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Reply To: Chicken isnt your friend on this diet, this report implies-
Home › The Candida Forum › Candida Advice › Chicken isnt your friend on this diet, this report implies- › Reply To: Chicken isnt your friend on this diet, this report implies-
Vegan Catlady
jgentry8;56649 wrote: This forum should be used as tips and tricks. It's good if it helps, and if that method doesn't work then try something else with YOUR DOCTOR. The main problem here is that a lot of people believe (and want) a solution that will fix them faster. No matter what you do, it will take a minimum of six months. Only you know your body best as well as your doctor. If it worked for you, great. If it didn't, it's not for you. But go to your doctor FIRST for advice. Every persons body is different whether vegan, vegetarian, whatever. Figure out what is best for you through your doctor. Internet is CLEARLY too contradicting and you won't find answers.
The point of this argument is that I am healing in a way that is contrary to what they believe.
Keep in mind that there are a few people on this forum that have shared my experiences with adding certain foods and using teas…and they can be found on this forum because its their posts that inspired me to stop listening to the loudest voices and to listen to my own.
By insisting that it takes a specific amount of time to heal, you dismiss everyone who has had a different experience.
NOT EVERYONE has candida to the extent you do.
NOT EVERYONE has overgrowth condensed in the same places!
I couldnt find one person who cured themselves with candida in the esophagus.
Did you know that its a place considered to be one of the toughest and most stubborn places to to get rid of candida??? Its made my life hell. Especially since I thought it was GERD because some stupid ENT told me it was (with zero digestive issues at the time).
Even Lisa, From The Candida Diet says she believes you can rid your candida in 60 days.
You can call her a liar if you want to, but the reality is that some people havent let their candida overgrowth get really bad before they did something about it.
Personally, I was told my overgrowth was something else, so I went a few years with it, coming and going on its own, not understanding what it was.
The biggest problem with the loudest voices on this forum is that the minute anyone has an idea contrary to what they think, its dismissed as faulty, a lie, wrong, a mistake, or you never had candida.
I believe the reason they get so bent out of shape is because if the info is contrary to what they tell people to do, it somehow negates their words and makes them look bad.
Im not here to make anyone look bad.
Listen to your body…the people here do NOT know you better than YOU know you!!!


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Smartphone maker Honor at photokina
The Chinese smartphone maker Honor, part of Huawei, will participate in photokina, the world's leading imaging trade show that will take place from September 26 to 29 in Cologne. As an exhibitor and partner of the Mobile Imaging Lounge in Hall 5.1, Honor will present current smartphone models and demonstrate innovative functions driven by artificial intelligence (AI) in workshops.
With the new Honor 10, Honor has released an innovative product for mobile AI photography. With the new semantic image division, the device can categorize and best represent different objects in a photo. If, for example, a person in front of the Grand Canyon is photographed in bright sunshine, the Honor 10 recognizes thanks to AI the elements "person", "landscape" and "sky" in the picture. These parts are then processed individually and reassembled to a better photo.
"We have always emphasized that the mobile segment will be essential for photokina in the future," commented Christoph Werner, Vice President Koelnmesse. "Camera technology in smartphones has reached an astonishing standard and is therefore an boon for the entire imaging industry. We are pleased that Honor, one of the technology leaders in this segment, will present its products and innovations at photokina."
For many customers, the camera function has become crucial for the purchase of a new smartphone. Many manufacturers therefore see the photo function as an important feature for which they use particularly innovative technologies.
"We have consciousl decided in favour of exhibiting at photokina because we see the right environment herefor presenting our high degree of imaging competence and innovation to an international audience", said Marco Eberlein, General Manager Honor Germany. "At the same time, the show offers us the opportunity to give photo enthusiasts a completely new technology experience, receive direct feedback and be even better able to address the needs of our community in the future."

subset: commoncrawl


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Inside The Mind Of A Girl Broken By An Emotional Psychopath
He blamed her for everything. His every wrong move and mistake somehow became her fault. He never wanted to admit to his actions. Actually, he never even tried because he never even cared. That is the thing with emotional psychopaths, they don't have the need to feel remorse, they never regret anything, and they are emotional cripples unable of having true or sincere feelings.
He had a serious outburst of jealousy. He caused scenes in front of her, which were the best proof of his sick mind. He became jealous of everyone she knew. He was jealous of her friends and family and in the end, he was jealous of her. She had so much to give to the world. Her kindness and her love were her strongest weapons and he was jealous of that. He wanted to isolate her, to have her only for himself. And when she was isolated, he was happy, but as soon as she started to look further than him, he got psychotically jealous. But, the saddest part is that he didn't even have to be jealous because she saw only him and no one else.
He loved himself more than anyone. That was the proof that even he was capable of having feelings, of loving someone. Too bad it was only himself. His selfishness was limitless. Everything was perfect if he was satisfied and happy, but as soon as something didn't go his way, he would lose it. You see, he only cared about himself. He never saw her tears. He never saw her pain. He couldn't care less.
He made her believe in things that never happened. That is how he manipulated her. He was a real piece of something. He knew exactly how to approach her and take advantage of the fact she loved him. Every time he did something awful, he would convince her otherwise. He would brainwash her into thinking it wasn't his fault. She was the one who misunderstood. She was the one who reacted poorly. And after some time she started to believe him. She thought she was the crazy one. She thought she needed help and she blindly followed him because she thought he was her savior when actually he was the one destroying her.
But everything he did to her made her stronger. That is how she won her life's battle against him. His cruelty and manipulations broke her. They led her to the darkest place of her life. He stripped her of everything she had. But he never could have counted on her breaking free from him with that little strength she had left inside her.
She found herself broken and alone, but she decided to fight for her life. She decided to fight for that dream she once had. She decided it wasn't over, not until she said so.
But her journey wasn't finished. It just started when she left him. She swallowed her pride, she ignored what others were saying, and she patched her wounds so she didn't bleed. She finally realized that she didn't need him.
Now, there is a long way ahead of her. Now, she has to rise from the ashes. Now, she has to heal.
