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There's been considerable confusion about the best way to photograph your art. I've made hundreds of image copies over the years and I thought I'd take the time to describe a method and the materials that will give you a good result every time, without costing arms and legs. You might want to print this out for reference, because it will be fairly long. Also, I'm going to assume that you haven't got a lot of expensive photo gear, nor do you want to buy it. And, for the purpose of this discussion, I'm going to assume that your art is flat, or in low to moderate relief.
The Equipment:
First, I'll assume that you have a camera. While point and shoot cameras will work, what you really want is a DSLR that's got at least about a 10 megapixel sensor. More megapixels is better and they're getting cheaper every day. The reasons I recommend a DSLR are several, including better optics, lens interchangeability, more and more easily accessible functions, like manual focus, aperture control, and others.
Use a lens that's well-suited to the job, and use it correctly. While a macro lens is best because of it's inherent close-up sharpness and flatness of field, you can successfully use almost any lens. If it's a zoom lens, set it somewhere near the middle of its zoom range and leave it there. You'll adjust the framing by moving the camera, not by zooming. Why, you ask? Because zooms have less geometric distortion near the center of their range, and are usually most sharp there, too.
Next, you have a choice. Either a tripod or copy stand is essential. If all you're going to use the tripod for is copying art, you can get away with a fairly inexpensive one, since it won't get any rough use and will still hold the camera steady. But, if you want to shoot with a tripod in the field, get one that's substantial and rock steady, even in windy environments. Either a 3-axis (standard) or ball-type head will work, but I prefer the traditional 3-axis head for copy work because fine adjustments are easier and repeatable.
A copy stand is a specialized type of tripod, typically with a baseboard and a vertical column which supports the camera mount. Copy stands can be purchased relatively inexpensively on eBay, from online sellers, or at camera shops (ask about used ones). You'll want one where the column will elevate the camera at least about two feet for paintings, or less for small items like jewelry and small or miniature paintings. Now here's a trick you may not be aware of. If you own a tripod, you can invert the elevator column. Simple remove the column and stick it back in from the bottom so that the camera hangs between the tripod's legs. You now have a three-legged copy stand!
Invest in a cheap pair of photo lamps, reflector type, with stands. You can use clamp-type reflector lamps (mounted on chairs, or whatever you have), but light stands are so much easier to use, and again, there are cheap ones out there. I don't recommend shooting art outdoors. You want control of the light, and sunlight is very variable when it comes to intensity and hue.
The Procedure:
Mount your art on a wall or place it on the bottom of the copy stand (or a hard floor if you're using the tripod trick). Make sure it is flat against the wall or floor. If you're using a wall, the art doesn't have to be exactly level. Now go get your camera and tripod, or simply attach the camera to your copy stand. The important thing is that the camera be positioned so that the lens is as close to being centered on the image as possible. That is important. Now here's the catch for tripod users. The camera must be perfectly vertical. Many tripods have a bubble level to verify this, but you can either buy a bubble level (they're really cheap), or simply eyeball the camera to level it. The lens should be pointing straight sideways (downward with the tripod trick). If you have a copy stand, it should level the camera automatically.
Now frame the image by moving the camera closer or further away from the art as required, keeping it's borders just inside the visible frame in the viewfinder or LCD screen. Avoid zooming for all but final framing adjustments. Also avoid using the tripod head's adjustments. If you have to re-center the image, move the tripod and/or change the height of the center column. Turning or tipping the camera introduces "keystoning," which means that your image will taper toward one end. Side-to side tilt adjustments are okay. The camera lens must remain perpendicular to the art in all planes.
Now, get your lights. Position one on each (opposite) side of the art. They should be about 45-degrees from the artwork. In other words, as far from the wall (or baseboard or floor) as they are from the art. Move the lamps back far enough to evenly illuminate the art. Do this one lamp at a time and expect one side to be slightly brighter because it's closer to the lamp. The opposing lamps will compensate for this. The angle will keep you from getting glare from reflected light. You can use photo bulbs if you want, but the truth is, with digital cameras, any popular kind of bulb will work (tungsten or quartz). I'd avoid fluorescent lamps, though, even CFLs. The problem is that they flicker and are very sensitive to electrical fluctuations. Just make sure that you use the same type and wattage bulb in each reflector. Also, they don't have to be high power bulbs. 60-watts will probably be enough, maybe more for really large art where the lamps will have to be very far away to ensure coverage; and conversely, less for small art. You also don't to pour a lot of high-wattage light on your art because their heat can cause warping or popping.
Okay, now you have your art well-lit and ready to photograph. But there's something else to consider, color temperature (white balance). Digital cameras all have an automatic white balance setting. Don't use it if you can avoid it. If your camera has a custom white balance feature (most do), learn how to use that, instead. The reason not to use AWB is that it tries to make your picture neutral gray overall. This means that if your art is predominantly blue, the camera will add yellow, if your art is green, the camera will add magenta, etc. Custom white balance adjusts the camera to the light, not the art. Basically, what you'll be doing (check your camera's manual for specifics) is to put a white or gray surface (I use white mat board) in front of the art (draw a few black lines on it to give your camera something to focus on). Next, you'll take a reading with your camera (like taking a picture). This tells the camera all it needs to know about the color of the light and it will adjust itself to the best setting. Once you've set the white balance, you're ready to start shooting. Note, once you've reached this point, you can photograph multiple pieces of art by simply substituting one for another. The color of the art won't matter.
When shooting your artwork, vibration is the enemy. Ideally, you'll want to use a remote release to trigger the camera, whether a cable, wired, or wireless type. If you don't have any of those, don't fret. You can use the camera's self timer feature to delay the shot until any vibration from touching the camera has settled down. If your camera has a provision to lock its mirror up, use it.
So, your camera is pointed perfectly at the art and your lighting is flawless. It's time to focus. Most auto-focus systems are pretty good, nowadays, but I still prefer to focus manually when copying art. You can do either, depending on your comfort level and how good your camera's optical viewfinder is when it comes to critical focusing. Don't manually focus with an LCD screen, let your camera do it.
As for camera settings, I recommend that you shoot in Aperture Priority mode. Set your f-stop to f8, since most lenses are sharpest at or about this setting, and it will also handle a reasonable amount of relief in the artwork. Now, after you've done all the work to get to this point, you want to ensure that you get a good exposure. Since your camera will adjust itself to the brightness of your art, you'll want to make some alternate exposures to be sure you get a shot which is faithful to the subject's overall brightness. This is known as 'bracketing." It's easy to do, as all digital cameras permit you to make exposure adjustments. I recommend that you shoot five exposures, using the exposure adjustments to cover a range of -1, -.5, 0, +.5 and +1 on the scale. If your art is extremely bright or dark, you may want to extend this range even further.
If you've followed these instructions, your camera will now be filled with excellent copy images ready to import to your computer for final tweaking (cropping, color correction if necessary, tonal adjustments), since the reality is that no camera is perfect in all respects.
Now, you will have images that accurately reflect your art and will meet all POD standards.
Happy Shooting!
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Oldest Reply
Posted by: Andrey Soldatenko on 6 Years Ago
6 Years Ago
Murray, thank you very much. information is very useful
Many thanks for the comprehensive, helpful info, Murray. It's really really good of you to bother with this, and I'm personally very grateful. ..Vivian
Posted by: Isabella F Abbie Shores on 6 Years Ago
6 Years Ago
Added to the FAQ
Posted by: Jon Schaubhut on 6 Years Ago
6 Years Ago
Nice post. I'm experimenting and even thought the AWB seems to be a learning curve with my Canon EOS Rebel I shot using shade mode and it made a nice difference.
Wow....interesting read Murray....and I am doing it ALL WRONG!
(Angels puts her chin down to her chest and walks away like Charlie Brown.)
===== FWIW - Here's my typical work-flow for image acquisition and processing =======
I want to qualify the following post by stating that I am not a professional still photographer. Obviously there are some very serious and talented photographers who post on this site, some clearly have extensive schooling and training. My intent in posting this survey is to perhaps receive some input from the pros, who have forgotten more than I'll ever learn. I am open to any and all comments/suggestions.
To me, the first place to start, when seeking the best quality imagery, is to understand what you're trying to achieve...in this case, it is to acquire the clearest, crispest native image possible, given the limitation of your equipment.
That means, the lighting component of the process is extremely critical. The more you can control your lighting environment, the more consistency you'll have, and the greatest likelihood of a good outcome. To that end I shoot in a very controlled lighting environment with artificial lights...as soft as I can get it, using umbrellas, or bouncing off the ceiling etc., or even hanging some translucent visqueen that unsharpens the light source.
I don't shoot in sunlight because there is too much temperature variation, during different times of the day, and unless its overcast, the light is very sharp which can cause reflection/unwanted surface shadows etc. If you must shoot outside consider using a polarizing filter, to knock down the glare/reflection. So, two 500w halogen work lights, Home Depot or whatever...set at 45 degrees...if too much light, moving the light back will lessen the lumens. I always shoot at night in my studio, or cover the window, so no ambient outside can mess with white balance...the temperature of the light stays consistent from session to session. I also always place a 100% pure white swatch in the frame which gives me an absolute white balance source, which can be most helpful when doing color phasing correction in Photoshop...Once you get a routine, you'll find the settings will be dialed in and you'll always end up with a good faithful image.
Obviously, the better the native image, the better the end result...so taking a little extra time in the process will save you tons of time in the image processing phase...the old lipstick on a pig bromide...it's still a pig.:)
OK. The next critical step for me is insure that my camera is ready for what I'm want to accomplish. I ALWAYS MANUAL FOCUS...and I turn off Image Stabilization. If your shooting with a zoom, and not a prime lens, then shoot in the telephoto mode as you'll have less distortion, like fish-eyeing, or pin cushioning. If you have enough ambient SOFT light, the next step is to prioritize you light settings. I always shoot with the smallest aperture f-stop (f 16 typically if I can manage it) Remember, the larger the f-stop number the smaller the aperture, the smaller the iris. This promotes better depth of field, so the focus range is much more forgiving. You might have to adjust/slowdown the shutter speed to accommodate the small iris....but since you're not trying to capture objects in motion(hopefully:) you can shoot slower to allow more light.
For this reason, always shoot from a tripod to prevent motion blur...the most common artifact from hand held shooting. I maximum zoom in on the center and rack focus, then pull back to full frame...this only works if you have very deep depth of field. OK, bracket your exposures....one dead on according to your meter, and -1 stop below and +1 stop above, yields 3 exposures...one of which will be better than the others. Shooting in camera raw, for me is the best quality image you can get out of any camera, as there are no compression artifacts, as in .jpg files.
OK...load them into Photoshop, look at them in camera raw, which has extremely powerful control over the image. Take's some learnin' but it's worth it...as you can set up some presets and just apply them...like a little sharpening...maybe 25.
While in camera raw click the link on the bottom of the frame, and select the editing parameters to edit as a .psd. For what we do at FAA 8bit is fine...16bit is essentially wasted on g'clee printing, and only doubles the file size...
