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6 month old won't nap and is so unhappy :((13 Posts)
Thx all for the advice and support, it helps
I've tried various timings (I've had six months to try things out but nothing has worked. I've tried:
- making the morning nap later. She still only sleeps for 30 mins but wakes very grisly (whereas she wakes on good form if I put her down earlier). I also felt bad for making her stay awake when I know she's tired. I also felt she wasn't getting out and doing fun stuff and seeing other babies etc.
- doing away with the pram nap. I tried this several times as a Hv had advised it. It was a disaster every time. Dd was very tired by 11.30-12 so would be grisly over lunch and not eat much. Then she would sleep for her usual 30 mins and then we had several grisly, tired hours to get through before bath time. A few times she managed to sleep for an hour but was still grisly by 3pm.
With the timings I'm currently doing (and as long as dd gets that little oram nap) on most days the only difficult hours are usually 3/4 pm to 5/6pm. Dd is on good form after her lunch until around 2-2.30. Maybe I'm expecting too much? I do worry about how she will cope when she starts nursery...
On a positive note, yesterday I managed to get dd to sleep for 90 mins in total but going up every 15 mins over the first 45 mins to give her the dummy. She was a much happier baby as a result
Ps Puff pants: yes have tried singing and music etc but it just seems to stimulate her and wake her up. She loves singing and music generally though!
I agree that the late morning nap isn't helping. DS 7mo has 30-45 mins in the morning, then about 1-1 1/2 hours after lunch. He has never had a late pm nap, just goes to bed at 6pm.
Yeah what bobby said - I think the 11am impromptu nap is messing things up. Could you either get her home earlier from classes etc so she doesn't sleep between the morning nap and lunch? It looks like she's awake for most of the key sleepy time of 1-3, having refreshed herself with the buggy nap. (Happens to us on a Thursday when we go to Babyzone - I have to get the girls out of there by 11am and I have to keep turning the buggy round to make sure they're awake on the 10 min walk home!)
And fwiw I think that sitting in the dark holding your wee one makes you a great mum! You're really willing to go the extra mile...
My nearly 7mo only sleeps for 30mins in the morning, which suits us fine (also have groups to go to). He naps after lunch from 1-3 though so makes up for it then.
So I wouldn't automatically assume 30 minutes isn't enough...maybe try working on the lunchtime nap first, that might help her being happier in the afternoon.
Ok, just read your routine. Why don't you try skipping the morning nap and putting her down as late as possible in the hope that she will be exhausted and sleep longer? Sounds like she is completely over-tired. I realise this may impact on your morning activities but sleep matters more - for both of you!
Once she is sleeping better at night, the days will get better. But poor you in the meantime, it is very hard. Make the most of your MIL's visit to take an hour out. Get her to take baby out for a long walk so you can go back to bed or have a bath or something. Although, whenever my ILs did that, I used to rush around doing housework instead!
I know it sounds basic but have you tried singing? Unless we were out in the pram, DS would only nod off if one of us was holding him (standing up) whilst rocking and singing at the same time. It drove me nuts but it worked. Slow, steady, rhythmical songs - and use the same ones every time so they get used to the cue.
I know it's a bit basic and perhaps obvious but you want to try everything.
Thanks Obama. Our routine is currently:
Usually wakes cooing at 6.30 but I don't take her out of the cot till around 7 ish to give her a chance to fall asleep again (as if...);
7.30 Milk (3oz) then porridge
8.45 milk (4oz) then straight down for nap. Never sleeps more than 30 mins.
Morning spent at classes etc
Anytime between 11-12pm - short nap in the pram (20-30 mins is usually all she will do)
12.30 - lunch then play at home
2-2.30 (depending on her tired cues) milk then nap
Then the next two hours can be 30 mins of whinging in the cot, then 30 mins sleep then crying then just holding her in a dark room
5-5.30 - tea
6.30 (or earlier if dp gets home earlier) bath then milk and bed straight after.
It's impossible to get her down for a nap unless its straight after her milk feed (other than the short pram nap she will do in the morning). I tried taking her out in the pram late afternoon but she cried till she threw up
It doesn't help that her nights are quite often still broken, maybe 4 or 5 wakings. I don't usually have to go in more than once or twice (either to shush pat or give the dummy if that doesn't work) as she self settles in a few minutes and it's whinging rather than crying (unless she's ill etc). It does mean she's even more tired during the day though and definitely needs proper naps.
She had given up the dummy for her naps and bedtime but in the past two weeks I've had to start giving it her again, for daytime naps especially.
My MIL (who is really lovely) is coming to stay this weekend and I'm dreading what she will think with dd crying and me sitting in a dark room with her. I just feel its my fault and I'm not doing a good enough job as a mum
We have close to omama's routine here with 6m 3w twins - still got a bit of a 4pm catnap going on as well. I find that round here all the baby groups are on 1 till 3 so we don't socialise much(!) What can I do, I have twins, you can deal with one cranky overtired baby but not two...
omama, what's the timing for feeds with the 2/3/4 routine?
million -
She does sound very overtired bless her, but there are definitely things you can do to help. Firstly, if you feel she sleeps better in her cot, put her in there for her naps. My DS also always slept much better in his cot & still does at 2.3!
As for her naps, if she is only napping for 30 mins in the morning, how long are you waiting before you put her down for her next nap? It might help if you could post what a typical day looks like for her i.e. wakeup time, morning nap time & length, afternoon naptime & length, teatime catnap (if she has one) & bedtime
If she is awake for more than 2hrs between that short morning nap & her afternoon nap, I'd say that will be your starting point for dealing with her overtiredness. Put her down for her 2nd nap sooner & it will likely be longer. If that nap is also short, get her down for a 3rd nap a couple of hours later & she will handle the rest of the day better. Once she overcomes the OT, her morning nap should lengthen too & she may end up doing something like the 2,3,4 routine:
Up: 7am
Nap: 9-10am
Nap: 1-3pm
Bed: 7pm
Oh dear, that really sounds tough. Is she still sleeping ok at night? Maybe teething like you say or developmental reasons perhaps? From your username I take it you have tried the pram! Sorry but those really are the only things that work for us. Take it too you have tried different types of white noise? I hope it is just a phase and that it passes quickly. It really is horrible to watch them soldier in refusing to sleep.
Thanks night moves. I do put dd down for her morning nap within two hours of waking but she never manages more than 30 mins, no matter what I try. She wakes from that nap in good form though and I like to take her to playgroups, classes etc in the morning as she likes them, so i dont push it. The afternoons are a nightmare though, she's just so tired and unhappy. I tried co sleeping but she just expects me to play with her etc. If I'm there it just isn't sleep time to her.
Part of the problem is the slightest noise wakes her up....difficult in London!
It is so horrible to see them tired and needing to sleep so badly but refusing. I have been there. DS is not a great sleeper at all and we had a phase after 4 month sleep regression where napping (or lack thereof) was a real problem. I find the morning nap crucial for us. If we miss it, it's doubly hard to get him down in the afternoon and any naps he does have then tend to be very short. The only things that work for us really are lying down with him or the car. I tend to lie down with him in the morning and then he will usually take an afternoon nap when we are about and about. It also used to be critical that he be asleep no more than 2 hours after waking up in the morning. If its hard to decipher sleepy cues I would put DC down no more than 90 mins after waking. With mine, leaving it later used to make things much, much harder. Now he is older he stays awake a bit longer, but the morning nap is still very important. He has gotten used to it tho and 9/10 times will nap successfully now. Good luck!
My 6.5 month old dd has never been good at napping during the day, gets overtired easily and spends large amounts of the day grisly. I started to see an improvement in her napping when I switched from ebf to formula at 5 months and again when I started dd on solids at 6 months. The difference was amazing, dd was so much happier and wanted to play, smiled and laughed etc.
