10 Sept 2008 IR HDR Images.

 

High Dynamic Range (HDR)

 

High-dynamic-range imaging (HDRI) is a high dynamic range (HDR) technique used in imaging and photography to reproduce a greater dynamic range of luminosity than is possible with standard digital imaging or photographic techniques. The aim is to present a similar range of luminance to that experienced through the human visual system. The human eye, through adaptation of the iris and other methods, adjusts constantly to adapt to a broad range of luminance present in the environment. The brain continuously interprets this information so that a viewer can see in a wide range of light conditions.

 

HDR images can represent a greater range of luminance levels than can be achieved using more 'traditional' methods, such as many real-world scenes containing very bright, direct sunlight to extreme shade, or very faint nebulae. This is often achieved by capturing and then combining several different, narrower range, exposures of the same subject matter. Non-HDR cameras take photographs with a limited exposure range, referred to as LDR, resulting in the loss of detail in highlights or shadows.

 

The two primary types of HDR images are computer renderings and images resulting from merging multiple low-dynamic-range (LDR) or standard-dynamic-range (SDR) photographs. HDR images can also be acquired using special image sensors, such as an oversampled binary image sensor.

 

Due to the limitations of printing and display contrast, the extended luminosity range of an HDR image has to be compressed to be made visible. The method of rendering an HDR image to a standard monitor or printing device is called tone mapping. This method reduces the overall contrast of an HDR image to facilitate display on devices or printouts with lower dynamic range, and can be applied to produce images with preserved local contrast (or exaggerated for artistic effect).

 

In photography, dynamic range is measured in exposure value (EV) differences (known as stops). An increase of one EV, or 'one stop', represents a doubling of the amount of light. Conversely, a decrease of one EV represents a halving of the amount of light. Therefore, revealing detail in the darkest of shadows requires high exposures, while preserving detail in very bright situations requires very low exposures. Most cameras cannot provide this range of exposure values within a single exposure, due to their low dynamic range. High-dynamic-range photographs are generally achieved by capturing multiple standard-exposure images, often using exposure bracketing, and then later merging them into a single HDR image, usually within a photo manipulation program). Digital images are often encoded in a camera's raw image format, because 8-bit JPEG encoding does not offer a wide enough range of values to allow fine transitions (and regarding HDR, later introduces undesirable effects due to lossy compression).

 

Any camera that allows manual exposure control can make images for HDR work, although one equipped with auto exposure bracketing (AEB) is far better suited. Images from film cameras are less suitable as they often must first be digitized, so that they can later be processed using software HDR methods.

 

In most imaging devices, the degree of exposure to light applied to the active element (be it film or CCD) can be altered in one of two ways: by either increasing/decreasing the size of the aperture or by increasing/decreasing the time of each exposure. Exposure variation in an HDR set is only done by altering the exposure time and not the aperture size; this is because altering the aperture size also affects the depth of field and so the resultant multiple images would be quite different, preventing their final combination into a single HDR image.

 

An important limitation for HDR photography is that any movement between successive images will impede or prevent success in combining them afterwards. Also, as one must create several images (often three or five and sometimes more) to obtain the desired luminance range, such a full 'set' of images takes extra time. HDR photographers have developed calculation methods and techniques to partially overcome these problems, but the use of a sturdy tripod is, at least, advised.

 

Some cameras have an auto exposure bracketing (AEB) feature with a far greater dynamic range than others, from the 3 EV of the Canon EOS 40D, to the 18 EV of the Canon EOS-1D Mark II. As the popularity of this imaging method grows, several camera manufactures are now offering built-in HDR features. For example, the Pentax K-7 DSLR has an HDR mode that captures an HDR image and outputs (only) a tone mapped JPEG file. The Canon PowerShot G12, Canon PowerShot S95 and Canon PowerShot S100 offer similar features in a smaller format.. Nikon's approach is called 'Active D-Lighting' which applies exposure compensation and tone mapping to the image as it comes from the sensor, with the accent being on retaing a realistic effect . Some smartphones provide HDR modes, and most mobile platforms have apps that provide HDR picture taking.

 

Camera characteristics such as gamma curves, sensor resolution, noise, photometric calibration and color calibration affect resulting high-dynamic-range images.

 

Color film negatives and slides consist of multiple film layers that respond to light differently. As a consequence, transparent originals (especially positive slides) feature a very high dynamic range

 

Tone mapping

Tone mapping reduces the dynamic range, or contrast ratio, of an entire image while retaining localized contrast. Although it is a distinct operation, tone mapping is often applied to HDRI files by the same software package.

 

Several software applications are available on the PC, Mac and Linux platforms for producing HDR files and tone mapped images. Notable titles include

 

Adobe Photoshop

Aurora HDR

Dynamic Photo HDR

HDR Efex Pro

HDR PhotoStudio

Luminance HDR

MagicRaw

Oloneo PhotoEngine

Photomatix Pro

PTGui

 

Information stored in high-dynamic-range images typically corresponds to the physical values of luminance or radiance that can be observed in the real world. This is different from traditional digital images, which represent colors as they should appear on a monitor or a paper print. Therefore, HDR image formats are often called scene-referred, in contrast to traditional digital images, which are device-referred or output-referred. Furthermore, traditional images are usually encoded for the human visual system (maximizing the visual information stored in the fixed number of bits), which is usually called gamma encoding or gamma correction. The values stored for HDR images are often gamma compressed (power law) or logarithmically encoded, or floating-point linear values, since fixed-point linear encodings are increasingly inefficient over higher dynamic ranges.

 

HDR images often don't use fixed ranges per color channel—other than traditional images—to represent many more colors over a much wider dynamic range. For that purpose, they don't use integer values to represent the single color channels (e.g., 0-255 in an 8 bit per pixel interval for red, green and blue) but instead use a floating point representation. Common are 16-bit (half precision) or 32-bit floating point numbers to represent HDR pixels. However, when the appropriate transfer function is used, HDR pixels for some applications can be represented with a color depth that has as few as 10–12 bits for luminance and 8 bits for chrominance without introducing any visible quantization artifacts.

 

History of HDR photography

The idea of using several exposures to adequately reproduce a too-extreme range of luminance was pioneered as early as the 1850s by Gustave Le Gray to render seascapes showing both the sky and the sea. Such rendering was impossible at the time using standard methods, as the luminosity range was too extreme. Le Gray used one negative for the sky, and another one with a longer exposure for the sea, and combined the two into one picture in positive.

 

Mid 20th century

Manual tone mapping was accomplished by dodging and burning – selectively increasing or decreasing the exposure of regions of the photograph to yield better tonality reproduction. This was effective because the dynamic range of the negative is significantly higher than would be available on the finished positive paper print when that is exposed via the negative in a uniform manner. An excellent example is the photograph Schweitzer at the Lamp by W. Eugene Smith, from his 1954 photo essay A Man of Mercy on Dr. Albert Schweitzer and his humanitarian work in French Equatorial Africa. The image took 5 days to reproduce the tonal range of the scene, which ranges from a bright lamp (relative to the scene) to a dark shadow.

 

Ansel Adams elevated dodging and burning to an art form. Many of his famous prints were manipulated in the darkroom with these two methods. Adams wrote a comprehensive book on producing prints called The Print, which prominently features dodging and burning, in the context of his Zone System.

 

With the advent of color photography, tone mapping in the darkroom was no longer possible due to the specific timing needed during the developing process of color film. Photographers looked to film manufacturers to design new film stocks with improved response, or continued to shoot in black and white to use tone mapping methods.

 

Color film capable of directly recording high-dynamic-range images was developed by Charles Wyckoff and EG&G "in the course of a contract with the Department of the Air Force". This XR film had three emulsion layers, an upper layer having an ASA speed rating of 400, a middle layer with an intermediate rating, and a lower layer with an ASA rating of 0.004. The film was processed in a manner similar to color films, and each layer produced a different color. The dynamic range of this extended range film has been estimated as 1:108. It has been used to photograph nuclear explosions, for astronomical photography, for spectrographic research, and for medical imaging. Wyckoff's detailed pictures of nuclear explosions appeared on the cover of Life magazine in the mid-1950s.

 

Late 20th century

Georges Cornuéjols and licensees of his patents (Brdi, Hymatom) introduced the principle of HDR video image, in 1986, by interposing a matricial LCD screen in front of the camera's image sensor, increasing the sensors dynamic by five stops. The concept of neighborhood tone mapping was applied to video cameras by a group from the Technion in Israel led by Dr. Oliver Hilsenrath and Prof. Y.Y.Zeevi who filed for a patent on this concept in 1988.

 

In February and April 1990, Georges Cornuéjols introduced the first real-time HDR camera that combined two images captured by a sensor3435 or simultaneously3637 by two sensors of the camera. This process is known as bracketing used for a video stream.

 

In 1991, the first commercial video camera was introduced that performed real-time capturing of multiple images with different exposures, and producing an HDR video image, by Hymatom, licensee of Georges Cornuéjols.

 

Also in 1991, Georges Cornuéjols introduced the HDR+ image principle by non-linear accumulation of images to increase the sensitivity of the camera: for low-light environments, several successive images are accumulated, thus increasing the signal to noise ratio.

 

In 1993, another commercial medical camera producing an HDR video image, by the Technion.

 

Modern HDR imaging uses a completely different approach, based on making a high-dynamic-range luminance or light map using only global image operations (across the entire image), and then tone mapping the result. Global HDR was first introduced in 19931 resulting in a mathematical theory of differently exposed pictures of the same subject matter that was published in 1995 by Steve Mann and Rosalind Picard.

 

On October 28, 1998, Ben Sarao created one of the first nighttime HDR+G (High Dynamic Range + Graphic image)of STS-95 on the launch pad at NASA's Kennedy Space Center. It consisted of four film images of the shuttle at night that were digitally composited with additional digital graphic elements. The image was first exhibited at NASA Headquarters Great Hall, Washington DC in 1999 and then published in Hasselblad Forum, Issue 3 1993, Volume 35 ISSN 0282-5449.

 

The advent of consumer digital cameras produced a new demand for HDR imaging to improve the light response of digital camera sensors, which had a much smaller dynamic range than film. Steve Mann developed and patented the global-HDR method for producing digital images having extended dynamic range at the MIT Media Laboratory. Mann's method involved a two-step procedure: (1) generate one floating point image array by global-only image operations (operations that affect all pixels identically, without regard to their local neighborhoods); and then (2) convert this image array, using local neighborhood processing (tone-remapping, etc.), into an HDR image. The image array generated by the first step of Mann's process is called a lightspace image, lightspace picture, or radiance map. Another benefit of global-HDR imaging is that it provides access to the intermediate light or radiance map, which has been used for computer vision, and other image processing operations.

 

21st century

In 2005, Adobe Systems introduced several new features in Photoshop CS2 including Merge to HDR, 32 bit floating point image support, and HDR tone mapping.

 

On June 30, 2016, Microsoft added support for the digital compositing of HDR images to Windows 10 using the Universal Windows Platform.

 

HDR sensors

Modern CMOS image sensors can often capture a high dynamic range from a single exposure. The wide dynamic range of the captured image is non-linearly compressed into a smaller dynamic range electronic representation. However, with proper processing, the information from a single exposure can be used to create an HDR image.

 

Such HDR imaging is used in extreme dynamic range applications like welding or automotive work. Some other cameras designed for use in security applications can automatically provide two or more images for each frame, with changing exposure. For example, a sensor for 30fps video will give out 60fps with the odd frames at a short exposure time and the even frames at a longer exposure time. Some of the sensor may even combine the two images on-chip so that a wider dynamic range without in-pixel compression is directly available to the user for display or processing.

 

en.wikipedia.org/wiki/High-dynamic-range_imaging

 

Infrared Photography

 

In infrared photography, the film or image sensor used is sensitive to infrared light. The part of the spectrum used is referred to as near-infrared to distinguish it from far-infrared, which is the domain of thermal imaging. Wavelengths used for photography range from about 700 nm to about 900 nm. Film is usually sensitive to visible light too, so an infrared-passing filter is used; this lets infrared (IR) light pass through to the camera, but blocks all or most of the visible light spectrum (the filter thus looks black or deep red). ("Infrared filter" may refer either to this type of filter or to one that blocks infrared but passes other wavelengths.)

 

When these filters are used together with infrared-sensitive film or sensors, "in-camera effects" can be obtained; false-color or black-and-white images with a dreamlike or sometimes lurid appearance known as the "Wood Effect," an effect mainly caused by foliage (such as tree leaves and grass) strongly reflecting in the same way visible light is reflected from snow. There is a small contribution from chlorophyll fluorescence, but this is marginal and is not the real cause of the brightness seen in infrared photographs. The effect is named after the infrared photography pioneer Robert W. Wood, and not after the material wood, which does not strongly reflect infrared.

 

The other attributes of infrared photographs include very dark skies and penetration of atmospheric haze, caused by reduced Rayleigh scattering and Mie scattering, respectively, compared to visible light. The dark skies, in turn, result in less infrared light in shadows and dark reflections of those skies from water, and clouds will stand out strongly. These wavelengths also penetrate a few millimeters into skin and give a milky look to portraits, although eyes often look black.

 

Until the early 20th century, infrared photography was not possible because silver halide emulsions are not sensitive to longer wavelengths than that of blue light (and to a lesser extent, green light) without the addition of a dye to act as a color sensitizer. The first infrared photographs (as distinct from spectrographs) to be published appeared in the February 1910 edition of The Century Magazine and in the October 1910 edition of the Royal Photographic Society Journal to illustrate papers by Robert W. Wood, who discovered the unusual effects that now bear his name. The RPS co-ordinated events to celebrate the centenary of this event in 2010. Wood's photographs were taken on experimental film that required very long exposures; thus, most of his work focused on landscapes. A further set of infrared landscapes taken by Wood in Italy in 1911 used plates provided for him by CEK Mees at Wratten & Wainwright. Mees also took a few infrared photographs in Portugal in 1910, which are now in the Kodak archives.

 

Infrared-sensitive photographic plates were developed in the United States during World War I for spectroscopic analysis, and infrared sensitizing dyes were investigated for improved haze penetration in aerial photography. After 1930, new emulsions from Kodak and other manufacturers became useful to infrared astronomy.

