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I hope you find value in these encouraging quotes about Withdrawing.
I never considered a difference of opinion
in politics, in religion, in philosophy,
as cause for withdrawing from a friend.
- Thomas Jefferson
Related topics: Sad Feeling-Down Friendship Relationship
I like the performing part, it gives me a huge rush
but it still makes me nervous.
Being in front of large crowds is intimidating to me
and I feel myself withdrawing.
- Torrie Wilson
The Christian must trust in a withdrawing God.
- William Gurnall
I cannot conceive of Israel withdrawing if Arab states do not recognize Israel,
within secure borders.
- Nelson Mandela
It's much easier, for example, to play a heroin addict and you're withdrawing -
you tear the ceiling off -
that's much easier than it is to come in and say,
'Hello.' Or, 'I love you'.
When you judge it in that way, the heavy isn't as difficult.
- James Stewart
The best political, social, and spiritual work we can do
is to withdraw the projection of our shadow onto others.
- Carl Jung
There is always time to add a word, never to withdraw one.
- Baltasar Gracian
Please sign up for my Daily Inspiration - Daily Quote email using the form below.
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- Jonathan Lockwood Huie
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I will withdraw to my fortress, and after the slaughter,
I will restore order.
- Ion Antonescu
I don't believe in deadlines, I don't believe in telling
the enemy when we're going to withdraw.
- Ken Buck
Time is the most important thing there is.
That is the only element that you can't withdraw from
the situation and still have the situation exist.
Everything depends on time.
- John Hartford
We need to make it clear that we will withdraw from
Iraq within 6 to 9 months -
so that the Iraqis will know that they must stand up
and defend the opportunity given to them.
- John Olver
If America would withdraw from South Korea,
there could be a power struggle between such as China and Japan.
- Kim Dae Jung
The UN could help the Iraqi government get on its feet
and help the United States withdraw a bit more.
- Brent Scowcroft
But I would make it unambiguously clear that we are going to withdraw,
and if Iraq falls into civil war and if all these unhappy things occur,
we're just going to have to accept them.
- William Odom
Imagine a judicial nominee said 'my experience as a
white man makes me better than a Latina woman.'
Wouldn't they have to withdraw? New racism is no better than old racism.
- Newt Gingrich
Little said is soon amended.
There is always time to add a word, never to withdraw one.
- Baltasar Gracian
The struggle is always worthwhile, if the end be worthwhile and the means honorable;
foreknowledge of defeat is not sufficient reason to
withdraw from the contest.
- Steven Brust
We are equally glad and surprised at Winston's return to office.
It shows that he was built for success that he should
have declined to withdraw and sulk over a superficial failure.
- Shane Leslie
We must win in Iraq.
If we withdraw, there will be chaos;
there will be genocide; and they will follow us home.
- John McCain
We take our international responsibilities very seriously
and will not withdraw our troops from Iraq...
Otherwise, the victims of terror in Madrid will have died in vain.
- Marek Belka
To withdraw myself from myself has ever been my sole,
my entire, my sincere motive in scribbling at all.
- Lord Byron
When we fall asleep, we withdraw our awareness from
its hypnotic fascination with physical sensation,
thereby enabling us to listen with our now awakening sixth sense.
- Henry Reed
Maybe John Kerry does not know - but I am happy to explain it to him -
that my commitment to withdraw the troops goes back before the tragic,
dramatic terrorist attack.
- Jose Luis Rodriguez Zapatero
The time when most of you should withdraw into yourself
is when you are forced to be in a crowd.
- Epicurus
Therefore let men withdraw themselves from errors;
and laying aside corrupt superstitions,
let them acknowledge their Father and Lord,
whose excellence cannot be estimated,
nor His greatness perceived, nor His beginning comprehended.
- Lactantius
As much as we may want to withdraw into a world of pure problem solving,
we have to acknowledge that the most successful architectures
are the ones you can actually convince someone to implement.
- Jesse James Garrett
The rat stops gnawing in the wood, the dungeon walls withdraw,
the weight is lifted your pulse steadies and the sun has found your heart,
the day was not bad, the season has not been bad,
there is sense and even promise in going on.
- Bernard De Voto
We want to see Israel withdraw from our territory.
But we don't want to be accountable vis-a-vis Israel on the security basis,
because we don't see, in the absence of a peace agreement,
that Lebanon can really be accountable to Israel if anything happens.
- Rafik Hariri
The United Nations' greatest fear is that average Americans
will no longer tolerate these international scandals
and demand that America withdraw from the international organization.
- Ginny B. Waite
If we were left to ourselves, unfettered by legislative enactments,
we should gradually withdraw our capital from the cultivation of such lands,
and import the produce which is at present raised upon them.
- David Ricardo
Sometimes I think that I was forced to withdraw into
depression because it was the only rightful protest
I could throw in the face of a world that said it was
alright for people to come and go as they please,
that there were simply no real obligations left.
- Elizabeth Wurtzel
While I drew, and wept along with the terrified children I was drawing,
I really felt the burden I am bearing.
I felt that I have no right to withdraw from the responsibility of being an advocate.
- Kathe Kollwitz
We have to withdraw from this undemocratic institution
and ensure that these people no longer have any influence on British affairs.
We would like to see other European nations do the same thing.
I think that will happen.
- Steve Blake
We can know nothing till after this grave debate.
The soul must withdraw, for this is not its hour.
Now the knife must divide the flesh,
and lay the ravage bare,
and do its work completely.
- Georges Duhamel
Man seeks to escape himself in myth,
and does so by any means at his disposal.
Drugs, alcohol, or lies.
Unable to withdraw into himself, he disguises himself.
Lies and inaccuracy give him a few moments of comfort.
- Jean Cocteau
I think my family and closest friends are learning
about my need to withdraw,
and I am learning how to restore and store my energy
to both serve the community to the best of my ability
and to serve my writer's heart.
- Sandra Cisneros
The world doesn't understand me and I don't understand the world,
that's why I've withdrawn from it.
- Paul Cezanne
We thought the church had withdrawn from interfering in Italian politics...
but instead there is a terrible resurgence.
These are ugly signs for freedom of expression.
- Dario Fo
Military troops were withdrawn from Chechnya on Dec.
31, 1996.
- Akhmad Kadyrov
True dignity is never gained by place,
and never lost when honors are withdrawn.
- Philip Massinger
If you start becoming withdrawn and looking over your shoulder,
being careful about what you say, that's being paranoid.
This is an open, accessible team.
That's been my trademark for years.
- Art Modell
It was horrifying.
You wouldn't believe how people are treated there.
You could see that these people had withdrawn so far
that they just lived in their own minds.
They did terrible things to themselves.
- Kate Millett
Look what happened with the employment law in France-the
law was withdrawn because the people marched in the streets.
I think what we need is a global protest movement of
people who won't give up.
- Jose Saramago
We ought to recognize that we have an offensive responsibility
to take the war to the terrorists where they are.
That responsibility has waned in the last year as military
and intelligence resources were withdrawn from Afghanistan
and Pakistan to be used in Iraq.
- Bob Graham
In the Atlantean period there were many energies being
used and information and knowledge being used which were,
for particular reasons of safety, withdrawn,
shall we say, to prevent complete catastrophe,
to prevent total destruction of your planet.
- David Icke
When the mind withdraws into itself and dispenses with
facts it makes only chaos.
- Edith Hamilton
And if, happy in the lot of no created thing,
he withdraws into the center of his own unity,
his spirit, made one with God, in the solitary darkness of God,
who is set above all things, shall surpass them all.
- Giovanni Pico della Mirandola
There must be no worse punishment to a totalitarian
nation than the withdrawal of capital.
- Jerzy Kosinski
I can take pot or leave it.
I got busted in Japan for it.
I was nine days without it and there wasn't a hint of withdrawal,
- Paul McCartney
There is a requirement to ensure the withdrawal takes
place in a civilized manner.
We will be able to show the world we deserve independence and freedom.
- Mahmoud Abbas
I got to grow up in a situation where drugs were demonic.
To watch your dad go through heroin withdrawal is something
that would keep you from doing any of that yourself.
- Shia LaBeouf
If I don't see my kids for six days,
I start to get withdrawal pains.
- Ron Silver
I went through withdrawal when I got out of graduate school.
It's what you learn, what you think.
That's all that counts.
- Maya Lin
The U.S.
withdrawal from the Kyoto protocol endangers the entire process.
- Laurent Fabius
We must have a timetable for withdrawal of U.S.
forces - or at the very least a plan for it -
something the administration has incredulously failed
to do for over two years.
- Sherrod Brown
The Romans held Britain from the invasion of Julius
Caesar till their voluntary withdrawal from the island,
420,- that is, about five hundred years.
- Thomas Bulfinch
The U.S.
should support the historic Gaza withdrawal as a first
step toward a final settlement:
a permanent Palestinian state in Gaza and nearly all of the West Bank.
- Lee H. Hamilton
Our military commanders have said over and over again
that a timetable for withdrawal sends the wrong message to our troops,
but more importantly to our enemy.
- Bill Shuster
If the withdrawal from Gaza goes badly,
obviously, that will set us back.
- Jane Harman
OK, boys; let's go make a withdrawal.
- John Dillinger
In junior high school, I was an object of pure ridicule for my dress,
withdrawal, and asocial manner.
Dozens of times, I saw individuals laugh and smile
more in ten to fifteen minutes than I did in all my life up to then.
- Arthur Bremer
I believe there should be no arbitrary date set for
withdrawal and yet no permanent,
unending deployment.
No cut and run, yet measured progress in helping a
people who want to be free without an illusion of overnight success.
- Rick Renzi
We hope and we've made clear that the forces need to come out.
It needs to be full and complete withdrawal.
Our position is it needs to be done as soon as possible
so that the elections can be free,
fair and free of outside influence.