In a perfect world 16bit is usually preferable over 8bit from a pure image processing perspective, I've done some experimenting with a local g'clee printer, and while a sharp, discerning eye of a trained professional can detect the subtle nuances in color etc, my guess is that 95% of our clients could not discern the difference. I have put the same print, side by side, starting with the native image, and working completely in 16bit versus working the other in 8bit from the camera raw image, and frankly without strong magnification, and knowing what you're looking for, well...it's pretty difficult see the difference...especially when printing on canvas which is my main surface for distribution.
16bit vs 8bit:
Because of the inherent limitations of G'clee printing as print device when printing on canvas, I have come to the conclusion that the attendant hardware/software overhead associated with working in 16bit, for me at least, is not a good benefit ratio...the processing time while rendering corrections/effects/filters in 16bit can be quite long and daunting, unless you've got multiple processors(4) and over 4GB of ram etc. So in the end, it does become an issue of time invested benefit ratio. That said, there are occasions when I do work in 16bit but it is totally dependent on the intrinsic complexity of the native image, (i.e. fine line work with complementary colors converging etc, or highly nuanced gradations) the end use application, again the print surface and size of print.
I always use 240ppi. So I crop it, then I only use adjustment layers to correct luminance(brightness), chrominance(color saturation) and color balance(white balance) as smart layers, so I can turn them on/off and play "what if" and with smart layers you can always undo, even after you have closed and reopened the image. BTW, make sure your monitor is not way out of phase...you can download from adobe a protocol to calibrate your monitor pretty close to neutral. An when I save, I always leave the native image in tact, as a "save as", incorporating the original image naming convention into the more intuitive save as name, which allows me to always x-reference when looking/for images in Adobe Bridge.
OK...you're almost there...'Save as' to a .jpg with maximum quality of 12...and voila...you're in business. I incorporate the horizontal rez by vertical rez by ppi into the file name so I know immediately what I'm dealing with reviewing hundreds of images in the OS.
(i.e. mypic_4500x2700x240_IMG_28890.jpg) saved to the FAA_UPLOAD folder. With a little extra effort in creating a shooting environment, it will go really quickly...also, I use an easel to mount the paintings...one with adjustable lean forward and backwards, which can help deal with flashing and glare..but be careful here...you DO NOT want to object stray too far from absolute vertical, as it will introduce perspective convergence in the cropping process...perhaps losing valuable image. If you cannot remove the glare, perhaps consider using a matte clear finish(Breathing Color is excellent and affords UV protection) to knock down the gloss/glare. I wouldn't use a polarizing filter only as a last resort, unless you have plenty of light, because of the light loss... Good Luck...let me know how you're getting along. On the issue of color space, I think Adobe RGB(1998) for your application is fine, as it has a wider gamut then sRGB...
You can always proof the color space by hitting Ctrl+Y once you set up the proofing color profiles in PS...
BTW, I shoot using the Canon EOS Utility software that ships with camera. It interfaces with my laptop via USB 2,0 using USB cable that shipped with the camera, and by putting the camera in "live mode" I can completely control all elements of the camera including, aperture, white balance and focus remotely...and when I select a portion of the image to zoom in digitally, I can see the threads of the canvas and focus to that....so the image is viewed on my 15" monitor instead of 2.5x.2.5 LCD.
Also, I might add, the camera is triggered from the computer with a mouse click, so there is no inadvertent movement of the camera as when triggering the shutter on the camera, which can cause very subtle camera motion blur.
Hope some of this makes sense and is of some help...obviously, the more faithful and higher the quality of the image to the original, the better the quality of print.
Best, ~mak
Btw...if you have Photoshop CS3+ you can stitch several images together seamlessly into a panorama. File>Automate>Photomerge...extremely powerful.
For example, if you have a very large native artwork, and a DSLR with, say, a horizontal rez of 4500p and a vertical rez of 2500p, by either rotating the camera or the artwork 90 degrees, you can increase the vertical resolution from 2500p to 4500p.
Take three overlapping images using a tripod at the exact same height with maybe a 20% overlap....then stitch together with PS...this effectively increases the resolution of your camera to about 5000p horiz by 4500p vertical...with less overlap you can get it up to close to 6000p horz. by 4500p vert...about the same as the high-end Canon 5D MKII...of course the quality will still be slightly inferior because of the quality of the CCD etc...but none the less, you've effectively increased the resolution of your camera...
I frequently use PS Panorama stitching for large images...I've created an L-bracket on my tripod so I can shoot either in portrait or landscape aspect....without having to turn the picture on the easel which sometimes is impossible due to the extreme length/height. This also enables me to orient maximum horiz. rez aspect so that when I shoot panorama landscape, I've got essentially maximum (4500ppi) vert. rez of the camera....
Thank you for pointing how to do that Michael...I am learning the program and that is an awesome feature.
If you were willing to take the time to do it... a photoshop tutorial thread to explain specific things like that would be awesome.
Sure Ang...PS Help ( F1 ) is extremely powerful...if you do a keyword search like "photomerge" you'll get some links to tutorial video on adobe.com...and to the user forum etc....very comprehensive. This BTW, is a good way to learn the many complexities in general of this powerful program...let me know how you're doing...
To wit, photomerge: www.adobe.com/go/vid0013
I had CS2 and I was by no means proficient...I was just exploring and learning. Now I have CS5 and an 800+page manual on how to use it.
I didn't even know about the photomerge capability. I will have to take some shots to test it out...=)
Posted by: Charles Peck on 6 Years Ago
6 Years Ago
Murray, thanks for this thread ... maybe I will even be able to make a decent enough to shot of my work one day to bother uploading to this site again.
Posted by: Phylicia Wolf on 6 Years Ago
6 Years Ago
Great thread! Thanks Murray and Michael! You guys rock!
Posted by: Laurette Escobar on 6 Years Ago
6 Years Ago
thanks for the low down!
Posted by: Chrisann Ellis on 6 Years Ago
6 Years Ago
thank you... I will have to save this as I can't print right now :):) cheers
I'm going to save it too...and work on buying some of these things. The only thing I have is the tripod....and I don't like using it because it feels so limiting. Sounds like I need to get used to it.
Posted by: Georgiana Romanovna on 6 Years Ago
6 Years Ago
Posted by: Regina Valluzzi on 6 Years Ago
6 Years Ago
I think you've just firmed up my resolve to seek out a professional photographer friend and work out a trade.
I had CS2 and I was by no means proficient...I was just exploring and learning. Now I have CS5 and an 800+page manual on how to use it.
I didn't even know about the photomerge capability. I will have to take some shots to test it out...=)
BTW...I'm assuming that you have the .pdf version of the 800pp manual...if not, it can be downloaded at adobe.com..should be on the installation disk or the downloaded unpacked version...
I've got 5 different adobe products, including PS, Premiere Pro, After Effects, Dreamweaver, Flash et$ et$ et$...all of which I use the .pdf version of the manual ONLY...as it is keyword searchable with Adobe Reader...very powerful...cuts right to the chase...leave it open on your desktop so you can resort to it easily and often...
With Adobe Acrobat you can highlight, bookmark and annotate etc. so you can go right to those portions you use often...
Here's the video tutorial page...very comprehensive......http://tv.adobe.com/product/photoshop/
Ya I have the pdf file. It's trying to kill me...=P
I'm just trying to learn...it's hard not to beat myself up and feel stupid because it is a VERY slow going process.
Don't be too hard on yourself...EVERYONE has to pay their dues with PS...once you develop a work flow, you'll get into a groove...you don't need to master all the stuff about PS to turn out good imagery for FAA...just those parts that you'll use often in your art imagery...but it will pay huge dividends in the quality of the imagery of your prints.
BTW...you'll end up with some very large files...until FAA increases the max. file size to over 25MB....50MB is a good start...are ya listenin' Bethie:)...then you'll probably want to save to max. quality .jpg instead of uncompressed .png
Take a look at the videos on the video tutorial page listed above...might want to start at the beginning:)....it will flatten out the learning curve...
Posted by: Tex Norman on 6 Years Ago
6 Years Ago
� I'm not a photographer and I am not well off. To get photos of my work that will make good prints for this site I pay someone $25 per photo. I could post more work if I could photo my stuff myself, but the stuff I read scares me. I only have a point and shoot camera. I see a camera I could probably afford Olympus T-100 12 MP Digital Camera (Black) Does the 12 MP mean it is 12 megapixels? Is that enough to make a passable picture for print purposes? Do I have to have photo shop? I see the cost of photo shop seems high to me, and I would need a class or something to be able to use it. Does anyone have just a camera similar to the Olympus T-100 12 MP Digital Camera and just shoot the best you can, use the photo fix stuff that you get on MS and have work that can be sold as prints?
Posted by: Kevin Sherf on 6 Years Ago
6 Years Ago
Best practical thread I've seen on FAA,Bravo Murray and MAK,
Ang also try merge to HDR(use a tripod and AEB)in your camera menu.
Tip to ANg
Hi Tex...feel your pain...a few observations...
A point and shot camera CAN suffice...But...it's kinda like trying to build a house using a hand saw instead of a power saw...it can be done, but the quality of the outcome will be inferior...not to mention the time...so in the long run, you'll probably want to upgrade to at least a 12MP DSLR (Digital Single Lens Reflexive) camera with a CCD(Charged Coupled Device) of at least 2/3 of a full frame...a full frame being 35mm (wide). All of the high end DSLRs are full frame..which is essentially equivalent to a 35mm film camera in rez...but you pay a very high premium for it...and in my opinion, for FAA image work, is nice, but not necessary...
That said...no reason to run out and buy a brand new DSLR for $500-600. There are many photophiles ugrading their cameras to the new and sexy DSLR camera every day...so you might want to consider picking up a prior owned DSLR...expect to pay about 50% of original purchase price...if you buy it from a retailer you'll pay a little more than from a private party, but you should get a warranty with it...
I shoot with Canon Xsi...only 12MP...nothing special...with the lens that it ships with...a utility zoom lens, wide angle to zoom, with auto focus and image stabilization...
The 12MP(Mega Pixel) number is the product of the Horizontal rez times the Vertical rez...or about 4500p wide by 2600 high. This just happens to translate to about an image of 12MB (Mega Bytes) when shot in uncompressed camera raw...maybe 30 to 50% of that if shot in .jpg. As Murray has indicated, every camera lens has a sweet spot...probably someplace in the mid range of the zoom on the the above camera...
So remember all these DSLRs have settings that allow for variable quality. You want to shoot at the highest rez available, and the highest quality of .jpg(compression)...and if you can shoot in camera raw mode which is uncompressed, do so...you can put lipstick on a .jpeg but it's still a .jpeg :)
Image Processsing:
Because I started using Photoshop almost 10 years ago, I've stayed with it...it is the gold-standard in image processing used by the pros. But if you have Windows OS or MAC or Linux, GIMP (GNU Image Manipulation Program) is an open-source (Free) program that will do everything you need to prepare your images for FAA. It's extremely powerful...and the price is right...again FREE is a hard price to beat...I've used GIMP for years on my other computers like my laptop in the field as Photoshop only allows licensing on limited number of installs etc...sigh...
Copy and paste:
There also some other image processing prgs located there...
There are plenty of user groups for these open source programs...it has been my experience that everyone has to start somewhere and the users are usually very generous with advice etc...
Once you get into, it you'll develop a workflow...and it will eventually go smoothly...after a while, you'll wonder why you didnt do it sooner, instead of paying $25 a pop...take a look at Murray's very thoughtful and helpful initial posting...read it over several times...he's a pro, and he's tried to simplfy the process...but be advised that there is a committment required to learn this stuff...there are many vid tutorials online that you can google up...it's a good place to start....
OK...Good luck...hope some of this made sense...
Mak, hi there, and, is there any chance you'll be in Sydney in my lifetime, huh? Just need a few minutes of your time, 'y'know, quick click and yer done...won't take long...then a nice Aussie BBQ/ Surf and Turf....any chance????
Murray: coming out my way? Same offer applies.
You, too Kevin....
Bring a partner, stay a while,
Do it for me, make my portfolio,make my day, please, pretty please!!!
It's only a 24hr++ flight...one way....You could stop in LA or go over the Pole to Singapore...takes yer choice, genlemen.....
You're on:) BTW...What's playin' at the Sid Op House? A little Tosca might set the proper mood. So put a few EXTRA shrimps on the barbie...:)
Welcome, friend...pls.bring tripod, lol. We'll see Rigoletto on Oct12: not opening night: no tux required...gee, thanks, hope you have a lovely ride.