She was his victim for far too long. He leeched off of her. He took everything from her. She will doubt people for a long time and that's okay. She has every right to do so. She has the right to be a mess. She has the right to bury herself under the sheets and cry her heart out. She has the right to suspect anyone who tries to enter her life, who tries to help her. He made her that way. He took her self-worth and her self-respect. He made her guarded and careful.
She will be scared to love again. Since her dreams were shattered, love doesn't play an important part in her life. That was who she was before him. Love is not a beautiful thing she is dreaming of any more, no. Love has become pain he caused her. Loving someone has become the same nightmare she was living in when she was with him. And it will stay that way for a long time. It will stay that way until she finds her old self again. His every harsh and cold word made her hate love even more. His every manipulation and emotional abuse made her never want to fall in love again.
She never knew what true love was. I feel sorry for her feeling this way because she never experienced real love. She never experienced the feeling of safety and support. She never got the real picture of love. The only thing she felt was abandonment, pain, and loneliness. It will take her a lot of time to put down her walls and let real love enter her life. She will doubt it, she will question it but she will accept it in the end. Because real love never gives up. It never walks away.
She wants to be alone. She needs some time to heal. She needs some time to rearrange her thoughts. She needs time to put her feelings in the right place. She needs time to understand what is right and what is wrong. She needs to learn to live again because when she left him, she gave herself a second chance to live.
After she wins the battle, and she will, her dream will finally come true, because she isn't done just yet. She is a woman who will never surrender. She is a woman who will fight for herself, even when there is no will or strength left in her. She is strong and no one is able to break her.
Maybe her psychopath thought he did, but he was wrong and she proved it.
Her life will never be the same anymore, but what happened to her sobered her up. It opened her eyes and gave her a lot more to live for. She knows she only has one chance to live and she won't waste it by feeling sorry for herself and by settling for being broken.
She knows she deserves more and she is a badass who will create her own rules and live her life the way she always imagined she would.
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Today's Notable Quote: "If not now...when? If not me...who?
There is a cost associated with indecision. If we decide NOT to act as the result of indecision...we may miss out on an opportunity that will not come our way again. How will we know if this is so? We won't. This is why it is critical to be prepared to embrace the rare "life altering" opportunities that come our way.
Food for thought?


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|In a Jan. 26 letter to the company, the Labor Department stated that after reviewing information from Securitas and Beaudine, it concluded the company was in violation of the Uniformed Service Employment and Reemployment Rights Act, a 1994 law that stiffened job-protection guarantees for returning soldiers. Securitas also got a warning letter from the human-resources director of the Oregon National Guard, who recommended Beaudine be allowed to return to work.
The company, however, resisted.
After the first Gulf war, Congress strengthened protections with the Uniformed Service Employment and Reemployment Rights Act of 1994. A letter of warning usually is enough to resolve a dispute, said Tom Pearson, director of the Labor Department's Veterans' Employment and Training Services in Washington state. "In most cases, the employer is just not fully aware of the law," Pearson said. "Once we explain the law, they go, 'Oh, OK,' and bring them back to work."


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Angela Faris Belt takes a close look at how to place and style those four essential edges that determine the form and meaning of images—and offers exercises to hone your framing and composition skills.
This excerpt from The Elements of Photography is provided courtesy of Focal Press. To purchase the book and learn more about the publisher, visit the Focal Press website.
"Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts." —Garry Winogrand
"Photography is about finding out what can happen in the frame. When you put four edges around some facts, you change those facts." —Garry Winogrand
Images © Mark Eshbaugh, from his series Day's End, Triptych (Chelmsford, MA).
What Is "The Photographic Image" Exactly?
Simply stated, the image is the product or confluence of three components as captured within a frame. The three components can be described as subject, form, and content (Ocvirk et al., 2002, pp. 12–15). In fact, every work of art, including images, sculpture, music, literature, and dance, is comprised of these three components. Although the naming conventions used to describe them vary, it is understood that these three primary components combine to create a complete image or work of art. The subject can be defined as what the image is about; it is the essence or meaning of the image, and may or may not be visibly present in the image. In literature, the subject is often referred to as the theme of the work. An interest in the subject is often the reason photographers make images to begin with; as Magnum photographer David Hurn explains, " . . . photography is only a tool, a vehicle, for expressing or transmitting a passion in something else" (1997, pp. 29–30). As good novels or poems operate for writers, good photographs are generally a means for an artist to convey some specific meaning (a point or message, a theme . . . the reason behind the work's existence). The subject of a photograph may range from literal to abstract; however, an abstract subject such as "hope" or "transcendence" (or anything else which is not a noun) can only be conveyed through skillful consideration of the other two components: content and form.
While the term "subject" refers to what the image is about, the term "content" refers literally to the image's contents. Image content (also referred to as subject matter) can be defined as those persons, places, or things that are visibly present and/or identifiable in the image. When the subject (or theme) and content (or subject matter) are understood as separate yet interdependent image components, photographers can combine them more accurately to convey meaning. The best photographers closely consider all image content as it relates to their chosen subject, and they do so for several reasons. First, all content, like all words, carries meaning that operates on connotative and denotative, subjective or objective, psychological, intellectual, spiritual, cultural, political, and many other levels. Therefore, the inclusion of content which is widely recognized to have specific meaning on one or more levels is more likely to communicate successfully to a wide audience. Second, each discrete piece of content in an image is like individual words in a sentence; each has the potential to either clarify or obscure meaning when juxtaposed. Additionally, like the subject of a work of art or literature, content can be abstract or non-representational; in these cases the remaining component of the image—form itself—might literally be the subject, or might afford the viewer a great deal of insight about it.
To illustrate the difference between subject and content, I often ask students if they are familiar with the novel or film The Shawshank Redemption. Most of them are. Then I ask, "What is the subject of the work?" Invariably students reply that the subject is "an innocent man who is sent to prison and escapes through 'a river of shit.' " This interpretation by students proves that they confuse subject with content, and are thereby missing the real meaning of the work. I am familiar with the novel and the film, and I suggest to students that the subject of the work is hope or perhaps the nature of redemption itself. The innocent man imprisoned, all of his experiences, the experiences of all those around him, the "river of shit" and his unlikely path to freedom, all fall under the category of content—the concrete, identifiable aspects of the work that carry its subject or theme across. In order to use content to communicate about a subject, an artist needs to provide an organizational structure, and that organizational structure is called form.
