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Useful for Storing and Displaying Books, T-shirts, etc. with side Shelves, Hanging Rod, and Center Peg Board
Spectral Clustering of Urban Networks
Based on the map of Venice this is the plot of the network spectrum in three dimensions divided into six clusters.
Spectral clustering is particularly useful for analyzing data where where topological links outweigh convex boundaries, that is, when connections a more significant than simple proximity. This makes it an interesting method for the analysis of urban networks where cul-de-sacs, dead ends, physical barriers, or topographic distance can separate two points that are otherwise quite proximate.
Cluster centrality is shown on this plot by distance from the center point of each cluster the distribution of cluster centrality in the plot at left (with box plot around quartiles). Network links are not represented in this plot but comparing to the map view, one can quite easily intuit the relationship of nodes to their spatial location.
The final network comprises over 11,300 nodes and 12,500 edges.
We will be conducting a workshop at the Singapore pavilion of the Venice Biennale engaging this topic and will hopefully find modifications to this network and to the methods.
Quality prints, greeting cards and many useful products can be purchased at >> kaye-menner.pixels.com/featured/window-of-colorful-bottle... OR www.lens2print.co.uk/imageview.asp?imageID=39098
I captured this image from a neighbor's house who loves to display lots of color and decoration. So many bottles of different shapes and colors, and some with a touch of decoration. I just loved viewing this with the late afternoon sunlight gleaming through the window and highlighting the bottles and their colors.
THE FINE ART AMERICA LOGO / MY WATERMARK WILL NOT APPEAR ON PURCHASED PRINTS OR PRODUCTS.
My son recently bought me a £20 Wetherspoons Gift Card for Christmas which i put to good use in Central London.
I used it to buy the following..
1...A pint of this excellent ale.
2...Fish & Chips and a pint for supper.
3...A Breakfast Wrap & Coffee.
I ended up with 60p left over which i put towards a pint.
I think i got my money's worth...don't you?
+++ DISCLAIMER +++
Nothing you see here is real, even though the conversion or the presented background story might be based historical facts. BEWARE!
Some background:
The Lockheed L300 was originally conceived as a military strategic airlifter that served under the designation C-141 Starlifter with the Military Air Transport Service (MATS), its successor organization the Military Airlift Command (MAC), and finally the Air Mobility Command (AMC) of the United States Air Force (USAF).
In the early 1960s, the United States Air Force's Military Air Transport Service (MATS) relied on a substantial number of propeller-driven aircraft for strategic airlift, such as the C-124 Globemaster II and C-133 Cargomaster. As these aircraft were mostly obsolescent designs and the Air Force needed the benefits of jet power, the USAF ordered 48 Boeing C-135 Stratolifters as an interim step. The C-135 was a useful stop-gap, but only had side-loading doors and much of the bulky and oversize equipment employed by the U.S. Army would not fit.
In the spring of 1960, the Air Force released Specific Operational Requirement 182, calling for a new aircraft that would be capable of performing both strategic and tactical airlift missions. The strategic role demanded that the aircraft be capable of missions with a radius of at least 3,500 nautical miles (6,500 km) with a 60,000 pounds (27,000 kg) load. The tactical role required it to be able to perform low-altitude air drops of supplies, as well as carry and drop combat paratroops. Several companies responded to SOR 182, including Boeing, Lockheed, and General Dynamics.
Lockheed responded to the requirement with a unique design: the Lockheed Model 300, the first large jet designed from the start to carry freight. The Model 300 had a swept high-mounted wing with four 21,000 pounds-force (93 kN) thrust TF33 turbofan engines pod-mounted below the wings. An important aspect was the cabin's floor height of only 50 inches (130 cm) above the ground, allowing easy access to the cabin through the rear doors. The two rear side doors were designed to allow the aircraft to drop paratroops (in August 1965 the aircraft performed the first paratroop drop from a jet-powered aircraft). The rear cargo doors could be opened in flight for airborne cargo drops. The high-mounted wings gave internal clearance in the cargo compartment of 10 feet (3.0 m) wide, 9 ft (2.7 m) high and 70 ft (21 m) long. The size enabled the Starlifter to carry, for example, a complete LGM-30 Minuteman intercontinental ballistic missile in its container. The aircraft was capable of carrying a maximum of 70,847 pounds (32,136 kg) over short distances, and up to 92,000 pounds (42,000 kg) in the version configured to carry the Minuteman, which lacked other equipment. The aircraft could also carry up to 154 troops, 123 paratroops or 80 litter patients.
President John F. Kennedy's first official act after his inauguration was to order the development of the Lockheed 300 on 13 March 1961, with a contract for five aircraft for test and evaluation to be designated the C-141. One unusual aspect of the aircraft was that it was designed to meet both military and civil airworthiness standards, since Lockheed hoped to sell the aircraft, much like the C-130 Hercules, to airlines, too. The prototype C-141A (s/n 61-2775) was manufactured and assembled in record time. The prototype was rolled out of the Lockheed factory at Marietta, Georgia on 22 August 1963 and first flew on 17 December, the 60th anniversary of the Wright brothers' first flight. The company and the Air Force then started an operational testing program and the delivery of 284 C-141 aircraft.
The effort to sell the aircraft on the civilian market included some detail changes like a different yoke and cockpit equipment. Two versions were offered: the original aircraft (designated L300-100 StarLifter), based on the C-141’s hull, and a strongly stretched version, 37 feet (11 m) longer than the L300-100, and marketed as the L300-200 SuperstarLifter. Specialized versions like an aerial firefighting water bomber were proposed, too, and an initial L300-100 prototype made a global sales tour (which was later donated to NASA).
Response from the civil market was rather lukewarm, though, and resulted only in orders from Flying Tiger Line and Slick Airways for four aircraft each. Nevertheless, production of the civil StarLifter was launched in 1966, since the differences to the military aircraft were only minimal and Lockheed considered the financial risks to be acceptable. However, only twelve aircraft were initially ordered when production was greenlighted, but there was the expectation to attract more sales once the aircraft proved itself in daily business.
Despite a very good service record, this did not happen. To make matters worse, unexpected legal problems seriously threatened the newly introduced transport aircraft: In the early 1970s, strict noise limits for civil aircraft threatened operations, esp. in the USA. Several American L300 operators approached Lockheed for suitable noise reduction modifications, but the company did not react. However, third parties that had developed aftermarket hush kits for other airliners like the Boeing 707 or the Douglas DC-8 chimed in and saw their opportunity, and in 1975 General Electric began discussions with the major L300 operators with a view to fitting the new and considerably quieter Franco-American CFM56 engine to the transport aircraft. Lockheed still remained reluctant, but eventually came on board in the late 1970s and supported the conversion kit with new nacelles and pylons. This engine kit was unofficially baptized the “StarSilencer” program, which was offered as a retrofit kit and as an option for newly built aircraft, which were designated L300-1100 and -1200, respectively.
The kit was well received and all operational private L300s were upgraded with the fuel-efficient 22,000 lb (98.5 kN) CFM56-2 high-bypass turbofans until 1984, preventing a premature legal end of operations in wide parts of the world. The benefits of the upgrade were remarkable: The new engines were markedly quieter than the original Pratt & Whitney TF33-P-7 turbofans, and fuel efficiency was improved by 20%, resulting in a higher range. The CFM56s also offered 10% more thrust than the TF33-P-7s’ 20,250 lbf (90.1 kN each) output, and this extra thrust improved the aircraft’s take-off performance, too.
The USAF did not adopt the “StarSilencer” upgrade and rather focused on the fuselage extension program that converted all existing C-141As into C-141Bs from 1979 onwards, so that the aircraft’s payload potential could be better exploited. However, the new CFM56 engines made the L300 more attractive to civil operators, and, beyond the upgrade program for existing airframes, a second wave of orders was placed for both the L300-1100 and -1200: until 1981, when civil L300 production was stopped, eighteen more aircraft had been ordered, primarily for operators in North America and Canada, bringing total production to 40 machines, plus the initial demonstrator prototype.
One of these late buyers outside of the American continent was Air Greenland. Founded in 1960 as Grønlandsfly, the airline started its first services with Catalina water planes and within the decade expanded to include DHC-3 Otters as well as Sikorsky S-61 helicopters, some of which remain in active service. Grønlandsfly also picked up a Danish government contract to fly reconnaissance missions regarding the sea ice around Greenland.
During the 1970s, Grønlandsfly upgraded its airliner fleet, and mining in the Uummannaq Fjord opened new business opportunities beyond passenger services. To enter the bulk cargo business for mining companies with routes to Canada, North America and Europe as well as civil freight flights for the U.S. Army in Greenland (e. g. for the USAF’s Sondrestrom and Thule Air Bases), the purchase of a dedicated transport aircraft was considered. This eventually led to the procurement of a single, new L300-1100 StarLifter with CFM56-2 engines in 1980 – at the time, the biggest aircraft operated by Grønlandsfly. Domestic as well as international passenger service flourished, too: By the end of 1979, the number of Grønlandsfly passengers served annually exceeded 60,000 – this was more than the population of Greenland itself! However, the airline’s first true jet airliner, a Boeing 757-200, began operation in May 1998. Before, only propeller-driven aircraft like vintage Douglas DC-4 and DC-6 or the DHC Twin Otter and Dash 7 turboprop aircraft had been the main passenger types. In 1999, the airline already served 282,000 passengers, nearly triple the number at the end of the previous decade.
In 2002 the company rebranded itself, anglicizing its name to Air Greenland and adopting a new logo and livery. The L300-1100 was kept in service and remained, until the introduction of a single Airbus A330 in 2003 (purchased after SAS abandoned its Greenland service and Air Greenland took these over), Air Greenland’s biggest aircraft, with frequent cargo flights for the Maarmorilik zinc and iron mines.
StarLifters remained in military duty for over 40 years until the USAF withdrew the last C-141s from service in 2006, after replacing the airlifter with the C-17 Globemaster III. In civil service, however, the L300, despite its small production number, outlasted the C-141. After the military aircraft’s retirement, more than twenty StarLifters were still in private service, most of them operating under harsh climatic conditions and in remote parts of the world.
General characteristics:
Crew: 4 - 6 (2 pilots, 2 flight engineers, 1 navigator, 1 loadmaster)
Length: 145 ft (44.27 m)
Wingspan: 160 ft 0 in (48.8 m)
Height: 39 ft 3 in (12 m)
Wing area: 3,228 ft² (300 m²)
Empty weight: 136,900 lbs (62,153 kg)
Loaded weight: 323,100 lbs (146,688 kg)
Max Payload, 2.25g: 94,508 lb (42.906 kg)
Max Takeoff Weight, 2.25g: 343,000 lb (155,722 kg)
Powerplant:
4× CFM International CFM56-2 high-bypass turbofans, delivering 22,000 lb (98.5 kN) each
Performance:
Maximum speed: 567 mph (493 kn, 912 km/h)
Cruise speed: 495 mph (430 kn, 800 km/h)
Range: 4,320 mi (2,350 nmi, 6,955 km)
Ferry range: 7,245 mi (6,305 nmi, 11,660 km)
Service ceiling: 41,000 ft (12,500 m)
Rate of climb: 2,600 ft/min (13.2 m/s)
Wing loading: 100.1 lb/ft2 (490 kg/m²)
Thrust/weight: 0.25
The kit and its assembly:
This is another project I had on my agenda for a long time, it was inspired by a picture of the civilian L300 demonstrator and the question what a StarLifter in civil service could look like? Such a type (like the C-130) would only make sense for bulk cargo transport business, and probably only for rather remote locations, so I went up North with my thoughts and initially considered Air Canada or Buffalo Airways as an operator, but then remembered Air Greenland – a very good fit, and the current livery would make the L300 a colorful bird, too.
