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I tend to over analyze and disect every little thing that goes on and every little thing that I do.
25 May 2012
I tend to over analyze and disect every little thing that goes on and every little thing that I do.
5 comments:
I feel like we all kind of go through these little spells where we just overthink ourselves into a funk. I know I'm guilty of it for sure. I think you should just use your blog as an outlet, write how you feel and don't worry about what others think about what you're writing, this is YOUR blog and no one can tell you how to feel or think :) I enjoy reading your posts no matter what you're writing about!ReplyDelete
And you my friend, are amazing!ReplyDelete
I think we all go through moments when we feel like we are writing for others, I usually just think about myself, and get to the point where I remember I am writing for me, not for my boy, or my friends or people I know, but to get my emotions out and what I think and feel. I love to read your posts and you just do what you need to write for yourself!ReplyDelete
I think we all think too much - ha! There's me, thinking too much just now! :) But I definitely agree - it's hard to blog and NOT wonder how people will respond, etc. I am going through the same thing right now...ReplyDelete
I relate so much! I have to keep coming back to the same conclusions. You can NEVER please everyone, so just keep saying what's on your heart to say.ReplyDelete


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The Only Camo Hunting Bag You'll Ever Need
Pack your gear for the day in the Natural Gear Stealth Hunter Daypack. This camo hunting backpack is built from a soft, quiet brushed polyester material and sports a DWR treatment to resist water.
- Easy to Use Straps and Zippers
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- Padded Back Panel for Additional Comfort
- Dual Side Pockets for Added Storage
- Front Lash and Clip Points for Easy Access to Essentials
- Front Accessory Pocket
- Heavy-Duty Reinforced Bottom for Extra Durability
- 20 Liter Capacity

subset: commoncrawl


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My lovely friend Anya, who is a supremely talented illustrator, is opening an Etsy shop selling prints and cards of some of her work! I'm so excited for her =]
I'm very proud to own one of her 'Once in a Blue Moon' prints. I've loved Anya's work for as long as i've known her (which is...oh my...10 years!), especially the black and white linework like this. Also it's a bear riding a penny farthing on a tightrope whilst wearing a top hat in the moonlight! How could such a whimsical image fail to make you smile?
Anya Jung Illustration!
I'm currently on the hunt for a square frame to put this print in, so if anyone knows somewhere I can get them at a reasonable price, let me know!
Thursday 13 February 2014
Anya Jung Illustration
Posted by The Cemetery Dreamer at 08:44
4 comments:
She really is talented! Lovely drawings!ReplyDeleteReplies
=] I'm so lucky to have such a talented friend!Delete
Wow, that is lovely! Reminds me a bit of Ida Rentoul Outhwaite, that sort of older dreamy style! I have some lovely prints I need to hang, got to take them to the framing shop to be board mounted!ReplyDeleteReplies
=] I love that style of illustration too, I'd never seen Ida Rentoul Outhwaite's work but it's beautiful!Delete
I need to take my print to be framed too!
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Baby Boomers continue to revolutionize long-term care
Here's the lowdown on the newly dubbed 'Life Plan Community'
LeadingAge, a respected steward for the age-related healthcare field, has been hard at work reconsidering the old Continuing Care Retirement Community category. To start, the rate of CCRC market acceptance has been particularly sluggish in recent years. Hoping to boost enrollment, engagement and general satisfaction among Baby Boomers, the task force spearheaded a widespread namestorming project, aſter careful deliberation arriving at the new Life Plan Community moniker. The hashtag has been circulating across social media in recent months.
So, is it all semantics, or are #LifePlanCommunities part of a more profound shiſt in the long-term care arena? Advocates at LeadingAge defend their re-categorization by citing the unique generation of adults who will be seeking care in the coming decade. Their explanation is simple: "They're changing the game. We're changing the name."
Fresh message. Same familiar services.
LeadingAge spokespeople remind facilities that their state contracts may continue to require CCRC terminology. Still, operators are encouraged to embrace the full 'Life Plan Community' name in their marketing and other communications in order to spread the word and give meaning to the category's recent makeover.
They also remind us that other than our renewed attention to residents' changing mindsets, it's pretty much business as usual. "To meet the needs of this generation, senior living communities have transformed from care providers into vibrant villages offering a range of residential options, along with new opportunities for creative, educational and personal exploration," says LeadingAge.
"Clearly, the name Continuing Care Retirement Community no longer describes the contemporary senior living community, which is really a Life Plan Community." As always, facilities must meet certain NIC requirements in order to qualify for the LPC designation. In addition to offering a combination of independent, assisted and skilled nursing services, the community must:
• Be age restricted with various payment programs
• Offer multiple levels of care on a single campus
• Have a strong focus on active lifestyle
• Be integrated into the greater local community
• Put a clear emphasis on social responsibility
This past year, a study by Mather LifeWays Institute on Aging sought to confirm what many industry experts predict: Life Plan Communities support residents' overall health and wellness in quantifiable ways. Details of the research will be published in January, but an early glimpse at their findings is explored in a recent article form McKnight's LTC.


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1. Refund Policy:The refunds will be deposited to the pertaining account number in 7 working days.
2. Cancellation Policy:
Confirmed dates/ days may be altered, cancelled or cut short only if intimation in writing reaches the company, 30 days prior to the check in date.
50 % refund will be issued if the cancellation is effected between 16 and 29 days prior to the check in date.
No refund/ postponement if the cancellation is effected within 15 days prior to the check in date.
All internet/ confirmed booking charges will attract 10 % cancellation charges on total booking amount.
Rates/Tax are subjected to change.
All disputes are subject to Bangalore Jurisdiction.