 

Infrared photography became popular with photography enthusiasts in the 1930s when suitable film was introduced commercially. The Times regularly published landscape and aerial photographs taken by their staff photographers using Ilford infrared film. By 1937 33 kinds of infrared film were available from five manufacturers including Agfa, Kodak and Ilford. Infrared movie film was also available and was used to create day-for-night effects in motion pictures, a notable example being the pseudo-night aerial sequences in the James Cagney/Bette Davis movie The Bride Came COD.

 

False-color infrared photography became widely practiced with the introduction of Kodak Ektachrome Infrared Aero Film and Ektachrome Infrared EIR. The first version of this, known as Kodacolor Aero-Reversal-Film, was developed by Clark and others at the Kodak for camouflage detection in the 1940s. The film became more widely available in 35mm form in the 1960s but KODAK AEROCHROME III Infrared Film 1443 has been discontinued.

 

Infrared photography became popular with a number of 1960s recording artists, because of the unusual results; Jimi Hendrix, Donovan, Frank and a slow shutter speed without focus compensation, however wider apertures like f/2.0 can produce sharp photos only if the lens is meticulously refocused to the infrared index mark, and only if this index mark is the correct one for the filter and film in use. However, it should be noted that diffraction effects inside a camera are greater at infrared wavelengths so that stopping down the lens too far may actually reduce sharpness.

 

Most apochromatic ('APO') lenses do not have an Infrared index mark and do not need to be refocused for the infrared spectrum because they are already optically corrected into the near-infrared spectrum. Catadioptric lenses do not often require this adjustment because their mirror containing elements do not suffer from chromatic aberration and so the overall aberration is comparably less. Catadioptric lenses do, of course, still contain lenses, and these lenses do still have a dispersive property.

 

Infrared black-and-white films require special development times but development is usually achieved with standard black-and-white film developers and chemicals (like D-76). Kodak HIE film has a polyester film base that is very stable but extremely easy to scratch, therefore special care must be used in the handling of Kodak HIE throughout the development and printing/scanning process to avoid damage to the film. The Kodak HIE film was sensitive to 900 nm.

 

As of November 2, 2007, "KODAK is preannouncing the discontinuance" of HIE Infrared 35 mm film stating the reasons that, "Demand for these products has been declining significantly in recent years, and it is no longer practical to continue to manufacture given the low volume, the age of the product formulations and the complexity of the processes involved." At the time of this notice, HIE Infrared 135-36 was available at a street price of around $12.00 a roll at US mail order outlets.

 

Arguably the greatest obstacle to infrared film photography has been the increasing difficulty of obtaining infrared-sensitive film. However, despite the discontinuance of HIE, other newer infrared sensitive emulsions from EFKE, ROLLEI, and ILFORD are still available, but these formulations have differing sensitivity and specifications from the venerable KODAK HIE that has been around for at least two decades. Some of these infrared films are available in 120 and larger formats as well as 35 mm, which adds flexibility to their application. With the discontinuance of Kodak HIE, Efke's IR820 film has become the only IR film on the marketneeds update with good sensitivity beyond 750 nm, the Rollei film does extend beyond 750 nm but IR sensitivity falls off very rapidly.

  

Color infrared transparency films have three sensitized layers that, because of the way the dyes are coupled to these layers, reproduce infrared as red, red as green, and green as blue. All three layers are sensitive to blue so the film must be used with a yellow filter, since this will block blue light but allow the remaining colors to reach the film. The health of foliage can be determined from the relative strengths of green and infrared light reflected; this shows in color infrared as a shift from red (healthy) towards magenta (unhealthy). Early color infrared films were developed in the older E-4 process, but Kodak later manufactured a color transparency film that could be developed in standard E-6 chemistry, although more accurate results were obtained by developing using the AR-5 process. In general, color infrared does not need to be refocused to the infrared index mark on the lens.

 

In 2007 Kodak announced that production of the 35 mm version of their color infrared film (Ektachrome Professional Infrared/EIR) would cease as there was insufficient demand. Since 2011, all formats of color infrared film have been discontinued. Specifically, Aerochrome 1443 and SO-734.

 

There is no currently available digital camera that will produce the same results as Kodak color infrared film although the equivalent images can be produced by taking two exposures, one infrared and the other full-color, and combining in post-production. The color images produced by digital still cameras using infrared-pass filters are not equivalent to those produced on color infrared film. The colors result from varying amounts of infrared passing through the color filters on the photo sites, further amended by the Bayer filtering. While this makes such images unsuitable for the kind of applications for which the film was used, such as remote sensing of plant health, the resulting color tonality has proved popular artistically.

 

Color digital infrared, as part of full spectrum photography is gaining popularity. The ease of creating a softly colored photo with infrared characteristics has found interest among hobbyists and professionals.

 

In 2008, Los Angeles photographer, Dean Bennici started cutting and hand rolling Aerochrome color Infrared film. All Aerochrome medium and large format which exists today came directly from his lab. The trend in infrared photography continues to gain momentum with the success of photographer Richard Mosse and multiple users all around the world.

 

Digital camera sensors are inherently sensitive to infrared light, which would interfere with the normal photography by confusing the autofocus calculations or softening the image (because infrared light is focused differently from visible light), or oversaturating the red channel. Also, some clothing is transparent in the infrared, leading to unintended (at least to the manufacturer) uses of video cameras. Thus, to improve image quality and protect privacy, many digital cameras employ infrared blockers. Depending on the subject matter, infrared photography may not be practical with these cameras because the exposure times become overly long, often in the range of 30 seconds, creating noise and motion blur in the final image. However, for some subject matter the long exposure does not matter or the motion blur effects actually add to the image. Some lenses will also show a 'hot spot' in the centre of the image as their coatings are optimised for visible light and not for IR.

 

An alternative method of DSLR infrared photography is to remove the infrared blocker in front of the sensor and replace it with a filter that removes visible light. This filter is behind the mirror, so the camera can be used normally - handheld, normal shutter speeds, normal composition through the viewfinder, and focus, all work like a normal camera. Metering works but is not always accurate because of the difference between visible and infrared refraction. When the IR blocker is removed, many lenses which did display a hotspot cease to do so, and become perfectly usable for infrared photography. Additionally, because the red, green and blue micro-filters remain and have transmissions not only in their respective color but also in the infrared, enhanced infrared color may be recorded.

 

Since the Bayer filters in most digital cameras absorb a significant fraction of the infrared light, these cameras are sometimes not very sensitive as infrared cameras and can sometimes produce false colors in the images. An alternative approach is to use a Foveon X3 sensor, which does not have absorptive filters on it; the Sigma SD10 DSLR has a removable IR blocking filter and dust protector, which can be simply omitted or replaced by a deep red or complete visible light blocking filter. The Sigma SD14 has an IR/UV blocking filter that can be removed/installed without tools. The result is a very sensitive digital IR camera.

 

While it is common to use a filter that blocks almost all visible light, the wavelength sensitivity of a digital camera without internal infrared blocking is such that a variety of artistic results can be obtained with more conventional filtration. For example, a very dark neutral density filter can be used (such as the Hoya ND400) which passes a very small amount of visible light compared to the near-infrared it allows through. Wider filtration permits an SLR viewfinder to be used and also passes more varied color information to the sensor without necessarily reducing the Wood effect. Wider filtration is however likely to reduce other infrared artefacts such as haze penetration and darkened skies. This technique mirrors the methods used by infrared film photographers where black-and-white infrared film was often used with a deep red filter rather than a visually opaque one.

 

Another common technique with near-infrared filters is to swap blue and red channels in software (e.g. photoshop) which retains much of the characteristic 'white foliage' while rendering skies a glorious blue.

 

Several Sony cameras had the so-called Night Shot facility, which physically moves the blocking filter away from the light path, which makes the cameras very sensitive to infrared light. Soon after its development, this facility was 'restricted' by Sony to make it difficult for people to take photos that saw through clothing. To do this the iris is opened fully and exposure duration is limited to long times of more than 1/30 second or so. It is possible to shoot infrared but neutral density filters must be used to reduce the camera's sensitivity and the long exposure times mean that care must be taken to avoid camera-shake artifacts.

 

Fuji have produced digital cameras for use in forensic criminology and medicine which have no infrared blocking filter. The first camera, designated the S3 PRO UVIR, also had extended ultraviolet sensitivity (digital sensors are usually less sensitive to UV than to IR). Optimum UV sensitivity requires special lenses, but ordinary lenses usually work well for IR. In 2007, FujiFilm introduced a new version of this camera, based on the Nikon D200/ FujiFilm S5 called the IS Pro, also able to take Nikon lenses. Fuji had earlier introduced a non-SLR infrared camera, the IS-1, a modified version of the FujiFilm FinePix S9100. Unlike the S3 PRO UVIR, the IS-1 does not offer UV sensitivity. FujiFilm restricts the sale of these cameras to professional users with their EULA specifically prohibiting "unethical photographic conduct".

 

Phase One digital camera backs can be ordered in an infrared modified form.

 

Remote sensing and thermographic cameras are sensitive to longer wavelengths of infrared (see Infrared spectrum#Commonly used sub-division scheme). They may be multispectral and use a variety of technologies which may not resemble common camera or filter designs. Cameras sensitive to longer infrared wavelengths including those used in infrared astronomy often require cooling to reduce thermally induced dark currents in the sensor (see Dark current (physics)). Lower cost uncooled thermographic digital cameras operate in the Long Wave infrared band (see Thermographic camera#Uncooled infrared detectors). These cameras are generally used for building inspection or preventative maintenance but can be used for artistic pursuits as well.

 

en.wikipedia.org/wiki/Infrared_photography

 

www.usaraf.army.mil

 

U.S Army Medical Research Unit: Improving malaria diagnosis in Africa, one lab at a time

 

By Rick Scavetta, U.S. Army Africa

 

OYUGIS, Kenya – Inside Rachuonyo district hospital, Simba Mobagi peers through his laboratory’s only microscope at a sick woman’s blood sample.

 

The 33-year-old laboratory technologist’s goal – rapidly identifying malaria parasites.

Dozens more samples await his eyes. Each represents a patient suffering outside on wooden benches.

 

Mogabi takes little time to ponder his workload. He quickly finds malaria parasites, marks his findings on a pink patient record and moves to the next slide. Much to his surprise, a U.S. Army officer arrives, removes his black beret and sets down a large box.

 

Inside Maj. Eric Wagar’s box is a new microscope – a small gesture within U.S. Army Medical Research Unit-Kenya’s larger efforts to improve malaria diagnostics in Africa.

 

For more than 40 years, USAMRU-K – known locally as the Walter Reed Project – has studied diseases in East Africa through a partnership with the Kenya Medical Research Institute.

 

Wagar heads USAMRU-K’s Malaria Diagnostics and Control Center of Excellence in Kisumu, a unique establishment begun in 2004 that’s since trained more than 650 laboratory specialist to better their malaria microscopy skills.

 

“Working with the Walter Reed Project is so good for the community, as it benefits the patient,” Mobagi said, who is looking forward to attending the center’s malaria diagnostics course. “Plus, having a new microscope improves our work environment. Work will be easier and we will have better outcomes.”

 

Back in Kisumu, wall maps mark the center’s success, with hundreds of trained lab technicians from more than a dozen countries across the African continent. International students have come from Ireland, the U.S. and Thailand.

Many students are sponsored through U.S. government aid programs aimed at reducing disease in Africa or by nongovernmental organizations. Most of the center’s $450,000 annual budget comes from the U.S. President’s Malaria Initiative. Other funding is from the U.S. Defense Department, NGOs and pharmaceutical companies.

 

For students to practice malaria identification, five Kenyan lab technicians work tirelessly to create a variety of blood specimens. Slides may show one or more of malaria’s several species – others are free of parasites. The majority of malaria cases are the falciparum species, but many people are co-infected with other species and it’s important for students to recognize that, Wagar said.

 

“At our course, lab students learn skills and habits that increase their ability to accurately detect malaria on blood slides. Yet, when they return to their local laboratories, they face the challenge of changing habits and procedures,” Wagar said. “Changing behavior is hard to do.”

 

In late-April, Wagar accompanied Jew Ochola, 28, the center’s daily operations manager to Oyugis, the district center of Rachuonyo that lies roughly 30 miles south of Kisumu in Kenya’s Nyanza province.

 

“First I do an assessment of the hospital’s lab, what procedures they have, the number of people on staff and the equipment they use,” Ochola said. “By partnering with laboratory managers, we hope to increase standards and improve efficient and effective diagnosis.

 

The goal is to lessen the burden of malaria on the local people.”

 

To mark progress, lab staffs must collect 20 slides each month that show properly handled blood samples. Monthly visits will mark performance improvement.

 

Through quality malaria diagnosis, USAMRU-K is part of a larger public health effort to reduce malaria’s impacts on Kenyan’s lives. Illness means paying for treatment and less wages earned, creating an impact on the economy.

 

“By mitigating a public health burden, people should have more time to grow food and have money for things other than medical care,” Wagar said. “We can’t expect to see change right away, but hopefully things will be a little bit better every month.”

 

Working with the Djibouti-based Combined Joint Task Force - Horn of Africa and other DoD agencies, the center recently offered microscopy courses through U.S. military partnership events in Ghana, Nigeria and Tanzania. The effort supports U.S. Army Africa’s strategic engagement goal of increasing capabilities and strengthening capacity with the militaries of African nations, Wagar said.

 

“To date, that includes eight Kenyan military lab techs, 17 from the Tanzania People’s Defense Force and 30 Nigerians,” Wagar said.

 

Accurate diagnosis is also a key factor for military readiness, Wagar said. For example, a Kenyan soldier stationed in Nairobi – where malaria is less prevalent – is susceptible to the disease if posted elsewhere in the country.

 

“Improving malaria diagnosis within African military laboratories sets conditions for healthier troops,” Wagar said. “When forces are healthy, they are more capable to support their government and regional security.”

