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HDR for the Rest of Us
1 HDR for the Rest of Us
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|Old Havana, Cuba. This is what most of us associate with HDR imagery; surreal colors and exaggerated saturation. A taste embraced by some and reviled by others.
Whenever I teach an HDR (high dynamic range) photography workshop, the first thing I do is ask my students to type a Google search for 'I hate HDR'. More than a million results pop up, most of them bemoaning the damage that HDR images have wrought on photography.
I actually think there's a place for surreal HDR imagery and that when it is done well, it's as valid as any other creative approach to photography. I'll be the first to agree, however, that there are plenty of HDR images out there that are an over-sharpened, hyper-saturated mess.
|Oregon coast: Canon EOS 5D Mark III, EF 15mm fisheye (3x exposures combined)With skillful processing, HDR composite images can take on a much more natural look.
But even photographers who wish to create more traditionally-photographic types of images can benefit greatly from capturing wide dynamic range scenes. After all, we see the world around us in a very wide dynamic range, so why shouldn't we take advantage to photograph it that way as well? And at its core, that's really what HDR photography is about.
In this article, I'll share some of my HDR images that were created using the in-camera processing of the Canon EOS 5D Mark III. On the following page I'll talk about the need to take more control over exposure bracketing and use HDR-specific software. All in the service of creating images that seek to emulate the world we see with our own eyes.
In-camera HDR
My guess is that if I did not tell you, you would not know that the image above is an HDR image, created by merging three exposures (0, +2 and -2) together in the Canon EOS 5D Mark III with the HDR mode set to Art Vivid. The separate exposures used to create the composite are shown below.
|Here you see the three raw files used to create the in-camera JPEG using the Canon 5D Mark III.
You may be wondering why the three shots above are all tilted. Here's why.
|To achieve the shooting angle I desired, I had to kneel down in the sand and cold water and shoot very low to the water at an awkward angle. Very cold water was leaking into my boots as I was shooting. Brrrrrrr! But I had to get the shot.
Due to the awkward position I was in, it was obvious the resulting shots would be tilted, so I shot extra wide knowing two things: 1) I'd crop and rotate my picture in Photoshop. 2) When the 5D Mark III merges images together, some image area is lost at the top, bottom, left and right of the frame.
Although the in-camera processing did a reasonably good job, I still brought the image into Photoshop. After checking the histogram I used a Levels adjustment layer to make sure the blacks were black and whites were white. I then boosted the saturation a bit. Next I added a blue gradual filter in Nik Software's Color Efex Pro and then as a final step, sharpened the image using Photoshop's Covert to Smart Filter > Unsharp Mask in order to make selective sharpening edits.
Here is another example of in-camera HDR processing, followed by some additional edits and a crop in Photoshop.
|Oregon coast: Canon EOS 5D Mark III, EF 17-40mm lens. HDR was needed to capture the entire dynamic range of this scene.
Below is the middle exposure from the three-image sequence used to generate the HDR composite.
Original image with no exposure compensation adjustment. Canon 5D Mark III, Canon 17-40mm lens.
Okay. I know what some of you guys are saying. The contrast range in this middle exposure does not look to be too extreme in the first place. And a skilled digital darkroom expert could have simply used a single raw file to pull out the shadow detail and tone down the highlights.
Well, I made another attempt doing just that using Photoshop's Adobe Camera Raw 6.7.
|ACR 6.7 Basic panel adjustments to recover shadow information and maintain highlight detail.
In ACR, I was able to greatly enhance the image, but to achieve the precise result I envisioned, I knew some Photoshop work was needed. So yes, the image might have looked similar to my HDR composite, but it certainly would have taken more time to create. And when given a reasonable choice, I prefer to spend my time shooting and not processing. So in-camera HDR can be a time-saver.
Something else to consider, particularly when making more aggressive adjustments, is that noise can become more prominent in shadow areas as you brighten them. With a multi-shot HDR option, you can often end up with a cleaner image with regard to noise.
HDR Panoramas
|Oregon coast: Canon EOS 5D Mark III, EF 14mm lens. A four shot HDR panorama created initially from raw files captured at different exposures.
Speaking of saving time, in-camera HDR can sometimes be very helpful when shooting a panorama. Above is an HDR panorama I made from four JPEG files (below). Each JPEG was created from a composite of three raw files captured at different exposures. Below is a screen grab from Adobe Bridge that shows the four files.
|Four HDR JPEGs created from 12 raw files. Processed in-camera with the Canon 5D Mark III.
I find most pictures, even the "non-HDR" ones to be oversaturated in general by "standard" picture styles. I do not hate HDR, I use it regulary. I just don't like over-saturated images with "radioactive glownig colors". Also, in many cases, people use HDR even when they don't need to - the scene is 7 to 8 EV, with correct exposure and RAW processing, the result is as good as a HDR, maybe even better. Besides HDR I also apply tone maping, but to a very decent degree and also some overall contrast. I like to have rich details in most shots - that means good local and global contast. Many times the DR of a scene can be captured in a single, properly exposed RAW, but needs correct PP to get the best results. I consider HDR to be basically the same approach, only in situations where a single shot cannot capture all the dynamic range. HDR is not about stacking images, dialing up saturation to insane levles or whatever, it is about the basic question how a photograph should look.
I think this is a great article. I had seen some examples and methodologies in photoshop, but this is by far the easiest step by step explanation i have read.
it takes a lot of the mystery and even addresses some of the aesthetic issues of this process.
I am looking forward to trying this onmy new 5d mk3, when it arrives.
...Which one has a better in camera HDR processing 5D mark III or D800, and why? Also dont u think super-imposing three or more images will make the resultant HDR image loose its sharpness.
Thanks for this article -- the last image, the Iceland landscape, was breath-taking. Somewhat reminiscent of a Georgia O'Keefe painting.
I've used "HDR" quite s bit. Actually, exposure blending is what I call it. I had this one scene that I tried every type of HDR (Photomatix) I could, tried blending the exposures in Enfuse and was never happy with any of them.
Then I took a single fairly underexposed raw pic and just messed with it in CS5 and came up with the best rendition yet. I would never have thought I could bring up the shadows like I did. The sky looked natural whereas in the blended images they didn't.
It's like Stan on South Park says "Ya know, I learned something today..."
HDR and Exposure Fusion (Blending) are two complete different things. HDR involves rendering several images to a 32bit image and tone mapping this image to 16bit output.
Exposure fusion doesn't create a 32bit image, so tone mapping is not necessary. Exposure Fusion generally gets more natural results.
There is a common confusion between HDR needing TONE MAPPING
And EXPOSURE FUSION.
I don't even speak about FAKE HDR with a single picture...
True HDR create an HDR image (usually 32bits) witch is not visible on any media (screen, print...).
Then apply "Tone Mapping" to "compress" the "over"dynamic to visible image format like a JPEG, TIFF...
Exposure Fusion is NOT True HDR.Because it don't create any HDR (32bits) intermediary image.It just "pick" the bests pixels on each picture and create directly the final one.And it is faster.
So i can tell you one thing : there is NO camera doing True HDR nowadays ;)
-They do fake HDR with a single picture by raising the contrast/saturation/etc...
-They do Exposure Fusion with multiple bracketed pictures.
But they DON'T do True HDR.
True HDR, for now, is limited to more powerful devices like computers and may be tablets, phones.
Use any Exposure Fusion for natural result.
And you can try SNS-HDR (my fav) if you want True HDR natural result.
Technically, any consumer monitor can only display 8 bit of colors, so anything above that, like a 14bit raw, already is a "HDR".
That was good and well presented. My 'older' A900 calls it 'bracketing' but it's the same idea I suppose. As far as the over saturation thing' (HDR) I don't much care for it. I guess I'm just boring but I try to capture photos that are as close to the 'real' world as possible, and not some cartoon rendering. I spend a fortune on quality glass that helps me to achieve just that. If I see a need to punch things' or adjust the tone a 'tad' I'll do that in Lightroom.
If I can ever figure out how to 'properly' use Dx0 as my initial scrub and 'sidecar' it over to LR4, I'll be a happy camper.
btw: I use the NEC PA271 with the Hood and Spectra II which I feel helps a lot for viewing and applying adjustments.
Question: Don't you need a tripod? Because doesn't HDR actually take several different photos (albeit, in rapid succession)?
Great to see HDR photography being used in a "Natural" way - much closer to what the eye perceives - I've used this sort of technique taking wide-angle photographs inside a cathedral to get the stained glass windows to show up as well as the stone columns & painted ceilings.
it was also good to see it pushed in a masterful way. That output is far more interesting than that of the "Naturalists". By far.
let me see if I understand to method. If the scene is dark, I mainly have to overexpose in order to catch the details in shadowed areas; on the contrary, I have to underexpose in case of very illuminated scene. The question on how many shoots I have to take is under our experience.
JackinTo - Sammon can tell you. To capture the entire dynamic range of the scene. ONLY 1 underexposed image was needed... but 4 overexposed was needed.
This is the key to HDR.
Many more examples in my iHDR app: http://itunes.apple.com/us/app/rick-sammons-ihdr/id421050581?mt=8
thanks a lot for the beautiful article
but for example i haven't a camera with a built in hdr
i use a canon 5d mark2 so i have to use another software like photomatix
would you maybe release an update how obtain such amazing results with a camera like 5d mark2 and software like photomatix?
thanks again !
if your camera has bracketed exposure, which is fairly likely, it's a good starting point.
in fact, if there was a choice of either but not both, I think I'd rather have a bracketed exposure than HDR. This is one thing that surprises me about the Nikon D3200!
Could someone please tell me why, In taking several exposures of the interior of a car, Sammon over-exposed four images but under-exposed only one.
