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Smoke Blue Dress Gold Dress Yellow Flower Girl Dress Princess Dress Tulle Dress Lace Dress Wedding Dress Toddler Dress Tutu Dress Girl Dress
The detailing on this dress is what makes it extraordinary. A gorgeous bridal lace ensures this dress is fit for a princess. This set includes skirt with attached light gold lace peplum and off the shoulder, backless top. Matching hair clip is available in our accessories section. We would be happy to customize the colors for your wedding :)
Skirt on this listing is smoke blue. Please measure your length from waist to floor (it is for skirt length). We will also need either child's age or a measurement for top length from just above nipple line (about an inch or two) to her hip bone. It is important that you measure past her waist as the top in made longer to go under the skirt so the tummy does not hang out. Waist size needs to be exact as the lace piece will be stitched to skirt so adjustment is restricted.
Our top has a lace up back to ensure a proper fit and is designed to be partially open. It can be closed upon request. Top is pictured in light gold metallic lace over a golden yellow cotton fabric. The straps are wide golden yellow satin. The colors can be changed on this dress. We have listings up already for emerald, royal and blush... Just search gilded lace in our shop.
Please include your chest size and from top of chest to hip in the notes to the seller box when you check out.
SEE OUR FRONT PAGE FOR CURRENT PRODUCTION TIMES http://www.baby2bnashville.etsy.com/ PLEASE NOTE WE GENERALLY RUN AROUND 4-5 WEEKS PRODUCTION.
Our tutus are hand knotted and strung very tightly on ribbon for ultimate poof! We have over 20 strands of tulle in every inch at our waistbands (there are five layers of tulle in each knot). Our skirts are tied on satin ribbon.
If you would like your skirt lined click here: https://www.etsy.com/listing/229955986/add-a-lining-to-my-tutu?ref=shop_home_active_1&ga_search_query=lining
Priority Mail Shipment to Australia. Takes about 21-28 days.
Photos coming soon from Kelly Kope Photography in Canada.
4th photo shows same style dress on a model. Photo by Heather Nemec...
Last photo is one of our tutus as seen on the cover of US Weekly for Jason Aldeans' wedding...
You must process payment to consider an item ordered. We will not start working on your item until an order is complete. That includes payment and sizing (where applicable).
All of our items ship USPS Priority Mail. Please make sure your etsy address is correct because that is where we will ship unless otherwise notified.
We are not responsible for items shipped to incorrect addresses due to your lack of diligence.
We are happy to ship smaller items to Canada and other countries via Priority Mail. If your items is not marked for shipment to your location just ask and we will look up your ship price. You will receive a notice from us with a tracking number for your item. Tracking takes about 24 hours to kick in.
Please note all items are custom made to order and current production times are posted on the front page of the shop. We generally run 3-4 weeks production. We do take rush orders subject to a rush fee and approval.
ALL SALES ARE FINAL. Due to the nature of our items we do not accept returns. All items are custom made at time of order.
If we have made a mistake on your order (and please understand mistakes do happen) we would be happy to fix the mistake so the item is as was requested.
If you are requesting changes to an item please leave a note in the notes to the seller box WHEN YOU CHECK OUT.
We are not responsible for orders that do not have requests printed directly on the sales invoice. Requests via email before an item has been ordered does NOT constitute changing an order.
Please order carefully :)
We love custom designs! Please feel free to convo us what you would like. We are very quick to respond most of the time!
All custom changes before ordering must be added to the invoice when you place your order.
We do not wholesale. Our prices are the lowest we can accept here on etsy...
We do take custom orders and are happy to adjust a design to suit your colors. Fabrics are subject to availability and custom fabric orders for a dress will have a custom fee.
All of our dresses are custom made to your measurements. Please read the listing carefully for instructions on how to measure for that particular dress.
Although our tutus are very sturdy we do not recommend washing them in washer or drying them in dryer. Rather you should spot clean (in tub or sink) and hang to dry. Keeping your tutu combed out (with your fingers) will extend the life of your tutu.
We do not offer gift wrap but are happy to include a card with your gift.
Jan 9, 2020
My wedding is in April and my flower girls will be wearing this style .She can style it which ever color you want and is always communicating if You have any questions.I did mine red and yellow and I was very impressed with her work .Cant wait for both of our flower girls to wear them for our beauty and the beast theme wedding this April 2020 .Highly recommend her


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CAMBRIDGE, Mass. – Three second-half scores by the Harvard football team proved to be the difference as the Crimson downed Yale, 28-21, in the 127th playing of The Game, Saturday at Harvard Stadium. Senior tailback Gino Gordon rushed for a score in each half and quarterback Collier Winters was 13-of-16 for 124 yards and a touchdown in the victory. With the win, Harvard has now claimed nine of the last ten meetings between the two teams and graduates a senior class that has never lost to Yale.
The Harvard senior class also holds the distinction of being the only class in Harvard football history to defeat Yale, Princeton and Dartmouth in all four seasons - and it also defeated Columbia and Cornell all four tries. Tim Murphy, the Thomas Stephenson Family Head Coach for Harvard Football, now holds a 12-5 career record against the Bulldogs.
The teams traded punts to start the game but Yale got on the board first, as it started its second drive of the game at its own 48 yard line. The Bulldogs put together a 10-play, 52-yard drive and capped it off with a two-yard score by Alex Thomas at 5:57 of the first quarter.
The Crimson answered back just over three minutes later as Gordon punched in the first of his two touchdowns at the 2:24 mark. After starting the drive at its own 36 and working the ball to near midfield on a series of short plays, the Crimson opened up its bag of tricks and probed deep into Yale territory on a 46-yard flea-flicker pass from Winters to Marco Iannuzzi to the Yale five. The next three rushes went for just four yards, but a well-executed fourth-and-goal option run to Gordon evened the score at 7-7.
Yale threatened at the start of the second, but a 46-yard field goal attempt by Phillipe Panico fell short and the score stayed knotted at 7-all. On its next possession, Yale drove all the way down to the Harvard 10, but Alexander Norman and Nick Hasselberg dropped Yale tailback Mordecai Gargill for a one-yard loss on fourth-and-one to stymie a promising drive. Yale's final possession of the half proved to be the charm, highlighted by a 30-yard completion from Patrick Witt to Chris Smith with just under a minute to go. After working the ball to the Harvard two, Thomas found the endzone with just 13 seconds in the half, putting the score at 14-7 in favor of the guests.
Yale enjoyed tremendous fiels position throughout the first half, with an average starting point at its own 43 yards line while holding the ball for over 20 minutes.
The disadvantage didn't sit well with the home team and it showed on the second half kickoff as Iannuzzi fielded the kick at his own 16 and rumbled 84 yards for the touchdown, his second kickoff return touchdown this season.It was his first kick return since Oct. 2 as he made a speedy recovery from a broken collarbone suffered against Lafayette.
The teams traded punts once again and after a solid defensive stand by the Crimson which forced Yale's second punt of the third quarter, junior tackle Josue Ortiz barreled through the Bulldog line and blocked Greg Carlsen's punt. The ball caromed backwards and scooted out of bounds at the Yale 23, giving the Crimson prime field position. Harvard worked its way down the field and on first-and-goal from the two, Gordon notched his second touchdown of the day at the 3:00 mark, giving Harvard its first lead of the game at 21-14.
The Crimson padded its lead midway through the fourth after a short Yale punt gave Harvard great starting field position at the Bulldog 36. A pair of penalties and a five-yard rush by Treavor Scales set up a first-and-goal to go situation at the Yale nine and three plays later, Winters found Alex Sarkisian on a waggle pass and the junior tucked the ball inside the right pylon from 12 yards out for his first career score.
After stopping the Bulldogs on another fourth-down attempt from the Harvard 20, the Crimson coughed up a costly turnover that the Bulldogs turned into points on a 4th-and-goal from the one. After taking over at the Crimson 19, Yale had an interception negated by a Harvard penalty and Thomas plunged in for his third rushing score of the day with 3:15 showing on the clock. A three-and-out by Harvard saw the ball go back to Yale with 2:02 on the clock but after an offensive pass interference call set up a third-and-17 situation, the Crimson defense held tight, forcing the turnover on downs and sealing the 28-21 win.
Harvard ends its 2010 campaign with a 7-3 overall record and a 5-2 mark in Ivy League play. Yale also ends its season at 7-3 and 5-2 in the league. For Harvard, the win means finishing with at least seven wins for a 10th-straight season. Harvard is the only Ivy team to even have a stretch of seven consecutive seven-win seasons.
Senior LB Nick Hasselberg tied a single game record for tackles in a game (20), with 10 in each half, tying Isaiah Kacyvenski '00, who did it twice in the 1999 season (Colgate, Fordham) … Senior DE Ryan Burkhead had a career-high 2.5 sacks for -20 yards … Four Harvard players finished with double digit tackles (Hasselberg – 20, Alex Gedeon – 17, Chuks Obi – 97, Ortiz – 11) for the first time this season … Harvard's senior class went undefeated against Yale (4-0 over four years) for just the fifth time in school history but second time since 2000 (2001-04) … The senior class went undefeated against Yale, Princeton and Dartmouth (combined 12-0), marking the first time a class has done that in school history … The seniors are one of two graduating classes to go unbeaten against Yale and Princeton (1912-15) … Harvard has defeated Yale in nine of the last 10 years … Harvard senior wide receiver Zar Zavala (El Paso, Texas) was notified minutes after the game's conclusion that he had earned a Rhodes Scholarship. Zavala, who played in three games this season, had previously earned the Marshall Scholarship and just flew back from his interview today, landing in Boston at 12:23 ... Harvard's junior varsity team defeated Yale by an identical 28-21 score on Friday.

