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Join the MultiCultural Center for our Annual Kickoff party! Voted Austin's best world music band for the past six years, Atash ("fire" in Farsi), combines master musicians from around the globe to create a powerful, worldly original sound that inspires people of all ages and from all walks of life to dance and commune in a celebration of life!
Judy Baca is a world-renowned painter and muralist, community arts pioneer, scholar and educator. Currently a professor of Chicano/a Studies and World Arts and Cultures at UCLA, she was the founder of the first City of Los Angeles Mural Program in 1974, which evolved into a community arts organization known as the Social and Public Art Resource Center (SPARC). Baca's murals and public artworks reflect the lives and concerns of populations that have been historically disenfranchised, including women, the working poor, youth, the elderly and immigrant communities. She is one of the most remarkable public artists for social transformation in modern American history. Co-sponsored by UCSB Department of Chicana and Chicano Studies; Office of the Associate Vice Chancellor for Diversity, Equity and Academic Policy; Office of Equal Opportunity & Sexual Harassment/Title IX Compliance; UCSB Chicano Studies Institute
Their voices are suppressed, prohibited and censored. But world-famous bloggers Yoani Sánchez, Zeng Jinyan and Farnaz Seifi are unafraid of their dictatorial regimes. This award-winning film accompanies these brave women on their perilous journeys in Cuba, China and Iran while their blogs shake the foundations of the state information monopoly, putting their lives at great risk Barbara Miller, 96 min., English, 2012, Switzerland.
The first installment of a religious literacy series aiming to demystify underrepresented religions and people of faith by providing facilitated discussions on the basic tenets of several religions. This panel will provide an analysis of Buddhism in a political context while also debunking popular myths that are associated with it. Panelists include UCSB professors of Religious Studies Kathleen Moore (Chair) and Vesna Wallace. Co-sponsored by UCSB Department of Religious Studies; URC Interfaith Fund
Xenophobia and misogyny are deeply connected. Recent events in our collective history urge us to understand the relationship between sexism, homophobia, and racism, and to organize against them. This forum seeks to learn from the experiences and analyses of those activists and agents (local and historical) who have offered us ways of examining the exercise of unearned suffering frequented on vulnerable communities, and have provided us with invaluable resources for challenging the exercise of power. Shifting our attentions to developing insights about, awareness of, and strategies against racist and sexist domination create for us spaces of healing, hope, and transformation. Panel discussion facilitated by Felice Blake, UCSB assistant professor of English. Co-sponsored by Antiracism Inc.
For Thomas Martinez, a statewide high school cross-country and track star, and Tamara Hardy, an academic as well as athletic star, growing up on the Navajo reservation in New Mexico has heightened the tensions inherent to high school graduation, in ways particular to Native American history and contemporary reservation life. This film chronicles one fateful year in the lives of two talented kids who must figure out not only how to become young adults, but what it means to be both Native and modern. Erica Scharf, 60 min., English, 2012, USA. Co-sponsored by El Congreso
Distinguished UCLA professor Judy Baca offers an intimate look into a universe of visual discourse through artworks that have maintained a historic and contextual dialogue with her monumental mural projects for over thirty-five years. Judy Baca is professor of Chicano/a Studies and World Arts and Cultures at UCLA. She is the co-founder and artistic director of the Social and Public Art Resource Center (SPARC), a community arts center in Venice, CA.
"I want to produce artwork that has meaning beyond simple decorative values. I hope to use public space to create public voice, and consciousness about the presence of people who are often the majority of the population but who may not be represented in any visual way. By telling their stories we are giving voice to the voiceless and visualizing the whole of the American story while creating sites of public memory." Judy Baca Co-sponsored by Department of Chicana and Chicano Studies; Office of the Associate Vice Chancellor for Diversity, Equity and Academic Policy; Office of Equal Opportunity & Sexual Harassment/Title IX Compliance; Chicano Studies Institute
Salar System will take you on a sonic voyage through the ancient traditions of Afghanistan. You are invited to join the celebration of the Mystical, Mahali, Sufi, Kabuli Classical, and Folk traditions that have been forgotten in modern times. SALAR NADER- Tabla, dhol, percussion; AJMAL SUBAT- Vocals and harmonium; QAIS ESSAR- Rubab and dilruba. Tickets $5 UCSB Students and Children under 12/$15 general. Contact the A.S. Ticket Office at 805-893-2064 or buy online at www.mcc.ucsb.edu (extra fees apply). Limited Seating. Co-sponsored by UCSB Ethnomusicology Program; India Association of Santa Barbara
Starring Ranveer Singh and Anushka Sharma, this film is a love story of two wedding planners in Delhi, Shruti and Bittoo. While Shruti is a savvy business oriented girl who aspires to become the best wedding planner in India, Bitoo is the happy-go-lucky character who takes life as it comes. Despite their contrasting personalities, when both of them set up their own wedding planning company, the plot moves through entertaining twists and turns. The film is replete with colorful dances that showcase the lavishness, celebration, and enjoyment in Indian weddings. Maneesh Sharma, 140 min., Hindi with English subtitles, 2010, USA. Co-sponsored by India Association; UCSB Art, Design & Architecture Museum; Film and Media Studies Department
This workshop dares us to understand and adore our whole selves. Being Disabled, Sick, Chronically Ill, Deaf, and/or being Brilliant/Crazy are often understood as flaws. Participants will discuss avenues of critical intersections as brown, poor, trans, immigrant, disabled, other. Everyone is encouraged to participate, but priority will be offered to those who live with SDQ (Sick & Disabled Queer/Transgender Indigenous or People of Color) experiences. Participants are asked to please bring their journals and/or writing materials.
A Campus PRIDE hot list artist, Kay Ulanday Barrett is a spoken word performer, poet, and educator. Kay connects life as a pilipin@/pin@y-amerikan transgender queer navigating struggle, resistance, and laughter in the U.S. Currently based in New York, with roots in Chicago, Kay's work is the perfect mix of gritty city flex and Midwest open sky in homeland soil. Co-sponsored by Resource Center for Sexual & Gender Diversity
Join the MCC and KCSB – FM in welcoming students back for the fall with an exciting evening of outdoor performances by Chicano Batman, Los Macuanos, and mexico68! Uniquely crafting a modern take on Latin music with a conscious political message, Chicano Batman's sound features a mix of funk, R&B, Latin soul, bossa nova, psychedelia and pop. mexico68 Afrobeat Orchestra, is a thirteen-piece afrobeat band based out of Los Angeles, California's Eastside. Heavily influenced by the polyrhythmic sounds of Nigerian Recording Artist, Fela Anikulapo Kuti and Africa 70, mexico68 juxtaposes Chicano funk with the body-moving and illuminating vibes of afrobeat. Los Macuanos' productions echo the hedonism of Tijuana's lost rave scene, with other influences ranging from minimal techno and bass music, to more experimental styles like glitch, noise and no wave. You do not want to miss this! Co-sponsored by KCSB - FM
This talk will explore the racial politics of the War on Drugs in Los Angeles, and reflect on how the state mobilized the "crack crisis" to justify new and profoundly militarized forms of correctional control. Special attention will be given to the politics of racial backlash and the effects of the War on Drugs on communities of color in L.A. Dr. Murch is associate professor of History at Rutgers University and currently a Bunche Center Visiting Scholar at UCLA. Co-sponsored by UCSB Department of Chicana/o Studies
An entire country watched transfixed as a poised African-American woman in a blue dress sat before a Senate committee of 14 white men and with a clear, unwavering voice recounted the repeated acts of sexual harassment she had endured while working with U.S. Supreme Court nominee Clarence Thomas. Against a backdrop of sex, politics, and race, Anita Hill courageously speaks openly and intimately for the first time about her experiences that led her to testify before the Senate and the obstacles she faced in simply telling the truth. She also candidly discusses what happened to her life and work in the 22 years since. Freida Mock, 77 min., English, 2014, USA. Co-sponsored by UCSB Center for Black Studies Research
The Last Song Before the War captures the inspiring rise and uncertain future of Mali's annual Festival in the Desert. Against the backdrop of stunning musical performances, the film subtly reveals the challenges and triumphs of creating an artistic event in dire economic and political circumstances. In 2012, the Festival in the Desert came to a halt when separatist rebels and Islamic militants seized control of Northern Mali. This award-winning documentary chronicles the 2011 Festival,—arguably the last edition that still captured its original goals—a global display of peace, reconciliation, and the healing power of music. Kiley Kraskouskas, 74 min., French with English subtitles, 2013, USA, Mali.
An all-star panel discussion on the origin, cultural meaning, and current global boom of salsa music, hosted by UCSB professor of sociology William I. Robinson and featuring: in person, salsa legend Angel Lebron, the New York-based Puerto Rican salsa superstar; UCI social sciences professor and former Smithsonian Institute curator of Latin Jazz Raul Fernandez; and ethnomusicologist and curator of the Smithsonian traveling exhibit American Sabor: Latinos in US Popular Music, Marisol Berrios Miranda Co-sponsored by UCSB Sociology Department
Legendary salsa musician and his amazing 12-piece band will bring to life the sounds of the Caribbean and New York City's Latino barrios in this unforgettable evening of Latin song and dance. Lebron has played with some of the greatest names in Afro-Caribbean music, among them mambo king Machito, Johnny and Tito Rodriguez, Eddie Palmiere, Willy Colon, and La India. The dance and concert will feature performances by two of Southern California's most popular dance troupes, Diana Tere and Sensual Emotion, and Oswaldo y Sabor Latino. Free salsa lessons prior to live band by Santa Barbara's own Hector Sanchez. Tickets $5 UCSB Students/$10 general. Contact the A.S. Ticket Office at 805-893-2064 or buy online at www.mcc.ucsb.edu (extra fees apply).
Screening of film Drunktown's Finest. Through a trio of interwoven narratives, including a transgender beauty queen, a reluctant father-to-be and an adopted college student struggle to balance traditional culture with the assimilationist ideals of contemporary America., The trio work out their destinies with stubborn grace and authenticity.
And for the complete festival schedule visit: www.outrageousfilmfestival.org Directed by Sydney Freeland / 2013, USA, 93 min. English and Navajo with English subtitles.
Co-sponsored by Sponsored by the UCSB Multicultural Center. Preceded by trailers of movies from the 23rd Outrageous Film Festival.
Directed by Sydney Freeland / 2013, USA, 93 min. English and Navajo with English subtitles. Co-sponsored by Sponsored by the UCSB Multicultural Center. Preceded by trailers of movies from the 23rd Outrageous Film Festival.
In 2011, Pulitzer Prize-winning journalist Jose Antonio Vargas outed himself as an undocumented immigrant in an essay published in the New York Times Magazine. Documented chronicles his journey to America from the Philippines as a child; his journey through America as an immigration reform activist; and his journey inward as he re-connects with his mother, whom he hasn't seen in person in over 20 years. Jose Antonio Vargas, Ann Raffaela Lupo, 89 min., English, Tagalog, and Spanish, 2013, USA, Philippines. Co-sponsored by UCSB Undocumented Student Services
Calling all conscious artists to the stage! The MCC is creating an open mic for anyone to artistically express themselves while educating others on current issues affecting students of color, women, differently abled people, queers, and allies. Come, enjoy and share talents in this safe space for a night of "edutainment."
Children of all ages and their families are invited to sing, dance and play with Cascada de Flores in this bilingual, participatory program telling the story of traditional music and dance inspired by the trio's journey to Veracruz, Mexico. The stories explode with rhyme, poly-rhythms, musical instruments and sweet characters -- you might meet the donkey and its jawbone, the abuelito and the vulture, the marimbol, the dance box, and the little "mosquito" guitar. Co-sponsored by UCSB Children's Center
In this talk, Chandan Reddy argues for viewing U.S. gay and lesbian politics, such as the movement for gay marriage, as expressing a key tension within contemporary neoliberalism, namely the dual movements to develop more elaborate forms of social recognition through the expansion of rights while restructuring and restricting the role of the political state. Reddy argues that queer of color social practices constitute alternatives to the diminishing horizon of democracy created by this historical moment, not as appeals to the political sphere but as examples of new understandings of violence and publicity. Dr. Reddy is associate professor of English at the University of Washington. Co-sponsored by UCSB Center for New Racial Studies
Schoolgirl Aqsa Parvez, sisters Amina and Sarah Said, and college student Fauzia Muhammad were all North American teenagers—and victims of premeditated, murderous attacks by male family members. Only Muhammad survived. Emmy® winner Shelley Saywell examines each case in depth in this riveting investigation of "honor killings" of girls in Muslim immigrant families. With consummate documentary skills and a passion for human rights, Saywell puts a much needed human face on a subject that is all too often silenced or sensationalized in post-9/11 North America. Shelley Saywell, 60 min., English, 2010, Canada.
Where do black women activists fit into the epochal struggles for equality and liberation during the 1960s and 70s? Through archival footage and in-depth interviews with former members of the Black Panther Party, the Student Nonviolent Coordinating Committee (SNCC) and other organizations, this documentary unearths the story of black women's political marginalization—between the male-dominated Black Power movement and second wave feminism, which was largely white and middle class—showing how each failed to recognize black women's overlapping racial and gender identities. Nevline Nnaji, 81 min., English, 2013, USA. Co-sponsored by UCSB Sociology Department
Alafia Dance Ensemble (ADE) delivers a powerful program of music and dance from Brazil and Haiti, showcasing the rich culture and deep African roots of both traditions. Live percussion and capturing vocals accompany the vibrant choreographies portraying the realm of the Orishas and beyond. Tickets $5 UCSB Students and Children under 12/$15 general. Contact the A.S. Ticket Office at 805-893-2064 or buy online at www.mcc.ucsb.edu (extra fees apply). Limited Seating. Co-sponsored by UCSB Center for Black Studies Research