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From Brian Liskai
Fremont, OH — (April 23, 2016) — Byron Reed wasn't planning on racing at Fremont Speedway Saturday. He was supposed to be at his son's sporting event. But, circumstances changed and Reed ended up at "The Track That Action Built" and he proceeded to claim his 28th career victory.
Reed, the defending and six time Fort Ball Pizza Palace 410 Sprint champion at Fremont, took the lead from Dean Jacobs with 10 laps remaining and held off a charging Craig Mintz to score the win on Tank's Meats Night. Reed now ranks 15th on Fremont Speedway's all-time win list.
"This is the first year in 27 years I decided I have to back it down a little bit and my family is getting busy and involved in all kinds of stuff. I don't want to be a guy that missing all his kids' stuff. I was going to miss the races tonight but about the middle of the night my son got sick so I figured I could stay home with him during the day and my wife could stay home with him during the night so I went racing," said Reed in the Engine Pro Victory Lane.
"We are going to miss a couple of races in the next couple of weeks. But, we'll be around….there's no retirement date set. Just backing it down a little bit to do some stuff with the family," added Reed.
"I do not like leading all this stuff like last week (he was passed on the last lap). I'd rather be the hunter than the hunted. I have to thank Crown Battery, Kistler Engines and Kistler Racing Products. And I want to thank all the fans….short track racing in Northwestern Ohio is making a come-back. I have to thank the crew at Fremont Speedway. They couldn't have made the track any nicer," concluded Reed.
The victory will have Reed atop the Kistler Racing Products FAST Championship Series Presented by KS Sales and Service point standings. He is the defending and three time FAST Champion. The FAST Championship Series will have a double-header next weekend, competing at Attica Raceway Park on Friday, April 29 and Fremont on Saturday, April 30.
Fremont's John Ivy took the lad on lap five and held on through a handful of restarts to drive to the victory in the Fremont Federal Credit Union 305 Sprints. The victory is Ivy's 51st at the track as he sits sixth on the all-time win list.
"I think we finally figured something out with this race car. I have to thank everyone who works on this….Joey, my brother, Sonny, Ronny, the Sipes family gives us great equipment, Gressman Powersports, Adkins Group, Sonny's Machine and Welding…everybody that helps us out. This is so much fun right now…I hope we can keep it going," said Ivy beside his S&S Racing, OC Detailing, CA Kustoms, Johnson's Hunting and Fishing, Tiffany's Furniture, Keller Hardware, Sipes Oceola Garage, L&R Farms, Rohr Total Lawn Care backed #77I.
The win will put Ivy atop the JLH General Contractor 305 FAST Championship Series Presented by Engine Pro standings.
Fremont's Keith Sorg held off a defending track champion Kent Brewer following a caution with just two laps to go to win his first career feature in the Burmeister Trophy Dirt Trucks. And he did it while fighting the flu as well.
"I saw Matt Foos up on the wall and he told me to go down low and I figured I'd take his advice. This would be a lot better if I felt better but I'm sure it will hit me that I finally won later tonight," said Sorg beside his Fremont Fence, M&L Excavating, D&R Transmissions, Advanced Auto Parts, West End Tire backed #4s.
"I have to thank my dad for working so hard all week to get the motor back together and everyone else that helps out," added Sorg.
Tiffin, Ohio's Chester Fitch led all 15 laps to score the victory in the McCullough Industries 602 Late Models. It was his fourth career Fremont win.
"I've been doing this stuff for 29 years and this is a blast. I want to thank Danner's Auto Wrecking, Tiffin Auto Auction, Hi-Way 101, my mom and dad and my family and MB…without everybody I couldn't do this," said Fitch.
Chris Andrews and Parker Price Miller brought the field to green for the 30 lap 410 sprint feature with Andrews gaining the advantage. Price Miller would pressure Andrews while Broc Martin, Paige Polyak, Dean Jacobs and Reed battled right behind them. Price Miller would slide off the high side of turn two on lap five, allowing Jacobs to take second with Polyak, Reed and Martin in tow.
Andrews watched his lead disappear when the caution flew for a DJ Foos spin on lap six. On the restart Jacobs drove around Andrews for the lead with Reed, Polyak, Martin and Jody Keegan in pursuit. Jess Stiger would bring out the caution on lap eight. On the ensuing restart Andrews pressured Jacobs for the lead as Reed also challenged.
Reed would take the runner-up spot on lap 10 as Jacobs maintained his lead. Reed would slowly begin reeling Jacobs in and by the half-way point the pair were side by side. Meanwhile Andrews, Martin, Polyak, Keegan, Duane Zablocki and Craig Mintz were also closing.
Lapped traffic would come into play with 13 laps remaining which allowed Jacobs to maintain his lead over Reed, Andrews, Martin and Polyak. Reed would pounce on lap 20, diving low in turns three and four to take the lead.
Zablocki would bring out the caution with five laps to go with the running order Reed, Jacobs, Andrews, Martin and Mintz (up from 16th starting position). Mintz, who started 16th, would grab fourth with three laps to go as Jacobs challenged Reed for the lead. Jacobs' run would end with two laps remaining as he coast to a stop, setting up a two lap battle to the checkers.
As the green reappeared, Reed would lead as Mintz drove around Andrews for second. Reed would stay glued to the bottom of track and drove to the win over Mintz, Andrews, Martin and Caleb Griffith.
Seth Schneider and Dustin Stroup paced the field for the 25 lap 305 sprint feature. Stroup would bolt into the lead with Ivy moving into second with Schneider, Paul Weaver, Alvin Roepke and Jason Keckler in tow. Ivy would battle with Stroup for a handful of laps before taking the lead on lap five.
Following a caution with six laps recorded for a Landon LaLonde spin, Ivy would start to pull away with Stroup, Schneider, Keckler, Roepke, Weaver, Nate Dussel and Bobby Clark trying to keep pace. Trevor Baker would bring out the caution on lap 11 and again on the restart. On the second attempt to go green, Steve Rando would experience problems.
When the green stayed out, Ivy would drive away from Stroup with Schneider trying to hold off Keckler, Roepke, Dussel and Luke Griffith. The car on the move was Dustin Dinan who had worked his way from 20th starting spot to eighth.
The final caution flew with 9 laps to go for Matt Foos wiping out a big lead for Ivy. On the restart Ivy would hold off Stroup with Schneider, Dussel, Keckler Roepke, Dinan and Clark keeping pace. As the laps ticked off Ivy began to pull away while Stroup ran comfortably in second while Schneider and Dussel battled for third.
Ivy would cruise to the win over Stroup, Schneider, Dussel and Dinan.
In the dirt truck feature a multi-truck pile-up on the start would delay the exciting race. On the ensuing restart Keith Sorg would drive from outside front row starting spot into the lead over Brandon Leighton, Jim Holcomb, Cory McCaughey and Brian Sorg.
As Keith Sorg pulled away, McCaughey drove into second on lap four while Kent Brewer and opening night winner Shawn Valenti charged through the field. With seven laps scored Sorg now led Brewer, McCaughey, Valenti, Leighton, Jim Ward and Holcomb.
Brewer closed on Sorg quickly before the caution came out with two laps to go for McCaughey who had mechanical issues. On the restart Sorg would keep his truck glued to the bottom and held off Brewer for the win. Ward, Valenti and Leighton would round out the top five.
Fitch and Matt Shipley brought the field to green for the 15 lap late model feature but several crashes in the opening laps slowed the race pace. With four laps recorded there were four cautions with the running order Fitch, Ky Harper, Tim Sabo, Mike Dukeshire, Shipley, Brandon Perkins and Steve Sabo.
The race would go the final 11 laps caution free. Fitch would stick to his line while Harper, Tim Sabo and Shipley gave chase. Harper would experience mechanical woes with two laps to go, moving Tim Sabo into second.
Fitch would drive to the win over Tim Sabo, Shipley, Dukeshire and Steve Sabo.
Fremont Speedway will be back in action Saturday, April 30 for Adkins Fence and Sanitation Night. It will be a FAST 410 point night with the 305 sprints, dirt trucks and late models also in action. Mascots from several area businesses and schools will be on hand.
For more information go to www.fremontohspeedway.com or like Fremont Speedway on Facebook at www.facebook.com/FremontSpeedway and on Twitter @FremontSpeedway.
For more information on the FAST Championship Series go to www.fastondirt.com
Fremont Speedway
Tanks Meats Night
Saturday, April 23, 2016
Starting position [*]
410 Sprints – Fort Ball Pizza Palace
Fricker's Qualifying
1.83M-Broc Martin, 12.601; 2.19-Paige Polyak, 12.676; 3.2-Parker Price-Miller, 12.688; 4.5K-Adam Kekich, 12.715; 5.73-Chris Andrews, 12.788; 6.5-Byron Reed, 12.794; 7.60-Jody Keegan, 12.851; 8.97-Dean Jacobs, 12.893; 9.6-Bill Rose, 12.918; 10.9Z-Duane Zablocki, 12.960; 11.33M-Caleb Griffith, 13.071; 12.45L-Brian Lay, 13.133; 13.2+-Brian Smith, 13.146; 14.8J-Jess Stiger, 13.182; 15.38-Matt Westfall, 13.206; 16.09-Craig Mintz, 13.213; 17.7-Shawn Valenti, 13.335; 18.23-DJ Foos, 13.362; 19.3J-Trey Jacobs, 13.365; 20.68G-Tyler Gunn, 13.961; 21.59J-Kirk Jeffries, 99.000; 22.16-Stuart Brubaker, 99.990;
Kistler Engines Heat 1 – (8 Laps, top 8 to A)
1. 2+-Brian Smith[2] ; 2. 09-Craig Mintz[1] ; 3. 60-Jody Keegan[4] ; 4. 83M-Broc Martin[6] ; 5. 9Z-Duane Zablocki[3] ; 6. 3J-Trey Jacobs[7] ; 7. 5K-Adam Kekich[5] ; 8. 16-Stuart Brubaker[8]
Pub 400 Heat 2 – (8 Laps, top 7 to A)
1. 97-Dean Jacobs[4] ; 2. 8J-Jess Stiger[2] ; 3. 33M-Caleb Griffith[3] ; 4. 73-Chris Andrews[5] ; 5. 19-Paige Polyak[6] ; 6. 7-Shawn Valenti[1] ; 7. 68G-Tyler Gunn[7]
Hoosier Tires Heat 3 – (8 Laps, top 7 to A)
1. 23-DJ Foos[1] ; 2. 38-Matt Westfall[2] ; 3. 6-Bill Rose[4] ; 4. 5-Byron Reed[5] ; 5. 2-Parker Price-Miller[6] ; 6. 45L-Brian Lay[3] ; 7. 59J-Kirk Jeffries[7]
A-Main 1 – (30 Laps)
1. 5-Byron Reed[5] ; 2. 09-Craig Mintz[16] ; 3. 73-Chris Andrews[1] ; 4. 83M-Broc Martin[4] ; 5. 33M-Caleb Griffith[10] ; 6. 19-Paige Polyak[3] ; 7. 2+-Brian Smith[13] ; 8. 60-Jody Keegan[6] ; 9. 3J-Trey Jacobs[19] ; 10. 68G-Tyler Gunn[20] ; 11. 16-Stuart Brubaker[22] ; 12. 45L-Brian Lay[12] ; 13. 6-Bill Rose[8] ; 14. 38-Matt Westfall[15] ; 15. 23-DJ Foos[18] ; 16. 5K-Adam Kekich[11] ; 17. 7-Shawn Valenti[17] ; 18. 97-Dean Jacobs[7] ; 19. 9Z-Duane Zablocki[9] ; 20. 59J-Kirk Jeffries[21] ; 21. 2-Parker Price-Miller[2] ; 22. 8J-Jess Stiger[14]
Hard Charger: Craig Mintz +14
305 Sprints – Fremont Federal Credit Union
Kistler Engines Heat 1 – (8 Laps, top 4 to A)
1. 45-Trevor baker[1] ; 2. 77I-John Ivy[4] ; 3. 1W-Paul Weaver[7] ; 4. 19R-Steve Rando[3] ; 5. 2F-Matt Foos[2] ; 6. 11X-George Englert[5] ; 7. 41-Thomas Schinderle[8] ; 8. 10-Josh Harrison[9] ; 9. 75-Jerry Dahms[6]
Pub 400 Heat 2 – (8 Laps, top 4 to A)
1. 99-Alvin Roepke[2] ; 2. 11G-Luke Griffith[6] ; 3. 20B-Cody Bova[8] ; 4. 22M-Dan McCarron[5] ; 5. 20I-Kelsey Ivy[1] ; 6. 48M-Mike Moore[3] ; 7. 9R-Dustin Rall[7] ; 8. 47-Matt Lucius[4]
Hoosier Tires Heat 3 – (8 Laps, top 4 to A)
1. 10X-Dustin Stroup[1] ; 2. 36-Seth Schneider[4] ; 3. 2L-Landon Lalonde[2] ; 4. 2-Ricky Peterson[3] ; 5. 1X-Dustin Dinan[8] ; 6. 87-Brian Gibbs[5] ; 7. 27-Cody Gallogly[7] ; 8. 5JR-Jimmy Mcgrath[6]
Computer Man Heat 4 – (8 Laps, top 4 to A)
1. 4*-Tyler Street[2] ; 2. 25-Jason Keckler[1] ; 3. 1-Nate Dussel[3] ; 4. 8-Bobby Clark[7] ; 5. 66-Jamie Miller[4] ; 6. 12-Kyle Capodice[5] ; 7. 7M-Brandon Moore[6] ; 8. 18-Frank Neill[8]
Firestone Auto Care B-Main 1 – (10 Laps, top 2 to A)
1. 2F-Matt Foos[1] ; 2. 10-Josh Harrison[2] ; 3. 20I-Kelsey Ivy[3] ; 4. 11X-George Englert[4] ; 5. 47-Matt Lucius[8] ; 6. 75-Jerry Dahms[9] ; 7. 9R-Dustin Rall[6] ; 8. 41-Thomas Schinderle[5] ; 9. 48M-Mike Moore[7]
Firestone Auto Care B-Main 2 – (10 Laps, top 2 to A)
1. 66-Jamie Miller[2] ; 2. 1X-Dustin Dinan[1] ; 3. 12-Kyle Capodice[4] ; 4. 18-Frank Neill[8] ; 5. 7M-Brandon Moore[6] ; 6. 5JR-Jimmy Mcgrath[7] ; 7. 27-Cody Gallogly[5] ; 8. 87-Brian Gibbs[3]
A-Main 1 – (25 Laps)
1. 77I-John Ivy[4] ; 2. 10X-Dustin Stroup[2] ; 3. 36-Seth Schneider[1] ; 4. 1-Nate Dussel[12] ; 5. 1X-Dustin Dinan[20] ; 6. 25-Jason Keckler[6] ; 7. 99-Alvin Roepke[3] ; 8. 8-Bobby Clark[16] ; 9. 22M-Dan McCarron[14] ; 10. 1W-Paul Weaver[5] ; 11. 11G-Luke Griffith[8] ; 12. 4*-Tyler Street[9] ; 13. 66-Jamie Miller[18] ; 14. 20B-Cody Bova[7] ; 15. 2F-Matt Foos[17] ; 16. 2-Ricky Peterson[15] ; 17. 19R-Steve Rando[13] ; 18. 45-Trevor baker[10] ; 19. 2L-Landon Lalonde[11] ; 20. 10-Josh Harrison[19]
Hard Charger: Dustin Dinan +15
Dirt Trucks – Burmeister Trophy
Kistler Engines Heat 1 – (6 Laps, top 8 to A)
1. 36M-Cory Mccaughey[4] ; 2. 4s-Keith Sorg[2] ; 3. 16-Jim Holcomb[3] ; 4. 17x-Dustin Keegan[7] ; 5. 99-Gene Potridge[6] ; 6. 33-Jeff Ward[1] ; 7. 72-Eric Potridge[5] ; 8. 221-Jeff Warnick[8]
Pub 400 Heat 2 – (6 Laps, top 8 to A)
1. 7B-Shawn Valenti[2] ; 2. 8KB-Kent Brewer[3] ; 3. 4x-Brian Sorg[1] ; 4. 22-Brandon Leighton[6] ; 5. 5s-Brad Stuckey[5] ; 6. 7f-Dana Frey[8] ; 7. 26-Kyle Lagrou[4] ; 8. 721-John Martis[7]
A-Main 1 – (15 Laps)
1. 4s-Keith Sorg[3] ; 2. 8KB-Kent Brewer[4] ; 3. 33-Jeff Ward[11] ; 4. 7B-Shawn Valenti[8] ; 5. 22-Brandon Leighton[1] ; 6. 16-Jim Holcomb[5] ; 7. 4x-Brian Sorg[6] ; 8. 17x-Dustin Keegan[2] ; 9. 721-John Martis[16] ; 10. 36M-Cory Mccaughey[7] ; 11. 99-Gene Potridge[9] ; 12. 5s-Brad Stuckey[10] ; 13. 7f-Dana Frey[12] ; 14. 72-Eric Potridge[13] ; 15. 26-Kyle Lagrou[14] ; 16. 221-Jeff Warnick[15]
Hard Charger: Jeff Ward +8
602 Late Models – McCullough Industries
Kistler Engines Heat 1 – (6 Laps, top 6 to A)
1. 12-Kyle Dukeshire[1] ; 2. 44-Matt Shipley[6] ; 3. 01-Brandon Perkins[2] ; 4. 98-Tim Sabo[5] ; 5. 17x-Dustin Keegan[3] ; 6. 16-Steve Sabo[4]
Pub 400 Heat 2 – (6 Laps, top 6 to A)
1. 00-John Brooks[1] ; 2. 101-Chester Fitch[5] ; 3. 34-Ky Harper[4] ; 4. 4M-Jamie Miller[2] ; 5. 04-Jeff Hites[3]; 6. 32-Brandon Myers [6]
A-Main 1 – (15 Laps)
1. 101-Chester Fitch[1] ; 2. 98-Tim Sabo[7] ; 3. 44-Matt Shipley[2] ; 4. 12-Kyle Dukeshire[5] ; 5. 16-Steve Sabo[11] ; 6. 04-Jeff Hites[10] ; 7. 17x-Dustin Keegan[9] ; 8. 34-Ky Harper[3] ; 9. 01-Brandon Perkins[6] ; 10. 00-John Brooks[4] ; 11. 4M-Jamie Miller[8]; 12. 32-Brandon Myers [12]


