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3 Using Modules
This chapter describes in detail some of the modules you are likely to use often, as well as a few of the more complex modules. It explains how to:
create a colormap
generate various types of lattices
slice volumetric data
create a histogram from your data
display and manipulate images
use Render to visualize your data
create loops in maps
create a single executable process from a group of ImageVision Library (IL) modules
3.1 Overview
Once you have data in IRIS Explorer, you can perform many operations on it to make the visualizations more meaningful and easier to interpret. For example, you can emphasize areas of common density or intensity by redefining the color palette, or examine more closely a specific subset of the data by cutting into, or slicing, the larger dataset. You can also examine the relative density of data points within a dataset by drawing graphs or histograms to show their distribution.
When you have a geometric object, or scene containing several objects, displayed in the Render window, you can move, highlight, and otherwise manipulate the objects in many ways to provide you with new insights into the nature of your data. You can also animate an object and record its movements for later display.
Loop controller modules provide you with a means of constructing single and nested loops in your maps. For example, you may need a loop to capture successive frames in an animation sequence.
There are many operators for processing images, embodied in the ImageVision Library modules listed in Table 3-1 under Process Images. You can display and record these processed images in DisplayImg.
The modules supplied with IRIS Explorer vary widely in function and complexity, providing you with the means to manipulate and process data in many different ways. More information about specific modules is available in these places:
Table 3-1 lists some of the modules grouped according to function.
Table 2-1, Table 2-2 and Table 2-3 list some of the modules according to the kind of data they accept and deliver; for example, lattice or geometry data.
The IRIS Explorer Reference Pages list all modules alphabetically and set out the specifications of each one.
Not all the modules listed are available on all systems. The IRIS Explorer Reference Pages indicate the modules available for general distribution.
A selection of modules is listed by function in Table 3-1[8].
Table 3-1 Modules Listed by Function
|Module Function
|Module Names
|Read data in or create it from scratch
|ComposePyr, GenerateColormap, GenLat, MopacView, Read2Da, ReadAudio, ReadAVS, ReadAVSfld, ReadAVSimage, ReadAVSucd, ReadAVSvol, ReadGeom, ReadHDF, ReadImages, ReadImg, ReadLat, ReadMovieBYU, ReadNTF, ReadPDB, ReadPhoenics, ReadPyr, WaveFormColormap
|Process images
|AbsImg, AddImg, AndImg, BlendAlphaImg, BlendImg, BlurImg, CompassAngleImg, CompassDirImg, CompassImg, ComplementImg, DivImg, ExpImg, ForwardFFTImg, FourierConjgImg, FourierCrossCorrImg, FourierDivImg, FourierExpFltImg, FourierGaussFltImg, FourierMagnitudeImg, FourierMergeImg, FourierMultImg, FourierPhaseImg, FourierPwrImg, GaussBlurImg, GrayScaleImg, HistEqualImg, HistNormImg, HistScaleImg, InverseFFTImg, LaplaceEdgeImg, LogImg, MaxFltImg, MaxImg, MedianFltImg, MinFltImg, MinImg, MultImg, NegImg, OrImg, PowerImg, PseudoColorImg, RankFltImg, RobertsEdgeImg, RotZoomImg, SGIPaletteImg, SharpenImg, SobelEdgeImg, SqRootImg, SquareImg, SubtractImg, ThreshImg, XorImg
|Generate data from other data
|AtomicSurf, ChannelSelect, ClipPyr, CropPyr, DiffLat, DisplaceLat, Gradient, Gradient3D, Interpolate, LatFunction, LatToPyr, MagnitudeLat, MinMax, Mixer, MultiChannelSelect, MultiSlice, OrthoSlice, OutLine, ProbeLat, PyrToLat, Ruler, SampleCrop, SamplePyr, ShrinkPyr, ScaleLatNode, Shell, Slice, SubSample, TriangulateDelauney, Triangulate3D
|Develop geometric representations
|Annotation, Ball, BallStick, BoundBox, BoundBoxPyr, Contour, GnuPlot, Graph3D, IsosurfaceLat, IsosurfacePyr, LatToGeom, Legend, MoleculeBuilder, MultiSlice, NAGAdvectSimple, QueryLat, PyrToGeom, SliceLat, SlicePyr, Streakline, VectorGen, Vectors, VolumeToGeom, WireFrame
|Create images
|DisplayImg, Histogram, Graph, Render, RenderRemote, TransformGen
|Multimedia (audio and video)
|AnimateCamera, AudioIn, AudioOut, ReadAudio, VideoControl, VideoDevice, VideoLabInWin, VideoStarterIn, VideoStarterInWin, VideoStarterOut, WriteAnimation, WriteAudio
|Control looping sequences
|AnimateCamera, For, Repeat, Render, Trigger, While
|CompressPyr, DiffLat, ExpandPyr, NAGContour, NAGGraph, SwitchGeom, Timer, Trigger
|Write data to disk
|PrintLat, PrintPick, PrintPyr, WriteGeom, WriteImg, WriteLat, WritePyr
3.2 Creating Colormaps
When you are looking at large amounts of data, it helps to be able to distinguish significant features easily, and a convenient way to differentiate a range of values is by using color. The GenerateColormap module control panel (see Figure 3-1) lets you select a color space, manipulate the color bands, and send the results to Render, where the visualized data object is colored according to its data values.
GenerateColormap has two input ports, both of which accept the lattice data type, and several input parameters that are connected to widgets on the module control panel. The first input port accepts a colormap, which means you can read a colormap data file that contains preset parameters into the map. The volume map in Chapter 1 provides an example.
The second input port accepts data in the form of a lattice, which means you can feed a lattice into the colormap to set the minimum and maximum limits of the domain. Both these ports are optional.
The output port produces a colormap in the form of a 1D lattice. You can connect GenerateColormap to any module that has a Colormap input port. These include BallStick, Contour, LatToGeom, PyrToGeom, and VolumeToGeom.
You can have several GenerateColormap modules in a map if your X server contains enough entries in its colormap table. See Section A.4 for more information.
3.2.1 Resetting the Color Bands
You change the slope, and hence the value, of a color band in order to adjust the color spectrum in the colormap. In this fashion, you can emphasize certain subsets of your data and block out others. This is easiest to do with the full-scale GenerateColormap control panel (see Figure 3-1).
The control panel has three windows:
The palette window shows the spectrum of colors currently associated with the data range. The colormap has 256 entries which are spaced uniformly through the range.
The editing window shows the relationship between the color bands. You can use the RGB (Red/Green/Blue) or HSV (Hue/Saturation/Value) color systems to create a colormap.
The scale window shows the range of data values for the map. You can change the minimum and maximum values for the domain by typing new values into the text slots on the dials.
184.108.40.206 Selecting an Output Mode
Use the Output? option menu to select a mode in which to work. The Build option disables the module temporarily while you edit the color bands. This is useful if you want to experiment without the module constantly firing and sending data to the modules downstream.
The Run option re-enables the module. All changes are reflected in the color palette as you make them, and are simultaneously sent to the next module downstream.
126.96.36.199 Setting the Domain Limits
Each map processes data with values over a specified range. You can set the limits of the range affected by GenerateColormap by turning the Min Domain and Max Domain dials. Each dial has two text slots that you can use to define the range for minimum values and maximum values.
To change a domain value (min, max, or current), click on the text slot to highlight it and type in the new value, then press <Enter>. The new value appears in the text slot and in the scale window.
18.104.22.168 Selecting a Color Band
You can edit only one color band at a time. To select a color band:
From the Color Space option menu, select RGB or HSV, depending on which system you want to use.
From the Color Band option menu, select the color band you want to adjust.
In the RGB color space, your options are Red, Green, Blue, and Opacity.
In the HSV color space, your options are Hue, Saturation, Value, and Opacity.
All four bands appear in the editing window. In the HSV color space, the bands might be superimposed on one another, and therefore more difficult to see. The active band is named on the option menu button and stands out in the editing window because the control points, shown as square boxes along the band, are enlarged.
184.108.40.206 Adding and Removing Control Points
You edit color bands by adding control points at intervals along their length and then dragging the points around in the editing window. The points appear as filled boxes (see Figure 3-2).
Use the Edit Mode option menu to add and remove control points. The Insert and Delete options default to Move after every insertion or deletion of a point.
To add a new control point to a color band, select Insert from the Edit Mode option menu and click on the color band at the place where you want the new point. The point is centered between the existing points on that segment of the color band. Move it by dragging on it.
The closer together the points are, the more precise the changes that you can make to the shape of the curve. However, you cannot move a point past the one to its left or right.
To remove an existing control point from a color band, select Delete from the Edit Mode option menu and click on that control point.
You can delete any point except the endpoints.
22.214.171.124 Using Slope Control Points
Each control point (except the end-points) has two empty squares associated with it, which control the slope of the curve at a given point. They are the derivatives of the curve at that point.
When you select a control point by clicking on it, the slope control points appear on either side (see Figure 3-3). They disappear when you select another point.
To alter the slope of the curve in the vicinity of a point, click and drag on the slope control points.
If you want to sharpen the curve toward the lower boundary of the window and the position of the slope control point blocks you, simply add another point to the line near the first point and use its derivatives to alter the slope.
3.2.2 Using Custom Colormaps
GenerateColormap creates a rainbow-like colormap when you first launch it. You can use a different colormap as your starting point if you wish.
To read in a custom colormap, first launch a ReadLat module and connect it to the input port of GenerateColormap. Then use the file browser in ReadLat to read in the colormap file. The GenerateColormap module will approximate the input colormap as closely as it can. You can use control points to edit the color curves that it creates.
IRIS Explorer has another module, WaveFormColormap, which uses ramp waves of variable frequency, rather than direct manipulation, to establish a relationship between data values and colors. For more information, refer to WaveFormColormap in the IRIS Explorer Reference Pages.