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This outfit makes me happy, I called almost every J.Crew in the state till I found it last spring. It went on sale and sold out fast but finally I got lucky and it became all mine. So I brought it to play.
XOXO Aurora
Top: J.Crew (old)
Blazer: Banana Republic(Ebay)
Jeans: Gap

subset: commoncrawl


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Act! On-Premise vs Hosted
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Parties & Groups
Amazing Value – All Our Parties Include…
Entry into Kidzworld with unlimited play includes softplay, dodgems, mini golf & trampolines.
Skytrail & Skating (weather permitting) is weekends & school holidays only.
A private themed party room (for 1 hour) with party hats, table decorations & music.
A delicious combo menu and unlimited squash.
1 party bag per child and a party gift for the birthday child including a RETURN pass worth over £30.00!!
Delicious Combo Menu:
HOT: Beef-burgers, fries, cheesy pizza & firm favourites, chicken nuggets!
COLD: Ham sandwiches, biscuit selection, chocolate fingers, veggie & bread sticks with dip, crisps & cheese savouries.
DESSERT: Vanilla ice-cream with strawberry sauce & sprinkles.
DRINKS: Unlimited Squash
Themed Party Rooms Include…
Disco Room
Sing & Dance your birthday away to everyone's favourite party setting.
Avengers Room
Join all your favourite superheroes for a super party time.
Princess Room
Join your favourite princesses for a birthday tea party to remember.
Movie Room
Don't be a Minion, come & have a Monsters Inc. party with some of your favourite movie characters.
All this for…
£11.50 per child
for weekday school term time parties
(minimum of 8 children, bookings over 10 children receive 1 child free).
* Please note roller skating & the Sky Trail are not open for term time weekday parties.
£14.50 per child
for all weekend and school holiday parties
(minimum of 8 children, bookings over 10 children receive 1 child free).
For party and group bookings or for more information, please give us a call on 01726 815 553 or email us


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JUST SOLD – 961 NW Yosemite Dr
961 NW Yosemite Dr in Awbrey Park closed recently for its full asking price of $579,950. The home which was under construction and listed in December. By the time construction was completed in February the home was already in contract. Keep checking in to our website, we will be listing more new construction homes in


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As an Amazon Affiliate, I get a percentage of every book you buy from a link on my site
Experience the world of Harry Potter all over again in this brilliantly engineered pop-up book that shares secrets about the production of the movies.
Once I went to the bookstore with my mom and took her to the book's hiding place to show it to her. It was no longer there, and I was upset. Why had I waited to buy something I loved so much?
(It didn't occur to me that it would be on Amazon. Since I had never seen it before, I thought it was rare and I would never see it again.)
Turns out, the book was gone because my husband had bought it for my birthday. Now it's sitting proudly on my shelf.
My two daughters ask for the book frequently – sometimes every day – and I have the hardest time keeping their snatching fingers away from all the intricate shapes in the pages.
This book would make a great gift to anyone who loves Harry Potter. So basically anyone who's read the books, because to read them is to love them.
By the way, if you haven't bought all the books yet, they have a new set of them that I think looks really great. They also came out with illustrated versions of the story.
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September 2018