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Saw this nugget buried in a recent earnings call of Wynn Resorts Management. This is Steve Wynn responding to a caller question:
Well, we finished our financing recently. The last tranche was a $750,000 – $750 million bond. We sold it at 5.09 with no covenants nonrecourse to the parent. And that brought our total financing for Cotai to $3,850,000,000 at an average cost of 3.3%. Or to put it another way, we rented the $3.85 billion for $125 million.
Now on one hand, as a businessman, I'm thrilled. Never dreamt that we would see anything so tasty and wonderful as that. On the other hand, it's a reflection of questionable fiscal and monetary policy in the United States that is artificially depressed interest rates because of quantitative easing by the Fed, which is also sort of killing the value of the dollar and the living standard of the working people.
So the good news is, if you're a high-class borrower with good credit rating, this is one of the most tastiest seasons of all time for 2 reasons. You're borrowing money at artificially depressed rates. And you're most likely going to pay them back with 85-cent dollars.
It's a perfect storm for a businessperson unless you look at the truth of the matter and the impact it has on your customers and your employees. And that's a much darker story. It doesn't lend itself to a soundbite, but it's – for every businessman in America and any economist that has their heads screwed on right, it's an ominous situation.
But in terms of our moment in history, in commercial history and our projects in Cotai, along with our colleagues in the industry, it's nirvana. Capital structure now is – these are mostly at the Venetian and the Wynn, things of beauty. They're lovely, better than you could ever want. I mean, they've got everything, low interest rates, long maturities, low covenants. What else do you want? I mean, it's great.
If you look at it from our point of view, look at it from a consumers' point of view or a working person's point of view, who's paying for all this cheap money? Well, right now, the Fed is. I thought Bernie Madoff went to jail for that. But anyway, that's my answer about your capital structure.


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|Saturday, 09 December 2023
Volume 7, 2007, Issue 3
Order by : Name | Date | Hits [ Descendent ]
Effect of nitrogen fertilization on yield and fruit quality of raspberries (Rubus idaeus L.) under two fertigation programs (In Spanish)
Quezada, C., Vidal, I., Lemus, I., Sánchez, H.
Figueiredo, T., Grassi. H.
Cariello, M., Castañeda, L., Riobo, I., González. J.
Biological activities and aggregates stability in a soil from Chilean temperate forest under two successional stages and seasonal changes
Alvear, M., Urra, C., Huaiquilao, R., Astorga, M., Reyes, F.
Organic wastes phytotoxicity bioessays on lettuce and annual ryegrass conducted in a degraded Alfisol soil (in Spanish)
Celis, J., Sandoval, M., Briones, M.
Núñez, P., Demanet, R., Matus, F., Mora, M.


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We are coming to a close on our 4 hot sauce reviews for Hellfire Hot Sauce. So far we have seen some very successful reviews. It is a great to see a company make such a successful splash with our review team as Hellfire surely has. Will the last of the reviews carry on with the solid ratings time will tell. I would like to thank the good people of Hellfire Hot Sauce & Jacks Meats for letting us highlight their company here on ILIS. I wish you much success, and I look forward to trying your products soon myself. To watch all the past reviews from our review squad of Zzombie & his little chilehead son Big Daddy B, and the one and only Ryan Graub, then please click the links below. Steve "The Machine" Smallwood's computer crashed so not sure if we will be able to get the video or not, but as the saying goes the show must go on. I told Steve to let us know what his rating when he gets the chance to post. I think he had some very positive things to say about this one.
Blueberry Hell: CLICK ME
Pure Hell Private Reserve: CLICK ME
Devil's Blend: CLICK ME
Zzombie & Big Daddy B
Ryan Graub
Hellfire Hot Sauce
Email: Sa***@He**************.com
Facebook: CLICK ME


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About OB
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3-D Shoot
A 3-D shoot or tournament is an archery event where the archers are shooting at life-sized animal targets. A 3-D shoot may have 20-60 targets. Most shoots are just one day shoots, but some can be 2 day events. They are all unique in their own style. They can also offer a challenge for novice and pro alike, and fun for everyone!
3-D animal targets range from small animals such as gophers, squirrels, and ducks, to large animals such as elk, moose, and buffalo. The targets are made of high density foam for stopping arrows, and are sculpted to give a realistic appearance of the animal. Oranco uses Rhinehart & McKenzie targets.
Some clubs may have standard animal targets, including gophers, ducks, pigs, deer, antelope, and bears. Other clubs may have more exotic animals, such as lions, tigers, crocodiles, and elephants. Other targets have included larger-than-life bugs such as a 6-foot tall mosquito or cockroach or space alien monsters. The variety is up the the imagination of the maker.
The 3-D shoot may have all marked or all unmarked distances, depending on the club hosting the event. Distances can range from straight down, to a couple of feet, to 80 yards or more. Average distances are 10-50 yards. The archer will shoot from a marker or "stake" where the club wants the archer for the shot. Clubs will have closer "cub stakes" for the younger kids to shoot from.
Marked distances are known distances. The distance will be indicated next to the shooting spot for the target.
Unmarked distances are just that. They are unknown to the archer. The archer will have to visually judge the distance from the shooting spot to the target, and then shoot his/her arrow accordingly. The closer you are to figuring the correct distance, the closer you will be to hitting the target.
Shots are usually made from standard standing positions, but some clubs add spice by creating shots from a sitting position, from a boat, or a platform. You may be shooting level, up, or down. You may be shooting in a level field, on a hill, across streams or ponds, through trees, bushes, or into a ravine. It all depends on the archery club.
Each animal will have scoring rings on the body, usually in the chest area, which may or may not be visible from a distance. The animal will have two rings: a smaller inner ring, and a larger outer ring. The inner ring (the "vital" ring) will be the highest score for the target. The outer ring (the "wound" ring) will be a lesser score. Hitting the target outside the rings will count for the minimum score for the target.
Many clubs use a 10-8-5 scoring system. This scores as 10 points for hitting inside the inner ring, 8 points for hitting somewhere inside the outer ring, and 5 points for hitting anywhere else on the animal. Most targets have a "x" or "12-ring" at the very center. Some clubs score this as 12 points, some count it as part of the 10-ring. Generally, if the arrow touches the ring for the higher score, it counts. Missing the animal completely or not having the arrow stick (a glancing shot) counts as zero points. Most 3-D shoots are one-arrow-per-target. The archer shoots only one arrow at the target, scores the shot, and moves to the next target.
Bonus targets:
Some clubs may have a "bonus" target set up next to a regular target on their course. These targets are more difficult to hit, but are worth more points than the regular target. Bonus targets are usually worth 20 points. An example might be a small squirrel sitting next to a moose at 60 yards. If the archer shoots at the moose, it counts for the regular score. If the archer decides to try for the squirrel and hits it, it counts for the bonus score. Missing the squirrel would count for zero points. And the archer moves to the next target.
Some bonus targets are made of steel plate. These can be very intimidating. The steel targets are silhouettes (maybe a pig or fox) with a large hole in the center. The hole is about the same size as the "wound" ring for that animal. The target is usually set out between 10-25 yards distance. Making the arrow through the hole scores the bonus score. Hitting the steel body counts as zero points, and destroys the arrow with a loud "DING!" Everybody around knows you missed the target! These targets can be a real adrenaline rush for the archer, knowing that if they make the shot, they have extra points, and if they miss, they have one less arrow in their quiver. (Tip: If you can hit inside a "wound" ring, you can make it through the hole! - It just looks worse than it is.)
Group Shots:
These can make a particular shot more fun and challenging. Group shots can be different in numbers, but try to picture a herd of 10 deer targets: 3 bucks, 5 does, and 2 fawns, all mingling together. This is all one target. You only can shoot one of the bucks. You pick which buck you want to try for. If you hit it, congratulations, you score! If you hit a doe instead, it may be minus 5 points. If you hit a fawn, it may be minus 20 points! Ouch!
The cost varies from club to club. In the Southern California area, the average adult admission price is $20. Most clubs offer prices for families and kids, with a $5.00 discount for having a CBH card. Two-day shoots can be more.
So that's what a 3-D shoot is about. They are animal targets, set at various distances, offering fun for everyone. Some shoots can be very basic, and some can be very elaborate. Elaborate shoots can even include "running" or "flying" animal targets. Some can have scene decorations. Each club will have their own guidelines for their 3-D shoot, so if you have any questions, ask someone at the shoot. They're always fun, and always stimulate your archery skills. So get out there and enjoy!
Oranco holds 5 major 42-target 3-D shoots each year and several league shoots. Check the Oranco calendar for dates and flyers.