 

To learn more about U.S. Army Africa visit our official website at www.usaraf.army.mil

 

Official Twitter Feed: www.twitter.com/usarmyafrica

 

Official YouTube video channel: www.youtube.com/usarmyafrica

  

U.S. Army Garrison Humphreys, South Korea (March 20, 2023) - With the help of 2nd Combat Aviation Brigade, Soldiers of Eighth Army Headquarters and Headquarters Battalion trained on MEDEVAC procedures on U.S. Army Garrison Humphreys (Camp Humphreys) March 20. The Soldiers practiced administering first aid along with loading and off-loading mock casualties from the air ambulance. The ongoing exercise #FreedomShield affords Eight Army Soldiers the opportunity to not only practice combat operations, but also drill on saving lives. (U.S. Army photo by Cpl. Park, Joon Hyeok) 230320-A-ZZ999-0003

 

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Some background:

The Nakajima Ki-104 was a further development of the Ki-87; the latter was a Japanese high-altitude fighter-interceptor of World War II, a single seat, exhaust-driven turbo-supercharged engined, low-wing monoplane with a conventional undercarriage.

 

The Ki-87 was one of several designs of various manufacturers developed in response to American B-29 Superfortress raids on the Home Islands. The Ki-87 followed up on earlier research by Nakajima and the Technical Division of Imperial Army Headquarters into boosting a large radial engine with an exhaust-driven turbo-supercharger, which had begun in 1942, well before the B-29 raids began.

 

The efforts of the Technical Division of Imperial Army Headquarters eventually culminated into the high-performance, tandem-engine Tachikawa Ki-94-I, while the Ki-87 under the lead of Kunihiro Aoki was developed as a fall-back project, using less stringent requirements.

Nakajima started in July 1943 with the construction of three prototypes, to be completed between November 1944 and January 1945, and seven pre-production aircraft, to be delivered by April 1945.

 

The Technical Division of Imperial Army Headquarters made itself felt during the development of the Ki-87 prototype when they insisted upon placing the turbo-supercharger in the rear-fuselage, and from the sixth prototype the Nakajima fighter was to have that arrangement. Construction was further delayed due to problems with the electrical undercarriage and the turbo-supercharger itself. As a consequence, the first Ki-87 prototype was not completed until February 1945; it first flew in April, but only five test flights were completed.

 

A further variant, the Ki-87-II, powered by a 3,000 hp Nakajima Ha217 (Ha-46) engine and with the turbo-supercharger in the same position as the P-47 Thunderbolt. Due to the long development period of the Ki-87, several major structural changes were made, too, that eventually changed the aircraft so much that it received a new, separate kitai number and became the Ki-104.

 

Kunihiro Aoki's new design was approved by the Koku Hombu, and an order was placed for one static test airframe, three prototypes, and eighteen pre-production aircraft. Only 2 prototypes were built in the event; the first was equipped with a single 1,895 kW (2,541 hp) Nakajima Ha219 [Ha-44] engine, driving a 4-blade, but the second one received the stronger Nakajima Ha217 (Ha-46) and a 6-blade propeller.

 

The pre-production machines (Ki-104-I or -Tei) were all produced with Ha217 engines, but featured various four-bladed propeller (-a, -b) designs as well as the new 6-blade propeller (-c). Compared to the prototypes, armament was beefed up from a pair of 20mm Ho-5 and a pair of 30mm Ho-155-I cannons in the wings to four of the new, more compact Ho-155-II cannons (originally designed for the unsuccessful Ki-102 assault aircraft and optimized for wing installation).

 

All pre-production Ki-104-Is were allocated to an independent IJA Headquarter Flight where they were tested alongside established fighters in the defence of the Tokyo region. Based on this 3rd Independent Flight's unit marking, a completely black tail with the unit's emblem, the Ki-104s were inofficially called Ic '黒の尾'/'Kurono-'o, which literally means "Black Tail".

 

The first operational Ki-104s reached this unit in spring 1945 and saw limited use against the incoming streams of B-29 bombers (2 unconfirmed downings in the Tokyo region). After these initial contacts that left a serious impression the new type received the USAF code name "Cooper", but the hostilities' soon end however stopped any further work and serial production. No Ki-104 survived the war.

  

General characteristics:

Crew: 1

Length: 12 m (39 ft 4 in)

Wingspan: 14 m (45 ft 11 in)

Height: 4.65 m (15 ft 3 in)

Wing area: 28 m² (301.388 ft²)

Airfoil: Tatsuo Hasegawa airfoil

Empty weight: 4,637 kg (10,337 lb)

Loaded weight: 6.450 kg (14.220 lb)

Powerplant:

1× Nakajima Ha219 [Ha-44-12] 18-cylinder air-cooled radial engine, 1,835 kW (2,461 hp)

 

Performance

Maximum speed: 712 km/h (385 kn, 443 mph)

Cruise speed: 440 km/h (237 kn, 273 mph)

Range: 2,100 km (1,305 mi)

Service ceiling: 14,680 m (48,170 ft)

Wing loading: 230.4 kg/m² (47.2 lb/ft²)

Power/mass: 0.28 kW/kg (0.17 hp/lb)

Climb to 5,000 m (16,400 ft): 5 min 9 sec;

Climb to 10,000 m (32,800 ft): 17 min 38 sec;

Climb to 13,000 m (42,640 ft): 21 min 03 sec

 

Armament

4× 30 mm (1.18 in) Ho-155-II cannons in the wings

Underwing hardpoints and centerline pylon for up to 3× 250 kg (551 lb) bombs

or a single 300l drop tank under the fuselage

  

The kit and its assembly:

This whif is the result of many ideas and occasions. First of all, I had a leftover six-blade propeller from a Hasegawa J7W Shinden in stock. Then I recently had an eye on kits of late Japanese high altitude fighters with turbosuperchargers, like the Ki-91-II or the Ki-106. These are available from RS Models, but rare and rather costly. And I wondered how a P-47 might look like without its deep belly? All this was finally thrown into a big idea stew, and the Ki-104 is the home-made hardware result!

 

As a side note: the Ki-104 was a real IJA project, AFAIK based/related to the Tachikawa Ki-94-I twin-boom/push-pull high altitude fighter, a re-worked, more conventional design. Information is sparese and it never reached any hardware stage and remained a paper project as the Rikugun Kogiken Ki-104; I just "revived" the number for my whif, but maybe the real Ki-104 could have looked like it... ;-)

 

The kit is a bashing of various parts and pieces:

- Fuselage and wing roots from an Academy P-47-25

- Wings from an Ark Model Supermarine Attacker (ex Novo)

- Tail fin is a modified part of a Matchbox Ju 188 stabilizer

- The stabilizers are outer sections from a Matchbox Douglas F3D Skyknight

- Cowling comes from an ART Model Grumman F8F Bearcat, the engine was scratched

- Propeller from a Hasegawa J7W Shinden

- Main wheels from a Matchbox F6F Hellcat

 

My choice fell onto the Academy Thunderbolt because it has engraved panel lines, offers the bubble canopy as well as good fit and detail. The belly duct had simply been sliced off, and the opening later faired over with styrene sheet and putty.

The Bearcat cowling was chosen because it had very good fitting width in order to match with the P-47 fuselage, and it turned out to be a very good choice - even though I had to add a dorsal connection, a simple styrene wedge, to create a good profile.

Inside, the engine consists of a reversed Hobby Boss F6F engine, with a fan dummy that covers any view on non-existent interior details... A styrene tube was added, into which a metal axis can be inserted. The latter holds the propeller, so that it can spin with little hindrance.

 

The Attacker wings were chosen because of their "modern" laminar profile - the Novo kit is horrible, but acceptable for donations. And the risen panel lines and rivets should later do great work during the weathering process... OOB, the Attacker wings had too little span for the big P-47, so I decided to mount the Thunderbolt's OOB wings and cut them at a suitable point: maybe 0.5", just where the large wheel fairings for the main landing gear ends.

The intersection with the Attacker wings is almost perfect in depth and width, relatively little putty work was necessary. I just had to cut out new landing gear well parts.

 

With the new wing shape, the tail surfaces had to be changed accordingly, with parts from a Matchbox Skyknight and a highly modified piece from a Matchbox Ju 188 stabilizer.

 

The OOB cockpit and landing gear was retained, I just replaced the main wheels with slightly more delicate alternatives from a Matchbox F6F Hellcat.

 

Once the basic bodywork was done I added the exhaust arrangement under the fuselage; the outlets are oil cooler parts from a Fw 190A, the air scoop once belonged to a Martin Marauder and the long ducts are actually HO scale roof rails. The oil cooler under the engine comes from a Hobby Boss La-7.

 

Pretty wild mix, but it works surprisingly well!

  

Painting and markings:

Even though this was supposed to become a late WWII IJA fighter, I did neither want the stereotype NMF look nor the classic green/grey livery or a respective mottled scheme. What I finally settled upon, though, took a long while to manifest, and it looks ...odd.

 

I wanted a camouflage scheme, but none of the more exotic real world options was fine for me; there had been fighters with black upper surfaces, bright blue ones, or blue mottle on top of NMF. But all this did not convince me, and I eventually created an experimental scheme. And the paint was supposed to look heavily worn, as if the paint had been applied directly onto the bare metal, without primer, so that it chips and flakes off easily.

 

The tones were supposed to be suitable for high altitudes, but not the classic IJA colors - nothing even close. eventuelly I came up with an all-around turquoise green (ModelMaster Fulcrum Grey Green) plus a pale grey-green (ModelMaster RAF Dark Slate Grey) as contrast for the upper sides. Sick combination, yes, esp. with the Aluminum shining through, which was applied first as a kind of acrylic primer. The camouflage paint was carefully brushed on top of that, with panel-wise strokes from back to front. Tedious, but effective.

 

The black tail was applied similarly, it is a free interpretation of real IJA markings; for instance, the 244th Sentai arcraft bore all-red tail sections. Black is an uncommon color, but since I wanted to create fictional squadron markings, too, this was a suitable concept. And it looks cool and mysterious...

 

The cockpit interior was painted with Aodake Iro (Modelmaster), the section behind the pilot's seat and where the sliding canopy moves on the outside, were painted with IJA Dark Green - just an odd idea. In front of the cockpit a black anti glare panel was added. The landing gear and the respective wells were painted with Steel Metallizer (just to set them apart from the lighter Aluminum all around). The propeller was painted in reddish brown tones, the spinner in Humbrol 160 and the blades in 173.

 

After this basic painting the kit received a black ink wash, and decals were applied. These were taken from various aftermarket sheets, including generic, white and yellow sheet for the Home Defence markings on wings and fuselage, the white fuselage trim or the yellow ID markings on the wings' leading edges.

 

As next step the complete kit was carefully wet-sanded, primarily from front to back, so that more of the aluminum primer showed through, the decals (esp. the Hinomaru) were worn out and the camouflage paint on top lost some of its hard edges.

The sanding residues had to be cleaned away thoroughly (with a soft toothbrush and lots of water), and then, repairs, e .g. where the bare plastic came through, as well as extra effects with dry-painted, lighter camouflage tones were done. Final cosmetics also include oil and dirt stains with Tamiya"Smoke", also applied by brush.

 

Once everything was dry and clean (despite the kit's look), everything was sealed under a coat of varnish - a 3:1 mix of matt and gloss Revell Acrylics.

 

A complex and lengthy painting process, but I think the effort paid out because the procedure mimicks the structure and look of a worn paint job instead of trying to look like it when you paint a cammo scheme and add metal effects "on top". This works for small chips, but not for the flaked look I had been looking for.

 

The Ki-104 turned out to be a very conclusive kitbashing - I think that the P-47-with-Attacker-wings-and-new-cowling bears more potential, and I might try it again, e. g. for a naval Thunderbolt development?

 

Melissa McGregor, a registered nurse, prepares the iTind device that will be placed into a patient's prostatic urethra during a procedure at Penn State Health Hampden Medical Center.

via

 

Is Lasik really worth it? We think so! In this article, we will be covering the national patient satisfaction rate of Lasik eye surgery. We will then compare it to other popular cosmetic treatments to see how they rank. Lasik is one of the most commonly performed cosmetic treatments in the unites states. In fact, Lasik eye surgery is the most performed cosmetic procedure in the world.

 

According to the American Academy of Opthalmology or the AAO, Lasik has seen a whopping 30 million procedures performed globally since it was first patented in the early 1980s and close to 700,000 thousand procedures are performed every year in the United States and growing. When comes down to it, Lasik is worth the price, and here’s why!

 

How well does Lasik score nationally?

 

Lasik, or laser in situ keratomileusis utilizes a laser to reshape the cornea of the eye and correct refractive errors. Refractive errors in the eye result in hyperopia and myopia, also known as nearsightedness and farsightedness. Here in Michigan, Lasik is used as a mechanism to free patients from their eyeglasses and contact lenses so they can enjoy life without the need for corrective eyewear, and this holds true around the world as well.

 

Numerous studies from 2018 have shown that 99% of Lasik eye surgery patients obtain greater than 20/40 eyesight. Studies also show that over 90% of patients obtain better than the advertised 20/20 vision. These statistics are with traditional Lasik as well, not the cutting edge CATz Lasik offered at Yaldo Eye Center and at other globally recognized Lasik practices. In addition to its high success rate, Lasik boasts an unparalleled 98% patient satisfaction rate; the greatest of any cosmetic surgery.

 

Lasik vs Hair Transplants

 

The hair transplant is another cosmetic procedure growing rapidly in popularity. During an FUE hair transplant, surgeons extract hairs in follicular units and transplant them to balding areas of the head. Follicles on the back and sides of the scalp are genetically resistant to balding. For this reason, they typically make up the donor hairs for grafting. As hair transplants become more popular in the United States, they are also greatly decreasing in cost. This is because more cosmetic practices are offering the procedure and technology is making it easier to perform.

 

Many different FUE hair transplant techniques exist. They include manual FUE, motorized FUE such as NeoGraft or SmartGraft, and robotic FUE using the ARTAS system. Motorized and robotic techniques typically carry the same cost as manual FUE and typically produce similar results. With that being said, they do make the procedure a bit more efficient. Lowering the procedure time for a treatment like hair restoration can surely increase patient satisfaction.

 

According to Bernstein Medical Research, over 395,000 hair restoration procedures are performed annually around the world. According to an international study by JAMA, hair transplants boast a global patient satisfaction rate of 97%. At this number, hair restoration comes really close to matching Lasik in terms of patient satisfaction.

