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4 Methods to Unlock iCloud Activation Lock – FREE iCloud Deactivation, iPhone iCloud Unlocker, Online iCloud tools and more

Check if an iPhone is stolen and iCloud Activation Lock Screen

The Unlock iCloud Activation Lock topic is a “viral” one from the moment iOS 7 version was released.

Many people are struggling with their iCloud Locked iPhones and desperately trying to find iCloud Unlock services, iCloud Unlocker tools, tips to iCloud Unlock Online any iPhone and “magic” software that can deactivate and Unlock iCloud or Find My iPhone feature.

For those that are seeking to Unlock iCloud Activation Lock for their iPhone, iPad or iPod Touch (Apple Watch too!) there are good news! Read more

Get A Hold Of The iPhone Owner – How To Unlock Stolen iPhone Legally

How to unlock a stolen iphone passcode

Anyone who wants to find out how to unlock stolen iPhone legally does it for the right reasons. Find out how to get a stolen iPhone back to its owner. Read more

Got an iCloud Locked iPhone? Here’s How to Unlock iCloud Activation Lock

iCloud locked iPhone

You got a second-hand iPhone on a good deal from a friend or from an online seller. Since you are not an iPhone user before, you never knew about having the IMEI number checked first before buying a pre-owned iPhone. You don’t know anything about an iCloud locked iPhone until you were holding one. Well, let’s just deal with it. You already got an iCloud locked iPhone. So, you just should be informed about everything you must know about an iCloud locked iPhone. What is an iCloud lock means? How would you know if you got one and what you can do about it? Read more

The truth about every iCloud ID Bypass Tool

Hack iCloud Password and Disable Apple ID

Nobody wants to buy an iCloud Locked iPhone but unfortunately, many are scammed in getting ones from online markets, local stores or via personal transaction! Obviously, the next step after this disaster is to search for an iCloud ID Bypass Tool!
After a quick web search, you may think that there are many iCloud Unlocking options in the form of various iCloud Lock Removal Tools but sadly, you are heading for a second disaster in a row because only one of them is true! Read more

Legally Unlock an iCloud locked iPhone with iOS 9.3.5 through Apple

Unlock iCloud 9.3.5

If you want to Unlock iCloud 9.3.5, then welcome to the right place!
There are no hacking tools to Unlock iCloud 9.3.5 and if you already tried one of those you know what I mean!
I will show you the only way to Unlock iCloud 9.3.5 and this way involves the iPhone’s original owner! Read more

How to Unlock iCloud lock. How to find Apple ID & password.

How to Unlock iCloud

”How to Unlock iCloud lock” is one of the most common questions that people ask us. Many people get confused with the iCloud/Find my iPhone status and the blacklist status of an iPhone. This is why we are here. We will show you what iCloud Activation Lock really is, how to check an iPhone has the iCloud/Find my iPhone feature enabled and finally how to Unlock iCloud lock. Read more


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Isaac Julien

The Netherlands, Amsterdam Galerie Ron Mandos

Isaac Julien (b. 1960, the UK) is an accomplished filmmaker and video installation artist, well-known for his ground-breaking studies of racial and sexual identity, voyages, and cultural displacement. His multi-screen installations and accompanying photographic works for museums and galleries explore fractured narratives of memory and desire, often uniting elements from dance, painting, sculpture, theatre, and music.

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Kevin Love: The 1ST Member of Team Ghost

03.30.12 6 years ago

ghost recon kevin love

Tom Clancy’s Ghost Recon is one of the best known shooters in video game history. The series is set to open a new chapter with Tom Clancy’s Ghost Recon Future Soldier, and the team at Ubisoft has seized the opportunity to bring together a group of gamers, each of them real world elites, to promote the game’s May 22nd release. Just as a team of soldiers must represent a complete range of skills, each of these four celebrities will play a unique role in the squad, from a long range “sniper” to a lyrical “gunner.”

The first member of the team? Kevin Love, a sniper in his own right.

GO HERE for exclusive footage of Kevin Love talking about his gaming skills, more details on Team Ghost and a contest to win cool prizes (Xbox 360, copy of Ghost Recon Future Soldier and other prizes).

And check out more info here.

For breaking news, rumors, exclusive content, and contests sent right to your inbox, sign up here for the Dime Email Newsletter.

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Argument: creating a coherent whole out of the parts of your essay

One of things many undergraduate students I have worked with over the years have always battled with is understanding the difference between an essay that makes an argument, and an essay that has useful information in it that is not tied together around a central thread or point. In my former role as the coordinator of a university writing centre, I spent a great deal of time thinking about how to help students understand and address this struggle through writing workshops and tutorials, and in my work with their lecturers and tutors.

Getting your head around what an argument is, and how to craft and make substantive and coherent arguments, is key to succeeding at your higher education studies and beyond, and not just in the humanities and social sciences. Although they may do it in different ways and in different forms, all fields make and defend arguments for and against things: this design for a footbridge rather than that one for this community; this method for building a hydrology model rather than that one in this project site; this theory of neoliberal capitalism and its effects on modern society and not a different one; and so on.

The argument is the answer to the ‘So what?’ question you don’t want your readers to ask at the end of your essay. It is the ‘golden thread’ if you like, that takes the strands of your argument and pulls them into a defined shape to substantiate and develop the central claim your essay wants to make. This is often called ‘the thesis statement’. It needs to be clearly made, often in the introductory part of your writing, so that your reader knows what it is that is helping you to select and organise the parts of your essay or paper that will follow. What follows the introduction will be a connected selection of sub-claims, supported by relevant evidence, that further develop and substantiate the central claim, and all of these sub-claims must make up this golden thread – they need to connect, in a logical and coherent order, to create an argument that is persuasive and makes sense.

You could think of these sub-claims, and the evidence you have selected from literature or empirical data, or both, as strands of coloured wool. On their own, side-by-side, they just make up a collection of strands of coloured wool. Without a purpose or aim to draw them together into a blanket or a scarf or similar, they are just pretty strands of wool. They need a knitter and the knitter needs a pattern to follow. In undergraduate and early postgraduate studies, where students are completing coursework, they are given their ‘knitting patterns’ in the form of task questions and instructions to respond to. Later on, in independent research, students need to design their own patterns, or research tasks.

Students, as the knitters, will read (or devise) the task, decide on what research needs to be done to generate the information needed to respond appropriately to the task, and using their prior learning as well as the thinking, reading and writing practice they have had thus far, they will ideally weave or knit the information together to create something new, that represents (hopefully in their own creative way) the pattern they were asked to follow. They will create new knowledge from existing knowledge, even in a small way, by taking a position on an issue and advancing a substantiated argument. Without the argument to tie the strands together into a pattern, the essay will likely end up looking a bit like the picture above – a collection of paragraphs, each with their own point, but together not quite managing to create something coherent or sensible. The essay may well leave the reader wondering: ‘So what? What is the point of all of this?’

A tool I recently learnt on a writing retreat has really helped me to create a define my own ‘pattern’ for my writing, and is helping me to make sure that I am actually knitting together arguments in my papers that make sense, and are properly substantiated. Taken from a book called The Craft of Research, the tool helps writers to plot out the golden thread by asking them to think carefully about the main claim, the sub-claims, the reasons for those claims, and the evidence needed to substantiate them. Claims and evidence are probably quite obvious – of course we need both of these elements to write a paper worth its salt. But what of reasons? According to the authors, reasons are important because they outline the logic of the argument you want to make. I have learned, using this tool, that I am quite good at generating many reasons for the research I want to write about, but I am less adept at pinning down my claims. This tool has been helping me to work on this.

This (below) is my version of the tool in action: an argument for a paper I am working on plotted out in my research journal on stickies. Following the retreat facilitator’s advice, I use stickies to avoid writing long-winded claims and reasons. This is not the plan for your paper, this is the plan for your argument, and you need to be able to identify and state your claims, reasons, and related evidence fairly concisely. If it takes you 7 or 8 stickies to state one claim, you have some more thinking and refining to do before you are ready to plot out your paper and knit your strands together.

photo 2

I start with my main claim, and then identify any sub-claims that are part of that. I then write out the reasons for the claims I am making, and follow with the evidence I either have, or need to have, to support these claims. The orange stickies at the end contain my ‘take-home message’ or the answer to the ‘So what?’ question (which will be part of my conclusion) as well as the limitations on the argument I want to make. Not every paper will include limitations, but all papers need to have claims, reasons, evidence, and a clear answer to the ‘So what?’ question. All papers we write, whether as undergrads, postgrads or professionals, need to have a point – and the point is the argument, and the way in which we are weaving that golden thread through the writing to create something new from all the strands of research, reading and thinking we have been doing.

If you are a writing teacher or tutor: consider using or adapting a tool like this to help students you work with understand the link between the research they are doing and the information they are gathering, and the ways in which this information and research need to be pulled together selectively around a central argument that knits all the paragraphs or parts together into a coherent, persuasive whole.

If you are a writer: try this tool out, and look for others that can help you to make clearer the ways in which your arguments are constructed and crafted, to ensure that your own writing is a clear, persuasive and makes as much sense as possible.

