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HDR used properly is appropriate for photojournalism, says Unified Color's Omvik
Are High Dynamic Range photos appropriate for illustrating news? That's the debate that's been started by the Washington Post's use of an HDR image on its front page in January. Sean Elliot, president of the National Press Photographers Association came down firmly against it, saying, 'HDR is not appropriate for documentary photojournalism.' John Omvik, Marketing VP with HDR software maker Unified Color understandably disagrees. He's written us a response arguing that what we see is closer to HDR than, say, a mono photo shot with Tri-X film.
John Omvik's statement:
Recently, the Washington Post stirred up a healthy debate among amateur photographers and photojournalists when it published a photograph on its front page commemorating the 30th anniversary of the tragic crash of Air Florida Flight 90 (January 13, 2012). The photo in question shows the back-lit 14th St. Bridge shot at sunset with an airplane in the upper left corner of the frame. The controversy stems from the fact that staff photographer Bill O'Leary used High Dynamic Range (HDR) techniques to process this photo, a fact the Post mentioned in the photo's caption.
|'Using HDR software and processing tools is the only method a photographer has to deliver precisely what he or she witnessed at the time of an image capture'
The caption ultimately led to some confusion by readers, many of whom took it to mean the paper was publishing a doctored photo, perhaps in order to achieve the emotional impact appropriate to the accompanying story. In a subsequent Ask the Post article online, Michel du Cille, the Post's director of photography posted detailed information on the HDR process while making it clear that the publication did not and does not "manipulate" photos.
The debate spread to the Poynter Institute's blog, where Sean Elliot, president of the National Press Photographers Association (NPPA) is quoted as saying:
"HDR is not appropriate for documentary photojournalism." Elliot points out that the NPPA's code of ethics say photographers should respect the integrity of the digital moment, "and in that light an HDR photo is no different from any other digital manipulation."
As vice president of Unified Color Technologies, a pioneer in the field of HDR imaging, I strongly disagree with Elliot and the NPPA's viewpoint. When properly used, HDR does the most accurate job of reconstructing the dynamic range of the original scene at the time the photo was taken. In fact, if one really wants to split hairs about what is "real" and what isn't, consider this; from the moment you open your eyes in the morning until the moment you close them at night, everything you see in the world around you is in HDR.
There is no camera in existence, digital or film, which can accurately reproduce what the human vision system can capture and process in real time. While today's digital cameras capture a much larger dynamic range in a single shot than any color transparency film ever could in the past, they still can't match the tonal range humans can see. And so, using HDR software and processing tools is the only method a photographer has to deliver precisely what he or she witnessed at the time of an image capture.
In the case of Bill O'Leary, his color HDR image is clearly more realistic to the moment then had he used the old gold standard of photojournalism and newsprint: black and white Tri-X film.
Improper use of HDR can clearly create a misrepresentation of the photographic moment, but when HDR techniques are used as they should, they absolutely meet, and might, in fact, go above and beyond the standards of the NPPA's code of ethics which state, in part:
- Be accurate and comprehensive in the representation of subjects.
- Editing should maintain the integrity of the photographic images' content and context. Do not manipulate images or add or alter sound in any way that can mislead viewers or misrepresent subjects.
- Respect the integrity of the photographic moment.
Proper use of HDR does not alter, mislead or misrepresent a scene. In fact, true color HDR processing and tone mapping techniques restore the integrity of the photograph, and is the best way to reproduce the original high contrast scene, in low dynamic range media such as newsprint or on our LCD computer or handheld displays.
At the current rate of technology evolution, we're likely to soon have cameras that can match the dynamic range of human vision in a single shot (though even then software tools will be required to tone map the image for printing.) Until that time, the HDR process is the best option for photographers seeking to convey a sense of realism. Simply mentioning the process in the caption, as the Post did here, is all the disclosure that ought to be necessary.
-John Omvik
V.P. Marketing, Unified Color Technologies
Feb 3, 2015
Jan 31, 2015
Jan 28, 2015
Jan 26, 2015
i think if its not processed so that you cant see any dark areas or any highlights at all, its fine, i mean as the article stated, you were there and you took the photo, only difference is the processing.
I think the photographer knows better how to present their work. Nobody dictated to Mozzart how to compose symphonies.
I personally dislike HDR photography, I find the photos to be pasty, the highlights are gray and unnatural looking, thus I never use this feature but someone likes the effect and my opinion has nothing to do with other people's tastes.
It is both true and highly misleading to say that "everything you see in the world around you is in HDR". It is true because human eyes can see much higher HDR than film, and HDR can sometimes bring an image closer image to what the eyes saw.
It is misleading because many HDR photos show what they eye cannot see. In bright sun the shadow in the lower left in the image above would be much more contrasty - so the image shows us what the eye never saw. If you were there, you could only see the detail in the shadow by blocking the bright light and wait for the eyes to adjust. There is no human eye that can see both the very bright and the very dim at the same time.
A more extreme example of this is a photo from inside a dark room looking out a very bright window with detail visible throughout.
Galen Rowell sometimes used 4 stop ND filters to do the same thing using different technology. People liked the photos but to me they looked unrealistic for the same reason.
Actually human eye's DR is much inferior to what most digicams of today can capture. Yet I do not see things washed out when I look through window from my dimly lit room. This is because I don't make photographs with my eyes. When I'm looking at something my eyes constantly scanning the scenery, adjusting to the changing conditions as they go. What you see *in your mind* isn't what your eyes see at any given point in time. This is why the impression that a real scene would make on you is better conveyed with HDR. You don't expect to see washed out or blackened out out parts when you look at things normally, and you're not getting those with HDR.
Still I wouldn't readily agree that "Using HDR software and processing tools is the only method a photographer has to deliver precisely what he or she witnessed at the time of an image capture", since there's hardly a way of delivering anything "precise" when human impressions are involved. Nothing is perfect.
but HDR is a term used with a specific sensor in mind, because its the process of expanding the DR of this sensor, so the only method to expand it, is taking multiple exposures.
this means to me, that it has nothing to do with the question if the eye uses HDR or not, its simply tries to get the same DR or possibly more, than the human eye, which cant do HDR at all ^^
unrealistic or not is only a question of the DR you try to get
HDR post processing is one of my favorite styles of editing..It precisely defines all the details in a pic - what you see is what you get- but the problem of HDR is that, if you over-processed it, it becomes unrealistic..
Sean Elliot now want to ban the nikon 4D because it has too much dinamyc range...
Personally, I am much more concerned with creative liberties that newspapers are likely to take with their text than I am with HDR photography.
From what I have read, film had a higher dynamic range than DSLR sensors. The human eye certainly has a higher dynamic range than DSLR sensors. If used judiciously, HDR can represent the image as viewed by the photographer. If used with abandon, it can create unnatural imagery. The newest iPhone already has built in HDR. If HDR is "outlawed", then all post processing should be "outlawed". It's just a matter of time before HDR will be built into all cameras; then what? The important thing is that the image captured represents the photographer's intent, not the limitation of his/her equipment.
The decisive moment occurs multiple times per time segment.Each beholder has an infinite set of moments and receptors.Tech has far to go to cover then all.Let the HDR roll.
It's simple: single-exposure image files, computer displays, and printed images represent ARBITRARY LIMITATIONS re the objective standard for the dynamic range that can be represented, i.e., what can be encompassed in real time by the human visual-perception system.
To enshrine the limits of what can be represented by a print of a raw single-image file on a sheet of paper is to enslave print photojournalism to an incidental, inadequate 150-year-old standard. Elliot thinks this is more honest why?
It is this arbitrary, limited standard--not the use of accurate HDR--that represents distortion of the truth. Conscientious, conservative HDR to simulate the same dynamic range as the human eye is nothing more than a way to make an artificial representation MORE honest.
By way of a fairly trenchant analogy, the same objections were voiced with: stereo vs. mono; color vs. B&W; talkies vs. silent films. Each was vilified despite overcoming an arbitrary limitation. I rest my case.
"used properly" has the same value applied to "vaseline on lens" (to emphasise privacy) or "forgot to remove lens cap" (for that special solar eclipse!) Waste of bandwidth!
The problem with HDR is that, as far as I could see to this day, the wide majority of photos which are made - or are claimed to be made - with such technique of combining multiple exposures come out as horrible and tasteless messes of garish colors, fluffy contours, edge halos and crazy lighting. I saw not a few photos with interesting angles of view and composition being dreadfully spoilt by making them look like a cheap painting.
As far as I am concerned, I do not see the world that way. I prefer to adjust contrast and lighting in a more conservative way - by shooting RAW and "squeezing" all the detail I can, without altering it too much.
The photo published by the WP, although not as hideous as the average HDR-processed photo, does look strange and unnatural to me - oversaturated colors and excessive lighting. However, I think that it could still be "safe" to publish it in a newspaper - after all, we've all seen much worse manipulations.
The above is, of course, just my 2 cents.
It's possible that you've seen much more HDR than you think and didn't recognise it as such because it was used to achieve a natural-looking result. It can be done well by those who know what they're doing and care about the results.
When used in a "conservative" way, as the double exposure technique we know from the days of film, it can be as you write. However, such "proper" use of HDR can only be done when shooting at still subjects and with the aid of a tripod/monopod, or with rather fast times - no more than, say, 1/250s, of course depending on the focal length of your lens. That is, unless your camera can process simultaneously three differently bracketed images out of a single exposure. But even in that case I would be cautious.
Again, as far as I am concerned, I prefer to shoot just a single exposure in RAW and adjust the light/shadow equilibrium in post-production. That gives me complete control on the end result without "overcooking" it. I don't view it as a religious dogma, just as the technique making me able to do what I want to convey with my photos.
Man, I'm glad they cleared that up. If it weren't for their benediction, I'd be *terrified* to use HDR for *anything.* ;-)
I think HDR is appropriate in photojournalism only when it reflects reality and approximates the tones seen by the human eye. We can use it as a tool to overcome some of the limitations of digital capture.
That said, the Washington Post image does NOT reflect reality. It is an insanely oversaturated faux color image more appropriate to making a poster for someone's wall. The alternative image not only reflected reality, it is a better image. The editors really dropped the ball on this one.