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Tagged: pictures
22nd February 2018 – Creative Round and Getting Your Mojo Back
Last meeting was our annual thumbing of the collective nose to Cartier-Bresson's fear of the contrived, the Creative Round. In that all of photography, from one point of view, is contrived, we can take comfort in a Sontagian view that Photography is a "Promiscuous way of seeing" and here are we. It is also another way to open the arguments between the Get-it-right-in-the-camera-ista's and Ye-accolytes-of-photoshop, but we won't.
Congratulations to the winners, (Check out the Facebook page or the website) this in some ways is the hardest round of all to to enter, not least because the definition of what we mean by creative is quite fluid. It stems from an original thought or vision. This gives us less chance to take the image we want by accident, the surrealist streak in photography if you will, as it tends to involve a lot of planning and preparation. The flip side of this is that the deliberation it involves is good for us in all the other forms of photography, because it is a productive habit.
"A skilful photographer can photograph anything well" according to John Szarkowski. So that doesn't mean just slapping on a filter over an existing photograph and calling it creative, though there is nothing to say that you cannot. Passing a superficial inspection is one thing but the photographs that hold the attention are rarely going to be constructed that way. Skill in photography is as much about practice and deliberation and attitude as it is in any other form. The trick for the hobbyist is not to make it a burden, but to enjoy and enjoy learning.
It's why having a theme works for our development. Yes it is fun (for us, the rest of the family can feel a little left out) to take a camera everywhere and photograph what takes our fancy or arrests our attention, but when we narrow ourselves down we concentrate on looking, and looking for associations with this idea, which we are using to organise our output. A photograph.
It brings us back to that deliberate frame of mind again. This is also something that helps when we feel that we have plateaued in our development. It can be frustrating to not quite get what we visualised, but also it can be the brain's way of telling us time to try something different. To create a random element in that, basically to set the challenge, use the theme link above and use this preset random number generator to pick a topic from those 328 themes; get a camera; your least used lens or least used camera even, and get right on it.
There is something to be said in rekindling the simple pleasure of just taking a photograph in a spare five minutes. It can be as simple as arranging things to hand on a desk or a table and practising the basics of composition, because nowhere is boring when you have a camera in your hand.
To give a couple of examples:
Whilst waiting for the potatos to boil I took about four frames of a satsuma and a couple of apples, altered saturation and played a bit with curves and made them presentable if not earth shattering images. Of course, if I wanted to become rich I should have taken photographs of the spuds.
Waiting for a relative to get ready I was struck by the incidental arrangement of my Works ID badge and glasses on a side table. Nudged things around very slightly, took it, cropped it square, painted a bit of blur on it. Quite like it. Doubt I will see it hanging in the Royal Society of Arts any time soon, but hey, I got a small sense of achievement out of it.
Same occasion at the other end of the trip, I was waiting in a coffee shop and set myself the challenge of getting the branded coffee cup and the illuminated sign in the window. A bit of cup shuffling, bit of Dutching (avidly watching all those 60's Batman shows as a kid finally paying off), applied a saturated, bluish, filter to tone down the harsh lighting, job done. No need to buy a new dickie bow for any award ceremony on its account, but that's fine. I had observed, visualised, framed, captured and post processed in under two minutes, made a photograph that gave me a small sense of having done something, enjoyed doing it and the result. All this by taking a camera to (some) things that make you go Hmmm.
All these were shot and processed and uploaded to Flickr via my decidedly mid-range mobile phone, which has three times as many pixels as my first digital camera had, two very capable editing apps and a link to the internet, all in something that fits in the palm of my hand. The fact is, for a very high percentage of the day I have access to a camera. Yes I prefer to shoot with my camera body and detachable lenses, yes I can potentially do more with it, but the equipment isn't the point, making the image is. And no one knows what camera was used and very few actually care.
Restriction is as much an opportunity as a wealth of opportunity. This can be shooting with a different lens or one you don't use very often, a different camera (including your phone camera if you don't use it very often) close ups (not necessarily macro), wide angles (making sure to include something in the foreground) there are plenty of variations. A simple one is to deliberately frame a portrait and a landscape version of the same image, being careful to compose the best image in each.
As we gave him the first word we will give him the last, in the interests of symmetry, a noble subject for an image. Henri Cartier-Bresson said of taking a photograph that the thinking should be done before and after the taking of a photograph. Make that gap your Zen Moment. Take that time just to enjoy being a photographer.
7th September 2017. First meeting of the17-18 Season.
A new season and so the blog returns from its slumbers. We started with a good spread of photographs taken over the summer and it was good to see so much variety. It is the third year that we have been at the Wicklea Academy and it was good to see so many faces old and new.
The programme is pretty varied this year and our thanks go to the programme team past and present. There is a slight change to the points schedule as far as the competitions go, details on the web site. The focus, as ever, is on personal development and learning as certainly been at the heart of the club for many years. The blog is here to support that, based on what we are doing in the club on that particular week. The competition rounds are a chance to celebrate your journey, get some feedback and pit yourself against others in the club. All of us who have been at the club any length of time has certainly benefited from that cycle and the practical evenings are chances to try something different, to discuss and try things with other photographers. Your level of experience isn't the issue, everyone has something to bring to each meeting. Your questions count. It does not matter what the kit is you use, its brand, its complexity, nor its popularity, as the club motto says it all: For us, it is the picture, not the camera, that counts.
So let's start with some questions. The "What camera should I get?" dilemma. Most people have access to a camera via their phone these days, so let's start with what camera have you got? The reason for this is that the number one equipment related solution is the same with any camera, be it a point and shoot, a camera phone or a full blown professional rig. Get to know your camera. Now, I appreciate the most under read document anyone can ever produce is a user's manual and the camera on your phone doesn't come with much of a camera manual anyway, by and large, and camera apps with even less, but ……
Yogi Berra (Baseball player rather than a photographer but that doesn't alter the point) once said, "If you don't know where you are going you will probably wind up some place else". If you just point your camera and blast away regardless of what the settings are you are going to find yourself in a place called Disappointment via the town of Meh. This is what most people do with a camera phone. This is not a question of automatic settings v manual (there is an evening based on that on the programme later in the year). You will have options for light and dark, flash (though that might be stretching the term a bit) maybe HDR (High Dynamic Range), a whole bunch of filters. Put yourself in a well-lit position, preferably with a constant sort of light, a set subject and work your way through them until you have a reasonable understanding of which setting does what. Take notes. Actually, a note book has a place in every photographer's camera bag.
Learning to be deliberate when taking photographs is the key attitude we need to develop. In order to be effective, we need to develop an appreciation of how things change. How our cameras deal with extremes of light and dark and the bits in between, is a good start. Don't ignore the programme modes, might also be called scenes, as they give you a clue as to what they do relevant to the cameras basic settings (which together form the Exposure Triangle). Used with a bit of forethought you can use these to get the best out of the lighting conditions you are confronted with – pressing the shutter is not only the last thing you do to take a photograph but also the last thing you consider when taking a photograph.
Something else you can do cheaply is to start looking critically at photographs that you like. Identify what it is you like about them, what story is it telling you? How do the shadows fall? What is the placing of the objects in the frame? Pick one. Go practice getting it right with whatever camera you are using. Make notes. Have fun, you are learning. The point is you are recreating an effect, not copying a picture. By doing this you start on the journey from looking to seeing. As for subject, it may well be probably directly in front of you. The trick is to work the angles, you are not looking for a masterpiece you are looking for the most interesting angle. You can still practice this on your phone, any time you have a working camera on you of whatever type and two minutes to spare. The key take-away, as they like to call it in training programmes, is that this is this is a system and you can practise it with very little indeed.
Members report back from the club trip to the Lake District last May.
6th April 2017 – Other People's Pictures
This last fortnight we have covered ROC round 3 and it was our turn for the WCPF prints, where we could exercise our own critiquing skills. This is always popular as members can be more involved than is necessarily the case on competition nights. On my table we got into some earnest questions not so much as which pictures we favoured but why that was so. Agreement wasn't necessarily required, and we came to our 1,2,3 decisions for each category through a simple majority vote. That wasn't really the point of it all though. The theming of those prints gave me an idea for this weeks blog.
When we look at other people's work we are looking at other peoples way of seeing, which is not ours. Sounds deep. Essentially if we want to improve we have, at some time or other, to challenge our own way of seeing, discuss our way of seeing. Using the WCPF and viewing the competition work we can put that into some sort of perspective. Yes I like that – why? No I don't like that – why not? The Japanese have a saying that if you want to know the answer ask, five times, why? Basically break down the reasons to the core. That teaches us something about our own preferences and we can, if we take note of these things, start to make a difference to our own work through it. Or, as I am sure I have quoted to you before: "Beauty is in the eye of the beholder – get it out with Optrex" (Spike Milligan). It has to be a conscious decision though, to do something about it.
Sounds like a slow process? Well it is. Our world is awash of nail-it-in-five-easy-lessons advice, yet that isn't how humans learn. Sure you can get the basics right in about 20 hours but making the learning our own, that takes longer. Practice makes perfect as I am sure you have been told. Along with "Fail is just the First Attempt In Learning" and other useful things you want to strangle people for. And until we start to take on the critical eye, start taking and rejecting opportunities as part of a conscious effort, we just go round in one big circle until we are torpedoed by our own failed expectations. Bit like the sinking of the Bismarck.
But it's a hobby. We do because we enjoy. There is no other compulsion than the one that gnaws at us to get the camera out of its bag and go shoot something (in the nicest possible way). There is always something on to point the camera at, the local "What's On" tells us so. Left to the random too much can get missed or we end up trying to do too much in too little time. Opportunity generally isn't a problem. Having a direction, some rails to run on, some clues as to what to look for, that is a great way of focusing the attention. Welcome to the world of the photo-project.
In its simplest form a photo project is a theme, a camera and a (regular?) space in the diary. There are as many projects as photographers, it seems, and that is because, to work, it has to be personal. We have to have some emotional attachment to what we are doing or it simply will not get done. The first point to take on board is that a 365 day project, a photo a day, sounds great when we start out but I am willing to bet that most of them don't get completed, or get modified into something more suited to time and effort available. 30 day and 7 day projects are also popular and are more feasible. Timescale has a role to serve as we are effectively making an appointment with ourselves. The subject can be anything, but has to be something we have to put more than the usual amount of effort to complete. Then there are subject variations like: shoot 100 strangers (the serial killers favourite); A-Z; 52/26/12/any random number Photo-walks; pick a colour/theme; one focal length; the Roll of 12/24/36 (back to the old film days where you limit yourself to a film roll on a shoot); The 100 ISO challenge (fixed ISO can also be done with fixed aperture or speed); manual only focusing; plus a host of others.
Of course there is also the ongoing project, the one that lasts over months and years, that can involve deeper immersion in the subject where the style you develop adapts to the conditions your subject is most commonly found in. Osmosis, by and large is not a thing that produces results particularly quickly, if at all. The whole planned thing gets you thinking. The whole well I didn't expect that thing we find when we get to a location challenges us to adapt. These two things help us develop but the third leg of the stool – looking critically at what other people have done and why we like it or what we would change about it and how we apply it to our own work- puts what we are trying to do in a context. That gives us something to learn and to improve with.
OK so this is based on a my-best-shot-is-my-next-one philosophy, but continuous development builds over time. It is about DELIBERATE practice. Now practice does not have to be devoid of fun, again I say this is our hobby, not our penance, but if we take Henri Cartier-Bresson's point quoted in the last blog that "Your first ten thousand photographs are your worst" we miss the point and that point is the our first ten thousand deliberate photographs are our worst. And that is OK. Deliberation is the difference, and that can be as simple as going through your latest batch of images and thinking "If I were to take that one again I would …." and then doing it. That is where we came in. Five members of a photographic club sitting around a table deciding what attracts them to different photo's, and why, as a basis of going out and doing something about it.
Club member Julie Kaye on underwater photography.
15th October 2015 – We can edit too
As we approach carnival season, Somerset style (see below) and the photo opportunities that creates, we spent last meeting huddled around various laptops editing in a handful of different editing programmes following on from Marko Nurinem's virtuoso display last week. So there was Lightroom (of course) but also GIMP, Smart Photo Editor, Picasa, and Photoscape with CS2 (free from Adobe and all quite legal here is how to get it) ACDSee getting honourable mentions from new member Gary.
Now, you long term readers of this blog will know that the world divides into two camps, the Get-it-right-in-the-cameraista's and Ye-Accolytes-of-Photoshop. As an avowed Get-it-right-in-the-cameraista I sure do a lot of editing. The argument is that the more you get it right for you in the camera the less fiddling around you have to do in post-production. In my case it comes from a youth spent shooting expensive slide film on a shoestring budget. In these digital days, when the hardware is still expensive but the marginal cost of the next image is a fraction of a penny, what that is really about is expanding the chances of achieving the image you want to capture. The principle categories in photo editing programmes are those that alter the fundamentals of the image and those that layer effects on. Of course the real world contains a bit of both usually, but the fundamental approach will be one or the other.
If you are shooting in RAW the images can seem a little flat and dull – remember that what you see in the viewfinder is either a reflected image of the actual light falling on your subject or, in CSC's and compacts, effectively a jpeg. Sometimes a little cropping or erasing extraneous details make for a more satisfying final product. Maybe a shadow could do with lightening or a sky darkening to get back some detail, or a blemish on the skin would be more flatteringly removed from the portrait. Smart Photo Editor is the proprietary, paid for (£19.95 'on sale' and a bargain stand alone and £34.95 as a Photoshop Plug in) programme I use and also Gimp and Picasa, both free. Others use other combinations, some paid for some free.
Your ambition may not quite extend to the do everything Photoshop (yet at least) and I will venture two reasons pecuniary why you may not, one more obvious than the other, viz: (A) you don't have the set up or space or need for it to make the most of it and (B) Zombies. The former is more obviously expensive than the latter, and I don't want to get into an endless and ultimately fruitless kit pornography rant, so 'nuff said, but the latter can have quite an impact on the pocket. Let me explain.
Fortunate as most club members are to be living in a city that has an "Official" policy for handling of a Zombie outbreak, that isn't quite what I mean – though there are worrying sightings. Zombies are those little items, small denominations, that walk out of your bank account every month without much thought. In isolation they are not a lot. Their attraction is their affordability, the trade is made worth it by the perceived quality/quantity you get in return – at the point of purchase. You get a lot of things with Adobe's Creative Cloud for photography for £8.57 a month, no doubt. A more detailed and flexible programme there is yet to be brought to market, though the gap may be closing. It is, I suspect, a lot more than most amateur photographers need, but it's always nice to have some extra wumph under the bonnet. If it wasn't no sports cars or sports bikes would ever get sold. For a vocal minority bragging rights are always the primary concern.
That, though isn't quite the point. Are you going to pay (and keep on paying) £102.84 straight out on something you might need? No? But might pay £8.57 a month on something that is more than you need, something you can expand in to. It's there and it ticks over and you get used to it. But, when is it just one item? When it's a couple, or three, it grows. £20.00 a month isn't a lot to spend on a hobby, say on editing and storage. £240 a year is not an inconsiderable amount to waste. Certainly less than a divorce lawyer when the other half finds out how much you really spent on that camera body. That's halfway to a very decent new lens or a goodly second hand one even on £20.00 a month. The zombies keep on walking and are easy to add to, easy to forget. The costs add up. On the other hand it keeps you up to date and Adobe get a steady revenue stream, pirate copies are fewer and far between. Easier if you are self employed and you can claim it against tax, of course.
Not that I am seeking to dissuade you. The reality is Adobe first, the others a long way behind when it comes to sales and it is a de facto industry standard, which in itself generates market share for Adobe. Our focus, though, was on a broader range of editing opportunities as well as Photoshop. We looked a little at the alternatives to Photoshop on the Ask Reflex evening, this evening was a chance to get closer to the subject. From a little tour round I would say that there is a great deal that you can do with a little practice, patience and occasional lateral thinking as members showed how they adapt what they have to get what they want.
There is another benefit to using editing software that may not be immediately apparent, at least at the time of shutter release and really is about getting your money's worth. Through cropping your original image you can often find more than one image possibility from a given frame. (Don't confuse image crop, cutting out bits of a bigger picture with sensor crop the physics of collecting the same amount of light on different sized sensors). You effectively recompose the photograph, albeit with less data in it. It might be that the light and shadow falling across a landscape actually yield two very different moods when you isolate each area and you now have three opportunities from one frame. I would say that, in work flow terms, cropping is the first thing that you do, because you have the essential character in view that you want to work with. The crop is basically a magnification of the connection that drew you to take that frame in the first place. There are frequent chances to re-crop a frame rarely do we crop so tight that there isn't any wriggle room and even then, sometimes, going more extreme tells a different story. Of all the editing you can do this is perhaps the simplest and the one with the biggest potential, which is why I would suggest it's the best place to start the editing.
follow the link as it will show you the dates and also has descriptions of themes. Click on the individual carnival websites for start times etc. Below is a copy of Myk's post on the club Facebook page:
"This year's Someset Carnival season is almost here. If anyone would like to attend one of these events as a group, please see the dates and locations below.
We'll be making announcements on club meetings so everyone will get to hear about it.
Monday 09/11/15 – Burnham on Sea
Friday 13/11/15 – Weston Super Mare
Monday 16/11/15 – Midsomer Norton
Wednesday 18/11/15 – Shepton Mallet
Friday 20/11/15 – Wells
Saturday 21/11/15 – Glastonbury
The preferred date/venue is Wells on 20/11 as they have market stalls, hot food/drinks and a fairground in the market square".
Reflex Open Competition Round 1.
17 April 2014. Dan Thomas – Wedding Photographer, Story Teller.
So second entry on our brand new website's blog – Mark Stone a huge club thank you for all the work you have put into this – and it's Dan Thomas (dannyt.co.uk) on the profession of wedding photographer. If I were to sum up Dan's advice on the subject then I would use Winston Churchill's maxim, "He who fails to plan, plans to fail". Well that and the observation that your wedding video should always be played backwards so as to guarantee a happy ending.
In essence Dan made the point that there are a number of moments of truth that can be prepared for in the day because they are in the programme and as a supplier to the event it is your job to find out the who, the what, the why, the where, the when and the how it feels and record those memories – and when he says day he means a 12-14 hour shift shooting, three times that in post processing plus time consulting with the bride and groom, and the venues. That doesn't include time spent in sales and marketing in what is a very competitive market. Yell has 141 listings of wedding photographers within a ten mile radius of Bristol. Even allowing for some multiple listings that is still a lot of competition.
It is the Bride and Grooms day, well, culturally it is the Bride's day and the Groom does well to turn up at the right venue and look suitably grateful a lot of the time. Surprise weddings are not a large feature of the UK market, those that occur are usually small, attended by the father of the bride and his trusty 12 bore as best man. A lot of, sometimes a life time's, planning goes into this event. On that basis the wedding photographer does not just turn up at the church take a few snaps and wonder off to the next event as already outlined. This planning forms the key points of the photographer's and increasingly the videographer's schedule. Dan stressed that these are unique moments that need careful planning and deft handling. Primarily this is about people, two in particular for sure, but also about everyone else. There will be a certain cohort of the families, possibly once close, who only get to meet at weddings and funerals. The day is important for them too for different reasons and sometimes with grandparents it might be the last time the whole family is together. It is not just a record of bits and pieces but a significant life event. For most people it involves being the centre of attention with an intensity that is not experienced elsewhere. Unless that 12 bore "accidently" discharges. Then there will be lots of photographers and lots of flash photography outside the Crown Court.
The basis of execution, then, is in its preparation. The wedding photographer is a supplier not an organiser, s/he does not run the day as a photo-shoot of wedding dresses might be run, s/he is not the point of the day but they are the key to unlocking the memories of it. It is a story and the photographer is the story teller. It is NOT a small job. A wedding, even a relatively simple one, has a timetable for everything. The photographer knows that timetable and those venues inside out because they dictate what s/he is going to be doing the whole day.
The question of gear was addressed. Dan expressed the reasons behind his kit list: D800; back up body; 24-70 f2.8; 70-210 f2.8; 85mm f1.8; 2 x SB 900 TTL flashguns; Coolpix compact; USB lead; Lap Top; external drive; i-Pad; batteries; battery charger; light meter; flash filters; lots and lots of 16gb flash drives; all kept in a photo-rucksack and shoots in RAW. That is RAW, not JPEG. RAW. The camera backs up to JPEG simultaneously on a separate card but Dan shoots in RAW. This gives the maximum image rescue capacity in case of the unexpected. For one offs such as these where there is not time to go back and shoot again getting the maximum amount of information recorded by the sensor onto the card makes sense. That is shoot in RAW, in case you missed the point. The rest of the kit list is optional and set by individual preferences and experience. The kit is not cheap because it has to work and still carry a back up where ever opportune. Dan shoots all his wedding events in RAW. Dan doesn't feel the need for anything below a 24mm (16mm equivalent on a 1.5x crop), it is superfluous to the way he shoots and details are only really isolated at wider angles by getting really close – too close for the comfort of the subjects which is the point and beyond that is really very specialist and quite divides opinion. You want results you have to engage with your clients and right in their faces is not going to be very productive.
Details, details, details. Everything is in the detail. It is the small things that matter, because everything is designed around the small details and when the couple view these pictures over time those details enrich the memory and value of the day. Details can be where the cost of a wedding really begins to ramp up. Pay them the respect of an individual frame or two each because they all add up to something much bigger. As Napoleon Bonaparte, who built and lost and Empire on details and detailed planning, said, "Time spent in reconnaissance is never wasted" (only he said it in French). Reconnoitre the venues, get to know the key people, find out what is and what is not permissible BEFORE it gets to be a problem. Dan pointed out that trading and collaborating with the other suppliers can lead to other business. You really want to avoid extreme angles where you can unless a particular shot calls for it, but that needs to be a pre-planned event. Context is the key to all these details. The context will tell their part in the story so keep the context in mind.
The day usually starts with the bride getting ready. This is going to take some time and she is going to look the best she ever will hereafter. As Dan pointed out, if a male you are likely the only male in the room and have been privileged specifically for the end of making everything exciting and memorable. Take some time and make time to take the moment seriously – gravitas! The people around and her own reactions are the key things to capture, the context of the details you are framing and shooting. It is important to be relaxed, to interact and not to overshoot. Get the angles and vary your lenses and do not be afraid to wait for the moment – it will take longer to arrive than you think! And of course do not forget the dress. This should be done as an item by itself in as sympathetic a background as you can make and make sure you do not clutter your background with irrelevant detail. You may be fond of the colour yellow but a finely and painstakingly wrought garment like a wedding dress is not enhanced against the background of a skip. Pay great attention to the background and de-clutter! Dan's pithy advice is to treat the details as exercises in real life. These can be and should be practiced because when you are being paid for it you are being paid to have it sorted before you turn up. The same logic applies to us amateurs. Why waste time missing shots when you can practise using your equipment to get it right when you want it?
On the grooms side the grooms men and the best man in particular – DO get the picture of the ring before it is on the brides finger – generally have a lot less pressure and detail to attend to. I am told, with authority, that this is because they are male and the day itself does not need to be complicated by such things for us as thinking. That is why there is so much planning to do to minimise the amount of thinking the groom has to do and the reason there is a best man is that between them they are likely to turn up at the right place at the more or less appointed time (which is way before the bride appears – a wide safety margin is the norm). Make sure you are there to be able to document that side too. The path of two committed individuals coming together to make one path ahead. In order for that story to be told the story lines have to converge at the ceremony, the place where two paths become one.
At the ceremony itself, which of course holds no surprises because you have seen the schedule, visited the venues and interviewed the participants like the person conducting the service, you should arrive at least 30 minutes before its commencement. Flash photography is likely banned, you are not going to be given access to places where you are going to get in the way – determine, and if necessary negotiate these in advance – and that can be as much a perception as anything else. This is the point where you are likely to get the closest friends and relatives and a good time for group shots. These are the people that are going to be obvious by their absence from the album so take some extra effort. Groups should be ranked from shortest to the tallest and everyone should be visible (as per the group shot at the end of the session!).
After the ceremony, the traditional confetti shots, get guests to throw the confetti upwards so that it falls from the top of the frame. Dan also mentioned that this is a good time to use manual focus as autofocus can get confused by the paper in the air. The reception can be some distance from the ceremony and this is where timings are important. It is a good time to get the couple on their own for intimate shots whilst the guests make their way to the reception, so a small detour, to a local landmark for instance, might be in order. At the reception Dan follows the bride as a back up to any other plans having been made. It is always prudent, he reckons, to make sure that the elder generation are well represented as there is a chance that this might be their last big family occasion and of course do not forget the cake.
Private moments are important, there will be intimate moments of connection and they will yield excellent photo opportunities. If there is a receiving line then allow 30 seconds per guest – make time! It is also prudent to have wet and dry weather scenarios. The wedding breakfast is the ideal time to get your shots backed up. A laptop/external drive or other device should always be on hand. Dan also uses an i-Pad to upload several of the best shots of the ceremony as a taster and places it where it will be seen by circulating guests – the bar is a good place!
The practical thing about the first dance is that it is going to be darker than a lot of the other parts of the ceremony. Push the ISO (noise reduction is available through Photoshop or programmes like Neat Image which has a very effective demo version), use flash as necessary – reflected not direct. Direct flash is harsh and unflattering. Think wide medium and close shots. The devil, as they say, is in the detail. The details let you control as much as you can without getting in the way by using your knowledge to anticipate and prepare. If you fail to prepare then you are preparing to fail and that has large implications and not just for the photographer. The other key is to be able to relate to your subjects, to engage with them in such a way that they respond to what needs to be done to get the shot. In return you should make it a chore for them, but, either way, every wedding is a one off event – there are no second chances!
Our thanks to Dan for a very interesting and informative evening and to Mark O'Grady for the video which Dan will make available to club members through his website.
Chair's Evening. 30th January 2014.
Chair's evening was very successful, in that there were enough chairs to go around and the photography was interesting, varied and showed that even two people taking the same shot at the same time don't get the same photograph.
The head count was approximately the same at the end of the evening as it was at the beginning, (Maurice insisted Steve take a headcount) which is always a good sign, even if only of strong security. Split into two the evening evolved mainly around images that were taken 8,000 miles and 15 years apart. Maurice's opening took in his membership of the Air Training Corps (since 1963) and a trip with cadets to the Falklands in 1998 (and other locations), with bits of RAF Fairford and international cadet exchanges as variation interspersed with images of places not to be found in Venice. And some skiing. The post break slot was taken by Kevin Spiers' and Richard Price's long planned Iceland trip taken last October which produced some stunning shots.
The chair opened with the observation that Venice had previously been done, which had been his intention and thus we were treated to such delights among the main fare of such as: the Piazza de San Cabot Circus, several images of the Feeder and the Sharpness Canal; the Pero's Bridge after Mark S got at it with a hacksaw and minus its horns (I never realised how much those Horns masked its resemblance to the Bridge of Sighs, so well spotted Mark); Cardiff from San Giorgio Maggiore and Chiesa di San Francesco della Swansea Bay. Couldn't help but be struck by their resemblance to the current views of the Somerset Levels. I understand UKIP are to field a candidate in that part of Somerset in the next General Election to campaign against the feared swamping of Mucheleny by benefit hungry Italian Gondoliers (as highlighted in a nine page spread in Tuesday's Daily Mail). This could provide us with some photo-opportunities as it is cheaper to get to Mucheleny from Bristol than it is to get to Venice. Cornetto anyone?
The Falklands were/are still riddled with ordinance and some of the detritus of battle formed part of the subject of several of the images provided by Maurice, including the sanger from which Colonel H. Jones VC OBE was shot and killed. Although these places were the backdrop to the visit they were not the purpose and they certainly lived up to motto of the ATC (Venture Adventure). The Corps is as much about citizenship as venturing and adventuring and there were images of community and respect to balance this out. There were also behind the scenes shots from Fairford. There is something about a photograph being a moment in time and Maurice was able to fill in some of the details of some of the cadets since. Every photograph tells a story, but the story doesn't end at the click of the shutter.
The old saw that to fail to plan is to plan to fail cannot be applied to Kev and Rich's expedition to Iceland (no Supermarket jokes, please). If it weren't for the fact that they might dismiss it because the letters aren't alphabetically organised one might be lead to suspect a touch of OCD. That said, on the evidence, there is very definitely a need to plan if you have a must see list. Getting ten miles from your hotel they reported as an expedition stuffed with the temptations of some other stunning detail. This is the landscape that NASA used to train Astronauts in driving the Luna Rover, and where two continents meet and crammed with photo-opportunities. So being selective is based on knowing what comes next and, as they both pointed out, a little discipline. And how that planning paid off. The land of ice and steaming hot geysers, the northern lights, black sand, ice sheets and volcanoes was beautifully framed and presented. I can fully see why they want to return, though not, apparently by taxi at £80 for 30 miles.
So our thanks to Maurice, Kev and Rich for an evening that was amusing, informative and entertaining and also to Mark for doing the background technicals. Next week is the open competition round three and based on earlier rounds I think we have a treat in store.
Ian G.
"The Photographic Angle's free photography exhibition which will be taking place at Castlemead in Bristol from Saturday 15th to Wednesday 19th February.
A Beautiful World features the work of 19 photographers who have been moved by our beautiful world enough to document it in all its glory.
Entry is free and the exhibition will be open daily from 10am to 3pm.
Please visit our website for more details"
And also PLEASE remember the Flikr competition.
Reflex Open Competition Round 4 Winners
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Thursday night we had the judging for the Reflex Open Competition Round 4, here are the winners;
Novice Print Section Winners
1st – John Pike with Faces
2nd – Dan Ellis with One London Bridge
3rd – Suzanne King with Rusty Flower
Highly Commended – Wendy OBrien with Purple Web
Commended – John Pike with A Winters Day
Commended – Maurice Thompson with Hadley Hall
Regular Print Section Winners
1st Richard Price with Swanage Pier
2nd Mark OGrady with Blackened Light
3rd Angie Nelson with Red Eyed Tree Frog
Highly Commended – Roger Gowan with Gnarly Old Wood
Commended – Alison Davies with Dying Beauty
Commended – Mark OGrady – The Repose
Novice Digital Projected Image Winners
1st – Julia Simone with Giving it My Best
2nd – Barrie Brown with Lonesome Jug
3rd – Dan Ellis with Cover Her Face Mine Eyes Dazzle
Highly Commended – Julia Simone with Enjoying the Beach
Commended – Gary Horne with Rush Hour
Commended – Rona Green with Jasper
Regular Digital Projected Winners
1st – Richard Price with Cabot Circus
2nd – Angie Nelson with Dark dreams
3rd – Ian Coombs with Two's Company
Highly Commended – Richard Price with Nash Rocks
Commended – Mark OGrady with Day of the Dead
Commended – Alison Davies with Observation Point