The basis is Roden’s C-141B kit, AFAIK the only affordable IP kit of this aircraft when I had the idea for this build a while ago; A&A Models released in the meantime a C-141A in June 2021, but it is prohibitively expensive, and Anigrand does a C-141A resin kit. The Roden kit is a sound offering. The parts fit well, even though the seams along the long fuselage and the wing roots need attention and PSR, and at the small 1:144 scale the (engraved) surface details are just fine. It’s not a stellar model, but a sturdy representation with surprisingly massive parts, esp. the fuselage: its walls are almost 3mm thick!
However, I did not want to build the stretched USAF version. The original civil L300 had the same fuselage as the C-141A, and I found this option to be more plausible for the haul of singular heavy equipment than the stretched version, and the decision to shorten the C-141B also had logistic reasons, because I’d have to store the model somewhere once finished… And, finally, I think that the original, short C-141 is just looking good. ;-)
So, I simply “de-plugged” the fuselage. In real life, the C-141B had two extensions: a 160” plug in front and another 120” insert behind its wings. This translated into 2.8 and 2.1 cm long sections on the model that were simply sawed off from the completed fuselage. Thanks to the massive fuselage walls, gluing the parts back together was an easy task, resulting in a very stable connection. The seams were hidden under some PSR, as well as two windows. The C-141B’s fairing for the refueling receptive was also sanded away. The front plug was easily hidden, but the rear plug called for some body sculpting, because the fuselage has a subtle bulge around the cargo door and its ramp – the shapes in front and behind it don’t differ much, though.
Another change for a more fictional civil variant: the engines. This was a lucky coincidence, because I had a complete set of four CFM56 turbofan nacelles left over from my shortened Minicraft DC-8 build a while ago, and the StarLifter lent itself to take these different/more modern engines, esp. for the civilian market. The swap was not as easy as expected, though, because the C-141’s nacelles are much different, have longer pylons and their attachment points in the wings were OOB not compatible at all with the CFM56 pods. I eventually filled the attachment slots in the wings and glued the complete CFM56 nacelles with their short DC-8 pylons directly under the wings, blending these areas with PRS. The engines’ position is now markedly different (higher/closer to the wings and further forward), but the engines’ bigger diameter IMHO justifies this change – and it turned out well.
The rest of the Roden model was left OOB, I just added a ventral display adapter for the flight scenes.
Painting and markings:
As mentioned above, I was looking for a “bush pilot” operator of suitable size in the Northern hemisphere, and Greenland Air was chosen because of its exoticism and the airline’s distinctive and simple livery. Does anyone know this rather small airline at all? Potential freight for the US Army as well as for private mining companies with lots of heavy equipment made the StarLifter’s operation plausible.
To make the plan work I was lucky that Draw Decal does an 1:144 sheet for the airline‘s (sole) Boeing 757, and its simple post-2002 all-red paint scheme was easily adapted to the StarLifter. The fuselage and the nacelles were painted with brushes in Humbrol 19 (Gloss Red, it comes IMHO close to the rich real-world tone), while the wings and the engine pylons became Humbrol 40 (Glossy Light Gull Grey). For some variety I added a medium grey (Humbrol 126, FS 36270) Corroguard panel to the wings’ upper surface, later framed with OOB decals. The white door markings came from a generic PAS decals sheet. All decals were very thin, esp. the Draw Decals sheet, which had to be handled with much care, but they also dried up perfectly and the white print inks turned out to have very good opacity. Adapting the Boeing 757 decals to the very different C-141 hull was also easier than expected, even though the "Air Greenland" tag on the nose ended up quite far forward and the emblem on the fin lots its uppermost white circle.
The cockpit, which comes with no interior, was painted in black, while the landing gear wells and struts were painted in a very light grey (Humbrol 196, RAL 7035) with white rims.
Panel lines were emphasized with a little black ink, and the cockpit glazing turned out to be a bit foggy - which became only apparent after I added the red around it. In order to hide this flaw I just laid out the window panels with Tamiya "Smoke".
Finally the model finally received an overall coat of gloss acrylic varnish from a rattle can.
A colorful result, even though the bright red C-141 looks unusual, if not odd. The different engines work well; with the shorter fuselage, the new, wider nacelles change the StarLifter’s look considerably. It looks more modern (at least to me), like a juiced-up Bae 146 or a C-17 on a diet?
The Palace Theatre, Cambridge Circus, London so long the home of Les Miserables, is seen here in its refurbishment in 2004. Opened in 1891 and designed by T E Collcutt, G H Holloway and J G Buckle for Richard D'Oyly Carte, it is now a grade 2* listed building. Owned by Really Useful Theatres Ltd when this photo was taken, now part of Nimax Theatres. Current show is Harry Potter and the Cursed Child.
City of Westminster, London, West End, UK - Palace Theatre, Shaftesbury Avenue / Cambridge Circus
July 2004, image reworked 2020.
my second model for the The Inter-forum Useful Model Challenge. This is actually a football, and can be kicked and played with! see a full demo here:
Cezve, the photo taken, is very warm place in Tekirdag. It has been arranged very careful.
That radio was an other one.....
If you find my reviews and samples useful, please treat me to a coffee at www.paypal.me/cameralabs
Sample image taken with a Panasonic Lumix GX800 / GX850. These samples and comparisons are part of my Lumix GX800 / GX850 review at:
www.cameralabs.com/panasonic-lumix-gx800-gx850-review/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Sample image taken with a Viltrox AF 35mm f1.8. If you find my reviews and samples useful, please treat me to a coffee at www.paypal.me/cameralabs
These samples and comparisons are part of my Viltrox AF 35mm f1.8 review at:
www.cameralabs.com/viltrox-af-35mm-f1-8-review/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
Hanna Bay Member of the upper Rice Bay Formation at Graham's Harbour. This is the youngest bedrock unit on San Salvador Island.
These well-sorted limestones consist of sand-sized grains of aragonite (CaCO3). On the continents, many quartz sandstones are technically called quartz arenites. Because the sand grains making up these Bahamian rocks are calcareous (composed of calcium carbonate), the limestones are called calcarenites. When examined microscopically, the calcareous sand grains can be seen touching each other - the rock is grain-supported. This results in an alternative name for these Bahamian limestones - grainstones. “Calcarenite” seems to be a more useful, more thoroughly descriptive term for these particular rocks, so I use that, versus “grainstone” (although “calcarenitic grainstone” could be used as well). The little-used petrologic term aragonitite could also be applied to these aragonitic limestones.
Sedimentary structures indicate that the calcarenites shown above were deposited in an ancient back-beach sand dune environment. In such settings, sediments are moved and deposited by winds. Wind-deposited sedimentary rocks are often referred to as eolianites. Most ancient sand dune deposits in the rock record are composed of quartzose and/or lithic sand. The dune deposits in the Bahamas are composed of calcium carbonate - this results in the term "calcarenitic eolianite".
Hanna Bay Member limestones gently dip toward the modern ocean (= to the right in the above photo) and include sediments deposited in beach environments and back-beach dune environments. The latter facies is represented by the locality shown above. Beach facies limestones are more or less planar-bedded, while back-beach dune limestones (eolianites) have steeper and more varied dips.
The aragonite sand grains in the Hanna Bay Member are principally bioclasts (worn mollusc shell fragments & coral skeleton fragments & calcareous algae fragments, etc.) and peloids (tiny, pellet-shaped masses composed of micrite/very fine-grained carbonate - some are likely microcoprolites, others are of uncertain origin).
Age: Holocene (MIS 1)
Locality: shoreline outcrop along the eastern part of the southern margin of Graham's Harbour, between Singer Bar Point and the Bahamas Field Station, northeastern San Salvador Island, eastern Bahamas
---------------------------------------
The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
------------------------------
Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
--------------------
Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
--------------------
Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
------------------------------
San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
----------------------------
Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
----------------------------
The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
----------------------------
Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
A useful signpost at the junction of Church St and Village Road, between Enfield and Winchmore Hill, North London. It seems to me that more such posts would be useful. There is another similar one a couple of miles south at Palmers Green, Triangle. This one was erected by the long gone Edmonton Urban District Council, when this was part of Middlesex.
Storyline
The basis of this storyline was to play on people emotions and to use them to create an atmosphere that was enthralling, scary and frightening. I therefor decided to create a serious piece of facial animation work based on the concept of fear.
To get ideas for the features of my character I carried out an in depth research of evil characters by reading comics and graphic novels, reviewing films and investigating various internet sites. One of the characters that was very influential in my finished piece of work was “Red Skull” from Marvels Captain America, Nemesis as it he portrayed a lot of the characteristics that I wanted my facial animation to have.
One piece of research I found to be very useful was when I reviewed the film “Unbreakable” which is about a man who discovers he has super powers. One of the scenes at the beginning of the film is where Samuel Jackson’s character, Mr Glass, is appraising the cover art of a comic, with a colleague, which has been framed and is hanging on a wall in front of them. He describes it as a classic comparison of good versus evil. The thing that makes it so special is the realistic depiction of the characters. His description of the evil characters inspired me with the development of my own piece of facial animation and the evil characteristics that I wanted to build into it.
I also scoured the internet for relevant sites portraying monsters, demons and villainous characters that would further inspire me in creating my horrific piece of facial animation. As I progressed through my research I began to develop in my mind the elements that I wanted to bring together to form my piece of work. I developed my ideas from reviewing various sites. I then meshed together different elements of my character including decaying teeth, lips, ears, nose, horns, protruding brain and rotting flesh. At this stage I started looking into gathering video / audio reference material that would support my character. Since my character needed to portray a threatening and scary nature I looked for videos where the character(s) had either an intimidating presence that they projected or voice traits that made them sound threatening, aggressive and or violent.
Audio
I compiled the audio track from a mesh up of Ultron in the Avengers 2 trailers that I brought together in Moviemaker. I felt that this gave the video the right atmosphere with Ultrons deep and calm voice emphasising the element of fear in the video.
Storyboard
After deciding upon and finalising the choice of the video / audio track that I wanted to use with my character I started on the production of my storyboard. The process that I had followed had helped me develop in my mind a draft plan of how the storyboard would flow and the message that it would give. The storyboard outlines the basis of the animation from the starting point where the evil character appears on screen and immediately begins his evil and malicious rant. He does it in such a casual way as to leave no doubt in the viewers mind as to what sort of character he is.
Facial Structure
I wanted to create a facial structure that would leave a lasting impression of fear in the viewer’s mind. I also wanted my face to have a unique and creative look but not something that would alienate the viewer. Using my concept art drawings as reference material I started work on the front of the face working down from the forehead to the chin. The basis of the facial structure was a gaunt, bony and lifeless face with extra lines being added around the eyes & mouth to give them extra manoeuvrability and to allow them to be stretched.
Ears
Following on from this I moved onto the ears, which I started off by extruding faces out of the side of the head, which I then gave an elf like appearance to. I also used a torus which I merged to the bottom of the face giving each of my earlobes a giant disgusting hole.