Photojournalists have to constantly balance the available technology with "reality." I generally stick with old-school standard darkroom techniques when working for publications: burn, dodge, color correct, saturation, contrast--plus unsharp mask, lens and perspective corrections within reason.
I try very hard to reflect reality, while realizing "reality" is subjective.
Back in the days of conventional film and printing starting with the choice of film used, how the film was processed (technique and chemistry), how the print was exposed, the paper type used, how the print was processed (technique and chemistry), and even what screen was used when printing the newspaper all affected the resulting image. All these choices are made by the photographer in order to convey his intended point.
Simply making a long exposure in a dim environment will provide a different view of the subject than is possible with human eye. Changing the camera position, sometimes even slightly, can change the message in a photograph.
Further, everyone's eyes react to light differently. We all see the world differently, whether looking at a scene or an an image of that scene.
As long as we exclude manipulations that add or remove real elements (e.g. a person) to an image, who can say what is the correct version of an image.
Humm, what happens if we magically have sensors that capture a 15 (or higher) stop dynamic range and suitably process the tones to fit our (screen/print) viewing devices? That is "high dynamic range" by all counts and the only difference is that it can be accomplished with a single exposure rather than multiple exposures.
You could even argue that shooting with a higher dynamic range medium format studio camera of today would be "inappropriate" since it captures more than the run-of-the mill Dx3 or 1D-IV.
Someone that says "HDR is not appropriate for documentary photojournalism", like Sean Elliott, clearly doesn't understand what HDR is. It is just a tool to widen the dynamic range on photos by combining multiple photos with different exposure. And since the technology of the sensors can only deliver a narrow range on a shot by shot basis, we could definitely use HDR to make it more like how it was seen by the eye.
Of course, it can be abused. Your HDR photo can be composed of ranges that exceed the limitations what the eye can see. And when it does that, it looks doctored.
You can read what Sean Elliott says in another way where Sean Elliott actually makes some sense. Maybe he meant that documentary journalism is about telling a story, letting the viewers feel like they are making up their own conclusion after presenting them with biased facts, and HDR photos tend to have too much unnecessary detail that a single photograph wouldn't have.
Bahhh, not realistic enough...needs to be in 3D with smell-o-vision and something to blow a soft cool breeze over the viewer. Having the viewer wear a cap, sun glasses and spf 30 would make it even more realistic.
Or we could do it over in B&W Ansel Adams style then just dreamily stare at a beautiful print of this scene, truly experiencing something special.
Photography is art, there is more too it than "realism."
We are talking about journalism here. If you want factual accuracy ask a medical or crime scene photographer. Journalism is about selective use of facts and speculation to make a story. It's not "factual" and nor is photography. It's deliberately selective.
Adjusting contrast in a scene is wholly irrelevant by comparison.
I'm not against HDR in principle. I use NDGrads for the same purpose, after all. However, I rarely see HDRs that look realistic. The pic in question is an example of that. They say it is exactly as the eye sees, but while that may be true, it is not exactly as I would imagine my brain sees it.
Even when they do look realistic, they also lose a lot of atmosphere. Better to have some deep-shadow-with-detail than the light shadow that the eye sees.
Sean Elliot was wrong.
He'd probably use a sharper lens if he had one, or a sharper demosaicing algorithm.
(sorry, I didn't read most of the posts)
This all hangs on the, "digital moment." As a composite, it was several closely spaced digital moments. Had the ghost images of the moving aircraft (which undoubtedly existed) not been removed, would honesty have been restored? Ghosting was an acceptable artifact in Matthew Brady's day.
Elliott was grasping at straws, but that's required of an official spokesperson. It's the old management principle, "Nobody's been fired for saying no." If he says "yes," he's interpreting/expanding association policy. Elsewhere in Washington, that would be called "Judicial Activism," a hanging offense in some circles.
If the function is provided automatically by the camera, resulting in a single image file (like the iPhone's HDR), the photographers' integrity would go unquestioned - an auto-exposure mode that optimizes exposure separately for each of many zones. Or the photographer delivers all frames to the editor, allowing the editor to select optimal placement of the moving aircraft.
Anyone who thinks HDR is somethng new needs to get educated. How do you think the copyists of the old BW masters managed to make prints like for example Ansel Adam's work?
Shading and burning in the darkroom was/is exactly the same as HDR and has always been a part of any photography, photojournalism included.
dodging and burning and HDR are 2 different things. I used to own a lab and I find the process of HDR disgusting compared to what I used to do with film. Lets compare apples to apples.
When you take an HDR picture you reduce clipping and noise.
1.) What news publisher would want to do that?
2.) What is this thing called "recreated event" in journalism?
At the end of the news there should be a standard 'truth affirmation' statement that goes like this: "And that's the way I want you to think it is."
News photography does require a higher standard than art photography to maintain trust at a time when people are very aware of how photos can be manipulated. Reuters has an exhaustive list of what is not permitted. I remember there was a stink when someone added extra smoke to the picture of a bombing to make it look more dramatic.
However, in the example discussed here, the intent of the image is to be an attractive shot of a bridge where something dreadful happened. There was no news being portrayed in the picture Nothing was altered to make a point. It was, in fact, an art picture. An unaltered shot of the same bridge would not have made the front page or told the story. And there was full disclosure of the technique used.
The only argument in favor of the critics is that it is a slippery slope. If you allow HDR, what else might slide in under the rationale that it is more real than an unaltered shot.
I side reluctantly with the Post on this one because of the disclosure.
"Manipulation" is done all the time through choice of angle, composing, cropping etc. Why should the "digital manipulation" done when the camera chose the exposure be any less "wrong" than the choices the photographer can do later in raw processing and Photoshop? Should photo journalists be forced to capture JPEGs and the pictures imported as they are from the camera? HDR is just one more step in the long chain of choices any photographer does.
That news organizations disagree with you would argue for the POV that there is a qualitative difference between lens choice (for example) and HDR. For one thing, most people understand lens effects whereas many digital manipulations may well lead to a misunderstanding of what is being shown.
To that end, some news organizations do require jpegs direct from the camera where the importance of the story rises to the level of forensic evidence, as it does in war zones. The issue of trust becomes paramount in such cases.
For background, human interest and other cases where the picture is not there to tell the story but to supplement it, the standards should be different.
The single biggest factor is where the photo is captured from - "point of view" - and as Lbr0805 specifies, what is in the frame and what is left out.
The next biggest factor is lens selection, specificially field of view typically referenced by focal length. While 50mm (46 degrees) has been popularized as "normal", analysis of people suggests a median of 43mm or 44mm (a "28mm" lens on an APS-C sensor) - between 50 degrees and 55 degrees. So any telephoto or wide angle lens manipulates the context by cropping or expanding view together with consequent geometric distortion.
By the time you get to post processing the biggest decisions are all in the past.
The key remains, as it always has been, the intent of the journalism team to accurately convey, to accurately "quote" the context for the journalism audience.
Authenticity in photography has always been an issue.
A journalism photo should accurately represent the context as faithfully as an exact quote from a witness or expert should state exactly the words spoken.
But once transcribed into text the quote no longer conveys the rhythm, cadence, tone, or volume of the original speaker, some or all of which is always relevant.
Just so, nothing a photographer can do will reproduce every element of the context.
SaulTh correctly pointed out that "intent" is the critical issue, and jmmgarza pointed out that journalism is a team sport and the intent of all of the players have an impact on authenticity.
Advertising and sensasionalist media have so severely manipulated imagery that authenticity became an issue in photography, and that dates back decades.
As Lbr0805 pointed out, editorializing begins before the photograph is captured.
"The digital moment" is relative. Whether 1/1000th of a second, or 1/60th of a second, or several slices time over multiple exposures. These can all achieve different exposure results without corrupting the journalistic integrity of the image.
Everyone knows that the exposure time is finite. The key is that the audience should be aware of the general principle of how the image was formed so that they know how it relates to reality. It's best to err on the conservative side here.
Where I agree with Ilkka is that the audience should be made aware through disclosure. The flaw in segarci1's explanation is that all the examples cited represent "a moment" except one: the HDR. The HDR is multiple moments, composited. Where objects shift over time, they are preserved or eliminated arbitrarily to avoid ghost images. At that point it is no longer a photographic document of any individual moment, and loses the right to be called a document or "photojournalism." It has become "art."
My point was that it's a matter of scale. When a digital device captures a physical signal, it could actually be accumulating multiple signal samples over multiple clocks. (Albeit, most digital cameras probably sense an image over one continuous interval - although you could get some multi-sample situations as with flash ghosting, but I digress.) HDR could simply take this to a more "macro" time scale. What if the HDR process was completely contained within a single shutter press? Or what if the HDR process avoided any form of human intervention except for exposure tuning?
HDR does reproduce with much more accuracy what human eye can see in a certain moment. It does not make sense to condemn it.
Sean Elliot claims " photographers should respect the integrity of the digital moment ".
What is the definition of digital moment ?
Sean Elliot stance is like condemning color pictures because it does violate the integrity of the analogical moment lol .
(And after all colors id digital photography do not exactly reproduce real life colors anyway )
Typical HDR pictures look like this: http://www.toxel.com/inspiration/2008/11/15/beautiful-examples-of-hdr-photography/
Is there any wonder why there is hesitation in allowing it in journalistic photography? It doesn't matter if 1% of HDR users use it with moderation. Too many will not.
Those are GORGEOUS!!!
And even though these examples are ones that certainly have an "artistic" touch to them, even these reveal a whole lot more of the actual visual scene that was available to the photographer's eye than the typical photograph does.
Don't be so afraid... they won't bite.
When desktop publishing first came out many users created garish ugly documents. After a period of time professionals learned to use the tool properly. Those some still use it for their own creative vision. I think the same will happen with HDR. While we see a lot of Disneyland-like HDR images, I believe over time, professionals will come to use the tool to create images that more accurately represent what is photographed. I have used many HDR images in reporting for my local news website in Portland Oregon. Ultimately it is the photographer and editor do make the right decision about whether or not a photo meets journalistic standards, not the technology.