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June 15, 2011
pie anyone?
8 comments:
that looks delish, and the perfect size!ReplyDelete
Oh, that is just so super cute! It looks delicious!ReplyDelete
I am like you too, me + sweet things is never a good mix especially around mid terms or exams.
Ngaio May x
mmmm looks so yummy, my husband is working late too urrrg, my girl is sleeping and I'm enjoying some milk with cookies, what else I can do? Jajaja I love sweets too!ReplyDelete
good night!
I like little pies too..I get into less trouble the smaller they are ;)ReplyDelete
yummy dEliCiOus xxReplyDelete
Dont worry eating all the sweets isn't a crime:)ReplyDelete
Looks delicious by the way :)
I don't know how you do it! I just had my second a month ago and am just now figuring out how to get dressed before noon :) Thanks for being such an encouragement in the Lord!ReplyDelete
hello friends!
thank you for leaving a comment! i might not be able to respond to every comment or email, but please know every single one is special to us...


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Bedding Bundle: Leah Quilt Set + Bella Comforter - Full/Queen
$ 190.00
*Discount applied during checkout.
Bedding Bundle: Leah Quilt Set + Bella Comforter - Full/Queen
$ 190.00
*Discount applied during checkout.
Buy these sets together as a bundle and save significantly off the cost of purchasing them separately. This set includes one Leah Quilt Set and one Bella Comforter Set, both must be the same size.
Leah Full/Queen Quilt Set:
- 3-Piece Set Includes: 1 Quilt, 2 shams
- Full/Queen Quilt: 92"H x 88"W, Shams: 20"H x 26"W
- Fabric Content: Micro Fiber
- Fill Content: 50% Polyester, 50% Cotton
- Reversible
- Floral
- Made In China
- Machine Wash Cold, Gentle Cycle, Only Non Chlorine Bleach When Needed, Tumble Dry Low, Cool Iron If Needed.
Bella Full/Queen Comforter Set:
- 3-Piece Set Includes: One Comforter and Two Shams
- 230 GSM Comforter
- Queen Comforter: 92"W x 96"H; Each Sham: 26"W x 20"H
- Fabric Content: 100% Polyester
- Fill Content: 100% Polyester
- STANDARD 100 by OEKO-TEX® certified
- Made In China
- Dry Clean Only.
*Discount applied during checkout. No other discounts apply.
Get Inspired...
Free shipping
is offered for all orders shipping domestically within the United States with an order total of $75 or greater.
Domestic orders ship for a flat rate of $6.95 under $75.
Shipping TimesEstimated times of arrival for your order will depend upon which method of shipping is chosen during checkout, as well as the distance your package has to travel. Here are your options:
- FedEx SmartPost Processing Time (1-2 Business Days) + Time in Transit (3-8 Business Days) = 4-10 Business Days. {Alaska and Hawaii can take up to 30 days}
- FedEx Home Delivery Processing Time (1 Business Day) + Time in Transit (1-6 Business Days) = 2-7 Business Days
- 2nd Day Processing Time (1 Business Day) + Time in Transit (2 Business Days) = 3 Business Days.
- Overnight Processing Time (1 Business Day) + Time in Transit (1 Business Day) = 2 Business Days.


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4.00 Power Women's Bifocals
Find your perfect pair of +4.00 power bifocals today with our wide selection of styles, colors, and materials. Bifocal readers have unmagnified lenses which also contain inserts with the magnification of your choice in the lower portion of the lenses.
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Former UFC fighters Artem Lobov and Jason Knight who faced each other in a bare-knuckle brawl over the weekend have taken to social media to show the injuries they incurred on themselves.
The pair suffered gruesome cuts and bruises to the face and post-fight images shared after the clash revealed the horrible extent of the damage.
Artem Lobov, who is Conor McGregor's team-mate won the fight by majority decision.


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Jesse created live visuals for Sleepless at the Walt Disney Concert Hall, June 16, 2017.
Sleepless: The Music Center After Hours explores the living maze of Walt Disney Concert Hall with all its curious angles and hidden spaces. See the hall transformed by DJs, sonic experiences, projections, dance parties and interactive installations with rare access to the hall's backstage areas and private rooms. Stay up, get lost and find yourself.
• Get moving in BP hall with beats curated by Dexter Story from Anthony Valadez and DJ Phatrick hosted by KG Superstar and including artist Jesse Gilbert's real-time video capture of the crowd, distorted and projected in large scale;
• A birch tree maze designed by scenic artist Martin Vallejo accompanied by evocative music by Ed Barguiarena and ethereal lighting by Sohail Najafi;
• Encounter Sleepless census takers who will gather late night truths about you, curated by artist Ashley Sparks.
• Dance to industrial and new beat sounds as DUBLAB turns the Founders room into a dark psychedelic house of mirrors. DJ sets by Remy Marc, Sarah Toones, and Jamal Sharaf El Deen, and an interactive, mirrored and refractive video art installation with sculpture and 3D video animation made by artist, Suzy Poling;
• Choose Lost OR Found — a one-of-a-kind, intimate, up close and personal live performance in the intimacy of the Listening Rooms with performances by Fabiano Do Nascimento, Katisse Buckingham and Artyom Manukyan, curated by Ed Barguiarena;
• Nesting in signature Sleepless bean bags amid the other-worldly sounds of Grace Oh's crystal singing bowls with artists Annik Mendez, Helane Anderson of Sacral Sounds, The Koshi Fairies, Plantwave, and the Sacred Toning Circle;
• Get lost backstage at The Music Center's Walt Disney Concert Hall, and experience the music of Phil O'Connor, Ian Walker, and Chris Woods, curated by Ed Barguiarena.
Disney Hall photo credit: @parachute_girl


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Earlier this month, Parkhurst hosted its first Virtual Food Show under the leadership of Jamie Moore, Director of Sourcing and Sustainability, and Tim Fetter, Executive Chef at Duquesne University. Chefs and culinarians from across the footprint attended to discuss and share ideas around a variety of topics, ranging from current trends to challenges related to COVID-19 restrictions.
The highlight of the event was undeniably the chance for Parkhurst chefs to interface with some new and longstanding vendors. In turn, these vendors were able to highlight their products and share their stories. The first but certainly not the last of its kind, this memorable get-together marked the beginning of countless upcoming opportunities to spark those authentic Parkhurst relationships, using innovative ways to bridge gaps between state lines and state (safety) guidelines.
In Harvest joined us to talk about their suite of Allergen free grain products. This family-owned and operated business based out of Bemidji, Minnesota empowers our chefs with peace of mind when ordering products for our Inspired Eats program, which utilizes designated recipes that are completely free of the top eight allergens. They also offer specialty grains that may otherwise be difficult to source, and are a wealth of knowledge for utilizing them in unique recipes, with Jay Z (Jay Ziobrowski), Corporate Chef showing us some in the Zoom screenshot below.
We featured B-Free Foods' breads, rolls, and wraps next, which are free from the top 8 allergens, and are the only bread products approved for our Inspired Eats program. B-Free is a family-owned company based in Dublin, Ireland, but they have production facilities here in the states as well. Our team was thrilled to learn about the extremely high level of care that goes into creating their products.
Righteous Felons Beef Jerky was one of our first Forged Partners, and their high-quality product is truly unique. During the process of making Jerky, some pieces are too small to be included in their retail bag, so they spoke to chefs about ways to incorporate their new Ends & Pieces product into recipes to truly elevate dishes (and avoid waste!).
Goat Rodeo is an artisan goat cheese producer and one of our FarmSource partners based just outside of Pittsburgh, PA. They're eager to expand their footprint, so this mutually beneficial gathering allowed them to reach Parkhurst chefs from all over the region, as well as pique our culinarians' interests in the unique goat cheese goods available to them.
After the overwhelming success of this first show, a second one has already been scheduled. As we continue to learn about life in "the new normal", connecting over food will always be a constant at Parkhurst Dining.


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Wednesday, March 5, 2014
Clinelle Giveaway
Another is Clinelle skin care set, which consists of Clinelle Deep Cleansing Gel and Soothing Skin Toner. Go ahead to start commenting at Sherry Shopping to win this set of Clinelle skin care.
Posted by Sherry at 5:06 PM
Labels: Clinelle, Deep Cleasing Gel, giveaway, lifestyle, love, shopping, skincare, Soothing Skin Toner
6 comments:
I am joining this too wow 3 blogs to comment in one time, hope i can win all haha :PReplyDeleteReplies
you really like them, good luck to you. 209.Delete
Yes i love all the prizes that you are giving away :PDelete
you are welcome to take part, good luck.Delete
Thank you Sherry :DDelete
Thanks for the prize Sherry, the toner that you gave is the same exact one that i tried before from the WonderBox one and i kinda like it, thank you Sherry, can't wait to try the cleanser soon after the one i'm using is finish :DDelete
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Islamabad, Pakistan (CNN) -- A terrorist attack near the U.S. Consulate in Peshawar, Pakistan, killed two consulate security guards and at least six others Monday, authorities said.
The two consulate employees who died were Pakistani, the U.S. Embassy in Islamabad said, and "a number of others were seriously wounded."
At least eight people were killed in all, a government official said.
All U.S. citizens were accounted for, and some had minor injuries, State Department spokesman P.J. Crowley said.
The coordinated attack involved a vehicle suicide bomb and attackers who tried to enter the consulate by using grenades and weapons fire, the U.S. Embassy said in a statement.
The blasts in the capital of the North West Frontier Province came hours after a suicide attack killed at least 30 people and wounded 50 others in another part of the province.
The Pakistani Taliban claimed responsibility for both attacks. In a phone call to CNN, Azam Tariq, spokesman for Tehrik-i-Taliban Pakistan, said the group was behind the attacks in Peshawar and Dir.
The U.S. Embassy, in its statement, said the two attacks reflect "the terrorists' desperation as they are rejected by people throughout Pakistan."
Peshawar is about 75 miles (120 kilometers) from Islamabad, the country's capital.
Bashir Ahmad Bilour, a senior provincial minister, told reporters at the scene that several militants came in two vehicles. The first vehicle exploded near a security checkpoint, and gunmen in the second car opened fire.
The dead included two Pakistani security personnel working for the U.S. Consulate, one policeman, two civilians and three unidentified bodies, said Karim Khan, a senior police official in Peshawar.
"They were well-organized. They were well-equipped," he said of the attackers.
The three explosions went off within a span of 15 minutes in the area of Saddar and Hayatabad Avenue, near the American consulate and the Peshawar headquarters of Pakistan's intelligence agency, which was the target of a deadly car bomb attack in November.
The North West Frontier Province is rife with Islamic extremists and has been the site of recent clashes between Pakistani security forces and militants.
Monday's earlier suicide attack took place at a rally for the province's ruling Awami National Party in Timargarah in the lower Dir district, said lawmaker Mehmood Zeb Khan.
Hundreds of the participants had gathered for a rally to change the name of the province to Khyber Pakhtunkhwa.
The bomber walked into the government building where the meeting was going on and blew himself up, said provincial spokesman Mian Iftikhar Hussain.
The province was given its current name during the British colonial rule. The party, which heads a coalition government in the province, wants the area's name to reflect its majority Pashtun population.
A bill to amend the constitution in support of the name change was expected to be introduced in parliament on Monday.
Journalist Nasir Habib and CNN's Elise Labott, Paula Newton, and Jill Dougherty contributed to this report.