I'm not an expert at this (not at all!), but I'm going to guess that it has everything to do with the fact that the detail that he wanted to capture (beyond what a single exposure possibly could) was in the shadows. If there was more in the way of highlight detail that he wanted to capture he would have underexposed a couple of exposures each a stop or so apart...
Thank you so much to the author and DP for this great article. OMG, when it comes to photography I am still wearing dippers, never mind post processing. For now, I am just crying rivers thinking of the photos I took and considered rejects, therefore erased, that could have being salvaged and become the photo versions of The Little Ugly Duckling.
I recently upgraded to NIK Software's HDR Efex Pro 2. I understand over-the-top HDR images may turn you off, but I would recommend everyone at least download a free trial, watch their training videos and give it a spin. I use it to compensate for my camera's weaknesses to make my images look much more like what I saw with my eyes. The new alignment feature allows me to take hand held shots. Also using the amazing ghost removal feature I have taken shots with moving traffic that you could not tell were not a single image!
This new version gives you such great subtle control that you can get very natural looking images. In a great many cases it has given me far better results than I could have ever gotten from manipulating a single RAW exposure.
Until sensor technology improves I will be using HDR Efex Pro 2 a lot!
I, too, am finding HDR Efex Pro 2 very liberating. The controls are flexible, my results are very natural, and the auto alignment and de-ghosting make handheld brackets eminently usable. The whole workflow is super-easy.
Rick Sammon explains (car interior) why rather than taking an equal number of under- and over-exposed images, he biased them 4/1 in favour of overexposure. Later, in a list of tips he says "Resist the urge to open up the shadows too much. Without rich shadows, images look flat."
By not "opening up", which is he is suggesting: bias exposures towards under- or over-exposure?
Also think these are not competition images and probably just done to illustrate the article so the odd help here and things like that should not be focused on too much as sure you'd avoid having that if he intended to print them.. they still illustrate what he is trying to say to people having a read of the article rather than critiquing every little but of the frame
mr1mac.... You are 100 percent correct. And for the titled picture:
I was teaching a workshop. On my workshops, I focus on the students, and NOT my photography. I took 30 seconds and grabbed a shot for myself... rather than setting up a tripod, etc.
Glad you understand.
I like the article...
Tbh I hat overdone HDR. In my opinion HDR is a great tool to achieve a similar effect to clever use of filters or on scenes where shapes required make it impossible to use filters.
To me a great HDR should look very natural, should replicate what the eye would see and shouldn't be obviously HDR but could be mistaken for a good photo taken with filters.
Altought this article also draws attention to certain features and equipment it doesn't distract from the goal of highlighting just how good HDR can look and show a lot of people who think HDR is meant to look fake and synthetic that it doesn't have to be like this.
Well done
I have a suggestion for your outdoor shots wit the sky in the background...
How about using a Polarizer?
That will darken the sky and saturate everything else without looking odd.
Hi ... a polarizer does not always darken the sky... especially on overcast days. It's most effective when the sun is at a 90 degree angle. That said, you have a good idea for many shots.
I use Sony's in camera HDR on two different cameras...my experience is that going beyond + - 3 ev is risky past that on most shots it looks too flat. With post processing, I've kept a ccuple 4EV spreads. I'll try some vivid color space like the author used, this may keep things from looking flat,
BTW: Sony's in camera HDR micro aligns the pics for all hand held shoots, WAY easier and nice results.
For hand-held, I agree -- Sony's built-in HDR works much better for me than my software HDR and does a great job of aligning. The Sony Nex HDR has a very natual look, but a bit flat -- I often add contrast in post-processing.
For software, I'm using Paint Shop Pro -- you can do either natural-looking or the over-the-top HDR. It seems to me that achieving a natural look is more than "restraint" but software settings.
Strangely, I can usually get good-enough results using DxO's "one shot HDR" effect.
At any rate, I personally prefer the "natural HDR" look, but I don't have "hate" for anyone who wants to try something wild for artistic effect. I just like it to either be all the way or natural. :-)
Or, you can buy Topaz Adjust for just $49... :)
I can sure feel the HDR hate in many of these comments. I think Rick Sammon did a great job in this article and kept tone mapping under control. My only complaint about the images is they are over-saturated. I've spent many years taking picture on the Oregon coast and have never seen things quite so vibrant!
I'd also have liked to see HDR and Tone Mapping differentiated. The sins are almost always with the latter.
Sorry, but it still doesn't look realistic.
No - but it does not look weird - like some tone mapping do.
You're right, it doesn't look realistic. The same complaint was made in the 1860's when young painters began to abandon the standards of the day (realism, historical settings, carefully finished images) in favour of loose images of every-day life with intermingled colours of all sorts. Out of this came the well-received Impressionists including Cezanne, Monet, Degas and Renoir followed by the Post-impressionists such as Van Gogh, Gaugin and Toulouse Lautrec.
Much more recently and highly relevant to Sammon's Iceland Landscape are the far-north works of Canadian artist Lawren Harris(1885-1970). He painted scenes to give exactly the same effects as Sammon's photo and these too have been well received, one such painting having sold for a little over $10 million.
All of this is to say that within limits a painting or a photo does not have to be super realistic to be beautiful.
The theme is supposed to be naturalistic HDR, and this is well illustrated by the first photo, a fisheye sealife image. Unfortunately, the article then goes right back into video-game fantasy landscapes.
These are fascinating images, but still over intense and lacking in natural delicate nuances. They are impressive. In some ways approaching the subjective choices of a painter.
This is my own opinion, but I feel that when everything is is in high contrast and makes a strong statement, it is difficult to have a flowing graceful composition of supporting elements. Still very impressive work.
Hi Bronze... Thank you. I always tell my student, think like a painter.
What a disappointing article. I was hoping for techniques for achieving naturalistic landscapes with HDR, but no such luck. Who needs an article telling you to use Canon in-camera HDR? Rather useless for Nikon shooters.
There was almost nothing about using post processing software. I don't think the word "gamma" ever appeared.
What a waste of time.
Kind of harsh words for someone who took his personal time to write such an article, don't you think? If you're so hot, why don't YOU write an HDR article, eh? Show some respect, or don't post at all.
@Natural: No-one likes a misleading title, I also came in expecting general guidance in using HDR processing to achieve a natural look. I was also somewhat miffed. It should have been presented as more of an ad than a helpful HDR article.
You think "disappointing" is being harsh? I thought I was being gentle. I was sucked into what dpreview portrayed as a how-to article and found a Canon promotion. I think dpreview should have more respect for its readers.
i am probably the king of HDR-overdone.. i have started to use 'exposure fusion' in photomatix instead of all those effects like 'painterly' etc... then i add a bit of crunch and whatnot using topaz adjust.. it seems that if you don't go past -2 or +2, people will complain less about your result.. although the human eye goes way past that.. most people still prefer the limited range given by our cameras.
I don't think Keith Richads knows about the "Circle of 5ths."
My original title was: We see the world in HDR, why not shoot in HDR.
This is great. The HDR knockers seem to forget that the alternative is lighting to fill the shadows while keeping the highlights. That's the "traditional" method that they seem to love. Go watch the output from a photolab machine as it spits out millions of flat "on camera flash" photos. Yuck. You'll even find most cameras will automatically pop up the flash when the centre of the image (the subject in most poor shots) is a lot darker than the edges. Blah. Horrible photos result. HDR and good tonemapping give a much more natural result than the "traditional" look that we're all so used to. People just seem to think it's more natural because they're used to it. They're mixing up "natural" with "familiar".
Thanks for all your suggestions Rick. Look forward to trying them out.
For what it is worth these images were shot over a 3ree to 8ight hour period, capturing 100-200 images, using a 18+ images and brought together in layers with a brush/wand in the same manner as Bob Ross did on his PBS TV show.
Algos and Tone Mapping is the easy button, understanding how an expert works in a darkroom is priceless.
I can't get past the glow halos around objects that are against the sky (strong contrast) even in moderatly done HDR images. Like the palm trees and lighthouse in the link you sent. I'm not saying they look bad, but the time that I've tried my hand at HDR images, I always toss it out because of that.
I am not a big fan of HDR, most I have seen are overdone. I just got my 5d mark III and am enjoying doing incamera HDR. Great article enjoyed it.
The point is that the Oregon coast picture would be much better if it showed the starfish in detail only, not the boring stone, sand and sky.
Actually, I prefer this view. The barnacles are interesting to me as well, remembering them from my Puget Sound days. Those rocks are creatures unto themselves, every inch teeming with life.
Pavel.. I have lots of close ups. I always tell my students: Take the portrait and the environmental shot. You need to tell the story.
A close up of a starfish could have been taken in the Newport Aquarium (not far from where I took the photo). For the close up, I did not need HDR :-)
That sounds like great advice, to take a wider shot of the environment along with a close-up. Sometimes you can get an interesting-looking photo, but I agree, it's nice to have some context. I need to keep this in mind more. It's not always as clear a decision as perhaps this case, though.
I would be interested in hearing your opinions of these HDR images. Shot with an X100. Is the effect too strong?
Zack S
i like your HDR stuff. flickr isnt doing you any favors. i see some artifacts like the images are over-processed but i cant tell if it is the image or flickr. I would say your images are 80% to 90% there. i would tone them down just slightly and accept some shows or highlights.
still great work. better than most of the HDR out there
All of them look pretty strong (of course, I've seen some so darn strong that they almost look posterized). It's not a bad thing though, if that's what you're going for. I absolutely love using Dynamic-Photo HDR 5. A pro photographer turned me on to it from his HDR workflow process, and now I'm doing the same...you can really get some amazing shots using it, without looking obviously HDR to the viewer. Here are a few examples of some shots I did:
Oh, and BTW, I love the shots you took :)
Yes, and some almost painfully so. But you have some good stuff too. Given your subjects I'd stay closer to reality. Not no HDR at all, just a more subtle effect. But I'm a noob.