The third component of the photographic image, its form, refers to all the means through which the subject and content are unified and presented. Form can be defined as the design elements that the artist combines to arrange a work compositionally, or the formal organization of elements that dictate the appearance of an image. Form, also called composition, in a photograph includes the traditional design elements (line, shape, value, texture, and color), to which I would add quality of light and framing. Mary Price, in her critical text The Photograph: A Strange, Confined Space suggests that what sets the work of more successful photographers above others is the photographer's "Visual recognition of meaning in form," and that it is precisely this recognition which "entails the ability to see a three-dimensional objective world in two-dimensional flat form . . . in instantaneous appreciation of what that segment about to become a separate whole will signify" (1994, p. 84).
It is the interrelationship between subject, form, and content that creates meaning in an image. Since form is the means through which an artist's chosen subject and content are linked together, it is important to understand the technical elements behind it for a given medium. Form, specific to photography, is in large part dictated by the four technical elements which comprise all photographic imagery. When constructing images, photographers who consciously manipulate the formal arrangement of carefully selected content are able to accurately communicate their ideas about a subject. The manipulation of a photograph's formal arrangement is in large part a direct result of the technical elements that create camera-made images. That first element is framing.
Framing: The First Photographic Element
Photographers who have had some basic training and practice in photography should fully understand metering and exposure in ambient light situations, as well as the attributes of their particular traditional, digital, or hybrid (meaning a combination of the two) media. Beyond that, they are most interested in creating images that apply their technical knowledge in a meaningful way, and they do so by using the elements of design and composition. But even photographers who know the basic rules of two-dimensional composition don't necessarily understand how to apply those rules toward orchestrating content within a photographic frame. This chapter explores the principles underlying framing in the camera's viewfinder and addresses the borders of the resulting image.
►If the principles governing proper metering and exposure are new to you, see Appendix B for more detailed explanation. As this is not a design text, if the elements of design and rules of basic composition are new to you, I recommend independent research using any of the excellent textbooks available on the topic.
►If the principles governing proper metering and exposure are new to you, see Appendix B for more detailed explanation. As this is not a design text, if the elements of design and rules of basic composition are new to you, I recommend independent research using any of the excellent textbooks available on the topic.
Affecting Visual Quality and Photographic Meaning through Conscious Framing
Photographic images—images made from the action of light—are contained within a frame. The frame can be defined as the outermost boundaries of the photograph, the structure which circumscribes the photographer's decisions regarding image content. Framing and borders combine as the first element of photography because they intersect as the transition point between the world and the image at every stage of the image-making process. Framing begins in-camera, continues through the cropping stages, and completes with borders created in the traditional or digital darkroom.
Every camera imposes a frame; it is a constant element of photographic images regardless of camera format or lens choice, determining the specific segment of space and time that will exist within its borders. As soon as you place the imposed frame of a camera's viewfinder between the world and your eye, you actively engage the first unique technical element of photographic image making that directly affects the visual outcome of the image. You place the camera in front of your eye, and the world, which has no boundaries, is suddenly confined to the square or rectangle of the camera format's viewfinder. In the words of Stephen Shore, "The photograph has edges; the world does not. The edges separate what is in the picture from what is not . . . the frame corrals the content of the photograph all at once" (1998, p. 28). Here's the rub: the frame defines what viewers will see as the image content regardless of the attention paid to it by the photographer. Too often the transition from "seeing" to "seeing through the camera" is not present enough in the photographer's mind; therefore, thoughtful framing must be developed as a very conscious act.
A visually literate viewer assumes the entire content of the frame to be intended by the photographer; through framing the photographer tacitly states that all content should be addressed toward determining the meaning of the image. In this respect, framing the contents of a photograph is like composing a work of literature; conscientious authors don't add random words to sentences or unnecessary sentences to paragraphs. For instance, while reading a novel, how would you respond if there appeared non-sequiturs which only served to misdirect you with regard to the story line, and in the end the author notes that he or she didn't intend the extraneous sentences to be treated as part of the novel at all! Just as meticulous readers interpret each sentence (indeed each word) of a novel in order to derive meaning, meticulous viewers interpret every aspect of a photograph's content to derive meaning.
At some point in the process, photographers decide what to include and what to exclude from the final image. Framing refers to in-camera decision making, within the imposed frame the camera provides. Photographers make framing decisions based on what they determine to be the important aspects of the scene until the precise moment of exposure (or capture); once exposed, the captured image contains all the content that it will contain. For this reason (and for ethical reasons in fields such as photojournalism or forensic photography) the best time to make framing decisions is while the camera is in your hand and the scene unfolds in front of you.
When framing the content of an image, photographers should ask the following questions:
The frame does more than include and exclude potential content; however, it plays an indispensable role in organizing that content. In The Nature of Photographs, Stephen Shore describes some of the visual outcomes of framing through an attribute he calls "flatness." He says, "When three-dimensional space is projected monocularly onto a plane, relationships are created that did not exist before the picture was taken. . . . Any change in vantage point results in a change in these relationships" (18–19). In this concise quote, Shore touches on three important aspects of framing: vantage point, juxtaposition, and picture planes. What follows is a discussion of those three aspects of framing, because they directly affect the visual organization and hierarchy of image content.
Organizing the Frame: Vantage Point, Juxtaposition, and Picture Planes
When photographers capture an image they do so on the picture plane; that is, the flat, physical surface of the media on which the image is captured. By orchestrating the frame's contents through careful consideration of vantage point—the distance and position of the camera in relation to the subject—the photographer dictates the hierarchy of information and the visual flow of the image.
Photo © David Beckerman, Steps of the Met , New York, 1994. In this photograph, David Beckerman uses vantage point to great advantage in framing the man's light face and hat against the dark background, while including a secondary figure (the man's shadow) that mimics his subject's own form. Also, in pointing his camera downward to include the man's broken shadow, he balances the composition and leads the eye into the bottom of the frame. www.davebeckerman.com
In choosing vantage point carefully, the photographer also changes the perceived spatial relationships among various content and dictates how three-dimensional space will be depicted in the two-dimensional image. Will the picture plane minimize the illusion of depth, or will it emphasize that illusion? The answer should depend on how the sense of depth (or lack thereof ) in the pictorial space will affect the viewer's reading of the image. (We will take a closer look at this attribute in the section on picture planes.) In addition to creating spatial hierarchies, vantage point can assist you in communicating specific ideas about the subject or content in an image. For instance, if you were making a portrait of someone you admire, and whom you want the viewer to admire, you might adopt a lower vantage point and literally look up at the person when making the portrait, or place them above (from your vantage point) the other content in the frame; conversely, if your intent were to diminish or demean the subject of the portrait, you might literally adopt a vantage point which looks down at the person.
