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Ana will contest the Generali Ladies Linz final for a third time on Sunday after the 25-year-old beat world No.58 Stefanie Voegele 6-4, 6-4 in the semis. It was another impressive display by the third seed, who makes her way into the final without dropping a set in four matches.
Despite clinching victory in 64 minutes, it was certainly not a one-sided match as the Swiss proved to be a tough challenger. There were no break opportunities until the fifth game when Ana was the first to get a chance on her opponent's delivery, but she was unable to score the first opening.
Without question, the eighth game of the first set proved to be a crucial turning point. Ana began the game very poorly and faced two break points but luckily for the former world No.1, her serve didn't let her down at this point. She hammered some big deliveries to get out of trouble and secured a crucial hold of serve.
Ana realized that this was not the time to hesitate and she shifted up a gear. The 25-year-old forced a breakthrough in the following game, scoring a vital break, before serving out the set to love.
She added one more game to her three-game winning streak as she broke the Swiss in the first game of set two. She seemed set to steamroll her way to the final, fully taking advantage of the momentum and holding a 30-0 advantage in the next game. However, some errors suddenly crept into the third seed's game and Ana lost four straight points, as she lost her serve.
Ana went back to the basics of her game plan and let her deadly forehand do the hard work. It paid off extremely effectively in the seventh game, when the 25-year-old wangled three fresh break chances. Two of them were splendidly wiped away by Voegele, but on the third occasion, Ana was successful and she moved into a 4-3 ahead.
This time the Swiss had no more answers to the two-time champion. Ana held serve two more times and emerged victorious to surge into the Linz final for the third time out in six appearances.
Top seed Angelique Kerber awaits in the final as the German impressively crushed world No.18 Carla Suarez Navarro 6-2, 6-0 in just 48 minutes.
The match is set to begin at 2.15pm local time (8.15am Eastern Time). Click here for live point-by-point scoring from the TipsArena Linz.
By Joeri Moerman


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Fallen upstate firefighter remembered for helping Sandy victims
Numbers & Links
Fallen Firefighter Fund
Porcari Children Memorial Fund
c/o First National Bank
18 Lake Street
Owego, NY 13827
Long Beach firefighters are driving more than 200 miles to say goodbye to an upstate firefighter who joined Long Island's bravest in helping Sandy victims. After Hurricane Sandy blew through Long Beach, firefighters had many of their brothers from all over the state on hand to help out. Each department signed a wall in the firehouse before they went home, but Chief Richard Corbett says one signature...
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Contact KosherEye
|KosherEye Welcomes Advertisers
The KosherEye website is an entertaining and informative online magazine for the kosher consumer. Our features and editorial content attract a global audience of chefs, food professionals, foodies and retailers. KosherEye shares information, tips, trends and recipes to enhance the kosher lifestyle. Areas covered include food, wine, spirits, cookware, gadgets, tabletop, travel and more. In addition to our website, we offer integrated marketing opportunities through our bi-weekly e-letter, and our interactive and influential presence on Twitter and Face Book.
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Nb: infants must be under the age of 2 and
children must be under the age of 12 at the time of
Hotel Hermitage is located in one of the most convenient parts of Alpe d'Huez, with the slopes just a few minutes walk away and the resort centre and ice rink also close by. Families and groups will appreciate the choice of rooms on offer, with twins, triples, quads and interconnecting rooms all with private facilities. A NEW addition to the hotel last season was the spacious, comfy lounge area (following the closure of the Crowded House Bar) which provides the perfect atmosphere for convivial and relaxed après ski for families and groups alike.
Each of our Club Hotels has a ski host who will be on-hand throughout the week to help you get to know both the resort and ski area. Your host will offer 5 days ski escorting from 'cruise the blues' on your first day to more advance days later in the week (escort service has limited places - speak to your host on arrival). You will also be given expert advice on activities and entertainment in the resort with your host available over dinner for any queries you may have.
Hotel Hermitage - sleeps 72-110: Twin or double rooms: have private bath and WC. South facing rooms with balcony available at a supplement.South facing triple & quad rooms: one bedroom with either 3 or 4 single beds with private bath, WC and south facing balcony.Family rooms: comprising of 2 interconnecting compact twin bedrooms, 1 with twin beds, bath and WC, the other with bunk beds, washbasin and WC (£10 reduction for the 3rd and 4th adult).Family suites: Sleeping up to 5, 2 interconnecting bedrooms, each with bathroom and south facing balcony, 1 with twin beds and the other with 3 single beds. There is a £10 per person per week reduction for 3 bedded rooms, based on 3 adults sharing.