Horns
Next I created the horns, from cones, which protruded from the crown of the head, the cheeks and the chin. I started off with the horns in the crown of the head giving them a deformed structure and having 3 of them extending awkwardly upwards from each side of the head. I shaped them to look like goat’s horns in order to give them more character with a more complex, terrifying and interesting look. To add extra character to the face I added in a single horn to each side which protruded out like an overgrown whisker from the cheekbone.
Chin
For the chin area I created several horns so that it exhibited a horn like beard. When I was developing the horns I gave them raised crater like bases that the horn would extend from. This was the same for all the horns that appeared on the face & head. To connect all these horns to the head I started off by deleting the bottom faces of all the horns/cones, I then created these dents all over the face in to which I could place the horns. To create these dents I selected the face, extruding it outwards and then in again to create the dents. I then deleted the faces in these dents; positioned the horns in the dents, combined the horns and the face and then connected the vertices.
Nose
In order to maintain the creepy image that I wanted my character to have I gave it a skeletal like nose with very little visible nasal passageway and 2 darkened holes for the noses entrance similar to that of a fleshless skull.
Brain
To make my character even scarier I crated a crater like indent on the side of the skull by extruding it inwards and then extending it outwards to create the organ like image of the brain protruding out of its skull. At this point I deleted the right side of the face, Duplicate Special the left side of the face, I then combined both sides of the face and connected the vertices, I was now able to see what my completed face looked like.
Mouth
For the mouth area I removed the lips revealing the decaying gums, which were created with a cube and moulded to the shape of a pair of gums. Next I developed a set of rotten piranha like teeth which I created from pyramids. The top and bottom sets of teeth meshed together with a vice like grip when the mouth closes.
Tongue
I created a basic tongue shape, from a cube, for my character then extended the tips on both sides so that it protruded out of the mouth to give it a forked “V” like shape similar to that of a snake. I then added dents and indents to the surface and underside of the tongue to give it a more realistic look.
Eyes
I started these off by drawing out a sphere to the size of my characters eye socket. For this process I didn’t lower the poly count, placing the eye ball roughly in the centre of an eye socket. The next step was shaping the eyeball to give it similar characteristics to that of a character from Lord of the Rings called the “Eye of Sauron”. To add more detail to the eyeball I extruded the front face of the eyeball inwards and then extruded the face inwards to create the pupil for the eyes.
Eyelid
To create the eyelid I drew another sphere that was the same as the one I had used for the eyeball. I then deleted half of the faces, so that only a half was left. I then selected all of the remaining faces and extruded them to add thickness to the eyelid. This was then duplicated to create the bottom half of the eyelid. I then duplicated both eyelids again to create a second pair of eyelids.
Body / Torso
Next I followed the tutorial video that created a basic body for my model. This consisted of cylinders where their topology was reduced to 8. I then started work on the upper part of the torso, stretching out the top part of the cylinder to enhance the muscle structure (i.e. pectoral, deltoid and abdomen) so that they were clearly visible. On the top part of the torso I then extruded out what was going to be my shoulders and neck where my head would be attached. On the stomach I selected six faces that I extruded outwards and shaped it into a six pack (Rectus abdominis muscle).
Arms
I created an arm using a cylinder where the topology was reduced to 8. I then developed the upper part of the arm by stretching the top part of the cylinder which enhanced the muscle structure (i.e. biceps and triceps) so that they were clearly visible. Once this process had been completed I copied the arm over to the opposite side of the torso using duplicate special.
Legs
I used the same basic process to create a leg with a cylinder where the topology was reduced to 8. I then developed the upper part of the leg by stretching the top part of the cylinder which enhanced its muscle structure (i.e. bicep femoris, gracilis, gastrocnemius etc.) so that they were clearly visible. Once this process had been completed I copied the leg over to the opposite side of the torso using duplicate special.
Connecting Arms & Legs to Torso
I deleted faces on both sides of the body where the arms were going to be placed; I also deleted the faces on top of the shoulder. I combined the arms with the body so that I could then connect the vertices. I then completed the same process for the legs. Having connected all the limbs to the body I then went on to smooth out the mesh to give it a more natural shape.
Hands
For the hands I initially drew out a cube, I then drew in several lines on the cube to create separate faces that I could extrude out for the fingers and thumb. After having shaped out a properly formed hand I then went on to add my own personal characteristics to the hand. I selected certain faces on the fingers and thumb and scaled them in to give the hand a bony appearance, like an old lady’s hands. I selected the faces on the ends of the finger tips and thumb and extruded those inwards to give a slightly sunken appearance. Having done that I created finger nails, out of cones, from which I removed the faces at the bottom of the nail and deleted the faces from the extrusion at the top of the finger. This allowed me to combine the vertices of the finger tips and nails. Once the hand was complete I removed the faces from the base of the hand and arm so that the vertices could be combined to provide a completed arm and hand.
Feet
For the feet I again drew out a cube and drew in several lines thereby creating several faces that could be extruded out to create the toes. Once the foot was completed I removed the faces on the leg and foot where they were to be joined so that the vertices could be combined to connect the foot to the leg. Having done that I created an ankle bone on each foot by selecting a vertice around the ankle area and pulled it out slightly to create the shape of the ankle. I also created an indent on the underside of each foot (representing the instep) and arched the top of the foot (representing the main foot bone).
Texturing
The body was now complete; the next stage was the texturing. All the texturing was created using a combination of Maya Miax Passes, Layered, Ramp, Surface Shader, Noise and Lambert. The body was textured using a combination of Mia, Layered & Ramp; this created a faded effect going from black below the waste to the feet and red above to waste up to the head.
The nails on the hand were next to be textured. Using Mia I gave them a dirty yellow colour to make them look infected. Using Mia I gave the gums a dull purple colour to make them look moist but lifeless. At their intersection with the gums I gave the teeth a yellow decayed look which gradually changed to a normal white colour as you moved towards the end of the tooth. This effect was created using a combination of Mia, Layered and Ramp. Using a combination of Noise and Lambert I gave the tongue a normal red colouring with a moist look for added reality. The combination of the Noise with Lambert helped create the visibility of the taste buds on the tongue. I used a combination of Mia, Layered, Ramp and Surface Shader to create the colouring for the eyeball and give it a glowing effect. The design of the eyeball was based on the character “Eye of Sauron” from Lord of the Rings. The final piece of texturing was for the horns. With the use of Mia, Layered and Ramp I again created a decaying look for the horns by giving the base a black aged look then changed the colouring to yellow, which gradually faded before becoming white at the tip of the horn.
Rigging
The layout of the rig gave an accurate representation of the anatomy. On my character I placed my first joint around the sacrum and then I placed three joints going upwards with a curve along the spine. I then placed three more joints going from the cervical vertebrae to the cranium. I then started work on the joints for the left leg by drawing in the joint that went from the hip down through the patella and then onto the ankle. I then created a joint for the sole of the foot which allowed me a closer and more accurate control of its movement. I then duplicated special the joints in the left leg so that there were the same joints in the right leg. Next I started work on the left arm joints. The first joint that I put in went from the first rib to the shoulder down to the elbow then the carpus finishing up at the palm of the hand. This then spawned three joints for each of the four fingers and two for the thumb. As the arm joints were now complete I duplicated special giving the right arm the same joints as the left. On my model I then placed two joints at the centre of each eyeball in order to give me complete and accurate control over them. Following on from this I placed eight joints around the mouth three on the top and bottom and one in each corner. This allowed me to have complete control over the movement of the lips and teeth and to produce various facial expressions with my model.
Skinning
To start the skinning process I selected the root joint, which was the sacrum and then my character and smooth bind it, I then flooded it with weights. Now the body is affected by the root joint only with all other joints becoming inactive. This gave me a more precise way of painting skin weight affected by particular joints.
Curves
To give me greater control over my character and to make it easier to move I created a network of individual and linked curves. For example, on each foot I attached 3 curves (to the ankle, sole and the toe end of the foot) which made it easier and gave me greater control over the movement of the feet. Overall this allowed me to easily move individual parts, selected parts or the whole of the body without detracting from the reality of the movement.
Blendshapes
I utilised this functionality which exists in Maya to create short-cut keys. This was beneficial when producing the animation as it allowed me to easily vary the individual characteristics of my character as well as synchronising its movement in line with the audio track. This process was achieved by creating several copies of my character, changing each one to portray a specific action, movement, emotion or look. I then selected all the blend shapes that I had created along with the main characters body before selected Blendshapes to bring them all together and creating the controls that enable manoeuvrability.
Control Buttons
In relation to the above I created control buttons and gave them parameters and the confines within which they had to operate / function to allow the appropriate control of my blendshapes and their settings. I then selected specific blendshape actions, movements, emotions and looks that I wanted my character to portray using these controls.
Usefully dated to 1914 by several of the many railway company adverts is this splendidly produced 'official publication' of the County Borough of Blackpool selling what was then one of the world's greatest seaside resorts. The Borough Council, elevated to such status in 1904, was unusual amongst UK local authorities in that it very actively officially marketed itself for tourism purposes from an early date; this booklet was produced by the Borough's "Advertising Manager" and the town even had its own Enquiry Bureau in London, at 128 High Holborn, where details of a special scheme "Seven Days at Blackpool for Three Pounds" were available to allow you to plan and obtain your rail travel (including luggage and a reserved seat) and your accomodation reserved to enure your "visit to the Queen of Watering Places" was as easy as possible.
As well as numerous pages of editiorial as to the many amenities of this great seaside borough there are pages of adverts regarding events, entertainments, outings and local shops, hotels and services. Sadly the splendid cover in uncredited but it shows an alluring young lady beckoning a throng of happy holidaymakers to the thrills of the Promenade and the famous Tower.
Sample image taken with a Nikon Z7. If you find my reviews and samples useful, please treat me to a coffee at www.paypal.me/cameralabs
These samples and comparisons are part of my Nikon Z7 review at:
www.cameralabs.com/nikon-z7-review/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
You are free to use this texture in any of your projects, both personal and commercial. No credit is required.
Characters: all characters seemed to be useful not really any useless characters. So that's a plus
Plot: so the plot for this movie was basically that John Harrison, a former star fleet officer, has claimed a one man war on star fleet. So he's blowing stuff up and that funness! Only problem is that the end just seemed to be a quick wrap up. But over all good plot.
I give it a 9/10! Great movie, awesome plot and a great villian
SPOILER ALERT
KKKKKHHHHHAAAAAAAAANNNNNN!!!!!
That is all.
Please comment if you favorite
A young Fig (Ficus carica) leaf.
Fig trees are originally from the Middle East, but like many agriculturally-useful plants they have been spread throughout the Mediterranean region since the Antiquity.
very useful, compact zoom lens, bright and fast glass, from dreamy to razor sharp, from macro to infinity .. love it ;)
I can't imagine how it was I didn't know any of this stuff. You'll want to view large to read the details.
This article below regarding the subject has received a lot of interest, more than any other on our site. We think it's because it pulls no punches. But, while this is an vital concern, it isn't all doom and gloom, there is another point of view that some find quite unorthodox, but practical.
This short article has shown to be rather useful to our visitors and they come back regularly to keep abreast of the most up-to-date advancements. While the subject remains an vital subject, it certainly is an added bonus whenever you can be educated, and even amused by being shown the other side of the concern. Some things are not always what they seem. Read on for more insight. This article below regarding the subject has received a lot of interest, more than any other on our site. We think it's because it pulls no punches. But, while this is an vital concern, it isn't all doom and gloom, there is another point of view that some find quite unorthodox, but practical.