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Handshake Peace T-Shirt Diversity Inclusive Multicultural
$12.50 - $41.50
Limited time discount 5% off. Coupon code: HELLO
Production Process
Our products are uniquely created on demand in your chosen style, color and size. Our talented production team will process, print and ship your order within 2-3 business days.
Shipping Options, Prices & Delivery Times
Standard shipping/transit times apply (4-8 days for US and 7-15 days for international).
Exchanges & Returns
You will receive a lengthy 30 day returns period should you need to exchange or decide you don't wish to keep your item for any reason. For full details and conditions, please check our Exchanges & Refunds Policy.
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Research proves that Bookshop gets results!
The Bookshop Reading program incorporates research-based instructional strategies that improve literacy outcomes. Multiple third-party studies of Bookshop Reading show significantly improved student outcomes, including English Language Learners and those at-risk.
Bookshop Evaluation Report
Peter W. Hill, Ph.D.
University of Melbourne
Angela M. Jaggar, Ph. D
Download as PDF
An evaluation study involving both trial and control schools was conducted over the 1998-99 and 1999-2000 school years by Dr. Angela Jaggar (New York University) and Professor Peter Hill (University of Melbourne). The evaluation study was conducted with ten trial schools in inner-city Boston, five trial schools and four control schools in the Bronx, New York, and six trial schools in Elgin, Illinois. In 1999, a further eight schools in Boston and the Bronx joined the project, and complete data were obtained from a total of 4,989 students in Kindergarten and Grade 1. The studied showed statistically significant rates of progress for students in the trial schools as measured by posttest scores.
Jonathan Supovitz
University of Pennsylvania
Download as PDF
In 2003, Jonathan Supovitz of the Consortium for Policy Research in Education, University of Pennsylvania, conducted an independent examination of Hill and Jaggar's report. The review confirmed that the study used a sound research design and appropriate statistical methods and called it "a solid piece of research that provides important evidence of the effectiveness of the program on student reading performance."
Bookshop External Analysis
Russell Cole and Jonathan Supovitz
University of Pennsylvania
Download as PDF
This study, conducted between 2002-2005, compared achievement on the Florida Comprehensive Assessment Tests (FCAT) between students in six schools using the Bookshop Reading program in Southern Florida and a sample of 71 similar non-Bookshop schools in the same region. Data showed that the schools using Bookshop decreased the proportion of students scoring in Level 1 by 16.67%, while the matched set of schools decreased their Level 1 proportions by only 9.51% in the same period. In addition, the Bookshop schools raised the proportion of students scoring Level 3 or above by 15.93%, while the matched schools raised this proportion by 9.08% during the same 2002-2005 period. Graphed results can be seen below.
Henry May and Jonathan Supovitz
University of Pennsylvania
Download as PDF
This study, conducted in 2010, examined the impact of the Bookshop Reading program that was implemented in the New Haven, Connecticut, school district in Grades K-3. Sixteen schools were matched based upon prior achievement and student demographics to produce eight pairs, with one school from each pair randomly assigned to implement the Bookshop program. Impacts were estimated for students at the end of third grade. The study found that students who participated in the Bookshop program made gains on the Connecticut Mastery test (CMT) in 3rd grade that were 21 to 27% larger than those of students in the comparison group. Graphed results can be seen below.
In studies in Florida and Connecticut, the percentage of student at or above proficiency INCREASED in Bookshop schools.
In the same studies, the percentage of at-risk student DECREASED in Bookshop schools.
Studies at individual Bookshop schools also have shown dramatic improvement in test scores. Both the Nathan Hale School in New Haven, Connecticut, and P.S. 34 in Queens, New York, significantly reduced the percentage of Grade 3 students below state standard proficiency and increased the percentage of Grade 3 students at or above proficiency.


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ACParadise Network: American Cosplay Paradise American Cosplay Experience American Cosplay Snapshots
Cosplayer Hooded Woman > Costume of Shura Kirigakure (Blue Exorcist)
- Most Recent Photo
- 08-10-2012
- Series
- Blue Exorcist
- Character
- Shura Kirigakure
- Special Variation:
- Spider outfit
- Year Completed:
- 2012
- Construction Difficulty:
- Very Easy
- Costume worn at:
- Anime Festival Orlando / AFO 2012
About this Costume
- Construction Details:
I knew immediately when I saw the outfit that I wanted to do it. I took a few creative liberties with the costume...but it's just so it looked more uniform and what I thought would be a little more flattering!
I didn't make the jean shorts, I just modified them...because I'm lazy...well sometimes. I just had a lot on my plate this convention.
Here's the link to the artwork if you aren't too familiar:
- Personal Thoughts:
- I love Spiders and I love big breasted drunks...what more could I desire?!
Wig Details
- Wig Brand
- Unknown
- Wig Name
- 2 Tone Layered
- Wig Quality Rating
- 4 / 5.00
- Styling Notes
- Had to cut the bangs shorter and spike the back...but I didn't do much else to it. I bought this wig off someone who wanted to cosplay Shura but changed her mind.
Add a Comment