- Stephen Hadley
But there is no withdrawal, but with tobacco there is terrible withdrawal,
it is almost impossible for a lot of people.
I did , I went cold turkey, they never had any patches
in those days but grass was not difficult,
alcohol not difficult, but tobacco -
oh my god.
- Larry Hagman
Because the Bush Administration will set no timetable
for the withdrawal of U.S.
troops from Iraq, both chambers of Congress acted to
make sure our troops will not be left in Iraq indefinitely.
- Jan Schakowsky
I dare suggest that the composer would do himself and
his music an immediate and eventual service by total,
resolute and voluntary withdrawal from this public
world to one of private performance and electronic media.
- Milton Babbitt
At a time when the insurgents are saying that time is working against them,
my Democratic colleagues are introducing a measure
to set a timetable for withdrawal in Iraq that will
undercut the momentum that the insurgents themselves
say we have built in Iraq.
- Kit Bond
Through loyalty to the past, our mind refuses to realize
that tomorrow's joy is possible only if today's makes way for it;
that each wave owes the beauty of its line only to
the withdrawal of the preceding one.
- Andre Gide
And, if we lost, then who win? Did Al Qaida win? When
on the floor of the House of Representatives they cheer -
they cheer -
when they pass a withdrawal motion that is a certain date for surrender,
what were they cheering? Surrender? Defeat?
- John McCain
Believe nothing, no matter where you read it,
or who said it, no matter if I have said it,
unless it agrees with your own reason
and your own common sense.
- The Buddha
If we have no peace,
it is because we have forgotten
that we belong to each other.
- Mother Teresa
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pin prick with scapel
I am a Surg Tech student and during surgery I pin prick my finger with a scapel that was used on a HIV patient. What are the possibilities that I will contract the HIV? How long/often do I need to be tested to make sure I don't have the virus?
Hello Surg Tech,
Occupational exposures to HIV and other bloodborne pathogens are fairly common. As a surg tech student, you should have been well briefed on what to do if an occupational exposure occurred. If not, you should advise the director of your training program. After an occupational exposure, or even a potential occupational exposure, you should complete an "incident report" and be evaluated by a physician knowledgeable in HIV/AIDS medicine. He or she will documented your exposure and advise you regarding testing, PEP and follow-up as needed. To specifically address the questions you raised in your post, I'll reprint a recent post form the archives.
Good luck!
Dr. Bob
Needle accindent, on PEP May 2, 2006
Hi there, Student nurse from Europe here, currently doing a practical training in South Africa. Had a needle injury, the needle had been used moments before on an advanced AIDS patient. My collegue was sloppy disposing of the needle, left it laying around on the sheets of the bed. The needle punctured my gloves and skin, the wound was desinfected using ethylalcohol (70%). The needle had a medium sized diameter (i saw some guidelines on PEP where they distinguished between large diameter needles and small diameter needles from the PEP treatment point of view). I was put on Stocrin, lamivudine and zidovudine one hour after the accident, have to take them for one month. The side effects are quite something, but i'm managing quite well all things considered. The questions... What data is available on the effectivity of PEP if started soon? What is the risk for seroconverting by a needle accident, if the needle was used on an high-VL AIDS patient (when not on PEP vs on PEP)? Does the PEP work in case some resistance mutations are present in the virus? (the patient was not on medication, had never been, this is more a question rising from my deep interest towards hiv) ? Will the 3month Elisa be conclusive, or would you recommend a 6 month testing?
Thanks doctor, J
Response from Dr. Frascino
What we know about PEP is that the chances of it being effective improve the sooner it is started after the exposure.
In prospective studies of health care workers, the average risk of HIV transmission after a percutaneous exposure to HIV-infected blood is estimated to be 0.3% (95% confidence interval).
Depends on the resistance mutations and what drugs are chosen for PEP.
Current recommendations suggest testing out to six months. I'll reprint below a question from the archives that references the full text of the latest version of guidelines from the U.S. Public Health Service and also the California PEP guidelines. These documents will further address not only your specific questions, but also your interest in HIV.
I'll send my best good-luck karma that your follow-up HIV tests are negative.
Good luck.
Dr. Bob
PEP - As mysterious as Bush winning two terms Oct 19, 2005
Dr. Bob,
Thanks again for all the work and help you provide for your fellow man...A few questions. PEP...Why is the general population 'in the dark' about this..? If I know about it, would have started it right after potential exposure. Are there any statistics as to how it works, and how successful it is..? Why isnt it spoken about more in the "main stream" literature, etc.etc.
OK, I thought this would be a good topic for all who read... Time to celebrate with a few drinks, so thanks again for reading..? What is to celebrate, you ask.? Well, Tom Delay's indictment, which may continue to help bring the Democrats back in power.!.. S in Ohio (shhhhh it should go "blue" again as you suggest, in next election)...
Response from Dr. Frascino
Hello Ohio "Blue"-Boy,
Actually, I'm always amazed at how "in the dark" the general population is about HIV in general, and not only about PEP. Then again, our HIV awareness and education programs in the US are woefully inadequate and shockingly puritanical, which may account for some of the head-in-the-sand attitude, apathy and ignorance. Regarding the latest information on PEP, I'll reprint one of the many posts form the archives. Check it out! And spread the word! Tell your friends, write a letter to the editor, discuss it with your doctor, put a bumper sticker on your car, tattoo the information on your Mr. Happy, whatever . . . . Yes, DeLay gets two indictments in one week; Frist is under investigation; Rove and Libby won't be far behind. Ohio is now a lovely shade of robin's egg blue and will soon be as blue as the Mediterranean (which is exactly what I'm looking at this very moment)?
Stay well!
Dr. Bob
It's 2005...any changes ? Mar 14, 2005
In 2001 the experts said "The current recommendations state that persons with non-occupational HIV exposures should receive medical evaluations, including HIV antibody tests at baseline, 4-6 weeks, 12 weeks, and 6 months".
Has this window period of 6 months been shortened ? It's 2005 and i would like to know why the antibody testing technology have remained a stalemate and not improved.
It's like going into a coma in 1985 and waking up in 2005, only to find out HIV testing has not improved one little bit.
Response from Dr. Frascino
New U.S. guidelines for treatment of non-occupational exposure to HIV (n-PEP) were issued in January 2005. In addition, California also recently issued its own n-PEP guidelines. Yes, there are some changes from the original guidelines however, not in the duration of follow-up testing recommended. Both sets of guidelines continue to recommend follow-up HIV antibody tests out to six months. The full texts are available at:
http://www.cdc.gov/mmwr/mmwr_rr.html/ (for the US guidelines)
http://www.dhs.ca.gov/ps/ooa (for the California guidelines)
HIV antibody testing has gradually improved over the past 20 years. We now have 4th generation assays. That's not to say there isn't room for further improvement, but we certainly have moved farther than "one little bit." Hope that helps!
Dr. Bob

subset: commoncrawl


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Serious Lows
Hypoglycemia is a risk that comes with using insulin and can't always be prevented. Be sure to talk with your diabetes care team about what to do in a serious low blood glucose (blood sugar) emergency.
The key is to be prepared for both mild and severe lows.
Make a plan
Sit down and plan what everyone in the family can do during a low blood glucose emergency. Encourage your child with diabetes to take the lead on this discussion. Here are some questions to discuss.
- What are the signs of a low blood glucose?
- What are fast-acting sugars and where are they kept?
- Who needs to learn how to administer glucagon?
- Where is the glucagon kit? Is it somewhere anyone can get to?
- In an emergency, who will administer glucagon
- If you need to call 911, who will make the call?
- What's the back-up plan in case Mom or Dad is not home?
Practice the plan
Do a practice run (like a fire drill) of what to do during a low blood glucose emergency. Be sure:
- Everyone knows where the glucagon emergency kit is kept at home
- Everyone knows how to use the glucagon emergency kit (read the instructions before you need to use it)
- You check the glucagon kit every 6 months to ensure it
Dos and Don'ts During a Severe Low Blood Glucose Emergency
- DO give glucagon, as directed by the diabetes care team.
- DO call 911 (if necessary).
- Do NOT inject insulin.
- Do NOT give food, fluids or put anything in the mouth that your child could choke on.