18.104.22.168 Creating a Custom Colormap
A colormap is a lattice with a specific format: it is a 1D, 4 vector, float uniform lattice with 2 to 256 components. You can create such a lattice by saving a map produced by GenerateColormap or WaveFormColormap, or by any other module or program that can produce a lattice in this format.
22.214.171.124 Saving a Colormap
You can save a colormap to disk by connecting a WriteLat module to GenerateColormap's output port. Then use the file browser to give the saved colormap a filename.
Example 3-1 Manipulating a Colormap
This example illustrates how to generate a colormap for a lattice and alter the relationship between the data values and the color spectrum.
Launch these modules from the Module Librarian:
GenLat, LatToGeom, Render, and GenerateColormap
Wire them up as follows:
GenLat to LatToGeom (Output -- Lattice to Input -- Lattice)
GenLat to GenerateColormap (Output -- Lattice to Data In -- Lattice (Opt))
GenerateColormap to LatToGeom (Colormap -- Lattice to Colormap -- Lattice (Opt))
LatToGeom to Render (Output -- Geometry to Input -- Geometry (Opt))
Change the GenLat settings to create a 2D curv full cyl curvilinear lattice with only 1 data variable and change the Output? option on GenerateColormap to Run. You should have a map that resembles the one in Figure 3-4. To make it more similar, increase the size of the lattice in GenLat. GenerateColormap starts in HSV mode.
Now do the following and look at the results:
Add two points to the red color curve (Hue), three points to the blue (Saturation), and two to the green (Value).
Move the points around as far as they will go. See what happens to the objects in Render.
Switch from HSV to RGB. Observe how the position of the color curves has changed, even though the color spectrum is still virtually the same.
Edit a color band in Build mode, then in Run mode.
3.3 Generating a Lattice
The GenLat module (see Figure 3-5) enables you to generate synthetic lattice data for test maps. You can create a large variety of lattices of different sizes, shapes, contents, and representations in order to drive other modules that accept lattices. For example, you can easily verify that a given module performs properly on any type of input lattice. Simply connect GenLat to the module, and then start generating different types and styles of lattices.
GenLat has no input ports and only one output port for the generated lattice. You can connect it to any module that accepts the type of lattice you want to generate.
3.3.1 Setting Lattice Parameters
GenLat creates a single lattice each time it fires. You can control the shape and contents of this lattice by manipulating the widgets on the control panel.
126.96.36.199 Controlling Lattice Size
Two of the most important parameters of a lattice are its size and dimensionality. If you increase these values, GenLat creates larger lattices, a process which takes commensurately more time. Depending on the domain selected GenLat creates lattices with the same number of elements on each side (square domain, e.g. 8x8x8 in 3D and 25x25 in 2D), or lattices that may have a different number of elements on each side (non-square domain, e.g. 8x6x3 in 3D and 20x25 in 2D). When non-square lattices are selected, additional widgets are visible on the module control panel (J Size and K Size).
To alter these values, move the Dimensions and Size (J Size, K Size) sliders at the bottom of the control panel. You can also type new values into the slider value areas to get an exact value.
Another way to generate test lattices that do not have the same number of elements on each side, is by combining GenLat with a module such as SampleCrop.
220.127.116.11 Lattice Coordinates
All lattices created by GenLat have coordinates, which can be represented as uniform, perimeter, or curvilinear. The data values of the coordinates govern the visual shape of the lattice. For example, the curv torus shape produces a lattice whose coordinates are polar in the first two dimensions and linear in the others.
To set the visual shape of a lattice, click on the Coord Type option menu and select an option.
To set the coordinate representation for a lattice, click on the Coord Representation option menu and select an option.
You can generate a curvilinear lattice with coordinates that are uniform in computational space. This option is useful for testing modules which require such lattices on their input ports.
Certain combinations of coordinate representation and coordinate style do not make sense, though, because only curvilinear representation can be used to store the position information for the torus and related coordinates.
188.8.131.52 Data Values
The data values in lattices can be any of the primitive data types (see Chapter 3, "Using the Lattice Data Type" in the IRIS Explorer Module Writer's Guide (UNIX)). These include byte, short, long, float, and double.
To set a data type, click on the Data Type option menu and select an option.
Data values are scaled either in a fixed range of zero to 255 or their maximum possible range for the integer types (char, short, or long). However, a range of -1.0 to 1.0 is used for float and double.
To set the data range, click on the Coord Range option menu and select an option.
Using the maximum possible range for the long primitive type can generate very large numbers.
The values of the data can be generated by one of several functions. The default is sines, which fills the data space with the product of sine functions evaluated over a certain number of cycles in each dimension. The other functions are:
Random data
Ramps (modulo function)
Simulated gravity wells
DataVec Length indicates the number of components at each node of the lattice.
3.3.2 Displaying a Lattice
To display lattice data in IRIS Explorer, you can:
cut a slice using any of the three slicers (see Section 3.4)
create an isosurface with IsosurfaceLat (see Figure 4-15)
create contour lines using Contour (see Figure 4-15)
create vectors using VectorGen
Since Render accepts only Geometry data, you must wire modules that produce lattice or pyramid data to LatToGeom, VolumeToGeom, or PyrToGeom, which in turn can be connected to Render. You can also send a lattice directly to DisplayImg. Figure 3-4 shows a lattice passed directly to LatToGeom.
3.4 Slicing Volumetric Data
A useful way to examine data is to make a 2D cut through a 3D volume, that is, to slice the volume and look at the data in that slice.
There are several ways to do this, depending on the type of data you start with and the results you want to produce. Table 3-2 shows which slicers you can use for each combination of lattice types.
|OrthoSlice, Slice
You can use the DataScribe to create a single module which combines all these functions. See Chapter 7, "Getting Data Into IRIS Explorer" for more information.
You can also use other modules such as CropLat2D and CropLat3D, to view slices of a lattice. See the IRIS Explorer Reference Pages for more information on these modules.
3.4.1 Using OrthoSlice
The simplest way to slice data is to use OrthoSlice (see Figure 3-6). This module extracts a 2D lattice from a 3D uniform, perimeter, or curvilinear lattice along one of the orthogonal axial planes. The output can have different coordinate representations. Curvilinear coordinates are output by default. If desired, the output may have the same coordinates as the input lattice, except that the lattice is 2D. When in this mode, if you feed in a 3D uniform lattice, OrthoSlice produces a 2D uniform lattice[9].
OrthoSlice cuts along the i, j, and k axes in computational space. For a uniform or perimeter lattice, these correspond to the x, y, and z physical axes. Curvilinear lattices have a more complicated relationship between computational and physical space.
To select an axis for cutting a slice, select I Axis, J Axis or K Axis on the radio button (or box) (see Figure 3-6).
The slice number corresponds to the node number. The slice is taken along the axial plane at that particular node. Selecting slice i corresponds to cutting a slice at node i-1.
Figure 3-7 shows a map that uses OrthoSlice to display part of a lattice. You can use any lattice data. For example, you can replace GenLat with ReadLat and read in an external lattice data file if you wish. A good choice is $EXPLORERHOME/data/lattice/testVol.lat, where $EXPLORERHOME is the root directory of IRIS Explorer on your machine. Optionally, the output is colored with a colormap by wiring GenerateColormap to OrthoSlice and LatToGeom.
The modules in Figure 3-7 are GenLat, OrthoSlice, GenerateColormap, LatToGeom, and Render. The slice is taken along the I axis of a half-cylinder.
3.4.2 Using Slice
The Slice module (see Figure 3-8) extracts a 2D uniform slice out of a 3D uniform lattice.
The slice axis need not be orthogonal to the axes of the lattice. The Slice module has an input port that accepts transformation coordinates from TransformGen. These coordinates define the plane of the slice. You can:
Use the widgets on TransformGen to angle the slice in any direction you choose.
Use the Offset dial on the Slice control panel to position the slice plane perpendicular to its axis in the volume. The plane is offset from the center of the volume.
Use the Resolution slider on the control panel to set the scale for the slice lattice. It determines the number of nodes.
The size of the slice lattice can be larger than the original lattice, depending on the slice plane. At certain angles, the slice may extend beyond the bounds of the original lattice (see Figure 3-9), but the lattice is clipped to keep the number of samples outside the bounds to a minimum.
Slice has two outputs: a 2D slice lattice and a transform to LatToGeom. The transform sets the orientation of the slice lattice with respect to the parent in Render. It must be connected to LatToGeom, which correctly positions the slice. Figure 3-10 shows a map using Slice.
3.4.3 Using ProbeLat
The ProbeLat module works only with curvilinear lattices, and its action is not restricted to plane surfaces (see Figure 3-11).
It takes slices from a curvilinear lattice in the form of:
a single planar slice
a trihedral, which is three mutually perpendicular planes (see Figure 3-12)
a paddlewheel, which is three planes radiating from a center at 120o to one another (see Figure 3-12)
The module accepts a transform from TransformGen which sets the orientation of the slice. The slice is output in the form of a pyramid.
You can select the form the probe takes (Probe Type) and the area of the slicing plane (Clip Size) from the ProbeLat control panel.
For pyramids you can use SlicePyr and ClipPyr.
Figure 3-13 shows a paddlewheel probe generated by ProbeLat.
3.5 Generating a Histogram
You can examine data distribution in a lattice by connecting any module that has a lattice output into the Histogram module and generating one or more histograms. The histogram (see Figure 3-14) shows how many times a data value occurs in the input lattice.
The Histogram module has one lattice input port and one lattice output port. The input port accepts any type of input lattice, and the output port produces a count of the input data values in the form of a lattice.
