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Creating Video Portfolios with Flash Catalyst
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[whirring] [ADOBE® TV PRESENTS] [SHORT AND SUITE] [mechanical clunking] [JASON LEVINE] [clunking continues] [KARL SOULE] [clunking continues] [whirring] [SHORT AND SUITE - ON THE ROAD WITH JASON AND KARL] Hi. I'm Karl Soule, product evangelist for Adobe Systems. Today we're going to kind of change gears a little bit, and I'm going to work probably a little bit outside of your comfort zone. What I want to go in and cover is a new tool inside of Production Premium. If you ever had the interest of putting together a Web portfolio of your work, if you've ever wanted to do something that's maybe a little bit more interactive than just sticking a Flash file up on a website, there's a new tool in Production Premium called Flash Catalyst which is designed for people like you and me, people who don't know and don't want to get into coding but still want to create some kind of interactive design. I'm going to show you some specific features that are geared around video. So to get started, I'm over here in Premiere Pro, and I've got a Timeline sequence here. This is some behind-the-scenes footage for the TV show, "Paladin," which you've probably seen in some of our other videos here. What I want to do is I want to put this together in a video portfolio that we're going to build over in Catalyst. In addition to this, I also have some artwork here inside of Adobe Illustrator. These are going to be some playback buttons that I've created. I've got some other artwork that we've created in Photoshop. And so the basic idea when we're working with and we're getting ready to create something in Catalyst, we can do all the artwork design using the standard tools inside of Production Premium. So we're going to use Premiere Pro and After Effects to create video files, we're going to use Photoshop to create graphics, we're going to use Illustrator to create graphics, and Catalyst is the place where we can bring them all together and we can add interactivity. So if I want to take this Timeline and output this using Premiere Pro CS5, I'm going to go ahead and go to File, Export, Media, and this brings up the Export Settings. A few changes here. I'm not going to go too much in detail with some of the new changes in CS5, but we do have the option of using a direct export. If we have a really short piece of video that we just want to use and export directly from Premiere, we can go ahead and do that. Or we can throw this into the Render Queue and use Adobe Media Encoder, which is also 64-bit multicore optimized and does a great job of exporting files. So we have some choices as far as export is concerned. Now, since we're working in Flash Catalyst, like the name implies, we need to encode our video for Flash. So I've got my format set for FLV/F4V, and I can choose a preset here. If I want to absolutely match my Source Attributes, keep the frame rate, keep the size of my video the same as what's in my Timeline, I can choose these Match Source Attributes presets. In this case, since I'm working in a 1920x1080 Timeline, I want to kind of down res the video just a little bit here, so we're going to go ahead and come down here and choose the Web Large NTSC Source F4V preset here, and I can go ahead and choose to export this particular file. If I choose the Queue, this will go ahead and drop the file in the Adobe Media Encoder-- there we go--and you'll notice that now, by default, the Queue will actually start automatically and start rendering this file in about two minutes' time. So if I want to, I can go back over to Premiere Pro, choose a different Timeline that we're working with here-- let's take this DVC Pro Sequence Final Mix. Maybe we want to use this in our project. Again, I can select this, go to File, Export, Media, and the Media Encoder will keep the same preset that I used on my first Timeline. I can go ahead and hit Queue on this, and once again, this will drop this over into the Media Encoder and this will start encoding now in about two minutes. So this is a really nice way of just if you're going through an entire project and you have a bunch of different videos, you can use the Media Encoder to do this. Okay. I'm going to go ahead and cancel out of that because I've actually already gone through and encoded a few files here. If I go in and show you them here, if I go into Video and Audio, you'll see that I've got a series of different files. I've got some of these encoded in F4V format. I'm also using just a few in the older FLV format just for some variety just to show you we can use both in Catalyst. If you want to use the best possible quality video, F4V is an H.264-based codec. It works great. If you need backwards compatibility for some reason, FLV is the older On2 VP6 codec. For backwards compatibility, you may want to use that. Now, when I go inside of Catalyst, the way Catalyst works is I can import all of this different artwork into a project. I'm going to get started here with one particular project. This is a video player part of my project here. What I'm going to do with this, you can see that I've already brought in and I've got some background artwork here that's already been created, but we need to put in and drop a video clip into this player here. So what we're going to do is go to File, Import, and choose Video/Sound File. And from here, let me go ahead and go to my project. And I can choose any of these different videos. We'll go ahead and take this "behindTheScenes" video, and I'll select that one. And when I bring in a video into Catalyst, you'll see that this has already brought in the video and it's got some playback components here. If I wanted to, I could go ahead and just use the standardized playback components within the project here. But we want to actually use our own artwork, and I want to show you how you can create buttons out of your own artwork inside of Catalyst. So what I'm going to do is go over to my Video Player controls here, and there's a little property here called Video controls. We're going to set that to None, and you'll see that those video controls that came in by default are now gone. I could come in here and I can start to scale this, I can get this sized to fit my artwork here. Now what we want to do is we want to import some buttons. If you saw, over in Illustrator I have some wonderful artwork which I slaved over for hours to put together here in Illustrator. Here are the buttons that we're going to be using. I'm going to go back to Catalyst and import that Illustrator file here. So we'll go to Import, Adobe Illustrator File, and I'll just go into my Source Design files here, and here are my video player controls. We'll go ahead and import that. When we import artwork from Illustrator or Photoshop, we're going to get some different choices here. And what this is doing is this is getting this artwork ready for the Web. So it's making some choices and putting things together to make sure that this is all ready for the Web. So now that I've got this artwork, I can kind of pick this up and move this around here. We'll put this down here near the bottom of the screen. Right now I've got everything selected, so let me just click off of that so you can see. Right now these look like buttons. They're not buttons. They're just art at this point. I haven't told Catalyst what I want to do with them, if I want them to just be part of the background or if I want them to actually do anything. So what I'm going to do is let's start by selecting this Play button, and you'll see that we have this little pop-up kind of a heads up display here. This is telling me, it's like here I've got my button selected, and it's saying, "You want to convert the artwork to something?" We want to convert it to a button. And when we convert it to a button, if I come over here to this little Interactions panel, I can say I want this button to do something. When the button is clicked, I want it to play the video. Now, it asks me to choose the video. I only have one video in this particular project that I'm working on, but I can have multiple videos, so we want to make sure that we have the right video selected. There is my "behindTheScenes" video. Click OK. Now I want to create another button, and in this case you'll notice that these two toothpicks here, they're not connected in any way. I'm going to use the Shift key to select both of these at the same time. We need to convert those two items into one single button. I'll go ahead and I've got them selected, use my heads up display, convert them to a button-- you'll see that the graphic here has now changed to show that this is one item-- and we'll add an Interaction, On Click, Pause Video, and we'll choose the video in question there. And then finally, we'll do the same thing with the stop button here. I'll convert this to a button, add the Interaction if it's clicked, stop the video, and again choose the video in question here. All right. In theory, I'm pretty much done with this. I can take and I can use these controls to start playing back the video. But I want to add one more thing with these particular buttons. When I click on this particular button, I want to show people, give them some sort of a tactile sensation that they're actually clicking the button. So to do this, I'm going to select a button here, and you'll see with the button selected I have this little heads up display showing the different button appearance states. For those of you who have never done interactive design with buttons before-- and this was something that was kind of new to me-- think back to creating links and selections over in something like Adobe Encore for DVD. When you select a button, it has to be highlighted in some fashion. And inside of Catalyst when you create a button, you can have the button just sitting there. That's the Up state. The Over state is when you roll your mouse over it. The Down state is when you actually click on it. And then finally, there's the Disabled state for those occasions where you don't want a button to be active. So when someone clicks on this button, I want the button to move a bit. What I'm going to do is I'm going to say Edit Button Appearance when someone clicks on it. That's the Down state. And then I'm going to come down here and click the button again, and I'm going to use my arrow keys on my keyboard here to move this down a little bit and over a little bit just like that. So now if I go back and forth between here's the Up state of the button, here's the Down state of the button, so when someone clicks this button, it's just going to move down a little bit. You see I'm in a special viewing mode right now where I'm inside of this button and I can check for my breadcrumbs here that I'm inside of Button1 here, so I'm going to go ahead and go back to the main player here. Now if I want to preview this and see how my new player is coming together, I can go ahead and hit the Control, Enter keys on the keyboard. What that will do is that will actually build this out and let me see how this is going to work. It'll open up inside of a Web browser. So now I've got my player control here, and if I come over here and I click this button, you can see that my video starts playing back. If I come over and I click on the Pause button, it's going to pause the video. If I hit the Play button again, it plays the video. If I hit the Stop button, it'll take me back to the beginning of the video again. So by putting this together, Catalyst-- You need to check some of the other videos here. For the sake of time today, I'm not going to go into all the details with what you can do inside of Catalyst. But the whole concept of Catalyst is something I think a lot of people who do video for a living, this is something that when you go to publish this out, you can create a SWF component that can be part of a website, or you can even do something that's actually a desktop application which runs using Adobe AIR. I'm going to go ahead and click on one that I have here. I've kind of gone through and created some additional pages here, got a little animation here. I can click on this. You can see that I have rollover effects on each of these different pieces of artwork. This is the artwork from Photoshop. I've got a scroll bar here. All of this was put together in Flash Catalyst. If I click on some of these things here, here's my Behind the Scenes, and I can start the video playing back by clicking on the different buttons down here and see this actually play back. This X button will take me back to the list of videos, and there's a nice little animation applied to it there. So this is the type of thing that you can create using Flash Catalyst either for a website or something you can have as a desktop icon that you could just double click on and have all these different videos available to you as sort of either an online or an offline portfolio, which I think is kind of a cool thing. All of the interactivity, even this--you'll notice that there's a Rollover state on this particular graphic. That's just something that's brought over from Photoshop. There's even a whole function of being able to round trip graphics in different states between Flash Catalyst and applications like Illustrator and Photoshop. So if you know how to create an outer glow effect, you can create that rollover effect inside of your Flash Catalyst project. So once again, if you'd like to see more of this, I have a personal blog [http://blogs.adobe.com/videoroad] [Twitter: karlsoule] at blogs.adobe.com/videoroad and I'm also available on Twitter if you just look for my Twitter handle of karlsoule. Thanks again for watching. Hope to see you soon. [Executive Producer - Bob Donlon] [Producer - Karl Miller] [Director/VFX - Kush Amerasinghe] [DP/Post Production - Erik Espera] [ADOBE® TV PRODUCTIONS - tv.adobe.com]
Video Details
Duration: 14 minutes and 7 seconds
Language: English
License: All rights reserved
Genre: None
Views: 203
Posted by: adobetv on Oct 7, 2010
Join Karl Soule as he demonstrates Adobe Flash Catalyst, a new tool in CS5 Production Premium that allows you to create interactive designs for the web… without coding!