Reference: Booth, C., Colomb, G. and Williams, J. (Eds) 2003. The Craft of Research. Chicago: University of Chicago Press.

Making an argument: what it is and is not in academic writing

This post follows on from our previous post about unthinking the way we teach students to argue in their written work. We see many students every year at the Writing Centre with argumentative essays. We therefore spend a lot of time talking about how to help students understand what argument is, and how to construct arguments in their essays. We also have to talk about what it isn’t, amongst ourselves as tutors and also with students.

Several research papers within the field of academic literacies and writing look at argumentative writing, and debate student struggles with this genre and how to help them write more effective or relevant or appropriate essays. Key among the findings of the papers we have read seems to be that students come to university with a narrower understanding of what an argument is. In short, many students associate argument with arguing in the sense of having a fight with someone. Further, they also then see making an arguments as reinforcing your side of the fight or argument only, leaving someone else to oppose you. Most academics would immediately say ‘Oh no, it’s not about fighting, it’s about…’ debating, persuading, challenging, weighing up two or more sides of pertinent issues, and so on. Academic arguments are, among other things, balanced, careful, evidence-based, logical, well-structured and well-referenced. They are based on research, and weigh up different sides of an issue from the standpoint of the writer’s stance or position on that issue. Different disciplines like Law or English or Physics will make arguments in different ways, for example thinking about case summaries or literary critiques or models. However, for the most part they have many of these more general characteristics in common. They are designed to persuade more than to inform, to challenge and debate more than to simply present a position.

But explaining to students that these are some of the main things academic arguments are is not necessarily all that helpful. Students need, also, to know what they are not, and through guiding feedback on their writing to be shown what to do differently if they are not making arguments in the ways expected of them. Academic arguments, as stated, are not ‘fights’. They are not one-sided or narrow, and they do not pretend that the opposing side does not exist. They are not based on opinions, heresay and personal views, and where they are based on a writer’s personal views, these are supported and critiqued with research and evidence. Academic arguments are also not descriptions or explanations alone. A writer will use the tools of description or explanation to defend and support the stance they are taking, but an essay that merely describes or explains an issue without taking a position in relation to that issue and the evidence is not an argument.

Again, merely telling students these things does not guarantee that they will understand what you are saying clearly enough to put it all into actual practice in their own writing. They need this kind of advice on their writing as they write, through verbal or written feedback. However, explaining to students ahead of reading and writing what you as the assessor do think an argument is and is not, and what you expect from their writing and why you need or want them to write like that is an important step in making the ‘rules of the game’ clearer to novice writers especially. Having to explain these rules or guidelines to students also creates an opportunity for reflection on the part of lecturers or tutors, and possibly also an opportunity for rethinking some of the ways in which you can creatively and critically address the teaching of argumentative writing in your field or discipline. Perhaps you could share some of the ways in which you do this? We’d love to hear some new thoughts and ideas.

Can we unthink the way we think about writing? Part 2

This post follows on from my previous post about beginning the year challenging ourselves to ‘unthink’ some of the ways in which we think about academic writing conventions in higher education. The first post dealt with how we teach students to avoid plagiarising the work of others, and how we might go about teaching referencing differently. This post discusses another way in which I think we can rethink academic writing: by rethinking our approach to teaching different forms of written tasks, in particular argumentative essays.

I must preface the rest of this post by saying that I think this is a tough topic. It’s difficult to write good argumentative essays as an undergraduate and as a teacher of undergraduates I know that it is also difficult to teach students how to write these kinds of essays well. We see students at the Writing Centre all year long who are really confused about what is expected of them and what they need to be doing with their research, reading, thinking and writing in order to produce these kinds of essays. We find it hard to help them beyond a certain point because what it is to argue, and what counts as evidence and also as the appropriate use of evidence in support of claims made differs from discipline to discipline.

However,  disciplinary lecturers and tutors are themselves not always clear about what a good argument looks and sounds like, or have fuzzy ideas about how to write good arguments or explain how to do this using clear and unambiguous language. Many academic literacies and writing centre practitioners and scholars have written about this, but I am going to draw particularly here on a recent paper by Ursula Wingate (‘Argument!’ helping students understand what essay writing is about). In this paper, Wingate looks at samples of students’ work and at comments from tutors, and also talks to students about writing argumentative essays in an effort to understand what students think an argument is coming into university and how they are helped, through feedback on their writing, to begin to write the kinds of argumentative essays required by their disciplines.  What she found, in short, were gaps between what students thought an argument was, and what the discipline required of them, and further, she found that tutors were largely unable to communicate clearly the shifts and moves students needed to make in their thinking and writing through their feedback. The tutors themselves did not seem to have a clear understanding of what argument looked like or how to communicate this to students.

This is perhaps not a very surprising finding, although it is worrying for students as many of them rely on their lecturers and tutors to help them through this maze. As many scholars like Wingate have argued, we need to be careful of assuming that all lecturers and tutors know how to explain the process of producing an argument in clear, accessible terms to novice student writers. As I said earlier on, arguments in academic discourse are difficult to make, and there are so many steps that go into the process.

Think about it: you first need to read and understand the question you have to respond to. Then you need to work out what search terms to use so that you can search the library databases and the Web for relevant information on that topic. Then you need to read all of that information, understand it, summarise it, synthesise it into a coherent whole of understanding so that you can relate it to a reader in your own words. You also need to keep track of where it all comes from so you can reference it. Then you need to go back to the question and formulate a structured, organised and logical response using all of that information. But this is not all. You can’t just create a patchwork quilt of other people’s words and ideas, even if you are not plagiarising. You also, and Wingate makes this point so clearly, need to take a position. You need to have a ‘voice’ in that paper, and you need to direct the information, using it to support the claims you are making as part of the position you have chosen.

Often though, this process is not understood by students as being this obviously complex and many of the students we see in our writing centre don’t really understand all these steps or how to carry them out effectively. So, I think there needs to be some unthinking here, or perhaps rather just different thinking about how we teach students to write essays like this.

In the first place, while at the Writing Centre we can talk to students about the fact that they need to take a position, and we can help them think through their logical and structured response to the question, we cannot always give in-depth insight into exactly how they need to relate their position and the supporting reasons and arguments and why they need to do it like this and not like that. Thus, disciplinary lecturers really need to understand what they are asking of students in terms of the process, and they need to work backwards to build in time to teach students some of these relevant skills, if you like, or academic practices as they also teach them the substantive knowledge of the discipline. Students also need opportunities to practice writing in these new ways, and get feedback that guides them. It’s not always easy to do, but it is necessary.

Another thing that we need to unthink is the language we use. Wingate and also Lillis and Turner (2001)  argue that the words we use to speak about argument which seem clear to us as insiders to this academic discourse and more often than not jargon to students and impenetrable. Words like ‘structure’, ‘coherence’, ‘cohesion’ and also ‘argument’, ‘evidence’ and ‘position’ are all fairly dense words with a lot of meaning packed into them. We need to unpack these with our students and help them to see what we mean, what we need them to do and why we need them to do it in that way.

Once we begin to unthink the way we think about argumentative writing we can see that what we are asking of undergraduate students is a lot, and it is not surprising that so many struggle with writing and research at this level. We can also see more clearly what we can be doing to light their path and equip them with the knowledge and practice they need to understand what they are doing and begin to improve and grow in confidence too.

Lillis, T., & Turner, J. 2001. Student Writing in Higher Education: contemporary confusion, traditional concerns. Teaching in Higher Education, 6:1, 57-67.

Wingate, U. 2012. ‘Argument!’ helping students understand what essay writing is about. Journal of English for Academic Purposes, 11, 145-154.


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Check out the France IEC work permit

International Experience Canada (IEC) work permits are intended for Canadians who wish to visit France for purposes of tourism and cultural discovery and who would like to supplement their finances by working in France.

1- Program Eligibility Conditions

  • Be between the ages of 18 and 35 at the time of application;
  • Be citizens of Canada and reside in Canada at the time of application;
  • Have a Canadian passport that is valid for at least six months following the end date of the visit to France;
  • Have received neither this visa nor any other visa referenced in the youth mobility agreement (young professional development, inter-university exchange, applied industry placement) in the past.
  • Provide proof of financial resources with a value of at least $3,000 Canadian dollars for the duration of the stay in France (airfare not included in this figure);
  • Provide proof of insurance covering at least health care (hospitalization included) and repatriation. This coverage must be valid for the duration of the stay in France, as there is no guarantee that candidates will be eligible for coverage as it is provided in the host country.

2- International Experience Canada (IEC) work permits

  • The IEC work permit is valid:
    • For a period of four, five, six, or twelve months from the time of arrival in French territory;
    • In the départements of the Republic of France, including its overseas départements (Guadeloupe, Martinique, French Guyana, La Réunion, and Mayotte), and in the territory of Saint Pierre and Miquelon.
  • IEC work permit holders cannot extend the duration of their stay beyond the authorized period of time, nor can they change their status during the stay.
  • Work permits are only issued once. Be careful, as we cannot issue a new IEC work permit in the event of the loss or theft of your passport before your departure or during your time in France.

