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Baroq-ulele T, Soprano, Rosewood, Tuners
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Product OverviewBased on the round-back guitar found in Germany, the Baroq-uleles™ are one of the most option-rich lines of instruments we carry. This Soprano-sized instrument is based upon a 344.5mm (13 9/16 inches) scale. It features a European spruce soundboard with an interlaced rosette design taken from a 16th century vihuela. The back is a round-back or bowl shape made of staves of sheesham rosewood (Dalbergia sissoo). The neck is solid sheesham rosewood and features a nut width of 36mm (1 7/16 inch) with a bone nut. This instrument is outfitted with standard friction ukulele tuners. The tension on each friction tuner can be adjusted by tightening or loosening the screw on the top of the tuner. The bridge, also made of sheesham rosewood, incorporates a genuine bone saddle. An end-pin strap button is standard. Overall size: 22.5 x 7.5 x 3.5 inches. The Baroq-uleles come in 4 sizes including Soprano, Concert, Tenor and Baritone. Each size is graced with its own unique rosette design, each of which is taken from museum examples from the 16th and 17th centuries. In addition to the four sizes, the Baroq-ulele™ is also available with 3 types of woods for the back: sheesham rosewood, lacewood (chenar) or variegated with alternating staves of rosewood and lacewood. Finally, ensuring that you will find an instrument that best fits your needs, these instruments are also available with two types of tuning keys: Baroque-style ebony tuning pegs or standard ukulele friction tuners. All Models are sold separately.
|Mfg Part#
|Beautiful instrument imported from craftspeople around the world!
|Made with authentic materials!
|Perfect for aspiring world musicians!
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Front Axle
Heavy-duty fabricated steel, greasable
Heavy-duty fabricated steel, greasable
2/Cast-iron sleeve
23 HP professional-grade Kohler® 7000 Series V-Twin OHV
Full-pressure with spin-on oil filter
Heavy-duty 12-gauge one-piece, full-length steel frame
46" twin-blade (high-lift)
1.5" - 4", 8-position height adjustment
Patented SmartJet™ high-pressure deck washing system
Hand lever, multi-position
Electronic fingertip engagement
Cub Comfort™ deluxe high-back seat, 11-position fingertip adjustment mechanism with 6" seat travel
12 volt/230 cold crank amp
Operator presence
2.8 gal.
565 lbs.
7 mph
3 mph
Standard, foot operated
3-year/120-hour limited warranty
Tire and Tube Sealant by Tire Science - 32 oz. Non-highway Tire/Tube sealant for tubed and tubless low-speed tires. This tire sealant formulation finds and stops leaks instantly, even sealing punctures up to 1/8" wide.

subset: commoncrawl


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General Information
Be Prepared
Know the exit routes from your office, floor, and building. Review the EMERGENCY EVACUATION PLANS that are posted inside the main entrances, stairways, and by elevators in your building. Know the location of the nearest exit and an alternate one in case one is blocked. Also know the location of the designated Assembly Area, the location of fire extinguishers and fire alarms pull stations for your building. Learn how to use a fire extinguisher before a fire. To arrange for hands on fire extinguisher training call the Environmental Health & Safety Office at extension 2595.
In the event of an emergency, faculty members, residence life personnel and supervisors have the responsibility to give instructions to students and staff; close and lock doors; and provide other safety and first aid measures unless otherwise directed by the Public Safety Department or other emergency personnel.
…A Building is Evacuated
- Fire alarms or verbal notice will be used to sound the evacuation.
- Call USD Public Safety at extension 2222 from a safe location.
- Remain calm, walk quickly but do not run.
- Exit via stairway, DO NOT USE ELEVATORS.
- Follow instructions of the Building, Floor Safety Representatives and Public Safety Department or other emergency personnel.
- Seek out and give as needed assistance to any disabled persons in the area.
- If time permits, turn off the power to all electrical equipment and close doors.
- Go to the designated Assembly Area for your building. These are located outside away from the building. Keep roadways and walkways clear for emergency vehicles.
- WAIT FOR INSTRUCTIONS from emergency personnel. DO NOT RE-ENTER THE BUILDING until instructed to do so by the Public Safety Department or other emergency personnel.
If emergency situations not covered by this information occur, call the appropriate emergency number for instructions.
Resident Students
- Staging
- Whenever there is a Residence Hall evacuation, leave the Resident Hall quickly but in an orderly manner to the initial staging and triage area.
- Residential Life Staff will complete initial check-ins, determine who is missing and move residents to the evacuation site, or other areas.
- If the campus needs to be evacuated immediately, those Resident Students without transportation will be directed to the pre-determined staging area. Those students with transportation will be asked to assist with carpooling/transporting those students off campus who do not have transportation. Residential Life will be present to assist with the evacuations area and to assist with coordinating transportation to the pre-determined off campus holding area.
- Temporary Shelter/Holding Area
- On Campus: On campus temporary shelter has been pre-determined.
- Off Campus: Off campus temporary holding areas have been pre-determined.
- Transportation
- Resident student carpooling is strongly encouraged to expedite and assist in the efficiency of the evacuation of campus. To supplement those Resident Student that do not have transportation, the University's busses or trams will provide additional transportation to the off campus holding area.
Please contact your Resident Assistant or Community Director for any questions you may have prior to an evacuation event occurs.
Faculty/Staff/Commuter Students
- Staging
- Whenever there is a non-residential building evacuation, leave the building quickly but in an orderly manner to the initial staging and triage area that is the pre-determined assembly area as listed on the Building Evacuation Assembly Areas.
- Wait for further instructions from Public Safety, Emergency Personnel, or the Building Safety Representative/s.
- In cases where the incident expands and the campus needs to be evacuated immediately, Public Safety will activate the mass notification system to notify Faculty, Staff and Commuter Students to seek shelter off campus. Those Faculty, Staff, or Commuter Students that do not have immediate transportation off campus and are unable to carpool with other community members, please go to the nearest unaffected Resident Hall staging area for transportation assistance.
Please stay in contact with local media sources for information regarding specific local evacuation centers/shelters if you are unable to go home or stay with friends or other family.
Evacuation of Disabled Persons
Visually Impaired Persons:
In the event of an emergency, tell the person the nature of the emergency and offer to guide them to the nearest emergency exit. Have the person take your elbow to escort them. (This is the preferred method when acting as a "sighted guide.")
Hearing Impaired Persons:
Two methods of warning are:
- Writing a note, telling what the emergency is and the nearest evacuation route. For example: "FIRE-go out the rear door to the right and down- NOW!"
- Turn light switch on and off to gain attention and then indicate with gestures what is happening and what to do.
Persons using crutches, canes, or walkers:
Carrying options include using a two-person lock arm position or having the person sit on a sturdy chair, preferably one with arms. If time permits, call Public Safety at ext. 2222 or (619) 260-2222 for carrying chair.
Non-Ambulatory Persons (persons in wheelchairs):
There are many considerations when moving a person in a wheelchair. Wheelchairs have movable parts; some are not designed to withstand the stress of lifting. You may have to remove the chair batteries. Life support equipment may be attached. Lifting a person with minimal ability to move may be dangerous to their well being. Always consult with the person in the chair regarding:
- The number of people necessary for assistance.
- Ways of being removed from the wheelchair.
- Whether a seat cushion or pad should be brought along with him/her if they are removed from the chair.
- Whether to extend or bend extremities when lifting because of pain, catheter, spasticity, braces, etc.
- Being carried forward or backward on a flight of stairs.
- The type of assistance necessary after evacuation.
Proper Lifting Techniques
- Correct Position:
One foot a little ahead of the other.
Toes pointed slightly outward.
Feet about shoulder width apart.
- Squat
- Lift yourself and load with your legs.


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SmartWool Medium Weight Hiking Sock
Product Information:
Perfect for the great outdoors, the SmartWool® Hiking Sock feels like you are walking on cloud nine. The arch brace holds the sock in place and adds additional support, and the flat-knit toe seam keeps you comfortable throughout the day. These light socks have half-cushioning that is perfect for a long day on your feet.
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- Style: 130
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- Sock Size: Small = Shoe Size: Men's 3-5.5, Women's 4-6.5
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- Sock Size: X Large = Shoe Size: Men's 12-14.5
Country of Origin: United StatesWeb ID: 4004821
Customer Reviews:
Rated 4.8 out of 5�by 87 reviewers.
