text:
The program "Omar Nelson Bradley: America's GI General," scheduled for Wednesday, 12 September 2018, has been cancelled because of the impending hurricane, expected to hit here by Thursday. The program will be rescheduled for Wednesday, 10 October 2018, at 7:00 PM.
James T. (Jim) Guy, oldest son of former NHS President and lecture series founder Louis Guy, made our Second Wednesday program on July 11 a memorable one, and left all of us wanting more.
Appearing as George Washington, Jim spoke to a near-capacity audience, bringing little-known stories about the future president's early years, and the many twists and turns his life took before he found the path that would lead him to military and political fame, and his role as Father of His Country.
Jim promises to return in 2019 to bring us the "rest of the story." Many, many thanks to Jim - your dad would be so proud!
Dr. Richard Brown spoke to an enthusiastic audience last evening on the history of medicine in Early Virginia, touching on the extensive use of plants and herbs in treating ailments. While some Colonial-era remedies sound questionable today, others - such as digitalis and quinine - are still in our medical vocabulary. Still others, such as lavender, rosemary, thyme and mint, as found in most modern herb gardens. And laudanum was once thought to be good, very good - if it didn't kill you first. Thank you, Dr. Brown, for a lively and informative presentation, and for the list of Colonial herbs you provided as a handout.
Norfolk Historical Society
Annual Meeting—21 January 2018
St. Paul's Episcopal Church Parish Hall
The annual meeting of the Norfolk Historical Society was called to order by Mrs. McPhillips at 2:32 p.m. Board members present were: Joanne Berkley, Dick Boutwell, Anne Brockenbrough, Bill Davis, Steve Forrest, Carter Furr, Jim Gildea, Greta Gustavson, John Lindberg, Peggy McPhillips, Chris Melhuish, Bill Miner, Mike O'Hearn and Troy Valos.
Mrs. McPhillips expressed the Board's appreciation to the Church for allowing us to have the annual meeting in the Parish Hall. She then gave a recap of 2017 and highlighted the two scholarships given to Access College Foundation in memory of George Tucker and Louis L. Guy and the monthly LLG History Series. Mrs. McPhillips also noted that an initiative for 2018 is to have Fort Norfolk open more frequently and also to open the Powder Magazine. Mr. Boutwell, membership chair, stated that it the committee's goal to increase membership in 2018.
Financial Report
Mr. Gildea reviewed income and expenditures during the 2017 fiscal year. He stated that the Foundation account was doing well because of a successful year for the stock market. He added that there were 172 paid memberships for 2017 and that there are 121 new and/or renewing memberships to date for 2018. Mr. Gildea then reviewed projected income and expenses for 2018. He noted that the NHS commitment to the Slover Library will be completed in 2018 and discussion has taken place concerning new ideas.
Nominating Committee
Mrs. McPhillips presented the report of the Nominating Committee for 2018-2020, submitted by Mr. Perreault, as follows: President, Peggy McPhillips; Vice President, Mark Perreault; Treasurer, Jim Gildea; and Secretary, Greta Gustavson. Board members nominated were as follows: Joanne Berkley, Dick Boutwell, Anne Brockenbrough, Bill Davis, Caroline Doonan, Russell Evett, Chip Finch, Steve Forrest, Bob Garris, Craig Jones, John Lindberg, Joyce McKeever, Chuck McPhillips, Chris Melhuish Bill Miner, Mike O'Hearn, and Troy Valos. After no nominations were received from the floor, a motion was made by Mrs. Berkley to accept the slate of officers and board as presented. The motion was seconded by Mr. Fanshaw and unanimously approved.
NHS Work Program
Mr. Miner briefly reviewed the NHS Work Program for 2018 and said that copies were available for review. He added that a tour of the Church would be conducted following the meeting.
Membership Committee
Mr. Boutwell said that it is the committee's intent to make membership as inclusive as possible and that he will be sending letters to members in the near future to match members with various NHS program areas. Mrs. McPhillips encouraged those present to pick up extra brochures to give to friends and neighbors to make them aware of NHS and its various activities.
Fort Norfolk
Mr. Forrest stated that the Fort will continue to be open on Sundays between 12 noon-4:00 p.m. during summer months.
St. Paul's Archaeological Work
Mr. Miner reported that the majority of the work has been taking place in the southeast corner of the churchyard in search of the footprint of the 1699 church. A report will be forthcoming on the work undertaken in 2017.
Mrs. McPhillips announced that, due to personal illness, the speaker could not be in attendance. In his stead, Mr. Lindberg gave a presentation on Fort Norfolk similar to that given to civic leagues and other interested groups. He began the presentation by playing of the recording of the National Anthem as it would have been played during the Civil War. It was recorded by the Gosport Brass Band, of which he is a part, and he added that the band would be interested in playing at a benefit for the Fort. Mr. Lindberg then gave a history of the Fort and its significance followed by a description and purpose of the Fort's various structures. Mr. Lindberg closed the program with a hymn, also recorded by the Gosport Brass Band. Mrs. Berkley thanked both Mr. Lindberg and Mr. Forrest for the research they have done on Fort Norfolk. Mrs. McPhillips added that NHS needs to advertise the Fort better.
Mr. Melhuish gave a brief overview of a project he has regarding the return of the USS Chesapeake's battle ensign, which was taken from the ship during a battle in the War of 1812. Estimated costs would be between $20,000 and $30,000 to bring it to the Chrysler Museum of Art for a temporary display. He is working for this to be an event that engages the community.
There being no further business, the meeting was adjourned at 3:56 p.m.
Respectfully submitted,
Greta Gustavson, Secretary
We're glad that you've taken the time to visit the new NHS website and we want to make certain that you get everything out of it that you can! If you're a member, you should have received an e-mail from the NHS with information on how to access the "Members Only" section of this website. If you haven't, it is most likely because we don't have your e-mail address on file. E-mail us at email@example.com and provide us with your current e-mail address and we can send you information so that you can explore the site even further!
Not a member? We'd love to have you join so that you, too, can explore the other parts of the website! Visit our membership page to learn more about becoming a part of the Norfolk Historical Society!
You may have noticed that the NHS website looks a little different from before. We hope that this new site will allow the Norfolk Historical Society to better inform and interact with the public regarding our activities and purpose. Through this new site, you can view and register for upcoming events, review past events, and discover other organizations and resources which are relevant to Norfolk history. You can also join or renew your membership or donate to the Norfolk Historical Society at your convenience!
Members will be able to explore exclusive content on this page as well as post to forums where you can discuss various topics regarding Norfolk's past. If you are a member of the Society, you will be able to access membership directories and modify your profile to keep your information up to date.
We're still in the process of tweaking and adding to the site. As you familiarize yourself with the site, we invite your comments so that we might improve it! Post below or e-mail us.
Address: P.O. Box 6367, Norfolk, VA 23508-0367
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Email: firstname.lastname@example.com