BTW...when I travel for photo biz...I always take a small entourage...you guessed it...a Focus Group:)...but it's usually less than 25...
Well then, there's a nice waterfront hotel nearby, faces the opera house of course, very reasonable, +/-$450/pp/night...still coming? Lol !!
Sure...got no problem with $450/nite...probably could suffer through that...does that include a "complimentary continental breakfast"?..if so, I'm on my way...as soon as you send me your Visa card number:)...
Posted by: Charles Peck on 6 Years Ago
6 Years Ago
Thanks to Murray for this thread - it has done more for me than any other reading source I have found to date. It gave me the rationale to make the jump from my old point and shoot Kodak (7.2 mp) P712 to an Olympus E620 with remote cable and battery grip. This site has needed something like this since the beginning because painters, sculptors or "traditional" (what an oxymoron when applied to me !!!) visual Artists most often do not know the ins and outs of the Art of Photography... particularly the new digital realm. And this site, or all of cyberspace, absolutely requires one understand digital photography, at the very least, in a modest fashion.
Michael's offerings are not to be overlooked either......................
ISO is critical. If ISO has already been explained above, I apologize for missing it.
You can think of ISO as controlling how sensitive the digital sensor is to light. A low ISO setting gives you low sensitivity and high image quality. A high ISO setting gives you high sensitivity and low image quality. If your photos look noisy and splotchy, you may have used too high an ISO setting.
On most cameras that I'm familiar with, the lowest ISO setting is in the range of 50 to 200. The high end may be 800, 1600, or higher. Avoid the high end!
The lowest ISO setting will usually give you the best image quality provided you have a tripod and lots of light. But there are trade-offs. If you don't have much light, using a low ISO may require that you either use a larger aperture, which may cause the image to be blurry around the edges, or use a longer exposure, which may increase the noise in the image. The best compromise depends on which camera you are using.
If you have tried various combinations of ISO and exposure times and still get noisy, splotchy images, get some brighter lights. This is why professional studio photographers usually spend tens of thousands of dollars on lighting equipment.
Excellent point Warren re ISO...that's why I recommend using lots of light...2 x 250-500w halogen work lights on adjustable tripod stands...you can find them at Home Depot...they're much cheaper than studio lights...they cannot be polarized because of the heat they put out, but you can knock down the wattage and the sharpness of the light by placing a piece of frosted glass(spray paint with 100% white paint) in front...or draping a piece of translucent vizqeen between the lights and the subject.
If you're handy and you can build a light array, say 3 x 60w with energy efficient neutral fluorescents for each side, that is actually ideal, because they create less heat. emit a very soft light and can be fitted with a polarizing "gel" which when used in conjunction with a polarizing filter on the camera will reduce/eliminate any glare/flashing and provide a "richness" and depth of color.
Remember...you can always move the light source further away, stop down (higher f-stop) the camera if the light is a little too strong...and/or increase the shutter speed...but there is nothing that can overcome the noise/graininess from shooting in low light with a high ISO...100 is best ...as Warren says, 200 is OK but is a compromise...but if your camera tells you it need to shoot over 200 ISO, when you're at or below F-8, and/or at or below 1/60sec, then you probably don't have enough light. And bracketing your exposure with 3 settings, will give the best results...again, one dead on, -1 F-stop and +1 F-stop at a minimum...you can always delete the unnecessary images...
A good tripod is also a must for copy work...a sturdy one with strong legs, that's very stable that allows for the head/camera to be rotated 90 degrees...good luck...let me know how your doin'.
Michael, with all due respect, I started this thread to provide a simple method which will enable most non-photographer artists to shot POD-ready images without having to learn many of the technical details of photography. I'm afraid that you've repeatedly delved into details that are beyond the understanding and capability of the photographically challenged. Several have already asked me what the hell you're talking about. ;-)
Can we try to keep it simple?
...TMI 'repeatedly' eh?:)
Sorry Murray, it's your thread:)...anyone who'd like a further explanation of my posts, you can email ME privately...
Posted by: Liza Faucher on 6 Years Ago
6 Years Ago
Murray, you, I am sure are not minimizing the importance of low iso, to eliminate grainy images. Low iso is simple, uncomplicated and basic.
Absolutely not, Liza. I was working under the assumption that, with adequate light on the subject, most cameras that default to Auto ISO would choose a low enough setting. I was also assuming that people wouldn't arbitrarily be using high ISOs. The exposure bracketing that I suggested would also minimize any ISO effects.
My recent comment to Michael was directed more at his reference to things like polarizing filters, 500 watt halogen lights (way too hot for working in confined spaces and at close working distances), or the reality of the typical artist interfacing his or her camera with their computer so that they can trigger the exposure from a laptop.
I was trying to keep things simple and nontechnical, but it's comments like the following which were causing confusion:
"Because of the inherent limitations of G'clee printing as print device when printing on canvas, I have come to the conclusion that the attendant hardware/software overhead associated with working in 16bit, for me at least, is not a good benefit ratio...the processing time while rendering corrections/effects/filters in 16bit can be quite long and daunting, unless you've got multiple processors(4) and over 4GB of ram etc. So in the end, it does become an issue of time invested benefit ratio. That said, there are occasions when I do work in 16bit but it is totally dependent on the intrinsic complexity of the native image, (i.e. fine line work with complementary colors converging etc, or highly nuanced gradations) the end use application, again the print surface and size of print."
My target audience would have little understanding of (or use for, I believe) things like using "adjustment layers to correct luminance(brightness), chrominance(color saturation) and color balance(white balance) as smart layers, so I can turn them on/off and play "what if" and with smart layers you can always undo, even after you have closed and reopened the image. BTW, make sure your monitor is not way out of phase..."
The whole purpose of my thread was because so many artists are (apparently) thoroughly nontechnical when it comes to photography. Judging by the numerous prior posts on the topic, questions I've received by email, the prevailing confusion level and lack of understanding of how to create "POD worthy" images, I wanted to offer a source of readily understandable information that would work 100% of the time, without creating undue confusion. Apparently I succeeded, because Beth immediately added it to the FAQ list.
I'm not trying to minimize peoples' knowledge, but the concepts I've quoted above are way over the head of many photographic hobbyists, not to mention artists whose only association with photography has been the struggle to produce copies of their artwork which are of salable quality.
Finally, I didn't want to offend anyone, especially Michael; but did believe that his initial post could foster much of the same confusion that already existed here, and did little to help those for whom I created this thread.
Posted by: Kevin Sherf on 6 Years Ago
6 Years Ago
I just use my disposable camera from Walmart,if their good enough for ansel adams then their good enough for me.
Posted by: Liza Faucher on 6 Years Ago
6 Years Ago
meant no offense Murray. Your posts have been really helpful.
Posted by: Vibrant Art on 6 Years Ago
6 Years Ago
very helpful post , i was facing this problem quite while , since i started posting my work on net
Hey Murray...so...I take it that there are some here, who may not find "adjustment layers" a riveting topic?:) I'm shocked!
OK...again....got it.....but at the risk of becoming a "repeat offender"...I think you may be "misunderestimating":) the appetite and capacity for technical information on this topic for some of the folks reading this thread....there may be some artists in FAA to whom ignorance is not bliss...but merely ignorance...and as such causes more confusion...but again, your thread...
No offense taken, Liza. Thanks.
Yes, Kev. It's well documented that Ansel Adams had his film processed at Safeway. ;-)
I'm glad I was able to help, Smita.
Michael, I'm sure that there are many who are eager to delve into the intricacies of photography and post-processing. (I lecture on those topics, occasionally). And feel free to start your own threads on such topics (as if you need my permission); but my initial post was intended for a different crowd, those who were struggling to get images of good enough quality to make some sales on FAA. In fact, prior to my thread, the subject really got heated up because there was apparently a rash of canceled orders and requests for new image uploads due to unsatisfactory artwork copying techniques and low image quality.
Posted by: House of Cards Art Studio on 6 Years Ago
6 Years Ago
So should I ditch attempts with my Canon Powershot sd1300 is and swith to my Canon EOS Rebel Ti? Which requires film and processing of said film????
Posted by: Dennis Kirby on 6 Years Ago
6 Years Ago
Even in the age of "the Google" it's taken me hours of searching to find an acceptable answer to this question. I found a couple of posts here and there, but none with the level of detail you have provided. Then, I joined FAA and stumbled onto your post.
Thank you Murray Bloom!
I just reread this thread, I never saw your suggestion to shoot HDR Kevin, I don't have an slr.
All depends, Vrinda, does your Powershot produce large enough images for your liking?
I agree, he is a smart man Dennis.
Posted by: Andrey Soldatenko on 6 Years Ago
6 Years Ago
Hello, need a hint of professionals. How to Photograph the work done in tempera? I can not get an adequate dark-blue, and red is too bright and sheeny. Manipulation in different programs does not solve the problem. If a particular way of photographing tempera does not exist, then I buy a scanner and will scan. But first, I decided to ask, method exists? I would be grateful for the tips, share experiences.
Posted by: John Buxton on 6 Years Ago
6 Years Ago
Andrey, a couple of questions.
What lighting are you using and do you shoot RAW or jpg?.
What's wrong with the dark-blue?
The fact is that photographing paintings well cannot be done simply or cheaply. If your paintings are not huge, it will be easier and cheaper to use a good flatbed scanner. A medium-sized painting can be scanned in sections, and the sections can be combined into a single image using Photoshop or any of various programs for stitching panoramas.
If you are going to use a camera, HDR is an unnecessary complication. Paintings do not have a brightness range that exceeds the capabilities of a low-end DSLR. If your shadows are too noisy, you need more light.
If your colors don't look right, first calibrate your monitor (which requires calibration hardware) and your camera (which can be done fairly easily with a ColorChecker and Adobe Camera Raw). When you take photos, use the ColorChecker or a good gray card to set white balance.
If you have trouble with deep blues, use daylight balanced lights, not tungsten lights. If you must use tungsten or halogen lights, use a high wattage and a bluish color correction filter such as an 80A. Or try late morning or early afternoon sunlight, possibly with a white diffuser.
Some purples do not reproduce well with any of my Sony, Kodak, or Nikon cameras.
Posted by: Kip DeVore on 6 Years Ago
6 Years Ago
I seem to be having those Charlie Brown moments lately.
You're welcome Dennis. Welcome to the photography thread.
Andrey, if the camera is properly adjusted to the light source, you should get faithful color. However, there are a lot of ways it can go wrong. The most common would be your camera's white balance adjustment. I'd shoot indoors with lamps and use your camera's custom white balance feature, assuming it has one. Check your manual and follow the instructions. HERE'S a thread I started on shooting your art. Take a look at the first post. If you follow that plan, your images should be very close to ideal.
Warren is right. HDR should not enter the picture when copying art. There's no reason for it. Right again that absolutely prefect color rendition is often more theoretical than practical. However, when properly used, most good cameras will get reasonable close; and probably even closer than we usually need them to be. Final tweaks can always be made in an image editor such as Photoshop.
Posted by: Mary Angelini on 6 Years Ago
6 Years Ago
Does anyone have any ideas on how to get my Nikon D90 to stop over modulating (for want of a better term) my reds yellows and oranges?? Just about everytime I shoot a red, orange or yellow flower, the pixels are always super blown out - it is not a function overexposure because I have metered for the subject and generally the image looks perfect were it not for the glowing red/orange/yellow. Someone told me this is a function of the Nikon sensor - is this true? What can I do about it (if anytihng)?
I've never seen that before, Mary. I assume your camera settings are all neutral. It's not unusual for individual colors to blow out under the right conditions, but if it's happening consistently, it could indicate a camera problem. Can you show an example?
Posted by: Kavita Sarawgi on 6 Years Ago
6 Years Ago