Additionally, by changing vantage point, the photographer organizes the way various aspects of the image content are juxtaposed—the relationship and interaction among discreet contents—and these changes alter the image structure and its subsequent meaning.
"In the field, outside the controlled confines of a studio, a photographer is confronted with a complex web of visual juxtapositions that realign themselves with each step the photographer takes. Take one step and something hidden comes into view; take another and an object in the front now presses up against one in the distance. Take one step and the description of deep space is clarified; take another and it is obscured. In bringing order to this situation, a photographer solves a picture more than composes one." (Shore, 1998, p. 23)
"In the field, outside the controlled confines of a studio, a photographer is confronted with a complex web of visual juxtapositions that realign themselves with each step the photographer takes. Take one step and something hidden comes into view; take another and an object in the front now presses up against one in the distance. Take one step and the description of deep space is clarified; take another and it is obscured. In bringing order to this situation, a photographer solves a picture more than composes one." (Shore, 1998, p. 23)
Juxtaposition is a key component in any language; just as words are juxtaposed with other words in order to create more complex and specific meaning, the contents of photographs are juxtaposed with other contents in order to add complexity and meaning. The work of Elliott Erwitt provides a classic example of the nature of juxtaposition; the contents within his carefully, albeit spontaneously, composed frames often reference one another in extreme or visually obvious ways in order to create the humor or irony he calls attention to. The work of Alexandre Orion uses juxtaposition as well and can be viewed in the Portfolio Pages of this chapter.
Photo © David Beckerman, Man and Woman, Subway, New York, 1993. This photograph illustrates one aspect of the nature of juxtaposition. By framing both the people whose attention is passively downward and the sign whose eyes intently peer back at us as, David Beckerman juxtaposes two contentual elements, which bring to the forefront the active nature of our own gaze upon others.
The third organizational aspect of the frame is the picture plane—the flat, physical surface on which the image is captured. When the binocular perspective of our vision is removed, one of the three primary types of spatial organization emerges onto a picture plane because of the way that three-dimensional space is ordered when flattened through a single lens perspective. The three types of picture planes are: parallel, diagonal, and overlapping. They delineate the way depth is organized in the pictorial space, and perhaps as important, they dictate the pace at which the viewer's eyes move into and through that space to read the image.
Photo © David Beckerman, Become Your Dream, New York, 2005. This image uses a parallel picture plane by facing the content of the frame head-on. It creates a confrontational image, with unavoidable connections created between the background high-rise buildings and the hand-scrawled Become Your Dream graffiti in the foreground.
Photo © David Beckerman, Crossing Brooklyn Bridge, 1993. Diagonal picture plane: The image composition creates dramatic depth in receding space, since the frame's primary content is diagonal to the picture plane. The direction of the subject's movement toward the corner of the picture also activates the composition and leads the viewer's eye in that direction, where we view a significant piece of secondary content—an overturned trash can.
Photo © David Beckerman, Manhattan Mall, New York, 2006. This image uses overlapping planes at varying angles in order to juxtapose content in the frame. It well describes the crowded nature of the place, allows David Beckerman to incorporate the place name in relation to other contentual elements, and gives the viewer a definite sense of spatial relationships.
Contact Sheets: Key to Choosing the Best Frame
Once the images are captured and processed, the next step is to edit, and contact sheets—prints with several thumbnail sized images printed on them—are an indispensable tool for image editing. They allow photographers to look at the sum of images they have created in printed form and choose from the group one or several that most successfully represent their ideas. The most effective contact sheets provide images large enough to view and are of good density, contrast, and color. There are many methods of editing images from contact sheets. I recommend first editing for technical quality: any images that are poorly exposed, out of focus, or have camera shake due to slow shutter speeds should be immediately eliminated—don't try to "fix" these problems in the traditional or digital darkroom; instead, learn from your technical mistakes and don't make the same mistakes again. Next, edit for content and formal quality: ask yourself which of those technically sound frames best convey your meaning or express your ideas about your subject. I recommend enlarging these images into work prints, hang them up, and live with them in your office or studio for a while, so that only the best images emerge in your view as successful. Your contact sheets and work prints will also reveal that even the best attempts at in-camera framing sometimes fail to produce the desired result . . . and it is then that a photographer might decide to crop.
There are great advantages to editing from high-quality printed versions of images (rather than from negatives or from digital files). It is easier to note subtle technical and formal differences from frame to frame—changes in exposure, focal length, distance, vantage point, shutter speed, and depth of field—which serve to significantly affect the image as the photographic process unfolds. In the contact sheets, the evidence of the photographer's growing awareness and sharpening of the composition of contents from frame to frame is apparent.
Cropping: Framing After the Fact
While the ideal time to make framing decisions is with the camera in hand, it's not always practical. For example, in making images "from the hip" a photographer might know to some extent what will be captured in the frame, but cannot predict it with certainty; or when shooting quickly in rapidly changing circumstances as photojournalists often do it's important to capture the moment. In these cases the decision to eliminate extraneous elements initially captured near the frame edges in the traditional or digital darkroom might help to clarify meaning of the image for a viewer. Conscious cropping is a valid, and valuable, means of defining the content of a photographic frame, although many photographers choose never to crop an image in the printing stage.
The decision to exclude aspects of the original frame's content is referred to as cropping. There are two times after image capture when photographers have the opportunity to re-define the boundaries of the image by excluding certain aspects of it. Cropping affords photographers a second chance to eliminate extraneous content from a frame prior to publication or exhibition. It can be done at either of two points after capture: during printing or during presentation. The latter, and perhaps the worst, time to crop is during presentation; that is, a photographer might choose to crop a part of an image during window matting or display if cropping decisions were neglected during the previous two opportunities. In the traditional darkroom, the most indispensable tool for precision either in printing the full-frame or cropping is a four-bladed adjustable easel. There are many brands and types of easels on the market, but those with four independently adjustable blades are best designed to control sizing, framing, and borders of the print. In the technical section of this chapter you will see a variety of techniques used to control sizing, framing, and borders of the print, and a variety of effects achievable through careful use of a four-bladed easel.
