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Tonight I was feeling a bit down so Dave and I hit up Chapters. This always makes me feel better. As I was perusing the journals a girl came up to me and commented on my backpack and we struck up a conversation that went on for about 20 minutes. We talked about school, ryan gosling, jobs, weddings and twilight. It was so random but uplifting. We even exchanged numbers after to get together sometime. At first I thought she was trying to sell me something, then I thought she was hitting on me, but then I realized, hey, this is just one friendly lady! And I would love to hang out with someone like this! Weird huh? I would never have the courage to go up to a random person and strike up a conversation. I'm so glad people like her exist.
Anyway, after that I felt a whole lot better and found the most amazing comic book ever. EVER. It's a kids french comic about a girl named Anna and her friend Froga. Have a read! Totally hilarious.
Night definitely brightened :)
Wednesday, 27 February 2013
Tuesday, 26 February 2013
Let's Talk About: Budgets
Budgets, what a terrible buzz kill right? That's what I used to think when I was young and foolish. Now I think budgets are AWESOME. I'm serious guys, budgets don't have to be lame and super restrictive! I'm obviously no expert on these types of things but here's how Dave and I did it and didn't kill each other.
It all started when I stumbled across this website and started reading about a thing called The Spending Diet. Ugh. That title did not appeal to me at all, but I had read about how other bloggers had found it super helpful and inspiring so I thought eh, I'll at least read about it. Well it WAS super helpful and inspiring so I talked it over with Dave. Now Dave has been subtly trying to get me on a budget with him for years now so he was pretty psyched when he heard the word "budget" enthusiastically come out of my mouth. That night we sat down and figured out how this sucker was gonna work.
What we did first was make a list of all the things we had to spend our money on, things like rent, groceries, and bills. Then we made a list of wants or things that we didn't really have to spend our money on. For us these included things like new clothes, dinners/drinks out, Starbucks, trips to the thrift store (GASP!), magazines, and new makeup. Then we added things like personal hygiene and haircuts to the needs list, because a girl needs soap and a haircut right?
Now if you had some serious debt to pay off, or wanted to save a lot of money very quickly, I guess you would only spend money on your needs. But like I said, this is how Dave and I managed a budget without killing each other so we obviously didn't do that. Instead, we allotted $150 to each of us for personal spending for the month. So anytime I wanted to get Starbucks buy a magazine, or go out for drinks, it would have to come out of my personal spending.
Well the first day of our budget I went to Goodwill and spent $35. Which before the budget I wouldn't have thought twice about, but now I had used up a good chunk of my money on only the first day and probably on things I didn't really need. It really made me stop and think about what I was choosing to spend my money on. Things like Starbucks, magazines, and makeup no longer seemed important if it meant I wouldn't be able to afford a hotel to stay over for my friend's wedding. It was really eye opening.
Another great thing that the budget brought back was buying each other treats. Dave and I have a joint account so when he buys me ice cream I'm really just paying for it too. But this month when we would use some of precious $150 to buy each other something it meant a lot more than it did before, so that was a nice added bonus.
All in all this budget thing is AWESOME. I feel like it's something my parents would be very proud of me for (you know, if I was 12 and still cared about that kind of thing). I'm not gonna lie, it's really hard too, having to pass up on buying lunch with work friends, or not grabbing a chocolate croissant on the way home from work because you're pmsing so bad and you just need some chocolate asap. But it's totally worth it, we ended up saving DOUBLE what we saved the month prior.
Some people think budgets are only good if you're trying to save money to help pay off debts. Not true! Dave and I are in a really fortunate position as we don't (currently) have any debt or student loans to pay off, so the money we've been saving is going right into our house/europe/baby fund. So why would we go on a budget if we're already saving a little money every month? To save even more money for the house/europe/baby fund! (That was pretty obvious wasn't it?)
So are you on a budget?
Tuesday, 19 February 2013
Put a Doily On It!
The other day at Goodwill I picked up a few t shirts and tops that I could play around with on my sewing machine. I had a simple red t shirt with a pocket on the front that wanted to try doing this to. Well, I took off the pocket and low and behold there were tons of little holes where I took the seams out. So what did I do? Put a doily on it! I've gone crazy for doilies lately, I feel like that sketch from Portlandia. Doilies are really easy to find at garage sales and thrift stores, usually for only a quarter. I just pinned one to the left side of the shirt so it would cover the holes and sewed away. It's (purposely) off center, but that's cool now, right?
I showed my 78 year old Oma the shirt and the first thing she said was "It's crooked!" like I was very daft and then pointed out that people are supposed to put doilies on their couches and here I am sewing them crooked on to my shirts! She then spent the rest of the afternoon making doily jokes about me. "Look, I made this doily 20 years ago, you're not going to make a shirt out of this one!"
Well, I still love it!
Monday, 18 February 2013
Monday Music
Oh how I love these ladies, have a listen. And happy Family Day!
The Lion's Roar- First Aid Kit
The Lion's Roar- First Aid Kit
Sunday, 17 February 2013
Adventures in Thrifting
Those who know me well know that I love to thrift. It's come to the point where people don't even ask me where I got that cool shirt/jacket/whatever, they just say "Goodwill. right?" To which I reply "Aw yeah!" I used to be so ashamed when I bought something used in high school I would always lie and say that it was from the Gap or something, but now? I feel like thrifting is SO AWESOME and I DON'T CARE WHO KNOWS THAT I ONLY PAID $2 FOR THIS AMAZING USED SWEATER!
Yesterday Dave and I went to the local Salvation Army and found this amazing like new chair and ottoman. I'm pretty sure my Oma and Opa had the same one in their house at one point. We were on the fence about whether or not to get it (would it fit in our little apartment? Can we afford to buy a chair right now? And then noticed it was 50% off making it a mere $20. (Um, yes. Now it has a nice spot in our living room, and the sheepskin makes it extra cozy.
What's the best thing you ever found at a thrift store?
Friday, 15 February 2013
Winter Cookbook Wishlist
Lately I feel like I've been cooking and baking like mad just to keep myself sane. Which sounds ironic but, hey, whatever gets you through the day right? Here are a few cookbooks I am currently lusting after. Especially Stanley Tucci. Oh my.
Tuesday, 5 February 2013
Salmon Tikka with Cucumber Yogurt
So we may now be obsessed with Jamie Oliver. Last night we made this meal and ate it in 30 minutes. So quick and sooooo yummy.
Salmon Tikka with Cucumber Yogurt slightly revised
- 2 naan breads
- 1 fresh red chilli (we can never find these in the store so we just used some hot sauce)
- ½ cucumber
- 1 lemon
- 4-8 tablespoons natural yogurt
- sea salt
- freshly ground black pepper
- a few sprigs fresh coriander
- 2 x 200 g salmon filets, from sustainable sources, ask your fishmonger, skin on, scaled and bones removed
- 4 heaped tablespoon Patak's tandoori curry paste (you can find this in pretty much every grocery store, it has a purple label)
- olive oil
Preheat your oven to 110°C/225°F/gas ¼. Pop your naan breads into the oven to warm through. Halve, deseed and finely chop your chilli. Peel and halve your cucumber lengthways, then use a spoon to scoop out and discard the seeds. Roughly chop the cucumber and put most of it into a bowl. Halve your lemon and squeeze the juice from one half into the bowl. Add the yoghurt, a pinch of salt and pepper and half the chopped chilli.
Pick the coriander leaves and put to one side. Slice each salmon fillet across lengthways into three 1.5cm wide slices. Spoon the heaped tablespoon of tandoori paste into a small dish, then use a pastry brush or the back of a spoon to smear the tandoori paste all over each piece (don't dip your pastry brush into the jar!). Heat a large frying pan over a high heat.
Once hot, add a lug of olive oil, put the salmon into the pan and cook for about 1½ minutes on each side, until cooked through. Place a warmed naan bread on each plate. Top each one with a good dollop of cucumber yoghurt and 3 pieces of salmon. Scatter over a little of the reserved cucumber, chilli and coriander leaves and finish with a squeeze of lemon juice.
Monday, 4 February 2013
Monday Music
We have our cable hooked up at the moment (we try to keep it disconnected but as soon as I realize I can't watch the food network, we quickly reconnect it) and I had MuchMoreMusic on as background noise when I heard this song. So awesome! Have a listen!
Wild Belle- Keep You
Wild Belle- Keep You
Saturday, 2 February 2013
DIY Initial Art
So I found this really cool artwork on Pinterest, but was shocked to find out it cost $99 for a set of 3! What?! Then I realized that I could easily make this myself for a mere $6. Whaaaaaat?
So you get your cool font, make a word document with a large letter, print it, and then pop it in a frame. Yeah, it really doesn't need to be explained does it?
I'm pretty sure this one is self explanatory but here's how I made it anyway:
- 3 frames (I got mine for $2 each at Dollarama)
- Cool font (I downloaded mine for free at dafont.com)
So you get your cool font, make a word document with a large letter, print it, and then pop it in a frame. Yeah, it really doesn't need to be explained does it?
