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161-Tsvangirai must pay for his sins
162-Tsvangirai arrested ahead of protest
163-Tsvangirai arrested after organising successful stay-away
164-If you break the law do it once to seize power!
165-Ambassador says Zimbabweans are notoriously patient
166-War vets call Americans white animals
167-Did West pour billions into MDC protest?
168-Daily News asks Tsvangirai: what next?
169-Weapons found at MDC activist's house
170-Mugabe is finished politically
171-US embassy said MDC stay-away was a PR failure
172-Bishops tell MDC that ZANU-PF is willing to talk
173-MDC leaders say Joshua Nkomo sold out for a comfortable life
174-Mugabe still packs a punch
175-How church leaders tried to open dialogue between ZANU-PF and MDC
176-Was MDC split evident two years before it happened?
177-Perrence Shiri denies MDC asked him to help in coup against Mugabe
178-MDC asked US embassy to arrange meeting with Bush in South Africa
179-Bush left Tsvangirai in the open
180-Tsvangirai's lawyers call for his discharge
Continued next page


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Throwback NBA Clip Of The Week: Time When Media Disrespected Chris Bosh During Post-Game Interview!
"They put Wade and Lebron together in all the interviews and Put Bosh by himself and ask him nothing. You can see it gets to him" - SwagSoSickRick . posted by @mahad_worldstar
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Kevin and Tiffany Brown are proud to announce the birth of their second child Maslin Elaine Brown, who was born Dec. 11, 2013, at 11:16 p.m. Maslin weighed 7 pounds, 4 ounces and was 20.5 inches long. Kevin is assistant principal at Oasis Elementary and Christa McAuliffe Elemen-tary and Tiffany is a kindergarten teacher at Oasis Elementary. Maslin has an older brother, Kingston, who is 2 years old.
Article Photos
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Tegel necesitaba un nuevo diseño de papelería y lanzó un concurso de diseño en 99designs.
Un ganador ha sido elegido entre 147 diseños de 30 diseñadores freelance.
We are a support and customer development company. We provide customer service to end users of technical products as well as retail products. Aside from that we develop software in order to optimize customer value and perform other consultancy in order to be a leading player.
Our target group are companies with large customer data base in Europe. We prioritize technical manufacturer such as mobile manufacurer and other manufacturer of home-, and corporate electronics.
We need a new full corporate identity and everything that comes with it. I´ve used this forum before and I´m impressed on the skills! If there are any questions, don´t hesitate to raise your hand :)
Please use the logo as a base and inspiration for the stationery set (and potentially other material you feel should include the corporate identity).
We want to communicate following values: creative, loyal and efficient.
Be creative and enhance you´re already great potential!
Our default colour is the blue one! (pls see attached files)
Good luck!


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Spinach Burritos
Total TimePrep: 20 min. Bake: 20 min.
Makes6 servings
- 1/2 cup chopped onion
- 2 garlic cloves, minced
- 2 teaspoons butter
- 1 package (10 ounces) frozen chopped spinach, thawed and squeezed dry
- 1/8 teaspoon pepper
- 6 flour tortillas (10 inches), warmed
- 3/4 cup picante sauce, divided
- 2 cups shredded reduced-fat cheddar cheese, divided
- In a large skillet, saute onion and garlic in butter until tender. Add spinach and pepper; cook for 2-3 minutes or until heated through.
- Place about 3 tablespoonfuls off center on each tortilla; top with 1 tablespoon picante sauce and 2 tablespoons cheese. Fold sides and ends over filling and roll up.
- Place seam side down in a 13x9-in. baking dish coated with cooking spray. Top with remaining picante sauce and cheese. Bake, uncovered, at 350° for 20-25 minutes or until sauce is bubbly and cheese is melted.
Nutrition Facts1 burrito: 382 calories, 15g fat (8g saturated fat), 30mg cholesterol, 1049mg sodium, 42g carbohydrate (5g sugars, 4g fiber), 19g protein.
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Jan 2, 2014
Very Good! I used medium salsa - perfect!
Mar 22, 2013
Was good
Sep 26, 2012
I used green enchilada sauce rather than the picante sauce for a milder taste. Delicious!!!
May 4, 2012
These were good and surprisingly filling. I used fresh spinach instead of frozen. To half of the burritos I added refried beans and left out the cheese. The other half I made exactly as the recipe says. They were good both ways. Next time I would just use salsa instead of picante sauce. They are very similar and salsa is less expensive for me to buy.
Sep 1, 2011
I adore this recipe! Very delicious. I twist it up a bit and grill them instead.
Sep 20, 2010
VERY easy to make, and delicious. It was enough of a meal to satisfy everyone in the family. One of these and some refried beans on the side, and I was full. My daughter told me it was the best dinner ever!
Sep 10, 2010
This recipe was delicious! I only changed 2 things with this recipe: I added dry kidney beans that I had made the previous day and Newman's Own Salsa because they did not have Picante Sauce in my local stores. My husband loves this recipe! Will definitely make again, thanks Dolores for the recipe.
Apr 3, 2010
I haven't made these yet but will next Friday. I've been a vegetarian for 81 years and try to find easy veggie cassaroles to make. This looks soooo good. Thanks
Aug 28, 2008
I LOVE this recipe. I usually freeze each one individually and then I have lunch for a week.
Jun 8, 2008
These were good considering they didn't require many ingredients and were so easy to make. I did add a dollop of sour cream to each prior to serving. This is a recipe I would make again.


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Cristina Beth
West Auckland, New Zealand
Cristina Beth has a MFA from Elam Fine Arts Auckland University. Currently works from Studio 29 creating original paintings and exhibits regularly in galleries around New Zealand. Also trained as a art restorer, Cristina can de-fox clean your paper works and restore your oil paintings. Interests include yoga, hula hooping, gardening.


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Ribbon Cutting: Thursday, Jan. 19th at 2:30pm
Crews expanded the two-lane asphalt open ditch roadway to a four-lane divided roadway with a raised median in the center. The addition of a lane in each direction will significantly improve the mobility of traffic traveling through the Stafford area. The US 90A project in the area was completed a few years ago and Staffordshire/ Stafford Road expansion will offer a smoother tie-in to US 90A.It took crews about 18 months to complete the project that stretches about three miles from Beltway 8 to Fifth Street.


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Marcelo Lopes-Amaranto Restaurant Institutional Campaign
At Design Interviews
Interview with MARCELO LOPES : Frank Scott: What is the main principle, idea and inspiration behind your design?. MARCELO LOPES : This institutional campaign was inspired by surrealism! .Frank Scott: What has been your main focus in designing this work? Especially what did you want to achieve?. MARCELO LOPES : Regular day-to day images transformed into surrealism - each person's take of the image leads to the understanding of the sense of humor behind them. .Frank Scott: What are your future plans for this award winning design?. MARCELO LOPES : I don't have future plans for this project because the main focus was to developed institutional campaign for Amaranto restaurant – restaurant of Caesar business hotels The future plans are only to include in my portfolio like one more award project and maybe to get new clients. (smiles). .Frank Scott: How long did it take you to design this particular concept?. MARCELO LOPES : This project took less than one month. .Frank Scott: Why did you design this particular concept? Was this design commissioned or did you decide to pursuit an inspiration?. MARCELO LOPES : This project was a commissioned design. .Frank Scott: Is your design being produced or used by another company, or do you plan to sell or lease the production rights or do you intent to produce your work yourself?. MARCELO LOPES : This project is being used by the client – Amaranto Restaurant – restaurant of Caesar Business Hotels. .Frank Scott: What made you design this particular type of work?. MARCELO LOPES : The Client asked for a campaign whose references radically differed from the images generally used in restaurant ads, away from the conventional images of plates with food or people eating. .Frank Scott: Where there any other designs and/or designers that helped the influence the design of your work?. MARCELO LOPES : No, I didn't have any influence from other designs. I just created based on the briefing of the client and used the inspiration of surrealism! I love Salvador Dali and it was the inspiration for this project. .Frank Scott: Who is the target customer for his design?. MARCELO LOPES : The target of this project is the customer of the restaurant and people living in the area of the restaurant. .Frank Scott: What sets this design apart from other similar or resembling concepts?. MARCELO LOPES : The conception of the photos. .Frank Scott: How did you come up with the name for this design? What does it mean?. MARCELO LOPES : Nowadays, given the large number of restaurants, the main focus is offering dishes other than traditional dishes. We analyzed the menu and came up with the name of the campaign, inspired by the restaurant's cooking concept, whereby mixing different types of food actually result in new flavors. Thinking about it we research the name for the campaign and we decided for: Reinventing flavors! .Frank Scott: Which design tools did you use when you were working on this project?. MARCELO LOPES : Only the inspiration of surrealism! .Frank Scott: What is the most unique aspect of your design?. MARCELO LOPES : I think that was the created images. .Frank Scott: Is your design influenced by data or analytical research in any way? What kind of research did you conduct for making this design?. MARCELO LOPES : No, we made this project respecting the briefing of the client only. .Frank Scott: What are some of the challenges you faced during the design/realization of your concept?. MARCELO LOPES : To be original. Presents for the client some new concept for the institutional campaign of the restaurant. .Frank Scott: How did you decide to submit your design to an international design competition?. MARCELO LOPES : I decided to submit to A´Design awards because I very much liked the proposal of this international design competition and I believe in my creations, with this kind of competition, will be well promoted .Frank Scott: What did you learn or how did you improve yourself during the designing of this work?. MARCELO LOPES : I didn't learn anything new with this project. I just had a great time creating the campaign concept and creating the images. .
Marcelo Lopes-Amaranto Restaurant Institutional Campaign Images:
End of the article, click here to go back to previous page, or alternatively go back to Designs Designers homepage.


