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The Solicitor's Pro Bono Group (SPBG) is not finding things easy at the moment.
"We still get firms which don't see it as part of their core value or at least don't want to join part of the profession-wide effort to spread the word," says Tony Willis, chair of the SPBG's board of trustees and a Clifford Chance consultant. "This illustrates an attitude toward this issue which is still insufficiently thought through."
Many law firms are reticent about a formal commitment to pro bono work and there is almost universal agreement that the profession in the UK continues to lag years behind countries such as the US and Australia.
And, to make matters worse, Peta Sweet, the group's highly respected director, has resigned.
Sweet has been in the role since the group's inception in 1997 and is widely regarded as the driving force behind the campaign to overhaul the profession's attitude to the conduct and organisation of pro bono work.
Willis believes that at the outset no one fully appreciated the enormity of the task that was being laid squarely on Sweet's shoulders.
And he accepts that more could, and perhaps should, have been done to assist her.
"There is absolutely no doubt that Peta and her PA have been given a wholly impossible task. There's absolutely no doubt that insufficient support has been given to them," he says. "Insufficient support has been given by the profession as a whole."
Willis accepts that greater resources are essential, but for now they will not be forthcoming. The SPBG employs only Sweet and her PA.
"She would be the first to say if we'd had four of her it still wouldn't be enough. If we'd had 10 of her it might have been making progress. And it's just an expression of how great a burden we have put on her over this period and that burden will continue," he says.
Some of the pressure could have been lifted by the Law Society with greater support and increased funding, he argues.
For the first two years the group has been supported by 11 of its founding law firms: Allen & Overy, Clifford Chance, Clyde & Co, Dibb Lupton Alsop, Freshfields, Hammond Suddards, Herbert Smith, Linklaters, Lovell White Durrant, and Slaughter and May and Norton Rose.
With the expiration of this funding, the Law Society's charity fund has produced some cash, with two annual grants of £45,000 payable over the next two years.
The SPBG membership provides all remaining resources. It currently has over 130 members, comprising both individuals and law firms and includes 40 per cent of the top 50 UK firms.
However, this still falls short of the bar's achievements and not all can be blamed on a lack of resources.
The Bar Pro Bono Unit has over 900 members – one in 10 barristers – and in its second year gave assistance in over 400 cases, all on an annual shoestring budget of £33,000.
It is hoped a new initiative, with cooperation from national groups such as the Community Service Volunteers, will allow greater access to barristers for trusts and charities, housing organisations and other groups needing advice on an ongoing basis.
But it is not just money that is the problem. Willis believes it is a continuing profession-wide lack of enthusiasm that is restricting the SPBG's growth and even the growth of pro bono work itself.
"If there was the membership and if there was the will then yes, we would probably like to expand the scope of activities, but we took the very deliberate decision early on that we run on achievable targets. Our overheads remain the same as they were on day one," Willis says.
Robert Sayer, the new Law Society president, has recognised that initiatives on pro bono work need to be made but there has been no sign of any immediate action.
However, Sweet says: "Law Society involvement is not crucial. In terms of positioning and the way the group is viewed our target has always been the top 100."
Despite both the Law Society and Willis not foreseeing an imminent sea change in the profession's mentality, there has been some progress this year.
Two major initiatives have been undertaken by the SPBG. In January, the group collaborated with the College of Law to set up an advice clinic run by students, and in March, British Aerospace (BAe) launched an in-house attack, with the support of the SPBG, on law firms not committed to pro bono work.
Terence Black, BAe's deputy legal director of finance, applauds Sweet's success in obtaining the first waiver for an in-house team to conduct pro bono work.
He would like to see pro bono work being eligible for Continued Professional Development points but this, he says, is a long-term goal.
While two more firms have appointed full-time pro bono coordinators in the last six months – Dibb Lupton Alsop and Freshfields – there are still only six practices which have such a post.
Sweet herself stresses the need to significantly increase this number and for all firms to formalise and coordinate their pro bono efforts. She identifies a target of doubling the amount of top 100 firms on the membership roll.
Greater Law Society support also seems imperative if the SPBG is to achieve one of Sweet's principal goals, to establish regional pro bono initiatives around the country.
"The American Bar Association has succeeded in every State [to set up regional initiatives]. We can't do that, but the Law Society can," she says emphatically.
But the true gauge of Sweet's success will be her own career development from this point on. Her planned new venture is to become a freelance pro bono consultant.
Is the profession ready for a pro bono trouble-shooter? Will it be a commercially viable operation?
She is by no means convinced there is the necessary appetite for such a service but with her current post yet to be advertised there seems little doubt that the SPBG at least will be calling on her services.
The pro bono timeline
November 1996: The Solicitors Pro Bono Group (SPBG) is formed following a meeting of over 50 solicitors.
July 1997: Peta Sweet is appointed as director.
September 1997: The SPBG becomes operational.
June 1998: First SPBG conference.
July 1998: First in-house legal team, British Aerospace (BAe), signs up.
September 1998: Law Society passes a motion supporting and endorsing pro bono effort as well as the group's work.
November 1998: BAe becomes first in-house legal team to gain Law Society approval to conduct pro bono work.
January 1999: College of Law establishes advice clinic.
February 1999: Solicitor General and Attorney General to encourage government lawyers to do pro bono work.
March 1999: The Lawyer reports fears over future of pro bono work and the SPBG.
April 1999: Clifford Chance hosts the first SPBG Pro Bono Platform – a forum for lawyers with a commitment to pro bono to explain how and why they undertake the work.
May 1999: First quarterly forum for leading law firm members of SPBG.
July 1999: BAe introduces clause in its new terms of engagement requiring its law firms to show a commitment to pro bono work.
August 1999: SPBG Law Firm Pro Bono Manual published.
September 1999: Peta Sweet announces her resignation.


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Oliver Stone is a skilled craftsman who has produced a steady stream of consistently entertaining pictures, but there's an element to his personality--arguably one of his own making--that makes him increasingly difficult to take seriously as a documentary filmmaker. There's no denying the visceral power and emotional punch of an admittedly brilliant narrative film like JFK, but even Stone admitted to its fabrications and flights of fancy, positioning the film (honestly, if somewhat troublingly) as a "counter-myth" to the "official myth" of the Warren Commission report. No matter where you stand on the creation of "counter-myth" in fiction or docudrama (and this reviewer, for one, is basically fine with it), your reputation as that sort of fabricator can be something of a liability when attempting to enter the realm of serious journalism. Those lingering questions of credibility were an off-camera concern in his previous short docs, Persona Non Grata and Looking for Fidel; they're even more distracting in his new film South of the Border.
That's not to say that it isn't well-constructed or compelling--quite the contrary. He knows, first of all, that there's no better way to start a lefty doc than with a cold open of the Fox & Friends numbskulls, here seen bloviating on Venezuelan president Hugo Chavez. Indeed, the film opens with a flurry of American television news footage, with Stone illustrating the popular narratives regarding the controversial leader.
Stone spends roughly the first half of the short (78 minutes) feature on Chavez, going all the way back to 1989 and the fall of the Berlin Wall, the rise of the IMF, and the riots in Caracas to chronicle Chavez's ascension to power, culminating with his first election in 1998. His difficulties staying in power are covered in detail, including demonstrations that turned violent (and were subsequently mischaracterized in local and international media outlets) and an aborted, one-day coup reportedly backed by the U.S. government. Stone wisely coughs up copious documentation of American involvement, as well as damning footage of Bush administration official Otto Reich getting badly burned on CNN.
In the film's second half, Stone does a hit-and-run tour of Latin America, interviewing several other like-minded leaders: Evo Morales of Bolivia; former Argentinean president Nestor Kirchner and his wife Cristina, the current president; Fernando Lugo of Paraguay; Lula da Silva of Brazil; and Raul Castro of Cuba. Several of the leaders are fascinating figures (Cristina Kirchner is particularly smart and quick-witted), and Stone adroitly pinpoints the cause-and-effect relationship of political power in their countries--how Chavez's forceful reign has empowered leaders across Latin America to make their own strides towards emboldened independence.
But his interviews are so openly fawning--he frequently, on camera, expresses his admiration for them, embraces Chavez several times, and even kicks a soccer ball around with Morales--that any aura of objectivity disappears quickly. There's simply a sense, throughout the film, that he's leaving stuff out, and the arguments he's willing to engage in are handled awkwardly and flimsily. Take, for instance, the inevitable (and important) discussion of Chavez's human rights record; Stone's weak sauce response basically boils down to "Well, Columbia's is bad too," which doesn't accomplish anything much more high-minded than "I know you are, but what am I?" It's a bit of an embarrassment to watch a smart guy like Stone soft-soaping someone like Chavez.
The image is somewhat hit and miss. Shot on handheld video by a band of cameramen (including legendary documentarian Al Maysles), much of the new footage is clean, well-saturated, and crisply detailed. But there are occasional glitches, and some scenes are strangely blown out (Chavez goofing off in his neighborhood) or overly grainy (Chavez and Stone on a rooftop at night). Much of the archival footage, and some of the B-roll, is pretty badly beat up. Overall, it's a spotty but acceptable video presentation.
The disc sports a Dolby Digital 5.1 mix, but it's all wrong; someone made the odd choice to place Stone's narration and much of the interview audio in the front right rather than the center channel (as is the norm in most documentaries and, frankly, narrative films as well), leaving music and environmental in the center, left, and surround speakers. The separation is strange and distracting; I ended up switching over to the 2.0 mix about 20 minutes in. That track is much smoother, with dialogue clear and ambient sound well-mixed.
In the "South American Tour" featurette (22:27), Stone returns to the region a year after principal photography for the film's premiere; he conducts and sits in on some additional interviews with the film's subjects (ironically, Chavez says he prefers "interviewers that are tough") and does press for the picture, addressing--rather weakly--some of the criticisms lobbed against it. It's an interesting supplement. The "Additional Questions for President Chavez" (17:23) come from the same trip, and are worth a look.
"Changes in Venezuela" (10:53) is a well-made, impressionistic look at the country on election day; seven chunks of Deleted Scenes (36:12 total) offer longer and more in-depth interviews. Two Stone TV Interviews about the film--one on Argentinean television (6:26) and one on Brazilian television (9:45)--close out the bonus features.
There's certainly a place for advocacy journalism, and there's no question that the full story of Chavez and his Latin American brethren has not yet been told on these shores. But in South of the Border, Oliver Stone doesn't construct anything resembling a complete picture, and leaves the story he does tell feeling tainted. The resulting picture, intriguing and inflammatory though it may be, too often plays like just another "counter-myth."
Jason lives in New York. He holds an MA in Cultural Reporting and Criticism from NYU.

