text:
Student Disability Resources
Guidelines for Approaching Instructors
Before Talking With Your Instructor:
- Know what you need
Meet with Student Disability Resources staff to discuss the types of classroom and testing accommodations you may need. After careful review of diagnostic reports a staff member will prepare a memo for your instructors outlining your disability and make recommendations for special testing accommodations and/or in-class assistance. If you are given a faculty memo with recommendations, be sure you have read it and understand the recommendations given. Each accommodation form is only applicable to one semester. You must report to Student Disability Resources each semester to update your file.
- Know how to say it
Sometimes it is difficult to discuss a disability with others. It is completely up to you if you choose to disclose the nature of your disability or specific diagnosis. You need to remember that your instructor may not know much about disabilities in general, and may feel uncomfortable at first. Along with discussing your particular needs, it is a good opportunity for you to educate the instructor about your disability and to set him/her at ease. You also need to communicate to the instructor that special classroom accommodations will give you the opportunity to succeed in the class.
Contact the Faculty Member:
Schedule an appointment with your professor to discuss your disability. Introduce yourself and tell the instructor a bit about yourself, your major and why you are taking the course.
Describe the Classroom Accommodations You May Need:
For example, if you have a learning disability, it may be recommended that you have extended time when testing. You should clearly explain how special testing can be arranged. Another example would be if you need a sign/oral interpreter. Explain where you and the interpreter will sit and what will take place. Faculty may contact Student Disability Resources for further clarification or additional questions.
Offer Verification:
All evaluation materials kept in Student Disability Resources are confidential; however, you may wish to share information with an instructor. We will not release any information to others without your permission.
Know How You Will Be Evaluated:
Ask what will be required of you in terms of exams, in-class projects, out-of-class projects, research papers, classroom presentations, etc. If these are areas in which you need accommodations, address them to the instructor. If you and the instructor are not sure about the best and most reasonable accommodations, consult with the counselor in Student Disability Resources.
Discuss with your instructor how your work will be evaluated. Will you be graded on oral work or written work if you have a hearing/speech impairment? Be sure both you and the instructor understand grading criteria and the type of exams you will take (i.e., oral, written). Also, special testing techniques, such as overheads, slides or films, are sometimes used during test periods. If you have arranged with Student Disability Resources to take your exam outside of your classroom, other arrangements should be made with your instructor to compensate for that part of the exam.
If you will be taking accommodated exams through Student Disability Resources, give the instructor an information sheet on testing (available in Student Disability Resources). Be sure that both of you agree on the responsibilities involved in arranging for and taking accommodated exams.
Come To A Clear Agreement:
You and your instructor should have a clear understanding of the accommodations you will need. You may want to schedule future meetings with the instructor to discuss any concerns you have regarding the course. Thank the instructor for his/her time and help.


text:
MIAMI -- Ray Allen couldn't believe what he had just seen.
This was shortly before Tuesday's night's loss against the New York Knicks, and Allen had just walked out of the trainer's room where he and a few teammates watched video of Rutgers men's basketball coach Mike Rice physically and verbally abusing his athletes on the court. This was the first time any of them had seen the footage on ESPN's Outside the Lines report.
Allen sat down on the padded leather chair in front of his locker and held court with a few reporters. Allen is a member of the board of directors at his alma mater UConn and a former NBA teammate of Eric Murdock, whose testimony was heavily featured in the investigative report as a former coach under Rice.
Naturally, Allen had some thoughts.
"It was despicable," Allen said. "Throwing the ball at them … It made me want to fight him."
As a board member at UConn, Allen speaks from a position of power in the NCAA world. What if Rice's actions happened at UConn?
"I would do everything I could to make sure that coach got fired -- in any sport -- because there's no place for that."
As of Wednesday afternoon, Rice had indeed been fired by Rutgers University.
But the desire to act violent toward Rice was a common reaction shared by many NBA athletes. Just a few minutes before Allen spoke to reporters, his teammate LeBron James had tweeted out the following to his seven million followers:
"If my son played for Rutgers or a coach like that he would have some real explaining to do and I'm still gone whoop on him afterwards! C'mon."
Like James and several others who took to Twitter on Tuesday, Allen wanted to physically punish Rice.
He saw himself in those Rutgers athletes.
"It made me want to fight this guy because that was me," Allen said. "Wanting to learn, making mistakes. You're not doing it on purpose. You're trying to learn. And that's what coaches should do -- you teach. Yelling at kids and throwing the ball at them, there's no place to that."
Did all the Heat players who watched the video with Allen share that opinion?
"Everybody," Allen said. "You can ask anybody in our locker room that saw that video, they feel the same way, that if the ball came at me like that, I'd throw that right back at him. But we say that now, as professionals."
Allen recalled a few times that his high school coach would throw a ball rack in a fit of rage, but that's about it. Allen played for Hall of Fame coach Jim Calhoun at UConn for three years in the mid-1990s. Calhoun certainly yelled at his players just as all coaches do. But it never crossed that line that Rice did, according to Allen.
Then Allen, a father himself, shifted into parent mode.
"Now as a parent," Allen began, "where I went and places I've gone in my career, my parents lent me to all these different people -- I've been raised not only by my mom and dad but by AAU coaches, high school coaches and my college coach. All of them had a hand in getting me where I am today.
"Parents trust that they send their kids … that a coach comes into your home and says, 'I'm going to turn your daughter or your son into a young woman or young man and grow them and make sure they learn the most valuable lessons and that they're able to play professionally afterwards or in a career they choose.' And that's good and I hope we can get them to that.
"That's what we trust in our kids and the teachers of higher learning. If that system is flawed, then we as a community have to make sure that we do something about it."
If Allen outlines what the NCAA is supposed to be about, Shane Battier knows why it falls painfully short of that ideal.
As of Tuesday night, Battier had not seen the video. But he had heard about it. Like Allen, Battier played for a Hall of Fame coach in college. In many ways, Battier idolizes Duke coach Mike Krzyzewski and considers him a life mentor.
But Battier does not envy him. Even though Battier is regarded as one of the brightest NBA players around, he has said he does not want to get into coaching, which many have suggested as the next logical step in his career. Especially at the college level.
He sees a poisonous atmosphere in the NCAA ranks and when he heard about Rice's actions, he was not surprised. How could something like that happen? Battier pointed to two things: the unique culture of sports and the corrupted system of the NCAA.
"It's allowed to happen because the rules that govern athletics are different than the rules that govern society," Battier said. "Not saying that it's right. But it's different."
In typical Battier fashion, he used an analogy.
"Look, I can't go to the supermarket and box out Mrs. Robinson for position in the checkout line. I'm going to jail for that. That's assault. This is almost like a modern-day form of, call it what you will -- not necessarily gladiators -- but the rules that govern (sports) is different than society."
Basketball is a physical game fueled by aggression and machismo. But as Battier sees it, if you mix in a financially-imbalanced NCAA system where coaches have seven-figure salaries and its players aren't allowed to make a dime off their skills, the culture can often times become toxic. It's unfortunate, in Battier's eyes, that the Rutgers situation happened, but it is not entirely unexpected.
"A college player is really at the mercy of the coach because that coach can make life a living hell for him if they really wanted to," Battier said. "If the player wants to leave the program, the coach can hold onto (a waiver) because of the letter of intent. This is the whole farce of the NCAA. It could alter a kid's entire life course. And there's no punishment for it. It's a travesty, it really is."
By NCAA rule, players that sign a national letter of intent (NLI) are required to attend that school for at least one academic year. It seems unfair to the player or "student-athlete" in many ways and can create a situation where the player has little choice but to put up with abusive behavior.
If an NCAA athlete decides to break the NLI agreement to leave a school, the player, by rule, must sit out for a year before returning to the court for the player's new school. And often times, the school can block a player's transfer if it wants, forcing the player to stick with a program even if it's untenable. And in some cases, an athlete isn't allowed to receive a scholarship until they've attended the school for a year. For those that can't afford a college education and require a scholarship to attend school, this could feel like a trap designed to empower the school.
"If the coach really wants to stick it to you, he doesn't have to release you," Battier said. "So you have to go to a D-III school. If they really want to be a jerk about it, most coaches don't, but if they don't want players to transfer to a rival or in-conference, it ruins the whole purpose of the student-athlete experience."
Because of the circumstances, the ugly situation at Rutgers does not shock Battier. He wishes the culture would change, but that it starts from the top.
"It's just the code of college athletics and the code of the locker room that's messed up," Battier said. "But some people justify it."

subset: commoncrawl


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The official thrift/discount store bragging thread - Page 3832post #57466 of 13872812/15/12 at 6:57amso where's the pictures of the secret Santa gifts being worn!?!?post #57467 of 13872812/15/12 at 7:10am
post #57468 of 13872812/15/12 at 7:15amQuote:Originally Posted by bytor13
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Your assent was all it took for me to cave! A big THANKS to you, Grendel!