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|Eric Stover, the Human Rights Center's faculty director, and Camille Crittenden, its executive director. Established in 1994 as a Townsend Center project, the center has documented war crimes and human-rights abuses in countries around the world, and trained more than 150 graduate students. (Peg Skorpinski photo)
The Human Rights Center at 15
For 15 years, HRC staff have probed the heart of darkness, applying academic rigor in the service of justice and compassion
| 10 September 2009
BERKELEY — As war raged in the Balkans during the 1990s, Eric Stover was leading teams of forensic scientists into Bosnia and Croatia, exhuming bodies from mass graves and working to identify them and return them to their families. Once, he recalls, the grisly task was interrupted by a rain of rocket shells. "That," he notes wryly, "focuses your attention."
For Stover, faculty director of the campus Human Rights Center, such extraordinary occupational hazards among other misfortunes, he's been stricken with hepatitis in Bosnia and arrested by both the Argentine and Serbian militaries, the latter hauling him off to jail as UN peacekeepers watched come with the territory. And the territory is, by definition, unremittingly grim.
Under the auspices of the HRC, which turns 15 this year, he and his colleagues journey regularly to the heart of darkness countries reeling under the horrors of war, repression, and genocide to quietly, methodically, and scientifically document their effects on local populations and, perhaps, help attain some measure of justice.
Drama notwithstanding, visitors to the center's Stephens Hall headquarters are unlikely to be regaled with tales of adventure and derring-do. The stories that matter, HRC staffers insist, are not their own, but those of human-rights victims in Latin America, Asia, Africa, Eastern Europe, even the U.S. military prison in Guantánamo. Ask what draws them from the refuge of academia to sites of horrific suffering at great personal peril, both physical and psychological and you are apt to get a Willy Sutton-like answer: That's where the victims are.
Phuong Pham, a soft-spoken epidemiologist who serves as the center's research director, was in Baghdad in mid-2003, just as insurgents were beginning to launch attacks on British and Italian troops in southern Iraq. Despite the dangers, she and her team decided that the integrity of their work required that they survey people in that Shia-dominated region.
"If you want to represent the population," she explains, "you really have to go everywhere." They headed south by car, trailing a convoy.
"The convoy was attacked," she relates matter-of-factly, "but we missed it by a matter of 10 minutes."
Pham was living and working in Rwanda in 2001, "trying to measure the impact of the genocide on the population" for Tulane University's school of public health, when she was recruited by the HRC's now-retired associate director, Harvey Weinstein. That's where she connected with Patrick Vinck, a Belgium-born agricultural engineer sent there by his country's redevelopment agency to help farmers get back on their feet.
Pham and Vinck, who now directs the center's Initiative on Vulnerable Populations, exemplify the multidisciplinary approach Stover brought with him from Physicians for Human Rights, where he'd been executive director. An English-lit major who "went out for a Ph.D. in misspent youth," Stover's introduction to human-rights work came in the form of a job with Amnesty International in London, where he'd bounced after stops in Latin America and Paris.
Back in Washington, D.C., in 1983, Stover by then head of the human-rights program for the American Association for the Advancement of Science received a visit from the Grandmothers of the Plaza de Mayo, a group that wanted to reunite children abducted by the Argentine dictatorship with their biological families. At the same time, he recalls, a "truth commission" was established under the country's new civilian leadership, which asked him to assemble a team of forensic scientists to locate unmarked graves, identify the bodies, and assist with RNA tracing.
"I knew nothing about forensics," admits Stover, now an adjunct professor in the School of Public Health and at Berkeley Law. "There was no CSI, so I wasn't even that educated." Having worked as a freelance writer and journalist, however, he knew how to go about getting answers. "I called the National Academy of Forensic Scientists," he recalls, "and I said, 'What do I do?' "
He fielded a team that included forensic anthropologist Clyde Snow and then-Berkeley geneticist Mary Claire King, renowned today as a pioneer in forensic DNA testing. The experience, he says, "impressed upon me the importance of being actively involved on the ground, applying science-slash-technology in the service of human rights."
That's been the center's guiding principle since the Sandler Family Foundation the chief backer of what was then a tiny, year-old project of the Townsend Center for the Humanities recruited him to head the HRC in 1995.
What survivors want
Rachel Shigekane, who leads the center's Human Rights Fellowship Program, views the HRC as "a bridge between academia and practitioners and activists in the field," and her own program as a chance for graduate students from different disciplines "to see how they can cross-pollinate on all the human-rights issues they're working on."
Aided by stipends, more than 150 grad students all from Berkeley until 2007, when the program expanded to include other UC campuses have completed field work with organizations ranging from Human Rights Watch to the United Nations Population Fund. No matter what the students' disciplines, Shigekane says, the center's focus is always "to make sure their work is grounded in the community, and that there's some relevance to the people who are affected" by human-rights abuses.
"We're not turning out little automaton human-rights activists I don't believe in that at all," declares Stover, who acknowledges that the center's findings have sometimes clashed with movement orthodoxy. Stover's forensic work in the Balkans helped lead to the formation of the Yugoslavia war-crimes tribunal the first since Nuremberg and he has been a prosecution witness in the trials of Argentine military rulers. But it wasn't until 1996, in Srebrenica, that he fully realized the devastation felt by people who are unable to identify their lost or "disappeared" family members.
"That was a deep learning moment for me," he recalls. "The court was supposed to be working for these victims. But the thing family members want most is identification of these bodies. More than justice, they want proper burial."
That insight was the seed of a book later co-edited by Stover and Weinstein, My Neighbor, My Enemy, which employed surveys and recorded conversations with survivors of war in Rwanda and Yugoslavia to assess the meaning of justice in post-conflict societies. "Received wisdom," he says, suggests that "justice and trials are going to help victims, and witnesses are going to experience catharsis, and so forth. But it's a lot more complicated."
To HRC Executive Director Camille Crittenden, such messy on-the-ground realities go a long way toward explaining the need for "greater rigor" in the application of "evidence-based methodologies" to questions of human rights. Crittenden, a former assistant dean for development in International and Area Studies, joined the center in 2006, when it was housed in IAS. Its first executive director, she has worked to expand the center's funding base it is, she stresses, heavily dependent on private philanthropy and helped build it from five staffers to a dozen.
"What we do here at the center, really, is apply science and techniques that exist in other fields, that simply haven't been used in the field of human rights," says Vinck, who, with Pham, is developing an open-source application for data collection in the field. Both say they're constantly surprised by what they learn simply by asking.
"People talk of victims and survivors like they were one group, and they all want the same thing," notes Vinck. "And we see that that's not at all the case. So the work now is trying to understand what those different opinions are, and how you can enter into a dialogue with the people to reach some kind of consensus."
And it's in the intimacy of personal connections, says Stover asking a grieving mother for a missing child's hairbrush, for example, in order to extract DNA samples that the rewards of human-rights work are found.
"When I'm asked about 'the grisly work of exhumations' and so on and I mean this sincerely it's a privilege," he says. "Because even though in Argentina or Guatemala or Bosnia you enter through a kind of dark portal into those societies and cultures, it is a real need. Families want the remains returned. I always say, look at 9/11, look at any plane crash, how families are always out there, waiting to find out. And what they need is the tool.
"You're bringing them that tool. And you're learning from them. It's like non-biological family in many countries, because I've gotten to know these families so well. So it's a privilege in the sense that you're really engaged with people in a way that most people in their jobs don't get to be. And that's what we try to teach students here, too: Always remember that this work is about people."
Adds Vinck: "I can't tell you how many times I've said, 'Okay, this is it, I'm done.' And you go back. And it's not about courage, or sacrifice. Not at all.
"You just feel," he says, "this is what you have to do."


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The lithium-ion battery is used by millions of people around the world through the commonplace use of cell phones, laptops, hearing aids, cameras, tablets, power tools, and many other compact, lightweight mobile devices. John Goodenough, Yoshio Nishi, Rachid Yazami, and Akira Yoshino each made substantial contributions to its development.
In 1979, John Goodenough discovered that by using lithium cobalt oxide (LiCoO2) as a positive electrode and lithium metal as a negative electrode, he could enable a rechargeable cell where the LiCoO2 serves as the donor of lithium ions to the negative node. This discovery led to the development of carbon-rich materials that allow for the use of stable and manageable negative electrodes in lithium-ion batteries.
Shortly after Goodenough's breakthrough, Rachid Yazami began exploring graphite compounds in which lithium could be reversibly inserted between graphite layers. This provided an alternative to the lithium metal negative electrode. Yazami's lithium-graphite is the most commonly used anode in commercial lithium-ion batteries today.
In 1985, Akira Yoshino produced a rechargeable lithium-ion battery prototype using a lithium cobalt oxide cathode and a carbon anode, eliminating metallic lithium. This design significantly improved the safety of the battery, while also providing practical energy output at a reasonable price. Yoshino's work resulted in the first safety-tested commercially acceptable lithium-ion battery.
Yoshio Nishi, served as operating officer and senior manager of Sony Corporation, sought to make the lithium-ion battery a household item. After overseeing the development of the quality control necessary for mass-producing the battery, Sony officially released the high performance lithium-ion battery into the market under Nishi's supervision. The economic impact of the lithium-ion battery is now estimated at approximately $10 billion.
John B. Goodenough began his career at the Massachusetts Institute of Technology (MIT) Lincoln Laboratory in 1952 where he laid the groundwork for the first random-access memory (RAM) of the digital computer. After leaving MIT, he became the Professor and Head of the Inorganic Chemistry Laboratory at The University of Oxford. During this time, Goodenough made the lithium-ion discovery. In 1986, he took the Virginia H. Cockrell Centennial Chair of Engineering at the University of Texas at Austin where he currently works.
Akira Yoshino conducted his research on rechargeable batteries after joining the Asahi Kasei Corporation in 1972, where he currently serves as a fellow and the general manager. Over the last 40 years, Yoshino has served in numerous positions and has worked in several laboratories at the Asahi Kasei Corporation. In addition to his current roles, he is also the President of the Lithium Ion Battery Technology and Evaluation Center (LIBTEC)
Rachid Yazami began his career and the Centre National de la Recherche Scientifique (CRNS) in France, where he later became the research director in 1998. While working at the CRNS, Yazami also served as a visiting professor at the California Institute of Technology between 2000 and 2010. In 2010 he was appointed as a visiting professor at the Nanyang Technological University (NTU) in Singapore, where he later became the Cheng Tsang Man Chair Professor in Energy at the School of Materials Science and Engineering. In 2011 Yazami founded a start-up company in Singapore, KVI, PTE LTD, dedicated to battery life and safety enhancement for mobile electronics, large energy storage and electric vehicles applications. Yazami is also the founder of CFX battery, Inc., (now Contour Energy Systems) a primary and rechargeable lithium and fluoride battery start-up company in Azusa, California.
Yoshio Nishi is retired senior vice president and chief technology officer of the Sony Corporation. In addition to these roles, he also held the positions of executive vice president, corporate research fellow and the president of materials laboratories chief technology office at Sony. Nishi joined Sony Corporation immediately after his graduation and was engaged in R&D on fuel cells, materials for electroacoustic transducers, and electrochemical cells with nonaqueous electrolyte.