Rated 5 out of 5�by Jan48 Not itchy...very comfortable These socks keep my feet warm and blister free during my 5 mile walks. I'm very sensitive to wool and these are itch free! I've had them for a year now and would recommend them to anyone who wants a comfortable warm sock. November 22, 2014
Rated 3 out of 5�by Nay Confy but balled up The socks were very confortable, but then balled up after they were washed. For the price you would think this wouldn't happen. January 15, 2013
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Rated 5 out of 5�by SteveL amazingly comfortable! A really great, cushioned sock. Being on my feet all day, I am thankful this type of sock exists. It is thick yet breathable. Also, since my work shoes run a size bigger, the thickness of the sock helps with the fit. June 10, 2014
Rated 4 out of 5�by Dale & Angie Great sock!! Warm,soft sock. Will keep your feet warm an dry. But kinda pricey. Would only buy when on sale. December 28, 2011
Rated 5 out of 5�by Nativerobin good all around sock Used these socks on a short hike and loved how cushiony they were so I took them on an extended hike. I walked through water a few times and they wicked most of the moisture away from my foot. Hiked 10 miles and had no blisters even through water. June 10, 2011
Rated 5 out of 5�by bb Great socks for hiking. Very comfortable. Great wicking. February 12, 2011
Rated 5 out of 5�by The wife :) Love these socks My husband loves these socks. Cushiony and warm for just wearing around the house and warm for cold winter days outside too. December 31, 2011


text:
Galaxy Young S6310 XXAMC4 Android 4.1.2 Jelly Bean official firmware update is now available for download. We have been covering all the latest Jelly Bean updates for the Galaxy Young S6310 for a while and here is another one that was released earlier today. S6310XXAMC4 Jelly Bean is more of a bug fix and regular maintenance update. Samsung presently rolled out this firmware update in South East Europe, Portugal (TPH) and Greece (Cosmote). You can install XXAMC4 Android 4.1.2 Jelly Bean on Galaxy Young S6310 using our detailed tutorial below. Please note, this is ODIN flashable firmware and not CWM recovery flashable. You can always root XXAMC4 Android 4.1.2 Jelly Bean using proper root method later. It's always advisable to update device to latest available firmware version. Official firmware is also good option to unroot Galaxy Young GT-S6310 or unbrick Galaxy Young S6310 if brick happen because of software issue.
In this article we will guide you to install S6310XXAMC4 official firmware update in Samsung Galaxy Young, model number S6310. For this, we will use a tool called ODIN that will help us to flash the stock 4.1.2 Jelly Bean firmware in Galaxy Young S6310. However, in this process you may lose all your existing installed apps and personal settings. You should follow this guide carefully to properly backup your data that you can restore later.
Android 4.1.2 XXAMC4 Firmware Details:
Version: 4.1.2
Date: March, 2013
This tutorial is only for Galaxy Young, model number S6310. Don't try this guide in any other Android device. Check your device's model number in: Settings » About phone. Also, we are not responsible for any damage caused due to the instruction given in this page. Try this at your own risk. Although, it is very unlikely that your device will be damaged if you follow all the instructions as it is which are mentioned in procedure.
Pre Requisites:
Backup your data first using below mentioned instructions, so that if you lost any data you can recover it easily.
SMS & Call Log – Use SMS, MMS & Call Log Entries Backup & Restore App
Contacts & Settings – Use Android default backup options.
Images, Songs, Videos, Files – Copy to Internal/External SD card.
APN and MMS Settings – Note down from the path "Applications > Settings > Wireless and Network > Mobile Networks > Access Point Names"
WhatsApp Messenger – Manually Backup WhatsApp Messenger Data.
- Make sure your device have at least 80% battery power, otherwise your device may see a hard brick if device turn off during installation. [How to Check Battery Percentage in Android Device]
- Backup your EFS Folder to save IMEI number and other important data. [Guide]
- You already have USB Driver Installed for Galaxy Young in your PC. [Download USB Drivers]
- Make sure USB Debugging is enabled otherwise you won't able to transfer file between PC and mobile. [Guide]
- This installation guide use ODIN utility which work only in Windows OS. If you use Linux OS (such as Ubuntu) or Mac OS then use CrossOver Utility to run ODIN in your OS.
If you follow everything that we mentioned above, you are ready to move into next page of this guide where we summed up detail instruction on how to flash Jelly Bean XXAMC4 Android 4.1.2 official firmware update for Galaxy Young S6310.
Pages: 1 2


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From 14 to 19 January 2013 the Cologne Music Week mini festival is back for its fifth edition at the Stadtgarten park in Cologne. Throughout the six days, newcomer acts from the local region will be showcasing an eclectic mix of music. And, for the first time, three up-and-coming young bands will be performing on 17 January as part of the popNRW scheme for new talent.
Suchen, Nachschlagen, Informieren. Hier finden Sie alles, damit Sie immer "auf dem Laufenden" sind.


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The Heresy of Artistic Intent
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Topic: The Heresy of Artistic Intent (Read 4447 times)
David Sutton
Sr. Member
Posts: 957
The Heresy of Artistic Intent
January 27, 2013, 10:58:17 PM »
A well written and interesting article from Chris Schneiter, except I would have liked to see him go further with his conclusions.
Folks who are dyed-in-the-wool printers understand that nothing else matters but the print. Colour management as an end in itself is nonsense. Likewise our tripods, cameras, flashguns and so on. But colour management is the worst culprit because it engenders a sense of control, which can be the enemy of our vision for want of a better word.
Don't get me wrong, I have as good a colour managed system as the next man, but WYSISWG inherently deeply flawed as long as we are printing on reflective papers. What it does enable me to do is
to some extent what a print may look like and so cut down on paper wastage. If micro managing your colour management makes you happy, well go for it. But in the real world, most of us aren't doing product shots for Coca Cola. We just want stuff to work. The histogram on the camera accurate, the screen not brighter than the print, the printer nozzles all firing. But the idea that we are in control of our colour processes is not just unhelpful, but counter-productive as it not only closes the door to serendipity but also seems to be producing a world of beautifully executed images of a sort of homogeneous nothing. By focussing on technique folks seem to lose the idea of art, or self expression, or beauty or whatever it is they are trying to do. They are losing the ability to trust their eyes.
Control. The only thing we really need to control is what we let the world see of our work. The critical moment for exercising control is when we tear up our second rate prints.
David Sutton
Sr. Member
Posts: 1487
Re: The Heresy of Artistic Intent
Reply #1 on:
January 28, 2013, 03:13:10 AM »
This essay centers mostly around the tone curve and how changes in it can change the output...
But is that the best way to achieve the required result?
As an experiment, I compared doing this for myself with simply moving the "Shadows" slider in LR... using the slider won hands down...
But I wonder, having read that essay, whether or not that's really what we're looking for. As Christopher wrote, it was like his entire shooting style was "zone based" (and I could believe many others are too) which makes me think that rather than "shadows" and "hightlights" sliders, perhaps we should have "zone sliders" or similar? So that if you push a subject into zone IV just to get the highlights, it is relatively trivial to get that subject back into zone III...
Sr. Member
Posts: 1956
Re: The Heresy of Artistic Intent
Reply #2 on:
January 28, 2013, 03:32:37 AM »
As an experiment, I compared doing this for myself with simply moving the "Shadows" slider in LR... using the slider won hands down...
The shadows slider in Lightroom is applying a curve - it is just doing it behind the scenes.
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Rob C
Sr. Member
Posts: 12315
Re: The Heresy of Artistic Intent
Reply #3 on:
January 28, 2013, 04:22:38 AM »
At last!
Coming from too many years printing pro (my own stuff: nobody else to blame for anything!), I found digital printing very much tied to rules - or at least so I believed as I learned bits here and bits there, all off the Internet. I always suspected the rules, because they seemed to discount the difference between seeing something by transmitted light and then by reflected light. This concept wasn't difficult to understand and respect in wet days, but it was somehow supposed to have vanished in the digital era. How could one have believed that, even for a minute? By listening to gurus, is why. Oh those new prophets!