However the last couple of weeks it's been back to being awake and grisly all day. I make sure I look out for her tired cues, yawning etc (which at the moment is all the time...), make sure she is well fed, winded, clean nappy, sing lullabies, dark room, warm enough etc. I've tried co sleeping, pram, car seat, sling but she won't sleep in any of these ( some times in the pram for 15 mins or so and most of the time not even that). The only place she was ever able to have a proper nap was her cot.
I think she's teething so have given calpol but it made no difference.
The mornings are ok-ish as dd can survive on no sleep but by 2pm she is so tired. Every afternoon in the last two weeks has been spent either doing shush/pat in the cot (using the dummy) or, when that doesnt stop her crying, holding her in my lap in a dark room till tea time. Neither makes her sleep but doing anything else produces a meltdown.
I feel I'm failing her and find it so upsetting. Where am I going wrong?
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Authorities have filed felony and misdemeanor charges against a Sullivan man who led deputies on a lengthy chase Saturday.
Tyson J. Williams, 37, is charged with felony possession of chemicals used to manufacture methamphetamine and misdemeanor resisting arrest. He is being held on a $30,000 cash-only bond in the case.
A number of law enforcement officers were in the area of Highway 185 and Springfield Road, east of Sullivan, searching for a suspect accused of assaulting a woman when Reserve Deputy Tom Cline, who was in his helicopter, spotted Williams and another suspect on an ATV. When the two spotted law enforcement in the area they fled — Williams on the ATV and the other man on foot, according to reports.
Officers chased Williams around the area for about 45 minutes to an hour before finally taking him into custody.
During the pursuit, the suspect drove the ATV through fields, woods and across Interstate 44 several times and at one point drove the wrong way on the highway, an officer told The Missourian.
Deputies who went to the scene where Cline first spotted the suspects found two active one-pot methamphetamine labs along with chemicals used to make meth, according to a probable cause statement filed in associate circuit court.
Detective Cpl. Scott Briggs of the Franklin County Narcotics Enforcement Unit said in the statement that officers also had evidence that Williams had purchased pseudoephedrine at a pharmacy in Rolla about 9:30 a.m. Saturday.
Pseudoephedrine is the vital ingredient needed to make meth.
Williams has a total of 60 felony arrests and 20 convictions, including prior convictions for resisting arrest and drug-related crimes, according to the statement.
Police are searching for the other suspect who fled from the scene.
Jakob Case
Williams was one of several people who filed federal civil rights complaints against the city of Gerald over the actions of the police department and Bill Jakob, the Franklin County man who posed as an undercover federal agent. In 2008, Jakob went on raids with Gerald officers, entering homes without search warrants and illegally detaining alleged drug suspects.
Statements from Gerald area residents, who were targets of the raids, led county, state and federal authorities to take a closer look into Jakob's background and authorities uncovered the ruse that apparently lasted over a month.
Jakob was sentenced later to serve a five-year federal prison term in the case.
Williams, who said he was assaulted and falsely imprisoned by Gerald police and Jakob in an incident that occurred on April 24, 2008, was paid $50,000 in 2010 to resolve the civil rights suit against the city.


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What Cha got cookin'?
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Kelly Zion
Biography of Kelly Zion
Hi, I'm a Southland girl. I grew up in Kentucky and Wisconsin, but my heart's always in Georgia. I also got folks up in Minnesota and sometimes we'd go visit them and hang out at the trailerhood (that's where I got my Eastern American toads.) I've got a big family; two older brothers, two younger brothers, a sister, and all the sweet Country singers I adopted (mainly Tim McGraw and Joe Nichols and Keith Urban... and Rodney Atkins and Toby and Owen Wilson (okay he doesn't count) and Wolverine's brother and my Principle Mr. Ricky (who reminds me of Tim McGraw.) I love all animals and I grew up with tons of chickens, cats, rabbits (not Rabbit with the Spot, that's the evil one we have now) and fish and ducks and pea fowl and pigeons and I had a pet goat and brothers had a snake and a spider that lived by the door and mice that ran away into nether-space. I think I love all animals, but people are better (at least some.) Tim McGraw is the sweetest guy in the world. My cologne dinosaur totally agrees. I'm a Baptist missionary and I know the old King James is the only true Bible (by the way I love that song, by Scotty McCreery) and Chick Publications is the best place to get ministry material (they have stuff explaining why the KJV is the only true Bible and just about everything else) and Kent Hovind knows all about dinosaurs and creation science ('evolution is a carefully-protected state religion, ' just like any other cult. My favorite quote from him. My favorite poem is 'The Hunting of the Snark' by Lewis Carrol (by the way, I love snarks. There's a book all about them, 'In Search of Lake Monsters' by Peter Costello, an awesome book. I probably stayed up for three days reading it, all kinds of recorded stories. But we should definitely leave them alone, they're shy creatures. It's funny, after the flood, practically all the dinosaurs we have left are the ones that escaped in the sea (remember all the creatures were destroyed that were on 'dry land.') I also like Cat Crimes (well some of them) they are great psycho stories about cats (fiction of course) and 'Tom-Cat Tree' on this site, is so cool. And I love the poem 'Daylight' by Jeremy Rodgers and 'Once-Saved, Always Saved' is definitely wrong. It totally goes against scripture. (you can write to me and I'll give you a ton of verses disproving it. And articles too.) My sister's a lesbian and I totally don't agree with that either (Romans Chapter 1: 26-27) I think I might disown her. Also, my older brothers are Atheists (I don't know why, they've heard all Kent Hovind's stuff. Oh, yeah, it's a religion.) And my little brothers are brats. I'm so glad I have a secondary family. And I'll always have a home in Heaven. I believe that words are our greatest weapons, so keep it going!
Kelly Zion's Works:
'My Secret Hideaway' by Publish America.
Kelly Zion Poems
Addicted To You
I'm addicted to you, I can't get enough of you I suffer from withdrawal when I'm away from you.
Water, Oh, Water
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It's Gonna Be Okay
Climbing a palm tree with a coconut braid hanging your life on the line climbing the ladder of a moving train
Tiny Hands
Tiny hands reaching up believing with all her little heart. No one holds her, no one knows no one sees the loneliness
'Footprints In The Snow'
We all die where do we go? Empty footprints in the snow.
Cowgirl Baby
Baby, you're my Cowboy Baby, and Baby, with a silver sword take your heart and chain it to me and dub me your cowgirl
Tragic Endings
Feed me catnip, lay on my dragon throw my troubles down the cliff; a thousand stories all used up; highland plights, fairytales, and love
Sweet Dreamers
How can we dare to dream, when we're afraid of what people think? Sweet dreamers. I'm not afraid of the rising tides,
Dance under the stars watch them twinkle dance under the stars like a Gypsy.
River To Share
I borrowed your river, I hope you don't care but the river is big enough for all of us to share.
Flower Girl
The flower girl threw flowers until her wedding day that day the only flowers she threw was the bouquet.
A Little Girl's Dream
She's not afraid of horrible people but she still dreams of someone sweet people hurt the little girls is it 'cause they're pretty?
Heart Transplant
When you get a heart transplant Your old heart is taken out Because it's hurt so much it doesn't work To keep you alive
Little Girl On The Beach
A little girl all alone on the beach touches the sand to build a fairytale.
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Little Girl On The Beach
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touches the sand
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Nobody's around,
nobody cares.
Baby, why weren't you there?
You could've picked me up and held me close,
stopped me from ever knowing,


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Janet Ruth Morton (McSherry) died unexpectedly Sunday morning in her home. Janet was the second child and only daughter of Ruth McSherry (Wiant) and Rodney Oblinger McSherry of Kent, OH. Janet was preceded in death by her parents and older brother, Rodney Olbinger McSherry, Jr.
Janet was the wife of COL (Ret) Gregory Vance Morton and the Mother of two daughters, Julie McSherry Kovac (Christian) and Nancy Ruth Hitch (Tyler). Janet was most proud of her two daughters achievements in life - Julie as a thoughtful and caring Registered Nurse in Sarasota, FL and Nancy as a beloved teacher of Fourth grade students in Selbyville, DE.