Holy crap! Wtg, bytor! Grendel.post #57469 of 13872812/15/12 at 7:19am
Thrift fit from a '20s themed party last night. My outfit all thrifted or ebayed except the tie and the collar, IIRC.post #57470 of 13872812/15/12 at 7:23amQuote:Originally Posted by bytor13
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Your assent was all it took for me to cave! A big THANKS to you, Grendel!
Cool, glad you like it! From what I could figure out they should be the right measurements.post #57471 of 13872812/15/12 at 7:32ampost #57472 of 13872812/15/12 at 7:32am
CottonDockers, that's not accurate advice on Gant, you just have to know the right labels. His was not it though, so yes, that would make it a for yourself item.post #57473 of 13872812/15/12 at 7:45am
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Orgetorix, very nice !post #57474 of 13872812/15/12 at 7:58am
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"CottonDockers, that's not accurate advice on Gant, you just have to know the right labels. His was not it though, so yes, that would make it a for yourself item."
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Sorry, should have been more clear. New Gant = Good, THAT Gant = Bad. Although the original, old school Gant was good at one time, right? It's just the stuff in the middle that is generally not worth picking up.post #57475 of 13872812/15/12 at 8:10am
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Cotton Dockers- Thanks so much for the advice/opinions. I've been reading this thread for a while now, so I had a good understanding of most of that but how it does flipping wise is something that isn't always discussed so I appreciate that. Also the Gant Old vs. New info is helpful as well.
I'm mostly interested if anyone knows anything of Les Copanes. I'm assuming its a fairly standard brand, but was wondering if it had any reputation on here.post #57476 of 13872812/15/12 at 8:11am
Quote:That is very impressively put together. The fit looks spot on. Very well done.Originally Posted by Orgetorix
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Thrift fit from a '20s themed party last night. (Click to show)My outfit all thrifted or ebayed except the tie and the collar, IIRC.
You look good as well, Orge!
Seriously, you both look fabulous.post #57477 of 13872812/15/12 at 8:22am
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I think a lot of this stuff is great. I'll gladly take that Lewin tie off your hands. And I'd do the same if those Lewin shirts were 18+s rather than 17.5s. And I like that sweater too, brand name or not.post #57478 of 13872812/15/12 at 8:31am
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Lol. Before I decide how I feel about this statement, I need some clarification.
Do you mean Queen like this...
Certainly not this...this would be a drag!
Hopefully something more like this. The Queen of Tweed!post #57479 of 13872812/15/12 at 9:04am
This got held up yesterday since I'm new but thoughts on if i should pick up the croc nettleton's that need a resole? ThanksQuote:Originally Posted by los_face
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This last week has been all about the outerwear for me and being a Niners fan, I picked up a grail item I've been hunting for the past 15 years!
First off though, I passed on a pair of black crocodile Nettleton's earlier today in 11.5 or 12 (no mark so estimate vs my 10's). Thought of picking them up and seeing interest but had a hole worn through one of the soles (so full resole needed) and wasn't sure about customs policies for Canada to US shipping of exotics. Uppers were in solid condition but couldn't justify the hassle at the time.
Anyways, Cooper A2 flight jacket in brown goatskin size 50r. Was on the extreme end of my thrift cut of but i got excited and couldn't pass even though it doesn't fit. Available
Older Barbour Liddesdale (no inner pocket) which fits me perfectly. Although quilting is coming undone everywhere I spoke with CS at Barbour NH and they said they'd restitch for free. N/A
Calafate shearling B3 bomber in size M, made in Argentina. The leather shows a bit of wear which I actually prefer over shiny looking newer leather. Shearling is super plush and rivals any of my other 2 shearling rancher coats. Fits well but unsure if I really need another shearling.
Warning: Spoiler! (Click to show)
William Evans tweed, insulated shooting coat in 42, made in Great Britain. Beauty of a coat which may or may not turn into my outdoor work coat. Nice and roomie for mobility and has antler (?) buttons with leather trimming and pockets for everything.
Warning: Spoiler! (Click to show)
I've been a Niners fan since I was kid and had this exact bomber. One day it mysteriously disappeared and I have searching for a replacement for well over a decade. I was in SF last year and saw a homeless guy wearing one that was falling apart and for a whole 3 seconds I actually contemplated trying to buy it off of him and seeing if the drycleaners could fix it up...never happened and then I found this in a thrift...in my size...while visiting SF!
Mid 90s Chalkline SF Forty Niners gold bomber jacket in M. Fits like a glove and although nowhere near the most valuable thing I've thrifted, definitely my favorite. N/A
Warning: Spoiler! (Click to show)post #57480 of 13872812/15/12 at 9:38am
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text:
1. Preheat the oven to 220 degree C/Gas mark 7.
2. Into a large baking dish, Add red onion, peppers, olive oil and toss together. Roast in the oven at 220 degree C for 15 minutes until softened and golden brown.
3. Remove roasted vegetables from the oven, place the chicken breasts in with them. Pour the extra mushroom Bolognese sauce over the chicken.
4. Cover with foil and bake for 15 minutes.
5. Remove the foil and cook a further 5 minutes until the vegetables are tender and the chicken is cooked right through.
6. Transfer it to a serving plate and pour over some extra mushroom sauce.
7. Serve this baked chicken with some green salads and sliced bread.
Serving size Per servingComplete recipe
Calories 396 Calories from Fat 122
% Daily Value*
Total Fat 13 g20.5%
Saturated Fat 2.6 g13.2%
Trans Fat 0 g
Cholesterol 99.8 mg33.3%
Sodium 744.1 mg31%
Total Carbohydrates 19 g6.4%
Dietary Fiber 3.4 g13.8%
Sugars 7.6 g
Protein 46 g91.3%
Vitamin A 2.5%
Vitamin C 103.5%
Calcium 2.9%
Iron 9.2%
*Based on a 2000 Calorie diet


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At least 2 sexual references through jokes, one older woman describes a story she heard of one of the main characters wearing a sheer see-through night gown to "show off her boobs" and suggests that her and the other main character did sexual things. There is a brief, but very clear, image of a drawing of a naked woman's body, front and back.A man is discussed as being effeminate or homosexual.
The main male role picks up a small caliber rifle and shoots the main female character 4 times in the back. This scene isn't graphic but very sudden and changes the overall feel of the film dramatically.
There's almost one of every common curse word: d*mn, f*ck, b*tch, h*ll.
References to murder.There is one scene that lasts a couple minutes of a car crash involving 4 teenagers- its obvious they were thrown all around and out of the vehicles. 1 girl flew through the windshield and lays on the hood of a car all bloody, 1 boy lays on the ground by the vehicles all bloody, and 2 teens are in the 2 cars and their faces are bloody as well. However, it is made clear that this is simulation put on by the police to as a lesson about auto safety with Bernie transporting one "victim" who cautions him about remaining in character as the boy starts to laugh.A woman is found in a freezer dead (but you only see the very top of her head). Later, a forensic photo of the dead woman's face is presented to the jury.
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text: The finest quality roasted almonds with a sugar glaze. Refund policy We cant offer refunds or exchanges on perishable goods such as flowers and food, unless faulty or not as described. Find out more. This does not affect your statutory rights. Please see bottom of page for ingredient information.Check stock and price


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The ingredients for success of a new musical act are fairly simple. You need to combine great vocals, a unique sound, excellent lyrics, and a hot image. Now if you want a super act, you need to double all the ingredients. With Carmen and Camille (C&C) you get just that.
These two very beautiful young ladies happen to be twins from Vancouver, Canada and they have combined their unique talents to take the music world by storm. They are the complete package. Hot and talented!
Both girls work very closely together to write all of their own music and lyrics. They started writing when the two were five years old. Both perform vocals on all the songs, however Camille's specialty is her stellar electric guitar which is combined Carmen's rock and roll flute. Yea, I said flute. Never thought I would like a flute, but she really has a way of mixing it with a rock sound that works.
Their appropriately named CD, Two is an excellent collection of songs that show off their many talents. The success of the album has continued to grow and reached new levels when they were featured on MTV hit shows The Hills, My Super Sweet 16, and Next. Additionally, C&C has been featured in Stuff Magazine, Elle Girl, and Billboard.com. This is the type of recognition that is well deserved.
Carmen and Camille told us that "We write about what's relevant in our lives at the time. We want to put out the message that life has highs and lows but we are making the most of them and getting through them with the help of our music."
This very evident in their own personal favorite song "How Deep is the Water". This is a soulful ballad that addresses the universal theme of broken hearts. "This song is very emotional for us", they added.