I had a calibrated screen, eventually, and felt that I should be getting somewhere faster in my printing, but it still didn't seem to work out from supplied data (from paper makers and printer makers) and I ended up getting results that were so-so at best. In time, I came to the conclusion that the way to digi success required exactly the same thinking as printing wet: test prints. Electronics give you a good basic exposure, then it's all up to your eye and experience, and I think that having wet experience
if you can free your mind of fears and dogma about digi
, is a huge advantage in understanding what you should be able to get from your files. There is no shame in three test prints! If anything, I think it shows you
Thanks for making me feel okay about it!
As far as WYSIWYG goes, perhaps its only reality in photography lies in a transparency: what you see in a transparency is what you
in the transparency, and has only a loose tie to what you thought you were going to get!
Rob C
Sr. Member
Posts: 3022
Re: The Heresy of Artistic Intent
Reply #4 on:
January 28, 2013, 09:57:40 AM »
Quote from: Josh-H on January 28, 2013, 03:32:37 AM
The shadows slider in Lightroom is applying a curve - it is just doing it behind the scenes.
That is not the case with PV2012 in Lightroom and ACR. Jeff Schewe discusses this briefly on page 83 of his digital negative book. The basic panel sliders are smart (using Laplacian Pyramids and other exotic algorithms that most of us don't understand). The curves are basically dumb and do not apply the new technology, but are useful for fine control after one has applied the basic controls. Hopefully, Jeff will go into further detail with these matters in his upcoming digital print book.
Chris's article is very well done, but it is basically Photoshop oriented and leaves Camera Raw and Lightroom out of the discussion. With digital, he is likely using raw files, but he does not specify how those files are brought into Photoshop. Maybe he uses Capture One or another converter and maybe he renders rather neutrally as with PV2010 with the sliders on the basic panel all set to zero with ACR/LR and does the fine tuning in Photoshop. However that is not the way most of us work now. His approach harkens back to that of Dan Margulis (unmentionable in this forum
Eric Myrvaagnes
Sr. Member
Posts: 9380
Re: The Heresy of Artistic Intent
Reply #5 on:
January 28, 2013, 10:27:49 AM »
The point I took from the (excellent) article was simply that playing with the shape of the curve to get what you like is OK. The "tone curve" seemed to be simply an example. In other words, don't be afraid to use any of the tools available, whether in PS or LR or anywhere else, to get the detail and effects that you want.
In my case, I feel that playing with the basic sliders in LR (PV2012) is usually the easiest way to get what I want, but it's nice to have the curve tool for the rare extra tweak. And I certainly don't worry about whether a Laplacian Pyramid is the "appropriate" tool to use: If it does what I want, great.
-Eric Myrvaagnes
Visit my website. New images each season.
david loble
Posts: 32
Re: The Heresy of Artistic Intent
Reply #6 on:
January 28, 2013, 05:18:03 PM »
Here's a "second" for Rob C's comments about wet darkroom experience. I had very little of it and hated it. Now, it turns out about 90% of my digital printing is b&w and I wish I had spent more time in the darkroom. Fortunately I have two close friends, photographers, with extensive b&w film experience who can coach me with an eye towards turning out a decent print. Test prints? Do 'em often. Umpteen steps in LR Develop module? Lots of times. Enjoying it? Yes.
Sr. Member
Posts: 288
Re: The Heresy of Artistic Intent
Reply #7 on:
January 28, 2013, 05:21:30 PM »
Though not steeped in the Zone System, I thoroughly enjoyed and appreciated Chris Schneiter's piece. Whether many of us often use the Curves Adjustment Tool, or have moved to making most of our tonal adjustments with sliders in ACR or Lightroom (or other image editor), the graphic Curves tool was an excellent way of illustrating his main points -- namely, that we often need to increase tonal separation in both highlights and shadows to increase contrast in those areas and thereby bring out their details (and, with that contrast, add more zest to our images). The fact that the slope of the curve, at any point along that curve, indicates the amount of contrast in that tonal area of the image, is very helpful; that understanding is obscured by the use of sliders. Understanding what one is doing, in terms of how it would be achieved or represented in Curves, is very helpful to knowing what types of adjustments to make to an image, regardless of the tools employed -- Curves, or sliders, or whatever. Like the earlier poster, I have found that it is easier to achieve more refined tonal adjustments with sliders in ACR than with a Curves adjustment. Nevertheless, even in ACR, I am sometimes going into its curves tool when I know exactly what I want to do with it. --Barbara
Rob C
Sr. Member
Posts: 12315
Re: The Heresy of Artistic Intent
Reply #8 on:
January 29, 2013, 03:46:55 AM »
I didn't realise that Curves is a seldom-used tool; I find myself using perhaps four or five different layers of curves settings even on cheap cellpix shots!
I couldn't imagine a well-finished image that didn't need at least that many tweaks to lift it out of the camera's native product!
Perhaps it's because I only have a very basic Photoshop 6 setup, but it seems to be perfectly capable of doing all I need; if anything, it's my lack of skills that leaves so many of its features in the mists of the unkown and untried. In my mind, if I can get what I think I need from a
controls, why seek out more? With my attitude to technology, it certainly wouldn't be for the fun of it!
Rob C
Sr. Member
Posts: 670
Re: The Heresy of Artistic Intent
Reply #9 on:
January 29, 2013, 04:25:15 AM »
Quote from: Rob C on January 29, 2013, 03:46:55 AM
...Perhaps it's because I only have a very basic Photoshop 6 setup...
Sounds a bit like a very basic Rolls Royce. Probably the wrong car, but you know what I mean. I am in awe of what can be done with Photoshop and other image editing software. Amazing tools that provide different and often complementary ways of working. Skilled practitioners are virtuoso musicians while I can pick out a few tunes.
Ken Cameron
Sr. Member
Posts: 3729
Re: The Heresy of Artistic Intent
Reply #10 on:
January 29, 2013, 07:19:04 AM »
This link is worth looking at if you want to "visualize" the connection between curves and slider. Near the end George explains how to add contrast to the dark areas between shadows and blacks.
When you use curves in PS and for instance you lighten a dark area in an image then it can flatten out the curve and lose tones in the lighter areas. Using sliders in LR/ACR to mimic the curve means less tones are lost. A rapier instead of a hatchet.
James Horne
Posts: 4
Re: The Heresy of Artistic Intent
Reply #11 on:
January 29, 2013, 08:12:06 PM »
I may struggle to represent my thoughts on this as I am not in the pro category of user but I did want to share my thoughts so please indulge me.
I came away from this article initially confused and thought that perhaps the biggest issue I had with print satisfaction from matte substrates was a misconception about the role of printing profiles in the process. I think that now I have narrowed things down to the rendering intents. The way in which the information in your image is being mapped into the available gamut is not specifically chosen by the user and it is yielding less than satisfactory results for a proportion of images with lots of darker tones. The suggestion of offsetting this with curves of sliders adjustments makes sense and it is essentially the method I have arrived at from (expensive) trial and error.
I greatly value the strengths of colour management and what it has helped me to achieve more generally, but the more I print the more I find there are still many areas where I have to make editing decisions I did not realise I would have to. It comes down to perceptions I guess. Experience is a great teacher.
Sr. Member
Posts: 288
Re: The Heresy of Artistic Intent
Reply #12 on:
January 29, 2013, 10:41:01 PM »
I'm certainly not a foremost expert on this either, but I'll throw an observation into this discussion, based on my reading on the subject. Many (or most, or all) printers don't differentiate between the lowest tonal levels, and print them all as black, thus effectively giving us a clipping point that is higher than desired or expected. I don't know where any of my printers actually "clip" at the lower or upper ends, but have assumed that anything below 7 or 9 will print as black and I work to keep my upper end at 247 or lower. (Maybe the newer printers do better than the 7 or 9.) I also have the impression that matte papers exaggerate this effect, compared with semi-gloss or gloss papers. I won't mind having anyone jump in here to correct me if need be. Anyway, I am wondering if this may be a big part of what you are describing. --Barbara
James Horne
Posts: 4
Re: The Heresy of Artistic Intent
Reply #13 on:
January 29, 2013, 11:30:57 PM »
I had thought that the purpose of the print profile was to allow rendering of the image to scale within the limits that are printable for that device, paper and inkset. Should there be ANY tones that are below the black point of the output device if a proper profile is applied? Assuming there are not this is why I am now considering the way in which the out of gamut tones are being mapped in by the selected rendering intent. Of course the assumption could well be incorrect! But if I am on the right track it just reinforces the need to compensate for the standard rendering (and seeming compression) of dark tones when applying the profile to your image. And there it gets ugly for me. When faced with subjective decisions on tonal manipulations I am prone to producing exaggerated outputs. I'm hoping that will scale back to a more restrained product with a more practised eye and perhaps better workflow! Cheers.