Friday, 1 February 2013
Broccoli Pesto Pasta
I've really been into Jamie Oliver lately. Maybe a little obsessed? I've been watching his 15 Minute Meals show(!) religiously and am reading a Naked Chef book as my bedtime reading. The other week I was grabbing a book from the bookshelf and noticed this had fallen behind (it was probably there for a year at least). This cook book is awesome, I highly recommend it. Here's what we made from it tonight.
Jamie Oliver's Broccoli Pesto Pasta we were feeling lazy, so we modified this quite a bit
Cut little broccoli florets off the head and put them to one side. Pick the basil leaves and discard the stalks.
Bring a large pan of salted water to a boil. Add the linguine and cook according to the package instructions. Two minutes before the the tagliatelle is cooked, add the broccoli. Drain everything in a colander over a large bowl, reserving some of the cooking water, and return to the pan. Roughly chop half of your basil leaves and add to the pan with the pesto and half of the Parmesan. Give it all a good stir and if the sauce is too thick for you, add a splash of the cooking water to thin it out a bit.
Divide the pasta between your serving bowls. Sprinkle over the rest of the Parmesan and the remaining basil leaves.
Jamie Oliver's Broccoli Pesto Pasta we were feeling lazy, so we modified this quite a bit
- 1-2 heads broccoli
- A large bunch of fresh basil
- Sea salt
- 1 box of whatever pasta you want, we used linguine
- 1/2 cup green pesto
- 3 ounces Parmesan cheese
Cut little broccoli florets off the head and put them to one side. Pick the basil leaves and discard the stalks.
Bring a large pan of salted water to a boil. Add the linguine and cook according to the package instructions. Two minutes before the the tagliatelle is cooked, add the broccoli. Drain everything in a colander over a large bowl, reserving some of the cooking water, and return to the pan. Roughly chop half of your basil leaves and add to the pan with the pesto and half of the Parmesan. Give it all a good stir and if the sauce is too thick for you, add a splash of the cooking water to thin it out a bit.
Divide the pasta between your serving bowls. Sprinkle over the rest of the Parmesan and the remaining basil leaves.
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Journalist Scott Schulte, a Connecticut native who now lives in Monona, worked with Iowa icon and Olympic wrestling gold medalist Dan Gable on "A Wrestling Life." (Submitted photo)
By Audrey Posten, North Iowa Times Editor
When journalist Scott Schulte walked into the wrestling Olympic trials at Carver-Hawkeye Arena in Iowa City in 2012, his main objective was to take in some good wrestling action. He got more than that, walking away with an interview with Iowa icon and Olympic wrestling gold medalist Dan Gable—an interview that eventually turned into a book deal.
Schulte, a Connecticut native who now lives in Monona, said the idea to interview Gable struck as he watched a video interview with Gable at the fan fest held between sessions at the trials.
This year, Clayton County is working to update its multi-jurisdictional, multi-hazard mitigation plan. Meetings will be held in the county, seeking public input, with one being held in Monona on Tuesday, Aug. 25, at 5:30 p.m., at the community center.
"The county got a grant to cover the cost of a plan update," said Monona City Administrator Dan Canton, speaking to the city council at its Aug. 3 meeting. In order to receive FEMA funding if a disaster should occur, having an updated plan is necessary, he said.
Donna Walters, 70, of McGregor, Iowa died Saturday, Aug. 1, at Crossing Rivers Health Center in Prairie du Chien.
MaDonna Mae, the daughter of Clarence and Lucille (Laufer) Davis, was born Nov. 23, 1944 in McGregor, Iowa. She attended grade school in a country school house outside of McGregor and graduated from Mar Mac High School in 1962.
In the coming months, credit card companies and banks will look to combat fraud by issuing EMV cards. Equipped with chips (shown in the image here) that store and protect cardholder data, the cards will be inserted into terminals and left there throughout the entire transaction rather than quickly swiped.
Technology to better protect consumers from fraud
Millions of Americans fall prey to identity theft each year, with credit and debit card fraud one of the biggest culprits. In the coming months, credit card companies and banks will look to combat fraud by issuing EMV cards.
EMV—which stands for Europay, MasterCard and Visa, the original developers of the technology—is the global standard for debit and credit cards equipped with chip technology, meaning each card is embedded with a microprocessor chip that stores and protects cardholder data.
The popular kiddie calf show is one of many events people can enjoy at the 161st Clayton County Fair, held Aug. 5-10 at the fairgrounds in National. (NIT file photo)
Enjoy the ride at the 161st Clayton County Fair, held Aug. 5-10 at the fairgrounds in National.
Events kick off Wednesday, Aug. 5, with the horse show at 9 a.m. The evening will be busy, as the barbecue meal will be held from 5 to 7:30 p.m. and the flag raising ceremony and fair queen pageant at 6:30 p.m. The 4-H Style Show and Share the Fun Show will begin at 7 p.m.
On Thursday, Aug. 6, the rabbit show will be held at the small arena at 12:30 p.m. and the dog show in the large arena at 1:30 p.m. Open class entries will be judged at 1 p.m., while the open class foods department bake sale will take place at 3 p.m.
Austyn Roger Seitz, 7, of Lansing, Iowa died on Wednesday, July 22, at Gundersen Lutheran Health System, La Crosse.
Austyn Roger was born on Dec. 14, 2007 to Tony and Rebecca Seitz in La Crosse. He had just finished 1st grade at New Albin Elementary School.
David Ross began his tenure as MFL MarMac's high school principal July 1. He's settled in Monona with wife Billie and children Lexie, Logan, Gunnar and Carson. (Photo courtesy of Heather Holt of Holt Portrait Design)
Now a few weeks into his position as MFL MarMac's high school principal, David Ross said things are going well.
"We felt welcome the first moment we arrived," he said, noting that some people even showed up to help unload the U-Haul. His kids are already taking swimming lessons and making friends.
Ross and his family, which includes wife Billie and children Lexie (10), Logan (8), Gunnar (6) and Carson (3), settled in Monona, a block from the school. He's excited to be able to walk to work for the first time in his life.
Artist and University of California, Santa Cruz graduate student Wes Modes stopped in the area late last week, gathering stories from local river people for his multi-year art and history project, "A Secret History of American River People." For the last two summers, Modes and occasional first mates, as well as dog Hazel, have traveled the upper Mississippi on a homemade shantyboat. (Photo by Audrey Posten)
Artist and University of California, Santa Cruz graduate student Wes Modes stopped in the area late last week, gathering stories from local river people for his multi-year art and history project, "A Secret History of American River People."
At the start of last summer, Modes set out on the upper Mississippi River, at Minneapolis, on a homemade shantyboat, hoping to collect the lost narratives of people who live and work on the river. Tales of shantyboaters on the Ohio and Mississippi Rivers were a major inspiration behind the project, Modes said. While he could have chosen other rivers or areas throughout the country to spotlight, he felt the Mississippi was the best place to start.
The closure of the Holiday Shores Motel in McGregor last month puts the city of McGregor, and thus the McGregor-Marquette Chamber of Commerce, in a funding bind.
According to city administrator Lynette Sander, who spoke to the council at its regular meeting July 15, the motel annually contributed an estimated $15,400 in hotel/motel tax revenue. The city pulls in around $30,000 in hotel/motel tax annually, two-thirds of which goes to the chamber. In budget year 2014-2015, the chamber received $20,629 in funding via the tax. Based on projections for 2015-2016, if the same funding model is used, the chamber would see a roughly $10,000 shortfall.
Linda Gullickson updated the Monona City Council on the Monona Family Aquatic Center July 20, at the city's second monthly meeting, noting that the pool will close for the season on Sunday, Aug. 23. The pet swim is planned for Saturday, Aug. 29.
Gullickson said the pool recently faced pump issues, which forced the cancellation of swimming lessons one day last week. Although the issue was taken care of for now, the council agreed it would be nice to establish more of a maintenance program for the pool in order to prevent problems. They also noted pool improvements might be a good community fundraiser following completion of the library project, as the aquatic center is now 11 years old.
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Category Archives: Photojournalism
Disaster Strikes near Richmond
Lightening struck and knocked down a utility pole during the late evening hours Tuesday causing widespread power outage to a farm just west of Richmond, Illinois. Richmond is a small town about 70 miles northwest of Chicago.
Both lanes of Illinois route 173 were closed nearly three hours while a utility crew cleared downed power lines. Early morning traffic was backed up nearly an eighth of a mile in either direction. As of 2:30 this afternoon power still has not been restored to the affected farm, although crews are on site working to repair the damage.
As a result of this disastrous electrical outage residents on the farm have been deprived of highly informative radio and TV political advertising campaigns more than 12 hours, just days before the critical mid-term elections. This is not "Fake News," however, despite the far reaching implications of this natural disaster; the white house thus far has failed to respond.
Residents of the farm have returned to their fields to resume the fall harvest and have been unavailable for comment.
The Montague Flood – 2018
After several days of heavy rain, Twisters Ice Cream shop in Montague is bounded by standing water to the south across the bicycle trail.
Butternut Creek rises with the rain, but quickly drains into the White River, which empties into White Lake. The water level in the Lake is 3 to 4 feet higher than it was two years ago. The beach on Lake Michigan, about 7 miles to the west, is almost non-existent.