3- Where to send your application

Depending on your province of residence, you must submit your dossier to:

4- Documents required in application dossiers

Click here for a list of documents that you will be required to present.
We recommend that you assemble your application dossier very carefully. Errors or omissions can significantly delay the assessment of your application.

5- Key details

  • IEC work permits are free.
  • Application dossiers are assessed in the order they are received.
  • All incomplete applications will be returned to sender.
  • Providing all of the necessary documents does not guarantee automatic issuance of an IEC work permit.
  • Applications must be submitted no earlier than three months before the date of arrival in France and no later than four weeks before the date of arrival in France.
  • The form must be completed in French or in English.

6- Working in France with your IEC work permit

Once you have found employment but before you begin working, you must visit the Direction régionale des entreprises, de la concurrence, de la consommation, du travail et de l’emploi (DIRECCTE) of your place of residence in France in order to request a temporary work permit. You will be required to present your International Experience Program work permit and an employment contract or other document proving a promise of employment.

7- Useful information

Click here for links providing information about associations, housing, and classified ads in France

Dernière modification : 19/06/2015

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• Adult Children Exposed to Domestic Violence
  • Runaway & Homeless Youth Toolkit
  • Prevent Intimate Partner Violence
  • Violence Against Women Resource Library
  • Domestic Violence and Housing Technical Assistance Consortium
  • Domestic Violence Awareness Project
  • Building Comprehensive Solutions
  • National Resource Center on Domestic Violence

Brazil passes femicide law to curb domestic violence from Aljazeera America, 05/10/2015

Tuesday, May 12, 2015

Legislation defines gender-based killings and sets out tougher punishments for attackers.

“It is estimated that more than 13 million women have been victims of domestic abuse in Brazil, where a woman is killed every two hours. Despite measures to reduce domestic violence with the Maria da Penha law in 2006, government figures suggest 700,000 women still live with aggression and assaults. Out of 84 countries, Brazil had the seventh-highest rate of women killed, according to the World Health Organization.

But women’s rights campaigners hope a femicide law passed in March that defines gender-based killings and sets out tougher punishments will bolster legislation that has so far failed to curb violence against women. The penalty ranges from 12 to 30 years in prison; under the new law, the tariff can be increased by a third if the victim is pregnant, is under 14, is older than 60 or has a disability or if the crime happens in front of the woman’s parents or children.”

Read More


text:
• Adult Children Exposed to Domestic Violence
  • Runaway & Homeless Youth Toolkit
  • Prevent Intimate Partner Violence
  • Violence Against Women Resource Library
  • Domestic Violence and Housing Technical Assistance Consortium
  • Domestic Violence Awareness Project
  • Building Comprehensive Solutions
  • National Resource Center on Domestic Violence

A female chief in Malawi is breaking up child marriages and sending kids back to school from Quartz Africa, 04/09/2016

Tuesday, April 26, 2016

img-icon-newsMalawi recently passed a law making marriage under the age of 18 illegal, but in many villages, custom
supersedes law. The backlash was immediate, with some telling Kachindamoto she had no right to overturn tradition. She’s ignored the death threats, and is instead lobbying the government to increase marriageable age to 21.

Read More


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Indian Besan Omelet with Chickpeas,Tomato and Shallots

Tender and tasty, spiced with garam masala and speckled with fresh tomato and green chiles, these delicious, high-protein Indian pancakes provide the perfect accompaniment to a meal with a smear of good green chutney or they can provide the base for the meal itself!  Way beyond roti or naan bread, these are full of flavor– soft and pliable, great for folding over and stuffing with even more Indian goodness.

I am finally digging into Madhur Jaffrey’s gorgeous cookbook, Vegetarian India: A Journey Through The Best of Indian Home Cooking, and last night I prepared Chickpeas in  Cilantro Sauce and Chickpea Flour (aka besan) and Tomato Pancakes. The meal itself was okay, not quite as intensely flavorful as other dishes I have tried, but I had a whole mess of chickpeas already cooked and ready to go, so I gave the recipe a try. The real star of the show, however, were the pancakes!

This morning I had batter left over and cooked up one for breakfast, omelet style. I reheated chickpeas from last night and mashed them a bit, rolling them up with fresh  sliced tomato and then used that hot skillet to char up a few slices of shallot hanging around in the fridge. Brilliant!!

I can see this versatile bread becoming part of my regular meal rotation. I hope you give it  a try!

Chickpea Flour and Tomato Pancakes (by Madhur Jaffrey)

Note: The method is briefly and loosely translated here and not written true to the original. In other words, this is how I did it and it came out great.

1 cup chickpea flour

3/4 tsp. salt

1/4 tsp. ground turmeric

1/4 tsp. nice red chili powder

*Generous pinch of ground asafetida (hing powder)

1/4 tsp. garam masala

1 cup tomato, finely diced

1 medium onion, peeled and finely diced

1 fresh hot green chili, finely chopped

About 3 tbsp. olive of peanut oil

Mix all dry ingredients together with a whisk, removing lumps. Pulse fresh tomato, onion and chile to fine dice. Blend dry ingredients along with enough water to make a thin, crepe-like batter, about 1 1/4 cups. Press out any lumps.

Heat a non-stick skillet over medium heat and add 1/2 tsp. oil. Measure 1/3 cup batter and pour on hot oiled pan, spreading thinly, as in making crepes. The cake will puff a little as it cooks. When dry-looking on the surface, carefully run a thin metal spatula around the edges, then turn and cook on the other side, about 1-2 minutes.

Serve with a meal or stuff with flavorful fillings and fold over, omelet-style.

Yield: 6 servings

*Asafetida, also known as Hing powder is available at Indian Grocery stores and online.  Some Oriental markets may carry it as well. However, it is often way over-priced online. I bought a nice little jar for under $3 at the Indian Grocery.

6 thoughts on “Indian Besan Omelet with Chickpeas,Tomato and Shallots

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text:
Acer p191wLG 27EA63V-P
Top 64%354 points
Top 64%
Top 25%742 points
Top 25%
Acer p191w
LG 27EA63V-P
Top specs and features

Acer p191w vs LG 27EA63V-P: 18 facts in comparison

1. response time

Response time is how long it takes for a display to change the state of pixels, in order to show new content. The less time it takes to respond, the less likely it is to blur fast-changing images.
Samsung CHG70 32": 1ms

2. power consumption operation

How much power the device consumes when it's switched on.
Sharp LB-1085: 1.1W

3. screen size

The bigger the screen size is, the better the user experience.
Sharp LB-1085: 108"

4. every pixel has three subpixels

The device has a display with three full subpixels per pixel, resulting in a sharp and crisp picture. Pixels in some displays (like AMOLED) share one subpixel to preserve space. This can result in a less crisp, slightly blurred image.
Acer p191w
LG 27EA63V-P
85% have it

5. has a HDMI output

Devices with a HDMI or mini HDMI port can transfer high definition video and audio to a display.
Acer p191w
LG 27EA63V-P
60% have it

6. supports total tilt

Total tilt adjustment is the ability for the monitor head to move up and down. Tilt adjustment enables a user to change the viewing position of the display, creating a more comfortable view of the screen.
Acer p191w
LG 27EA63V-P
84% have it

7. resolution

1.6x higher resolution.
1440 x 900px
Dell UltraSharp UP3218K: 7680 x 4320px
1920 x 1080px

8. has an IPS screen

IPS (In-Plane Switching) is a technology used for LCDs. It was designed to overcome the main limitations of normal TFTs TN-matrices: relatively slow response times, small viewing angles and low quality color reproduction.
Acer p191w
LG 27EA63V-P
33% have it

9. has anti-glare

Anti-glare helps to reduce the external reflections of light coming from outside the display.
Acer p191w
LG 27EA63V-P
28% have it

10. luminance

Luminance is the intensity of light that a device emits.
Acer Predator X35 35" UW-UXGA: 1000cd/m²

11. weight

500g lighter.
Asus VX278Q 27": 4.5g

12. has a DVI connector

Devices that have a DVI connector (usually computers and notebooks) can be connected to the TV set.
Acer p191w
LG 27EA63V-P
56% have it

13. height

64mm shorter.
Asus VP228N 21.5": 3.9mm

14. thickness

13mm thinner.
LG 22EA53VQ: 5.5mm

15. has an LED-backlit display

Uses LED backlighting, resulting in better image quality, more vibrant colors and richer blacks.
Acer p191w
LG 27EA63V-P
79% have it

16. has a VGA connector

VGA connector is a widespread connector and is found on many video cards, computer monitors, and some television sets.
Acer p191w
LG 27EA63V-P
76% have it

17. width

160mm narrower.
Toshiba PA3923U-2LC3: 340.5mm

18. has a socket for a 3.5 mm audio jack

With a standard mini jack socket, you can use the device with most headphones.
Acer p191w
LG 27EA63V-P
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Archive for the ‘underoath’ Category

Underoath 777 DVD Footage.

July 2, 2007

Underoath have put up some exclusive footage from their DVD, “777,” here. Advertisements

Underoath 777 Trailer.

June 25, 2007

Underoath have put up the trailer for their DVD, 777.

Down Underoath.