 

Lasik vs Breast Reduction

 

Reduction Mammoplasty, more commonly referred to as breast reduction surgery, is an extremely popular procedure in the US. Just like Lasik, breast reduction has more than just a cosmetic benefit for patients. Women with extensively large breasts can suffer from bra strap grooving, back pain, poor posture, and muscle aches. During a breast reduction, an incision is created around the areola, extending down the center of the breast. Fat and glandular mass is removed in order to lighten the breasts and make them proportional to the body.

 

Breast reduction surgery is known to be one of the most life-changing and liberating procedures someone can have. Despite this belief, it holds a national patient satisfaction rate of 95% in 2018. Even though breast reduction results in a major lifestyle improvement. In short, the experience of an invasive surgery like breast reduction will always be a challenge. The easy procedure and recovery of Lasik give it a major boost in patient satisfaction.

 

Lasik vs Rhinoplasty (Nose-Job)

 

Rhinoplasty, or a “nose job” is a procedure designed to reshape the nose and eliminate nasal asymmetries, irregularities, and deformities. During rhinoplasty, a plastic surgeon creates incisions in the nose and works to mold a more subtle and symmetrical appearance that matches the patients face. They can reshape the structure by shaving bone and cartilage or by grafting fat cells into the nose. The surgeon can widen the nose, lower bumps, define the nasal tip, and much more.

 

Rhinoplasty is one of the most commonly performed cosmetic procedures in the United States, but how does it compare to Lasik? According to the American Society of Plastic Surgeons, approximately 223,018 rhinoplasty procedures were performed in 2018. This is nearly 1/3 the amount of Lasik eye surgeries performed.

 

This is mainly due to the fact that Rhinoplasty is a purely cosmetic procedure, and unlike Lasik, does not provide a functional and practical benefit to someones daily life. According to the Aesthetic Surgery Journal, rhinoplasty reached a national patient satisfaction rate of only 84% in 2018. This number causes many to cringe in comparison to the unparalleled 98% patient satisfaction rate of all-laser Lasik eye surgery.

 

Lasik vs Blepharoplasty (Eyelid Surgery)

 

Blepharoplasty, which is more commonly referred to as eyelid surgery, is also one of the most common cosmetic procedures performed in the US. As Michigans leaders in everything eyecare, we have personal experience performing premium Eyelid Surgery at the Yaldo Eye Center.

 

Eyelid surgery consists of creating incisions around the eyelid, corresponding to the area of focus, and then removing and tightening loose and saggy skin. Eyelid surgery is designed to treat saggy and droopy looking eyelids which often come naturally with age. Double Eyelid surgery is the most popular technique used in order to restore a youthful and healthy look to patients suffering from these conditions.

 

Eyelid Surgery Statistics

 

According to the ASPS, over 209,500 eyelid procedures were performed in 2018, ranking it among the top 5 most popular plastic surgeries in America. Although eyelid surgery is very popular, it only achieved an 85% patient satisfaction rate in 2018. We believe the reason for this is because eyelid surgery is a very delicate procedure, and many people performing it are not as experienced as the professionals at Yaldo Eye Center.

 

Because of this, patients are not getting the results they were promised or even “sold on” and are thus reporting a lower patient satisfaction rate. Even in the hands of professionals like us, blepharoplasty will never reach the unprecedented patient satisfaction rate of Lasik. This is because Lasik eye surgery provides such as a boost to one’s quality of life that long term patient satisfaction is inevitable.

 

Lasik vs Liposuction

 

Liposuction, is another one of the most commonly performed cosmetic treatments in the United States. Over 235,237 treatments were recorded in the year 2018. Liposuction is a popular treatment designed to eliminate stubborn fat from the body. Laser-liposuction entails inserting a cannula under the patient’s skin and liquifying fat cells via radio frequency. The liquefied fat cells are then sucked up via the cannula and the patient’s body is permanently re-contoured.

 

Liposuction is a procedure that removes excess body fat. It allows patients to permanently enhance their body contours. Liposuction is most commonly used to treat visceral fat build ups around the abdomen and thigh area. It can also treat fat under the arms that come with old age.

 

The national patient satisfaction rate of liposuction, which was only 80% in 2017, comes nowhere near that of Lasik’s 98%. Liposuction has a lower rate than Lasik for many reasons. As an invasive procedure, the overall experience is nowhere near as comfortable and pain-free as Lasik.

 

Second, the results of liposuction can take months to realize, while CATz Lasik can present patients with notably enhanced vision, the day after surgery. Liposuction also commonly presents more complications such as bleeding and bruising. Lasik on the other hand, only occasionally presents dry eyes in patients who neglect postoperative care.

 

Lasik vs Breast Augmentation

 

Breast augmentation is the 2nd most popular cosmetic and the #1 most popular plastic surgery in 2019. More specifically, breast augmentation utilizing synthetic implants, either composed of saline or silicone. Breast implants can increase the size, fullness, and outward projection of the breasts. Breasts have long been a symbol of beauty and femininity in women. It’s no surprise that close to 300,000 women chose to have breast implants every year in the US.

 

Breast augmentation is also very popular among patients looking to restore lost breast volume after a mastectomy. This surgery is known as breast reconstruction and does not factor into the statistics of breast augmentation. Larger, perkier, and more youthful breasts can provide women with a boost of self-esteem and confidence. They may help women feel more confident and attractive in their body.

 

Breast implants were taboo when they first became popularized, but in recent years, they have been growing in popularity. This upward trend is supported by the addition of teardrop shaped implants and the vast improvements in cohesive silicone engineering. Since the year 2000, breast augmentation has increased by 37%. In 2017, over 300,000 produced were performed in the United States.

 

This number places breast augmentation as the #1 plastic surgery and the #2 cosmetic surgery in the US by volume. Implants are second to Lasik, which boasts double the procedures every single year. In addition, 92% of women reported being satisfied with their breast augmentation experience and results.

 

Lasik vs Mastopexy (Breast Lift)

 

Unlike breast augmentation, a breast lift does not incorporate synthetic implants. A breast lift cannot increase the size, fullness, and volume of the breasts. With this in mind, it certainly can create a more youthful and vibrant look. The breast lift is used to treat women who are suffering from saggy and droopy breasts. These symptoms typically come from aging, weight fluctuation, or pregnancy.

 

The surgeon begins by creating an incision around the areola, similar to that of a breast reduction discussed earlier. The surgeon then repositions the areola and nipple to a higher point on the breasts. Once the areola is positioned, the surgeon then removes excess fat, tissue, and glandular mass from the breasts. The surrounding skin is tightened to create a lifted, youthful look, hence the name breast lift.

 

In 2018, over 101,000 breast lift procedures were performed. This places it among the top 10 most performed cosmetic treatments in the US. In 2018, the breast lift held a national patient satisfaction rate of 93%. This is significantly greater than some of the cosmetic surgeries mentioned earlier, but still low in comparison to Lasik eye surgery and even less popular refractive surgeries such as PRK, Lasek, and the ever-increasing Multifocal implants, or ICL procedure.

 

Lasik vs Abdominoplasty (Tummy Tuck)

 

Abdominoplasty, more commonly known as the tummy tuck, is a very popular cosmetic procedure in the United States. Over 127,000 tummy tuck surgeries were recorded in 2018. An abdominoplasty is a procedure that entails a repairing of the abdomen and removal of excess skin. When patients lose weight they are often left with excess skin which cannot be eliminated naturally. During a tummy tuck, excess skin around the midsection is trimmed and tightened creating a tighter tummy.

 

This process consists of opening the abdomen and restitching loose and torn abdominal muscles. This results in a firmer and harder midsection which cannot be attained naturally if the muscles are torn. The abdominal muscles are often stretched when people gain a significant amount of weight and lose it abruptly. Abdominal muscles can become permanently torn with pregnancy and for this reason, it is very often included in a mommy makeover.

 

In 2018, the tummy tuck earned a national patient satisfaction rate of approximately 86%, which similar to most cosmetic procedures as we have learned, pales in comparison to that of Lasik eye surgery. This is because the tummy tuck can result in many more complications than Lasik. Tummy Tucks also have a significantly more challenging recovery than Lasik.

 

Why does Lasik dominate the market?

 

Lasik is more than just the most successful procedure in the US, its also the most popular. With 700,000 procedures a year, Lasik sees more than double the procedure volume as breast augmentation.

 

Lasik eye surgery has many benefits that bring it to the top of both lists. The first is that it is a very practical procedure. Procedures such as breast augmentation and rhinoplasty have little practical advantages past making patients look better. Although looking better and increasing self-esteem has amazing benefits to a patients quality of life, it does not compare to the results of eliminating the constant and impractical stress that is corrective eyewear such as contacts and glasses from ones daily life.

 

The second reason, is the experience of Lasik eye surgery compared to other popular procedures. Most of the competing procedures are very invasive and often require spending a night in the hospital. This leaves patients with a less pleasing experience and a more painful and challenging recovery after surgery. Lasik is not invasive, as it merely consists of firing an excimer laser into the cornea and reshaping the patient’s eye to properly refract light. The procedure takes roughly 15 min to complete and patients can be home quick. Cosmetic procedures such as breast reduction or a tummy tuck can take hours to complete.

 

Why is Lasik a global success?

 

Patients who visit our Lasik Michigan center on their day of surgery, usually arrive home 1 hour after their surgery. Patients are given simple recovery instructions and rarely experience pain or discomfort. In addition, our Lasik patients spend the night after surgery in the comfort of their own home.

 

All in all, Lasik eye surgery is #1 for a reason. The treatment is very practical, affordable, and easy to undergo and recover from. As technology improves, Lasik will only grow more in popularity and patient satisfaction. As we mentioned earlier, the 98% satisfaction rate was with patients who had traditional all laser Lasik. If you recall, most of the top providers in the nation, now strictly feature the CATz Lasik system.

 

Would you like to learn more about how Lasik eye surgery can help improve your quality of life? Are you interested in a FREE Lasik evaluation with Michigan’s premier eye surgeon, Dr. Yaldo? If so, give us a call today at (248)-553-9800. We are Yaldo Eye Center, Michigan’s leaders in everything eyecare.

 

Looking for the best cataract surgeon in Michigan? Dr. Yaldo is an expert cataract surgeon who has performed over 10,000 cataract procedures for patients throughout Michigan and the Midwest.

 

The post LASIK Satisfaction Rate vs Top Cosmetic Procedures; 2019 National Study appeared first on Top Michigan Lasik Eye Surgery | Yaldo Eye Center | (248) 553-9800.

 

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Chapter Business Procedure

 

High School Silver medalist team from Lawrence County High School (Tenn.) Front row from L to R: Liz Manuele, Emily Wilson and Emma Counce. Back row L to R: Philip Ray, James Allen and Trevor Clayton

 

We have the industry’s strictest policies and procedures in place to ensure that we market breast milk substitutes responsibly. This includes a global policy on the marketing of breast milk substitutes, training of all our employees who work in infant nutrition, regular internal and external audits of our practices, and implementation of whistleblowing and reporting procedures. We are committed to continuously improving our practices in this area. We are currently working hard to help our distributors and retailers to commercialise our products responsibly and in line with our policies.

Link: www.nestle.com/csv/performance/compliance-record

  

This 3D medical animation features a procedure called 'Root canal treatment'. This is a sequence of steps to treat the pulp of a tooth which results in the elimination of infection and protection of the decontaminated tooth from future microbial invasion.

Read More: A Latest Breakthrough Shoos Away Root Canals… - bit.ly/2gelh56

 

Check bit.ly/2gFuDrM to know more about dental animations.

VARPALOTA TRAINING AREA, Hungary - Cpt. John Lane, the battalion air-medical physician’s assistant for U.S. Army Europe’s 12th Combat Aviation Brigade, demonstrates various U.S. military aid and liter techniques to Soldiers from the 11th Royal Netherlands Army Maneuver Brigade during Exercise Saker Falcon 2014 here, March 31. Saker Falcon is a multinational training exercise involving roughly 200 Soldiers from U.S. Army Europe's 12th Combat Aviation Brigade, two Dutch Air Assault battalions, and Hungarian military forces. The objectives of the training include enhancing joint combined interoperability with allied and partner nations and preparing participants to operate in a joint, multinational, integrated environment with support from Hungarian governmental agencies. Saker Falcon, underway from April 3 through April 17, reinforces U.S. Army Europe's strategic objectives to increase regional flexibility, preserve and enhance NATO interoperability, and facilitate multinational training. (U.S. Army Europe photo by Spc. Joshua Leonard)

“What cannot be removed, becomes lighter through patience”

- Latin Proverb

 

I feel like neo from "The Matrix", shall we go for the Blue Pill? Or the Red? I wonder what the green one does?

 

(To everyone who asked how i am, yes i'm feeling better.

Thank you all for your kind caring words.)

 

How is everyone today?

Ganesha, also spelled Ganesh, and also known as Ganapati and Vinayaka, is a widely worshipped deity in the Hindu pantheon. His image is found throughout India and Nepal. Hindu sects worship him regardless of affiliations. Devotion to Ganesha is widely diffused and extends to Jains, Buddhists, and beyond India.

 

Although he is known by many attributes, Ganesha's elephant head makes him easy to identify. Ganesha is widely revered as the remover of obstacles, the patron of arts and sciences and the deva of intellect and wisdom. As the god of beginnings, he is honoured at the start of rituals and ceremonies. Ganesha is also invoked as patron of letters and learning during writing sessions. Several texts relate mythological anecdotes associated with his birth and exploits and explain his distinct iconography.

 

Ganesha emerged as a distinct deity in the 4th and 5th centuries CE, during the Gupta Period, although he inherited traits from Vedic and pre-Vedic precursors. He was formally included among the five primary deities of Smartism (a Hindu denomination) in the 9th century. A sect of devotees called the Ganapatya arose, who identified Ganesha as the supreme deity. The principal scriptures dedicated to Ganesha are the Ganesha Purana, the Mudgala Purana, and the Ganapati Atharvashirsa.

 

ETYMOLOGY AND OTHER NAMES

Ganesha has been ascribed many other titles and epithets, including Ganapati and Vighneshvara. The Hindu title of respect Shri is often added before his name. One popular way Ganesha is worshipped is by chanting a Ganesha Sahasranama, a litany of "a thousand names of Ganesha". Each name in the sahasranama conveys a different meaning and symbolises a different aspect of Ganesha. At least two different versions of the Ganesha Sahasranama exist; one version is drawn from the Ganesha Purana, a Hindu scripture venerating Ganesha.