Nuevo Progreso
A sunny Saturday in Nuevo Progreso, Tamaulipas, Mexico just across the border from Progreso, Texas. It's a tourist town catering to Winter Texans who come south to escape the cold winter in the north. Primary businesses are pharmacies and dentist offices. Prescription medicines and dental work are less than half the cost for the same products and services in the U.S.
However, street vendors sell food and trinkets throughout the town. Many of the salespeople are very young children. Although they appear impoverished, popular legend has it that these children and their parents go home at night to beautiful homes in various communities in Texas and upscale neighborhoods in Reynosa, Mexico.
(Click on each of the photos to see a larger image.)


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Order this book and receive this FBIMINI comic shown at left as a FREE bonus! Click here for details. Limit one per customer while supplies last.
Perla begins with the "Wigwam Bam" story, arguably Jaime Hernandez's definitive statement on the post-punk culture. As Maggie, Hopey, and the rest of the Locas prowl Los Angeles, the East Coast, and parts in between trying to recapture the carefree spirit of those early days. "Wigwam Bam" brings us up to date on all the members of Jaime's extensive cast of characters and then drops a narrative bomb on Hopey (and us) in the very last pages. Split up from Hopey yet again, Maggie bounces back and forth between a one-laundromat town in Texas (the "Chester Square" that serves as the title of two of the strongest stories in the book), where she has to contend with both her own inner demons and a murderous hooker, and Camp Vicki, where she has to fend off her aunt Vicki's attempts to make her a professional wrestler and the unwanted advances of the amorous wrestling champ-to-be, Gina. As usual, Jaime spotlights a wide range of headstrong female characters. And what's this about Maggie getting married?
"For a relatively inexpensive introduction to the joys of Jaime's good stuff, I recommend Perla la Loca, which kicks off with the fantastic ensemble tragicomedy 'Wigwam Bam,' throws in a bunch of wrestling and decline-and-fall-of-punk business that he draws with obvious, infectious relish, and ends with the mistaken-identity tour de force 'Bob Richardson.'" — Douglas Wolk,
"I don't really understand why the material of Love and Rockets isn't widely regarded as one of the finest pieces of fiction of the last 35 years. Because it is." — Neil Gaiman
Unsure how to build your Love and Rockets collection? See our handy guide on How to Read Love and Rockets.
"I don't really understand why the material of Love and Rockets isn't widely regarded as one of the finest pieces of fiction of the last 35 years. Because it is." — Neil Gaiman, The Guardian


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viernes, 14 de mayo de 2010
Critique and Review Circus of the Damned by Laurell K. Hamilton
Circus of the Damned.
Anita Blake, Vampire Hunter Series.
Laurell K. Hamilton.
Ace Books.
329 p.
In St. Louis, the chaos has arrive, apparently a band of crazy vampires are committing terrible murders, leaving behind bodies that to the third day get up as really violent vampires. Anita Blake, vampire hunter, must help the police to stop them, before this turns into a bath of blood.
A main new vampire in the city wants Anita as his human servant and he will fight against Jean-Claude, the current owner of the city, to get it. Anita discovers that the lycans now are followers of Jean-Claude and she will have to learn to deal with them and their strange behavior, especially with one, Richard, who radiates a very attractive energy and is extremely handsome.
A war between vampires has began and Anita is just in the middle of this one, and she will have to face with the oldest and powerfully vampire that she has ever known, a vampire of almost a million years.
An entertaining book, jus that. It is interesting as Laurell K. Hamilton, is introducing new topics, to the plain one of the vampires and the murders that Anita investigates with the police, nevertheless the plot is becoming a bit predictable, both previous books contain the same elements and in this one we do not have any surprise. The new characters are something of what we could feel satisfied, are well detailed characters, towards which we can be sorry or sharm and to hope that they appear in the subsequent books. Is a book to spend a nice evening and overcoat if already you are caught in Anita Blake's saga, you cannot stop reading it, and maybe to read it is almost like a task, but let's remember that always is good to read a book. I recommend it only if you have read the previous ones.
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Debut is a HTML / Bootstrap business and marketing template by Aspire Software Solutions.Responsive Business template Marketing template Boostrap html Css
Debut is a marketing template made using Bootstrap 3.3.7 framework. It is a hot template with 6 color options. Login and registration pages are also included to the theme.


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Situated in County Galway Glengowla was Ireland's first visitor mine.
Silver-rich lead was mined at this site from 1851 for only 14 years, but today the mine is rich in what was left behind by the miners - a scintillating variety of minerals plus a range of mining artefacts.
We first visited this site in 1997 to record it before it was opened as Ireland's first show mine. In 2009 on a repeat visit we were able to see the amazing progress that the owners, the Geoghegan family, have made in opening up this mine, making it safe and providing a fascinating visitor experience.
We were also fortunate to be able to descend below the current visitor limit to record the stunning display of crystals that still survive deep with the mine.
The mine is well worth a visit.
The Glengowla feature page also has a short video with excerpts from the Glengowla DVD.
Copyright © I.A.Recordings, Last modified: 17-Sep-2018


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We don't have a summary available yet.
The summary below was written by the Congressional Research Service, which is a nonpartisan division of the Library of Congress, and was published on Feb 6, 2017.
Vietnam Helicopter Crew Monument Act
This bill directs the Department of the Army to place in Arlington National Cemetery a monument honoring helicopter pilots and crew members who were killed while serving on active duty in the Armed Forces during the Vietnam era, subject to an agreement with the Vietnam Helicopter Pilots Association under which the association shall pay all site preparation, construction, installation, and maintenance costs for the memorial.
The Army shall remove the Vietnam Helicopter Pilots Association Memorial Tree and place the monument where the tree stood.


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Mongrelman (CR 1)
Medium Monstrous Humanoid
Alignment: Always lawful neutral
Initiative: +1 (Dex); Senses: darkvision 60 ft. and Listen +2
AC: 15 (+2 Dex, +3 natural), touch 12, flat-footed 13
Hit Dice: 2d8+2 (11 hp)
Fort +1, Ref +4, Will +2
Speed: 30 ft.
Space: 5 ft./5 ft.
Base Attack +2; Grapple -3
Attack: Slam +4 melee; or club +4 melee
Full Attack: Slam +4 melee; or club +4 melee
Damage: Slam 1d4+2; or club 1d6+2
Special Attacks/Actions: Sound imitation, fear
Abilities: Str 14, Dex 13, Con 12, Int 8, Wis 10, Cha 12
Special Qualities:
Feats: Ability Focus (sound imitation)
Skills: Climb +4, Hide +14, Listen +2, Move Silently +3, Sleight of Hand +14, and Survival +2
Advancement: 3-6 HD (Medium-size)
Climate/Terrain: Any land and underground
Organization: Solitary, mob (3-8), or tribe (20-80)
Treasure/Possessions: Standard
Sound Imitation (Ex): Mongrelmen can imitate the sounds made by any monster or creature they have encountered. They can imitate the sounds of monsters with special vocal attacks, but they cannot in any way duplicate the special powers or damage done by those attacks. Detecting the ruse requires a successful Will save (DC 14).
Fear (Su): 20 feet, a mongrelman can also use its power of mimicry to combine or alter the sounds it knows how to make; creating ghastly wails, snarls, hoots, and roars. Any creature within 20 feet hearing the sound must succeed at a Will save (DC 11) or be shaken for 1d4 rounds. This aspect of the mimicking power only works if the mongrelman is concealed. Mongrelmen rely on this ability to scare off unwanted intruders and pesky wilderness travelers.
Mongrelmen receive a +8 racial bonus to Hide and Sleight of Hand checks.
A mongrelman performs acts of violence only in self-defense or (in the case of slaves) on the orders of their masters; free mongrelmen do not hesitate to kill anyone they believe threatens their community. They prefer to avoid contact with other creatures except in times of great need, when they try to steal what they require (food, tools, etc.).
The Mongrelman first appeared in the Monster Manual II (Gary Gygax, 1983).


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We have an extensive fleet of sailing and motor yachts at Hamble Point Yacht Charters, which we manage on behalf of private owners. Our wealth of experience with a broad range of yachts means that we can help you to find the yacht that is right for you, as well as providing information on finance, insurance and moorings.
Once you have purchased your yacht, Hamble Point Yacht Charters can take care of the maintenance and cleaning (guardianage services) or you could choose to help offset some of the costs of ownership through chartering (Yacht Charter Management).
In addition, if you are interested in the additional income opportunities of owning a charter yacht, Hamble Point Yacht Charters works in partnership with Yacht-Match, an independent agency helping match your boat ownership requirements with yacht charter opportunities. Find out more about the opportunities for you as part of our partnership with Yacht Match here.
We have 25 years' experience of preparing boats (sail and motor) for MCA coding and follow-up annual checks.
Get in touch to find out how we can help you with coding – every yacht is different, and our quote will depend on the condition of your boat and the equipment currently on board. Our friendly team of expert staff can talk you through any and all aspects of MCA coding.