I donot have a tripod or something neither i am a professional photographer wid high end camera.i have a 12megapixel canon power shot digital camera .so can anyone tell me is that not enough to photogragh your work.I have photoshop cs2 . will this effect my artwork.
Mary, the default settings for many cameras are not neutral but produce over-saturated results that can easily blow out a channel if the subject is highly saturated to begin with, like a bright red flower. It happens with Nikons and Canons and other brands.
Two solutions: reduce the saturation or use a larger color space, such as Adobe RGB or Prophoto RGB. If you are shooting in RAW format, you can easily make these adjustments as needed during post processing. If you are shooting in JPEG format, you will need to find the settings in the camera's menus.
Posted by: Kathy Flugrath Hicks on 6 Years Ago
6 Years Ago
I down loaded Gimp and am a little confused. It defaults to 72 dpi. What should I change the setting to for good looking large prints?
The dpi (technically ppi, pixels per inch) setting is irrelevant. Ignore it. This has been discussed in several threads.
Posted by: Kathy Flugrath Hicks on 6 Years Ago
6 Years Ago
Thanks Warren, I"ll be happy to ignore it.
Posted by: Betty Pieper on 6 Years Ago
6 Years Ago
Thank you - and your contributors - so much. Now I can see why FAA directed me to the discussions.
I sold a print recently and found that the image I thought was fine was NOT. That got me thinking that
since I can't tell ahead which is what one or what one is who as Dr. Seuss would say, I better think
about re-doing ALL 100 images.
Being one of those nontechy types you describe. I thought I did some homework online
but came here confused. I was definitely prepared to get a point and shoot and do my
paintings outdoors. I'm glad I read this first and will spend some time with it soon before I buy a
camera and set about my task.
Welcome, Betty. I took a look at your paintings and found two predominant problems with the photos you took of them. First, the images have very small pixel dimensions, which means that they can't be printed very large. The only cure for this is a camera with more pixels, on the order of ten megapixels or better.
The other issue is reflected glare, which is caused by the angle in which the light strikes the painting. Some people prefer to shoot their art outdoors, which can alleviate this problem but also cause issues with color fidelity.
Posted by: Betty Pieper on 6 Years Ago
6 Years Ago
Thanks, Murray. You went the extra mile! I re-read your post this monring and I'm still not quite sure about that
white balance trick, but I don't need it for now. I've printed it all out and want to let it simmer for awhile.
By September I hope to have decided about a camera and price and then will hopefully commit to
the learning needed.
For the glare I think I'll just have 3-4 redone soon by a professional (public pride) and
let the others go for the time being...all the ones with small pixel dimensions but not horrendous glare
..unless I get a sale again and then I'd have to hustle.
I think I would be proud if I could do the work myself correctly .
A lot of my paintings look like they are pastels...do you think it is the glare or is that part of
the color fidelity problem?
This thread will be my support an reference as I learn.
Again, danke!
Posted by: Murray Bloom on 5 Years Ago
5 Years Ago
This one has been inactive for the past couple of months. I figured I'd give it a bump in the event that anyone wants to chime in.
EDIT: OOPS! This isn't the thread I intended to bump. My bad.
Posted by: Jane McIlroy on 5 Years Ago
5 Years Ago
This one's worth bumping too, anyway! :-)
Posted by: Roger Protsman on 5 Years Ago
5 Years Ago
Murray - I agree with Jane this thread is definitely worth a bump!!
Posted by: Laurin Rinder on 5 Years Ago
5 Years Ago
One of my sidelines for many years was doing Catalog work for major Galleries and Museums here in Los Angeles. I had to do a lot of million dollar pieces ranging from Flat art to tiny micro etchings. Based on the "KISS" principle [Keep it simple stupid] you really dont need much. We used elaborate equipment such as 8 X 10 Field cameras and such and recently 4 x 5 Digital backs. for flat art the process as Murray says is 45 degrees from the subject making a perfect triangle and camera in the middle. Just get some simple inexpensive hardware store metal reflectors with 2 250W Blue daylight balanced Photoflood Bulbs But Most Important and I don't believe was discussed is diffusion. Thats a must. There are a 100 ways to do this and the simplest is white sheets in front of the bulbs in between the fixture and the art. That will Illuminate the sheet creating a soft diffused light panel, As the rule is, the bigger the light source, the softer the light. If you don't understand WB [Which is a critical function of Digital Photography] I would go with a Daylight or cloudy -1 setting if using these bulbs which are available at any camera store. You can even use the daylight balanced Pigtails but the falloff is quite extreme. Diffusion is a must. Use your eyes as an artist to look for any hotspots and adjust and overcome. Thats why we have shutter spds.....I teach, if you can see it you can shoot it correctly. try to shoot at F11 and simply adjust Shutter. Do not shoot on auto anything. . and shoot a lot at many different settings , thats the beauty of digital and write down your settings to refer back to. Hope that helps.
Posted by: Warren Sarle on 5 Years Ago
5 Years Ago
Be sure to keep a distance of at least a foot, preferably more, between any high-temperature bulb and flammable material. You will also get better diffusion with a distance over a foor or two.
An aperture of f/11 is indeed reasonable for DSLRs and APS-C compact digital cameras. You will get some diffraction blur, but that can be fixed with the Smart Sharpen command in Photoshop. But with smaller sensors, especially those over 5 megapixels, you may get severe diffraction blur at f/11, for which reason many compact cameras don't even have apertures smaller than f/8. For small sensor cameras, try f/8 and f/5.6 and see which is sharper. Check the corners as well as the center.
Posted by: Jeannie Atwater Jordan Allen on 5 Years Ago
5 Years Ago
Thanks for info :)
Posted by: Joyce Dickens on 5 Years Ago
5 Years Ago
Very useful and well written information Murray - thanks!!!!
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Turbo for a 2.2L???
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All i am asking is will this turbo over sized or under sized for higher boost(14psi-20) on the 2.2L turbo motor. if it can go higher, let me know. if it will run outta gas at 12psi, let me know. Am i looking at a lag monster, or a wanna be super charger? I just dont really wanna spend more money and go through the hassel of selling the one i have. Its a beast of a turbo from my understanding(is suppose to support about 400hp at the crank on a 2.5L engine...probbaly a bit less. heard this from other various online people on other boards). i plan on running low comp (either 8.5:1, the highest i am gonna go, or lower. probably end up around 8:1, maybe lower if my turbo can support higher psi's). i want to run sohc phase 2 heads from a EJ25, unless the coolant passages wont line up. From what i've read through various forums, the crank on the EJ22T is forged. Is this true? I also would like to have various head work done, beefed up springs, retainers, new valves, 2-5 angel valve job, etc. this isnt a short term project, but i am trying to prepare myself(as in, knowing what i want, where i can get it, compatibility, etc. Once i know what i want and what will work, i'll just have to work and save. I really like the ej22T alot, from what i have read. Its the middle of the road between the 2.0 and the 2.5. Not as torquey as the 2.5, but not as gutless before turbo as the 2.0. So any info will be appreicated. I do know a reasonable amount about the workings of these cars. The specifics is where i am lacking. Thanks. :-)
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I have a smooth top range. While boiling water and milk it overflowed causing it to burn into the eye. I used a cleaner and scrubbed it but it didn't take off the burnt liquid. Any suggestions?
Carrie from TN
Add your voice! Click below to answer. ThriftyFun is powered by your wisdom!
Our smooth cooktop came with instructions to use a scraper blade to remove burnt on food. I have done that for years and it works great. Just keep it at an angle so that it doesn't scratch. This scraper is the kind that holds a razor blade; used to scrape paint off windows, etc.
I did the very same thing recently - what a mess! I made a paste of baking soda and vinegar and let it sit overnight. It took a little rubbing the next morning but got most of it off. I plan to use Cerama-bryte to remove the few remaining stubborn spots.
Cerama Bryte makes scrappers and a liquid to remove stains and food build up from smooth top stoves.You can get them at Home Depot or Lowes or order at 1-800-578-home.I use it all the time and works great.
I've done this many times (I really should know better by now lol) and what works for me is simply to take a couple of paper towels folded up (or a dishcloth that you don't mind getting grungy), wet them, and then let them sit on the burnt on milk for a while. Make sure you wipe it up before the paper dries out (re-wet it if you have to). I found that after a few mintues I can wipe away most of it without much effort. Anything that's left can be removed with another soaking or I can scrub with baking soda and water paste. Oh, you can also try just laying one of the wet kitchen type wipes (Lysol or Pledge wipes) on top and letting it soak in for a couple of minutes before wiping it up.
The same thing has happened to me many times. Use Mr Clean Magic Eraser. It works like a charm. Just keep rubbing til the stains are gone.
I swear by my straight edged razor blades IF I cannot stop and clean a spill while it's fresh. Also, I use regular oven cleaner VERY CAREFULLY and for a VERY short sit on the spill, wiping ALWAYS with paper
towels. Be careful but FIRMly grasp the razor blades because they can "FLIP OVER IN YOUR HAND" cutting
your finger(s). However, I FINALLY learned, like a
good cook finally learns how not to cut herself with
knives and scissors, to use the razor blade for around the greasy edges of the sink, stove top, knobs, and formica countertop. Don't try using it to remove paper labels from round jars. Use common sense and perhaps a folded paper towel for safety, BUT...once you begin, hold the blade tightly, not loosely!!
I found that the range top cleaner was FAR too expensive for even a small bottle, so I learned the
alternatives. Been using them for 21 yrs. now.
Barkeeper's Friend works wonders on my smoothtop.
I used Mr. Clean Magic Eraser and it worked wonders. The Magic Eraser truly is "Magic"
Magic Eraser worked for us, just keep on at it for about 5-10 minutes and it wears it down well. The milk was burnt on pretty bad, and to be honest, the stove top looks better now i gave it a scrub then it did before the milk incident.
Dont use anything to scrape it as you will ruin the surface.
What about "burns" that are down "in" the glass?
My roommate just did the same thing to my stove, and I'm wondering which mr clean magic eraser you guys use. I use the extra strength when I clean the bathroom and stuff, but do you think that would be to strong for the top of the stove? I heard that the strong chemicals will ruin the ceramic top.
I just tried the Magic Eraser, and it really was magic! I had already tried everything else, even Cerama-Bryte, and nothing even phased the burnt-on milk. I had the burner slightly hot and wiped it with a wet Magic Eraser. The milk wiped off easily and quickly. I then wiped the top down several times with plain water, just to rinse. Thanks for the great tip!
I didn't have a magic erase so all I did was turn on the burner on high for about 10 minutes. It cooked off with just a little smoke. Voila! All gone! So easy, and shockingly my husband came up with the idea! :)
The only thing I have found that cleans everything off a glass stovetop is Shaklee's Get Clean Scour Off Heavy Duty Paste. I received it as a gift from my SIL with some other cleaning products. It sat in my closet for a year. When I could not get the "cooking rings" off my stovetop with the recommended stuff, I pulled this out to try. WOW--it looked like new after I finished. It's non-toxic also. Let me know if it works.
I spilled milk on my glass top last night 06/05/2015 I use this all the time when I have hard to remove grime from my glass top.
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It's the age of tweets and Intagrams. Whenever we see something that's different, we take a picture and put it up on different social media platforms. Now imagine getting suspended from high school for tweeting something in today's era, It sounds weird, doesn't it?
A high school student from Texas sort of protested taking an apparently "unneeded" test by posting a picture on twitter and ended up getting suspended.
Kyron Birdine, who's a junior at Arlington High School, will graduate under TAKS testing standards but he was made to take the state's new STAAR standardized test, which was put into practice in spring 2012.
This test won't have any impact on Kyron's graduation or college admissions. This was the main reason why Kyron wasn't really interested in attempting it.
So instead of writing in the correct answers on the STAAR test, he simply wrote in a message on his test paper and then tweeted that image:
The message reads: "I have the TAKS test to study for, not this unneeded craziness," followed by the acronym "YOLO" (you only live once).
So, for his message that Kyron tweeted, school officials suspended him for four days, calling the tweet 'a breach of security'.
Twitter hashtag, #FREEKKYRON has been initiated in support for the suspended junior. One user tweeted:
i am a teacher and i applaud kyron birdine for refusing to take the test. #freekyron— blackalaureate (@blackalaureate) April 3, 2013
So, what do you think about the whole issue? Was suspending Kyron fair or not? Let us know with your comments.