Janet and Greg were married in June of 1968, just after graduation from The Defiance College in Defiance, OH. Greg entered the Army shortly thereafter embarking on a career of almost 30 years. Over the years Janet turned 29 different houses into loving homes for the family and was an active volunteer in numerous local charities and support groups throughout her years as a proud Army wife. During her life she was honored in many ways for her service to soldiers and their families including the "Molly Pitcher" award which recognizes individuals who have voluntarily contributed in a significant way to the improvement of the Field Artillery Community.
Janet and Greg have resided in Bradenton, FL in the most caring and friendly neighborhood of Rosedale for over 13 years. This year she passed a milestone in that she had by 2014 lived in the same house longer than anywhere else in her life.
In addition to her loving husband Greg, Janet is survived by both daughters and their families, Mrs. Christian Kovac (Julie) and Mrs. Tyler Hitch (Nancy) and three Grandchildren, Rebecca McSherry Kovac, Julie's daughter and Nancy's daughters, Sydney Rose Hitch and Kelly Ann Hitch.
Janet is also survived by her Uncle Dale Wiant of St. Clairsville, OH, Cousin Walter McSherry of Kent, OH and Cousin Ted Kuckuck of Indiana, PA.; and Cousin Barbara Cox of Kent, OH. Additionally she will be lovingly remembered by many nieces and nephews and members of the extended Morton family.
A local celebration of Janet's life will be held on Thursday at First Church of the Redeemer in Sarasota, FL.
In lieu of flowers friends are asked to make a contribution to The Defiance College, 701 North Clinton St, Defiance, OH - Janet Morton Memorial Fund. Janet will be interred in Arlington National Cemetery at a date to be determined.
The family expresses our sincere appreciation to Dr. Laura Hershorin and her staff for the caring and compassionate care they provided Janet over the last several years as she bravely and repeatedly battled numerous health issues.
Last, we have faith, that as she passed from this life, her beloved family was there to lead her on the the next phase of her journey.
I know I offered my condolences when we spoke last week but I'd like to offer a bit more. You and Janet first welcomed me and my family into your home in 1981 at Stewart; long and valued friendships began then. Since that time we've gotten together in Virginia and Florida and I felt, in 1987, that your house on the outskirts of Heidelberg was for a time my home away from home. You, Janet, Julie and Nancy all have graciously extended warm welcomes to me in many ways and times. I thank you for your friendship and I will remember Janet as the loving and kind person she was.
Dave Horan
Dear Greg,
I was deeply saddened to learn of Janet's passing. I was looking forward to seeing her at Reunion; it has been too long since I've seen her or you. I am confident that Janet is a place that is peaceful and that she's resting in the arms of God. I know the days ahead will be challenging; I'm thinking of you.
Susan Fackler Sykes
Greg, My thoughts and prayers are with you and your family. You and Janet had a profound effect on this young, immature officer that helped me grow into an old, immaature officer. Janet was always so sweet and understanding. Our time together in Grevebroich and Buren remain cherished memories. I'm so sorry that we didn't get to re-unite beofre her passing. She will be missed.
Larry Brown
Our prayers are with you and the family as you go through the coming days. Remember what a wonderful wife, mother and friend she was and know that she was welcomed into Heaven with open arms. All who loved her will miss her always.
John and Geanie
Dearest Greg, Julie and Nancy...Words cannot express our deepest sympathy. We are truly heartbroken and sad. Some of our greatest memories came from Ft. Polk, LA when we were living next door to each other. So many times Janet and I leaned on each other for comfort as all Army wives do. Janet was a model Army wife and a loving and caring Mother and Grandmother. Rest in peace our dear Janet.
David and Connie Cole
My deepest sympathy to Greg and family.
Gail Friend
She really was an amazing woman. Really more like a second mom to me. Nancy and I had such a special friendship and so both of our moms became like second moms to us. I remember a day when I heard some horrible news and I ran over to the Morton house to tell Nancy. I was so upset, really hysterical. Nancy wasn't there but Mrs. Morton pulled me into the house and talked to me for hours while I cried. That's just how she was. She knew when to listen and what to say when it needed to be said. Sadly, I know how hard it is to lose your mom suddenly and my heart hurts for all of you. Nancy, Julie, and Mr. Morton are extended family and I love you all.
I am so very sorry. Jan was a truly wonderful person. She will be missed.
Greg-our deepest condolences. Our prayers go out to you and your family.


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This came up yesterday when I was reading a thread here somewhere and I don't remember which thread, I mean it was yesterday! Anyway, an artist had posted an image and it was beautiful, an image of a "wet deck", don't remember if a water color or something else. She really did a great job with the water and reflections and I thought, "Wow, looks like a Photograph" and I was going to post this and then thought, would she take this as a compliment or not?
I've been in many shows and a recent prestigious one, was a "members only" type of show, so there were examples of art from sculptures to mixed media,photography and paintings. (By the way, I'm lumping pen and ink, pencil, oils,acrylics,watercolors,etc. into painting for this discussion) Really great stuff and was proud to be a part of this exhibit.
My largest piece was framed out to 32"x40" and was in a room, small room and was the largest in the room. I tried to hang around my image, in case of any questions or "can you help me get this into my car" requests. Anyway, for the first hour or so, I just stood there and watched people look at my image, make a comment like" That's a nice watercolor, or that's a nice painting" and every once in a while, I would step up and let them know, that no, it's actually a photograph and the people would pause, look closer and say, "Wow, it looks like a Painting", which I took as a compliment. Here's the image for a reference:
Now here's my conundrum, why is it a compliment to me, a photographer and may not be a compliment to a painter, to say,Wow! It looks just like a photograph! Is there some hierarchical ranking of art, subconcsiously maybe, that this statement demonstrates? If so, why and if not, then why doesn't the compliment work in both directions?
And I'm certainly not trying to create some wedge issue here, after all, "some of my best friends are painters...."
Food for thought?
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Oldest Reply
Posted by: Sydne Archambault on 4 Years Ago
4 Years Ago
Indeed. I personally think if someone said my painting looked like a photograph I would be pleased. I also think a photograph that looks like a painting would also be a compliment. No problems with that from stand point.
Posted by: David Larsen on 4 Years Ago
4 Years Ago
Some painters are going for that, hence the term "photorealism." I prefer the term "representational" when it comes to my own paintings, but I've never taken it in a bad way when people say mine look like photographs.
Posted by: William Allen on 4 Years Ago
4 Years Ago
I agree 100% with what Sydne said.
Posted by: Videletevian DeleteRSON on 4 Years Ago
4 Years Ago
That's one fabulous, stunning image, Rich......in any medium. You've managed to produce what is fine texture, colour , composition, Fine Art !!! Period !!
I find photo-realism a tad too 'real' or sometimes 'surreal' in the painting genre of that term, but, big but, have no conflict about painting vs photography as Fine Art......mine, included, hohoho !!
Each genre has its qualities and limitations.........but aren't competitive, imo. Quality Tells......every time !
Posted by: Mike Savad on 4 Years Ago
4 Years Ago
i try to go for a painting look, most look for that term anyway, i stopped correcting them a while ago. because when i did, they weren't convinced.
---Mike Savad
Posted by: Pamela Patch on 4 Years Ago
4 Years Ago
I wish I could paint and someday I may learn but in the meantime recieving the photo looks like a painting response would be the highest
compliment in my book :-)
Great art Rich, beautiful work.
Posted by: Leanne Howie on 4 Years Ago
4 Years Ago
This is my two cents on fine art photography:
The term fine art photography is used when you create a desired effect and/or to articulate an impression, mood, whatever you want to call it in an image. When I use my camera it's not only to capture a moment in time, but to preserve that moment in the most artistic way possible. Not being a painter I use HDR to create a feeling of painted images in some of my photography. It is meant to enhance the photo, not to replace it. In my natural light photography, I use light to paint the image. I don't use anything but a great camera, lens, and sometimes a polarizing filter. Luck and patience also helps in capturing a special moment.