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Tue 13 May 2014
Seven Out Of Ten People Don't Use Microsoft Office Anymore
Posted by Prakash under General
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If your usage is not much, use LibreOffice and save on your licensing costs.
If new data are true, Microsofthas a big problem.
According to a study done by SoftWatch, seven out of 10 employees don't use Microsoft Office to any extent.
The three-month study involved 148,500 employees at 51 global firms. SoftWatch found that most employees were using the applications, largely for viewing documents or very light editing.


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Lemsip Max Honey & Ginger 10 Sachets
Lemsip Max Honey & Ginger Flavour powder for oral solution. Use for fever, headaches, body aches, blocked nose and sore throat. For the symptomatic relief of colds and flu. Always read the label. Warnings or Restrictions Hazards and Cautions Contains Paracetamol. Do not take anything else containing paracetamol while taking this medicine. Talk to a doctor at once if you take too much of this medicine, even if you feel well. Keep out of the reach and sight of children. If symptoms persist consult your doctor. Do not take if: Allergic to any ingredient, if you have heart disease, high blood pressure, overactive thyroid, have had peptic ulcer, or you are taking or have taken MAOI's (antidepressants) within 14 days. Do not store above 25°C. Store in the original package. Consult your pharmacist or doctor before taking if you are pregnant or breastfeeding. Age Restriction You must be at least 16 years old to purchase this product. Precautions This is a medicine; Consult your doctor or pharmacist if you have an underlying medical condition, are taking any other medication or complementary therapy, or if symptoms persist. Seek advice before using if you are breast feeding, pregnant, planning to become pregnant, or suffer from allergies. Keep all medicines out of the reach of children. Suitable For Adults and children 12 years and over.


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Billy Ray Cyrus turned down the chance to make his Broadway debut in hit musical Rock Of Ages because the character he was offered was too "predictable" a role for the singer to take on.
The 'Achy Breaky Heart' hitmaker was eager to test his acting and singing skills on the New York stage but he wasn't going to settle for just any part - and he's glad he held out for a more challenging job because playing a musician wasn't for him.
Cyrus went on to sign up for a stint in the current Broadway production of Chicago as criminal lawyer Billy Flynn, and he couldn't be happier.
He tells People magazine, "I couldn't do something predictable. I was offered Rock of Ages and turned it down. Billy is this slick lawyer; he's the total opposite of me. I thought, 'That will be a challenge.' When I saw the entire production, it all turned me on! It was like, 'Theatre could be this?' As an actor, I thought, 'I want to learn some of that!'."
Cyrus began his seven-week stint in the hit show earlier this month.
source: newshub archive


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Eli's is creating a 100th anniversary cake to celebrate Maxwell Street Market's 100th Anniversary on Sunday, October 21st; a century since it was founded on Halsted Street.
Maxwell Street is an iconic Chicago location and Eli's is proud to be a part of the celebration. For more information on the celebration, check out: http://fleamarketzone.com/2012/10/maxwell-celebrates-100th-birthday-in-chicago/
Happy Anniversary Maxwell Street!


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- September 10, 1928 - February 14, 2014
- Amorita, Oklahoma
of James' Passing
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James was born on September 10, 1928 and passed away on Friday, February 14, 2014.
James was a resident of Amorita, Oklahoma.
The information in this obituary is based on data from the US Government's Social Security Death Index. No further information is available. More details on this data source are provided in our Frequently Asked Questions section.


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by Edward T. Babinski
Dear Richard Carrier,
The five questions (that you prepared for your recent radio discussion with Gary Habermas and Mike Licona on "the resurrection") were well put. In case anyone missed them, they were:
- "In the Book of Acts the Apostles are having vivid and powerful visions and dream communications from God all the time. We hear of similar experiences reported in that era from Jews and pagans, who were also having vivid and powerful visions and dream communications from a variety of gods and angels. Why isn't this happening now? And why was that happening back then, even to pagans and Jews, who weren't seeing or hearing what the Christians were seeing and hearing?"
- "This might sound like a frivolous question, but it really isn't. I mean it quite seriously. Why does God give me more evidence that smoking cigarettes is harmful than he gives me that Jesus lives?"
- "The Gospel according to Matthew says (27:52-54) 'the graves were opened, and many bodies of the saints who slept rose up and came out of their graves after His resurrection, and went into the Holy City and appeared to many'. Do you believe this happened? If Yes: How could this amazing event have escaped everyone else's notice, even the other evangelists? If No: How could the author of Matthew get away with such a lie?"
- "The following three questions are all closely related and really amount to one question. Why did the risen Jesus only appear to his followers, and to only one previously obscure enemy among the thousands opposing his Gospel? Why didn't he appear to Pilate or Herod or Caiaphas or the Roman Senate? Why didn't he also appear to deliver the Gospel to China—or to the Americas, as the Mormons claim he did?"
Or… "Why was the death of Jesus so public, but his resurrection so private?"
- You seem to trust what the Gospels say is what actually happened. I want to understand why. I have an analogy that I think might help. Suppose I hauled you into court on a murder charge, and the only evidence I had against you was a bunch of letters that described you murdering the victim in vivid detail. Of course you would ask who wrote those letters. I answer, "Joe, Mike, Bob, and Dan." You then ask, "Who are they?" And I answer, "I don't know for sure." That's a dead end, so you would ask, "How do they know any of the things they claim in those letters?" And I answer, "I don't know. They never say exactly where they are getting any of their information." Okay. Imagine that happened to you. Would you conclude that I had a convincing case against you? Do you believe the jury should conclude that you committed the murder those letters describe you committing?"
Dear Richard Carrier,
You mentioned some errors that you made during your aforementioned radio discussion on the resurrection. One of which was simply choosing the wrong questions with which to begin, and not even getting through all of the above questions, but getting bogged down discussing minutely a few less relevant questions. Perhaps the most common error was the assumption by all concerned that communication can take place with relative ease and transparency, when in fact, communication is never that easy, especially between two people who have read many different books and articles, known different people, and who espouse widely different philosophical and/or religious views.
I suppose that if a Designer had wanted people to communicate with greater ease then S/he/it might have installed a port in the side of everyone's cranium through which we could download and upload data with others, i.e., whole lifetimes of learning and experience being shared quickly and easily. Or in lieu of such a physical port perhaps such a Designer might at least allow two people to share their knowledge and experiences in some "psychic" fashion so as to be able to focus sharply and intently on their greatest singular points of agreement, disagreement, and in-conclusiveness. (I suspect that each pair of individuals engaged in a discussion has different points or major singularities that overlap and mean the most to each of those individuals concerning each question. Hence for two individuals to "connect" at points that they both find equally significant, equally meaningful, and/or equally perplexing, is a task in itself.)
Instead, as things stand in this cosmos, misunderstandings of the sort that you mention occur with great frequency.
And what about the choice of the show's producer to interview people lying on far sides of a question (i.e., putting an atheist together with people speaking for revealed religion) means that large gaps in communication and understanding were being sought by the interviewer, perhaps to keep listeners a bit more interested and boost ratings, because listeners would then get to "root" for their "team" which is a team distinctly different from that of the "other side." Instead, if moderate believers in revealed religion were chosen to discuss matters with conservative believers in revealed religion, like a moderate Christian arguing a visionary interpretation of the resurrection with a conservative Christian arguing a physical interpretation of the resurrection, then each side might have been able to listen more openly and comprehend the views of the other side a bit more easily, since the other's views would have lain just a bit further down the road from their own, and not across the canyon-sized gap of atheism and revealed religion.
Indeed, Christians have spent far more time and written far more books debunking each other's interpretations of their Bible and theological views than non-Christians have ever spent debunking Christianity. Today there's even a burgeoning series of "viewpoints" books published by Zondervan and Intervarsity in which Christians of the Protestant Evangelical kind debate their differing views both practical and theological and scientific, including debating the meaning of Genesis, Revelation, and the brain-mind question as well (not all Evangelicals believe in substance dualism!), not to mention differing interpretations concerning differing "Christian" responses to a host of questions.
A Few Relevant Quotations
"Our divisions should never be discussed except in the presence of those who have already come to believe that there is one God and that Jesus Christ is his only Son."
—C.S. Lewis, Mere Christianity
"Theology is a comprehensive, rigorous, and systematic attempt to conceal the beam in the scriptures and traditions of one's own denomination while minutely measuring the mote in the heritages of ones' brothers."
—Walter Kaufmann, The Faith of a Heretic
"Every sect, as far as reason will help them, make use of it gladly; and where it fails them, they cry out, 'It is a matter of faith, and above reason.'"