subset: commoncrawl


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By Márton Domokos
As of 1 January 2012, a new data protection supervisory authority was established in Hungary called the National Authority for Data Protection and Freedom of Information, or Nemzeti Adatvédelmi és Információszabadság Hatóság (NAIH). Its predecessor was a Scandinavian-type parliamentary ombudsman, a data protection commissioner, who was entitled to a limited scope of sanctions. One of the most important changes is that the NAIH has the right to impose fines between HUF 100,000 (approx. EUR 370) and HUF 10,000,000 (approx. EUR 37,037). Now the NAIH has published its 2012 annual report in order to provide a detailed overview on its operation in "year one" so stakeholders can assess whether the establishment of the new authority strengthened the companies' data privacy compliance.
Notable Cases–Data Retention, Access Requests and Mass Mailing
In 2012, 3,008 data privacy requests were submitted to the NAIH, which is significantly more than the 2,274 in the previous year. The infringement of the law has been determined in 514 cases so far--419 of which are related to data privacy, while 95 are related to freedom of information.
The most important cases before the NAIH affected the data privacy aspects of the following topics: advertisements; website registrations; newsletter services; secure storage of company documents; sending of mass e-mails and unsolicited SMSs; denial of access to medical data; operation of CCTV at the workplace; handling of insurance secrets; online games and coupons, and debt enforcement. The affected companies are business entities: one financial institution, one health insurer, five state organisations, one municipality and one private person. The NAIH imposed a fine in 11 cases. The maximum fine--HUF 10,000,000, or approximately EUR 37,037--was imposed once, and the minimum fine--HUF 100,000, or approximately EUR 370)--three times. Accordingly, the other fines ranged between these two amounts.
In one case, the service provider concerned has stored the documentation of liquidated companies for numerous years on unprotected premises which was also easily accessible to the public. The majority of the documents contained personal data, such as medical final reports, copies of personal identification cards and driving licences and social security documents. The NAIH imposed a fine of HUF 5,000,000--approximately EUR 17,000.
In another case, a complainant requested access from a damage settlement company to a medical expert opinion about him, but it was rejected on the basis that such data are only for internal use. An HUF 500,000--approximately. EUR 1,700--fine was imposed by the NAIH. A financial services provider was also fined HUF 800,000--or approximately EUR 2,800--for sending mass emails to its 600 clients while all addressees remained visible to all clients, as no blind copy was applied. The maximum statutory fine of HUF 10,000,000-- or approximately EUR 35,080--was imposed on a real estate advertisement service provider who did not allow its clients to delete their advertisements and personal data and transferred the clients' personal data without consent to the operators of similar websites and debt collection companies. It is also worth noting that the NAIH also closed a long-term investigation and finally allowed Google to release its Street View.
Considering the findings of the NAIH in the above cases, it is advisable for companies to revise their data retention practices, access request mechanisms and the processing of their client contact lists.
Changes in the Law on Workplace Privacy and CCTV Use
Before 1 July 2012, monitoring of employees' activities required the prior and informed consent from the people affected.
Now, the New Labour Code is introduced, and no prior consent is required from the employee to monitor the employment-related conduct of the employee. However, the employer shall provide preliminary information on the technical measures used, and the private life of the employees may not be monitored; In addition, the methods shall not violate human dignity. In its report, the NAIH emphasises that notwithstanding the general authorisation provided by the New Labour Code, the employment-related data processing is lawful only if the employer complies with the essential provisions of the Data Protection Act regarding the data processing, i.e. adequate information and fair processing. The NAIH has also issued a recommendation, consolidating its previous practice on the data privacy implications of CCTV use.
CCTV shall only be used for the protection of health and safety, storage of dangerous materials, protection of business secrets or company property. It is prohibited to place a camera in clothing rooms, bathrooms, toilets, medical rooms, waiting rooms and places where employees take their breaks. The visual angle of the camera shall not be wide. Employers shall publish a data privacy notice on the CCTV, containing the reason of its installation and the territory which is covered. Employers can store the recorded data for three working days; However, the DPA provides some flexibility to determine the cases where the recorded data may be stored longer. The NAIH requires employees to certify that the employees have received the information on the CCTV operation.
It is advisable for employers to revise their data privacy practices in accordance with the above workplace-related recommendations of the NAIH.
Deficiencies in the Legislation
Act CXII of 2011 on the Right of Informational Self-Determination and on Freedom of Information-- or Data Protection Act-- as of 1 January 2012, enables the transfer to third countries without consent only if an adequate level of protection is ensured. Such protection can be established by "binding legislation of the EU" or an international agreement. The Data Protection Act does not define what "binding legislation of the European Union" includes. In practice, it refers to whether the European Commission has determined that the third country ensures an adequate level of protection, the Safe Harbour principles are applied or an "EU Model Clause" is concluded in respect of the data transfer. Since 1 January 2012, entering into other individual data transfer agreements or applying Binding Corporate Rules for International Data Transfers (BCRs) are not considered as providing "adequate protection" anymore. This modification in the legislation was strongly criticised by both the DPA in its report and the industry; However, it remains a question whether the legislator is willing to correct the deficiencies with an eventual amendment of the Data Protection Act. Until such correction, it is advisable for companies to revise their international data transfers accordingly.
Cloud and Cookies
Unfortunately, the report of the NAIH does not address the local issues of data privacy compliance in respect of cloud computing and the use of cookies in details. The NAIH only notes that it has identified numerous deficiencies in the Hungarian legal provisions as well as in the industry practice regarding the compliance with cookie consent rules, and it will make proposals accordingly. As regards cloud computing, the NAIH emphasises that it relies on Opinion 05/2012 on Cloud Computing by the Article 29 Working Party and on the "Sopot Memorandum" of the International Working Group on Data Protection in Telecommunications and that the storage of "sensitive personal data" in the cloud is not recommended. Until detailed guidance from the NAIH on the use of cloud and cookies, data processors should proceed with utmost care.
Márton Domokos is a lawyer with CMS Cameron McKenna LLP in Budapest. Areas of specialisation: legal advisor for the IT sector, data protection and privacy law, internet law, general commercial contracts, corporate restructuring, mergers and acquisitions. As part of his data privacy and regulatory expertise, Márton has specific knowledge of and continuously monitors the regulatory developments in the field of cloud computing and cookie use in Hungary. Recently, he spent six months secondment period at the CEE headquarters of a multinational American technology and services conglomerate as a member of the legal department being responsible for the region. He can be reached at firstname.lastname@example.com.
Read more by Márton Domokos:
HUNGARY—Financial Supervisory Authority issues circular for Hungarian financial institutions on the use of cloud computing technologies
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AC/DC Tops Euro Chart For Third Week
By Paul Sexton
AC/DC holds off new entries to the European Albums top ten by Diana Vickers, Mark Medlock and the Deftones to start a third week at No. 1 with the "Iron Man 2" soundtrack (Columbia/Sony Music Entertainment).
Stromae's "Alors On Danse" (Mosaert/Vertigo) begins a seventh non-consecutive week atop European Hot 100 Singles.
The AC/DC album tops the charts again in Norway, Austria, Ireland and Flanders, falls 1-2 in Sweden but moves 2-1 in Switzerland. It also holds at No. 2 in Germany and Wallony, No. 3 in the United Kingdom, No. 4 in Italy and Hungary and No. 5 in Spain.
Lady Gaga's "The Fame" (Interscope/Universal) is up again on the composite chart, 3-2, improving 11-5 in Switzerland, 7-5 in the United Kingdom, 9-8 in France and 12-9 in Portugal. The equally resilient "The E.N.D. (The Energy Never Dies)" (Interscope/Universal) by Black Eyed Peas rebounds 7-3 overall, inspired by moves of 12-6 in Ireland, 7-6 in Austria and Wallony and 16-10 in the United Kingdom.
Teenage U.K. breakthrough pop artist Vickers follows her No. 1 single there, "Once" (RCA/Sony Music Entertainment), with a chart-topping debut in her home territory for her debut album "Songs from the Cherry Tree." It sells 35,000 to lead the U.K. market, and opens at No. 7 in Ireland, fuelling a No. 4 start on European Albums.
Amy Macdonald's "A Curious Thing" (Mercury/Universal) bounces back 10-5 on the pan-European chart, thanks chiefly to an 8-4 improvement in Germany. Slipping one place each Europe-wide are Unheilig's "Grosse Freiheit" (Universal) to No. 6 and Plan B's "The Defamation of Strickland Banks" (679/Atlantic/Warner Music) to No. 7. The Unheilig album remains at No. 1 in Germany while Plan B's falls 1-2 in the United Kingdom on weekly sales of 33,000.
Medlock, the 2007 winner of "Deutschland Sucht Den Superstar," continues his successful album career with debuts at No. 3 in Germany and No. 7 in Austria for "Rainbow's End" (Columbia/Sony Music Entertainment), for a No. 8 entry on European Albums. Justin Bieber's "My World 2.0" (Universal Island/Def Jam), the "second half" of the debut studio set by the Canadian pop act, jumps 11-9 overall, 7-4 in Norway and 20-9 in Holland.
U.S. rock act the Deftones rounds out the pan-European album top ten with a new entry at No. 10 for "Diamond Eyes" (Reprise/Warner Music). Its best European market is Germany, where it starts at No. 8, and it's in at No. 26 in the United Kingdom (on 7,000 sales).
Stromae's single continues its No. 1 run in France, Holland, Denmark and Flanders, and holds at No. 2 in Italy and Austria. The former European Hot 100 Singles chart-topper "Telephone" by Lady Gaga and Beyoncé continues at No. 2, after climbing 3-1 in Wallony and holding at No. 3 in Italy and No. 5 in France.