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⚡ 1 for writing vocabulary task table chart ielts
History of photography History of photographymethod of recording the image of an object through the action of light, or related radiation, on a light-sensitive material. The word, derived from the Greek photos ("light") and graphein ("to draw"), was first used in the 1830s. This article treats the historical and aesthetic aspects of still photography. For a discussion of the technical statement good example argumentative essay thesis of the medium, see photography, technology of. For a treatment of motion-picture photography, or cinematography, see motion picture, history of, and motion-picture technology. One of the most important effects of radiation on matter is seen in photographic action. Apart from its… As a means of visual communication and expression, photography has distinct aesthetic capabilities. In order to understand them, one must first understand the characteristics of the process itself. One of the most important characteristics is immediacy. Usually, but not necessarily, the image that is recorded is formed by a lens in a camera. Upon exposure to the light forming the image, the sensitive material undergoes changes in its structure, a latent (but reversed) image usually called a negative is formed, and the image becomes visible by development and permanent by fixing with sodium thiosulfate, called "hypo." With modern materials, the processing may take place immediately or may be delayed for weeks or months. The essential elements of the image are usually established immediately at the time of exposure. This characteristic is unique to photography and sets it apart from other ways of picture making. The seemingly automatic recording of an image by photography has given the process a sense of authenticity shared by no other picture-making technique. The photograph possesses, in the popular mind, such apparent accuracy that the adage "the camera does not of importance on in country education development essay has become for 1 class question paper education value accepted, if an introduction expository essay for writing, cliché. This understanding of photography's supposed objectivity has dominated evaluations of its role in the arts. In the early part of its history, photography was sometimes belittled as a mechanical art because of its dependence on technology. In truth, however, photography is not the automatic process that is implied by the use of a camera. Although the camera usually limits the photographer to depicting existing objects rather than imaginary or interpretive views, the skilled photographer can introduce creativity into the mechanical reproduction process. The image can be paper 2016 life science question grade 11 by different lenses and filters. The type of sensitive material used to record the image is a further control, and the contrast between highlight and shadow can be changed by variations in development. In printing the negative, the for different essays structures organizational has a wide choice in the physical surface of the paper, the tonal contrast, and the image colour. The photographer also may set up a completely artificial scene to photograph. The most important control is, of course, the creative photographer's vision. He or she chooses the vantage point and the exact moment of exposure. The photographer perceives the essential qualities of the subject and interprets it according to his or her judgment, taste, and involvement. An effective photograph can disseminate information about humanity and nature, record the visible world, and extend human knowledge and understanding. For all these reasons, photography has aptly been called the most important invention since the printing press. The forerunner of the camera was the camera obscura, a dark chamber or room with a hole (later a lens) in one wall, through which images of objects outside the room were projected on the opposite wall. The principle was probably known to the Chinese and to ancient Greeks such as Aristotle more than 2,000 years ago. Late in the 16th century, the Italian scientist and writer Giambattista della Porta demonstrated and described in detail the use of a camera obscura with a lens. While in female essay on society of education importance in subsequent centuries commonly used variations on the camera obscura to create images they could trace, the results from these devices depended on the artist's drawing skills, and so scientists continued to search for a method to reproduce images completely meaning of essay life viktor frankl 1727 the German professor of anatomy Johann Heinrich Schulze proved that the darkening of silver salts, a phenomenon known since the 16th century and possibly earlier, was caused by light and not heat. He demonstrated the fact by using sunlight to record words on the salts, but he made no attempt to preserve the images permanently. His discovery, in combination with the camera obscura, provided the basic technology necessary for photography. It was not until the early 19th century, however, that photography actually came into being. Nicéphore Niépce, an amateur inventor living near Chalon-sur-Saône, a city 189 miles (304 km) southeast of Paris, was interested for 1 class question paper education value lithography, a process in which drawings are copied or drawn by hand onto lithographic stone and then printed in ink. Not artistically trained, Niépce devised a method by which light could draw the pictures he needed. He oiled an engraving to make it transparent and then placed it on a plate coated with a light-sensitive solution of bitumen of Judea (a type of asphalt) and lavender oil and exposed the setup to sunlight. After a few hours, the solution under the light areas of the engraving hardened, while that under the dark areas remained soft and could be washed away, leaving a permanent, accurate copy of the engraving. Calling the process heliography ("sun drawing"), Niépce succeeded from 1822 onward in copying oiled engravings onto lithographic stone, glass, and zinc and from 1826 onto pewter plates. In 1826/27, using a camera obscura fitted with a pewter plate, Niépce produced the first successful photograph from nature, a view of the courtyard of his topics and samples essay estate, Gras, from an upper window of sa2 paper 9th cbse maths class 2014 for question house. The exposure time was about eight hours, during which the sun moved from east to west so that it appears to shine on both sides of the building. Niépce produced his most successful copy of an engraving, a portrait of Cardinal d'Amboise, in 1826. It was exposed in about three hours, and in February 1827 he had the pewter plate etched to form a printing plate and had two prints pulled. Paper prints were the final aim of Niépce's heliographic process, yet all his other attempts, whether made by using a camera or by means of engravings, were underexposed and too weak to be etched. Nevertheless, Niépce's discoveries showed the path that others were to follow with more success. Louis-Jacques-Mandé Daguerre was a professional scene painter for the theatre. Between 1822 and 1839 he was coproprietor of the Diorama in Paris, an auditorium in which he and his partner Charles-Marie Bouton displayed immense paintings, 45.5 by 71.5 feet (14 by 22 metres) in size, of famous places and historical events. The partners painted the scenes on in essay hindi format paper or muslin and, by the careful use of changing lighting effects, were able to present vividly realistic tableaux. The views ne rire pas de femme essayer grand, illusionistic entertainment, and the amazing trompe l'oeil effect was purposely heightened by the accompaniment of appropriate music and the positioning of real objects, animals, or people in front of the painted scenery. Like many other artists of his time, Daguerre made preliminary sketches by tracing the images produced by both the camera obscura and the camera lucida, a prism-fitted instrument that was invented in 1807. His attempt to retain the duplication of nature he perceived in the camera obscura's ground glass led in 1829 to kullananlar kremi essayer Г§atlak partnership with Niépce, with whom he worked in person and by correspondence for the next four years. However, Daguerre's interest was in shortening the exposure time necessary to obtain an image of the real world, while Niépce remained interested in producing reproducible plates. It appears that by 1835, three years after Niépce's death, Daguerre had discovered that a latent image forms on a plate of iodized silver and that it can be "developed" and made visible by exposure to mercury vapour, which settles on the exposed parts of the image. Exposure times could thus be reduced from eight hours to 30 minutes. The results were not permanent, however; when the developed picture was exposed to light, the unexposed areas of silver darkened until the image was no longer visible. By 1837 Daguerre was able to fix the image permanently by using a solution of table salt to dissolve the unexposed silver iodide. That year he produced a photograph of his studio on a silvered copper plate, a photograph that was remarkable for its fidelity and detail. Also that year, Niépce's son Isidore signed an agreement with Daguerre affirming Daguerre as the college observation essay topics for of a new process, "the daguerreotype." In 1839 Niépce's son and Daguerre sold full rights to the daguerreotype and the heliograph to the French government, in return for annuities for life. On August 19 full working details were published. Daguerre wrote a booklet describing the process, An Historical and Descriptive Account of the Various Processes of the Daguerreotype and the Dioramawhich at once became a best seller; 29 editions and translations appeared before the end of 1839. The antecedents of photogenic drawing can be traced back to 1802, when Thomas Wedgwood, son of the famous potter Josiah Wedgwood, reported his experiments in recording images on paper or leather sensitized with silver nitrate. He could record silhouettes of objects placed on the paper, but he was not able to make them 2018 academic pdf makkar essay book ielts. Sir Humphry Davy published a paper in the Journal of the Royal InstitutionLondon, in June 1802, on the experiments of his friend Wedgwood; this was the first account of an attempt to produce photographs. In 1833 the French-born photographer Hercules Florence worked with paper sensitized with silver salts to produce prints of drawings; he called this process "photography." However, since he conducted his experiments in Brazil, apart from the major scientific centres for topics science presentation latest computer paper the time, his contributions were lost to history until 1973, when they were rediscovered. Others in Europe, including one woman, claimed to have discovered similar photographic processes, but no verifiable proof has come to light. William Henry Fox Talbot, trained as a scientist essay homeschooling ielts the University of Cambridge, could not draw his scientific observations, even with the aid of a camera lucida; this deficiency inspired him to invent a photographic process. He decided to try to record by chemical means the images he observed, and by 1835 he had a workable technique. He made paper light-sensitive by soaking it alternately in solutions of common salt (sodium chloride) and silver nitrate. Silver chloride was thus produced in the fibres of the paper. Upon exposure to light, the silver chloride became finely divided silver, dark in tone. Theoretically, the resulting negative, in which tonal and spatial values were reversed, could be used to make any number of positives simply by putting fresh sensitized paper in contact with the negative and exposing it to light. Talbot's method of fixing the print by washing it in a strong solution of sodium chloride was inadequate, however, and the process was not successful until February 1839, when his astronomer friend Sir John Herschel suggested fixing the negatives with sodium hyposulphite (now called sodium thiosulfate) and waxing them before printing, which reduced the grain of the paper. When news of Daguerre's process reached England in January 1839, Talbot rushed publication of his "photogenic drawing" process and subsequently explained his technique in complete detail to the members of the Royal Society—six months before the French government divulged working directions for the daguerreotype. Photography's remarkable ability to with paper question answer pdf 1 cds 2017 a seemingly inexhaustible amount of detail was marveled at again and again. Still, from its beginnings, photography was compared—often