—John Locke
At base, I suspect that most debates shed little light because they begin with ignorance. Polls reveal that not many Christians in America can even name all four Gospels. Many people also are far more ready to defend the Bible than read it. Or they are ready to state they believe the Bible "cover to cover" without having studied what's between the covers or thought about it very much. (There are some excellent college level lectures by the way produced by "The Teaching Company" that are available online. They sum up a lot of major scholarly views of which anyone studying or debating religion ought to be aware. I'd suggest directing Christians to learn more about what theologians really believe today than spend much time arguing matters.)
Neither does life leave the majority of mankind with much time for studying the world's questions. Life is short and we all have to spent time and effort on surviving, maintaining families and friendships, even maintaining our health. Emotional ups and downs also play a role throughout our lives. And our beliefs can be influenced by all manner of things, including social factors, familial factors, national factors, tragic or happy events, individual psychological factors including fear of death, the joys of feeling certain about what we already believe, or simple mental inertia after we have imbibed or developed a view of the world (the brain/mind does not eagerly rearrange all the furniture it has previously laid down in specific spots just in order to accommodate a new end table).
"We believe in nothing so firmly as what we least know."
—Michel Eyquem de Montaigne, Essays
"Even the weakest disputant is made so conceited by what he calls religion, as to think himself wiser than the wisest who thinks differently from him."
—Walter Savage Landor (1775-1864)
"Only a Designer would have made it sooooo easy to find the 'one true faith' that even your parents could pick it out for you, and in most places on earth, they do. It's even easier to find a 'true' Christian as opposed to a false one, or a 'true' Moslem as opposed to a false one. The 'believer in the true way' (of a religion or denomination or interpretation) is always the one with whom you are speaking at the moment."—E.T.B.
"Only a Designer would have made it so that 'The type of person who devotes himself to the pursuit of wisdom is most unlucky in everything, but above all in begetting children—as if Nature had taken pains, I suspect, to keep the disease of wisdom from spreading too widely among mortals.'"
—Erasmus, In Praise of Folly
"Remember to be kind to everyone you meet, for everyone is fighting a great battle."
—Philo of Alexandria


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What are the main features of the SP-600UZ?
The Olympus SP-600UZ is a 15X wide-angle zoom digital camera with a one-touch HD movie-recording feature. Its 5.0-75.0 mm f3.5-5.4 lens yields a 28-420 mm zoom equivalent in 35 mm format.
To support this long zoom ratio, the SP-600UZ incorporates Dual Image Stabilization, Olympus' 2-in-1 anti-blur solution that compensates for camera shake by gyroscopically sensing camera movement and constantly repositioning the 12-megapixel CCD sensor, resulting in sharper images in challenging shooting situations. Applying the Sensor Shift Image Stabilization also enables shooting at lower shutter speeds in low-light situations and using lower ISOs for better image quality.
Seven shooting modes let you choose the right balance between automation and creative control. There are Program, iAUTO, Scene, MAGIC, Panorama, Beauty and Movie shooting modes. The Scene mode features 14 preset scenes tailored to specific shooting scenarios so that ideal settings can be quickly applied. Beauty mode smoothes out the texture of skin whenever faces are detected. The art filters in MAGIC mode apply effects (including Pop Art, Pinhole, Fisheye and Drawing) in-camera at the moment the shot is taken.
The camera's sophisticated autofocus function can detect subject's faces and, optionally, track them to keep them continuously in focus. Tracking is available when shooting still images (via AF TRACKING mode) or movies (via FULLTIME AF mode). In addition, the camera offers a Spot AF mode.
The SP-600UZ can shoot full-resolution (12-megapixel) images at a rate of 1.1 frames per second; its three high-speed sequential shooting modes provide options to shoot at smaller resolutions with burst rates up to 15.5 fps.
The Macro and Super Macro modes offer extreme close-up capabilities. In Super Macro mode, the lens will focus to 0.39 inch.
The SP-600UZ can also record high-definition (MP4) and standard definition (AVI) movies. A simple, one-touch button allows you to switch from shooting stills to movies without having to enter the menu to select the movie mode.
Images can be framed and played back on the bright, high-resolution 2.7-inch LCD screen, which features an extra-wide viewing angle and anti-glare technology for easier composing and shooting – even in direct sunlight. You can also play your movies and slideshows on your television: The camera features HDMI and standard Audio/Video output ports. (HDMI cable is not included.)
The camera has 1 GB of internal memory and also accepts SD and SDHC media for removable memory.
Other convenient features include an in-camera manual that demonstrates camera operations on the LCD screen and a clean user interface that eliminates "button clutter." You can navigate through the menu system and operate most camera functions using just an arrow keypad, a Wheel Controller and an [OK] button.
What types of memory cards does this model support?
This camera accepts SD and SDHC removable memory cards. For a complete list of cards that have been tested by Olympus and found to be compatible, please click here.
What are the purposes of the different record modes?
Record modes allow photographers to quickly and conveniently vary the quality settings used to capture and save images in-camera. While it is possible to always shoot at the higher-quality settings and then process the images to lower file sizes later using a computer, it may be more convenient in some situations to shoot at other than the higher-quality settings. For example, it may be preferable to shoot using a lower-quality JPEG setting when the shot is intended for use on the Internet, where small file size is more important than rich detail.
JPEG is a compressed file format. When the camera processes a captured JPEG image and saves it to the memory card, it uses algorithms to discard some of the data to make the file smaller. The process of mathematically reducing a file's size by discarding some of its data is called compression. When the image is opened on a computer, the JPEG algorithms reconstruct the discarded data.
JPEGs are useful because their quality settings can be manipulated from the camera menu. The two factors that comprise JPEG quality are image size and compression ratio.
Image size is determined by the number of pixels in the image. Larger files are measured in millions of pixels, or megapixels. The SP-600UZ offers the following options: 12M, 8M, 5M, 3M, 2M, 1M, VGA (640 x 480 pixels), 16:9L (3,968 x 2,232 pixels), and 16:9S (1,920 x 1,080 pixels). The VGA setting is useful for shooting low-resolution images for use on the Internet in such applications as online auction Web sites. The 16:9 settings are suitable for capturing images intended for playback on a wide-screen TV.
Two compression options are available: FINE (for high-quality images with larger file sizes) and NORMAL (for standard-quality images with smaller file sizes).
What scenes are available in the SP-600UZ's SCN (scene) mode?
The SP-600UZ has 14 scenes: PORTRAIT, LANDSCAPE, NIGHT SCENE, NIGHT + PORTRAIT, SPORT, INDOOR, CANDLE, SELF PORTRAIT, SUNSET, FIREWORKS, CUISINE, DOCUMENTS, BEACH & SNOW and PET.
Does this camera have image stabilization?
This camera has two stabilization modes:
Where can I find the documentation for my camera?
This camera is packaged with a printed Quick Start Guide that describes basic operations. Full manuals in several languages are stored as separate files in the camera's internal memory. To access the full manual, connect the camera to a computer using the USB cable bundled with the camera and then follow the instructions below for your operating system:
Replacement manuals are available online from OlympusAmerica.com. An electronic copy of the manual can be freely downloaded as an Adobe® Portable Document Format (PDF) file, and a paper copy can be purchased for a nominal fee, which covers the cost of printing and shipping the book. Click here to select your camera model and view its available manuals.
Note: Adobe Reader® software is required to view and print PDF files. If this program is not already installed on your computer, you can download the latest version for free directly from Adobe's Web site by clicking here.
Is the Instruction Manual available in a language other than English?
This camera ships with product documentation in many languages. The manuals are stored in separate files in the camera's internal memory. To access the manuals, connect the camera to a computer using the USB cable bundled with the camera and then follow the instructions below for your operating system:
You can transfer the manual(s) of your choice to your computer using standard techniques such as copy/paste or drag and drop. If you are not sure which file(s) to choose, open the Readme.pdf file to view a list of all manuals mapped to their filenames. (For U.S. English, choose ENU.pdf.)
If the camera's internal memory is erased (e.g. by using the FORMAT function), Windows users who have installed the [ib] software can find replacement manuals in a backup folder on their computers. The backup folder contains a subfolder with a randomized name, and inside that folder is the Manuals folder, which holds the PDFs of the manuals.
Mac users, or Windows users who formatted the camera's internal memory before running the setup/installation program, can obtain replacement manuals in selected languages from OlympusAmerica.com. Electronic copies can be freely downloaded, and paper copies can be purchased for a nominal fee, which covers the cost of printing and shipping the book. Click here to select your camera model and view its available manuals.
When I select some Shooting modes, some of the menu options disappear or become grayed-out (inactive). Why?
In some of the shooting modes, the camera operates with a minimum of input from the user and automatically selects menu options. Many shooting functions are controlled entirely by the camera; the photographer cannot change their settings. Therefore, the menu options that control those settings disappear or are grayed-out in automated modes.
How do I decide which ISO setting to use?
Think of the ISO values as film speeds. Low ISOs such as 100 and 200 are better-suited to situations in which there is a lot of light – outdoors scenes, for example. Higher ISOs, such as 400 and 800, would be used outdoors when there is plenty of light and fast shutter speeds are desired – at sports and air shows, for example – or indoors when there is ample available light from windows or bright lamps. ISO 1600 would be used when light levels are very low, such as in dimly lit rooms or outdoors at night.
The ISO HIGH setting uses a higher sensitivity range compared to ISO AUTO in order to minimize the blur that can be caused by a moving subject or camera shake.
All Shooting Modes enable ISO AUTO, but some Shooting Modes do not permit manually setting the ISO value.
The SP-600UZ has four focusing modes. Which should I use?
With four focusing modes, photographers have great flexibility in setting up the camera for diverse shooting situations. The following descriptions will help you determine the best mode for each shot. The modes are selected and set in the SETUP menu.