Your HDR is so strong it becomes obvious and unnatural, looking more like a drawing or special effect (in the few I browsed). When you present photos like that, many here will say yuk, that's too much! It can, however, look good in some cases, but usually has to be carefully controlled for each pic (eg I find Lake Leelanau HDR horrendous, but I like Fishtown-1-DSCF5390_HDR). "very unnatural" can look good in some cases.
I used to love this site when it first started. Now its a collection area for all the cynics and know it alls in the photography world. Not to say some good folks aren't still out there. HDR - like it or hate it, is its own thing. It amazes me how arrogant people can be. Because somebody doesn't like something, it should be ridiculed and banned for not meeting their standards of what looks good. There's a ton of art out there that I don't like; but ripping people down or condemning entire types or styles because I don't agree with them? Pretty narrow minded. Do what you love your way guys. If something doesn't work for you, move on. There's nothing wrong with other people doing things outside the box. Are we all supposed to shoot the exact same way?
I agree with you wholeheartely. Many people just point and shoot and think they are doing a good job and have very good photos. There are so many ways of taking photos and if you have the time and are happy to then play around with them, not everyone can or has the time.
Make pictures not war :-)
Your're right, I suppose. The problem I see isn't with that people don't know the difference. They sharpen images until there is a white line around everything; they crank the saturation beyond any reference to reality; they make smoky looking HDRs...and nobody says "I know this is totally unrealistic but I wasn't trying to get something that looks like a photograph".
"There's nothing wrong with other people doing things outside the box"
No, except that there is nothing outside the box with "HDR" as everyone and its dog is doing it.
And don't forget: Reducing a scene with a high dynamic (luminance) range into a narrow range image, using the local adaptation tone mapping method is not HDR in itself.
We have the right to not always like that kind of images! Impressive at first, it gets tiring after a while (you could even develop some kind of allergy to unicorn poop).
'Good to see an article reminding us that HDR (reduction) is not always HDR local adaptation tone mapping
Sometimes "real" is just plain boring. I liked a comment I read about going overboard at first, and then learning the tools and how to apply them with better restraint to make your work better. Ya know, the funnest periods - for me anyway - are when I'm learning a new technique and am creating things that are just wow. Thats awesome. I also think there's a lot of truth the part about learning how to control the effects.
I like the idea that people can go out, take photos, bring them home and bend them into whatever they want to. Why do things have to look a predefined way? Why can't they be a different way? How much Photoshop is allowed before a Photograph is no longer a photograph? Lots of invisible boundaries in this game. None of them matter a bit anyway.
I think it's simply that many "amateurs" get hold of a few basic HDR techniques that reveal detail and go "wow! all that detail, it must be good". Just like so many see a terrible photo of a loved one smiling and think it's brilliant. The important thing is to remain courteous whilst criticising!
Steve Parkin.... When the first comments started to come in, I was prompted to write a post: "Are folks on the internet getting meander?"
So good for you for posting you comment.
I should have started my article: My mother told me when I was 6 years old that not everyone was going to like me!
Not sure what the point of this article is. IMHO, The HDR concept has gotten a nasty smell by making it an equivalent of throwing in over saturated, Disney cartoon colors and telling the people that this should be their goal. Ban the cursed tone mapping! I do not need more lollypop colors in my pictures, I need a larger dynamic range! ergo a larger span to capture black to white.
& BTW the Iceland picture??? heck, I've been in Scotland on many occasions and I've seen similar landscapes under many kinds of "light" but I've never seen one like this ... (unless it was taken on Mars of course ...) extended technology promoted to an art(?) aberration?
I've been to Iceland twice - and both times failed to capture the range of colours from the volcanic terrain, much to my disappointment.
I agree this photo does not look very realistic as a whole - seems over softened in places at the very least. But the colours are a darned sight closer to what the eye sees when there than I managed without HDR,
I find all these images pretty uninspiring. What's the nice thing about losing all the shadows and having everything displayed flatly in front of you? It's like when a child plays with the ipad and has fun taking distorted pictures. at the beginning it's fun but at the end he outgrows it. Similarly, I am just waiting for the time digital photography will be finally relegated to mobile phone snapping and real photography will go back to film.
Pretty uninspiring? ...You are too kind.
These are really ugly, almost horrible!
Which definition could we give to something that is the opposite of Fine Art?
Just think if you used a modern camera with a flip-out screen, you wouldn't have got your feet wet......
Half the fun of taking pictures is getting down and dirty angles. and a flip out plastic screen is just a accident waiting for a place to happen... cant convence me otherwise. Its a matter of preference then.
5D mkIII is an old camera?
Sure is the 6d is out now! LOL And if you wait a few months I am sure another new camera will come out.. but then again the 6d dosent have a flip screen either
HDR? just use film..
I used the Zone System in large format black and white for many years and used every technique I knew of to try to sqeeze more range out of the film without turning it to mush. I mastered the craft of b&w printing so I could render all the details in the negative...without turning the image to mush.
To a more limited degree I applied Zone methods to color.
Multi exposure HDR imaging blows Zone System B&W out of the water in its ability to capture the full dynamic range of an scene (...without turning it to mush.) Even more so when compared to color film.
Long before digital, I used the 3 exposure technique with 4x5 B&W. With 3 enlargers, carefull allignment, alot of burning & dodging and darkroom trickery, I could , after a few hours, have a handfull of really gorgeous prints. Thus I was able to bring the full DR of a high contrast scene to the print.
That still doesn't compare to what can be done with digital HDRI.
..Multi exposure HDR imaging blows Zone System B&W out of the water in its ability to capture the full dynamic range of an scene (...without turning it to mush.).. are you kidding? The above examples tell the opposite..
-Are you sure you are mastered the craft of b&w printing?..
I actually agree with your assessment of the sample images above. They are not great examples of the true potential of realistic renderings of HDR imageing.
May I add that its a little bit unfair to judge my abilities based upon someone elses images!!! My work does not look anything like the above samples. I don't shoot to display online, I shoot to print. My philosophy is that the photograph is not complete until it has been consigned to paper. Much of my work is black and white, which was not addressed here. So please don't disparage my work based upon someone elses work.
Realistic images? Rubbish!
Read the light, be patient, and you don't need HDR.
and if the camera can't capture the entire dynamic range of the scene, you'll miss the photo.
There are great photos out there that did not capture the entire dynamic range. You may call those misses, but in some way the photographers got it right.
Take, this served photographers well for decades and many great photographs were made during that time. But throughout the history of photography, photographers have struggled with the inherent limitations of film. That gave rise to the Zone System and artificial lighting.
The aesthetics of what defines a great image were determined by the limitations of film. Photographers had to work with what they had. Ansels Adams stock in trade was his ability to create prints that had beautifully rich and detailed shadows and highights that made his prints "pop" in a way that others did not.
Many scenes are within the dynamic range of film and required no special technique to render them.
And when using artificial light the photographer is simply using the manipulation of light to bring the dynamic range of the scene within the range of the film or sensor.
HDRI is not a requirement, it is merely an option. HDRI simply captures the full DR, but the image does not have to use it all.
I like your last (your favorite) HDR the best.
Note that you don't really need an HDR soft to enhance dynamic range as described in the article.
I use the LR/Enfuse plugin to Lightroom. This plugin fuses the exposure of several pictures (after automatic alignment, they don't need to be shot from a tripod) and returns a 16bit TIFF file to Lightroom. This file can then be further developed in Lightroom.
After reading this I am still not a 'fan' of HDR. The images on the first page look 'overcooked', the first two images on the second page, I admit, do look nice. The last image on page 2 looks like it has been done with one of those water colour apps on an iPad. A waste of an EOS 5D MkIII.
I don't think this article convinces me that HDR, and I quote, "emulate(s) the world we see with our own eyes". My world certainly doesn't look anything like these images. In dynamic range perhaps, in colour NO!
Then again, this article is for those ALREADY into HDR.
It is nothing new for photgraphers to overcook special techniques. I remember when I was was a teenager I learned how to use use color filters with black and white film....or how to solarize a print or how to sandwhich my negatives with Kodalith masks. I went crazy creating wachy over the top special effects. I made alot of crazy surrealistic prints but in the end, after I learned how to control the techniques to use them as a means of controling the quality of more conventional looking images.
Whenever a new technique is introduced, people will have a tendancy to overdo it to create unusual looking images, but in time, they outgro it. Eventually the overcooked images are regarded as cheap amateur manipulations. Skill practioners will learn to restrain themselves and apply just the right amount of the effect.
Unfortunately, many amateurs are using simple one size fits all HDR processors on point and shoot cameras and cell phones. They don't know any better, they think its cool.
TIME Magazine has named the Sony a7R III one of its top 10 gadgets of 2017. It was the only camera that made the illustrious list this year, receiving high praise from TIME, who dubbed it "one of the best mirrorless cameras ever made."
Thanks to Google Assistant integration, the Pixel 2's AI-powered 'Google Lens' camera feature will soon be easier and quicker to use.
Photographer Jenna Martin and her model friend Rachelle Kathleen set themselves a challenge: could they create beautiful portraits in an 'ugly' location? So they went to a local Lowe's hardware store and gave it a go!
The LG V30 differentiates itself from the competition with an expansive video feature set and a secondary wide angle camera, making it something of a Swiss Army knife for content creators.