March 30, 2007

Underoath will be returning to Australia to play the following dates: 6-07: Arena Entertainment Complex – Fortitude Valley (Brisbane), Queensland – With Emery, etc. 6-08: UNSW Roundhouse – Kensington (Sydney), New South Wales – With Emery, etc. 6-09: UniBar – University Of Adelaide, South Australia – With Emery, etc. 6-10: Billboard Venue – Melbourne, Victoria […]


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Heiko Kalmbach

This video is part of a toolkit for progressive spokespeople and campaigners wishing to do better in combating populist rhetoric in the public discussion on migration. The focus of the video is on the need to reframe the debate in order to engage the middle, putting diversity and inclusion back on the mainstream agenda.

"New Migration Narratives" project by ICPA:
Facebook: facebook.com/ICPAnarratives/
Twitter: twitter.com/ICPAnarratives

The International Centre for Policy Advocacy (ICPA):
Facebook: facebook.com/icpolicyadvo...
Twitter: twitter.com/ICPAdvocacy

Video realised by EDEOS - digital education, edeos.org
Concept & Script: Lisa Quinn and Eóin Young, icpolicyadvocacy.org/
Creative Director: Heiko Kalmbach, heikokalmbach.com
English Voice Over: Emma Powell
Deutsche Stimme: Sabine Gronau
Sound design: Thomas Seher

Photo Credits: Special thanks to Massimo Sestini (‚boat’), Claude Cahn (‚boy at fence’) and Jarek Tuszyński (‚children’) for use of their images.
Other photo credits: ddpimages/Clemens Bilan (‚Wir sind Deutschland‘-image) and public domain

This video was supported [in part] by a grant from the Foundation Open Society Institute in cooperation with the OSIFE of the Open Society Foundations, opensocietyfoundations.org/
and by a grant from Robert Bosch Stiftung, bosch-stiftung.de/

# vimeo.com/240312295 Uploaded

Heiko Kalmbach

Heiko Kalmbach Plus

Filmmaker, video artist, stage director.

Screenings and shows at Anthology Film Archives New York, Haus der Kulturen der Welt Berlin, Art in General NY, Pilot London, the Knitting Factory NY, Lux Centre London, Manzi Art Space Hanoi, Meta House…

+ More

Filmmaker, video artist, stage director.

Screenings and shows at Anthology Film Archives New York, Haus der Kulturen der Welt Berlin, Art in General NY, Pilot London, the Knitting Factory NY, Lux Centre London, Manzi Art Space Hanoi, Meta House Phnom Penh, Goethe Institutes in Kolkata, Mexico City, New York and Paris, and at Festivals like Short Film Festival Oberhausen, São Paulo International Short Film Festival, South By Southwest Austin Texas, Mix Festival NY, Independent Exposure Seattle and Video Art Plastique Basse-Normandie.

Heiko Kalmbach's feature documentary IF ONE THING MATTERS – A FILM ABOUT WOLFGANG TILLMANS premiered in the Forum section at Berlin International Film Festival in 2008 and has been presented at Festivals in Copenhagen, Leipzig, Torino, Lisbon, Oslo and Toronto. Besides producing and directing his own work, Heiko has worked as writer/director, DP and editor for institutions like Rockefeller Foundation and YIVO Institute NY and for broadcasters like Arte, 3Sat, Discovery Channel Germany, SRF, M6 France, TV Ontario and SBS Australia.

His collaboration with composer Katharina Rosenberger, the interactive sound and video installation VIVA VOCE, featuring vocal artists Shelley Hirsch, Juliana Snapper and Pamela Z, was shown at Human Resources Gallery in Los Angeles in 2013 and at Sweet Thunder Festival in San Francisco in 2014. It will be on view in Berlin in September 2015.

Heiko Kalmbach’s work as stage director and projection designer has been presented at Volksbühne Berlin, La MaMa E.T.C. NY, Theaterhaus Jena, Fusion Festival, Chamäleon Theater Berlin, Aarshi Theater Group Kolkata, Schlachthaus Theater Bern, Autorentheatertage at Thalia Theater Hamburg, Crash!Boom!Bau! Festival, Dramafest Mexico City, the Kitchen NY, Schleswig Holsteinisches Landestheater, Tanztage Bremen, Roxy Basel, Stadttheater Bern, Saarländisches Staatstheater Saarbrücken, on Hapag Lloyd's MS Europa2 and on worldwide tour with the y2d/Chamäleon production LEO which was awarded the Carol Tambor Best of Edinburgh Award, Three Weeks Editors Award, Scotsman Fringe First Award, Adelaide Critics Circle Award, Adelaide Fringe Award and the John Chattaway Innovation Award.

Heiko Kalmbach has been leading workshops and seminars in his fields of practice since the late 1990s. He pursued Drama, Film and Cultural Studies at Universities in Berlin and Bremen before earning a BfA in Film (Honours) at New York University’s Tisch School of the Arts in 1998. He has been teaching spatial media design at Technical University's MA Program ‚Bühnenbild_Szenischer Raum‘ in Berlin since 2011 and has been a studio tutor and lecturer for film and dramaturgy at the Architectural Association's Interprofessional Studio in London since 2009.

Individual grants and residencies include an Artist's Fellowship for Film from the New York Foundation for the Arts, a Martin Scorsese Award, Russell Hexter Filmmaker's Award, Nestor Almendros Award, Artist Residencies at Camargo Foundation in France, MacDowell Colony in New Hampshire, USA, kunst:raum Sylt-Quelle in Germany, Human Resources Gallery LA, USA, and at Sitterwerk St Gallen in Switzerland.

Heiko Kalmbach @ IMDB - imdb.com/name/nm1272133/?ref_=fn_al_nm_1
VIVA VOCE - interactive sound & video installation - vivavoce.ch
VIVA VOCE - select clips of installation - VIVA VOCE selects
AA London - Interprofessional Studio @ Architectural Association London - interprofessionals.net
TU Berlin - Szenischer Raum / Spatial Composition - tu-buehnenbild.de/index.php
FRAMING REALITY - Taller de video-documentación - vimeo.com/user14237815
RE-MEX - el poder de las artes - facebook.com/Remex.artes
IF ONE THING MATTERS - a film about Wolfgang Tillmans, Berlinale 2008 - berlinale.de/en/archiv/jahresarchive/2008/02_programm_2008/02_Filmdatenblatt_2008_20085090.php
LEO - Video Design - facebook.com/pages/LEO/220813137947193
STABAT MATER & TOSCA, SST - Projection Design - theater-saarbruecken.de

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A Video Test using the Sony a99 Camera.

Anton Nel. An interview done with the Sony a99. A snippet. from Kirk Tuck & Will van Overbeek on Vimeo.

I'd read a lot of stuff on the web about the Sony a99 being "soft." The contention is that the new camera doesn't render details and sharpness well. Here we come to the nasty part of the web. Everything gets compressed and re-sized when it hits the web in a way that lends itself to mass distribution. That means the images I saw from the full resolution HD files (1080p @ 24 fps, lowest compression) had to be sized to 720 HD for uploading into Vimeo, which I use as sharing source.  Then Vimeo does some file processing as well. And God only knows what's really happening when our ISPs rush all this stuff down the pipes.

All of that to say that the embedded video is only 500 pixels wide but if you click on the "HD" symbol in the bottom right corner of the video frame you'll be presented with the option of seeing the 720HD version at Vimeo. Just click on the link.

I'll never be able to settle everyone's concerns about video sharpness. Not without inviting them over to the studio to watch the footage before we transcode the ACVHD files into Final Cut Pro X. But if you want a verbal take here is is: It looks a bit better than my files did from my Canon 5D mk2. It has lots of detail for the application I was using it for. While I don't like the ACVHD files and wished there were more options I do know how to convert the files to formats that are easier to edit. It just takes time.

Where the camera really excels is in the ease of sound recording (and live monitoring) and the quality of the sounds recorded.  It's the first DSLR video camera I've used that has a headphone jack and it's the right way to monitor the audio. Yes, I heard the door slams and the cars outside during some of the sample takes.

This is not a finished video product and has not been "graded" (video cinema lingo for "post production").  It is presented here and on Vimeo as a controlled, real world sample. That's all.

Hope it's helpful.  Kirk

Free Speed.

What's the fastest and most relaxing part of your swim? Where do you get free speed? That's easy. It's on your push off from the wall. But amazingly, this is where so many people lose time and increase the difficulty of their swims.

You only need to work on three parts. First, you need to plant your feet stably on the wall, have 90 degree bend to your knees, and then push off with strength and intention. The second, and most critical cog of the whole equation, is all about technique. You must streamline your body position so that you present the smallest amount of resistance to the water and the longest body configuration you can to the water.

To do a good streamline you have to really reach with your arms. Unlike the swimmer in the (artistic) representation above you'll need to bring both arms in so close that they smash right against your ears. And both arms need to connect at the hands to present the water with a point instead of two points.

Another way to enhance your streamline is to be sure and point your toes toward the wall you just pushed off. If you don't point your toes the whole tops of your feet become water breaks and they'll quickly slow down and stop your forward motion. You should also pull in your stomach (if needed) so the water flows over straight lines.

