday. TTY users should call, 1-800-325-0778; or
- Your State Medicaid Office.
People with limited incomes may qualify for Extra Help to pay for their prescription drug costs. If you qualify, Medicare could pay for up to seventy-five (75) percent or more of your drug costs - including monthly prescription drug premiums, annual deductibles, and co-insurance. Additionally, those who qualify will not be subject to the coverage gap or a late enrollment penalty.
Many people are eligible for these savings and don't even know it. For more information about this Extra Help, contact your local Social Security office or call 1-800-MEDICARE (1-800-633-4227), 24 hours per day, 7 days per week. TTY users chould cal 1-877-486-2048.
If you get extra help from Medicare to help pay for your Medicare prescription drug plan costs, your monthly plan premium will be lower than what it would be if you did not get Extra Help from Medicare. The amount of Extra Help you get will determine your total monthly plan premium as amember of our plan.