Borders: The Exterior Edge of the Frame
Even photographers who possess a practiced sense of framing and composition in-camera might be delayed in the realization that the image border—the transitional space between the image content and its surroundings—has its own significance. Perhaps because it is a boundary space, the image area's border carries with it all the weight and connotations of any other, similar boundary. It is the space where a viewer enters, rather unconsciously most of the time, the pictorial space. In this way entering the frame is like opening a book; the quality and attention to the outside cover affect our ideas—whether consciously or unconsciously—about the book prior to our reading a word of it. As an undergraduate photography student I hadn't thought of "carrier edge" as being anything other than sloppy craftsmanship until my professor, Jack Teemer, explained it in reference to his color photographs of children at play. Of the colorful, jaggedly inconsistent border area he said, "I wanted to suggest that this environment continues beyond the frame." And it did! Where the image content ended, there were hints of color and detail extending beyond the interior of the frame, all visually related to the content at the edges all the way around the frame. At that moment I realized the importance of this boundary to the image, and I began to experiment with a variety of border effects in the darkroom, and to consider as part of my printmaking decisions the type of border to create (if any) in order to best carry my message about my subject.
Image © Jack Teemer, from His Series Children at Play. Creating a carrier-edge border, the artist suggested to the viewer that the world captured inside the photograph extends beyond the frame. See how to create carrier-edge borders in the next section.
Traditional Darkroom Border Techniques
In the traditional darkroom, the relationship between the inside edge of the negative carrier and the outside edge of the image area on the film determines the types of borders that are produced. The interior dimensions of standard negative carriers are made slightly smaller than the dimensions of the image area on film. Because of this, and with the help of easel blades, photographers making prints using standard negative carriers tend to produce prints with a "clean edge" almost by default; that is, assisted by the easel blades the print's image area ends where the white space of the paper begins. If you don't like that option for your images, some simple planning and engineering of the negative carrier can make a marked difference in the appearance of your printed image borders. See the Technical Tutorials Section for Chapter 1 for a detailed discussion of how to alter your negative carriers to produce specific effects.
In the following examples, prints made from traditional black and white negatives demonstrate several types of border effects. These border effects are some that I refer to as "organic"; that is, the borders are a natural outcome (albeit nurtured) of the interrelationship among the tonal values at the edge of the negative, the edge of the carrier, and exposure to light. I recommend making work prints with several different types of borders in order to help you to determine how these effects reflect on the subject and content of your images.
Image © Todd Dobbs, Buildings No. 12 , 2002.
Image © Todd Dobbs, Erie Train Car, 1998.
Image © Melissa Mercado, #4 from Her Series At Rest, 2006.
A variation of these vignetting techniques is to vignette the border through burning, with the entire sheet of paper printed to black. To do this, an exposure set to maximum black is made to the area of photographic paper outside the image area, after the initial exposure is made. Simply place an opaque board of the size of the image on top of the image, lift the easel blades, and make the exposure to the remainder of the paper surface. Techniques such as this are often used when the treatment of the entire sheet of photographic printing paper is considered a part of the work itself. Often, prints such as these are displayed "floating" in a frame using spacers (and no window mat) or are incorporated into a larger whole.
Image © Angela Faris Belt, Dharma in a Paisley Field, 2005. Clockwise from upper left: plain border, fade to white border, vignetted border with paper printed to black, and vignetted border. The various methods used to print the borders of the final image change the feeling and intensity of the image, and affect how the viewer reads the image content.
The Digital Realm: Borders without Film Edges
With digital photographic capture, there is no physical media edge extending beyond the sensor, and so nothing extending beyond the image area with which to continue the frame's communicative effects. As a result, many photographers have gravitated toward borderless images or the use of template borders. Template borders are prefabricated borders that are often supplied with online Photoshop tutorials and are digitally loaded into the image document and set in place. Template borders are either scanned or digitally created and often appear similar to borders such as those created through use of Polaroid Type-55 or Polaroid transfer images. While these borders are adequate for many commercial and graphic design applications, artists want to create and control the appearance of their image even to its borders.
The emphasis here is on hand-made (what I call "organic") borders, specific to the image content itself. While the appearance of traditional darkroom borders is dictated by the physical relationship among the film edge, carrier edge, and easel blades, the appearance of digital darkroom borders is dictated in Photoshop with the primary relationship among the image size and canvas size, and the effect of image layers and blending modes on the tones occurring at the image edge. In traditional darkroom images the carrier edge is unique to each image; the potential for that same unique-to-the-image character exists for digital darkroom images with some understanding of the tools, practice, and patience.
In the Chapter 1, Technical Tutorial Section called Digital Darkroom Borders, I will attempt to lure you away from the ease of canned effects, and toward more organic and conceptually sound approaches. These are simple techniques designed to help you begin experimenting with the borders of your digital images. Once you begin to work with the tools, you'll find that there are myriad ways to affect the look of your image borders without using canned borders. I'll outline creating fine black borders, and creating "painted borders" using the edge tones and colors of the image itself, and applying blending modes to create a seamless transition. These tutorials offer starting points, and unlimited results can be achieved if you are willing to experiment.
Images © Angela Faris Belt. Fine black borders technique.
Images © Angela Faris Belt. Painted borders technique.
Chapter Exercises
In the Introduction to this text, I suggested that you choose a specific subject or genre, and to work with it throughout the chapter exercises. You should choose a subject that will be engaging to you visually and intellectually throughout the exercises; a subject that is of interest to you and that has the potential to be of interest to others. The reason for doing this is simple: it will enable you to approach your subject in a more faceted way, guided by the grammatical elements of photography. Throughout the course of these exercises you will learn a great deal about both your subject and the elements that guide photographic language. Through critique you will begin to fully understand how the elements of photography can be manipulated to better communicate a visual message about your subject. Before commencing with the first exercise, clearly define your subject or concept and commit to conducting research about it. The more you know about your chosen subject, the more likely you are to make informed decisions about content, and the more able you are to use photography's technical elements to guide your creation of meaningful images. For all of these exercises you may shoot traditional or digital media, color or black and white, or you might shoot an alternative media with an alternative camera. Media choice is up to you.