text: In the piece I wrote in December ("What the Sony breach means for security in 2015"), I noted that while a good CISO is important; great security architects are critical. While a CISO may get the glory; security architects are what most organizations need.About 95 percent of the firms in the U.S. are small-to-midsize businesses. These small firms with even smaller IT departments can\u2019t afford to burn an FTE slot on a CISO. They need a security architect or engineer, who can also hopefully provide security, privacy and risk management leadership. The bottom line is that good security design goes a very long way.With that, I\u2019d like to expand on the role of the cyber security architect.So what exactly does a cyber security architect (CSA) do? An architect is defined as a person who plans, designs and oversees the construction of buildings. To practice architecture means to provide services in connection with the design and construction of buildings and the space within the site surrounding the buildings.With a bit of license, a CSA can be defined as the person who plans, designs and oversees the information security components of networks, systems and applications (software). The CSA provides key constituent stakeholders with effective architectural guidance to apply a consistent set of information security principles, mechanisms and guidelines to ensure that the data, applications and devices are secure.The CSA will know the firm\u2019s business and technology drivers, security risk management strategy, risk assessment philosophy and the various technology components of its IT infrastructure, and provide technical security leadership. A good CSA will be seen as the firm\u2019s trusted security adviser.When designing a physical structure, the architect knows the component parts of the edifice, including electrical, plumbing, zoning laws, room size requirements, materials, and much more. The architect is not necessarily an expert in every area, but has the fundamental knowledge of all of them.Similarly, an effective CSA will be a jack-of-all-trades in information security, and master of a few. Some of the areas in which the CSA needs to provide oversight are:Risk managementSecurity engineeringSecure coding and secure software developmentAccess control and authenticationAnti-malware protectionLaws, standards and regulationsNetworks, routing, switching and network securityCryptography, encryption and key managementOperating systems and system securityIntrusion detection and change detectionIncident responsePolicies and proceduresHacks, attacks and defenseBusiness continuity planning (BCP) \/ disaster recovery planning (DRP)Physical securitySome of the responsibilities that a CSA will have include:Designing, reviewing and approving security configurations,Design and installation of security hardware and software such as VPN, firewalls, router, IDS, etc.Reviewing policies and proceduresHere\u2019s an example: A firm has created its environment around open source tools and frameworks, such as Groovy, Nginx, Git, Python, Atlassian, built on Amazon using their services such as AWS, RDS, ElastiCache, SES, Route 53 and more. It\u2019s the CSA who will be able to provide advice on how to securely use these technologies.The CSA needs to be there to identify areas where things may go wrong. From the architecture, software coding, poor cryptographic selections, and more, the CSA needs to be the one who is asking the right questions.Ben Tomhave, principal at Falcon\u2019s View Consulting, suggests that hiring a cyber security architect is a great starting point for SMBs, so long as the hiring organization provides them with the support and authority necessary to be effective. Most CSAs will need to balance the goal of designing and building the most secure environment possible against the costs and benefits, as well as helping to ensure that business, contractual and regulatory requirements are clearly understood and incorporated into all design decisions. A savvy CSA will help organizations optimize their security spend, limiting the number of tools and practices to those that maximize the desired risk management objectives without exposing the business to undue liability.As for the cloud, a CSA is equally crucial. Cloud service providers have significant economic incentives to maintain levels of security that are often financially or politically unaffordable to other organizations. That gives a firm an incredible foundation to build on; but if they fail to design an architecture tuned for the cloud platform they will be deploying, the odds are high that they\u2019ll actually increase their security risk. Rich Mogull of Securosis notes that architecture is inarguably the most important factor when moving to the cloud.He also notes that on the upside, as cloud providers continue to offer new features, firms can also take advantage of these for transformative security architectures. It\u2019s actually quite common to do things such as deploy throwaway servers with minimal network access and no SSH or other remote administrative access; leverage PaaS to wipe out common database exposures, and even use a cloud message queue and new deployment patterns to completely isolate sensitive application workers.When it comes to the cloud, it\u2019s truly about the economics. The cloud provider wipes out the lower level, highly expensive security costs, which frees an organization to focus more on securing their applications. And that, for the most part, comes down to architecture.Show me the architectThe Cisco annual security report states that modern threats are capable of infecting mass audiences silently and effectively, not discriminating by industry, business size, or country. That\u2019s the new reality every firm is dealing with. That means every firm, everywhere, needs a CSA.Ben Rothke CISSP is a Senior eGRC Consultant with Nettitude, Inc. and the author of Computer Security: 20 Things Every Employee Should Know.


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In my opinion - and I know not everyone agrees - opera is:
- Mediocre music
- Melodramatic plots
- Amateurishly hammy acting
- A forced and unpleasant singing style
- Ridiculously over-supported by public funds
I'm not saying it's easy to sing like an opera star. But it's not easy to stand on one leg for three days in a row either. So? The fact is, opera style is wobbly with vibrato and sounds forced and bellowing. There was a historical reason for doing this, but it's not needed any more with modern sound systems. And don't get me started on opera singers trying to sing pop music or church music, while still employing an operatic voice. That is just unbelievably unpleasant.
Finally there are the composers. Yes, some great composers (Purcell and Beethoven, for instance) did venture into opera, but that was just as a sideline. The real, dedicated opera composers (Rossini, Verdi and Wagner to name but three) are, without exception, second rate. Don't get me wrong. They can pump out a good tune. But they are the exact parallel of an Andrew Lloyd Webber, and should be treated as such. They aren't in the same league as Byrd or Bach, for instance.
So there you have it. Opera. Badly sung, dated musicals pickled in very expensive aspic. What's not to like?
Please note - I know some people who sing opera or have operatic training and they are lovely people. It's not the people (with the exception of the more outrageous opera stars), it's the opera itself, and the way it is reverentially treated.


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Find out from world experts at The Genetic Conference 2007 the first open UK debate on the facts and the science behind this controversial area
Costs £28.00 (includes drinks and canapés), Register before 19th Oct, then only £20.00
This event is free to journalists, There will be drinks and canapés.
More information: www.geneticconference.com , email:email@example.com
Bookings hotline: 020 8742 3789
The Genetic Conference 2007 is the first UK event to engage the professionals and the public in the debate of the scientific and clinical issues surrounding the validity and viability of genetic screening a powerful new diagnostic tool. This subject has attracted a huge amount of press interest this year. Here is the perfect chance to learn more from the doctors that are actually involved in the process. Sponsored by GeneticHealth, Roche and Body Language
This event is of interest to all Media , GPs and other physicians interested in preventive medicine, Clinical Nutritionists, Cardiologists, Clinical Geneticists and Scientists, Clinical Pharmacologists, Diabetologists , and other medical professionals in the private and public sector.
The Genetic Conference 2007 has attracted world-leading medical and scientific experts on this subject who will:
Summarise the latest research and findings
in genetic screening for common disease prevention
Reveal the real science behind the genetic tests
Explain the genetic predisposition of heart disease, obesity, and diabetes
Detail the science of Pharmacogenetics - the latest developments in targeted drug therapy.
Explain how to use genetic screening in your medical practice.
Genetic Screening for Common Diseases:Fact or Fiction ?
The Programme:
6.30pm - SNPs (Polymorphism) - How they are measured and what do they do? - Prof Stephen Bustin Professor of Molecular Science, Barts and The London, Queen Mary School of Medicine.
6.55pm - The genetics of coronary heart disease - Dr David Brull Consultant Cardiologist The Whittington Hospital and the Heart Hospital,
7.20pm - Pharmacogenomicstargeted drug therapy -Dr Mel Lobo
Consultant in Clinical Pharmacology, Barts and the London NHS Trust
7.45pm - The genetics of obesity and diabetes - Prof. Mark McCarthy
Oxford Centre for Diabetes, Endocrinology and Metabolism, University of Oxford
8.05pm - Genotyping and its clinical utility in lifestyle management for disease prevention -Dr Paul Jenkins -Consultant Physician and Reader in Endocrinology, Barts, Queen Mary School of Medicine and Dentistry.
8.30pm - Drinks and canapés
For sponsor information and sponsoring opportunities contact: 020 8742 3789
by GeneticHealth.


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Asbestos is the common term for a group of naturally-occurring, fibrous minerals. Because these minerals have fire-resistant and insulative properties, manufacturers added them to many man-made products over the years.
However, researchers have linked these minerals to aggressive forms of cancer and other health conditions. Most people who develop asbestos-related conditions were exposed to the substance through close contact with some of the man-made materials created with asbestos. Although exposure via man-made materials is common, it is important not to forget that asbestos, itself, is not man-made.
Asbestos found in the dust blowing around Clark County
One place asbestos minerals exist naturally is in Clark County, Nevada, which is located just south of Las Vegas. Scientists found these minerals in the area's rocks and dust. This means that every time the dust gets disturbed, asbestos fibers can fill the air where they can easily become inhaled. Inhaling asbestos fibers is the most common way they can enter the body and cause problems.
Wind blowing through the area may disturb dust containing asbestos. However, people may also kick up dust as they go about their daily activities, such as:
- Driving cars or ATVs on unpaved roads
- Bicycling
- Riding horses
- Playing sports outside
However, construction crews may also be kicking up dust that contains asbestos. After all, Clark County is one of the fastest growing counties in the United States.
Unfortunately, it is difficult for researchers to tell how much the residents of this area are actually being exposed to asbestos. The Clark County Department of Air Quality monitors weather conditions that could kick up dust, but it does not monitor the concentration of naturally occurring asbestos in the air.
It is unclear how much asbestos exposure is enough to cause illness. However, it may be prudent to assume that no amount of asbestos exposure is safe.