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Children 1 to 2 1/2 years old.
We have openings! Call today to schedule a tour.
Unlock Your Child's Potential
Developmental Learning Center
Our preschool program provides a safe, fun environment that guides developmental growth to prepare kids for Kindergarten and beyond.
School-Age Program
Kindergarteners attend our before-and-after-school care and all elementary-age kids are welcome at our school break camps!
Residential & Respite Services
Caring for a child or adult family member with special needs is challenging, but you are not alone. Find out if you qualify for our residential and respite care services.
Why Gateway Association?
Licensed by the
State of Indiana
Level 4 Paths to
QUALITY Provider
CCDF Child Care
Vouchers are Accepted
Only NAEYC Accredited
Daycare in Anderson
Residential & Respite Services
On My Pre-K
Meet Our Team
Providing professional care…with love.
Happy Children, Happy Parents
What Our Children, Parents & Care Givers Say About Gateway
"I love that she is cared for by a licensed, Level 4 Paths to Quality Provider."
"My kid has higher behaviors and Gateway will work with you as long as you are willing to work with them. Amazing care and amazing relationships are formed."
"Gateway is amazing. They treat both my girls with love and care. I am so grateful to have a safe and trustworthy daycare, so I can work for my family. I even have a daughter with verbal Apraxia and does not speak. Her two teachers nurture this and have the patience that I sometimes lack. I think of Gateway as a support system."
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Anderson Sertoma Club
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"The soldiers of the 579th Engineer Battalion and members of Operation Ready Families extend their personal gratitude and sincere appreciation for your contribution and support. Your assistance in helping soldiers and their families comforts everyone during a time when our nation needs us the most."
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"Thank you for your generous donation of pea gravel for our new resident peregrine falcon. We greatly appreciate your ongoing support in making our mission at Bird Rescue possible."
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"Thank you, Wheeler Zamaroni, for your help and support with my Eagle Scout Project at Village Elementary School."
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Wheeler Zamaroni is committed to being a good neighbor. We are dedicated to advancing education, strengthening communities and improving lives. Through our industry associations and philanthropic initiatives, we support projects that create opportunities, make connections and address community needs where we - and our customers - live and work.
Wheeler Zamaroni is committed to excellence. Therefore, we are active in associations that serve our industry so that we may better serve our customers.
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We believe that it is better to give than to receive. Giving also helps to strengthen communities and foster positive change in the world around us. We welcome the opportunity to help when, where and how we can. Contact us about product donations for your organization and join the following organizations in their missions to help the people, places and natural beauty of our broader community.
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text: We are happy to……no, that is a bit harsh and disrespectful. We respectfully announce the passing of Mr. Mouse Christmas morning due to a sudden unpleasantness, while pursuing his favorite treat: Peanut-butter extra crunchy . According to forensic evidence, it was a swift and merciful end. He didn't suffer. Donations in his honor may be made to the Humane Society or to the local adopt-a-pet agency.


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Thanks for checking out our first blog! We just wanted for you to get to know us a little and what a better way to start than to introduce the one who started it all.....Drum roll please.........
My name is Sharise and I grew up in California loving the chic but carefree and earthy vibe here. There's just something effortlessly cool and polished about California style.The sandy beaches, the sunshine, the stylish upscale events are all an inspiration. California style is reflected in our recent collections: Nature, sandy beaches, fine art, candy colored gemstones, and always of course.....fashion.
Glass Palace Arts started as a hobby by creating paintings and beach glass jewelry from my apartment living room (Hence the shop name). I regularly collected beach glass from the beaches here in Cali. Creating beautiful jewelry has become my online passion! Who would have thought after all this time and work my little hobby would grow into a flourishing business! Now all my pieces are created in my California studio and sold on my own website. It's taken an immense amount of research, creativity and determination to make this dream come about. Glass Palace Arts is constantly evolving and growing as we add new pieces and styles to our collection. Every piece in my shop is designed and photographed by yours truly. :-)
Our desire is to bring to you an array of beautiful, unique jewelry pieces that are chic, affordable, and create an effortless style. Each and every piece is delicately handcrafted and created uniquely for you after your order is placed. We do our best to create beautiful pieces just for you that will be cherished for a long time.
Thanks for stopping by and getting to know us a little more! Sign up for our newsletter for jewelry tips, discounts and to keep up with the latest fashion trends!


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Connectomics is the field of endeavour that aims to integrate data and knowledge about structure and function of the human brain at multiple levels of scale. The projected outcome of this endeavour has been coined the connectome by analogy of the genome.
Commissioned by the European Brain Council (ECB), the CDBE2010 study group estimated costs over 2010 related to brain disorders within the EU at a 800 billion euros, cf. European Neuropsychopharmacology, 21:10, pp. 718-779, 2011. This staggering figure indicates that the return on investment in connectomics is likely to be huge. According to the EBC brain research is, however, seriously underfunded compared to other major diseases.
Our challenge in the neuro theme is to contribute to the human connectome from the vantage point of imaging. Our modality of choice is magnetic resonance imaging, because of its versatility and unique capabilities. For instance, diffusion weighted magnetic resonance imaging is hitherto the only non-invasive in-vivo modality for probing white matter architecture. The interpretation of the resulting acquisition data, and thus clinical and biomedical exploitation, makes a fundamental, cross-divisional approach compulsary.


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Garage Workbench
Garage Workbench for Unity and Unreal marketplace!
Garage workbench, full with tools and props. What more can You want?
High quality props, for any type of game. This pack will be perfect for those, who are making survival or any other action/adventure FPS game. Props are fairly low poly, but looks stunning up close. Some of them can be used as weapons or intractable prop.
Props like: Vice, fuse box, tool box and dumpster, can be animated. All the necessary parts are separated and with right pivots.
Easy to use prefab system. Each asset is in it's own prefab. However, there are pre-made mini scenes too, that You can instantly drag/drop to scene and call it a day.
Garage Workbench on unity asset store: Here
Garage Workbench on Unreal Market: Here
Be sure to check out our other products, on unity asset store and unreal market.
Asset Store: Polysquid and PolysquidVR
Unreal Market: Polysquid Studios
For more of our work, visit full portfolio page!


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Item # OAK01G0Item # OAK01G0
Warning: California Proposition 65
EVZero Path Photochromic Sunglasses
There's something to be said for minimalism. Minimal material, minimal weight, and minimal fuss — but that shouldn't come at the loss of UV protection, and Oakley's EVZero Path Photochromic Sunglasses offer just what you need, without the excess. The shades adapt to your surroundings, cutting glare and keeping vision clear whether you're spinning on the tarmac or on-foot.
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- High Definition Optics elevate contrast for a boost in visibility
- Keep weight at a minimum with O-Matter minimalist frame
- Unobtanium nose and temple pads cushion for comfortable fit
California Proposition 65
View more Photochromic Sunglasses
Reviews & Community
Oakley evzero path photochromic sunglass
- Fit: True to size
- Size Bought: one size fit all
these are great work very well ,and do exactly what they are to do ,great pair of sunglasses worth the money
I already commented on.them they are great


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Room Attendant (PT) - Hotel Indigo Vernon Hills – Vernon Hills, IL
Posted January 6, 2020
- Ensure that rooms and public areas are cleaned and sanitized to standards
- Ensures that rooms have clean linen, bedding and towels
- Ensures that rooms are stocked with soap, tissues, drinking glasses, etc.
- Reports any non-working equipment or possible repairs to the GM/Maintenance
- Search room for items guest has left behind and turn them in to the front desk
- Other duties as assigned
- Minimum of 1 year in Housekeeping role
- Minimum of High School education, post-high school education preferred
- Ability to multi-task
- Ability to communicate effectively verbally and in writing
- Team player
- Ability to exceed expectations of guests
- Knowledge of cleanliness standards
- Commitment to Task: Demonstrates dependability and shows a sense of urgency about getting results; willing to commit the hours it takes to get the job completed; takes responsibility for actions and achieves results; overcomes obstacles.
- Communication Skills: Presents ideas, concepts, and information effectively and clearly through the spoken word; actively listens; communicates comfortably with various audiences; responds effectively to questions.
- Flexibility: Adapts and changes course of action when appropriate; effectively transitions from task to task; deals well with unresolved situations, frequent change, delays, or unexpected events; maintains objectives amidst shifting priorities.
- Initiative: Takes action proactively; addresses issues or opportunities without supervision; focuses on desired results and accomplishments; demonstrates clear purpose, enthusiasm, and a "can-do" attitude.
- Managing Execution: Manages multiple projects and effectively prioritizes tasks, responsibilities, and goals; uses goals to guide actions and creates detailed action plans; organizes and schedules people and tasks; utilizes resources effectively to meet goals.
- Teamwork: Works cooperatively with others to accomplish business goals and objectives; asks others for their ideas and opinions; supports team's decisions; contributes to the team's efforts.