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When recording movies I can hear the sound of the lens focusing, how can I reduce this sound?
When recording sound in a movie, the sound made by the lens and camera operating may be recorded. This is due to the proximity of the microphone to the lens. If desired, you can reduce these sounds by shooting with [AF Mode] set to [S-AF], or by limiting the amount of times you press the buttons. If your camera has the ability to use an external microphone this would allow you to extend the microphone away from the lens. If you are using a non-MSC lens, you may want to consider a lens with this type of mechanism which is near silent during AF operation.
When recording sound in a movie, the sound made by the lens and camera operating may be recorded. This is due to the proximity of the microphone to the lens. If desired, you can reduce these sounds by shooting with [AF Mode] set to [S-AF], or by limiting the amount of times you press the buttons. If your camera has the ability to use an external microphone this would allow you to extend the microphone away from the lens. If you are using a non-MSC lens, you may want to consider a lens with this type of mechanism which is near silent during AF operation.
Can I adjust the sound level the shutter release makes?
This model has a true Focal Plane Shutter so the sound you are hearing is the actual sound of the shutter physically opening and closing. It is not possible to alter the volume of the shutter sound.
What are the main features of the E-PL5?
The OLYMPUS PEN E-PL5 is tailor-made for people who live active lives online and offline. It blends the high-quality imaging of a digital single-lens reflex (DSLR) camera with High Definition (HD) video capture, stereo Linear PCM audio recording and creative in-camera multimedia tools into an ultra-compact, yet stylish, metal body. No longer must you choose between powerful and portable; the E-PL5 will make you re-think what a small camera can do.
The E-PL5 showcases the best technologies of the acclaimed PEN Digital series -- a 16.1-megapixel Live MOS image sensor; 35-point autofocus (AF) system; intuitive, Live Control operation; in-camera image stabilization; the proven Supersonic Wave Filter (SSWF�) dust-reduction system; creativity-boosting Art Filters that can be applied to still images and movies alike; and a 3-inch, color, OLED touch screen -- and efficiently packages them all into a miniature frame.
The E-PL5's accessory port accommodates the bundled FL-LM1 external flash as well as the following optional accessories: VF-1 optical viewfinder, VF-2 and VF-3 electronic viewfinders, SEMA-1 external microphone adapter, MAL-1 Macro Arm Light, PP-1 PENPAL Bluetooth adapter and as well as supporting the FL-300R, FL-600R, and FL-14 flashes through the hotshoe.
In addition, the Imager AF Live View autofocus system now features continuous autofocus (C-AF) tracking and AF target registration. Now you can lock your subject into focus, and the camera will constantly adjust focus and exposure on your subject to compensate for your or your subject's motion. This mode helps you to keep fast-moving and unpredictable subjects in focus � from left to right and from back to front � automatically.
The E-PL5 also boasts the world's fastest autofocus when used with the new M.Zuiko Digital 14-42mm f3.5-5.6 II R MSC, M.Zuiko Digital 12mm f2.0, and the M.Zuiko Digital 45mm f1.8 lenses.
A striking new feature in the E-PL5 is an OLED touch screen monitor. Rather than using the shutter button, you can tap the subject that you want in focus and the camera will autofocus on and shoot that subject. The touch screen feature can also be used with the Live Guide in the iAUTO mode and to scroll through photos during playback.
The E-PL5 also includes a new picture mode called iEnhance that automatically selects the correct exposure settings for subjects such as close-ups, sports and action scenes, landscapes, portraits and night scenes, and then applies additional adjustments to color or contrast, as needed, to make good images exceptional.
The E-PL5 also offers 12 Art Filters -- which automatically process images using special effects -- and a Scene Mode that automatically applies the ideal camera settings for specific shooting scenarios. Just choose one of the 23 available scenes, and the camera instantly becomes optimized for the shot.
The E-PL5�s manual movie mode allows for independent control of aperture and shutter for expanded creative control. This fine control allows you to express your vision exactly how you want in your HD videos.
Once you�ve captured your works of art, seamlessly mix your still images and videos in-camera to create a multimedia slideshow. Dub in one of the available background music options to provide a soundtrack for your cinematic creation, and play it back in the camera or on any television (A/V cable included; Mini HDMI Type C cable sold separately). When connected to an HDTV, you can use the television�s remote to navigate camera menus and perform playback operations by activating HDMI CONTROL.
Finally, like all of Olympus� PEN digital cameras, the E-PL5 supports all Micro Four Thirds-compliant lenses natively. With the addition of optional lens mount adapters it can also support Olympus� Four Thirds-compliant E-System lenses and OM-series film lenses � as well as legacy lenses from a variety of manufacturers. No matter which lens you choose, the E-PL5�s in-body image stabilization ensures you�ll have Olympus� best anti-blur protection.
What are the differences between the E-PL5 and the E-PL3?
The E-PL5 has many upgraded specifications and functions, compared to the E-PL3. For example: The EPL-5 features a new tilt LCD "Self Portrait" that rotates 170 degrees so you can see it facing the camera. AF speed on par with the top of the line Micro Four Thirds model, the OM-D E-M5. Same image quality sensor and image processing technology as the OM-D E-M5. Improved ISO sensitivity up to 25,600 for low light photography. New filter options when shooting in Monochrome and ability to change the art filter in use during movie recording. Customizable self-timer so you can take multiple shots at user set intervals. You can also employ a 4x digital telephoto in Movie Mode. Automatic image rotation in playback is now by default. The E-PL5 adds touchscreen capability. Additionally, the E-PL5 also has a removable grip to improve holding the camera where there was none available for the E-PL3. The comparison chart can be found here
What types of memory cards can be used with the E-PL5?
The E-PL5 accepts SD media, including SD, SDHC and SDXC cards, in capacities ranging from 128 MB to 64 GB. It supports the SD speed class and the UHS-1 speed class, and it is Wi-Fi compatible when used with an optional Eye-Fi or Toshiba FlashAir card.
When shooting HD movies, please use a card with an SD speed class of 6 or higher or a UHS-1 speed class.
The E-PL5 does not accept xD-Picture Card media or CompactFlash� cards.
Memory cards are optional accessories and must be purchased separately. Olympus does not manufacture memory media. For a list of memory cards that have been tested and are known to be compatible with the E-PL5, please click here.
Why doesn't this camera have a built-in optical viewfinder?
This camera does not offer a traditional viewfinder because of its compact size. The VF-1,VF-2 and VF-3 are compatible accessory viewfinders. The VF-1 is an optical viewfinder intended for use with the M.Zuiko Digital 17 mm lens; it attaches to the camera's hot shoe. The VF-2 and VF-3 are electronic viewfinders that attach via the hot shoe and accessory port.
What is the origin and meaning of the SuperSonic Wave Filter (SSWF)? Where does the dust go?
The filter is so named because it shakes dust off the image sensor using supersonic wave vibrations. The displaced dust is affixed to dust-collection components around the filter.
It is not necessary to clean or change the dust-collection components under normal use for several years. The dust-collection system can easily deal with the particles that are shaken off using the dust-reduction system.
If the camera is used constantly in severe conditions, Olympus recommends that the camera body be sent to an authorized Olympus repair service center for cleaning approximately at an interval of three to five years.
What are the purposes of the different record modes?
Record modes allow photographers to quickly and conveniently vary the quality settings used to capture and save images in-camera. While it is possible to always shoot at the higher-quality settings and process the images down to lower file sizes later using a computer, it may be more convenient in some situations to shoot at other than the higher-quality settings. For example, it may be preferable to shoot using lower-quality settings when the shots are intended for use on the Internet, where small size is more important than rich detail.
The E-PL5 offers several record modes, whose benefits are outlined below.
RAW: This is the highest-quality record mode available in the E-PL5, and it allows the photographer the most creative control in post-production. Images are saved to the memory card from the camera sensor with minimal image processing. Factors such as white balance, sharpness, contrast, and color are unchanged so they can be modified later on a computer. Some photographers prefer to shoot RAW all the time for all subjects, while others may shoot RAW in situations that pose complicated exposure problems.
Each camera manufacturer has its own version of RAW tailored to its cameras; therefore, special software is required to process RAW files and convert them to other image file formats such as JPEG and TIFF. The OLYMPUS ib and OLYMPUS Viewer applications contain RAW processing and conversion software for the Olympus RAW format, which bears the file extension *.orf. Third-party imaging software and operating systems may use RAW plug-ins or updates to process Olympus RAW files. Without them, they would not be able to read RAW images from Olympus digital cameras. Most photo kiosks, printers and photo labs cannot read unconverted RAW images.
JPEG: Four record modes create compressed JPEG image files. When the camera processes a captured JPEG image and saves it to the memory card, it uses algorithms to discard some of the data to make the file size smaller. The process of mathematically reducing a file's size by discarding some of its data is called compression. The greater the compression ratio, the more data will be discarded and smaller the file size. When the image is opened on a computer, the JPEG algorithms reconstruct the discarded data.
The camera permits customization of the JPEG record modes by mixing and matching their quality settings. The factors that define a JPEG record mode are image size (determined by the number of pixels in the image) and compression ratio.
RAW+JPEG: Four record modes in the E-PL5 save both a RAW and a JPEG image when a picture is taken. This can be advantageous when shots are intended for use in multiple media or when the medium in which the images will ultimately be published has not been determined.
The quality settings used to process the JPEGs in the RAW + JPEG record modes are tied to the quality settings defined for the corresponding JPEG record modes on the menu. The first RAW + JPEG record mode uses the JPEG settings of the first registered JPEG record mode; the second RAW + JPEG record mode uses the JPEG settings of the second registered JPEG mode; and so on. Changing the JPEG quality settings via the and PIXEL COUNT menus affects both a JPEG record mode and its RAW + JPEG record mode "counterpart."
What is the purpose of the SCN (Scene) Mode?
The E-PL5 has a SCN (Scene) mode that optimizes the camera settings for specific shooting conditions. All of the settings applied in the 23 available Scenes can also be applied via controls in the camera menu, but applying them manually can be time-consuming. In addition, amateur photographers may not have a deep enough knowledge of photography to select the appropriate settings for some situations that advanced amateur and professional photographers would employ.
In the E-PL5, the Scenes are:
The Fisheye Effect, Wide-Angle and Macro Scenes are used in conjunction with the optional converter lenses.
The 3D Photo Scene Mode can only be used with a 3D lens.
What are Art Filters?
Art Filters enable the application of creatve effects in-camera while shooting. The Art Filters available on the E-PL5 are:
Art Filters can be applied to still images as well as movies. When Art Filters are in use, the Super Control Panel is not available.
If you want to shoot an unaltered image as well as a copy processed with an Art Filter, shoot using one of the RAW+JPEG record modes. The RAW file will be unaffected, and the Art Filter will be applied to the JPEG.
Some Art Filters have options to modify the processing for variations on the appearance of the image at capture. When selecting an Art Filter, press the right arrow button to see the options available.
The E-PL5 includes all of the variations and effects that have been released on other cameras in the Olympus PEN system. In addition, the following variations and effects are newly incorporated:
Is movie editing possible with the bundled software?
OLYMPUS Viewer 2 HD Edition for Windows supports clipping, joining and fading movies in the .AVI Motion-JPEG format. With the AVCHD format, only clipping is possible. "Clipping" means extracting a still image from one frame of a movie file. This software can also convert .AVI movie files to the AVCHD format.
OLYMPUS Viewer 2 for Macintosh supports clipping, joining and fading movies in the AVI Motion JPEG format. It does not support AVCHD-formatted movies.
How do I enable the optional navigation interfaces such as the Live Control and Super Control Panel options?
The CONTROL SETTING function determines which camera navigation options are available in each shooting mode. While the hierarchical menu is always available by pressing the [MENU] button, CONTROL SETTING presents convenient short-cut options to help you quickly access frequently used controls. The control view options are LIVE GUIDE�, LIVE CONTROL and SCP (Super Control Panel).
The LIVE GUIDE view, designed for novice photographers, lets you fine adjust photographic effects such as brightness, color saturation, color balance and background blur using convenient and intuitive slide bars. As you move a slider up or down with the arrow keys, you can preview the effect of the change on the OLED screen before you snap the picture. A technical understanding of photography concepts and jargon is not necessary.
The LIVE CONTROL view presents narrow banners along the right side of, and at the bottom of, the OLED screen. The banner on the right is filled with icons that represent camera settings such as White Balance and ISO; use the Up and Down arrows to select a setting you wish to edit. The bottom banner contains icons that represent the options available for the selected setting; use the Left and Right arrows to scroll through the options and select a setting. Press the [OK] button to activate the new setting.
The SCP view presents the Super Control Panel, a grid that overlays the image on the OLED screen. Use the arrow buttons to select a setting on the grid and press the [OK] button to activate it.
Before you can access a control view from a particular shooting mode, it must be activated for that mode by changing its CONTROL SETTING value to ON. The CONTROL SETTING function is located in the submenu.
Once a control view is activated, you can access it by pressing the [OK] button. If multiple views are activated for a particular shooting mode, pressing the [INFO] button repeatedly will cycle through the enabled views. To exit any control view, press the shutter button halfway down.
� LIVE GUIDE is available only when the Mode Dial is set to iAUTO. Because iAUTO is a fully automated shooting mode, some settings cannot be adjusted when using LIVE GUIDE.
What is the purpose of the filters in the Monotone Picture Mode?
In black-and-white film photography, different colored filters are placed in front of the lens to modify the tones in the final image. These are called contrast filters. One popular effect created with contrast filters results in a landscape photograph with majestic clouds against an almost black sky. This effect is obtained by shooting through a deep red filter, which makes the blue in the sky darker.
A general rule of thumb regarding the use of contrast filters is: The filter makes its own color lighter in tone and its opposite color darker in tone.
The E-PL5 is able to create these effects without using physical filters by modifying the performance of the red, green and blue color channels in the MONOTONE mode.
The functions of the B&W filters are described below:
The B&W Filter effects can be previewed on the Live View screen before shooting.
What are the differences among the three Image Stabilizer functions?
The Image Stabilizer has the following three options:
When attaching the camera to a lens other than a Micro Four Thirds or Four Thirds lens, the Image Stabilizer corrects the camera shake based on the focal length of the lens. You must manually set this value. The focal length can be set from 8 mm to 1000 mm. Set the focal length to the value (or the nearest value) that is displayed on the lens.
I have a lens from another manufacturer that has built-in optical image stabilization. Will I get more image stabilization if I also use the image stabilization in the camera?
In such a scenario, it is recommended to use one or the other, but not both image stabilizers simultaneously. If both lens and body image stabilization are being used at the same time, the combination may be counter-productive because the camera image stabilization would be trying to compensate for the lens image stabilization and may not be able to arrive at a stabilized image.
The E-PL5 has a Lens I.S. Priority menu option. When On is selected, priority is given to the lens function operation when using a lens with built-in image stabilization.
Sometimes when I turn the camera off, I feel a slight vibration. Why is that?
When the camera is powered down, slight vibration and noise occur as the Image Stabilizer motor resets the image sensor to its default position. The camera takes this action when shooting with the Image Stabilizer function set to I.S. 1, I.S. 2 or I.S. 3. In these modes, the camera moves the sensor during shooting in order to counter the effects of camera shake. When the power is turned off, the camera moves the sensor back into the default position.