Exercise No. 1: Making Conscious Framing Decisions
This exercise should be used to define your subject both for yourself and for your viewers, and it should assist you in maintaining awareness of your in-camera framing decisions. Concentrate on using the imposed frame of the camera's viewfinder to define the content of your images. For each subject or scene, make two photographs:
Understand that it will likely take several images per scene in order to achieve the two successful images for each. Study your results, and edit several images to enlarge.
Exercise No. 2: Picture Planes
Conscious structuring of content within the picture plane allows the photographer to dictate the sense of space that the three-dimensional world takes within the two-dimensional picture plane. It also dictates pace at which viewers will read the image, and the viewer's sense of spatial relationships among various content within the image. For this exercise, make three images of each scene you photograph. Remember that it will likely take several images per picture plane in order to achieve three successful images:
Consider the placement of your subject matter and the way that the sense of depth (or lack thereof ) through the picture plane affects your viewer's attention to it, their pace at reading the image, and sense of relationship between objects within the pictorial space. Remember to use a sufficiently small or large aperture to render the depth of field you need.
Exercise No. 3: Darkroom Borders Experimentation
Edit and print three identical copies of your four best images from the previous two exercises. These should be your best four images from the exercises, not comparison images from a single exercise. Using the media of your choice, create 2–3 different border effects for each image. Critique these images and determine which border effects work best with your subject and what you were trying to say about it. Determine whether this border effect might be used throughout the series of images.


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Jet Set
by Jason Oliver Nixon
Sky Writing
by Sarah Elbert
In this issue:
Making Waves in LA
Also: The star of next month's Men in Black: International, Tessa Thompson, is as hard to define as her global, vibrant hometown of Los Angeles.
Norfolk Botanical Garden photo by Amy Dagnall
Are you a water and nature lover? You're in luck! With Norfolk's close proximity to the ocean, there are plenty of attractions to see and activities to explore ranging from sightseeing cruises and nautical history museums to the spectacular Norfolk Botanical Garden.
Battleship Wisconsin at Nauticus
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Hamption Roads Naval Museum
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Sandbridge Beach
Five miles of pristine sand create a perfect spot to unwind.
Follow the game throughout the downtown area.
Spirit of Norfolk Cruise
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The Attucks Theatre
A reputation for combining elegance with an excellent vibe.
Virginia Beach Boardwalk
Explore the boardwalk by horseback, bicycle or rollerbade.
Virginia Zoo in Norfolk
The zoo lets families get near their favorite animals.
"It has been said that 'the people of Norfolk have been raised on oysters, and the city itself on the shells,' surely an indication that mermaids were here in abundance long, long ago." —Peggy Hail
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Jewish tradition tells us that Elijah the Prophet travels incognito from Heaven to Earth revealing secrets of the cosmos to those who are willing to listen and learn. As long as he is explicitly invited by these words: This is the chair of Elijah the prophet, he'll make an appearance at Seders, circumcisions, and other festive gatherings. Elijah is teased for acting like a schnorrer, showing up for a free meal and glass of wine. But Elijah's central role in Judaism is that of a messenger, helping to transform the physical world into the Divine. There are stories from saintly rabbis who studied Elijah; they tell of righteous people who were plucked by Elijah from disaster at the last moment, and not-so-righteous given their chance to make amends through Elijah's intervention.
Which leads me to think: A year ago I was ready to throw in the towel as a violinist. In a frenzy, I tossed black concert dresses and pantsuits from my closet, heaped them into a pile in the back of my messy Eurovan, floored the gas pedal to Ballard Goodwill, and dumped them into the donation bin while holding my nose. End of story?
For classical musicians, the month of May concludes many subscription seasons. A few of my colleagues complain they're exhausted while, to tell the truth, I feel as if I just awakened from a nap. This week, it's off to St. James Cathedral to perform Mendelssohn's Elijah with Seattle Pro Musica. The vibrancy and musical leadership of conductor Karen P. Thomas is remarkable; she's a dynamic force that energizes musicians, singers and audiences alike. This is my first time performing Elijah, and my first experience working with Seattle Pro Musica.
The following week, I'll be performing Mahler's Second Symphony "Resurrection" with Rainier Symphony . The "Resurrection" is a colossal work; a long journey from inner torment to peace, and as with Mahler's music, therapy for the wounded soul. Resurrection of the Dead is a fundamental belief in classic Judaism, and Mahler's Jewishness resonates to the core with me.
But is there life after death for professional regional orchestras during a Great Recession? A few hours after the Rainier Symphony performance on Sunday, May 17th, I'll step in as guest concertmaster for Bellevue Philharmonic's final concert of the season. Besides the fact that I can't find anything to wear, I'm secretly hoping that the spirit of Elijah will be there.
Monday, May 4, 2009
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Jayne Ann Krentz
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0 Mark Ridge Rd is a $165,000 property on a 70.00 acre lot located in Harned, KY.
Great opportunity for the outdoor enthusiast. This 70 +/- acres is mostly wooded and features rock ledges, caves, natural springs, and great hunting. There is also a beautiful flat area for building your dream home in the country.Seller to retain the right to harvest timber for 2 years for 15'' across stump and 10'' above ground level.
|Exterior Features
Utilities - None
|Land Type
Zoning - Agriculture
Lot Access - Dedicated Road
Lot Access - County Road
Lot Access - Gravel
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Residential Land
The data relating to real estate for sale on this web site comes in part from the Internet Data Exchange Program of Metro Search, Inc. Real estate listings held by brokerage firms other than Keller Williams Louisville East are marked with the Internet Data Exchange logo or the Internet Data Exchange thumbnail logo and detailed information about each listing includes the name of the listing broker. Copyright 2019 Metro Search, Inc.Data last updated 05/20/2019 at 04:56pm MDT.