Iglu acts as a travel agent for disclosed principals/tour operators, further details
of which will be made available at the time of booking. Your holiday contract will
be bound by the tour operators terms and conditions.
Prices are shown for a basic room or unit, can be subject to change and are indicative
until time of booking. Please call on 020 8544 7114 for prices for other travel
and room options for this property.
Prices shown are per person per week based on maximum occupancy. Descriptions and
quality ratings are provided by the Tour Operator (or one of the Tour Operators
where similar holidays are offered by more than one supplier). We reserve the right
to make minor adjustments to the description or rating based on staff and customer
feedback. For payments by credit card, a 2.5% credit card charge (4% for AMEX) will
be added to your invoice. If you pay by a UK issued debit card, there is no charge.
All bookings are subject to a £5 per person Passenger Admin Fee charged by Iglu.com.


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This signed print is based on an original painting by New York artist and comedian Christopher Rozzi. His Tiny Confessions series captures the innermost thoughts of pets and pop-culture characters.
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The Fall Season in Digital
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Topic: The Fall Season in Digital (Read 5933 times)
Jonathan Wienke
Sr. Member
Posts: 5829
The Fall Season in Digital
September 18, 2003, 09:21:37 PM »
I wouldn't recommend any on-the-lens filter except for a circular polarizer. Anything else you would do with a filter can be done better in Photoshop.
Digital is somewhat like slide film in that getting the exposure dead-on is highly desirable, but optimum exposure is determined a little differently than with film. What will yield the best results >90% of the time is the "expose to the right" strategy--getting the highlights close to, but not quite clipping. My personal strategy is to get the brightest highlights in the bottom half of the rightmost fifth of the histogram. An image exposed in this manner will still have detail in the highlights, but you will still be able to pull a lot of detail out if the shadows without too much noise showing.
I would also recommend shooting RAW; the color space of your camera is larger than sRGB or Adobe RGB, so you can capture the most saturated colors in RAW mode, as well as the most dynamic range. I would recommend Adobe Camera RAW as a RAW converter (it will be included in Photoshop 8 with 10D support when it comes out; there's your reason to get it right there!), and do all of your major color and brightness/contrast adjustments in 16-bit mode.
When shooting RAW, always have the camera set to auto white balance, this doesn't actually affect the RAW data, it just records what the camera thinks white balance should be. It's a handy starting point that you can override if you want to in the RAW converter; it's not always right, but it's usually pretty close.
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Joe Hardesty
Full Member
Posts: 228
The Fall Season in Digital
Reply #1 on:
September 22, 2003, 12:48:59 AM »
One more thing - in fall pictures, like with a full red maple, does digital ever oversaturate or block up? With print film I was always disheartened to find something of one color, like a pumpkin blossom, just one big yellow mess, without any subtle shadings or detail. I haven't noticed it yet with digital, but are there any precautions to take about it in exposure or image processing?
I don't think you are going to find this to be much of a problem, but here is a link that I think will help you out quite a bit:
Using the Histogram
BTW, if you haven't explored the rest of the Luminous-Landscape site, you should take a look around. There is wealth of great information there.
Thanks for the memories!
Jr. Member
Posts: 74
The Fall Season in Digital
Reply #2 on:
September 23, 2003, 01:29:05 AM »
Thanks, Edward - I forgot about some red flower macros I'd taken this summer. As with yours, they're full-frame shades of red. I just called them up, and they're very sharp, right down to their pores. Just as with slide film.
Then I checked the histogram and found just what you did - the luminosity channel is nicely in the center, but the red channel takes up the right third and is clipped. The blue and green channels take up the left half and are not clipped.
So this means one should underexpose (by the histogram's reading) when shooting just one color? And if so, are there any recommended adjustments to make in processing? (I'm still new to color and channels - studying up on Elements as I wait for Photoshop 8.)
Also, to Joe - thanks for reminding me of that tutorial. I actually read it before I got my 10D (Michael's review of the 10D was one of my deciding factors on it), and that picture of the full moon over the ski slopes was the one that first really got across to me how a histogram sees things. A good piece to read again.
Jr. Member
Posts: 74
The Fall Season in Digital
Reply #3 on:
September 24, 2003, 12:38:51 AM »
Dave - Thanks for the Lyons tip. And yes, Elements does have Adjustment Layers. In fact, my manual was cracked open to that very page as I read your message. The headings include "Using adjustment and fill layers" and "Editing the layer mask of adjustment or fill layers."
I'm familiar with working with layers in terms of copying and erasing parts, and have some experience with opacity and blending, but I've saved this Adjustment Layer part till last 'cause it seems more complicated than using dodge and burn tools, which I thought I should learn first. So yeah, any advice on it would be greatly appreciated.