We're counting down our top 10 most popular sample galleries of 2017. Holding down the top position is none other than the Nikon D850 – by a landslide.
It's been twenty years since Jeff Keller founded the Digital Camera Resource Page, one of the first websites dedicated to digital photography. Jeff, who has been at DPReview for nearly five years, looks back at the rise and fall of consumer digital cameras and his website.
We're counting down our top 10 most popular sample galleries of 2017. At #2 we have another staff favorite – the Sony Alpha a9.
Rotolight has released the Anova Pro 2 circular LED for stills and video, boasting a 70% increase in brightness and what the company describes as "unrivaled battery performance."
Designer Vinicius Araújo has imagined what he believes the perfect Adobe software keyboard might look like. From customizable touch pads, to a scroll wheel, to a little display that shows the tool in use, his design is pretty compelling.
Peak Design has teamed up with Leica to release a limited-edition backpack made special for fans of the Red Dot.
A portrait of an android woman has beaten over 5,700 pictures of humans to take third place in this year's prestigious Taylor Wessing Portrait Prize. The judges were not told the subject was an 'android' until after the winning images were chosen.
Hauling around C-Stands just got a whole lot less annoying thanks to these new Matthews shoulder and roller bags, which can hold two or three C-stand (respectively) plus accessories.
Neal Preston has shot timeless photos of everyone from Led Zeppelin, to Whitney Houston, to Michael Jackson. In this interview, he offers insights into his craft to up-and-comer Elijah Dominique.
Future prosumer Canon DSLRs might feature light-up buttons, if this newly published patent is any indication of the camera company's plans.
Sony's a7R Mark III shoots 42.4MP files at 10fps and incorporates a robust video feature set, large battery, refined ergonomics and more. It certainly looks impressive, but what is it like to use, and how does it stack up against the rest of the market? Find out in our full review.
We're counting down our top 10 most popular sample galleries of 2017 – the Fujifilm X100F takes the bronze and the #3 spot.
There's never been a better time to shop for a new camera, but the number of options available can be overwhelming. In this series of buying guides we've provided customized recommendations for several use cases, from shooting landscapes to buying a first camera for a student photographer.
Shopping for a camera with a set budget? No problem! We've rounded up our favorite cameras, broken them into price brackets and picked the best of the bunch.
Looking for a lightweight compact camera that's easy to bring with you anywhere? Or maybe you're smartphone-shopping and want the one that takes the best picture. And what if you want to shoot from above? In these buyers guides we have recommendations for the best compact cameras, smartphones and drones.
Despite reports to the contrary, analysis of DPReview images by our friend Jim Kasson confirms a disappointing fact: Sony a7R III is still a Star Eater. But there may be some improvements.
As the saying goes: A photo is worth a thousand words. And if you're sending that photo through Facebook Messenger, your thousand words now look twice as nice after today's update to 4K resolution.
Get to know the new Leica CL in short order by giving our 90 second 'First look' video a watch.
Leica has just released the CL, the forth in its series of APS-C L-mount cameras. Despite sharing a name with a camera released in the mid-70s, the new CL is a thoroughly modern ILC, with a 24MP sensor and built-in electronic viewfinder.
The Leica CL is a 24MP rangefinder-style mirrorless camera, which sits alongside the TL2 in the company's APS-C lineup. We've been using one for a few days – check out our gallery of images.
While it shares a name with one of Leica's most popular and affordable cameras of the 1970s, the new CL is separated from its namesake by more than just years. We've been using one for a few days - click through for a detailed first-impressions report.
We're counting down our top 10 most popular sample galleries of 2017, and the #4 ranking goes to the Leica M10.
Sigma is discounting 13 different high-performance 'Art' series lenses from today until November 30th. The company is calling it an 'unprecedented' sale.
See DJI's 'AeroScope' drone-tracking technology in action. This is the system that DJI says can help law enforcement and airport (among others) track and identify rogue drones.
iPhone X owners can already accessorize their new phone with high-quality smartphone photography lenses courtesy of Moment's new lineup.
Considering buying Sigma's exciting new 16mm F1.4 DC DN Contemporary lens for crop-sensor E-Mount and M43? Check out these official full-res samples first!


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Film Screening and Audience Q&A with Director Jim Tusty
Saturday, October 20, 2012, 7:00 pm
Unity of Boulder
2855 Folsom Street, Boulder CO 80304
See the trailer!
Private Reception and Discussion with Director Jim Tusty
Friday, 19 October 2012, 7:00 pm
Private residence, Boulder
In 1991, after nearly fifty years of brutal Soviet occupation, the small Republic of Estonia confronted their occupiers by announcing their independence to the world. Their charge heralded the subsequent collapse of the Soviet Union.
Music played a pivotal role in this historic, non-violent transformation. "Laulupidu", the Estonian song festival founded in 1869, would keep hope alive during the entire occupation. In 1969, 30,000 singers took the stage to sing one exceptional song—"Land of My Fathers, Land that I Love"—in an extraordinary act of non-violent resistance as Estonians raised their voices together as one.
"The Singing Revolution" tells the story of one country's undeniable thirst for self determination and its unshakable belief in what it means to be free. It chronicles the Singing Revolution movement as both history lesson and cautionary tale. Not only does "The Singing Revolution" tell the story of an extraordinary set of circumstances and events but it also provides an intimate portrayal of ordinary, every-day people who refused to believe that freedom was out of their reach.
About the Filmmakers
James Tusty and Maureen Castle Tusty co-produced, co-wrote and co-directed "The Singing Revolution". This is their first feature film. Both separately and together, the Tustys have produced hundred of programs for television, TV commercials, and corporate films.
The film was honored by the Boulder International Film festival as the "Most Inspirational Film" in 2008.
Excerpts from Film Reviews
…Imagine the scene in "Casablanca" in which the French patrons sing "La Marseillaise" in defiance of the Germans; then multiply its power by a factor of thousands, and you've only begun to imagine the force of "The Singing Revolution."—Matt Zoller Seitz, The New York Times
"The Singing Revolution" is an undeniably important film.—Joe Leydon, Variety
It's one of the most inspirational and powerful documentaries I've ever seen.—ReelTalk
Sponsored by Cantabile

subset: commoncrawl


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Associated Press
Brady Boyd, senior pastor of the New Life Church, talks about the victims of a shooting at the church during a news conference outside the facility in Colorado Springs, Colo., on Monday. Two women died from a shooting at the church, which was one of two church shootings in Colorado on Sunday.
- Read the story.
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Learn how our research addresses some of the most significant research themes in the Earth sciences.
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We are involved with expeditions with the International Ocean Discovery Program: Exploring the Earth under the Sea (Image credit: Arito Sakaguchi & IODP/TAMU).
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The meeting between the bishops is taking place at Lambeth Palace, the official residence of the head of the Church of England, Archbishop of Canterbury Dr Rowan Williams, and follows a similar meeting held in Leeds in 2006.
The meeting will be chaired jointly by Dr Williams and the head of the Roman Catholic Church of England and Wales, Cardinal Cormac Murphy-OâConnor. ...
Matt 23:23 Woe unto you, scribes and Pharisees, hypocrites! for ye pay tithe of mint and anise and cummin, and have omitted the weightier matters of the law, judgment, mercy, and faith: these ought ye to have done, and not to leave the other undone.
24 Ye blind guides, which strain at a gnat, and swallow a camel.
25 Woe unto you, scribes and Pharisees, hypocrites! for ye make clean the outside of the cup and of the platter, but within they are full of extortion and excess.
26 Thou blind Pharisee, cleanse first that which is within the cup and platter, that the outside of them may be clean also.
27 Woe unto you, scribes and Pharisees, hypocrites! for ye are like unto whited sepulchres, which indeed appear beautiful outward, but are within full of dead men's bones, and of all uncleanness.
28 Even so ye also outwardly appear righteous unto men, but within ye are full of hypocrisy and iniquity.
Where Liberalism meets the antichrist.
WOE unto these modern pharisees who do not know the Son of God.
1John 5:5 Who is he that overcometh the world, but he that believeth that Jesus is the Son of God?
The Pope was the Anti-Christ then and The Pope is the Anti-Christ now.


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Although a variety of distortions in the press have arisen regarding a letter that Koch sent to its employees, many of the lies are being swiftly refuted in the public discourse. Blogger Mark Draugh quickly noted the hypocrisy of publications that engage in political speech complaining that other people are exercising the right to political speech. Andrew Evans at the Washington Free Beacon called the initial article about our letter "a smear" and pointed out that there was no effort in our letter to "control" anyone's vote — as the initial report had falsely claimed. Nor did we threaten layoffs, as was suggested — in fact, we are currently advertising for more than 2,400 open positions throughout Koch companies in the US.
As Koch has done on previous occasions, we sent a mailing to our employees this month that included a list of candidates that KOCHPAC, our employee political action committee, has supported. Of course, that is a completely legitimate activity, entirely consistent with the law and also with our record of public statements in support of free-market policies and publicly disclosed contributions by KOCHPAC to various candidates. Our employees receive information concerning these issues from numerous sources. We provided them similar information, which many employees have requested from us, so they could consider our point of view as well to the extent they wanted to do so. We trust our employees to make their own decisions based on the factors that are important to them. We encourage our employees to be active and engaged in the political process particularly given the vital importance of the upcoming election. We in no way threatened, suggested, or required anyone to vote a particular way and we have been open and transparent about what we did and why we did it, posting the correspondence on our website since the beginning of October. The coordinated media attacks against us took 10 days to notice this, based on an alleged "expose" by In These Times, which is a partisan left wing periodical.