Wayne Fox
Sr. Member
Posts: 3233
Re: The Heresy of Artistic Intent
Reply #14 on:
January 29, 2013, 11:52:32 PM »
While I agree that theoretically the profile should handle mapping the tones to avoid "clipping" when mapping to an output gamut, I don't think it's quite that simple, especially with perceptual rendering intents. There is quite a bit of variability when building a profile in the way it is constructed to handle perceptual rendering intent and in fact some methods and software has seen some criticism of how they go about doing it. So I do think it's possible to see blocking up of detail, and sometimes not limited to just the dark or lightest regions. There are other factors in play one being the ability of a device to measure a difference vs how we actually perceive it.
One tool I like to use once I've built a profile is the
Printer Evaluation Image
available on Uwe's site, outbackphoto.com. It was designed by Jack Flesher and there is a good explanation by him on how to use it, see the link later in the page.
One thing it provides is a visual reference to the clipping points in the black and grey patches designed specifically for that purpose. I use Bill atkinson's file as well, but I like how jack made it smaller, still using some of bill's images but including a really nice grey scale that lets you see how well the profile handles grey scale tonality.
Of course, there is more to this than just clipping and when you get into dark shadow regions you may have detail that is technically not blocked up, but because of the challenge to see separation in those regions might as well be. To me the gist of the article was how these regions are much more likely to show detail on a transmissive device so we get fooled into thinking they will show on the print. Since they don't, the answer to is modify the "contrast" basically pulling the tones further from each other to increase the visual separation.
Most of the time when using the shadow slider and getting it to where it looks good on my display, I go just a "little" bit more to try and make sure the shadows do show the detail I'm after.
Soft proofing, if you are good at it (which I'm not) can help with this. I'm still a little old school, so some images see a few test prints before I get them where I want.
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Rob C
Sr. Member
Posts: 12315
Re: The Heresy of Artistic Intent
Reply #15 on:
January 30, 2013, 04:35:17 AM »
Quote from: BarbaraArmstrong on January 29, 2013, 10:41:01 PM
I'm certainly not a foremost expert on this either, but I'll throw an observation into this discussion, based on my reading on the subject. Many (or most, or all) printers don't differentiate between the lowest tonal levels, and print them all as black, thus effectively giving us a clipping point that is higher than desired or expected. I don't know where any of my printers actually "clip" at the lower or upper ends, but have assumed that anything below 7 or 9 will print as black and I work to keep my upper end at 247 or lower. (Maybe the newer printers do better than the 7 or 9.)
I also have the impression that matte papers exaggerate this effect, compared with semi-gloss or gloss papers.
I won't mind having anyone jump in here to correct me if need be. Anyway, I am wondering if this may be a big part of what you are describing. --Barbara
Hi Barbara,
I'm no digital print guru either, but I have managed to get b/white down to a pretty fine art using an HP B9180 printer.
The problem, unfortunately, is that I use Hahnemuehle Photo Rag Bright White paper which is very matt indeed, and only the brightener makes it acceptable, much of the time. But, its supposed to be capable of outliving me not difficult at my stage in the general scheme of things, I suppose, but you see what I mean.
When I l look at a dried print its not unpleasant, most of the time, but it really springs to life once its safely tucked inside its archival polyester print sleeve. Then, it assumes a new and entirely finer life and inner glow. In other words, it takes on the mantle or glory of a well-glazed wet print, further than which its impossible to take a print. AFAIK. (This general concept has been disputed by a printer whose work I much respect, right here on LuLa, but I have to hold to the evidence of my personal experiences.)
The obvious answer would seem to be to print on a natively glossy medium, but that brings its own set of problems, the worst being (in my limited experience of glossy digi printing) that bronze patch effect here and there, randomly across the surface wherever it seems to take its fancy. That ruins anything! But I suppose thats because of using pigment inks on gloss paper I dont want to buy more printers, thank you!
So for me, matts the lesser of two evils, and thats not taking into account the longevity question inherent in pigment vs. dye.
From personal experience in the archaic (¿!?) art of wet printing, I absolutely hated using matt papers back then; horrid stuff devoid of tones other than a mid-grey, dead blacks and whites, regardless of grade. But then, one had to understand the beauty of which WSG was capable, and many died-in-the-wool artists never went there.
All of which simply illustrates that everything is connected to everything else, and its really a completed package that determines how the picture will eventually appear to look.
Rob C
Last Edit: January 30, 2013, 04:37:21 AM by Rob C
Sr. Member
Posts: 288
Re: The Heresy of Artistic Intent
Reply #16 on:
January 30, 2013, 03:03:39 PM »
Rob, I enjoyed reading your commentary, and appreciated your assessing print longevity in terms of your own longevity. I am very doubtful that my "children," who are all grown now, will have much interest in my prints. I enjoy them because they reflect my own interests and experiences. In the same "longevity" vein, I started accumulating traditional light-bulbs last year when they were due to be phased out, calculating how many I thought I'd need to take me to a statistically-average demise. (Hopefully, that time isn't that close, but light bulbs were cheap.) I know this isn't very eco-conscious, but I certainly didn't like the light quality of what else was available. I know light bulbs are getting better.
In the vein of getting better, I have to say a thanks to Wayne for including the link to the print evaluation image in his post. Though I had read many commentaries on this image in the past, I had never actually printed it for myself, as I hadn't seemed to be having the kinds of problems many other printers were facing, and I had been satisfied working with the manufacturers' profiles I was using. And I think I have been fortunate that, as I have gotten better as a photo editor and printer, the profiles have also improved. I was happily surprised to see how much differentiation I had in the lights, seeing the 252 block clearly against my Canson Platine background. The blacks, however, blocked up below 12. Thank goodness for raws (and tiffs converted from Sigma raws) which I bring into ACR, the newer workings of which were helpfully described by Jeff Schewe's sometimes dense (I definitely need a second or third reading of some sections) "The Digital Negative." I especially appreciated the article which is the subject of this thread, whose author went to some considerable effort to put it together for us, because it demonstrated why we typically have more trouble in the shadows and highlights than in the mid-tones, and brought our attention to the need to adjust and fine-tune there.
I also want to add a thanks for the link, and thumbs-up, to the video in the earlier post. Very illuminating, very helpful! I have very much appreciated the help L-L has been to me in the four areas of my photographic life: the vision thing, the capture, the editing, and the printing. Many thanks to all here who have contributed over the years! --Barbara
James Horne
Posts: 4
Re: The Heresy of Artistic Intent
Reply #17 on:
January 30, 2013, 07:55:53 PM »
That goes for me too. Thank you for replies that get me thinking further and wider about things. It is very much appreciated. Cheers J
Posts: 35
Re: The Heresy of Artistic Intent
Reply #18 on:
January 31, 2013, 12:10:24 AM »
I enjoyed the article quite a bit but came away with a slightly different conclusion.
For me the take away was that though we have our technical tools and rules they will only take us so far.
A pleasing print is not necessarily an accurate print.
This was the lesson I learned 40 years ago when I spent half a year just shooting 4x5 and learning the Zone System just like Mr. Schneiter. What I realized was that the ZS was a tool whose principles allowed you to make a neg that was then able to withstand severe manipulative abuse in the darkroom.
The slavish devotion to the technical and "correct" aspects of imaging completely ignore the fact that almost every print we look at has been manipulated to enhance or reduce various aspects of the image elements. What is dodging but a local reduction of density and burning its opposite? PS allows us to jump in and make changes to our images we only dreamed of in a wet darkroom.
His call to enjoy yourself and have fun is the most important point as we can then feel free to make the images we dream of without the criticism of being "wrong".