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Fiers stifles Dodgers while filling in for Garza
Righty, making first start of '14, allows one run over eight innings
MILWAUKEE -- Mike Fiers sat alone on the Brewers' bench in the middle of the eighth inning Saturday and stared up at the full moon which had risen over Miller Park. With his eight-inning performance in the books, the standing ovation from 40,553 fans having quieted and his team's 4-1 win over the Dodgers only three Francisco Rodriguez outs away, Fiers later said he was thinking about the late mother whose image is tattooed on his right forearm.
He had a sense she was watching.
"This is the first year my mom hasn't seen me pitch, and it's kind of hard to talk about," said Fiers, who tried anyway. "That's why I got the tattoo, because I always feel like she's with me."
Beyond the sentimentality of it, this was an important night for the Brewers, who got home runs from Khris Davis and Carlos Gomez to beat Los Angeles for the second straight night -- ensuring they would win the series no matter what happens against Clayton Kershaw on Sunday afternoon.
Milwaukee has taken two series in a row after winning only one of the previous nine. The rest of the National League Central lost Saturday, so the Brewers' lead in the division grew to 2 1/2 games over the Pirates, three games over the Cardinals, six games over the Reds and 15 games over the Cubs.
That they made those gains with Fiers pitching in place of an injured Matt Garza only added to the drama. Fiers was sensational for the Brewers during a stretch in the middle of 2012 -- beginning with a victory at Dodger Stadium -- before falling on hard times that trickled into a tumultuous 2013. Fiers was demoted from the big leagues. His mother, Linda, grew gravely ill from complications of Lupus. He went home to Florida to spend time with her after suffering a broken arm when he was struck by a line drive on his 28th birthday. Just as Fiers was ready to resume throwing, his mom passed away on July 24.
A little more than one year later, "Here I am again," Fiers said. "Just trying to show them I can still pitch."
The 29-year-old right-hander did that ably. Fiers surrendered only three hits and won as a Major League starter for the first time since September 2012. He didn't allow a hit until Adrian Gonzalez's one-out home run in the fourth inning, the first baseball hit past a Brewers infielder. The other two Dodgers hits were singles. Twenty-one of Fiers' 24 outs came somewhere on the infield, either by ground ball, pop up, caught stealing or his five strikeouts, including a whiff of Justin Turner to punctuate Fiers' night.
"He's tricky," said the opposing pitcher, Zack Greinke, a Brewers teammate back in 2012. "I looked at his Minor League numbers this year and they're great. I was asking some of their people why he wasn't up here before. I thought it was because the rest of their starters were doing so well."
Dodgers manager Don Mattingly said Fiers "didn't seem afraid of us at all," but expressed puzzlement that he was able to breeze through eight innings pitching mostly with his modest fastball.
Brewers manager Ron Roenicke explained.
"He's got a lot of deception," Roenicke said. "You saw tonight, most of his pitches are 90, 91 mph. There's a lot of 89s but they all have a lot of life on them. When he's feeling good physically and mentally, that ball really comes out well. That's a good-hitting team. He threw a lot of fastballs that were getting by guys."
Greinke had more velocity but less success. In the second inning, Scooter Gennett singled before Davis got on top of a Greinke fastball well above the strike zone and hit it into the visitors' bullpen in right-center field.
It was Davis' 19th home run this season, matching Mark Reynolds' team high, and Davis' 30th career home run in his 161st game.
"I thought that was a pretty safe place to go," Greinke said.
The Brewers added two more runs in a sixth inning that began with Gomez banging a home run off the left-field foul pole. Greinke was out of the game after 83 pitches and six innings, having allowed four earned runs on eight hits, with one walk and six strikeouts. He's 0-2 here as a Dodgers starter after Greinke's teams went 25-1 the first 26 times he took the mound at Miller Park, including a pair of Brewers victories in the 2011 postseason.
Fiers is scheduled to start again on Thursday against the Cubs at Wrigley Field, where he is likely to receive a cooler reception than the one that celebrated the end of Saturday's gem. As Fiers walked off the mound, teammates and fans alike stood and applauded.
"It's what you dream of as a kid," Fiers said. "Especially those situations -- close game, eighth inning, trying to get to the best closer in the league. And it was awesome."


text:
Me too, though I gotta pay for the RPD first.......
is there any idea of if or when you would be in a position to do a mg42 build?.
Me too, though I gotta pay for the RPD first.......
Stan has my MG34 kit with 2 cut receivers, so I think he was planning to build it later this year. Just FYI.
Last edited by THECARREAPER; 08-11-2011 at 12:09 PM. Reason: spelling, duh
thats a good heads up..... I bought a wiselite mg42 receiver from stan a while ago.
Anyone heard more on this type of build.
Stan said he would get to my MG34 in mid February.


text:
| Completeness:
2 / 5
| This has some sparse information and a complete outline, but large amounts of material are missing. If you are interested in joining this project as a contributor, please leave a message on this or the lead author's talk page. Please see our Content Requirements for further information regarding projects. {{#set: Completeness=2}}
If you feel this project does not deserve the current completeness measure, start a discussion and the rating will be discussed.
|Leziad (talk)
|Date Created:
|27 February 2009
|In Construction
|Spelling and Grammar only, please.
Grey Sky Edit
|Grey Sky Campaign Setting v
|Player Info
|Classes, Character Options, Races, Variant Rules
|World Info
|Creatures, Geography, NPCs, Religion and Mythology, Lores, Science
|Arms & Armors, Magic Items, Materials, Miscellaneous Items
Introduction Edit
Summary::The world is about to change. Machines are built, wars are fought and the mind evolves. Grey Sky is a campaign setting set during the industrialization of a small world. The tone of the world is cynic and dark, bearing similar traits to the real world while still retaining fantasy.
The world is divided into three great nations, with some minor nations on the only continent known. The continent itself is divided in 6 great regions. The technology however is not shared by everyone. Brigands and barbarians still roam the countryside. Even with the coming of firearms, some still use archaic weapons. Magic is rare, both arcane and divine. The few practitioners of the old art are feared and hated. Some self-proclaim themselves witchhunters and hunt down the paranormal.
Back to Main Page → 3.5e Homebrew → Campaign Settings