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Over the last decades, Limite has
left its mark on the cultural history, not only of Brazil. One may
think of the now somewhat overcome polemics by filmmaker Glauber Rocha
in the 1960s, rejecting Limite and favoring Ganga Bruta (1933)
by Humberto Mauro (see article below). More recently we find a sequence
of Peixoto in O cinema falado (1986), the only film by Caetano
Veloso. Singer/songwriter Adriana Calcanhoto projects scenes from Limite
during the song O Mocho e a Gatinha on her DVD Adriana
Partimpim (2004). David Bowie chooses Limite as the only
Brazilian film among his ten favorites from Latin America for the HIGH
LINE FESTIVAL in 2007. In May 2007 a new restored version of Limite
is screened at the Cannes Film Festival and was one of the selected
films from the World Cinema Foundation. An idea of Martin
Scorsese, some film-makers have decided to put together, within the World
Cinema Foundation, a non-profit organisation whose aim is to
provide financial assistance for the preservation, restoration and
broadcasting of films from all over the world, in particular the cinema
of Africa, Latin America, Asia and Central Europe. Here a dossier on
Limite elaborated by ZZ Productions, Paris http://www.zzproductions.fr
for this event. For an article on Limite in the context of
Brazilian cinema, please use
this link.
Recently, the film has been restored by
the Cinemateca Brasileira and
the new version was presented in November 2011 at the Auditorium
Ibirapuera in Sao Paulo, at the ocasion with a new soundtrack, composed by the
Norwegian musician Bugge Wesseltoft. The musician came to Brazil to
perform a live session accompanying the screening with fellow Norwegian
Hello Kvernberg (violin) and Rodolfo Stroeter (bass), Nana
Vasconcelos (percussion) and Miranda Marlui (flute and vocal) from
Brazil. An excerpt can be seen on youtube.
In the end of 2013 the Cinemateca released a DVD edition of Limite as part of the second volume of its jornal Revista da Cinemateca Brasileira.
For movie orders and legal issues, please contact the Centro Técnico Audiovisual – CTAv/SAV/MinC.
A discussion on Limite and
the (so far) unreleased documentary film on Peixoto called O mar de Mário by Reginado
Gontijo can be found here
(in Portuguese).
Next a short historic look at the unique
film of Mário Peixoto.
Speaking of more experimental movies in Brazil or such films made by
Brazilian directors in the 20s and 30s, one can name basically three
productions: first, Rien Que
Les Heures (1926), filmed in Paris by Alberto Cavalcanti
(1897–1982), who would later work for the Paramount Studios and
with John Griersonus in Great-Britain before going back to Brazil;
second: São Paulo-
Sinfonia da metrópole
directed by Rodolfo Lustig and Adalberto
Kemeny, a film obviously inspired by Ruttmann's Berlin
Symphony of 1927. And finally we have Limite,
filmed in 1930 and first exhibited in 1931, directed and written by
Mário Peixoto which has over the years become a quite legendary
cult movie and has been voted several times as one of the best
Brazilian movies ever made. Even though English-speaking critics have
frequently translated the title as "boundary", I would like
to keep the term Limite or Limit
since, in my view, it does have a certain programmatic quality. First,
I would like to point out the iconic quality of the "I" as
a structural conception that characterizes the permanent visual lines
throughout the film, as in wires, roads, bare trees, branches and
plants, stakes and posts, roofs, walls, grades, bars, fences, legs or
even stockings-ladders. And it is not by chance that after the opening
sequence – exploring a more fluid, amorphous state – the
camera focuses on the boat plank as the initial line which will then
lead us down the first memory lane. These visual lines, at times
running out into the open and at others forming limited spaces such as
triangles or crosses, therefore serve as a band, a connecting string
for the different flashes of the past as well as indicating their
limitations, giving the whole movie a very geometrical structure,
counterbalanced by moving details such as
wheels, handles and of course the movements of the camera itself.
Secondly, Limite may be seen as on the historical
limit between silent movies and talkies, a movie with a certain
ambition to summon up many of the esthetic and technical possibilities
developed in the 10s and 20s. From a retrospective point of view, one
may link the repetition of camera shots or the close-up of details to
Man Ray, find the same music score by Satie in Limite
as in Man Rays Les Mystères du Château des
Dés (1928), a very rhythm oriented structure as for
instance in Vertov's Man with a movie camera
(1929) or in the Berlin Symphony (1927) even though
of a different quality and speed, as well as the very spare use of
intertitles as in Murnau's The Last Laugh
(1924). The boat scenes in Limite might evoke
parallels to Murnau's Sunrise (1927) and the
shouting scenes in both also bare some similarities. The moving fields
and plants we may find on Earth (1930) by Alexander
Dovzhenko and of course one should mention an enormous variation of
camera movements and angles as an exploration of the medium
film itself.
Limite can therefore
be seen as an effort to explore the visual possibilities, the
experimental techniques and the rhythmic variations of the filmic medium
in the context of a sometimes melancholic and sometimes somewhat
aggressive statement about the limitation and the futility of human
existence. And finally we have to mention the technical limitations of
a film made without a professional backup structure, a one-man
enterprise financed by the director/writer himself. It was above all
cameraman Edgar Brazil's brilliance that enabled the director to
realize the effects he envisioned. Edgar Brazil was born in
Hamburg/Germany as Edgar Hauschild and of similar importance in Brazil
as Karl Freund was, for instance, in Germany. He also worked with
Humberto Mauro and Adhemar Gonzaga, two other important directors of
that time and built the special equipment Peixoto required for his
elaborate movements of the camera, such as a wooden crane activated by
ropes enabling a vertical camera shift or a litter carried by four
porters used to follow the steps of a couple on the beach.
When Mário Peixoto returned from Europe in October 1929, he
offered his hand-written scenario to director friends Gonzaga and
Mauro. But both declined. They advised him to make the film himself and
to hire cameraman Edgar Brazil who would have the necessary experience
to guarantee the realization of the project. Shooting began in mid
1930, in the city of Mangaratiba, Rio de Janeiro, where today the Fundação Mário Peixoto mantains a museum dedicated to the director. Peixoto used - for the first time in Brazil - panchromatic film material
with a high sensitivity for grey scales. Stills from Limite
were soon distributed and, in an effort to raise the public
expectation, they were occasionally presented as photos from a new
Pudovkin movie..
The first screening took place on May
17th 1931 in the Cinema Capitólio in
Rio de Janeiro, a session organized by the Chaplin Club,
which announced Limite as the first Brazilian film
of pure cinema. It received favorable reviews from the critics who saw
the film as an original Brazilian avant-garde production, but never
made it into commercial circuits and over the years was screened only
sporadically, as in 1942 when a special session was arranged for Orson
Welles who was in South America for the shooting of his unfinished It'
s all true and for Maria Falconetti, lead actress of
Dreyer's The Passion of Joan of Arc (1928). Due
to various facts, Limite, sometimes referred to as
the "unknown masterpiece" - an expression derived from
Georges Sadoul who in 1960 had made an unsuccessful trip to Rio de
Janeiro just to see the film - along with Mário Peixoto, became
quite legendary subjects.
Soon after the first screening in Rio,
Limite was shown on several occasions in Europe, in Paris as
well as at the Marble Arch cinema in London where it
is said to have attracted Sergei Eisenstein's interest and an
article written by him entitled A movie from
South America, supposedly published in 1931 in the The
Tatler Magazine. This article has
frequently been quoted as proof for the international recognition and
reputation of Limite, as in the program of the Berliner