Posts: 47
Re: The Heresy of Artistic Intent
Reply #19 on:
February 03, 2013, 11:09:34 AM »
The question the article initially seems to raise, but doesn't answer, is why his low key images look good on his monitor, but not in print. Monitor contrast range needs to be similar to that of a print, and monitor brightness needs to relate to the illumination level on a print. If the monitor is very bright, there will be a tendency to bring levels down, resulting in darker prints, especially in low key areas. My Eizo monitor, for example, is calibrated for a white level of 80cd/m2 and a black level of 0.3cd/m2 for a brightness range of 240:1. This is close to the density range of glossy inkjet papers that have a Dmax of 2.30 (200:1). Most LCD monitors are inherently much brighter, running to 200-350cd/m2, way to bright for print work. Also, the level of illumination on a print when judging it is more critical for darker areas than for midtones and highlights. A high key print will look OK under a lot of illumination levels, but darker areas in low key prints will "dump out" if the illumination level is too low. The question is, what level of viewing illumination corresponds to the brightness level of the monitor such that the psychological effect of viewing an image on the monitor approximates that of viewing a print. Another issue is the profile used to make the print. Some profiles, for example, may block up shadow areas.
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The Golden Compass
Action/Adventure, Drama, SciFi/Fantasy
Based on author Philip Pullman's bestselling and award-winning novel, 'The Golden Compass' tells the first story in Pullman's 'His Dark Materials' trilogy. 'The Golden Compass' is set in an alternative world where people's souls manifest themselves as animals, talking bears fight wars, and Gyptians and witches co-exist. At the center of the story is Lyra, a 12-year-old girl, who starts out trying to rescue a friend who's been kidnapped by a mysterious organization known as the Gobblers and winds up on an epic quest to save not only her world, but ours as well.
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Game 16
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Prison Reform Trust poll finding: 88% support restorative justice after the riots
In 1998 the British Crime Survey found that 41% of victims said they would agree to meet the offender, if this was offered to them, and 58% would accept reparation from the offender. In September this year, following the riots that took place across England in August 2011, an ICM poll, commissioned by the Prison Reform Trust found that 88% of the public thought victims of crime should have the right to tell offenders the impact of their crime; 94% believe offenders should make amends by doing unpaid work in the community; and 71% believe the victim should have a say in how the offender should make amends for the harm they have caused.
Oct 17, 2011 Story, Country:England&Wales, Support, Correspondent:Lizzie Nelson, Region: Europe, Policy, Politics


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All Entries Tagged With: "The Failing Social Media IPOs"
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The Four Struggling Silicon Valley Social Media Plays
Facebook (NASDAQ: FB) has been the big headliner since the beginning being one of the biggest disappointments of all-time, as despite having now 1 billion users the stock has fallen flat ever since the IPO, down 45% so far.
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Groupon (NASDAQ: GRPN) the online coupon website started off strong but have seen their best days behind them as they have struggled recently down 77%.
Pandora (NYSE: P) the popular free online music website who due to huge licensing fees has struggled as well down 41%.
What the future holds for all these companies is still up in the air but as of right now the four on the bottom need to seriously reanalyze their companies from top to bottom and start following in line with LinkedIn and Yelp and ask them what they're doing so they can get back on track or else they might just disappear forever.
Silicon Valley's Stock Funk
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Fionn Regan is an Irish singer-songwriter and artist from Bray, County Wicklow, who came to prominence in 2006 with the release of his Mercury-nominated debut album, The End of History. In 2010, Regan released his second album, The Shadow of an Empire. Regan cites Bob Dylan and Neil Young as influences.
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Clamps, fixtures, vise grips and magnetic squares are your friends
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Monday, October 02, 2006
Comparing the US and the European Responses to the Threat of Terrorism
Brian Tamanaha
By many accounts, Western Europe is the front line in the global war against Islamic terrorism (or a least a close second to the Middle East). Terrorrist bombings in the UK and Spain, unrest in France, a high-profile murder in the Netherlands, arrests in several countries that foiled planned attacks, and large immigrant Muslim populations with limited employment opportunites for youth--the circumstances in Europe are far more tenuous, complex, and frightening than they are in the United States. Yet the response of the US government has been far more extreme.
The Europeans react differently because they understand terrorism to be a form of crime that, like any other, will inevitably occur. They've had extensive experience with it and realized that there are multiple ways to attack and prevent the problem aside from military solutions. Their experience with terrorism helped because it gave them perspective. Most Europeans I talked to while living there espoused this belief.
Most Americans I've talked to since coming back take a rather apocalyptic view of terrorist attacks, very panicked and irrational, because most of them have so little experience with terrorist attacks on U.S. soil and very little understanding of Muslims in general. We often fear what we don't understand, and fear makes people overreact or act irrationally and stupidly. President Bush doesn't do anyone any favors by constantly stoking the fears of terrorist threats beyond reasonable projections.
The fact of the matter is that terror attacks will likely happen again on U.S. soil, despite the best efforts of our military and law enforcement communities. We've been lucky in our history, but as 9/11 proves, luck cannot always be counted on. Until the American people and their leaders accept that the problem of terrorism, as with any other crime, is likely inevitable (but not unmanageable) and that there are more options to deal with the issue than military ones, we'll continue to see crap legislation like the detainee bill and we'll continue to see our troops deployed unproductively with unfavorable results. I suspect we'll eventually learn, but the learning curve will be a long and costly one.
Brian Tamanaha:
By many accounts, Western Europe is the front line in the global war against Islamic terrorism (or a least a close second to the Middle East)...the circumstances in Europe are far more tenuous, complex, and frightening than they are in the United States. Yet the response of the US government has been far more extreme.
The US now treats Islamic fascism as a military enemy and its attacks on us as a war.
The EU, as this nation did prior to 9/11, treats this as a criminal justice matter.
Our country has not suffered from any attacks since 9/11, while you correctly observe that the EU is the worst battleground outside of the Middle East.
Do you think, perhaps, that our different approaches to this problem account for the relative success of the US and failure of the EU since 9/11?
The people in the EU are dying because their governments do not understand that they are fighting a mortal enemy who does not play by their criminal justice rules.
In contrast, the people of the US continue to live in peace at home because we are waging war on the enemy where they live.
Members of a suicide cult cannot be expected to be deterred or impressed in the least by criminal justice sanctions. The US is successful because it is killing or capturing the enemy in a war before he kills our people.
The EU will learn this lesson or continue to see its people murdered.
Your statement is preposterous. European countries have a greater problem with Islamic terrorism than we do because they have large, angry, alienated Muslim communities and we do not. That means that in Europe local residents are hatching terrorist plans, whereas in the U.S. our terrorists are from overseas without local support.
Your arguments are preposterous in many other ways. Do you think that our forces in Afghanistan and Iraq are somehow killing only terrorists who plan to target the U.S. and failing to effect terrorists targeting Europe? Are our "coercive interrogations" yielding only evidence of anti-U.S. and not anti-European plots and cells? Or are we withholding such information from Europe as a way of pressuring them to support us more?
Are you suggesting that if European countries contributed more troops to our war effort in Iraq it would protect them from terrorism? Britain is the country that has supplied the most troops after ours, and that does not seem to have given them any immunity at all. Or are you proposing that if Europeans go off and invade some other country that would stop terrorism at home? If so, what country to you recommend?
U.S. military action has been effective in stopping terrorism because it destroyed Al-Qaeda's bases and command structure and without that their ability to hit us is limited without that support structure. In Europe, where terrorism grows out of local communities, military action against terrorists would mean military action against internal Muslim communities. Is this what you are advocating? And, if so, why don't you come out and say it.
it is my understanding that there have been no terrorist attacks in the last twenty years or more in luxenbourg, lichtenstein and sierra leone. based upon your logic, this means that these countries are doing a better job at protecting their citizens than our government is doing to protect us. maybe we should study what they are doing.
Talk about looking out over a crowd and picking out your friends! Is Mr. Tamanaha suggesting that if, say, a U.S. legislature passed a ban on headscarves in schools, the law professors of America would react with enthusiastic support? Of course not, because they are incorrigibly alienated from their country and would oppose any action by an American legislature. When Europe and America move in opposite directions, Mr. Tamanaha and his comrades cite Europe; when Europe and America move in the same direction, Mr. Tamanaha and his comrades decry both, and are reduced to citing the Supreme Court of Zimbabwe or something. Which is why most Americans aren't listening.
Enlightened Layperson said...