How do I update the firmware in the E-PL5 body and the Micro Four Thirds lenses?
For complete instructions, please download this file.
Can I use the E-PL5 to update the firmware of any Micro Four Thirds system compliant lens?
The answer depends on what company manufactured the lens.
Olympus Imaging Corp., Panasonic Corporation and Sigma Corporation offer a joint firmware update service that makes it possible to download and install firmware for one another's Micro Four Thirds System-compliant and Four Thirds System-compliant lenses when the lenses are attached to any of the companies' Micro Four Thirds System-compliant cameras. The service is not available for Four Thirds System-compliant lenses manufactured by other companies, such as Kodak, Fuji and Sanyo.
Panasonic/Leica and Sigma lenses mounted on this camera can be updated using the OLYMPUS Digital Camera Updater software. For details on how to acquire the software and how to update the firmware of a Micro Four Thirds or Four Thirds System lens or camera, please click here.
For more information on the joint firmware update service, please click here.
What are the P, A, S and M Modes and how are they used?
The P, A, S and M modes are exposure modes. These exposure modes allow the photographer creative flexibility by enabling more control over shutter speed and f-stop settings while shooting. The exposure modes enable total access to the menu options, unlike the AUTO and Scene exposure modes found in Olympus consumer DSLRs. They are also the modes required for use with E-System flash accessories.
Briefly, the exposure modes and their applications are as follows:
In the CARD SETUP menu, the options are ALL ERASE and FORMAT. What are the differences between these options?
ALL ERASE deletes all of the images from the memory card directory except for those that have been protected. FORMAT deletes all of the images from the memory card directory and overwrites the directory. In both cases, the actual digital images are still on the memory card until new images are shot that overwrite the old images. Therefore, if images are inadvertently erased or formatted, it may be possible to retrieve them via image recovery software.
If ALL ERASE is used exclusively to delete images, over time a buildup of artifacts in the directory may corrupt the memory card. The FORMAT option is recommended to preserve the integrity of the memory card and extend its useful life.
How do I use the different metering modes?
The E-PL5 provides several metering options that allow the photographer to have greater creative control over exposure. The metering modes can be set via the Live Control screen, the Super Control Panel or the camera menu.
Descriptions and applications of the metering modes are detailed below:
What is the purpose of Exposure Compensation?
Metering systems in cameras measure light but do not have a way of determining what the subject matter is, so the exposure decisions the metering system makes may not always be appropriate for the subject matter. This phenomenon is called subject failure. As with Spot metering, the human touch may be required to arrive at correct exposures. Exposure Compensation allows the photographer to set up the camera to under- or overexpose in specific situations.
The Exposure Compensation scale is displayed on the monitor.
It is important to set the compensation back to 0 before shooting subjects in other conditions so the subjects will be properly exposed. When the Exposure Compensation is set to 0, the scale is not displayed on the monitor.
How does this camera control noise commonly found at high ISOs?
Digital cameras vary the light sensitivity of the image sensor by varying the gain voltage applied to the sensor, much like turning up the volume on a stereo. When the gain voltage is increased, as it is when shooting with higher ISOs, the sensor becomes hot. Hot pixels perform differently under extreme conditions. The result is a graininess known as �noise.�
Noise occurs whenever sufficient heat has built up on the image sensor. Therefore, it can also be seen in images with long exposures, such as night photographs, due to the additional heat generated by charging the sensor for an extended period of time. All digital cameras include technologies to minimize the effects of noise. This camera uses a sensor that dramatically decreases noise. In addition, it combats noise via two methods: NOISE FILTER and NOISE REDUCTION.
The NOISE FILTER function is found in the menu. It has four options: OFF, LOW, STANDARD and HIGH. The majority of digital cameras have a default noise filter that is always on. Some photographers feel that this reduces detail, so Olympus has included the option to not use a noise filter at all.
If NOISE FILTER is set to OFF, it is recommended to set the SHARPNESS setting to �2. If SHARPNESS is set to 0 it may exaggerate the noise when no noise filtering is being applied.
The NOISE REDUCTION function reduces the noise that is generated during long exposures, and can also be enabled from the menu. After the first exposure, the camera makes a second exposure of equal length with the shutter closed. It then, in effect, overlays the two images, finds the hot pixels in the second image (essentially, any pixels that aren't black) and deletes the corresponding pixels from the first image. This doubles the shooting time. If the first exposure is 12 minutes 30 seconds, the second, black exposure will also be 12 minutes 30 seconds for a total exposure time of 25 minutes.
Can this camera be used for time-lapse photography?
This camera's Anti-shock function can be used in conjunction with the sequential shooting drive mode to shoot time lapse photography sequences. The series of captured images can later be converted into movies using third-party software.
Anti-shock is used to delay firing the shutter after the shutter button has been pressed. This allows any vibration to dissipate before the exposure is made. Anti-shock allows intervals of up to 30 seconds to be preset.
When combined with sequential shooting, Anti-shock can be used to command the camera to shoot at preset intervals much like the way an intervalometer can control a camera. In this configuration, the camera will take the first picture when the shutter button is pressed and then it will continue to capture images at the preset interval � for example, every 5 seconds � until one of the following occurs:
Using the optional Remote Cable Release (RM-UC1) will be more convenient because the remote can be locked once the button on the remote control is pressed and the camera will continue to shoot unattended. To purchase the RM-UC1, click here.
Notes: Olympus recommends mounting the camera on a tripod or securing it with a camera clamp when shooting time-lapse sequences. It is also recommended to use Manual Focus to prevent focus from shifting during the sequence. A lower quality record mode may have to be used to reduce the size of the frames when creating a movie.
Can I use my OM-Series lenses on the E-PL5?
Olympus OM-series lenses can be mounted on the E-PL5 with the optional MF-2 OM Adapter. OM-series lenses are unable to communicate with the firmware in the camera's body. Therefore, their use in this fashion has the following restrictions:
Because the OM-series lenses were designed for film rather than for use with a digital sensor, the image quality may not equal that produced by M.Zuiko� Digital and Zuiko� Digital lenses.
To purchase the MF-2 OM Adapter (Item #260051) from The Olympus Store, click here.
I have a third-party electronic flash. Can I use it with the E-PL5?
Flash units that are not specifically listed by Olympus as compatible with this camera may pose problems if used on this camera.
Thyristor-type flash units can be used with the E-PL5�s Manual shooting mode as long as the sync voltage does not exceed 24 VDC (volts of direct current). Higher voltages may potentially damage the camera.
Third-party TTL flash units will not have TTL capability but possibly may be used with Manual exposure control. Olympus can only guarantee the operation of Olympus flash units.
Can I use the E-PL5 with studio flash equipment?
The E-PL5 uses an electronic rather than mechanical sync circuit that is rated at 24 VDC maximum sync voltage. Also, the polarity of the studio flash sync pulse may be opposite the polarity of the E-PL5 sync circuitry.
Studio flash equipment should be connected to the E-PL5 using the Safe Sync Hot Shoe to PC Sync Adapter. The adapter protects the camera from excessive sync voltage up to 400 VDC, and automatically corrects sync pulse polarity.
This item (#200329) may be purchased from authorized Olympus dealers and also online directly from The Olympus Store. To order from The Olympus Store, click here.
Can I use an accessory microphone instead of the built-in microphone when shooting videos?
The hotshoe and accessory port of the E-PL5 can accept the External Microphone Adapter Set (SEMA-1), which includes the SEMA-1 Adapter, the ME-51S Stereo Microphone, and an extension cable with a tie clip to hold the microphone.
The SEMA-1 Adapter has a 3.5 mm stereo jack that can accept other microphones with 3.5 mm plugs or receivers for wireless microphones that have a 3.5 mm stereo plug.
To order the External Microphone Adapter Set (SEMA-1) click here
Is there a macro lighting accessory for the E-PL5?
The Macro Arm Light (MAL-1) mounts into the hot shoe and accessory port of the E-PL5 and is powered by the camera. It has flexible arms that each have a directional LED lamp. Each arm has a three position slide switch on the mounting block to independently control the light intensity. It can be used a the sole light source or as fill light.
To order the Marco Arm Light (MAL-1) click here
I had an Olympus digital camera that accepted wide angle and telephoto accessory lenses. Are there any similar accessory lenses for the E-PL5?
Olympus released three optional lens attachments with the advent of the E-PL5 that attach to the bayonet mount on specific M.ZUIKO Digital Micro Four Thirds lenses.
How many images can be shot on a single charge of the battery in the E-PL5?
Although the number of images that can be captured depends upon the shooting conditions and the camera functions used, a fully-charged BLS-5 battery should take approximately 360 images with the Image Stabilization on before it needs to be recharged.
Do I need a voltage converter to use my charger outside the United States?
The BCS-5 Battery Charger for the E-PL5 is rated at 100-240 VAC (volts of alternating current) and automatically adjusts itself for the local electrical current. However, you may have to get a set of plug adapters for the different wall outlets used in foreign countries. Plug adapter kits are available at electronics and luggage stores.
Does Olympus offer a remote control for this camera?
The RM-UC1 Remote Cable Release is compatible with this camera.
The RM-UC1 connects to the same USB port on the camera that is used to connect the camera to a computer. The RM-UC1 has a sliding lock to lock the cable release for BULB exposures.
The RM-UC1 is available from authorized Olympus dealers and also online directly from The Olympus Store. To order the RM-UC1 (Item #260237), click here.
After I mount a lens on the camera, the camera cannot secure autofocus. The problem is intermittent and can occur with any of my lenses. What is going on?
If the problem occurs with every shot taken with every accessory lens, the camera may be broken. However, if the problem occurs sporadically � and chiefly only after attaching a lens � then it is possible the lens(es) may not have been attached properly.
Remove the lens from the camera and look at the silver mount. Eleven gold-colored pins are arranged in an arc. These pins must make firm contact with the gold-colored touch points on the back of the lens. This happens naturally when the lens is attached properly, but if the lens is not locked into place then one or more pins may not receive sufficient pressure to maintain contact during use.
To attach a lens to the camera body, align the lens attachment mark (red circle) on the camera mount with the alignment mark (also a red circle) on the side of the lens. Then insert the lens into the camera�s body. Rotate the lens clockwise and listen for a click. The click is an audible indication that the lens lock pin has snapped into place on the back of the lens and has secured the lens in the proper position.
Do not press or hold down the lens release button while attaching a lens to the mount. The lens release button forces the lens lock pin to retract into the camera so that the lens can be removed without breaking the pin. If the button is held down while attaching the lens, it may not align with the hole on the back of the lens after the button is released. This will result in a situation in which the lens is attached to the camera mount but is not locked into place. It is possible that this condition will prevent the lens from making and retaining a firm connection to the camera. This will inhibit autofocus and may increase the lag time between shots.
When I enable tracking AF and touched the target image, the tracking did not start. What must I do?
You must press the shutter button halfway down to secure focus on the subject when AF tracking is enabled. The camera will then continue to track and focus on the subject for as long as the shutter button is held in this position. Press the shutter button all the way down to take the picture.
When I connect my camera to a TV, I don't see photos or movies. Why?
Most televisions manufactured in the past decade provide a variety of input jacks so that multiple audio/visual devices (for example, a cable or satellite signal converter box, a movie player, a computer, a video game console and a digital camera) can display content on a shared screen. This eliminates the need to have separate screens for each device. Although many devices can be connected to the television simultaneously, the television screen usually can display content from only one device at a time. Therefore, when you connect your camera to the television, you must select the proper input source in order to view your images and movies.
The method for selecting input channels varies with brand and model, but in general the TV and/or its remote control will have a button for selecting a desired input signal. This button may be called "Source" or "Aux" or it may be a combination of various device labels, such as "TV/AV" or "TV/Cable/DVD." Pressing this button repeatedly will cycle through all of the input sources available to your television. Keep pressing the button until you see the camera menu on the TV screen. (The display on the camera screen or electronic viewfinder will be blacked out.) If the camera menu does not appear, the signal is not reaching the television. Verify that the cable is properly connected.
If you have connected the camera to the television using the yellow and white AV cable bundled with the camera, look for source options named "AV," "Video," or "Aux." If your television has multiple sets of AV jacks, you may need to further choose between, for example, "Aux 1" and "Aux 2" or between "Front" and "Rear" jacks.
If you have connected the camera to a high-definition television (HDTV) using an optional HDMI cable so that you can view HD movies stored on your camera, look for a source option with "HDMI" in its name.
Please refer to the user documentation for your television or TV remote control for specific instructions and to verify that all source devices' cables have been connected to the proper input jacks.
Note: If the image quality on the screen appears to be distorted, the camera may be set to a video output format that is incompatible with the television. In the camera�s menu, check the VIDEO OUT setting. In North America, the setting should be NTSC. If it is set to PAL, change it to NTSC.
When I put a formatted card in my E-PL5, the display showing the potential number of RAW images doesn't appear to be accurate. Why not?
When the E-PL5 writes a RAW image file, it performs complex mathematical calculations to convert it to binary data to be saved and later retrieved. Since images are unique, each calculation is unique.
A RAW file recorded by the E-PL5 will be approximately 17 megabytes, but individual file sizes will vary. For example, a winter landscape consisting predominantly of white snow and blue sky will produce a smaller data file than a scene such as Times Square at night. The richness of the latter scene will result in a larger file.
When the camera polls a formatted SD card, it is looking at a blank slate. It has yet to do the math for any images and is programmed to start out with a conservative capacity estimate. As the camera shoots more images, it recalculates the capacity as it �learns� about the image files it is creating. As the card fills up, the estimated capacity of RAW files on the display will become more accurate.
I have taken pictures using several different memory cards. Now, when I try to download images onto my computer, I get a message that says "Image (file name)jpeg already exists. Replace it with the new file?" What is going on?
When saving image and movies, the E-PL5 creates folder and file names that include a numeric variable. The number in the file name changes with each shot so that the new image won�t overwrite a previous one saved in the same folder. The folder name may also change, depending on the configuration of the camera�s FILE NAME function.
FILE NAME has two settings that govern the naming of files and folders:
RESET can be useful for organizing files � for example, you may choose to use a separate memory card for each event or client. However, if you download all your files to the same folder on your computer and there is a file in the camera with the same name as a previously transferred file, the computer will see the duplicate file name and display the above message. In this scenario, the files with duplicate names will overwrite the original files when they are saved to the computer. The original images will no longer be viewable.
To avoid this costly mistake, save the new files to a different folder or manually rename the files before transferring.
Another way to avoid this problem is to change the first character of the file name using the EDIT FILENAME function in the camera's RECORD/ERASE menu. This has an added benefit of identifying which camera captured each image.