Many of us feel as though we're standing straight and, by extension, our streamline is as straight as an arrow but.....I would invite you to stand against a convenient walls and press your whole self against it with your hands in the streamline position, pressed against the ears with hands locked high above. Can you feel how much of your body is NOT in contact with the wall?

Work with the wall and your spine until you can feel a nearly continuous contact with the wall, then you'll know you're getting closer to your optimum body position.

The third part of a good push off the wall is patience. Most people are either to anxious to get swimming or they fear running out of breathe. The optimum push off technique is to hold your glide until you decelerate to your normal swimming speed. If you were racing you'd give up some of the free rest that you get from the push off by starting an underwater dolphin kick, which continues to drive forward speed, at this point but we're just talking about fun swimming here.....

Hold that glide until you start to match your swim pace and then re-start your stroke. For maximum efficiency try to take the first stroke or two off the wall without breathing and without "picking up" your head to look around. The longer you stay in the streamline position the faster your stroke will be.

In swimming we think of the walls as free speed.  In photography we think of tripods as free speed.  With good application of good technique you'll go faster, go further and expend less energy. Seems like a good idea.

Feet planted. Strong, fast push off into a very streamlined position. The patience to take advantage of a long log curve of free speed. Hold your breath and relax. Same as with art.

Holy Cra-Apple. Video formats make raw look sane.

So, I have this new Sony camera and it's supposed to be really, really good at making video files. If you're hard core you can skip your in camera memory card and the pedestrian 4:2:0 file structure, and the highly compressed files your camera wants to make so your computer doesn't have a file thrombosis, and you can spool uncompressed 4:2:2 files straight out of the HDMI plug and into an external reader/hard disk. The cheap, decent HDMI recorders start around $1,200.  This is great for the people who are playing in the big, big leagues but most of us want to shoot compressed because we don't have a server room back at the studio dedicated to transcoding video and editing big, 10 bit video files.

Most photographer/multi-media folks I know want to be able to shoot on a good video camera or DSLR camera, get enough material on some 16 gig memory cards to make it worth our whiles and have some sort of compromise between compression and quality that works for our clients. We're shooting for local theaters, restaurants, and the usual business interview kind of stuff. We try to toss in a little art from time to time.  The finished work needs to be good and high definition but we're not ready (and our clients haven't saved up enough) for ultra high def (4K)  and all the storage, editing and nonsense that comes with it.

I figured that the big Sony a99, shot at 1080p @24 fps with the lowest compression setting should look pretty good on the old 40 inch TV in the living room. I'll be damned if we'll ever know.... (just kidding....kinda).

Thing is that the camera shoots a format called AVCHD. The people at Apple seem to regard it with the same curiosity travelers regard tapeworms and encephalitis, they don't want to get near it.
But the problem for me is that every computer within a 100 yards of my reach is an Apple product. When I insert a recently shot SD card from the big Sony the Apple kind of rolls its eyes and creates some wacky file folders called, "Private." I can click on them but I never get to see the individual .MTS files I need to get to....very frustrating. Many tricks and much ancient lore must be used to see what I want....the control key being critical.

I can look at the files on a friend's PC and they open right up and play. But on my machine I can only really get a good look at them if I import them into Final Cut Pro X and wait for seven coffee breaks for the buggy-ass program to transcode all the files. It converts them to Apple ProRes, which works fine, but by then the magic is gone, my attention span has gone down faster than the stack of new Boeing Dreamliner orders and I am, for all intents and purposes, grounded. And not in a good, electrical way. At this point I'd even watch European football rather than wait for the magic transcode elves to do their mediocre magic.

Apple likes movie formats that are called .Mov files. There are also beasts called Apple Intermediate Codec, or AIC files. The bling-puters like these too. But you can always buy a stand alone transcoder to convert anything to anything. You just have to spend more time and money and you have to make sure the trade-offs in final image quality don't push you out of the quality/investment paradigm you've been trying to establish from the beginning.

I hate trying to run Final Cut Pro X on even a fast machine while the program transcodes files in the background. It slows down everything. On bigger projects I've been setting up a second work station just to transcode clips from AVCHD to Apple ProRes or AIC while I edit on my primary station. Anything to speed up the flow.

While my primary system is great for day to day Photoshop and batch raw conversions for still images I can see that as video becomes a bigger and bigger part of my workload I'll either need to speed more on computer power and storage or smile and make nice with a skilled editor who has already made that kind of investment.

Realization: I'm pretty good at shooting the stuff. I hate to edit and would love to foist that off on anyone who needs to spend time alone in front of the screens.

So, I finally got everything imported and looked at the files. The stuff looks good. Really good. Better than I hoped. I just wish the whole process was as easy as pulling Jpegs into Lightroom...

Apple needs to spend some of that reserve cash to fine tune a couple things. They need to have some program like Preview that will open and show any kind of video file you even wave next to your machine. Then they need to nicely ask FCP-X not to grab every last shred of RAM with the intention of never sharing it again with any other program until you re-start your machine.

And I think the my monitor needs to be about 2 inches wider. And I think their should be an emulation mode in FCP-X so you can see, approximately, how your work will appear on a TV screen.

Finally, does NTSC really stand for "Never Twice the Same Color?"

Yeah. A video rant. Yawn.

Buy your stuff with our links and we'll make sure the lab continues to.....experiment.

Good Stuff from LL.

I like Michael Reichmann's latest essay. It touched on a some themes I like. To wit: That we've achieved a technical plateau with excellent tools and processes, and now it's time to concentrate on the actual images. Here's what he writes: http://www.luminous-landscape.com/essays/why_what_works.shtml

I was walking last week and I noticed this stack of paper on a table next to a downtown trailer that sells coffee. It was a Sunday New York Times. It brought back to me the memory of buying our copy from Watson's bookstore in Clarksville (an older Austin Neighborhood), getting coffee and pastries from Sweetish Hill Bakery and then sitting out on the lawn in front of the bookstore and having a leisurely read. Belinda and I would swap sections and the magazine and jostle each other to point out interesting stuff. It's been years since I bought a paper copy. I read the NYT on my iPad while I'm waiting for the family to wake up. It all changes.

Sometimes I'll find an article that Ben will like or that my friend, Paul, might need to read and I'll send them links.

The thing I really miss about the paper copy is the Sunday Magazine. It's not the same to me on the iPad or even on my bigger monitor. But life is a process of adapting to change.

on other fronts: I've been battling a common cold for the last week and it's kept me out of the pool and away from the running trail. I am happy to report that I got back into the pool this morning and swam the masters workout with about 30 other hard working swimmers. All before the sunrise.

I'm celebrating by tossing a random swim photo onto the blog:

Backstroke Start. UT Pool.

Prince Rainier Swim Pool. At the Harbor in Monte Carlo. A great place to swim laps....

2010 Masters Indoor Nationals. UT Pool.

2010 Masters Indoor Nationals. UT Pool.

2010 Masters Indoor Nationals. UT Pool.

2010 Masters Indoor Nationals. UT Pool.

2010 Masters Indoor Nationals. UT Pool.

Some camera notes from the weekend: I shot video interviews for Zachary Scott Theatre with the Sony a99 camera on Sunday. The footage looked amazingly good to me. Very sharp and beautiful tones. The camera's front mounted audio level controls worked well and the Sennheiser wireless microphones I used were really good. I hope the editor for the project will have a series of PSAs that we can roll out on the site over the course of the week.

I also used Sony a57 camera on a shoulder mount and was very happy with its performance as well. More as I settle back into the office.

Finally: My big job this morning is to write thank you notes to the eight team members of a high tech company that helped facilitate my two days of shooting with their CEO, last week. The jobs were fun. It's my reminder to my fellow freelancers out there not to put off thanking their clients. I don't know if it works for everyone but I sure love it and it makes me all warm and tingly when I get a nice thank you note from an assistant or second shooter I've just worked with....


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©2014 Kirk Tuck. Do not reproduce.

By Austin Photographer, Kirk Tuck ©2014

Yeah. You heard me. I said, "Nikon." But no, I don't mean the ponderously large cameras or the antiquated camera mirror antics. No, when I say "Nikon" I mean Nikon lenses for my micro four thirds cameras. Today I was packing up to go and photograph some kids at Project Breakthrough so we could select one of the kids for the cover of the annual report. (Project Breakthrough is a non-profit organization that prepares underserved high school and middle school students for successful college careers...).

I put together a really small and straightforward kit but enough to do exactly what the comprehensive layout and the attending art director asked for. I took a Panasonic GH3 to shoot with and a second one as a back up. I grabbed the kit lens, the 45-150mm lens, the 40mm and 60mm high speed Pen lenses and, just for grins I tossed an old Nikon 50mm 1.4 (pre-au), rigged on a couple adapter rings, into the the bag.  I took a couple of flashes but assumed (correctly) that I would only need a manually set Sony A-58 HVL flash firing into a big, 72 inch umbrella, triggered by a Flash Waves radio set.

My intention was to use the 60mm 1.5 lens as my primary lens and have the others along in case someone chimed in with, "as long as you are here would you mind shooting......XYZ ???"  But when I started setting up that old, battered Nikon lens kept calling out, "Try me. Try me."