"To Believe" is my personal favorite on the album. It starts with a very beautiful piano and vocal. It builds to a jamming anthem encouraging you to believe. The message is uplifting and a worthy song. Other excellent tracks include "I Will Never" and "Without Reason."
One cannot help but compare Carmen and Camille to another super sister duo. That's right, I am talking about Heart. Clearly C&C's music is in tune with the current trends, but the girls to feel that Heart is a definite influence.
The road to success in the current music world takes a special approach to success. C&C has shown the ability to self promote and spread the word as evidenced by their success and recognition. "The best way seems to be keeping close to your fans and building them through blogs, live shows, and media," said Carmen and Camille.
In a visit to Carmen and Camille's myspace page, you will find that they are close to their fans. They publish regular videos, have many live performances, and write to the fans regularly. The also have a cool YouTube page that they post to regularly. As always, we encourage you to support the great independent artists by buying their albums and catching them live whenever you can. Carmen and Camille are the real deal. We'll see them on Billboard charts one day soon.Powered by Sidelines


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Go LIVE with Inside MMA Friday as Bas and Kenny talk with Eddie Bravo, Roy Nelson, Clay Guida, and Ray Sefo. Plus, Ron Kruck has a feature on Rousimar Palhares. Tune in Friday 9 ET. Find AXS TV HERE: watch video >>
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Antonio Mckee talks AJ McKee and Joey Davis continuing family's fighting legacy For more Boxing and MMA videos log onto http://www.fighthubtv.com Like us:http://on.fb.me/xWRC1f follow us:http://bit. watch video >>
AJ McKee is following in his father's footsteps. "Inside MMA" caught up with the exciting prospect before his Bellator 141 fight. AXS TV is Your Home for MMA every Friday Night! Find AXS TV HERE: h watch video >>
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Featherweight Clay Guida reacts to his unanimous decision over MMA veteran Tatsuya Kawajiri. Guida talks his preparation for the bout, how close he was to a KO win, and who he wants to fight next. watch video >>
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Crystal R. Fox net worth: Crystal R. Fox is an American actress and singer who has a net worth of $2 million dollars. Crystal R. Fox was born in Tryon, North Carolina, and first made a name for herself as a theater actress. She began her professional career in the 70s, and began adding film and television credits to her resume in the late 80s. She has gone on to appear in such film and television projects as "Driving Miss Daisy", "Drop Squad", "Once Upon a Time… When We Were Colored", "Savannah", "Law & Order", "The Old Settler', "PBS Hollywood Presents", "The Sopranos", and "Third Watch". She is most widely recognized for her work as Officer Luann Corbin on the hit series "In the Heat of the Night". She played the role for the show's entire six-season run. She is currently starring on the hit series, "The Haves and the Have Nots", a new soap opera by Tyler Perry airing on the Oprah Winfrey Network.
Crystal R. Fox Net Worth
Crystal R. Fox
Date of Birth
Oct 14, 1965 (51 years old)
United States of America
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All net worths are calculated by applying a proprietary algorithm. The results are then fact checked and confirmed by a team of editors. We scan all publicly available data and resources and work diligently to ensure that our numbers are the most accurate and up to date net worth data you will find anywhere on the internet.


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Former UFC light heavyweight champion Jon Jones remained in custody on Wednesday, pending a hearing about his potential probation violation on Thursday. read news >>
A judge has sent a clear message to Jason Miller after his latest arrest, setting the veteran fighter's bail at $1,000,000 after he was picked up for vandalizing a tattoo shop. Filed under: News read news >>
UFC and Strikeforce veteran Jason "Mayhem" Miller finds himself behind bars once again, but this time, he might remain there for a while. read news >>
A few days ago, Jon Jones was preparing for his upcoming UFC light heavyweight championship fight against Anthony "Rumble" Johnson scheduled for May 23. Now the 27-year-old MMA star is running from r read news >>
Jon Jones is out of jail just hours after turning himself in following a Sunday hit-and-run in Albuquerque, N.M., that allegedly involved the UFC light-heavyweight champion.Filed under: Featured, New read news >>
After live tweeting a standoff with Orange County Sheriff and SWAT officers on Thursday, former Strikeforce and UFC middleweight Jason Miller is being held in Orange County Jail on $200,000 bail. The read news >>
Former UFC and Strikeforce fighter Jason "Mayhem" Miller was arrested and jailed on Thursday and is being held on $200,000 bail. read news >>
After live tweeting a standoff with Orange County police on Thursday, UFC and Strikeforce veteran Jason "Mayhem" Miller was eventually taken into custody and arrested for a total of four c read news >>
Former Bellator and UFC fighter War Machine, also known as Jon Koppenhaver, was taken into custody on Friday afternoon in a cooperative effort by United States Marshals and the Simi Valley Police Dep read news >>
Video coverage of the bond hearing for UFC fighter Thiago Silva, where he was charged and held without bail for counts including aggravated assault with a firearm. read news >>
Jason Miller has been released from jail after being arrested Sunday on charges of alleged domestic violence in California. read news >>
UFC lightweight Jeremy Stephens is still being held without bail in a Minneapolis jail, but an Oct. 23 court date has now been set to determine whether the fighter will be extradited back to his home read news >>
Jeremy Stephens' long trip to Minnesota might finally be coming to an end, but not before a court hearing on Tuesday. read news >>
MINNEAPOLIS - UFC President Dana White said he was willing to pay an
"astronomical amount of money" to bail Jeremy Stephens out of jail in time to
compete at Friday's UFC on FX 5 event.
Stephens read news >>


text: Pinch to zoom Jammy Dodger Biscuit Compact Mirror by Wood Paper Scissors £4.75$8.15€5.69$6.08 Favourite Favourite View your favourites matching jammy dodger cardmatching jammy dodger card (required)Yes Please (+ £2.95)No Thanks!matching jammy dodger card (required)Yes Please (+ $5.06)No Thanks!matching jammy dodger card (required)Yes Please (+ €3.53)No Thanks!matching jammy dodger card (required)Yes Please (+ $3.78)No Thanks! quantity personalise & pay by Wood Paper Scissors Location: Cornwall, GB read seller's profile see seller's complete range more items from this seller Jammy Dodger Biscuit Card For Dad's by Wood Paper Scissors £2.95$5.06€3.53$3.78 Chunky Oak Digestive Biscuit Coaster by Wood Paper Scissors £11.75$20.16€14.08$15.05 Solid Oak Nice Biscuit Cheese Board by Wood Paper Scissors £39.75$68.21€47.64$50.93 Solid Oak 'Hot Stuff' Trivet by Wood Paper Scissors £35$60.06€41.94$44.84 Retro Tv Frame For iPad by Wood Paper Scissors £75$128.71€89.88$96.10 'I Love Shopping' Barcode Tote Bag by Wood Paper Scissors £13$22.31€15.58$16.65 view all you may also like PRODUCT DETAILS DELIVERY RETURNS Made in Britain ask seller a question save for later A 'Jammy Dodger' biscuit compact mirror. Say it with biscuits! The perfect gift for the biscuit lover in your life, but without any of the calories! The illustrated British jammy dodger biscuit compact mirror. Is the perfect way to show your favourite biscuit fan how much you love them. An original gift for a Birthday, Anniversary or just to brighten someone's day. These original pocket mirrors are handmade by us and have been illustrated with our own biscuit design. Making them the perfect gift for a special loved one, a grandparent and of course any fan of the biscuit! These mirrors are available to buy individually or with a matching Jammy Dodger biscuit card. made from: This mirror has been professionally printed and pressed by us in our Northamptonshire studio. Made from quality metal and mirror glass. The mirror is set in metal casing with the design being plastic coated on one side and the mirror part on the other. dimensions: Approx 6cm in diameter product code: 306534 This product is dispatched to you by Wood Paper Scissors. You have 28 days, from receipt of cancellable goods, to notify the seller if you wish to cancel your order or exchange an item. Please note: goods that are personalised, bespoke or made-to-order to your specific requirements, perishable products and personal items sold with a hygiene seal (cosmetics, underwear) in instances where the seal is broken are non-refundable, unless faulty. Read more about our returns policy.Should you choose to return or exchange your order you will need to deliver the item(s) to the UK, where this seller is based. Wood Paper Scissors's return policy Please see notonthehighstreet.com's returns policy.


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A substance with a pH below 7. Since an acid neutralizes an alkali, a stop bath is usually an acidic solution that stops that action of the alkaline developer.
Category: Glossary
Zoom lens
A lens with several moving elements that can be used to produce a continuous range of focal lengths.
Zone focusing
Presetting the focus to photograph action so that the entire area in which the action may take place will be sharp.
Working solution
A chemical solution diluted to the correct strength for use.
Wide-angle distortion
A change in perspective caused by using a wide-angle (short-focal-length) lens very close to a subject. Objects appear stretched out or further apart than they really are.