Jr. Member
Posts: 74
The Fall Season in Digital
Reply #4 on:
September 16, 2003, 01:47:43 AM »
Well, the fall season is coming up quick, with some maples already turning here in coastal Maine, and it will be my first digital (10D) fall photography.
My question is, are there any techniques/tips that are different for digital than with film? I've shot prints and slides for almost ten years, so I know the basics of how to get good saturation, like to go on overcast days and don't include any of the white sky, but I'm wondering if I should change anything with digital.
One thing I'll be sure to use is the shade or cloudy white balance, which are great - they replace my old 81A warming filter.
I used to read in "Outdoor Photographer" about professionals who'd use warm polarizers, or red-enhancing filters - is it better to use a filter like these, or just go with the white balance settings and a regular polarizer?
Also, what about after shooting? What's the best workflow with fall scenics? Increase the red channel? (I've got Elements 2.0, and I'm still learning how to use it, but feel free to tell me the wonders of Photoshop so I can justify upgrading this winter.)
Thanks for the insights,
Jr. Member
Posts: 74
The Fall Season in Digital
Reply #5 on:
September 22, 2003, 12:33:55 AM »
Thanks, Jonathan. I started off shooting RAW when I first got the 10D, but as you know, that Canon File Utility thingy is a frustrating bugger - it takes 26 sec just to load (maybe it's just my computer, but no other programs do this), 8 sec to see the picture, 8 sec to preview a change, and another 7 sec to implement it. And on top of that, you can't even see the whole picture if it's vertical. Argh.
Needless to say, I went to JPEGs, and have simply bracketed a bunch.
So yeah, I have looked at Adode Raw and Capture One LE, and they'll keep me busy this winter for sure.
One more thing - in fall pictures, like with a full red maple, does digital ever oversaturate or block up? With print film I was always disheartened to find something of one color, like a pumpkin blossom, just one big yellow mess, without any subtle shadings or detail. I haven't noticed it yet with digital, but are there any precautions to take about it in exposure or image processing?
The Fall Season in Digital
Reply #6 on:
September 22, 2003, 09:45:56 AM »
> One more thing - in fall pictures, like with a full red maple, does digital ever oversaturate or block up?
I do not know about fall color, but you can get the same effect as oversaturation if your image does not have a good mix of colors. I did a series of macro photographs of very red roses. The images were sections of an individual flower so that entire image was just shades of red, with fairly flat lighting. I was using a Canon 10D, which does not a have a three color histogram. The histogram on the camera was narrow, about the 1/3 of the total dynamic range. I carefully shifted it to the right, although still well with the brightness range.
When I pulled the RAW files into BreezeBrowser and Capture1, the three color histogram showed the red channel terribly clipped. The images that were not shifted to the right were still clipped a little in the red. The only full range ones were underexposed by the camera's histogram standards.
This makes sense if the camera is adding the channels for the histogram - it has to assume that the scene has average color distribution. This is probably an issue for all cameras that do not have a 3 color histogram. It could be fixed in camera software if the system were changed to show clipping in any channel, not just overall clipping. (Anyone talking to Canon?)
Full Member
Posts: 153
The Fall Season in Digital
Reply #7 on:
September 23, 2003, 11:54:32 AM »
You definitely have to be careful using the histogram. It's a great guideline, but not accurrate. I find that when I expose to the right I get clipped colors. Edward is right, we definitely need a 3 color histogram. Bracketing is a must if you have an image with wide dynamic range and want the details. Color clipping happens all too easy, even when the histogram looks ok and none of the image is "flashing".
I know you don't have a D30 - but I believe
this essay by Ian Lyons
applies to any digital camera.
You'll also find creating new Levels Adjustment Layers very beneficial. I don't have Adobe Elements, so I don't know what it can do. With level adjustments, you'll be able to deepen the colors very nicely and easily. If you can make level adjustments (as a layer or not) in Elements, let us know. We can help guide you thru modifying a picture now before you get into the wonderful world of Photoshop.
And definitely "Wait for 8".
- Dave
David M. Frette.
Programming, Photography, Carpentry.
(currently unavailable)
Full Member
Posts: 153
The Fall Season in Digital
Reply #8 on:
September 25, 2003, 10:28:21 AM »
Well the Adjustment Layers are the same as using Image > Adjustments > Levels, but you can modify them later. It makes it easy to adjust Levels and Hue/Saturation without having to use the History as much.