Of course it was just the right focal length and these color corrected but otherwise un-retouched images tell the story. The lens is sharp, well balanced and gives a very smooth rendering to the various tonalities. It's a different look than the exaggerated over sharpness I see in lots of modern lenses. The ancient Nikon, shot at f2.8 is subtly rounded in its rendering while delivering detail you can see in the enlargement of our subject's eye, below.

When used properly the GH3 is a wonderful camera. The files are neutral and transparent and, I think as good as anything out in the market at 16 megapixels. At least on par with the Olympus OMD EM-1. The camera requires the operator to make good choices and to use good technique. I find it to be equally transparent in its usability. It just gets out of the way and facilitates the process for me. It's an interesting choice of camera. Even more so if you are also inclined to want to make lovely video files...

I have three Nikon lenses left over in my drawer. I tried the 50mm 1.4 today. I have an older 55mm f3.5 micro lens and a 58mm 1:1.2 Nocto Nikkor and I look forward to testing each of them on the pixie-style camera bodies. You never know what you'll find when you mix stuff up.

©2014 Kirk Tuck. Do not reproduce.

I guess I read a lot of lens reviews that are done by people who photograph watches and wheat stalks and micro fine wiring harnesses. Clockwork and landscapes, intricate weavings and giant, industrial architecture. They all seem to like their lenses sharper than wire through cheese. And sharp everywhere, even in the hidden parts of a photograph. Seems like scalpel level sharpness is the general vogue.

Portrait photographers might do well to break from the herd and seek other metrics of lens selection. Everyone would benefit from trying a number of lenses in the focal lengths that are most important to them and then choosing the ones that feel right to them. In a way it's like selecting wines. Some people like big, bold, high alcohol content, Cabernet Sauvignons while others enjoy softer but more complex wines.

We can be like that in photography if we are mindful and fully engaged with our choices.

No. I will not pick out lenses for you!

(Note, these files are reduced from their original size to a maximum of 1500 pixels on a long edge in order to fit in the parameters of the Google Blogger format. I will note that the detail in the originals, while not bombastic and obvious, does go on and on).

A re-post from 2009 about re-launching your career and why to kill off the previous one.

Time to talk a bit about marketing. Yikes

Article and photo ©2009 Kirk Tuck.

Is it possible to be in the market for too long?  I'm not talking about the stock market.  We all know the answer to that one.  I'm talking about the photography market.  If you are forty or fifty years old and you've been a photographer for the last ten or twenty years you know that we've been through some gut-wrenching changes.  We've all devised some self-serving and optimistic ways of looking at the decline of our traditional markets.  Some people walk around telling anyone who will listen, "Whatever doesn't kill you makes you stronger!"  But they never mention the scar tissue...  Others say, "This too shall pass!" Implying that the pain we feel now is but a temporary sting that will give way to a rosy and prosperous tomorrow.  "If you can make it through this economy you can  make it through anything."  As though it isn't possible for the economy to get any worse.

I've been thinking a lot about this lately and I've come to some conclusions about our position as photographers in this new world and how things might work out.  I'll say up front that if you are twenty five and surrounded by marvelous designer friends in some cool and unaffected part of the economy then just don't even bother to read the rest.  Everyone's kilometerage will vary.

Let's start by going around the room and admitting we've got a lot of baggage.  I know I do.  It's hard not to.  If you were working in the booming 1990's you no doubt remember when one of the hardest things to come by was a day off.  Day rates were climbing and corporate clients were throwing out stacks of money to advertise new web based companies and services. Traditional agencies with long pedigrees understood the rationale of usage fees and were willing to negotiate based on these historical payment agreements.

We used real cameras that spit out physical products.  We lit stuff and the lighting looked good. Clients didn't (and still don't ) understand lighting and they were willing to pay well for people who did.  Checks came from local offices and agency people understood mark-up.

We remember all this and some part of our brains feels like that's the marker for what should be a normal photo market.  But that's our baggage.  Can we still feel the buzz and get all enthusiastic after the whole model irrevocably changes?  Can we get pumped to do amazing stuff for less money?  For much less profit?

The market has flattened and once clients have tasted nearly free stock, used it and waited for an apocalypse (loss of market share, damage to the brand) that never came we are confronted with their version of a genie that's been released from the bottle, a ship that's sailed, a horse that's already out of the barn.

The selling mantra against dollar stock was fear.  "What if all the businesses in your sector used the same stock image in their campaigns?  Wouldn't you be devasted??  Wouldn't you perceive the tremendous value of a commissioned shoot? You'll never get fired using a proven supplier!!!"  That's pretty much a paraphrase of an essay up on the ASMP site.  But here's the disconnect:  Many of the art buyers, art directors, creative directors and marketing directors who learned their trade in decades past have been swept into other areas and out of negotiation with photographers by two big, catastrophic economic downturns in the first nine years of this century.

They've been replaced in legions by much younger and cheaper people.  These people were raised with dollar stock use or limited rights managed stock as the norm.  That's their baseline. There is no nostalgia driving these people back to the traditional assignment model.  There never will be. They add their own value to the stock stuff with tons of manipulation.  To be clear, clothing catalogs and product catalogs will continue being shot.  CEO's will continue being  photographed.  Stuff will still be assigned.  But it will be the exception rather than the rule.  Only a tiny percentage of images will be assigned and only for specific, proprietary products.

Here's another critical driver:  Advertising clients have scaled back in all print media and have poured more resources into online advertising.  By some counts webvertising is up 20% this year over last.  Consumer magazine ad pages are down nearly 35% over last year.  What happens when the recession finally ends and clients find that web and cable satisfied their needs almost completely?  I think they will channel more and more dollars into the web and TV and less and less into print.

Let's face it.  The web isn't a challenging medium.  My medium format cameras are definitely overkill for most web uses.  For that matter my Canon G10 is overkill for most web use.  The subordinated quality of web versus traditional media is just another barrier to entry knocked down.  The challenge on the web is pushing people to the site but that seems to be the provence of social marketing and viral marketing.

I think that by the time this market recovers 80 to 90 % of the people we veteran photographers dealt with before the collapse will have moved on to other jobs and other industries.  More and more we'll be dealing with a brand new crowd.  None of them will know anything about your brand or your history in the market.  In fact, having a history in the market will mark you as a dinosaur.  Everything that we've learned over our careers, in terms of marketing, is going to be upside down.  New is the new good.  Fast is the new production value.  And coffee is the new martini.  The Canon G10 is the new Nikon D3x.  Just as Strobism is replacing studio flash equipment.

This is just my perception.  Everyone else's mileage may vary.  But the real question is what to do about it.  I think this year is going to be a wash out.  It's a great time to get personal projects done, it's strategically smart to stay in touch with as many clients and potential clients as you can.  It's important to build some new portfolios and some new self-promo and get the website ready.  But here's my "from out of left field"  "brain-stormed" (or lightning struck) idea for 2010.......

Shut your existing business down at the end of this year.  Shut down everything.  Close the doors.  Toss out all your preconceptions about how a photography business should be run.  Toss out your nostalgia and your mythology.  Everything.  Total purge.  Career colonic.

Then, on the first of the new year (or when your gut tells you we're heading back to a prosperous overall economy) emerge and totally re-invent yourself from the ground up.  New look.  New marketing.  New point of view and new ways of doing the business.  Because no matter what you do you will be participating in capitalism's biggest "hard reset" ever and it's pretty much and even bet that, except for premium brands like Coca Cola and Apple and IBM and Starbucks, everyone else will be sitting in on the same reset.

Tired of buying endless gear? Maybe your new business model calls for rental of all lighting and grip gear.  Tired of getting tooled around for payment?  Maybe your new business model calls for nothing but credit card payment.  Tired of your old clients?  This is a time to reset.  Tired of that filing cabinet of legacy headshot files your clients will never need again?  You've gone out of that business, remember?  Toss the stuff you don't need and make room for the stuff that will make you money in the new paradigm.

I've been in Austin a long, long time.  My old clients will use me for  a long time to come.  The people who've been here as long as I have and haven't used me aren't about to start because they've already pigeon-holed me for one reason or another.  When new people move into existing jobs they bring their own people or they go out looking for those people.  By killing off our old business persona we get to be the people they bring in to replace us.

Let me repeat that:  By killing off our old business persona we get to be the people they bring in to replace us.

Being a new business gives us an excuse to get pumped up again.  To throw a big opening party. To invite people into our new process.

I'm still thinking about all this and working the kinks out of it.  But it seems right to me on a number of intuitive levels.  Everything changes and everything evolves.  I don't want to wait around and be a miniature GM when I can be the next new thing.  I know there are many holes and pitfalls to this new idea.  And I'm not saying that I am rushing to implement but I do think it is interesting and we should discuss it.

I know it's not as sexy as talking about gear but that's the next thing I'm looking at.  Really.

Looking forward to the re-launch.  What form will it take for photographers?

By Austin Photographer, Kirk Tuck ©2014


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Public Statements

Kinzinger Passes House Bill to Help Get Veterans Back to Work

Press Release

Location: Utica, IL

Congressman Adam Kinzinger, joined by State Senator Sue Rezin and State Representative Pam Roth, held a press conference at the Utica Community Fire Protection District today to highlight the U.S. House's bipartisan passage of H.R. 4124, the Veterans Emergency Medic Technician Support Act of 2012.