Wetting agent
A chemical solution, such as Kodak Photo-Flo, used after washing film. By reducing the surface tension of the water remaining on the film, it speeds drying and prevents water spots.
To shade the edges of an image so they are underexposed. A lens hood that is too long for the lens will cut into the angle of view and cause vignetting.
Viewing screen
The surface on which the image in the camera appears for viewing. The image appears upside down and reversed left to right unless the camera contains a pentaprism to correct it.
Viewfinder eyepiece
An opening in the camera through which the photographer can see the scene to be photographed.
View camera
A camera in which the taking lens forms an image directly on a ground-glass viewing screen. A film holder is inserted in front of the viewing screen before exposure. The front and the back of the camera can be set at various angles to change the plane of focus and the perspective.
Variable-contrast paper
A printing paper in which varying grades of print contrast can be obtained by changing the color of the enlarging light source, as by the use of filters.
To expose film or paper to too little light. Underexposing film produces a negative that is too light (thin) or a transparency that is too dark. Underexposing paper produces a print that is too light.
To give less development than normal.
Umbrella reflector
An apparatus constructed like a parasol with a reflective surface on the inside. Used to bounce diffused light onto a subject.
Twin-lens reflex
A camera in which two lenses are mounted above one another. The bottom (taking) lens forms an image to expose the film. The top (viewing) lens forms an image that reflects upward onto a ground-glass viewing screen. Abbreviated TLR.
Tungsten film
Color film that has been balanced to produce colors that look natural when exposed in light from an incandescent bulb, specifically light of 3200 K color temperature.
Abbreviation for through the lens, as in through-the-lens viewing or metering.
A three legged support for the camera.
Transparency (slide)
A positive image on a clear film base viewed by passing light from behind with a projector or light box. Usually in color.
Through-the-lens meter (TTL meter)
An exposure meter built into the camera that takes light readings through the lens.
Describes a negative or an area of a negative where relatively little silver has been deposited. A thin negative transmits a large amount of light. The opposite of dense.
Telephoto effect
A change in perspective caused by using a long-focal-length lens very far from all parts of the scene. Objects appear closer together than they really are.
Tacking iron
A small electrically heated tool used to melt the adhesive in dry-mount tissue, attaching it partially to the back of the print and to the mounting surface. This keep sthe print in place during the mounting procedure.
To cause a flash unit to fire while the camera shutter is open.
Sync (synchronization) cord
A wire that links a flash unit to a camera's shutter-release mechanism.
Substitution reading
An exposure meter reading taken from something other than the subject, such as a gray card or the photographer's hand.
Stop down
To decrease the size of the lens aperture. The opposite of open up.
Stop bath
An acid solution used between the developer and the fixer to stop the action of the developer and to preserve the effectiveness of the fixer. Generally a dilute solution of acetic acid; plain water is sometimes used instead of a stop bath for film.
1. An aperture setting that indicates the size of the lens opening. 2. A change in exposure by a factor of 2. Changing the aperture from one setting to the next doubles or halves the amount of light reaching the film. Changing the shutter speed from one setting to the next does the same thing. Either changes the exposure one stop.
Stock solution
A concentrated chemical solution that must be diluted before use.
Spot meter
An exposure meter with a narrow angle of view, used to measure the amount of light from a small portion of the scene being photographed.
To remove small imperfections in a print caused by dust specks, small scratches, or the like. Specifically, to paint a dye over small white blemishes.
1. The relative ability of a lens to transmit light. Measured by the largest aperture at which the lens can be used. A fast lens has a larger maximum aperture and can transmit more light than a slow one. 2. The relative sensitivity to light of photographic film.
The range of radiant energy from extremely short wavelengths to extremely long ones. The visible spectrum includes only the wavelengths to which the human eye is sensitive.
1. Describes an image that is blurred or out of focus . The opposite of sharp. 2. Describes a scene, negative, or print of low contrast. The opposite of hard or high contrast. 3. Describes a printing paper emulsion of low contrast, such as grade 0 or 1.
Sodium thiosulfate
The active ingredient in most fixers.
Single-lens reflex (SLR)
A type of camera with one lens that is used for both viewing and for taking the picture. A mirror inside the camera reflects the image up into the viewfinder. When the picture is taken, this mirror moves out of the way, allowing the light entering the lens to travel directly to the film.
Silver halide
The light sensitive part of a photographic emulsion, including the compounds silver chloride, silver bromide, and silver iodide.
A dark shape with little or no detail appearing against a light background.
Shutter-speed control
The camera control that selects the length of time the film is exposed to light.
Shutter release
The mechanism, usually a button on the top of the camera, that activates the shutter to expose the film.
Shutter-priority mode
An automatic exposure system in which the photographer sets the shutter speed and the camera sets the aperture (f-stop) for normal exposure.
A device in the camera that opens and closes to expose the film to light for a measured length of time.
Short-focal-length lens (wide-angle lens)
A lens that provides a wide angle of view of a scene, including more of the subject area than a lens of normal focal length.
A clip on a camera for attaching a flash unit. Also known as a hot shoe.
Describes an image or part of an image that shows crisp, precise texture and detail. The opposite of blurred or soft.
A light used in the darkroom during printing to provide general illumination without giving unwanted exposure.
Roll film
film (2 1/4 inch wide) that comes in a roll, protected from light by a length of paper wound around it. Loosely applies to any film packaged in a roll rather than in flat sheets.
Rewind crank
A device, usually on the top of the camera, for winding film back into a cassette once it has been exposed.
Reversal processing
A procedure for producing a positive image on film (a transparency) from the film exposed in the camera or a positive print from a transparency with no negative involved.
Reversal film
Photographic film that produces a positive image (a transparency) upon exposure and development.
A crinkling of the gelatin emulsion on film that can be caused by extreme temperature changes during processing.
Resin-coated paper
Printing paper with a water-resistant coating that absorbs less moisture than a fiber-base paper, consequently reducing some processing times. Abbreviated RC paper.
A substance added to some types of developers after use to replace exhausted chemicals so that the developer can be used again.
Reflex camera
A camera with a built-in mirror that reflects the scene being photographed onto a ground-glass viewing screen.
Any surface – a ceiling, a card, an umbrella, for example – used to bounce light onto a subject.
Reflected-light meter
An exposure meter (hand held or built into the camera) that reads the amount of light reflected from the subject.
A metal or plastic reel with spiral grooves onto which roll film is loaded for development.
Reducing agent
The active ingredient in a developer. It changes exposed silver halide crystals into dark metallic silver. Also called the developing agent.
Reciprocity effect (reciprocity failure)
A shift in the color balance or the darkness of an image caused by very long or very short exposures.
Quartz lamp
An incandescent lamp that has high intensity, small size, long life, and constant color temperature.
To expose film at a higher film speed rating than normal, then to compensate in part for the resulting underexposure by giving greater development than normal. This permits shooting at a dimmer light level, a faster shutter speed, or a smaller aperture than would otherwise be possible.
A test print made for the purpose of evaluating density, contrast, color balance, subject composition, and the like.
Programmed automatic
A mode of automatic exposure in which the camera sets both the shutter speed and the aperture for a normal exposure.
Printing frame
A holder designed to keep sensitized material, usually paper, in full contact with a negative during contact printing.
1. An image (usually a positive one) on photographic paper, made from a negative or a transparency. 2. To produce such an image.
An image with colors or light and dark tones that are similar to those in the original scene.
Polarizing screen (polarizing filter)
A filter placed in front of the camera lens to reduce reflections from nonmetalic surfaces like glass or water.
Plane of critical focus
The part of the scene that is most sharply focused.
A small clear spot on a negative usually caused by dust on the film during development or exposure.
Photographing through a microscope.
A tungsten lamp designed especially for use in photographic studios. It emits light at 3400 K color temperature.
The optical illusion in a two-dimensional image of a three-dimensional space suggested primarily by converging lines and the decrease in size of objects farther from the camera.
A five-sided optical device used in an eye-level viewfinder to correct the image from the focusing screen so it appears right side up and correct left to right.
The difference in point of view that occurs when the lens (or other device) through which the eye views a scene is separate from the lens that exposes the film.
Panchromatic film
Film that is sensitive to all the wavelengths of the visible spectrum.
To move the camera during the exposure int he same direction as the moving subject. The effect is that the subject stays relatively sharp and the background become blurred.
Loss of chemical activity due to contact with oxygen in the air.
To expose film or paper to too much light. Overexposing film produces a negative that is too dark (dense) or a transparency that is too light. Overexposing paper produces a print that is too dark.
To give more than the normal amount of development.
Orthochromatic film
Film that is sensitive to blue and green light, but not red light.
Open up
To increase the size of the lens aperture. The opposite of stop down.