might as well ban the uses of telephotos for photojournalism since you could effectively 'crop' away part of the scene to represent your point of view, and that can be more dangerous than merely fiddling with curves and multiple exposure
Obviously implied with a news image is the trust that the photographer faithfully represents what happened. It is his/her job. The same is true of the text: the intention of the reporter is to give an accurate idea of what happened, and the picture illustrates this providing complementary information.
The general public is used to telephotos and wide angles and knows what they do and how the image is related to the 3D world. They're not used to the idea that multiple distinct time points are merged into one image used in the journalistic context. The cartoonish, horrible appearance of most HDR pictures online would speak against introducing this technique into practice in this field. Very few HDR users are satisfied with subtle use of the technique so such an approach is kind of academic - it's not going to be realized.
"The general public is used to telephotos and wide angles and knows what they do and how the image is related to the 3D world."
Being used or not to the results of digital cameras and image processing is the key issue.
Using HDR images in a newspaper to show that the new lampposts in the city streets are giving a really good light would be a dubious idea while W. Eugene Smith photo of a Minamata mother and child was right though to print it a lot of burning/dodging was needed.
The problem is that the ground rules are quite clear but impossible to translate as a series of precise technical specifications.
What's the difference if one is using proper HDR to process or if they are using layers upon layers to make their pictures better? Are there *that* many photographers who use directly out of the camera pictures without editing the picture?
I agree with Omvik. I do wish, however that the debate not end here but that it continue until a consensus is reached on acceptability for HDR in photojournalism.
So true that the easiest thing in the world to be is a critic. The anti-HDR types blather incessantly against it just because they can. They choose to ignore the fact that non-HDR images often have scores of adjustments to them to enhance or re-create the original scene.
I personally love HDR, and I don't really understand why so many other photographers go out of their way to hate it so much. When done right it can be absolutely jaw dropping!
And I agree, it is often a MUCH more accurate representation of what a person would have actually seen if he had the ability to be standing next to the photographer witnessing the scene.
There is nothing wrong with using the shadows that a camera forces on your photo, if that is the artistic direction that you are trying to achieve with your photography. However, if you have the ability to lift those shadows and present to your audience a photographic representation that much more closely resembles what the human eye would have seen, then I think that by all means, lift the veil and let your audience see what they truly could have seen if they had been there standing next to you.
But the purpose of a journalistic photo is not to drop jaws due to the way the image looks but illustrate an event or a person (where the event or person is the main thing, not the jaw-dropping treatment).
Then let's do it accurately! Let's take advantage of HDR's superior image reproduction techniques that allow the viewer to see the whole scene and if we drop anything, let's STOP USING OUT DATED PHOTOGRAPHY TECHNIQUES THAT ARE QUITE OFTEN COMPLETELY INACCURATE BECAUSE OF THE AWFUL SHADOWS THEY FORCE ON THE PHOTOGRAPHER!!!
Of course this is just my meek and very humble opinion...
The typically restricted dynamic range of most cameras is what is not "realistic".
HDR techniques allow more of the present tonal range in a given scene to be displayed naturally (if you know what you are doing). Is changing the contrast response of your camera internally (Nikon Picture Control for instance) dishonest? No of course not. One is simply trying to match the response characteristics of the camera to the tonalities of the scene at hand. HDR is just a more comprehensive approach to that technical limitation.
Photomatix has had a huge impact on my approach to real estate photography, allowing me to shoot scenes that here-to-fore were not possible....
We need sensors that approach the flare limit of good lenses in dynamic range at least as much as we need more resolution. I would fall all over myself to purchase a 6 mpx camera with 15-16 stops at base iso.....
If writers see their art as a craft, then why not photographers! We expect a well written, entertaining account of the truth (or story!), so why not an image to match!
Based on the fact that image needs human valuation and processing no human sees the same image as the other. The image, even in human brain, suffer from personal judgement that gives it the "real" value. Not to say the visible light spectre of human eyes.
Who cares if the Washington Post uses an HDR image. All US news is corporatized filtered media anyways.
I believe that this is a pointless discussion. Philosophers came to the conclusion that THE truth doesn't exist. Journalistic photo's are about information. The information should not be manipulated. Examples are the manipulated photos from Soviet Russia and lately North Korea.
Manipulated contrast could be seen as manipulated information only when the information is reduced (higher contrast). Enhancing the information by lightening the shadows is not a manipulation of the information.
Human vision copes with a wider dynamic range than film or digital sensors could. HDR compensates for the shortcomings of the technology.
If Sean Elliot's viewpoint is acceptable then where does that leave these? Are these journalistically out of bounds?
- False colour images from the Hubble Space Telescope
- Venus explorer images made from radar
- Satellite images of the earth showing sea surface temperature as colours
- Photoshopped pictures of Kate Moss, for magazine covers, to change her eye colour to co-ordinate with the clothes in the shoot. (I did that 20 years ago, back in the days when Kate Moss wore clothes for a living).
Some of the readers are missing the point, specially mr. O'leary.
The meaning of the integrity of the digital moment, as I understand from mr. Elliot, refers to the fact that an HDR image is composed by several images, and that is the main issue.
What happens when you have several shots and you pick elements from each one of them to create a new one? That is a actually what happens in the bridge picture, the airplane is not present in all of the shots, but the photographer decided that it was good to have a plane to talk about the memorial of a plane crash, so he throw it in there. That is as valid as this:
I have nothing against trying to squeeze as much tones as a digital image can provide, that is something that has been done for ages in photography, ask Ansel Adams about the zone system.
An ill-willed editor can manipulate you simply though the choice of which "accurate" photo they choose to publish. Leave out the one showing a bleeding policeman and show a bleeding protestor, or vice-verse. Objective and genuine reporting depends on the ethics of the photographer, editor, writer and news organization, combined. A discussion about one photographic technique (especially one with as many variant outputs as HDR) for discussion is like arguing over 1,000 dollars in the federal budget.
Why is proper use of HDR so wrong in photojournalism? Is it no different than dodging and burning? If we are to ban HDR, then we should ban the use of raw images being used as well, since it's the same concept in reverse when converted to jpegs. Don't we loose some of the original data during conversion? Technically, using Mr. Elliott's reasoning, shooting raw files for photojournalism should go also.
Indeed. RAW images contain considerably more information than JPGs and thus can be considered HDR as well. Adjusting any burned highlights or black shadows to show detail gives the image a representation of higher dynamic range than originally shot.
All one needs with HDRs is good taste, and good editorship.
A lot of you are getting held up in the technical details of what HDR is and isn't.
The reason I think he said HDR isn't appropriate is because he's thinking of the cliche, mass produced overly tone mapped ones where the creator doesn't know what a heavy hand is when it comes to saturation ( and they probably cause they don't even have calibrated monitors). You know the kind, they look quite unreal. The photo in question on that newspaper kinda fits the description - that's a lot of saturated blue and orange going on. It looks nice, but I wouldn't call it REAL.
So I will agree with him halfway. If the image has a blantant HDR/unreal look to it, then it shouldn't' be used in strict photojournalism because if you change the color that much, how much else have they tampered with? So it's not reality. But if HDR is used to simply expand the range of tones to emulate real life, it's fine cause you can't see it the effect being applied.
there is a big misunderstanding.
There are two ways to use the hdr technique, totally different.
The first is a technique simply aimed at expanding the range of tones in the presence of wide light variation.
This technique generates classic normal images, and the skill of the photographer becomes even more great if the observers appreciate the result without needing to understand that it is used the HDR technique.
else, completely different, is the HDR tecnique used to generate surreal or hyperreal images.
do not confuse the two.
I mean: the first way of using the HDR technique is - in concrete - a simple adjustment, calibration, of images (therefore, in my opinion, it can be used in photojournalism).
The second is a technique of "manipulation", reality distortion, designed to create photo art, surreal or hyperreal that cannot (must not) be used in photojournalism. Of course.
In a different field, my moderate use of HDR processing met with some success in "improving" to some extent photos of geological outcrops - e.g. fusing exposures to even the contrast of shadowy vs. sunny surfaces while enhancing local detail not originally obvious due to technical limitations.
The purpose in such a case is definitely to maximize the rendition of photographic information and to emphasize relevant features. Regarding the later publishing process, this has been deemed both acceptable and useful so far.
As pointed out the method is not inherently right or wrong, it is after all a (moral, personal) matter of what one's ultimate goals and ideals are. Out of integrity, being faithful to a 'true-to-life' combination of digicam abilities, photographer's skills and environmental parameters? Being truly artistic, impressing one's audience even if departing substantially from reality? Maximizing the transmission of useful, relevant, specific raster data?
This begs the question of which photos in a newspaper are "photojournalism". The photo in question on the cover of the wash post is not photojournalism. There is nothing about that particular moment captured that the article references. It was a shot of a bridge where a accident happened *in the past*. You could have just substituted a drawing and it wouldn't have changed the article.
Ban Nikon cameras, they have ADL.
Ban Canon cameras, they have HTP.
They are in camera HDR tone mapping.
Use Han-seng cameras instead
(Han-seng produce cameras, seafood and noodles)
Don't all digital camera's manipulate the real picture in some way? Maybe they should insist on film produced images only!!!
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!
Vimeo has just added support for 8K HDR 10-bit content, making it possible to show up to 75% of the colors the human eye can perceive vs the usual 35%. Take THAT YouTube.
The holidays are coming, but your gear isn't cutting it? It's time to treat yourself!
We're counting down our top 10 most popular sample galleries of 2017, and sitting pretty at #5 is the Fujifilm X-T20.
See some of the most iconic black-and-white photographs throughout history brought to life by a community of colorization enthusiasts and professional retouchers in the new book Retrographic.
Shopping for a photographer? Whether you are one yourself or not, chances are you could use some ideas. From stocking stuffers on up, we've got some photography gift suggestions for every budget.