Art is art, it's in the eyes of the beholder (the customer) that really counts.
Posted by: Gene Gregory on 4 Years Ago
4 Years Ago
Art is art in many forms, and I appreciate MOST of it. Live and let live is what I always say...sometimes.
The only thing I do not agree with is putting things in the same catogory, such as oil paintings & photography in a show.
This is something to think about, and it will probably rub some the wrong way. lol
However, I believe that most of us who paint, can also take a fair photo sometime, but most photographers can not paint a decent painting. Don't get your feathers rialed, you know I'm right ! ; )
All I want is for you all to have a Happy New Year !
Posted by: Isabella F Abbie Shores on 4 Years Ago
4 Years Ago
Someone thought one of my painting thumbnails was a photograph the other day and I was VERY pleased!
Posted by: Videletevian DeleteRSON on 4 Years Ago
4 Years Ago
Leanne..........I really admire your bio, and expertise, and dedication.........your Art is outstanding..........
Posted by: Shana Rowe Jackson on 4 Years Ago
4 Years Ago
I had a comment on one of my paintings on here from a fellow artist telling me he thought it was a photo when he first saw it. I took it as a high compliment even though I don't try for photo-realism :)
Posted by: Mike Savad on 4 Years Ago
4 Years Ago
when i was still on a critique site, more often then not, i get the line -
don't take this as an insult, but it looks like a painting. or looks more like a painting then a photo...
why would i be insulted about that?
---Mike Savad
Posted by: Shana Rowe Jackson on 4 Years Ago
4 Years Ago
I don't see how it would be an insult either way...especially if you are going for a certain look. But you never know how someone will perceive what you intend to be a compliment I guess.
Posted by: Joy McKenzie on 4 Years Ago
4 Years Ago
For some reason, people (not artists usually) equate photo realistic painting with something really good...that the artist is painting at a very high level. It's a style, yes...I happen to love it...but I don't think it is 'better' than any other style of painting. I know of painters who would definitely take "it looks like a photograph' as a compliment.
I think, as a photographer, being told 'it looks like a painting'...with enthusiasm...COULD be taken as a compliment. It depends how YOU feel about it. If you don't want your photographs to look like paintings, you might not appreciate that comment. I know when I was doing Polaroid transfers 'back in the day' I WANTED my photos to look like paintings...that was the goal, really.
I certainly don't think it's an insult...not by a long shot! :) And I Iove your photograph above...and it really does look like a beautiful painting! And lol at "in case of any questions or "can you help me get this into my car" requests"...I hope you got that request!
Posted by: Wendy J St Christopher on 4 Years Ago
4 Years Ago
"Wow, it looks like a Painting"
Honestly, the only part of that compliment that matters to me is the "Wow". Beyond that, the viewer is encouraged to put their personal spin on any of my images. If I've got the 'wow', the rest is pure gravy. :-)
Rich, your 'Glacier Reflections' looks like a million bucks, and is totally wow-worthy, as is the 'Wet Deck' image, which I also saw yesterday.
Posted by: Janine Riley on 4 Years Ago
4 Years Ago
It depends.
What was your goal when you were painting, or photographing ?
Photorealism takes an amazing amount of skill - I love it.
But there is a school of thought that says " Why ? "
Let painters paint painterly to take the best advantage of their medium.
I say do what you enjoy, and and appreciate when others do too.
Glacier is fabuolous. It looks like a photograph blending down into a painting. : )
I guess what I'm now looking fro is someone that paints in a "Photo-realistic" manner and her what they think.
I certainly can't paint or even draw for that matter, but that's not the question here. Are artists that paint in a realistic way, glad to hear that phrase, or do they shutter a bit? And I agree, it's much easier for a painter to produce good photos, than vice versa,
Posted by: Bob and Nadine Johnston on 4 Years Ago
4 Years Ago
Comments that my Paintings, look like Photographs or that Photos look like paintings are welcome.... As I try to make my paintings look Photo-realistic, and my Photographs look like Paintings. Sometimes though some have accused me of saying a work was a painting, and they insisted it had to be a photograph. If you can do photo-realistic paintings and you can make Photos look like paintings, they should be accepted as what they are.
For decades would go into the Fine Arts Museum in Boston once or twice a month and examine paintings closely, at times spent about an hour, just sitting looking at a painting. Then getting up and examining the detail closely.... Thinking back, many of the Old Masters did what we call Photo-realistic Paintings when camera's did not exist. Then, came a period when color film became available artists stopped, it seemed to me they did not want their paintings, mistaken for photography. It seemed a shame, for Artists who paint, could create the scenes that I created, leaving out things like telephone poles, garbage cans or things Id rather not have in my Photos. Retouching something so large during the days of 35mm film was not possible. Now, today with Photoshop we can remove what I object to more easily, so always do so... doing so may make Photographs look more like painting.
Personally, believe any Photographer could paint, just because they believe they can not, does not mean they could not. Advanced amateurs have a LOT of knowledge about art. Many times they can produce some types of photography better than a Professional. When a Photography Judge, was told we should judge amateurs stricter than professionals, as they had more time to focus on the subject, and could take the time to get it a right. They can do like I do, going back to the Grand Canyon, year after year since 1970, four or more times a year. Spending one to three weeks there.
The professional is always under a deadline, has to do their best with the time constraints, many times under the worst conditions....
The Photographer only need to learn HOW to use the tools that artists use, get some basic instruction in mixing colors, etc. then PRACTICE, like they practiced their Photography. Use the tools until they become part of their hands, vision, etc. Many advanced amatuers know more about composition than a lot of amateur artists. If they have gone to seminars in photography, do the same attending seminars with artists whose style they like.
Think about it, for decades thought the it was not possible for me to paint either, but Nadine kept after me for decades, finally watched some DVDs Yarnell made on the basics of mixing color, and dove in to get my feet wet. Nadine could not believe how good my first painting was. It was all the background in Photography, and color processing where I had to learn to use colored filters to control color in prints. Try it, you may find that you really enjoy painting. I get into it using not just brushes or Palette knives, but my fingers. The satisfaction of hanging your finished painting on the wall, is as great as hanging your best photograph. Check Yarnell's DVDs he is a very good teacher..
I am often told my drawings "look like photos" the only time I take offence to it is when people assume I didn't draw it. I think all types of art is beautiful not just the realistic art. I myself have some artwork that is more realistic looking that I in fact have drawn and have been accused of not. So to answer your question the fact that someone's takes the time to comment or enjoy my work is compliment enough but mentioning it looks like a photograph depending on the work it definitely is a nice compliment and appreciated but not something I always aim for. This is an example of my work that I have been told looks like a photo
Posted by: Ed Meredith on 4 Years Ago
4 Years Ago
"Wow! that flower looks so real i thought it was plastic"... +>))
Posted by: JAXINE Cummins on 4 Years Ago
4 Years Ago
I get the same thing on some of my paintings. I try to be painterly, BUT, I have a hard time achieving that.
My pastels do look like photographs and I have people tell me that all the time. At first I was embarrassed about the comments,
now I'm happy to get any comment.
Rich!!!! your art work is beautiful.
JAXINE your work is gorgeous!
Posted by: JAXINE Cummins on 4 Years Ago
4 Years Ago
Thank you Sheena, I have never been able to do fur like you do. fantastic art work.
Rich, I hope you sold your beautiful art at that show. WOW!!
Posted by: Jimmie Bartlett on 4 Years Ago
4 Years Ago
I agree, enjoy getting compliments on your art.
JAXINE thank you coming from you that means a lot ...as for the fur texture (coloured pencils) is my weapon of choice as for Rich all of his stuff is wonderful ...the above is particularly awesome.
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jan, I love your description of viewing the boat scene, and the interruption of the duck, which added to the whole experience, as when you were describing it, I couldn't help but think that art was happening. :)
mark...maybe from a prof photographers perspective...but not from mine...:)
You got it pretty much right, soft focus or in this case(Mark!) a long exposure, which let the water in the stream "flow" in front of the lens, creating "movement" which is sometimes hard to do in photography,
while still contemplating my other challenge, I am also going to think about taking a photo which could appear to look like a painting.