Hotel Indigo Chicago-Vernon Hills
Hotel Indigo Chicago-Vernon Hills
450 North Milwaukee Avenue
Vernon Hills, IL 60061
Telephone (847) 918-1400
Website www.ihg.com
Managed by Schulte Hospitality Group
Current Job Openings
- Front Desk Agent FT & PT - Hotel Indigo Vernon Hills
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- Room Attendant (FT) - Hotel Indigo Vernon Hills
- Room Attendant (PT) - Hotel Indigo Vernon Hills
- Room Attendant (Weekends) - Hotel Indigo Vernon Hills
- Room Attendant -
- Room Attendant - Full time
- Room Attendant - Hotel Indigo Vernon Hills


text:
How to be professional, pleasant and confident at all times.
Learn how to use your voice so you are heard and understoodHow to remain calm and composed under pressure.
Understanding customer needs.
Dealing with awkward customers on the telephone and face-to-face.
Learn how to remain polite and helpful, even in particularly difficult situations.
Communicating with your customers and your team members.
All participants that complete the course will receive a certificate
Book this course with us


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US3225651A - Methods of stereoscopic reproduction of images - Google PatentsMethods of stereoscopic reproduction of images Download PDF
- Publication number
- Authority
- United States
- Prior art keywords
- camera
- scene
- viewing
- screen
- pictures
- Prior art date
- Legal status (The legal status is an assumption and is not a legal conclusion. Google has not performed a legal analysis and makes no representation as to the accuracy of the status listed.)
- Expired - Lifetime
- 230000000875 corresponding Effects 0 claims description 16
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- ULSDMUVEXKOYBU-ZDUSSCGKSA-N zolmitriptan Chemical compound data:image/svg+xml;base64,[encoded data, 11792 characters] data:image/svg+xml;base64,[encoded data, 11784 characters] C1=C2C(CCN(C)C)=CNC2=CC=C1C[C@H]1COC(=O)N1 ULSDMUVEXKOYBU-ZDUSSCGKSA-N 0 description 1
- G03B35/00—Stereoscopic photography
- G03B35/18—Stereoscopic photography by simultaneous viewing
- G03B35/24—Stereoscopic photography by simultaneous viewing using apertured or refractive resolving means on screens or between screen and eye
Dec. 28, 1965 w. A. CLAY 3,225,651
METHODS OF STEREOSCOPIC REPRODUCTION OF IMAGES Filed Nov. 12, 1964 4 Sheets-Sheet 1 I INVENTOR E E VVallaceA.Cla /y W. A. CLAY Dec. 28, 1965 METHODS OF STEREOSCOPIG REPRODUCTION OF IMAGES 4 Sheets-Sheet 2 Filed Nov. 12, 1964 IN VEN TOR.
WALLACE A. CLAY 'w. A. CLAY 3,225,651
METHODS OF STEREOSCOPIC REPRODUCTION OF IMAGES Dec. 28, 1965 4 Sheets-Sheet 3 Filed Nov. 12, 1964 INVENTOR wa/lla ceAfi'la y Dec. 28, 1965 w. A. CLAY 3,225,651
METHODS OF STEREOSCOPIC REPRODUCTION OF IMAGES Filed Nov. 12, 1964 4 Sheets-Sheet 4.
INVENTOR g Walla/0e A. Clad United States Patent 3,225,651 METHODS OF STEREOSCOPIC REPRUDUQ'HGN 0F llVIAGES Wallace A. Clay, Box 120, RED. 3, Ogden, Utah Filed Nov. 12, 1964, Ser. No. 410,586 17 Claims. (Cl. 8S24) My invention relates to 3-dimensional photography; and more specifically provides a method and apparatus for photographing and subsequently reproducing a series of stereoscopically related views on an exhibition-size screen in such a way that the composite effect of said views appears to an audience as a 3-dimensional panoramic scene.
The principal object of my invention is to provide a photographic method and apparatus by which either still or motion pictures may be photographed and subsequently reproduced by projection on a special screen, or by which still pictures may be reproduced by arrange ment of distorted prints or transparencies behind a special screen, the said images appearing S-dimensional to an audience without the necessity of personal appendages of any kind.
My method involves the use of a plurality of cameras which for practical purposes are preferably mounted on the same dolly, the optical systems of the various cameras facing in the general direction of the scene to be photographed and their centers being mutually spaced an equal distance apart. While for rather close-up scenes they may be parallel, or even nominally convergent for distant scenes the camera axes will be divergent so that adjacent camera axes subtend a desired stereoscopic angle in the range of from 4 down to 5", but generally of the order of 2", an accepted stereoscopic angle value. Each of these camera units photographs a portion of the scene, the pictures taken by adjacent cameras overlap considerably as to subject matter, and each picture forms with an adjacent picture a stereoscopic doublet.
In order that a composite of all of the pictures taken may be panoramic, i.e. cover a wide angle, the axes of each of the respective cameras are adjusted either mutually parallel, or else somewhat divergent. The individual sequences of pictures taken by the respective cameras are then projected onto a specially constructed screen by a bank of transversely spaced projectors, in the elementary form of the invention one projector being used for each camera which was used in taking the pictures, or, in a more advanced form of the invention, a lesser number of projectors than cameras being used and each projector projecting a plurality of adjacent pictures from a composite film.
My screen is a composition of a number of horizontally-adjacent viewing cells each of which is a vertically elongated box having an objective surface at its rear onto which a picture is projected or otherwise disposed or afiixed, and having at its front a vertically elongated lens through which the audience views the picture. The pictures disposed upon the scenes of adjacent objective surfaces of adjacent viewing cells correspond in their progression as to relative disposition to the progression of the regularly stepped cameras heretofore mentioned. Screens of a somewhat similar type are not unknown in the prior art.
My invention differs from other approaches in that in my invention in its elementary form each of the individual projectors, if employed, projects its picture on the back objective surface of only one viewing cell, whereas in other approaches to the problem, each projector casts a complete scene, elements of which are impinged on each of the viewing cells.
As stated above, all of the pictures taken by the respective adjacent cameras overlap to a considerable ex- "ice tent with respect to the subject matter photographed. According to my method, each of the pictures thus photographed may subsequently be distorted, i.e. either compressed horizontally or stretched vertically, so that it may be projected onto the back objective surface of a single viewing cell in its entirety. The vertical stretching of the respective pictures may, of course, be accomplished in any desired manner, i.e., the pictures may be stretched vertically or compressed horizontally after they are photographed and before they are projected, or else the cameras and projectors may be equipped with proper lenses for vertically stretching or horizontally compressing the pictures automatically either as they are taken or as they are projected, so as to produce the elongation required and permit the picture to be projected in its entirety onto the back objective surface of a single viewing cell. The center of each of these viewing cells is spaced from the center of each immediately adjacent viewing cell by a selected value of spacing, as may be arbitrarily determined, and each cell will be as high as is desired for the height of the particular exhibition screen, which screen is the composite of all said viewing cells.
If, therefore, we assume that the entire scene has been photographed by said plurality of cameras and that the resulting pictures have been vertically stretched or horizontally compressed and each projected on the back objective surface of a viewing cell, it should then be apparent that before the composite scene may be viewed by the audience it will be necessary to restore each projected picture (e.g.) to its original vertical-to-horizontal proportion. In other words, having stretched the pictures and having caused them to fit the back objective surface of a vertical screen element, it is then necessary to provide means whereby the pictures may be unstretched so that they will have a natural appearance. The unstretching of these pictures is accomplished by the lens elements which are anamorphoscopic and may be double convex lenses when viewed in horizontal cross section only and vertically elongated to the full height of the viewing cells.
When a single viewing cell is viewed by one eye from the audience side thereof, the observer will see through the lens of said viewing cell a relatively narrow vertical strip, the selection of which depends upon the position of the observer with respect to the viewing cell, of the picture, which vertical strip will be horizontally magnified by the lens to its original horizontal-to-vertical proportions in such a way that the magnified image of the vertical strip will appear to be the full width of the lens and therefore the full width of the viewing cell as seen by the audience. If the respective distorted (i.e. vertically stretched or horizontally compressed) pictures are properly ori- 'ented in progressive, side-by-side relationship on the back objective surfaces of the viewing cells, the magnified strip portions of all the pictures seen by one eye at a particular viewing point in the audience will blend together so as to form a single, composite, panoramic picture corresponding to substantially the entire scene photographed. The remaining eye will also see a single, composite, panoramic scene, similar to the previously mentioned panoramic scene, with corresponding portions of both of said panoramic scenes being stereoscopic doublets.
An important advantage of my system over the prior art systems is that while in each case the foreground portion of the pictures may be quite clear, the background portion of some of the prior art pictures tends to be blurred due to the fact that the background as seen in any single viewing cell is a composite of elements projected by all of the individual projectors converging from different angles, clarity of the foreground and lack of importance of sharp background render such prior art systems suitable for portraits and close-up work but not for the background of the pictures shown according to my system which is clear since on each viewing cell the entire background was photographed by a single camera from a single viewing point thereby accommodating panorama work.