This short article has shown to be rather useful to our visitors and they come back regularly to keep abreast of the most up-to-date advancements. While the subject remains an important subject, it certainly is an added bonus whenever you can be educated, and even amused by being shown the other side of the concern. Some things are not always what they seem. Read on for more insight.
T-Shirt printing is a great deal of things to different people. It is a competitive income supplier to some while to others it is a passive but profitable business. Even to those who are not into venturing to this business, T-Shirt printing might still be useful. It can be a source of a pastime, an expression to those who are innovative and even be practiced for personal use.
T-Shirt printing types
There are two primary categories of T-Shirt printing, and they are the:.
Digital T-shirt printing. The digital T-shirt printing is the more contemporary and often utilized type when printing t-shirts, particularly if processing a bulk order of personalized designs. This is so as the design just have to be printed cut, and heat pressed or transferred to the t-shirt. In fact, it doesn't take a few minutes to finish one. And the result is more than any artist can be proud of. It will be exactly like the one on the computer. That is just since the art was just transferred to a printing paper for it to be transferred to the fiber or the t-shirt. This kind of printing is also meant for hobbyists or those who want to make their own personal printing press in your home.
Materials and equipment: The term digital essentially means the use of digitized devices and equipment like a computer, printer, cutter plotter, and heat press. It is also suggested that an internet connection is offered for more artwork options. For the materials, a digital printing artist should have transfer papers (light for cotton shirts, dri-fit, nylon, satin, and light colors, dark for heavily colored shirts and vinyl), wax papers, and supplies for continuous inks. The inks must be of different kinds to guarantee more kinds of fabric can be processed dye, pigment and sublimation.
The procedure: Digital T-Shirt printing is really the simpler kind of t-shirt printing since the artist or literally the printing person will only transfer an artwork from the computer, which is the precise opposite of the silk screen printing which essentially depend on the innovative artwork and cutting skill of the artist. Out of the ease of digital printing, even a novice can do the printing and embark on it as a business as long as he or she can be able to administer the transfer of artwork from the computer to the transfer paper and finally the fabric.
But for starters, digital printing will begin by printing a selected design from the computer or a photo from the files, or a custom design on a transfer paper. The artwork is now prepared and might be cut manually or with the help of a cutter plotter. Some printing presses leave the entire transfer paper for heat pressing. Although it is not wrong, the result is less commendable since the sides of the transfer paper will be visible on the shirt. The third step and the final, is peeling the top surface of the transfer paper to expose the design on a transparent like sheet then place it over the shirt and press for around 10 or more seconds. Due to the heat that the pressing might apply to the fabric, silk and all other sensitive fabrics are not good for use in digital printing.
screen T-shirt printing. The screen printing is probably the oldest kind of t-shirt printing. It is known to be a tiresome job which is why only the really innovative ones are the people that embark on this business. This kind of t-shirt printing will require real paint one made particularly for fabric printing and real skill in cutting the 'film' that will serve as the guide of the artwork that will be copied on the fabric. This is best for same design artwork since one film is good enough for an entire bulk of t-shirts. Also, it can be utilized across all kinds of fabrics.
Materials and equipment: In silk screen printing, the only materials necessary are the rough draft of the artwork, the film, cutter, a squeegee, different colors of fabric paint, and the silk screen. Most designers and artists produce their own silk screens and squeegee but school supplies always carry these materials and can be bought over the counter. The artwork and design for a silk screen print is made easier when a computer is offered, but it is not required.
Procedure: In silk screen printing, the procedure will start with the artwork. The design might be sketched, done with the assistance of a computer, or copied over the internet. This artwork will essentially serve as a guide to the film, which will be the pattern of the paint. The film is normally in color green and is available in two layers. The thicker and harder part is where the cuttings should be done which the thinner layer will be peeled off later to expose the sticky surface of the film. The number of films necessary in producing a pattern will then depend upon the complexity of the design or artwork. The more colors required in making the pattern the more the number of films to be utilized. These two is supposed to be equal. Assuming that the pattern/s is now prepared, the next step is to peel the thin layer or coat of the film. Doing so will expose a bit sticky surface of the film. To guarantee that it will stick on the silk screen face down, special liquid glue has to be applied on that side of the silk screen. Now before the liquid freeze, the film should be placed on it. As soon as the film gets solid with the silk screen, start the printing of the fabric.
Now that you know the difference and how these two kinds of t-shirt printing work, you can finally select the best for you. Whether digital or silk screen t-shirt printing, though, it is very important to guarantee the quality of the work. That way, you can be proud of the results of your hard work nevertheless difficult or easy the procedures might be.
Now, wasn't that an easy read? We hope that you found the content as useful as we did. It's tough to understand why some information is composed in a way that just makes it impossible to figure out. the subject is so vital to numerous people that getting the best information, the first time, makes all the difference for making a timely decision. And who has time to wait nowadays?
Hanna Bay Member of the upper Rice Bay Formation at Graham's Harbour. This is the youngest bedrock unit on San Salvador Island.
These well-sorted limestones consist of sand-sized grains of aragonite (CaCO3). On the continents, many quartz sandstones are technically called quartz arenites. Because the sand grains making up these Bahamian rocks are calcareous (composed of calcium carbonate), the limestones are called calcarenites. When examined microscopically, the calcareous sand grains can be seen touching each other - the rock is grain-supported. This results in an alternative name for these Bahamian limestones - grainstones. “Calcarenite” seems to be a more useful, more thoroughly descriptive term for these particular rocks, so I use that, versus “grainstone” (although “calcarenitic grainstone” could be used as well). The little-used petrologic term aragonitite could also be applied to these aragonitic limestones.
Sedimentary structures indicate that the calcarenites shown above were deposited in an ancient back-beach sand dune environment. In such settings, sediments are moved and deposited by winds. Wind-deposited sedimentary rocks are often referred to as eolianites. Most ancient sand dune deposits in the rock record are composed of quartzose and/or lithic sand. The dune deposits in the Bahamas are composed of calcium carbonate - this results in the term "calcarenitic eolianite".
Hanna Bay Member limestones gently dip toward the modern ocean (= to the right in the above photo) and include sediments deposited in beach environments and back-beach dune environments. The latter facies is represented by the locality shown above. Beach facies limestones are more or less planar-bedded, while back-beach dune limestones (eolianites) have steeper and more varied dips.
The aragonite sand grains in the Hanna Bay Member are principally bioclasts (worn mollusc shell fragments & coral skeleton fragments & calcareous algae fragments, etc.) and peloids (tiny, pellet-shaped masses composed of micrite/very fine-grained carbonate - some are likely microcoprolites, others are of uncertain origin).
Age: Holocene (MIS 1)
Locality: shoreline outcrop along the eastern part of the southern margin of Graham's Harbour, between Singer Bar Point and the Bahamas Field Station, northeastern San Salvador Island, eastern Bahamas
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The surface bedrock geology of San Salvador consists entirely of Pleistocene and Holocene limestones. Thick and relatively unforgiving vegetation covers most of the island’s interior (apart from inland lakes). Because of this, the most easily-accessible rock outcrops are along the island’s shorelines.
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Stratigraphic Succession in the Bahamas:
Rice Bay Formation (Holocene, <10 ka), subdivided into two members (Hanna Bay Member over North Point Member)
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Grotto Beach Formation (lower Upper Pleistocene, 119-131 ka), subdivided into two members (Cockburn Town Member over French Bay Member)
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Owl's Hole Formation (Middle Pleistocene, ~215-220 ka & ~327-333 ka & ~398-410 ka & older)
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San Salvador’s surface bedrock can be divided into two broad lithologic categories:
1) LIMESTONES
2) PALEOSOLS
The limestones were deposited during sea level highstands (actually, only during the highest of the highstands). During such highstands (for example, right now), the San Salvador carbonate platform is partly flooded by ocean water. At such times, the “carbonate factory” is on, and abundant carbonate sediment grains are generated by shallow-water organisms living on the platform. The abundance of carbonate sediment means there will be abundant carbonate sedimentary rock formed after burial and cementation (diagenesis). These sea level highstands correspond with the climatically warm interglacials during the Pleistocene Ice Age.
Based on geochronologic dating on various Bahamas islands, and based on a modern understanding of the history of Pleistocene-Holocene global sea level changes, surficial limestones in the Bahamas are known to have been deposited at the following times (expressed in terms of marine isotope stages, “MIS” - these are the glacial-interglacial climatic cycles determined from δ18O analysis):
1) MIS 1 - the Holocene, <10 k.y. This is the current sea level highstand.
2) MIS 5e - during the Sangamonian Interglacial, in the early Late Pleistocene, from 119 to 131 k.y. (sea level peaked at ~125 k.y.)
3) MIS 7 - ~215 to 220 k.y. - late Middle Pleistocene
4) MIS 9 - ~327-333 k.y. - late Middle Pleistocene
5) MIS 11 - ~398-410 k.y. - late Middle Pleistocene
Bahamian limestones deposited during MIS 1 are called the Rice Bay Formation. Limestones deposited during MIS 5e are called the Grotto Beach Formation. Limestones deposited during MIS 7, 9, 11, and perhaps as old as MIS 13 and 15, are called the Owl’s Hole Formation. These stratigraphic units were first established on San Salvador Island (the type sections are there), but geologic work elsewhere has shown that the same stratigraphic succession also applies to the rest of the Bahamas.
During times of lowstands (= times of climatically cold glacial intervals of the Pleistocene Ice Age), weathering and pedogenesis results in the development of soils. With burial and diagenesis, these soils become paleosols. The most common paleosol type in the Bahamas is calcrete (a.k.a. caliche; a.k.a. terra rosa). Calcrete horizons cap all Pleistocene-aged stratigraphic units in the Bahamas, except where erosion has removed them. Calcretes separate all major stratigraphic units. Sometimes, calcrete-looking horizons are encountered in the field that are not true paleosols.
----------------------------
Subsurface Stratigraphy of San Salvador Island:
The island’s stratigraphy below the Owl’s Hole Formation was revealed by a core drilled down ~168 meters (~550-feet) below the surface (for details, see Supko, 1977). The well site was at 3 meters above sea level near Graham’s Harbour beach, between Line Hole Settlement and Singer Bar Point (northern margin of San Salvador Island). The first 37 meters were limestones. Below that, dolostones dominate, alternating with some mixed dolostone-limestone intervals. Reddish-brown calcretes separate major units. Supko (1977) infers that the lowest rocks in the core are Upper Miocene to Lower Pliocene, based on known Bahamas Platform subsidence rates.
In light of the successful island-to-island correlations of Middle Pleistocene, Upper Pleistocene, and Holocene units throughout the Bahamas (see the Bahamas geologic literature), it seems reasonable to conclude that San Salvador’s subsurface dolostones may correlate well with sub-Pleistocene dolostone units exposed in the far-southeastern portions of the Bahamas Platform.
Recent field work on Mayaguana Island has resulted in the identification of Miocene, Pliocene, and Lower Pleistocene surface outcrops (see: www2.newark.ohio-state.edu/facultystaff/personal/jstjohn/...). On Mayaguana, the worked-out stratigraphy is:
- Rice Bay Formation (Holocene)
- Grotto Beach Formation (Upper Pleistocene)
- Owl’s Hole Formation (Middle Pleistocene)
- Misery Point Formation (Lower Pleistocene)
- Timber Bay Formation (Pliocene)
- Little Bay Formation (Upper Miocene)
- Mayaguana Formation (Lower Miocene)
The Timber Bay Fm. and Little Bay Fm. are completely dolomitized. The Mayaguana Fm. is ~5% dolomitized. The Misery Point Fm. is nondolomitized, but the original aragonite mineralogy is absent.