Maria, every time I go out photographing, I do think about what I would want it to look like if I painted it. I guess that's the benefit of being a painter. That and taking the time to edit what I see helps me with composition. So art is happening when I take photos. There is a story to every one of them even the unsuccessful ones. There's a story to all my pieces. Paintings and photos. Probably a story to every piece of art out there.
I guess it's the job and challenge of the artist to tell the story that they want the viewer to see. Of course, the viewer may see something completely different and that is okay too as long as there is a connection to the art. Love it. Hate it. I don't care. Just have some kind of connection with it that makes you pause for a minute or two and take it in. I think the only kind of reaction that I can't stomach is the walk-past-and-look-at-the-one-next-to-mine reaction, "Now this one I like". Humph. Forever a conundrum to find a niche that I like to do that the audience wants to see.
Anyway...do go and do that, Maria. It seems that my abstract photography gets seen as paintings at first. At least that is what people tell me. I have gone out and taken photos with the thought in mind to find a painting in a photograph. It takes me about 15 minutes to a half hour to get into the groove of that mind set. Walking around and looking through the eye of my camera because that automatically edits peripheral vision.
Here is a good example of a that kind of find. To me, it looks like geese flying into a marshy pond. There is even a faux reflection in the faux pond:
This is actually a rust stain on the side of a boat and was not altered in any way. The rust stain was along the full length of the boat and it was clear that it took a great deal of time for the rusty patina to get to this level. I moved inch by inch, all the while with my eye looking through the camera, until I saw this. The boat rocked gently with the waves of the tide coming into the marina and made eerie creaking sounds. At one point, I even paused for a moment to listen to the rhythm of the creaking. I was lying on the dock on my belly at points and was truly lost in the moment of capturing art. So lost in it that I forget time (the closest I'll ever get to being a kid again). I love that part of photography and only go out photographing when I have nothing else pending for my time.
Thanks jani, that was lovely to read. With the camera I spend so much time trying to get the light and sharpness right that i don't think about it being a painting, I do however get lost in the moment, and forget that anything else is happening. I find painting easier, I feel that I have more control...not all control..just more control..but that is what I like about photography too...that you never know what you're gonna end up with.:))
Maybe you should reconsider: "So lost in it that I forget time (the closest I'll ever get to being a kid again). I love that part of photography and only go out photographing when I have nothing else pending for my time." Maybe you should MAKE time for photography, if it makes you feel this good! Think about it.
Maria, Don't worry so much about the "mechanics" of the camera for now, just let your Artist's Eye, be your camera and find, even one image that you love and then after it's composed in the viewfinder, make your camera adjustments,(assuming that you are using your tripod!) If you're so concerned about the settings and such, you won't be able to "see" and that's the whole idea,isn't it?
Posted by: Regina Valluzzi on 4 Years Ago
4 Years Ago
Mark, try searching Sh** You'll get 4 pages.
Imagine if there was third part tagging. I wonder what keywords would pop up?
On the original subject, unless I were trying to copy some painter from the Photorealist movement, I would not consider it a compliment to have my painting compared to a photo. I would also think the commenter was some sort of idiot.
Thanks Rich, i do enjoy the camera, but yes I do get tied up in knots over the mechanics, so much to remember before i click....but i am beginning to remember where to go, to change settings now with some things, so it will get easier, but i am going to focus on getting what i want through the viewfinder instead of settling for what I am getting at the moment..:))
Posted by: Ginny Schmidt on 4 Years Ago
4 Years Ago
Rich here is another one of yours that looks very painterly (and I like very much)
It seems you have a very good eye for capturing images that look like paintings - and maybe you enhance them somewhat?
The fun for me is in post processing, working on my photos to achieve something more than the camera caught. Sometimes my processing is very subtle and sometimes way over the top,
So far, the only 'real' sale on FAA (that is to say a framed picture rather than 'just' a card or just something of my own that i bought for myself) is a scenic photograph, hardly retouched at all ... I say 'hardly' because i am pretty much incapable of posting a raw photo.
Love howyou play with light, colour and composition, as in Tree on a Hill. Still Life with Fruit, Pink, to name a few. Can't quite put my finger on it but there's a feeling of sensitivity and candidness about them. Thanks for sharing.
Rich, maybe you are really a painter at heart,,:)
Posted by: Robert Kernodle on 4 Years Ago
4 Years Ago
Thanks, Roger, for enlightening me to the fact that CRAP art is a legitimate enterprise here at FAA. (^_^)
Agreed, Rich. At least I should plan to have more photographing days. Hard to do all the time. Especially lately. I've been trying to get some paintings ready for a gallery. I must remember to keep my camera in my car. It would make it easier to enjoy spontaneous photography moments. After the gallery order is filled, I will most definitely plan to go play with my camera.
Don't try and think of ALL the ways you can adjust your camera, just set it on one and shoot away!
Ginny, I had almost forgetten about this image, really just a snapshot! My friend has a "cabin" that can only be reached by crossing this stream. We were on the "otherside" and to get back to town, had to cross the stream. It had rained overnight in the mountains and the next day, the day we were supposed to leave, the creek was high. While they were looking at the levels, I had my camera out and got this image! Thanks for posting this!!!
Maria, I think most photographers are painter at heart and that's what allow them to capture images that would make great paintings!
Jani, I think you need to promise me that you will "schedule" more photo time!
Posted by: Tony Murray on 4 Years Ago
4 Years Ago
True Dat
No great image was ever produced that the photographer did not have the eye of a painter.
well I hope if anyone get's my eye it will be the left one cause my right one isn't worth a damn..
Posted by: Tony Murray on 4 Years Ago
4 Years Ago
Me too Robert. Are we twins separated from birth?
Posted by: Roger Swezey on 4 Years Ago
4 Years Ago
RE: The Eye of a Painter
Not Only Do I Agree,....I wrote this 8;14 PM entry last night:
" Here's a wonderful example of a "Painter's Mind's Eye" creating a marvelous photograph.... Instead of the stroke of the brush, there's the snap of the shutter button, to bring the inner vision into reality."
This was in reference to this photograph:
When wishing Jackie a Happy Birthday.
And I have one bad eye also ,Amigos.....My left (a stroke)
I've wanted to add something to this thread that had to do with the Rich's questions and it came to me. I've never been told my paintings look like a photo but I did have a very interesting critique one time from a painter I respect very much. He told me he had read an article about Rembrandt and Vermeer and in the article the writer stated that when you look at a Vermeer although a master of light they were always the same and when you look at a Rembrandt they always looked different. He said my work was like that, he called it a sucker punch, you'd think you were looking at a simple tree then WAM! it would hit you, it was a specific tree and not so benign. He said that the change was what made great painting. It is said that Vermeer used the first camera lens. It was a light box with a lens that when you looked through it you would see the image reflected on mirrors through the lens. I wonder, did the lens kill the life?
Great example roger! And yes,Robert, Rembrandt never just painted a tree. i will have to have another look at your work!
took some photos from my area today to begin challenge 2. While I was clicking away, I became aware of one view through the viewer...that in a second...between waiting for the breeze to stop so that i could get a sharper image... and. ...just as I began to press the button, I saw what looked like a painting!!!! Will send soon.
Have you seen the "Girl with the Pearl Earring"? I think there was a shot of the "camera obcura" in that great movie!
"The 17th century Dutch Masters, such as Johannes Vermeer, were known for their magnificent attention to detail. It has been widely speculated that they made use of such a camera, but the extent of their use by artists at this period remains a matter of considerable controversy, recently revived by the Hockney�Falco thesis." Wiki
Maria, looking forward to your "results"!
Yes Rich I saw it last month but I also learned of it long ago. I remember another painter once telling me a a way to see the sky better was to look at it in a mirror and it brakes down the information so it makes sense easier. I always noticed that when looking at the reflection of the sky on still water it had the same effect.