 

The name Ganesha is a Sanskrit compound, joining the words gana, meaning a group, multitude, or categorical system and isha, meaning lord or master. The word gaņa when associated with Ganesha is often taken to refer to the gaņas, a troop of semi-divine beings that form part of the retinue of Shiva. The term more generally means a category, class, community, association, or corporation. Some commentators interpret the name "Lord of the Gaņas" to mean "Lord of Hosts" or "Lord of created categories", such as the elements. Ganapati, a synonym for Ganesha, is a compound composed of gaṇa, meaning "group", and pati, meaning "ruler" or "lord". The Amarakosha, an early Sanskrit lexicon, lists eight synonyms of Ganesha : Vinayaka, Vighnarāja (equivalent to Vighnesha), Dvaimātura (one who has two mothers), Gaṇādhipa (equivalent to Ganapati and Ganesha), Ekadanta (one who has one tusk), Heramba, Lambodara (one who has a pot belly, or, literally, one who has a hanging belly), and Gajanana; having the face of an elephant).

 

Vinayaka is a common name for Ganesha that appears in the Purāṇas and in Buddhist Tantras. This name is reflected in the naming of the eight famous Ganesha temples in Maharashtra known as the Ashtavinayak (aṣṭavināyaka). The names Vighnesha and Vighneshvara (Lord of Obstacles) refers to his primary function in Hindu theology as the master and remover of obstacles (vighna).

 

A prominent name for Ganesha in the Tamil language is Pillai. A. K. Narain differentiates these terms by saying that pillai means a "child" while pillaiyar means a "noble child". He adds that the words pallu, pella, and pell in the Dravidian family of languages signify "tooth or tusk", also "elephant tooth or tusk". Anita Raina Thapan notes that the root word pille in the name Pillaiyar might have originally meant "the young of the elephant", because the Pali word pillaka means "a young elephant".

 

In the Burmese language, Ganesha is known as Maha Peinne, derived from Pali Mahā Wināyaka. The widespread name of Ganesha in Thailand is Phra Phikhanet or Phra Phikhanesuan, both of which are derived from Vara Vighnesha and Vara Vighneshvara respectively, whereas the name Khanet (from Ganesha) is rather rare.

 

In Sri Lanka, in the North-Central and North Western areas with predominantly Buddhist population, Ganesha is known as Aiyanayaka Deviyo, while in other Singhala Buddhist areas he is known as Gana deviyo.

 

ICONOGRAPHY

Ganesha is a popular figure in Indian art. Unlike those of some deities, representations of Ganesha show wide variations and distinct patterns changing over time. He may be portrayed standing, dancing, heroically taking action against demons, playing with his family as a boy, sitting down or on an elevated seat, or engaging in a range of contemporary situations.

 

Ganesha images were prevalent in many parts of India by the 6th century. The 13th century statue pictured is typical of Ganesha statuary from 900–1200, after Ganesha had been well-established as an independent deity with his own sect. This example features some of Ganesha's common iconographic elements. A virtually identical statue has been dated between 973–1200 by Paul Martin-Dubost, and another similar statue is dated c. 12th century by Pratapaditya Pal. Ganesha has the head of an elephant and a big belly. This statue has four arms, which is common in depictions of Ganesha. He holds his own broken tusk in his lower-right hand and holds a delicacy, which he samples with his trunk, in his lower-left hand. The motif of Ganesha turning his trunk sharply to his left to taste a sweet in his lower-left hand is a particularly archaic feature. A more primitive statue in one of the Ellora Caves with this general form has been dated to the 7th century. Details of the other hands are difficult to make out on the statue shown. In the standard configuration, Ganesha typically holds an axe or a goad in one upper arm and a pasha (noose) in the other upper arm.

 

The influence of this old constellation of iconographic elements can still be seen in contemporary representations of Ganesha. In one modern form, the only variation from these old elements is that the lower-right hand does not hold the broken tusk but is turned towards the viewer in a gesture of protection or fearlessness (abhaya mudra). The same combination of four arms and attributes occurs in statues of Ganesha dancing, which is a very popular theme.

 

COMMON ATTRIBUTES

Ganesha has been represented with the head of an elephant since the early stages of his appearance in Indian art. Puranic myths provide many explanations for how he got his elephant head. One of his popular forms, Heramba-Ganapati, has five elephant heads, and other less-common variations in the number of heads are known. While some texts say that Ganesha was born with an elephant head, he acquires the head later in most stories. The most recurrent motif in these stories is that Ganesha was created by Parvati using clay to protect her and Shiva beheaded him when Ganesha came between Shiva and Parvati. Shiva then replaced Ganesha's original head with that of an elephant. Details of the battle and where the replacement head came from vary from source to source. Another story says that Ganesha was created directly by Shiva's laughter. Because Shiva considered Ganesha too alluring, he gave him the head of an elephant and a protruding belly.

 

Ganesha's earliest name was Ekadanta (One Tusked), referring to his single whole tusk, the other being broken. Some of the earliest images of Ganesha show him holding his broken tusk. The importance of this distinctive feature is reflected in the Mudgala Purana, which states that the name of Ganesha's second incarnation is Ekadanta. Ganesha's protruding belly appears as a distinctive attribute in his earliest statuary, which dates to the Gupta period (4th to 6th centuries). This feature is so important that, according to the Mudgala Purana, two different incarnations of Ganesha use names based on it: Lambodara (Pot Belly, or, literally, Hanging Belly) and Mahodara (Great Belly). Both names are Sanskrit compounds describing his belly. The Brahmanda Purana says that Ganesha has the name Lambodara because all the universes (i.e., cosmic eggs) of the past, present, and future are present in him. The number of Ganesha's arms varies; his best-known forms have between two and sixteen arms. Many depictions of Ganesha feature four arms, which is mentioned in Puranic sources and codified as a standard form in some iconographic texts. His earliest images had two arms. Forms with 14 and 20 arms appeared in Central India during the 9th and the 10th centuries. The serpent is a common feature in Ganesha iconography and appears in many forms. According to the Ganesha Purana, Ganesha wrapped the serpent Vasuki around his neck. Other depictions of snakes include use as a sacred thread wrapped around the stomach as a belt, held in a hand, coiled at the ankles, or as a throne. Upon Ganesha's forehead may be a third eye or the Shaivite sectarian mark , which consists of three horizontal lines. The Ganesha Purana prescribes a tilaka mark as well as a crescent moon on the forehead. A distinct form of Ganesha called Bhalachandra includes that iconographic element. Ganesha is often described as red in color. Specific colors are associated with certain forms. Many examples of color associations with specific meditation forms are prescribed in the Sritattvanidhi, a treatise on Hindu iconography. For example, white is associated with his representations as Heramba-Ganapati and Rina-Mochana-Ganapati (Ganapati Who Releases from Bondage). Ekadanta-Ganapati is visualized as blue during meditation in that form.

 

VAHANAS

The earliest Ganesha images are without a vahana (mount/vehicle). Of the eight incarnations of Ganesha described in the Mudgala Purana, Ganesha uses a mouse (shrew) in five of them, a lion in his incarnation as Vakratunda, a peacock in his incarnation as Vikata, and Shesha, the divine serpent, in his incarnation as Vighnaraja. Mohotkata uses a lion, Mayūreśvara uses a peacock, Dhumraketu uses a horse, and Gajanana uses a mouse, in the four incarnations of Ganesha listed in the Ganesha Purana. Jain depictions of Ganesha show his vahana variously as a mouse, elephant, tortoise, ram, or peacock.

 

Ganesha is often shown riding on or attended by a mouse, shrew or rat. Martin-Dubost says that the rat began to appear as the principal vehicle in sculptures of Ganesha in central and western India during the 7th century; the rat was always placed close to his feet. The mouse as a mount first appears in written sources in the Matsya Purana and later in the Brahmananda Purana and Ganesha Purana, where Ganesha uses it as his vehicle in his last incarnation. The Ganapati Atharvashirsa includes a meditation verse on Ganesha that describes the mouse appearing on his flag. The names Mūṣakavāhana (mouse-mount) and Ākhuketana (rat-banner) appear in the Ganesha Sahasranama.

 

The mouse is interpreted in several ways. According to Grimes, "Many, if not most of those who interpret Gaṇapati's mouse, do so negatively; it symbolizes tamoguṇa as well as desire". Along these lines, Michael Wilcockson says it symbolizes those who wish to overcome desires and be less selfish. Krishan notes that the rat is destructive and a menace to crops. The Sanskrit word mūṣaka (mouse) is derived from the root mūṣ (stealing, robbing). It was essential to subdue the rat as a destructive pest, a type of vighna (impediment) that needed to be overcome. According to this theory, showing Ganesha as master of the rat demonstrates his function as Vigneshvara (Lord of Obstacles) and gives evidence of his possible role as a folk grāma-devatā (village deity) who later rose to greater prominence. Martin-Dubost notes a view that the rat is a symbol suggesting that Ganesha, like the rat, penetrates even the most secret places.

 

ASSOCIATIONS

 

OBSTACLES

Ganesha is Vighneshvara or Vighnaraja or Vighnaharta (Marathi), the Lord of Obstacles, both of a material and spiritual order. He is popularly worshipped as a remover of obstacles, though traditionally he also places obstacles in the path of those who need to be checked. Paul Courtright says that "his task in the divine scheme of things, his dharma, is to place and remove obstacles. It is his particular territory, the reason for his creation."

 

Krishan notes that some of Ganesha's names reflect shadings of multiple roles that have evolved over time. Dhavalikar ascribes the quick ascension of Ganesha in the Hindu pantheon, and the emergence of the Ganapatyas, to this shift in emphasis from vighnakartā (obstacle-creator) to vighnahartā (obstacle-averter). However, both functions continue to be vital to his character.

 

BUDDHI (KNOWLEDGE)

Ganesha is considered to be the Lord of letters and learning. In Sanskrit, the word buddhi is a feminine noun that is variously translated as intelligence, wisdom, or intellect. The concept of buddhi is closely associated with the personality of Ganesha, especially in the Puranic period, when many stories stress his cleverness and love of intelligence. One of Ganesha's names in the Ganesha Purana and the Ganesha Sahasranama is Buddhipriya. This name also appears in a list of 21 names at the end of the Ganesha Sahasranama that Ganesha says are especially important. The word priya can mean "fond of", and in a marital context it can mean "lover" or "husband", so the name may mean either "Fond of Intelligence" or "Buddhi's Husband".

 

AUM

Ganesha is identified with the Hindu mantra Aum, also spelled Om. The term oṃkārasvarūpa (Aum is his form), when identified with Ganesha, refers to the notion that he personifies the primal sound. The Ganapati Atharvashirsa attests to this association. Chinmayananda translates the relevant passage as follows:

 

(O Lord Ganapati!) You are (the Trinity) Brahma, Vishnu, and Mahesa. You are Indra. You are fire [Agni] and air [Vāyu]. You are the sun [Sūrya] and the moon [Chandrama]. You are Brahman. You are (the three worlds) Bhuloka [earth], Antariksha-loka [space], and Swargaloka [heaven]. You are Om. (That is to say, You are all this).

 

Some devotees see similarities between the shape of Ganesha's body in iconography and the shape of Aum in the Devanāgarī and Tamil scripts.

 

FIRST CHAKRA

According to Kundalini yoga, Ganesha resides in the first chakra, called Muladhara (mūlādhāra). Mula means "original, main"; adhara means "base, foundation". The muladhara chakra is the principle on which the manifestation or outward expansion of primordial Divine Force rests. This association is also attested to in the Ganapati Atharvashirsa. Courtright translates this passage as follows: "[O Ganesha,] You continually dwell in the sacral plexus at the base of the spine [mūlādhāra cakra]." Thus, Ganesha has a permanent abode in every being at the Muladhara. Ganesha holds, supports and guides all other chakras, thereby "governing the forces that propel the wheel of life".

 

FAMILY AND CONSORTS

Though Ganesha is popularly held to be the son of Shiva and Parvati, the Puranic myths give different versions about his birth. In some he was created by Parvati, in another he was created by Shiva and Parvati, in another he appeared mysteriously and was discovered by Shiva and Parvati or he was born from the elephant headed goddess Malini after she drank Parvati's bath water that had been thrown in the river.

 

The family includes his brother the war god Kartikeya, who is also called Subramanya, Skanda, Murugan and other names. Regional differences dictate the order of their births. In northern India, Skanda is generally said to be the elder, while in the south, Ganesha is considered the first born. In northern India, Skanda was an important martial deity from about 500 BCE to about 600 CE, when worship of him declined significantly in northern India. As Skanda fell, Ganesha rose. Several stories tell of sibling rivalry between the brothers and may reflect sectarian tensions.

 

Ganesha's marital status, the subject of considerable scholarly review, varies widely in mythological stories. One pattern of myths identifies Ganesha as an unmarried brahmacari. This view is common in southern India and parts of northern India. Another pattern associates him with the concepts of Buddhi (intellect), Siddhi (spiritual power), and Riddhi (prosperity); these qualities are sometimes personified as goddesses, said to be Ganesha's wives. He also may be shown with a single consort or a nameless servant (Sanskrit: daşi). Another pattern connects Ganesha with the goddess of culture and the arts, Sarasvati or Śarda (particularly in Maharashtra). He is also associated with the goddess of luck and prosperity, Lakshmi. Another pattern, mainly prevalent in the Bengal region, links Ganesha with the banana tree, Kala Bo.

 

The Shiva Purana says that Ganesha had begotten two sons: Kşema (prosperity) and Lābha (profit). In northern Indian variants of this story, the sons are often said to be Śubha (auspiciouness) and Lābha. The 1975 Hindi film Jai Santoshi Maa shows Ganesha married to Riddhi and Siddhi and having a daughter named Santoshi Ma, the goddess of satisfaction. This story has no Puranic basis, but Anita Raina Thapan and Lawrence Cohen cite Santoshi Ma's cult as evidence of Ganesha's continuing evolution as a popular deity.