----------------------------
The stratigraphic information presented here is synthesized from the Bahamian geologic literature.
----------------------------
Supko, P.R. 1977. Subsurface dolomites, San Salvador, Bahamas. Journal of Sedimentary Petrology 47: 1063-1077.
Bowman, P.A. & J.W. Teeter. 1982. The distribution of living and fossil Foraminifera and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador, Bahamas. San Salvador Field Station Occasional Papers 1982(2). 21 pp.
Sanger, D.B. & J.W. Teeter. 1982. The distribution of living and fossil Ostracoda and their use in the interpretation of the post-Pleistocene history of Little Lake, San Salvador Island, Bahamas. San Salvador Field Station Occasional Papers 1982(1). 26 pp.
Gerace, D.T., R.W. Adams, J.E. Mylroie, R. Titus, E.E. Hinman, H.A. Curran & J.L. Carew. 1983. Field Guide to the Geology of San Salvador (Third Edition). 172 pp.
Curran, H.A. 1984. Ichnology of Pleistocene carbonates on San Salvador, Bahamas. Journal of Paleontology 58: 312-321.
Anderson, C.B. & M.R. Boardman. 1987. Sedimentary gradients in a high-energy carbonate lagoon, Snow Bay, San Salvador, Bahamas. CCFL Bahamian Field Station Occasional Paper 1987(2). (31) pp.
1988. Bahamas Project. pp. 21-48 in First Keck Research Symposium in Geology (Abstracts Volume), Beloit College, Beloit, Wisconsin, 14-17 April 1988.
1989. Proceedings of the Fourth Symposium on the Geology of the Bahamas, June 17-22, 1988. 381 pp.
1989. Pleistocene and Holocene carbonate systems, Bahamas. pp. 18-51 in Second Keck Research Symposium in Geology (Abstracts Volume), Colorado College, Colorado Springs, Colorado, 14-16 April 1989.
Curran, H.A., J.L. Carew, J.E. Mylroie, B. White, R.J. Bain & J.W. Teeter. 1989. Pleistocene and Holocene carbonate environments on San Salvador Island, Bahamas. 28th International Geological Congress Field Trip Guidebook T175. 46 pp.
1990. The 5th Symposium on the Geology of the Bahamas, June 15-19, 1990, Abstracts and Programs. 29 pp.
1991. Proceedings of the Fifth Symposium on the Geology of the Bahamas. 247 pp.
1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Abstracts and Program. 26 pp.
1992. Proceedings of the 4th Symposium on the Natural History of the Bahamas, June 7-11, 1991. 123 pp.
Boardman, M.R., C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The geology of Columbus' landfall: a field guide to the Holcoene geology of San Salvador, Bahamas, Field trip 3 for the annual meeting of the Geological Society of America, Cincinnati, Ohio, October 26-29, 1992. Ohio Division of Geological Survey Miscellaneous Report 2. 49 pp.
Carew, J.L., J.E. Mylroie, N.E. Sealey, M. Boardman, C. Carney, B. White, H.A. Curran & D.T. Gerace. 1992. The 6th Symposium on the Geology of the Bahamas, June 11-15, 1992, Field Trip Guidebook. 56 pp.
1993. Proceedings of the 6th Symposium on the Geology of the Bahamas, June 11-15, 1992. 222 pp.
Lawson, B.M. 1993. Shelling San Sal, an Illustrated Guide to Common Shells of San Salvador Island, Bahamas. San Salvador, Bahamas. Bahamian Field Station. 63 pp.
1994. The 7th Symposium on the Geology of the Bahamas, June 16-20, 1994, Abstracts and Program. 26 pp.
1994. Proceedings of the 5th Symposium on the Natural History of the Bahamas, June 11-14, 1993. 107 pp.
Carew, J.L. & J.E. Mylroie. 1994. Geology and Karst of San Salvador Island, Bahamas: a Field Trip Guidebook. 32 pp.
Godfrey, P.J., R.L. Davis, R.R. Smtih & J.A. Wells. 1994. Natural History of Northeastern San Salvador Island: a "New World" Where the New World Began, Bahamian Field Station Trail Guide. 28 pp.
Hinman, G. 1994. A Teacher's Guide to the Depositional Environments on San Salvador Island, Bahamas. 64 pp.
Mylroie, J.E. & J.L. Carew. 1994. A Field Trip Guide Book of Lighthouse Cave, San Salvador Island, Bahamas. 10 pp.
1995. Proceedings of the Seventh Symposium on the Geology of the Bahamas, June 16-20, 1994. 134 pp.
1995. Terrestrial and shallow marine geology of the Bahamas and Bermuda. Geological Society of America Special Paper 300.
1996. The 8th Symposium on the Geology of the Bahamas, May 30-June 3, 1996, Abstracts and Program. 21 pp.
1996. Proceedings of the 6th Symposium on the Natural History of the Bahamas, June 9-13, 1995. 165 pp.
1997. Proceedings of the 8th Symposium on the Geology of the Bahamas and Other Carbonate Regions, May 30-June 3, 1996. 213 pp.
Curran, H.A., B. White & M.A. Wilson. 1997. Guide to Bahamian Ichnology: Pleistocene, Holocene, and Modern Environments. San Salvador, Bahamas. Bahamian Field Station. 61 pp.
1998. The 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-June 8, 1998, Abstracts and Program. 25 pp.
Wilson, M.A., H.A. Curran & B. White. 1998. Paleontological evidence of a brief global sea-level event during the last interglacial. Lethaia 31: 241-250.
1999. Proceedings of the 9th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 4-8, 1998. 142 pp.
2000. The 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2000, Abstracts and Program. 29+(1) pp.
2001. Proceedings of the 10th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2000. 200 pp.
Bishop, D. & B.J. Greenstein. 2001. The effects of Hurricane Floyd on the fidelity of coral life and death assemblages in San Salvador, Bahamas: does a hurricane leave a signature in the fossil record? Geological Society of America Abstracts with Programs 33(4): 51.
Gamble, V.C., S.J. Carpenter & L.A. Gonzalez. 2001. Using carbon and oxygen isotopic values from acroporid corals to interpret temperature fluctuations around an unconformable surface on San Salvador Island, Bahamas. Geological Society of America Abstracts with Programs 33(4): 52.
Gardiner, L. 2001. Stability of Late Pleistocene reef mollusks from San Salvador Island, Bahamas. Palaios 16: 372-386.
Ogarek, S.A., C.K. Carney & M.R. Boardman. 2001. Paleoenvironmental analysis of the Holocene sediments of Pigeon Creek, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 17.
Schmidt, D.A., C.K. Carney & M.R. Boardman. 2001. Pleistocene reef facies diagenesis within two shallowing-upward sequences at Cockburntown, San Salvador, Bahamas. Geological Society of America Abstracts with Programs 33(4): 42.
2002. The 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6th-June 10, 2002, Abstracts and Program. 29 pp.
2004. The 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-June 7, 2004, Abstracts and Program. 33 pp.
2004. Proceedings of the 11th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 6-10, 2002. 240 pp.
Martin, A.J. 2006. Trace Fossils of San Salvador. 80 pp.
2006. Proceedings of the 12th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 3-7, 2004. 249 pp.
2006. The 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-June 12, 2006, Abstracts and Program. 27 pp.
Mylroie, J.E. & J.L. Carew. 2008. Field Guide to the Geology and Karst Geomorphology of San Salvador Island. 88 pp.
2008. Proceedings of the 13th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 8-12, 2006. 223 pp.
2008. The 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-June 16, 2006, Abstracts and Program. 26 pp.
2010. Proceedings of the 14th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 12-16, 2008. 249 pp.
2010. The 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-June 21, 2010, Abstracts and Program. 36 pp.
2012. Proceedings of the 15th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 17-21, 2010. 183 pp.
2012. The 16th Symposium on the Geology of the Bahamas and Other Carbonate Regions, June 14-June 18, 2012, Abstracts with Program. 45 pp.
Possibly useful in trying to keep track of the US versions of Ricoh's bewildering SLR model designations.
These two began Ricoh's long series of K-mount bodies. It's illuminating for me to notice these were definitely premium models in comparison to the KR-5 and KR-10, e.g. with their multi-exposure feature. The viewfinder peepsight showing aperture-ring setting helps explain why so many other Ricoh SLRs have a funny blank "nameplate."
If you find my reviews and samples useful, please treat me to a coffee at www.paypal.me/cameralabs
Sample image taken with a Panasonic Lumix TZ90 / ZS70. These samples and comparisons are part of my Lumix TZ90 / ZS70 review at:
www.cameralabs.com/panasonic-lumix-tz90-zs70-review/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
(News and useful links found at bottom of description)
Read the inspiring MayDay Rally speeches! #1 by Howard Woodhouse
I’ve come here today with several questions:
What is a University?
What are some of the defining characteristics of a public university like the U of S?
Shouldn’t a university provide universal, or rather inclusive, forms of understanding to those who come to learn?
Hence, a place where there is a balanced relationship between teaching, learning, scholarship, and research?
Certainly, these have until recently been defining characteristics of public universities.
So, in light of these, let us imagine a family from Saskatchewan who wish to send their daughter to the U of S.
There are two immediate questions they have to ask: first, can we afford to send our daughter to the U of S; second, how much choice will she have in her undergraduate programs?
To the first question, the family will soon learn that Saskatchewan universities have the second highest fees in the country, according to Stats Canada.
To the second question, the daughter will soon learn that among the programs under threat by TransformUS are those in languages, mathematics, philosophy, religion and culture, art, music, and drama.
In other words, a liberal arts education may well be expunged together with the critical thought which it develops.
As a result, the sons and daughters of the people of Saskatchewan who pay for the U of S are being robbed of a pillar of university education.
And what, one might ask do senior administrators have to say about this state of affairs?
Bearing in mind that their numbers have increased by more than 100% since the year 2000 and that their salaries amount to $4.74 million?
In December, the president offered some encouragement by stating that “the university missions are teaching and learning and discovery, and any dollar spent on administration is a dollar that isn’t going to the core missions” (SP, 10 December 2013, p.A2).
This is a frank admission that senior administrators do not carry out any of the core functions of the U of S.
However, at the GAA last month the president stated that she did not know what educational quality means and was mistrustful of its use.
This is another frank admission, one that reveals either an ignorance of pedagogical practice or a dismissal of its importance.
Considerable research shows that educational quality requires classes small enough that dialogue can take place among faculty and students, enabling critical thought in which all knowledge claims can be questioned.
But, of course, the practice of questioning knowledge claims by faculty and students has its dangers for those in power.
When questioned by a student at the same meeting, the president ruled out not only a debate about TransformUS but also any further discussion of the alleged deficit in the university budget.
Is this a trend we can expect from senior administrators, namely the abandonment of reason in the one place in society where one should expect rationality to be sovereign?
Today’s rally demonstrates that some of us – students, faculty, staff, alumni, members of the public – are aware of the need to defend the core values of the university before they are frittered away for a few pieces of gold.