Personally, I've had to use Levels alot to remove blue tints. In my experience, I've always modified the input levels and rarely, if ever, modified the output levels. So I grab the Blue channel, slide the white point to where I like it, then grab the gray point and slide it to where it looks best. I've found that sliding the gray point helps remove the blue tint the best, and can result in leaving a deeper color. Better than curves. Then, you'll probably want to experiment with the Hue/Saturation adjustment layers.
I'm pretty sure using such adjustment layers is the trick to how Michael leaves all his filters at home.
I, too, would be curious to know if anyone else has any suggestions on getting rich color into their images.
David M. Frette.
Programming, Photography, Carpentry.
(currently unavailable)
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|Women's Soccer » News » Schedule » Roster » Coaches » Statistics
ETSU Women's Soccer falls to Tennessee Tech, 2-1
Friday, September 03, 2004COOKEVILLE, Tenn. (September 3, 2004) - With two goals in the final nine minutes, the Tennessee Tech Golden Eagles came from behind to defeat the visiting East Tennessee State Buccaneers 2-1 on Friday. The Bucs overall record is now 1-1, while the Eagles improved to 3-0. Freshman goalkeeper Loretta McNamee, the Ohio Valley Conference Defensive Player of the Week, continued to anchor the excellent defensive unit and extended her season-opening scoreless streak to 257 minutes. In the 78th minute, the ETSU offense generated the first score of the game after McNamee deflected a shot by Erin Ashton (New Bern, N.C.). The shot bounced off the crossbar and Rebecca Murray (Franklin, Tenn.) pounced on the rebound to provide ETSU with a 1-0 lead. The Golden Eagle offense applied pressure the entire contest, generating 12 shots in the first half and forcing five corner kicks. However, they were not able to score despite the numerous opportunities. All-OVC performer Jill Burns was stopped three times by Buc keeper Christine Parks (Annapolis, Md.). Adjustments by the ETSU defense stymied the Golden Eagles for the first 35 minutes of the second half and limited Tech to a single shot on goal. However, after the Buc goal, the Tech offense responded quickly and drove the ball deep in ETSU territory, forcing the first Golden Eagle corner kick of the half. Parrott's kick was captured by senior captain Erin McGuire, who drove the ball in the net for a 1-1 tie in the 82nd minute. Five minutes later, Parrott lined up again with Tech's other corner kick of the half. Her crossing pass was deflected by McGuire to sophomore Joni Simmons who scored her first goal of the season, recording the game winner for the Golden Eagles. In the aggressive match marked by 31 fouls, Tech outshot ETSU 19-8, although shots on goal were closer with Tech holding an 8-5 edge. In addition, the Golden Eagles took seven corner kicks to only one for the Bucs. The Bucs return home to host the UNC Asheville Bulldogs this Monday night at 7:00 p.m. at Liberty Bell Field.
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2004-05 Women's Soccer


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Nb: infants must be under the age of 2 and
children must be under the age of 12 at the time of
With a great ski in/ski out location right by the main gondola and ski school meeting point' the Sport Bansko is a modern hotel which places importance on the friendliness of its staff. With spacious & stylish bedrooms, a lovely wellness area and a lively in–house Irish pub, the question is whether to relax or après!
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Executive Rooms (2–3 people): Approx. 30m2 with double or twin beds and a sofa bed' bath & wc. Sole use of Executive rooms available.
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Iglu acts as a travel agent for disclosed principals/tour operators, further details
of which will be made available at the time of booking. Your holiday contract will
be bound by the tour operators terms and conditions.
Prices are shown for a basic room or unit, can be subject to change and are indicative
until time of booking. Please call on 020 8544 7114 for prices for other travel
and room options for this property.
The price shown includes 7 nights accommodation,
with flights from Manchester.
Prices shown are per person per week based on maximum occupancy. Descriptions and
quality ratings are provided by the Tour Operator (or one of the Tour Operators
where similar holidays are offered by more than one supplier). We reserve the right
to make minor adjustments to the description or rating based on staff and customer
feedback. For payments by credit card, a 2.5% credit card charge (4% for AMEX) will
be added to your invoice. If you pay by a UK issued debit card, there is no charge.
All bookings are subject to a £5 per person Passenger Admin Fee charged by Iglu.com.


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After returning from a relaxing Florida vacation
just days before, Fairfield resident Peg Clark
found herself in a situation she never anticipated:
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Bridgeport Hospital's team of expert pathologists
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A Very Rare Cancer
Also known as gastrointestinal stromal sarcoma, a GIST is
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Does anyone know why the Lua progamming language has seen such a rise in popularity recently? I am going by the TIOBE ratings. http://www.tiobe.com/index.php/paperinfo/tpci/Lua.html I've used Lua in the past when I worked at a game development shop, but did not think it was used outside of that arena. Now it is the 11th most popular language according to TIOBE http://www.tiobe.com/index.php/content/paperinfo/tpci/index.html Has there been any recent activity or news that might have caused this sudden surge?