text:
Jimmy Kimmel roasting Matthew McConaughey was perhaps the funniest part of the Emmys.
Jimmy Kimmel's concern seems valid. He couldn't wrap his head around the fact that Matthew McConaughey was present at the Emmys.
Really, what would someone like McConaughey be doing at television awards?
As Kimmel put it, he doesn't even have a television face but that of a movie star.
Kimmel was also quick to point out that he "happen(s) to know for a fact that he traded his television for a conch shell full of weed."
With Seth Meyers' drab hosting, this probably is one of the funniest bits to come out of the Emmy Awards. Kimmel's presence was a much-needed reprieve for the viewers as well as the audience.


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"With-out exception I was treated ..."
About: Burnley General Hospital Burnley General Hospital Burnley BB10 2PQ
Posted by Joanne (as ),
What I liked
With-out exception I was treated with kindness and dignity by every professional I encountered during my brief stay. I was made to feel very welcome and whenever a nurse passed by me they asked if I was okay. The staff were very polite and friendly and explained everything that was going to happen.
What could be improved
My husband had to leave me at the checking in desk. It would have been more reassuring for me if he could have waited until I went down for my operation. As I was able to have the curtains drawn around my bed area it would not have interfered with other patients' dignity.
Also, as he was only allowed to drop me off and pick me up, it seems unfait rhat he had to pay for up to three hours parking twice in one day.
Anything else?
I was concerned about going to Burnley as I had only ever been to Blackburn. I needn't have been.
Response from Burnley General Hospital 3 years ago
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The series BBG780 is a high quality oval varnish brush with lily bristles and a thin handle. This series is available in the following sizes:
- No.2 = 43mm hair length / 18mm x 13mm ferrule
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Editware & Ross Announce Strategic PartnershipTo sell Editware?s Fastrack hybrid edit packaged with Ross Synergy Switchers (March 29, 2005)
Editware and Ross Video announce an agreement to sell Editwares Fastrack hybrid linear / non-linear edit controller packaged with the Ross Synergy Switchers.
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The Synergy series of digital production switchers includes both Synergy SD for standard definition applications and Synergy MD for multi-definition. The Synergy series production switchers are designed to work in virtually any live production environment as well as making an excellent post production editing switcher.
About Editware:
Based in Grass Valley, California, Editware develops, manufactures, sells and supports the award winning Fastrack hybrid-editing controller. Since 1996, Editware has supplied systems for the most demanding online editing and machine control applications worldwide.
More information on Editware and Editwares products online at www.editware.com
About Ross Video Limited:
Ross Video designs, manufactures and supports a wide range of innovative products for use in broadcast, distribution, live event and production applications. Ross products distribute video and audio signals in over 100 countries daily. Ross award winning product lines include: the Synergy SD, Synergy MD and MD-X Video Production Switchers, Squeeze & Tease WARP DVE, RossGear and GearLite Terminal Gear, Kondor and NK Routing Systems, and the OverDrive Production Control System.
News and information are available at www.rossvideo.com.
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Related Keywords:Editware, Ross, Fastrack, Synergy Switchers, Jeff Moore, production switcher, Bob Lefcovich, Fastrack SE,