Too often, returning veterans who train and serve as combat medics face State licensing challenges when they try to find similar work in civilian life. Many states do not recognize their military training as applicable to the licensing requirements of the civilian health care system for Emergency Medical Services such as emergency medical technicians (EMTs) or paramedics.

This legislation is a commonsense way to help veterans transition back to civilian life. By supporting states to make the process more efficient -- veterans with military EMT training will more quickly become certified civilian EMTs. In doing so, returning veterans will not have to start over at square one in their training and can enter the civilian workforce much sooner.

"Last month's jobs numbers highlight the continued difficulty our returning veterans face as they attempt to re-enter the civilian workforce," stated Congressman Adam Kinzinger. "These men and women deserve all our efforts to identify and eliminate unnecessary hurdles to civilian employment, and I am proud that the House has acted on this bipartisan bill to streamline the civilian certification process for military EMTs. Commonsense legislation like this is an important step to quickly and effectively help our veterans as they transition from the battlefield back to civilian life."

"We must do everything we can to ensure that our communities are properly staffed with EMS professionals," said State Senator Sue Rezin. "The grants provided by this bill can help Illinois and many other states take a fresh look at how we take into account the experience that our military-trained EMTs have. Utilizing military EMTs in our civilian work force is good for returning solders, good for the health care system and good for patients."

"The Emergency Medic Transition Act has the potential to help veterans return to work upon their completion of military duty, reduce unemployment among veterans and address the national shortage of EMTs, especially in rural areas," stated State Representative Pam Roth.

"It is our hope that states would study this issue and streamline those licensing requirements for those returning from the military that have the experience so desperately needed in this area."

It is becoming more difficult for Illinois communities, but rural ones in particular, to find citizens willing to go through the necessary certification to become an EMT. Because of their training as combat medics and experience dealing with massive trauma injuries and complex medical conditions they will be an asset to any community across Illinois in which they work, which makes streamlining the process all the more important.

H.R. 4124 will assist states who demonstrate a need for additional EMTs with federal funding so they can:

Streamline requirements and procedures in order to assist veterans who completed military emergency technician training while serving in the Armed Forces to meet the necessary requirements in their state;

Determine the extent to which the requirements for the education, training and skill level of EMT in the State are equivalent to requirements for those of military EMTs; and

Identify methods, such as waivers, for military EMTs to forego or meet any such equivalent State requirements.
The bill is also supported by the National Association of Emergency Medical Technicians (NAEMT). NAEMT President Connie Meyer stated, "We believe this legislation is an excellent investment to help our military veterans, our emergency response systems and our country."

This is the second job-related and bipartisan piece of legislation passed by Congressman Kinzinger this month. The American Manufacturing Competitiveness Act of 2012 overwhelmingly passed the full House on September 12, 2012. Both pieces of legislation await action by the U.S. Senate.

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Vulpes Libris

A collective of bibliophiles talking about books. Book Fox (vulpes libris): small bibliovorous mammal of overactive imagination and uncommonly large bookshop expenses. Habitat: anywhere the rustle of pages can be heard.

Coming Up on Vulpes Libris & Haiku Review

CherryBlossomHaiku review?

Let me explain.

In our quest to liven things up around here, and inject a bit of fun, short, silly stuff, we are going to run a series of haiku reviews.

Our founder, Leena, suggested the idea and here are the first of them:

Whether in Congo,
Or Cuba, take my advice:
Don’t fall ill when poor

Water, fear, gambling.
Love within a deck of cards.
Glass, God & heartbreak.

Fetish club weirdos
make accountants seem weirder.
Penguins important.

Very strange novel
with very odd characters
will scar you for life.

Doesn’t that make you want to run out and buy the book? Isn’t that almost as exciting as a thousand word review? Yes and yes are our answers to those questions, so we shall be running haiku reviews on our Twitter page. See the link right to follow Vulpes Libris on the mighty Twitter.

*** Calling Authors***If we’ve reviewed your book on VL and you’d like us to write you a haiku review, just drop us an email or comment here, and we’ll do our very best to write you your very own Vulpes Libris Twitter haiku review.

Onto the schedule:

Monday: Jackie learns about women in space in Almost Heaven by Bettyann Holtzmann Kevles.

Tuesday: Kirsty continues the One Minute Manager theme with The One Minute Manager Meets the Monkey.

Wednesday: Lisa looks at Regi Claire’s interesting collection of short stories, Fighting It.

Thursday: New reviewer, Anne Brooke, discusses Caroline Rance’s Hogarthian historical novel, Kill-Grief.

Friday: Guest reviewer Sam Ruddock shares his thoughts on Virginia Woolf’s classic account of a single day in June – Mrs Dalloway.

Saturday: Eve talks about If I Stay by Gayle Forman.

With thanks to Pict_u_re of Flickr for the beautiful image of Sakura – Japanese cherry blossoms. For the original image, click here.

9 comments on “Coming Up on Vulpes Libris & Haiku Review

  1. Amy
    May 24, 2009

    I swear I’ve got one of them in my back garden. It’s bee-yoo-ti-ful. It’s also really pretty when all the blossoms fall off and there’s a carpet of pink all around. The only thing is that the blooms only last for like a week until they either fall off or shrivel up and droop, and then that’s it for another year! I always make the most of it while I can. This year’s season for it is long gone already and it was only about five weeks ago and I was at home with it in bloom.

  2. bookchildworld
    May 24, 2009

    Love this idea! If anyone wants to do me a Bathsheba haiku I’d be well pleased 🙂

  3. bookchildworld
    May 24, 2009

    p.s. How about giving War and Peace a go? 🙂

  4. Lisa
    May 24, 2009

    You got it, bookchildworld 😀

  5. MG
    May 24, 2009

    Wow, would I EVER love to see your review of ‘Invisible City’ in haiku format!

    What a cool idea!

  6. Lisa
    May 24, 2009

    No problemo 🙂

  7. Luisa
    May 30, 2009

    Ooh, I’d love a haiku for either of my books!

    I love the ones you’ve already done!

  8. Lisa
    May 31, 2009

    Ask and ye shall receive… (check sidebar) 🙂

  9. Alan Summers
    September 16, 2010

    Glad everyone is enjoying haiku! 😉 For a simple internationally praised overview of haiku check us out at:

    all my best,

    Alan, With Words

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This entry was posted on May 24, 2009 by in Entries by Lisa, Uncategorized.

Editorial Policy

The views expressed in the articles and reviews on Vulpes Libris are those of the authors, and not of Vulpes Libris itself.

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You are very welcome to quote up to 100 words from any article posted on Vulpes Libris - as long as you quote accurately, give us due credit and link back to the original post. If you would like to quote MORE than 100 words, please ask us first via the email address in the Contact details.

  • (The header image is from Aesop's Fables, illustrated by Francis Barlow (1666), and appears courtesy of the Digital and Multimedia Center at the Michigan State University Libraries.)
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We have created a wiki called “Surviving in Hamilton” for you to access and contribute information on living in Hamilton. If you are planning to move to Hamilton from Malaysia then, you should visit this wiki. Note that it is still under construction but as time goes on, hopefully the amount and quality of information will grow.

Visit the wiki at http://waikatomalaysians.scribblewiki.com/Main_Page

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3 Influential Hip Hop Groups You Must Listen To

Hard core Christian rap? Yeah, like that's likely to happen. Around 1978, he utilized to tease his friend who was within the US Army by singing hip/hop/hip/hop. If you would like to listen to real hip hop and open yourself approximately a cool, creative style of music you need to dig a little deeper than turning on hot 91 and pay attention to Lil Wayne latest trash. That's what are the nearly all of the trash about the radio allows you to believe anyway. Simple moves that kill it about the dancefloor!Here we go.

When hip-hop dance first grew in prominence, it began as a street dance form. Jewelry worn by men was dominated by heavy gold chains or bracelets and ladies preferred large gold earrings since the fashion jewelry to match hip hop clothes. You will have the chance to meet music producers and inside the end even get an album.

A Brief History. With classic songs like Intergalactic, Sabotage, and No sleep till Brooklyn, they always come using a crazy hype style of music. If it is performed fast, it can be accustomed to dance to techno beats in the event you just shorten the steps. No one knows what is going to be seen inside a hip hop video next.

However it had been only in 1979 that rap music was recorded for the very first time by The Fatback Band, the title of which was "King Tim III (Personality Jock). Their style is really laid back and chill. This also provides all the recent s happening in the music industry. Named "the box" for your undeniable fact that the steps involved require a shape of your box, it's a series of steps that take your right across foot before the left, then the left foot goes back, then your right foot back and diagonal, and left foot back to join the righ foot and complete the movement.

In Asia, Japan specifically started its own version through Hiroshi Fujiwara inside the early 1980's. The pool area of a mansion might be the main element place where videos are shot. In the mid-1970s, hip-hop split into two groups. Scroll down to see a video of Hip Hop skateboarder Chad Muska.