Bart: Your statement is preposterous. European countries have a greater problem with Islamic terrorism than we do because they have large, angry, alienated Muslim communities and we do not. That means that in Europe local residents are hatching terrorist plans, whereas in the U.S. our terrorists are from overseas without local support.
You have a point that the EU is a somewhat more fertile source of enemy recruits than is the US. However, the US has also taken down a number of cells inside the US. The difference is that we have been much more effective stopping enemy attacks.
The US is using military intelligence gathering such as the NSA telecommunications intercept and SWIFT financial transaction identification programs to identify many of these cells inside the US. When the NYT was disclosing the NSA and SWIFT programs to the enemy, they also disclosed that both programs have successfully identified multiple enemy cells. The WP later disclosed that Justice comes to the FISA court with warrant applications for at least ten enemy each year identified first by the NSA Program.
One of the al Qaeda financial groups which we have taken down was the Al-Haramain Islamic Foundation, Inc.. It appears from a mistakenly disclosed document, that the NSA was intercepting the communications of this al Qaeda front group before developing a civilian case against it.
Do you think that our forces in Afghanistan and Iraq are somehow killing only terrorists who plan to target the U.S. and failing to effect terrorists targeting Europe?
9/11 wasn't an end in itself. bin Laden hoped to draw us into a war in Afghanistan to engage and defeat our forces the way the Afghanis had defeated the Red Army in the 80s.
Things did not work out according to plan, though.
The Afghanis hated the Taliban and their al Qaeda pay masters. A SF group and the Afghan Northern Alliance took down the Taliban in a few weeks and the Afghans rounded up every Arab in the country and turned them over to us. Many were al Qaeda.
Some of the survivors fled to an allied Insar Islam camp in Iraq. When we liberated Iraq, al Qaeda decided to turn this country into the "central front" of their war against us. However, Iraq also turned into a blood bath for al Qaeda.
In short, al Qaeda committed its forces to taking us on in the Middle East and were largely destroyed. Since our intervention in the Middle East, al Qaeda has not been able to launch a single attack from the Middle East against US interests outside of the Middle East.
This is probably true for Europe as well. Attacks against the EU have all been launched by local cells. The EU has failed to take down these cells because they are treating them like common criminals instead of sophisticated military opponents.
Are our "coercive interrogations" yielding only evidence of anti-U.S. and not anti-European plots and cells?
Before USA Today compromised the cover of the CIA rendition program, EU intelligence agencies were assisting the CIA in snatching enemy combatants in Europe for questioning elsewhere where EU rules did not apply. I imagine these enemy disclosed knowledge of EU cells.
Are you suggesting that if European countries contributed more troops to our war effort in Iraq it would protect them from terrorism?
I am not sure. The NATO troops have proven to be inept in Afghanistan.
However, the EU countries may want to start treating al Qaeda and its allies in their nations as military enemy combatants, not just criminal defendants. The Brits have learned their lesson after the London bombings and have suspended many civilian limitations on intelligence gathering and interrogation against terrorists.
phg said...
bart: it is my understanding that there have been no terrorist attacks in the last twenty years or more in luxenbourg, lichtenstein and sierra leone. based upon your logic, this means that these countries are doing a better job at protecting their citizens than our government is doing to protect us. maybe we should study what they are doing.
Cute. These tiny countries do not have a presence in the Middle East and are largely unknown to al Qaeda. The US is super power with extensive economic interests in the Middle East whose culture also is a large part of the Middle East as it is around the world. We are not about to withdraw from the Middle East and, thus, we remain a target for those who wish to remove us.
Brian's post is full of half-truths and strained assertions.
1. I'll assume the EU is under a greater threat from Islamic terrorists. He himself notes the numerous attacks that have occured throughout Europe. While this may be a function of the "greater internal threat" at what point do you sit back and say, "hmm, maybe we aren't taking the best approach?" Maybe the number of attacks is indicative that they aren't doing enough. Maybe our own "overreaction" is what has kept us safe in the US? But no, that would go against the liberal narrative. Can't have that now can we...
2. Brian wrote, "Europeans also understand that the terrorists are extremists, and represent a relatively small number of individuals. In addition to old-fashioned police work, the best way to find and monitor those dangerous individuals is through the cooperation of the broader Muslim community."
Yes, that is very true.
Brian continues, "Under these circumstances, European governments strive to avoid rhetoric and actions that might exacerbate tensions and further alienate the entire community."
Well isn't that nice of them. Let's look at the British response. Even when you have Islamic terror apologists like Ken "Red" Livingstone as the mayor London, treating terrorists with kid gloves - it still doens't help. Just look at the Muslim reactions in London. The British try to go out of their way, but the seemingly only acceptable response to large portions of the Muslim community is that the British do nothing (of course they don't say that, but their protestations of almost everythign easily lend themselves to that conclusion). I'm not saying implementing hamfisted policies will work either. But, this European "understanding" you cite hasn't been doing much to help them. While yes, they may face a greater threat, at what point do you say, hmm, these policies aren't working as well as they should. Oh wait, the EU is being held up as a paragon of liberal virtue, so we can't admit it may be their "policies" and their oh so enlighten view of terrorism.
Bart: However, the EU countries may want to start treating al Qaeda and its allies in their nations as military enemy combatants, not just criminal defendants.
You beg the question. Constitutionally, war, as an armed struggle between nations, is deemed potentially worth the temporary erosion of liberties for citizens and check-and-balances on executive power. Short of armed conflict between nations these rights and liberties are deemed inalienable in our society. You, however, argue that such are not inalienable, that they are instead expendable in situations far from armed struggle between nations.
And be clear, the best gift you could give to the bin Laden's of the world is to fall victim to their rhetoric and make the mistake of actually declaring war on Islam. We come daily closer to that disaster thanks to the kind of question begging you favor.
No one disagrees, Bart, that totalitarian measures are efficacious. But I repeat, you have a duty, as an attorney, to look not only at how a ruling or statute can serve its intended purpose but also to what other purposes it can be turned. You seem either blind to, ignorant of, or simply in favor of increased dangers to loyal and patriotic citizens from their government. The "stovepiping" lamented in the 9/11 Commission was put in place after the abuses of COINTELPRO, and the undoing of such restrictions comes at a cost. We know full well the purposes to which this piecemeal march toward martial law can be turned. All the more reason, then, to distinguish between those situations which can legitimately be called war in the Constitutional sense from wars on drugs, poverty or "terror".
I think this fascinating interview with an Army officer serving as a nurse in the psych war at Gitmo on what he observed during his extensive interviews with the detainees gives some context to what kind of foe we are fighting.
Go read the whole thing here:
Here are a couple hilites from a very long interview:
1) Stashiu is not able to share specific details of conversations he had with specific individuals, for reasons having to do principally with patient confidentiality, and in part with operational security. But he can give you, the reader, a good overview of what types of human beings are being detained at Guantánamo Bay.
I asked him that very question: what are the detainees like? Stashiu said:
For many of them, think Ted Bundy. Educated, charming, and without conscience for those they consider infidels. Some are truly ill and were taken advantage of because of it. For example, one routinely asked us for an explosive suicide vest so he could assassinate Osama Bin Laden or George Bush for us, whoever he could find first (he was completely serious).
2) Stashiu gave me a detailed answer, but made it clear that it is his opinion — not a statement of the beliefs of the detainees with whom he has spoken. Still, since he has talked to the detainees for hours, it is probably worth paying attention to his opinion. Stashiu's view is this:
In my opinion, most of them are sincere in their belief they will win for the following reasons:
a. They are told they are assured of victory by their religion. They are raised with the belief that Islam is destined to become the dominant way of life for this planet. No matter how long it takes, it is inevitable. Once Islam is supreme, there will be no war, crime, poverty, or need. These are frequent talking points every Friday in the mosques.
b. Their leaders consistently stress that jihad is working and our culture is a hollow shell. They point to VietNam, Somalia, 9/11, Madrid (both the bombings and the elections immediately following), and the anti-war propagandists here in the United States. . . . The jihadists are constantly told that America is weak-willed and will turn and run if they can be inflicted with enough damage and peace can be delayed long enough.
c. They believe they are more committed to victory at any cost because it is all in God's name and is the Will of God. They point to our efforts at minimizing both our own casualties and those of civilians. You never see them worry about collateral damage and destroying infrastructure. They see our compassion as weakness and our integrity as blindness to reality.