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BUFORD, Ga. — Buford City Schools Superintendent Dr. Geye Hamby has resigned, days after The Atlanta Journal-Constitution broke the news he had been named in a racial discrimination lawsuit and accused of using offensive slurs.
Hamby resigned Friday morning in a short letter to the school board:
"My sincere apologies for any actions that may have created adversity for this community and the Buford School District," he wrote. "Thank you for your many years of support and leadership."
On Friday afternoon, the Buford Board of Education was put on lockdown and then closed early after someone called in a phone threat against the former superintendent.
The threats came in around 12:30 p.m. on Sawanee Avenue, police said.
Channel 2's Tom Regan was in Buford, where police stood by the doors of the building for hours screening anyone who wanted to come inside. It's unclear who made the threat.
Regan also spoke to students at Buford High School, who said they were stunned by Hamby's abrupt resignation.
DEVELOPING: Buford Board of Education on lockdown following phone threat. Threat comes after resignation of Superintendent accused of discrimination and racist rant. pic.twitter.com/u1dA9EX9EV— Tom Regan (@tomreganWSB) August 24, 2018
"A lot of kids are kind of mad," Will Coffey said.
"Mad about his resigning?" Regan asked.
"No. Mad about what he said," Coffey said.
Most of the students Regan talked to agreed.
"That was the right thing for him to do. That shouldn't be tolerated by anybody," student Hayley Iverson said. "I heard the recording and I was very shocked and disturbed, disgusted by what I heard."
Several students wore black as a symbol of solidarity.
"So many people wore black to say that it's not a reflection of our entire school district," Trinity Price said.
Stephanie Green, a parent, said that the Buford community will move past this.
"We will heal from it, and we'll be stronger from it," Green said. "It think it's sad, but I think the city of Buford will overcome this."
- Woman arrested for posing as a dentist, damaging clients' teeth -- again
- Charges upgraded to murder for man accused in deadly Walmart parking lot shooting
- Mercedes-Benz Stadium drops its cheap food, drink prices even lower
Hamby had been placed on administrative leave earlier this week, after The Atlanta Journal-Constitution reported the allegations.
He's the target of a discrimination lawsuit that includes an audio recording purportedly of Hamby making racial slurs and threats while speaking about African-American temp workers.
The complaint, filed in U.S. District Court in Atlanta, includes recordings in which a person identified as Hamby used racial epithets repeatedly when referring to African-American workers at a construction site. "(Expletive) that (n-word). I'll kill these (expletive) — shoot that (expletive) if they let me," the person identified as Hamby can be heard saying. The person speaking repeatedly refers to blacks as "deadbeat (n-word)."
The plaintiff's attorney Ed Buckley said Friday that he had information that Buford School Board President and City Commissioner Philip Beard was present when Hamby made the racist statements. Buckley has now amended the complaint to add Beard's name.
Regan asked the school board attorney for a comment about the allegations against the school board president but didn't get a response.
Hamby led the school system for 12 years. His most recent contract paid him over $300,000 a year.
He has helmed the district of four schools - Buford Elementary, Middle and High Schools and Buford Academy since 2006.
He was earning $308,000 a year and had received glowing reviews, according to personnel files obtained through the Open Records Act.
Cox Media Group