3.5.1 Displaying Histograms
The Histogram control panel has a display window that shows the histogram itself and scale windows that show the domain (horizontal, or x, axis) and range (vertical, or y, axis) of the data values.
The domain changes automatically according to the channel selected. You can override the default limits by entering new values in the Min Domain and Max Domain text slots on the control panel.
3.5.2 Sorting the Data
The Histogram module divides the range of data values in the lattice into a number of equal subranges called buckets. It counts the number of nodes in the lattice whose values lie in each of the buckets and produces a histogram of the counts.
To set the number of subdivisions in the data domain, you can move the Num of Buckets slider, or type in a new value and press <Enter>.
If you define a domain with a narrower spread of values than the actual dataset in a channel, then the out-of-range values are omitted from the histogram if Outliers is set to Omit; all the data points below the minimum value on the scale are put into the first bucket, and all the data points above the maximum are put into the last bucket if Add is specified.
The range of data counts is indicated by the height of each bucket.
3.5.3 Selecting Channels
The option menus let you choose whether you want to generate a histogram for only one data channel of the input lattice, or for all channels. Each channel shows the values for one variable in the input lattice.
To select a data channel, move the Channel slider (this slider is displayed only if more than one channel may be selected from the input lattice). You can also type a number into the Current Value slot at the top of the slider.
To choose between displaying one channel or all channels, click the relevant radio button.
If you select One Channel, a single histogram showing the data distribution in the selected channel is displayed.
If you select All Channels, you see as many separate but overlapping histograms as you have channels. The active histogram is white. It shows the currently selected channel, which is the channel corresponding to the number on the slider. You can change the active histogram by using the slider to select another channel (while in the One Channel mode).
When you select One Channel or All Channels, Histogram produces a 1D output lattice.
When you select Multi-Dimensional, you do not get a display, and the output lattice has a different format. The number of data variables in the input lattice defines the number of dimensions of the output lattice. For example, if the input lattice has three data variables, the output lattice will be 3D.
Each side of the output lattice is divided evenly into the number of buckets defined for the input lattice. The data buckets are formed by dividing the 3D lattice into smaller cubes, each of which contains the data points in that section of the total volume.
Example 3-2 Generating Histograms
This example illustrates how you can generate a histogram for each data channel of GenerateColormap using Histogram.
Launch a GenerateColormap module and a Histogram module from the Module Librarian.
Connect the GenerateColormap module's Colormap -- Lattice output port to Histogram's data input port.
When GenerateColormap passes data to Histogram, you can create a histogram for the data coming in from a single channel, or for the data coming in from all four of GenerateColormap's channels.
Use the slider to change the selected channel and see what happens.
3.6 Displaying Images
At times, you may find it useful to display an image, as opposed to a geometric object, on the screen, perhaps to see what the original image data looks like before it is processed through a map, or so that you can compare two images, or create a composite image from two separate images.
The DisplayImg module (see Figure 3-15) accepts image data in the form of a 2D lattice, either black and white or in color.
You can display several images in the DisplayImg window at any given time. Simply wire as many modules as you require into the input port of DisplayImg.
As each module upstream from DisplayImg fires, an image appears in the DisplayImg window. The image is placed at the bottom left-hand corner of the window, and each subsequent image is stacked on top of it.
To see the images underneath, you can change the stacking position of the images with the <PgUp> and <PgDn> keys on the numerical keypad (not the <Page Up> and <Page Down> keys to the left of the numbers). Place the cursor over the image of interest.
To move the top image to another area of the window, click on it with the left mouse button and drag it to a new position. You can move all images around in the window by using this method.
To return an image to its original position, place the cursor on the image and press the <Home> key on the numerical keypad. If the window contains several images and the cursor is not on any one, and no images are selected, they all return to the lower left corner. If an image is selected while others are not, then only the selected image returns to the lower left corner.
To increase or decrease the size of an image use the Zoom widget. Click on the image you want to zoom. The slider shows the current zoom factor for that image. As you adjust the slider, the zoom factor changes with the size of the image.
You can photograph the image in the window and send it on to another module to be processed by clicking on the Snap? button. You can arrange several images in the window and Snap? will produce a single composite image that is the same size and shape as the original. Connect the Img Out -- Lattice output port to another module's input port for further processing of the image generated by Snap?.
You can also remap the image by using the Remap widget.
Because the product of DisplayImg is also a lattice, you can send the image to any module that accepts a 2D lattice, through the lattice output port on DisplayImg.
Example 3-3 Comparing Two Images
This example illustrates the use of DisplayImg to compare an image in its original form with the same image after it has been modified.
Launch a ReadImg, a BlurImg, and a DisplayImg module in the Map Editor.
Connect the output port on ReadImg to the input port on DisplayImg.
Wire the output port on ReadImg to the input port on BlurImg by clicking on Connect in the cascade menu.
Wire the output port on BlurImg to the input port on DisplayImg.
Open the file $EXPLORERHOME/data/image/flowers2.rgb in ReadImg.
When the module fires, you should have two copies of the image in the DisplayImg window. Use the mouse to position them in the full-scale module window.
Turn the dials on the BlurImg module and compare the top image with the bottom one (see Figure 3-16).
Replace BlurImg with another image-processing module and see what effect it has on the image.
3.7 Visualizing Data
Since IRIS Explorer visualizes numerical data after it has been processed in various ways, the Render module (see Figure 3-17) is naturally a very important part of the process. It is Render that:
displays the geometric object, which it renders from 3D geometry sent to it by compatible modules, in its window
provides a wide selection of visual enhancement techniques for studying the object further
The Render module can accept multiple inputs, and it manages each one separately. Its viewing and editing functions are available only in the full-scale control panel. When the full-scale window is open, the Diminutif window is blanked.
Render has several viewing modes and an edit mode, in which an object can be selected and its attributes altered. The functions and attributes of the Render module are described fully in the IRIS Explorer Reference Pages.
3.7.1 Ports on Render
Before you can display an object in the Render window, you must wire Render into a map that generates the object. Render has six input ports: four of them accept geometry inputs and two accept lattices.
The most frequently used input port is the Input -- Geometry port, which accepts the geometry necessary to create an object or scene from any module with a geometry output port.
The Annotation -- Geometry port accepts text labels for parts of the geometry in the Render window. Its use is illustrated in the pick map in the Module Librarian.
Render has four output ports. The Pick -- Pick port outputs pick data to a picking module. The other ports let you take snapshots of the object in the Render window and export them to other modules, and provide synchronisation for loops. This is useful for making animations.
3.7.2 Modes of Operation
Render has four mutually exclusive viewing modes. The viewing mode is a way of considering how the camera in the scene is moving. The viewing modes are selected from the Viewing menu on Render's menu bar. Each one lets you view the scene in the Render window in a slightly different way. You can examine, fly by, or walk by the object, or you can change the viewing plane.
You can zoom in and out, as if looking at the object through a telephoto or wide-angle lens. The object appears closer when you zoom in, although it actually remains the same distance from the camera.
To zoom in or out, hold down the left and middle mouse buttons and move the mouse towards or away from the screen. You can also zoom in or out using the graphical shortcuts (see Section 3.7.6).
3.7.3 Selecting an Object
Render has two picking modes, viewing or picking/selecting an object. In the Pick/Edit or view mode, you can change the camera parameters, that is, the position, direction, and field of view of the camera in relation to the object.
In the User Pick Mode, you use the mouse and buttons to select objects, attach manipulators, and query objects through picking.
To select an object, click the left mouse button on it. The object appears surrounded by a red box (see Figure 3-18).
3.7.4 Moving an Object
You can view an object in the Render window from a different position by manipulating it using the left or middle mouse button in Examiner Viewing mode. These actions change the camera position from which you are looking at the object.
To roll the camera, that is, to rotate it on an axis perpendicular, or normal, to the screen, hold the left mouse button down and drag the object, either clockwise or counterclockwise. The object spins in the direction in which you dragged it. The object rotates faster according to the speed with which you push or drag it. It continues to rotate once you release the mouse button. To stop it, click on the mouse button outside the object.
To move the camera view around the center point, that is, to move it in the plane of the screen, hold the middle mouse button down and drag the object.
3.7.5 Using the Pop-up Menu
The Render pop-up menu (see Figure 3-19) appears when you click on the background of the Render window. If you zoom or truck in too far and lose sight of the object, click on the window background with the right mouse button and select View All from the Functions submenu of the pop-up menu.
The View All option resets the camera position, enabling you to see all the objects in the scene.
To center an object in the window, choose View Selection from the Viewing menu. You need to select an object in the Pick/Edit mode before this menu option is selectable.
To restore the original camera angle after you have moved the object around, select Home from the Functions submenu of the pop-up menu.
You can also select the Draw Style (for example wireframe), switch Headlight and Decoration on and off and set some Preferences for display. The single buffer, double buffer, and interactive buffer options on the Draw Style submenu of the pop-up menu refer to the type of buffering you are using.
3.7.6 Using Graphical Shortcuts
The Render module provides several graphical shortcuts for manipulating objects in the Examiner Viewing, Navigator, and Edit modes. To use the shortcuts, select Decoration from the pop-up menu. A frame containing several widgets appears around the Render window (see Figure 3-20).
The widgets include:
thumbwheels that control the camera rotation or tilt and trucking motion. They also work in Pick/Edit mode.
a slider that controls the zoom action.
eight buttons that correspond to Pick/Edit, Viewing, Help, Home, Set Home, View All, Seek, and Camera Type.
3.7.7 Wireframe Rendering
When you have an opaque object in the Render window, it may be easier to examine or move around in wireframe form. You can draw the object as a wireframe structure (see Figure 3-21) by selecting Draw Style from the Render pop-up menu in either viewing mode, then clicking on wireframe.
This command acts on all the objects in the scene, not just on a selected object.