But several other news organizations have irresponsibly repeated the report in a dishonest and manifestly false way. A British newspaper called the Daily Mail, for instance, ran a headline saying that we were "telling [employees] to vote for Romney." Not true. In fact, the letter makes it perfectly clear that any decision about which candidates to support belongs solely to our employees, based on the factors that are most important to them. Reporter Meghan Keneally's story was so sloppy she wrote that Georgia-Pacific was based in Washington State while is it actually headquartered in Georgia.
Then, on October 15th, ABC commentator Whoopi Goldberg said on the air that Koch had indicated layoffs would occur if President Obama was re-elected. Noel Sheppard at Newsbusters easily exposed how she had deceived her own viewers and called on ABC to issue an immediate retraction.
The Atlantic Magazine's Adam Clark Estes wrote that we had "sent employees a list of people to vote for" and that we were "pushing our political will onto employees." Wrong again — the mailing indicated the candidates that Koch was supporting and said plainly that employees should vote for whomever they prefer. (This is the same Estes who wrote earlier that same day, "even though it's a bummer that the folks reading the Bible in North Korea think the government will kill them if they find out, progress takes patience.") So too, apparently, does fact checking.
It should be noted that over the course of decades we have publicly commented on the negative consequences of unbridled government spending and have opposed such practices regardless of the political party in power. That's why, as we cite in the letter, we do not support candidates based on party affiliation. Some commenters have claimed that employees will "suffer the consequences" of their vote. But again, this refers to economic and societal problems that will be the consequence of continued unchecked spending. Discussing these issues with employees isn't coercion or intimidation – it is treating employees with the respect they deserve as self-determining citizens of the United States.


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Has anyone else noticed that I don't think there has been a Big Star, Small Car segment this season. Did they stop doing that segment? Not popular enough to get any stars on?
Has anyone else noticed that I don't think there has been a Big Star, Small Car segment this season. Did they stop doing that segment? Not popular enough to get any stars on?
It seems like they have eliminated the studio altogether. Can't say I miss it in this format, though I would sorely miss the studio on the British one.
Can't say I miss it. I like TG US but they don't have the same dynamic as the British trio that allows them to riff off each other in the News and none of them is a natural interviewer whereas at least Clarkson had a short-lived chat show so he has a vague idea of what he is doing. Hopefully they'll still use a Stig for the odd film.
I can't confirm it because I don't have a link (one of the three presenters tweeted it I think), but I'm pretty sure the studio segments, as well as Big Star Small Car, will be back during the second portion of the season, which is eight episodes.
I don't like BSSC so I don't miss it, but I really don't care for SIARPC on the original show either.
Don't see a reason why they would drop Big Star, Small Car. What celebrity wouldn't want to be on a show where they make small talk, talk about their cars, and tool around in a $15,000 Suzuki hatch for a few laps? I think it appeals more to celebrities who enjoy interviews in a relax environment and promote whatever projects they have to broader audience.
Besides, I've seen bigger stars on lesser shows than this.
Last edited by Initial_B; September 13th, 2012 at 4:28 AM.____________________________
As mentioned above, believe it will be back later on this season. First 6 episodes are non-studio.
Big Star Small Car never worked for me but I only watch 1 in 5 of the UK ones and Clarkson does a great interview. If it were me... I think I would take BSSC and use it for a season end studio episode. Or maybe replace it with something more uniquely american (out run a cop in a crown vic). With the short episode (may they kill %80 of the recap) BSSC and the studio bits break the flow a little to much for me. Even if they were to do 2 special episodes each season that were 'round the track' and 'BSSC' with maybe a review it would work better for me.
Not sure that the studio needs to be part of TGUS... part of me thinks they can do away with the studio entirely and leave a unique show.
Seems like it's a combination of a challenge and then the winner gets to (or the loser HAS to) drive something cool and or not cool. Definitely an improvement
Thank god it's gone... it was agonizingly awful
Don't miss it at all, I fast forward through it on the UK version with the exception of Leno, I can't stand celebrities anyway, not having them ruin a show I adore is a big party bonus.
I don't miss the studio segments, although I would like them to incorporate Stig into some of the films. My feeling is that the pacing of the show was greatly improved by removing the studio bits, especially as the effective running time is shorter for TGUS compared to TGUK due commercial breaks and the classic US TV recaps of what happened 5 minutes ago. The film segments don't feel as rushed now.
Overall, I've been enjoying the latest season of TGUS a lot. The show feels fresh, there were quite a few great original ideas and even the ones borrowed from UK managed to stay interesting.
Glad they ditched it. Works fine on the original Top Gear but even then it's often one of the weakest segments.
I hated the rename. Seriously? Did they think we couldn't pronounce "reasonably?" Bollocks.
So, nothing was really lost. Maybe if they had a less...autocrossy? looking track? Heh.
More Stig would be win, though. Just sayin'.
The big problem for me is/was...Where is the big star, shouldn't it be D list in a small car ?
I think the biggest problem with big star small car is that if you were really a big star you would go on the real Top Gear, the 3 USA guys aren't very good at interviews either really though Tanner never did an interview so it's hard to judge.
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Bill Barter can't remember exactly when it occurred to him and his fellow Arlington Museum of Art board members that they could lose Joan Davidow. All he can recall is that the board knew losing the museum's founding director would lead to nothing but turmoil. After all, Davidow is closing in on 10 years of leadership for the unlikely mid-metroplex venue that's respected all over North Texas as a relentless showcase for homegrown contemporary art. Her departure, the board feared, would mean nothing short of catastrophe -- like removing the foundation from a house, only to watch the entire structure collapse in seconds.
"I remember talking about it to the board and to Joan herself -- we go way back," Barter says. "It's one of the things we became painfully aware of last year. If Joan took off, it would be a real chaotic situation."
Turnover at the top of metroplex arts organizations reached a ridiculous level in 1998 and '99 -- a fact that didn't escape Barter and the AMA board or Davidow.
The Arlington Museum of Art's annual gala
Arlington Museum of Art
206 West Main Street,
February 5
Live and silent auctions
Tickets are $45
($40 for AMA members)
Price ncludes food, beverages, and music
(817) 275-4600
Exhibition opens January 14
6 - 8 p.m.,
with a preview party and artists' talk
Consider: Fort Worth Dallas Ballet's artistic director Paul Mejia started it, leaving his post in January 1998 after a decade; Mejia was replaced by Benjamin Houk in July 1998. John Giordano announced his retirement as musical director of the Fort Worth Symphony, effective at the end of the 1999-'00 season. The still-leaderless Fort Worth Opera lost, replaced, and again lost general directors in rapid succession. Kimbell Art Museum director Edmund (Ted) Pillsbury retired in June 1998 after 17 years at the helm; Australian Timothy F. Potts succeeded him and marked his first year in charge at the Kimbell this November. Likewise, the Dallas Museum of Art convinced Jack Lane to leave San Francisco and replace Jay Gates as DMA director after Gates resigned to take a position as head of The Phillips Collection in Washington, D.C.
So many musical chairs; so many empty ones. Davidow's exit, then, seemed inevitable -- one more talented local arts leader swept up in the mighty tides of change. Until, that is, she realized that hers was the best job...and that, well, maybe she was the best person for it.
"I've thought about going someplace else, and then I thought, 'Why?'" Davidow says. "The challenges and opportunities I have here are very, very exciting."
Davidow was the AMA's first director when the energetic Arlington Art Association bought a building and decided to create a museum at the beginning of the decade. And, for all the troubles and travails, she can look back on a decade of service with a unique pride of authorship few arts professionals ever have.
"I have this theory about founding directors or directors who stay a long time in a place," she says. "They have the opportunity to really build a profile for an institution and make an impact. Directors who move every few years on the stepladder to success don't have that."
Barter says the AMA board has begun in earnest to shore up, improve, and develop itself in order to support the museum's expanding programming; to prepare for a serious capital campaign to raise $3 million for renovation of the AMA's 45-year-old building; and, perhaps most important, to mollify Davidow's seemingly one-woman show. "We are developing a structure around Joan that would survive even if Joan left," Barter says. And he's leading the rescue effort, just as he led the search committee when the board hired Davidow on April 1, 1991.
Barter is an art-loving, recently retired aerospace engineer who, in addition to devoting countless volunteer hours to the AMA, dabbles in painting and printmaking. When his colleagues accuse him of the anal-retentive tendencies common to engineers, he quotes Alexander Calder, who was a mechanical engineer before taking up art. "Calder said, 'To an engineer, good enough means perfect. With an artist, there's no such thing as perfect,'" Barter says, laughing.
Barter has long been one of Davidow's -- and, of course, the museum's -- biggest supporters, insisting that "the board, sometimes comatose and sometimes not over the years, has basically said, 'Go ahead, Joan, you're doing great.' She tries to get us to do more, be more involved. And now it's beyond what she as a single individual can do."
To that end, Barter is looking for a few good trustees -- art-lovers, check-writers, and hard workers -- to round out the current AMA board. It's his mission "to develop a board and programs that can support a much bigger operation," as he sees it. Of course, he envisions only greater things ahead for the AMA, and he hopes Davidow will "stay the course." But his life experience has taught him to be prepared, just in case.
You see, Davidow doesn't sound restless, but she does sound tired. The end of the year is her busiest time as she prepares for the museum's annual fund-raising gala and companion exhibition in January and February. Proceeds from the event and the live auction and silent auction of artwork account for an average of $75,000 -- or about 25 percent of the AMA's annual operating revenue. And it's all done in a single night. It's a big deal -- a make-or-break deal -- and for the 2000 gala, Davidow's got some new tricks up her sweat-encrusted sleeves.