Posted by: Mark James Perry on 4 Years Ago
4 Years Ago
True enough Robert. With the mirror and the reflection in a pond the light you see is polarized. and simpler.............
I promise, Rich! :-)
...And that movie, Girl With A Pearl Earing, is awesome! The lighting is superb. I loved everything about it. Movies like that are very inspiring to me. Speaking of, I've heard that Les Miserabe is a movie for artists. Gotta go see that one.
Posted by: P S on 4 Years Ago
4 Years Ago
The Mill and The Cross is a great movie that literally takes you into a painting.
Hiding the most important thing.....that is the thing!!!:) I look fwd to watching this movie..thanks for sharing.
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RULES for the seventh edition, 2013
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With a view to developing and disseminating the teaching
of Bruno Zevi and his method of critical and historical inquiry,
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to award a prize for a historical-critical
essay offering
an original analysis of an architectural work or theme or
an architect of the past or present.
The competition is divided into five sections corresponding
to the following themes:
- the key role of space in architecture
- the ancient sources of the modern language
- history as methodology of architectural practice
- the modern language of architecture
- landscape and the zero-degree language of architecture
Art. 2
The competition is open to holders of
research doctorates with experience in the fields listed above.
Art. 3
Essays already published in Italy are not eligible.
Art. 4
The languages admitted are Italian, English and French. The
essays written in Italian must enclose also the English
The prize consists of the publication of the essay in the
Bruno Zevi Foundation editions. The winner will give a
lecture in Rome on the occasion of the award.
Art. 6
The prize is awarded
Art. 7
The Jury is renewed every year. In this edition it's
composed of: Antonello Alici, Vezio
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Those wishing to enter for the competition are required to
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text:
Wow !!! WTF is going on with the Reps party ? How can one claim to have counseling to deal with a problem that you have with 2 major voting groups and still get it all wrong. How do you hold your annual re-treat at a slave plantation and then be ion a room that was named for a slave owner. I mean did I get that right. Yes, I did Then to top it off, no African person was invite to speak. They did have a few Hispanics. Also a recent poll just came out where 64 % of Reps taking that poll believe that Pres Obama is HIDING SOMETHING from his past life. Sad indeed but it is a reality.
As far as the Women problem, I heard that all they told their party is that don't talk about RAPE. Yet one of 1st things that Reps have did was to do a PERSON-HOOD bill led by their VP Pres Candidate Paul Ryan. Also other bill was to repeal the ACA for the 35 times since the Reps have taken over the House which also affects both Women and Minorities Reps are still attacking PP all over America.
I say that NOTHING HAS CHANGED. It will hunt and be the downfall for Reps in future elections


text:
Last monthScott Snyder announced he was leaving SWAMP THING in order to focus on BATMAN, THE WAKE and the upcoming Superman comic with Jim Lee. What we've been wondering is who will be replacing him.
Today it was announced that Charles Soule, writer/creator of 27, will be taking over the writing duties. In an interview over at io9, Soule hinted to what we could expect:
Part of the fun in working in a big shared universe like the DCU is, well, sharing the universe. So, I can say for certain that Swamp Thing is going to have some fun encounters with other heroes and villains, although it will always be his book and his story. After all, it's his name on the cover. Issues 19 and 20 are designed to bring Alec a little deeper into the DCU and show where he stands, more or less, but I've got a whole list of things I want to do with him that don't involve the larger universe as directly.
As for the image above and the artist responsible, that is the cover to issue #19 by Andy Brase.
Soule mentions having big shoes to fill. Indeed he does. It's going to be an exciting time to see what's coming up after Rotworld.


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And the best ad placement award goes to Corporate Knights (and Barrick Gold)
In the news business, we have this thing about separating editorial content from advertising. If a story is written about a company that advertises in the same issue of a given print publication, you make sure to run the article and the ad on different pages. You don't want to give the reader the impression that one paid for the other (even if it might be true in some cases).
So here's a textbook example of how not to place advertising in a newspaper or a magazine. It's from the latest issue of Corporate Knights, which (laughably) bills itself as "the magazine for clean capitalism".
On the top of the page, there's a list of "Canada's top 10 responsible mining companies". Lo and behold, Toronto-based Barrick Gold Corporation, the world's largest gold mining company, tops the ranking. (The people at MiningWatch Canada and behind ProtestBarrick.net might have something to say about that though.)
But what do we have here? The bottom-half of the page bears an ad for—wait for it—Barrick Gold!
Obviously, the magazine didn't let the company compile the ranking. But it would be understandable if readers came away, shall we say, skeptical.
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3 Comments
paul acement
Dec 4, 2012 at 7:41pm
shocking! and the Straight doesn't "sell" proximate ad space in one of their numerous "best of" issues to "winners" of representative categories?
pot kettle black call.
Dec 5, 2012 at 11:38am
We use a 100% transparent rules-based methodology, though it should be noted that beyond safety, diversity, and tax payment, there are many social factors that that we cannot yet quantify.
Dec 6, 2012 at 1:26pm
Last week's Georgia Straight: Page 50 - an almost full-page ad for a concert by The Killers. Facing page 51 - a full-page article about The Killers.
But then, maybe the Georgia Straight isn't in the "news business".


text:
Sea Kayak Sailing & Safety
By Rob Mercer
A lone kayaker clings to their boat, adrift and well offshore, obviously Force 6-7 judging by sea surface & two meter waves regularly washing across the helmet camera lens. The paddler is one of Australia's most experienced instructors, a remote expeditioner who has covered much of the northern wilderness, most of it under sail. We watch as he fails a roll, then a re-enter & roll, and then see the slow inevitable decline into hypothermia. Although we know this is not a self rescue bid that is going to work, it is still compelling and chilling to watch.
The obvious factor impeding the self rescue in these challenging conditions is the sail & rigging that had only moments earlier been propelling the kayaker along the seascape, enjoying long rides on what up to that point had been an exhilarating days paddling at 6-7 knots, with peak speeds over 12 knots.
I was struck by the complexity of packing away a normally straightforward rig in the bouncy & disorganised sea state, & can only conclude that this was the major mitigating factor in what turned into a very frightening near miss.
Sea kayak sailing has enjoyed a long & continuous tradition in Australian paddling culture. The early Tasmanian epics along the rugged west coast & numerous forays into Bass Strait by pioneers like Laurie Ford regularly featured long fast days under sail, using the traditional Tassie sail rig.
The sails increased range in heavy wilderness conditions, where big loads compromised normal boat speed, and there was no easy landing in areas almost entirely unpopulated. Essentially the sails allowed these early paddlers to commit to longer distances completely unsupported.
While sails are ubiquitous in our part of the world, the renewed global interest in kayak sailing piqued by designers such as Mick MacRobb has made it something of a hot topic. I have always considered myself to be a sea kayaker, who on long wilderness trips has been an avid sailor, as opposed to a sailor who uses a kayak.
The distinction lies in the use of the paddle. For the kayaking sailor the paddle is the prime mover, the main means of propulsion and anything the wind can give you is a bonus. The closer to the wind you are forced to sail the more tempted you'll be to turn your efforts back to paddling, rather than the challenge of seeing what you can extract from the wind.
The sailing kayaker tends to seek the challenge of the wind & the sail in combination as a measure of their sailing skills. Of course there is no black & white line between these two polarities & we all gravitate between them to an extent depending on how much fuel we have left in the tank!
So to safety and kayak sailing, a topic argued along regional boundaries here in Australia! Deferring to the venerable Tasmanian kayak sailors, their rigs are characterised by a socket located in the deck, within arms reach. The mast is simply dropped into the socket, & held in position by the sheet or boom line cleated to the deck. On a recent trip to Tassie, Mike, Veronica & Jenny, proud advocates of their kayak sailing tradition, showed me just how easily this rig could be dumped with a single deft movement in an emergency or capsize.