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Objects and Interfaces
This series, The Object-Oriented Thought Process, is intended for someone just learning an object-oriented language and who wants to understand the basic concepts before jumping into the code, or someone who wants to understand the infrastructure behind an object-oriented language he or she is already using. These concepts are part of the foundation that any programmer will need to make the paradigm shift from procedural programming to object-oriented programming.
Click here to start at the beginning of the series.
In keeping with the code examples used in the previous articles, Java will be the language used to implement the concepts in code. One of the reasons that I like to use Java is because you can download the Java compiler for personal use at the Sun Microsystems web site http://java.sun.com/. You can download the standard edition, J2SE 5.0, at http://java.sun.com/j2se/1.5.0/download.jsp to compile and execute these applications. I often reference the Java J2SE 5.0 API documentation and I recommend that you explore the Java API further. Code listings are provided for all examples in this article as well as figures and output (when appropriate). See the first article in this series for detailed descriptions for compiling and running all the code examples.
In a previous column, you continued to learn about the various Java collections by covering the ArrayList collection. Before I proceed with coverage of more collections, I will stop and concentrate on the topic of interfaces. The concept of an interface is core to any object-oriented design or implementation.
Interfaces are an extremely important concept; however, they are also very tricky to understand. One problem is that there are many programming concepts that are referred to as an interface. The following three bullet items are the most common, but not the only, concepts that are called an interface.
- Graphical User Interface
- Interface versus Implementation
- Object-oriented interface (as in Java and/or .NET)
Graphical User Interface
Anyone who has used a computer is familiar with a Graphical User Interface or GUI. This term relates to a screen that contains graphical components—such as buttons, labels, and menu items—that is meant to interface with a user. Filling out an on-line form is a great example of a GUI.
Interface versus Implementation
In a design exercise, the interface versus implementation question is also a key object-oriented concept, but it is not the same thing as a Java/.NET interface. You can go back to the second article in this series and look at the example of generating electricity.
The design interface is the fundamental means of communication between objects. Each class design specifies the interfaces for the proper instantiation and operation of objects. Any behavior that the object provides must be invoked by a message sent using one of the provided interfaces. The interface should completely describe how users of the class interact with the class. In Java, the methods that are part of the interface are designated as public.
Interfaces do not normally include attributes, only methods. If a user needs access to an attribute, a method is created to return the attribute (a getter). If a user wants the value of an attribute, a method that returns the value of the attribute is called. In this way, the object that contains the attribute controls access to it. This is of vital importance, especially in terms of testing and maintenance.
If you control the access to the attribute, when a problem arises, you do not have to worry about tracking down every piece of code that might have changed the attribute. It can only be changed in one place (the setter).
Only the public attributes and methods are considered the interface. The user should not see any part of the implementation interacting with an object solely through class interfaces. In many cases, there will be methods that also should be hidden and not be part of the interface. Thus, the implementation can change and it will not affect the user's code.
Figure 1 illustrates the interface/implementation paradigm using real-world objects rather than code. The toaster obviously requires electricity. To get this electricity, the cord from the toaster must be plugged into the electrical outlet, which is the interface. All the toaster needs to do to get the required electricity is to use a cord that complies with the electrical outlet specifications; this is the interface between the toaster and the electricity.
The fact that the actual implementation is a coal-powered electric plant is not the toaster's concern. In fact, for all the toaster cares, the implementation could be a nuclear power plant or a local power generator. With this model, any appliance can get electricity, as long as it conforms to the interface specification seen in Figure 1.
Figure 1: Interface/Implementation
Java/.NET Interface
In this column, you will concentrate on this type of interface, which I call the object-oriented interface. This type of interface is provided by Java and .NET.
The Interface
The interface is the services that are presented to an end user. In the best case, only the services that the end user needs are presented. Of course, which services the user needs may be a matter of opinion. If you put 10 people in a room and ask each of them to do an independent design, you might receive 10 totally different designs. There is nothing wrong with this. However, as a rule of thumb, the interface to a class should contain only what the user needs to know. In the toaster example, the user only needs to know that the toaster must be plugged into the interface—which in this case is the electrical outlet
Perhaps the most important issue when designing a class is identifying the audience, or users, of the class.
The Implementation
The implementation details of the interface services are hidden from the user. One goal regarding the implementation should be kept in mind: A change to the implementation should not require a change to the user's code. This may seem a bit confusing, but this goal is at the heart of the design issue.
Remember that the interface includes the syntax to call a method and return a value. If this interface does not change, the user does not care whether the implementation is changed. As long as the programmer can use the same syntax and retrieve the same value, that is all that matters.
Recall that in the toaster example, although the interface is always the electric outlet, the implementation could change from a coal power plant to a nuclear power plant without affecting the toaster. There is one very important caveat to be made here: The coal or nuclear plant must also conform to the interface specification. If the coal plant produces AC power, but the nuclear plant produces DC power, there is a problem. The bottom line is that both the user and the implementation must conform to the interface specification.
To Reuse or Not to Reuse?
One of the major advantages touted by O-O proponents is that you can write code once, and then reuse it to your heart's content. This is true to a certain degree. As with all design approaches, the utility and the reusability of code depends on how well it was designed and implemented. O-O design does not hold the patent on code reuse. There is nothing stopping anyone from writing very robust and reusable code in a non–O-O language. Certainly, there are countless numbers of routines and functions, written in structured languages such as COBOL and C, that are of high quality and quite reusable.
Thus, it is clear that following the O-O paradigm is not the only way to develop reusable code. Yet, the O-O approach does provide several mechanisms for facilitating the development of reusable code. One way to create reusable code is to create frameworks. In this chapter, you focus on using interfaces and abstract classes to create frameworks and encourage reusable code.
What Is a Framework?
Hand-in-hand with the concept of code reuse is the concept of standardization, which is sometimes called plug-and-play. The idea of a framework revolves around these plug-and-play and reuse principles. One of the classic examples of a framework is a desktop application. Take an office suite application as an example. The document editor that I am currently using has a menu bar that includes multiple menu options. These options are similar to those in the presentation package and the spreadsheet software. In fact, the first six menu items (File, Edit, View, Insert, Format, and Tools) are the same in all three programs. Not only are the menu options similar, but the first toolbar looks remarkably alike as well (New, Open, Save, and so on). Below the toolbars is the document area—whether it is for a document, a presentation, or a spreadsheet. The common framework makes it easier to learn various applications within the office suite. It also makes a developer's life easier by allowing maximum code reuse.
The fact that all these menu bars have a similar look and feel is obviously not an accident. In fact, when you develop in most integrated development environments, you get certain things without having to create them yourself. When you create a window in a Windows environment, you get elements such as the main title bar and the file close button in the top-right corner. When you double-click on the main title bar, the screen always minimizes/maximizes. When you click on the close button in the top-right corner, the application always terminates. This is all part of the framework.
For example, to create an applet in Java, you would bring up the API documentation for the Applet class and take a look at the public interfaces it presents. By using these APIs, you can create a valid Java applet and conform to required standards. If you follow these standards, your applet will be set to run in Java-enabled browsers.
What Is a Contract?
In the context of this article, you will consider a contract to be any mechanism that requires a developer to comply with the specifications of an Application Programming Interface (API). Often, an API is referred to as a framework. The online dictionary Dictionary.com defines a contract as "an agreement between two or more parties, especially one that is written and enforceable by law."
This is exactly what happens when a developer uses an API—with the project manager or business owner representing the law. In short, when using contracts, the developer is required to comply with the rules defined in the framework. This includes issues such as method names, number of parameters, and so on. In short, standards are created to facilitate good coding practices.
Note: The term contract is widely used in many aspects of business, including software development. Do not confuse the concept here with other possible software design concepts called contracts.
Enforcement is vital because it is always possible for a developer to break a contract. Without enforcement, a rogue developer could decide to reinvent the wheel and write his or her own code rather than use the code provided by the framework. There is little benefit to a standard if people routinely disregard or circumvent it. In Java and the .NET languages, the two ways to implement contracts are to use abstract classes and interfaces.
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This article was originally published on October 4, 2006
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Commercial, Products, Regulatory, Services
By Staff Writer | August 1, 2009
Send Feedback
Hold your horses — NASA does not have approval to spend $26.1 million on rotary wing research — at least not yet. Recent media reports quoted NASA aerospace engineer Odilyn Maria as saying the agency would spend this money on subsonic rotary wing projects in FY2010. These projects were supposed to develop and demonstrate an active rotor system that could change rotor speed in flight, according to industry reports.
However, according to NASA spokesperson Beth Dickey, "the president's budget request for NASA in fiscal year 2010 is still under consideration by Congress." Translation: The money isn't in the bank yet.
A check within the budget request, available online at www.nasa.gov/news/budget, confirms a $26.1 million request for subsonic rotary request. But, unless Congress okays the funding, it is a non-starter.


text: I purchased my 2004 RT last fall, and since then have used it almost exclusively for my daily commute to the big city. My low mileage truck stays parked in favor of a vastly more enjoyable commute and ten dollar a day gas savings. On rainy days, I've always been intensely but pleasantly focused on visibility, oily or slippery patches, and other considerations unique to wet weather riding. A couple of months ago, on a different bike than my daily driver, I enjoyed a low speed lay-down entering a parking lot. Super slick painted concrete, and I was down with a torn thigh muscle. Couldn't right the bike without help, heck I could barely walk at all for days. Since that day, I have had a phobia of wet patches and riding in the rain. Silly, but very real. Tomorrow, I'm getting back on the horse for a forecasted rainy commute. Wish me well with my ride and weird insecurity. It's laughable, but it's a formidable mental hurdle for me. Any similar experiences, rain related or not?


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Yaliciftlik is a small authentic village that sits approximately 30km south-east of Bodrum Town and one of the most preserved villages on the peninsula, almost untouched by tourism.
The picturesque village is surrounded by lush green forests filled with the aroma of pine trees and handmade bee hives producing natural sweet honey.
Yaliciftlik is very popular with city dwellers from all over Turkey owning summer vacation homes. Previously old stone houses and farmhouse where popular however luxury private villas are now being developed to meet the demand of more buyers.
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Yaliciftlik , Bodrum 15 10
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Щ…ШЄЩ† ШўЩ‡Щ†ЪЇ ШіЩ'ЩЃ ЩЃШ±Щ‡Ш§ШЇ
Farhad Mehrad (January 20, 1944 – August 31, 2002) widely known in Iran as Farhad was an award winning Persian legendary Rock singer, songwriter, guitarist, pianist and icon. He rose to prominence among Iranian Rock and Folk musicians before the Iranian Revolution, but after the revolution he was banned from singing for several years. His first concert after the Iranian revolution was held in 1993. To this day he is considered one of the most influential, revolutionary, gifted and respected Iranian artists of all time. Early life Farhad was born in Tehran. His father was Reza Mehrad, an Iranian diplomat who worked in the Arabic countries for the Iranian Ministry of Foreign Affairs. Being the youngest child, he always behaved differently from his family members and everyone assumed he was trying to act like an adult. When Farhad was three years of age, his love for music was noticed when he stayed outside his brother's room, listening to his violin lessons. His family bought Farhad a cello and he started taking lessons. After 3 lessons, his cello broke and as Farhad describes "the instrument broke into pieces so did my soul". That was the end of the cello for Farhad and his love and passion for music ended up to be only listening to his brother playing the violin. When he went to school he found a passion for literature. He decided to study literature in high school but with the absence of his father, his uncle forced him to study science despite his weak results on all other subjects other than literature and English language. His interest being ignored; he quit high school in grade 11 because he had no love for what he was studying. First Band After quitting high school he met an Armenian music band. Using their instruments, he learned music by experience and after a while he became the guitar player in the band. The band went to southern Iran to perform for the Iranian Oil Company Club - one of the biggest organizations in Iran with many foreign employees. Before the start of the first night's performance, the band made Farhad the singer, the excuse was the vocalist's absence. Farhad's attention and fuss for correct pronunciation of the words, and his knowledge of world literature came as a good advantage; when he performed a few songs in Italian, French and English, it was hard to believe his mother tongue was Persian. That led to the band's success and they performed for an extended number of nights. Solo career After a while Farhad quit the band and started his solo career. In 1964 he performed a few English songs on an Iranian TV show, where he captured the attention of more people. Later, in an event sponsored by EtelaÃt Javanan, a popular youth magazine, he performed in "Amjadieh" Stadium. He played a few songs with the guitar which was followed by a huge crowd response. That was when Shahbal Shabpareh, the front man of the Iranian popular band "Black Cats" heard about Farhad. The "Black Cats" In 1967 Sometime later after Shahbal and Farhad met, Farhad joined the Black Cats (band) as a vocalist, the guitar player and the piano player. The Black Cats members were Shahbal Shabpareh (percussion), Shahram Shabpareh (guitar), Hassan Shamaizadeh (saxophone), Homayoun Khajehnouri (guitar), and Manouchehr Eslami (trumpet). The band started playing in the "Couchini Club". Manouchehr Eslami called Farhad the most important member of the band saying: "Despite the fact that he couldn't read music sheets and had learned the music by listening and playing by experience, Farhad did not need to attend the practice sessions. By whispering the song a few times he could synchronize his voice and instrument with the other band members. In fact he attended the sessions only for the respect of other band members" said Eslami. In the busiest and most successful time of the band, the first Persian song of Farhad, called Age Ye Jo shaans Daashti (With a little bit of luck) was used in dubbing the movie Banooye Zibaye Man (My Fair Lady) into Persian. After a while Farhad left the Black Cats to take care of his sick sister in England. Farhad met a famous producer and he was offered a record deal by him. Farhad became ill and due to his illness and personal problems the deal never took place. The journey which was supposed to last for two months, took one year. Birth of a legend In 1969 Farhad sang Marde Tanha (A Lonely Man) for the movie Reza Motori (Reza, the Biker). The song was composed by Esfandyar Monfaredzadeh and the lyrics were written by Shahyar Ghanbari. After the release of the movie, the song was released on gramophone discs and Farhad became a legendary star. Farhad only sang songs which had a message and he believed in their messages. That's why after Marde Tanha he only released three singles during the years 1971-1973. Those were Jomeh (Friday)Hafteye Khakestari (The Grey Week) and Ayeneh (Mirror). Revolutionary Legend Before the Iranian 1979 Islamic Revolution and during the political conflicts of the 1970s in Iran, Farhad recorded 6 songs with revolutionary messages that became the Iranian's voice of unity. The day after the Iranian revolution, February 11, 1979, his song "Vahdat" (unity) was broadcast on Iranian television in honor of revolution and freedom. After The Revolution After revolution, the Islamic government turned its back on Farhad and refused to grant him permission to publish his album many times. Even the song "Vahdat" which once considered a song in honor of the revolution was refused permission to be released.[citation needed] The government's reason was the song is nothing new; but the fact was the Islamic Government was concerned about his popularity and his influence on people. The government wished Farhad to be forgotten. Meanwhile, someone with strong connections within the Islamic government , obtained official permission from the Ministry of Culture and Islamic Guidance and released Farhad's singles which were recorded before the revolution as an album without Farhad's permission. He called the album Vahdat (Unity). Many Iranians bought the album to keep the memory of Farhad and his remarkable songs alive. Comeback In 1993, after 15 years of silence, Farhad was granted permission to release his first album Khab Dar Bidari (Sleep while awake) and it went straight to the top of the charts just after its release. After this album Farhad lost hope in the Iranian government's grant of permission system and he released his next album Barf (Snow) in the United States in 1999. Barf was released in Iran a year later. Last Album After Barf, Farhad decided to record an album with songs from different countries and in different languages. He decided to call the album "Amin" (Amen) he started recording, but he died before he could finish the album. Death Farhad's Grave, Thiais cemetery, Paris, France In September 2000, after 2 years of treatment in Iran and France Farhad's illness became serious and on August 31, 2002, , he died of a malignant form of Hepatitis C in Paris, France. His funeral was attended by many huge Iranian stars like Dariush, Ebi and many more famous Persian entertainers, and like all Iranians around the world mourned the death of this legend. Famous Persian lyricist Shahyar Ghanbari said that part of him died with Farhad. Farid Zoland said he was devastated by Farhad's death. Ebi said that he lost his best friend and favorite singer. Farhad was cremated and is buried in the Thiais cemetery just outside Paris, France Showing a Similarity refinanced second mortgages as well as refinanced second mortgages for the purpose of managed web hosting solution for example managed web hosting solution best conference call service Conference Call also adult hosting granted application hosting home equity line of credit along with Credit manage alcoholism center treatment anti best software spam because of auto bad credit refinance airport car hire orlando overall credit card balance transfer zero interest for the purpose of credit card balance transfer zero interest above atlanta criminal lawyer coupled with atlanta criminal lawyer though advice debt free even arizona equity home loan thought australia web hosting auto insurance low rate despite Credit Classes Lawyer Claim Recovery in time donating a used car car donation centers eventually anti spam lotus anti spam lotus on the other hand help desk software cheap or Software first, second managed web hosting solution managed web hosting solution over apply for a credit card such as apply for a credit card let crm software programs Software found personal injury attorney dui defense attorney with this in mind at t customer service at t dsl Explaining or Emphasizing cordblood bank store umbilical cord blood on balance accident denver lawyer and apply for a credit card while alcohol treatment centers atlanta augmentation breast sooner or later and Mortgage apr credit additionally att voip att voip additionally association management software still managed web hosting solution beside hosting ms exchange Trading stock trades online change best conference call service for the purpose of best conference call service start abbey banking e national even alongside Recovery raid server data recovery since managed web hosting solution beside Hosting since help desk software cheap crm software programs word attorney injury michigan personal and Showing a Concession auto insurance price quotes Insurance buy car insurance online Trading Trading press attorney criminal miami such as at and t phones his australia hosting in web australia hosting in web criminal justice degrees online Degree home criminal defense lawyer criminal defense lawyer Degree for Degree year raid server data recovery even raid server data recovery does Trading stock trades online Farhad Album VAHDAT has 12 musics