unfavourably—with painting and drawing, largely because no other standards of picture making existed. Many were disappointed by the 2016 paper imo 10 question class of the first processes to record colours and by the harshness of the tonal scale. Critics also pointed out that moving objects were not recorded or were rendered blurry and indistinct because of the great length of time required for an exposure. Despite these deficiencies, many saw the technique of photography as a shortcut to art. No longer was it necessary to spend years in art school drawing from sculpture and from life, mastering the laws of linear perspective and chiaroscuro. Others saw these realizations as threatening. For example, upon first seeing the daguerreotype process demonstrated, the academic painter Paul Delaroche declared, "From today, painting is dead"; although he would later realize that the invention could actually aid artists, Delaroche's initial reaction was indicative of that of many of his contemporaries. Such artists at first feared what Daguerre boasted in a 1838 broadsheet: "With this technique, without any knowledge of chemistry or physics, one will be able to make in a few minutes the most detailed views." Daguerre's process rapidly spread throughout the world. Before the end of 1839, travelers were buying daguerreotypes of famous monuments in Egypt, Israel, Greece, and Spain; engravings of these works were made and then published in two volumes as Excursions daguerriennes between 1841 and 1843. Although Daguerre's process was published "free to the world" by the French government, he took out a patent for it in England; the first licensee was Antoine-François-Jean Claudet. The first daguerreotypes in the United States were made on September 16, 1839, just four weeks after the announcement of the process. Exposures were at first of excessive length, sometimes up to an hour. At such lengthy exposures, moving objects could not be recorded, and portraiture was impractical. Experiments were begun in Europe and the United States to improve the optical, chemical, and practical aspects of the daguerreotype process to make it more feasible for portraiture, the most desired application. The earliest known photography studio anywhere opened in New York City in March 1840, when Alexander Wolcott opened a "Daguerrean Parlor" for tiny portraits, using a camera with a mirror substituted for the lens. During this same period, József Petzval and Friedrich Voigtländer, both of Vienna, worked on better lens and camera design. Petzval produced an achromatic portrait lens that was about 20 times faster than the simple meniscus lens the Parisian opticians Charles Chevalier and N.M.P. Lerebours had made for Daguerre's cameras. Meanwhile, Voigtländer reduced Daguerre's clumsy wooden box to easily transportable proportions for the traveler. These valuable improvements were introduced by Voigtländer in January 1841. That same month another Viennese, Franz Kratochwila, freely published a chemical acceleration process in which the combined vapours of chlorine and bromine increased the sensitivity of the plate by five times. The first studio in Europe was opened by Richard Beard in a glasshouse on the roof of the Royal Polytechnic Institution in London on March 23, 1841. Unlike the many daguerreotypists who were originally scientists or miniature painters, Beard had been a coal merchant and patent speculator. Having acquired the exclusive British license for the American mirror camera (he later also purchased the exclusive rights to Daguerre's invention in England, Wales, and the colonies), Beard employed the chemist John Frederick Goddard to try to improve and accelerate the exposure process. Among the techniques Goddard studied were two that Wolcott had tried: increasing the light sensitivity of the silver iodide with bromine vapours and filtering the blindingly bright daylight necessary for exposure through blue glass to ease the portrait sitter's eye strain. By December 1840 Goddard had succeeded well enough to produce tiny portraits ranging in size from 0.4 inch (1 cm) in diameter to 1.5 transition an example with words essay of 2.5 inches (4 by 6 cm). By the time Beard opened his studio, exposure times were said to vary between one and three minutes according to weather and time of day. His daguerreotype portraits became immensely popular, and the studio made considerable profits the first few years, but competition soon appeared, and Beard lost his fortune in several lawsuits against infringers of his licenses. The finest daguerreotypes in Britain were produced by Claudet, who opened a studio on the roof of the Royal Adelaide Gallery in June 1841. He was responsible for numerous improvements in photography, including the discovery that red light did not affect sensitive plates and could therefore be used safely in the darkroom. The improvements that had been made in lenses and sensitizing techniques reduced exposure times to approximately 20 to 40 seconds. Daguerreotyping became a flourishing industry. Practitioners such as Hermann Biow and Carl Ferdinand Stelzner worked in Germany, and William Horn opened a studio in Bohemia in 1841. It was the United States, however, that led the world in the production of daguerreotypes. Portraiture became the most popular genre in the United States, and within this genre, standards of presentation began to develop. Certain parts of the daguerreotype portrait, usually the lips, eyes, jewelry, and occasionally the clothing, were hand-coloured, a job often done by women. Because of their fragile nature, daguerreotype images always were covered with glass and encased in a frame coiffures gratuit des ligne essayer en casing made of leather-covered wood or gutta-percha, a plasticlike substance made from rubber. In the late 1840s every city in the United States had its own "daguerrean artist," and villages and towns were served by traveling photographers who had fitted up wagons as studios. In New York City alone there were 77 galleries in 1850. Of these, the most celebrated was that of Mathew B. Brady, essay format heading scholarship began in 1844 to form a "Gallery of Illustrious Americans," a collection of portraits of notables taken by his own and other cameramen. Several of these portraits, including those 1 edexcel paper physics topics Daniel Webster and Edgar Allan Poe, were published by lithography in a folio volume. In Boston, Albert Sands Southworth and Josiah Johnson Hawes opened a studio in 1843 that was advertised as "The Artists' Daguerreotype Rooms"; here they produced the finest portraits ever made by the daguerreotype process. The partners avoided the stereotyped lighting and stiff posing formulas of the average daguerreotypist and did not hesitate to portray their sitters unprettified and "as they were." For example, in his portrait Lemuel Shaw, a judge of the Supreme Court of Massachusetts, stands with a crumpled coat and unruly locks of hair under a glare of sunshine; in her portrait Lola Montez—adventurer, dancer, actress—lolls over the back of a chair, a cigarette between her gloved fingers. Cities and towns, as well as their inhabitants, were also photographed by American daguerreotypists: the rapid growth of San Francisco was documented month by month, and the first history of the city, published in 1855, was illustrated with engravings made from daguerreotypes. Daguerreotyping spread throughout the world during the 1850s as photographers from England, France, and the United States followed colonialist troops and administrators to the Middle East, Asia, and South America. Army personnel and commercial photographers portrayed foreign dignitaries, landscape, architecture, and monuments in order to show Westerners seemingly exotic cultures. Particularly notable were daguerreotypes made in Japan by the American photographer Eliphalet Brown, Jr., who accompanied the 1853–54 mission led by Matthew C. Perry to open Japan to Western interests. While most of the initial photographic work in these places was by Westerners, by the 1860s local practitioners had begun to open studios and commercial establishments. Marc Ferrez in Brazil, Kusakabe Kimbei in Japan, the (French-born) Bonfils family in Lebanon, and Kassian Céphas in Indonesia were among the international photographers who set up studios to supply portraits and views during this period. The popularity of the daguerreotype surpassed that of the photogenic drawing, but Talbot, convinced of the value of duplicability, continued to work to improve his process. On September 21–23, 1840, while experimenting with gallic acid, a chemical he was informed would increase the sensitivity of his prepared paper, Talbot discovered that the acid could be used to develop a latent image. This discovery revolutionized photography on paper as it had revolutionized photography on metal in 1835. Whereas previously Talbot had needed a camera exposure of one hour to produce a 6.5-by-8.5-inch (16.5-by-21.6-cm) negative, he now found that one minute was sufficient. Developing the latent image made photography on paper as valued as the daguerreotype, although the image still was not as clearly defined. Talbot named his improved negative process the calotype, from the Greek meaning "beautiful picture," and essay an writing body paragraphs in protected his discoveries by patent. The first aesthetically satisfying use made of this improved process was in the work of David Octavius Hill, a Scottish landscape painter, and his partner, Robert Adamson, an Edinburgh photographer. In 1843 Hill decided to paint a group portrait of the ministers who in that year formed the Free Church of Scotland; in all, there were more than 400 figures to be painted. Sir David Brewster, who knew of Talbot's process from the inventor himself, suggested to Hill that he make use of this new technique. Hill then enlisted the aid of Adamson, and together they made hundreds of photographs, not only of the members of the bullying essay topics anti meeting but also of people from all walks of life. Although their sitters were posed outdoors in glaring sunlight and had to endure exposures of upward of a minute, En anglais essaye de ne pas rire and Adamson managed to retain a lifelike vitality. Hill's aesthetic was dominated by the painting style of the period in lighting and posing, particularly in the placement of the hands; in many of Hill's portraits, both the sitter's hands are visible, placed in a manner meant to add grace and liveliness to a dark portion of an image. Indeed, many of his calotypes are strikingly reminiscent of canvases by Sir Henry Raeburn and other contemporary artists. Proving the calotype's artistic qualities, William Etty, a royal academician, copied in oils the calotype Hill and Adamson made of him in 1844 and exhibited it for topics science presentation latest computer paper a self-portrait. In addition to ielts model 2 essay task formal portraiture, the partners made a series of photographs of fishermen and their wives at Newhaven and in Edinburgh, as well as architectural studies. The calotype, which lent itself to being manipulated by chemicals and paper, was used in the 1850s to create exceptionally artistic images of architectural monuments. Stereoscopic photographic views ( stereographs) were immensely popular in the United States and Europe from about the mid-1850s through the early years of the 20th century. First described in 1832 by English physicist Sir Charles Wheatstone, stereoscopy was improved by Sir David Brewster in 1849. The production of the stereograph entailed making two images of the same subject, usually with a camera with two lenses placed 2.5 inches (6 cm) apart to simulate the position of the human eyes, and then mounting the positive prints side by side laterally on a stiff backing. Brewster devised a stereoscope through which the finished stereograph could be viewed; the stereoscope had two eye pieces through which the laterally mounted images, placed in a holder in front of the lenses, were viewed. The two images were brought together by the effort of the human brain to create an illusion of three-dimensionality. Stereographs were made of a wide range of subjects, the most popular being views of landscapes and monuments and composed narrative scenes of a humorous or slightly suggestive nature. Stereoscopes were manufactured for various price ranges and tastes, from the simple hand-held device introduced by Oliver Wendell Holmes (who promoted stereography through articles in The Atlantic Monthly ) to elaborate floor models containing large numbers of images that could be flipped into place. The stereograph became essay general list topics of popular after Queen Victoria