 

WOSHIP AND FESTIVALS

Ganesha is worshipped on many religious and secular occasions; especially at the beginning of ventures such as buying a vehicle or starting a business. K.N. Somayaji says, "there can hardly be a [Hindu] home [in India] which does not house an idol of Ganapati. [..] Ganapati, being the most popular deity in India, is worshipped by almost all castes and in all parts of the country". Devotees believe that if Ganesha is propitiated, he grants success, prosperity and protection against adversity.

 

Ganesha is a non-sectarian deity, and Hindus of all denominations invoke him at the beginning of prayers, important undertakings, and religious ceremonies. Dancers and musicians, particularly in southern India, begin performances of arts such as the Bharatnatyam dance with a prayer to Ganesha. Mantras such as Om Shri Gaṇeshāya Namah (Om, salutation to the Illustrious Ganesha) are often used. One of the most famous mantras associated with Ganesha is Om Gaṃ Ganapataye Namah (Om, Gaṃ, Salutation to the Lord of Hosts).

 

Devotees offer Ganesha sweets such as modaka and small sweet balls (laddus). He is often shown carrying a bowl of sweets, called a modakapātra. Because of his identification with the color red, he is often worshipped with red sandalwood paste (raktacandana) or red flowers. Dūrvā grass (Cynodon dactylon) and other materials are also used in his worship.

 

Festivals associated with Ganesh are Ganesh Chaturthi or Vināyaka chaturthī in the śuklapakṣa (the fourth day of the waxing moon) in the month of bhādrapada (August/September) and the Gaṇeśa jayanti (Gaṇeśa's birthday) celebrated on the cathurthī of the śuklapakṣa (fourth day of the waxing moon) in the month of māgha (January/February)."

 

GANESH CHATURTI

An annual festival honours Ganesha for ten days, starting on Ganesha Chaturthi, which typically falls in late August or early September. The festival begins with people bringing in clay idols of Ganesha, symbolising Ganesha's visit. The festival culminates on the day of Ananta Chaturdashi, when idols (murtis) of Ganesha are immersed in the most convenient body of water. Some families have a tradition of immersion on the 2nd, 3rd, 5th, or 7th day. In 1893, Lokmanya Tilak transformed this annual Ganesha festival from private family celebrations into a grand public event. He did so "to bridge the gap between the Brahmins and the non-Brahmins and find an appropriate context in which to build a new grassroots unity between them" in his nationalistic strivings against the British in Maharashtra. Because of Ganesha's wide appeal as "the god for Everyman", Tilak chose him as a rallying point for Indian protest against British rule. Tilak was the first to install large public images of Ganesha in pavilions, and he established the practice of submerging all the public images on the tenth day. Today, Hindus across India celebrate the Ganapati festival with great fervour, though it is most popular in the state of Maharashtra. The festival also assumes huge proportions in Mumbai, Pune, and in the surrounding belt of Ashtavinayaka temples.

 

TEMPLES

In Hindu temples, Ganesha is depicted in various ways: as an acolyte or subordinate deity (pãrśva-devatã); as a deity related to the principal deity (parivāra-devatã); or as the principal deity of the temple (pradhāna), treated similarly as the highest gods of the Hindu pantheon. As the god of transitions, he is placed at the doorway of many Hindu temples to keep out the unworthy, which is analogous to his role as Parvati’s doorkeeper. In addition, several shrines are dedicated to Ganesha himself, of which the Ashtavinayak (lit. "eight Ganesha (shrines)") in Maharashtra are particularly well known. Located within a 100-kilometer radius of the city of Pune, each of these eight shrines celebrates a particular form of Ganapati, complete with its own lore and legend. The eight shrines are: Morgaon, Siddhatek, Pali, Mahad, Theur, Lenyadri, Ozar and Ranjangaon.

 

There are many other important Ganesha temples at the following locations: Wai in Maharashtra; Ujjain in Madhya Pradesh; Jodhpur, Nagaur and Raipur (Pali) in Rajasthan; Baidyanath in Bihar; Baroda, Dholaka, and Valsad in Gujarat and Dhundiraj Temple in Varanasi, Uttar Pradesh. Prominent Ganesha temples in southern India include the following: Kanipakam in Chittoor; the Jambukeśvara Temple at Tiruchirapalli; at Rameshvaram and Suchindram in Tamil Nadu; at Malliyur, Kottarakara, Pazhavangadi, Kasargod in Kerala, Hampi, and Idagunji in Karnataka; and Bhadrachalam in Andhra Pradesh.

 

T. A. Gopinatha notes, "Every village however small has its own image of Vighneśvara (Vigneshvara) with or without a temple to house it in. At entrances of villages and forts, below pīpaḹa (Sacred fig) trees [...], in a niche [...] in temples of Viṣṇu (Vishnu) as well as Śiva (Shiva) and also in separate shrines specially constructed in Śiva temples [...]; the figure of Vighneśvara is invariably seen." Ganesha temples have also been built outside of India, including southeast Asia, Nepal (including the four Vinayaka shrines in the Kathmandu valley), and in several western countries.

 

RISE TO PROMINENCE

 

FIRST APEARANCE

Ganesha appeared in his classic form as a clearly recognizable deity with well-defined iconographic attributes in the early 4th to 5th centuries. Shanti Lal Nagar says that the earliest known iconic image of Ganesha is in the niche of the Shiva temple at Bhumra, which has been dated to the Gupta period. His independent cult appeared by about the 10th century. Narain summarizes the controversy between devotees and academics regarding the development of Ganesha as follows:

 

What is inscrutable is the somewhat dramatic appearance of Gaņeśa on the historical scene. His antecedents are not clear. His wide acceptance and popularity, which transcend sectarian and territorial limits, are indeed amazing. On the one hand there is the pious belief of the orthodox devotees in Gaņeśa's Vedic origins and in the Purāṇic explanations contained in the confusing, but nonetheless interesting, mythology. On the other hand there are doubts about the existence of the idea and the icon of this deity" before the fourth to fifth century A.D. ... [I]n my opinion, indeed there is no convincing evidence of the existence of this divinity prior to the fifth century.

 

POSSIBLE INFLUENCES

Courtright reviews various speculative theories about the early history of Ganesha, including supposed tribal traditions and animal cults, and dismisses all of them in this way:

 

In the post 600 BC period there is evidence of people and places named after the animal. The motif appears on coins and sculptures.

 

Thapan's book on the development of Ganesha devotes a chapter to speculations about the role elephants had in early India but concludes that, "although by the second century CE the elephant-headed yakṣa form exists it cannot be presumed to represent Gaṇapati-Vināyaka. There is no evidence of a deity by this name having an elephant or elephant-headed form at this early stage. Gaṇapati-Vināyaka had yet to make his debut."

 

One theory of the origin of Ganesha is that he gradually came to prominence in connection with the four Vinayakas (Vināyakas). In Hindu mythology, the Vināyakas were a group of four troublesome demons who created obstacles and difficulties but who were easily propitiated. The name Vināyaka is a common name for Ganesha both in the Purāṇas and in Buddhist Tantras. Krishan is one of the academics who accepts this view, stating flatly of Ganesha, "He is a non-vedic god. His origin is to be traced to the four Vināyakas, evil spirits, of the Mānavagŗhyasūtra (7th–4th century BCE) who cause various types of evil and suffering". Depictions of elephant-headed human figures, which some identify with Ganesha, appear in Indian art and coinage as early as the 2nd century. According to Ellawala, the elephant-headed Ganesha as lord of the Ganas was known to the people of Sri Lanka in the early pre-Christian era.

 

A metal plate depiction of Ganesha had been discovered in 1993, in Iran, it dated back to 1,200 BCE. Another one was discovered much before, in Lorestan Province of Iran.

 

First Ganesha's terracotta images are from 1st century CE found in Ter, Pal, Verrapuram and Chandraketugarh. These figures are small, with elephant head, two arms, and chubby physique. The earliest Ganesha icons in stone were carved in Mathura during Kushan times (2nd-3rd centuries CE).

 

VEDIC AND EPIC LITERATURE

The title "Leader of the group" (Sanskrit: gaṇapati) occurs twice in the Rig Veda, but in neither case does it refer to the modern Ganesha. The term appears in RV 2.23.1 as a title for Brahmanaspati, according to commentators. While this verse doubtless refers to Brahmanaspati, it was later adopted for worship of Ganesha and is still used today. In rejecting any claim that this passage is evidence of Ganesha in the Rig Veda, Ludo Rocher says that it "clearly refers to Bṛhaspati—who is the deity of the hymn—and Bṛhaspati only". Equally clearly, the second passage (RV 10.112.9) refers to Indra, who is given the epithet 'gaṇapati', translated "Lord of the companies (of the Maruts)." However, Rocher notes that the more recent Ganapatya literature often quotes the Rigvedic verses to give Vedic respectability to Ganesha .

 

Two verses in texts belonging to Black Yajurveda, Maitrāyaṇīya Saṃhitā (2.9.1) and Taittirīya Āraṇyaka (10.1), appeal to a deity as "the tusked one" (Dantiḥ), "elephant-faced" (Hastimukha), and "with a curved trunk" (Vakratuņḍa). These names are suggestive of Ganesha, and the 14th century commentator Sayana explicitly establishes this identification. The description of Dantin, possessing a twisted trunk (vakratuṇḍa) and holding a corn-sheaf, a sugar cane, and a club, is so characteristic of the Puranic Ganapati that Heras says "we cannot resist to accept his full identification with this Vedic Dantin". However, Krishan considers these hymns to be post-Vedic additions. Thapan reports that these passages are "generally considered to have been interpolated". Dhavalikar says, "the references to the elephant-headed deity in the Maitrāyaṇī Saṃhitā have been proven to be very late interpolations, and thus are not very helpful for determining the early formation of the deity".

 

Ganesha does not appear in Indian epic literature that is dated to the Vedic period. A late interpolation to the epic poem Mahabharata says that the sage Vyasa (Vyāsa) asked Ganesha to serve as his scribe to transcribe the poem as he dictated it to him. Ganesha agreed but only on condition that Vyasa recite the poem uninterrupted, that is, without pausing. The sage agreed, but found that to get any rest he needed to recite very complex passages so Ganesha would have to ask for clarifications. The story is not accepted as part of the original text by the editors of the critical edition of the Mahabharata, in which the twenty-line story is relegated to a footnote in an appendix. The story of Ganesha acting as the scribe occurs in 37 of the 59 manuscripts consulted during preparation of the critical edition. Ganesha's association with mental agility and learning is one reason he is shown as scribe for Vyāsa's dictation of the Mahabharata in this interpolation. Richard L. Brown dates the story to the 8th century, and Moriz Winternitz concludes that it was known as early as c. 900, but it was not added to the Mahabharata some 150 years later. Winternitz also notes that a distinctive feature in South Indian manuscripts of the Mahabharata is their omission of this Ganesha legend. The term vināyaka is found in some recensions of the Śāntiparva and Anuśāsanaparva that are regarded as interpolations. A reference to Vighnakartṛīṇām ("Creator of Obstacles") in Vanaparva is also believed to be an interpolation and does not appear in the critical edition.

 

PURANIC PERIOD

Stories about Ganesha often occur in the Puranic corpus. Brown notes while the Puranas "defy precise chronological ordering", the more detailed narratives of Ganesha's life are in the late texts, c. 600–1300. Yuvraj Krishan says that the Puranic myths about the birth of Ganesha and how he acquired an elephant's head are in the later Puranas, which were composed from c. 600 onwards. He elaborates on the matter to say that references to Ganesha in the earlier Puranas, such as the Vayu and Brahmanda Puranas, are later interpolations made during the 7th to 10th centuries.

 

In his survey of Ganesha's rise to prominence in Sanskrit literature, Ludo Rocher notes that:

 

Above all, one cannot help being struck by the fact that the numerous stories surrounding Gaṇeśa concentrate on an unexpectedly limited number of incidents. These incidents are mainly three: his birth and parenthood, his elephant head, and his single tusk. Other incidents are touched on in the texts, but to a far lesser extent.

 

Ganesha's rise to prominence was codified in the 9th century, when he was formally included as one of the five primary deities of Smartism. The 9th-century philosopher Adi Shankara popularized the "worship of the five forms" (Panchayatana puja) system among orthodox Brahmins of the Smarta tradition. This worship practice invokes the five deities Ganesha, Vishnu, Shiva, Devi, and Surya. Adi Shankara instituted the tradition primarily to unite the principal deities of these five major sects on an equal status. This formalized the role of Ganesha as a complementary deity.

 

SCRIPTURES

Once Ganesha was accepted as one of the five principal deities of Brahmanism, some Brahmins (brāhmaṇas) chose to worship Ganesha as their principal deity. They developed the Ganapatya tradition, as seen in the Ganesha Purana and the Mudgala Purana.

 

The date of composition for the Ganesha Purana and the Mudgala Purana - and their dating relative to one another - has sparked academic debate. Both works were developed over time and contain age-layered strata. Anita Thapan reviews comments about dating and provides her own judgement. "It seems likely that the core of the Ganesha Purana appeared around the twelfth and thirteenth centuries", she says, "but was later interpolated." Lawrence W. Preston considers the most reasonable date for the Ganesha Purana to be between 1100 and 1400, which coincides with the apparent age of the sacred sites mentioned by the text.

 

R.C. Hazra suggests that the Mudgala Purana is older than the Ganesha Purana, which he dates between 1100 and 1400. However, Phyllis Granoff finds problems with this relative dating and concludes that the Mudgala Purana was the last of the philosophical texts concerned with Ganesha. She bases her reasoning on the fact that, among other internal evidence, the Mudgala Purana specifically mentions the Ganesha Purana as one of the four Puranas (the Brahma, the Brahmanda, the Ganesha, and the Mudgala Puranas) which deal at length with Ganesha. While the kernel of the text must be old, it was interpolated until the 17th and 18th centuries as the worship of Ganapati became more important in certain regions. Another highly regarded scripture, the Ganapati Atharvashirsa, was probably composed during the 16th or 17th centuries.

 

BEYOND INDIA AND HINDUISM

Commercial and cultural contacts extended India's influence in western and southeast Asia. Ganesha is one of a number of Hindu deities who reached foreign lands as a result.

 

Ganesha was particularly worshipped by traders and merchants, who went out of India for commercial ventures. From approximately the 10th century onwards, new networks of exchange developed including the formation of trade guilds and a resurgence of money circulation. During this time, Ganesha became the principal deity associated with traders. The earliest inscription invoking Ganesha before any other deity is associated with the merchant community.