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Lightning's Hedman, Johnson injured vs. Flyersby Adam Kimelman
PHILADELPHIA -- The Tampa Bay Lightning lost defenseman Victor Hedman and center Tyler Johnson because of lower-body injuries during a 7-3 loss to the Philadelphia Flyers on Monday.
Coach Jon Cooper said he was unsure if either player would be available for the Lightning's game Tuesday at the Boston Bruins.
"[Johnson] is our leading scorer and [Hedman] is our leading scoring defenseman," Cooper said. "You pull any of those guys out of your lineup it's going to hurt. We'll see how we adapt. This happens to teams; it's happened to us before. We've been through it. You don't like to go through it but we have. And we'll respond."
Hedman sat out the final two periods. He was a minus-1 on eight shifts totaling 6:56 in the first period.
He has five goals, 20 points and a plus-10 rating in 25 games, and leads the Lightning with an average of 22:21 of ice time per game.
Johnson last played with 8:27 left in the second period. He had an assist and was a minus-1 in 9:24 of ice time. Johnson, who was named to the 2015 Honda NHL All-Star Game on Saturday, entered play tied for sixth in the League with 45 points.


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Level 1
5-day course
How would it be to tell a story freely and with passion or to give an inspiring presentation? To what extent has stuttering influenced the choices you made?
You speak fluent and with self-confidence from the first day on! The speed we work with is fast, so the groups we work with are small.
- Liberate speech: a complete turn around in five days.
- Effective for professionals, scholars and students.
- Tools, effect, result.
Although the technique of the method is the most important part of the training a lot of attention is being paid how to build up self-confidence as well as conquering the fear to speak.
This training doesn't only give you tools to overcome stuttering and to develop fluent speech but it gives an arsenal of insights to practice it right away in public.
The evening program is an obligatory part of the course. Due to this you experience that you are able to speak self-assured, free of fear and fluent in every situation.
What can you expect?
- Fluent speech from the first day of the course
- To present in a self-assured way
- To overcome the fear to speak
Practical information:
- 5 continuous days from Monday till Friday
- The course can also be followed in Dutch or German
- The course can also been given at a special location


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It's snowing. Normally I like the snow, but this snow means the dig I was supposed to have at the start of February is postponed. I haven't had a job since before Christmas. Christ.
On the other hand, I've almost finished the reverse-outlining part of editing my book. I'm trying to decide where to go next- more editing, or agent/publisher shopping. Probably both. That whole lack-of-a-job thing makes me really eager to try things that will bring money sooner rather than later.
I'm sure I'll look back at this over-a-month-now involuntary-hiatus from archeology as a blessing for editing my book. Or not. Maybe I'll just see it as the reason I have too much goddamn credit card debt from bills.
Bah. To work.
Wednesday, January 28, 2009
It's snowing. Normally I like the snow, but this snow means the dig I was supposed to have at the start of February is postponed. I haven't had a job since before Christmas. Christ.
Wednesday, January 21, 2009
Warm Ups
If I had known I wouldn't have a dig for the whole month of January, I probably wouldn't have gone to Miami. I love UC, and now I love Miami, but... yeesh. It took some financial back flips to pay the bills this month.
But, a good friend offered to pay my way to Boston, so now I'm on his couch and blogging as a warm-up to editing/outlining my novel. I'm experimenting with the outline thing, in that I'm outlining after writing instead of before. When it comes to writing, I don't like a lot of plans, but I feel like I need a more explicit concept of the book if I want to edit it. Basically I'm going through each chapter and scene and asking myself, "What does this scene do for the plot or characters?" and then noting that. Hopefully it will help the process go quickly, because I want to send my baby out right this second but I feel like that would be rather unprofessional. Though with the amount of time it takes the publishing industry to do anything, it might be six one way, half dozen the other.
tags jobs, underemployment, writing
Friday, January 16, 2009
Sunday, January 11, 2009
Saturday, January 10, 2009
This one time, I thought I might die. Nothing interesting- just a deer in front of our van, and nobody hurt, but I remember being startled and losing a few moments and then realizing that I very nearly missed a death. It sort of felt like when you think you've seen someone you used to know, and then it turned out to be a stranger instead. As if I had very nearly missed reuniting with a friend. I thought about that a lot when Dream talked to Death.
Destruction's attempts at creation made me smile, and a little afraid.
Despair reminded me of someone in my family, who I won't name.
Destiny bored me. And despite the name, Desire is not for this space.
I liked Delirium. I liked how the rainbow fish could sparkle out the light on a blade of grass and how she looked for what she lost and the colors in her hair and the dance-y fascination with words and word-shapes and frog-shapes and the raspberry chocolate lovers the way reality was this incredibly hard, hard thing that cut with the rules of it until it became something else like bugs or anger or bubbles in the shapes of kings even though that meant that there was no Delight, she was gone and the glass beauty and stains in the way reality takes your breath away in places because it is so unbearable became just unbearable and avoided and skeltered. Delirium was nice.
I finished my novel.
Thursday, January 8, 2009
Snow Shadows
Thursday, January 1, 2009
Greetings from Dolphin Stadium! Hope you all enjoyed your holidays- I'm about to enjoy watching the Bearcats spank V Tech. I promise a better post later- in the meantime, GO CATS!
Welcome to Miami!


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Signature at Pembroke House
Meet the Team
We would like to introduce you to the Pembroke House team.
Lisa Mitchell
General Manager
General Manager
Lisa is a Registered Nurse who has worked in the healthcare industry for over thirty years. Having qualified with the NHS in Yorkshire, where she was employed as a Theatre Nurse specialising in orthopaedics and trauma. Since moving to the private care sector in 2002, Lisa has gained many qualifications, including the Registered Managers Award, NVQ level 4 in Health and Social Care and most recently a Degree level qualification in Leadership and Development. Lisa has received several accolades including Manager of the Year Award whilst working as the General Manager for a Specialist Brain and Spinal Injuries Unit in Berkshire. She has held both operational and strategic positions, including Clinical Manager, Home Manager, Regional Projects Manager and Regional Operations Manager.
Lisa is open and transparent, passionate about staff training and strives for excellence throughout all aspects of care to ensure residents are at the heart of the community.