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Home / Home Basics / Food & Beverage / Snack Foods / Crispy'n White Popcorn 3 Pk.
• Each box contains three 3.5 Oz. bags
• Tender white popcorn kernals with a natural flavor
• High in fiber
Manufacturer's Part Number: # 794
Big R SKU: #2819000794
Be the first to write a review.


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Shooting Suspect Gun Club Membership Rejected
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Aurora shooting suspect James Holmes applied to join a Colorado gun range but never became a member after the owner became concerned over his "bizarre" message and behavior. (July 22)
Newsday.com now uses Facebook for our comment boards. Please read our guidelines and connect your Facebook account to comment.


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What is JotForm?
JotForm is a free online form builder which helps you create online forms without writing a single line of code. No sign-up required.
At JotForm, we want to make sure that you're getting the online form builder help that you need. Our friendly customer support team is available 24/7.
We believe that if one user has a question, there could be more users who may have the same question. This is why many of our support forum threads are public and available to be searched and viewed. If you'd like help immediately, feel free to search for a similar question, or submit your question or concern.
Wrong form sent as customer receiptAsked by erikastimac on June 17, 2015 at 12:26 PM
On June 15, 2015, we had a customer fill out this form: https://secure.jotform.us/form/31985744075161 (Barnegat Light 2016) and make a deposit using Paypal from within this form. Everything appeared to work fine, except that as a receipt for this registration form he got a different form that we no longer use https://secure.jotform.us/form/31365931088155 (Bosque Del Apache 2014).
The information that he had given on the form above was included in this incorrect form. How did this happen and how do I fix it? Is the problem coming from the Jotform, or did it originate from Paypal?
Thank you!
JotForm Support
It looks like your form may have been cloned from a previous form and the autoresponder was not changed:
Update your autoresponder to reflect your current form and your users should no longer receive the one related to your other form.
If you have any further questions, let us know and we will be happy to help.


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Is it possible to use (and have access to) the reserved 8-bit slots (especially decimal 129, 141, 142, 143, 144, 157) in a PS Type 1 flavored OTF font?
For "reserved slots" see http://www.sanskritweb.net/fonts/howto.pdf
I need these reserved slots for a few additional glyphs of a private custom-made Devanagari font for 8-bit-encoded huge megabyte files of Sanskrit texts, for which the very complicated Devanagari sorting programs were written by me for 8-bit encoded text files only.
I would prefer here PS Type 1 flavored OTF (instead of TrueType) for ease and fastness of hinting of the Devanagari glyphs.