One-shot developer
A developer used once and then discarded.
Normal-focal-length lens (standard lens)
A lens that provides about the same angle of view of a scene as the human eye.
Pixels of random colors and brightness, most often appearing in the dark areas of a digital image.
Neutral-density filter
A piece of dark glass or plastic placed in front of the camera lens to decrease the intensity of light entering the lens. It affects exposure but not color.
Negative film
Photographic film that produces a negative image upon exposure and development.
1. An image with colors or dark and light tones that are opposite of those in the original scene. 2. Film that was exposed in the camera and processed to form a negative image.
A mealy gray area of uneven development in a print or negative. Usually caused by too little agitation or too short a time in the developer.
Motor drive unit (auto winder)
A camera device that automatically advances the film once it has been exposed.
A polished metallic reflector set inside the camera at 45° angle to the lens to reflect the image up onto the focusing screen. When a picture is taken, the mirror moves out of the way so that light can reach the film.
An area of middle brightness, neither a very dark shadow nor a very bright highlight. A medium gray tone in a print.
Middle gray
A standard average gray tone of 18 percent reflectance.
1. See exposure meter 2. To take a light reading with a meter.
Describes a printing paper with a relatively dull, nonreflective surface. The opposite of glossy.
Mat cutter
A short knife blade (usually replaceable) set in a large easy-to-hold handle. Used for cutting cardboard mounts for prints.
A cardboard rectangle with an opening cut in it that is placed over a print to frame it. Also called an overmat.
Manual flash
A nonautomatic mode of flash operation in which the photographer controls the exposure by adjusting the size of the camera's lens aperture.
Manual exposure
A nonautomatic mode of camera operation in which the photographer sets both the aperture and the shutter speed.
Main light
The primary source of illumination, casting the dominant shadows.
The size of an object as it appears in an image. Magnification of an image on film is determined by the lens focal length. A long focal-length lens makes an object appear larger (provides greater magnification) than a short focal length lens.
Macro-zoom lens
A lens that has close-focusing capability plus variable focal length.
Production of images on film that are life size or larger.
Macro lens
A lens specifically designed for close-up photography and capable of good optical performance when used very close to a subject.
Long focal length lens
A lens that provides a narrow angle of view of a scene, including less of a scene than a lens of normal focal length and therefore magnifying objects in the image. Often called a telephoto lens.
Light emitting diode (LED)
A display in the viewfinder of some cameras that gives you information about aperture and shutter speed settings or other exposure data.
Lens tissue
A soft lint-free tissue made specifically for cleaning camera lenses. Not the same as eyeglass cleaning tissue.
Lens hood (lens shade)
A shield that fits around the lens to prevent unwanted light from entering the lens and causing flare.
Lens element
A single piece of optical glass that acts as a lens or as part of a lens.
Lens coating
A thin transparent coating on the surface of the lens that reduces light reflections.
Lens cleaning fluid
A liquid made for cleaning lenses.
One or more pieces of optical glass used to gather and focus light rays to form an image.
Leaf shutter
A camera mechanism that admits light to expose film by opening and shutting a circle of overlapping metal leaves.
The amount of over- or underexposure possible without a significant change in the quality of the image.
Latent image
An image formed by the changes to the silver halide grains in photographic emulsion upon exposure to light. The image is not visible until chemical development takes place.
A numerical rating that indicates the speed of a film. The rating doubles each time the sensitivity of the film doubles.
Interchangeable lens
A lens that can be removed from the camera and replaced by another lens.
Infrared film
Film that is sensitive to wavelengths slightly longer than those in the visible spectrum as well as to some wavelengths within the visible spectrum.
Designated ∞. The farthest distance marked on the focusing ring of a lens, generally about 50 feet. When the camera is focused on infinity, all objects at that distance or farther away will be sharp.
Incident-light meter
A handheld exposure meter that measures the amount of light falling on the subject.
Hypo clearing bath
A chemical solution used between fixing and washing film or paper. It shortens the washing time by converting residues from the fixer into forms more easily dissolved by water. Also called fixer remover or washing aid.
A common name for any fixer, taken from the abbreviation for sodium hyposulfite, the previous name for sodium thiosulfate (the active ingredient in most fixers).
Hyperfocal distance
The distance to the nearest object in focus when the lens is focused on infinity. Setting the lens to focus on this distance instead of on infinity will keep the furthest objects in focus as well as extend the depth of field to include objects closer to the camera.
Hot shoe
A clip on the top of the camera that attaches a flash unit and provides an electrical link to synchronize the flash with the camera shutter, eliminating the need for a sync cord.
A very light area in a scene, print, or transparency; a very dense, dark area in a negative. Also called high value.
High-contrast film
Film that records light tones lighter and dark tones darker than normal, thereby increasing the difference between tones.
1. Describes a scene, negative, or print of high contrast. 2. Describes a printing paper emulsion of high contrast such as grades 4 and 5.
To support the camera with your hands rather than with a tripod or other fixed support.
Handheld meter
An exposure meter that is separate from the camera.
Guide number
A number rating for a flash unit that can be used to calculate the correct aperture for a particular film speed and flash-to-subject distance.
Ground glass
1. A piece of glass roughened on one side so that an image focused on it can be seen on the other side. 2. The viewing screen in a reflex or view camera.
Gray card
A card that reflects a known percentage of light falling on it. Often has a gray side reflecting 18 percent and a white side reflecting 90 percent of the light. Used to take accurate exposure meter readings (meters base their exposures on a gray tone of 18 percent reflectance).
Describes an image that has a speckled look due to particles of silver clumping together.
The particles of silver that make up a photographic image.
Graded-contrast paper
A printing paper that produces a single level of contrast. To produce more or less contrast, a change has to be made to another grade of paper.
Describes a printing paper with a great deal of surface sheen. The opposite of matte.
1. A kind of flare caused by reflections between lens surfaces. It appears as bright spots the same shape as the aperture (lens opening). 2. A combined blurred and sharp image that occurs when flash is used with bright existing light. The flash creates a sharp image; the existing light adds a blurred image if the subject is moving.
Describes a print having a wide range of tonal values from deep, rich black through many shades of gray to brilliant white.
F-stop (f-number)
A numerical designation (f/2, f/2.8, etc.) indicating the size of the aperture (lens opening).
An optical surface with concentric circular ridges. Used in a viewing screen to equalize the brightness of the image.
1. A single image in a roll of film. 2. the edges of an image.
An overall density in the photographic image caused by unintentional exposure to light, unwanted chemical activity, or excess heat or age.
Focusing ring
The band on the camera lens that, when turned, moves the lens in relation to the film plane, focusing the camera for specific distances.
1. The point at which the rays of light coming through the lens converge to form a sharp image. The picture is "in focus" or sharpest when this point coincides with the film plane. 2. To change the lens-to-film distance (or the camera-to-subject distance) until the image is sharp.
Focal-plane shutter
A camera mechanism that admits light to expose film by opening a slit just in front of the film (focal) plane.
Focal plane
The surface inside the camera on which a focused lens forms a sharp image.
Focal length
The distance from an internal part of a lens (the rear nodal plane) to the film plane when the lens is focused on infinity. The focal length is usually expressed in millimeters (mm) and determines the angle of view (how much of the scene can be included in the picture) and the size of the objects in the image. A 100mm lens, for example, has a narrower angle of view and magnifies objects more than a lens of a shorter focal length.
Having less-than-normal differences between light and dark areas. The opposite of contrasty.
A battery-powered bulb that emits one bright flash of light and then must be replaced.
1. A short burst of light emitted by a flashbulb or an electronic flash unit to illuminate the scene being photographed. 2. The equipment used to produce this light.
Non-image forming light that reaches the film, resulting in a loss of contrast or an overall grayness in the final image. Caused by stray light reflecting between the surfaces of the lens.
A chemical solution (sodium thiosulfate or ammonium thiosulfate) that makes a photographic image insensitive to light. It dissolves unexposed silver halide crystals while leaving the developed silver image. Also called hypo.
Fisheye lens
An extreme wide-angle lens covering a 180° angle of view. Straight lines appear curved at the edge of the photograph, and the image itself may be circular.
Filter factor
A number, provided by the filter manufacturer, that tells you how much to increase exposure to compensate for the light absorbed by the filter.
1. A piece of colored glass or plastic placed in the camera's or enlarger's light path to alter the quality of light reaching the film. 2. To use such a filter.
Film speed
The relative sensitivity to light of photographic film. Measured by ISO (or ASA or DIN) rating. Faster film (higher number) is more sensitive to light and requires less exposure than slower film.
Film advance lever
A device, usually on the top of the camera, that winds the film forward a measured distance so an unexposed segment moves into place behind the shutter.