Filmfestspiele in 1981 or as recently as in 2004 when At
the edge of the earth, the documentary about Mário
Peixoto, was presented in several European movie theaters. In the 40s
and 50s, Mário himself had often mentioned the Eisenstein text
but never came up with the article itself. When trying to get financing
for one of his projects – a movie called The soul
according to Salustre, in 1964 -, he was told by Plinio
Süssekind, a friend, that the article would be very helpful to
raise funds. Two weeks later Mário presented a hand written text
in Portuguese, which was actually published in 1965 by filmmaker Carlos
Diegues in his cinema-column of the Brazilian magazine Arquitectura,
vol. 38. Peixoto himself first said he had translated this text from a
French version of the original English article and later on claimed
that cameraman Edgar Brazil had translated it from German into
Portuguese, but, according to Saulo Pereira de Mello, finally admitted
to having written it himself. The article was then republished by Mello
(2000) as a text written by Mário Peixoto.
A second item to mention is the vanishing
of Limite in the 60s and 70s. In 1959, the nitrate
film began to deteriorate and Plinio Süssekind and Saulo Pereira
de Mello started a frame-by-frame restoration. Without previous
technical experience, they used procedures from specialized books. Limite
only returned to festivals and screenings in 1978. Even though nobody
could see the movie between 1959 and 1978 – as in the case of
Georges Sadoul and his unsuccessful trip to Rio de Janeiro in 1960 - it
still served as a reference for controversial discussions and
statements while others even doubted that the film really existed.
Glauber Rocha, leading figure of the new cinema, the cinema novo,
classified in 1963 the director as "far from reality and
history" (59) and the unseen movie as "unable to comprehend
the contradictions of bourgeois society" (66), a
"contradiction historically overcome" (67) and confirmed
his judgment of Limite as a product of the
intellectual decadent bourgeoisie again in 1978 after finally having
seen it.
For a theoretical approach on Limite, one may think
of fluidity and continuity as two central terms, not so
much in regard to the structural concept which is based on visual and
rhythmic variations and not continuation as the main filmic principle,
but in regard to the underlying philosophical ambition: the oscillation
between a fluid memory stream and solid, concrete objects and episodes,
which emerge as fixed points in the continuity of time. This proposal
is quite clearly formulated in the article by Peixoto A movie
from South America - formerly attributed to
Eisenstein - which I understand as one of his few theoretical
statements. Here, Peixoto first emphasizes the role of the
"camera-brain" and the "instinctive rhythmic
film-structure" of Limite, and then defines
the film as somewhere between a singular , outstanding work of art and
a completely anonymous item, "unidentifiable in the inexpressive
crowds" and which's "poetic evasion is built on a
vigorous plan of adaptation to the real" (Mello 2000: 85).
For Peixoto, the experience offered by Limite cannot
be adequately captured by language, but was made to be felt. Therefore,
the spectator should subjugate himself to the images as to
"anguished cords of a synthetic and pure language of
cinema" (88). According to the director, his film is
"meticulously precise as invisible wheels of a clock",
where long shots are surrounded and linked by shorter ones as in a
"planetary system" (88). Peixoto characterizes
Limite as a "desperate scream" aiming for
resonance instead of comprehension. "The movie does not want to
analyze. It shows. It projects itself as a tuning fork, a pitch, a
resonance of time itself" (88), capturing the flow between past
and present, object details and contingence as if it had always
"existed in the living and in the inanimate", or detaching
itself tacitly from them. Since Limite is more of a
state than an analysis, characters and narrative lines emerge, followed
by a probing camera exploring angels, details, possibilities of access
and fixation, only then to fade out back into the unknown, a visual
stream with certain densifications or illustrations within the
continues flow of time. According to Peixoto, all these poetic
transpositions find "despair and impossibilities"; a
"luminous pain" which unfolds in rhythm and coordinates the
"images of rare precision and structure" (91). The
oscillation between the fluid and the solid, the outstanding and the
unidentifiable, the concrete object and the abstraction is a basic
principle not only for this film but also for his literary work.
If we follow these outlines, we may see Limite as a film with a clear,
elaborate and recognizable concept, maybe difficult to identify at
first sight but emerging fuller at each screening one assists. This may
explain Peixoto's dislike for surrealistic movies, specifically
those of Buñuel and the rejection of chance as an artistic
principle as we find in Man Ray or Dada.
Limite starts off
with the image of a woman embraced by a man in handcuffs, a prototype
to be varied and diversified throughout
the film. The proto-image in the beginning, based on the photography he
saw in Paris in 1929, introducing the leitmotiv of
imprisonment, of being trapped, gives way to a long, almost hypnotic
boat scene that is to transport us into the continuum of
time, a rather fluid amorphous state where the camera-brain then moves
into the past, tracing certain memory lines, episodes and associated
details, objects, movements and images, visual flashes of limitation,
that reflect themselves in other images and thus escape a fixed,
limited and solid status, only to disappear or fade out without further
explanation. The wrecking in the storm then leads us back to the
original proto-image, the initial theme, now extended and enriched by
the visual and rhythmic variations we experienced.
Let me finish this short introduction
with a comment on the soundtrack: Peixoto's original plan to
underline his film with natural noise as wind, rustling leaves or
breaking waves was abandoned due to technical difficulties and
substituted by a record-soundtrack chosen by Brutus Pedreira, who
played the pianist in Limite and had actually been a
musician in real life. The chosen musical themes –among others,
from Satie, Debussy, Borodin, Stravinsky, Prokofiev and Cesar Franck -
were then played on two alternating record players during the
screening, frequently operated by Peixoto and Pedreira themselves. Due
to this procedure, in later exhibitions, the film had been frequently
shown without any musical accompany and only with the editing of the
video, images and music have been definitely integrated. Knowing
Peixoto's obsession with details concerning his film, arranging
even the plants to bow in a certain angle, one may look at the relation
between sound and picture of Limite as a elaborated,
frequently contrapuntal conception, an intentional rhythmic discrepancy
where sound and image often diverge, opening a third temporal and
resonant dimension between the actual scene and a potential, wider
space beyond the limitations imposed by the "framed" vision
and the sequentially of film itself.
A film by Mário Peixoto
Brazil, 1931. 115 min. Music from Satie, Debussy, Borodin, Stravinsky,
Prokofiev and Cesar Franck.
Scenario and direction: Mário Peixoto. Director of photography:
Edgar Brazil. Cast : Taciana Rei , Olga Breno, Raul Schnoor, Brutus
Pedreira , Carmen Santos , Mário Peixoto.
A translation of the intertitles :
1. Journal headlines:
Escape from prison. The prison guard's complicity.
2. Comment:
This intertitle corresponds to a lost part of the film where man number
1 helps woman number 2.
3. Graveyard: Man on the left
(Mário Peixoto):
You come from the house of a woman, who is not yours,
supposing she is mine, just like this one here was yours.
And if I told you that she is leprous?
Farias, Otavio
1929 Eu creio na imagem. In: O fan, vol. 6. Rio de Janeiro.
Mello, Saulo Pereira de
2000 Mário Peixoto - Escritos sobre cinema. Rio de
Janeiro: aeroplano.
Peixoto, Mário
1984 O inútil de cada um. Rio de Janeiro: Record.
Peixoto, Mário
1996 Limite. "scenario" original. Rio de Janeiro: Sette Letras.
Rocha, Glauber
2001 Revisão Crítica do Cinema Brasileiro.
São Paulo: Cosac & Naify.
Schobert, Walter
1989 Der Avant-Garde Film der 20er Jahre. München:


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Registration is now open for the ninth annual Passive House Northwest conference.
The conference, which will take place March 29 and 30 at Hotel RL in Olympia, Washington, will include a keynote presentation by Aurash Khawarzad. In addition to serving as the director of policy and strategy at Race Forward, a social justice nonprofit, Khawarzad teaches urban planning at The New School and City University of New York. He recently developed the Northern Manhattan Climate Action Plan.
Conference attendees may qualify for up to 8.5 continuing education credits.
For additional agenda information and registration, visit www.phnw.org/2018-phnw-annual-conference.


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User Guides
From Fantasy Grounds Wiki
Revision as of 20:08, 18 February 2014 by Moon Wizard (Talk | contribs)
Common Terms and Abbreviations
- FG = Fantasy Grounds
- Ruleset = Game system definition used by FG to run a specific game type.
- GM = Game Master (or Dungeon Master)
- PC = Player Characters
- NPC = Non-Player Characters
- CT = Combat Tracker
- PS = Party Sheet
Guide Topics
These guides are written assuming that the ruleset used for your game is derived from the common core ruleset (CoreRPG) provided by SmiteWorks. Other rulesets should work in a similar fashion, but may vary in features and display.


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We'll use this page to keep our customers up to date on news and events relating to our business.
And the winner is...
The winner will be announced soon so don't forget to check out the Contect section using the navigational toolbar above!
Our business is expanding!
Due to the recent success of our new product line, we will soon be offering you books, chat rooms, newletters and clubs for sisters who cover. Bookmark this site for updates. These extra items will serve as a network for sisters to other sisters. Now your advice and assistance can help another sister understand the road to dressing modestly Islamic (Hijab), or you can help other sisters understand why you cover your face. This is for you and the community!
It's finally here!
Here are the details... An MSB Original: Full Burqah ------ Your Jilbab, Hijab, and Niqab all in ONE garment! Sold nowhere else but MSB. Check out the MSB Shopping Mall for more details.


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There were eleven new titles and six updated titles released to Complete Core in May 2017.
There are now 1172 titles in the Complete Core collection. If you subscribe to this package, see a full title list in your Admin account (log-in required), or check it out on our corporate site. If you're interested in upgrading your account to the Complete Core package, email email@example.com.
New Complete Core Titles:
Handy Answer: The Handy American History Answer Book
From Washington to the microchip, Columbus to modern terrorist threats, the Anasazi to the iPhone, The Handy American History Answer Book traces the development of the nation. It takes a walk through the economic, political, social, and technological forces, as well as the military conflicts, turbulent events, powerful leaders, and pivotal moments that created, changed, and built the United States of America.
Handy Answer: The Handy Anatomy Answer Book
The Handy Anatomy Answer Book is the key to unlocking this door to a wondrous world. Covering all the major body systemsintegumentary (skin, hair, etc.), skeletal, muscular, nervous, sensory, endocrine, cardiovascular, lymphatic, respiratory, digestive, urinary, and reproductiveand, for good measure, adding chapters on growth and development and how science can help and augment the body, it follows the fascinating maze of organ systems and shows how much the body does routinely just to let you move, breathe, eat, and fight off disease.
Handy Answer: The Handy Communication Answer Book
Whether it's for a professional presentation, a school paper, an Internet blog or video, or something more personal, The Handy Communication Answer Book explains the concepts, provides insights, shares advice, and examines the skills needed to master effective and efficient communication for every setting and occasion.
Handy Answer: The Handy Islam Answer Book
Compiled by a scholar of Islam with more than 40 years of research and teaching experience, this engaging primer brings cross-cultural insights into a religion that many people do not comprehend, and even fear. The history, beliefs, symbols, rituals, art and literature, customs, leadership, traditions, ethnic diversity and so much more on Islam and Muslim culture are covered in this user-friendly guide. I
Handy Answer: The Handy Nutrition Answer Book
The Handy Nutrition Answer Book offers reliable information, the latest scientific discoveries, and the history of food and diet. It will help you understand the nutritional benefits--and pitfalls--of what you eat and how your body processes food, and it equips you with the tools you need to make good diet choices.
Handy Answer: The Handy State-by-State Answer Book
The Handy State-by-State Answer Book: Faces, Places, and Famous Dates for All Fifty States explores the history, growth, politics, people, and the unique character of each of the 50 states. It answers basic facts, looks at each state's distinguishing features, and covers how colonies, territories, and land purchases shaped the United States of America.
Princeton Field Guides: The Princeton Field Guide to Dinosaurs
The best-selling Princeton Field Guide to Dinosaurs remains the must-have book for anyone who loves dinosaurs, from amateur enthusiasts to professional paleontologists. Pauls extensively revised introduction delves into dinosaur history and biology, the extinction of nonavian dinosaurs, the origin of birds, and the history of dinosaur paleontology, as well as giving a taste of what it might be like to travel back in time to the era when dinosaurs roamed the earth.
Teen Health Series: Abuse and Violence Information for Teens
Abuse And Violence Information For Teens, Second Edition, discusses contributing factors and warning signs for the most commonly experienced types of abuse and violence. Facts about seeking medical care and mental health services for the physical and emotional consequences are also included.
Teen Health Series: Learning Disabilities Information for Teens
Learning Disabilities Information for Teens, 2nd Edition, describes the signs, causes, and diagnosis of learning disabilities, and discusses the effects of other disabilities and chronic conditions on learning. It also provides coping tips and information on academic issues, assistive technology, and laws that protect the rights of people with learning disabilities.
The International Encyclopedia of Human Sexuality
This Encyclopedia is a comprehensive A-Z reference that defines sexuality from a broad biocultural perspective and show the diversity of human sexual behavior and belief systems.
Wellbeing: A Complete Reference Guide
Explores wellbeing from multiple perspectives, including children and families; the workplace; the environment; aging and later life; economics; and policies of wellbeing. Each volume brings together leaders of their respective fields in an edited volume of original articles.
Updated Complete Core Titles:
Debrett's People of Today 2017
Debrett's People of Today is a comprehensive study of contemporary Britain's most notable and successful people. It contains biographical details of people from the entire spectrum of British society, including Tony Blair, Paula Radcliffe and Benjamin Zephaniah. The selection of entrants is made by the editorial staff of Debrett's and entries are reviewed annually to ensure accuracy and relevance. Entries include details of career, education, family, recreations and membership of clubs as well as contact addresses. An additional feature is the correct style of address to be used when addressing correspondence to an entrant.
This thought-provoking and interesting text provides a complete examination of each of our nation's 27 Constitutional Amendments. From the prohibition of alcoholic beverages, to slavery, to the voting rights of women, this text illustrates how the US Constitution has changed since its ratification in 1789.
Teen Health Series: Tobacco Information for Teens
Tobacco Information For Teens, Third Edition, offers updated information about the health consequences associated with smoking and other forms of tobacco use. It explains some of the cultural influences that can make tobacco use seem attractive and how teen curiosity can lead to nicotine-related problems.
Provides authoritative factual information about our world in its many guises - physical, historical, geographical, political, scientific, religious, and cultural.
The Deluxe Food Lover's Companion
This enlarged and enhanced reference volume was written for both the discerning home chef and those who want to become more knowledgeable about good food and elegant dining. This second edition has been updated with new information to reflect the way we eat in today's world. The authors have taken into account our healthier lifestyles and more diverse palates.
The Gun Debate: An Encyclopedia of Gun Control & Gun Rights
With public debate of gun violence at an all-time high, this new third edition of The Gun Debate: An Encyclopedia of Gun Control & Gun Rights is a must-have resource for all libraries.
There were no retired titles this month. A full list of updated and retired titles is always available upon request to email@example.com.