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1113 Tasting Notes
I'm very honored to have been given a small sample of this tea. Thanks ChaiVeck!
I am still very new to aged sheng, but so far this is the most palatable one I have tried. There is a little woodiness, but nothing aggressive or overwhelming. I am having a lot of trouble describing the other flavors. I really hate that I am the first official reviewer and I feel like I am not doing it justice! it's smooth and lightly sweet. I still find I prefer young sheng. They tend to be more complex and interesting in my opinion.
PS- I gotta say the torn up old wrapper in the picture kind of freaks me out…insect damage???
It is strange why that picture was used, not the most fetching image I admit. And you're right it does look like insect damage, though it could be from the sun or simply from storing the cakes on top of each other unsuccessfully resulting in the rubbing of the paper. Very intriguing.
It's 15 years old, and the wrappers aren't made from reinforced concrete.
I'd be far more wary if a vendor offered a tea in a pristine wrapper and claimed it was from 99.
Insect damage is quite common, and not a very big deal, apparently the bugs like the wrappers a lot more than the tea, and leave the tea alone. (With the exception of the bugs responsible for bug shit tea, I guess?)
Over the course of 15 years the tea probably didn't stay in one place, it's likely to have been moved through the storage room quite a bit, and it likely changed hands between various vendors before it reached you.
A sample of this tea was in my Christmas present from sweet Marzipan :D
The only other Sparrow's Tongue I've had was a tightly rolled very green version. Totally different from this! This one is all creamy and roasty and has a pleasant mineral finish. Extremely faint glimpses of floral notes peek through occasionally. Generally I prefer greener oolongs but this is a nice change for me.
I got one of these for Christmas in the cutest, tiniest box imaginable! Isn't it adorable? http://instagram.com/p/w-Q8STRh4u/?modal=true
So yesterday afternoon I had a lovely session with this tea http://instagram.com/p/xPipVdRhz1/?modal=true
The leaves were dark and glossy http://instagram.com/p/xPiz0kxh0L/?modal=true
For a somewhat woody tasting shou I had a really nice time drinking this. It was clean with some sweetness and no funk. Very nice :)
Thanks for the sample CameronB it looks like it originally came from Dexter so thanks to you too!
I am finding the sweet floral oolong pleasing with the candylike grape flavors today. Normally I wouldn't go for candy-ish flavored teas! Not sure what my deal is today but I am enjoying this, so yay :)
Thanks for the sample Cameron B and HAPPY BIRTHDAY!
I was trying this tea while in Steepster Chat and discussing it with Roswell Strange. At first I just got some non-descript fruit flavor from it…melon or lychee maybe? And then Roswell said she tasted peach and now its 100% peach for me. The power of suggestion! haha!
There is also a mild peppery note that sets this apart from other peachy black teas :)
I really appreciated cookies giving me a sample of this tea!
I have been very curious to try Camellia flowers. Mostly this tastes like white tea to me. Hay-like and a little sweet. The liquor has a very strange texture though, super thick and syrupy. Definitely interesting, but not something I'd buy in the future.
Thanks for the sample Cameron B!
This is pleasing to me today. I learned I enjoy Lupicia black teas brewed at 200 degrees instead of boiling. Tastes like strawberry candy in a good way :)
I have been doing the same. 200 for 3 minutes. Lupicia has the weirdest steeping suggestions. All greens at boiling?! Do they really drink it like that?!
Thank you for the sample cookies!
This is interesting…tart and a little sweet from the wine and earthy from the puerh. I preferred the 2nd cup I made which I lightly sweetened, which means this is not going on my shopping list even though I enjoyed it! (don't like to sweeten my teas regularly)