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Aiming to put rescue and restoration work during accidents on fast track, Railways is procuring high-speed self-propelled accident relief trains (SPART) and hydraulic cranes with telescopic boom from Europe.
Currently, Railways has 27 self-propelled accident relief trains that run at a speed of 110-km per hour.
Railway Minister Pawan Kumar Bansal will announce the procurement proposal of 160 km per hour high-speed relief train in his maiden Rail Budget 2013-14 on February 26.
"We are planning to buy two high-speed SPART which can run at 160 km per hour speed in the first phase," said a senior Railway Ministry official, adding, "These will enable rescue equipment to reach the accident site at faster pace and help speedy rescue and restoration work."
The diesel driven SPART consisting of three coaches is estimated to cost about Rs. 40 crore.
Railways will procure the state-of-the-art SPART through global tendering process. As per the plan, the technology of the first two SPART will be imported from Europe.
Beside, Railways have also decided to import eight hydraulic cranes with telescopic boom from Europe to strengthen its disaster management. "We will go for global tenders to buy the new 175-ton hydraulic cranes with telescopic boom shortly," said the official.
The 175-ton hydraulic crane is likely to cost about Rs. 25 crore.
Railways has 69 hydraulic cranes and the existing crane has the capacity to lift 140 tons only. Since, the axle load of coach and wagon has increased, railways need the 175-ton cranes.
"The telescopic boom cranes are required to undertake rescue work inside the tunnel or bridge," he said.
The hydraulic cranes are equipped with cutters, spreaders and hand operated tools for cutting of coaches for rescue of passengers trapped inside the coaches in case of an accident.
Telescopic boom cranes are equipped with hydraulic cutters to cut LHB coaches and wagons made of stainless steel


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size:30"w x 16"t
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L&M has new chief surgeon, plans department expansion
New London - After a 10-month period of transition, Lawrence & Memorial Hospital has announced the hiring of a new chief of its Department of Surgery and the expansion of the department with the hiring of two additional surgeons.
Dr. Robert Lincer, who has been a part-time surgeon at L&M for the past 2½ years, will become chief of the department Jan. 1. His previous positions include 17 years as a surgeon and assistant program director at Stamford Hospital followed by a post as surgeon and instructor in the surgical physician assistant training program at Norwalk Hospital.
"I'm interested in being part of the change in health care and introducing innovative ways to deliver services in ways that are cost-effective," said Lincer, who is in his final semester of a master's of business administration in health care program at Yale University. "This is a great hospital and a great opportunity."
Changes he foresees include a greater embrace of new surgical technologies and new models of care. The new position, he said, will give him a chance to immediately apply what he is learning in the master's program about the business side of health care to the L&M department.
L&M has been without a chief surgeon since the departure of Dr. Garth Ballantyne in February. Ballantyne, who headed the department for less than 18 months, left for a position at the Charlie Norwood VA Medical Center in Augusta, Ga.
In a phone interview Monday, Lincer said the L&M department's core staff of general surgeons - Dr. Gregory Azia, Dr. David Reisfeld and Dr. Dean Willis - is being expanded with two additional new surgeons. Dr. Elizabeth Arguelles, hired last year, has been working part-time since spring while on maternity leave, but is now back full-time, and Dr. Christy Stanat will begin as a full-time surgeon on Jan. 2.
Lincer, whose speciality is surgical oncology, will spent half his time doing surgery and half on administrative duties. The 56-year-old North Stamford resident said he plans to relocate to southeastern Connecticut.
One of the responsibilities of his new post will be to determine how L&M should expand with new or enhanced surgical specialities that will keep more patients from southeastern Connecticut in the area for surgical services rather than travel to a larger hospital outside the region.
Along with general surgery, L&M's main surgery offerings include gynecological, bariatric and joint replacement procedures. According to the hospital's annual report for fiscal 2012, 7,324 outpatient surgeries - which outnumber inpatient surgeries - were performed at L&M that year. It did not list the number of inpatient surgeries.
"It's a great time to see what the needs are and talk to the community and see what kinds of services we can bring in," Lincer said. "There is capacity to increase both our inpatient and outpatient surgery services. We're in an expansion phase, and we have an opportunity to offer patients high quality services in an accessible location."
Stories that may interest you
Viral Stories: May 28, 2020
The Times has been asking readers to share stories of living through a pandemic.
Even fog is beach weather in New London
A small crowd gathered Wednesday morning as a fog fell on Ocean Beach Park.
East Lyme finalizes $76 million budget with 0.17 mill rate increase
At a virtual meeting Wednesday, the Board of Finance finalized the town's 2020-21 budget, setting the tax rate at 28.36 mills — 0.17 mill higher than this year's rate.
Gratitude on display in new rock garden at Lawrence + Memorial Hospital
Volunteers painted stones with inspirational messages to show their gratitude for medical staff during the coronavirus pandemic.
As local restaurants and other businesses reopened this week, we were there
A new live album from The Reducers, recorded on a boom box hanging from a tree in 1980
The Rolling Stones released a new single. Did anyone notice?