EDIT: I am particularly interested in the extreme increase over the last year as shown in this chart:


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February 13, 2013 By Kelli Miller
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Originaly published in Logistics Insight Asia 2013-08.
When effectively executed, S&OP will deliver improved inventory turns and margins, leading to increased revenue, higher customer satisfaction and better use of capital according to RAMNA VISWANATHAN.
In the context of a distribution-intensive operation, the difficulty of getting one version of the truth is a major stumbling block. Suppliers experience an ongoing ebb and flow of goods in stock, goods in production and goods in transit. Distributors are stuck in the middle, constantly struggling to connect the dots and reconcile their financial plans.
The fact is, you may have an S&OP problem if you are experiencing:
Clearly, the way out is to devise a functioning S&OP system, where demand and supply are balanced, thereby enabling the financial plan. As the supply rate balances the demand rate, inventory turns faster. Customers begin getting what they want - when they want it - increasing revenues. Working capital gets put to better use. Margins increase. And the business grows along with shareholder value.
To accomplish a compelling S&OP solution you will need to consider two key ingredients which are firstly, an effective operations process and secondly, the right technology for the job.
Your process needs to work on a level that matters i.e. SKU level to turn strategy into results. Consider constructing a "gameboard" for a number of SKUs as a test. Each week, gather your sales, marketing, supply chain and manufacturing partners together to match demand with supply, attempting to balance SKUs between 'Maximum Weeks on Hand" and ''Minimum Weeks on Hand". This will allow you to focus on exceptions at the SKU level.
As SKUs breach their Weeks on Hand Maximum/Minimum thresholds, you clearly know the reasons and can then make decisions on possible resolutions for out-of-bounds instances. As the weeks progress, inventory numbers can be updated to maintain a balance. Consider the following formula in determining next week's inventory number:
Inventory - sales + production/purchase =next week's inventory number
Remember, for continuous improvement, simply focus on exception management.
With your team all on the same page, you can next focus on selecting an application to support your process across the combined demand, supply, production, inventory and financial gameplan.
You will need a system powerful enough to provide you with drill down analysis, dynamically by segmentation, into forecasting and historical data. You will want to analyse SKUs by geography, margin, company or business unit and product family, then cross-reference them against monthly, quarterly and yearly financials to arrive at one set of numbers.
As a collaborative platform, your choice must offer one version of truth. That is, everyone, including marketing, sales and supply chain partners, should all be able to access the same information to arrive at the same conclusions.
Choosing a capable deployment partner will be critical to your success. Their familiarity with the distribution business will accelerate any S&OP deployment. A track record in your specific vertical market segment will also add value and facilitate implementation.
Once you have selected a partner, the transition moving forward should emphasize process before technology. Getting the stakeholders involved early will create buy-in and raise potential champions for your cause.
Next, develop a financial baseline, setting financial goals and identifying the potential risks. Then, model your process using the SKU gameboard suggested above for a few key SKUs and train the team on it. Measure your outcomes against your goals and discuss what you learned as a team. This will create believers and produce momentum in your program moving forward.
In the long run, your ability to balance supply and demand in the context of your financials will improve with a functional S&OP system in place. The improved collaboration will provide you with a single version of truth, improving decisions in all areas of your business.
The end result will be a market-driven system that maximises your opportunity, mitigates risk and enables market to market demand orchestration for improved, long-term financial performance.
Ramna Viswanathan is a Senior Business Consultant for International Business Systems.
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Overview:The HP StorageWorks MSL5026S2 Tape Library provides a high performance mission critical automated mid-range backup and restore solution using HP StorageWorks SDLT 320 GB tape drives in a compact 5U form factor for direct-SCSI-attached and SAN environments. It provides unique investment protection with multi-unit scalability and a PCI backplane for future feature expansion. The MSL5000 SDLT Tape Library Family defines a new segment in the mid-range segment with high availability features normally found on enterprise libraries.
CategoryTape Drive
Part Number293472-B22
Products ID15239
Device TypeTape Library - Super DLT
Enclosure TypeRack-mountable - 5 U
Installed Devices / Modules Qty1 (installed) / 2 (max)
Capacity160 GB (native) / 320 GB (compressed)
Total storage Capacity4.16 TB / 8.32 TB
Interface TypeSCSI LVD
Data Transfer Rate16 MBps
Media TypeSuper DLT
Recording StandardSuper DLT
Removable MEdia Capacity26
PowerAC 110/230 V (50/60Hz)