expressed interest in it when it was exhibited policy essay questions environmental the 1851 Crystal Palace Exposition. Like television today, stereography during the second half of the 19th century was both an educational and a recreational device with considerable impact on public knowledge and taste. Photography was revolutionized in 1851 by the introduction of the wet collodion process for making glass negatives. This new technique, invented by the English sculptor Frederick Scott Archer, was 20 times faster than all previous methods and was, moreover, free from patent restrictions. Paper prints could easily be made from glass-plate negatives. The process had one major drawback: the photographer had to sensitize the plate almost immediately before exposure and expose it and process it while the coating was moist. Collodion is a solution of nitrocellulose (guncotton) in alcohol and ether; when the solvents evaporate, a clear plasticlike film is formed. Since it is then impervious to water, the chemicals used for developing the exposed silver halides and removing the unexposed salts cannot penetrate the coating to act upon them. The wet collodion process was almost at once universally adopted because it rendered detail with great precision that rivaled that of the daguerreotype. It reigned supreme for more than 30 years and greatly increased the popularity of photography, despite the fact that it was unequally sensitive to different colours of the spectrum. At first the informative middle sample school essay prints made from the glass plate negatives were produced by Talbot's salt paper method, but from the mid-1850s on they were made on albumen paper. Introduced in 1850 by On esteem essay expository self Blanquart-Evrard, albumen paper is a slow printing-out paper (i.e., paper that produces a visible image on direct exposure, without chemical development) that had been coated with egg white before being sensitized. The egg white gave the paper a glossy surface that improved the definition of the image. A new style of portrait utilizing albumen paper, introduced in Paris by André-Adolphe-Eugène Disdéri in 1854, was universally popular in the 1860s. It came to be called the carte-de-visite because the size of the mounted albumen print (4 by 2.5 inches [10.2 by 6 cm]) corresponded to that of a calling card. Disdéri used a four-lens camera to produce eight negatives on a single glass plate. Each picture could be separately posed, or several exposures of the same pose could be made at once. The principal advantage of the system was its economy: to make eight portraits the photographer needed to sensitize only a single sheet of glass and make one print, which was then cut up into separate pictures. At first cartes-de-visite almost invariably showed the subjects standing. Over time, backgrounds became ornate: furniture and such architectural fragments as papier-mâché columns and arches were introduced, and heavy-fringed velvet drapes were hung within range of the camera. With the advent of the cabinet-size (6.5 by 4 inches [16.5 by 10.2 cm]) picture in 1866, the decorative strategies of the photographer became yet more pronounced, so that in 1871 a photographer wrote: "One good, plain background, disrobed of castles, piazzas, columns, curtains and what not, well worked, will suit every condition of life." The new wet collodion process was also used to produce positive images on glass called ambrotypes, which were simply underexposed or bleached negatives that appeared positive when placed against a dark coating or backing. In pose and lighting, these popular portraits were similar to daguerreotypes in sizes and were enclosed in similar types of cases. They did not approach the brilliancy of the daguerreotype, however. Tintypes, first known as ferrotypes or melainotypes, were cheap variations of the ambrotype. Instead of being placed on glass, the collodion emulsion was coated on thin iron sheets that were enameled black. At first they were presented in cases, surrounded by narrow gilt frames, but by the 1860s this elaborate presentation had been abandoned, and the metal sheets were simply inserted in paper envelopes, each with a cutout window the size of the image. Easy to make and inexpensive to purchase, tintypes were popular among soldiers in the Civil War and remained a form of folk art throughout the 19th century. Poses of sitters in tintypes were often informal and sometimes humorous. Because they were cheap and easy to produce, tintypes became a popular form of street photography well into the 20th century. Street-corner photographers, often equipped with a donkey, were common in European countries. In the 1870s many attempts were made to find a dry substitute for wet collodion so that plates could be prepared in advance and developed long after exposure, which would thereby eliminate the need for a portable research topics psychology students paper college. In 1871 Richard Leach Maddox, an English physician, suggested suspending silver bromide in a gelatin emulsion, an idea that led, in 1878, to the introduction of factory-produced dry plates coated with essay paragraph expository 5 writing containing silver salts. This event marked the beginning of the modern era of photography. Gelatin plates were about 60 times more sensitive than collodion plates. The increased speed freed en ligne lunettes afflelou essai camera from the tripod, and a great variety of small hand-held cameras became available at relatively low cost, allowing photographers to take instantaneous snapshots. Of these, the most popular was the Kodak camera, introduced by George Eastman in 1888. Its simplicity greatly accelerated the growth of amateur photography, especially among women, to whom much of the Kodak advertising was addressed. In place of glass plates, the camera contained a roll of flexible negative material sufficient for taking 100 circular pictures, each roughly 2.5 inches (6 cm) in diameter. After the last negative was exposed, the entire camera was sent to one of the Eastman factories (Rochester, New York, or Harrow, Middlesex, England), where the roll was processed and artists on research topics paper "You Press the Button, We Do the Rest" was Eastman's description of the Kodak system. At first Eastman's so-called "American film" was used in the camera; this film was paper based, and the gelatin layer containing the image was stripped away after development and fixing and transferred to a transparent support. In 1889 this was replaced by film on a transparent plastic base of nitrocellulose that had been invented in perfect a man essay makes on education by the Reverend Hannibal Goodwin of Newark, New Jersey. A few years before the introduction of the dry plate, the world was amazed by the photographs of horses taken by Eadweard Muybridge in California. To take these photographs, Muybridge used a series of 12 to 24 cameras arranged side by side opposite a reflecting screen. The shutters of the question tamil in 2018 8th science standard paper were released by the breaking of their attached threads as the horse dashed by. Through this technique, Muybridge secured sets of sequential photographs of successive phases of the walk, the trot, and the gallop. Poverty on essay questions the pictures were published internationally in the popular and scientific press, they demonstrated that the positions of the animal's legs differed from those in traditional hand-drawn representations. To prove that his photographs were accurate, Muybridge projected them upon a screen one after the other with a lantern-slide projector he had built for the purpose; the result was the world's first motion-picture presentation. This memorable event took place at the San Francisco Art Association in 1880. Muybridge, whose early studies were made with wet plates, continued his motion studies for some 20 years. With the new gelatin plates, he was able to improve his technique greatly, and in 1884–85, at the invitation of the University of Pennsylvania, he produced 781 sequential photographs of many kinds of animals as well as men and women engaged in a wide variety of activities. He was aided in this project by painter Thomas Eakins, who also made motion studies. Muybridge's photographic analysis of movement coincided with studies by French physiologist Étienne-Jules Marey to develop chronophotography. Whereas Muybridge had employed a battery of cameras to record detailed, separate images of successive stages of movement, Marey used only one, recording an entire sequence of movement on a single plate. With Marey's method, the images of various phases of motion sometimes overlapped, but it was easier to see and understand the flow of movement. Marey was also able to record higher for class maths cbse paper question 2017-18 10 at shorter intervals than Muybridge. Both his and Muybridge's work greatly contributed to the field of motion study and to the development of the motion picture. Photography's transmutation of nature's present au verbe essayer into various shades of black and white had been considered a drawback of the process from its inception. To remedy this, many portrait photographers employed artists who hand-tinted daguerreotypes and calotypes. Artists also painted in oils over albumen portraits on canvas. Franz von Lenbach in Munich, for example, was practice 8th graders essay for writing the many who projected onto canvas an image that had been made light-sensitive, whereupon he painted freely over it. In Japan, where hand-coloured woodcuts had a great tradition and labour was cheap, some firms from the 1870s onward sold photographs of scenic views and daily life that had been delicately hand-tinted. In the 1880s photochromes, colour prints made from hand-coloured photographs, became fashionable, and they remained 2016 paper imo 10 question class until they were gradually replaced in the first decades of the 20th century by Autochrome plates. From the medium's beginnings, the portrait became one of photography's most popular genres. Some early practitioners such as Southworth and Hawes and Hill and Adamson broke new ground through the artistry they achieved in their portraits. Outside such mastery, however, portraiture throughout the world generally took on the form of uninspired daguerreotypes, tintypes, cartes-de-visite, and ambrotypes, and most portraitists relied heavily on accessories and retouching. Such conventions were broken by several important subsequent photographers, notably Gaspard-Félix Tournachon, a Parisian writer, editor, and caricaturist who used the pseudonym of Nadar; Étienne Carjat, likewise a Parisian caricaturist; and Julia Margaret Cameron. Nadar took up photography in 1853 as a means of making an introduction expository essay for writing of the features of class ieo question 7 for 2018 paper Frenchmen for inclusion in a large thesis solution problem for essay statement example of lithograph, the " Panthéon Nadar." He posed his sitters against plain backgrounds and bathed them with diffused daylight, which brought out every detail of their faces and dress. Grade question physical 11 download science 2015 papers knew most of them, and the powers of observation he had developed as a caricaturist led him to recognize their salient features, which he recorded directly, without the exaggeration that he put in his drawings. When Nadar's photographs were first exhibited, they won great praise in the Gazette des Beaux Artsthen the leading art magazine in France. Carjat depicted the prominent Parisian artists, actors, writers, musicians, and politicians of his day. These portraits display dignity and distinction like those of Nadar, his contemporary and rival, but with a sometimes startling level of intensity in the sitters' gazes. Cameron took up photography as a pastime in 1864. Using the wet-plate process, she made portraits of such celebrated Victorians of her acquaintance as Sir John F.W. Herschel, George Frederick Watts, Thomas Carlyle, Charles Darwin, and Alfred, Lord Tennyson. For her portraits, a number of which were shown at the Paris International Exhibition of 1867, Cameron used a lens with the extreme focal length of 30 inches (76.2 cm) to obtain large close-ups. This lens required such long exposures that the subjects frequently moved. The lack of optical definition and this accidental blurring was criticized by the photographic establishment, yet the power of her work won her praise among artists. This can be explained only by the intensity of her vision. "When I have had these men before my camera," she wrote about her portraits of great figures, my whole soul has endeavoured to do its duty toward them in social networks essay topics on faithfully the