subset: commoncrawl


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Jake R.wrote a review of Nomis Foundation Hooded Shell Jacket - Men's on February 23, 2013
Amazing coat!
great coat! Its an amazing shell. Ive had it for about a week now and its awesome! Super waterproof and has a very long powder skirt. The inside also has nice extended sleeves that you can put your thumbs through so that your wrist dont get snow on them when you slam. It's also very warm for just a shell. Not something i would wear in anything under 10 degrees F but it looks cool and does a great job!


text: I'm thinking of moving to FL in the next 12 months. As I currently have a GA CCW, would I save any time by applying now for a non-resident FL CCW and then apply for the regular resident permit when the move is finalized. I would imagine that once I apply for FL ID (drivers license etc.) my GA status is automatically revoked. I really don't want to be without a permit and don't want to violate the laws of either state. So I guess what I really want to know is if there is an automatic change of non-resident to resident permit when FL ID is applied for ie. drivers license, mail, social security etc.


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SARASOTA, FL. - The Sarasota County Sheriff's Office has arrested a Sarasota woman for stealing thousands of dollars from the 94-year-old woman she was hired to care for.
Arrested is 52-year-old Lisa Redmond.
According to the Sarasota County Sheriff's Office, the victim's daughter reviewed her mother's financial statements when she came to Florida for the holidays and discovered her mother's credit card had been fraudulently used since May 2012 to make $15,000 in unauthorized purchases.
The victim and her daughter suspected Redmond, who had cared for the woman for the past three years.
Redmond subsequently admitted the crime to detectives. She was charged with Exploitation of the Elderly and released on $1,000 bond.


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I would strongly recommend that anyone interested in self improvement check this out.
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MINNEAPOLIS — J.J. Barea scored 14 of his 18 points in the fourth quarter and the Minnesota Timberwolves ended Oklahoma City's 12-game winning streak with a 99-93 victory over the Thunder on Thursday night.
Kevin Love had 28 points, 11 rebounds and seven assists and Nikola Pekovic had 24 points and 10 rebounds for Minnesota.
But it was Barea who was the key player, scoring 12 in a row at one point for the Wolves to hold off the team with the best record in the league.
Kevin Durant had 33 points, seven rebounds and six assists for the Thunder.
Russell Westbrook added 30 points, 11 rebounds and nine assists.
The Thunder had not lost a game since Nov. 23 at Boston.
LAKERS: Los Angeles guard Steve Nash went through his first full-contact practice without any setbacks to his broken left leg on Thursday, ESPN.com reported.
Nash said he'll likely return to game action on Christmas Day against the New York Knicks.
ALL-STAR SATURDAY: The event night is adding a team component, with the Eastern and Western Conference competing for $500,000 in charity.
The conferences will earn points based on the results of the night's four events: the Shooting Stars, the Skills Challenge, the 3-point contest and the slam dunk contest at its Feb. 16 event in Houston.
Each conference will have a captain, who along with the NBA and sponsor State Farm, will designate the charities his team is playing for.
The winning conference gets $350,000 for its charities and the runner-up gets $150,000.