A roll or sheet of flexible material coated on one side with a light-sensitive emulsion and used in the camera to record an image.
Fill light
A light source or reflector used to lighten shadow areas so that contrast is decreased.
Fiber-base paper
Formerly the standard type of paper available; now being replaced to a certain extent by resin-coated papers.
1. Describes a film or paper that is very sensitive to light. 2. Describes a short shutter speed. The opposite of slow.
Extension tubes
Metal rings attached between the camera lens and the body to allow closer-than-normal focusing in order to increase the image size.
Exposure mode
The type of camera operation (such as manual, shutter-priority, aperture-priority) that determines which controls you set and which ones the camera sets automatically. Some cameras operate in only one mode. Others may be used in a variety of modes.
Exposure meter (light meter)
An instrument that measures the amount of light and provides aperture and shutter speed combinations for correct exposure. Exposure meters may be built into the camera or they may be separate instruments.
Exposure index
A film speed rating similar to an ISO rating. Abbreviated EI.
1. The act of allowing light to strike a light-sensitive surface. 2. The amount of light reaching the film, controlled by the combination of aperture and shutter speed.
To remove a small dark imperfection in a print or negative by scraping away part of the emulsion.
Environmental portrait
A photograph in which the subject's surroundings are important to the portrait.
An optical instrument ordinarily used to project an image of a negative onto sensitized paper. More accurately called a projection printer because it can project an image that is either larger or smaller than the negative.
An image, usually a print, that is larger than the negative. Made by projecting an enlarged image of the negative onto sensitized paper.
A thin coating of gelatin, containing a light-sensitive materail such as silver-halide crystals plus other chemicals, coated on film or paper to record an image.
Electronic flash (strobe)
A camera accessory that provides a brief but powerful flash of light. A battery-powered unit requires occasional recharging or battery replacement but, unlike a flashbulb, can be used repeatedly.
Electronic camera
A camera that records an image by using electronic circuitry instead of film.
A holder to keep sensitized material, normally paper, flat and in position on the baseboard of an enlarger during projection printing. It may have adjustable borders to frame the image to various sizes.
Dry mount
To attach a print to another surface, usually a heavier mat board, by placing a sheet of adhesive dry-mount tissue between the print and the mounting surface. Generally, this sandwich is placed in a heated mounting press to melt the adhesive in the tissue. Some tissues are pressure sensitive and do not need to be heated.
Dry down
To become very slightly darker and less contrasty, as most photographic printing papers do when they dry after processing.
To lighten an area of a print by shading it during part of the printing exposure.
Direct light
Light shining directly on the subject and producing strong highlights and deep shadows.
Direct light
Light shining directly on the subject and producing strong highlights and deep shadows.
Directional / diffused light
Light that is partly direct and partly scattered. Softer and less harsh than direct light.
Unit of measurement that indicates the magnifying power of a close-up lens.
A numerical rating used in Europe the indicates the speed of film. The rating increases by three each time the sensitivity of the film doubles.
Diffusion enlarger
An enlarger that illuminates the negative with light that has been diffused by passing it through a piece of translucent material above the negative.
Diffused light
Light that has been scattered by reflection or by passing through a translucent material. An even, often shadowless, light.
Dichroic head
An enlarger head that contains yellow, magenta, and cyan filters that can be moved in calibrated stages into or out of the light beam to change the color balance of the enlarging light.
Diaphragm (iris diaphragm)
The mechanism controlling the size of the lens opening and therefore the amount of light that reaches the film. It consists of overlapping metal leaves inside the lens that form a circular opening of variable sizes. (You can see it as you look into the front of the lens.) The size of the opening is referred to as the f-stopor aperture.
1. The entire process by which exposed film or paper is treated with various chemicals to make an image that is visible and permanent. 2. Specifically, the step in which film or paper is immersed in developer.
A chemical solution that changes the invisible latent image produced during exposure into a visible one.
Describes a negative or an area of a negative in which a large amount of silver has been deposited. A dense negative transmits relatively little light. The opposite of thin.
A room where photographs are developed and printed, sufficiently dark to handle light-sensitive materials without causing unwanted exposure.
Having greater-than-normal differences between light and dark areas. The opposite of flat.
Contrast grade
The contrast that a printing paper produces. Systems of grading contrast are not uniform, but in general grades 0 and 1 have low or soft contrast; grades 2 and 3 have normal or medium contrast; grades 4 and 5 have high or hard contrast.
Traces of chemicals that are present where they don't belong, causing loss of chemical activity, staining, or other problems.
Condenser enlarger
An enlarger that illuminates the negative with light that has been concentrated and directed by condenser lenses placed between the light source and the negative.
Compound lens
A lens made up of several lens elements.
Color balance
1. Film's response to the colors in a scene. Color films are balanced for use with specific light sources. 2. The reproduction of colors in a photograph.
Close-up lens
A lens attached to the front of an ordinary lens to allow focusing at a shorter distance in order to increase image size.
A larger-than-normal image obtained by using a lens closer than normal to the subject.
Changing bag
A light-tight bag into which a photographer can insert his or her hands to handle film safely when a darkroom is not available.
Center-weighted meter
A through-the-lens exposure meter that measures light values from the entire scene but gives greater emphasis to those in the center of the image area.
A light-tight metal or plastic container in which 35mm film is packaged.
A frame that holds a negative flat in an enlarger.
Cable release
An encased wire that attaches at one end to the shutter release on the camera and has a plunger on the other end that the photographer depresses to activate the shutter. Used to avoid camera movement or to activate the shutter from a distance.
A shutter-speed setting (marked B) at which the shutter stays open as long as the shutter release is held down.
Built-in meter
An exposure meter in the camera that takes a light reading (usually through the camera lens) and relays exposure information to the electronic controls in an automatic camera or to the photographer if the camera is being operated manually.
Bounce light
Indirect light produced by pointing the light source at a ceiling or other surface to reflect the light back toward the subject. Softer and less harsh than direct light.
The light-tight box that contains the camera mechanisms and protects the film from light until you are ready to make an exposure.
Sheets of absorbent paper made expressly for photographic use. Wet prints dry when placed between blotters.
Bleed mount
To mount a print so there is no border between the edges of the print and the edges of the mounting surface.
An accordion-like section inserted between the lens and the camera body. In close-up photography, the bellows allows closer-than-normal focusing, resulting in a larger image.
The supporting material that holds a photographic emulsion. For film, it is plastic or acetate. For prints, it is paper.
Averaging meter
An exposure meter with a wide angle of view. The indicated exposure is based on an average of all the light values in the scene.
Automatic flash
An electronic flash unit with a light-sensitive cell that determines the duration of the flash for normal exposure by measuring the light reflected back from the subject.
Automatic exposure
A mode of camera operation in which the camera automatically adjusts either the aperture, the shutter speed, or both for normal exposure.
Aperture-priority mode
An automatic exposure system in which the photographer sets the aperture (f-stop) and the camera selects the shutter speed for normal exposure.
Aperture control
The ring on the camera lens (a push button on some models) that, when turned, adjusts the size of the opening in the iris diaphragm and changes the amount of light that reaches the film.
Adapter ring
A ring used to attach one camera item to another; for example, to attach a lens to a camera in reverse position in order to increase image sharpness when focusing very close to the subject.
Optical defect in a lens (sometimes unavoidable) causing distortion or loss of sharpness in the final image.
Depth of Field
The distance between the nearest and farthest points that appear in acceptably sharp focus in a photograph. Depth of field varies with lens aperture, focal length, and camera to subject distance.
The relative amount of silver present in various areas of film or paper after exposure and development.
Daylight film
Color film that has been balanced to produce natural-looking color when exposed in daylight.
To trim the edges of an image, often to improve the composition.
Contact printing
The process of placing a negative in contact with sensitized material, usually paper, and then passing light through the negative onto the material. The resulting image is the same size as the image on the negative.
Negative carrier
A frame that holds a negative flat in an enlarger.
Burn in
To darken a specific area of a print by giving it additional printing exposure.
Available light
A general term implying relatively dim light that already exists where a photograph is to be made.
A film speed rating similar to an ISO rating
Angle of View
The amount of a scene that can be recorded by a particular lens from a given position; determined by the focal length of the lens.
To move a solution over the surface of film or paper during the development process so that fresh liquid comes into contact with the surface.
The size of the lens opening through which light passes.
To make several exposures, some greater and some less than the exposure that is calculated to be correct.
The difference in darkness or density between one tone and another.
Color Temperature
A numerical description of the color of light measured in degrees Kelvin.