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(Reuters) – U.S. intelligence and State Department officials testified behind closed doors on Capitol Hill on Thursday about the attack on the U.S. diplomatic mission in Benghazi, Libya, that has turned into a contentious issue between Republicans and the administration of President Barack Obama.
Former CIA Director David Petraeus, before his resignation last week over an extramarital affair, had initially been scheduled to testify at Thursday's closed Senate and House of Representatives intelligence committee hearings, but will now be a solo witness before those panels on Friday morning.
Republicans have accused the Obama administration of misinformation in the early days following the September 11, 2012, attack that killed the U.S. ambassador to Libya and three other Americans.
Administration officials say their initial comments that it appeared the attack grew spontaneously out of protests over an anti-Muslim film rather than a premeditated strike were based on the best available information at that time.
Two top Republican senators on Wednesday threatened to block any nomination of Susan Rice, U.S. ambassador to the United Nations, to a Cabinet post, which must be confirmed by the Senate, for making those initial comments. Obama came to her defense and said if she was the right person for a spot in his Cabinet, he would nominate her.
Secretary of State Hillary Clinton will testify before Congress about the Benghazi attack after a State Department report is completed, likely in December.
On Thursday, Director of National Intelligence James Clapper, acting CIA Director Michael Morell, National Counterterrorism Center Director Matthew Olsen, FBI Deputy Director Sean Joyce and Under Secretary of State for Management Pat Kennedy were testifying behind closed doors at separate hearings of the House and Senate intelligence committees.
Clapper and Kennedy walked past a throng of reporters without making any comment before entering a basement hearing room that is specially reserved for the House intelligence committee. A red sign on the door says "restricted area."
The House Committee on Foreign Affairs was holding an open hearing with non-government experts on the Benghazi attack on Thursday.
"The coordinated, preplanned and brazen attack against the U.S. consulate in Benghazi on September 11th was an outrage. Also disgraceful is the sad parade of conflicting accounts of the attack that we have received from Administration officials in the weeks and months since," Republican Representative Ileana Ros-Lehtinen, chairwoman of the House Foreign Affairs Committee, said in a statement.
"Successive revelations in public reports indicate that the Administration failed to adequately protect the American consulate and denied consulate requests for additional security," she said.
ref: http://www.reuters.com


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As a doula and a Certified Professional Midwife's apprentice I see all kinds of births and they are all special. But some of them are just extra special… Births that I know I'll never forget.
Such was the case with Allison. Her birth happened recently, but I think I'll remember it for the rest of my life.
When I met Allison at the midwife's house for her first prenatal, her happy, easy-going ways immediately made me think that she would be a fun client to work with. Her bleached blonde hair, perfect tan, and French manicure made me wonder for just a second if she would find it difficult to just "let go" when labor happened. Would she be able to listen to her body, make the sounds that she needed to make, and assume the positions that she needed to when it came time to birth a baby? Would she be worrying about her makeup or simply focus inward and do what needed to be done? How would she do without any kind of pain medication at home?
She and her husband were totally confident that they could and would do this birth naturally just fine, and had no concerns. They didn't know anyone who had ever had a homebirth, but they were so excited about planning their birth. Her husband was a respiratory therapist and had worked in the medical field for years. Their midwife asked, "So why do you want to do a homebirth? After all, your insurance would even cover your birth in hospital, right?"
Rick and Allison looked at each other and smiled. "We've known for years that we would never have our baby in the hospital unless we had to! Rick has seen too much stuff there, and my mom is a labor and delivery nurse there and she's always telling us stories. We would just rather stay home and have one on one care with someone who knows us as more than a patient number for their shift. We want somebody that knows US and what we want and what my health has been like…."
* * * *
When Allison was about a week overdue, I got a call: "Allison's in labor. Her water just broke, but she's not really having any contractions right now."
As I was driving to Allison's house, her midwife called me to update me on the latest.
Allison had come to see her over the weekend because she wasn't sure if she was in early labor or not with mild contractions.
"I learned some things about her pelvis that I wasn't aware of before…" Joanne said, a hint of worry creeping into her voice. And then she said it: "I just don't think her pelvis is big enough for any baby to fit through!"
I was a little shocked, because it had never come up as an issue at any of the prenatals with Joanne that I had been present for.
Joanne explained that she had not done any kind of vaginal exams early in pregnancy at Allison's request. She had done Allison's first vaginal exam when Allison and Rick had come over, wondering if she was dilating. And Allison had never seemed like the kind of person who would have a pelvic issue. She wasn't petite and seemed to have a very average frame.
Joanne had NEVER worried about anyone else's pelvis during any of the births I had ever assisted her with. Sure, some women had to push longer and harder to get their babies out, but they usually always succeeded in birthing their babies vaginally. CPD had seemed basically non-existent in Joanne's practice. Until today.
She thought that the inlet and mid-pelvis was adequate. With Allison, it was the outlet (nearest the perineum) that felt so tight during the vaginal exam.
We pulled up at Rick and Allison's home and there she was - happy and walking around excitedly in early labor. Joanne did a check for dilation (2 cm.) and then said, "Can Mary check you, too? She needs some more practice."
Allison didn't mind, except that every time anyone inserted two fingers (ever so gently and slowly when she was comfortable) to check, she would totally screw up her face and clench her pillow and say, "Owwwww! My tailbone hurts SOOO bad!" That seemed kind of odd. Her midwife commented that her tailbone had been that sore the day before, too when she had done the first exam.
Then Joanne told Rick and Allison that we were going out to breakfast to give them a bit of quiet resting time to themselves in early labor. They liked that idea, and we left.
As soon as we drove away, Joanne turned to me and said, "Did you feel what I'm talking about with her pelvis?! I wanted you to feel that. That's why I asked if you could check, too."
I exclaimed, "Did I ever! I'm thinking the exact same thing you are. HOW is a baby going to fit through THERE?!"
When I had checked Allison, it seemed as though the very outlet of her pelvis where the base of my fingers rested barely had room for more than three of my fingers. Joanne said that she estimated at the widest part, her pelvic outlet seemed to be not more than 6 cm (that's bone, plus think flesh, then try to get a space 10 cm wide and get a head through there!).
Joanne told me that Allison's horribly sore pelvis seemed to confirm to her that her pelvis was, even though tiny, doing it's best to expand for labor.
As we drove on, Joanne sighed. "I don't think she's going to get this baby out no matter how long she pushes, but if she DOES, I think she's going to break her tailbone. This is probably one of those cases of true CPD, and I feel so bad for her because the reality of a C-section hasn't even crossed her mind."
I asked her what she had told Allison about her pelvis. She told me that she had only told her half the truth when she checked her the day before, saying, "You seem to have a marginal pelvis, and I think you are going to have to work harder than most people to get a baby out. But I think you can do it."
Joanne added, "I'm really not very sure about the thinking she can do it part, but we can only wait and see what happens when she starts pushing."
We went back to the house after breakfast, and Allison was munching on a granola bar and doing hula stuff with her hips and walking and swaying constantly. It looked like she had been to a belly dance class.
She did that all day long. She never stopped moving. She constantly paced, and swayed, and swiveled her hips and sat rocking on the birth ball. A couple of times, her midwife and I begged her to rest for five minutes, knowing she had a long, exhausting journey ahead once she started pushing.
Every time she got into a new position for a contraction, if it was more uncomfortable that way, she'd say, "Ooooh! This really hurts!"
We'd look at her and say, "Well, you can try something else... You don't have to hurt yourself more!"
But throughout her entire labor her response every single time was, "No, this feels like it's opening me up and I want to bring it on! The more intense, the better! More, baby! Ooooh! Owie! This is powerful stuff!" She put herself in the most uncomfortable positions because she thought it would help her move things along. What could we say? We were impressed with her strength and determination. We just hoped that somehow she could and would birth this baby. She would be crushed if a c-section became necessary. But we kept our thoughts to ourselves.
As labor progressed through the afternoon, she became deeply focused between contractions (instead of watching a movie, talking, eating). Allison started to do all sorts of things that had her midwife and I exchanging some strange glances.
She looked like she was doing an instructional video for the The Labor Progress Handbook! We knew that she had never read any doula or labor progress books or seen these positions anywhere, so our mouths dropped open as she proceeded to do things like the double hip squeeze (pressing in on the top of the pelvis with a contraction, widening the outlet), the lunge and then she went into doing the lunge with one foot up on a chair and a huge, low, wide, squat with every contraction for hours. She'd hang on her husband and go lower and lower and wider and wider, saying, "Owwiee! This is wooorking!"
It would have been fun to try to keep up with charting her postions - she must have done at least twenty different ones, with no guidance from us! She would do something, and then say, "Is this okay? Should I do something else?"
We kept telling her that she looked like she was doing every position for opening the pelvis that we'd ever seen in a book and it looked like her body was telling her exactly what to do.
She'd smile and say, "Well, it hurts, but I want to do it. It just feels right." She was amazingly in touch with her body and so instinctual about everything she did!
By that night, she was almost 10 cm, but because of the tight fit of baby's head and the pelvis, the anterior part of the cervix was getting "dragged down" with the head as the baby descended. The lip of the cervix that was in front of the head and under the pubic bone was starting to swell. The baby was descending, but stretching the anterior cervix along with it. It was such a tight fit in there that her midwife wasn't even sure how to move the cervix back above the head. Finally, around Joanne started trying to hold it back, from being shoved down any farther. She let Allison start pushing; trying to get the head past the cervix, hoping it would soon stay behind the head. But, because it was so tight in there, Joanne had an extremely difficult time holding it back. (Her fingers would get compressed between head and pubic bone, and baby started to mold around her fingers!)
Allison pushed and pushed and pushed (mostly on a birthing stool with her husband sitting behind her, encircling her with his arms and her gripping his knees.). At , she finally got the head past the cervix.
The baby's heart rate sounded wonderful throughout pushing, so she just kept going and going and going.
We weren't "directing" her pushing, just telling her what a great job she was doing, but she voluntarily did the "purple pushing" like people are often coached to do in the hospital for four and a half hours! I've never seen anyone do that at home without being "forced" to. I guess she knew what she needed! Joanne and I watched in amazement as she pushed and pushed and pushed. Her face was red and purple and the sweat poured off her. This beautiful lady was working harder than we had ever seen anyone work! In spite of dissolving into sobs between contractions at the sheer frustration and hardness of what she was doing, she never said, "I can't do this!" She seemed to have an iron will to get her baby through her pelvis.
And her baby's heart rate never showed any sign of stress. Who were we to say that she couldn't do it?
At , we started to see head. And at , we had a little 6 ½ pound baby boy with a very tiny, very coned head and a woman who had just become a mother, absolutely beside herself that SHE DID IT!
So much for a woman with a literal 6 cm diameter pelvic opening!
She did it anyway!
So much for a woman who seemed impossibly tiny to birth a baby!
She did it anyway!
Less then three minutes after she finished those four and half grueling hours of pushing, she caught her breath, looked at her little boy and said, "You're so worth every bit of work I just did to get you here!"
I glanced over at Joanne and saw tears glistening in her eyes. I knew that she had to be just as proud as I was of this woman who had showed us that women are braver than they believe and stronger than they seem!
glanced over at Joanne and saw tears glistening in her eyes. I knew that she had to be just as proud as I was of this woman who had showed us that women are braver than they believe and stronger than they seem!