If you are viewing a complex scene with several objects, it may take a long time to render each frame while moving it. Wireframe rendering is much faster than rendering opaque objects, so you may want the objects to be rendered in wireframe while they are moving and opaque when still.
To draw the objects in wireframe as the camera moves, use the move wireframe option. When you release the mouse button, the objects are again drawn in their original mode.
3.7.8 Editing Object Properties
Objects displayed in Render have a variety of attributes. They include positional properties, such as translation, rotation, and scale, and surface properties, such as color, specularity, and transparency. You can change or edit all these attributes using the Render editors in User Pick Mode.
You edit object attributes by picking the object and then selecting an editor from the Editors menu.
Each editor provides access to various attributes of the object (see Table 3-3).
|Material Editor
|Sets the material properties of ambient, diffuse, and specular color, shininess, and transparency.
|Color Editor
|Brings up a graphical color editor that lets you set the diffuse color on an object.
|Transform Sliders
|Sets the exact placement, scale, and orientation of the object in the window.
220.127.116.11 Using the Material Editor
The Material Editor (see Figure 3-22) lets you change the color and texture of an object in a scene. You can set:
Ambient intensity: the level of ambient color
Diffuse intensity: the level of diffuse color
Specular intensity: the level of specular color
Emissive intensity: the amount of light the object emits
Shininess: the amount of surface shininess on the object
Transparency: the degree of transparency or opacity
Use the sliders to set the brightness, or intensity, of each color.
To change the material color itself, click on one of the radio buttons on the left (marked Edit) on the Editor. The Color Picker appears and you can edit the ambient, diffuse (usually the same as ambient), specular, and emissive colors in turn. By clicking on the buttons on the right (marked Color), you can select to edit one or more of these colors simultaneously. In this case, a tick mark appears to indicate which colors have been selected for editing. Naturally, in this situation they will all have the same color assigned to them.
For details on how the Color Picker works, refer to Section 188.8.131.52 below.
188.8.131.52 Using the Color Editor
You can change the color properties of the object material using the Color Editor (see Figure 3-23). Use the Sliders menu to select RGB, HSV, or both. Choose colors from the color wheel. Use the Edit menu to stipulate whether or not the change is immediately reflected in the object. By selecting Manual, you can prevent any color change taking effect on the object until you are ready.
Use the two color squares to test new colors and store the previous one. By clicking on the three arrowed pads beneath the squares, you can switch back and forth between colors.
The new color is always on the left and the previous color on the right. You can send the new color to the right square, or the old color to the left square.
The Color Pickers in the other editors work in the same way as the Color Editor, although they affect the color of different items.
184.108.40.206 Using the Transform Sliders
The Transform sliders (see Figure 3-24) let you rotate, translate, and resize any object that is part of the scene in the Render window. The changes affect only the selected object, not all the objects in the scene. The slider widgets are:
TRANSLATIONS: changes the position of the object in the scene.
SCALES: changes the relative size of the object in the direction of the three axes (conveniently called x, y, and z). The direction of the axes is defined by the SCALE ORIENTATION widget.
ROTATIONS: changes the orientation of the object in the scene
SCALE ORIENTATION: changes the direction of the axes along which the object is scaled.
CENTER: changes the center about which rotations take place
When you click on a the title of a slider, for example, TRANSLATIONS, the slider opens up and shows three text slots, one each for the x, y, and z coordinates. Enter the new value and see how the position of the object changes.
Next to the slider name in the open slider is a Style button. It offers three different layout styles for the widgets in the slider. To see the different widget layouts, click on Style.
3.7.9 Displaying Transparent Objects
If you want to make an object transparent, use the Transp slider in the Material Editor (see Section 22.214.171.124). To display the transparent object, you can select Screen Door Transparancy or any of the other sorted transparency widgets on the Viewing menu on the Render title bar.
Some displays do not support sorted transparency. They can only display transparent objects in Screen Door format.
As its name implies, Screen Door Transparency renders objects as meshes that you can see through.
Sorted transparency, also called blended transparency, gives a more accurate rendering of the transparent object, but the scene is drawn more slowly than in Screen Door format.
3.7.10 Changing the Lighting
The Render module has a headlight that is situated in the camera position, which is defined as being just over your left shoulder. The headlight moves with the camera. You can also create point, spot, and directional lights, which remain with the objects in the scene. Thus, if the camera moves left, the lights appear to move to the right. You can have as many as you like on at any given time.
You can change the direction, color, and intensity of each light in the scene by using the Lights menu to toggle lights on and off and to edit their attributes. You can also edit ambient light levels.
If you cannot see the Lights menu on the Render menu bar, just enlarge the Render window to the right.
Changes to the lights affect all the objects in the scene, unlike changes to the transform and material properties, which apply only to the selected object.
22.214.171.124 Editing a Light
To edit the properties of a light, for example, the headlight, select Headlight from the Lights menu and click on Edit. The Edit window appears (see Figure 3-25), displaying the light you have selected.
You can change the intensity of the light emanating from the source by moving the widget on the Inten slider to increase or decrease the light intensity. The change is reflected in the image of the light.
You can also adjust the angle at which the light shines on the object by clicking on the directional arrow and changing its position in the window.
The Edit menu provides access to the Color Picker window for changing the color of the light. The Color Picker works in the same way as the Color Editor.
3.7.11 Manipulating Objects
The Manips menu options let you rotate and translate objects in a scene by attaching one of several manipulators to them. You can use only one type of manipulator at a time, but you can attach it to each of several objects at the same time by using the shift key while you select subsequent objects with the left mouse key. You can use these manipulators to reposition the object in the scene. The movement is not as precise as that achieved by using the sliders in the Transform Editor, but it is a more direct manipulation.
To remove a manipulator from an object, click on None (this will surround the object by a red box to indicate it is selected) or select another manipulator from the Manips menu. Click on the background of the Render window to remove a manipulator completely.
Example 3-4 Using the Trackball
The Trackball manipulator (see Figure 3-26) consists of opaque stripes surrounding the object. These stripes are aligned with the local axes of the object.
To rotate the trackball, place the cursor over the trackball but not on any of the stripes and drag the mouse in the desired direction, with the left mouse button held down. The trackball is highlighted. When you release the mouse, the ball continues to spin until you click the left mouse button.
To rotate the trackball in the direction of a single axis, place the mouse on one of the stripes, then drag it in the direction of the stripe. Only the selected stripe is highlighted.
If you start the trackball spinning and then move the mouse outside the sphere, the ball continues to spin within the plane of the screen, following the mouse.
You can use the Transform Editor to monitor the object's degree of rotation, as reflected in the rotation slider values.
3.8 Constructing Loops
You may sometimes need to go beyond the linear dataflow model of existing IRIS Explorer maps to build maps containing dataflow loops. They are needed, for example, for data interrogation through picking in Render, iteration through data sets using For or a multiple-data set reader, and convergence of a simulation using While.
For example, Figure 3-27 illustrates a loop from Render to QueryLat and back to Render.
The user picks on an object in Render, which fires and sends the pick coordinates to QueryLat. QueryLat turns the coordinates into text and sends it to Render. When the data arrives back at Render, the loop is terminated. To start the loop again, the user has to make another pick.
The common goal in all loops is to feed data from one phase of an IRIS Explorer computation back around to the next phase of the computation. As in most programming languages, loops in IRIS Explorer are a basic and necessary semantic element. It is also true that looped maps are more complex than linear, or unlooped, maps. This section describes how you can conveniently and correctly employ looped maps in your IRIS Explorer data visualizations.
3.8.1 Defining a Loop
You can create two kinds of loops, While loops and Repeat loops, like the similarly named loops in C. In While loops, a specific condition evaluates to true and then an iteration takes place. This sequence is repeated until the condition evaluates to false.
In Repeat loops, an iteration takes place and a condition is then evaluated. Similarly, the sequence is reiterated until a stopping condition is reached.
3.8.2 Loop Controllers
Each loop must contain a loop controller module which controls and terminates loop iteration. In While loops, the loop controller checks the condition at the start of the loop, and in Repeat loops, at the end of the loop. The While or Repeat sense of the loop is determined by the While or Repeat capability of the module controlling the loop. Loop controllers have either While or Repeat capability, but not both.
Loop controllers are identified in the Map Editor by a small square icon, the controller icon, in the centre of the title bar in the mini and micro control panel (see Figure 3-28).
The controller icon is Off when a loop controller module is wired into a map but is not part of a loop, or when it is in a loop controlled by another module. When you wire a loop controller module into a loop, the icon turns green. For example, in Figure 3-28 Render is the loop controller, even though both modules have controller capability (see Section 3.8.3).
You can identify a loop controller module only after it has been launched in the Map Editor; until then, it is indistinguishable from other modules in the Module Librarian.
You can also look at the .mres file in the Module Builder; the Build Options window indicates whether the module is a While or Repeat loop controller, or neither. For example, Figure 3-29 shows the controller status for AnimateCamera, which is a Repeat loop controller module.
You confer loop controller status on a module in the Build Options window of the Module Builder (see Figure 3-29). Selection of While, Repeat, or None, which is the default, prompts the MCW to provide the correct interface for the module.
The distinguishing characteristic of a loop controller module is its ability to break its loop. IRIS Explorer has While and Repeat modules whose sole function is to control While and Repeat loops, but other modules can also function as loop controllers. Table 3-4 lists the IRIS Explorer loop controllers.
3.8.3 How Loops Work
There can be only one active loop controller in a loop. If the loop contains more than one module with loop controller capability, IRIS Explorer selects the active loop controller, based on information from the loop connections. You can change the active controller by clicking on the loop icon. A message appears asking for confirmation.
Even though IRIS Explorer allows you to change controllers, the change may not make sense from a programmatic point of view. It is up to you to make sure that the looped map makes computational sense and that it will terminate.