subset: commoncrawl


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1994 Acura Legend Coupe - Consumer Review
Build Quality
Reliability Value
Build Quality
Reliability Value
Best car I have ever owned
By RocketRuss on
Vehicle1994 Acura Legend LS 2dr Coupe
ReviewPurchased with 80Kmi on it. I put another 80Kmi on the car before I killed it (accident). Amazing car. 1 yr before I totaled the car, I filled the tank with 1/2 107 octane, 1/2 98 octane. Car ran like a dragster for the next 2 weeks. Thereafter, my fuel economy steadily rose. When I bought the car, I barely made 300-320mi/tank. After the 107/98 octane mix, my fuel economy rose to just over 400mi/tank. I always, always used 93/94 octane. I will miss that 6 speed manual tranny. Only thing I didn't like about the car was the front wheel drive. Car looked like a sleeper, but I'd smoke just about anyone...and I'm no leadfoot.
Best FeaturesBose stereo system w/6 CD changer. 6sp manual tranny. Telescoping steering wheel. Heated seats. Memory seats. Power everything. 230HP. Heated rear view mirrors. Vacuum doors.
Worst FeaturesRear wheel drive. No power antennae extension whilst CD player is on. Door handles stunk.
Recommend (0) (1)
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Victims of severe storms and flooding in Massachusetts may qualify for one form of tax relief from the Internal Revenue Service: some IRS deadlines in some counties have been moved back to May 11, including the April 15 deadline for filing 2009 individual income tax returns.
President Obama has declared the Massachusetts counties of Bristol, Essex, Middlesex, Norfolk, Plymouth, Suffolk, and Worcester as federal disaster areas qualifying for individual assistance.
Taxpayers who reside or have a business in the disaster area qualify for the May 11 deadlines in many cases, the IRS said.
The Massachusetts Department of Revenue will also extend state tax deadlines from April 15 until May 11 for residents and businesses in the affected counties, a department spokesman said. The extension does not apply to residents and businesses in other parts of the state.
The IRS said its computer systems automatically identify taxpayers located in the covered disaster area and apply automatic filing and payment relief.
Taxpayers in the disaster area who have not been severely affected by the storm are encouraged to file by the traditional IRS deadlines.
But taxpayers in these areas do not have to take any action to be eligible for the extended deadlines, an IRS spokeswoman said.
Taxpayers in the affected areas will not be penalized for missing the traditional April 15 deadline so long as they file on or before May 11, the IRS said.


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When I originally started this blog, I had and continue to have the women in my past and present life in mind. Again, as a tribute to them. My mother, who is 83, has a Pinterest account. She has committed for the last few years and the present to care for my father who has Parkinsons. Not an easy position to be in. Mom has never been known to be idle (putting it mildly). Or, to have idle hands. She amazes me with her God given talent. God says in his word that we are his "workmanship". Another word for workmanship is "Masterpiece". No matter where we are in life or what position we're in, we are His creation. Beautiful.
Today, I received a package in the mail from mom for my birthday. She is one of my followers on Pinterest. I'm not much of a dreamer, but I like pinning practical ideas and things that catch my eye. One thing recently, was this beautiful shawl. Is it something I would go out and purchase? Probably not. But on Pinterest, it's my "style."
Thanking God for the blessing that she is!
Honor her for all that her hands have done, and let her works bring her praise at the city gate. Prov. 31:31


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Mark E Smith
Martin Bramah
Yvonne Pawlett
Marc Riley
Karl Burns
Psycho Mafia
Rebellious Jukebox
Stepping Out
Like To Blow
Mess Of My
Industrial Estate
It's The New Thing
Futures And Pasts
Music Scene
Bingo Master's Breakout
Brand New Cadillac
Net Gig Length - 41m
Officially Released on Live at Deeply Vale (OZIT CD785) minus last two tracks but replaced by Granada TV appearance
Complete Set Officially released as Bingo Masters at the Witch Trials (OZIT DAN CD 928)
Audience Audio
The photograph on the cover of the CD is from the appearance the following year.
very tinny or a muddy rhythmic splurge.
- "Good afternoon! When I was on the witch trials of the twentieth century, they said, 'You are an aesthetic anasthetic. Your repetition will never be.' Right, noise!" (before "Repetition")
- "We're going to knock you down, we're going to come inside your head. Thank you and good afternoon...right, Psycho Mafia take one."
- "We like to be in tune, this being our first experience of open air festivals." (before Rebellious Jukebox)v
- "Right, that's for all you skinheads. 'Like To Blow'. You're all slack." (before "Like To Blow")
- "Thank you. This one's about radios, videos, a signal (...). A note of your own choice, boys and girls." (before "Mess Of My")
- "Martin (Branch), reach out and tell of industrial estate. I cannot see one - that makes a change. Get up for ind est." (before "Industrial Estate")
- "I dream about taking some terrorists out for a quiet drink and getting them to stick a bomb up the architect's arse, the tv popman's (?) arse, you know, dreams, you know, when the only solution is retribution." (extra lyrics in Mess Of My)
- Right, the new one" (before It's The new Thing)
- "Another slow one for you - a song of contrasts, for my mother and my sister." (in fake American accent)
- "Martin, reach out and tell one of Industrial Estate. I can't see one that makes a change. Get up for Industrial Estate-ah."
- "We'll do 'Futures And Pasts', Martin. Do 'Futures And Pasts', Martin, yeah? We're a democratic band, y'know." [In American accent] "We're just going for a conference to talk about our futures and our pasts." (before "Futures And Pasts")
- "Last number now, right, come on Martin, sing a song, you can do it." (before Music Scene)
The Complete Gig List > The Fall Live > 1978 Gigs >


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Chapter 05 - Oscar Buzz
1993 - 1995
Tom Hanks's big break also arrived in 1993 when director Jonathan Demme cast him for Philadelphia in the starring role of Andrew Beckett, an attorney with AIDS who brings suit against his former employee for discrimination after getting fired. Tom Hanks delivered a spectacular acting performance, losing 37 pounds and shaving his head for the role. In a review for People, Leah Rozen stated "Above all, credit for Philadelphia's success belongs to Hanks, who makes sure that he plays a character, not a saint. He is flat-out terrific, giving a deeply felt, carefully nuanced performance that deserves an Oscar."
Tom Hanks took home several awards like a Golden Globe, a Berlin Film Festival and a MTV Movie Award. But most of all, he was honored with a prestigious Oscar for Best Actor. His acceptance speech became very well known, for two reasons. First of all, it is known for the famous sentence "[...] the streets of Heaven are too crowded with angels, they number a thousand for each red ribbons we wear tonight [...]". Tom Hanks also revealed that two people he was close with, his high school drama teacher, Rawley Farnsworth, and former classmate John Gilkerson, were gay. The revelation inspired the 1997 film In & Out, starring Kevin Kline as an English Literature teacher who is outed by a former student in a similar way.
"Here's what I know... I would not be standing here if it weren't for two very important men in my life, two I haven't spoken with in a while but I had the pleasure of just the other evening - Mr Rawley Farnsworth, who was my high school drama teacher, who taught me 'Act well the part, there all the glory lies', and one of my classmates under Mr Farnsworth, Mr John Gilkerson.I mention their names because they are two of the finest gay Americans, two wonderful men that I had the good fortune to be associated with, to fall under their inspiration at such a young age. I wish my babies could have the same sort of teacher, the same sort of friends." 1
The phenomenal triumph subsequently launched Tom Hanks as a Hollywood's A-List actor and cemented his standing as a leading dramatic actor.
The day after Tom Hanks won the Academy Awards for Philadelphia, he received a telegram from astronaut Jim Lovell that said "Welcome aboard Apollo 13". Tom Hanks was already part of making the movie based on the Apollo mission but before working on this project, he first starred in a movie he would forever be remembered for : Forrest Gump. It became one of the most famous movies of all time.
The movie starred Sally Field who played Tom Hanks's mother, tough she is only 10 years older, Gary Sinise and Robin Wright Penn. With Robert Zemeckis at the helm, Hanks's dazzling performance won him countless awards, including a National Board of Review Award, a Golden Globe, a Chicago Film Critics Association and an American Comedy for Best Actor.
Robert Zemeckis even said of Tom Hanks's performance : "Even living or dead, I can't think of anyone who could do as good as Tom did. I can't think of anyone. Possibly Henry Fonda would have done something interesting with it, but who knows ? I don't think it would have been has good as Tom nor would have been as perfect as Tom." 2
On March 27, 1995, Tom Hanks became the second actor ever in history, after Spencer Tracy in 1937, to win two consecutive Best Actor Oscars. In his acceptance speech he thanked both his wife, Rita Wilson, and his colleagues :
"I'm empowered to stand here thanks to the ensemble of actors, men and women, whom I shared the screen with and who, in ways they will never understand, made me a better actor. [...] And I am standing here because the woman I share my life with has taught me and demonstrates for me every day just what love is." 3
The movie was an enormous success with a domestic gross of 300 million dollars, grossing more than 600 million dollars worldwide. It also won Academy Awards for Best Picture and Best Director.
1 : Academy Awards, Acceptance Speech, March 1994
2 : The Directors, Robert Zemeckis, 1999
3 : Academy Awards, Acceptance Speech, March 1995


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Bellini Moonshiners
Alabama chef David Bancroft devised Bellini Moonshiners — a high-low mix of fancy champagne and Lincoln County Lightning Whiskey. Fresh peaches and basil add a taste of summer.
Total Time:
Level: Moderate
Yield: 8 drinks
- 2 ripe peaches
- 32 basil leaves
- ½ c. confectioners' sugar
- Juice of 2 limes (about 1/4 cup)
- 1½ c. moonshine
- 1 L sparkling water
- 1 bottle champagne
- In a large jug, muddle peaches, basil, and sugar using a muddler or the back of a wooden spoon. Add 4 cups ice.
- Add lime juice and moonshine, and stir well. To serve, divide mixture evenly among 8 highball glasses and top off with sparkling water and champagne.
- Garnish each glass with a basil leaf, and serve immediately.
More recipes like this
From: Country Living
More From Delicious Cocktail Recipes