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Products purchased on www.ilgufo.com are delivered in average within 5 working days from placing the order in Italy and EU, and within 8 days for all other destinations.
Delivery times may be subject to delays in case of public holidays; couriers do not deliver on 25/12, 26/12, 01/01 and weekends.
For orders placed through credit card, a working day must be added to normal shipping times for regular administrative checks. For orders placed through bank transfer, shipping times will be calculated once payment is received.


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Ok, this is not a full complete hard disk recovery method. I'm simply sharing how I managed to fix my M10 hard disk.
I was upgrading JUNOS form version 8 to 9 when I got a bunch of errors and suddenly the hard disk was no longer available. Unfortunately I did not grab a log when this happened.
When I rebooted the box I was seeing this error on startup:
mfs: /dev/ad1s1b: Device not configured /dev/ad1s1f: CAN'T CHECK FILE SYSTEM. /dev/ad1s1f: UNEXPECTED INCONSISTENCY; RUN fsck MANUALLY. Can't open /dev/ad1s1f: Device not configured
Once the box finally started up via the compact-flash I attempted to run a diagnostics but could not:
root> request chassis routing-engine diagnostics hard-disk -> Hard disk is absent from the boot list. Hard disk may have had previous errors, skipping test.
So basically it looks like JUNOS has removed the hard drive from the boot list. How can we stick it back? First you need to log in via root so you get the % prompt. Do NOT go into cli mode yet.
sysctl -w machdep.bootdevs=pcmcia-flash,compact-flash,disk,lan
This tells JUNOS to put the boot order back to the default, including the hard drive.
Not reboot the box and it should come back into the boot order. This is what I saw on my boot:
ad0: 1953MB
[3970/16/63] at ata0-master PIO4 ad1: DMA limited to UDMA33 ad1: 11513MB [23392/16/63] at ata0-slave UDMA33 Mounting root from ufs:/dev/ad0s1a if_pfe_open: listener socket opened, listening... Mounted jbase package on /dev/vn0...
So far so good. Once the box is back up go back into root mode and type:
[email protected]% smartd -oe /dev/ad1
Hopefully your drive should be back up. If not you can run some extended smart tests on it. If you've lost your partitions you can repartition the disk by first going into cli mode and then:
root> request system partition hard-disk WARNING: The hard disk is about to be partitioned. The contents WARNING: of /altroot and /altconfig will be saved and restored. WARNING: All other data is at risk. This is the setup stage, the WARNING: partition happens during the next reboot. Setting up to partition the hard disk ... WARNING: A REBOOT IS REQUIRED TO PARTITION THE HARD DISK. Use the WARNING: 'request system reboot' command when you are ready to proceed WARNING: with the partitioning. To abort the partition of the hard disk WARNING: use the 'request system partition abort' command. root> request system reboot Reboot the system ? [yes,no] (no) yes
I had to repartition my disk and rebooted. All looks good:
root> show system storage Filesystem Size Used Avail Capacity Mounted on /dev/ad0s1a 992M 51M 932M 5% / devfs 16K 16K 0B 100% /dev/ /dev/vn0 14M 14M 0B 100% /packages/mnt/jbase /dev/vn1 57M 57M 0B 100% /packages/mnt/jkernel-8.1-20071208.0 /dev/vn2 6.4M 6.4M 0B 100% /packages/mnt/jpfe-M10-8.1-20071208.0 /dev/vn3 2.9M 2.9M 0B 100% /packages/mnt/jdocs-8.1-20071208.0 /dev/vn4 20M 20M 0B 100% /packages/mnt/jroute-8.1-20071208.0 /dev/vn5 8.3M 8.3M 0B 100% /packages/mnt/jcrypto-8.1-20071208.0 /dev/vn6 9.6M 9.6M 0B 100% /packages/mnt/jpfe-common-8.1-20071208.0 mfs:260 1.5G 8.0K 1.4G 0% /tmp mfs:267 1.5G 248K 1.4G 0% /mfs /dev/ad0s1e 189M 5.0K 187M 0% /config procfs 4.0K 4.0K 0B 100% /proc /dev/ad1s1f 7.7G 6.6M 7.1G 0% /var
After this I went from 8.1 to 9.3 and then to 10.4 and everything looks good :)


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Word of the Day
sessile SES-il, -ahyl (adjective) 1. Zoology. permanently attached; not freely moving. 2. Botany. attached by the base, or without any distinct projecting support, as a leaf issuing directly from the stem. - www.dictionary.com
Website of the Day
Valentine's Day Ideas
Need some last-minute ideas for your lady love? Check out Spoonful's suggestions.
Number to Know
150 million: According to History.com, nearly 150 million cards are exchanged each Valentine's Day.
This Day in History
Feb. 14, 2005: YouTube is launched by a group of college students, eventually becoming the largest video-sharing website in the world and a main source for viral videos.
Today's Featured Birthday
Actor Simon Pegg (44)
Daily Quote
"Everything that is beautiful and noble is the product of reason and calculation." - Charles Baudelaire