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Video: B.I.C. – Yo So Widdit
B.I.C. (Bitches Is Crazy) is a rising 4 man group out of the Bronx whose music I recently happened upon. Come to find out, they recently signed with the good folks at Highwater Music (home to Fresh Daily, Mr. Len) and they are set to appear on the label's upcoming Synergy compilation, due out March 29th.
There's alot going on this video to say the least. Topless girls in ski masks grinding on a bed? Check. Exotically rolled cross and diamond hybrid joints? They're are plenty of those going around. There's even an Edward Fortyhands sighting towards the end.
While "Yo Soy Widdit" is definitely one of B.I.C.'s more party oriented records, trust me when I tell you, these kids have bars on deck. Look out for for them to drop their new project Influence on April 16th and download the maxi single below for Free 99.
Download: Link


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Pending an upcoming expansion into the Ferry Building, Humphry Slocombe is reaching out to the gods of crowdfunding through a campaign they've cleverly coined a "lickstarter." The campaign is run through a thing called "Kudos," which appears to be an online platform that lets you do all kinds of philanthropic things like donating to AIDS research and sending truffles to your friends as a "social accolade."
Humphry Slocombe's pitch is pretty charming, asking donors to become "Friends with Benefits" by donating $100, in exchange for a whopping $150 of ice cream (not all at once, mind you). The donation, as a "kudo," can be bought for oneself or gifted to another. More importantly, beyond helping to fund construction, donating means you will become part of special sect of humans who "officially follow and participate in the Evolution of Ice Cream." For $100, buying into a movement has never been so easy.
Where does the money go? The breakdown includes expanding their production facility and the size of their ice cream machines, as well as paying new hires and developing the Ferry Building space.
Jake Godby and Sean Vahey, partners and founders, are finally moving inside the building after 18 months of holding an outdoor stand at the Tuesday Ferry Plaza farmer's market. The pair won't get access to the Ferry Building spot until October, and Eater reports they'll be working with the original shop designer Jane Martin of Shift Design Studio to fabricate parts of the interior to expedite the actual renovation process when the time comes. When it does come, you can look forward to all the regular Humphry Slocombe favorites as well as a few flavors exclusive to the waterfront spot.
[via Eater SF]
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Through the generosity of Mr. Khalaf Ahmed Al Habtoor, Chairman of the Al Habtoor Group, the Dubai Harvard Foundation for Medical Research (DHFMR) is pleased to announce The Khalaf Al Habtoor Harvard Medical Research Fellowship, which will offer a qualified post-doctoral researcher from the UAE or the Middle East region the opportunity to work for up to three years at a research center or laboratory based at Harvard Medical School, Harvard School of Public Health or one of the Harvard Medical School affiliated hospitals.
The DHFMR currently supports post-doctoral Research Fellowship recipients from the GCC and Middle East region. DHFMR Research Fellowships are intended to give recipients the flexibility to explore fundamental scientific questions that will lead to better understanding of the diagnosis, treatment and prevention of disease. Their research relates to population groups within the Middle East region, and contributes significant knowledge to their host laboratory at Harvard.
DHFMR will issue a Request for Applications for the Habtoor Fellowship by March 31, 2011. DHFMR's Scientific Advisory Committee, whose members are leaders of the Harvard Medical School and Middle East academic research community, will review all applications. The Request for Applications' criteria and schedule for submission will be posted on DHFMR's website www.dhfmr.hms.harvard.edu [2]. Acting on the advice of the Scientific Advisory Committee, the DHFMR Board of Trustees, chaired by the dean of Harvard Medical School, approves the recommendations and notifies all successful award recipients.
"With Mr. Khalaf Al Habtoor's generous support, DHFMR can advance its mission to recognize talented young investigators from the Middle East region," said Jeffrey Flier, MD, dean of the Harvard Medical School faculty and DHFMR president. "We are delighted to have this opportunity to identify and support the next generation of researchers in the Middle East."
"It is an honor to support the work of Dubai Harvard Foundation for Medical Research," said Mr. Khalaf Al Habtoor, "and the Research Fellowship will have a significant impact on the recipient's career. Their experience and expertise will greatly benefit our country and our region."
The Dubai Harvard Foundation for Medical Research is a result of the formal collaboration between Harvard Medical School (HMS) and Dubai, with support from HH Sheikh Mohammed bin Rashid Al Maktoum, UAE Vice President and Prime Minister and Ruler of Dubai, and a group of private philanthropists. The Foundation supports biomedical research and academic programs that will advance new scientific knowledge and create a community of leaders in science and medicine in the Middle East and the Gulf Region, by developing a sustainable regional infrastructure and providing funding for pioneering research and new technologies.
[1] https://www.albawaba.com/en/node/355857?nid=365299
[2] http://www.dhfmr.hms.harvard.edu/
[3] http://www.albawaba.com


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Botnets are big networks of zombie computers - when your computer has been infected with some kind of malware that will allow someone to take control of your computer's processing power without your knowledge. Now, a researcher, Georgia Weidman, has created software that does that to your mobile phone, and she'll present her work at the Shmoocon conference later this month in D.C.
From MIT's Technology Review:
Weidman's attack works like this: After infecting a phone with a low-level program known as a rootkit, she uses that phone to send spam text messages, participate in a denial-of-service, or degrade the communications of the phone--all without the user knowing. The techniques apply to any smart phone, Weidman says, but she will use three different Android phones for her demo.


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Friday Travel Photo: Moab, Utah
The sweeping views on our recent trip to Canyonlands National Park in Moab, Utah, were well worth the slightly harrowing hike around the park's Needles district.
Friday Travel Photo: Cast Away Island, Fiji
Locals dub Fiji's Monuriki "Cast Away Island" because it's where the Tom Hanks movie of the same name was filmed.
Friday Travel Photo: Devon, England
We recently took a trip to Devon, England and made it a point to visit the beach of Saunton Sands.
Friday Travel Photo: Mindo, Ecuador
Our "Friday Travel Photo" comes from Kris Sanchez of Chicago. Here he explains his shot…
Friday Travel Photo: Newport Beach, Calif.
On a recent trip to California, we decided to drive Route 1 along the coast, the scenic highway that overlooks coves, cliffs […]
Friday Travel Photo: Jaipur, India
Our "Friday Travel Photo" comes from member Cristina Cardenal of Miami. Cardenal visited India in July for two weeks with her family, […]
Friday Travel Photo: Rhinebeck, New York
We recently attended a wedding on a beautiful property overlooking the Hudson River near Rhinebeck, New York, a slice of countryside that's […]
Friday Travel Photo: Carcassonne, France
This week's Friday Travel Photo comes from Chicago resident Elyse Carlucci, who took this photo while studying abroad in France.
Friday Travel Photo: Santorini, Greece
This was one of our many shots, snapped above the Grace Santorini boutique hotel looking out over Skaros, the iconic rock formation that juts out over the bright blue Aegean Sea.
Friday Travel Photo: Oostburg, Wis.
This week's "Friday Travel Photo" comes from Startle member Nancy Patek of Chicago, Ill. She took this photo during a recent trip to her lake house in Wisconsin, which she says she travels to almost every weekend in the summer.