Another nice feature of this system is that a tiny storm sail can be used in heavier winds and some even use this as a second sail in an additional socket set behind the seat for light conditions. The two sails are stowed on the foredeck in mesh bags and when stowed they are very secure and unobtrusive.
As well as being easy to dump, proponents for the Tassie rig believe it can sail closer to the wind.
Despite the above points, I feel the disadvantage of the Tassie set up is that it inhibits a modern forward stroke, not to mention a whole range of blended boat control strokes, especially those forward of the cockpit including rolls. Some innovative local Tassie prototype designs are addressing this by using a mast tensioning system, and a very short boom to allow a wider range of strokes. I am keen to test this next generation in the near future.
Meanwhile, back on the mainland, sails have evolved around the concept of a deck mount placed further forward with the deployment & stowing of the sail requiring a universal joint & an up-haul line. The advantage of this system is that the boat can be paddled with the full range of strokes, as there is no physical barrier to paddling technique. It's sufficiently well forward so that the other obvious difference is that the boat will show a strong tendency for the bow to point downwind when moving fast and this works well with looser tracking rudder boats as well as skeg boats.
As the latter is the system with which I have the most experience, I offer the following points to consider based on this rig.
As with any other piece of kit, there is a set of gear protocols that you should follow in setting up your rig. These include:
- Setting the sail, it pays to colour code the uphaul & sheet lines, so you don't pull the wrong one;
- A common error for people getting into kayak sailing is choosing a first sail that is just too big. Most of my sailing has been done with a 0.75m2 sail, and this would be good all-round size for a beginner.
- When the sail is stowed, beware that you will need a method for stopping it from filling with water in the surf, breaking waves or during capsize. This is most commonly achieved with a fabric sleeve or a couple of cleated shock cords;
- Have a system for organising the loose lines which trail from your deck. The last thing you need is a couple of metres of loose braid with the potential to wrap around your paddle or worse;
- Look at your sail rig in terms of strong points & ensure that there are sufficient reinforcements to protect your deck, but also a number of points in the rest of the system which will fail, before your laminate does. Different manufacturers have different solutions to these challenges;
- Until you are sure of your capabilities, a shockcord in the uphaul & sheetline will act as a safety valve for the shock loads produced by wind gusts. These buffers may cost a little in performance but make for a more relaxed ride.
- If your sail has a clear panel ensure that it is in a useful position to allow some gain in visibility and don't assume it will be much use once the spray starts flying.
- The use of personal tethers is a controversial issue that is especially relevant for kayak sailors, On the one hand you are already dealing with extra lines, stays and all the other hardware that a sail entails. Adding a tether is just one more potential entanglement hazard but on the other hand a tether may help you stay with your boat in the confusing aftermath of an unexpected capsize under sail.
- Cleats, fairleads and blocks can graze knuckles or snag on you or your paddling partners gear, go for low profile with smooth edges and think carefully about placement before reaching for the drill.
- With few exceptions the designers and manufacturers who built your boat did not have sails as part of the design brief or product development. Placement of masts, fittings and lines will often clash with existing fit outs and heeling and pitching characteristics will change in ways that the designer could never have imagined. Unless you know someone who has already used your model of boat with your model of sail then you need to consider yourself as a paddling test pilot; "Top Gun" or canary in the coal mine, take your pick.
Skills & Techniques
There are a separate set of skills that are particular to kayak sailing & they are best practised in a controlled & familiar environment before taking them into more challenging conditions. These include:
- Never raise the sail in conditions where you have any doubts about your ability to get it down again. It can be worth practising this in a raft with another kayak and in windy conditions blowing towards a safe landing.
- You need to be able to point the boat into the wind in order to pull the sail down. It sounds simple, but remember that the sail is inherently trying to point the bow downwind. It's worth getting to know how your boat reacts when you release the sheet line & spill the wind from your sail.
- The sail is exerting downward force on your foredeck, changing the trim of your boat. I tend to only use sails on long, heavily loaded trips & if a downwind day is in the offing I will offset this tendency by packing the boat to trim a little stern heavy. In moderate to strong winds, even with the stern packed heavy, I still find that the bow dips quite strongly with gusts & in the process the wind tends to help me catch long ocean runners – even when I am not expecting it.
- The sail will tend to auto-correct much of the broaching that you would otherwise be managing with edges & stern rudder strokes. There is something distinctly different about being dragged along by a sail at the bow rather than being pulled along by a paddle that provides drive closer to the centre of the boat. Even with a skeg boat, the right combination of skeg & sheetline settings should allow almost every stroke to be a power stroke or a powerful sweep stroke, maximising your boat speed. I used to paddle a kayak with neither skeg nor rudder on which I used a tiny sail well forward as a way of managing weathercocking. It was too small to provide much extra speed but was a great ''air skeg.''
- Support strokes require great care in orientation of the blades. The last thing you need is a neutral blade diving suddenly & catching heavy water! Similarly, excessive blade angle will produce a lot of drag which not only slows you down, but will inevitably overload your joints. Bear in mind, on a big day you might find yourself holding these strokes for hundreds of metres.
- When sailing, the reality is that most people get knocked over downwind, and most successful rolls from this position will also be downwind. It follows that you should develop a solid & instinctive roll on both sides, so you can always roll up with the wind assisting.
- Rolling & self rescues need to be thought out far more carefully with the added complication of a sail rig & lines. There are two approaches, the first favours releasing the sheetline or sheetline and uphaul underwater & then rolling as normal, the latter, which works with small sails & sturdy decks is simply to roll with the rig fully set. In either situation it makes sense to practise your sail roll slowly and deliberately. It is even better to be able to scull the boat slowly upright so that most of the water drains out of the rig. This can be the difference between a roll & the complication of a swim.
- Sailing is one skill set where even the most reliable of rollers should take the time to practice not only a standard re-entry & roll, but run through the drill of stowing your entire rig as a precursor to the re-entry & roll. You'll find that in cold water this is a time consuming & physically draining exercise.
- It is also worth practising a re entry and paddle float roll to overcome additional drag if you don't want to spend extra time in the water packing up your sail prior to rolling up.
- To expedite the clearing of lines during a re entry or other self rescue you should always carry a rescue knife and be willing to cut any rigging or fabric that impedes your fast and easy recovery.
- Attempting a deep high brace against the wind is all but impossible with a sail.
- It is never a good idea to right a capsized boat under sail in wind of any strength until you're sure the rig is stowed. A kayak with bilge water ballast in the cockpit will sail alarmingly well without you.
- Remember the big picture. Sailing is the pinnacle of kayak multi tasking; if you are already challenged by navigating, paddling, taking photos and trying to stay upright, then adding a sail on a windy day will make for a very busy ride. I have watched in awe as one of my mates sailed straight into heavily dumping surf with his head down trying to untangle his sheet line.
Having a plan.
After finishing his recent circumnavigation of Australia, Stuart Trueman commented that he had more capsizes & often in scarier places when under sail than in the formidable surf zones of the Pacific & Great Southern Oceans. Despite the technical challenges, Stuart remained enthusiastic about his use of the sail throughout his 16-month epic.
Local paddler Matt Bezzina, a Sydney kayaker involved in the incident described in the opening paragraphs has said on reflection that while sailing super charges our kayaks, it also supercharges the risks. On our recent expedition to the remote North Reef Lighthouse, Mark, Chris & I combined the super efficient Rockpool Taran with a Flat Earth Sail in a region at that time of the year beset by strong following & quartering trade winds & steep seas. We took great care to formulate a series of protocols in the event of a capsize, knowing full well the distance that would be quickly covered by our paddling partners in relation to the capsized boat. These included:
- We all carried VHF radios on our PFD's. In the event of a capsize we would implement the following steps:
- Attempt a roll, if it failed a loud blow on a whistle;
- Attempt contact on VHF radio;
- Set off flare (remembering we were more than 100km offshore with no other boat traffic in visual range)
- Attempt re-enter & roll followed by paddle float re-enter & roll;
- If no contact with paddling partners after failed attempts to re-enter set off EPIRB.