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Victor L. Streib, The Fairer Death: Executing Women in Ohio (University of Ohio Press, 2006) is reviewed for H-Law by Kathleen A. Cairns, Department of History, Cal Poly San Luis Obispo. Cairns writes:
Trying to figure out why some killers are condemned and executed, while others committing similar crimes manage to evade the ultimate penalty, is akin to attempting to thread a needle with a blade of grass. That is to say, it's well nigh impossible. Comparing condemned women to their more fortunate "sisters"appears, on its face, to be a somewhat easier task. Women are, after all, executed in far fewer numbers than men. A total of 568 women have been hanged, gassed, electrocuted, and injected since 1632, representing less than 3 percent of all the executions in America. Since 1900, the percentage has dropped even further, to less than 1 percent of all executed inmates.
Narrowing the study to a single state would seem to bring the topic into microscopic focus. Nineteen states have executed women....Even the most "death-friendly" state for women--New York--has only executed seven women in its entire history; eight if you count Ethel Rosenberg, electrocuted at Sing Sing by the federal government for espionage in June 1953.
How hard can it be to compare such a small sampling of women? Difficult, as Victor Streib discovered after closely examining the cases of four women executed in Ohio and eleven other women who were condemned but not executed. Nine of the eleven had their death sentences overturned and two currently reside on Death Row.
In his new book, The Fairer Death: Executing Women in Ohio, Streib struggles mightily to come up with common denominators that link all of the cases. He concludes that race plays a significant role. Other than ethnicity, the circumstances of the crimes, time periods, and personalities of the defendants are too diverse to allow for firm conclusions. Nonetheless, Streib's work is a valuable addition to the rich body of work on the death penalty in America.
Streib is a law professor at Ohio Northern University, as well as a prolific author and an attorney who has represented female death row inmates, though regretfully he does not reveal which ones. Despite his background, The Fairer Death is not a work of advocacy, he states, but an effort, "based on academic research," to "explore an interesting topic" (p. xi). Recognizing that the lopsided percentage of men on death rows across the United States reveals inherent inequities in the legal system, Streib set out to examine the underpinnings of this discrepancy, what it demonstrates about society's ideas on gender and how these expectations play out in criminal cases involving women and capital punishment....
Death penalty statutes themselves are not to blame for the vast over-representation of condemned men, Streib asserts, because they contain no overt gender bias. But deeply ingrained gender ideology does play a significant role in how the laws are applied....
In this observation, Streib reinforces work done by other scholars, such as Ann Jones in Women Who Kill (1996) and Vicki Jensen in Why Women Kill: Homicide and Gender Ideology (2001), who argue that men and women in general possess different motivations for murder.
For the rest, click here.
Cairns is the author of a related book: The Enigma Woman: The Death Sentence of Nellie May Madison (Univ. of Nebraska Press) on the first woman on death row in California.


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November 20, 2017
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The Church of Scientology has posted online an eight-page letter its lawyers sent to Vanity Fair editor Graydon Carter on Aug. 16 vehemently denying the allegations contained in its October cover story in which the magazine claimed that church officials had organized secret auditions to find a wife for Tom Cruise in 2004 before he met Katie Holmes.
The missive launched a full-scale attack on the article's writer, special correspondent Maureen Orth, accusing her report of being filled with "shoddy journalism, religious bigotry and potential legal liability." It also asserted Vanity Fair's staff and contributors lacked journalistic integrity by relying on "demonstrably false" insinuations about Scientology leader David Miscavige, particularly the notion that the latter is somehow a "kind of third wheel" in the "Top Gun" actor's relationships and marriage, while purposely ignoring magazine employees who knew the church leader personally.
U.S. & World
"If rabid anti-Scientologist/anti-David Miscavige apostates long ago kicked out of the Church are considered 'sources' of information, then certainly a respected and objective Vanity Fair employee with no axe to grind and who has seen Mr. Miscavige at Church convocations and celebrations year after year in the present time is a far better source of information," wrote attorney Jeffrey Riffer.
The letter added that Orth's inquiries into the religious organization, especially its auditing practices, are "blatantly bigoted."
"Ms. Orth shows no sensitivity to Scientology's religious beliefs as she apparently hasn't a clue what those beliefs are," continued the letter, adding that the "very tenor of Ms. Orth's questions concerning such matters, on the order of 'By the way, do you take sugar in your coffee?' evidences her total ignorance and lack of respect for the beliefs of Scientologists."
Five more jaw-droppers from Vanity Fair's story on Tom Cruise and Scientology
The legal eagle went on to add that the magazine research relied on a "rogues' gallery of unreliable 'sources'" and amounted to nothing more than "tabloid gossip."
A publicist for the magazine told E! News that the letter by Riffer was written during the time Orth was writing the article, not in response to the story. Vanity Fair previously told CNN, "we absolutely stand by Maureen Orth's story."
Cruise's attorney, Bert Fields, has also blasted Vanity Fair's piece. While Oscar-winning writer-director, Paul Haggis, who renounced the church several years ago in a highly public split and is now considered an "apostate," stuck up for Nazanin Boniadi, the ex-Scientologist who is reported to have gone through the church's audition process before briefly dating Cruise.