"I say I can do anything I can dream up as long as I have the energy, find the time, and raise the money," Davidow says, sipping tea at home on a weekday morning before she has to go in to the office. She's philosophical about staying in one place so long and honest when she says she has had offers, only to turn them all down. "There aren't very many places where you have such freedom to explore, grow, and develop a program," she says. "I think these are the joys and pressures of being a founding director. The freedom is great, but you also have the huge responsibility of raising money. Our board is developing and maturing, and they are getting involved in that process, but for a long time it's been my sole responsibility. It's just too much."
Do not mistake her words as those of complaint; Davidow does not whine. But the fact remains: Last year's list of accomplishments and next year's to-do list sound like a recipe for burnout for anyone involved in running the Arlington Museum of Art.
Davidow and the board have kept up consistently powerful contemporary art exhibitions, featuring established and emerging local artists, to critical acclaim. Particularly noteworthy was the museum's collaboration with Denton's Good/Bad Art Collective, True Stories, which featured an ambitious performance-art piece for the exhibition's opening night in May. Davidow's companion brainchildren, A Hot Show and A Cool Show, were rightly lauded as containing some of the very best new abstract art by Dallas, Fort Worth, and Arlington artists ever mounted. And it was because of Davidow's persistence: She visited area artists' studios in search of a nucleus for a new show.
"When I'm looking for ideas, I think about the work that's being done and how it needs to be seen," she says. "If I think the work is all being developed around the same concept, and if it's a concept that's apparently interesting to many artists, then I believe we need to be looking at it."
Throughout 1999, the AMA beefed up its already serious educational programming, adding Saturday art classes to its existing summer camps and free "Family Day" activities for each opening; she estimates the museum hosted nearly 2,400 children in 1999. And museum staffers visit neighboring schools with the new "Art Around the Corner" program, supported by the Edward and Betty Marcus Foundation. Davidow also mentions the "Cool Kids Gallery," describing a renovated third-floor exhibition space where Arlington students can display artwork they make relating to each AMA exhibit.
Davidow also started "Art Smart" birthday parties this year, giving parents an opportunity to rent the museum for special birthday celebrations. Davidow is acutely aware of the need to tie the museum into schools and the family-oriented Arlington community. It helps her maintain a balance of support in a small, conservative community where the general public often scratches its collective head at edgy contemporary art. Arlingtonians come to see it, Davidow says, but they don't understand it -- and sometimes, they don't like it.
"Contemporary art is probably a new phenomenon for Arlingtonians," she says. "But developing a sense of culture has been a growing need for this city. Since we're between two urban giants, it has been hard for this city to be concerned about its own social and cultural well-being. I see that changing, and Arlington is really establishing itself. It's much bigger, with 300,000 people now."
But, Davidow says, Arlington's still not much of an art-buying town. So she and her staff do yeoman's service each year to find and display the very best of donated Texas art for the annual fund-raiser. On February 5, the AMA will paint the town red with more than 100 works by local and regional artists, including a $2,000-and-up category in honor of the millennium. Davidow solicited and got donations by Brian Fridge and Nic Nicosia this year, just before these two local artists were selected to display their work in the Whitney Museum's prestigious Biennial exhibition slated for March in New York City.
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"I didn't even know [they would be selected] when I asked for their work," Davidow admits. "But it's pretty special to be able to have a local venue where these artists can be seen on their way up."
Davidow's on her way too. She's got to get to work, she says: Gotta go, very busy. She's meeting some artists who are delivering art for the gala, and she's rushing some additional information to the city of Arlington for a grant application that could help pay for the renovation and expansion of the museum on Main Street.
"It's still just a dream," Davidow says. "We have to raise $3 million or more. I'm giving it five years. It will either happen or it won't by then." The board is working with her to formulate a three-year strategic plan and talking to a fund-raising consultant about how to determine feasibility for raising the money to fund the building project. In the meantime, Davidow, a former artist herself, says she's happy in Arlington. For her, developing the museum has taken the place of making art.
"This is my art now," she says. "This is my canvas. I see myself here for at least five more years," she says. "If I don't burn out." She adds this with a sort of smirk, raising dark eyebrows on a narrow face loaded with Audrey Hepburn-like features. "It's really nice to be able to create something and then see what happens from that."


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PLEASANTON — Police arrested a San Ramon man Wednesday on suspicion of molesting a child for three years after the girl recently revealed the abuse to a school counselor.
Robert Turner, 22, was arrested about 2 p.m. Police said the girl, now 15, had been molested by Turner from the time she was 6 until the age of 9.
After telling a school counselor about the abuse, the counselor told a school resource officer about two weeks ago, when the investigation began.
Turner was booked at Santa Rita Jail on one count of continual sexual abuse of a child. If convicted, he may face between six and 16 years in prison, investigators said.


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Mothers of Innovation
Think of an innovator and what springs to mind? Probably a man. Probably someone young, working in a high-tech industry, maybe in a special place, a silicon valley or roundabout. Quite possibly wearing a hoodie.
You're unlikely to be thinking of a mother. In popular imagination, mothers are nurturing, rather than dynamic, and motherhood is routine and dull, rather than focused, creative and cutting-edge.
For Mothers of Innovation, a Nesta-backed report published next month, I interviewed 28 outstanding mother-innovators from around the world, talking to women on every continent and in a wide variety of fields. The mothers in the report include social innovators working in health, education, food and care; business innovators working in tech and as entrepreneurs; and economic innovators seizing the possibilities of technology to change the way we work.
A good deal of innovation theory re-values what have traditionally been thought of as female attributes and skills: empathy, collaboration, relationships; listening, sharing, caring for others. These analyses are rarely explicitly feminist, but maybe they should be.
"Theories of innovation suggest networks, empathy and the ability to nurture human capital are crucial to turning good ideas into real change."
Many of the examples in the Mothers of Innovation report are of people and organisations leveraging the ways in which mothers have traditionally operated – so, for example, Mocep, the Mother Child Education Programme in Turkey, mobilises mothers doing something they have always done, given half a chance, namely get together to talk about their children. In the Mocep programme, mothers build on their shared experience and pool their expertise to become the first educators of their children. The project has achieved remarkable improvements in educational attainment among children from disadvantaged backgrounds.
Mothers sharing their experiences is an activity that has traditionally been dismissed as nattering, gossiping over the garden fence, parish pump chatter. We live with assumptions that date back to Victorian economics – that what happens in the domestic sphere is economically unproductive and requires no particular expertise. Yet theories of innovation would seem to suggest that networks, empathy and the ability to nurture human capital are crucial to turning good ideas into real change.
Add to this the fact that many of the issues that are most pressing for governments around the world – education, health and care – are ones that mothers have to deal with on a day-to-day basis. With state services creaking under the strain of mass delivery systems, mothers are at the sharp edge of the need to find ways to educate children and pay for health and care; they are often best informed about what is missing and what would fix it.
"The conditions for mothers to thrive as innovators are growing all the time."
Not surprisingly then, businesses - from Kimberly Clark to Mumsnet - are increasingly keen to harness this expertise. The former gives grants to mother innovators who come up with products for maternity and childcare; the latter mobilises mothers in the development and positioning of brands and to influence policy. As the boundaries between consumption and production blur, mothers, as the key consumers for their families, are in a position of authority, influence and opportunity.
The needs of people in the 21st century - to be greener, healthier, better educated, to find ways of caring for each other, and create meaning beyond consumption, combined with the opportunities presented by networked technology, are leading us towards a different kind of economy. It is one that rewards capacities one might broadly think of as maternal; the qualities it places at a premium include empathy, collaboration and emotional intelligence.
Mothers are already innovating in many and various ways, as our report demonstrates – but the conditions for mothers to thrive as innovators are growing all the time. Things have never been more promising for mothers of innovation.
Mothers of Innovation is published on 19 June 2014
this is most interesting and worthwhile report - I wish you well with it. I run Mothers Uncovered in Brighton - a creative support network for mothers, which has discussion groups as its base and also engages participants in art, writing and drama.
More info can be seen here www.mothersuncovered.com


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Phillies deny sign-stealing speculation
Phillies deny sign-stealing speculation
"No, we're definitely not stealing. We don't have their signs and we're not stealing their signs. But we are trying."
The allegations resurfaced in light of excessively frequent trips to the mound by Yankees catcher Jorge Posada. Cameras have shown New York calling pitches via a sequence of signs -- typically reserved for when a runner is on second -- even with the bases empty.
Dodgers third-base coach Larry Bowa, who served in the same capacity with the Yankees and who managed the Phillies from 2001-04, added fuel to the fire on Monday.
"There's rumors going around that when you play the Phillies, there's a camera somewhere or bullpen people are giving signs," Bowa told ESPN 950, a Philadelphia affiliate. "And catchers are constantly changing signs. That's the rumor. Now, is it proven? No."
But the Phillies are having none of it.
"I guess he knows something that I don't know about, obviously," Shane Victorino said before Monday's game. "We play between the lines, and that's what it's about.
"For Bowa to come out and say something like that, if he doesn't know what he's talking about, if he doesn't have cold, hard facts, he shouldn't say something like that. It's just not something that should be said. For you to pop off like that, I'm not happy."
David Gurian-Peck is an associate reporter for MLB.com. This story was not subject to the approval of Major League Baseball or its clubs.


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A practical approach to reusing HDL code in FPGA designs
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From the very first day that you learn a new hardware description language (HDL), you reuse code. Initially, this might involve copying an example and modifying it in order to learn and expand your knowledge. Later, you start looking for common blocks of code so as not to re-invent the wheel. Alternatively, you could decide to reuse an entire design and recode parts of it to create a variant.