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Who Pays Income Taxes on a Revocable Living Trust?
Revocable Living Trusts are used to avoid probate (court supervised estate administration) at death, and to reduce the time delay and costs involved in transferring assets to the trust beneficiaries. But if you set up a revocable living trust, does that require a change to your income taxes? Will you need to file a separate income tax return for your revocable living trust? And who pays the tax on income earned by the trust assets?
Here is a brief summary of how the income taxes work for a revocable living trust.
While you are living
When you create a revocable living trust, you will sign a document as the "grantor" (that's the person who creates a revocable living trust). Under the terms of the trust, you can amend or even revoke the trust (that's why it's called a revocable trust). In addition, when you've transferred your personal assets into the trust, you'll still be entitled to receive the trust income and principal. As a result, the IRS rules require that you're still taxed on all of the income earned by the trust assets. That mean your own Social Security number will be used for the trust's bank accounts and investments. It also means that as long as you live, all of that income is reported to your own tax return, so you won't need to file a separate trust tax return.
Isn't that relief? Your revocable living trust will not complicate or change your taxes. However, even though the IRS considers these trust assets to be taxed to you personally, those assets that are in the trust will avoid probate estate administration at your death.
After your death
When you die, the trust will continue. The trust becomes its own separate taxable entity and as a result it will need its own taxpayer identification number. Your final tax return will be filed by your executor or trustee, for income earned through your death. The income earned by trust assets after your passing will be listed on the trust's own, separate income tax return. The trust will need to file an annual fiduciary income tax return (on Form 1041). When the now irrevocable trust makes distributions to beneficiaries, then generally the trust will deduct from income the distributions made. The beneficiaries will recognize a portion of the distribution received as income on their own income tax return. It is important to note that not all of the distribution is taxable to the beneficiary: the distribution is taxable only to the extent that it represents income that the trust assets earned. The rest of the distribution is a nontaxable return of premium.
The beneficiaries will need to wait each year until they receive a report for the trust about the income to be reported on the beneficiary's own individual income tax return. If the beneficiary files his or her tax return too early and fails to include his or her share of trust income, the beneficiary will need to file an amended trust tax return (Form 1040X).
If the trust does not make distributions to beneficiaries, then the trust will pay taxes on its own income. In that case, the beneficiaries will not need to recognize income since they did not receive a distribution.
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Greg Vaughn
Chief Operating Officer/Vice President, Business Development
Department: Leadership
Phone: (269) 757-0224
Greg Vaughn serves as Chief Operating Officer and Vice President, Business Development at Cornerstone Alliance where he is responsible for directing the everyday operations and functions of the organization; and oversees the organization's Business Development initiatives, including business retention and expansion; business attraction, and entrepreneurial efforts. As one of the stalwart employees of the Alliance since 1994, Greg has been committed to bringing economic prosperity to Michigan's Great Southwest.
Greg serves on the boards of the Berrien County Economic Development Corporation, Berrien County Loan Administration Board, Berrien Community Foundation, Lakeshore 504 Board, Benton Harbor Promise, Benton Harbor Economic Development Corporation, Boys and Girls Club of Benton Harbor and the Benton Harbor Parks Conservatory.
He lives in Benton Harbor, MI with his wife and has two grown children.