 

Hindus migrated to Maritime Southeast Asia and took their culture, including Ganesha, with them. Statues of Ganesha are found throughout the region, often beside Shiva sanctuaries. The forms of Ganesha found in Hindu art of Java, Bali, and Borneo show specific regional influences. The spread of Hindu culture to southeast Asia established Ganesha in modified forms in Burma, Cambodia, and Thailand. In Indochina, Hinduism and Buddhism were practiced side by side, and mutual influences can be seen in the iconography of Ganesha in the region. In Thailand, Cambodia, and among the Hindu classes of the Chams in Vietnam, Ganesha was mainly thought of as a remover of obstacles. Today in Buddhist Thailand, Ganesha is regarded as a remover of obstacles, the god of success.

 

Before the arrival of Islam, Afghanistan had close cultural ties with India, and the adoration of both Hindu and Buddhist deities was practiced. Examples of sculptures from the 5th to the 7th centuries have survived, suggesting that the worship of Ganesha was then in vogue in the region.

 

Ganesha appears in Mahayana Buddhism, not only in the form of the Buddhist god Vināyaka, but also as a Hindu demon form with the same name. His image appears in Buddhist sculptures during the late Gupta period. As the Buddhist god Vināyaka, he is often shown dancing. This form, called Nṛtta Ganapati, was popular in northern India, later adopted in Nepal, and then in Tibet. In Nepal, the Hindu form of Ganesha, known as Heramba, is popular; he has five heads and rides a lion. Tibetan representations of Ganesha show ambivalent views of him. A Tibetan rendering of Ganapati is tshogs bdag. In one Tibetan form, he is shown being trodden under foot by Mahākāla, (Shiva) a popular Tibetan deity. Other depictions show him as the Destroyer of Obstacles, and sometimes dancing. Ganesha appears in China and Japan in forms that show distinct regional character. In northern China, the earliest known stone statue of Ganesha carries an inscription dated to 531. In Japan, where Ganesha is known as Kangiten, the Ganesha cult was first mentioned in 806.

 

The canonical literature of Jainism does not mention the worship of Ganesha. However, Ganesha is worshipped by most Jains, for whom he appears to have taken over certain functions of Kubera. Jain connections with the trading community support the idea that Jainism took up Ganesha worship as a result of commercial connections. The earliest known Jain Ganesha statue dates to about the 9th century. A 15th-century Jain text lists procedures for the installation of Ganapati images. Images of Ganesha appear in the Jain temples of Rajasthan and Gujarat.

 

WIKIPEDIA

AGUACATAL, Honduras (April 1, 2009) Navy nurse Capt. Anne White and Honduran translator Sheila Garcia explain medical procedures to villagers from Aguacatal during the Beyond the Horizon humanitarian assistance exercise in Honduras. Reserve component doctors, nurses, and hospital corpsmen from Operational Hospital Support Unit, Dallas are providing medical services to six different Honduran villages during the two weeks exercise. (U.S. Navy photo by Mass Communication Specialist 2nd Class Ron Kuzlik/Released)

 

Zero, known by many names to those who cared for him on the street, recently had a much-needed dental surgery. But during this procedure the vet realized that not only does he have entropion (a painful eyelid condition) he also has ulcers on each eye. He needs surgery right away to minimize potential damage to his eyes. So he's going under the knife yet again this Tuesday. His caretakers are trying to raise enough money to cover this new bill. You all were so generous with his dental, we're hoping we can help with this even more-pressing surgery. Once this happens he'll finally be ready to find a permanent indoor home forever. This guy has been on the street for many years, we're looking forward to a warm and pain-free retirement for this former street cat! Please follow the link in our bio to his new fundraiser. #helpZero #entropiancat #catsofbushwick #seniorcat instagr.am/p/Cl6iiS_Od9q/

Breast augmentation procedure is finished by putting inserts behind bosom tissue or under the chest muscle. An embed is a sac loaded up with either clean salt water (saline) or a material called silicone. The medical procedure is done at an outpatient medical procedure facility or in an emergency clinic. Most ladies get general sedation for this medical procedure.

And to take this picture, I really did have to stand on Policy & Procedure.

Massage Les Quatres Reines, 8776 Rue Lajeunesse, Montreal.

Procedure:

Set camera up to take ice photos at eight (8) seconds for water blur.

Move, then accidentally click the remote.

Walk with it, decide to delete later.

Open photo and click Autocontrast in PS5

Add Fractalius Filter.

Add second Fractalius Filter.

Add Topaz Light Effects.

Save as .PSD for more effects later. :-D

Save for Web to upload to Flickr.

Same procedure as every year (yay!) - this weekend I had the joyful honor to attend the Cologne fashion doll collectors' convention : )!

 

It was a fantastic day, I met with old and dear friends and got to know a whole bunch of lovely new people. My funniest moment was when a very kind french lady and her daughter came to my table and my french skills left me within a second. I could only excuse myself (in french at least!) with a laughing "I DO speak french, but not at this moment" - obviously *rotf* ; )

 

Ah, it was great! My photos surely aren't the best, they're usually taken in a hurry and only at the beginning of the day, since I'm becoming very busy afterwards, but at least I really did take some :).

 

To all of you who are going to attend the IT convention soon - I'm wishing you tons of fun, have many, many great moments, meet old and new friends and enjoy every minute. In my heart I'll be with you *hugs*!

 

Nina*

On September 21, 2011, the Satellite Servicing Capabilities Office (SSCO) at NASA's Goddard Space Flight Center hosted the team of robot operators from the Johnson Space Center (JSC)—a mix of robotic experts from NASA and the Canadian Space Agency (CSA) who are certified to staff the "ROBO" (NASA Mission Control speak for robotics) console positions at NASA's Mission Control Center in Houston, TX. From there, they operate the Special Purpose Dexterous Manipulator robot, known as "Dextre," on board the International Space Station to perform a wide range of on-orbit robotic tasks and activities. While at Goddard, the ROBO team fine-tuned the Robotic Refueling Mission Gas Fittings Removal task procedures that Dextre performed on orbit.

 

Here, ROBO team members Ian Mills (left) and Atif Qureshi (right) manipulate an Ambient Cap Adapter by hand before the task is performed with the robot.

 

Image Credit: NASA

 

I cannot tell you how useful this has been to me over the years.

 

*EVIL LARF*

jsc2018e050820 (May 29, 2018) --- At the Cosmonaut Hotel crew quarters in Baikonur, Kazakhstan, Expedition 56 crew members Serena Aunon-Chancellor of NASA (left), Sergey Prokopyev of Roscosmos (center) and Alexander Gerst of the European Space Agency (right) conduct rendezvous and docking procedures on a laptop training simulator May 29 as part of their pre-launch preparations. Aunon-Chancellor, Prokopyev and Gerst will launch June 6 from the Baikonur Cosmodrome in Kazakhstan on the Soyuz MS-09 spacecraft for a six-month mission on the International Space Station. Credit: NASA/Victor Zelentsov

Our Motor Carrier Enforcement people staffed a checkpoint on OR 58 to make sure drivers chained up with snowy and icy conditions/

Stained and mounted slides in the ubiquitous 20-slide folder. The folder is delivered to the pathologist, who examines the slides with a microscope and makes a pathologic diagnosis.

 

In US labs, the slides are kept for at least ten years before being trashed. In that time, some fading does occur, but they are still readable. Some labs never throw out old slides but store them indefinitely.

WSDOT management explained the repair procedures and fielded questions during the July 30, 2013 media tour.

Original Caption: Scene Across a Channel Dug by a Dragline at North Key Largo. This Procedure Is Regulated by the State Government, But Many Abuses Have Been Documented by the Miami Press.

 

U.S. National Archives’ Local Identifier: 412-DA-6157

 

Photographer: Schulke, Flip, 1930-2008

 

Subjects:

Florida (United States) state

Environmental Protection Agency

Project DOCUMERICA

 

Persistent URL: arcweb.archives.gov/arc/action/ExternalIdSearch?id=548644

 

Repository: Still Picture Records Section, Special Media Archives Services Division (NWCS-S), National Archives at College Park, 8601 Adelphi Road, College Park, MD, 20740-6001.

 

For information about ordering reproductions of photographs held by the Still Picture Unit, visit: www.archives.gov/research/order/still-pictures.html

 

Reproductions may be ordered via an independent vendor. NARA maintains a list of vendors at www.archives.gov/research/order/vendors-photos-maps-dc.html

   

Access Restrictions: Unrestricted

Use Restrictions: Unrestricted

 

In Office Procedures Add Convenience And Save Patient Cost

Same procedure as every year (yay!) - this weekend I had the joyful honor to attend the Cologne fashion doll collectors' convention : )!

 

It was a fantastic day, I met with old and dear friends and got to know a whole bunch of lovely new people. My funniest moment was when a very kind french lady and her daughter came to my table and my french skills left me within a second. I could only excuse myself (in french at least!) with a laughing "I DO speak french, but not at this moment" - obviously *rotf* ; )

 

Ah, it was great! My photos surely aren't the best, they're usually taken in a hurry and only at the beginning of the day, since I'm becoming very busy afterwards, but at least I really did take some :).

 

To all of you who are going to attend the IT convention soon - I'm wishing you tons of fun, have many, many great moments, meet old and new friends and enjoy every minute. In my heart I'll be with you *hugs*!

 

Nina*

SAN DIEGO (Sept. 9, 2010) Chief Explosive Ordnance Disposal Technician Jeff Rotherham, assigned to Explosive Ordnance Disposal Training and Evaluation Unit (EODTEU) 1, demonstrates the proper collection procedure of a biological sample in a suspect clandestine biological warfare agent production facility. (U.S. Navy photo by Mass communication Specialist Second Class Elizabeth J. Dumolt/Released)

Procedures At Orange Coast Laser Specialists, we offer the most advanced laser tattoo removal and skin rejuvenation treatments using Cynosure's premier picosecond laser system on the market today: The PicoSure. This dynamic laser system specializes in fast and effective aesthetic treatments that are unparalleled by older platforms, including tattoo removal,

www.folkd.com/detail/oclaserspecialists.com%2Fprocedures

Same procedure as every year (yay!) - this weekend I had the joyful honor to attend the Cologne fashion doll collectors' convention : )!

 

It was a fantastic day, I met with old and dear friends and got to know a whole bunch of lovely new people. My funniest moment was when a very kind french lady and her daughter came to my table and my french skills left me within a second. I could only excuse myself (in french at least!) with a laughing "I DO speak french, but not at this moment" - obviously *rotf* ; )

 

Ah, it was great! My photos surely aren't the best, they're usually taken in a hurry and only at the beginning of the day, since I'm becoming very busy afterwards, but at least I really did take some :).

 

To all of you who are going to attend the IT convention soon - I'm wishing you tons of fun, have many, many great moments, meet old and new friends and enjoy every minute. In my heart I'll be with you *hugs*!

 

Nina*

Abu Ghraib? 2003 or 2004.

There happens to be a particular room within the pages of the book Fifty Shades of Grey that is very infamous. I thought it would be fun to create an illustration relating to...the Red Room of Pain! You can read more and see more illustrations at www.rufflesandrestraints.com

One more procedure experts think Suzanne Somers did are lip implants. It inserts different contest into lips to make them look bigger than usual.

 

celebritypost.net/suzanne-somers-plastic-surgery/

Note right side console cover/structure is bare primer. Its possible a 'live' procedures trainer, actually in use, might have a cockpit piece in-primer, but I'd be surprised if an active duty F-106 was left looking like this. Not impossible, but it seems unlikely. Correct paint worn and scuffed down to primer? Sure. Provided the paint isn't covering some magnesium bit or other easily corroded item. "Mission-critical" paint would be maintained.

Thailand's Ladyboys or katoeys are some of the most beautiful and convincing transvestites in the world, mostly accepted and embraced by a highly tolerant Thai society.

Typically, katoeys dress and live as women. They undergo hormone replacement therapy, most have breast implants, and eventually have genital reassignment surgery done. They go to great lengths to conceal any tell-tale signs of masculinity, including surgery to reduce the size of the Adam's apple and other medical procedures to shape their bodies more like those of women (jawbone, hips, buttocks) - even voice chord surgery. Kathoey work in predominately female occupations, such as in shops, restaurants and beauty salons, but also in factories. Kathoey also work in entertainment and tourist centers, in cabarets and as sex workers.

Having Started in 1987, Calypso Bangkok is Bangkok's first transgendered performance troupe. It features over 70 talented performers who have honed their artistry under the guidance of Broadway veteran Mr. Hans Hoenicke.

Public Domain Book: The history of magic : including a clear and precise exposition of its procedure, its rites and its mysteries

by Lévi, Eliphas, 1810-1875

 

Published 1922

 

archive.org/details/historyofmagicin00lv

 

2nd Regiment Advanced Camp Cadets sit and relax as they take a break from SOP (Standard Operation Procedure) training exercises at Fort Knox, KY on June 15, 2019. | Photo by Hannah Hedden, CST Public Affairs Office

As seen in Potrero Hill, San Francisco.

via

 

Pelvic floor repair surgery is the most common surgery for pelvic organ prolapse. Pelvic floor repair is a broad term used to classify a variety of simple, surgical procedures for repairing the pelvic floor. The three surgeries for pelvic floor prolapse include: anterior repair, posterior repair, and a hysterectomy.

 

Although Restore Your Core does not provide any surgical treatment for pelvic floor issues, my hope is that this article may answer any questions you may have regarding pelvic floor repair and the various procedures and treatments involved in getting you back to a healthy, active lifestyle.

 

What are the Symptoms of Pelvic Organ Prolapse?

 

Prolapse can affect several abdominal organs. These organs are said to prolapse if they descend into or out of the vaginal canal or anus. The medical terminology for these occurrences include:

 

Cystocele: prolapse of the bladder into the vagina, the most common condition

 

Urethrocele: prolapse of the urethra (the tube that carries urine)

 

Uterine prolapse

 

Vaginal vault prolapse: prolapse of the vagina

 

Enterocele: Small bowel prolapse

 

Rectocele: Rectum prolapse

 

What Causes Pelvic Organ Prolapse?