-----------------------------------------------------------------------------
Some News Articles and videos a regarding the Rally and issues that lead to it:
Rally held opposing TransformUS plan of action (Video and Article on Global News):
globalnews.ca/news/1305395/rally-held-opposing-university...
As rally takes place on campus, NDP raises concerns about University of Saskatchewan's overhaul plan (Video on The StarPhoenix)
www.thestarphoenix.com/news/rally+takes+place+campus+rais...
U of S should face elephant in room (The StarPhoenix): www.thestarphoenix.com/should+face+elephant+room/9794892/...
U of S upheaval unwarranted (The StarPhoenix): www.thestarphoenix.com/upheaval+unwarranted/9799333/story...
Campus May Day rally protests looming cuts (The StarPhoenix):
www.thestarphoenix.com/business/Campus+rally+protests+loo...
TransformUS plan to cut $25.3M from University of Saskatchewan spending (The StarPhoenix): www.thestarphoenix.com/news/saskatoon/TransformUS+plan+mi...
Campus rally pans U of S cuts(CKOM):
ckom.com/story/campus-rally-pans-u-s-cuts/330558
Free Academia at USask:
freeacademiausask.blogspot.ca/
U of S cost-cutting a ‘disaster,’ Killam Prize winner says (The StarPhoenix):
www.thestarphoenix.com/entertainment/cost+cutting+disaste...
U of S distanced from noble ideal (The StarPhoenix):
www.thestarphoenix.com/touch/story.html?id=9424521
University of Saskatchewan Faculty Association VOX (USFA):
(News and useful links found at bottom of description)
Read the inspiring MayDay Rally speeches! #1 by Howard Woodhouse
I’ve come here today with several questions:
What is a University?
What are some of the defining characteristics of a public university like the U of S?
Shouldn’t a university provide universal, or rather inclusive, forms of understanding to those who come to learn?
Hence, a place where there is a balanced relationship between teaching, learning, scholarship, and research?
Certainly, these have until recently been defining characteristics of public universities.
So, in light of these, let us imagine a family from Saskatchewan who wish to send their daughter to the U of S.
There are two immediate questions they have to ask: first, can we afford to send our daughter to the U of S; second, how much choice will she have in her undergraduate programs?
To the first question, the family will soon learn that Saskatchewan universities have the second highest fees in the country, according to Stats Canada.
To the second question, the daughter will soon learn that among the programs under threat by TransformUS are those in languages, mathematics, philosophy, religion and culture, art, music, and drama.
In other words, a liberal arts education may well be expunged together with the critical thought which it develops.
As a result, the sons and daughters of the people of Saskatchewan who pay for the U of S are being robbed of a pillar of university education.
And what, one might ask do senior administrators have to say about this state of affairs?
Bearing in mind that their numbers have increased by more than 100% since the year 2000 and that their salaries amount to $4.74 million?
In December, the president offered some encouragement by stating that “the university missions are teaching and learning and discovery, and any dollar spent on administration is a dollar that isn’t going to the core missions” (SP, 10 December 2013, p.A2).
This is a frank admission that senior administrators do not carry out any of the core functions of the U of S.
However, at the GAA last month the president stated that she did not know what educational quality means and was mistrustful of its use.
This is another frank admission, one that reveals either an ignorance of pedagogical practice or a dismissal of its importance.
Considerable research shows that educational quality requires classes small enough that dialogue can take place among faculty and students, enabling critical thought in which all knowledge claims can be questioned.
But, of course, the practice of questioning knowledge claims by faculty and students has its dangers for those in power.
When questioned by a student at the same meeting, the president ruled out not only a debate about TransformUS but also any further discussion of the alleged deficit in the university budget.
Is this a trend we can expect from senior administrators, namely the abandonment of reason in the one place in society where one should expect rationality to be sovereign?
Today’s rally demonstrates that some of us – students, faculty, staff, alumni, members of the public – are aware of the need to defend the core values of the university before they are frittered away for a few pieces of gold.
-----------------------------------------------------------------------------
Some News Articles and videos a regarding the Rally and issues that lead to it:
Rally held opposing TransformUS plan of action (Video and Article on Global News):
globalnews.ca/news/1305395/rally-held-opposing-university...
As rally takes place on campus, NDP raises concerns about University of Saskatchewan's overhaul plan (Video on The StarPhoenix)
www.thestarphoenix.com/news/rally+takes+place+campus+rais...
U of S should face elephant in room (The StarPhoenix): www.thestarphoenix.com/should+face+elephant+room/9794892/...
U of S upheaval unwarranted (The StarPhoenix): www.thestarphoenix.com/upheaval+unwarranted/9799333/story...
Campus May Day rally protests looming cuts (The StarPhoenix):
www.thestarphoenix.com/business/Campus+rally+protests+loo...
TransformUS plan to cut $25.3M from University of Saskatchewan spending (The StarPhoenix): www.thestarphoenix.com/news/saskatoon/TransformUS+plan+mi...
Campus rally pans U of S cuts(CKOM):
ckom.com/story/campus-rally-pans-u-s-cuts/330558
Free Academia at USask:
freeacademiausask.blogspot.ca/
U of S cost-cutting a ‘disaster,’ Killam Prize winner says (The StarPhoenix):
www.thestarphoenix.com/entertainment/cost+cutting+disaste...
U of S distanced from noble ideal (The StarPhoenix):
www.thestarphoenix.com/touch/story.html?id=9424521
University of Saskatchewan Faculty Association VOX (USFA):
Sample image taken with a Canon PowerShot G5X II. If you find my reviews and samples useful, please treat me to a coffee at www.paypal.me/cameralabs
These samples and comparisons are part of my Canon PowerShot G5X II review at:
www.cameralabs.com/canon-powershot-g5x-ii-review/
Feel free to download the original image for evaluation on your own computer or printer, but please don't use it on another website or publication without permission from www.cameralabs.com/
So I've been seeing everyone's tool pictures and somethings have been very informative and useful! Maybe something in my tool kit can be useful to someone else as well! ;)
1. Clear ruler - I find it is so helpful to see the fabric underneath.
2. Stitch witchery fusible hem tape . Makes life so much easier. I use it on the hems before I machine stitch them.
3.Long quilting pins
4. Fray Check!
5. Trusty seam ripper
6. Colored tailoring pencils & 7. Regular pencil
8. Wooden takeout chop sticks for poking. :) I tend to misplace these so I have like 6 of them all around my studio. I sharpen them a bit and then dull the point.
9 Gutermann thread..the best thread ever!
10. Fiskars soft touch scissors. I couldn't live with out these! It takes a bit to get used to them but they have saved me from a lot of hand pain.
11. Pinking shears
12. Gingher embroidery scissors. I LOVE and treasure these!
13. Hemostat forceps for turning the little clothing right side out. Best tool ever!
14. tweezers
15. Self healing cutting mat.
007-530-551-7
Andrew Lloyd Webber 60
Various Artists
Really Useful Records 3 CD Set
Tracklist
01-01 Murray Head - Superstar
01-02 Julie Covington - Don't Cry for Me Argentina
01-03 The "Phantom Of The Opera" Original London Cast -
The Phantom Entr'acte
01-04 Sarah Brightman, Michael Crawford - The Phantom of the Opera
01-05 Madonna - You Must Love Me
01-06 Boyzone - No Matter What
01-07 Michael Ball - Love Changes Everything
01-08 Lee Mead - Any Dream Will Do
01-09 Marti Webb - Take That Look Off Your Face
01-10 Duncan James, - KeedieI Believe My Heart
01-11 David Essex - Oh, What A Circus
01-12 Elaine Paige - Memory
01-13 Yvonne Elliman - I Don't Know How to Love Him
01-14 Sarah Brightman and Cliff Richard - All I Ask of You
01-15 Andrea Ross - Whistle Down the Wind
01-16 Barbara Dickson - Another Suitcase in Another Hall
01-17 Barbra Streisand - As If We Never Said Goodbye
01-18 The "Phantom Of The Opera" Original London Cast
- Masquerade
1-19 Linda Lewis - I'd Be Surprisingly Good for You
1-20 Sarah Brightman And José Carreras - Amigos Para Siempre (Friends for Life)
02-01 Elvis Presley - It's Easy For You
02-02 Donny Osmond - Close Every Door
02-03 Barbra Streisand - Memory
02-04 Glenn Close - With One Look
02-05 Anastacia - Superstar
02-06 Shirley Bassey - The Last Man In My Life
02-07 Susan Jane Tanner And John Mills - Gus: The Theatre Cat
02-08 Tom Jones And Sounds Of Blackness - The Vaults Of Heaven
02-09 Denise Van Outen - Tell Me on a Sunday
02-10 Sarah Brightman - Chanson D'Enfance
02-11 Maynard Williams And John Partridge - One Rock And Roll Too Many
2-12 Kevin Colson And Diana Morrison - The First Man You Remember
02-13 Emmy Rossum - Wishing You Were Somehow Here Again
02-14 Metal Philharmonic Orchestra - A Kiss Is A Terrible Thing To Waste
02-15 Patti LuPone - New Ways To Dream
02-16 El DeBarge - Starlight Express
02-17 Julian Lloyd Webber - Variations I-IV
02-18 Greg Ellis, Reva Rice, Caron Cardelle And Samantha Lane - Crazy
02-19 Paul Nicholas - Mr Mistoffelees
02-20 Everly Brothers - Cold
03-01 Andrew Lloyd Webber - A Game Of Two Halves
03-02 Josie Walker And Dianne Pilkington - God's Own Country
03-03 Placido Domingo - Hosanna
03-04 Sarah Brightman And Paul Miles-Kingston - Pie Jesu
03-05 Michael Crawford - The Music Of The Night
03-06 Petula Clark - The Perfect Year
03-07 Andrew Lloyd Webber - The Jellicle Ball
03-08 Martin Crewes - Evermore Without You
03-09 Sarah Brightman And John Barrowman - Too Much In Love To Care
03-10 Renée Fleming And Bryn Terfel - All The Love I Have
03-11 Andrew Lloyd Webber - Jesus Christ Superstar Overture
03-12 John Barrowman - Sunset Boulevard
03-13 Sarah Brightman - Unexpected Song
03-14 José Carreras - Half A Moment
03-15 Hannah Waddingham And Ben Goddard - Let Us Love in Peace
03-16 Alice Cooper - King Herod's Song
03-17 Elena Roger - Buenos Aires
03-18 Andrea Ross - Learn To Be Lonely
03-19 Connie Fisher - Make Up My Heart
03-20 Jason Donovan - Any Dream Will Do
Handpicked best gifts available for every person, budget and occasion on Wrappedlove.
Get useful gift idea for husband, wife, mom, dad or friends at one spot.
(News and useful links found at bottom of description)
Read the inspiring MayDay Rally speeches! #1 by Howard Woodhouse
I’ve come here today with several questions:
What is a University?
What are some of the defining characteristics of a public university like the U of S?
Shouldn’t a university provide universal, or rather inclusive, forms of understanding to those who come to learn?
Hence, a place where there is a balanced relationship between teaching, learning, scholarship, and research?
Certainly, these have until recently been defining characteristics of public universities.
So, in light of these, let us imagine a family from Saskatchewan who wish to send their daughter to the U of S.
There are two immediate questions they have to ask: first, can we afford to send our daughter to the U of S; second, how much choice will she have in her undergraduate programs?