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Yesterday I had my third chemo treatment, and on the previous day (Thursday), I had my vampire and oncology appointments. Full details on my Cancer Diary page.
Unfortunately they experienced some problems getting blood from the port this time, but on the third attempt, with me lying flat, they were successful.
Then I had my oncology appointment and saw the registrar, and I told her what a bad time I had had following my second treatment three weeks previously. She said in view of this, they would reduce the dose by 10 percent. She also doubled the dose of anti-nausea medication.
I discovered that the total number of treatments would be only eight, as opposed to the nine or ten I'd been anticipating. I have worked out that the last one should be on 16th October, and not going on into November as I had feared. This means that after the next treatment, I will be half way through the course! This makes me feel a lot better about everything.
The treatment proceeded as before, and again, despite the lower dose, I started to feel the effects during the last hour of infusion, and by the time they had finished with the final flush, I was feeling quite poorly. It wasn't as bad as last time in that I didn't have to take to my bed on our return home, and I managed to eat a small supper.
The effects are quite severe but not as bad as last time. This morning I rested half the morning in bed, and when I got up I felt so much better that I was able to spend an hour or two in my studio and finish the card I'd been making from part of the masterboard I made a few days ago. Photos will follow once the recipient has her card.
Towards lunch time I suddenly caved in with exhaustion and feeling shaky and nauseous, so I came down and took an anti-sickness pill. After a very light lunch I felt a lot better. I have been resting on the recliner all afternoon watching TV and DVDs.
Generally speaking, I have already started feeling a lot better than immediately after the second treatment, so hopefully I shall have a much more productive three weeks this time, which makes me feel more upbeat!
I hardly made any progress on my angel project during the last period, and I am now hoping to be able to crack on with that. I ordered a DVD on cloth art doll making and that arrived today, and I am very excited – the dolls, and especially their faces, look extremely complicated to do, but the instructions on the video are so clear and taken step by step, that I see no difficulty in managing to do it! Here's a link to her DVD introductory video on Youtube, and I am very grateful to my blogging buddy Judy in Australia for sending me various doll-making links, including introducing me to this wonderful lady who is such an artist and such an excellent teacher too.