A loop fires until the loop controller detects an end-of-loop condition and stops the loop. To fire a loop, or to start up a loop that has been terminated, you can fire the loop controller module. The controller module can always cause its loop to iterate if you change one of its widgets.
In addition, any module outside the loop or upstream of the loop controller can start the loop. If you have a Repeat loop, where the controller is at the end of the loop, this includes modules in the loop as well upstream of the loop itself. In a While loop, upstream modules are all outside the loop.
If a frame results from a parameter change in a module inside a loop, the While controller will not restart the loop, whereas the Repeat controller will, because the frame came from upstream. This is important when, for example, Streakline is in a loop with Render. If a parameter changes in Streakline, Render can keep the loop going.
Controller modules such as While and Repeat pass their data through like a transistor, turning off the flow by sending a sync frame when their Condition port parameter becomes zero.
Other controller modules, like Render, do not really control iteration, but need to be control modules in order to support their normal wiring paradigms, such as picking in the Render -- QueryLat map (see Figure 3-27). Render needs to be a Repeat controller so that any module in the loop can start the loop.
3.8.4 Wiring a Loop
When you wire a loop in a map, you must include a loop controller module in the loop. If you try to close a loop without a loop controller, you will get a message saying the connection has failed because there is no controller present.
You can have:
nested loops:
multiple loops with a single controller
multiple controller-capable modules in a single loop (with only one of them selected as the active controller)
and (hopefully) anything else that makes programming sense
You cannot have intertwined loops, where two control modules are each in the other's loop, or where a single module is controlled by more than one controller.
Each loop controller module has an additional synchronisation port Loop Ended. When the module is the active controller you can wire this port to the Fire port of another module outside of the loop, to cause that module to fire when the loop completes, i.e., when the loop controller has detected the end-of-loop condition and stops the loop. This can be useful to control nested loops, as demonstrated in the example map $EXPLORERHOME/maps/AnimateIso.map.
Figure 3-30 shows the wiring of the nested loops within this map. AnimateCamera is the loop controller for the inner loop and sends cameras to Render. For controls the outer loop. The Loop Ended port of AnimateCamera is wired to the Fire port of For, to start the next iteration of this outer loop.
220.127.116.11 Control Arcs
The special coloring of loop control arcs (see Figure 3-31) can help you understand loops. Each loop has a single control arc, which is adjacent to the loop controller that governs it. The control arc is upstream of a While controller and downstream of a Repeat controller. A control arc is conceptually treated as broken by IRIS Explorer when it is computing which modules lie upstream of one another.
The special control arc wiring helps to clarify otherwise ambiguous loops, such as the one in Figure 3-32, which shows a symmetrical map with separate While loop controllers for each nested loop. Either While module can control loop 3. You will be able to deduce which module controls loop 3 by reading the controller arcs. You can change which module controls loop 3 by selecting arcs and controller buttons carefully.
184.108.40.206 Saving Loops
If you save a map or part of a map that contains a loop, IRIS Explorer saves the identity of the active controller and will restore the map with this configuration.
In general, you would group most loops that perform a complex iteration. However, controller capability cannot be promoted from the controller module in the loop to the group module. If you wire a group module into a loop, the loop must include its own separate controller. In this case, the grouped loop constitutes a nested loop in the map.
3.8.5 Halting a Loop Iteration
An iterating loop may be terminated by the controller module, or it may be interrupted by the Map Editor. This is called breaking the loop, which is different from disconnecting the loop, where inter-module connections are removed.
In the Map Editor, you can also use the Break Loop option, which appears only on the module pop-up menu of active loop controllers (see Figure 3-33). It forcibly terminates a looping cycle.
If your looping map seems to be hogging resources with execution highlighting on, try switching it off before you initiate a loop.
3.9 The IL Controller Module
This module is used to create a single executable process from a group of ImageVision Library (IL) modules. The module takes map file information about the constituent modules and their ports and connections, and creates an IL operator for each IL module in the map. It then chains these operators to execute the modules, in effect creating a single executable process from all the alternate module executables.
The IL Controller module sits between the ImageVision Library and IRIS Explorer. It is similar to the DataScribe module that uses a scribe file, except that the IL Controller module uses a map file. There must be both a modulename.map and an .mres file for the module to function.
To use the IL Controller module, this is the procedure you follow:
Create a map from several IL modules.
Group the modules in the Group Editor and save the map as a group.
Save the grouped map file by using the Save Selected item on the Librarian File menu. You will be prompted to confirm that the map is saved as an imaging process. If you click on OK, then an .mres file is created with the map filename.
Open the .mres file in the Map Editor. The map comes in as a regular module and uses the IL Controller module as its alternate executable.
The main reasons for using the IL Controller module to execute a map are:
the increase in processing speed
the reduction in memory use
This is because the IL execution module is a pull model and requires much less information to compute a large image than IRIS Explorer, which uses a push execution model.
[8] Note that the multimedia modules may not be available on all platforms as they were originally designed for Silicon Graphics systems.
[9] For more information on lattices, see Chapter 3, "Using the Lattice Data Type" in the IRIS Explorer Module Writer's Guide (UNIX).


text:
Week of APRIL 11, 2011
Young Alum Farm and Food Panel
Green Mountain College's Fifth Annual Young Alumni Weekend begins Friday, April 15, which is just about the time the College's Cerridwen Farm is preparing for another planting season.
Many GMC graduates have gone into sustainable farming for a living—and as a way of life. Some of these entrepreneurs will be returning to the College to discuss their perspectives on the slow food movement and the importance of growing food safely and sustainably at a panel discussion Friday, April 15 from 3:30-5 p.m. in the Gorge, Withey Hall. The public is invited to attend.
The panel will be moderated by Prof. Philip Ackerman-Leist, who founded the College's Farm and Food Project in 1996. Author of the recent book
Up Tunket Road: The Education of a Modern Homesteader
, Ackerman-Leist said, "How we as individuals relate to food is usually a pretty good indicator of how we relate to the environment, our society, other cultures, and other animals.
"I'm proud to work in a college that has a working farm as a centerpiece of campus life and that doesn't shy away from the complexity of issues surrounding how we sustain ourselves, our environment, and our culture," he said. "These young people have taken these lessons to heart and are helping lead the way in the sustainable food movement."
Panelists include Karin Bellmare '09 and Jon Wagner-Herbert '09 of Sunset Beach Farm in Sag Harbor, N.Y.; Joe Bossen '08 of Vermont Bean Crafters, Pittsfield, Vt.; India Burnett Farmer '01, of the Rutland Area Farm and Food Link (RAFFL) Project Coordinator and Northeast Vine Supply, Pawlet, Vt.; Keith Drinkwine, '10 of Kilpatrick Family Farm, Granville, N.Y.; and Erika Krauss '09, Two Sisters Garden and Landscaping.
The format of the panel will be "question and answer," and the audience is invited to participate. Refreshments and appetizers featuring local foods will be provided by the Green Mountain Slow Food Club. A full schedule of Young Alum events can be found
Front Page

subset: commoncrawl


text:
What happened when my root-canal teeth were pulled
Can you stand one more update related to traditional dentistry versus holistic (biological) practices? It's the last chapter in the story I told you in August. I told you that when I had my two root-canal teeth extracted, I paid a few hundred dollars for an analysis of what bacteria were found in them. I […]25 Comments • Continue Reading →
WINNERS from my last post, back to Dr. Wall for a checkup
Look who won the fabulous Zen Society skin care products—I'm sure you'll love them like I do! Candi Nicholls, Lehi UT 84043 Sarah Peterson, Suwanee GA 30024 Deidre Gibb, Los Angeles, CA 90066 Congrats, ladies! I went back to Dr. Wall to get my stitches out yesterday. I'm now missing two back teeth, and 5 fillings on the […]17 Comments • Continue Reading →
Recovering from oral surgery….part 3 of 3
I am more committed now than ever, to good nutrition. I want to keep my teeth healthy! I don't want to face more dental decay. We live longer than people did back when infectious disease and dreadful working conditions were rampant. And we're vain as a culture. So we have to have beautiful, straight, white […]12 Comments • Continue Reading →
Recovering from oral surgery…..part 2 of 3
Dr. Wall gave me IV Vitamin C during the procedure. I am also using ACS and ACZ, to kill micro-organisms and safely remove them from the body. I told the anaesthesiologist I wanted no benzodiazipenes. Jeanette, also a patient of Dr. Wall's, warned me that the anaesthesiologist wouldn't like that. She was right; he […]6 Comments • Continue Reading →
Recovering from surgery….+ thoughts about YOUR dental treatments, part 1 of 3
Last Friday, I had five hours of oral surgery under general anaesthesia. I had my two root-canal teeth removed. I had read multiple books and papers on toxic dental practices, and had become convinced that root canals are UNIVERSALLY a terrible idea. I'd learned that the research of Weston A. Price, possibly the most well […]9 Comments • Continue Reading →
Antibiotics and dental surgery….do I agree with taking AB's preventatively? Part 2 of 2
Answer: Dr. Larson, I have always appreciated how conscientious you are in your practice, and in your ongoing study to legitimately find the truth. And I think it's impressive that you stay open minded….plenty of docs wouldn't even ask me what I think. Like I once did, they trust only peer-reviewed-journal-published clinical trials. Of course, […]9 Comments • Continue Reading →
Antibiotics and dental surgery….do I agree with taking AB's preventatively? Part 1 of 2
Dear GreenSmoothieGirl: I think you are pretty conservative and avoid antibiotics, but I had an interesting experience recently in my dental practice that I want to share with you. You influence a lot of people to make better choices for their health, and if you agree with me and my position as a health care […]4 Comments • Continue Reading →
Comments from another dentist, Kristi……part 7 of 7
A reader and dentist, Kristi, shared these observations after my root canal post. I have paraphrased some of her comments for length: " I have much respect for Robyn and her goals of sharing important life saving information with all of you. Her willingness to stand up for what she believes in is admirable. I […]4 Comments • Continue Reading →
Should I shut the heck up about all things not green smoothie?…..Part 6 of 7
About Dr. L telling me I should not talk about toxic dental practices and stick to whole foods topics only? That is precisely the reason I have a blog in the first place. I don't want my readers to be as ignorant as I was when I was 27 years old and allowing doctors to […]8 Comments • Continue Reading →
Should I shut the heck up about all things not green smoothie?…..part 5 of 7
I started using a Sonic toothbrush a few years ago. It's incredible! I had quite a few cavities as a kid, but I haven't had any, since using the Sonic. It vibrates the plaque off your teeth. My gums were receding from my scrubbing my teeth too hard, and with the Sonic, I have stopped […]22 Comments • Continue Reading →


text:
150 Bhopalis
Will March 900 Kilometers to Delhi for Justice
(Beyond Pesticides, February 13, 2006) On
February 20, 2006, 150 survivors of the December 1984 Union Carbide
disaster in Bhopal will begin marching on foot to New Delhi demanding
justice and a life of dignity for the people poisoned by American multinational
Union Carbide Corporation. The march is being organized by four Bhopal
based organizations (Bhopal Gas Peedit Mahila Stationery Karmachari
Sangh, Bhopal Gas Peedit Mahila Purush Sangharsh Morcha, Bhopal Group
for Information and Action and Bhopal ki Aawaaz) and will also include
people affected by ground water contamination from Union Carbide's
abandoned factory in Bhopal.