Tony Dunne
Client Liaison Manager
Client Liaison Manager
'My Role involves me meeting prospective new residents and their families. I am proud to be representing Signature and get pleasure from showcasing our community. I am privileged to be part of a professional and dedicated team, delivering first class care and maintaining the dignity and individuality of each of our residents.
The families and residents I meet on a daily basis realise quickly the benefits Pembroke House is able to offer, both in terms of the friendly and sociable environment and the proximity to local shops amenities.
I look forward to welcoming you to our community here in Camberley.'
Lucia Hanakova
Care Service Manager
Care Service Manager
I have been working in the Health Care Sector for over 12 years, as a Clinical Team Leader, and pride myself on being compassionate, dedicated and organised. I am delighted to be working for Signature, Pembroke House, and appreciate the value we add to the lives of those entrusted to our care. As the head of our care team, and Deputy Head of our home, I am responsible for the training and development of our carers, and ensuring all of our residents receive the quality of care they, and their loved ones, expect. At Pembroke House, I believe the standard of care is second to none, but I am always seeking to add value to our residents wellbeing and daily life at Pembroke House.
Justyna Kirihettige Don
Dementia Care Manager
Dementia Care Manager
My name is Justyna, I've been working within the care sector for over 10 years and am thrilled to have been given the exciting opportunity to be Pembroke House's Dementia Manager.
I really enjoying it because of the close bonds we create with our residents and their families.
I am really proud to work with such a great team and feel that we can make a difference to make each day meaningful and enhance the quality of life for our residents.
Sarika Kunwar
Nursing Care Manager
Nursing Care Manager
I am originally from Nepal and completed my nursing education there. I have been qualified for 14 years and have been working both in acute settings and care homes.
In 2013, I joined the NHS to have more acute hospital experience and specialised in gastro, stroke unit, and rehabilitation unit.
My nursing career is my passion. I believe in striving for excellence and always learning more. I am also always willing to encourage others to learn new skills and improve themselves.
I joined Signature at Pembroke House in January 2018 as a registered nurse and have been promoted to nursing care manager in June, a role I am really enjoying. In the meantime, I'm also doing my NVQ level 5 for professional development.
I feel very privileged to have joined such a great team and to have met all Signature values.
Megan Godin
Activities Manager
Activities Manager
I love working within the care industry. I'm a creative person who enjoys a wide variety of people. I am very passionate about activities and how they make such an impact on quality of life.
I strongly believe activities should be at the heart of care.
As keen as I am to develop the activities at Pembroke, I would love to be challenged by our residents to learn new skills.
Lee Davis
Restaurant Manager
Restaurant Manager
I have worked in catering now for 27 years, working my way from a Saturday pizza maker into restaurant management, airline catering production and restaurant auditing, all via hands on hard work front of house and back of house. The restaurant floor is my first love and where I can generally be found.
I have been here in Pembroke house since January 2018 and can honestly say that each day is a pleasure. If I'm not at work I am usually walking the countryside with the dogs or participating in my other love, "Eating".
Matt Jenkins
Head Chef
Head Chef
I have been a professional chef for 18 years and have worked all over the country, mainly in the London area, but also as far away as Scotland and the lake district.
During my career I have worked in many award-winning restaurants, from Michelin star to multi rosette venues, boutique hotels and also overseeing two hotels and multiple food outlets as a resort Head chef.
I have a varied knowledge in multinational cuisine, but I specialise in Classic French and contemporary British food.
Natalia Holubowicz
Housekeeping Manager
Housekeeping Manager
I have 3 years of experience within the care industry. I've started as a housekeeper and worked my way up quite quickly to the position of housekeeping manager.
I'm lucky to be the person looking after our new beautiful home, right in the in centre of Camberley. My standards are high and I will make sure what we provide our lovely residents matches their expectations, and it's nothing but the best to make their life comfortable and satisfying
Linda C Dickin
Human Resources Manager- MCIPD
Human Resources Manager- MCIPD
My background is in the Aviation Industry where I worked for many years in several roles both operationally, in HR and most recently managing the Recruitment Team.
Motivating, supporting and inspiring my team to deliver excellence in all aspects of customer service has always been my passion and are as relevant in my current role as HR Manager as they were in my previous career. To see new staff members who join us here at Pembroke House grow both in confidence and skills enabling them to achieve greater success, promotion and add real value to the business as a whole still gives me a real buzz.
Love my job here, we have a fantastic team lead by Lisa. It is a really great place to work.


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the wood studio
In the spring of 2012, Elias founded The Wood Studio in London's SoHo district. Elias follows a hybrid approach to woodworking and believes that affordable fine furniture and superior-quality custom cabinetry comes from a balance. A balance between the intimacy of traditional hand tools and the efficiency of high-tech machinery; a balance between celebrating the natural beauty of hand-finished solid wood and taking advantage of everything man-made materials have to offer.
Darío trained in his hometown of Granada, in Spain, and is a second-generation woodworker with over 20 years of cabinet-making experience. His work is influenced by the clean lines of contemporary design, and is defined by the meticulous attention to detail found in old-world workmanship. Darío has spent the last seven years honing his skills here in London and working alongside some of the city's top craftsmen.


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Lactipro advance got a great mention in the Lancaster Vet Clinic Blog (Lancaster, WI). It sounds like they are seeing some great results. Take a look:
Sally has been trying a new product called LactiPro on a few groups of weaned beef calves. This product is a liquid given orally. It is a specific rumen bacteria that breaks down lactic acid and helps digest starch. It is designed to help calves make the switch from pasture and milk to all grain feedlot diets.The high starch, high grain, high carbohydrate diets that we switch calves to at weaning can be tough for them to adjust to. Hopefully, calves are started on creep feed while still on the cow so the shift to a grain diet is not so drastic. You should also work calves up slowly on grain and provide hat or other roughage to help the rumen adjust.
LactiPro makes the transition to grain diet easier by inoculating the rumen with the bacteria that digests starch and breaks down lactic acid so the calves don't have problems with grain overload and acidosis. Calves will develop adequate levels of this digester on their own after about 18 days on grain, but inoculating the rumen speeds the process.
Stay tuned for more data! So far the LactiPro groups are eating better and more total pounds per day than the controls.
Read the full blog at LancasterVetClinic.com