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This is amazing footage from Afghanistan where Australian Forces countered an insurgent attack in the Uruzgan province. Interestingly you have the clear dichotomy of camouflage with some of the soldiers wearing MultiCam while others are still in the standard Auscam pattern. The footage is fairly well edited with an explosive "fireworks" finale.
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I once had the privilege of touring the attic of the American Museum of Natural History. In the mid-90s there were still shelves upon shelves of model heads up there illustrating the supposed "racial" categories of a century ago. Back in that era of eugenics, an Italian was considered to be of a different race from a neighboring Swiss. You can guess who was at the top and bottom of these bogus, power-based white-supremacist hierarchies. Founded and led by so-called "scientific" racists and eugenists, the AMNH has never come to grips with its long-discredited past as an intellectual bulwark for all the old devils of America, now so horribly resurgent under the deranged flailings of Dirty Donald.
Last I checked, there's still a diorama at AMNH named after Madison Grant. This supremely horrible person — yes people thought so then, too — once caged an African man in the zoo. He also wrote one of the foundational texts of American racism, which was, along with Henry Ford's filth, hugely inspirational for the Nazis.
Which brings me to the present. You may know that David Koch, of the notorious Koch brothers — sons of a John Birch founder; those rotten fascist apples didn't roll far — has lavishly plastered his name all over NYC's cultural institutions. (Of course, philanthropy as cultural money-laundering, turning blood money into art and culture, has a long tradition in this country.) AMNH has a Koch-funded exhibit that soft-peddles global warming.
And take a gander at the museum's board of trustees. One name sure jumps out: Rebekah Mercer, another right-wing horror show who funds Breitbart, Trump, Bannon (until Fire & Fury, anyway), and the resurgence of fascism. So much so that there's going to be a demonstration against Mercer's presence on the board January 21 at 1pm. A social media source clued me into another board member, hereditary builder Richard LeFrak, who's a long-time ally of Trump in the city's corrupt development biz. What other horrors are hiding in plain sight on this list? Who is following the money? Not the museum, certainly, they're just cashing the checks in a ghastly amoralist way.
No reason to pick on AMNH, though. The money at the heart of the entire structure of philanthropy is suspect. For instance, at the end of the year, I received several email appeals from the chairwomen of the board of another local institution. I'm afraid I feel constrained from naming it because of the real and precedented threat of retribution against friends who work there. The chair pleaded for our pennies for such causes as biodiversity. Curious, I looked her up: she and her husband, a hedge-fund troll, fund the Republican assault against the environment (and democracy).
As reminder, if you need, here's a succinct catalog of the profound damage Trump and the Republicans have done after a year.


text: PITTSBURGH -- A device that measures steam velocity in high-pressure, high-temperature environments could be key to ensuring the safety of nuclear reactors within their core. In a collaboration among Westinghouse's Science & Technology Center, the University of Pisa and Italian electric utility ENEL, engineers have modified a laser Doppler anemometer to measure steam velocities between 1 mm and 1 cm/s. Although companies have used the instrument for years to measure velocity, methods such as use of a "hot-wire" anemometer fail if droplets of water accumulate on its probe. Westinghouse's laser Doppler anemometer uses blue and green argon-ion lasers in its design of passive safety systems for nuclear reactors. "Our device is immune to moisture and can measure a range of velocity from zero to almost the speed of sound," said Bob Kendig, Westinghouse senior engineer. "There's no mechanical alternative to measuring such slow velocity." The team also developed a sealed enclosure to cool the anemometer's circuitry, a heating system to prevent condensation on the optic lens and a seeding system to provide scattering points for the laser beams. Scientists have integrated the instrument into a passive containment cooling system at Westinghouse's containment facility test bed. Inside a nuclear reactor containment, the temperature can soar to 350 °F and pressure can reach 100 psi. "Temperature is a big issue, because the optic lens is connected to the fiber optic with a type of glue," explained Mario Carelli, Westinghouse's manager of energy systems engineering. "The glue has a temperature limit; otherwise, you lose complete adhesion." Therefore, a tank atop the containment releases water to cool the system when things get too hot. The anemometer passively measures the velocity of the resulting steam -- without the need for humans to enter the containment. Lasers at the core The device employs an Excel argon-ion laser at 488 and 514 nm. The beam travels through a beamsplitter and couples to a fiber probe that focuses the beam. A receive fiber collects the scattered light in an input-to-signal processing unit that acts as a correlator. The output flows to a computer that conducts the measurement and displays the data. The team also has demonstrated the technology at laboratories in Italy and Switzerland. Although cost and time issues need ironing out before application in an actual reactor, Westinghouse is optimistic about the outcome. "You don't put a price tag on safety," Carelli said.