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|Volume 4, Number 18
|6 September 2002
Welcome to the 79th edition of the Imaging Resource Newsletter. We mark the first anniversary of Sept. 11 with an interesting photo project, Dave flips over Olympus' C-4000 Zoom and we review the only book on iPhoto.
This issue of The Imaging Resource News is sponsored in part by the following companies. Please tell them you saw their ad here. And now a word from our sponsors:
Are you in the digital photo business? This newsletter is read by over 46,500 readers, all with a passion for digital photography. For information on how you can reach them, contact us at [email protected].
Time may wait for no one, but photography can sure play tricks on it. Photography can make immediate a moment of a hundred years ago. It can freeze the frantic wing beat of a hummingbird. It can collapse into seconds the events of a day.
The events of Sept. 11, 2001 certainly retain their immediacy in the images of Bill Biggart, the only photojournalist to die covering the collapse of the World Trade Center. You feel too close for comfort viewing some of the nearly 300 images (http://digitaljournalist.org/issue0111/biggart01.htm) found in his three cameras when his body was recovered from the rubble.
Cynthia Malaran's personal perspective of the towers from her bedroom window (http://www.malaran.com/wtc) includes two years of images. "I had originally started this photo collection a few years ago as a tribute to the view that I grew up with from my East Village bedroom window. Never did I imagine that one day I would be speaking of it in the past tense, at least not under these conditions," she explains on her site.
And at Here Is New York (http://www.hereisnewyork.org) over 7,000 images taken by all sorts of people are organized into several categories. "The exhibition is subtitled 'A Democracy of Photographs' because anyone and everyone who has taken pictures relating to the tragedy is invited to bring or ftp their images to the gallery, where they will be digitally scanned, archivally printed and displayed on the walls alongside the work of top photojournalists and other professional photographers," a page on the site states. "All of the prints which Here Is New York displays will be sold to the public for $25, regardless of their provenance. The net proceeds will go to the Children's Aid Society WTC Relief Fund, for the benefit of the thousands of children who are among the greatest victims of this catastrophe."
And now, as Americans mark the first anniversary of Sept. 11, another unique photographic perspective plans to fool time. The story it one day hopes to tell will compress the next seven years at the former site of the World Trade Center into a 20 minute time-lapse film of the rebuilding.
Filming began in May when the first three $20,000 35mm movie cameras started taking a single frame of the site every five minutes. Three more cameras will join them Sept. 11. Taking 288 shots a day, they'll record 790,00 images of the site in the next seven years. Producers hope to show the 20-minute presentation continuously on six screens at a museum devoted to the site.
The first three cameras were installed in separate locations. One is 22 stories above Church St. on the roof of 30 Vesey St., another on the roof of 111 Broadway and the third on the 47th floor of the American Express Building in Battery Park City. The three new cameras will be installed at ground level in the St. Paul churchyard bordering Church St., on the roof of the Engine Co. 10, Ladder Co. 10 fire station on Liberty St. and in Barron's newsroom on the ninth floor of the Dow Jones Building.
Each camera is housed in a metal shed with a small window for the lens. An intervelometer opens the shutter every five minutes after setting the aperture. A generator and rechargeable power pack also keep each camera company.
Despite the seven-year plan, there's no cut-off date for the project. Co-producer and project director Jim Whitaker from Imagine Entertainment in Hollywood said they'd keep shooting even if the project takes 10 or 15 years. "Eventually, I assume, there will be some sort of a ceremony in which the project will be declared completed. And that's when we'll be finished," he told the New York Times.
About $500,000 has been raised, helped substantially by a $400,000 check from Aon Corp., which was hard hit in the attack. Kodak has donated the film and processing costs. An additional $400,000 is required to fund the project over seven years, a quarter of it going into equipment and another quarter into post-production.
Significantly, no arrangement has yet been made to actually show the completed film, no museum devoted to the site has been approved, no plans for rebuilding settled and no schedule set for completion.
But -- taking a cue from a few of the heroes of that day -- the producers have decided it is time to roll.
By DAVE ETCHELLS(Excerpted from the full review posted at https://www.imaging-resource.com/PRODS/C40/C40A.HTM on the Web site.)
Olympus is famous for following a higher-end, fully featured model with a slightly de-featured version at a significantly lower price. By leveraging the development costs across two similar models, they can bring remarkably cost-effective cameras to market.
Olympus has returned to this successful strategy with the C-4000 Zoom, a 4-megapixel melding of their higher-end 4-megapixel C-4040 Zoom and their already affordable 3-megapixel C-3020 Zoom. After testing, I concluded there's really nothing on the market that touches it for a combination of features and value.
Besides its 4-megapixel CCD, the C-4000 Zoom also offers a 3x zoom lens and a wide range of creative exposure options. The C-4000 Zoom maintains the classic rangefinder-style body that's the hallmark of Olympus's C-Series cameras, measuring only 4.3x2.9x2.6 inches and weighing just a bit over 10 ounces. While it's more of a handful than Olympus' D-series compact models, the C-4000 Zoom is still fairly easy to stash in a large pocket or purse.
Like its slightly more advanced cousin, the C-4040 Zoom, the C-4000 Zoom offers a wide range of user controls, including a Multi-Spot metering mode that averages up to eight individual spot readings, a one-touch white balance function (with a very useful white balance adjustment feature for minor color adjustments), spot autofocus, wide-ranging contrast and sharpness adjustment and QuickTime movies. It also incorporates an advanced Noise Reduction System, using dark-frame subtraction to minimize background noise in long exposures. An Optimum Image Enlargement mode boosts file sizes to 3200x2400 pixels -- large enough for 16x20-inch prints, although there's little actual increase in detail relative to the C-4000's uninterpolated 2288x1712 pixel images. Finally, the C-4000 adopts Olympus's new virtual dial menu navigational system for convenient access to a variety of camera shooting modes.
The C-4000 Zoom features both an optical, real-image viewfinder and a rear panel, 1.8-inch, color TFT LCD monitor, with 114,000 pixels. When the LCD monitor is engaged, it automatically displays detailed exposure information, with the current exposure mode, f-stop setting, shutter speed and exposure compensation overlaid on top of the viewfinder display (a nice feature not found on every digicam) and the number of images available in the current resolution setting at the bottom of the monitor. Two options are provided for the information display, letting you choose between more or less information. The C-4000 also provides a very helpful numeric/bar graph distance display when using the Manual Focus option, as well as a digital zoom bar (activated when digital zoom is on) that shows the camera's 3x optical zoom in operation and the progress of the digital zoom whenever you zoom past the range of the optical telephoto.
The 6.5-19.5mm 3x zoom lens is equivalent to a 32-96mm lens on a 35mm camera, with an f2.8 maximum aperture. In addition, images can be enlarged up to 3.5x with the digital zoom, depending on the image size you've selected. Digital zoom is not the same as optical zoom, since the digital zoom is merely cropping and enlarging the center portion of the CCD. As a result, digitally enlarged images are invariably softer than ones enlarged via a zoom lens.
The C-4000's image file sizes include: 2288x1712, 2048x1536, 1600x1200, 1280x960, 1024x768 and 640x480 pixels in normal mode and 3200x2400 pixels in the Optimum Image Enlargement (interpolated) setting. Image quality options include two JPEG compression ratios, plus an uncompressed TIFF format that produces full-resolution images free of compression artifacts.
The C-4000 Zoom offers all the exposure control you could ask for, including Program, Aperture Priority, Shutter Speed Priority and Manual exposure modes. Program mode controls both aperture and shutter speed, with exposure times as long as one second. Aperture and Shutter Priority modes give you control over aperture or shutter speed, while the camera chooses the best corresponding settings. When used in A or S modes, apertures range from f2.8 to f11.0 and shutter speeds from 1/1000 to four seconds. Manual exposure mode provides the same aperture range, but shutter times as long as 16 seconds. There's also a selection of preset Scene modes, to make it easy to snap good-looking photos in otherwise challenging conditions. Scene Program modes include Self-Portrait, Night Scene, Landscape/Scene, Landscape/Portrait, Sports and Portrait modes. Finally, the My Mode feature provides up to four custom setups, letting you store complex combinations of settings in a single menu choice.
The C-4000 provides ISO options of Auto, 100, 200 and 400 in all modes, automatic exposure bracketing, Digital ESP and Spot metering modes, Single and Multi-Spot Metering AE Lock modes, plus exposure compensation from +2 to -2 exposure values in one-third-step increments. White balance can be set to Auto, Daylight, Overcast, Tungsten, Daylight Fluorescent, Neutral Fluorescent, Cool Fluorescent or Quick Reference (custom or manual white balance adjustment) to accommodate a variety of lighting conditions, while a white balance color adjustment function lets you fine-tune the color balance across a wide range from red to blue.
Image contrast, sharpness and saturation adjustments are available through the Shooting menu and a Function menu option allows you to capture images in black and white or sepia tone (with additional White Board and Black Board settings for capturing text). There's also a 12-second self-timer option for self-portraits.
With the ability to manually "tweak" color balance, contrast, color saturation and in-camera sharpening, the C4000 lets you customize it to fit your specific preferences and shooting style to an exceptional degree. For people who care about the particulars of color and exposure, the value of this sort of flexibility is hard to overstate.
The C-4000 Zoom's Movie mode records QuickTime movies without sound, for maximum times dictated by its internal buffer memory, in either SQ (160x120 pixels, maximum duration about 148 seconds) or HQ (320x240 pixels, maximum duration about 35 seconds) modes. Sequence mode captures multiple images at up to 1.6 frames per second in HQ mode (based on my own measurements, actually a bit faster than Olympus' spec of 1.5 fps). Panorama mode allows you to take up to 10 formatted shots for merging with Camedia's Panorama Stitch software in the computer (only available when using Olympus-branded SmartMedia cards). The 2-in-1 mode captures two individual images, saved as a single split-screen image.
The internal flash has five operating modes (Flash Off, Auto-Flash, Forced Flash, Red-Eye Reduction and Slow Sync), with flash range extending to approximately 11.8 feet (6.3 meters). Slow Sync flash mode uses a slower shutter speed with the flash to allow more ambient light into the photo. It also includes the option to fire the flash at either the beginning or end of the exposure, as well as add a Red-Eye Reduction pre-flash. A proprietary sync socket lets you connect an Olympus-branded external flash unit when additional flash power is needed and Olympus offers an accessory adapter cable with a standard PC-sync connector on it for use with generic strobes. You also can increase or decrease the internal flash power from -2 to +2 EV in one-third-step increments.
The Olympus C-4000 Zoom ships with a 16-MB SmartMedia memory card. You can connect the camera directly to your computer via a high-speed USB interface to download images. Olympus' Auto Connect USB interface means the camera will automatically appear on your computer's desktop in Windows ME/XP/2000 or Mac OS 8.6 or later. A video output jack and cable let you display images on a video monitor, which can also be used as a super-sized viewfinder in capture mode. Software includes Olympus' Camedia Master 4.0 utility package, which provides minor organization and editing tools, in addition to a panorama "stitching" application. Apple QuickTime and USB drivers for Macintosh and Windows are also supplied.
While it doesn't offer quite the range of capabilities as the C-4040 Zoom (with a slower lens and slightly slower continuous-mode operation), the Camedia C-4000 Zoom offers exceptional creative control, great low-light capabilities and large file sizes for maximum print output. When you factor in its excellent image quality, the C-4000 amounts to one of the best deals in the entire digicam marketplace, at least as of this writing, in mid-August.
Overall, the C-4000 Zoom is an about average performer speed-wise. It starts up and shuts down rather slowly, but cycle time is pretty good and buffer capacity is excellent for any size/quality setting other than SHQ mode. In SHQ mode, you can snap 3 shots before waiting for the buffer to empty. Shutter lag is on the slow side of average, particularly in manual-focus mode. Prefocus lag is just slightly faster than average, but a bit slower than average when compared to current higher-end models.
The C-4000 Zoom generally produced very good to excellent color in my test shots and white balance was generally pretty accurate. It did a surprisingly good job with the very difficult incandescent lighting of my Indoor Portrait test, leaving only a slight pink tint to the image. Color balance was very good on the Davebox target, with the C-4000 distinguishing tough tonal variations and reproducing the large color blocks with good saturation and accurate hue. The C-4000 reproduced the blue flowers in the Outdoor test shot very well, without the strong purple tints that plague many cameras with that particular target. The flowers were much darker in the Indoor shots, a fairly natural consequence of the very warm-toned lighting. Really very good color overall.
The C-4000 generally exposed the test images well, its meter responding to high- and low-key shots with the expected slight under- and overexposure respectively. Its default tonality is quite a bit more contrasty than I personally prefer, but its contrast "tweak" adjustment worked beautifully. With the contrast adjustment set all the way down to -5 units, even the very harshly lit Outdoor Portrait test showed good highlight detail in Marti's shirt. I'd really like to see the contrast range centered around the value that corresponds to the -5 level, to adjust both above and below that point, but the bottom line is I was able to get the sort of tonal response I was looking for with the available adjustment. Well-executed "tweak" adjustments as on the C-4000 are a highly desirable feature in a camera intended for the "enthusiast" market. Big kudos to Olympus on this point!
The C-4000 performed well on the "laboratory" resolution test chart, though it started showing artifacts in the test patterns at resolutions as low as 600 lines per picture height horizontally and around 800 lines vertically. I found "strong detail" out to at least 1,150 lines horizontally and 1,050 lines vertically. "Extinction" of the target patterns occurred at approximately 1,450 lines.
Geometric distortion on the C-4000 is lower than average at the wide-angle end, as I measured a 0.35 percent barrel distortion. The telephoto end fared slightly better, with a 0.27 percent pincushion distortion. This is a pretty good performance. Most digicams I test average around 0.8 percent barrel at wide angle, although pincushion at telephoto generally is almost nonexistent. Olympus seems to have opted to trade off more pincushion at tele for less barrel at wide, but the net result is less distortion overall. Chromatic aberration is a bit higher than average, showing 4-5 pixels of coloration on either side of the target lines (visible as a very slight colored fringe around the objects at the edges of the field of view). High, but not unusual. More bothersome was the fact that it persists fairly far into the central portion of the frame, as there were a couple of pixels of color around the numbers marking the high-frequency resolution wedges, which is fairly close to the target's center. The strongest optical distortion I noticed was increased softness and "coma" (a smearing of high-contrast edges) on the left side of the frame.
The C-4000 Zoom's maximum shutter speed of 16 seconds and variable ISO settings provide excellent low-light shooting capabilities. Images remained bright and usable at light levels as low as 1/16 foot-candle, at both ISO 200 and 400. Shooting at ISO 100, the target was visible at the 1/16 foot-candle light level, though results were better at 1/8 foot-candle level. The dim lighting resulted in a faint pink cast, but overall color was still better than average for such low light levels. The camera's Noise Reduction system did a good job controlling image noise, although it doesn't use as sophisticated an algorithm for eliminating hot pixels as Mike Chaney's Qimage Pro software program. But I may be a little biased, since Mike uses an algorithm I suggested. ;-) Given that average city street lighting at night corresponds to approximately one foot-candle, the C-4000 Zoom should capture good-looking photos in light levels about as dim as you can comfortably see in.
The C-4000 Zoom also did an excellent job in the macro category, capturing a tiny minimum area of 1.68x1.25 inches. Resolution was very high -- dust was even visible on top of the smaller coin in the frame. Exposure and color were also good.
About the only serious gripe I have is that the lens shows a bit more chromatic aberration than average and it persists further into the center of the frame than is commonly the case. While I really don't like chromatic aberration, I'd have to say that the C-4000 Zoom's genuinely excellent performance in so many other areas does a lot to make up for it. Overall, this looks like a superb camera for an enthusiast on a budget and budget-constrained photography students.
With the C-4000 Zoom, Olympus has set another benchmark for image quality, camera performance and features, at an impressively low price. In particular, the ability to tweak the camera's white balance, contrast and color saturation gives a nearly unprecedented ability to customize the camera to fit specific needs and preferences.
It's been almost two years since Olympus' last barn-burner of a bargain enthusiast camera (the C-3000) and the C-4000 shows not only the benefits of two years of advancing technology, but also many thoughtful touches to its user interface. The best part? Olympus included an external flash sync socket on the C-4000, a first on a value priced digicam from them. All in all, the C-4000 Zoom represents an exceptional value. A big thumbs up to Olympus for this one!
At https://www.imaging-resource.com/NEW1.HTM you can keep track of what's new on our main site. Among the highlights since the last issue:
- First Look: Sony DSC-F717 (https://www.imaging-resource.com/PRODS/F717/F71A.HTM).
- First Look: Nikon Coolpix 4300 (https://www.imaging-resource.com/PRODS/CP4300/C43A.HTM).
- Reviewed: Digipower's DPS-9000 external battery pack (https://www.imaging-resource.com/ACCS/DPS9000/DPS9000.HTM).
- Production Update: Olympus D-520 Zoom (https://www.imaging-resource.com/PRODS/C40/C40A.HTM).
- Reviewed: Olympus C-4000 Zoom (https://www.imaging-resource.com/PRODS/C40/C40A.HTM).
We'd copied a bunch of vacation shots to two folders on a Sony Vaio and wanted to merge all the shots into one folder but keep them in order. Windows XP can order them by the date they were taken, but we wanted the order to persist no matter what application we were running, so the only thing to do was rename them.
Windows XP has a batch renaming function but it isn't exactly intuitive. You select the last image first, then scroll up to the first one to select it. Then click on File Rename to tell XP what you want to do and then (write this down), click on the white space to the right of the first image. That magic trick will rename your images using sequential numbers.
Unfortunately, the numbers don't keep things in order. File2.jpg appears after File10.jpg. File2.jpg should, of course, be named File02.jpg. Or File002.jpg if you have a hundred shots. Programming 101.