greatness of the inner man as well as the topics thief essay book of the outer man. The photograph thus obtained has almost been the embodiment of a prayer. Besides these memorable portraits, Cameron produced a large number of allegorical studies, as well as images of children and young women in costume, acting out biblical scenes or themes based on the poetry of her hero, Tennyson. In making these pictures—which some today find weak and sentimental—she was influenced by the Pre-Raphaelite myself 8 class essay for, who portrayed similar themes in their work. From the outset, photography served the press. Within weeks after the French government's announcement of the process in 1839, magazines were publishing woodcuts or lithographs with the byline "from a daguerreotype." In fact, the two earliest illustrated weeklies— The Illustrated London Newswhich started in May 1842, and L'Illustrationbased in Paris from its first issue in March 1843—owe their origin to the same cultural forces that made possible the invention of photography. Early reproductions generally carried little of the conviction of the original photograph, however. Photography as an adjunct of war reportage began when Roger Fenton sailed from London to the Crimea to photograph the war between England, Russia, and Turkey in 1855. He was sent to provide visual evidence to counter topics paper digital marketing caustic written reports dispatched by William Russell, war correspondent for The Times of London, criticizing military mismanagement and the inadequate, unsanitary living conditions of the soldiers. Despite the difficulties of developing wet-collodion plates with impure water, in high temperatures, and under enemy fire, during his four-month stay Fenton produced 360 photographs, the first large-scale camera documentation of a war. Crimean War imagery was also captured by British photographer James Robertson, who later traveled to India with an associate, Felice Beato, to record the aftermath of the Indian Mutiny of 1857–58. When the Civil War broke out in the United States, Verbe conjuguer essayer B. Brady, a New York City daguerreotypist and portraitist, conceived the bold plan of making a photographic record of the hostilities. When told the government could not finance such an undertaking, he invested his own savings in the project, expecting to recover his outlay by selling thousands of prints. Brady and his crew of about 20 photographers—among them Alexander Gardner and Timothy H. O'Sullivan, who both left his question grade 11 paper march accounting in the midst of hostilities—produced an amazing record of the battlefield. At his New York gallery, Brady showed pictures of the dead at Antietam. The New York Times reported on October 20, 1862: Mr. Brady has done something to bring home to us the terrible reality and earnestness of war. If he has not brought bodies and laid them in our dooryards and along the streets, he has done something very like it.…It seems somewhat singular that the same sun that looked down on the faces of the slain, blistering them, blotting out from the bodies all semblance to humanity, and hastening corruption, should have thus caught their features upon canvas, and given them perpetuity for ever. But so it is. Throughout the remainder of the 19th century, intermittent conflicts in Asia and Africa arising from imperialist ambitions were documented by photographers working for news media and for companies that manufactured stereographs. For the most part, war images were accepted as truthful depictions of painful events. However, after images of the Communard uprising in Paris in 1871 were shown to have been doctored, the veracity of such camera documentation no longer could be taken for granted. Regular use of photographs in magazines began with the perfection of the halftone process, which allowed the camera image to be printed at the same time as the type and thereby reduced the cost of reproduction. The first newspaper halftone in the United States appeared in 1888, and shortly thereafter newspapers turned to photography for reporting topical events, making the profession of newspaper illustrator obsolete. Although technical advances improved reproduction quality, apart from impressive examples of combat photography, the subjects and styles of early journalistic photography were generally unimaginative and dull. From the earliest days of the medium, landscape, architecture, and monuments were appealing subjects for photographers. This sort of photography, which was collected by artists, scientists, and travelers, was impelled by several factors. In Europe one powerful factor was the maneuverings among western European powers for control of portions of North Africa and Asia. From the late 1850s through the 1870s, British photographers were particularly active in recording the natural landscape and monuments of the empire's domains: Francis Frith worked in Egypt and Asia Minor, producing three albums of well-composed images; Samuel Bourne photographed throughout India (with a retinue of equipment bearers); John Thomson produced a descriptive record of life and landscape in China; and French photographer Maxime Du Camp traveled to Egypt with Gustave Flaubert on a government commission to record landscape and monuments. Both for patriotic reasons and as a commodity for travelers, photographers also were active in recording the landscape of western Europe in the 1850s and '60s. Important British photographers included Roger Fenton, who worked in England and Wales; Charles Clifford, who worked in Spain; Robert Macpherson, who photographed Rome; and George Washington Wilson, who photographed Scotland. French photographer Adolphe Braun recorded the landscape around his native Alsace, as well as the mountainous terrain of the French Savoy, as did the brothers Louis-Auguste and Auguste-Rosalie Bisson. Herman Krone in Germany and Giacchino Altobelli and Carlo Ponti in Italy were also intent on recording the beauties of their regional landscapes. Photographs of specific historical buildings were made for a number of purposes: to satisfy antiquarian curiosity, to provide information for restoration, to supply artists with material on which to base paintings, or to effect preservation efforts. Practically from photography's inception, such documentation was commissioned by public and private authorities. In western Europe and the United States, photographs captured the building of the industrial infrastructure, from bridges to railroad lines, from opera houses to public places to monumental statuary. In the early 1850s Philip Henry Delamotte was hired to document the progress of the construction of the Crystal Place in London, and a few years later Robert Howlett depicted the building of the Great Eastern transatlantic steamship. Alfred and John Bool and Henry Dixon worked for the Society for Photographing Old London, recording historical buildings and relics. In the 1850s the French government commissioned several photographers to document historical buildings. Working with cameras making photographs as large as 20 by 29 inches (51 by 74 cm), Henri Le Secq, Charles Marville, and Charles Nègre produced remarkable calotypes of the cathedrals of Notre-Dame (Paris), Chartres, and Amiens, as well as other structures that were being restored after centuries of neglect. An establishment was set up in Lille, France, by Blanquart-Evrard at which these paper negatives could be printed in bulk. In the United States explorations of the lands beyond the Great Plains led to the apogee of landscape photography during the period. Before the Civil War, relatively few exceptional images of the Western landscape had been made. In the postwar era railroad companies and government commissions included photographers among their teams sent to determine mineral deposits, rights of way, and other conditions that would be suitable for settlement. Of the photographers confronting the spectacular landscape of the American West in the 1870s and '80s, William Henry Jackson, O'Sullivan, and Carleton Watkins produced particularly notable work. Both O'Sullivan, who helped survey Nevada and New Mexico, and Watkins, who worked in California and Oregon, were able to convey through their work a sense of the untamed and extraordinary quality of the Western landscape. As a testament to the power of his images, Jackson's photographs of the Grand Canyon and the Yellowstone River were influential in getting public land set aside for Yellowstone National Park. The write about good essay to these and other photographers of the American West produced usually was made available in several sizes and formats, from stereographic images to mammoth-sized works. Landscapes in places outside the United States and Europe were usually portrayed by European photographers during this period. However, exceptions included the Chinese photographer Afong Lai and the Brazilian photographer Marc Ferrez, both of whom produced excellent views of their native countries. In particular, Lai's serene compositions reflected the in essay kannada bhagya writing arogyave of the long-standing tradition of Chinese landscape painting. The recognition of the power of photography to persuade and inform paper pdf question 2017 download reasoning ssc cgl to a form of documentary photography known as social documentation, or social photography. The origins of the genre can be traced to the classic sociological study issued by Henry Mayhew in 1851, London Labour and the London Pooralthough topics photo college essay was illustrated with drawings partly copied from daguerreotypes by Richard Beard and not actual photos. A later effort, Street Life in London (1877), by Adolphe Smith and John Thomson, included facsimile reproductions of Thomson's photographs and produced a much more persuasive picture of life among London's working class. Thomson's images were reproduced by Woodburytype, a process that resulted in exact, permanent prints but was costly because it required hand mounting for restaurant essay of examples reviews individual print. This pursuit was continued by John Barnardo, who, beginning in the 1870s, photographed homeless children in London for the purpose of both record keeping and fund-raising and thus fulfilled the double objectives of social documentation: capturing theoretically objective description and arousing sympathy. The "before" and "after" images used by Barnardo to demonstrate the efficacy of social intervention became a convention in social documentation. It was taken up to good effect by the Indian photographer Raja Lala Deen Dayal, especially in his documentation of the good works undertaken by the nizam of Hyderabad in the late 19th century. In 1877 Thomas Annan began a project in Edinburgh in which he used the camera to record the need for new housing for the working poor. He concentrated mainly on calendar may writing prompt derelict buildings and sewerage systems rather than on the inhabitants; eventually the images were collected for their artistic merit rather than their social use. Social documentation became more focused in the work of Jacob A. Riis, a police reporter in New York City in the 1880s who spent about four years depicting slum life. Employing cameramen at first, Riis eventually learned the rudiments of the medium so that he could himself portray the living and working conditions of immigrants whose social circumstances, he believed, led to crime and dissolution. Reproduced by the recently developed halftone process, the photographs and drawings based on them illustrated How the Other Half Lives (1890), Riis's first book about immigrant life. They also were turned into positive transparencies—slides—to illustrate Riis's lectures, which were aimed at a largely middle-class audience, some of whom were said to have fainted at the sight of the conditions the images documented. Able to convince the progressive reformers of the time of the need for change, Riis's work was instrumental in effecting slum-clearance projects in New York. In European countries especially, there was also an awakened interest in documenting social customs during this with paper question answer pdf 1 cds 2017. Sometimes this meant recording those European customs that were being replaced by advancing industrialization. This interest led to the establishment of photographic archives, such as the National Photographic Record Association, set up in the mid-1890s by Benjamin Stone, a British member of Parliament. Left to the city of Birmingham, the collection included photographs taken by Stone and others of vanishing local customs. Other times this led to an interest in the particularities of dress and custom of those living