Despite the good efforts of the design community to espouse design-for-reuse as the Holy Grail, what many engineers – including thousands of FPGA designers like you worldwide – do in reality is recycle code. This is no disgrace. Actually, it is very smart. Recycling allows you to quickly fill up those monstrously large FPGAs with blocks of code from previous designs, IP, and your own custom code.
While recycling has its advantages, it is recommended that you follow a solid recipe for success in order to evaluate recycled code before using it within your new project. If you do not follow these simple steps, all the time you thought you would save by recycling the code in your new FPGA could easily be lost trying to get it to work correctly.
This is practical reuse – a working recipe for getting your next design quickly completed by reusing code that already exists at your corporation. And, you will likely find that looking at the problem from a completely different angle will actually lead to more and more reuse in your next projects.
Practical reuse is a discovery process performed with or without tools. This process includes the following steps:
- Determine design integrity: Is the code complete and do you understand (at a high-level) what the code does?
- Determine code quality: Can the code be easily reused and does it meet any standards you might have?
- Establish design validity: Does the design simulate and function as expected?
- Share knowledge: Does everyone in your company have access to the design?
Determine Design Integrity
Design integrity fundamentally means that all the code is complete and ready for simulation. Typically, the first step is to find the top level of the design in order to ascertain which files comprise the RTL description from the root of the design on down. Additionally, you can eliminate any extraneous HDL files from the project. The numerous output files created by your FPGA vendor tools actually can get in the way of your discovery process. You do not need these files in order to reuse the HDL code in your next FPGA design.
Next, if the design is under version control, you will need to check out the latest version of the design and review history notes before starting the discovery process.
You can start with a manual technique, looking for a top-level "readme" or document file that might describe the design file hierarchy. Or, look for a compilation script for clues to design content. Finally, look for a file with an obvious name like "top" or a file that contains many component instances and no logic. As you work with the files, take note of modules containing structure but no logic, as you will have to find or create this logic yourself.
Taking the analysis up a level, if you possess a tool that parses and determines hierarchy as part of the process of specifying code or performing an analysis, that tool can typically figure out the topography of the design and whether anything is missing. Also, parsers provide you with syntax and semantic checks that could reveal problems with the code. Examples of these types of tools are code visualizers, synthesizers, or simulators. Visualization tools also help you understand the design composition and what the design does.
Typically, FPGA vendor flows encourage the use of technology-specific IP or cells. These technology-specific components are often instanced with the HDL and handled by the downstream tools. You could find that these instance references are broken or that you do not have access to included files that define them. If you are targeting a new technology or a new FPGA vendor, these instances could greatly affect the amount of time that it will take to reuse the code – because you have to replace them.
At this point, you are ready to consider the "Practical Factor" for the first time in the process (Equation 1). You can incrementally refine and use this value as an initial checkpoint during the reuse process:
The ultimate goal, of course, is to reduce the denominator to zero, even though this can never actually happen. As we will discuss later, it is best to measure time in minutes or to convert hours to minutes. This is because units of time such as days, weeks, and months can be interpreted differently between people (for example, does a day represent 8 hours or 24?).
The TimeScratch variable is the hardest to estimate. You can employ various techniques to make a best guess:
- Get the total line count and apply a time factor in minutes for each comment (typically a low number) and for each non-commented line of code (typically a higher number).
- Alternatively, use historical time data from a similar project that you may have recently worked on.
- If you use generators, the time it takes to create blocks of the design decreases dramatically. For example:
- High-level graphical tools (like block diagram and FSM editors) generate code for you.
- Platform-based tools allow you to drop in microprocessor cores, their compatible bus structures, and peripheral blocks – thus generating even more code for you.
- Electronic system level (ESL) tools allow you to design at a very high level and generate RTL as well.
Regardless of the technique, you also need to factor in the time it takes to verify the code. That topic is covered later in this article.
At this point, the TimeReuse variable represents TimeIntegrity, which comprises the following:
- The time it takes to correct any syntax errors (typically quick to fix) and semantic errors (typically longer to fix) that you found. Multiply each syntax error times a minute factor and each semantic error by a higher minute factor.
- Add in the time it will take to create any missing blocks of functionality that you found, using one of the previous TimeScratch techniques. This includes the time it will take to re-map FPGA technology-specific instances in the code.
- Add together the time it took you to understand the design and to figure out the top level of the design as well as the design topology.
Thus you now arrive at the second checkpoint (Equation 2):
If the Practical Factor approaches 1, you would obviously stop now, as reusing this design would take as much time as it would take to create it from scratch.
Determine Code Quality
Assuming that the code has passed the previous checkpoints, quality is the next consideration. A good place to start is with the Quality IP (QIP) matrix and user guide provided by the folks at VSI Alliance (VSIA). The QIP is a spreadsheet that lets you leverage collective knowledge about how reusable your code is. You manually enter answers to questions and a weighted score is produced. If the score is low, it could take a lot of work to reuse this code. (You can visit www.vsi.org to obtain more details about the QIP matrix.)
In order to automate code quality assessment, you can use a code checker (sometimes called a linter). Often, these checkers have built-in rulesets for the major FPGA technologies. Run the appropriate technology rules on the design to evaluate the results. If you do not have access to a tool with built-in FPGA rules, the tool most likely has a common reuse set of rules that you can run.
Companies also capture rules that represent collective knowledge about code that can cause downstream design errors. Activate these rules separately and run the tool to assess reuse and quality. Some checkers also support the RTL QIP checks or allow you to weight and score your own rules. These checkers can also detect empty blocks for you.
At this point, TimeReuse represents TimeIntegrity (from our previous checkpoint) + TimeQuality:
- Multiply each FPGA technology (or reuse) violation by a time factor in minutes.
- Multiply each downstream violation by a larger time factor in minutes.
- If you found any additional empty modules using the checker, factor in the time to create them back into the TimeIntegrity value.
This brings you to the next checkpoint (Equation 3):
Is the number getting closer to 1? If not, proceed to the next step.
Establish Design Validity
After you determine the code integrity and quality, it is time to decide if the design works as expected. At one extreme, you could program the new FPGA with the reused code and see if it works out in the lab. However, that is probably not practical. Typically, a better approach is to verify the HDL code using a simulator. Design verification can be a complex process that uses several techniques and tools.
First, account for validation time in the denominator of the Practical Reuse factor. This value should be significantly less than creating a test environment and running validations from scratch. Taking a simplistic approach, estimate a time value for each of the following:
- Does a testbench exist? If not, you will have to create or generate one, and that will take time.
- Does the testbench contain many tests? If not, you will have to add testing routines to it to ensure acceptable coverage.
- If you have the ability to run code coverage, does the testbench exercise the entire design? If not, you will have to upgrade the testbench.
- Do the testbench and the RTL contain assertions? If not, debugging time will increase.
- Do you get simulation errors? Each one will take time to debug.
- How much time do you actually spend simulating? You need to account for this time as well.
How you account for the significant time spent addressing the preceding issues is based on your experience. Establish a TimeReuse Validate value by multiplying an estimated time factor to each of the preceding issues. Then add the total value to the denominator of the Practical Factor equation.
Next, don't forget to account for the time it would take you to create tests and run the validation from scratch. For a rough estimate, you can use the "70% of the design cycle is spent in verification" claim of lore. Assume that this 70% means creating and running tests as well as correcting problems. That means 30% of your time is spent doing something else. If you assume that 20% of that "something else" is design creation, then multiply your value for TimeScratch by 3.5 to get a value for Timescratch validate. Add this number to your original TimeScratch value to get the "final" TimeScratch estimate (Equation 4).
Does the Practical Factor indicate that the code is still viable for reuse?
Share Your Knowledge
Even if the design failed to pass the checkpoints discussed above, the upside is that it is still good knowledge to share within a team or corporation. Otherwise, someone else might discover the code and spend time trying to reuse it. Also, there could still be blocks of code or data that could help a colleague.
A good approach to sharing is to create a high-level website that contains a list of designs available for reuse. At the top level, enter a brief design description and add your comments on the Practical Factor checkpoints so that everyone knows its status. Then create (or use a tool to generate) a web page for each design and collate the following information from your discovery process:
- The RTL source, including the testbench (leaving behind any source that is not part of the design).
- Any notes or drawings that you generated or created by hand during your discovery process.
- Documents and scripts that you found useful.
- Your integrity, quality, and validation notes or reports.
Encourage others to view your website and to contribute to its content. To start off, let your colleagues and immediate co-designers (and ultimately remote teams and the corporation) know about the effort so that the top-level web page becomes a useful central reuse repository.
Until everyone designs for pure reuse, the need for practical reuse will exist. Establishing your own practical reuse recipe now will encourage a new method for thinking about the problem and will allow you to identify tools you need to automate the process. As you work with automation techniques and tools, you will gravitate towards a design flow that naturally enables developing code for reuse. Eventually, you will realize that you are actually designing new code for reuse as an effect of employing practical reuse techniques.
Tom Dewey is a Technical Marketing Engineer for the HDL Designer Series product line at Mentor Graphics. Tom has over 17 years of EDA experience, contributing to ASIC and FPGA software products used for creation, synthesis, verification, and test. Tom can be reached at email@example.com.


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"Newbie bashing will not be tolerated here" Lets up the stakes once and for all.
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Scooby Guru
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Aug 2002
de_dust and Orgrimar
"Newbie bashing will not be tolerated here" Lets up the stakes once and for all.
There are no excuses for either of these 2 things.
1. Being too lazy to read the stickies at the top or reading them and feeling that you are the exception to the rule.
2. Being a dick.
I know, coming from ME of all people, but I am tired of it. We seem to have a new cluster of people forming in the newbie forum that seem to feel the need to name call and bash.