The subject that I want in focus doesn't line up with the AF target on the LCD. How do I get the camera to focus on the subject?
When using the SPOT autofocus mode, the Autofocus Lock technique can be used for more critical focus by pre-focusing on a specific subject, locking the focus and then recomposing the image to shoot the picture. To do this:
How do I use the different metering modes?
The SP-600UZ provides two metering options that allow the photographer to have greater creative control over exposure. The metering modes are set in the SETUP menu. Descriptions and applications of the metering modes are detailed below:
What is Exposure Compensation, and how is it used?
Metering systems in cameras measure light but do not have a way of determining what the subject matter is, so the exposure decisions the metering system makes may not always be appropriate for the subject matter. This phenomenon is called subject failure. As with Spot metering, the human touch may be required to arrive at correct exposures. Exposure Compensation allows the photographer to set up the camera to under- or overexpose in specific situations.
Exposure Compensation is enabled by pressing the [MENU] button and then selecting the Exposure Compensation value using the arrow button or by rotating the Wheel Controller. As the selected value changes, the effect of the adjustment is reflected on the LCD display. Press the [OK] button to apply the value.
The Exposure Compensation value is displayed in the Exposure Compensation menu position in the LCD menu as a plus (overexposure) or minus (underexposure) value.
The Exposure Compensation function can be set to under- or overexpose up to two f-stops in 1/3-stop increments.
It is important that you set the compensation back to 0.0 before shooting subjects in other conditions so that the subjects will be properly exposed.
The SP-600UZ has AUTO White Balance, so why is it necessary to have white balance presets?
Having white balance presets grants the photographer more creative control. For one thing, daylight can be warm or cold. On a sunny day, early and late light has a warmer appearance than when the sun is high. The WB AUTO White Balance option might color correct for that warmth, thus taking away the ambience. Using the Sunny day setting will preserve that warmth. The WB AUTO setting will also tend to diminish the red, yellow and orange colors in a sunset, so it is advisable to use the Sunny day setting when shooting sunsets.
On cloudy days, the light seems colder because the clouds absorb the warmer red and yellow frequencies of the sunlight coming from above the clouds. Therefore, there is a Cloudy day setting in the presets to record the images with a warmer appearance. Creatively, the Cloudy day preset can be used on a sunny day to give images a more "golden" appearance, or it can be used to make a sunset appear warmer.
The Tungsten light setting compensates for the yellowish color cast of indoor lighting and candle light. The Tungsten light setting should be used for shooting subjects being lit with floodlights — for example, for posting to an Internet auction site. Creatively, the Tungsten light preset can be used outdoors in daylight to make the images appear more blue — giving a surreal feeling of coldness and moodiness.
The three Fluorescent lamp presets provide options for different types of fluorescent lights. These presets are valuable when photographing in business and office environments. It is advisable to shoot test shots to find the correct fluorescent preset for the shooting environment before doing available light photography under fluorescent light.
How should I set up the SP-600UZ to shoot in black and white?
This camera always shoots in color; however, a color image can be converted to a black-and-white or sepia tone image using options in the EDIT menu. To convert an image to black-and-white or sepia tone:
The camera will write a copy of the converted image to the memory card at the same quality setting as the original image. The original image will remain unchanged.
Note: The saturation options are used to make a color copy of an image with hard or soft color saturation.
What is the histogram?
The histogram gives the photographer feedback on the distribution of the light and dark tones in the image. When it is enabled, it is displayed on the LCD screen in real time. Select the INFO screen that displays the histogram by pressing the INFO button.
The histogram displays the brightness range of the camera as a graph. The left side of the graph indicates highlights and the right side of the graph indicates shadows. The photographer has the option of changing settings such as Exposure Compensation and Shadow Adjustment to fit the tonal range into the histogram prior to shooting or reshooting the image.
The camera will also show the histogram of an image in the Playback Mode. Pressing the INFO button will change the display of the image information. One of the displays shows a thumbnail of the image, its exposure information and the image's histogram.
What does shadow adjustment (SHADOW ADJUST) do?
When shadow adjustment is enabled, the camera processes a captured image so that the shadowy areas are brighter, revealing more shadow detail. The option can be used to shoot backlit or three-quarter lit subjects to make them appear with less contrast in strong daylight lighting conditions. Creatively, the option can be used in any lighting situation. In travel photography, users may wish to have the option enabled at all times. As with any creative option, it is best to experiment to test applications of the feature.
Shadow Adjustment is automatically enabled by default. It can be set to AUTO, OFF or ON using the SHADOW ADJUST control in the SETUP menu. Using the AUTO option, the camera decides when to apply shadow adjustment based on the contrast of the scene. Using the ON option, shadow adjustment is always applied. Shown below are crops of the same view. In the left image, SHADOW ADJUST was set to OFF. In the second, it was set to ON.
Shadow Adjustment should not be used with the PANORAMA shooting mode because it will only be applied to the first frame.
Can I apply shadow adjustment to images I have already taken?
The SHADOW ADJ function in the EDIT menu is used to "open up" shadow areas in a saved image to show more shadow detail without making any changes to the mid-tone and highlight areas of the image.
To apply SHADOW ADJ:
The SHADOW ADJ function will make a modified copy of the original image with enhanced shadow detail and save it in the camera memory or on the memory card. The original image will remain unchanged.
Can I play back my images and movies on my television?
Yes. This camera can transmit its audio/visual signal to an external player, such as a standard definition (SD) or high-definition (HD) television.
The CB-AVC5 cable bundled with the camera joins the camera's USB output jack to a TV's composite video (yellow) and left-channel mono audio (white) input jacks. Replacement cables can be purchased online from The Olympus Store by clicking here.
The CB-HD1 cable, sold separately, can be used to connect the camera's HDMI micro connector (Type D) output jack to high-definition televisions (HDTVs) with an HDMI standard connector (Type A) input jack. The CB-HD1 cable can be purchased online from The Olympus Store by clicking here.
Is there an AC adapter available for this model?
The SP-600UZ uses the AC Adapter D-7AC. The adapter is available from authorized Olympus dealers and can also be purchased online directly from The Olympus Store. To order the D-7AC from Olympus, please click here.
Where can I find information on how to use the [ib] software?
Answers to the most frequently asked questions about [ib] are collected here.
Detailed documentation of the software's functions is available in the application's Help file. To access the Help file, launch [ib] and choose ib Help from the Help menu.
I am a Mac user. What software can I use to view my images and movies on my computer?
The [ib] software bundled with this camera is not compatible with Macintosh operating systems. Mac users who wish to transfer their images and movies to a Mac for viewing, editing and sharing have two options:
Olympus maintains this Tips and Tricks page to help you learn how to use the OLYMPUS Master 2 software. Additional information can be found in the application's Help file.
My camera is connected to my TV to play back my photos, but I don't see any images.
Televisions have A/V (Audio/Visual) input channels (usually found below Channel 2) to receive images and videos from external sources such as digital cameras. Using the TV channel selector, move downward through the channels until you see the TV's input channel. The camera menu will be displayed on the TV screen.
If the camera menu is not displayed, check the display on the camera's LCD screen. If the camera is connected properly to the television, the LCD screen will be blacked out. If it is not blacked out (i.e. if the camera menu is displayed), the cable may not be connected to the correct AV input jacks.
If the camera menu displayed on the TV screen appears to be distorted, the camera may be set to a video output format that is incompatible with the television. In the camera's SETUP menu, check the TV OUT setting. In North America, the setting should be NTSC. If it is set to PAL, change it to NTSC.
I am having trouble getting a sharp image using the Night Scene or Night + Portrait scene. What can I do?
The NIGHT SCENE and NIGHT+PORTRAIT scenes are meant to take long exposures of skylines and city streets by leaving the shutter open for several seconds. Camera motion while the shutter is open causes blurriness. Therefore, it is necessary to stabilize the camera by bracing it against something solid or by using a tripod or camera clamp.
Sometimes when I'm shooting in dim light I have difficulty getting the camera to focus. What can I do?
This camera's autofocus system works by detecting differences in the contrast between light and dark areas of the image projected onto the sensor. If the light is dim or the image has somewhat flat contrast, the camera may have difficulty focusing.
The SP-600UZ has an AF Illuminator feature that uses the flash to illuminate the subject just before the exposure is made, thereby assuring autofocus.
To enable the AF Illuminator:
I went on vacation and used several memory cards. Now, when I'm downloading the images onto my computer and trying to save them, I get a message that says, "Image file_name.jpg already exists. Replace it with the new file?" What's going on?
The camera has two settings for creating file names for the images it captures:


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Put a small amount on your fingertip and dab into your skin. Apply evenly to face and neck.
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text:
A student at Indiana University of Pennsylvania has been charged with raping a woman at an off-campus residence.
Online court records don't list an attorney for 19-year-old Taylor Michael Groff, of Conestoga, who was charged by police in Indiana Borough, where the university is located, about 45 miles northeast of Pittsburgh.
Police aren't saying if the alleged victim was also a student.
IUP spokeswoman Michelle Fryling confirms Groff is a communications media student at the school. She says he'll face the university disciplinary process because of the criminal charges.
Groff is free on bond pending an April 4 preliminary hearing on rape, aggravated assault and indecent assault charges. Police say the incident happened shortly before midnight Friday.


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In the jumble of Tokyo's district names, two are so similar that one is often confused for the other: Asakusa and Akihabara are separated by just three subway stops on the Ginza line.
But nowhere in the city of 13 million are the differences between Old Tokyo and Tokyo Tomorrow more visible.
Asakusa is one of the few parts of the city that was restored to its old look after the World War II firebombing that destroyed most of Tokyo. Its center is Senso-ji, the latest incarnation of a Buddhist temple that has stood on the site since the seventh century.