The enemy is deadly serious about killing us. Are we equally serious about defending ourselves?
Bart: The enemy is deadly serious about killing us. Are we equally serious about defending ourselves?
This helps me understand the divide that keeps these conversations from ever reaching any closure. You have only one thing on your mind: getting the enemy. You cannot be bothered with legitimate strategic analysis of that enemy. And you cannot be bothered with niceties of form. And you most certainly cannot be bothered with petty civilian concerns for justice, liberty, or any of the myriad values for which we claim to fight. It is simply a world of kill-or-be-killed for you, a world of "grub first, then ethics." But the only way this particular enemy poses any legitimate strategic threat to the nation is in the way a bee might cause you to drive off the road as you swat it away from your face. Can the enemy hurt us? Certainly. Can she destroy us? Only if we do the majority of the work for her, say, by introducing law after law stripping not only the enemy but loyal and patriotic citizens of the rights and liberties which are our only true claim to any moral standing. War on terror? Like a splint on smallpox. Or is that too subtle for you?
It was "The Response of State Law to the Expression of Cultural Identity," from Sept. 28-Oct. 1, sponsored by the Franqui Foundation.
Really amazed! It is all totally extremely, clear, open is a description in the problem. It contains the information.Post a Comment
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Stephen M. Griffin, Broken Trust: Dysfunctional Government and Constitutional Reform (University Press of Kansas, 2015)
Frank Pasquale, The Black Box Society: The Secret Algorithms That Control Money and Information (Harvard University Press, 2015)
Bruce Ackerman, We the People, Volume 3: The Civil Rights Revolution (Harvard University Press, 2014)
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Joseph Fishkin, Bottlenecks: A New Theory of Equal Opportunity (Oxford University Press, 2014)
Mark A. Graber, A New Introduction to American Constitutionalism (Oxford University Press, 2013)
John Mikhail, Elements of Moral Cognition: Rawls' Linguistic Analogy and the Cognitive Science of Moral and Legal Judgment (Cambridge University Press, 2013)
Gerard N. Magliocca, American Founding Son: John Bingham and the Invention of the Fourteenth Amendment (New York University Press, 2013)
Stephen M. Griffin, Long Wars and the Constitution (Harvard University Press, 2013)
Andrew Koppelman, The Tough Luck Constitution and the Assault on Health Care Reform (Oxford University Press, 2013)
James E. Fleming and Linda C. McClain, Ordered Liberty: Rights, Responsibilities, and Virtues (Harvard University Press, 2013)
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Andrew Koppelman, Defending American Religious Neutrality (Harvard University Press, 2013)
Brian Z. Tamanaha, Failing Law Schools (University of Chicago Press, 2012)
Sanford Levinson, Framed: America's 51 Constitutions and the Crisis of Governance (Oxford University Press, 2012)
Linda C. McClain and Joanna L. Grossman, Gender Equality: Dimensions of Women's Equal Citizenship (Cambridge University Press, 2012)
Mary Dudziak, War Time: An Idea, Its History, Its Consequences (Oxford University Press, 2012)
Jack M. Balkin, Living Originalism (Harvard University Press, 2011)
Jason Mazzone, Copyfraud and Other Abuses of Intellectual Property Law (Stanford University Press, 2011)
Richard W. Garnett and Andrew Koppelman, First Amendment Stories, (Foundation Press 2011)
Jack M. Balkin, Constitutional Redemption: Political Faith in an Unjust World (Harvard University Press, 2011)
Gerard Magliocca, The Tragedy of William Jennings Bryan: Constitutional Law and the Politics of Backlash (Yale University Press, 2011)
Bernard Harcourt, The Illusion of Free Markets: Punishment and the Myth of Natural Order (Harvard University Press, 2010)
Bruce Ackerman, The Decline and Fall of the American Republic (Harvard University Press, 2010)
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Ian Ayres. Carrots and Sticks: Unlock the Power of Incentives to Get Things Done (Bantam Books, 2010)
Mark Tushnet, Why the Constitution Matters (Yale University Press 2010)
Ian Ayres and Barry Nalebuff: Lifecycle Investing: A New, Safe, and Audacious Way to Improve the Performance of Your Retirement Portfolio (Basic Books, 2010)
Jack M. Balkin, The Laws of Change: I Ching and the Philosophy of Life (2d Edition, Sybil Creek Press 2009)
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Jack M. Balkin and Beth Simone Noveck, The State of Play: Law, Games, and Virtual Worlds (N.Y.U. Press 2006)
Andrew Koppelman, Same Sex, Different States: When Same-Sex Marriages Cross State Lines (Yale University Press 2006)
Brian Tamanaha, Law as a Means to an End (Cambridge University Press 2006)
Sanford Levinson, Our Undemocratic Constitution (Oxford University Press 2006)
Mark Graber, Dred Scott and the Problem of Constitutional Evil (Cambridge University Press 2006)
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1 December 2010Stirling Castle's Christmas family event promises to be one of the most original highlights of the festive season.
For further information, interviews and images


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I wouldn't categorize that under "Silly Humor," personally.Eh? Really? Oops, sorry. I thought it was legitimate black humour being used to make a valid point. Quite clever/subtle. Made me larf anyway. Very difficult to refute it's statement too. Like checkmate.
Anyway, I thought it was quite a clever spoof of the Rosemary's Baby movie posters - and there was certainly something very wrong with that baby!
Perhaps not as strong as the political statement made by that amusing Flash where you move the pepper-spraying cop to spray the faces of the signatories to the Constitution of the US - Pepper Spray Cop Interactive
(That also made me larf.)


text:
Goals: Following Lunar Orbiter 1's scouting of potential Apollo landing sites in the Moon's southern equatorial region, Lunar Orbiter 2 was to photograph 30 potential landing sites in the northern equatorial area, as well as take various measurements of the Moon and its environment.
Accomplishments: Lunar Orbiter 2 transmitted 211 pictures, covering nearly four million square kilometers of both the near and far sides of the Moon. They included a shot looking across Copernicus crater from an altitude of only 45 km that vividly conveyed the three-dimensional nature of the lunar surface, an image that newspapers hailed as "the picture of the century." Following the main imaging mission, the spacecraft changed its orbital plane to enable scientists to see how its orbit would respond to variations in the Moon's gravitational field over a wider swath.


text:
Maureen Herrmann of Trumbull never could
have imagined bringing bouquets of flowers
cut from her award-winning garden to an oncologist's
office—let alone her oncologist's office.
But in spring 2007, all that changed when she discovered
a lump in her left breast. An ultrasound revealed a large,
tadpole-shaped mass.
The next step was a breast biopsy to test the lump and
surrounding breast tissue for cancer cells. Maureen was
referred to Mary Pronovost, MD, Medical Director of
Bridgeport Hospital's Norma F. Pfriem Breast Care Center.
Dr. Pronovost used a special needle to remove a small
amount of tissue from Maureen's breast. Bridgeport
Hospital's pathologists examined the tissue under a
microscope and confirmed what the doctor suspected.
"Maureen had metaplastic carcinoma. It is a type of
invasive cancer which can grow rapidly within the
breast," says Dr. Pronovost. "We see these in fewer than
two percent of breast cancer patients."
Dr. Pronovost called Maureen at home to gently tell her
the devastating news. "I only remember bits and pieces
of that conversation, her telling me, 'I'm so sorry, it's
malignant…it's a more aggressive cancer,'" says Maureen.
"But I can recall how touched I was by her compassion."
Maureen and her husband, Tim, met with Dr. Pronovost
to discuss a course of treatment. A lumpectomy (surgery
to remove breast tissue) was recommended as a first step,
followed by chemotherapy (medication) and radiation.
That's when Maureen met with medical oncologist Neal
Fischbach, MD, to discuss chemotherapy options.
Tim recalls, "The day of the appointment,
Maureen walked into the office and started
crying. What was I supposed to do with
that? And this was just the beginning."
"The nurse who led me into the
examination room gave me just
what I needed—a big hug," says
Maureen. "To this day, I can still
feel her reassurance and understanding.
I can still feel how
much she cared about me."
Soon after that appointment, in
May 2007, Maureen underwent
her first breast surgery—a lumpectomy.
"During surgery, it was evident
that the cancer had spread to
Maureen's sentinel lymph node," says Dr.