The Bhopal marchers are expecting to reach New Delhi by the last week
of March where they will seek to have a meeting with the Prime Minister.
Depending on the response from the central government, the marchers
may go on an indefinite fast at the end of their 900 kilometer long
march. There have been others who resulted to fasting in their quest
for justice as a result of the Union Carbide disaster. In May 2003,
Bhopal survivors and leaders of the trade union Bhopal Gas Affected
Women Stationery Workers Association, and long-time Bhopal activist
Satinath Sarangi, launched a fast at a demonstration in New York's financial
district in their demand for justice (See Daily
News). The four Bhopal based organizations have a six-point charter
of demands to present to the Prime Minister.
According to a press statement issued by the Bhopal based organizations,
the first demand of the marchers consists of setting up a National Commission
on Bhopal that will include the necessary authority and funds to provide
for health care facilities, economic rehabilitation, medical research
and social support. The groups are calling for active participation
of non-government doctors and scientists and representatives of survivors'
organization in the National Commission and they want it to function
for at least the next thirty years. The most urgent demand in their
six- point charter is the supply of piped water from Kolar reservoir
in the 16 communities affected by toxic contamination of ground water.
In their meeting with the Prime Minister, the marchers will demand the
creation of a Special Cell in the Central Investigation Bureau for speedy
prosecution of the Union Carbide Corporation, Warren Anderson and others
accused in the criminal case for the December 1984 disaster. They are
also planning to call upon the central government to ensure scientific
assessment of the depth and spread of toxic contamination and to make
Union Carbide's current owner, The Dow Chemical Company, pay compensation
for the health and environmental damage caused as a result of their
reckless dumping of chemical wastes.
The Bhopal campaigners are also demanding that the government stop purchasing
Dow Chemical's Dursban
brand insecticide and other products until they accept the pending liabilities
of Bhopal. The survivors are also marching to demand that the central
government declare December 3rd as a National Day of Mourning for victims
of industrial disasters and include the impacts of the disaster in educational
curricula. .
New Delhi based supporters of the Bhopal survivors are planning to convey
the demands of the marchers to the Central government on a daily basis
until their demands are met. Nationwide supporters of the Bhopal campaign
are planning rallies, meetings and signature campaigns in solidarity
with the Delhi Padyatra. International supporters in the United States,
Europe, Japan and other countries will take part in actions and demonstrations
before Indian embassies abroad.
The actual route for the Delhi Padyatra has been chalked out with a
view to making connections that identify the other pollution- impacted
communities along the way. The marchers also plan to organize poster
exhibitions, film screenings and public meetings in an on-going effort
to generate awareness around the need for justice in Bhopal and for
prevention of corporate crime everywhere.
For additional stories on the disaster in Bhopal by Beyond Pesticides
see: Hunger Strike Calls Attention to
Horror and Death in Bhopal. Two
Women Survivors of Bhopal disaster On Hunger Strike/Photo Stories.
Culture of Make Believe.
For the latest
information on the Bhopal disaster visit www.bhopal.net
or www.studentsforbhopal.org
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text:
Thursday, February 20, 2014
14 comments:
I like your flowers. Your hubby was very good to you :):) I looked at your past two posting and I like your blog...I will visit again. Blessings to you and yours, xoxo,SusieReplyDelete
LOVE the flowers!!! Gorgeous! Is that a huge ironstone vase I see?ReplyDelete
i think a fashion/makeup blog would be nice! You can mix it up with home decor. I still like visiting the blogs but have been remiss on mine lately too.
Beautiful floral arrangement! You can mix it up here. It's your space.ReplyDelete
You need to blog about what you are passionate about--that is the only way it works :) Your flowers are beautiful and chocolate covered strawberries are a new favorite of mine!ReplyDelete
Hi Sweetie,ReplyDelete
Such pretty flowers you have made even more beautiful !! I go out every day or two and pick fresh flowers outside to bring in and scatter about !! Something about them just makes me happy !! Thought of you Sweetie, we have friends who just packed up and left sunny CA, to Stanford Michigan I believe to retire ..... into the snow they went !! They live right on or near a lake, so, want me to come visit in the summer !! What a change .... but, hopefully they will be happy and I know DEBT free ..... I will miss her here tho :(:(
And, I say blog about whatever your little heart desires !! What girlie doesn't LOVE and ADORE clothes, make-up and accessories !!! REALLY ?! That could be FUN !! You're a doll sweet one, just make your heart happy, and live each day to the fullest ..... time just flies by, and your babies will be grown before you blink an eye !! Make it a happy day my friend xo
Hugs ~Tanza~
Your flowers are gorgeous. I'd love to see fashion, make up, give it a go nothing to lose xReplyDelete
Hi Amy, Your flowers are beautiful. Sounds like the perfect Valentine's Day spent with the one your love.ReplyDelete
Your new blog direction sounds fun. Makeup, fashion and health are great topics. Have fun!!
Wishing you a great weekend.
Hi Amy, your flowers are so pretty!... how sweet of Dave... can't wait to see your next post, I love seeing pics of you, your Spring clothes, hearing about new makeup, etc... and yes, Emily will be a great model too... I feel like I have just about posted everything in our home as well... I have changed our bedroom back to country since you saw it last (my latest post) and am happy with the changes... my darling farmhouse tote you made me several years ago is in there and always will be!... looking forward to getting out in the garden with my own roses and flowers... and just, well, loving Springtime!... and Easter!... I bought some malted milk eggs I have been eating a ton of!... love you!... xoxo JulieReplyDelete
Hey Amy! What beautiful ♥ Day gifts you received! Sounds like hubby's a keeper! lol I love your idea of a health, beauty, and fashion blog! Can hardly wait to see what you come up with, girlie! :) Have a happy weekend!!!ReplyDelete
xoxo laurie
So pretty and cheerful.ReplyDelete
A tiny gift is on the way to you in the mail. xxo
Just blogging around and found your blog. So glad to see you here blogging, there is so many deserted blogs these days. Thank you for letting me visit.ReplyDelete
Your blog is adorable. I love it <3ReplyDelete
Beautiful bouquets Amy.I have your old blog on my blog.I went to read last night and you were gone.Then on Facebook I found this one.I have to add it to mine.I started posting again.Savannah is getting so big she is just as beautiful as you. She's gonna be a cutie.My they grow so fast your boys are bigger.You have a beauitful family.Time flys.I'm gonna be a grandmom any day now..Can't wait.ReplyDelete
Just wanted to pop in to see how you are. I hope all is well and that you just need a break from blogging. I am thinking of you sweetie. xxoReplyDelete


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Come meet Allendale President and CEO Paul Georgy at the Northern Illinois Farm Show this Wednesday, January 8th at 9:00 AM at the Northern Illinois University Convocation Center.
Paul will share Allendale's expectations for this Friday's USDA Crop Production, Grain Stocks, and Supply & Demand Reports, and preview a few items you can expect to hear at Allendale's 26th annual Ag Leaders Conference Series at the end of this month.
Admission to the entire event, including the farm show and Paul's presentation is free. Parking at the Convocation Center is only $5.00.
Please give us a call at 800-262-7538 with any questions about the event.


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HOME NHL Pittsburgh Penguins Gear Pittsburgh Penguins Mens Pittsburgh Penguins Mens Accessories Pittsburgh Penguins Mens Accessories Electronics (2 items) Product ID: 1370378
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Carry your Pittsburgh pride with you everywhere when you use this hard case. It fits the iPhone 5 and has a raised logo and Penguins lettering. You'll be reminded of your Pittsburgh Penguins every time the phone rings.
- Access to all ports and controls
- Fits iPhone 5
- Imported
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- Raised graphics
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My iMac G4 17" superdrive have dont read discs
this is my first post, I have problems with my mac, since when I put DVD to him some times does not read them, and not burning correctly, some times also bad burning cds, which worries to me is that the DVD movies play ok, please somebody help me! :Oops:
G'day and welcome to the forums Argentini.
The greatest problems with DVD and CDs is the quality of the discs. As a suggestion, buy good quality discs such as Verbatim. If you are still having problems it may be something you are doing incorrectly.