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Design and Installation
During the initial consult, we will talk and listen to you about your thoughts and hopes for your outdoor project. After laying out the project and shooting grades, we will meet with you again to make sure all your ideas are met and that you are happy with the final design/layout. If you are pleased and wish to see what your finished project will look like before ground is broke, we will use the grades and design for the ground work using a 3D design.
3D Design Process:
- Finalize Design w/ homeowner
- Shoot precise grades
- 3-5 Days for rendering to be processed and completed
3D Design Usefulness:
- A 3D design will show the full property and area of the property where the project will be placed.
- The 3D design can show the exact materials and colors that are selected by the homeowners for said project.
- By using a 3D design the homeowner will see the full hardscaping/landscaping project with correct grades and scales; whether it be patios, walls, pool decking, fire places, fire pits, and/or outdoor kitchens.
- As long as no changes are made during the project or after the rendering is made the 3D design will depict exactly the finished project.
After the design is finalized, it's time for our crew to break ground. If your project calls for craftsmanship that is outside of our expertize we will call in a reputable and reliable company to make sure our customer is taken care of properly.
- Once the project is approved, we set a timeline for our work. This timeline usually leaves room to deal with unexpected hurdles or delays. We also like to keep in mind that homeowner's want the project completed as early as possible; so we ensure that we get our work done quickly while maintaining our high standards of quality.
- Conduct: All our employees are responsible and honest people and maintain professional conduct at all times. They clean up after the work day is done and are organized and efficient.
- Durability: We aim to install a project that will last your family a life time. While we warranty our craftsmanship, all of the products we use come with a life time warranty.
We Provide Services to the Following Cities and Towns in TN:
- Chattanooga, TN
- East Ridge, TN
- East Brainerd, TN
- Cleveland, TN
- Red Bank, TN
- Walden, TN
- Dunlap, TN
- Soddy-Daisy, TN
- Collegedale, TN
- Signal Mountain, TN
- Jasper, TN


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Suspect in French Jewish School Shooting Says Willing to Surrender
The latest updates from the siege in Toulouse: Suspect cuts contact with police; police evacuating raid neighborhood; interior Minister Gueant says two sisters, two brothers of suspect are now being held by police.
TOULOUSE - The prime suspect in the killings of three children and a rabbi at a Jewish school in Toulouse, southwest France, earlier this week, who is being besieged by French police in a Toulouse house, has told police that he would turn himself in later on Wednesday, Interior Minister Claude Gueant said.
The man has said he would do so "in the afternoon," Gueant told broadcaster BFM on Wednesday, but later on Wednesday the minister said that the suspect had cut contact with police.
Police began to evacuate the neighbors of the suspect, as the police siege continued.
The suspect's name is Mohammed Merah, the AFP news agency reported, citing a source close to the investigation. According to the French interior minister, the suspect was followed for several years by France's domestic intelligence service.
French police raid the house of the suspect in the Toulouse Jewish school shooting, March 21 2012
Mr Gueant said on Wednesday that two sisters and two brothers of the suspect are now being held by police.
The 24-year-old man has already turned over a Colt handgun by throwing it out of the window in exchange for a means of communication with police, Gueant said.
Download the new and improved Haaretz app for iPhone and Android.
But the suspect has told police that he has other weapons, including a Kalashnikov rifle and an Uzi gun, according to the minister.
Later on Wednesday, the minister said that a number of weapons have been found in a car parked near the house besieged by police.
French police began a raid on a house in Toulouse at 3 A.M. local time on Wednesday to arrest suspects in the shooting at the Ozar Hatorah school. The interior minister told French media that French police believe the prime suspect in the shooting is believed to be in the house.
Two French police were injured in a shoot-out during the raid.
Meanwhile, a funeral service for the four victims of the shooting at the Jewish school in Toulouse earlier this week began in Jerusalem on Wednesday morning.
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>Gears and Wears>Brooks Defyance vs. Ghost
Anyone have experience with both of these Brooks models ? I currently run in a size 10 Defyance. My local running store did not carry the Defyance, so I had read some good reviews about the Ghost and bought that - size 10 - instead. First run was 7 miles and they felt fine except I developed a small blister on inside of foot - midway between arch and ball of my left foot. Waited a week and after a 5 mile run - same small blister - same spot.
I also have a secon pair of shoes I rotate - Mizuno Wave Rider - size 9.5.
Do my feet just need to get used to the slightly different shoe model ? or do i need to break them in more with shorter runs ? or do i give up and sell them online after only 12 miles
You shouldn't ever have to "break in" running shoes - they should be good from the start. If you're getting blisters, it's likely because the Ghosts just don't fit as well as your other shoes do (or, they don't fit as well with the socks that you're wearing with them). I have a pair that will always give me a blister on my big toe, so I've started only running shorter runs in them, leaving my better fitting shoes for longer/tougher workouts.


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Corporate Profile
Cidara is a clinical-stage biotechnology company focused on developing new anti-infectives that have the potential to transform the standard of care and save or improve patients' lives. The company is currently advancing its novel echinocandin antifungal, CD101 IV, through Phase 2 and developing CD201, its bispecific antimicrobial immunotherapy, for the treatment of multi-drug resistant Gram-negative bacterial infections. CD101 IV has enhanced potency and is the only once-weekly therapy intended for the treatment and prevention of life-threatening invasive fungal infections. CD201 is the first drug candidate selected from Cidara's novel Cloudbreak™ platform, the first immunotherapy discovery platform designed specifically to create compounds that direct a patient's immune cells to attack and eliminate bacterial, fungal or viral pathogens. Cidara is headquartered in San Diego, California.
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At Gemvara, we believe that the jewelry you wear should be as unique as you. Every beautiful Gemvara sterling silver emerald band jewelry design will be made just for you. It's jewelry for all life's occasions, from a birthday or Valentine's Day to your own personal milestones and celebrations. Gemvara uses only the highest quality materials to craft your sterling silver emerald band jewelry with meticulous attention to detail. Our precious metals are recycled or responsibly mined. The gem of the goddess Venus, emerald has long symbolized love and rebirth. Style icons Jacqueline Kennedy and the Duchess of Windsor wore emerald engagement rings. Gemvara's emeralds have exceptionally fine color which gives them lasting value. Even fine quality natural emeralds almost always have birthmarks or inclusions visible inside the gem. Emerald is the May birthstone and the 20th anniversary gem. Gemvara is the first online retailer to offer sterling silver jewelry crafted in Argentium, the finest silver, which has a shine that lasts ten times longer than traditional silver without tarnishing. Our wide selection of sterling silver emerald band jewelry by Ruzanna Davtian, Randy Dixon, Ji Hwang, and other talented designers means you can find rings, earrings, and necklaces that are exactly your style. You can also shop by style, choosing our Scrolls & Patterns, Braided, or Mothers Collections. When our work is done and you open that box, you'll see your design is even more beautiful when brought to life in the finest precious materials.
We can help right away. Chat with a jewelry expert now!


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Backpacking boys make journey of a lifetime
By A Sharadhaa | Published: 19th December 2012 10:47 AM |
Last Updated: 19th December 2012 10:47 AM | A+A A- |
Dinesh Menaria an MBA in marketing and retail management from IIM and Shobhit Sharma an MBA in marketing and international business from IMS Dehradun worked for a telecom company as area sales managers in Bangalore. The two like-minded colleagues who wanted something more from life came together in their search for that one satisfying element.
"We felt that we were here to do something for humanity and for the country than to ourselves," said Dinesh. This prompted their journey of experience, learning and a journey of transformation which they named 'Sancharan'. "We set out to experience our love for the open roads of India. With just a backpack and each other for company we took off on November 15, 2011. The journey took us to a virgin India where we could overhaul the essence of life through spirituality, adventures and social acquaintance," they chorus.
Buses, trains, cycles, motorcycles, took the two back-packers through 22,589km over 309 days. Shuffling between nomadic and lavish lifestyles, Dinesh and Shobhit experienced Incredible India in its schools, tribes, seashores, oceans, villages and mountains.
Their journey began from the West then south and finally ended at the Himalayas. The best part of the journey was that they did not carry any money to support themselves and instead earned to finance their travels. "We took general compartments in trains. After five months of our journey we bought a used bike only to explore more inside villages and the Himalayas. We used funds that we had reserved for medical emergencies. We did not face any major problems for food and stay as Indians have a large heart. People we met along the journey took care of us. We did carry a tent, when we did not get accommodation, we slept in our tents."
Throughout the journey, their single point of contact was Prashanth Sambargi, through whom they got the encouragement to take up the journey. "I used to be in touch with them to know about their whereabouts and would update their parents regularly. There was a lot of discouragement from everybody about their journey. I stood by them. I am glad, they were successful," he said.
The journey was no picnic for them. "We saw some bad days and some good ones. It was a daring adventure. Twenty years from now we will disappointed by the thought that we did not do something," said Shobhit, adding, "We got to know India better and saw her charisma change every 100km."
The unplanned and spontaneous Sancharan is over but journey doesn't end here for them. They have a vision, they want to implement what they learnt out of this journey. "While traveling, we saw what rural India lacks. When we visited schools, colleges, and had sessions with students on career guidance, computers, etc. We realised that the solution for all their problems lies in education. Vocational education with moral values will help them lead a sustainable life. There are more than 6,00,000 villages in India and the children here are way to far from this sort of education who are born with endless capabilities and possibilities. Now we have taken a pledge to make things right. We wish to make education an overall development programme," revealed Dinesh.