Visitors to the temple exit the Asakusa subway stop and surge up Nakamise-Dori, through the huge entry gate with the massive red paper lantern that symbolizes prosperity.
The crowds stroll slowly past dozens of trinket and food shops. One sells a sweet rice on a stick creation that would be familiar to visitors in the 19th century, if not before. Along with Buddhist prayer beads and other religious items, shops sell pop culture trinkets and treats such as masks of the cartoon character Sailor Moon, Hello Kitty pillows, bullet train key chains, and wooden swords. There are cookies and a salty, deep-fried cornmeal treat.
At the end of the stalls is a small monastery with a sign that says "no photographs" that is frequently photographed. The Five Story Pagoda rises above the neighborhood roofline. Another red-painted arch is adorned with red, devil-like giants (with admirable six-pack abs).
Most who come to Asakusa stop by the buildings featuring rows of wooden drawers in which fortunes are told. After depositing 100 yen in a slot, the visitor shakes a metal canister filled with numbered sticks. A stick comes out through a small hole that indicates which numbered drawer to pull your fortune from. There are usually friendly guides or English-speaking Japanese tourists milling about who will help you find the right drawer.
Open the drawer and flip quickly through the papers and pull one out. There are best fortunes, bad fortunes and one called "final and small fortune." There's an English translation on the paper slip. If you like what it says, take it with you. If it is a downer, visitors can forestall the fortune by tying the paper to a series of wires next to the drawers.
Farther up is an incense stall where 100 yen buy you incense sticks to put into one of the big communal spots. People gather around this flaming, smoking bowl and use their hands to move the smoke onto their faces. Some hold their hands in the smoke then dab in on their head or on their children. Men hold wallets and women hold purses over the smoke – perhaps to see if their credit cards can be healed.
Next it is up the steps of Senso-ji. The original was built in A.D. 635 but the ancient temple was destroyed by the 1945 firebombings of Tokyo. The current temple dates to just 1958, when a replica was opened on the site. Today visitors can go to two spots to put small coins into a huge bin. In one near the entrance, visitors place the coins. But farther in, people toss the coins over the crowd, the metal clattering into the large bin. For 50 yen, visitors can buy candles in front of the altar, behind a mesh, with its flowers, deities and other symbols. To one side is a fountain where people dip a metal cup on the end of a long stick into water and drink it or pass it over their hands. Statues of several dragons stand over the purification fountain.
The people, the incense, the prayers (and the many rejected ones twined around the wire) give an energetic picture of ancient and modern life. It is something that hits all the senses. The sight of the red temples and the cherry blossoms in bloom, the smell of the lofting incense, the sound of the rattling of the canister of fortune sticks, the touch of the coins, the paper fortunes.
Off the sides of the temple complex are small restaurants that sell nostalgic comfort food from simpler times. On busy days there are lines outside each, the people waiting for a chance to sit in the old houses as their grandfathers and great-grandfathers might have.
From there it is a quick subway ride to Akihabara, the legendary electronics district that is also home base for fans of anime and manga illustrations. Visitors will instantly see a difference in the crowd, compared with Asakusa's. Older men and women are replaced by teenagers and men in their early 20s who fill the small shops with models of science fiction characters, half machine-half man, a submarine with a huge drill bit on the front, or a Musashi-like battleship – except that it flies in outer space. There are DVDs of doe-eyed girls in school uniforms.
Akihabara has always been a place to see electronics items that will hit U.S. shores about six months later. But for the past 10 years, the area has also been swamped with "maid" cafes that cater to legions of otaku, the Internet-obsessed young men of Japan. There are hundreds of cafes in the district, and the streets are lined with young women in French maid outfits who hand out fliers touting their establishment. The cafes cater to Japanese, though there is no rule that tourists can't stop in.
The otaku are greeted with a submissive "Hello, master, welcome home." What follows is pretty pedestrian – an hour or so of chatting up the maid while eating overpriced food. Just as with the older geisha and business-hostess cultures, there are allegations that more goes on than just talk, though it is the exception, not the rule, according to authorities.
Like the more famous Harajuku, Akihabara is also a hangout for the Lolita-Goth-look girls with their wild clothes, kabuki-like makeup and piercings, dye jobs and dangling accessories. Though the electronics sold in the stores are high-tech, the shops are not. Most are simple storefronts packed with gear for sale. Like the maids, hawkers stand out front trying to draw customers inside.
Dip into one and you will see 3-D televisions, tiny smartphones and home video-game centers that would be an American child's dream – except the shops are filled with men who then go outside and chain smoke while discussing the latest games and machines.
Besides the maid cafes, eateries here are curry joints, fast food parlors and the like – very little traditional fare. The young men all seemed to have the same straight, somewhat shaggy hairdo and dress in grays and off blacks, except for an odd subgroup who favored green sweat suits with yellow piping.
One city, two worlds in one afternoon.
Contact the writer: email@example.com


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Today is looking good so far in the productivity department. After 2 years of having these mirrors in my garage, I finally got around to hanging them in the dining room.
First step was to measure the wall and calculate how much space the mirrors needed between them.
The next time your children tell you that they don't need a particular subject in school, remind them of how much math is needed just to hang a wall of mirrors!
The first row went up.
Then the second and third...
And in no time, I was finished! Next up is to refinish the frames. I'm thinking my trusty Rub n' Buff will come in handy for that.
On top of working in the dining room, I've also added a gallery wall to the living room wall above the sofa. More on that later.
So, how is Monday going for you so far?!?!


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Celebrating illustration, design, cartoon and comic art of the mid-20th century.
Thursday, May 03, 2007
Rex Woods (Birth-Death Unknown)
After Franklin Arbuckle, Rex Woods was probably Maclean's magazine's most prolific cover artist during the 50's. Some have called Woods "the Norman Rockwell of Canada".
In spite of that status and Woods' tremendous popularity with commercial art clients in Canada at that time, there is surprisingly little information available on him. This may be because Woods seems to have invested all of his efforts in illustration art -- and the relative anonymity that often comes with that choice. I cannot even find confirmation of the date of Woods' death, though I heard an intriguing anecdote from a reliable source regarding a situation related to that event:
A few years ago I was called in for a cover assignment by Maclean's Creative Director, Nick Burnett. As Nick lead me down the hall from reception to the studio I fell further and further behind as I realized that the hallways were lined with framed originals by Rex Woods. The larger-than-printed-size paintings were stunning to behold and Nick seemed surprised by my enthusiasic desire to linger and study them. I suppose that when one passed by these gorgeous works of art day after day, one could become blasé even about such accomplished craftsmanship.
Shortly thereafter, once we were settled down at Nick's desk he related the following to me:
By complete coincidence, Nick had discovered, he was living in the same well-appointed downtown Toronto apartment building where Rex Woods and his wife had lived for much of their lives. The superintendent of the building, upon discovering that Nick worked at Maclean's, had told Nick about how the elderly couple had passed away several years earlier - the husband and wife dying only a few weeks apart.
It seems that Woods had no immediate family - in fact, no relatives of any sort could be located at all. Upon cleaning out the apartment, the super found it filled to overflowing with original artworks, paintings were stacked in columns and leaning against every vertical surface in deep rows. Woods had managed to get a vast amount of his original art returned and had hung onto it for the remainder of his days. Perhaps he had hoped the art would be a sort of retirement fund... perhaps he was simply attached to it.
Whatever the reason, now that both he and his wife were gone, there seemed to be no one to pass along this treasure trove to. The superintendent even tried to contact potential publishers of a Rex Woods art book but none expressed any enthusiasm for putting together such a project. The market which Woods had so thoroughly dominated just a few decades earlier had lost all interest in him and his work.
Happily, the super realized this art was too valuable to simply landfill. Apparently he had had quite a close relationship with the Woods' and genuinely loved the artist's work. He put it all in storage. As far as we know its still out there somewhere under lock and key in some darkened, faceless cinderblock building waiting to be rediscovered.
You can see all of these images at full size in my Rex Woods Flickr set.
21 comments:
Man, what a fascinating story, Leif. And that's very rare for someone like that super to hold onto artwork like that. Have you been able to find out who that man was? Can you find out through Nick? Would love to see what happens...ReplyDelete
Unfortunately I've long since lost touch with the AD, Ward - it was 5 or so years ago. But perhaps someone with more info will find this post and chime in on the subject!ReplyDelete
Wow, came across your artical when I was doing a search on the artist. Found a poster singed by him and wanted to know if you had more info on the subject, the poster is titled MC DONALD LASSIE.ReplyDelete
Betsy; That's a reproduction of the girl who appeared for decades on the Export "A" cigaraette pack. MacDonald's Tobacco hired Woods to paint her portrait and my friend, Will Davies, did the updated version in, I think, the 60's or early 70's. Next time I speak with Will, I'll ask him if he knows anything about the original Rex Woods version and post it here.ReplyDelete
- Anonymous8:09 AM
I was given a print of the The MacDonald Lassie by Rex Woods also.It appears to be made of carboard simmilar to cearal box and is framed with the same carboard. It has the numbers 229-9-68 stamped on the back of the print. I am thinking it may have been an advertisment print but am not sure. Do you think it is a collectable item?ReplyDelete
- Anonymous8:11 AM
I was given a print of the The MacDonald Lassie by Rex Woods also.It appears to be made of carboard simmilar to cearal box and is framed with the same carboard. It has the numbers 229-9-68 stamped on the back of the print. I am thinking it may have been an advertisment print but am not sure. Do you think it is a collectable item?ReplyDelete
I am living in Rex Woods apartment. The superintendent had saved his tear sheets from Canadian Home Journal and we have now printed and framed them. They currently hang in the lobby and hallways of the building.ReplyDelete
Some people who have lived here for decades remember Rex Woods.