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Oliva Serie G Maduro Belicoso Reviews
write your own review
I had a great experience and what a cigar it turned out to be ROTT. A smooth smoke with a slow burn that lasted a long time. Every minute with this cigar was filled with enjoyment. I am so happy I have a box of these I could giggle.
I had a great experience and what a cigar it turned out to be ROTT. A smooth smoke with a slow burn that lasted a long time. Every minute with this cigar was filled with enjoyment. I am so happy I have a box of these I could giggle.
Ordered the 5x52 Belicoso and received 5 by what seems to be a 46 ring not a 52. I won t be buying these cigars in this size anymore. I m giving the cigars the highest rating because after all they are Olivas and I m giving them the least rating because of the wrong size description. Buy these in a larger size and you won t be disappointed unless a short smoke is what you re looking for then these are great.
Great little stick, I ve had a few of these from the local cigar shop and picked up two of these in a sampler pack. I really love the flavors in this stick, smooth maduro flavors as you would expect I a triple maduro with that comes a few downsides. While I like the flavor it doesn t change and is very constant throughout. The burn problems also almost drove me crazy, very uneven burn and it kept going out almost immediately after putting it down which lead me to drawing too quickly, overheating the cigar. Good cigar for maduro lovers but at the price you may want to just stick with a nice maduro wrapped cigar with consistent burn.
bought these more than a year ago and have had them in the humi every since. I smoked one a week ago and was amazed and how much i enjoyed it. not tons of smoke but enough to make it a pleasant experience. not burn issues and the draw loosened up after the first quarter. would recommend to a friend.
Great shape, great appearance, amazing draw with steady even burn... I smoke these regularly along with Alec Bradley Black Markets and Padron 3000/6000 (so you can get a feel for my palette)... Just a great value...
Holy moth balls batman was she a good one. I didn't expect anything from this gorgeous little smoke but I was blown away. Very flavorful with plenty of rich creamy smoke. Really enjoyed this puppy and have subsequently ordered a box. Recommended!
The first box I smoked were great as are most Olivas. The next box had flavor an draw issues. I'll let them age and see what happens. Overall a good cigar.
So now that I have gone through a whole box, I have to say that there are some inconsistencies from cigar to cigar. Some were nice and peppery and some were just flat flavor wise. Construction was great. For the price they are still worth a try.
This was a really good cigar. The burn needed a couple of touch ups but wasn't too bad. Flavor started off really spicy but mellowed out a little after the first third. The finish left a nice pleasant flavor in your mouth. Nice creamy smoke. The draw was a little tough but not a workout for the cheeks. It is a well made, good looking cigar. I would recommend at least a 5 pack or a box if you have a tight budget.
This is the most attractive cigar I have ever had the pleasure of laying my eyes on. Dark wrapper,nice sheen,shimmers with oil, man, its almost a shame to burn. The pre light aroma is almost too much. Rich, deep,bold almost intimidating. This stick is a reward. Huge clouds of thick smoke, coffee bean and dark chocolate dance on the palate, true Nicaraguan earthy tones linger on the tongue. Makes the everyday joe like myself feel like a bigshot. Man, if there are no Oliva "G" maduros in heaven then dammit send me straight to hell.


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Frequently Asked Questions
Below is a list of Frequently Asked Questions. This list is by no means exhaustive and should you have other questions or comments we invite you to complete the Quick Contact section to the right or call the Office of Undergraduate Programs at (213) 740-1741 for more information.
About the Discovery Scholars Program
No, this is not a scholarship. The Discovery Scholar designation is an academic honor, awarded upon graduation to students who meet the criteria. The ten Discovery Scholar Prizes awarded to students each year are for the purpose of post-baccalaureate study or work on an original creative project that advances their career in the creative arts. Prize recipients using the award for post-baccalaureate study must show evidence of enrollment in a graduate program of study. Recipients using the award for work on a creative project must submit a detailed proposal describing the timeline and intended outcomes of the project. Students have up to five years after completing the Bachelor's degree to request disbursement of the Prize.
No. Only undergraduates who are enrolled in an undergraduate major may apply for the Discovery Scholar designation.
Yes, in principle you may submit in any discipline. However, in order to qualify, a submission outside the major should be comparable in scope and substance to a senior project within the other discipline. Ideally, non-major submissions should be linked to a declared minor or honors program.
You may contact the Office of Undergraduate Programs at (213) 740-1741 or email@example.com for more information. You can also follow us on Twitter @USC_Ugrad for more information and deadline reminders.
Eligibility and the Submission Process
A detailed description of how to become a Discovery Scholar can be found on our Become a Scholar page. In short, to become a Discovery Scholar, students must meet the criteria established by their school for outstanding original research or creative work. The criteria may include submission of a research thesis, an artistic portfolio, or some other evidence of original contributions to the discipline. Students must also graduate in no more than five years at USC with a minimum 3.5 overall grade point average.
You may apply for the Discovery Scholar designation during the spring semester of your final year at the University. Applicants have the option of submitting an Intent to Submit form online by early February to declare their interest in applying for the Discovery Scholars designation. If this form is not submitted it will not disqualify a student from the Prize Competition but students are encouraged to submit the form so their respective Schools can prepare accordingly for the anticipated number of submissions.
All applicants interested in being eligible for both the Discovery Scholars designation and the Prize Competition must submit their materials by the Primary Project Submission Deadline. This process is only live from January to March each year. The Primary Project Submission Deadline is midnight on the Monday following Spring Break. December graduates should plan on completing this step in the Spring semester after their degree completion. Spring or Summer graduates should plan on completing this step during their final Spring semester at USC.
Following the submission deadline, the Office of Undergraduate Programs will then distribute submission materials to the respective schools. Each school will nominate a short-list of Prize Competition Finalists from the roster of Discovery Scholar candidates within that school. A university panel will then select the Prize Awardees from the list of Finalists.
Students not interested in being eligible for the Prize Competition can complete their project submission any day prior to the Last Day of Classes in the Spring semester of their final year at USC.
No. If you graduate in the fall semester, you may apply for the Discovery Scholar prizes to be awarded in the spring semester after your graduation. Be sure to keep apprised of and comply with all of the deadline requirements and updates that are published on the Discovery Scholars website.
In addition to the certification of your submitted project, you must graduate within five years at USC with a minimum 3.5 overall grade point average.
No, to earn both the Discovery Scholar and Global Scholar designations, you must submit two completely separate projects for consideration.
If you submit the same project for both programs, your school will certify you for just one of the designations based on which program criteria (if any) best fits your submitted work.
School Contacts and Criteria
Annenberg School for Communication and Journalism
Cynthia A. Martinez, Director of Advisement and Academic Services
Davis School of Gerontology
Maria Henke, Associate Dean
Aaron Hagedorn, Clinical Assistant Professor
Dornsife College of Letters, Arts & Sciences
Danika Newlee, Program Advisor
Keck School of Medicine
Elahe Nezami, Associate Dean and Director for Undergraduate Studies in Health Promotion
Stephen Perry, Academic Advisor
Marshall School of Business and Leventhal School of Accounting
Kim West, Associate Dean, Undergraduate Programs
Price School of Public Policy
Nam Ung, Undergraduate Program Administrator
Roski School of Art and Design
Penelope Jones, Assistant Dean of Student Services
Thornton School of Music
Phillip Placenti, Assistant Dean, Admission and Financial Aid
USC Division of Occupational Science and Occupational Therapy
Helen Mirsaeidi, Program Advisor
USC School of Architecture
Hadrian Predock, Director of Undergraduate Studies and
USC School of Cinematic Arts
Katie Alvarez, Program Advisor
USC School of Dramatic Arts
Daniel Leyva, Academic Advisor
Viterbi School of Engineering
Louise Yates, Senior Associate Dean, Admissions and Student Affairs
For General Questions about the USC Discovery Scholars program please contact the Office of Undergraduate Programs.
Click on the name of your school to download the project criteria specific to your school:
- Annenberg School for Communication and Journalism
- Davis School of Gerontology
- Dornsife College of Letters, Arts, and Sciences
- Keck School of Medicine
- Marshall School of Business and Leventhal School of Accounting
- Roski School of Art and Design
- Sol Price School of Public Policy
- Thornton School of Music
- USC Division of Occupational Science and Occupational Therapy
- USC School of Architecture
- USC School of Cinematic Arts
- USC School of Dramatic Arts
- Viterbi School of Engineering
Prize Competition
The deadline for schools to submit Finalist nominations to the Office of Undergraduate Programs is at the beginning of April. You will be notified whether you are a Prize Competition Finalist during the following week.
Prize Competition Finalists will be given an opportunity to update or augment their submission prior to review by the Prize Selection Committee in mid-April.
A university-wide panel will select the Prize Awardees in time for announcement approximately one week before commencement.
No. Prizes awarded to group projects will be divided equally among the group members.
Your immediate plans do not have to be concrete. Once your undergraduate degree has been awarded, you will have up to five years to request disbursement of your prize. Discovery Scholar prize recipients must demonstrate evidence of enrollment in a graduate program or submit a proposal for a creative project that advances their career in the creative arts.
Yes, if you meet each set of program requirements, you may earn two or even all three designations. However, to earn both the Discovery Scholar and Global Scholar designations, you must submit two completely separate projects for consideration.
In addition you may be considered for each program's Prize Competition– however, no student will be awarded more than one Prize.
Featured Video
Quick Contact
Office of Undergraduate Programs University of Southern California
Undergraduate Programs
University of Southern California
Gwynn Wilson Student Union, Suite 300
3601 Trousdale Parkway
Los Angeles, CA 90089-0896


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Minnesota running back Adrian Peterson went from major knee surgery to dominating voting in The Associated Press 2012 NFL Offensive Player of the Year award.