In many of the prior art systems the individual cameras secured to the camera dolly are adjusted so that the axes of their optical systems converge in the direction of the object to be photographed. According to my method, however, the cameras are set either mutually parallel or are set so that they diverge somewhat. The advantage of this divergence of the cameras instead of convergence is that a much larger field is covered, and when these pictures are projected upon the screen, which is concave on the audience side, the scene takes on a panoramic effect, thereby permitting the audience riot only to see the entire scene in stereoscopic relief but also to enjoy a much wider field of vision. As to degree of concavity of the viewing screen, the same will usually be equivalent to the degree of divergency of the camera position pattern, although, for certain special effects, slight variation from equivalency may be made.
v Another important advantage of using a screen which is concave when viewed from the audience side is that the individual elements forming the composite screen may be adjusted so that the entire screen is visible from any point within the general viewing area but so that substantially the entire screen blacks out simultaneously as the observer moves outside the general viewing area which the screen is designed to serve.
The foregoing description specifies a separate projector for each camera and each corresponding viewing cell. However, in practice a lesser number of projectors would probably be used in which event each projector would cast a plurality of images taken by adjacent cameras, the said images being arranged side-by-side on a composite projection film and the said images each being cast on separate adjacent viewing cells. This simplification of the projection system might go so far as to require only a single projector, especially where a relatively small composite screen is used. In the case of larger composite screens, several projectors would probably be used and their respective projections grouped to serve the several adjacent portions of the screen.
As suggested in the above objects, the viewing cells need not be made the same width as said interocular spacing but may be varied directly in accordance with the distance of the audience from the screen. However, each lens should preferably subtend an angle of the order of 2 with respect to the observers eye.
The picture need not be projected on the back objective surfaces of the viewing cells, but may be stretched and printed and placed behind the anamorphoscopic lenses to form a still stereoscopic exhibition that may be used in store window displays, etc.
I will now explain my invention with reference to the drawings which show practical embodiments of my apparatus wherein:
FIGURE 1 is a schematic plan view of a projection system according to my invention, showing the individual pictures projected on the rear objective surfaces of the viewing cells of the screen and showing the eyes of an observer located on the opposite, or concave, side of the screen.
FIGURE 1A is an enlarged detail and schematic diagram, rotated 90 in a counter-clockwise direction, of a portion of the structure of FIGURE 1 and of the optical phenomena which are therein operative, by virtue of the structure disclosed, to produce a stereoscopically viewable panoramic scene.
FIGURE 2 is an enlarged horizontal section through one of the viewing cells showing a complete single picture projected on the rear objective surface of the cell and indicating two scprate portions of the picture which will be seen from two different viewing points on the audience side of the screen.
FIGURE 3 is a front elevation view of the composite.
FIGURE 4 is a sectional plan view looking down on a plurality of projectors, each casting an image on the back objective surface of an associated. viewing cell of the screen. In this form of my apparatus the audience views the pictures on the opposite side of the screen from the projectors.
FIGURE 5 is an enlarged sectional view of a viewing cell which is similar to the viewing cell shown in FIG- URE 2 but which is modified to show a stretched positive print forming the back objective surface of the viewing cell, this type of vewing cell being used when my invention serves to provide a non-projection type still exhibition having 3-dimensional panoramic characteristics.
FIGURE 6 shows the stretching of a picture so as to elongate the picture sufiiciently to fit the back objective surface of a viewing cell.
FIGURE 7 is a plan view of a camera dolly showing a single camera movably mounted on the dolly for photographing progressively successive portions of the whole panoramic scene for non-projection type exhibition.
FIGURE 7A is a plan view of a camera dolly having a plurality of divergently arranged cameras, some being shown schematically in phantom lines for convenience of illustration, fixedly mounted thereon for photographing progressively, and preferably simultaneously successive portions of the whole panoramic scene for non-projection type exhibition.
Referring now to the drawings, FIGURE 1 shows an arcuate series of projectors 1 located. behind a projection screen 2, the series of projectors comprising a plurality of individual projection machines 1:: each one of which includes, as shown in FIGURE 4, a lens system 117 located beyond a light source (not shown) and a film F. If the apparatus is to be used for showing mot-ion pictures, each projector would also include a film-feeding mechanism which may be of any conventional type, the individual film-feeding mechanisms of the projectors being all linked together for unitary actuaiton so as to maintain the projectors synchronized. If the system is to be used for showing slides or other still pictures, then the apparatus shown in FIGURE 4 would include only a light source (not shown), the film F and the lens system 1b. In addition, in order to prevent interference of the light projected by the respective projectors 1a, the latter may be provided with a system of shields 1c.
The screen 2 includes a plurality of vertically oriented elongated viewing cells 2a, FIGURE 3, the number of viewing cells being the same as the number of projectors 1a for the purpose hereinafter stated. FIGURE 2 shows in cross-section one embodiment of a viewing cell which comprises a pair of opposed frame members 215 which are maintained separated in fixed, spaced relationship by an anamorphoscopic lens element 2d and by a translucent rear objective screen element 26, the latter having a translucent, projected image receiving projection surface 20 comprising an etched or otherwise treated. or painted surface on either side of element 2c. Each of the frame members 2b has a semi-circular recess 2e adapted to receive a rod 3, as shown in FIGURE 4, which rods serve to pin the individual viewing cells together for the purpose of forming a composite screen, as shown in front elevation in FIGURE 3.
As shown in FIGURES 1 and 4, each viewing cell is slightly wider at the rear than it is at the front, so that when all of these viewing cells are assembled to form a composite screen, the screen will be concave on the audience side.
One form of camera means 4, as shown in FIGURE 7, may also include an arm 40 pivoted at one end to the dolly 4a as at 4d. The other end of the arm 4c carries a single camera 4e with which individual photographs may be taken at any one of the several successive camera positions 4b the arm 40 being swung back and forth to any desired position within the range of the fixed camera position 4b by a suitable pulley and cable mechanism 4 and the dolly being curved to provide the chosen divergence of the bank of camera positions 411.
Of course, one may fixedly mount a series of cameras in camera positions 4b in lieu of employing a single, movable camera 42 as shown. Thus, in FIGURE 7a is illustrated camera means 4 which include a dolly 4a adapted to support a plurality of fixedly disposed cameras 4b. The cameras may be of any conventional type and, if the system is to be used for producing motion pictures, the film-feeding mechanisms of the cameras will all be synchronized (not shown). In any event the camera means used is adapted to take exposures from a regularly divergent pattern of camera exposure orientations adjacent ones of which mutually diverge, as herein explained, a stereoscopic angle of the order of 2, i.e. from 5" to 4.
As camera positioning as illustrated in FIGURES 7 and 7A, it is to be noted that the camera pattern is divergent outwardly. This divergency enables one to take a Wide-angle panorama with a finite number of successively stepped exposures of successively overlapping subject matter, and taken either simultaneously or sequentially. Secondly, the divergent camera pattern, it follows, spaces adjacent camera positions. Where this spacing between adjacent lens positions of the camera means is equivalent to average, human inter-ocular spacing, i.e. 2% inches, then reproductions of adjacently taken exposures of a close scene, when viewed individually by the respective eyes of the observer, will produce a stereocospic effect.
However, for panoramic scenes in nature, inter-cameraaxis spacing is relegated to less importance, whereas the angle of divergency between adjacent camera position axes becomes of prominent importance for, for greater distances, divergency angle alone and without consideration of inter-camera-position spacing will produce a desired stereoscopic effect over and above that experienced by a viewer viewing binocularly a panoramic scene, provided this divergency angle is maintained within reasonable limits, i.e. from 4 to 5", which range will be considered herein as of the order of 2. It will be remembered that 2 is the accepted value of the stereoscopic angle, i.e. the angle, subtended. by the eyes of the observer relative to a fixed point on an observed object. The 2 figure is generally agreed upon as the angle at which greatest stereoscopic effect is realized; howbeit the eyes might accommodate an angle as high as 4, with the stereoscopic efiect decreasing as the distance between the observed object and the observer is increased until, for angles less than 5", practically no stereoscopic effect will be discernible.
In FIGURE 7A the angle 0 between adjacent camera axes A and A is the divergency angle above spoken of and in magnitude is of the order of 2, the actual 2 figure being preferable but the range 4-5" being acceptable.
Method of operation My method is carried out by an apparatus, such as has been described, in the following manner:
The cameras 413 in FIGURE 7A, for example, photograph preferably in synchronism, a plurality of progressively related, panoramic sectors which overlap as to subject matter, the individual photographs made by adjacent cameras being mutually related as stereoscopic doublets. In other words, the subject matter photographed by adjacent cameras 412 overlap so that each individual picture is similar to each adjacent picture except that it was photographed from a view-point separated from the point from which the adjacent photograph was made by a sufficient distance to establish a definite stereoscopic relationship with the camera position on either side of it. Thus, intercamera distance will be equal to the chord length of the stereoscopic angle desired (i.e. of the order of 2) at a radius equivalent to the radius of curvature of the divergent camera pattern. For example, where the radius of the curvature of the divergent camera pattern is 7 feet then, for a stereoscopic angle of 2 the inter-camera distance will be approximately 2.5 inches. Although the cameras 4b are shown to be more or less convexly (i.e. divergently) arranged, the degree of divergence shown in FIGURE 7A is exaggerated, and the cameras actually may be arranged either in mutually parallel relation or may be arranged to diverge a selected degree. Actually, a certain amount of divergence of the individual cameras is desirable in order that the individual pictures when projected onto a composite screen of reasonable dimensions may reproduce a panoramic view encompassing a fairly wide angle. With respect to this feature, my method differs from prior art methods since in most prior art methods the individual cameras are arranged in concave orientation so that their axes tend to converge at or near the particular object being photographed; while such is suited for close-ups and portraits, the same is not suitable for panoramas because of the comparatively narrow viewing angle and confused background which necessarily result.