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WOSU Public Media offers classical music and sports focused podcasts.
Listen to our podcasts on wosu.org, through the WOSU mobile app or subscribe to the individual feed on iTunes.
After The Score Podcast
After The Score Podcast takes an in-depth look at the sports landscape in Columbus and throughout Ohio. The show is published every Thursday.
View all of the After The Score Podcasts | Subscribe to After The Score on iTunes
Classical 101 Podcasts
Classical 101's podcasts are entertaining and informative. Listen to get the CliffsNotes© of an upcoming The Met Opera Live in HD Opera, a discussion with the leader of a local orchestra or getting to know Mozart a little better.
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John Bleakley Motorhomes Inc. has opened its third full-service towable and motorized RV dealership in Jackson, Ga.
Bleakley's "Atlanta South" store 35 miles south of Atlanta on I-75 formerly housed Sagon RV SuperCenter, a 30-year-old Georgia dealer that went out of business.
The new Bleakley facility features 80,000-square-feet under roof with 33 service bays on 28 acres. "We are positioning ourselves strategically in the Atlanta area," said Bill Gillard, general manager of the 40-year-old dealership chain. We know that the RV business is not going to be down forever. Now is the time to position ourselves for when it does come back.
"With some trepidation," he added, "I think it's coming back now. There is pent-up demand and we've enjoyed an increase in business over the last few months."
The new store opened in mid-June and augments two other Bleakley facilities, one in the Atlanta suburb of Douglasville and the other in Unadilla, south of Macon. Bleakley's also has motorhomes and towable RVs on fulltime display at Stone Mountain Heights RV and Mobile Home Park in Stone Mountain, Ga.
"We believe that the Sagon facility will ultimately be the flagship store in a few years," Gillard said.
Bleakley, Georgia's No. 1 motorhome dealer three years running, according to Statistical Surveys Inc., Grand Rapids, Mich., employs 75 and returned several laid off employees when it opened the Jackson facility.
"It's a tough time right now, but now is the time when you try to make some pretty aggressive moves," Gillard said. "you need to raise the bar or you won't catch up with the people who already have."


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mattloto wrote:Is this mission like the programming mission where you have to find the white pixel thing? cuz i see what is the key (im tryin not to make this a spoiler) but idk how to use the info. any help?
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1043-ACS NT Volume 43 God the Trinity: Worthy of Worship Full-color 8.5" by11" Printed Flash Card Volume
(Drop Shipped from Supplier)
Revelation Part 2
You can purchase through our web store with additional shipping charges and our standard discounts. (This item will be shipped directly from our supplier. Additional shipping covers this drop shipment. Shipping can be combined with other books from this supplier. Please provide a street address as this may be shipped via UPS even if you select Media Mail.)
This volume includes: 28 pages, 16 Full-color illustrations in an 8.5" by 11" format and map plus 4-lesson lesson text (English text is stapled in and cannot be removed.)
Lessons contained in this volume
Memory Verse: Revelation 4:11
In addition to the lesson material, the following are included to help the teacher prepare and teach this volume:
Click here to download FREE sample PDF of the first page of the English teaching material for this volume.
Translations of the lesson text for this volume also available separately in Arabic (Classical), Dutch, French (African), Mongolian, Russian, Spanish and Swahili.
may also be made through Amazon and will require a separate account. Note:
No discounts apply.
Click here to place your order with Amazon.
Bible Visuals International- illustrated flashcard Bible lessons, stories, hymns


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Despite the risks posed by disability in retirement, many Americans don't understand their chances of becoming disabled, a report released May 8 by the American College found.
The vast majority of Americans don't realize arthritis is the leading cause of disability. Thirty percent believed workplace accidents were the main cause of disabilities. Back and spine problems were the second most common cause of disabilities, according to the Centers for Disease Control, far more common than the next leading cause of disability, heart trouble.
Even more worrisome, just 16% of survey respondents said they had thought about how they would get by if someone in their family became disabled. Nearly three-quarters said their cash reserves wouldn't carry them through the year.
The report noted that women are particularly at risk. They are more likely to suffer a disability than men, and 66% of women surveyed said they were not confident they could afford basic living expenses.
According to the U.S. Census Bureau, 37% of Americans 65 or older suffer a severe disability and 11% have some disability. Among adults 21 to 64, 11% have a severe disability and 6% have some disability. The report found, however, that most respondents believe they won't suffer a disability. Half of women and 57% of men said their chances of becoming disabled were less than 5%. Even temporary disabilities are of little concern; just 15% of all respondents said they were concerned about being disabled for a year.
Although 25% of women and 35% of men are extremely or very confident they could cover basic expenses if they suffered a disability, the report estimates that even those low levels of confidence are misplaced. "Two-thirds of both women and men have not calculated how much their household would need each month if they were unable to work due to a disability," according to the report. "It is likely that if the calculations had taken place, confidence levels would be even lower."
Americans need to be educated about disabilities and their risk of becoming disabled, the report concluded. Fifty-eight percent of respondents were not aware that the average long-term disability claim lasts at least one year. Eighty percent of respondents incorrectly believed or weren't sure whether men are more likely than women to become disabled for three months or longer (they're not).
Advisors could take advantage of their relationships with clients to further that education, especially among their female clients. Of respondents who work with a financial advisor, 37% of women and 52% of men have discussed disability with their advisors. The disparity between men who have talked to their advisor about disability and women who have done the same may be a consequence of respondents' perception that a male spouse's disability would be more devastating to the family. Less than a third of married men said their wife's disability would be totally devastating or close to it. Sixty-one percent of married women said it would be totally devastating or close to it if their husband became disabled.


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I think you need to chill out. Just because KatEllis chose Skamm to be gay doesn't mean he's homophobic or anything. That's ridiculous.
Besides, arguably the most evil character in the whole comic is Karostropov, who is asexual. I myself am pretty close to being asexual. I am not sexually attracted to man or beast, though I do find some cartoon depictions of animals... interesting, which is a small part of why I like this comic. However, I have no problem with an asexual character being depicted as evil.
Another thing is, I've seen occasionally a television show in which the villain is Australian. This doesn't bother me at all, as a native to the country. I don't think at all that the creators of the shows are xenophobic. And if they are, I really don't give a hoot.
I'm really enjoying this "epic tale" myself. You might find it boring (presumably because there's not enough yiff in it), but that's your opinion, and you have a right to one. And don't forget what Kat said, you don't have to read the comic if you don't like it.