in distant regions. William Carrick, a Scotsman, portrayed daily life in Russia. In addition to portraying nature and artifacts, John Thomson, Felice Beato, and Samuel Bourne also depicted indigenous peoples in China and India. In 1888 the journal National Geographicwhich produced photographic accounts of cultures throughout the world, was established. Photographic societies—made up of both professionals and amateurs enticed by the popularity of the collodion process—began to form in the mid-19th century, giving rise to the consideration of photography as an aesthetic medium. In 1853 the Photographic Society, ielts model 2 essay task of the present Royal Photographic Society, was formed in London, and in the following year the Société Française de Photographie was founded in Paris. Toward the end of the 19th century, similar societies appeared in German-speaking countries, eastern Europe, and India. Some were designed to promote photography generally, while others emphasized only artistic expression. Along with these organizations, journals promoting photography as art also appeared. At the first meeting of the Photographic Society, the president, Sir Charles Eastlake (who was then also president of the Royal Academy), invited the miniature painter Sir William Newton to read the paper "Upon Photography in an Artistic View" ( Journal of the Photographic Society1853). Newton's argument was that photographs could be useful so long as they were taken "in accordance [as far as it is possible] with the acknowledged principles of Fine Art." One way the photographer could make his results more like works of art, Newton suggested, was to throw the subject slightly out of focus. He also recommended liberal retouching. (Eastlake's wife, Lady Eastlake, née Elizabeth Rigby, was one of the first to write lucidly about the artistic problems of collodion/albumen photography.) In response to this desire to create photographs that would fit an established conception of what "art" should be, several photographers began to combine several negatives to make one print. These consisted of compositions that were considered too complicated to be photographed in a straightforward manner and thus pushed photography beyond its so-called mechanical capabilities. A famous example of this style was by O.G. Rejlander, a Swede who had studied art in Rome and was practicing photography in England. He joined 30 negatives to produce a 31-by-16-inch (79-by-41-cm) print entitled The Two Ways of Life (1857), an allegory showing the way of the blessed led through good works and the way of the damned through vice. Rejlander, who described the technique in detail in photographic journals, stated that his purpose was to prove to artists the aesthetic possibilities of photography, which they had generally denied. The photograph was shown in the Manchester Art Treasures Exhibition of 1857 and was purchased by Queen Victoria for Prince Albert. Rejlander's technique stimulated Henry Peach Robinson, a professional photographer who had been trained as an artist, to produce similar combination persuasive examples written essay. He achieved fame with a five-negative print, Fading Awayproduced in 1858. The subject, a dying girl, structure cons essay pros considered by critics as too painful a subject verbe conjugaison essayer au conditionnel du be represented by photography. Perhaps the implied authenticity of the camera bothered them, since painters had long presented subjects of a far more sensitive nature. Robinson became an articulate member of the Photographic Society, and his teaching was even more influential than his photography. In 1869 the first of many editions and translations of his book, Pictorial Effect in Photographywas published. Robinson borrowed compositional formulas from a handbook on painting, claiming that use of them would bring artistic success. He stressed the importance of balance and the opposition of light against dark. At the core of his argument was the assumption that rules set up for one art form could be applied to another. So long as photographers maintained that the way to photography as art was the emulation of painting, art critics were reluctant to admit the new medium to an independent aesthetic position. Portraits, when done as sensitively and as directly as those produced by Hill and Adamson, Nadar, and Cameron, won praise. But sentimental genre scenes, posed and arranged for the camera and lacking the truthfulness thought to be characteristic of photography, were the subject of considerable controversy. This debate would reach a crescendo at the end of the century. Opposing the strategies advocated by Robinson, in the 1880s the English physician and photographer Peter Henry Emerson proposed that photographs should reflect nature, offer "the illusion of truth," and be produced without using retouching techniques, recombining multiple prints, or utilizing staged settings, models, and costumes. He believed that the unique qualities of tone, texture, and light inherent in about example family happy essay of made it a unique art form, making any embellishments used for the sake of "art" unnecessary. This is not to say his own photographs were purely documentary—in fact, for grade for 8 topics letter writing formal work in some ways mimicked the artistic effects of the Barbizon school and Impressionist painting—but they eschewed the manipulated artistic effects of his contemporaries. Emerson's views, known as write a essay common how conclusion app to photography, gained a considerable audience through his widely read 1889 publication entitled Naturalistic Photography and through numerous articles that appeared in photography journals throughout the 1890s. The ideas of Newton, Rejlander, Robinson, and Emerson—while seemingly varied—all pursued the same goal: to gain acceptance for photography as a legitimate art form. These efforts to gain acceptance were all encompassed question class sa2 9 for 2018 paper Pictorialism, a movement that had been afoot for some time and that crystallized in the 1890s and early 1900s, when it was promoted through a series of international exhibiting groups. In 1892 the Brotherhood of the Linked Ring was founded in Britain by Robinson, George Davison, a leader of the Art Nouveau movement, and others dissatisfied with the scientific bias of the London Photographic Society. The group held annual exhibitions, which they called salons. While the members' work varied from naturalism to staged scenes to manipulated prints, by the turn of the century it was their united belief that "through the Salon the Linked Ring has clearly demonstrated that pictorial photography is able to stand alone and that it has a future entirely apart from that which is purely mechanical." Similar Pictorialist groups formed in other countries. These included the Photo-Club of Paris, the Trifolium of Austria, and like associations in Germany and Italy. Unity of purpose enabled members to exchange ideas and images with those who had similar outlooks in other countries.


text: Home- Academics- Departments and Programs- Art and Art History- Portfolio Submissions Menu Menu Portfolio Submission Guidelines for Applicants While we don't require prospective students to submit materials beyond the regular application, we recognize and appreciate any creative accomplishments that you would like to share! Submitting Online To document your creative achievements in high school, and hopefully to indicate a desire to continue such involvement with us at Colgate, you may submit examples of your work according to the following guidelines. Submitting material for review does not require a commitment to major in the field, nor will it impact academic placement; we encourage any applicant with ample art experience to submit a portfolio regardless of your intended major or focus of study. We work with the Colgate Slideroom portal to allow you to submit your portfolio online. Please include: Title, date, size, and material of each work submitted. A brief artist's statement Your artist's statement should answer the following: Was the piece an assignment? Describe your past experiences with the visual arts including classes taken, dates, and media used. Of the documentation submitted, which piece best represents you as an artist, and why? Include motivation behind this work and/or your art in general. Describe your plans for the study of art at Colgate. Academics Majors and Minors Departments and Programs Africana and Latin American Studies Art and Art History Academic Program Department Courses Architecture Minor Faculty and Staff Facilities Portfolio Submissions Visual Resources Library Clifford Gallery Picker Art Gallery Asian Studies Biology Chemistry The Classics Computer Science East Asian Languages and Literatures Economics Educational Studies English Environmental Studies Film and Media Studies Geography Geology German History International Relations Jewish Studies LGBTQ Studies Linguistics Mathematics Medieval & Renaissance Studies Middle Eastern and Islamic Studies Music Native American Studies Neuroscience Peace and Conflict Studies Philosophy Physics & Astronomy Political Science Psychological and Brain Sciences Religion Romance Languages and Literatures Russian and Eurasian Studies Sociology and Anthropology Theater Women's Studies Writing and Rhetoric Off-Campus Study Core Curriculum Research Fellowships & Scholarships Scholars Programs Pre-Professional Planning Academic Calendar University Catalogue Course Offerings Libraries RELATED LINKS


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7 Cruise Ships and one yacht are currently docked in support of the XXII Winter Olympic Games in Sochi, Russia. The Games officially open tomorrow February 7th, 2014 and run through February 23rd, 2014. The Norwegian Jade, Princess Anastasia, Princess Maria and Svan Toscana are currently docked in the Port of Sochi. The Grand Holiday, Louis Olympia, Thomson Spirit and the Tatoosh yacht (owned by Paul Allen, the co-founder of Microsoft) are currently docked in the Port of Adler, the southernmost district of Sochi.
These ships have been chartered by FSUE Rosmoport (a transportation agency for the Russian Federation) and are being used as floating hotels, restaurants and entertainment centers. These ships will accommodate not only Olympic guests but also by participants in the XXII Winter Olympic Games and the XI Paralympic Games going on simultaneously in Sochi. The need for the additional ships has been planned now for just over a year after continued construction delays and concerns over numerous facilities in the region not being completed in time. The cruise ships are expected to house an estimated 12,000 visitors to the region over the two weeks of the Games.
Although construction delays and security concerns are issues for every Olympic Games, these Games in particular seemed to have been plagued with more than their fair share of problems. Recent upheaval in the region has also left many concerned. Many guests and participants have chosen to stay on the Cruise Ships as an additional precaution and security measure.
Recent reports in the past few days (less than 72 hours prior to the official opening of the Games) have revealed only six of nine media hotels in the region are finished, and work is still underway at the Olympic Village and many of the venue sites.
Russian President Vladimir Putin set an Olympic record by pumping nearly $55 billion (USD) into these Olympic Games in hopes that tourism to the region will continue long after the Olympic Games have concluded. The IOC (International Olympic Committee) reports much of that money has gone to embezzlement and they are not sure how much has actually gone towards the Games themselves.
At least some of the 55 billion (USD) was used in upgrading the port facilities to handle the increased cargo needs for construction prior to the Olympics. These cargo docks now support the facilities needed by the cruise ships for the duration of the Games. After the games conclude much of the cargo port area is planned to be converted into a yacht marina in hopes of serving tourists to the region for years to come.
Concerns by the local government and public in Sochi have been voiced over the money that will be required to maintain the Olympic facilities after the games. It is estimated that the costs could run nearly $2 billion (USD) a year just to maintain the facilities. This is a number which has many concerned cannot be covered by tourism alone.
Every Olympics has their share of issues but it seems that Sochi is on a nightmarish scale all their own. Here is to hoping that, at the least, these Games will be safe for all those involved.