In our parallel universe on the Mac, we didn't have to rename them. We didn't even have to stop over in OS X, but started our project transparently in iPhoto. We made a new album, selected the shots from our master collection and dragged them to the new album. If we had needed to rearrange them, we could simply have dragged them into the sequence we preferred. Like playing Solitaire <g>.
Does an application that, uh, intuitive, need a Missing Manual?
No, it doesn't. But one of the virtues of the Pogue Press/O'Reilly Missing Manual (http://www.missingmanuals.com) series is that under the guise of an application manual, you usually get a thorough introduction to the field, too. The iMovie book, for example, is a great introduction to movie making from hardware to post production techniques.
Unfortunately, the iPhoto book doesn't live up to that standard.
It tries, though. Chapters divided in five broad topics cover the gamut, including:
Part One: Digital Cameras: The Missing Manual
Part Two: iPhoto Basics
- Welcome to Digital Photography (which includes buying advice)
- Composing Brilliant Photos (on the art of composition)
- Beyond the Simple Snapshot (tips on sports photography, portraits, underwater shots, etc.)
Part Three: Meet Your Public
- Camera Meets Mac (how to get your shots to the computer and where iPhoto keeps them)
- The Digital Shoebox (Albums, keywords and customizing iPhoto)
- Editing Your Shots (editing images, cropping, red-eye, reverting)
Part Four: iPhoto Stunts
- The iPhoto Slide Show
- Making Prints (on your printer and online)
- Photos Online (emailing and Web site publishing)
- Publishing a Photo Book
- From iPhoto to QuickTime (burning a movie CD, putting a movie on the Web)
Part Five: Appendixes
- Screen Savers, Desktop Pictures and Plug-Ins (exporting pictures)
- iPhoto File Management (handling multiple photo libraries)
Ambitious. Unfortunately, the errors in Part One: Digital Cameras: The Missing Manual appear as relentlessly as hiccups. They include minor nonsense like claiming CompactFlash cards make digicams larger (they aren't that large) and bad analogies like warning you can't fit more on storage cards by sitting on them like suitcases (you can; just use a higher JPEG compression level for your remaining shots). But the misinformation gets worse.
- Troubleshooting (mainly on importing images)
- iPhoto, Menu by Menu
- Where to Go From Here (you're there)
Take for example the illustration on spot metering (page 40). It's a shot of a steal attempt at second base just as the ball is arriving. "If you were to use your camera's normal 'averaging' or 'evaluative' mode, there's a good chance that the players would be too bright or overexposed." But the illustration sets the spot exposure on the bright white home uniforms. Nope. That would expose the white uniforms as gray.
In fact, the grass and dirt are closer to middle gray than the home whites. Blown highlights in the uniforms would just need an underexposure of -1 EV at most. And while spot metering on the visiting grays might work theoretically, as an action shot, you can't really spot meter them. You have to frame and shoot in the blink of an eye.
Most of these errors rank higher than mere quibbles. Digicams are not as versatile on vacation as your typical film camera, we've long lamented; digital zoom crops your data instead of "reinterpreting" it; you don't send your photo book to a bindery to have it printed, etc.
And that's too bad because when you get to the part of the book you don't actually need <g>, it quits trying to teach you what it doesn't know and tells you some interesting (even indispensable) things about iPhoto.
Again, that's not to say that suddenly the text is full of good advice. We strongly disagree that you should let iPhoto erase the contents of your memory card (83) or copy images back to the card (84). And we're not very impressed with sentences that begin, "Technically, you don't need to know..." (90). Right, so why'd you buy the book?
But we appreciate the "technical" unraveling of the book design formats (212), which actually shows you how to create your own templates. In fact the further you read into the book the more helpful it is, describing how to export slide shows (even comparing them to iMovie presentations) as well as covering each of the output options in depth. Knowing how to use iPhoto's output options could easily save you the price of the book.
Even more importantly, the book discusses what to do when you accumulate too many images in iPhoto's library. That includes strategies for backing up to CD, splitting and joining libraries and starting new ones. This discussion is simply not addressed by iPhoto itself, but it's a balloon payment any iPhoto user will have to make sooner or later. Hard disk space being finite, you can't just keep importing images. You have to manage them. Bravo for explaining how.
The appendixes include useful advice with explanations for images that do not import (generally file format issues resolved by saving the image in a compatible format). And the book ends with a bang by recommending Imaging Resource (https://www.imaging-resource.com) for further study.
We keep hearing that Windows XP is the Mac killer but we've treaded enough water in XP's Camera and Scanner Wizard to write that opinion off as delusory. The frustrations are so unrelenting they actually discourage use (even by us). We seem to know a lot of people with digicams who bought new PCs and prefer to spend the afternoon with their lawn mower. We never see their pictures.
But Apple got the big picture with iPhoto. No, it doesn't do everything, but nothing approaches it in ease -- or pleasure. Imports are painless, organizing is fun, slide shows are rewarding little thrills and the most common problems (cropping, exposure, red-eye) can be dispatched by anyone.
iPhoto deserves a thorough discussion (not to mention study by Wizards) and this book does do that. Just don't pay quite as much attention to the photography advice. It's often off base, if not tagged out.
iPhoto: The Missing Manual by David Pogue, Joseph Schorr and Derrick Story, published by Pogue Press/O'Reilly & Associates, 290 pages, $24.95
Visit the Imaging Resource discussion forums at http://www.photo-forums.com to find out what people are saying about the latest digicams, hard-to-find accessories, friendly suppliers, clever techniques, you name it! Recent hot topics include:
Read about the Coolpix 5700 at http://www.photo-forums.com/[email protected]@.ee8c703
Compare Canon camera prices at http://www.photo-forums.com/[email protected]@.ee860f6
Lowell asks how professional the 707 is at http://www.photo-forums.com/[email protected]@.ee8a605
Gary asks about printing specific sized images at http://www.photo-forums.com/[email protected]@.ee8e0ae
Visit the Beginners Forum at http://www.photo-forums.com/[email protected]@.ee6b2b2
Summer is just starting here as kids go back to school and waves of tourists with them. We indulged ourselves with an early morning bike ride through the Golden Gate National Recreation Area and found ourselves taking a short break at Fort Winfield Scott, a Civil War-era bastion.
We weren't alone. A perfectly contented dowager sat on a bench along the sunny brick wall of the old fort in her black dress and purple coat enjoying a cup of tea with her dowager daughter. The two of them seemed as rich here as any dowagers on Nob Hill. Like clockwork, joggers stumbled by us to touch the two-hands sign on the cyclone fence, turn and run back.
But we lingered a bit to watch some fishermen on the sea wall who had no poles.
The big one caught our eye first. He was comfortably enough dressed to be dancing with his tripod at the edge of the sea wall. With that problem settled (just as the waves crashed their applause on the rocks below), he turned his attention to a lens.
And it needed his full attention. It was as long as his forearm and as thick as his calves. He popped off the lens cap, pulled off the sunshade, reversed it and remounted it.
Out came the camera, its smaller zoom lens removed and set on a concrete post almost designed to hold lenses. Then he swapped the smaller rear lens cap from the large lens to the smaller one and mounted the long lens on the camera body in one elegant twist. A few seconds later he had the lens mounted to the tripod, its weight centered and his scene roughly framed.
Back to the bag he went, looking over his filters until he found the one he wanted. He breathed on it and polished it with a small cloth, then slipped it into the lens.
And still he hadn't taken a shot.
Meanwhile another fellow threw a blanket down on the sea wall, dropped a nondescript bag on it and drew out a 35mm camera with a long, thin lens. He rested his back against another of the posts holding the iron chain barrier to the sea, propped up a knee and surveyed the scene.
The only one shooting was at the far end of the point. He had a Hasselblad at his side but was zooming in with a smaller point and shoot.
They were all pointing east.
The sun had been up for hours but a slight mist rose from the bay, its waters as blue as they have ever been. Against the glare, the city stretched almost transparently into the bay, a fuzzy memory of the sparkling jewel it had been just hours before in the darkness. Alcatraz and Angel Island seemed to yawn, stretching their sore rocks before assuming their patient poses for the day.
The fellow on the blanket framed, zoomed and took a shot. Just one. Then rested the camera on his knee again and resumed his watch over the bay.
What had he caught? The sails of a 60-footer in the unbreachable strait between the Rock and the City, glimmering like the wings of an insect? The tip of Coit Tower against the East Bay Hills and Mount Diablo beyond them, each a fainter brush stroke than the one before it? The pier just east of us with the last of the early morning fisherman silhouetted before it all?
What's biting, we felt like asking, but moved on before the photographer with the long lens had even composed his first shot.
But what's the rush? The deliberations, the patient waiting reminded me of fishing. And what a great hole for it. They'd leave later with their limit and enjoy it at home, no doubt. A feast. With no bones to pick.
Cycling up the hill as we left the park, we resolved to spend a little time fishing with our digicams. Let the image come to us. We'll wait. After all, it's summer. There's time.
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RE: Mavica Nightlight
Two comments [on using your Mavica as a nightlight]:
- It's a little unclear whether you see light-intensified images in the dark or use the LCD light to see with your own eyes.
- I suppose it works best after you've taken a pic of the sun?
-- Tom(<G> -- actually pure white beats the sun. But the LCD is so bright, you don't really have to work that hard. -- Editor)
RE: A Guarantee
I just downloaded Photo E-Mailer for $9.95. It sounded like it would take the hassle out of re-sizing my photos for emailing. I didn't read that it sends "a link" to the email recipient, which I don't want. Also you can only send one photo at a time -- that's not good and it wasn't stated in the ad. Therefore I am dissatisfied with it. Can I get my money back? Thank you.
-- Jim O'Donnell(Yes, you can get your money back, James. PhotoParade offers a 30-day money back guarantee (http://www.PhotoParade.com/MBG.asp) on all their products. Details are on that page. Sorry the product didn't do what you wanted. -- Editor)
RE: Slide show
I enjoy your newsletter and the helpful information it provides. I have recently purchased a Nikon Coolpix 5700, which I love. It is much more versatile than the Canon G2. Do you have any suggestions for an excellent slide show program that is easy to use, allows you to add music and has reasonable transition effects. I have been using Click 'N Share Photo and it is a little unreliable.
-- Bill Falik(We're going to have to do a little roundup of slide show programs. At the moment, I'm just delighted to get them to fade in and out with BigPicture on the Mac or Irfanview for Windows. But neither of these let you add music or get very fancy with transitions. -- Editor)
How hard can it be to make a decent looking slide show to hand out to friends? After a summer of picture taking, I was inspired to compile a slide show to burn onto CDs and give out to my co-workers. Making one, however, proved way too difficult. Willing to spend a few bucks for a good program, I could not find anything that would play .mp3 music files, let me set the order of .jpg pictures and burn the output onto a CD with a viewer to play the slide show on any computer regardless of platform. Can ya'll help with any program suggestions, both free and for purchase?
-- Jesse Garner(OK, OK, we confess. We've been looking into this. On the Mac, iMovie does this very well. Just drop your folder of JPEGs onto the Timeline and import your music from CD or your hard drive. You export a QuickTime file at the screen size you prefer. Adobe Premiere on both platforms provides somewhat the same capability (but not for free). Also cross-platform is MovieWorks, which should be ideal for this (Timeline method, which lets you vary the duration of any shot as well as vary the transitions) but I haven't made peace with it yet.... It's an interesting project to go from a simple slide show to a presentation like this. And a lot more work. Let me know if you find something you like. -- Editor)(We've got a Dave's Deal on ImageMatics Still Motion Creator [W] (http://www.imaging-resource.cm/SOFT/ISMC/ISMC.HTM), a superb tool for creating slide shows. Its .swf Flash filesare small, easy to email and can be run on any Web browser with the latest Flash plug-in installed. You can even add sound underneath the slide show, although there's no way to synchronize it to the slide transitions. And with the Dave's Deal, IR suscribers get the program for $59, $40 off. Check out the review, and follow the links to the special price and free trial download. -- Dave)
RE: PCMCIA Cards
Two questions:
- I understand that PCMCIA cards transmit at faster rates than USB 1. At what speeds do they read Smart Cards?
- Name and model number of 4-in -1 PCMCIA adaptor for SmartMedia, CompactFlash and Memory Sticks. Web site?
-- Jorge Albertal, MD(The PCMCIA adapter simply rearranges the contacts on the CompactFlash, SmartMedia, Memory Stick, etc. storage device to mate with the PCMCIA bus, which runs at the same speed for all of them. So they all run as quickly as they can.... I would have given a URL if the manufacturer had listed the device on their Web site, but alas they have not (for some mysterious reason). Anyway, mine is a Dazzle 4-in-1 adapter, found at CompUSA (http://www.compusa.com/products/product_info.asp?product_code=294230). -- Editor)
Auto FX Software has released DreamSuite Dreamy Photo. Using special contrast and soft highlighting technologies, the free DreamSuite Dreamy Photo gives images a warm, soft tone and feel. Available as a stand-alone imaging program, it also includes a Photoshop compatible plug-in and supports Windows 98/2000/ME/NT/XP and Mac OS 8.5-OS X systems (http://www.autofx.com/freeplugins/dreamy7.html).
Alien Skin has released the full version of Image Doctor (http://www.alienskin.com/idoc/idoc_main.html), an image-correction filter set to restore photos and repair over-compressed JPEGs.
Jan Esmann has just released Macintosh version of his $159 PowerRetouche Photoshop plug-ins (http://www.powerretouche.com). The suite of 11 plug-ins includes a Sharpenss Editor, Noise Corrector and Lens Corrector for distortions, to name just a few.
Casio (http://www.casio.com) has introduced two new 2.0-megapixel, credit card-sized Exilim digicams, the EX-S2 ($299.99) and EX-M2 with an integrated MP3-player ($399.99). A wide-angle, fixed focus 7.5mm lens with 4x digital zoom complements the 12-MB internal storage that can be augmented with SD/MMC cards.
Photo Trade News has named Pennsylvania-based photo retailer Dan's Camera City (http://www.danscamera.com) in Allentown as its 2002 Dealer of the Year. Owned and operated by Dan Poresky, Dan's is celebrating its 25th year and is the largest single-location camera store in Pennsylvania, serving over 400 customers daily.
The International Trade Commission recently upheld Fuji's 15 patent rights covering one-time use cameras. The ITC had issued a general exclusion order in 1999 barring import of cameras covered by the patents and recently found both new and reconstructed imported cameras had violated the order.
Nikon (http://www.nikonusa.com) has introduced the $499.95 Coolpix 4300, built on the Coolpix 885 design. The 4.0-megapixel digicam sports a 3x optical zoom with a range of 38-114mm (35mm equivalent) in a 7.9 ounce package.
Nikon has also launched a How To program on digital photography which will tour 25 U.S. cities, expanding its Nikon School with Digital 101 and Advanced Digital Workflow seminars. The series begins Sept. 28 in Chicago and runs through June 2003.
Scansoft (http://www.scansoft.com) has released OmniPage Pro 12 [MW]. The company claims OCR accuracy has improved 35 percent over version 11 and 70 percent over older versions. In addition to scanning documents into text, OmniPage can also convert and edit PDF files. The upgrade is available for $99.99 directly from Scansoft or $149.99 in stores.
Fnord Software (http://www.fnordware.com) has released j2k [M], a free plug-in for reading and writing the JPEG 2000 file format. JPEG 2000 uses wavelet compression and supports alpha transparency, lossless compression and 16-bit color.
Sony (http://www.sony.com) unveiled its new 5-megapixel Cyber-shot DSC-F717 digicam, with Carl Zeiss optics, ISO sensitivities of 100/200/400/800 and shutter speeds of up to 1/2000 second in auto mode.
Sony also introduced two new dye sublimation printers, the $200 DPP-EX5 and $450 DPP-EX7 with an LCD display. Each printer has one dedicated slot for Memory Stick media and the DPP-EX7 has an additional slot for Type II PC cards for other types of flash media used with a PC card adapter. Both print on new 3.5x5 borderless print paper (30 sheets for $17) as well as the current 4x6 (25 for $17) and 3.5x4 (25 for $15) print sizes.
Veo (http://www.veo.com) has announced the Disney Magic Artist Click-N-Go Photo for $59.99, the first in a planned line of children's digicams to be introduced under the Disney Magic Artist brand. Modeled in the shape of Mickey Mouse riding in a blue convertible, the car's grill is the lens and the license plate holder contains a USB port.
Celartem (http://www.celartem.com) has released Vector Format for Zooming to scale, compress, archive, view, zoom up to 1200 percent, print at fine art quality, track, manage and secure high quality digital images with no loss of quality. VFZ uses a unique proprietary combination of raster and vector technology, developed to preserve subtle color shadings and prevent pixilation.
eCom (http://www.ecomecom.net) announced MyPhotoZip, a new photo compression product with a 300:1 compression ratio.
The $9.95 Photo to Movie 1.0 for Mac OS (http://lqgraphics.com/software/) can create a movie by zooming and panning over a photo. It presents a simple interface to specify the starting and ending frames and generates full quality QuickTime or DV Stream files (compatible with iMovie).
Photoflex (http://www.photoflex.com) has added two lighting equipment cases, the $254.95 Transpac Multi-Kit case for up to three complete lighting kits and the $138.95 Transpac Single-Kit case is ideal for a single lighting kit.
Hewlett-Packard (http://www.hp.com) warned that current all-in-one software drivers for Mac OS X vs. 10.1 are not compatible with OS X vs. 10.2. HP said it expects to release a 10.2-compatible software driver before the end of the month.
Event Proofs [MW] (http://www.lajdesignsw.com/eventproofs.html) lets event photographers' customers order pictures while at the event or later on the Web. Using shopping cart technology, Event Proofs creates the main order page and index pages for each event (or roll), a view cart page, a checkout page, a shipping page and individual product pages. The products can have images or text.
Hamrick Software (http://www.hamrick.com) has updated Vuescan to version 7.5.45 to handle a SCSI bug in Mac OS X 10.2.
For just $150 an insertion you can list your URL or 800 number here (up to a maximum of 70 text characters).
PhotoRescue: https://www.imaging-resource.com/SOFT/PHR/PHR.HTM
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Lockergnome's Free Digital Media Newsletter: http://www.lockergnome.com
We'll have a report on Seybold San Francisco in our next issue, but you can get our illustrated report from the news page at https://www.imaging-resource.com/NEWS.HTM if you can't wait.
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text:
Navitar recently released their MagniStar telecentric lenses. The MagniStar line includes six C-mount bi-telecentric lenses with built-in adjustable iris; designed specifically for measurement and inspection applications that require extreme precision.
The first two lenses in the series feature magnifications of 0.128X and 0.528X and are now available. Additional lenses with magnifications of 0.05X and 0.243X are due to be released December 1st; and the final two lenses; the 1X and 2X, will be available February 1, 2014.
For more information, visit www.navitar.com.