text: I just read a Facebook post from Project Linus that said 8500 quilts were made and sent to Japan to help victims of the tsunami. That is an incredible number. I know our local group produced and contributed 100 of those in 2 weeks! Now we are doing the same for our own state. In the past week we have collected almost 50 quilts. Some of you have made contributions and we ThankYou very much! The effort continues so if you want to help, please PM me.


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Maine General Hospital, Portland, ca. 1938
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A Tichnor Brothers postcard from about 1938 shows Maine General Hospital in Portland, which opened in 1874 on Arsenal Street.
It was built using the more advanced hospitals in New York and Boston as guides. At the time of the opening, rates ranged from $7 to $25 per week.
The caption reads, "Maine General Hospital and Western Promenade, Portland, Me."
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Media Contacts
Carol Hively, Director - Public Relations and Team Communications
[email protected]
On Feb. 4 the Department of Defense (DoD) released its long-awaited 10-year National Security Space Strategy (NSSS), which, according to Secretary of Defense Robert Gates, "represents a significant departure from past practice" with a pragmatic approach to maintain advantages derived from space while confronting the new challenges of an increasingly "congested, contested and competitive" space environment.
NSSS places increased emphasis on proper norms of behavior by space actors, enhanced space situational awareness and partnership with international and commercial space users.
Signed jointly by Gates and Director of National Intelligence James Clapper, NSSS is derived from the National Security Strategy and the National Space Policy and outlines changes to enhance national security through DoD and intelligence community activities in space. It is the culmination of a lengthy Space Posture Review conducted in consultation with other agencies and allies.
According to the DoD, the fiscal 2012 budget will contain initial steps toward NSSS implementation to lay the foundation for changes in fiscal 2013 and beyond. The new Defense Space Council, chaired by Secretary of the Air Force and Department of Defense Executive Agent for Space Michael Donley, will help oversee implementation.
For more information about NSSS, click here.
Carol Hively, Director - Public Relations and Team Communications
[email protected]


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The Unemployment Rate is Not Signaling a Recession: Update November 3, 2017
A reliable source for recession forecasting is the unemployment rate, which can provide signals for the beginnings and ends of recessions. The unemployment rate model (article link), updated with the October figure of 4.1%, does not signal a recession now.
The model relies on four indicators to signal recessions:
- The short 12-period and a long 60-period exponential moving average (EMA) of the unemployment rate (UER),
- The 8-month smoothed annualized growth rate of the UER (UERg).
- The 19-week rate of change of the UER.
The criteria for the model to signal the start of recessions are given in the original article and repeated in the Appendix.
Referring to the chart below, and looking at the end portion of it, one can see that none of the conditions for a recession start are currently present.
- The UER was in a process of forming a trough, the short EMA remains below its long EMA – the blue and red graphs, respectively, the spread is minus 0.29% (last month minus 0.25%).
- UERg has formed a trough in 2015 and is steepening, but still at a low level of minus 12.39% (same as last month) – the green graph.
- Also the 19-week rate of change of the UER is now at minus 6.5% (last month minus 2.3%), well below the critical level of plus 8% – the black graph.
For a recession signal, the short EMA of the UER would have to form a trough and then cross its long EMA to the upside. Alternatively, the UERg graph would have to turn upwards and rise above zero, or the 19-week rate of change of the UER would have to be above 8%. Currently the trajectories of the unemployment rate's short- and long EMA are still downwards – none having a positive slope, UERg is far below zero, and the 19-week rate of change of the UER is also way below the critical level.
Based on the historic patterns of the unemployment rate indicators prior to recessions one can reasonably conclude that the U.S. economy is not likely to go into recession anytime soon.
The model signals the start of a recession when any one of the following three conditions occurs:
- The short exponential moving average (EMA) of the unemployment rate (UER) rises and crosses the long EMA to the upside, and the difference between the two EMAs is at least 0.07.
- The unemployment rate growth rate (UERg) rises above zero, while the long EMA of the unemployment rate has a positive slope, and the difference between the long EMA at that time and the long EMA 10 weeks before is greater than 0.025.
- The 19-week rate of change of the UER is greater than 8.0%, while simultaneously the long EMA of the UER has a positive slope and the difference between the long EMA at the time and the long EMA 10 weeks earlier is greater than 0.015.
No Recession Is Signaled By iM's Business Cycle Index: Update November 16, 2017
Knowing when the U.S. Economy is heading for recession is paramount for successful investment decisions. Our weekly Business Cycle Index (BCI) would have provided early reliably warnings for the past seven recessions.
The BCI at 233.7 is above last week's 232.8, and it is at a new high for this business cycle as indicated by the BCIp at 100. Also, the 6-month smoothed annualized growth BCIg is at 16.0, which is above last week's 15.1.
No recession is signaled.
Figure 1 plots BCIp, BCI, BCIg and the S&P500 together with the thresholds (red lines) that need to be crossed to be able to call a recession.
The BCI was designed for a timely signal before the begin of a recession, and could be used as a sell signal for ETFs that track the markets like (SPY), (IWV) or (VTI) etc, and switch into treasury bond ETFs like (IEF),(TIP) or (BND) etc. (see our article.)
The BCI uses the below listed economic data, and combining the components for the index in "real time", i.e. the data is only incorporated into the index at its publication date.
- 10-year treasury yield (daily)
- 3-month treasury bill yield (daily)
- S&P500 (daily)
- Continues Claims Seasonally Adjusted (weekly)
- All Employees: Total Private Industries (monthly)
- New houses for sale (monthly)
- New houses sold (monthly)
The 6-month smoothed annualized growth rate of series is a well-established method to extract an indicator from the series. We use this method to obtain BCIg, i.e. the calculated growth rate with 6.0 added to it, which generates, on past performance, an average 11 week leading recession signal when BCIg falls below zero. Further, the index BCI retreats from its cyclic peak prior to a recession in a well-defined manner allowing the extraction of the alternate indicator BCIp (and its variant BCIw) from which, on average, 20 week leading recession signal is generated when BCIp falls below 25. A more detailed explanation/description can be found here and weekly updates are sent by email to subscribers of iMarketSignals (no paid membership is required). Also, the historic values can be downloaded from iMarketSignals as an MS excel sheet.
Figure 2 plots the history of BCI, BCIg, and the LOG(S&P500) since July 1967, and Figure 3 plots the history of BCIp, i.e 46 years of history which include seven recessions, each which the BCIg and BCIp managed to indicate timely, the weeks lead to a recessions are indicated on the plots.