There seems to be a lot of mystery about his life....and I would be interested in learning more about him. If anyone has anymore information, please reply.
Many thanks.
I am a big Rex Woods fan.
Lynda, I hope you will follow up with Leif, or me, about where the building is. I think we could maybe get that collection into an archive. email@example.com
- Anonymous5:26 PM
In a refular google search for info. about Rex Woods, I came across your posts. I am related to Rex - he was my mother's cousin. He was born in Gainsborough, Lincolnshire on 21st July 1903 and emigrated to Canada when he was 18, attending the Ontario School of Art. He died on 18th November 1987. My mother visited Toronto after his death to try and safeguard his original paintings (all we have are prints) but was usuccessful. The creation of an archive of his work would be wonderful. Lots more inf where this came from.ReplyDelete
Its great to hear from someone who can fill in some of the biographical details for us - thank you!
If you'd like to contact me directly, my email address is firstname.lastname@example.com
It would be wonderful to learn as much as possible about Rex Woods. His work was remarkable and continues to be admired by a great many people - especially those of us who are also illustrators.
Hi Julie,ReplyDelete
I am also interested in compiling a biography on Rex Woods for my doctoral research. I invite you to contact me - email@example.com.
Hi LeifReplyDelete
just visited the new ROM building in Toronto and there are several original Rex Woods hanging in the Canadian history section on the main floor.
They are beautiful!!
Cheers... Andrew
Great to hear from you, Andrew - and thanks for giving us the head's-up on where we can view come of Wodds' originals! :-)ReplyDelete
Wow..Wonderful story on a superb artist! I do hope he gets the recognition he so deserves as it is very disheartening to search the web and there is very little on such a talented person! Thank you for being one of the few to do so!ReplyDelete
Oh my gosh! I LIVE in that building! About a year ago, they hung up a bunch of his prints... I HAVE to talk to my old (retired) super (he still lives here). I think it was the same super... Rex passed in '87. I'll have to see if I can find anything more out! There are also residents living here (though I don't know them) who've been here pretty much since the building was built in '39.ReplyDelete
I'm doing a post today about Rex. I'll add a link here when it's done. I've photographed every one of the 20 prints that decorate our walls here!
My post on Rex is here: http://retasroses.blogspot.com/2010/03/rex-woods-where-artist-once-strolled.htmlReplyDelete
My flickr album is here: http://retasroses.blogspot.com/2010/03/rex-woods-where-artist-once-strolled.html
I've found out a bunch more about Rex, so I'll be doing another post, as well! The super who knew the Woods's was indeed my former super who's still living here! He wrote a couple of articles (one of which was published in '87, when Rex passed) and he has lent them to me!
- Anonymous7:46 PM
Have a watercolour done by Uncle Rex at home. His Paintings were donated to the ROM in Toronto in 1988 per his wife's willReplyDelete
i have an original piece of rex'sReplyDelete
work that hung in the brantford cortage ( largest rope makers in the world while they were running).
it was painted in 1934, and hung in the office till the mid 80,s when it went out of business. it is a painting of a grain harvest.
it shows a young boy and a lady overlooking a wheat field.it is in very good condition. i would like to know if there are collectors that would have an idea of its value.i will send a photo to any interesting parties. hope to hear
from anyone with information.
I have stumbled on two sketches From Rex Woods.ReplyDelete
One of a lady tossing an object at a man running.
The object shatters the glass of a credenza.
The foreground is the lady's backside in full motion following through with her toss.
Her dress is swaying in a vibrant green the only coloured area on the sketch. I want to upload a photo of the two sketches.
How do i go about doing this?
The second sketch from 1931 is of a lady sitting on a bench in a long dress ,heels and white gloves.There is an animal sitting beside her with a furry tail. The sketch is very mysterious.ReplyDelete
I want to upload this sketch for all to enjoy..


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Assignment Photography and Syndication
- My Favorites
- Scenes of New York
- Bicycles
- Florence
- Men Milan
- Women Milan
- Men New York
- Women New York
- Men Paris
- Women Paris
This entire site ⓒ 2005-2011 The Sartorialist. All of the photographs herein, unless otherwise noted, are copyrighted by the photographer. No part of this site, or any of the content contained herein, may be used or reproduced in any manner whatsoever without express permission of the copyright holder(s).
Wednesday, May 23, 2007
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oh, I love the dress. but I guess I'm not the biggest fan of the shoes..
oh i love it. this is the style i think of when people say new york. love norwegian
can I just say how pleased I am to see a dress bought from one of new york's many street vendors on here? I don't love the boots, but the dress, hair, and face are all fab.
Summer breeze makes me feel fine. I like the loftiness of her dress. A bit heavy--the bag and boots. She manages though.
First, this woman is beautiful. She has great hair, beautiful skin and teeth, and a great body.
Nice dress and jewelry. Her dress is perfect for the spring and summer. Nice use of color. I also like her gold jewelry.
I really don't like her boots or her way-to-big-for-her-frame handbag. IMHO, her boots ruin the outfit; they make her look dumpy and throw off the focal point. The color of her bag works well, but it's just too big for her.
I'm sure I won't be the only one to comment this way: Love the dress and other accessories. The boots - not so much.
I'm most curious to hear what the ladies think of those boots. I think any bulky, pancake-flat Ugg type boots shorten (and thicken) the lower legs unflatteringly, and it's a look that I was happy to see pass out of favour among style-conscious young women a couple of years ago.
But this is a lovely photograph nd I love her smile. Perhaps she has a change of shoes in her bag...
Her hair, that dress, her beautiful bag and those awesome boots. I'm so jealous. Glad you captured this.
she's so happy! i love seeing a bright smile in the morningtime.
Loved it until I got to the boots! Oh no. It's just too incongrous to be wearing a floaty summer dress with suede (shearling?) boots. And a sandal would be much more flattering.
Great curly hair though!
LOVE the dress, don't know about the shoes.....
yikes. she looks like a midget in that billowy dress and no-shape boots.
The print on her dress is lovely, but the combination is unflattering
Wow. The dress is great but the boots weigh the whole thing down. It's spring, ladies!!
Great printed dress and necklaces, but perhaps I am just a little less adventurous as I am not in favour of her choice of bag or footwear. Some strappy sandals would be perfect, albeit somewhat predictable...
My first thought was: a young Madonna Ciccone when she was a dancer in the late 70s headed for NYC. Beautiful, unique, and very funky.
I love her dress!!!
Everything is lovely except the boots.
i love love love the cut, colour and fabric of the dress. it reminds me of an indian summer. who's it by?
fThat is a beautiful dress. The colors (blue & brown), the shape, the cut are spectacular. I love her necklace too.
beautiful dress
she looks like a hippy joanie cunningham! why did you get happy days in my head? why!?!
; )
I love the boots with the dress! It makes the look not so expected. Flats or sandals would have not done this fab woman justice.
Have some courage to mix it up, people!
Please don't tell me those hideous boots are out of style - I'm moving back to Upstate NY and those boots are the only way I can live through winter!
Great dress, the boots and bag give it a slight 'bag lady chic' which I don't think was the intended effect...
The boots are tragic, the rest is great. She doesn't look like a New Yorker to me, though (and for what it's worth, anonymous 9:28, as a long-time resident, this isn't what I think of as NY style at all).
Ok, I thought the same thing about the boots but then I looked at it some more and changed my mind. This woman embodies feminine sensuality. She is working the whole Earth mother, tribal boho look. I love it!
Great photo, Sart. I read your blog everyday. Keep up the good work!
Now...she looks HAPPY! That's nice. I like the dress, but I don't care for the boots. That would be too warm for me.
LOVE the dress Love the boots - I pulled this look off this weekend - camping - I couldn't resist wearing my new dress but i was camping so instead of strappy shoes I put on by bis brown bearpaws... :-) Relaxing and Beautiful!
Everything's great except her boots. She should've worn something else. They're too bulky for her summer-y outfit.
ohhh, i thought this photo was just so surprising and wonderful!! such a fresh and sweet vibe! and still sexy at the same time. a nice switch from some of the usual hip-ness, you know what i mean? ah, she's just GORGEOUS and summer... regardless of her darn boots! love it.
p.s. to the comment from norway- she is very vintage N.Y.C. in my opinion :)
Just great! I love that dress,that hair,that boots...
It's funny, Sart. Before I read the headline, I thought this photo was taken at the shore! I thought the street was sand and I thought, "Aw, Sart has started Memorial Day Holiday early. Good for him..."
Have a lovely holiday.
-- desertwind
good contrast with the boots
I actually like that she's wearing the boots. She looks ultra-femme and, more importantly, comfortable. A flat sandal would be okay but too typical (since it's what every fashion mag dictates).
That is a wonderful outfit, very hip and fresh and springlike. Wonderful - except for the boots, which really are tragic. But maybe that's all she had time to grab that morning. We all have those days, I suppose. In any case she seems quite comfortable as she is and doesn't seem to care what other people think, so that counts for something.
To me it looks as if everything is falling off her- the bag is a sack and it must be real difficult to walk in those clumsy boots.The dress doesn´t appeal to me either.
Gorgeous girl. Stunning smile. Terrible outfit. There's a reason all the fashion mags pair this style of dress with sandals.
the bag and boots ruin her look..
I like the boots!
without them, I think it would loose the sense of credible funkiness I think she was going for
the dress is very cute, love the cashmere print, the boots are an original choice but they make the dress become much less feminine and it's a pity, would have gone for slave sandals.
Whatever anyone thinks of big suede boots generally, I think hers actually work really well with this outfit. If she'd worn boring old flat sandals there would be no funky edge to the look. The bag must be hell to carry, though.