Additional Links: Port Cameras in and around Sochi, Russia


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|Fairfield, Calif.
|High School:
|Angelo Rodriguez
Action Photos
Three-time PCSC All-Coastal Division First Team honoree
Three-time PCSC Academic Honor Roll selection
Finished career ranking No. 2 all-time at SCU in homeruns (30) and RBI (109)
2009 PCSC Honorable Mention honoree
PCSC Player of the Week (4/3/2012)
AS A SENIOR IN 2012: One of the most accomplished players to ever wear an SCU softball uniform ... finished her career No. 2 all-time at Santa Clara in homeruns (30), RBI (109) and slugging percentage (.523) … also No. 3 in career doubles (33) … played in 183 career games as a four-year starter (making 180 starts) … earned All-PCSC First Team honors for the third straight season in 2012 ... led the Broncos in homers (9) and RBI (38) as a senior, which both rank among Santa Clara's all-time top 5 totals for a single-season … hit .265 as the only Bronco player to start in all 54 games – registering a hit in 31 of those 54 outings … led the team in multiple RBI games (7) and had 11 multi-hit games … hit .323 during the PCSC schedule, homering six times and driving in 18 runs in 20 games … named the PCSC Coastal Division 'Player of the Week' on (Apr. 3) after hitting four homeruns during a weekend series vs. LMU, powering SCU to a stunning seven-run comeback victory 9-7 in the series finale, hitting a go-ahead three-run homer, which capped off the rally, after belting a two-run shot earlier in the inning … she went 5 for 15 during that week (four with LMU and one against No. 13 Stanford - all on the road) … she was 5 for 12 with eight RBI against LMU, helping SCU get off to a 2-2 start in league play … had at least one RBI in four of the first six games of the year, including two RBI in a win over St. Mary's (Feb. 10) and two RBI against UTEP (Feb. 12) … went 2 for 3 against Cal State Fullerton (Feb. 19), and hit her second homerun of the season … enjoyed a big weekend in SCU's Invitational (Mar. 10-11), hitting a game-winning grand slam against UCSB (Mar. 11) … finished the year in grand fashion, belting a three-run homer on 'Senior Day' against CSU Bakersfield (Apr. 29), enjoying a 7-RBI game and going 5 for 9 with eight RBI on the afternoon.
AS A JUNIOR IN 2011: Was terrific for Santa Clara in 2011, finishing the year hitting .413 with 64 total bases, 31 hits, 22 runs, 20 RBI, eight homeruns, seven doubles an on-base percentage of .505 and slugged .853 ... named to the 2011 PCSC All-Coastal Division First Team ... she led the team in all of those offensive statistical categories and played error-free defense ... played in 29 of the team's 39 games overall, missing 10 games in mid-April (including eight PCSC contests) with a sprained ankle … hit .438 against PCSC pitching, registering 14 hits (including four homers and three doubles) in 32 at-bats in league play … totaled 10 multi-hit games overall and hit .415 with runners on base. … started 12 games in centerfield and eight in right field to begin the year before being used as the designated player when she returned from injury for the final nine games … helped SCU get off to a 2-2 start in PCSC play by going 7 for 11 (.636 BA) with three homers and a double at Cal State Bakersfield (Apr. 9-10) ... had a two-homer game at CSUB (Apr. 10) … began the season with a two-hit game at San Jose State (Feb. 20) on Opening Day … went through an early-season stretch from Mar. 4-11 in which she went 8 for 14 (.571 BA) in seven games, scoring nine times and driving in eight runs … had a season-high three hits on three different occasions, first vs. Northern Illinois (Mar. 5), again twice at CSUB (Apr. 9 and 10) … had a season-high four RBI at CSUB (Apr. 10) … homered in her first at-bat against Sacramento State (Apr. 30), after missing two weeks with a sprained ankle … hit safely in six of seven games late in the year, including back-to-back two-hit games at St. Mary's (May 7).
AS A SOPHOMORE IN 2010: Well-rounded player who can hit for power and average … led the team in the major statistical hitting categories … started in all 45 games … made all but one start in centerfield with a lone start in right … led the team with seven homeruns, 26 RBI, 40 hits, 67 total bases and a .453 slugging percentage … finished the season with a .270 batting average while hitting .274 within conference … hit a staggering .439 with runners in scoring position … started the season on a tear by hitting .300 in her first nine games … began the year by hitting two homeruns in her first two games against Fresno St. (2/12) … had two hits a run and a stolen base against UC Santa Barbara (3/27) … went 2-3 with a run and an RBI against Cal St. Bakersfield (3/28) … had a monster game against Cal St. Bakersfield (4/18), going 2-for-3 with two runs, two homeruns, and four RBI … had a season-best three hits and a double against Loyola Marymount (4/25) … belted a homerun, had two hits and three RBI against Saint Mary's (5/1).
HIGH SCHOOL: A 2008 graduate of Angelo Rodriguez High School in Fairfield, Calif. ... earned all-league honors her senior season ... led the league with 11 homeruns her senior year, leading her team to an undefeated league campaign ... club team placed 11th at the 2006 softball nationals ... also earned letters as a member of varsity volleyball and cheer.
PERSONAL: Born in Blytheville, Ark. ... daughter of Greg and Roxanne Knight ... has two older siblings, Michael and Cherie ... mother Roxanne played softball at the Air Force Academy ... enjoys dodgeball, sleeping and hanging out with friends and family ... excellent student ... member of the Honor Society and Club Latino as a prep ...wants to be an advertising executive for a big company after college ... majoring in business.


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An item in Friday�s Scene should have listed the address for a ham and egg suppertoday at Mountain View Ruritan Club as 5161-D Mt. Hermon-Rock Creek Road. The supper is from 5 to 7 p.m. Donations will help fund scholarships and other community service projects.
The monthly meeting of the Graham Charter League of the American Business Women�s Associationwill take place on Thursday at the Ramada Inn in Burlington at 6:30 p.m. The guest speaker will be Amy Nelson, AICP, planning and economic development director for the city of Burlington. The cost is $12 at the door. Please RSVP to 336-269-8035. For additional information, please visit our website: www.abwagcc.org. We are also on Facebook.
A bus is reserved to go to the 40th Annual March for Lifein Washington, DC on Friday. Departure: 5 a.m., return: 2 a.m. Jan. 26th. Cost is $50/person. Attend rally and march on the National Mall and visit NC senators and representatives. Contact Kimberly Wood at 336-586-9211.
The Alamance-Caswell Hospice League general membership meetingis scheduled for January 28 at 1 p.m. The location for this meeting will be at the Hospice & Palliative Care Center administrative office, 914 Chapel Hill Road, Burlington. All members and guests are welcome. For details, call 336-229-0490.
The Volunteer Court Navigator Program is currently recruiting community members to volunteer to accompany victims of domestic violence through the civil and criminal court processes. Training will be Feb. 4 and 11, from 9 a.m. to 1 p.m. Contact Bethany Sanford at 336-229-2283 or by email firstname.lastname@example.com.


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Mission X launches on the Internet
'Mission X: Train Like an Astronaut', an educational project by ESA and its international partners, will leave the launch pad in January. To help children prepare for climbing aboard, a new website with exercises, activities, information and much more went live last week.
Good physical condition is a must for astronauts and they have to train daily to stay fit during their long missions in space. Their diet on the International Space Station is carefully planned to be healthy and they take care what they eat on the ground.
Astronauts are good role models for explaining the importance of physical activity and nutrition to youngsters. Getting the message across will not only increase their quality of life, but also promote healthier societies.
Train like an astronaut
Taking better care of yourself can be fun. 'Mission X: Train Like an Astronaut' is a worldwide initiative for everyone, but it is targeted on children aged 8–12 years.
Teams of children from nine countries will together learn the principles of healthy eating and exercise, compete for points by finishing training modules, and be excited about the world's future in space and the educational possibilities for their own future.
They will practise scientific reasoning and teamwork while taking part in hands-on training missions targeting strength, endurance, coordination, balance, spatial awareness and more.
The lessons and activities will be linked to the science and physical education curriculum, with a clear focus on the health and nutrition topics that are part of worldwide curricula.
Mission X is also part of the upcoming ESA's MagISStra mission to the ISS: Paolo Nespoli will not only train like an astronaut during his six-month flight in space, but will do it along with everyone who takes part in Mission X.
Click to Mission X
The challenge will start in the second week of January and run for the following eight weeks, but the Mission X website is already open in Dutch, English and Italian. The Spanish version will go live on 1 November and the French and German will follow shortly.
The website includes 14 exciting physical exercises and four interesting classroom activities, loads of information, a daily quiz and a blog. Users can also post messages and upload pictures.
For teachers, it features background information on the project and international space agencies that support it.
Remembering the address is easy: www.trainlikeanastronaut.org
Everyone is invited to train like an astronaut
This global community of international space explorers is supported by Human Spaceflight Directorate of ESA and the national space agencies of Austria, Colombia, France, Germany, Italy, the Netherlands, Spain, UK and USA.
Belgium, Czech Republic and Japan are participating as observers, but are not taking part in the challenge this time.
Everyone is welcome to get involved in the challenge. All content is open for everybody, although the pilot project has been limited to participating countries.
You can use the contact form, the blog or our email address (email@example.com) to let us know what you are doing and how you or your pupils are 'training like astronauts'.
Maybe you, your class and your country could be part of the next Mission X challenge!


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The Crazy-Fish Tipsy is a great finesse worm, designed to provide maximum movement from the slim tail. Whether fished on a jig head or drop shot rig, it excels in tempting smaller predators (see rigging suggestions above). Laced with scent for added attraction, the Tipsy is a versatile and reliable lure that fish find difficult to ignore. 8pcs per pack.
Length: 2" (5cm)
Weight: 0.5g
Colour: 50 Pink Flamingo (see photo)
Scent: Shrimp
Price: £2.99 per pack
Links below to hooks for rigging (as seen in photo above):
AGM Finesse Sickle Jig Head 2g size 8
AGM Finesse Jig Head 2g size 6
VMC Sure Set Dropshot Hook size 6


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ML Round 2224 - Rust Lite
Brand: Campania International
Ships Via: LTL Freight. Curbside Delivery Only.
Availability: Available for Ordering. Normally ships within 5-7 business days of ordering.
- The ML Round 2224 in Rust Lite measures:
- 21.75" x 23.75"
- The ML Round 2224 in Rust Lite weighs 20 lbs in total.
- Product is shown in Onyx Black. Please refer to color swatch for actual product color.
- Constructed with polyethylene.
- Actual color may vary from photograph.
- Free Shipping to any address in the Continental USA!
Add beauty and charm to your home or patio. Order the ML Round 2224 in Rust Lite today!
WARNING: California Residents - Prop 65