Pronovost. "If cancer is found in the sentinel
lymph node, it is usually a sign that the cancer
has spread to other lymph nodes." Dr. Pronovost removed
the tumor, 11 lymph nodes and some surrounding
breast tissue. She also inserted a small port through which
Maureen's chemotherapy would be administered later on.
Final pathology results from the surgery revealed that
Maureen's rare cancer had not spread to any other lymph
nodes, but there were features that raised concern about
residual cancer in the breast.
As is true for every breast cancer patient at Bridgeport
Hospital, Maureen's treatment plan was discussed by
members of Bridgeport Hospital's Breast Cancer Tumor
Conference. This multidisciplinary team of breast specialists
including pathologists, surgeons, radiologists, radiation
oncologists, medical oncologists and plastic surgeons meets
regularly to review all newly diagnosed patients and develop
a coordinated plan of care. Based on the group's expertise,
Dr. Pronovost recommended removal of Maureen's left
breast (a mastectomy) after completing chemotherapy.
"Chemotherapy after surgery is generally recommended
when there is a significant chance of recurrence," says Dr.
Fischbach. "Because Maureen had an aggressive cancer,
we discussed the options and thought chemotherapy
before surgery was the best next step for her."
Maureen was working at an elementary school. She
timed her chemotherapy to begin in mid-June so her hairwouldn't fall out until school was in recess for
the summer. By July 4, her hair was gone,
but her sense of humor and positive
outlook were intact.
"Losing your hair can be traumatic,
but I chose to have fun with the
various hats I wore, and I chose
to be grateful that I didn't have
to shave my legs all summer," she
recalls, chuckling.
"Overall, I managed chemotherapy
very well by combining
conventional medicine with nutrition,
lots of prayer and utilizing
many of the services offered at The
Norma F. Pfriem Breast Care Center,"
she says. Maureen attended workshops,
counseling and a support group at the Center.
"Joining the support group for women undergoing
treatment for breast cancer was the best decision
I ever made."
During treatment, Maureen also elected to participate in
a clinical trial at Bridgeport Hospital that was investigating
potential treatments for mouth sores that can be a side
effect of chemotherapy. "For several months, the research
nurse visited and called Maureen at home to closely monitor sores in her mouth," says Bridgeport Hospital
Research Coordinator Diane Eannotti, RN, CCRC.
continued below
"Every woman 40 and older should have an annual
mammogram," says Gynecologist Robert Deal,
MD. "Also, keep in mind that many women under
the age of 50 have dense breast tissue. Sometimes
dense tissue can camouflage a mass so well that a
mammogram can't detect it." For these women,
ultrasound is a very useful diagnostic tool.
Maureen also emphasizes the value of breast selfexams.
"Today I tell my two teenage daughters—and
all women I know—that their lives are worth the one
minute a day it takes to do an exam so their story
doesn't turn out like mine," she says.
Dr. Fischbach adds, "Major advances in cancer care are
built on the strength and determination of people like
Maureen who, while living with cancer, are willing to
participate in clinical trials."
With the summer's flowers fading into fall, and
Maureen's mastectomy looming, she made a choice that
surprised her physicians. "Although my doctors told
me that the chances of cancer developing in my other
breast were very low, I made the painstaking decision
to remove both breasts (bilateral mastectomy)," says
Maureen. "I already had this rare cancer and I thought,
if it does spread to the other breast at some point, I don't
want to have to go through surgery again. I couldn't face
the emotional roller coaster I would have to get on every
morning, wondering, always wondering."
In October 2007, Maureen triumphed through a
bilateral mastectomy with Dr. Pronovost and breast
reconstruction with Anke Ott Young, MD, PhD, from
the section of the plastic and reconstructive surgery at
Bridgeport Hospital.
Maureen thought that was the end of her cancer story.
She never guessed she would be hurled onto another roller
coaster just nine months later.
In July 2008, Maureen met with Gynecologist Robert
Deal, MD, to talk about a heavy menstrual period that
had been ongoing for 16 days. "He did a biopsy and an
intra-vaginal ultrasound in the office," she remembers.
"The biopsy came back negative, but the ultrasound
showed some polyps (small growths) within my uterus.
Polyps could have been the reason for my unusual bleeding.
We discussed my options for having them removed, and
I requested a D&C."
"Dilation and Curettage—or D&C—is a very common
gynecologic surgical procedure. It can help diagnose
the reasons behind unexplained vaginal bleeding," says
Dr. Deal. As a standard part of this procedure, the
physician takes tissue samples from the uterus for testing.
Maureen chose to have the procedure done at Bridgeport
Hospital. "My instincts were telling me not to take any
chances and to be thorough in getting to the bottom
of this," she says.
Samples were quickly examined by the hospital pathologists.
Maureen got another call. Tests revealed it was
cervical cancer.
"I was not prepared for this," she remembers. "I was
actually starting to feel like myself again. I liked my new
short curly brown hair and had just returned to gardening.
Then everything changed. I was absolutely devastated."
Because of Maureen's age and the stage of her cancer,
Bridgeport Hospital Chief of Gynecologic Oncology
Masoud Azodi, MD, and Dr. Deal recommended a radical hysterectomy (surgery to remove her uterus,
cervix, ovaries, fallopian tubes and part of her vagina). They chose to use the da Vinci "S" robot-assisted
minimally invasive surgery system.
Compared to traditional open surgery, minimally invasive
surgery provides excellent, if not better, access to the
tiny areas of that region of the body," says
Dr. Azodi. "Most women who undergo this surgery
have less blood loss during surgery, a shorter hospital
stay, less scarring, significantly less post-operative pain
and a quicker recovery."
The reality of a cervical cancer diagnosis on the heels of her
breast cancer treatment was more than Maureen could
bear. "I was physically, emotionally and psychologically at
rock bottom, and I realized this was all too much for me
to contend with alone," she says. "Although I knew The
Norma F. Pfriem Breast Care Center was for breast
patients, it was the only place I thought to run to. They had
become like family to me and I knew I could talk to an
oncology social worker about how I was feeling."
In total, Maureen had eight cancer-related surgeries in two
years. "As difficult as it was, each time I went to the
hospital for treatment or surgery, I was reminded again
that there are a lot of people—from the front desk staff to
the transporters to the clinical team—who are not simply
working there, but who care deeply about patients," she
says. "Every nurse was kind and funny, and seemed to
read instinctually what I needed before a surgery, which
was usually humor!"
Maureen had her last reconstructive surgery this past
summer. While she was waiting in the pre-op area, Donna Twist, PhD, Executive Director of The Norma F. Pfriem
Breast Care Center, paid her a surprise visit. "Donna
came down for a few minutes before I went in to surgery
just to give me a hug and a kiss," Maureen remembers.
"With all that she had going on that day, to take those
few minutes was kind and so meaningful to me. It's the
little things like that that makes me toot the horn
for Bridgeport Hospital."
A decade of healing. A decade of
hope. For 10 years, The Norma F.
Pfriem Breast Care Center, part
of The Norma F. Pfriem Cancer
Institute, has served thousands of
women and their families.
For information about The Norma F. Pfriem
Breast Care Center, with locations at 111
Beach Road, Fairfield, and at Bridgeport
Hospital, please call 203-255-5300 or visit
Dr. Ott Young performed the final reconstruction and
Dr. Pronovost assisted. "For me, to have Anke and Mary
in the same room for the final piece of my reconstruction,
the very place where I began this journey two years
prior, made me so happy," says Maureen. "I truly felt a
sense of closure."
The best news of all came at the end of September. "I am
most happy about the latest PET/CAT scan I had,"
says Maureen. "'Everything looks perfect, just perfect,' is
how Neal put it. That brought me and my family a sense
of peace."
Since then, Maureen has finally felt the strength to garden
again. "It was as if I were holding my breath for two
years, afraid to enjoy one of my greatest pleasures. Now
I can exhale again," she says. "In getting things ready
for winter, I think I've done more gardening these last
few weeks than I have in the last two years."
Come next spring and summer, her flowers will grow
back and she will arrange them into bouquets again.
"I want to revel in how far I've come and how I feel,"
Maureen says, smiling. "Because of the expertise of
my doctors and the team at Bridgeport Hospital, I'm
okay—I'm more than okay!"
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