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About the Canon EOS 7D Kit
If Canon's outstanding EOS 7D had a middle name, it would be "responsive." This agile digital SLR takes all the impressive photographic power of an enthusiast-level camera, and adds speed to every process, from expanded light sensitivity, to focus time, to snapping rapid-fire consecutive shots. And the 7D boasts a 1080p HD movie mode with full manual control of shutter speed and aperture for enhanced creativity. It even sports a dedicated video switch that lets you begin filming instantly. The EOS 7D comes supplied here with Canon's 18-135mm image stabilizing zoom lens. This combo offers versatile wide-angle and telephoto shooting options, plus the superior low-light performance and blur-fighting capability provided by image stabilization technology.
High-res photos and high-speed shooting
The 7D teams up an 18-megapixel CMOS sensor with two Canon image processors for clean, detailed photos and crisp handling. Capture fantastic action sequences with spot-on exposures at a blazing eight frames per second. Your pictures will be sharply focused, too, thanks to Canon's new 19-point auto focus system. This advanced system uses highly sensitive cross-type sensors for ultra-precise focusing no matter where your subjects appear in the frame.
Keep taking pictures when the light gets low
Canon gave this SLR an extra-wide sensitivity range to ensure you'll never miss a shot due to poor lighting conditions. Its extended high ISO settings make it ideal for night shots or indoor settings, where the lack of light or restrictions on flash use would normally make shooting impossible. The 7D also offers Canon's Auto Lighting Optimizer, which automatically corrects the contrast and brightness of your images as they're recorded. This helps preserve subtle photographic details of complex subjects, like sunny highlights on your kids' faces against the deeply shadowed woods behind them.
Rugged SLR build, flexible SLR design
Canon wraps all this picture-taking technology in a durable magnesium alloy body with a solid, substantial feel. Plus, environmental seals around the seams and controls help block out dust and moisture. The camera's versatile SLR design gives you lots of flexibility. Choose from dozens of compatible Canon lenses and several powerful external flashes, available separately, to expand your shooting options.
From the review Canon takes it up a notch with the 7D
"The 7D can fire like a machine gun at 8 frames a second, almost as fast as pro cameras that cost four times as much. The faster burst rate and vastly improved autofocus make this a real nice choice for sports and wildlife shooters, or parents taking pictures of their fast-moving kids."
— Zak Billmeier, Video Producer and A/V Writer
Product highlights:
- 18-megapixel effective recording
- APS-C-size CMOS image sensor (22.3 x 14.9 mm)
- EF-S 18-135mm f/3.5-5.6 IS lens (35mm equivalent focal length: 29-216mm)
- high-def movie mode with sound
- high-res 3" LCD (920,000 dots) with Live View allows composing shots on-screen in real-time
- extra-bright pentaprism optical viewfinder with 100% frame coverage and transparent LCD overlay that displays AF points and metering areas
- dual DIGIC 4 image processors provide exceptional image quality and high-speed shooting
- 19-point autofocus system with all cross-type sensors for rapid, precise autofocusing
- newly designed 63-zone metering system for highly accurate image exposure
- built-in flash with flash exposure compensation
- Integrated Speedlite Transmitter allows wireless control of multiple off-camera Canon flashes for more creative lighting
- warranty: 1 year
- Our 60-day money-back guarantee
Compatible Lenses:
- compatible with all Canon EF and EF-S lenses
Exposure Modes and Controls:
- continuous shooting mode: up to 8 frames per second (up to 126 JPEG images, or 15 RAW images)
- shutter speed range: 30-1/8,000 seconds, bulb
- sensitivity or ISO (film speed equivalent) range: 100-12,800
- shooting modes: auto (stills and movie), creative auto, program auto, shutter-priority, aperture-priority, manual (stills and movie), 3 custom settings
File Formats and Storage:
- still image storage modes: RAW, JPEG, or RAW+JPEG
- top JPEG resolution (pixels): 5,184 x 3,456
- movie image size: up to 1,920 x 1,080 resolution
- accepts optional CompactFlash® memory cards (supports UDMA and Microdrive cards)
Connections and Dimensions:
- high-speed USB interface
- audio/video output
- mini HDMI output (cable not included)
- external stereo microphone input jack (microphone not included)
- PC sync flash terminal
- N3 terminal for optional Canon accessories including RS-80N3 remote switch
- 6"W x 4-1/2"H x 3-1/2"D
- weight (without battery and media): 28.9 oz.
Supplied Accessories:
- Canon 18-135mm zoom lens
- rechargeable LP-E6 lithium ion battery
- LC-E6 battery charger
- adjustable neck strap
- USB and audio/video cables
- body cap and eye-piece cap
- software CD-ROM (PC and Mac)
What's in the box:
Canon EOS 7D Kit owner's manual
- Digital SLR camera body
- Body cap (installed)
- LP-E6 Lithium-ion battery pack (7.2V/1800mAh) with plastic terminal cover
- LC-E6 battery charger
- EF-S 18-135mm f/3.5-5.6 IS zoom lens
- E-67mm lens cap (installed)
- Rear dust cap (installed)
- 6.5' USB cable with in-line ferrite core (has a USB Type-A connector on one end and a Mini-USB Type-B connector on the other end)
- 51" Audio/Video cable with a composite video and stereo RCA connectors on one end and a proprietary connector on other end
- Neck strap
- Eye-piece cover (on neck strap)
- EOS Digital Solution Disk ver.21.1 CD-ROM
- Software Instruction Manual CD-ROM
- How to Use Camera Accessories CD-ROM
- Instruction Manual (English)
- Instruction Manual (Spanish)
- Pocket Guide (Eng)
- Pocket Guide (Spa)
- Camera body Limited Warranty card
- "Try My Photo" brochure
- USB Cable caution sheet
- Bar-code sheet
- Lens Instructions
- Lens Warranty card
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More details on the Canon EOS 7D Kit
Features & specs
|LCD Screen Size
|Adjustable-angle LCD
|Lens 35mm Equivalent
|Optical Zoom
|Digital Zoom
|Filter Diameter
|Manual Focusing
|Manual Exposure
|Built-in Flash
|HDMI Output
|Internal Memory
|Memory Media
CompactFlash Type I/II+Microdrive
|Sensor Size
|22.3 x 14.9mm CMOS
|Image Stabilization
|Highest Resolution
|5184 x 3456
|4K Video
|Video Resolution
|1920 x 1080, 1280 x 720
|Width (inches)
|Height (inches)
|Depth (inches)
|Weight With Battery (ounces)
|Parts Warranty
|1 Year
|Labor Warranty
|1 Year
Product Research
Recording Features
18-135mm Lens
Play, Edit, and Print Functions
Battery Information
Supplied Software
Image Capacity
Recording Features
Rugged Exterior Body: The EOS 7D's chassis is built of lightweight and rigid magnesium, and the camera's seals are built to resist water and dust.
Viewfinder: The EOS 7D features a redesigned viewfinder that not only offers 100 percent coverage, 1x magnification, a 29.4° angle of view, and user-controlled dioptric adjustment, it also features a newly-designed transparent LCD display which enables a number of viewfinder displays to be overlaid at the touch of a button. Whereas with other cameras the representation of AF points and metering areas are static, with the EOS 7D, they can be displayed, adjusted and hidden, in camera, with ease. This means less distraction and more clarity to view the image in its entirety. Display options include: grid, spot metering, AF points display, hide all, zone AF, spot (single-point) AF, AF point expansion and Dual Axis Electronic Level display. When using the self-timer or remote control, when your eye does not cover the viewfinder eyepiece, stray light may enter the eyepiece and affect the exposure when the image is captured. To prevent this, you can use the supplied eyepiece cover, attached to the neck strap, to cover the eyepiece.
Clear View LCD Monitor: The EOS 7D features a 3" Clear View TFT color LCD monitor with approximately 920,000 dots which allows you to view and shoot real-time images. The LCD monitor offers 100% viewing coverage and 7 brightness levels to choose from. The LCD monitor's anti-reflection and water-repellant coating provides a clearer and more smudge-resistant surface and a light sensor integrated into the screen enables automatic brightness adjustment in accordance with ambient light.
Live View: The Live View Function enables shooting your still subjects directly on the camera's 3" LCD monitor. The EOS 7D's Live View Function also makes videos in Full High-Definition. You can access a number of Auto Focusing modes including Quick Mode, Live Mode, and Face Detection Live Mode. The camera allows you to magnify any part of the scene 5x or 10x for precise manual focusing. In addition, you can choose from three preset image brightness modes - Stills display, Exposure simulation, and Movie display. Exposure simulation displays and simulates how the brightness of the actual image will look. Live View also offers a Silent Shooting mode, which allows you to shoot a single frame, or continuously at approximately 3 frames per second at a quieter level than normal.
Dual Axis Electronic Level: The EOS 7D also features a new Dual Axis Electronic Level and tilt display that aids in achieving perfectly level shots, displaying both roll and pitch in 1° increments, either in the viewfinder or on the LCD.
Grid and Electronic Level: The grid and electronic level can be displayed to help keep the camera aimed straight. The grid is displayed in the viewfinder, and the electronic level is displayed on the LCD monitor.
18.0 Megapixel CMOS Sensor: The EOS 7D features a Canon-designed 18.0 Megapixel APS-C size (22.3 x 14.9mm) CMOS sensor that captures a high level of resolution so it's easy to crop images for enlargement without concern of losing detail. A major factor in reducing noise, the CMOS sensor assures that images shot at highest sensitivity will be remarkably smooth.
HD Video Shooting: The EOS 7D offers recording of Full HD video in Live View Mode. Capable of shooting clips almost half an hour long at full 1080 resolution, the EOS 7D makes it possible to shoot broadcast quality video on your camera by simply changing settings. Your Canon EOS high-speed lenses and shooting accessories can be used in shooting video. You can also take a still photo at anytime by pressing the shutter button completely during movie recording.
Note: When shooting movies, us a large-capacity card having a read/write speed of at least 8MB/sec.
DIGIC 4 Image Processor: The EOS 7D's sensor is backed up by Canon's DIGIC 4 Image Processor, which speeds up all operations making a number of new features possible. Processor intensive operations like Face Detection Live mode, HD video recording and lighting and lens peripheral optimization are all possible thanks to the DIGIC 4 Image Processor. Developed to maximize performance between capturing and recording stages of digital photography, Canon's DIGIC 4 chips use advanced signal processing technologies to enhance captures from Canon's CMOS sensors. Sophisticated processing algorithms help to speed up all operations, including write times to UDMA cards.
14-Bit A/D Conversion: 14-bit A/D (analog-to-digital) conversion means extremely fine tonal gradations from light to dark tones, and a significant drop in digital and shadow noise.
Sensor Cleaning: The Canon EOS 7D digital SLR camera has a self-cleaning sensor unit attached to the image sensor's front-layer (low-pass filter) to shake off dust automatically. The dust delete data can also be appended to the image so that the dust spots remaining can be erased automatically by the provided Digital Photo Professional software.
Note: Dust which could not be removed by the automatic sensor cleaning can be removed manually with a blower.
Recording Media: The EOS 7D records images on a Type I or Type II CompactFlash Card. The camera is also compatible with Ultra-DMA (UDMA) CF cards.
Note: No recording media is supplied with the camera.
Image Recording Format: The camera records 3:2 still images in JPEG and RAW (14-bit) formats. Simultaneous RAW+JPEG recording is also possible. In addition, the camera can record video with monaural audio in the MOV format (Video: H.264, Audio: Linear PCM).
- JPEG Image Resolution/Compression: You can choose from the following JPEG resolutions: Large (5184 x 3456 pixels), Medium (3456 x 2304 pixels), and Small (2592 x 2304 pixels). For each resolution, you can set the compression to Fine or Normal.
- RAW Format: The RAW file format records the image data as captured by the camera CMOS sensor without further processing and converts it to digital data and records it onto the card as is. RAW images can be adjusted, then developed and produced into JPEG or TIFF images using the provided software. You can choose from the following RAW resolutions: RAW (5184 x 3456), mRAW (3888 x 2592), or sRAW (2592 x 1728). You can also record a Large/Fine JPEG image along with a RAW or sRAW image simultaneously.