To the first question, the family will soon learn that Saskatchewan universities have the second highest fees in the country, according to Stats Canada.
To the second question, the daughter will soon learn that among the programs under threat by TransformUS are those in languages, mathematics, philosophy, religion and culture, art, music, and drama.
In other words, a liberal arts education may well be expunged together with the critical thought which it develops.
As a result, the sons and daughters of the people of Saskatchewan who pay for the U of S are being robbed of a pillar of university education.
And what, one might ask do senior administrators have to say about this state of affairs?
Bearing in mind that their numbers have increased by more than 100% since the year 2000 and that their salaries amount to $4.74 million?
In December, the president offered some encouragement by stating that “the university missions are teaching and learning and discovery, and any dollar spent on administration is a dollar that isn’t going to the core missions” (SP, 10 December 2013, p.A2).
This is a frank admission that senior administrators do not carry out any of the core functions of the U of S.
However, at the GAA last month the president stated that she did not know what educational quality means and was mistrustful of its use.
This is another frank admission, one that reveals either an ignorance of pedagogical practice or a dismissal of its importance.
Considerable research shows that educational quality requires classes small enough that dialogue can take place among faculty and students, enabling critical thought in which all knowledge claims can be questioned.
But, of course, the practice of questioning knowledge claims by faculty and students has its dangers for those in power.
When questioned by a student at the same meeting, the president ruled out not only a debate about TransformUS but also any further discussion of the alleged deficit in the university budget.
Is this a trend we can expect from senior administrators, namely the abandonment of reason in the one place in society where one should expect rationality to be sovereign?
Today’s rally demonstrates that some of us – students, faculty, staff, alumni, members of the public – are aware of the need to defend the core values of the university before they are frittered away for a few pieces of gold.
-----------------------------------------------------------------------------
Some News Articles and videos a regarding the Rally and issues that lead to it:
Rally held opposing TransformUS plan of action (Video and Article on Global News):
globalnews.ca/news/1305395/rally-held-opposing-university...
As rally takes place on campus, NDP raises concerns about University of Saskatchewan's overhaul plan (Video on The StarPhoenix)
www.thestarphoenix.com/news/rally+takes+place+campus+rais...
U of S should face elephant in room (The StarPhoenix): www.thestarphoenix.com/should+face+elephant+room/9794892/...
U of S upheaval unwarranted (The StarPhoenix): www.thestarphoenix.com/upheaval+unwarranted/9799333/story...
Campus May Day rally protests looming cuts (The StarPhoenix):
www.thestarphoenix.com/business/Campus+rally+protests+loo...
TransformUS plan to cut $25.3M from University of Saskatchewan spending (The StarPhoenix): www.thestarphoenix.com/news/saskatoon/TransformUS+plan+mi...
Campus rally pans U of S cuts(CKOM):
ckom.com/story/campus-rally-pans-u-s-cuts/330558
Free Academia at USask:
freeacademiausask.blogspot.ca/
U of S cost-cutting a ‘disaster,’ Killam Prize winner says (The StarPhoenix):
www.thestarphoenix.com/entertainment/cost+cutting+disaste...
U of S distanced from noble ideal (The StarPhoenix):
www.thestarphoenix.com/touch/story.html?id=9424521
University of Saskatchewan Faculty Association VOX (USFA):
(News and useful links found at bottom of description)
Read the inspiring MayDay Rally speeches! #1 by Howard Woodhouse
I’ve come here today with several questions:
What is a University?
What are some of the defining characteristics of a public university like the U of S?
Shouldn’t a university provide universal, or rather inclusive, forms of understanding to those who come to learn?
Hence, a place where there is a balanced relationship between teaching, learning, scholarship, and research?
Certainly, these have until recently been defining characteristics of public universities.
So, in light of these, let us imagine a family from Saskatchewan who wish to send their daughter to the U of S.
There are two immediate questions they have to ask: first, can we afford to send our daughter to the U of S; second, how much choice will she have in her undergraduate programs?
To the first question, the family will soon learn that Saskatchewan universities have the second highest fees in the country, according to Stats Canada.
To the second question, the daughter will soon learn that among the programs under threat by TransformUS are those in languages, mathematics, philosophy, religion and culture, art, music, and drama.
In other words, a liberal arts education may well be expunged together with the critical thought which it develops.
As a result, the sons and daughters of the people of Saskatchewan who pay for the U of S are being robbed of a pillar of university education.
And what, one might ask do senior administrators have to say about this state of affairs?
Bearing in mind that their numbers have increased by more than 100% since the year 2000 and that their salaries amount to $4.74 million?
In December, the president offered some encouragement by stating that “the university missions are teaching and learning and discovery, and any dollar spent on administration is a dollar that isn’t going to the core missions” (SP, 10 December 2013, p.A2).
This is a frank admission that senior administrators do not carry out any of the core functions of the U of S.
However, at the GAA last month the president stated that she did not know what educational quality means and was mistrustful of its use.
This is another frank admission, one that reveals either an ignorance of pedagogical practice or a dismissal of its importance.
Considerable research shows that educational quality requires classes small enough that dialogue can take place among faculty and students, enabling critical thought in which all knowledge claims can be questioned.
But, of course, the practice of questioning knowledge claims by faculty and students has its dangers for those in power.
When questioned by a student at the same meeting, the president ruled out not only a debate about TransformUS but also any further discussion of the alleged deficit in the university budget.
Is this a trend we can expect from senior administrators, namely the abandonment of reason in the one place in society where one should expect rationality to be sovereign?
Today’s rally demonstrates that some of us – students, faculty, staff, alumni, members of the public – are aware of the need to defend the core values of the university before they are frittered away for a few pieces of gold.
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Some News Articles and videos a regarding the Rally and issues that lead to it:
Rally held opposing TransformUS plan of action (Video and Article on Global News):
globalnews.ca/news/1305395/rally-held-opposing-university...
As rally takes place on campus, NDP raises concerns about University of Saskatchewan's overhaul plan (Video on The StarPhoenix)
www.thestarphoenix.com/news/rally+takes+place+campus+rais...
U of S should face elephant in room (The StarPhoenix): www.thestarphoenix.com/should+face+elephant+room/9794892/...
U of S upheaval unwarranted (The StarPhoenix): www.thestarphoenix.com/upheaval+unwarranted/9799333/story...
Campus May Day rally protests looming cuts (The StarPhoenix):
www.thestarphoenix.com/business/Campus+rally+protests+loo...
TransformUS plan to cut $25.3M from University of Saskatchewan spending (The StarPhoenix): www.thestarphoenix.com/news/saskatoon/TransformUS+plan+mi...
Campus rally pans U of S cuts(CKOM):
ckom.com/story/campus-rally-pans-u-s-cuts/330558
Free Academia at USask:
freeacademiausask.blogspot.ca/
U of S cost-cutting a ‘disaster,’ Killam Prize winner says (The StarPhoenix):
www.thestarphoenix.com/entertainment/cost+cutting+disaste...
U of S distanced from noble ideal (The StarPhoenix):
www.thestarphoenix.com/touch/story.html?id=9424521
University of Saskatchewan Faculty Association VOX (USFA):
Publication: Bethesda, MD : U.S. National Library of Medicine, National Institutes of Health, Health & Human Services, [2010]
Language(s): English
Format: Still image
Subject(s): Tropical Medicine, Hygiene, Rivers, Water Supply
Genre(s): Pictorial Works, Book Illustrations
Abstract: Image of an open book with a magnifying glass over an illustration titled "A useful stream", showing local residents and their livestock fetching water from a stream. Elementary hygiene for the tropics, p. 89.
Related Title(s): Hidden treasure and Is part of: Elementary hygiene for the tropics.; See related catalog record: 61360150R
Extent: 1 online resource (1 image)
NLM Unique ID: 101598752
NLM Image ID: A033186
Permanent Link: resource.nlm.nih.gov/101598752
:: rumoto images © all rights reserved
PHOTOS | in touch with passion - Ελληνικά Ελλαδα - mc holidays, Neapoli Greece
© by :: eu-moto - photo.egger [at] gmail.com - about me... - all my Greece pics...
eu-moto - motor bike satisfaction and useful travel information, aiming to facilitate your greece ride and to render it interesting, agreeable and relaxing!
• Alle Rechte vorbehalten • Todos los derechos reservados
• Tous droits réservés • Todos os direitos reservados • Tutti i diritti riservati
A friend bought this as a joke gift for a group of us on Xmas day... But it's actually really useful!
This is a photograph from the annual St. Coca's AC 5KM Road Race 2013 which was held in Kilcock, Co. Kildare, Ireland at 20:00 on Friday 27th June 2013. This superb road race is now firmly established again as one of the fastest and best organised road races of it's kind in Leinster. The course is left handed and starts outside the 'Bawn Og' St. Coca's AC track. It then proceeds around a well known local walking route around Laragh and in the closing kilometer runs parallel to the Royal Canal into the finish at the railway station. The members of St. Coca's AC and the many volunteers from the local community must be given great praise for organising another fantastic night of racing for runners, joggers, and walkers. The 5KM course is very flat with the exception of short incline up a motorway overpass and makes its way along narrow country lanes sheltered on either side by hedgerows. The weather was dry and humid and this made a good evening for an enjoyable night for everyone with a large crowd gathering at the finish to cheer on participants. Over 400 people participated in the race. There was a fantastic spread of refreshments (cakes, biscuits, sandwiches and hot drinks) in the school afterwards.
We have a large set of photographs from the event today. The full set is accessible at: www.flickr.com/photos/peterm7/sets/72157645423471903/
Timing and event management was provided by Precision Timing. Results are available on their website at www.precisiontiming.net/result/racetimer with additional material available on their Facebook page (www.facebook.com/davidprecisiontiming?fref=ts) See their promotional video on YouTube: www.youtube.com/watch?v=c-7_TUVwJ6Q
Reading on a Smartphone or tablet? Don't forget to scroll down further to read more about this race and see important Internet links to other information about the race! You can also find out how to access and download these photographs.
Some Useful Links
2014 St. Coca's 5KM Results www.precisiontiming.net/result.aspx?v=2056
GPS Trace of the 5KM Course (course hasn't changed in a few years) connect.garmin.com/activity/194011978
St. Coca's AC Facebook Page: www.facebook.com/stcocas.ac?ref=ts&fref=ts
St. Coca's Race Facebook Page: www.facebook.com/stcocas.roadrace?ref=ts&fref=ts
Start/finish area on Google Maps [Start: www.google.ie/maps/@53.397601,-6.675909,15z Finish: goo.gl/maps/3kPKq] are all within easy access of race HQ and the local village.
Google Streetview of the Location of the Race Finish: goo.gl/maps/3kPKq
Our Flickr Photograph Set of the St. Coca's 5KM 2013: www.flickr.com/photos/peterm7/sets/72157634382263872/
Our Flickr Photograph Set of the St. Coca's 5KM 2012: www.flickr.com/photos/peterm7/sets/72157630347296616/
Our Flickr Photograph Set of the St. Coca's 5KM 2011: www.flickr.com/photos/peterm7/sets/72157627042558602/
The Boards.ie Discussion Forum Thread about the Race in 2014: www.boards.ie/vbulletin/showthread.php?t=2057223729
The Boards.ie Discussion Forum Thread about the Race in 2013: www.boards.ie/vbulletin/showthread.php?t=2056954512
Read the Irish Heart Foundation Booklet on the "Slí na Sláinte" which the race encorporates: www.irishheart.ie/media/pub/slinaslainte/maps/kilcock.pdf
Can I use these photographs directly from Flickr on my social media account(s)?