NEW ORLEANS (AP) Adrian Peterson has won The Associated Press 2012 NFL Offensive Player of the Year award just one year after major knee surgery.
MINNEAPOLIS (AP) Pau Gasol had 22 points and 12 rebounds in his return to the starting lineup and Kobe Bryant nearly had a triple-double in leading the Los Angeles Lakers to a 111-100 victory ove
DENVER (AP) Ty Lawson had 21 points and 13 assists, Andre Iguodala scored 24 and the Denver Nuggets beat the New Orleans Hornets 113-98 on Friday night for their sixth straight victory.
NEW ORLEANS (AP) Fear the dreadlocks, San Francisco.


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CIS Speaker Series - Stopping SOPA: Copyright, Free Speech, and Popular Constitutionalism
November 15, 2012 12:50pm - 2:00pm
RSVP for this free event today.
During late 2011 and January 2012, millions of people protested the passage of the controversial copyright bill the Stop Online Piracy Act (SOPA) in Congress. The protests culminated in the largest online protest in the history of the Internet, with web giant Wikipedia and thousands of other websites going black in a day of self-censorship. In a few short months, the protesters achieved something remarkable: they defeated money, politicians, Hollywood, and the copyright lobby, all in the name of a "free and open Internet." This talk with Professor Edward Lee, explains these grassroots movements as a form of popular constitutionalism. Courts didn't define speech rights. People did. And, in the end, it was the people's view of free speech that carried the day.
Professor Lee teaches international intellectual property law, copyright law, and trademark law. He joined IIT Chicago-Kent's faculty in 2010 as a professor of law and director of the Program in Intellectual Property Law. He was a visiting faculty member at Chicago-Kent during the fall 2009 term from The Ohio State University Moritz College of Law, where he was a professor of law. Professor Lee is a 1995 cum laude graduate of Harvard Law School, where he was an editor and co-chair of the books and commentaries office of the Harvard Law Review. In 1992, he graduated Phi Beta Kappa and summa cum laude from Williams College with a bachelor's degree in philosophy (highest honors) and classics.
Professor Lee's research focuses on the ways in which the Internet, technological development, and globalization challenge existing legal paradigms. He also writes extensively about the Framers' understanding of the Free Press Clause as a limit on using the Copyright Clause to restrict technologies. In addition to numerous articles, he co-authored a leading casebook with Daniel Chow titled International Intellectual Property: Problems, Cases, and Materials (West Group 2006).
Previously, Professor Lee was a legal writing instructor at Stanford Law School and an attorney at Stanford's Center for Internet and Society, where he supervised students involved in public interest litigation related to law and technology and the Internet. From 1996 to 1999, Professor Lee was a litigation associate in the Washington, D.C., office of Mayer, Brown & Platt, working at all levels of trial and appellate litigation, including cases before the U.S. Supreme Court. Immediately following law school, he clerked for the Honorable John T. Noonan Jr. of the U.S. Court of Appeals for the Ninth Circuit.
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Prep time:
45 mins
Cook time:
2 hours
Total time:
2 hours 45 mins
1 Lb Stewing Beef
1 Lb Beef with Bones (ox tail, short rib are good choices)
1 Lb Chicken Breast
2 green plantains
1 lb of cassava or yuca*
1 lb of white yam*
1 lb of eddoes or yautia*
1/2 lb of potatoes
1/2 of an Acorn Squash, peeled
1/2 C Onion, Chopped
1/2 C Green Pepper, Chopped
6 Garlic Cloves, Crushed (use fresh garlic)
Small bunch of coriander or cilantro
2 large naranja agria (sour oranges)
'sopita' aka chicken boullion to taste
4 Quarts of Water
Cut meat into 1 to 2 inch chunks
Toss all meat in a large bowl with the juice of 2 sour oranges (naranja agria), onions, green pepper and garlic and set aside to marinate
Cut all vegetables to 1 inch chunks and set aside
In a large pot, pour a little oil and sear all of the meat
Once you get the meat evenly browned, add onions, peppers and garlic.
Cook meat and aromatics until they start to sweat.
Add half of water and 1 chicken bouillon and cover.
Cook meat over medium heat for 30 minutes.
Add all of the chopped vegetables and remaining water along with another chicken bouillon and a handful of cilantro/coriander leaves, stir and cover.
Stir sancocho every 15 to 20 min and add more water as needed.
Simmer over medium-low heat until all vegetables are tender.
Add salt and pepper to taste.
This recipe feeds an army - left overs store very well in the fridge or freezer. OR cut the recipe down by half :-)
Recipe by
at http://vianessa.com/blog1/sancocho/


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The Ebonheart Pact stretched over the provinces of Skyrim, Morrowind and Black Marsh. Its capital was the city of Mournhold, located on the mainland of Morrowind, the homeland of the Dunmer.
Bal Foyen, on the southern coast of Morrowind's Inner Sea, was a wild expanse of marshland until recently. Now much of it has been turned over to the Dark Elves' former Argonian slaves, who plant saltrice and herd guar in the former wastes.
Bleakrock is an island off the northeast coast of Skyrim between Windhelm and Solstheim. The hardy Nords who inhabit Bleakrock are mostly farmers and fisherfolk. A small contingent of Pact soldiers keeps a sharp lookout for pirates and raiders. This is the starting area of the Ebonheart Pact. All members of this alliance begin their journey on this island.
The fertile valleys of Deshaan are home to lush fungal forests, deep kwama mines, and broad pastures where netches and guar graze. But all pales before the magnificence of Mournhold, home of the Tribunal and capital of the Ebonheart Pact.
One of the "Old Holds", Eastmarch was among the first regions of Skyrim settled by the Nords when they arrived from Atmora. Its capital, Windhelm, is the oldest continously-inhabited human settlement in Tamriel, and was founded by Ysgramor himself.
On the border with Morrowind, the Shadowfen region has had more contact with Tamrielic civilization than most of Black Marsh—due primarily to the activities of the Dunmeri slavers who once operated out of the city of Stormhold. Now the Argonians are back in charge.
The ashfall from the volcanoes of the Velothi Mountains and from great Ash Mountain itself is Stonefalls' bane and benefit, fertilizing the soil where the land isn't too arid to grow crops. It was here that the recent invading army from Akavir met its bloody end.
Skyrim's southernmost hold has a relatively temperate climate, thanks to northern mountains that block the frigid gales of the Sea of Ghosts, and warming volcanoes in the Velothi Mountains to the east. Its capital is Riften, on the shores of broad Lake Honrich.
Political map of Tamriel in the Second Era, showing the three alliances (Daggerfall Covenant, Ebonheart Pact, Aldmeri Dominion) and Imperial territory (Cyrodiil), as seen in The Elder Scrolls Online.
Aldmeri Dominion Alik'r Desert Auridon Bad Man's Hallows Bal Foyen Bangkorai Betnikh Bleakrock Isle Bonesnap Ruins Chateau of the Ravenous Rodent Coldharbour Cyrodiil Daggerfall Daggerfall Covenant Davon's Watch Deshaan Doomcrag Shrouded Pass Eastmarch Ebonheart Pact Elden Root Emberflint Mine Glenumbra Grahtwood Greenshade Khenarthi's Roost Malabal Tor Obsidian Scar Razak's Wheel Reaper's March Rivenspire Shademist Enclave Shadowfen Stonefalls Stormhaven Stros M'Kai Tamriel Tamriel (Political Map) The Earth Forge The Rift Vulkhel Guard


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This course covers the entire photographic workflow in Apple Aperture, from import to enhancement to output. Author Derrick Story covers organizing image collections with star ratings, labels, and Smart Albums, and using the image editing tools to adjust exposure, retouch flaws, and correct color balance issues. And one of the most noteworthy features in Aperture is explored in detail: its ability to store video clips alongside the stills from digital cameras, then combine them to create stunning multimedia slideshows.
This course was updated on 10/03/12. Updated movies cover the features added through version 3.3, including Retina display support, iCloud photo sharing, streamlined integration with iPhoto, and much more.
Sometimes when we take pictures in contrasty situations--this is an example here where we have a very hot highlight-- we lose image information. We can lose information in the highlights where we don't actually see the detail of the hair here, and we can also lose them in the shadows in the darker areas of the shot. We have an adjustment, fortunately, called Highlights & Shadows that allows us to recover some of that lost information, and sometimes the change can be quite dramatic.
But even when it's applied subtly, it tends to improve the photo just a bit. Let me show you how that works. So, first thing I am going to do is click on the box Highlights & Shadows, and the main thing that I'm interested in with this photo is just recovering just a little bit of information here where the sun is very hot on her hair, and then maybe a little bit in the background here. So, those are highlights, so I'm going to go over to my Highlights slider, and I just slide it this way right here.
You notice that we recover some of that highlight information. You notice that in her hair mostly, see that? And a little bit in the background too. And it protects the other tones. You notice the rest of these tones aren't getting darker, it just tries to recover information in the highlight area. Now, in the shadow area, I think we're fine, but let me show you how the slider works if I were to move it this way. See how it opens up to shadows.
It's almost like a big fill flash. Now we don't really need any shadow recovery here, so I'm going to keep it back over here. And then the third slider is the contrast in the middle tones, and this can make a very big difference also, look at that. So, when you slide it to the left, it takes the contrast down, makes the image flatter, and you slide it to the right, it increases contrast. And you want to just find an area that looks good to the eye and where you're hanging on to as much of the image information as possible.
So, there you have it. You have highlights to recover blown out detail in the bright areas. You have shadows, the Shadow slider helps you recover information in the dark areas. And then you have middle contrast, and that helps you adjust, it's like the fine tuning. It's like the final seasoning to get those middle tones just the way you want.
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