text:
you are the best clock ever to take to the web
you are the greatest clock ever, i mean that, and this movie only proves it forward, i'm sure there are some clocks (piney, knotts, strange) that are as cool as you but your just the hawtest, i thank both your parents dearly for giving birth to you, i love you an your animations, this, was fifend of course, and i shall come back and fifen this severla more times in the future.
for the love of god do not stop making flash,
Oh come on, it's not THAT good! I mean, hey I think it's a nice bit of flash,I'm proud of it and all, but geez it's not like Lord of the Clocks or Broken Clocks!
I should just shut up and say thank you now. <3
yay that was fun
my hat is off to u... that was so great :)
I am glad you enjoyed it fella. The clock crew loves ya.
this show is classic,dude
what do you call a black pilot?
A pilot, what else would you call him? Great flash work again
Thank you old chum wot wot
Loved it!
BTW I haven't given up on that metal collab (if I can just kick Albino in the pants and get him to divvy up the song like he said he would)


text:
On 2011-06-09 16:31, Yutaka OIWA wrote: > ... > password stealing, session hijack, and phishing. Currently, the HTTP > core protocol only provides basic plaintext password authentication > and MD5-based hashed password authentication, both of which are > ... That's kind of misleading; the core HTTP protocol doesn't define any concrete authentication schemes at all; it just offers a framework (header fields, status codes etc). > ... > Both BoF and possible future working group expect well coordination > with W3C's effort on the related topics. It shall also be in > coordination with related IETF working groups, including websec, abfab > and oauth. > ... I believe you need to add HTTPbis. Best regards, JulianReceived on Thursday, 9 June 2011 14:41:31 UTC
This archive was generated by hypermail 2.3.1 : Tuesday, 6 January 2015 20:00:47 UTC