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For the Oilers, Defending a Title Will Require Rebuilding
By JOE LAPOINTE
Published: October 1, 1990
THE words Smythe Division evoke certain clear and established images: six Stanley Cup championships in the last seven seasons; big ice surfaces and speedy European players; four franchises in unpretentious Western Canada and one in flashy Hollywood; modern arenas in four of five cities; maximum frequent flier miles, and Wayne Gretzky, growing older and more brittle on a confused fourth-place team.
Gretzky's former club, the Edmonton Oilers, won the cup again last spring when they surged at the end of a season of parity in a well-balanced league. Although well-managed and well-known, the team nucleus - stars like Mark Messier, Glenn Anderson, Kevin Lowe - are all around the age of 30, on the downside of a high hill. Grant Fuhr, the goalie injured most of last season, has been suspended for one year for past drug involvement. Will Bill Ranford perservere as his legitimate replacement?
Jari Kurri has left for Europe. Randy Gregg turns 35 this winter. The Kid Line of Martin Gelinas, Adam Graves and Joe Murphy, have yet to prove they are more than a third-best combination. Petr Klima is a skilled, flashy, inconsistent part-time player. The Oilers, although again defending champions, continue in a rebuilding phase.
Their toughest competition should come from the Calgary Flames, the regular-season divisional champions and 1989 cup winners who seemed to show less than their best in the playoffs for Terry Crisp, now their former coach. He was replaced by Doug Risebrough who, like Bob Gainey in Minnesota, is a rookie coach who played for Montreal Canadiens during the most recent Stanley Cup epoch.
Much will depend on the recovery from knee injury of Joe Nieuwendyk, whose team-leading 95 points would be hard to replace. Sergei Makarov returns as the best of the disappointing class of senior Soviet players to enter the league last season. Defense is strong in its own end as well as on attack as Al MacInnis and Gary Suter finished second and fifth, respectively, among the N.H.L.'s point-producing defensemen.
In Los Angeles, Gretzky remains the league's best player, best gate attraction and best scoring threat. And as he turns 30 this year, he is probably 85 or 90 percent the player he was in the mid-1980's. The back injury, which kept him out of some playoff games and weakened him for others, is another in a series of little hurts in recent seasons for the Great One. With a better supporting cast, the Kings might do better than fourth place and a second-round playoff exit.
Winnipeg, which traded the unhappy Dale Hawerchuk to Buffalo, should continue to improve after getting, in return, Phil Housley, Scott Arniel and Jeff Parker. With Housley heading the depth at defense and no high-powered forwards, a trade is not out of the question.
Vancouver went off the track last season and might not get back this year. Petr Nedved, the Canucks' top draft pick, could make the team and help instantly, if he comes to contract terms. When an 18-year-old rookie defector from Czechoslovakia is your brightest hope, that isn't usually a sign of depth.
Dismissed for a decade as the fourth-best division in a four-division league, the Norris moved up a notch last season and could continue to improve again this year.
On average, each Norris team earned 79.4 points in the standings, ahead of the Patrick teams, who averaged 77. Moreover, the Norris offered a high-profile, goal-scoring champion in Brett Hull of St. Louis, a legitimate Stanley Cup contender in the Chicago Blackhawks and a rejuvenated group of running-and-gunning Toronto Maple Leafs. The Norris also has turmoil and transition at the management level, with new regimes running the shows in Minnesota and Detroit and one man getting more powerful in Chicago.
The Blues have added a talented defenseman in Scott Stevens, as did the Blackhawks, in Chris Chelios. Certainly the division has toughness, with three of the N.H.L.'s four most penalized teams residing near the frigid winter waters of the Great Lakes. If only a premier goalie would emerge, this division would offer a little of everything, and is Jon Casey of Minnesota ready to fill that role?
The North Stars are also under new ownership, with Norman Green overseeing Bob Clarke as general manager and Bob Gainey as coach.
Last season's confusion over the franchise's health and future obscured modest progress on the ice, where Casey won 31 games, Brian Bellows had career highs in goals (55) and points (99) and Mike Modano emerged as a rookie with whom to be reckoned.
No Norris team decayed faster than the Red Wings, who reached the Final Four in the playoffs of 1987 and 1988 before touching bottom last season and missing post-season play. They are hoping for significant contributions from Sergei Fedorov, who fled the Soviet Union, and Bob Probert, who served time in prison on drug charges. But both have unfinished business with the Immigration and Naturalization Service, which could limit their availability. Even if Steve Yzerman has another 100-point season, it might not be enough to help Bryan Murray to get this team back on top.
Murray, let go as coach of the Washington Capitals last season, replaces two men. Jacques Demers was dismissed as coach when his team stopped putting out top effort for him. Jimmy Devellano moved from general manager to scouting duties as vice president.
Murray is one of two Norris executives with dual duties. The other is the Blackhawks' Mike Keenan, who added general manager to his list of titles as Bob Pulford moved upstars. No one was surprised when Keenan quickly traded Denis Savard, his nemisis for two years, to Montreal, for Chelios, a former Norris trophy winner. It will be interesting to see how Chelios, who can be rambunctious off the ice, responds to Keenan's demanding control tactics and disciplinary techniques.
If Chelios returns to form from a knee injury, he may add firepower from the blue line to help the Savard-less forwards. One of the brightest there is Jeremy Roenick, a rookie who scored 26 times and will get the chance to replace Savard as first-line center.
Chicago has a chip or two on its big shoulders and led the league in penalties. In this division, three-hour games are as common as debris from the upper balcony in the Windy City.
The St. Louis Blues, once known as the league's low-budget operation, changed its image considerably by giving long-term, high-paying contracts to Hull and Scott Stevens. The signing of Stevens, as a free agent from Washington, could go down in hockey history as the beginning of a new era. Known for years as a good-but-not great team always near .500, the Blues seem poised to move into higher percentages.
With Harold Ballard on his death bed last season, the Maple Leafs returned to .500 respectability. Until Toronto gets a National Basketball Association franchise, the Leafs will provide the back-and-forth scoring entertainment. They were third in the league in goals-for, third in the league in goals-against, and third in the Norris Division, where they probably will remain.


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Naidu escaped with minor injuries to his leg as his security guards tried to hold him as the platform caved in.
This is the second time that Naidu has been injured in a similar incident. He received minor back injuries when a dais collapsed during a public meeting in Mahbubnagar district in October last year.


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Prices, specials, features and availability subject to change.
Contact for details
Welcome to your new apartment home at New Fountains in Fitchburg! Enjoy contemporary floor plans with open concept, light-filled rooms and adjoining balconies. Indulge in kitchens with walk-in pantries and generous closet space throughout. Open your blinds and verticals to let the sun shine in. Stroll on the beautifully landscaped grounds; this park like setting is the perfect refuge from the noise of the city. Relax at your choice of two outdoor pools; a refreshing break after a stimulating workout in the fitness center. We are under new management, stop in and say hello!
Stop by New Fountains today from 10am-5pm and check out our Awesome Specials, Floor Plan layouts, Meet your Management Team and Apply for your New Home Today!
We want YOU as our New Resident!
Security Deposit: $100-1/2 months rent.
Pet Policy: 2 max pets per unit (1 dog)
$250 one time refundable fee (per pet), and $25 per month pet rent.
Lease Terms: 6-15 Months.
Dogs Allowed. Cats Allowed. Pets Accepted. Call for service animal policy.
578 units
Contact Propertyor call
I never had any problems. The two minor maintenance issues were dealt with in a timely manner.
November 17, 2014
Maintenance was on top of everything and very efficient. The people in the office were always very helpful an Read Mored all the residents got along great. It was just a very happy apartment complex.
November 06, 2014
I had to have the apartment sprayed for bugs twice when I moved in.
July 22, 2014
Because is comfortable to live in and quite
January 28, 2014
Charge a fee for parking, charge a fee for exercise room, outdated cabinets in the kitchen,poor running refrig Read Moreerator plus floor sagging, maintenance entering apartment without permission. Poor service, cleaning parking lot during snow, need maintenance on the stairs, carpeting in lobby.
January 28, 2014
Monday-Thursday: 9:00am-6:00pm
Friday: 9:00am-5:00pm
Saturday: 10:00am-5:00pm
Sunday: 12:00am-5:00pm
Monarch Investment and Management Group
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BoostMi Pro
Available Now!
Boost it All.
The most complete multifunctional jump starter.
Uses a high capacity and very high power battery of 18600 mAh, fast charging and low self-discharge rate.
Jump starts gasoline vehicles with 12V electrical system. Peak Current 700A.
The Pro, on a full charge, can jumpstart a vehicle up to 30 times and charge a portable device up to 8 times.
The Pro can maintain it's charge on standby for up to 6 months.
Very portable backup power supply for electrical gadgets like mobile phones, tablets, laptops and other handheld devices.
Built in LED torch with multiple lighting modes.
1 year limited warranty.
Size: 225*90*30mm
Weight: 680g
Input: 14V=1A
Output: 5V=2.1A;5V/1A;12V10A;19V/3.5A; 12V Jumpstart
Full charging time: 6 hours
Starting current: 350A
Peak current: 700A
Operating temperature: -20C/60C
Device lifetime: 1000 recharging cycles
Smart Cable features
Protection against low voltage, polarity reverse protection with alarm, protection against short circuit, over-voltage protection, protection against overload and discharge.


text: 3. As of noon trading, Directv ( DTV) is up $0.85 (1.4%) to $61.96 on average volume. Thus far, 1.4 million shares of Directv exchanged hands as compared to its average daily volume of 3.5 million shares. The stock has ranged in price between $60.75-$61.99 after having opened the day at $60.89 as compared to the previous trading day's close of $61.11. DIRECTV provides digital television entertainment in the United States and Latin America. The company engages in acquiring, promoting, selling, and distributing digital entertainment programming primarily through satellite to residential and commercial subscribers. Directv has a market cap of $33.9 billion and is part of the media industry. Shares are up 23.1% year to date as of the close of trading on Tuesday. Currently there are 11 analysts that rate Directv a buy, 1 analyst rates it a sell, and 7 rate it a hold. TheStreet Ratings rates Directv as a buy. The company's strengths can be seen in multiple areas, such as its revenue growth, increase in stock price during the past year, growth in earnings per share, good cash flow from operations and expanding profit margins. We feel these strengths outweigh the fact that the company has had sub par growth in net income. Get the full Directv Ratings Report now. 3x UPSIDE POTENTIAL: TheStreet Quant Ratings has identified a handful of stocks that can potentially TRIPLE in the next 12-months. Learn more.