text: Hardware. Begrüssung Jürgen Enninger der Stadt München Portrait of a Robot. His name is Alex. Robots on the field. Arduino girl. Man vs. Machine Building blocks. Pause. Bruce Sterling gives his keynote on the future of the Maker movement. Mario Kart. Printing a teddy bear. Human vs. Machines Knobs. Inside a 3D printer... Like this project? Appreciate Other projects Make Munich 2016 Current Stylight Fashion Influencers Awards 2015 View Stylight Werbung Release Party View Next Back to portfolio


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Check out Jason Seiler's newest cover! As a follow up to our previous blog post, Percussion Publishing LLC has finally released the printed version for "Trumpicana".
Should you find yourself in need of a fun and quirky take on this controversial topic, "Trumpicana" is available for sale in both print and digital formats directly on the Amazon website.
Great job, Jason!
Mel // RSAR


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Scientists at the Advanced Science Research Center (ASRC) at the Graduate Center, CUNY, worked to theorize and test how two layers of graphene — each one-atom thick — could be made to transform into a diamond-like material upon impact at room temperature. The team also found the moment of conversion resulted in a sudden reduction of electric current, suggesting diamene could have interesting electronic and spintronic properties. The new findings will likely have applications in developing wear-resistant protective coatings and ultra-light bullet-proof films.
Above – By applying pressure at the nanoscale with an indenter to two layers of graphene, each one-atom thick, CUNY researchers transformed the honeycombed graphene into a diamond-like material at room temperature. Photo credit: Ella Maru Studio
"This is the thinnest film with the stiffness and hardness of diamond ever created," said Elisa Riedo, professor of physics at the ASRC and the project's lead researcher. "Previously, when we tested graphite or a single atomic layer of graphene, we would apply pressure and feel a very soft film. But when the graphite film was exactly two-layers thick, all of a sudden we realized that the material under pressure was becoming extremely hard and as stiff, or stiffer, than bulk diamond."
Angelo Bongiorno, associate professor of chemistry at CUNY College of Staten Island and part of the research team, developed the theory for creating diamene. He and his colleagues used atomistic computer simulations to model potential outcomes when pressurizing two honeycomb layers of graphene aligned in different configurations. Riedo and other team members then used an atomic force microscope to apply localized pressure to two-layer graphene on silicon carbide substrates and found perfect agreement with the calculations. Experiments and theory both show that this graphite-diamond transition does not occur for more than two layers or for a single graphene layer.
"Graphite and diamonds are both made entirely of carbon, but the atoms are arranged differently in each material, giving them distinct properties such as hardness, flexibility and electrical conduction," Bongiorno said. "Our new technique allows us to manipulate graphite so that it can take on the beneficial properties of a diamond under specific conditions."
The research team's successful work opens up possibilities for investigating graphite-to-diamond phase transition in two-dimensional materials, according to the paper. Future research could explore methods for stabilizing the transition and allow for further applications for the resulting materials.
Nature Nanotechnology – Ultrahard carbon film from epitaxial two-layer graphene A. de Heer, Erio Tosatti, Elisa Riedo & Angelo Bongiorno, Dec 18, 2017.
Atomically thin graphene exhibits fascinating mechanical properties, although its hardness and transverse stiffness are inferior to those of diamond. So far, there has been no practical demonstration of the transformation of multilayer graphene into diamond-like ultrahard structures. Here we show that at room temperature and after nano-indentation, two-layer graphene on SiC(0001) exhibits a transverse stiffness and hardness comparable to diamond, is resistant to perforation with a diamond indenter and shows a reversible drop in electrical conductivity upon indentation. Density functional theory calculations suggest that, upon compression, the two-layer graphene film transforms into a diamond-like film, producing both elastic deformations and sp2 to sp3 chemical changes. Experiments and calculations show that this reversible phase change is not observed for a single buffer layer on SiC or graphene films thicker than three to five layers. Indeed, calculations show that whereas in two-layer graphene layer-stacking configuration controls the conformation of the diamond-like film, in a multilayer film it hinders the phase transformation.


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L 2000 x D 595 / 850 x H 900 mm
Complete nursing station designed to fulfill the requirements of neonatal and birthing room care, allowing two professionals to work in conjunction. Baby scale drawer under worktop. Used for Clinical Assessment Tables.
Change Worktop
Polyester single piece moulding with sanitary gel coat finish including:
• 1 change
• 1 bath
• 1 wash-hand basin
• 1 area for nursing equipment
Safe hygienic upstands
Change mat
• PVC coated fabrics, phthalate free, 12 colours
• Knitted finish
• High density foam 30kg/m3
Left or right bath
Melamine faced particle board
Thickness 19 mm, moisture resistant grade
White cabinets, coloured doors (12 colours)
Rounded outline solid ABS edging
Metal adjustable legs, with expanded PVC removable kick strip
Curved metallic handles
• 5 doors
• 4 drawers
• 1 baby scale drawer
• Removable plastic waste bin with lid
All drawers are mounted on metallic rails with integrated dampers
• 2 drawers block
• Acrylic glass (PMMA) splashguard
Sanitary Fittings
Fittings (hospital standards)
On worktop:
• 2 swivel spout mixers. Ceramic cartridge, temperature stop. Solid chrome-plated body
• Waste operated by separate control
• Stainless steel sheathed flexible hose connection
In the cabinet:
• Pre-set thermostatic valve ensures a mixed water distribution at constant 38°C nominal temperature
• Anti-scalding security in case of cold water supply failure
Settings upon installation
• Water inlet connection: 250 mm from finished floor level, 1/2″ male fitting with isolation valve
• Drain pipe: 40 mm diameter at 250 mm from finished floor level and centre to wall distance of 70 mm
• Single elbow handle
• Swivel spout mixer + handspray for bath only
• Electronic mixer for washbasin only
• Foot operated valve for washbasin only


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Welcome to TheBirthName!
We have a big collection of names for you to find your favorite baby name!
Browse through our boy and girls names, or if you feel lucky,
find out what name our random generator chooses for your child!
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Product Ideas
Allow patients to cancel and/or reschedule appointments
Can you enhance Patient Fusion functionality to allow patients to cancel and/or reschedule their own appointments online, rather than having to call the office? Would need to have boundaries. For example, only allow canceling or rescheduling up to 24 hours before appointment (if within that 24 hours, must email or call office).
Thank you.38 votes
Great news! We have released the ability allowing patients to reschedule and cancel appointments from their patient portal.
Thanks for providing all of your input and requests for this feature and we're delighted to release it.
You can learn more about this feature here:
How to process the requests:
How a patient booking an appointment online:
I'd like for providers who don't eRx (e-prescribe) to have an Online Booking Page
I'd like Practice Fusion to verify providers who don't prescribe, so we can have Online Booking Pages.29 votesResolved · Matthew Douglass responded
Hi everyone—I'm excited to announce that we have built a way for customers to verify their identity via credit card instead of requiring credit check for e-prescribers only. This will allow non-eprescribers to have online appointment booking pages.
As of 6/19/2015, we have rolled this out to all PF practices.
You can learn more about how this verification works here: http://knowledgebase.practicefusion.com/knowledgebase/articles/484517-how-do-i-get-a-patient-fusion-online-scheduling-pr
Improve the Error Messages for Patient Fusion Online Appointment Booking
I had to disable the patients' ability to schedule their appointments onine. Unfortunately , the message they receive is giving the impression that I am not taking ANY appointments, and they assume I am closing down.
I am losing patients. I realize they are not reading the entire message. Perhaps this would be a better error message to display: 'The online scheduler is down for now. Please contact your MD by email or phone to schedule an appointment. "
Thanks, Jan Archer9 votesResolved · Matthew Douglass responded
We have updated the error messaging for Online Appointment Booking to read "This provider is not accepting online appointments currently. Call the doctor's office at XXX XXX-XXXX to book an appointment."
For more detail on appointment booking and online profiles, please click here: http://knowledgebase.practicefusion.com/knowledgebase/articles/483416
- Don't see your idea?


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Chicken Green Curry
Prep time: 15mins| Cook time: 20mins | Serves : 3-4
You Need:
- 750-800gms Chicken on the bone
- 1 medium sized tomato pureed
- 1/4 cup well beaten curds *see notes
- juice of 1/2 a lime (optional)
- 3-4 medium sized potatoes quartered (optional)
- oil or ghee for frying
- salt to taste
- 1 fistful (about 3/4th cup) coriander Leaves
- 1 fistful (about 3/4th cup) mint leaves
- 1 medium sized onion roughly chopped
- 7-8 cloves of garlic with skin
- 2 inches ginger
- 1 tbsp khus khus (Poppy seeds) * see notes
- 1/2 tsp turmeric/haldi
- 2 green chillies (adjust to taste)
- 1 inch cinnamon
- 3 cloves
- 1 small onion finely sliced
- 1 green chilli
1. Grind to paste the following: Coriander & mint leaves, cloves, cinnamon, onion, haldi, khus khus, ginger, garlic & chillies. Reserve masala water
2. Heat oil or ghee & fry 1 chilli till transparent, add the sliced onion and fry till golden brown. Add the masala and fry for 2-3 minutes or till it leaves the sides of the pan.
3. Add the curds & fry for a minute. Add the tomato puree & fry till the masala colour changes to greenish brown.
4. Add the chicken, salt to taste & cook on slow fire. Add the masala water to adjust consistency of the gravy.
5. When the chicken is half cooked you can add the potatoes if you desire. Check taste & add the lime juice if required. Turn off the flame when the potatoes are cooked or when the chicken is tender (when potatoes are not used).
6. Serve hot with chapathis, rice, dosas, appams, sannas or panpole (neer dosa)
1. Ensure that the curds are without any lumps. Do not use very sour curds.
2. If you do not have poppy seeds you substitute it with 2-3 cashewnuts or skip it altogether.
3. If you want a more fragrant curry, you can fry the onions, a few sprigs of mint and coriander and the garlic lightly in a few drops of oil and then grind it to a paste with the rest of the ingredients for the masala. But this technique will use additional oil/ghee that is not recommended from a health point of view.
Recipe updated on 31st July 2012 with revised explanation