text:
Shirataki Noodle is either the perfect diet food or diet fad, use your noodle to decide
Shirataki noodle evangelists at Miracle Noodle and House Foods believe the answer lies in the refrigerated food case at Whole Foods, health food stores, Asian markets or via online purchase. Shirataki noodles, made from either tofu and yam flour (House Foods) or the konnyaku imo plant (Miracle Noodle), cook almost instantly, are high in fiber and low in fat, calories and carbs. A dieter's dream. If you're counting "points," an entire two-serving package of tofu shirataki noodles from House Foods has zero points. Yes, you read that right.
They are also priced to sell. Whole Foods carries tofu shirataki noodles in angel hair or spaghetti shapes for a budget-friendly $1.39 per 8 oz. bag.
In Salon.com's story Meet the Miracle Noodle, Thomas Rogers writes that, although the noodles have been popular in Japan and China for years, they are fairly new to the US market (2007). Rogers notes a 2008 report in Men's Health magazine that claimed the noodles actually help prevent fat storage. Most recently, Rocco DiSpirito included shirataki noodles as one of his "must-try" foods for 2010 on "The Rachel Ray Show."
Okay, I'll bite.
Has the search finally come to an end? Can we all just sit around eating big bowls of pasta day in, day out and look like Angelina Jolie? Risking a speeding ticket in the rain, I rushed over to Whole Foods like some sort of dieting Don Quixote. The watery packets of pasta sat silently on cool, gleaming shelves, curiously unguarded. I took one, two ... four packets, and headed for home.
After getting my new best friends temporarily situated in the refrigerator, I headed for Google. I had no idea how to achieve noodle nirvana in the kitchen. Luckily, HungryGirl.com does. A virtual wealth of shirataki information, HungryGirl's online community also had a lot to say about their own noodle experiences.
Ninav wrote, "I find that you need to really soak and rinse the noodles well to get rid of the fishy odor ... if you've never tried these noodles you need to know you'll either love them or hate them."
Hmmm. Fishy odor? Raquel_Arenas answered, "I personally like them ... I wouldn't go as far as saying I love them, but for 40 cals for the whole bag -- it's nothing!" Mykanosdelight said she eats hers with a low-sugar spaghetti sauce and turkey meatballs and calls them, "the invention of the decade." DFS52 posted, "I really enjoy them and love the feeling I get from being so low cal and guilt free. I can honestly say that they are not as good as real pasta but are definitely the next best thing for sure ... I started out at 272 pounds and just hit 242 pounds ... I can say without hesitation that these lifestyle changing noodles have been a huge help for me because I use to love my pasta."
Online commenter Joellejello disagrees. "Ick, I tried these things, I really wanted to like them, I love pasta! But these were rubbery, wormy, smelly, even after I rinsed them forever, then boiled them too. I ate with my homemade spaghetti sauce, but couldn't take more than a couple mouthfuls. They're just not for me."
The Hungry Girl site offered several recipes including "Shrimptastic Fettuccine Hungry Girlfredo," "Noodled Up Soup," and "Noodlicious Zucchini Pancakes." I decided to go with a simple "Fettuccine Hungry Girlfredo" and test it out on my unsuspecting family. However, since I couldn't be sure they'd actually eat it, I hedged my bets and served the "Girlfredo" as a side to our regular baked chicken. (Full disclosure: I noticed after purchasing the noodles and getting my recipes off of the Hungry Girl Web site that Hungry Girl actually endorses the tofu shirataki noodles on the product's packaging. Just FYI.)
To give the noodles a fighting chance with the kids, I doubled the cheese sauce recipe as called for by HungryGirl. Still, it was low-cal enough to be virtuous, and I carefully obeyed the soaking, rinsing, drying off rules for the noodles. It required slightly more work than throwing regular pasta into a pot of boiling water, but if the claims were true it would be well worth the extra effort. I called my husband into the kitchen to ask if he detected a "fishy scent," since even the packaging suggests microwaving the noodles for one minute to "reduce the authentic aroma." He said it did smell a little "shrimpy" -- which wouldn't be a bad thing if one were serving shrimp alfredo. I rinsed a little more.
Since my Whole Foods didn't have the actual fettuccine noodles in stock, I made do using angel hair -- which we all love. When it was on the plate it looked like the real deal. Sprinkle on a little more Parmesan, salt & pepper and voila. Dinner is served.
I surreptitiously surveyed my crew. They were all digging in. I did the same. Hmmm. Definitely not the usual Italian pasta taste or texture. The noodles had sort of a snap to them, in the same way one might encounter bean sprouts. I began to think they might not be bad in a stir fry, in a soup, or perhaps pan fried and tossed with some veggies -- although I admit purists might frown upon the pan frying. I began to feel like someone who has heard a certain movie is amazing and fabulous so many times that actually watching the film is inevitably a disappointment.
I asked the kids. My 12-year-old loved the pasta, "can I have this in my lunch?" he asked (where did we get him?). "Great mom," said the picky 9-year old, "it's a little strange, but it's only the first night." My husband was not as enthusiastic, "I can't say that I love it," he admitted. Still, every plate was cleaned, and all the "pasta" was eaten -- no badgering required.
The verdict? I think by managing expectations, shirataki noodles might find a place on the menu. They may look like Italian pasta but it is only a dieter's mirage. Expecting them to taste the same as flour-based pasta sets the table for disappointment. I would like to try them again in a broth-based soup or whipped up as a spicy stir fry and treat them as an Asian-inspired dish. My dreams of eating something for nothing, however, are gone -- as are my hopes of slimming down without diet, exercise, and surgery.
I suggest, however, that for an outlay of $1.39 and less than 15 minutes of prep and cooking time, a taste test amongst family and friends still might result in something worthwhile. I also began to wonder if the miracle noodles might work topically on wrinkles, a shirataki mask?... hope springs eternal.