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Specially designed for staff in facilities and maintenance departments, Epson's LabelWorks Pro100 label maker can create durable and temporary signage, address and identification labels.This is Epson's first label maker to use both thermal transfer and direct thermal printing technology.Easily produce the perfect-sized label for whatever you need. Choose between 50 and 100mm wide plastic signage labels, or the specially pre-cut paper labels. Plastic labels are durable, resisting water and withstanding hot and cold conditions in a variety of environments, while paper labels provide an ideal surface to write extra maintenance notes, create address labels as well as security stickers. The label printer has a wide range of colour combinations, with seven different coloured plastic labels to choose from, supported by five different coloured ink ribbons for text.The LabelWorks Pro100 boasts a 300dpi print resolution, one of the highest in its price range. Print more labels per tape with borderless printing, which enables you to print right up to the edge. Produce large-scale signs by enlarging your design and printing it across a number of labels. The borderless printing means you can then neatly arrange them together, side-by-side.Connecting directly to PCs, this printer is easy to use. Once the included software is installed, an intuitive menu guides you to create labels easily and efficiently. There is an automatic trimmer to cut the labels, which makes printing more than one easier to manage. Applying straight, air-pocket-free signage labels neatly and quickly is easy with the provided label application tool which comes with a built-in spirit level.The LabelWorks Pro100 is the market's first label maker to use Polyethylene based Olefin plastic labels. This Chlorine-free material, along with the printer's ENERGY STAR certification, helps make it an environmentally-friendly alternative to other durable signage labels printers.
LabelWorks Pro100
CD-ROM (software(
USB Cable
AC adapter
Users manual
Supplies leaflet
Warranty sheet
Label application tool
(with built-in spirit level)
All print speeds, running cost calculations and consumable life cycles are MANUFACTURER ESTIMATES based on 5% per page coverage. Images are used for illustration purposes only
-All consumable life cycles are manufacturer estimates based on 5% coverage per A4 page
*Estimation based on toner/ink cartridges only and excludes long life components such as image drums and fusers.
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We Will Not be Beaten on Price...
Even on Ink & Toner Cartridges! *
Free Next Day Delivery
on all Orders Over £125
Call us Free on 0800 840 1992
Free next business day delivery is available on all orders over £125.00 + VAT on the UK mainland. We also deliver to the Channel Islands, Scottish Islands, Isle of Man, Northern Ireland and Eire.
Most items are shipped to you via 'Next Working Day' courier service. The cut-off for next working day delivery is 4:30pm. In the event of an item not being available via this service, we will endeavour to contact you at the earliest opportunity.
All of our staff are trained regularly by the manufacturers, both in-house and at their UK head offices.
Training covers every aspect of print solutions. Each member of our sales taskforce has a true understanding of what any business requires from its print solutions regardless of the size of the organisation.
We understand that your productivity is vital and by using our vast knowledge and expertise, we will make sure that you choose a product or solution that will maximize your savings and help to improve your bottom line.
Put simply, the reason for our continued success is due to our commitment to achieve the following:
Price applicable to business customers and those eligible to recover VAT.
VAT is payable at a rate of 20%


text: Rick Bellamy was a bare-knuckle boxer in London in the 19th century. He was an acquaintance of Strax and often had fights with him, and Strax considered him to be one of the toughest humans he'd ever encountered. After a night of drinking in the pub, while walking through the streets of the city, Bellamy was killed by an unknown assailant. (PROSE: Silhouette)


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Teenager killed in early-morning crash 'may have been lying on road'
GARDAI are investigating the death of a teenager in Co Clare early on Tuesday.
The alarm was raised at around 6.40am when a motorist reported she had collided with something on a country road near Killimer.
The woman stopped her car and returned to the scene, where she found a 15-year-old boy lying injured on the roadside.
It is understood the victim may have been lying on the roadside or suffered a fall before the car collided with him. Gardai and ambulance paramedics rushed to the scene.
The victim was later pronounced dead and his body removed to University Hospital Limerick, where a post-mortem examination will take place this evening.
Gardai will await the results of the post-mortem before they determine the course of their investigation.
It's hoped the autopsy will tell gardai whether the victim died as a result of being struck by the vehicle.
The road at the scene remains closed while a technical examination takes places.


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Intestacy: widows given more rights
Robert Brodrick, Private Client partner, provides his comments in the article "Intestacy: widows given more rights", first published on 27 September 2014 in the Financial Times in print and online.
Click here to read Robert's comments.
30 September 2014
In the event that you do not have a usual private client advisor at Payne Hicks Beach please contact the author Robert Brodrick (email@example.com).
10 New Square, Lincoln's Inn, London WC2A 3QG
DX 40 London/Chancery Lane
Tel: 020 7465 4300 Fax: 020 7465 4400 www.phb.co.uk
This publication is not intended to provide a comprehensive statement of the law and does not constitute legal advice and should not be considered as such. It is intended to highlight some issues current at the date of its preparation. Specific advice should always be taken in order to take account of individual circumstances and no person reading this article is regarded as a client of this firm in respect of any of its contents.
The firm is authorised and regulated by the Solicitors Regulation Authority: SRA Number 00059098
© 2014 Payne Hicks Beach


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|Property type
|Minimum Stay
|7 nights
This tranquil Adirondack retreat offers opportunities for all water sports and activities. It is located 1 mile from the village of Long Lake and is a short drive to many area attractions including the Adirondack Museum, The Wildlife Center, Adirondack Park Visitors Center, and several area golf courses. At the end of the day watch the sunset over the mountains on the waters edge deck. This great room style camp includes two bedrooms downstairs and one large bedroom upstairs which includes 5 beds. There is both an indoor and outdoor fireplace. Firewood may be purchased from a local vendor. Multiple docks provide both deep water and shallow water swimming opportunities. Ample parking.
The Village of Long Lake provides many amenities including restaurants and a library with WiFi and computer access.
Renter must provide their own linens.
A security deposit of $1000 is required with the final payment.
Feel free to call the owner with questions at 515-584-3570.
We thoroughly enjoyed our weeklong stay at Theresa's waterfront camp at Lake Eaton. Well-appointed and thoughtfully-prepared for our stay, this camp was a perfect relaxing spot for our family of four. Theresa was very responsive to all of our queries. We hiked, swam, kayaked and enjoyed exploring the area. The sound of loons on the lake and the wind through the pines surrounding the camp were particularly memorable. Many thanks for a wonderful stay!
We stayed at the cabin for a week in August. Having spent summers on lake eaton as children we were familiar with this property. It has been well maintained and offered everything needed for a comfortable week. We especially enjoyed the big fireplace to take the morning chill off and watching the morning mist lift from the lake to the sounds of the loons. The sunsets were spectacular! The town of Long Lake is close by for grocery shopping, etc.
We spent the week of the Fourth of July at the cabin on Lake Eaton and we could not have asked for anything more from a vacation rental!
The two main floor bedrooms were very comfortable and the sound of the pines in the breeze just makes for a great nights sleep. The upstairs sleeping area will hold an army of children and is a great rainy day play area. The kitchen is updated and has everything you will need, even black iron pans which I really enjoyed. The main room is classic Adirondack camp. A full wall fireplace on one end, dining area on the other and a set of chairs in front of windows that look out over the lake.
The outdoor area has plenty of parking, a lean to style shed to store outdoor chairs, etc and multiple places to hang the hammock. Our favorite spot was the deck overlooking the lake. There is also a dock that has deep water swimming access, a separate swimming area with shallow water and a beautiful boathouse with a pulley system from which to hang the kayaks.
After an active, yet restful week at Lake Eaton my wife and I agreed, this is a wonderful place to vacation!
The village of Long Lake provides many activities for residents and guests including concerts, boat races, antique show, art shows, a summer carnival, barbeques and craft and town-wide garage sale.
The Sagamore (the Vanderbilt family great camp) is a 45 minute drive away and is open for daily tours.
Lake Placid - site of two Olympics is 1hr. 15 min away.
|Rental Period
|Minimum Price
|Additional Nights
|Weekend Night
|Event Price
My Standard Rate
7 night minimum stay
for 7 nights