Everthing looks great in this picture, until you see those boots. But the dress is amazing.
aww i love that dress!!does anyone know where you can find it????
The boots are too slouchy for the dress. I'm imagining a nict pair of heels or flats.
that's my friend, secada. i have never seen her wear anything but boots!
Oh my God! The photo is so beautiful!


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Hello. To say that semiautomatic handguns and rifles are more popular now than ever is a pretty safe statement. The semiautomatic handgun has pretty much replaced the tried-and-true revolvers that graced law enforcement's holsters decade after decade and those of many defense-oriented private citizens as well. Other than hunting and some competitions designed with the "round gun" in mind, "electric guns" dominate most handgun sports…or so it seems.
On both television and in printed media, I continue to hear and read that the AR-15 style semiautomatic rifle is the most popular in this country, seemingly selling as quickly as they can be manufactured. I think this is a true statement but I have not personally even tried to document it, so those who always squeal for such will be disappointed in this article. Rather, I will simply suggest that the AR-15 platform is a very fast-selling item and a design manufactured by many makers, sort of like 1911-pattern pistols continue to be!
Many will agree that one of the autoloader's major strong points is its ability to be quickly reloaded in practiced hands. Skilled users can reload their detachable magazine-fed handguns and rifles, sometimes with nearly unbelievable speed, the result of much dedicated practice but also testament to the semiautomatic's design…and making the most of it.
…and that brings us to the topic at hand: magazine carriers.
If we are to quickly reload a semiautomatic firearm having a detachable magazine, we have to carry at least one extra magazine on our person and in a manner that allows us to efficiently retrieve it. To this end, a number of companies offer magazine carriers intended for clandestine, concealed carried, open carry, or competition, or are meant for use under the harsh environments in some military situations. We find magazine carriers made from traditional leather to kydex or other synthetics.
Let's take a look at a couple from Tuff Products. Both were designed by master firearms photographer and shooter, Mr. Ichiro Nagata. Mr. Natt Stevens of Tuff Products advises that Mr. Nagata originally envisioned both carriers to be used by everyday shooters but adds that some are being purchased by both military and SWAT patrons. He also provided the following information:
"Ichiro Nagata is famous for his Firearm Photography and is also a real active shooter in the Bianchi Cup and was the 2008 Steel Challenge Super Senior Champion.
He has worked on this 8 Round Magazine Pouch for just over 5 years to get to this final design that he is very happy to put his name on. Original design was bulkier made only open top for competition. Had only 5 pockets and he would put 2 magazines in each pocket holding 10 magazines. Thru the testing with prone shooting positions he discovered the need of separate pockets for each magazine as well as a flap to cover them to help keep the magazines in the pouch. This is where the removable flap came into play. Final testing was done at the recent Bianchi Cup where Tuff Products Sponsored Team Japan to put the pouch to the test prior to the product launch.
Ichiro would need 5 Magazines for the Steel Challenge and would need 8 magazines for the Bianchi Cup to carry 48 rounds without putting too much tension on his magazines to reduce the chance of a pistol malfunction. This is where the amount of magazines where chosen to hold 8 magazines. Throughout the testing of this pouch at the Steel Challenge and Bianchi Cup, Ichiro had talked with many people and he felt adding the M.O.L.L.E. attachment to this pouch would make it very useable for anyone that shoots a 1911."
First up is their "8 in Line Magazine Pouch". It can be had in black or coyote brown and is available for single-stack 1911-style magazines. It appears capable of lots of use and is constructed of 1000 denier cordura and mil-spec webbing. This carrier can be worn on the belt but is also designed for use on M.O.L.L.E.-style vests. ("M.O.L.L.E" stands for "Modular Lightweight Load-carrying Equipment".) The "8 in Line Pouch" is more compact than might be initially expected.
Here is the "8 in a line" magazine carrier loaded with 8 1911 .45 magazines as it appears from the front (left) and showing how it can be attached to either a belt or M.O.L.L.E. vest on the back (right).
This is due to the magazine not being carried with its side against the belt. Rather the rear of the magazine in closest to the body. Thus, the length of this carrier can be a compact 6 ½" long by about 5 ½" high and right at 1 7/8" thick. Though it could be done, I do not believe that this magazine carrier was ever envisioned for concealed carry. Even so, from the front it would probably not be readily apparent to non-shooters what it was with the full-length, velcro-secured cover in place. (This cover is removable by the way. It also has a wide enough swath of velcro that it will fit tightly against magazines with or without magazine pads.)
With the cover removed, we can see the nicely secured line of eight magazines. Note the relatively wide swath of velcro on the front. This provides quite a bit of latitude in overall magazine length vs. the cover fitting properly. If you use magazines without bumper pads, the cover will pull down and be hold them firmly in place via velcro. If you prefer to remove the cover for quicker access, snug fit and relatively high coverage of the magazine by each pouch insures that it stays in the carrier until manually removed. That they are held with the rear of the magazine toward the body rather the magazine side as with most single and double carriers did not prevent rapid removal of the magazines for quick reloads. It did "feel different" because of my using traditional magazine carriers for years but it just did not prove to be a problem.
The LOA of the 1911-type magazine makes no difference whether or not it will be held securely; it will be.
Next up is a compact magazine pouch for carrying a single AR-15/M-16 magazine. It can be carried via belt or the previously-mentioned M.O.L.L.E. vest. It has no cover but tension holds the magazine firmly in place. This pouch could easily be carried concealed should that be of importance to some people reading this article.
Tuff Products calls it the "G.A.G.", which stands for "Grab and Go".
On the left, we see the "G.A.G". carrier from the front and only the left, from behind. Like the "8 in a Line", this pouch attaches very securely to the belt. (The only AR-15 magazines I had close at hand were the shorter ones holding 20 rounds. In the pictures, the magazine is pushed all the way down. It is still very easy to retrieve.
With 8 loaded magazines (7 rounds of 230-gr. 45 auto each) in the "8 in a Line carrier", I removed the detachable cover, and held the carrier upside down. I shook it and no magazines could be shaken out of this pouch. At the same time, removal by hand was absolutely not difficult at speed. (While empty magazines can be inserted one-handed, I did not find that to be as quick as with either heavy leather carriers of those of kydex-type synthetics. I was surprised that it could be done at all, much less as easy as it proved to be and for many this is not even an issue.)
The edges at individual pouch openings are designed not to fray and I would expect years of use from either of these magazine pouches.
With the "G.A.G." single magazine carrier, inserting a magazine one-handed was very easy to do, even though the magazine is held securely in place by tension between it and the carrier.
The "G.A.G." pouch would allow carrying an AR-15 magazine easily for use in a match or in the open as well as concealed for more "serious" scenarios.
I am very favorably impressed with both of these carriers. If you think that you might be, take a look at http://www.tuffproducts.com" onclick="window.open(this.href);return false; and then under "Magazine Pouches" for more information and pricing, not only on these, but their "5 in a Line" carriers for 9/40 double-stack magazines as well as a selection of single magazine pouches. They can also be reached via telephone toll free at 877-883-3776.
Two Magazine Carriers from Tuff Products
Renown Browning Hi Power Expert - Stephen A. Camp. Unfortunately, Stephen passed away and he will be greatly missed.
Moderator: carlson1
5 posts • Page 1 of 1
Topic author
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Re: Two Magazine Carriers from Tuff Products
In looking at their site, I see they have a 5-in-a-line pouch for single stacks and for double stacks. The double stacks are said to accomodate Glock 17, 21,22 magazines and others. Might be useful for IPSC shooters using larger calibers.
Also, their single mag pistol carriers look to be high quality, flexible and very economically priced at only $15. They are leather (brown/black), rotate 360 degrees, have three retention screws and a belt clip that accomodates a wide range of belt sizes. I may have to get one or two of those.
Thanks for the info on excellent site.
By the way, are the shipping charges reasonable? Unfortunately it is one of those sites that requires you to register before you get to the final check out price withy S&H charges. That is the only thing I didn't care for.
Also, their single mag pistol carriers look to be high quality, flexible and very economically priced at only $15. They are leather (brown/black), rotate 360 degrees, have three retention screws and a belt clip that accomodates a wide range of belt sizes. I may have to get one or two of those.
Thanks for the info on excellent site.
By the way, are the shipping charges reasonable? Unfortunately it is one of those sites that requires you to register before you get to the final check out price withy S&H charges. That is the only thing I didn't care for.
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Topic author
Re: Two Magazine Carriers from Tuff Products
Shipping for the 8 in Line was listed at USPS Priority Mail ($6.07). Other options were available and listed as well, some higher and some lower.
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Re: Two Magazine Carriers from Tuff Products
Thanks Stephen,
I probably won't get the 5 or 8 bacause my sport is IDPA but those single mag holders look like a great deal for holding my starting mag in IDPA and for conceal carry generally. The 360 rotation feature will be useful to provide some concealment flexibility.
I probably won't get the 5 or 8 bacause my sport is IDPA but those single mag holders look like a great deal for holding my starting mag in IDPA and for conceal carry generally. The 360 rotation feature will be useful to provide some concealment flexibility.
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Topic author
Re: Two Magazine Carriers from Tuff Products
Hello. Well, good luck with the singles. I have never tried one of those so I cannot honestly say based on personal experience, but I bet you are right.
5 posts • Page 1 of 1


text:
Zine Yearbook #9
Edited by Microcosm Publishing.
With anyone looking for a new zine – this general concept is paramount; the more you know, the more you know you don't know. From the start of pulling together elements of the zine collection, I knew my familiarity with zines and their distribution aspects from running my own distro and record store would be helpful – much more helpful than my reluctant and half hearted enthusiasm over cataloging minutia. "Oh yeah, we should definitely get this title and that title and so and so is donating back issues of this and that." I obviously never thought zines ended with what I knew of them, but I wasn't quite prepared for how much I didn't know outside of standard distribution channels. And the humbling power of hundreds of new titles came crashing like modern first-world economic plight.