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Death of Oldham stalwart Collins
Reporter: Oldham Roughyeds round-up by MATTHEW CHAMBERS
Date published: 14 January 2009
JOE COLLINS in his playing days
Joe Collins, ex-Oldham player and a lifelong supporter of the club, has died aged 62.
He had been ill for a number of months following surgery on a brain tumour.
A centre of great potential, Collins' career with at Watersheddings spanned just short of a decade, though he was hampered by a series of injuries which restricted him to 72 appearances, in which he scored 14 tries, between 1964 and 1973.
In his playing career he appeared alongside names such as Jim McCormack, father of current Widnes coach Steve, Geoff Sims and Malcolm Price, while also lining up with Phil Larder, Mike Elliott and Norman Hodgkinson towards the back end of his days with the club.
Collins was a director of a company based in Warrington and lived in Uppermill. He continued to support Oldham RL after he finished playing and was a well-known face around the club and a season-ticket holder.
He leaves wife Carol, son Simon, daughter-in-law Pip and grandson Nathan Joseph.
His funeral takes place next Wednesday, January 21, at St Edwards' RC Church, Lees, at 10am.


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We have developed a 'pattern' to our travels.
Push it hard for most of the holiday. Live it a bit rough. Sometimes this means "jungle showers", or dingy guesthouses, or even a tiny little studio apartment – just big enough to drop off the bags because we really are too busy running to the next adventure.
But dang – we like to finish on a high note. The last chance of true holiday leisure, to leave us high on the bliss of travel.
Continue reading KL: From One Jungle to Another


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Gansey Repairs, A Trip to Blacker Yarns and Cornwoolly
Posted on
Over the course of time, I have been having more and more customers contact me regarding repair of their old ganseys. This wasn't something I'd considered before although we all know ganseys are practically bomb proof and last forever. But more and more, folk rung with tales of their beloved sweater which was up to 20 years old (!!) that now had holes or worn cuffs etc and could I repair it. Of course they all said they could buy a new one but this was their absolute favourite; an old friend....
To date I have had three ganseys into the repair shop. The first, from Bristol- an Ann Stewart Campbeltown Gansey which was 10 years old. Could I repair the cuffs and collar? I told him there would probably be some fade between old and new yarn and it may not be perfect but how wrong I was! The Frangipani Dark Navy was practially invisible after the mend apart and apart from the slight sheen of the original body due to wear, it was hard to notice the difference.
The second gansey was just a laundry job. This one was 20 years old and pristine apart from a few stains. The original knitter had long since passed away and it's owner was frightened to wash it. A Polperro Seeds and Bars design in grey (probably Poppleton's wool if that's the age of the gansey) with the owners initial knit into the arm gusset on one side and the knitter's initials in the gusset in the opposite side. Beautful work by and expert pair of needles. I gave a bucket of hand hot water a good squirt of Soak and immersed the gansey for half an hour- no agitation! Afterwards, I gently squeezed the excess water and put it in my machine on a woollen spin cycle. Finally, I dried it flat over the course of a few days and then returned to it's owner, fresh as a daisy and looking as if it had been knit only yesterday.
My most recent gansey came to me from St Austell. When is a gansey not a gansey? Well this had been knit in wool unknown- a natural breed colour and probably a heavy weight DK/aran yarn. My husband queried whether it was an actual gansey. No arm gusset, wrong wool etc but it still had the well known gansey motifs across the chest- tree of life, cables, seed stitch and a very interesting twisted rib welt detail. This was in a very poor state with the collar, cuffs and lower welt all but disintergrated plus there was a massive darn under one arm which was very crudely executed plus many small holes. However, I love a challenge, especially matching that wool. I said I could repair it but had no guarantees about perfecting a yarn match. The owner was delighted with whatever I could manage as he loved this sweater practically as much as his wife and in fact, rang me several times for progress as he was bereft without it!
It gave me the perfect opportunity to catch up with Sue Blacker at Blacker Yarns. There's a girl who knows her sheep breeds! We go back a long way, Sue and I- probably about 10 years. I have designed children's wear for Blacker Swan and also contributed to her delicious book, Pure Wool. We had a lovely catch up and Sue literally got all the natural breed yarns out and we debated the best match for the sweater repair. Whenever the colour matched, the yarn type was wrong and whenever the yarn type was perfect, the colour was wrong! It was thought that the Shetland 4 ply in Mid Grey and Fawn would work the best if I knit both strands together. Couldn't have done it without you Sue, so a big thank you.
Got a chance to say hello to illustrator, Katie Green, their newest member of staff too and she was wearing a very gorgeous fair isle sweater designed by herself and using Blacker yarn of course!
Back home, I charted the rib pattern successfully and played with Sue's yarn plus a few balls of my own stash. I then reknit the collar and cuffs and then came to the lower welt. I could have knit the welt in the round, cut the old one off and grafted the two together but you know what?- Kitchener stitch and I, are not great bedfellows, so I decided to cut off the welt, pick up the stitches and knit downwards. It worked well and I was happy. The shades were not perfect but good enough and our man knew the deal about this so I wasn't too worried.
I darned the holes and then came to the massive patch under the arm. It had been crudely darned and to be honest there wasn't much of any of the old fabric left at all here so I decided to use swiss darning to embroider over the top to make things more attractive and substantial. It worked out quite well I think but it's never an exact science. Our man was delighted to have his gansey back and it did give me a warm fuzzy feeling inside to reunite them both. (Photos show cuffs after reknit and hole under arm before repair)
Finally, Cornwall had a brand new yarny fair called Cornwoolly and I was dlighted to take The Cornish Gansey Company on the road and take part. It was held at Heartlands near Redruth and was extremely busy from start to finish despite the appalling weather and relentless rain. It was so successful that Sue Stewart of Pipps & Co (a fabulous local shop supplying spinners, weavers, felters, dyers, knitters and crocheters) who organised it all is hoping to run more and perhaps expand it. All I can say is that I thoroughly enjoyed the event and meeting lots of lovely fellow crafters and will certainly be on board for more.
Happy knitting


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New York City can be an expensive family destination. Between hotels, admissions, food, activities – well, let's just say it's easy to spend like crazy. But this weekend, Dan Zanes, Laurie Berkner,, KidzBop and more are performing FOR FREE at the Grand Opening celebration of J&R jr in downtown Manhattan.
J&R, aside from being a huge online retailer, is a New York institution. Started 40 years ago by Joe and Rochelle Friedman (hence the J&R) it is a music, computer and electronic megastore with the feel of a family run business…because it is one. J&R is already a popular tourist shopping destination. And now, it will be a great place for families, too. Joe and Rochelle's son, Jason Friedman, has built a brand new 15,000 square foot kids store J&R jr – within their Park Row complex of stores.
More than a store, J&R has a party space, craft tables, train tables, cushiony window seats for sitting, and plenty of room for running around amongst the vast selection of toys and gear for kids from birth to age nine.
This weekend, they are having their official Grand Opening – and everyone is invited. Normally, a Laurie Berkner concert would cost a family of four well over $100 – if you could a ticket. This weekend – free at J&R jr. Ditto for Dan Zanes, Amazing Max, A Princess Visit, Little Maestros, the Dirty Sock FunTime Band, and more. Plus, there will be balloons, face-painting, snacks, giveaways, and surprises.
And just in case you missed this part: it's FREE! All of it!
There will even be free shuttle buses from both the upper west and upper east sides to make getting there easier. (Though if you take the #2 train to Park Place, and get out near the back of the train, you're pretty much looking at the store when you get out.)
So if you're visiting NY this weekend with your kids – don't miss it. I'd say it's even worth a trip to the City all by itself.
J&R is located at 1 Park Row on the second floor. Stroller parking available!