Yes - of course you can! Flickr provides several ways to share this and other photographs in this Flickr set. You can share to: email, Facebook, Pinterest, Twitter, Tumblr, LiveJournal, and Wordpress and Blogger blog sites. Your mobile, tablet, or desktop device will also offer you several different options for sharing this photo page on your social media outlets.
We take these photographs as a hobby and as a contribution to the running community in Ireland. Our only "cost" is our request that if you are using these images: (1) on social media sites such as Facebook, Tumblr, Pinterest, Twitter,LinkedIn, Google+, etc or (2) other websites, blogs, web multimedia, commercial/promotional material that you must provide a link back to our Flickr page to attribute us.
This also extends the use of these images for Facebook profile pictures. In these cases please make a separate wall or blog post with a link to our Flickr page. If you do not know how this should be done for Facebook or other social media please email us and we will be happy to help suggest how to link to us.
I want to download these pictures to my computer or device?
You can download the photographic image here direct to your computer or device. This version is the low resolution web-quality image. How to download will vary slight from device to device and from browser to browser. However - look for a symbol with three dots 'ooo' or the link to 'View/Download' all sizes. When you click on either of these you will be presented with the option to download the image. Remember just doing a right-click and "save target as" will not work on Flickr.
I want get full resolution, print-quality, copies of these photographs?
If you just need these photographs for online usage then they can be used directly once you respect their Creative Commons license and provide a link back to our Flickr set if you use them. For offline usage and printing all of the photographs posted here on this Flickr set are available free, at no cost, at full image resolution.
Please email petermooney78 AT gmail DOT com with the links to the photographs you would like to obtain a full resolution copy of. We also ask race organisers, media, etc to ask for permission before use of our images for flyers, posters, etc. We reserve the right to refuse a request.
In summary please remember when requesting photographs from us - If you are using the photographs online all we ask is for you to provide a link back to our Flickr set or Flickr pages. You will find the link above clearly outlined in the description text which accompanies this photograph. Taking these photographs and preparing them for online posting does take a significant effort and time. We are not posting photographs to Flickr for commercial reasons. If you really like what we do please spread the link around your social media, send us an email, leave a comment beside the photographs, send us a Flickr email, etc. If you are using the photographs in newspapers or magazines we ask that you mention where the original photograph came from.
I would like to contribute something for your photograph(s)?
Many people offer payment for our photographs. As stated above we do not charge for these photographs. We take these photographs as our contribution to the running community in Ireland. If you feel that the photograph(s) you request are good enough that you would consider paying for their purchase from other photographic providers or in other circumstances we would suggest that you can provide a donation to any of the great charities in Ireland who do work for Cancer Care or Cancer Research in Ireland.
We use Creative Commons Licensing for these photographs
We use the Creative Commons Attribution-ShareAlike License for all our photographs here in this photograph set. What does this mean in reality?
The explaination is very simple.
Attribution- anyone using our photographs gives us an appropriate credit for it. This ensures that people aren't taking our photographs and passing them off as their own. This usually just mean putting a link to our photographs somewhere on your website, blog, or Facebook where other people can see it.
ShareAlike – anyone can use these photographs, and make changes if they like, or incorporate them into a bigger project, but they must make those changes available back to the community under the same terms.
Creative Commons aims to encourage creative sharing. See some examples of Creative Commons photographs on Flickr: www.flickr.com/creativecommons/
I ran in the race - but my photograph doesn't appear here in your Flickr set! What gives?
As mentioned above we take these photographs as a hobby and as a voluntary contribution to the running community in Ireland. Very often we have actually ran in the same race and then switched to photographer mode after we finished the race. Consequently, we feel that we have no obligations to capture a photograph of every participant in the race. However, we do try our very best to capture as many participants as possible. But this is sometimes not possible for a variety of reasons:
►You were hidden behind another participant as you passed our camera
►Weather or lighting conditions meant that we had some photographs with blurry content which we did not upload to our Flickr set
►There were too many people - some races attract thousands of participants and as amateur photographs we cannot hope to capture photographs of everyone
►We simply missed you - sorry about that - we did our best!
You can email us petermooney78 AT gmail DOT com to enquire if we have a photograph of you which didn't make the final Flickr selection for the race. But we cannot promise that there will be photograph there. As alternatives we advise you to contact the race organisers to enquire if there were (1) other photographs taking photographs at the race event or if (2) there were professional commercial sports photographers taking photographs which might have some photographs of you available for purchase. You might find some links for further information above.
Don't like your photograph here?
That's OK! We understand!
If, for any reason, you are not happy or comfortable with your picture appearing here in this photoset on Flickr then please email us at petermooney78 AT gmail DOT com and we will remove it as soon as possible. We give careful consideration to each photograph before uploading.
I want to tell people about these great photographs!
Great! Thank you! The best link to spread the word around is probably http://www.flickr.com/peterm7/sets
Looking south.
My first visit to the top of The Shard in London on the fourth day it was open to the public - Monday February 4th 2013. At 1,016ft / 310m, it is the tallest building in western Europe. Having lived and worked in London for over 30 years, I know the city very well. But it was a thrill to see it in person from this brand new perspective, especially after watching The Shard’s construction and gradual rise into the city skyline.
Hopefully the following information will be useful to others planning to experience the views, including photographers:
Opening hours are 9am to 10pm daily, aside from Christmas Day. The last time slot for entry is 2030 with final entry at 2100. As recommended, I bought my ticket online in advance several weeks ago. The official advice is to buy online at least 24 hours in advance and print at home, though you can also collect from the ticket office. All tickets are for a specific time and date and cost £24.95 for an adult (over 16) and £18.95 for a child (aged 4 to 15). Infants 0 - 3 are free. Children must be accompanied by adults. You can turn up on the day and buy from the ticket office at “00” ground level but obviously that depends on them having any left for the time you want. The cost on the day is £29.95 for an adult and £23.95 for a child - if available. Although it’s not widely advertised online, there is a third category of ticket - “Immediate Entry” - at a cost of £100. That applies to both adults and children and buys you entry even if the time and date you want is full. There is an option for a replacement ticket on another day if the cloud cover obscures the view from the top and visibility is poor. But this is at the discretion of the duty manager and you would obviously have to be at The Shard to arrange, if available.
The View from The Shard (for that’s what it’s called) is right outside London Bridge tube station at the southern end of Joiner Street, which runs through the station. If you initially head for the London Underground Tooley Street exit, then you turn right at the main tube exit, basically walking in the opposite direction to Tooley Street. The View from The Shard entrance will appear on your left in under a minute.
All the staff are very friendly and pro-active, having taken a leaf from volunteers at the London Olympics. Whether they can keep it up in the months and years to come remains to be seen. There doesn’t appear to be much point in arriving more than 10 or 15 minutes before the time of entry on your ticket. I had selected 1600, as sunset on this day was just before 1700. All tickets are in half hour slots. So 1600 gains you entry at any time between then and 1630. There is an initial ticket check outside on the pavement before you are allowed up a first flight of stairs and asked to join a queue to the right. This was beside the machines where you were supposed (according to your ticket) to scan the barcode on the ticket. But none of them were working and the staff simply checked our tickets themselves. I’m sure this whole process will be refined as this new attraction gets into its stride.
Two minutes before 1600 we were allowed to move through the side of the adjacent shop area and into an airport-style security check. All jackets / coats had to be removed, change / phones / keys in a tray and bags through a scanner. It is worth checking the official website as to what you can and cannot take in. A small rucksack / bag is fine but not larger ones. Photographers should also note that tripods are banned. In truth, they would probably cause problems / potential conflicts at busy times, however considerate their users were. Though it would be nice if, in time, special dedicated photographers’ events (with tripods) could be offered out of hours with lights switched off.
Having cleared security you then move to the first set of two staffed lifts. These take you very smoothly to the 33rd floor, where you change to another lift taking you up to Level 68. There is a tiny amount of sensation as the high speed lift slows and stops but hardly anything compared to other very tall buildings I have visited.
Level 68 is simply an exit area before walking up to (enclosed) Level 69, which is one of the two viewing galleries. A short walk up a further few flights of stairs will take you to Level 72, which is still pretty much enclosed but open to the elements above. While I don’t have a problem with heights (at least inside a building) both of these floors felt substantial and were larger than I had imagined. I could sometimes hear the wind howling on Level 72 (it was a windy day in any event) but neither of the viewing galleries feel like platforms at the top of a building - just two floors with tall windows, one of which just happens to have no ceiling / roof.
Both of these floors - if you walk all the way around - offer a 360 degree panoramic view of London for up to 40 miles on a clear day. They were both pretty busy, especially at sunset, but became much quieter as the evening went on. There is NO time limit as to how long you can stay up. Having arrived on the viewing platforms just after 1600, I finally left at 1830 - two and a half hours for £25, which seemed pretty decent value.
Mostly everyone, of course, wants to take photographs, whether via their mobile phone or cameras and lenses costing thousands of pounds. At busy times you just have to be patient and wait your turn for a particular window / view. Most people were aware of others, stepped in for a minute or so and then backed away to let someone else take some photos. A few, of course, had no idea of the small queue of people behind them either wanting to simply take in the view or take pics. As mentioned, it was much quieter an hour or so after sunset and by 1830 (at least on this day) you could pretty much have your pick of a window. I guess the best idea is to allow plenty of time for your visit so you can take in all the views you want if it happens to be busy.
Level 72 is the most problematic for photographers in terms of window reflections, particularly from the steel structure, as well as from other visitors. There are similar problems on Level 69, including hand rails, but not quite so bad. And obviously this will depend on the time of day, direction of sun etc. I also heeded the advice of others and took a cloth to wipe the inside of the windows which have many finger / smudge marks on them.
Being unable to use a tripod is a particular problem at night, unless you have a rock steady hand. One partial solution is to put your camera bag on the floor next to the base of a window and place the camera on top. Not ideal and a bit hit and miss but needs must. A small Gorillapod might work where there are hand rails but I’m not sure if that would be allowed through security. And, again, you would be close to possible reflections from the rail.
As you will see, my night photos are OK but not the sharpest. That, of course, also comes down to my limited skills! I was also careful to make time to simply take in the wonder of the various views without worrying about taking pics.
Not my thing but...there is a small shop below the viewing galleries back on Level 68, en route (naturally) to the same lifts that took you up. They also return you to the ground where there is a larger shop appearing to stock a wider range of merchandise. That’s right next to the ticket counters so I presume you could visit the ground floor shop without buying a ticket but best check.
Even having been at the top of The Shard for two-and-a-half hours I found it hard to drag myself away. The views (if you are lucky enough with the weather) are truly stunning and wherever you look something is happening. Whether it be the “toy” trains snaking into London Bridge or Cannon Street, the Thames river boats, the queues of traffic winding into and out of the city centre...all of that and so much more is fascinating. Plus new views of old favourites in the distance like Wembley Stadium or the Albert Bridge. And just the calm of standing so tall above what I think is the world’s greatest city.
The View from The Shard has to be a “must” for visitors to London and pretty high up on the list of things to do for those of us who live here. I’ll certainly be going back.
Recommended links:
www.guardian.co.uk/artanddesign/interactive/2013/feb/01/v...