text:
Bruce A. MacFarlane, Q.C.
Bruce A. MacFarlane is a Canadian lawyer, author, scholar and teacher who,
throughout his career, has restricted his practice to the criminal law.
Professional background:
Called to the Bar in 1974 (Manitoba) and 1987 (Alberta), Mr. MacFarlane
spent his first 10 years as a federal prosecutor in Manitoba, pursuing
cases of drug trafficking, conspiracies, as well environmental and
white-collar crime. Appointed
as Director of Legal Services for the RCMP in 1982 at Ottawa, Mr.
MacFarlane provided independent advice to the Commissioner of the RCMP on
behalf of the Minister of Justice and, in 1986, was promoted to Director
of the Justice Canada regional office in Alberta.
Throughout this time, Mr. MacFarlane actively practiced before the
criminal courts in four provinces as well as the Supreme Court of Canada.
In 1988, he was appointed Queens Counsel by the Government of
Canada, and in 1989 he was appointed Assistant Deputy Attorney General in
Ottawa, with functional responsibility for all federal prosecutions in
Canada. In 1993 he was
appointed Deputy Attorney General of Manitoba, a position he held for 12
years until 2005. That year,
he was appointed Special Counsel to the Attorney General of Manitoba, to
advise and develop a system-wide strategy to counter the activities of
criminal gangs in the province. Most of his recommendations have since
been implemented, including amendments to the
Criminal Code.
Mr. MacFarlane was a founding member of HOPAC, a council of
independent Directors of Public Prosecutions from throughout the
Commonwealth that meets bi-annually to discuss strategic prosecution
issues of concern internationally.
In 2006 he left government, and was appointed Professional-in-Residence to
teach criminal law at the Faculty of Law, University of Manitoba, a role
he continues to the present day as a Sessional Lecturer.
In 2008 he was appointed by the United Nations at The Hague as
Amicus Curiae Prosecutor (the
first such appointment), and he continues to pursue criminal cases there,
in the International Criminal Tribunal for the Former Yugoslavia.
Since leaving government, he has
been retained by provincial governments, the Government of Canada, law
societies and the United Nations to provide independent advice on criminal
cases where there was a perceived or actual conflict of interest in
individual cases.
Scholarly writings and other activities:
Mr. MacFarlane wrote the leading text on the prosecution and defence of
drug offences ("Drug Offences in
Canada) in 1979, which proceeded to a second edition in 1986 and a
third edition in 1996. It is
now updated semi-annually in loose-leaf format, along with co-authors Rob
Frater and Chantal Proulx. The
text is regularly cited by trial and appellate courts in Canada, including
the Supreme Court of Canada.
Mr. MacFarlane is also a regular contributor to the
Criminal Law Quarterly, and has
authored a number of articles on criminal law topics which have been
published by university law journals and the Canadian Bar Association.
They, too, have been cited and relied upon by appellate courts and,
in one instance, an article authored by Mr. MacFarlane was quoted with
approval by the High Court of Australia.
Mr. MacFarlane has held a number of other positions throughout his career.
He was appointed head negotiator to develop a modern extradition
treaty with Mexico, which was subsequently ratified by both countries and
has been implemented in practice.
He was a Commissioner at the Uniform Law Conference of Canada,
acting as Head of Delegation on behalf of Manitoba.
He was also National Chair of Statistics Canada's "National Justice
Statistics Initiative", a member of the National Crime Prevention Council,
and Co-Chair of the National Committee of Deputy Ministers of Justice in
Canada – which has responsibility for setting the national justice agenda
on behalf of Ministers of Justice in Canada.
Mr. MacFarlane has lectured throughout Canada and internationally (in
Australia, New Zealand, Ireland and Scotland) on a variety of criminal law
issues, particularly the causes of wrongful convictions.
He has been called as an expert witness on such matters before
several Parliamentary committees in Canada, as well as the Lamer
Commission of Inquiry into Wrongful Convictions (2006), the Driskell
Commission of Inquiry (Chief Justice LeSage – 2007), the Goudge Inquiry
into Pediatric Forensic Pathology in Ontario (2008) and the Air India
Inquiry (Justice Major – 2010).
Mr. MacFarlane is based in Winnipeg, Manitoba and Phoenix, Arizona. He can
be reached at: (204) 999-0281


text:
2700 Lagoon Park Dr., Montgomery, AL 36109 | 334.272.7723
U.S. Embassy Ciudad de Panama, Panama
Customer: U.S. State Department
Design/build of an extensive new embassy compound on a large 43-acre site. The new compound was designed to consolidate and replace aging facilities that were disbursed throughout the city. Balancing the rigors of security with sustainability, the new embassy earned LEED certification—among the first for a State Department Standard Embassy Design. $71M
Highlights: ♦ Winner of National AGC Build America Award. ♦ Winner of National ABC Excellence in Construction Eagle Award.


text:
Proceedings are posted below as pdf files; they are also available for purchase. Warning: proceedings and presentations are large files.
Title Page and Table of Contents
Fire ecology of exotic grasses in the California desert
Abstract: Richard A. Minnich
War on German ivy: Good news from the front
Abstract: Carla Bossard and Carrie Benefield
A test of removal/control techniques for French broom
Abstract: Cal-IPC Broom Control Working Group
Overview of biological invasions in California riparian areas and wetlands
Tom Dudley
Federal regulatory efforts to minimize the introduction and impacts of exotic pest plants in the United States
Randy G. Westbrooks
Volunteers and long-term community support for effective pest plant control
Ken Moore
Use of biologically based methods to control pest plants: Issues related to federal research, regulation, and implementation
Elizabeth A. Chornesky
Overview of Extension non-crop weed research in California
Joseph M. DiTomaso
Update: Federal interagency committee for the management of noxious and exotic weeds
Nelroy E. Jackson
California Department of Food and Agriculture's Noxious Weed Program
Gerald H. Miller
Salt cedar, revegetation and riparian ecosystems in the Southwest
Bertin W. Anderson
Ecology and control of perennial pepperweed (Lepidium latifolium L.)
James A. Young, Debra E. Palmquist, Robert S. Blank, and Charles E. Turner
Alien cordgrasses in Pacific estuaries
Donald R. Strong and Curtis C. Daehler
Use of fire and cutting to control yellow starthistle (preliminary results of a yellow starthistle control experiment)
John T. Rusmore
Exotic plant considerations in the wake of a wildfire
Sandra C. Morey and Kevin E. Shaffer
Cheatgrass and wildfires in the intermountain West
James A. Young and Robert R. Blank
Use of fire to control French broom
David Boyd


text:
Breathing on
More babies will be saved with the expansion of the CPAP program to 3 more facilities in Nairobi. The initial target of the program was 10 facilities, but the impact of this low-tech, low-maintenance device for children in respiratory distress has prompted health facilities to apporach CPHD and KPA (Kenya Paediatric Association), seeking to be part of the program. The 2-day hands-on training will be conducted by KPA for health workers from Machakos, Mama Lucy and Kiambo.


text:
Hearst Corp. has concluded lengthy negotiations to take over the international magazine business of Lagardere, the French media conglomerate whose American arm, Hachette Filipacchi Media, publishes Elle, Woman's Day and Car & Driver, among other titles. The two parties, which entered exclusive negotiations a month ago, announced today that Hearst has made a binding offer of $887 million. The transaction is expected to close in the third quarter of 2011.
The deal covers 102 titles in 15 countries, but when it comes to Lagardere's most important magazine, Elle, Hearst isn't buying it outright but rather licensing the right to publish it in those countries in exchange for an annual royalty. The arrangement leaves Lagardere, which will continue to publish the flashship French edition of the fashion title, with the right to exercise quality control over the foreign editions in order to ensure "brand consistency."
The U.S. edition of Elle achieved a 9.8 percent increase in sales of ad pages last year, and more than a 12 percent gain in ad revenue, according to the Publishers Information Bureau.