FIGURE 6 illustrates two pictures 5 and 5a respectively. The picture 5 represents a single photograph which might be taken by a single camera 4b (or 4b), the relative proportions of the subject matter in the picture 5 being to proper scale. The picture 5a, however, has been vertically stretched so that the relative ratio of height to width of the picture 5a is the same as the ratio of height to width of a back objective element 20 of a viewing cell 2a. The stretching of the picture 5 so as to assume the distorted proportion shown at 5a (an image anamorphesis) in FIGURE 6 may be accomplished by any desired means. For example, the lenses on each individual projector in may be ground so as to automatically stretch the picture 5 to the form shown at 5a. Alternatively, the films made by the cameras 4b might be run through a stretchprinter so designed that a negative having the proportions shown at 5, when printed or transposed onto positive film, would have the proportions shown at 5a.
The term image anamorphoses as used throughout shall be understood to comprise a photographic object such as a print, transparency, etc. wherein the horizontal dimension of the subject matter thereof, as at 50 in FIG- URE 6, is compressed relative to the vertical dimension Of the subject matter.
Regardless of how the stretching of the picture 5 is accomplished, the picture projected by a projector 1a onto the back objective surface 20 of a viewing cell 2a will have such proportions that it will fall entirely upon a single projection surface 20 of the appropriate viewing cell 2a.
By reference to FIGURE 2 it will be seen that the viewing cell 2a receives picture 5a (see FIGURE 6) on a translucent projection surface 20 of the cell, and that if the lens 2d were removed from the front of this viewing cell 2a, and observer sitting on the audience side of the cell would see the picture exactly as shown in FIGURE 6 at 5a, i.e., distorted. However, the lens element 2d is anamorphoscopic and is so designed that it horizontally magnifies only a relatively narrow vertical strip of the picture 5a. Therefore, a viewer sitting directly in front of the viewing cell 2a shown in FIGURE 2, would see a vertical strip x of the picture magnified to the width x, and an observer sitting to the right of the viewing cell 2a would see a vertical element y of the picture 51: magnified to the width 31. Note that in each of the cases described above, the observer is assumed to be looking at the viewing cell 2a with only one eye.
However, by reference to FIGURE 1 wherein is shown an observer having two eyes, namely a left eye E and a right eye E, it will be seen by following the dashed lines extending outwardly from each of said eyes that the eft eye E looks into one particular viewing cell and that the associated right eye E looks into the next adjacent viewing cell located immediately to the right.
From the above discussion it should be apparent that each respective eye of an observer views only a narrow vertical element of a picture 5a, and that if the pictures are properly oriented on the back objective surfaces of the respective viewing cells, the narrow vertical strip of one picture So as seen by an observers right eye will be a stereoscopic doublet with respect to the narrow vertical strip of another picture as seen by the observers left eye, the pictures being magnified by the anamorphoscopic lenses on the respective viewing cells. With the lens elements properly designed on the cameras, projectors and viewing cells, and with the viewing cells properly oriented with respect to each other to form a properly designed composite screen, every observer within the viewing range of the screen will see a continuous picture across the full width of the screen with his right eye and will see a different continuous picture with his left eye, the two pictures being stereoscopically related.
We shall now consider the phenomenon which takes place in detail. Reference is now made to FIGURE 1A wherein a portion of the screen 2 of FIGURE 1 is enlarged and shown in detail, and wherein the optical lines from the eyes E and E of the observer are drawn for purposes of understanding the invention.
It will be remembered that the camera structure of either FIGURE 7 or FIGURE 7A may be employed to take a progressive series of exposures of a panorama, with the exposures overlapping as to subject matter. If the conventionally established stereoscopic angle of 2 is agreed upon, i.e. the angle that which maximum stereoscopic effect is obtained, then, if the radius of curvature of the camera pattern is seven feet, for example, then adjacent camera positions will be, with respect to their respective, optical axes, about 2 /2 inches apart. Obviously, where the radius of curvature of the camera pattern varies from a 7-foot figure, then the inter-camera position facing will also vary, this variation being such, preferably, that the selected stereoscopic angle between adjacent camera positions, be maintained. In any event, the projectors 1a in FIGURE 1 may be supplied transparencies (or developed rints may be used as shown in FIGURE 2) such that the objective screen surface elements 2c may have projected or otherwise disposed thereon respective scene sectors, with adjacent scene sectors being stepped progressively according to the camera aforementioned, and with a respective print or projected scene being disposed upon a respective one of the screen elements 20.
In continuing our reference to FIGURE 7A, for example, we shall assume that a panoramic scene is being photographed, i.e. the camera film, of the several cameras (or the one camera of FIGURE 7) is exposed so that at camera positions C1, C2 and C3, progressively, respective exposures C1, C2, C3, etc. will be taken. In other words, a regularly progressive plurality of pictures C1, C2, C3, etc., comprising image anamorphosis of overlapping scene-sectors of the scene photographed will have been taken. Adjacent one of the exposures may be considered as stereoscopic doublets since angular displacement between adjacent camera positions is of the order of 2 (i.e. within the range of 45). The projectors 1A in FIGURE 1 will respectively project respective ones of said scenes in the same order so these scenes C1, C2, and C3, corresponding to the camera positions C1, C2, and C3, will be disposed upon the surfaces 20 of adjacent objective screen elements 20. Of course, rather than using projector apparatus, as in FIGURE 1, the individual reproductions in form of transparencies or prints may be disposed on the objective element 2c as in FIGURE 5 at 2 The reproductions (either by projection or by physical indicia) C1, C2, and C3, which constitute image anamorphosis of the scene sectors photographed may be thought of as being comprised of a progressive series of vertical strips (see FIGURE 1A) with the strips C in the reproductions being identical subject matter, the strips D being adjacent but identical subject matter, and so forth. In other words, the vertical strip sector A in C1 corresponds to a portion of the subject matter taken by a camera in position C1 (see FIGURE 7A) but which subject matter portion does not appear in any of the subsequently taken exposures. The reason that it does not appear is because the camera has been displaced progressively in one direction so as to leave area A out of subsequent exposures. However, as in the example shown in FIGURE 1A, subject matter B in reproduction C1, taken in camera position C1, will also be seen at vertical strip area B of reproduction C2 corresponding to camera position C2. The subject matter of the vertical strip areas of the same letter, e.g. B, of the reproductions are identical as to subject matter, but are stereoscopically related, since the exposures from which the reproductions are produced, were taken from displaced vantage points along stereoscopically displaced camera axes.
Where the focal lengths (which are equal) of the lenses 2:! (e.g. 5.5 inches) are greater than the (equal) distances (e.g. 4 inches) between the lenses and the image receiving surfaces, then the vertical strip area C at reproduction C1 will be seen by the right eye E, but vertical strip area D and not area C (except possibly for a slight, permissible overlapping fringe) will be seen by the left eye E. On reproduction C2, vertical strip area D will be seen by the right eye E and strip E seen by the left eye. These elemental vertical strip areas are magnified as virtual images by the respective lenses 2:11, 2d2, 2d3, and 2d4 to the full width of the individual lenses.
As to the left eye E, this eye will see vertical strip area D in reproduction C1, vertical strip area E in reproduction C2, vertical strip area F in reproduction C3, etc. Thus, the left eye will see these vertical strips and subsequent ones, which will be magnified horizontally by the respective lenses 201(1), 2d(2), 261(3), and 2d(4) so as to present a blended panorama viewable by the left eye. Correspondingly, the right eye E will see strip C in reproduction C1, D in C2, E in C3 and so on, the strips being magnified by their respective lenses to the width of the lenses to produce a second panorama. It will be noted that these two panoramas will be sub stantially the same in character; howbeit, corresponding portions (i.e. magnified corresponding vertical strips) of the two panoramas will be stereoscopic doublets, again by virtue of the different vantage points (see above) from which the exposure resulting in the reproductions were taken.
Where the focal length of the individual lenses, 2d(1), 203(2), 2d(3), and 2M4), is equivalent to 5 /2 inches, for example, and the distance between these lenses and their respective objective screen segments 20 equivalent to 4 inches, approximately, then, not only will the magnified virtual images produced enable the blending in of the panoramas be elfectuated, but also the refraction of the individual lenses will be such that the optical ray lines of adjacent vertical segments of a respective reproduction will cross and be seen by the respective eyes so that when both eyes are looking through a single lens, the right eye will not see any portion (save for a slight permissible fringe juncture, to be kept to a minimum) of what the left eye sees, but rather will see a vertical strip area which is adjacent and crossed over with respect thereto. In this manner, the need for a physical septum between the eyes so as to obtain a stereoscopic etfect is not needed. What is focused upon the retinas of the two eyes are two respective individual, blended in panoramas (one for each eye) corresponding portions of which are stereoscopically related as stereoscopic doublets.