 

There are many factors that are thought to cause a prolapse. In most cases, anything that may apply or put increased pressure in the abdomen can lead to a pelvic organ prolapse. Some of the common causes may include:

 

Pregnancy, labor, and childbirth are the most common causes

 

Obesity

 

Connective tissue disorders

 

Respiratory problems with a chronic, long-term cough

 

Constipation

 

Genetic factors

 

Pelvic organ cancers

 

Surgical removal of the uterus (hysterectomy)

 

Diastasis recti (weakened core, connective tissues)

 

Are you looking for safe and restorative exercises to heal from pelvic floor symptoms

 

Learn more about the RYC program

 

Learn More

 

Are you looking for safe and restorative exercises to heal from pelvic floor symptoms

 

Learn more about the RYC program

 

Learn More

 

Symptoms

 

The symptoms of a prolapse somewhat depend on which organ has descended. If you are suffering from a bladder prolapse, urinary incontinence may occur. If it is a rectal prolapse, constipation, painful bowel movements, and painful sex often occur. Lower back pain, painful sex, and bowel obstruction or incontinence tend to accompany a small intestine prolapse as well. If you are suffering from a prolapse of the uterus, you may also suffer from uncomfortable intercourse, incontinence, and lower back pain.

 

In some cases, there may never be signs of a prolapse or the presence of any painful symptoms. However, in others some women report symptoms ranging from:

 

Pressure or sense of fullness in the pelvic area

 

Lower back pain

 

Painful sex

 

Sensation of something falling out of the vagina

 

Urinary incontinence or frequent urination

 

Constipation

 

Spotting or bleeding from the vagina

 

In cases where there may be a severe prolapse, POP symptoms may worsen. One may notice:

 

Bulging of the vaginal region

 

Needing manual assistance during a bowel movement

 

Difficulty urinating, spraying stream of urine

 

The need to lift the bulging vagina in order to urinate

 

Urinary leakage during intercourse

 

Recurrent UTIs or kidney infections

 

How long does a pelvic floor repair operation take?

 

The length of the surgical procedure can vary greatly from patient to patient. The general estimate for the surgery ranges from around 3-5 hours, but may have a shorter or longer duration depending on various factors. Some of the elements that may determine the length of the operation can include:

 

Internal anatomy

 

Shape of the pelvis

 

Weight

 

Internal scarring or inflammation

 

Prior abdominal/pelvic floor surgery

 

Does Surgery Really Work?

 

Surgery to fix a uterine prolapse are usually successful. In most patients the surgeries for POP have been reported to have an 80% – 95% success rate.

 

The success rate for sacrospinous ligament fixation (surgery to correct the bulging of the vagina) ranges between 80% – 90%, for uterosacral ligament suspension (surgery restoring support to the top of the vagina) is also 80%-90% successful, and sacrocolpopexy (surgery fixing the vaginal vault and the cervix) and sacrohysteropexy (fixing the prolapse of the uterus) have also shown the same success rate.

 

However, even after prolapse surgery, there is still a chance that another part of the vagina or uterus may prolapse.

 

What Can I Expect After POP Surgery?

 

These are the general guidelines that doctors will usually give post POP OP (this is not medical advice): Each day in recovery you can expect to begin to feel stronger. During your recovery, you may need to remain on pain medication for about a week or two and may experience fatigue and weakness. A typical recovery time line varies from 4 to 6 weeks until you recover from an open surgery and anywhere from 1 to 2 weeks to recover from vaginal surgery. Your doctor should give you more specific guidelines.

 

During your recovery period, you should avoid any sexual activity, vigorous exercise, heavy lifting, or any activities that may put pressure or strain your operation area. Your doctor should give you more specific guidelines. The most important aspect to your quick recovery is rest – getting enough sleep will help you recover.

 

During your recovery, you might experience vaginal discharge or light bleeding. If so, avoid using tampons or douche. Use a sanitary pad if necessary. Your doctor should give you more specific guidelines.

 

How long do you stay in the hospital after prolapse surgery?

 

After your prolapse surgery, it is likely that you will need to remain hospitalized for 2 – 3 days depending on the operation and any underlying medical conditions you have. During this time your medical care takers will help ensure your recovery by monitoring for any potential complications and providing clean, sanitized treatment of the operation site.

 

Are There Complications with Prolapse Surgery?

 

Although pelvic surgery has proven to be a very safe procedure, as with any surgery, there are a few risks and potential complications that can arise. Please discuss this with your doctor but the common ones include:

 

Bleeding

 

Infection

 

Tissue or organ injury

 

Hernia

 

Conversion to open surgery

 

Urinary incontinence

 

Urinary retention

 

Vesicovaginal fistula (rare, abnormal connection between vagina and bladder)

 

If you are experiencing any of these symptoms of complications, it is important that you seek medical assistance. In some cases these symptoms can be common and unserious, but it is always best to consult your doctor if you have any concerns.

 

Can pelvic floor muscles be repaired?

 

If you have experienced a prolapse, uterine or otherwise, it can be a shocking and painful experience. However, there are ways to decrease symptoms without surgery.

 

Nonsurgical Treatments

 

There are several ways in which to treat a uterine or vaginal prolapse. The three most common approaches are pessary, restorative exercises, and biofeedback therapy.

 

Pessary

 

A pessary is probably one of the first treatments your doctor will recommend if you have symptoms of POP. A pessary is a ring shaped device that is inserted into your vagina. This will help support your pelvic organs. Being fitted for a pessary is a lot like being fitted for a diaphragm. Many of my clients with severe POP find that a pessary is useful for allowing them to live fuller lives while they slowly use PT and exercise to help resolve the prolapse.

 

Restorative Exercises & Physical Therapy

 

Pelvic floor exercises help strengthen your pelvic muscles. Although the most common exercise recommended by health professionals today is the kegel exercise, there are many more exercises that you can do that are helpful for restoring PF function and giving support for your pelvic organs. Kegels are a pretty outdated model of care when used alone, without a more whole body approach to healing.

 

What is involved in pelvic floor reconstruction?

 

Pelvic floor reconstruction surgery is a group of procedures that are performed to treat prolapse of uterus, rectum, small intestines, or other pelvic organs.

 

Anterior Vaginal Repair

 

Anterior repair is a surgical procedure that seeks to reinforce weakened layers between the bladder and the vagina. This surgery helps relieve symptoms such as vaginal bulging and to improve bladder function.

 

The surgery can be performed under general anaesthetic. The most common method of anterior repair is by an incision made along the centre of the front wall of the vagina – starting at the entrance and ending at the top of the vagina. The weakened layers are then repaired and anu superfluous tissue is removed. This is typically done with absorbable stitches.

 

Posterior Vaginal Repair

 

A back wall (posterior) vaginal prolapse is usually caused by weakness in the tissues and muscles that divide the vagina from the lower part of the bowel. This surgical procedure is performed to order to repair or restore the weakened layers between the rectum and the vagina.

 

As with an anterior vaginal repair surgery, posterior repair surgery is usually performed under general anesthetic. The procedure involves a minor incision being made along the back wall of the vagina starting at the entrance and finishing near the top. The weakened layers are then repaired using absorbable stitches.

 

Vaginal Hysterectomy

 

A vaginal hysterectomy is typically performed with a prolapsed uterus. This is when the uterus (womb) descends into the vagina and in some severe cases, protrudes or extends outside of the vaginal canal. The surgery is performed by removing the uterus through the vagina.

 

A vaginal hysterectomy is performed under general or spinal anaesthetic. In order to remove the uterus, the surgeon will make an incision at the top of the vagina around the cervix, clears the bowel and bladder from the uterus, and cuts through the connecting tissues to remove the uterus. The surgeon will then close the vaginal vault and commonly adds additional supporting stitches as the surgery is being performed.

 

You don’t need to live in

 

fear, pain or discomfort

 

Get back the confidence + lifestyle you love

 

Learn More

 

You don’t need to live in

 

fear, pain or discomfort

 

Get back the confidence + lifestyle you love

 

Learn More

 

Does Physical Therapy Help Post-Surgery?

 

If you are meeting with a physical / occupational therapist or taking part in a rehabilitation program Restore Your Core, post-surgery, some of the common exercises and techniques consist of:

 

and techniques consist of:

 

Posture:

 

Spine, pelvis, and hip alignment is necessary for a sustained recovery. Being mindful of good posture will help relieve any additional strain or pressure you apply to your pelvic region.

 

Restful Poses:

 

These poses are positions which utilize gravity to encourage the pelvic organs to be “repositioned” back into the pelvic cavity.

 

Lower abdominal Exercises:

 

This involves contracting the lower abdominal muscles while practicing dynamic and static exercises. If done correctly, it can limit the stress placed on the interior organs during activities which increase intra-abdominal pressure (i.e. squats).

 

PFM Strengthening:

 

PFM strengthening exercises are a great way to help get your body back to its normal function and to heal from POP surgery. I advise getting instruction from a pelvic floor specialist who is trained in assessing the whole person to determine the appropriate exercise routines for you.

 

In my program, Restore Your Core, I cover many helpful exercises and routines that can help heal POP and any abdominal or core issues. To learn more about restorative exercises for uterine prolapse or other abdominal issues, consider checking out one of my previous blog posts on core workouts and exercises.

 

restoreyourcore.com/learn/pelvic-floor/is-pelvic-floor-re...

TACP Battlefield Airmen assigned to the 14th Air Support Operations Squadron (ASOS) practice parachute jump procedures prior to a parachute jump and field training excercise. Photo taken at Green Ramp, Pope Air Force Base, North Carolina.

Pima Air and Space Museum

 

BOEING AH-64 APACHE COCKPIT, WEAPONS, AND EMERGENCY PROCEDURES TRAINER

The Boeing AH-64 Apache is an advanced attack helicopter used by the United States Army and various foreign militaries. First flown on September 30, 1975 the Apache was conceived by Hughes in response to the US Army request for a replacement for the Bell AH-1 Cobra. The Apache is a two man helicopter that can fly in all weather, and carries a standard weapons load of a 30mm chain gun, AGM-114 Hellfire missiles, 70mm rockets, and AIM-92 stinger missiles. Apaches went into operational service in April 1986. They are currently being used by ten foreign militaries and are built under contract by AugustaWestland for the British Army's Army Air Corp. In 1997 the AH-64D Apache Longbow went into service with upgraded sensors and fire control.

 

The simulator on display is an Apache Cockpit, Weapons, and Emergency Procedures Trainer (CWEPT) built and used by LSI Inc. in Jacksonville, Florida. LSI builds procedural trainers for various Army helicopters and gives training and technical support to the US Government and foreign militaries. This simulator recreates a typical Apache cockpit for training flight crews on cockpit layout, weapons systems, and how to handle aircraft emergencies. The flight crew is made up of the copilot gunner in the front and the pilot in the rear. Both crewmembers have flying and weapons controls in case the other is incapacitated.

 

Simulators similar to this one are used at the Western Army National Guard Aviation Training Site (WAATS) at Silverbell Army Heliport in Marana, Arizona. WAATS is a major attack and aero scout training facility for Army National Guard, US Army, and the British Army Apache units. The unique location provides year around good weather, a sparse population, and close access to the Barry M. Goldwater Air Force Range.

  

Technical Specifications

Main Rotor Diameter: 48 ft

Length: 58 ft 2 in

Height: 12 ft 8 in

Weight: 17,650 lb

Maximum level speed: 182 mph

Service Ceiling: 21,000 ft

Range: 295 mi

Engine: Two General Electric T700-GE-701C turboshafts, 1,890 horsepower each

Crew: 2

Medical/Surgical Operative Photography

The 2017 SkillsUSA National Leadership and Skills Conference Competition Medalists were announced Friday, June 23, 2017 at Freedom Hall in Louisville.

 

Chapter Business Procedure

 

Team P (consisting of Kaitlin Deal, Allison Eisenhart, Victoria Yorio, Kate Yeung, Payton Neeley, Shannon Ferguson)

High School Gloucester County Institute of Technology

Gold Sewell, NJ

Chapter Business ProcedureTeam A (consisting of Zack Corcoran, Carter Washburn, Connor Christiansen, Cole Mantas, Ayush Kumar, John Mulroy)

High School Cambridge High School

Silver Milton, GA

Chapter Business ProcedureTeam C (consisting of Levi Armstrong, Cassie Moffitt, Hailee Smith, Evan Mays, Mary Morrison, Morgan Salyers)

High School Volunteer High School

Bronze Church Hill, TN

Chapter Business ProcedureTeam A (consisting of Derek McGovern, Kaleb Sorensen, Landon Vernon, Jacob Ricci, Autymn Weaver, Kimberley Yefimov)

College Utah Valley University

Gold Orem, UT

Chapter Business ProcedureTeam B (consisting of Khanh Tran, Yhara Duron, Issaiah Mosley, Shawnlyn Deitz, Rose Baum, Shanice Johnson)

College Canadian Valley Tech Center - El Reno

Silver El Reno, OK

The 2017 SkillsUSA National Leadership and Skills Conference Competition Medalists were announced Friday, June 23, 2017 at Freedom Hall in Louisville.

 

Chapter Business Procedure

 

Team P (consisting of Kaitlin Deal, Allison Eisenhart, Victoria Yorio, Kate Yeung, Payton Neeley, Shannon Ferguson)

High School Gloucester County Institute of Technology

Gold Sewell, NJ

Chapter Business ProcedureTeam A (consisting of Zack Corcoran, Carter Washburn, Connor Christiansen, Cole Mantas, Ayush Kumar, John Mulroy)

High School Cambridge High School

Silver Milton, GA

Chapter Business ProcedureTeam C (consisting of Levi Armstrong, Cassie Moffitt, Hailee Smith, Evan Mays, Mary Morrison, Morgan Salyers)

High School Volunteer High School

Bronze Church Hill, TN

Chapter Business ProcedureTeam A (consisting of Derek McGovern, Kaleb Sorensen, Landon Vernon, Jacob Ricci, Autymn Weaver, Kimberley Yefimov)

College Utah Valley University

Gold Orem, UT

Chapter Business ProcedureTeam B (consisting of Khanh Tran, Yhara Duron, Issaiah Mosley, Shawnlyn Deitz, Rose Baum, Shanice Johnson)

College Canadian Valley Tech Center - El Reno

Silver El Reno, OK