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Psa Chas (Old Market)
Psa Chas mean Old Market it is oldest market left from french colonial and recently just finshed renovation it is the largest traditional covered markets and offers the largest selection of souvenirs. In fact, this market is really a 'must visit' in itself for its unique, colourful, local shopping experience. Of all the local markets, this Market offers the widest variety of souvenirs as well as the best selection of handicrafts and curios, including such items as traditional silverwork, silks, baskets, statuary, carvings and traditional musical instruments.
Dinstance from Hotel: 2-minutes by Walk


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Walter Kerr Theatre
219 W. 48th St., New York, NY
Seats (approximate): 945
Herbert J. Krapp, architect. Built by the Shuberts. Erected in sixty days, a record in 1921. It was leased by the Federal Theatre Project in 1937. It was used as a radio (later, TV) station from 1943 to 1965, with Alexander Woolcott broadcasting his Broadway commentaries from the stage. After being dark from 1965 to 1969, it was bought and renovated in 1971. Ten years later, Jujamcyn bought it, renovating it further in 1989. In 1990, it was renamed for critic-playwright Walter Kerr.
To learn more about the history of the Walter Kerr Theatre, see Spotlight on Broadway's video on the Walter Kerr Theatre.
Built: 1921


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There is much more to taking pictures than just pointing and shooting. Photography really is an art form. It is an art-form that has so many techniques. Photography requires a person to have an eye for interesting and beautiful items and places. Photography also requires a lot of attention to detail. Here are some tips to help you.
Avoid capturing an overcast sky in your photos. An expanse of gray sky in your images will give them a dull, pallid appearance. If you cannot exclude the overcast sky from your shots, you may want to consider taking black and white photos. Conversely, a bright blue sky will only enhance your photographs, as long as you are mindful of the light.
Come closer to the subject, so you can snap a better photo. Getting in nice and tight allows your subject to fill the frame, which minimizes distractions. It will also help you notice facial expressions, which are important factors for all portrait photographers. If your subject is far away, you are likely to miss the small important details.
It takes a professional quality camera to get photos of professional quality. Cameras that are dSLR will result in the highest quality photographs. This is the type of camera most professional photographers use and, if you want to produce similar results, you should use similar equipment.
A lot of people think a bright and sunny day is perfect picture-taking weather, but in reality, shooting directly into bright sunlight is a guaranteed way to wreck almost any photograph. Downsides to direct sunlight shots include glaring, awkward shadows, uneven highlights and human subjects squinting if they face the camera. If you can, try late evening or early morning lighting to shoot in when outside.
Take unique pictures that are interesting to you and that you think would be highly interesting to others. An excellent picture needs to have its own personal style to it. Show this point of view to the rest of the world. Stay away from taking classic pictures that people have seen a million times. You can create great photos by using different angles and adding your creative touch.
When preparing for a trip, pack your equipment carefully. Take all the lenses you need and don't forget to pack extra batteries and cleaning tools! Never bring more equipment than you will need, and plan accordingly for convenience of transport.
If you're taking pictures of landscapes, you will want to create depth and perspective for the viewer. Put a person in the foreground to get the sense of scale of the surroundings. Setting a small aperture, no greater than f/8 with most consumer digital cameras or f/16 with a full-frame SLR, will provide sharpness to both the foreground and background.
When traveling, start taking pictures as soon as you leave. Don't limit yourself to the actual location, but look for unique and interesting things as soon as you begin your journey. Documenting your journey, whether it's the airport, a cab ride, or even interesting rest stops on the road, will give you priceless memories of your trip.
Here is a handy photo tip! Educate yourself on what shutter speed is and how to manipulate it. These are labeled S, A, M an P on your camera. The label "P" is the setting for program mode. The program mode allows you to set up the shutter speed and the aperture automatically. If you have no idea what settings you want, "P" is a safe choice!
Take photos of different people. Always ask for their permission. After you get home from your trip, these images will provoke thoughts and memories, even if they are nothing more than ordinary. Seek out spontaneous actions and everyday attire.
If you are going on vacation, you should start shooting photos the minute you walk out the door. Think of traveling itself as a good opportunity to take pictures, besides the shots you will take once you reach your destination. Have your journey documented. For example, an airport provides lots of interesting, original subjects for taking unique pictures.
You might want to join a club or group that specializes in photography, or perhaps, find another person who has the same interests as you. Other people who share your interests can provide you with great information, but try not to let them influence the way you take your pictures. Compare your pictures to the ones your friends took to see how one subject can be seen differently.
When shooting a picture, judge the surroundings and choose the right aperture, shutter speed and ISO. Those three things affect your picture's exposure. You don't want to overexpose or underexpose a picture, unless you are going for a certain look. The best way to learn more about these aspects is to experiment with them, this will help you learn how they interact together.
When you are taking photos, remember that sometimes less is more. Make sure that you do not have too much clutter going on in your photos as the setting stands, or by adding it yourself. Know what the focus of your shot will be and maintain a simplicity of message, so that it can be fully understood by viewers.
The process of taking excellent pictures is no mystery. Keep snapping images and you gain experience with every click. With a digital camera, you don't have to keep all of your test shots; only keep the ones that you like and will look at again later. As you study the pictures you shoot, you will learn from your mistakes and notice ways your shots could have been better, which will ultimately help you improve.
In most parts of life, we are trained to make things even and centered. You can make your pictures look original by placing your main subject slightly on one side, rather than right in the center of your picture. Turn off the auto-focus, which will make the lens zero in on whatever it is pointing at. Try manually adjusting and locking your focus before you take a picture.
Play with the concepts of scale, expressions, and perspective in your photographs. If a mundane subject is situated to make it appear out of place or out of proportion with its surroundings, the resulting picture will be especially intriguing. Work on your compositions to get a unique take on a familiar object.
Always give the camera's manual a read before operating the device. The manual is often a big, thick bulky brick. They usually get shoved in the back of a drawer or just thrown away. Instead of letting it gather dust, crack it open and give it a look. There are a lot of dumb mistakes and sub-par techniques you can easily avoid if you review your camera's manual.
When warming up to shoot a wedding, try catching some unexpected shots of small details like a bag of makeup sitting on a table or a close-up of a flower. It also allows you to catch a few hidden gems of details that might be overlooked when the event is finally underway.
Though it is tempting to put your digital camera on the lowest setting in order to get more images on the card before having to download them, make sure you realize what you are sacrificing in terms of print quality. Only use the lowest image quality settings if you are completely sure that the images will only be viewed on a computer monitor.
Lighting is one of the most important considerations when taking pictures. Early morning light or late afternoon glows are best for taking photos outdoors. When the sun sits high in the sky, harsh shadows or squinting subjects can become an issue. The sun should be hitting just one side of your subject.
When you take a photograph, try using manual white balance. This gives you a much greater degree of control over the appearance and mood of your photographs, and can often produce stunning results. It may take some trial and error, but eventually, you will produce beautiful and creative photographs.
Many people think they're helping the photographer by wearing white clothing. However, white clothing items often cause problems for photographers. Most cameras are set to auto focus, which means that the camera will try to get a "reading" which takes into account all the shades and nuances present in the range of the photograph. When someone is wearing white clothing it may become washed out in the picture.
Figure out what ISO values work best for different shots, or you could end up disappointed. There will be more grain visible in your photograph the higher your camera's ISO setting is. Unless your picture needs grain, a high ISO can be a negative thing for your shots.
Though you might feel tempted to use the lowest setting on your digital camera, make sure you understand the consequences of your action. Only use the low settings if you know for a fact that the only place you are going to look at them is on your computer.
Investing in a tripod will allow you to take better photographs. When taking active photos or low-speed photos, little bumps and jiggles will show in your pictures. Even a low-cost tripod will make this problem a thing of the past. Using a tripod will eliminate blurs from your pictures and make them look much more professional.
Make sure you take the time to learn how the ISO feature on your camera works. An increased ISO lets you see more. This is not something you want in your photographs unless you are taking a photo that is bettered by the grainy effect.
Before you begin shooting snaps and firing off flashes, give thought to the concept you're looking for. Take a minute to plan out your shot by analyzing lighting, the background, your focal point, colors, the subject matter and the overall composition you want to see. This will help you avoid taking a bunch of unrelated photographs. Approaching photography in this way can create motivation and inspiration that will enhance the final product.
Silhouettes are a wonderful photography technique. While most people use the sunset to create a silhouette, there are other methods. For example, if the subject is not as brightly lit as the background, you can produce a silhouette. The perfect silhouette can be achieved by positioning a bright artificial light behind your subject or by placing your muse in front of some very bright windows. Be sure, however, that the resulting outline gives a flattering depiction of the subject.
Sometimes a flash will benefit you, and sometimes it won't. Don't just use the flash all the time. Too much light can actually ruin your picture. Also, think about using it when you are in a severe low-light scenario.
You can add different filters onto the end of your camera's lens. They connect to the lens itself and can offer many benefits and effects. UV filters are the most popular type. It protects and shields your camera's lens against damage from direct sunlight. It may also protect the lens from scratches or scuffs caused by dropping the camera.
Make sure that you balance each of the objects in your photographs. The best way to get your photos up to the standards of art galleries is by having a careful balance to every element in the image. Take out all the distracting objects, make sure the horizon is level, and have your subject properly placed and not in some awkward position.
Find the type of equipment that works best for you if you want to make photography your lifetime hobby. Most professionals have a preferred brand of camera or equipment, but those preferences vary from one photographer to the next.
One helpful photography tip is to take numerous photographs of your subject, so you can go through them and choose the best ones at a later time. Doing this is both vital and easy to do with the digital photography of today. The bottom line is that following this practice ensures that you capture the exact moment you meant to capture.
You can put a new spin on an old subject, by photographing it from different angles or using different camera features. Practice these techniques before you shoot your photos so you know what results you'll get from each.
As you can see, photography is much more complicated than most people give it credit for. You can greatly improve your photo's quality if you choose to.
Try new, creative techniques by experimenting with different shutter speeds. It's commonly accepted to use super-high speeds in order to freeze moments in time, but slower shutter speeds have their advantages too. For example, suppose you are preparing to photograph a bicyclist in motion. The background will show the speed of the cyclist, while they themselves will appear crisp and clear.