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Happy New Year- United Under One wishes all of you a happy and healthy 2012.
As this new year begins and the 2012 election is coming up, I decided to educate myself about our candidates so that I can be an educated voter next fall. I just finished the book "Winning the Future" by Newt Gingrich which convinced me that any hope I had for him becoming a strong candidate was just that, a hope. In his book, Mr. Gingrich expressed his thoughts on politics and religion, and those were, that this country was "supposed" to be a Christian nation, and that in recent years, this country has lost its vision; that the roots of this country are Christian and we need to bring those beliefs back. He is sure that Atheists are "un-American" and that liberals poison the country, and all of its foundations. Now, I tend not to form opinions about any of these candidates until I am educated about who they really are, and this book made it clear to me that not matter what I agree with or disagree with about Mr. Gingrich, he is what most people have become, and that is, a follower. Leaders don't follow what worked before, they form ideas that work for now. If Mr. Gingrich did his homework, he'd find out that this country was actually founded by enlightened men, AKA Our Founding Fathers... it wasn't Jesus, God, or the Pope. It's not about giving your opinion about "what this country is", it's looking at our suffering citizens without jobs, healthcare, etc. It's about solving REAL problems without hiding behind God and "what was." It's about using logic to defy all odds and making real change, and obviously, that's what this country needs, change, because we all know that WHATEVER these politicians think will work ISN'T.
I must say that I started Mr. Gingrich's book with an open mind, and I'm somewhat saddened and frightened that he is a leading candidate for the Republican party because his ideals and foundations for his opinions are so far from what is true that I have no choice but to exclude him from my "maybe" category for presidency.
Your thoughts welcomed and Happy New Year to all...
Views: 218
What are you trying to convey with the video?
What he is saying is not correct factually and Iran is nothing more than an invented threat.
Great point by Daniel. :)
I also vote for the pandering, he's a politician and saying exactly what he thinks he needs to say for the job.
If you are in an extremely important job interview that you really want then do you always say what you think or do you sometimes say what you think the other person wants to hear?
Or it could be that he is trying to pander to his base to get into office. Glen is right, most definitely Newt is an astute historian and in addition, he is actually into science. Quite to my surprise at first!
James-Newt is a great historian, pocketed million something for his pinions.
Atheists "un-American." How sad Newtie would say such a thing. It only goes to show he is an ignoramus who distorts this nation's history and in particular its founding by freethinking men.
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Email Marketing Top 10 Tips
An email newsletter is an easy, instantaneous and relatively inexpensive way to grab the attention of your audience with relevant information that they want to read.
Here are a few of our top tips before you start!
Rule #1 – plan ahead
Too many people jump on the email newsletter, blog or Twitter bandwagon without fully thinking through why they might need these types of social media tools and how they can get the most out of them. Why are you starting an email newsletter? Do you want to better inform your current students about your classes, attract new students or give parents more information? And almost as important as who will be reading your email newsletter is who will be writing it. Even if you just send it out every other month it takes time to decide what you want to say, compile the information and maintain your email lists, so make sure you consider the resources required.
Rule #2 – do some research
There are lots of email marketing systems available which will allow you to design a simple template and include images, links and a "forward to a friend" button. Sign up to some other email newsletters and see what you think of them before you choose a system that works for you. You can always start off by creating a simple, text email which you can send from your own email account, but if you think you're going to keep building your list of email subscribers, it's often easier to have a separate "news" or "info" email address that the newsletter email comes from.
Rule #3 – ask permission
Spam accounts for approximately 78% of all email sent.* (*Dan Fletcher, 2nd November, 2009, "A Brief History of Spam.") You don't want your message to go straight into someone's junk mail folder and with the vast amount of unwanted emails out there, it's even more important that your subscribers have willingly signed up. It's equally vital to be clear about expectations from the outset, which leads us to Rule #4…
Rule #4 – set expectations
Always set your subscribers' expectations during the opt-in process about what kinds of emails they'll be receiving. If you're starting a "newsletter" and that's what they've subscribed to, people will expect to read about your latest news when they open your email!
Rule #5 – think about your subject line
One of the jobs of an email newsletter is to grab attention quickly, so it's essential to create short, snappy and effective subject lines (how the email appears on the recipient's in-box). And the best subject lines are those that actually describe what's in the email. If your email is a newsletter, be clear and put the name and issue of the newsletter in your subject line. If your email is a special promotion, tell them right from the start (which is the subject line) what's inside. For example, depending on the content, your subject line might feature an announcement about new classes, an upcoming event or a special offer. But be careful with your subject lines too – certain words like "free" tend to automatically send emails straight to spam folders.
Rule #6 – know your audience
An email newsletter can include any information you want it to. Part of planning ahead also includes thinking about who will be reading your email and what they want to see. Before embarking on a massive online marketing strategy, do an informal (or formal) poll among your students and parents to ask what information they would most like to see in an email. It might be upcoming competition dates, the latest results, links to photos on the website or just class times. Part of the beauty of an email newsletter is that you can change it easily, adding more content and linking to other online articles.
Rule #7 – stay relevant and interesting
The inherent creativity of the dance world and the huge wealth of inspiring material you can generate will allow you to represent yourself online in a variety of engaging ways – from live streaming of performances to archived images. These can be included in your email newsletter as well. A clear, clean design with a template that you keep consistent each time will allow your audience to quickly scan and find the news that they're most interested in. For example, your diary dates could be set down one side with the main news in the middle, and a special offer at the bottom.
Rule #8 – be consistent
Email newsletters are a simple, fun, relevant – and consistent! – way of communicating with your students that they will look forward to seeing in their in-box. So make sure that you keep up regular contact and maintain your promise of weekly or monthly news. There's nothing more disappointing that signing up for something and then not receiving it!
Rule #9 – keep it simple
You might have lots to say, but it's very easy to lose your audience with an email if they have to keep scrolling through reams of text. Keep it clear and concise and if you need to, link through to a longer article or message on your website. If you include a "call to action" or something that you want your subscribers to do, make it really obvious what they should do (click through to an online form, call to sign up for a class etc.) and make it clear why they should do it. Are they getting a discount, or is it a requirement for the new term?
Rule #10 – think of your ending
A short P.S. at the end of the emails can also catch attention and increase the number of people who click through to your website. Giving people an incentive to do something such as register for an event or read more information can often work well here.
Don't forget – all of the online communication tools that continue to pop up are just that, tools. Without a clear message and an audience to reach out to, they're like power drill without a wall and a picture to hang.
Sarah O'Hanlon


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Stone Cold Pavers | Brookline Mid-century Modern House
Season 40 Episode 19 | 23m 43s
Jenn and the homeowners select pavers for hardscape. Tommy and Norm install a skylight in the bathroom, while the sewer line and water main are completely replaced out front. The original foundation is also repaired.
Aired: 04/18/19
Expired: 10/02/19Video has closed captioning.
Problems Playing Video?
Why Are These Foundations Crumbling?
Mark McCullough investigates a strange issue happening to foundations in the Northeast
How to Replace a Leaky Skylight
Installing a new skylight into an existing opening with Tom Silva.
How to Install a Rustic Stone Walkway
Mark McCullough installs a front walkway for a homeowner using natural stone.
Brookline Mid-century Modern House
TOH heads to a century-old New England cottage in Jamestown, RI.
Episode Links
Funding for THIS OLD HOUSE is provided by The Home Depot, GMC, State Farm, Gorilla Glue and Marvin Windows and Doors.


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No single word evokes the horrors of the Holocaust like the name Auschwitz. The largest of the Nazi concentration camps, this sprawling complex was the site of the murder of millions, through gas, beatings and shootings, illness, medical experimentation, exhaustion and starvation. Prisoners from all over Western, Central and Eastern Europe were forced on cattle-car rides to the labour and death camp located just 35 miles from the Polish city of Krakow; the vast majority would never return.
In the spring of 1940, Reichsführer-SS Heinrich Himmler ordered that a group of prisoners begin construction of a camp at Oswiecim, a small town in upper Silesia. Auschwitz, as it was named in German, was planned as a sprawling and multi-purpose construction: it consisted of three main camps and dozens of smaller sub-camps, and in total around 1.25 million people were killed here, more than ninety percent of whom were Jewish.
The first camp to be completed, in June 1940, was the main camp, known as Auschwitz I. It was followed by Auschwitz II (Birkenau), which was intended explicitly as a death camp. Next came Auschwitz III, or Buna-Monowitz, the largest forced labour camp of the Auschwitz complex. Over the years that followed, dozens of smaller camps, labour camps and factories sprang up around these main centres. Trainloads of crowded cattle-cars pulled into Auschwitz on a daily basis, bringing Jewish and non-Jewish prisoners from all over occupied Europe. New arrivals were subjected to the infamous selection process, during which the majority — including all children, pregnant women, the elderly and the 'unfit' — were sent to Birkenau to be gassed and cremated. Those who survived the selections were divided up amongst the Auschwitz camps, where they too would in most cases die of starvation, overwork or disease. By the time the Red Army reached the camp on 27 January 1945, they found only 7,500 sickly survivors, the remainder of the tens of thousands of inmates who had been forced on death marches to Germany through the dead of winter.
The main camp, with the infamous gate slogan 'Arbeit macht Frei' (Work makes you free), was not officially a death camp. Nonetheless, tens of thousands of prisoners were killed here, mainly members of the Polish resistance and intelligentsia, and especially Soviet POWs. The first inmates imprisoned here were Polish political prisoners, and numbers increased continually as the prisoner population grew to include Jews, Soviets, German criminals and homosexuals, and Jehovah's Witnesses. Auschwitz I also housed a camp brothel, as well as a prison and separate execution area.
Amidst these harsh conditions the camp housed an elaborate and multifaceted musical scene. The first prisoner orchestra was set up in the winter of 1941, with Franz Nierychlo as conductor. (The advantages of a prisoner, rather than SS, band — primarily the ability to control musicians as slave labour — led to the decision to gather inmates together to play at camp functions.) The original group of seven musicians, playing first with instruments seized from neighbouring towns, included a violin, contrabass, accordion, trumpet, saxophone and percussion. These were later replaced with better quality instruments sent to the musicians by family members. Their first formal rehearsal was held in Block 24, the basement under the camp brothel, where there was a small podium and a grand piano. This room became known as the concert hall, where the band gave shows for prisoners as well as guards and officials. The audience would stand along the walls; the musicians were scattered throughout the room, sitting wherever they could find a space. The group rapidly expanded to over 100 members. As an increasing number of professional Polish musicians were arrested, the quality of performance improved. (Until the last months of the orchestra, Jews were not allowed to join.)
The orchestra's primary task was to accompany prisoners marching to and from work, so that the marching rhythm would allow ease of control over the prisoners. The musicians were originally required to play outside regardless of the weather, although in later years, they were allowed to play indoors during rain and snow. The orchestra was also required to play for the SS guards on Saturdays, and to perform long Sunday concerts for the pleasure of camp commander Hoess and his family and friends.
The orchestra had a high turnover rate. In addition to the generally high death rate in Auschwitz -- musicians were not freed from their daily labour assignments -- there was also a high suicide rate, due perhaps to the emotional pressure of the context. Over the years, the orchestra acquired more instruments and sheet music. In 1942, Nierychlo was released in order to serve in the German army, and he was replaced with the far more popular Polish musician Adam Kopyciński, who held the post until the orchestra was dissolved.
In October 1944 mass transports removed large numbers of Czech, Russian and Polish prisoners from the camp, including many musicians (though Kopyciński remained behind). These were replaced by professional Jewish musicians. Nonetheless, the size of the orchestra was diminished, and it was finally entirely dissolved in November 1944, when many of the new Jewish members were deported to Bergen-Belsen. The majority of those who participated in the orchestra did not survive to see the end of the war.
In addition to the orchestra, there was a variety of other SS-sponsored music at Auschwitz. Some SS officers employed individual 'musical slaves', who were required to play or sing whenever commanded to. One such prisoner was the Italian tenor Emilio Jani, whose memoirs are titled My Voice Saved Me. Another was Coco Schumann, who recalled years later that
the music could save you: if not your life, then at least the day. The images that I saw every day were impossible to live with, and yet we held on. We played music to them, for our basic survival. We made music in hell.
The SS also tolerated a swing band, as it provided an opportunity for them to hear music that was banned. At these clandestine concerts, officers would reward musicians with liquor or cigarettes. There are also reports of a separate jazz band that played exclusively at SS orgies and drinking parties.
Most voluntary music in Auschwitz was vocal rather than instrumental. There was much group singing in various barracks, and even a camp choir made up primarily of Polish inmates.
Fackler, G., 2000. "Des Lagers Stimme"– Musik im KZ. Alltag und Häftlingskultur in den Konzentrationslagern 1933 bis 1936, Bremen: Temmen.
Gilbert, S., 2005. Music in the Holocaust: Confronting Life in the Nazi Ghettos and Camps, Oxford: Oxford University Press.
Jani, E., 1961. My Voice Saved Me: Auschwitz 180046, Milan: Centauro Editrice.
Schumann, C., 1997. Der Ghetto-Swinger: Eine Jazzlegende Erzählt 2nd ed., Munich: Deutscher Taschenbuch Verlag.