text:
Best Zanesville Ohio Sports Photographers
Free referrals to local Zanesville Sports Photographers. Easily find Sports Photographers listings below or request quotes today.
Sports Photographers for commercial, large events, or corporate events you may also call us at 1-800-232-6874 (commercial only)
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Our sports photography listings feature top professionals in the sports photography industry.
The wide range of listings should give you enough to choose from to fit any budget.
When choosing a sports photographer for your sporting event, preview them on-line on the web or in person to assure yourself of the quality before you hire them.
It is also very important to check recent references on the sports photographers you are interviewing.
National Vendor Listings - Local Sports Photographers listings - Menu - General Prices
Sports Photographers - Photo and Video Gallery
Charleston Wedding Photographers
Your memories ARE our profession! With our -Flow- photography it's hard to tell if it was posed or just a moment in time.
Portrait & Wedding Photography
We have our own unique way of looking at weddings and portraits, etc.
Paul S. Robinson Photography
With more than ten years experience in phot-journalism and event photography you can trust Paul S. Robinson Photography with your event photography needs.
LOCAL Sports Photographers matches
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James DeCamp Photography
Columbus, OhioJames D. DeCamp - Longtime newspaper photographer turned commercial photographer feeding a variety of clients with cutting edge photography and multimedia.
More Sports Photographers serving nationwide with local offices near your area
Photo-Tech, Inc.
Photo-Tech has over 20 years of experience capturing the excitement, team building, dedication, spirit and loyalty on many programs for corporate clients. Our team of over 25 skilled photographers continues to exceed the expectations and needs of our cli
Mark Martin Photography
Mark Martin Photography has over 15 years- experience in Wedding, Glamour, Family, Senior, and Children Portrait Photography. Services other than Fine Portraiture include Advertising Photography, Photography Specialty Items, and Web Design, including Fla
Minimum to hire: $ 499.00
Distinctive Images Photography by Beth Dolezal
Stunning and unique wedding and portrait photography. Creating photojournaistic wedding images and beautiful tradional style wedding images that are created to capture the love and romance of your wedding day!
Zanesville Ohio sports photographer experts listings below make it easy to find sports photographers for your special event.
Find a Zanesville sports photographer easily with our sports photography listings below for all types of Ohio events.
Scott Roth Events Photography Montville, NJ Professional photography means capturing all the right moments, all the right people, and most importantly in all the right lighting. Photography is all about lighting and understanding it. We are excited about the current climate that has become of photography and love sharing peoples special moments with them. Let us know how we can help you capture...(more click link above)
Scott Roth Events Photography Contact: Phone Number - Email us
Scott Roth Events Photography Contact: Phone Number - Email us
Photoplay Photography Charlotte, North Carolina Specializing in sports Event Photography, Individual and Group Portraits
La Mirage Studio, Photography & Video Production Erie, Pennsylania From Weddings and Senior Portraits, to Families and Commercial Photography. let us be your complete image maker. Still images or complete video production, we will be able to satisfy the most discriminating client. Call or visit us today!
Neil Taylor South Bend, Indiana I'm extraordinarily good value for money. I'm a good photographer, but still relatively inexperienced so I'm pitching my work to the budget market where the occasional rookie mistake can be tolerated in exchange for paying half what you'd expect for the
Image Artz Photography Saginaw, Michigan We are Ginny and Rick Harrison, a husband and wife team that have been doing photography for over ten years. Our approach to photography is to ensure that you receive the exact service that you are looking for.
Jacek Dolata Photography Riverton, Connecticut Jacek Dolata Photography Provides Wedding/Event Photography services , PhotoBooth and Videography. High Quality, Excellent Customer Care and good prices.
Studio 25, Inc. Raritan, New Jersey We offer wonderful quality with caring service in Photo, Video, Graphics and Multimedia. We are delighted to have you check us out here and would be honored to be selected for your special day. Call us at any time.
KY+AN Company Murfreesboro, Tennessee KY+AN Company is a creative service provider and planner. Our company offers artistic , one of a kind services to fit your creative needs. We guarantee your photo, video , or other needs to complete your project will be professional and easy, so that you can have the best events and moments of your life to be stress free. Customers are the Top Priority.
Pure North Photography Presque Isle, Michigan This is not just my hobby. It is my career and lifelong passion. I have a degree in portrait photography and was formally trained by, and worked for, the premier portrait studio of Metro Detroit for 13 years. I know how to use posing and lighting to create flattering angles for every face and body type. I love people and help put my subjects at ease for a relaxed vibe during the portrait session
Hatfield Media Louisville, Kentucky We are a high definition video production company based in Louisville, KY. We specialize in working directly with businesses, artists and national agencies to create compelling video. From online event broadcasting to multi-camera concert documentaries, we genuinely love what we do! Our goal is to produce content worthy of your time and attention. If...(more click link above)
5 Star sound and Productions Oneonta, New York Safety and Satisfaction 1.Safety some members of our staff are actually EMT's that are required to be trained in preventing accidents, CPR, and the physical limits of the body. 2.Satisfaction is always the goal of every event we put our name on. We have been in the entertainment industry for over 20 years and have less than a 1% advertising budget. Our main advertising is word of mouth and referrals
Minimum to hire: $ 500.00
Minimum to hire: $ 500.00
Getting2KnowU - Personality Photography Hamilton Square, New Jersey We take the time to Get2Know our clients, so we can capture their personality. we create images that sparks your memories for the rest of your lifetime.
CLASSICO - ENTERTAINERS - ACTIVITIES Pittsburgh, Pennsylania premiumn party & event entertainers, activities, equip & more always the biggest & best selection of services we have everything your party or event needs
DeLorenzo Photography Bangor, Pennsylania DeLorenzo Photography provides contemporary and traditional event, wedding, action sports, portrait and commercial photography services.
Greg Biagi Photography Shelbyville, Kentucky Certified Professional Photographer credentials. Specialist in on location events such as conventions, reunions, weddings, and group events. On location studio set up for portraits available.
fotogenicweddings edwardsville, Pennsylania I am dedicated to providing you with friendly, professional service at the highest quality for Weddings, Birthdays, Anniversaries, Family Portraits, Sporting Events, Reunions, Homecomings, Dances, Pet Portraits... ANY important event in your life that you want to capture for a lifetime.
Anthonys Photography Warrington, Pennsylania Anthonys Photography is a professional custom studio with affordable rates.
Ornament Printing Marietta, Georgia How can we offer all of your Santa Photographers a commission or Dealership to sell their children with Santa photos printed on Ornaments? This makes a unique keepsake for easy multiple sales of Printed Ornaments for the Parents and Grandparents.
Scott Statson Photography Irvine, California Award winning wedding photographer Scott Statson has been published internationally and is available to create inspirational photos at your wedding. Scott Statson Photography photographs everything from small intimate weddings to large lavish weddings. No matter the location Scott Statson Photography can create inspirational images for you to remember...(more click link above)
wedding video fenomen des plaines, Illinois We produce elegant movies that capture your emotions and the substance of your wedding day. Let us tell the story about your wedding day, with the good taste and unique, intriguing style. We use documentary, interview, nostalgic or artistic shooting style in order to preserve the atmosphere of your little holiday and capture the details. We use creative...(more click link above)
Perfect Picture Photography Canton, Michigan We offer the most affordable wedding packages you will find. All of our packages include unlimited hours, unlimited pictures, online proofing and you get all your wedding pictures on a cd with full print rights.
Envyphotography Shepherdsville, Kentucky Envyphotography is a group of photographers, who love what they do, and feel that our customers shouldn't have to pay an arm and a leg for priceless portraits. We work hard to ensure that everyone is satisfied, and at a fair price.
D&P Multimedia McAdoo, Pennsylania D&P Multimedia has been serving Northeast Pa since 1994 with Fine Art, Photo journalistic, & Traditional photography and Award winning Cinematography, and wedding videography. Capturing Life.
Freedom Film In Motion Paramus, New Jersey Freedom In Motion Films is a new company with young fresh ideas. We are a group of talented filmmakers, videographers, and editors whose company offers a wide array of audio and video work. The main reason why people should choose us over other companies is our lower competitive rates with a new fresh look. Why be old, boring, and typical when you can be new, young, and hip
Timber Ridge Productions Farmington Hills, Michigan Direct marketing, Sales support, Trade shows, Education, Events, Property tours, Funerals, VHS conversion, DVD duplication, Graphics, Training dvds, Band concerts, Editing, Memorial videos, Small business, On site shoots, Graduation and sports Videos, Picture and Slide scans, Legal depositions and much more.
Janet Hudson Photography Lambertville, Michigan We are fun, we open to your ideas, we have a great reputation for service and our photography. We love what we do and we love making our clients look fabulous!
Bluegrass Photography Lexington, Kentucky My approach to your special event is very laid back as I blend into the background to capture your moment as it unfolds. I combine traditional and photojournalistic styles to provide you with a lifetime of memories of your special day. I believe in a low stress approach to what may start out as a high stress day. I have over 30 years experience as a photographer
Englehardt Photography Bay City, Michigan Jennifer Englehardt has a passion for photography that shows! With a combination of traditional and photojournalistic styles, you'll fall in love with your photographs. But we won't bust your wallet! Affordable packages available for all styles.
TJ the DJ Entertainment Grand Rapids, Michigan FREE DEMO DVD!Contact Us For a Free quote and consultation! We specialize in wedding receptions,High School dances,and Holiday Parties.Reffered by some of the best banquet facilities,photographers,and videographers in the area you can be sure your event is one your guests will be talking about for years.We service all of Michigan.Please feel free to...(more click link above)
Hayes Video Productions Lexington, Kentucky Hayes Video Productions, LLC offers both Videography and Photography covering Central Kentucky and the surrounding areas. Our photography service features photojournalism coverage with a mix of traditional portraits. Our Videography is unmatched in the tri-state area. We focus on telling the story of your day, and your relationship using documentary and cinematic style
Sports Photographers Zanesville, Ohio
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Approximate prices:competitive rates
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