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Well, no, not the locomotive itself, but Kelly Lynch, of the Fort Wayne Railroad Historical Society will be Bob and Elizabeth's guest on Saturday's Let's Talk Trains. Kelly will give us a history of the locomotive as well as discussing its life as an excursion engine. Join us with your questions at 646-716-7106, on the web at www.letstalktrains.com or in the chatroom at www.letstalktrains.com/chat. The show airs at 10:00 AM Pacific/1:00 PM Eastern
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I used to think there was no way I could ever make my own dressing. I learned, that is so not true. Watching cooking shows and reading cook books showed me how easy it really is. I thought I'd share my three favorites with you. They are my lemon, balsamic, and cilantro lime vinaigrette. I mix all the ingredients, for two of the dressings, the lemon and the balsamic, right in their own 8 ounce jelly jar. The cilantro lime takes an additional step.The leaves need to be processed first. It's simpler, for this vinaigrette, to be make in the food processor and then transfer it to a jelly jar.
All I do is to place the leaves in a food processor with 2 tablespoons of olive oil. I turn it on and pulse the leaves until they are very finely chopped. I remove the processed cilantro from the food processor and transfer it to a small bowl. Then I add the rest of the ingredients back in to the food processor with the exception of the red wine vinegar. I then give all those ingredients a quick pulse just enough to combine everything. once combined I add the cilantro leaves back in to the food processor and give it one or two more pulses. Right before transferring the vinaigrette to the jars ( 2 jars for this vinaigrette because in makes about 10 ounces. I add in the red wine vinegar. I like adding it at the very end because it gives a slight sharpness to this particular dressing.
I want to mention that my lemon vinaigrette can vary a little. I may or may not add grated garlic and diced shallot if my salad has a whole lot going on. But for just simple greens and nothing else, that's usually when I utilize those ingredients. For something like a watermelon and feta salad, I'd omit those two ingredients. That's what's so great about making your own dressings. Depending on how or what you're planing on using them with, you have the option to play around with the ingredients.
The first two dressings I add all of the ingredients to the jar, finishing up, by adding,really good extra virgin olive oil. I prefer my vinaigrette to be one part acid to two parts oil. I give the jars a really good shake. Next, I take the bowl that I'm serving the salad in and place the dressing in the bottom of the bowl first. Right before I'm ready to serve the salad, I'll add the lettuce in and then toss. It's important to wash and then dry the leaves really well so the dressing will adhere to the leaves.
Prep Time: 15 minutes
Yields 10 ounces of the vinaigrette
Equipment: Food processor, or blender, or immersion blender, and 8 ounce jelly jars
Ingredients: Cilantro Lime Vinaigrette
1 tablespoon freshly grated ginger
1 tablespoon of freshly grated garlic
2 tablespoons of finely chopped shallot
1 tablespoon of Kosher salt
1 teaspoon of black pepper
1 teaspoon of cayenne pepper
3 tablespoons of Agave nectar ( same,granulated sugar)
1/4 cup of low sodium soy sauce
1/4 cup of red wine vinegar
1/4 cup of fresh lime juice
1 cup of fresh chopped cilantro leaves
1 cup of E.V.O.O.
Ingredients: Lemon Vinaigrette
Yields: 8 ounces of the vinaigrette
2 tablespoons of finely chopped shallot ( optional)
1 tablespoon of freshly grated garlic (optional)
1 tablespoon Dijon mustard
1 tablespoon of Kosher salt
1 teaspoon of black pepper
2 tablespoons of Agave nectar
1/4 cup of fresh lemon juice (3 juicy lemons)
1/2 cup of E.V.O.O.
Ingredients For Balsamic Vinaigrette
Yields: 8 ounces
2 tablespoons of finely chopped shallot
1 tablespoon of freshly grated garlic
1 tablespoon of Dijon mustard ( spicy mustard is an option)
1 teaspoon of crushed red pepper flakes
1 tablespoon of Agave nectar ( can substitute honey)
1 tablespoon of Kosher salt
1 teaspoon black pepper
1/4 cup of good balsamic vinegar
1/2 cup of E.V.O.O.
1 tablespoon of freshly chopped Italian flat leaf parsley (optional)


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GMA – Strategies by L'Oréal, Fendi, Clarks and Tag Heuer to drive in-store sales: showcased at event
Thirty-nine per cent of offline sales are influenced by online browsing, case studies showcased at a recent fashion event have showed.
Multichannel marketing firm, Solocal Group UK, revealed the top trends in digital strategy being leveraged by major fashion and luxury retailers to convert online researchers to in-store customers.
Showcasing presentations and case studies from L'Oréal, Fendi, Clarks and Tag Heuer, the recent Solocal UK event demonstrated the current gap between online and offline purchasers. It also highlighted the power that digital strategies, including SEO, online store locators, data capture and social media have to influence in-store purchases, and the success that Solocal's solutions have achieved for clients.