- MOV Format (Video: H.264, Audio: Linear PCM): The EOS 7D supports 1920 x 1080 (30/25/24 fps) and 1280 x 720 (60/50 fps) in HD (high definition) mode and 640 x 480 (60/50 fps) in SD (standard definition) mode. The camera can record up to 12 minutes of continuous HD video or 24 minutes of continuous SD video using an optional 4GB CF card.
Note: Video recording is only available in Live View Mode using the camera's LCD monitor.
Drive Modes: The Canon EOS 7D offers the following Drive (Shutter) modes.
- Single Shooting: When you press the shutter button completely, on shot will be taken.
- Continuous Shooting: While you press the shutter
button completely, shot will be taken continuously.
- High-Speed: maximum 8 shots per second
- Low-Speed: maximum 3 shots per second
- Self-Timer: The camera will record an image 2 or 10 seconds after pressing the shutter button.
Note: The Canon EOS 7D is compatible with the following IR wireless remote controls (RC-1 or RC-5), so you can shoot remotely up to approximately 16.4 feet.
19-Point, All Cross-Type AF System: With 19 high-precision, cross-type AF sensors, any of which can be selected automatically or manually, the EOS 7D is equipped to handle even the trickiest of focus situations with ease. The high-speed microcomputers in the EOS 7D use advanced algorithms that help ensure the fastest, most accurate AF performance under the widest variety of conditions. AF modes can be customized to suit the situation, ensuring reliable focus, every time. The camera employs various auto-focus modes and area to let you seize every photo opportunity with fast, accurate focus:
- AF Area:
- Single-Point AF: (Manual Selection): manually select one AF point to focus
- Spot AF: (Manual Selection): the selected AF point covers a smaller pinpoint are to focus; effective for pinpoint focusing of overlapping subjects
- AF Point Expansion: (Manual Selection): manually-selected AF point and adjacent AF points are used to focus; effective when it is difficult to track a moving subject with just on AF point
- Zone AF (Manual Selection of a Zone): the 19 AF points are divided into five zones for focusing
- Auto Select 19-Point AF: all the AF points are used to focus;
- AF Modes:
- One-Shot AF: suited for still subjects, the camera focuses only once
- AI Servo AF: for moving subjects when the focusing distance keeps changing. The subject will be focused continuously while the shutter button is pressed halfway
- AI Focus AF: switches from One-Shot AF to AI Servo AF automatically if the subject starts moving
- Manual Focus: manual selection of focus
Light Source Detection AF: In addition, Canon's Light Source detection AF automatically compensates the focus by taking into account artificial lighting sources and making appropriate adjustments.
Intelligent Macro Focusing: The EOS 7D's new Intelligent Macro focusing tracks the object or the camera's movement when shooting close-up, to ensure focus is never lost.
AF Assist Lamp: The camera's built-in flash will fire a series of flashes in a row to assist during auto-focusing in low-light situations. This is called the AF-assist beam. It is effective up to 13.1 ft.
Shooting Modes: The EOS 7D offers various different shooting modes.
- Full Auto: During Full Auto mode, the camera automatically selects the settings.
- Creative Auto: The Creative Auto mode enables you to easily change the picture's brightness, depth of field, and color tone; while the camera automatically adjusts the exposure.
- Program AE: This is a general-purpose shooting mode, the camera automatically sets the shutter speed and aperture value to suit the scene's brightness
- Shutter-priority AE: In this mode, you set the shutter speed and the camera automatically sets the aperture value to suit the brightness of the subject
- Aperture-priority AE: In this mode, you set the desired aperture value and the camera sets the shutter speed automatically to suit the subject brightness
- Manual Exposure: In this mode, you set both the shutter speed and aperture value as desired
Exposure Compensation: Exposure compensation is used to alter the camera's standard exposure setting. You can make the image look lighter (increased exposure) or darker (decreased exposure). The exposure compensation amount can be set up to +/-2 stops in 1/3-stop increments.
Auto Exposure Bracketing: With auto exposure bracketing (AEB), the camera automatically changes the exposure level up to +/-2 stops in 1/3-stop increments for three successive shots.
AE Lock: AE lock enables you to lock the exposure at a different place from the point of focus. After locking the exposure, you can recompose the shot while maintaining the desired exposure level. This feature is useful for backlit and spotlighted subjects.
63-Zone Dual-Layer Metering Sensor: The EOS 7D features a new, 63 zone dual-layer sensor designed to complement the 19-point AF system. By taking into account the color and luminosity surrounding chosen AF points, this new system delivers an entirely new level of accuracy for better results even in difficult lighting situations. Since the metering sensor has a color measurement function, exposure errors and focus errors caused by different light sources are minimized; the EOS 7D gives stable exposure from shot to shot in situations where light changes, such as in a theater or concert hall. This makes the EOS 7D ideal for scenes with extreme difference in brightness such as brightly lit scenes or backlit scenes; the camera balances exposure of the main subject at the background, and exposures are not overly influenced by bright areas in the shot. You can select from the following metering modes:
- Evaluative Metering: The camera's standard metering mode suited for most subjects even under backlit conditions, after detecting the main subject's position, brightness, background, front and back lighting conditions, etc, the camera sets the proper exposure
- Partial Metering: Effective when the background is much brighter than the subject due to backlighting, etc, uses approximately 8% of the frame at the center
- Spot Metering: For metering a specific part of the subject, uses approximately 3.5% of the frame at the center
- Center-weighted Average Metering: Metering is weighted at the center and then averaged for the entire scene
ISO Speed: The camera's ISO speed can be set between 100 and 6400 in 1/3-stop increments to suit your shooting conditions. In addition the camera features an Auto ISO setting which allows the camera to automatically set the ISO speed from 100 to 3200.
Built-in Flash: The Canon EOS 7D digital SLR camera features a built-in pop-up flash. The camera allows you to adjust the flash exposure compensation up to +/-3 stops in 1/3-stop increments.
Note: The camera is compatible with Canon's external EX-series Speedlites (sold separately). The camera's built-in flash can work as a master unit with Canon Speedlites having a wireless slave feature and wirelessly trigger the Speedlite to fire.
Bulb Exposures: When bulb is set, the shutter is open during the time you keep pressing the shutter button fully. Bulb is useful when a long exposure is necessary for capturing night scenes, fireworks, the night sky, etc.
Auto Lighting Optimizer: If an image comes out dark or the contrast is low, the brightness and contrast can be corrected automatically. With JPEG images, the correction id done when the image is captured. For RAW images, it can be correct with the supplied Digital Photo Professional software.
Lens Peripheral Illumination Correction: Due to lens characteristics, the four corners of a picture might look darker. This is called lens light fall-off or drop in peripheral illumination. With JPEG images, the correction is done when the image is captured. For RAW images, it can be corrected using the supplied Digital Photo Professional software.
Picture Style: By selecting a picture style you can achieve various effects matching your photographic expression or the subject. You can also adjust the Sharpness, Contrast, Saturation and Color tone of each Picture Style. Picture Style selections include:
- Standard: Image looks vivid, sharp, and crisp.
- Portrait: For nice skin tones, the image looks slightly sharp and crisp, color tone can be adjusted to change skin tone.
- Landscape: Vivid blues and greens, very sharp and crisp image.
- Neutral: Natural colors and subdued images, no sharpness applied. (recommended for users who prefer to process images on their PC).
- Faithful: When the subject is photographed under a color temperature of 5200 K, the color is adjusted colorimetrically to match the subject's color, no sharpness applied. recommended for users who prefer to process images on their PC).
- Monochrome: For black and white images; you can adjust the filter effect of the monochrome setting to Black&White, Yellow, Orange, Red, or Green.
- User Defined 1-3: You can register your own Picture Style settings for Portrait and Landscape modes.
White Balance: You can choose from the following white balance settings:
- Auto: The camera sets the white balance automatically according to shooting conditions, color temperature: 3000-7000 K.
- Daylight: For recording outdoors on a bright day, color temperature: 5200 K.
- Shade: Counters strong blue tones in open shade on sunny days, color temperature: 7000 K.
- Cloudy/Twilight/Sunset: For cloudy days, dusk and dawn, color temperature: 6000 K.
- Tungsten Light: For incandescent illumination, color temperature: 3200 K.
- White Fluorescent Light: Eliminates typical green color casts, color temperature: 4000 K.
- Flash Use: A starting point for studio strobes and Canon Speedlites, color temperature: 6000 K.
- Custom: Enables you to manually set the white balance for a specific light source for better accuracy. By selecting this image, you import the white balance data for the setting, color temperature: 2000-10000 K.
- Other WB Settings:
- Color Temperature: Manually set color temperature from 2500-10000 K in 100 K increments.
- White Balance Correction: You can correct the standard color temperature for the white balance setting. It has the same effect as using a color temperature conversion filter or a color compensating filter. Each color can be corrected to one of nine levels.
- White Balance Auto Bracketing: With just one shot, three images having a different color tone can be recorded simultaneously. Based on the current white balance mode's standard color temperature, the white balance setting can be changed from 0 to +/-3 stops in whole-stop increments.
Color Space: The color space refers to the range of reproducible colors. With this camera, you can set the color space for captured images to sRGB or Adobe RGB. For normal images, sRGB is recommended. In the camera's full-automatic modes, sRGB will be set automatically.
Histogram: A histogram is a graph showing the brightness of an image. The graph display indicates a bright image when skewed to the right side, and a dark image when skewed to the left side.
Mirror Lockup: The Mirror Lockup feature helps prevent camera vibration when using a super telephoto lens or shooting close-ups.
Multi-Language: The camera's menus system supports 25 different languages including English, French and Spanish.
18-135mm Lens
Standard Zoom Design: The Canon EF-S 18-135 f/3.5-5.6 IS standard zoom lens' focal range gives you versatile wide-angle and telephoto shooting options. It features a wide focal length range equivalent to 29-216mm in the 35mm format.
Optical Image Stabilizer: The lens features an Optical Image Stabilizer for up to 4-stops of effective correction even at full zoom. Since the Optical Image Stabilizer system is in the lens, not in the camera, you can see the stabilized, steadier images through the viewfinder. The Stabilizer switch is located on the barrel of the lens.
Auto/Manual Focus Modes: To shoot in Auto Focus mode, you must set the focus mode switch on the lens to "AF." The Auto Focus adjustment is gear-driven by a DC monitor. To manually focus the camera, you must set the switch to "MF," and focus by turning the focusing ring. The AF/MF switch is located on the barrel of the lens.
Optional Accessories: You can attach optional filters (67 mm) to the filter mounting thread on the front of the lens. You can also use the optional EF 12 II and EF 25 II extension tubes. The following accessories are also available:
- Lens Hood: The EW-73D hood can keep unwanted light out of the lens and also protects the front of the lens from rain, snow, and dust.
- Filters: You can add the optional 67mm UV protector filter or the 67mm Circular Polarizer filter to this lens. In addition, with the use of an optional gelatin filter holder, you can add various gelatin filters for creating special effects.
- Focal Length/Aperture: 18-135 mm f/3.5-5.6
- Lens Construction: 16 elements in 12 groups
- Minimum Aperture:
- f/22-36 (applies to 1/3-stop increments)
- f/22-38 (applies to 1/2-stop increments)
- Angle of View:
- Diagonal: 74º 20' - 11º 30'
- Vertical: 45º 30' - 6º 20'
- Horizontal: 64º 30' - 9º 30'
- Minimum Focusing Distance: 0.45 m/1.5'
- Magnification: 0.21x (at 135 mm)
- Field of View: 327 x 503 mm/12.9 x 19.8 inch (at 0.49 m/1.6 ft.) - 75 x 112 mm/3.0 x 4.4 inch (at 0.45 m/1.5 ft.)
- Filter Diameter: 67 mm/2.6 inch
- Dimensions: Diameter = 2.965", Length = 4.365"
- Weight: 455 g/16.0 oz.