Enter Zine Yearbook #9, where a culmination of historical torch passing compilers, from Jen Angel to Softskull Press to Tree of Knowledge, finally lands a new publishing partnership with Microcosm Publishing. Microcosm's treatment of the Zine Yearbook project is nothing short of inspiring – both in terms of process and product. The thousands of zines read and mulled over at meetings lead to 230 pages of over 120 selections from various zines. The final product is a tasty sampler containing thoughtful, engaging, personal, independent writing and artistry from around the globe. Accompanying each printed submission is the contact information for your follow up – write them and tell them what you think, order the zine for yourself, or tell us local librarians how much you loved a certain entry and wish we had it available for checkout here. …the whimsical art and text of "My Friends and Their Tall Bikes," the great storytelling in Pensacola's "Mylxine" zine, the illustrations from "Bowling Stars of 1989," the funny and interesting responses from the ad posting's of the author of "Three Minute Girlfriend." All a must-see!
Zine Yearbook 9 is an anthology of independent writing and artistry that should not go missed. Check it out at the library this winter and find a warm place to discover all kinds of new and neat zines.


text:
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What do YOU think makes a true metal head ?
Posted in: Forum Home >> General Discussion >> What do YOU think makes a true metal head ?
|Displaying posts 1 - 25 of 57 1 2 3 Last
|Displaying posts 1 - 25 of 57 1 2 3 Last
|Jan 18, 2010 7:25 PM ET
|#1 (permalink)
I ano if anyone done this yet but if they have i cant be fucked going to look for it so im doing my own
Question as in the title ..
You can answer differently if you think its different for a man or a woman :)
|Jan 18, 2010 7:29 PM ET
|#2 (permalink)
BG1 is pretty iconic.
|Jan 18, 2010 7:41 PM ET
|#3 (permalink)
Yeah gotta agree with Agent there. I don't think you get more metal than BG. Either him or Katon from Hirax. God damn that guys is just... metal.
|Jan 18, 2010 7:44 PM ET
|#4 (permalink)
She's not asking who is the most true metalhead, but what makes a true metalhead. I think a "true metalhead" is a metalhead who tries their best to explore underground metal and genuinely enjoys it.
|Jan 18, 2010 7:50 PM ET
|#5 (permalink)
I don't really know what makes a true metalhead to be honest. When I was thirteen I was all about the whole "Heavy metal rules the world man! Everyone should listen to it!" kinda thing. I sounded like Sebastian Bach really lol. Maybe a true metalhead is someone who eats, sleeps and breathes metal like Rob Halford but I dunno, you'd get some metal fans that say his lifestyle isn't metal. Frankly I don't feel it's an important question to me nowadays. I refer to myself much more as a "music lover" than as a "metalhead" because I enjoy listening to everything from Pet Shop Boys to Biohazard to Miles Davis, so my head isn't full of metal music.
P.S. If I may say so IN, you like very pretty in your latest avatar there.
(This post was last edited on January 18, 2010 at 7:51 PM ET.)
|Jan 18, 2010 9:52 PM ET
|#6 (permalink)
i think people who wear all black and those studs, dye their hair black and get piercings on their face because they think it looks cool and think that "this is how a metalhead should look like" are posers. what Oz said is what a true metal head would say, he wouldnt give half a shit about what other people listen to or even about this question. idk what a metal life style could be but i think that when people listen to metal they should get a feeling that you can only get when you listen to metal you should get a feeling which you can only get when you listen to metal, you are metalhead, and that is what all true metalheads get. so basically anyone who listens to metal just because everyone else is listening to it and calling your self an idk, satanist or something, you are not a true metal head
|Jan 18, 2010 10:01 PM ET
|#7 (permalink)
Oz's post completely sums it up for me, also agreed with CoHace. You wouldn't be able to tell that I listen to metal by looking at me. I've got style, muthafucka! Haha.
Really, the only way one can kind of say they live a "metal lifestyle" is if they are in a touring metal band or work in the industry.
|Jan 18, 2010 10:45 PM ET
|#8 (permalink)
I'd have to wonder how much of a "true metalhead" I am if you go down the lifestyle road. Being a [metal] geek, I definitely don't fit the bill, despite an eyebrow piercing. But I listen to metal about 8 hours every day, spend hours reading and posting news and running this site, and metal permeates much of what I do on a regular basis. And I'm teaching my kids (3 and 7) what good music is like :-) I realize I don't fit the stereotypical metalhead, but it doesn't really bother me in the least.
|Jan 18, 2010 11:01 PM ET
|#9 (permalink)
I wanted to hear the different answer's i could get .. nothing is a wrong answer , i mean like i liked to dress up metal goth if im going to a concert but for day to day life like i mean i have the piercings and i do have lots of black clothes but none of my friend describe me as goth or whatever they just think its odd for a girl like me to enjoy metal as much as i do ..lol
I think the answer's that have been given so far are pretty substantial =D
For me a METAL HEAD would be any true die-hard metal fan any one who can sit through en entire metal album and can get the messages being portrayed across when your having a shit day and you play some metal and it makes you feel better ..
(This post was last edited on January 18, 2010 at 11:02 PM ET.)
|Jan 19, 2010 1:32 AM ET
|#10 (permalink)
...being Robocop.
|Jan 19, 2010 3:41 AM ET
|#11 (permalink)
...or Johnny 5
On topic, I agree 100% with the Oz man.
|Jan 19, 2010 9:38 AM ET
|#12 (permalink)
Being unashamed of what you believe in, and your swagger makes you a metalhead. An open appreciation to diversity in music, culture, religion, politics and other peoples likes and dislikes makes you very much a metalhead. The fact that you walk your own walk and defy status quo by being who you are and not some trendy little poser who changes with the tide makes you a metalhead. If you don't go out of your way to prove to everyone in the world that you are a metalhead, IMO makes you a metalhead.
Plus I listen to metal sooooooooooooo...that always helps.
|Jan 19, 2010 10:27 AM ET
|#13 (permalink)
*finishes his breakfast which consisted of a hand full of rusty nails* Thanks to all the peeps for the props, but I believe this question was most adequately answered in "Metal: A Headbangers Journey". My mother recently watched it and she actually gets me now (after 43 years). If you haven't seen it yet go see it now.
(This post was last edited on January 19, 2010 at 10:58 AM ET.)
|Jan 19, 2010 12:15 PM ET
|#14 (permalink)
"No disassemble Johnny 5!"
I agree with a lot of you on this thread on what makes a metalhead. I particularly like what ap1 said, though.
|Jan 19, 2010 1:09 PM ET
|#15 (permalink)
AP1 is on the money.
(This post was last edited on January 19, 2010 at 1:15 PM ET.)
|Jan 19, 2010 1:10 PM ET
|#16 (permalink)
I agree with BG, Metal: A Headbanger's Journey does answer this question...but for me personally I'd say a deep belief in yourself, you got to have an open mind and respect other people's beliefs too. And like ap1 said being unashamed of what you believe in too, ok basically everything that ap1 said too.
|Jan 19, 2010 1:51 PM ET
|#17 (permalink)
Thanks for the props, though I don't wear metal T-Shirts anymore. My wife has pretty much broken me from that. If I were still single, rest assured I would wear metal shirts.
NP: In Flames= Gyroscope
|Jan 19, 2010 4:01 PM ET
|#18 (permalink)
Sarah-jane: do you wear piercing when you go to concerts? if you do, its not a very smart thing to go into a mosh pit with piercing, imagine getting one of them ripped off of you and what not? lol THAT would be metal but, it would still hurt
BG: Metal: A Headbangers Journey is one of the best Metal Documentaries out there, Global Metal wasnt as good though. have you seen "Heavy: the story of Metal? thats a really good one too
|Jan 21, 2010 10:09 PM ET
|#19 (permalink)
the answer here is simple...
Snoring with a mustaine snarl
|Jan 21, 2010 10:22 PM ET
|#20 (permalink)
Oh man that sucks AP! I couldn't imagine not wearing a metal shirt or music related shirt of some kind any less than five days a week. Get a metal tattoo! She can't make you take that off!
|Jan 21, 2010 10:42 PM ET
|#21 (permalink)
Oz: I have a Biohazard tat on my left forearm if that helps. Don't think for a second I don't miss my t-shirts. Gotta keep the old lady happy though. To paraphrase Braveheart: "She can take my life, but she can never take, MY FREEDOM!!!!"
Shit, now that I think about it, she kinda did take my freedom. Oh well. *cracks open beer* Sam Adams anyone?
|Jan 21, 2010 10:44 PM ET
|#22 (permalink)
Samuel Adams. ALWAYS a good decision! That and Samuel Jackson
|Jan 21, 2010 10:47 PM ET
|#23 (permalink)
i agree with oz. Someone asked me not long ago why I always wore a band t shirt, it realy baffled me as its been a few years since i've worn much else but i came up with an answer "how else are people gonna know what music i like?".
|Jan 22, 2010 1:33 PM ET
|#24 (permalink)
Ha, I was gonna say AP1 is not metal, but if you have a Biohazard tat, then that works. Still... letting your wife tell you what to wear? :-) Working from home, I can dress how I want, luckily. T-shirts are the norm, about 2/3 of them being band shirts.
|Jan 22, 2010 2:01 PM ET
|#25 (permalink)
Most of the t-shirts I wear are band shirts, too (no surprise there), but I've also got a few Jack Daniel's t-shirts too. :)
lmao @ ap1's Braveheart quote. Thankfully my wife never minded when I wore band tees. She'd have been shit out of luck. :)
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