I propose this.
ZERO tolerance.
First offense, BAN. Period, no warning, just you come back and find you cant log in because your account is banned. Maybe allow the person to make a new account in 90 days or something.
We need to make this have SEVERE consequences to get rid of these guys.
Like I said, coming from me, this is ironic, and I know I tend to lose my cool at times, but I am willing to put my @ on the line for this.
If the mods are too soft (meaning not harsh enough) to do it, then a 30 day TO first offense, BAN second.
If someone calls someone a moron or idiot over a difference of opinion, then cant post for a month, they will REALLY think twice about doing it again. Or they simply wont come back. Either way, with 200k+ members, we dont need a bunch of new dicks coming in here helping perpetuate NASIOCs reputation for being a rough place.
It really bums me out when I see a post that goes like this
"I know I am going to get flamed for this, but (insert question here)"
When its a simple question. Even if its something that could have easily been found with a simple search.
In the cases where they should have searched, sure, guide them to the search button. If you dont think they should get an answer without searching, guide them to the search feature and DONT ANSWER their question. I am ALL FOR making people try to learn things on their own first if possible. But simply coming back with "do a search" with no explaination of how or maybe helpful suggestions of what search terms to use, is just not cool. The purpose of the newbie forum is TO HELP PEOPLE.
So either help people, or honestly, get out and dont come back. (obviously if you are here to get help, dont go away
I just mean if you are going to give 2 word completely non helpful jerk comment answers, we dont need you here.)
Someone needs to handle these people, or just give me the power and I will do it. I have volunteered to moderate the newbie forum a few times since my reform, and the offer still stands. I guarantee I spend more time in here than the current mods do. Not that they dont do a good job, but I have the freedom to be in more places more often than they do. I have an iron fist sitting here on my desk, waiting to rule.
Even without that, if you see someone being a dick, REPORT THEM. Now, DO NOT ABUSE THE REPORT BUTTON. If someone disagrees with you in a BIG seemingly aggressive way, well maybe they feel very passionate about their viewpoint. Dont report things like that.
But when someone calls YOU an idiot, or calls the entire thread a bunch of idiots, or morons, or the like, fire away. IMO we dont need those people here.
If someone trashes a vendor or tuner, that DOESNT APPLY TO YOU. Dont report it. People are free to have their own opinions of a vendor or tuner, and IMO should be allowed to state that they dont like that vendor or tuner.
Obviously there is a line where them stating their thoughts and opinions on the vendor or tuner crosses into harrasment or just out and out "we are tired of hearing you, we all know your opinion, now go away" terratory, and the mods can deal with that as they see fit.
In any case, like I said, I would like to see, and I am sure I am not the only one, a zero tolerance policy, that is ACTUALLY ENFORCED, with very swift and harsh penalties. MINIMUM 30 day TO. I vote 60 or 90 day TO, or better yet, total acct ban.
Who is with me? If enough people step up and call for it, eventually the mods will make changes. They are good like that. We have a good current crop of them. Although Jack is a little old and probably keeps wondering why he cant make moderator changes on the rascal forums.
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Ghana Needs Right Decisions
Nana Yaw Osei-Darkwa, a Level II training affiliate of the Center and alumnus of the 2011 and 2012 International Nonviolence Summer Institutes, is a mover and a shaker in Ghana. As founder & president of Youth Icons Ghana, a youth oriented NGO committed to the empowerment of youth and a frontline peace and nonviolence advocate is in the news. See the newspaper article and his call for national peace and nonviolence education programs. Ghana Needs Right Decisions
Nana lent his support at a fundraiser for the Kipsongo Project in Kingston, RI. Lindsey Casagrande is a founder of this Project that creates long-term, sustainable economic and social well-being for residents of Kipsongo Slum in Kenya through a locally designed and manufactured fashion line. Kipsongo Project


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Ruth Nemire, Pharm.D., Ed.D., will become AACP's Chief Academic Officer and chief of staff in January 2013. Nemire has previously held faculty and administrative positions at Nova Southeastern University, Touro College of Pharmacy-New York and Fairleigh Dickinson University. She received her B.S. in pharmacy at Ohio Northern University, her Pharm.D. at The University of Toledo and her doctorate in education at Nova Southeastern. In her new roles, Nemire will have broad responsibility for all areas of faculty development, leadership programming, institutional effectiveness and strategic planning. She will begin in her position in mid-January.
This year's call for successful practices involves effective collaborations that colleges and schools of pharmacy have pursued with their state pharmacy associations and state board of pharmacy. More information can be found on the AACP Web site. The deadline for submissions is Jan. 18, 2013. Contact: Lynette R. Bradley-Baker.
Academic Pharmacy Now is planning a second article focused on managed care pharmacy and healthcare reform. Given the evolution of managed care from the 1990s to today, we'd like to know:
Please submit a description of your experience, along with any photos and captions, to Maureen Thielemans by 5:00 p.m. EDT on Thursday, Dec. 13.
Help uncover outstanding contributors in teaching and research. Nominate an academic pharmacy colleague for one of AACP's top three awards: Robert K. Chalmers Distinguished Pharmacy Educator Award, Paul R. Dawson Biotechnology Award and Volwiler Research Achievement Award. Award recipients will be announced by the AACP Board of Directors in spring 2013 and honored at the 2013 Annual Meeting Awards Plenary in Chicago. Criteria and nomination information can be found on the AACP Web site. Nominations must be submitted online no later than 11:59 p.m. PST on Wednesday, Dec. 5. Contact: Melinda D. Colón.
The polls are open for the 2012 AACP elections. You can vote by visiting our virtual polling place and entering your Member ID and Ballot Control Number. If you have not received this information, please contact Melinda D. Colón. Be sure to check out the 2012 Guide to Elections, Membership and Awards for statements by our president-elect nominees and information about the candidates. Voting closes at 11:59 p.m. EST on Friday, Dec. 7. Please note: due to a database issue, voting was suspended from Nov. 2-6. Ballots submitted before the election was suspended were erased. If you voted on Nov. 1 or the morning of Nov. 2, you will need to vote again.
Members are invited to submit proposals for two types of sessions at the 2013 AACP Annual Meeting, July 13-17, in Chicago: 90-minute special educational sessions on topics broadly applicable to contemporary pharmacy education or 30-minute mini-sessions on innovations developed at one school. Proposals that include the perspectives of multiple institutions are encouraged for special session submissions. Innovations developed at one school are appropriate for mini-sessions or roundtable discussions. Interested in submitting a proposal for the 2013 Annual Meeting? Visit the programming submission Web site by Noon EST on Friday, Dec. 14.
Online registration is now open for the 2013 AACP Interim Meeting, Leadership for Institutional Effectiveness, Feb. 9-12, in Rio Grande, Puerto Rico. Higher education and institutional effectiveness research leaders will shed light on the integrated components of institutional effectiveness, explaining the complexities and addressing the challenges you face.
We've improved the AACP Online Learning Center to strengthen your learning experience. Now you can preview six of the most popular sessions from the 2012 Annual Meeting, purchase an entire conference package of session recordings and access additional AACP resources. Didn't get to see all the posters you wanted to during the meeting? Now attendees can view more than 300 posters from those sessions. Try the AACP Online Learning Center today.
Take the first step on a direct path to career advancement: Renew your AACP membership today. You'll continue to benefit from countless resources, programs and opportunities—all designed to promote your professional development. You'll see: AACP is better than ever for you.
AACP invites faculty or staff that will be attending either of the meetings below to assist us at our booth and promote academic careers to potential educators. Contact: Maureen Thielemans.
Didn't have a chance to attend these Webinars? Now you can view them online:
The 2013-14 Pharmacy School Admission Requirements guidebook is now available online and printed copies are available for purchase in the AACP lulu store. The publication provides the most up-to-date information about each pharmacy institution, including specifics about admission requirements, selection factors and educational costs for students entering pharmacy school in fall 2013.
2012 Election ClosesDec. 7
2013 Annual Meeting Special and Mini-Session Proposals DueDec. 14
Call for Successful Practices DeadlineJan. 18
2013 Interim Meeting, Puerto RicoFeb. 9-12
Partner Organizations
Agency for Healthcare Research and Quality A new clinician research summary from the Agency for Healthcare Research and Quality (AHRQ) summarizes current evidence on the effectiveness and safety of first- and second-generation antipsychotics among children, adolescents and young adults. The publication, First- and Second-Generation Antipsychotics for Children: Comparative Effectiveness, is available on the AHRQ Web site.
Association of Faculties of Pharmacy of Canada The Association of Faculties of Pharmacy of Canada (AFPC) and the Association of Deans of Pharmacy of Canada have been integrated into a single association. The new structure provides one voice and one point of contact for advancing the interests of academic pharmacy in Canada. AFPC will remain the legal name for the organization. For more information, visit the AFPC Web site.
The National AcademiesThe Jefferson Science Fellowship seeks tenured, or similarly ranked, faculty from U.S. institutions of higher learning who are U.S. citizens to apply. Jefferson Science Fellows spend one year on assignment at the U.S. Department of State or U.S. Agency for International Development as science advisors on foreign policy issues. Other opportunities exist as well. Applications are due Jan. 14, 2013. For more information, visit the Jefferson Science Fellowship Web site.
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Founded in 1900, the American Association of Colleges of Pharmacy (AACP) is a national organization representing the interests of pharmacy education and educators. Comprising all accredited colleges and schools of pharmacy including more than 6,400 faculty, 57,000 students enrolled in professional programs and 5,700 individuals pursuing graduate study, AACP is committed to excellence in pharmacy education.