- We were all versed in this protocol, kept an extra vigilant eye on one other, especially when the sails were in use.
Clearly, the biggest danger we foresaw was the swift separation of the group & the potential for a slow self rescue. Paddling solo you're not afforded the same options, so kayak sailing by yourself requires extremely solid & well tested skills, including lots of practice at managing capsizes under sail.
In preparing this overview on kayak sailing safety I asked my mate Andrew, the paddler whose near miss is described in the opening paragraph to comment and as we read through a first draft the most alarming realisation wasn't how much he had done wrong to get in so much trouble but quite the opposite, how even with so many of the details covered, a simple capsize under sail nearly cost him his life. Andrew still sails and enjoys the speed and challenge of a big day as much as ever but he now urges all who would sail to learn from his experience and to practise everything including self rescues with a full rig. Practising and honing skills with a clean deck is no guarantee that everything will work the same in heavy weather under sail.


text:
Time Schedule:
Simon R. E. Werrett
Seattle Campus
Explores key moments in the history of exploration and empire, 1300-1800. Taking an interdisciplinary approach, focuses on scientific and artistic aspects of exploration, their implications for imperialism, and legacies in the postcolonial world.
Class description
This course seeks to provide students with an introduction to exploration and imperial expansion in the premodern world (late-medieval Europe through the onset of modernity: circa 1300-1800). It approaches its subject topically through the study of signal moments of European (or, in some cases, American) scientific and imperial exploration: case studies that range from the late-medieval Venetian journeys to the so-called Orient, as exemplified by Marco Polo, to the Atlantic voyages of the sixteenth and seventeenth centuries, pioneered by the Spanish and Portuguese; and from the Pacific expeditions of the eighteenth century, dominated by the English and French, to the imperial expansion into the "wild" west, which brought Americans--along with Russians, Spaniards and Britons--to the Pacific Northwest, thus ushering in the modern age of empire. Lectures offer a novel approach to the theme of exploration by drawing on several disciplines; we will consider the scientific and artistic aspects of voyaging, along with the more traditional narrative of power and expansion. Scientific knowledge--methods for finding the longitude, for example, or studies of exotic flora and fauna--helped make exploration possible; while knowledge of distant places led to a revolution in the sciences. Meanwhile, artistic strategies employed by the voyagers were equally significant. Representations of exotic places, peoples, plants, and animals, in European as well as non-European art, mediated the voyages to distant audiences, shaping their perceptions of exploration, empire, and the so-called races of the world. Art and science were critical components in the politics of Western nationalism and expansion, and this course will hope to demonstrate how their imprint remains with us today, continuing to shape and effect postcolonial debates over the legacies of empire.
Student learning goals
General method of instruction
Lectures, Discussion Sections, Reading of Primary & Secondary Texts
Recommended preparation
This is an introductory course, so there are no prerequisites.
Class assignments and grading
Essays and mid-term and final exams based on short essays and/or key-term descriptions
Readings, to be discussed in class sections
Midterm exam 20% Final exam 30% Each essay paper 20% Section participation and attendance 10%


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text:
Bad forecasts for QBE
QBE Insurance Group chairman Belinda Hutchinson has stepped down after another shock profit downgrade, preventing a possible investor backlash against chief executive John Neal and the board of Australia's biggest insurer.
Investors wiped $4 billion off the market value of QBE on Monday after the Sydney-based company warned it would post a $US250 million ($275 million) loss for 2013 due to its beleaguered United States operations. The stock closed 22.3 per cent lower at $12 – the biggest single-day fall in the past 12 years.
QBE has failed to meet its full-year profit guidance since 2009. Monday's profit downgrade was the third Mr Neal had been forced to deliver to investors since taking over last August from long-standing chief Frank O'Halloran, who spearheaded QBE's aggressive global expansion strategy.
Mr Neal apologised for QBE's failure in the US where the worst drought in 50 years hammered crop insurance profits and the global financial crisis damaged earnings from its property insurance division.
"From an investor point of view, we are extremely understanding of the sentiment that they would have, and unequivocal in apologising for disappointing them this year," he said.
The downgrade prompted Ms Hutchinson, who joined the QBE board in 1997, to announce that she will retire in March next year. Ms Hutchinson sent letters to QBE's major shareholders outlining her decision to step down, saying she was looking forward to handing over the chairmanship to US-based director Marty Becker. It is understood the QBE board asked her to stay for her full term until 2015.
But one major QBE shareholder, who declined to be named, said that if Ms Hutchinson had not stepped aside, Mr Neal could have been in the firing line. "Someone had to take responsibility somewhere – but if he [Mr Neal] had gone, imagine what that would have said [to shareholders]," he said.
CLSA insurance analyst Jan van der Schalk said Mr Neal should have recognised and tackled the problems in the US earlier. He also noted that more negative surprises could be festering in other parts of QBE's businesses, including its Europe operations.
"QBE have been ill disciplined and have put profit before pricing risk," he said. "[Monday] was about putting out fires, not preventing them. QBE has failed and now they are compounding their error for the job is only half done."
Mr Becker is the former chief of global insurance group Alterra Capital Holdings. He joined the QBE's board four months ago.
"The performance of our North American business announced today is deeply disappointing," Ms Hutchinson admitted in a statement."Following the substantial changes we made to our US management team earlier this year, group CEO John Neal initiated and has led a further review of our North American business," she said.
"I'm confident that the management changes we have made will enable the North American business to return to profitability."
Mr Neal said QBE grew "too rapidly [into the US]. And I don't think we had the right processes in place to manage and control that business, and we certainly didn't have the right leadership."
QBE now expects to post a cash net profit of about $US850 million for the year, and an insurance profit margin of about 6 per cent – nearly half the previously anticipated 11 per cent.
Investors had only just begun to regain confidence in the insurer whose shares rose more than 50 per cent in the past 12 months to hit $15.45 last Thursday. QBE's forecast $US250 million loss for year to December 31 compares with consensus forecast of a $US1.1 billion profit for this year before the downgrade.
Mr Neal said QBE's US operations would return to profitability in 2014 and tried to assuage investors' concerns about the company's embattled US division, stressing he was "as certain as we can be that we've taken the corrective action that we need".
"I am as certain as I can be that the go forward strategy, the current performance of QBE is exactly in line if not slightly better than we would have hoped it could be at this stage."
One major QBE investor said: "You need to get confidence that the reserve top-ups are done – people are going to sit there bamboozled a little while longer, until at least past 2013 even though 2015 earnings [forecasts] haven't changed all that much."
New chairman Becker
The insurer said it would take a one-time $US150 million charge for impaired assets as the groups looks to "right size" its lenders placed insurance division. Lenders placed insurance policies are placed by banks on a home when the borrowers' own cover has lapsed or is insufficient. At the same time, the insurer will write off $US330 million of intangibles to generate "more acceptable returns" in the future and at least break even in 2014.
QBE had about $US2.4 billion of goodwill attributable to its North American division as at June 30. The company's board had decided to write down $US600 million of these charges "in light of recent developments".
QBE entered North America in a major way in December 2006, following the $US800 million acquisition of Praetorian Financial Group from Hannover Re. The next major deal came a month after, when it paid $US1.16 billion for property and casualty insurer Winterthur.
'Emphatically dealing' with US issues
Mr Neal said that "as painful as these decisions are" to address the problems, the group was confident its American business would return to profit in 2014.
"It is disappointing that in a year when we made excellent progress in improving our current accident year profitability, strengthened our key capital ratios and our balance sheet, successfully launched our operational transformation program and strengthened our executive team, that we continue to be hampered by the past.
"To go forward with greater certainty around our group underwriting results, we are emphatically dealing with the North American issues that have been detrimental to confidence and underwriting performance over reporting periods."
Credit Suisse insurance analyst Andrew Adams said QBE delivered an insurance profit of about $US750 million below consensus, despite saving about $US300 million due to a benign weather year.
The Australian Financial Review