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Photographer's Note
I can't count the number of times that I've taken a photo while trying to avoid including overhead wires - from Toronto to Delhi to Bangkok, they seem to be everywhere! It's almost funny!
So on this day in Nicaragua, having found a lovely colonial church tower and a hedge of blossoms to photograph, I gave up trying to exclude them: so here is my street scene of Granada, complete with detracting wires!
Nobody has marked this note useful
Critiques | Translate
dta (96252) 2014-03-23 10:10
hello William ,
Ah Ah ! As you say , not easy to avoid them ! But despite of this fact , the superb church tower , the green tree , the purple bougainvillea , and the white pergola , compose a very pleasant scene .
imageme (1790) 2014-03-24 8:16
Hi William. Yes, electrical wires are distracting. This one of you are really not a problem to the composition of this image. Your powerful angle has override it and they are beautifully sitting across the frame. Excellent focus point of the architecture in the BG. Awesome light with great clarity. Best regards
Photo Information
- Copyright: William Coombs (williamcoombs1) (365)
- Genre: 場所
- Medium: カラー
- Date Taken: 2014-03-09
- Categories: ユーモア
- Camera: Nikon D90, 18-105mm VR Nikon
- Exposure: f/8, 1/1000 seconds
- Photo Version: Original Version
- Date Submitted: 2014-03-23 6:56


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The Wesley T. METZNER household appears in the 1900, 1910 & 1930 census of Wayne Twp., Jay Co., IN. Wesley was my paternal 2nd-great granduncle, the son of John and Catherine (YOUNG) METZNER.
In the 1900 census, Wesley was a 45 year old Farmer, who had been married for 15 years. His father was born in Germany and his mother in France. Wesley owned his home free of mortgage. Wife Mary was aged 37, born in Indiana with both parents being born in Pennsylvania. Mary was the mother of 3 children, all of whom were living. Daughter Ethel C. was aged 13; son Jay E. was aged 12; and daughter Mary Vada was aged 4.
In the 1910 census, Wesley was a 54 year old general contractor. Wife Mary E. was aged 47 and was now the mother of 4 children, all of whom were living. Only three were listed as living with the family : Ethel C. was aged 23, working as a telephone operator; Mary V. was aged 13 attending school; and daughter Mabel E. was 4 years old. I have not found a record of son, Jay E., who would be approx. 22 years old at the time of the 1910 census.
By the 1930 census, Wesley was a 74 year old widower, living alone, with no occupation. He owned a radio, and his home was valued at $1250.
I need to research the 1920 census to try and locate this family. Also, I have conflicting dates of birth for daughters Mabel E. & Mary Vada that don't reconcile with the census records.
Wesley T. METZNER b. November 9, 1855 Jay Co., IN., d. after 1930 census, m. November 15, 1885 Jay Co., IN to Mary Emma ROSER, daughter of Evan and Catherine (SPRECHER) ROSER. Mary Emma b. March 1863 Jay Co., IN., d. between 1920-1930 Jay Co., IN.
Known children of Wesley T. and Mary Emma (ROSER) METZNER are as follows :
i. Ethel C. METZNER b. August 12, 1886 Jay Co., IN., m. John C. McDANIEL
ii. Jay E. METZNER b. February 1888 Jay Co., IN.
iii. Mary Vada METZNER b. May 1896 Indiana
iv. Mabel E. METZNER b. ca. 1906 Indiana


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Latest Heart News
MONDAY, Aug. 19 (HealthDay News) -- One way for recently discharged heart failure patients to boost their survival odds is to see a doctor within the first month after leaving the hospital, a new study finds.
And the survival advantage is higher among patients who see their regular doctor rather than an unfamiliar one, according to the report in the Aug. 19 issue of the CMAJ (Canadian Medical Association Journal).
For the study, researchers looked at data on more than 24,000 heart failure patients aged 20 and older who had been discharged from hospitals in Alberta, Canada. Of those patients, 22 percent did not see a doctor within the first month, 69 percent saw their regular doctor, and 9 percent saw an unfamiliar doctor.
Patients who saw a doctor within a month of being discharged from hospital were 3 percent to 8 percent less likely to die or be readmitted to the hospital within three months to one year than those who did not see a doctor, according to Dr. Finlay McAlister, of the University of Alberta, Edmonton, and colleagues.
The investigators also found that patients who saw their regular doctor had a significantly lower risk of death or hospital readmission than those who saw an unfamiliar doctor.
The findings show "that physicians should strive to optimize continuity with their heart failure patients after discharge, and that strategies are needed in the health care system to ensure early follow-up after discharge with the patient's regular physician," the study authors concluded.
Heart failure is costly in terms of lives and money, the study authors explained in a journal news release. It is one of the most common causes of hospitalization, and has a high risk of readmission and early death. And in the United States and Canada, more than $20 billion per year is spent on patients who need to be readmitted to hospital within a month of being discharged.
-- Robert Preidt
Copyright © 2013 HealthDay. All rights reserved.


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Winter Park Wipeout: Costumes, cowbells for the coolest race on snow
WINTER PARK – Teams of competitors and individuals dressed in outlandish costumes wearing cow bells and bead necklaces overtook the streets of Winter Park this past weekend as over 600 competitors rounded the 15 different race stations of the Winter Park Wipeout.The race took competitors on an adventure around Winter Park where participants competed at a number of interesting stations, including snowmobile tows, frozen turkey shuffleboard, and hammerschlagen.One of the more popular events was the hands-free pancake eating competition, where competitors convened at the Mountain Rose Cafe to attempt to eat a pancake, complete with syrup and whipped cream, without the use of their hands, according to Shanna Lalley, an organizer of the event.Lalley commented that her favorite costume she saw was a team of Ms. Pack-Man who traveled around the town wearing shirts adorning the image of the 80's arcade icon.Great Divide Brewing Co. and Jgermeister provided the party supplies for the event, which the participants made great use of by finishing all of the beer that was available for the event. And Kwik Tec Sleds brought a slew of sleds for the competition and even handed a few out to some lucky participants.After the completion of each challenge, racers were awarded with a string of beads. For every five strings of beads that the racers collected, they were entered into a raffle that handed out some of the sweetest raffle prizes around, including one prize consisting of a season pass to Winter Park Resort, a Never Summer snowboard, and custom foot beds from Le Feet Lab. Overall, more than $6,000-worth of prizes were doled out during the raffle.The best part about this race? The proceeds of the event will go to the Mountain Family Center to help fund the Tote program, where local students on free or reduced lunch receive a "tote" full of food before the weekend so they can come back to school on Monday full of food and ready to learn."We are hoping to give them a pretty sizable donation," Lalley said.The Winter Park & Fraser Valley Rotary Club were the main organizers of the event along with a large amount of help from Winter Park Resort and the Winter Park & Fraser Valley Chamber of Commerce.The race went so well this year, there are already plans to bring back the event next year on March 29. "We are looking to next year and would love to see 1,000 people in the race next year," Lalley said. "Hands-down, seeing people in costumes was the best part," she said.
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A giant wildfire raging out of control grew to nearly 518km2 and spread into Yosemite National Park on Friday, as California Governor Jerry Brown declared a state of emergency for the city of San Francisco 240km away because of the threat to the city's utilities.
The fire hit the park at the height of summer season, as officials geared up for a busy holiday weekend. It has closed some back-country hiking, but was not threatening the Yosemite Valley region, one of California's most popular tourist destinations.
Nevertheless, the blaze did pose a threat to the lines and stations that pipe power to the city of San Francisco, so Brown, who declared an emergency for the fire area earlier in the week, made the unusual move of extending the emergency declaration to the city across the state.
San Francisco gets 85 percent of its water from the Yosemite-area Hetch Hetchy Reservoir, which is about 6.4km from the fire, although that had yet to be affected. However, the city was forced to shut down two of its three hydroelectric power stations in the area.
San Francisco has so far been able to buy power on the open market and use existing supplies, but further disruptions or damage could have an effect, according to city power officials and the governor's statement.
The declaration frees funding and resources to help the city and makes it eligible for more federal funds to help with power shortages and outages or water problems.
The week-long blaze on the slopes of the western Sierra Nevada mountain range has spread to 500km2 and was only 5 percent contained. It continued to grow in several directions, although "most of the fire activity is pushing to the east right into Yosemite," said Daniel Berlant, spokesman for the California Department of Forestry and Fire Protection.
Smoke blowing across the Sierra into the state of Nevada forced officials in several counties to cancel outdoor school activities and issue health advisories, especially for people with respiratory problems.
Authorities urged more evacuations in nearby communities where thousands have already left.
The fire was threatening about 5,500 residences, according to the US Forest Service. The blaze has destroyed four homes and 12 outbuildings in several different areas. More than 2,000 firefighters were on the lines and one sustained a heat-related injury.
While the park remained open, the blaze closed a 6.4km stretch of State Route 120, one of three entrances into Yosemite on the west side. Two other western routes and an eastern route were open.
Within the park, the blaze was burning on about 44km2 in a remote area around Lake Eleanor, Yosemite spokeswoman Kari Cobb said.
Backcountry permits are required to hike in that area, Cobb said. The park was no longer issuing those and had contacted every person who had received a permit to go there. Two roads into that area were closed and occupants of a campground near the Route 120 west entrance were relocated.
The fire is more than 32km from Yosemite Valley and skies there were "crystal clear," Cobb said.
On Friday, officials issued voluntary evacuation advisories for two new towns — Tuolumne City, population 1,800, and Ponderosa Hills, a community of several hundred — which are about 8km from the fire line, Forest Service spokesman Jerry Snyder said.
A mandatory evacuation order remained in effect for part of Pine Mountain Lake, a gated community a few kilometers from the fire.