text:
Democracy and the Media
A Comparative Perspective
Edited by Richard Gunther Anthony Mughan
Series edited by W. Lance Bennett
Format: Hardback
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Democracy and the Media by Richard Gunther
Book DescriptionThis book presents a systematic overview and assessment of the impacts of politics on the media, and of the media on politics, in authoritarian, transitional and democratic regimes in Russia, Spain, Hungary, Chile, Italy, Great Britain, Germany, Japan, the Netherlands, and the United States. Its analysis of the interactions between macro- and micro-level factors incorporates the disciplinary perspectives of political science, mass communications, sociology and social psychology. These essays show that media's effects on politics are the product of often complex and contingent interactions among various causal factors, including media technologies, the structure of the media market, the legal and regulatory framework, the nature of basic political institutions, and the characteristics of individual citizens. The authors' conclusions challenge a number of conventional wisdoms concerning the political roles and effects of the mass media on regime support and change, on the political behavior of citizens, and on the quality of democracy.
Buy Democracy and the Media book by Richard Gunther from Australia's Online Bookstore, Boomerang Books.
Book DetailsISBN: 9780521771801
(228mm x 152mm x 33mm)
Pages: 516
Imprint: Cambridge University Press
Publisher: Cambridge University Press
Publish Date: 31-Jul-2000
Country of Publication: United Kingdom
Other Editions...
Books By Author Richard Gunther
Politics of Spain, Paperback (January 2009)
A landmark textbook which explains modern Spain's transition from authoritarianism to democracy, and the nature of its politics today.
Democracy, Intermediation, and Voting on Four Continents, Hardback (February 2007)
This book presents the results of systematic comparative analyses of electoral behavior and support for democracy in 13 countries on four continents.
Democracy and the State in the New Southern Europe, Hardback (November 2006)» View all books by Richard Gunther
This volume analyses the evolution of selected public policies and the changing roles and structure of the state in Greece, Italy, Portugal, and Spain since the 1960s. It makes a major contribution to work on recent democratic regime transition in southern Europe.
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- * Transport to and from the boat from Phuket or Khaop Lak.
- * Breakfast and lunch on the boat. Coffee tea, drinking water, fresh fruit end snacks.
- * Sightseeing trip at Koh Yao.
- * Snorkel equipment and use of kajac.
買い物, 瞑想, セルフドライブ, 医療ツーリズム, スパ/ウェルネス, ゴルフ, セーリング/ヨット, クルーズ, シュノーケリング, スキューバダイビング, シーカヤック&カヌー, ビーチ, 自然&野生生物, 現地の生活様式
665.84 US - 665.84 US (Currency-Converter)
3 days / 2 nights
Youth, Woman, Teens, Senior, Romance, Group , First time travelers, Family, Diver, Couple, Adventure traveler, Adults
3 and a half day sailcruise around the south- Thailand islands of Phuket, Phi Phi, Koh Lanta, Krabi and more.
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The trip is for 3 nights and 3 and a half day, and depart from your hotel in Phuket.
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text:
The overall purpose of this competing continuation is to expand our understanding of the processes associated with the development of substance use and high-risk sexual behavior from early childhood through emerging adulthood, and the processes leading to addiction and dependence in emerging adulthood. The original study began with the assessment of 1075 youth, their parents and teachers, when youth were in first through fifth grade, enabling a multi-source assessment of etiological factors measured at a young age. Annual assessments across ten years, with minimal attrition, have provided extensive data on over 950 youth, following them until they are in the 10th grade through one year post high-school. Together with the original study, the proposed data collection will extend the follow-up to one-year post high school for all youth, and add an in-depth assessment of all participants when they reach age 20/21 consisting of a diagnostic interview and a social stress test to assess cortisol reactivity. A developmental/contextual framework examining the interaction of etiological factors across four systems, biological, cognitive, personality and social, guides our research questions addressing five aims: (1) Examine the processes explaining continuity and discontinuity of the development of substance use from early childhood through adolescence and into emerging adulthood;(2) Further the understanding of the relation between the development of substance use and at-risk sexual behavior, identifying unique and common predictors;(3) Further the understanding of the relation between childhood stress and stress in emerging adulthood, and substance use and abuse/dependence and high risk sexual behavior;(4) Further the understanding of the relation of substance use to the assumption of "adult" roles in emerging adulthood;and (5) Assess the generalizeability of models developed with data from our primarily Caucasian sample by examining the fit of models using data from a sample consisting primarily of African Americans, the Family and Community Health Study (FACHS). Unique novel features of this study include the length of follow-up (first grade to age 21), annual assessments during childhood and adolescence enabling the identification of classes of trajectories, and the integration of psychological with biological variables. The assessment in emerging adulthood of cortisol reactivity, a biological marker of stress associated with substance use and addiction, further expands the etiological framework underpinning this project. The generality and importance of findings from this project will be extended significantly through collaboration with the FACHS by enabling a comparison of etiological processes between African American and primarily Caucasian youth. These findings will guide future prevention and intervention efforts for youth by identifying etiological processes occurring from the early elementary years through emerging adulthood that place individuals at risk or that are protective, including the relation between stress reactivity and addiction.
Understanding the biological and psychological processes related to the acquisition of substance use at an early age and the progression to substance abuse and dependence is essential for the development of substance use prevention and intervention programs. Results from this project will also guide HIV/AIDS prevention efforts through furthering the understanding of processes related to engaging in at-risk sexual behaviors.
|Hampson, Sarah E; Tildesley, Elizabeth; Andrews, Judy A et al. (2013) Smoking trajectories across high school: sensation seeking and Hookah use. Nicotine Tob Res 15:1400-8
|Hampson, Sarah E (2012) Personality processes: mechanisms by which personality traits "get outside the skin". Annu Rev Psychol 63:315-39
|Lynne-Landsman, Sarah D; Graber, Julia A; Nichols, Tracy R et al. (2011) Is sensation seeking a stable trait or does it change over time? J Youth Adolesc 40:48-58
|Andrews, Judy A; Hampson, Sarah; Peterson, Missy (2011) Early adolescent cognitions as predictors of heavy alcohol use in high school. Addict Behav 36:448-55
|Luyckx, Koen; Tildesley, Elizabeth A; Soenens, Bart et al. (2011) Parenting and trajectories of children's maladaptive behaviors: a 12-year prospective community study. J Clin Child Adolesc Psychol 40:468-78
|Lynne-Landsman, Sarah D; Graber, Julia A; Andrews, Judy A (2010) Do trajectories of household risk in childhood moderate pubertal timing effects on substance initiation in middle school? Dev Psychol 46:853-68
|Tildesley, Elizabeth A; Andrews, Judy A (2008) The development of children's intentions to use alcohol: direct and indirect effects of parent alcohol use and parenting behaviors. Psychol Addict Behav 22:326-39
|Hampson, Sarah E; Andrews, Judy A; Barckley, Maureen (2008) Childhood predictors of adolescent marijuana use: early sensation-seeking, deviant peer affiliation, and social images. Addict Behav 33:1140-7
|Andrews, Judy A; Hampson, Sarah; Barckley, Maureen (2008) The effect of subjective normative social images of smokers on children's intentions to smoke. Nicotine Tob Res 10:589-97
|Andrews, Judy A; Hampson, Sarah E; Barckley, Maureen et al. (2008) The effect of early cognitions on cigarette and alcohol use during adolescence. Psychol Addict Behav 22:96-106
Showing the most recent 10 out of 17 publications


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Listing courtesy of RE/MAX REALTY PROFESSIONALS. Selling Office: BHHS C DAN JOYNER - N PLEASANTBURG.


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There are only six games to go until the World Cup is done and dusted and how many really great games have we seen? There have not been many, and as a tournament it certainly has not lived up to that of Germany four years ago.
What has been particularly notable is how so many of the big names of world football have failed to live up to their stellar billings, culminating in Kaka and the Brazilians making their early exit yesterday afternoon. He may be the Brazilian No 10 but, to put it simply, he has been rubbish in South Africa. He is not alone as a succession of the great names of European football have been so, so poor. Try this for my Flops XI: Green, Zambrotta, Cannavaro, Abidal, Evra, Ronaldo, Lampard, Ribéry, Kaka, Gilardino, Rooney.
It has, though, allowed others to take the spotlight and there can have been few tournaments in which so many young players have seized their moments so impressively. None has caught my eye more than Mesut Ozil, comfortably my player of the tournament and a classic No 10. He is the brightest name in my selection of young players who have made the breakthrough in South Africa. On paper the Flops look unbeatable but then the events of the past few weeks prove they are anything but.
Why have the big names struggled and the youngsters shone? There is something in the idea that you get more fearful as you get older – I was never more nervous playing for England than when I won what turned out to be my last cap. And England looked so uptight throughout their stay – and look what happened to Italy's veterans. The way Germany – with 21-year-old Ozil pulling the strings – have played, with freedom and a total lack of fear, is a direct result of having a core of youngsters in the team.