As to the width of the viewing cells for minimum distortion, these should preferably be such that the same should subtend an angle, with respect to one eye of the observer, which is equivalent to the divergence angle of the camera pattern. Thus, the radius of curvature of the camera pattern should equal the nominal or average distance of observation from the screen. The projector pattern of FIGURE 1 should be equivalent in degree of convergence to the degree of divergence of the camera pattern. The nominal arcs of the viewing cells 2a and projectors 1a will have a common center spaced from the screen 2, again, a distance equal to the radius of curvature of the camera pattern. Again, for least distortion the objective screen segments 2c and their projection surfaces 20' should be concave, having a center point of curvature at the optical center of the lines 2d with which they are associated.
Referring again to FIGURE 1, the point C near the lower end of the figure represents the location of the centers of the cameras when the composite scene was photographed. Thus it will be seen that the axes of each individual camera 41), of each associated viewing cell 2a and of each associated projector 1a are all in alignment. When such axes are all in alignment the entire system is said to be in tight formation. However, since it is desirable that the system be capable of serving as large an audience as possible, it has, by experiment, been found possible to rotate each of the viewing cells through a small angle in such a direction that the axes of each viewing cell 2a may be caused to intersect at a point B located further out on the center line of the system than point C, as shown at the bottom of FIGURE 1.
When the individual viewing cells have been thus realigned so as to be somewhat less convergent toward the audience, the individual screen elements are said to be in loose formation. Theoretic-ally, repositioning the axes of said viewing cells to loose formation will introduce an error into the pictures as seen by the audience. However, experimentation has shown that considerable benefit can be realized by setting the viewing cells in loose adjustment because the size of the audience may be considerably increased thereby; and it has also been found by experiment that through relatively small changes of angle (changes from tight to loose formation) the error is not perceptible to the audience, and therefore the loose formation appears to be more satisfactory on a practical basis than the tight formation.
The modification shown in FIGURE 5 is made for the purpose of exhibiting stereoscopic still pictures and includes a plurality of viewing cells 2 each having an anamorphoscopic lens 2d on the audience side and each cell having as a back-objective surface a stretched positive print 2g with the emulsion side 2 thereof facing toward the lens 2d. This type of exhibition is especially suitable for advertising in stores and store windows, and the composite screen may be produced in any size desired.
Other changes and modifications in the apparatus shown in the respective figures are possible within the scope of the following method and apparatus claims.
I claim:
1. The method of reproducing stereoscopically a panoramic scene, comprising the steps of: equivalently photographing overlapping sectors of said panoramic scene from a divergent exposure orientation camera pattern toward the scene being photographed wherein the angle of divergence between adjacent exposure orientations is of the order of 2; producing from said photographing a series of side-by-side disposed sector image anamorphoses adjacent ones of which overlap as to subject matter and are stereoscopically related, said series being regularly progressive in correspondence with the progression of said camera pattern; placing said image amorphoses behind a series of corresponding narrow horizontally expanding cylindrical lenses at a distance less than the focal length of said lenses; and optically, anamorphoscopically restoring respective selected portions of said image anamorphoses, the portions selected depending upon the position of the respective eyes of the observer, as seen through said lenses, to produce two continuous panoramas each viewable by a respective eye of the observer, and not by his remaining eye, corresponding portions of said panoramas being stereoscopic doublets.
2. The method of claim 1 wherein said producing step comprises uniformly compressing the transverse dimensions of said sectors as photographed relative to their vertical dimensions thereof and displaying the result by optically restorable image receiving means.
3. The method of claim 1 wherein said producing step comprises uniformly compressing the transverse dimensions of said sectors after being photographed relative to their vertical dimensions thereof and displaying the result by optically restorable image receiving means.
4. The method of claim 1 wherein said producing step comprises producing said image anamorphoses in a pattern of convergence, relative to the observer, which is equal in degree with the pattern of divergence of the photographing of said scene.
5. The method of claim 1 wherein said producing step includes producing said image anamorphoses in a pattern of convergence, relative to the observer, which is nomi nally the same in degree as the pattern of divergence of the photographing of said scene.
6. The method of claim 2 wherein said producing step includes using photographic prints as said optically restorable image receiving means.
7. The method of claim 3 wherein said producing step includes using photographic transparencies as said optically restorable image-receiving means.
8. The method of reproducing stereoscopically a panoramic scene, comprising the steps of: equivalently photographing overlapping image sectors of said scene from a curved camera pattern toward the scene being recorded to produce a series of negatives, the center of curvature of said camera pattern being within the range of two feet to infinity along the axis of exposure of the photographing of said panoramic scene; reproducing from the said resulting negatives a series of side-by-side disposed amorphosized sector images constituting photo-prints adjacent ones of which overlap as to subject matter and are stereoscopically related; positioning said photo-prints respectively behind and in correspondence with a series of contiguous horizontally image-expanding cylindrical lenses to constitute a curved lenticular-faced picture the curvature of which corresponds to the curvature of said camera pattern but opposite thereto, a different whole stereoscopically related horizontally compressed photo-print of each said negatives being disposed behind its corresponding cylindrical lens at a distance less than the focal length of said lens, said series of photo prints being regularly progressive in correspondence with the progression of said camera pattern; and optically anamorphoscopically restoring a respective selected vertical strip of each of said photo-prints, selection of said strip depending on the hori zontal position of the respective eyes of the observer, to produce two continuous panoramas, each viewable by a single eye of said observer and not by his other eye and corresponding sector images of said panoramas being stereoscopic doublets.
9. The method of claim 8 wherein said lenticular faced picture maintains nominally the same degree of curvature as that of the said camera pattern but opposite thereto.
10. The method of claim 8 wherein one camera photographs the said scene to produce the said negatives.
11. The method of claim 8 wherein a plurality of sideby-side cameras are used to photograph the said scene to produce the said negatives.
12. The method of claim 8 wherein said sector images are transparencies illuminated from the rear.
13. The method of claim 8 wherein a single camera with a single horizontally compressive anamorphosor window is moved progressively horizontally sideways an overlapping image-producing distance between successive exposures and wherein said distance is sutlicient to produce negative exposures which are stereoscopically related by being horizontally displaced a calculated distance, in regular progression between successive exposures.
14. The method of reproducing stereoscopically a panoramic scene, comprising the steps of: equivalently photographing overlapping anamorphosed image sectors of said panoramic scene from a pre-determined horizontally displaced camera pattern toward the scene being recorded; producing therefrom a consecutive sequence of negatives which are horizontally compressed and are stereosco ically related by reason of said pre-determined camera pattern; reproducing from said negatives a series of side-byside disposed, horizontally compressed, positive sector pictures adjacent ones of which overlap as to subject matter and are stereoscopically related; positioning said positive sector pictures respectively behind and in correspondence with a series of contiguous horizontally image-expanding narrow cylindrical lenses constituting a lenticular faced picture window the contour of which is dependent on the said pre-deterrnined camera pattern; disposing behind its corresponding narrow cylindrical lens at a distance less than the focal length of said cylindrical lens a different whole anamorphosized stereoscopically-related positive sector picture derived from a corresponding one of said negatives, said series of positive sector pictures being regularly progressive in correspondence with the progression of the said pre-determined camera pattern; and optically anamorphoscopically restoring respective selected vertical strips of each of said positive sector pictures, selection of said strips depending on the horizontal position of the respective eyes of one or more simultaneous observers, a
different strip of each of said pictures being seen by each eye of each observer simultaneously to produce two continuous panoramas seen by the different eyes of said observer, said corresponding strips as seen by the different eyes of each observer being stereoscopic doublets.
15. The method of claim 14 wherein the making of said camera pattern consists of moving a single camera sideways successively to different, equally horizontally displaced camera positions, between successive negative exposures, to produce a succession of stereoscopicallyrelated sector-image negatives.
16. The method of claim 14 wherein the making of said camera pattern consists of employing a plurality of sideby-side, narrow, simultaneously operated cameras facing said scene being recorded, to produce a succession of stereoscopically related sector image negatives.
17. The method of claim 14 wherein said camera pattern is made by a single camera recording through a network of outwardly curved juxtaposed, narrow, horizontally-compressive cylindrical lenses of calculated power and Width, to produce a single compound negative composed of juxtaposed horizontally-different viewpoints of a panoramic scene, said different viewpoints recording sector images of said scene which are regularly progressive and stereoscopically related.
References Cited by the Examiner UNITED STATES PATENTS 1,128,979 2/1915 Hess 88-1 2,002,090 5/l935 Ives 35243 2,140,702 12/1938 Kanolt 8829 2,401,271 5/1946 PiSuner 352-43 3,046,330 7/1962 Ross 3526l r JULIA E. COI'NER, Primary Examiner.
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|Methods of stereoscopic reproduction of images
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|Gen Electric
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