Rap songs in many cases are packed with lyrics which describe the contemporary issues http://independent.academia.edu/DellaMcintyreo/Posts and provide a clear picture of what is happening around. In my head they have the title for that greatest hip hop album ever with "Enter the 36 Chambers". Some of the outfits are edgy and masculine when girls dance wearing exactly the same baggy jeans as the guys do. The major cities in which these changes started occurring were New York, Philadelphia, the San Francisco Bay Area Bay Area, Los Angeles, Miami, Chicago, Detroit, Atlanta, Memphis, and Jersey City but the new culture spread along with other cities also quite fast. Alexander Wang made a crossover to Hip Hop with all the aid of A$AP Rocky.

The list although not really a comprehensive one has selected the best hip hop songs for Christmas that will entertain you the most. Don't https://www.rebelmouse.com/fenderlady10/mike-mowery-on-being-an-artist-manager-in-the-new-music-industry-podca-1344315038.html wait any longer! Act right now. Yet, by scrutinizing carefully their music, we can discern that behind every lyric enunciates lines of protest against injustices, racial prejudices, and elements which will make living within the world insane.


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Cafe World Coins - How to Gain Coins in Cafe World Quickly

FIFA 's latest series in their franchise, FIFA 16 is currently the talk of town because it follows closely in the heels in the equally successful FIFA 16. FIFA 16 now allows players to possess several options of attacking allowing for smart playing, a necessity for an entertaining soccer game. So creating great goal scoring opportunities seems to be essentially the most asked question over the Internet. Get More Information

A few require a Max quantity of nationalities with your team, so remember who you placed an offer for when you make some progress. FIFA 16 Ultimate Team presents you the chance to select your own team of players coming from a pool of recognized professional soccer players inside available list. Once in a very while try confusing the c's you are playing against by doing the short corner. Many fans did moan in regards to the new feature that has been hard to get accustomed to at first.

These last three versions with the FIFA series happen to be excellent, no where more though compared to their online features. Here is a list of my favorite five-star players, their leagues, positions and their teams so that it will be basic to find, buy or trade them. Before you take your Ultimate Team online, you to come up against someone having an all-gold squad. The other cool tip on career mode is loan signings to get a whole season.

Repeatedly cooking those two food items will improve your profits. This was not possible on the previous game and is thus a welcome addition for the FIFA franchise. You need to control and dominate the action right from the opening. FIFA 16 may be out for little over three weeks now and already people are searching the Internet for tips and hints towards the game.


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Find your true north
en en

Toni Childs

When Toni Childs first burst onto the music scene in 1988, her unique powerful voice set her apart from other singers. Though what established her as more than just an iconic voice was her powerful songwriting. It was honest and revealing and it resonated with both men and women around the world. They felt like she was telling their story, not just her own. Her album Union received two Grammy nominations, House of Hope had a song featured in the classic film Thelma and Louise, and her 1996 LP, The Woman’s Boat earned Toni her third Grammy nomination. All 3 releases afforded her the opportunity to tour the world performing many sold out concerts. Then in 1997, on the cusp of releasing a new LP Toni was diagnosed with Graves Disease. Making one of the toughest decisions of her life, she decided to put her health first and walked away from her successful music career. She relocated to Kauai, Hawaii living on a farm in a tree house, growing her own vegetables, swimming in the ocean everyday and curing herself of Graves Disease. A chance encounter in 2003 with author of the Vagina Monologues Eve Ensler would eventually lead Toni back to music and her Emmy award for Because You’re Beautiful, which featured in Eve’s Documentary Until The Violence Stops. Once the spark had been relit Toni was back in the studio. Songs from the unreleased 1997 album resurfaced to find a home on Keep the Faith along with Because You’re Beautiful. Throughout 2008 and up until 2011 Toni toured the album extensively throughout Regional Australia. One of things that stayed with Toni during those touring years was how, both men and women, looked like they'd left themselves on the side of the road and forgot to go back and get themselves. This inspired Toni to find a way to connect with the women in the audience so she invited them on stage so she could sing Because You're Beautiful to them personally and remind them of the truth; that they are beautiful and worthy and valued. The effect this exchange had on both the woman and men in audience was transformative and it became the catalyst to Toni starting her Yoga and Radical Alignment retreats. Toni now travels the world hosting her workshops in conjunction with wellness festivals and yoga centres. But it’s not the only thing that keeps her busy. Toni has never been the type of artist to let other people's ideals dictate her path in life. She’s a free thinker and an innovator who’s made most of her major life decisions based on the energetic pull she feels towards a particular creative path filled with fun and adventure. It’s this philosophy that sees her with a new album soon to be released called It’s All A Beautiful noise that goes beyond traditional concepts for live music. Beautiful Noise incorporates two hours of 3D mapping, a pop-up set of the natural world, white paper hats for the audience with addressable LED lights that Toni controls from the stage for interactive play and 19 installations that feature life size paper animals, designed and made by Toni and friends. Then there is her 360° Reef's installation that features six songs from Its All a Beautiful Noise for her underwater concert for whales and dolphins. Her Reefs installation includes an educational portal designed to inspire people around the world to adopt a reef and help restore endangered coral reefs on our planet. Working in conjunction with ICUN Red list scientists, local & international NGOs, and some major museums around the world her dream is set to become reality. The coming years will see also see the release of two more albums, Citizens Of The Planet and Zero Point, which like It’s All A Beautiful Noise, will offer experiences that are aimed to entertain, educate and enlighten. Toni Childs is on a personal mission to wrap the world in beauty.


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Net Price Calculator

Net Price CalculatorWelcome to Illinois Tech's Net Price Calculator! The Net Price Calculator is a tool that Undergraduate students and families can use to estimate their "net price" to attend Illinois Tech. The net price is the difference between the full cost of attending Illinois Tech minus any grants and scholarships for which the student may be eligible.

The calculator does not represent a guarantee, final determination, or actual award. It allows students to anticipate what they may receive in institutional and federal aid if they become a student at Illinois Tech. The information in the Net Price Calculator is based on prior year information. Cost of attendance and financial aid availability change from year to year.

Student Accounting publishes specific tuition and fee rates every year. The most accurate bill for matriculated students can always be found on TouchNet, which is accessible through your myIIT portal.

If you have questions about the tuition and fee rates, please contact the Student Accounting Office at or at 312.567.3794.


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The number one practice management software in audiology.

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We sit down with Founder and CEO of AudiologyIS, Dr. Rose DeLude and learn about The Roadmap to Successful Dispensing

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More Contrasts Between OWS And The Tea Party

As the ongoing Occupy Wall Street protests continue, the media still tries to paint them as something entirely grass roots despite the fact that many of them are anything but grassroots. As Bruce Kesler put it, they are nothing more than “Potemkin” protests.

[Occupy Wall Street] is a big media promoted event, one that fits its liberal-left memes, organized by radical "community organizers", funded and added manpower from government-union thugs (just look at the size of the OWC (sic) bouncers).

As Glenn Reynolds comments about major media coverage of OWC protests, "When lefties want to make the Tea Party fit their preconceptions, they have to make things up. When righties want to exercise their preconceptions about the Occupy movement, on the other hand, they just have to take a picture."

The contrast is telling. As Mary Grabar notes from her observations of the Occupy Atlanta protests:

As I watched the ragtag group file in, escorted by police, I remembered a Tea Party rally in front of the state capitol in downtown Atlanta, only a few blocks away. There the police and state troopers were omnipresent amidst a group of suburbanites occupying flag-adorned lawn chairs on the sidewalk and listening to speeches about politically legitimate efforts in overturning health care legislation and enforcing immigration laws. Complaints from the podium were specifically about government actions, like taking over the private company, General Motors.

Back then, amidst the flags and bunting, the police were omnipresent, with prison vehicles at the ready and parked along the streets that were the pathway to the prearranged site. Police were omnipresent as the Pledge of Allegiance was recited. They were quite visible as the National Anthem and America the Beautiful were sung, and as prayers for our country were sent up to heaven.

The police stood around, looking relaxed.

The Tea Partiers never blocked a street, and left quietly down the sidewalks after their allotted time, leaving no traces, picking up trash that may have been dropped inadvertently.

The Tea Party never occupied public land illegally. They assembled peacefully with permits arranged beforehand. Yet the media repeatedly characterized them as “angry,” “extremist,” and “racist.”

Tea Party protestors didn't defecate on police cars, didn't disrespect men and women in uniform, didn't try to foment confrontations with police, didn't turn public parks into pig sties, and they didn't use the restroom facilities of local businesses as if they were nothing more than public restrooms.

At least Tea Party protestors abide by the law (for the most part). If they don't like a law they'll try to change it as the Founders intended, by using the ballot box rather than ignoring it as if it didn't apply to them. Tea Party supporters understand where the money comes from to pay for all the “free stuff” many the OWS folks are demanding. A majority of Tea Party supporters are part of the 53% who actually pay income taxes. Most of the young OWS protestors are not. That they believe they are entitled to receive that “free stuff” the rest of us pay for shows us they've been cheated, either by parents that indulged them far too much or schools that filled their heads with that nonsense. And when reality finally slaps them up side their heads it's somehow the fault of the people who make it possible for them to live their indigent lifestyle and they demand that they be “given” jobs they really don't want (because then they'd actually have to work) or aren't qualified to perform.

And so it goes.