The controversial Jabulani ball and the pitches have definitely had something to with the number of poor games, and with the failure of the likes of Ronaldo – he was awful – and Franck Ribéry – ditto – to make an impact. With this ball and poor surfaces there has been so much miscontrol of the ball – do older players have slightly poorer reaction times? But then some of Wayne Rooney's control has been really poor and he is still a young man. Even Lionel Messi has been struggling at times to tame the Jabulani.
While the drop in standards has been astonishing among the big names, the sudden rise of a new generation has been inspiring. So here is my breakthrough XI, the players who saved the tournament:
Manuel Neuer (Germany)
For a man who came into the tournament with four caps to his name, he has impressed. He has not had an awful lot to do but he looked very cool against England and his handling has been sound throughout.
Gregory Van Der Weil (Holland)
He has had a few run-ins with the hierarchy at Ajax and has a bit of devilment about him. He has a swagger too about the way he plays. Coming forward he has everything a modern right-back needs – he's quick and good with the ball. But what really impresses an old defender is the positions he takes up. A lot of full-backs at his age, 22, play off the cuff, but already he has an idea of the art of defending and that marks him out.
Fabio Coentrao (Portugal)
I sat next to Arsène Wenger to watch Portugal play Spain – my old boss says that Coentrao is the real deal. The test for a young defender, he's 22, is how he sets himself up when the opposition has the ball and Coentrao made all the right decisions, he knew when to get tight and when to drop off and there are few tougher tests than facing Spain. A natural.
Jonathan Mensah (G hana)
He is young (24) for a centre-half, a position that demands experience. He does the basics well but again in defence what makes the difference, what ensures longevity, is positioning. It is the first thing I look for in a defender. It's what helped someone like Tony Adams stay at the top for so long. The number of times Tony found himself in the way of the ball in the box was no accident and Mensah has something of the same in him.
Diego Godin (Uruguay)
Like Mensah, he's 24 but seems older. It has not been a great tournament for central defenders and so while Godin has not been outstanding, he has been solid enough.
Alexis Sanchez (Chile)
I enjoyed watching Chile. They have a refreshing approach, play with a bit of pace and have a breezy approach to the game and Sanchez, 21, has been the pick of the bunch. He is energetic and enjoys a dribble.
Sami Khedira (Germany)
When the 23-year-old is on the ball there is something of the Glenn Hoddle about him, although he is also strong in his defensive duties. He has more than made up for the Germans losing Michael Ballack and has impressed nearly as much as Ozil.
Matias Fernandez (Chile)
Again like Sanchez, he likes to get on the ball and play. As with most of his team, he plays with a bit of spark.
Mesut Ozil (Germany)
Simply brilliant, he has been the best player in the tournament. He is the perfect all-round No 10, playing in that hole between the back four and the midfield and has been so difficult to stop: he ripped England to pieces.
Asamoah Gyan (Ghana)
To lead the line on your own is tough and for a 24-year-old Gyan does it very well. He holds the ball up and scores goals – what more can you ask for from a lone striker?
Luis Suarez (Uruguay)
He has recovered from a poor start. He has real ability and does not shirk a challenge, which suggests he would fit in well in the Premier League.
Müller and Klose can expose the weak backline of Maradona's men
One thing is for sure, in Cape Town this afternoon Argentina will not be taken by surprise by the vibrancy, fluidity and pace of this young German side like England were last weekend. But I still think that Germany can upset them for all the attacking talent Diego Maradona has at his disposal.
The Germans are on a roll – I have seen all their games and they have made a definite impression. You just get a feeling about them now – they are going to be very hard to stop.
The most notable thing about Joachim Löw's young side is the balance. From front to back they they work so well together and to cap it all they just run and run.
I have always had doubts about their defence – but then there are just as many, if not more, concerns about the Argentina backline. The Germans wobbled at times against England, but Manuel Neuer (see above) is a solid keeper and in Philipp Lahm, Per Mertesacker and Arne Friedrich they have
plenty of experience at the back. It is further forward that the true strength lies.
Spain may have the best midfield unit in the tournament, but Germany have the best playmaker in Mesut Ozil. Sami Khedira also performs a key task in anchoring the attacks, while out wide Lukas Podolski and Thomas Müller run their socks off down the flanks. And then they have the experience of Miroslav Klose, a man who reserves his best performances for when he pulls on his national shirt, to finish things off. Argentina's suspect defence has yet to be tested – it will be this afternoon and may be found wanting.
Five Asides
1. More to come from Torres and Spain
Spain have not hit top form yet, nothing like it really, and Fernando Torres has looked a shadow of the player we have seen in the Premier League over the last couple of seasons. He was awful against Portugal and doesn't look anything like fit enough. But they still have the best midfield and should beat Paraguay easily enough.
2. Referees have been too important
There have been too many games when we have found ourselves talking about the officials. From the Kaka sending-off to Frank Lampard's "goal" and the Tevez offside one against Mexico, there have been too many big mistakes. The refereeing has not been good enough.
3. Signings show City are moving in right direction
There may be a World Cup going but you can't help be impressed by what has happened at Manchester City this week – Yaya Touré and David Silva are high-class signings. People say you cannot buy success, but Chelsea did and City are going to. It will not be long until they win the League. In one sense their emergence is good as it leads to a more competitive title race, but there is no doubt it is inflating the transfer market and that is a concern.
4. Keeping clear of Clarence
One of the benefits of being part of the BBC's team at a World Cup is the chance to meet some of the foreign players who share the studio. In Germany I became good friends with Leonardo – we still keep in touch. In South Africa it has been great to meet Jürgen Klinsmann and Clarence Seedorf. I get on well with Clarence, although he could be unbearable now the Dutch are in the last four.
5. And now for my other favourite event...
I can't wait for the Tour de France to get underway. Our driver is another big cycling fan and he assures me that it will all be on TV live out here. I will be up first thing to watch it as it is one of my favourite events. I would like to see Lance Armstrong go out on a high, but it would be great if Bradley Wiggins could win it.
- More about:
- Diego Maradona
- Germany
- Kaka
- Manchester City


text:
Written by Mike Wheeler
11/02/2009 | 22:50 |
Category: MOBILE
Sony Ericsson new Walkman comes with large, powerful built-in stereo speakers designed to provide high-quality bass, and can me shared with friends, says the manufacturer.
Users can blast music from the W395 via the in-built stereo speakers or pump up the volume using the HPM-64 stereo headset equipped with stereo widening for a loud audio experience. The unit comes with dedicated control keys for managing music and a 1GB memory card and FM radio, users will keep up to date with the latest tracks while the Sony Ericsson TrackID feature will help find that elusive song, even if the name is unknown. "Sony Ericsson takes pride in understanding the youth market and the W395 is a mobile phone that caters to all their needs with great music quality" said Josh Oxspring, Marketing Manager of Oceania. "Our most affordable Walkman slider phone to date, the unit allows users to share music with friends as well as video clips and photos for the ultimate entertainment experience."
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With over 14 channels of hardcore street skating videos from professional and novice skaters world wide. Watch the best skating right on your handheld device, from skate parks to street, schools and more. Witness some of the most insane stunts ever by the best skaters in the industry as they ride their skateboards into the sunset get the latest skater news, videos and more.
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text: Bloomers BabyPretty, practical and certainly not fattening, the Diaper Cake Collection from Bloomers Baby at Rosenberry Rooms is yummy enough to eat! These festive confections make lovely shower centerpieces that mom won't want to dismantle. Diaper baby cakes come all dressed up in silk flowers and crowned with real porcelain baby blocks. Tied with ribbons and pulled together with a vintage diaper pin, the Bloomers Diaper Cake comes ready to show up and show off! A bounty of disposable diapers will keep infants dry and happy -- at least for a little while! Choose from two generously-sized cakes; the smaller size yields 40 disposable diapers, and the larger version serves up 100. The Bloomers Baby Diaper Cake comes in delectable motifs like Sage Green Peonies, Blue Hydrangeas, Hawaiian Yellow Orchids, Cream Dahlias, Pink Roses, Yellow Gerbera Daisies, and Mint Green Gladiolas. They're all so divine it's a challenge to settle on just one!


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The Compaq Presario CQ50- 130US Notebook PC redefines simplicity
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text:
bug 888598 and bug 890405 removed most of the exports from indexed-db: we should update the docs for Firefox 25.
Created attachment 785318 [details] [diff] [review]
This patch removes documentation for the IndexedDB exports that got removed for Firefox 25.
I also replaced the link to an example with an embedded example. I thought the embedded example is easier to follow, and easier to try out as it's a complete add-on. But I'm not sure the code is particularly good, and I'm happy to revert to the original example if you think that would be better.
Commit pushed to master at https://github.com/mozilla/addon-sdk
Bug 901153 - Update indexeddb documentation; r=@mossop