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Natural Light: Indirect Sunlight
John Greengo
Natural Light: Indirect Sunlight
John Greengo
Lesson Info
65. Natural Light: Indirect Sunlight
Summary (Generated from Transcript)
The lesson discusses the use of indirect sunlight in photography and its advantages and disadvantages. It explains that indirect sunlight provides even lighting on subjects, allowing for recording color and detail information in both highlights and shadows. It also mentions that indirect sunlight is weaker in power, can hide texture and depth, and reflects the colors of the surrounding environment. The lesson further discusses different types of indirect light, such as overcast days, open shade, and reflected light. It provides examples and tips for shooting in each type of indirect light, including the use of telephoto lenses, the importance of interesting clouds, and the need for tripods in low light situations. The lesson concludes by emphasizing the importance of paying attention to where the light is hitting and using reflected light to create interesting and well-lit photographs.
- What is indirect sunlight?
- What are the advantages of shooting in indirect sunlight?
- What are the disadvantages of shooting in indirect sunlight?
- How does indirect sunlight affect the color and detail in photographs?
- What are the different types of indirect light?
- How can photographers make the most of shooting in overcast days?
- How does open shade provide even lighting on a sunny day?
- How can photographers use reflected light to create interesting photographs?
- What types of subjects work well with indirect sunlight?
- What are some tips for shooting in indirect sunlight?
Class Introduction23:32 2
Photographic Characteristics06:46 3
Camera Types03:03 4
Viewing System22:09 5
Lens System24:38 6
Shutter System12:56 7
Shutter Speed Basics10:16 8
Shutter Speed Effects31:57
Camera & Lens Stabilization11:06 10
Quiz: Shutter Speeds07:55 11
Camera Settings Overview16:12 12
Drive Mode & Buffer04:24 13
Camera Settings - Details10:21 14
Sensor Size: Basics18:26 15
Sensor Sizes: Compared24:52 16
The Sensor - Pixels22:49 17
Sensor Size - ISO26:59 18
Focal Length11:36 19
Angle of View31:29 20
Practicing Angle of View04:59 21
Quiz: Focal Length08:15 22
Fisheye Lens12:32 23
Tilt & Shift Lens20:37 24
Subject Zone13:16 25
Lens Speed09:03 26
Aperture08:25 27
Depth of Field (DOF)21:46 28
Quiz: Apertures08:22 29
Lens Quality07:06 30
Light Meter Basics09:04 31
Histogram11:48 32
Quiz: Histogram09:07 33
Dynamic Range07:25 34
Exposure Modes35:15 35
Sunny 16 Rule04:31 36
Exposure Bracketing08:08 37
Exposure Values20:01 38
Quiz: Exposure20:44 39
Focusing Basics13:08 40
Auto Focus (AF)24:39 41
Focus Points17:18 42
Focus Tracking19:26 43
Focusing Q&A06:40 44
Manual Focus07:14 45
Digital Focus Assistance07:35 46
Shutter Speeds & Depth of Field (DOF)05:18 47
Quiz: Depth of Field15:54 48
DOF Preview & Focusing Screens04:55 49
Lens Sharpness11:08 50
Camera Movement11:29 51
Advanced Techniques15:15 52
Quiz: Hyperfocal Distance07:14 53
Auto Focus Calibration05:15 54
Focus Stacking07:58 55
Quiz: Focus Problems18:54 56
Camera Accessories32:41 57
Lens Accessories29:24 58
Lens Adaptors & Cleaning13:14 59
Macro13:02 60
Flash & Lighting04:47 61
Tripods14:13 62
Cases06:07 63
Being a Photographer11:29 64
Natural Light: Direct Sunlight28:37 65
Natural Light: Indirect Sunlight15:57 66
Natural Light: Mixed04:20 67
Twilight: Sunrise & Sunset Light22:21 68
Cloud & Color Pop: Sunrise & Sunset Light06:40 69
Silhouette & Starburst: Sunrise & Sunset Light07:28 70
Golden Hour: Sunrise & Sunset Light07:52 71
Quiz: Lighting05:42 72
Light Management10:46 73
Flash Fundamentals12:06 74
Speedlights04:12 75
Built-In & Add-On Flash10:47 76
Off-Camera Flash25:48 77
Off-Camera Flash For Portraits15:36 78
Advanced Flash Techniques08:22 79
Editing Assessments & Goals08:57 80
Editing Set-Up06:59 81
Importing Images03:59 82
Organizing Your Images32:41 83
Culling Images13:57 84
Categories of Development30:59 85
Adjusting Exposure08:03 86
Remove Distractions04:02 87
Cropping Your Images09:53 88
Composition Basics26:36 89
Point of View28:56 90
Angle of View14:35 91
Subject Placement23:22 92
Framing Your Shot07:27 93
Foreground & Background & Scale03:51 94
Rule of Odds05:00 95
Bad Composition07:31 96
Multi-Shot Techniques19:08 97
Pixel Shift, Time Lapse, Selective Cloning & Noise Reduction12:24 98
Human Vision vs The Camera23:32 99
Visual Perception10:43 100
Quiz: Visual Balance14:05 101
Visual Drama16:45 102
Elements of Design09:24 103
Texture & Negative Space03:57 104
Black & White & Color10:33 105
The Photographic Process09:08 106
Working the Shot25:29 107
What Makes a Great Photograph?07:01
Lesson Info
Natural Light: Indirect Sunlight
All right, so moving on to indirect sunlight, so sunlight that is illuminated by reflecting off of other objects: Could be buildings, clouds, all sorts of things. And now we're gonna get what's generally called even lighting on our subjects. A lot of advantages here, and so this is a dynamic range that is well within our camera's capability, which means we're gonna be able to record color and detail information in the highlights and in the shadow areas. So we don't have any of these blown out hot spots, we don't have shadows that have completely lost detail, and this is going to allow us a lot more versatility when it comes to post-production. How much can we adjust our images? Can we play with the contrast? Can we work with the lights and the darks to adjust them as we want? And so this is just going to be an easier project to work with, you might say less challenging. Now, it's a little bit weaker in power, and so you're not going to be having an abundance of light where you get to u...
se your fastest shutter speeds quite as easily. It can hide a little bit of texture, because we don't have these distinct shadows in there, and it can hide that depth because you don't have that texture in there, and it's going to reflect whatever the colors are around. There are a number of times where scenes just kinda have a monotone look to them, and that's because everything in the area is bathed in the same color of light. And one of the things that I've tried to get myself out of, and this is true not just with the light, but just in photography, in our own world, we kinda get used to a situation very very quickly. And you gotta think how unusual that particular place might be for somebody who is just scrolling through your images on one of your galleries. I know I've been in certain places, and I'm just like, wow, I've been here for two days and just everything looks the same. But when you're not there and you suddenly see a photo of that place, it looks amazing. And so, try not to get bored with your current environment. Think of it from somebody else's perspective who just arrived there just that second and how unusual that might be, whether it's the color or just the scene itself. So, in this case, this indirect light typically works better with smaller subjects. It's not quite as good with the gigantic landscape, but with more detailed, smaller subjects, which is often what I'm looking for. So I'm often with telephoto lenses and it's a great time for macro photography, when you have this indirect light. And one of the things you want to avoid, especially if you have a big cloudy sky is just a whole lotta clouds in the sky, unless they're interesting clouds. Now, if they're interesting clouds, I think I have at least one photo with interesting clouds coming up somewhere. You generally just don't want a blank white sky above your subject: it doesn't really help out. So there are different types of indirect light and it kinda depends on how the light is bouncing around. Overcast is your typically cloudy day. Open shade is a sunny day, but you found the shade to work in. And then we have reflected light, where it's being reflected off of a significant light source of some sort. So your typical overcast day, covered in clouds. Now, I don't know that I need to explain this, but, cause we have people from Seattle area here, we all know about this, but other parts of the world, we have these white things that cover the sun every once in a while, and it's actually quite nice. It makes life kinda easy to go outside with, you might say. This soft lighting illuminates everything. If you look at this, this is from, where is this from? I think this might be Prague, or yeah, I think it's Prague. Nice even lighting: you can see all the details around the houses and there's no blocked up shadows where things are lost in there. And so, for showy detail, it does a very good job of that. Once again, it's well within the dynamic range of the camera and we're gonna see the advantage of this when you get into post production is that you can add contrast later on, and you can make your images pop just a little bit more with that. All right, so the disadvantages of this is that you might be needing a tripod, and so if you're going out and it's a thick, heavy, cloudy day, light levels are relatively low. I think we saw the video earlier of me shooting Lola and it was a cloudy day. It was kind of a rainy day here in Seattle, and I was shooting some fast action. I think I was up at like ISO 4000 or something. Cause I was needing a very fast shutter speed. And so it can be very challenging, cause light levels, for the average human, is like, "no, this is fine, "I can see everything just fine." But for camera wise, it's not really very bright. It does have a neutral color, which can be good or bad. Neutral's not a bad place to start. I mean, it's better than bad, but it's not like an exciting, nice, warm color. We often have feelings associated with different colors, and those warm, sunrises and sunsets usually have a very positive feeling to it. We don't get that in the middle of the afternoon, and so it can be a little bit on the boring side, a little bit more on the clinical side, you might say. Alright, so only include the sky if it's interesting. We don't want big, blank, expanses of uninteresting clouds in the sky. Once again, it's a good time for getting out those telephoto lenses and macro lenses, cause it's a good time for seeing those details without those shadows, and so get your tripod out there. And this is a great time to be going to the forest. I know a lot of people here in the Northwest like to go hiking a lot and it's, I'm one of those people, and a nice, sunny day from a hiking perspective is great. I can leave the Gore-Tex jacket at home and I can just take my light little windbreaker and I'm probably going to be fine as long as I'm home by eight o'clock at night. On a cloudy day, you kinda hafta bring the Gore-Tex along but it's gonna be nice, even lighting in the forest. A good example of this I found this gigantic stack of antlers. This was in Wyoming and it was this gigantic mound and on one side it was bathed in direct sunlight and on the back side, we didn't have, we had indirect sunlight that was kinda bouncing around. And so I took photos on either side to show what sunlight versus shadows looks like on this same subject, and if you look at the histogram, here's what happens with subjects that are in bright sunlight, is part of it reflects a whole lot of the light and you're gonna get this really really big area of bright pixels. And then everything that's in the shadows is gonna be notably different than that. And so, in some extreme cases, those two mounds just seem to separate more and more and that's kinda when you get yourself in trouble, and we talked about that back in the section on histograms. You know, wide exposure latitudes get to be very very difficult. Whereas in the photo over on the right hand side, yeah, it's a little bit lighter in some areas, and it gets a little bit darker, but you can see deeper in to this mound of antlers on the right than you can on the left because those shadows are so dark there. And we have most of the information right in the middle where we can easily grab it with our eyes and understand it. And so, overcast days can be really good for highly detailed information. And so, here we have some kind of interesting clouds so we'll include a bit of those. We have some nice texture to those. A scene like this would be very difficult under bright sunlight partly because the coloring of the penguins with their black and white the white reflecting light, those would almost all become white, blinky, overexposed areas. The backs of them, the dark areas, if they're in the shadows, would be completely lost. And so, here, it's pretty simple, it's light and dark. But with sun, we would have two different levels of white, depending on if it was in the shadows or the sun, and two different levels of black, depending on if it was in the sun or not. And so, great day for shooting highly detailed information like this. Working in the open shade basically means you're out on a sunny day, but you're working in the shadows, wherever that happens to be. It might be behind a building, or the side of a mountain, and so most of your subject is actually illuminated by a blue sky up there in this case. And so, here you can have even lighting, even though it's a bright sunny day, and you might think it's challenging in other ways, but here you've found a nice little place to work with. And this is going to be available in a lot of different places and it can be very very predictable when you know, "okay, if I go on this side of the building, "there's gonna be some nice, even areas to shoot with." And so, I forget this gentleman's name, but he's becoming quite famous because in Cuba, a lot of photographers go to the boxing ring and photograph him, and he's got just a great face, and they have a great little background there. So, it's relatively only available at brief times, depending on how the sun is moving through the environment, whether you're shooting in the city or out in the landscape itself. You may be needing tripods in here because we're not dealing with direct sun, and we're dealing in the shadows. It's not quite as dramatic, but once again, it is really good for showing a highly detailed subject. We can really see our subject very very clearly in this open shade. You do have to be careful about some of the coloring 'cause sometimes it can have a heavy blue cast. You may need to mitigate that by taking the saturation down in post production, or adjusting the temperature slider in post production as well. And so here you start looking for anything tall enough to cast a shadow. Where is there going to be a shadow on a bright sunny day? I know I go up to Mount Ranier and there's a nice steep hillside in one place and I know if you go down there in the morning, you can shoot wildflowers til about 10 or 11 o'clock in the morning and not be in sunshine so that you can get that nice, even lighting. And so, before the sun comes up, how is the landscape illuminated? Well, basically, the sun is reflecting off of the blue sky and it's the blue sky that's illuminated and so this whole photo tends to have kind of a bit of a blue filter over it and so that's just what it looks like at that time of day. And so, once again, shooting those detailed subjects, is good very early in the day. And so I'm glad that my camera didn't have a white balance setting on it. This was actually shot back in the film days. This is down in Chile, I was doing a bike tour, and these are the Andes and in the morning, the sun would rise, but we wouldn't see it 'til about 11 o'clock because the mountain range is so high. And so the first part of our day is all in the shadows. And that can make for some really good photography if you're looking for the right things. All right, so one of my favorite types of light is reflected light, it's, this is where the light is reflecting off of the subject on to something else. And this particular picture is from Jordan. And this is the treasury building. It's one of the Seven Wonders of the World in Petra. And I remember going there, it was leading my first international photo tour, and I was telling everybody, "okay, we wanna get down there "at seven o'clock in the morning, "before all the other people get down there." And we got down there and there's this kind of famous shot shooting down the canyon wall to this. And we shot lots of photos and we got some things that we were okay with, but I just didn't feel like it was as good as it could be. And the colors just weren't that interesting, cause it was really early morning, it was all in the shadows, and it was just kinda flat, kinda boring light, and when we were leaving in the afternoon, the sun had moved around position, and now was throwing light against one wall and that was bouncing against the treasury building. And so the treasury building was bathed in this red light coming on it, and it looked really, really nice. And as long as I cropped all of the tourists down at the bottom of the frame out, it looked like a nice, clean shot. And so that was my favorite shot coming out of that experience. And it was just like, "wow, I've really gotta "pay attention to where the light's hitting "and what else might be illuminated by that light bouncing." Cause that's not direct sunlight. That's just light bouncing off of a canyon wall. And so, now we're gonna have a nice, even light source, that is potentially, if we have the right color subject, is gonna have some nice color to it. And we can be shooting this in bright sunlight even though we're not shooting direct bright sunlight itself. And so, photographing people with reflected light on them can work really well, so you get them under nice, even lighting situations, but have some nice light reflecting onto them. And so, you don't want any direct sunlight in most of these situations because one little poke out the back and it kinda, a term I like to use is it's revealing the magician's trick. When you get to see kind of outside that little realm of what's going on, you do need a fairly light colored subject, if you have a building that's dark gray, that's not going to reflect much light. And so, pay attention to yellow buildings, and white buildings, there's gonna be some natural reflected light coming off of that. And so, you may need to adjust your white balance as you do this as well. And so this photo and in the following photo, were both taken in kinda the same circumstances. Is that we had a person standing beside a building in the shadows. Now, how are they illuminated? Well, there's a gigantic blue sky that is kind of casting this gigantic blue light down on them and they would be blue if it were not for another reason. And that is is that right in front of them is a whole lotta dirt, and dirt actually makes for a very good reflector, and it's bouncing up onto your subject, casting a nice, white, even light onto your subject. And so, when you photograph them, you wanna shoot, fairly tight. You don't want to show the sun and the blue sky and things like that in the background in most situations; and so, you don't wanna reveal your trick by showing the sunlight on the ground right down there or the sunlight hitting the top of the building. And so, this is the technique that was used for getting this shot here; now I, yeah, got a little bit of sunlight up here, but that's pretty minor. But he is in nice, even lighting, as well as the subjects behind him. As well as his cigars are right here. Nice, even lighting on a bright, sunny day. And then, back in Jordan, my favorite of those photos was this one here and sunlight is hitting this wall here, and then bouncing on to the treasury building. And the next photo, this is just kind of a snapshot of one of our tours: Ken and I were doing a tour in Cuba, and we were in a dark cave. And I wanted to do a group shot of the cave, but I normally don't travel with a flash. I usually shoot just natural light when I'm traveling because I'm traveling pretty light weight. And so we're in this dark cave and I'm trying to think, "how do we take a picture of a group of people "when I don't have a light?" And I noticed that the ceiling was really lightly colored. And so I said, "well, we've got headlamps, "what if we just shine our headlamps up at the ceiling?" And so we're totally illuminated by our own lamps. We had no other lights on this. There's no flash on this, and everyone else's light is just helping light everybody else up. And so, it's just being aware of your environment and what can you use around you, and so I thought it's one of my favorite group shots from our travels, cause we're in an unusual place and we lit ourselves in the way that photographers should, you know?
Class Materials
Ratings and Reviews
a Creativelive Student
Love love all John Greengo classes! Wish to have had him decades ago with this info, but no internet then!! John is the greatest photography teacher I have seen out there, and I watch a lot of Creative Live classes and folks on YouTube too. John is so detailed and there are a ton of ah ha moments for me and I know lots of others. I think I own 4 John Greengo classes so far and want to add this one and Travel Photography!! I just drop everything to watch John on Creative Live. I wish sometime soon he would teach a Lightroom class and his knowledge on photography post editing.!!! That would probably take a LOT OF TIME but I know John would explain it soooooo good, like he does all his Photography classes!! Thank you Creative Live for having such a wonderful instructor with John Greengo!! Make more classes John, for just love them and soak it up! There is soooo much to learn and sometimes just so overwhelming. Is there anyway you might do a Motivation class!!?? Like do this button for this day, and try this technique for a week, or post this subject for this week, etc. Motivation and inspiration, and playing around with what you teach, needed so much and would be so fun.!! Just saying??? Awaiting gadgets class now, while waiting for lunch break to be over. All the filters and gadgets, oh my. Thank you thank you for all you teach John, You are truly a wonderful wonderful instructor and I would highly recommend folks listening and buying your classes.
I don't think that adjectives like beautiful, fantastic or excellent can describe the course and classes with John Greengo well enough. I've just bought my first camera and I am a total amateur but I fell in love with photography while watching the classes with John. It is fun, clear, understandable, entertaining, informative and and and. He is not only a fabulous photographer but a great teacher as well. Easy to follow, clear explanations and fantastic visuals. The only disadvantage I can list here that he is sooooo good that keeps me from going out to shoot as I am just glued to the screen. :-) Don't miss it and well worth the money invested! Thank you John!
Dear John, thanks for this outstanding classes. You are not only a great photographer and instructor, but your classes are pleasant, they are not boring, with a good sense of humor, they go straight to the point and have a good time listening to you. Please, keep teaching what you like most, and I will continue to look for your classes. And thanks for using a plain English, that it's important for people who has another language as native language. Thanks again, Juan