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Manna from the Motherland
Manna from the Motherland by Teetee Weisel
The close relationship between food and the spiritual dimensions of one's life is the focus of Manna from the Motherland. A central theme in the book is that the health and happiness we all deserve can easily be experienced when we choose a healthy diet, live with conscious intention, and cultivate spiritual qualities.
Using some of the more common recipes from Liberia, Ghana, and Kenya, this book adapts their vegetarian variations. While the main focus of the book is on African vegetarian cuisine, it contains other themes for physical, emotional, and spiritual enhancement. There are sections on meditation, hatha yoga, walking for physical fitness, as well as poems with a spiritual theme, which are all incorporated within a philosophy of good food and aim to create a whole and enlightened person.
Interwoven into the savory recipes, spiritual enhancement themes, and poetry are also stories from the author's own life that were either influenced by the inclusion of certain foods or relate to the emotions evoked by them. The stories begin with the author's childhood in Liberia (in the 1950s) and continue through the mid-1990s. They reveal cultural attitudes about food and a person's size, the perception of certain foods as "security foods," and the influences of other ethnic groups on African cuisine, such as the Indians in East Africa and the Syrians and Lebanese in West Africa.


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An ancestral property of Netaji Subhas Chandra Bose in Odisha's temple town of Puri has come under the spotlight with some of his relatives based outside the state asking local authorities to delete the freedom fighter's name from the official document of the century-old property.
However, the move was opposed by some cultural organisations in the town who want the state government to intervene and declare the place a national monument. The building, located on Gopal Ballave Road in the temple town, is in a dilapidated condition with no occupants. The building is being looked after by a caretaker.
The controversy began sometime ago when the popular freedom fighter's relatives filed an application with the Puri Tehsildar to remove Netaji's name from the document which was rejected by the junior government official who cited the uncertainty over the leader's death.
The relatives then moved the Puri district Collector with their plea that had the same result. "The collector told them to bring Netaji's death certificate", additional district magistrate(ADM), Puri, Sukanta Pradhan said.


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Photograph: EE
Last week, EE showcased a 'balloon' that will be used to provide network services to remote areas of the UK.
EE Helikite launch
Speaking from London's Oval Cricket Ground, CEO Marc Allera showcased the balloon – a Helikite (shown above), equipped with it's own mobile platform. The mobile site will allow the network to beam into a direct area below, providing coverage for communities experiencing outages.
Most of all, the development highlights the networks commitment to providing service to remote areas of the UK. Although the Helikite will not be a permanent solution to rural network issues, it will provide a reliable service in the event of natural disasters. With a radius of up to 5km, Allera envisions the Helikite being used to support users at high-capacity events, such as Glastonbury:
"Looking ahead, I see innovations like this revolutionising the way people connect. We're developing the concept of 'coverage on demand'. What if an event organiser could request a temporary EE capacity increase in a rural area, or a climber going up Ben Nevis could order an EE aerial coverage solution to follow them as they climb?"
EE plans to deploy the Helikite later this year. View the full announcement here.
Emergency Services
In addition to the Helikite, the network exhibited an exclusive drone that will provide emergency support.
Working in the same way as the balloon, the drone provides direct broadband and network to a close proximity area. Although the drone is only able to stay airborne for around two hours, it benefits users with a short 3-minute set up time. As a result, the network will be able to react quickly to reported issues and damaged infrastructure.
Above this, the drones will supply emergency network to remote areas during search and rescue operations and also, in the wake of extreme weather, such as flooding.
Head to EE where you can view all the images from the launch.


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.....week in which Google launched it's new browser Chrome.
Its new, sleek, innovative, fast, allows many more web pages to be open at once and doesn't go into a complete crash when one of them has troubles. It's built for today's e-users.
I know this because I've read the comic book explanations, downloaded and installed it and then like many many others failed to read the licence I agreed to!!
Read all about it on Doug' blog I'm just too ashamed to go on...
Monday, September 08, 2008
That was the....
Posted by Tricia at Monday, September 08, 2008
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Rope braiding hairstyles might look intricate, but in fact they are quite simple to do and do not require any traditional braiding skills. Rope braids are formed by twisting pieces of hair over one another allowing them to bind together similar to a rope. You can do rope braids on the end of a ponytail or if you're feeling ambitious you can do a rope braid starting from the crown of the head like a French braid.
Comb through all the hair and remove any tangles and secure the hair in a ponytail.
Separate the ponytail into three strands. Hold two sections in the left hand and one section in the right.
Wind the strand of hair in your right hand until it is about the length of your index finger and switch so the three strands of hair are in your right hand, still separated by your fingers. Be sure to hold tightly to the wound strand so it doesn't unravel.
Bring the wound strand over the other two so it is on the left hand side. Then, switch the wound strand and the nearest non-wound strand to the left hand.
Wind the strand of hair on the right, using your right hand. Repeat the above steps, moving the wound strand over the others to the left and twisting the strand on the right. The braid will wind itself into a rope-like style.
- altrendo images/Stockbyte/Getty Images


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Emad Younan Bio,Wiki,Biography,Age,Girlfriend,Date of Birth Details: Emad Younan is a popular singer and best known for appearance in The Voice Season 5 Australia as contestant. He become very popular after his performances in the reality talent show The Voice Australia Season 5. He has won the heart of Australian audience and become one of the top 16 contestants. Get here complete information about The Voice Australia Season 5 Contestant Emad Younan Wiki, Biography, Age, Date of Birth, Boyfriend and many more details.
Emad Younan Bio,Wiki,Biography,Age,Girlfriend,Date of Birth Details
The Voice Australia Contestant Emad Younan Wiki and Bio Details
Emad Younan Biography and Wiki: Emad Younan is a 39 years old singer from Australia, who is competing in popular reality TV show The Voice Australia season 5 and now, he is one of the top contestants of the show. He is a professionally a criminal defense lawyer; he spends his days in the courtroom and nights performing. According to 9jumpin.com.au, "Fuelled by the death of his older brother, prolific Australian singer songwriter Jesse Younan who lost his battle with Leukemia in 2008 just days after finishing his forth album is what pushes Emad to continue his legacy."
The Voice Australia Contestant Emad Younan: Emad Younan is one of the most strongest and popular contestant of the show, who is now in top 16. Music is Emad's passion and auditioning on The Voice is a chance to continue to share his brother's music and also fulfill a dream of his own.
Emad Younan Bio:
- Name: Emad Younan
- Occupation: Singer, Lawyer
- Age: 39
- Show: The Voice Australia Season 5
- Nationality: Australian
Must Check:
- Georgia Wiggins Biography and Wiki
- Lexi Clark Biography and Wiki
- Alfie Arcuri Biography and Wiki
- Brianna Holm Biography and Wiki
- Mikaela Dean Biography and Wiki
We will come back with more interesting stuff, till than, take care and stay blessed.


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Ben Holmes
Ben Holmes (IT Teaching and Learning Technologies): I wish to commend Ben Holmes on the excellent service he has provided me over the past two years as an assistant visiting professor in the College of Technology at Anderson. Blackboard is a large part of my online class development and delivery. Ben has answered more questions for me than I care to remember and has always done so in a very informative and courteous manner -- something that you don't often find. Ben takes the time to walk me through the process if necessary. I have met with Ben on several occasions while I was in West Lafayette, and he always found time to fit me into his schedule. He is truly a great reflection on you and your department and certainly worthy of a special "pat on the back." -- Gerry Pall (Anderson Statewide Technology)


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Coffee Connection
July 19, 2019 @ 8:00 am - 9:00 am
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An event every month that begins at 8:00 am on day Third of the month, repeating until December 27, 2019
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The Coffee Connection is our free monthly morning networking event for chamber members only. It's not just coffee, it's about fostering relationships and building up a strong professional network.


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As it happened I had a couple of sprigs spare. I made a nice strong infusion with these then strained it off, added some honey and a couple of slices of lemon. Chilled overnight in the fridge, this is a really refreshing drink for an (almost) sunny day! :-) I'm planning to make some cordial this week as well.
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Raising Production Value...
One Project at a Time
We are filmmakers. We've been producing video projects such as business videos, music video and shorts for over 7 years now. One of the things that we've learned during this time is that low budgets challenge filmmakers, media makers and creatives ability to produce projects with high production value - the technical elements of a production, such as lighting, decor, and sound in a film, play or artistic performance.
Mark SQuared Studios mission is to help independent storytellers working with micro budgets improve audience appeal by raising production value - the technical elements of a production - lights, audio, decor, and more.
Mark SQuared Studios is a 5,100 sq ft rental studio and production space available for rent by the hour, day, week, and month. 2,200 sq ft of Mark SQuared's facility is dedicated production space. Our soundstage can be used for photo shoots, transformed into a soundstage where all sort of environments can be created. We've had people create sets as simple as corporate offices to the more ambitious vampire lair. The space can also be used as a black box theater for plays and other live performances. The production studio space contains a white hard cyc wall, permanent green screen cyc wall, and two wardrobe & make-up rooms. An additional 625 sq ft flex room can be used for rehearsals, casting calls, coworking space and small meetings.
The balance of the facility is home to the studios heart, The Creative Village. The Village is occupied by the studio owner's and four creative companies that provide support services to media makers and other creatives.