\"\nResponse.Write \"\" & Server.HTMLEncode( \"Email sent.\") & \"
\"",
"erivera94 takes a look at the new S.H. Figuarts Captain Marvel Movie Captain Marvel figure from Tamashii Nations.\nYeah, I think ML got the facial likeness a lot better than this one. Tough break S.H., and thanks for the review erivera94.\nNice work by SHF on this one as looks great with a pretty good likeness to the actress IMO & the flame effects for the hands are cool. Unfortunately light on the accessories however (like certain other recent SHF IW line issues) as should have included at least another unmasked head with a different expression, the cat & some add'l blast effects IMO.\nWrong cheese... thats Brie Larson.\nBig oof. I guessre-binging Community this week is causing issues on a subconscious level.\nThe Mohawk head is very cool. It seems like Allison Bries likeness is just a tough one to capture though. I havent really seen a figure yet that does it incredibly well.",
"Powder House Pass is one of the newer communities in the Deadwood area. When construction is finished, it will have a beautiful new clubhouse for vacationers to enjoy! The community is right next to the entrance to Deer Mountain Road and within a short car/motorcycle ride to Lead and Deadwood and all they have to offer. They are all brand new properties with updated amenities and plenty of room for your family and friends to enjoy!\nYou'll love Iron Wheel Lodge and the wonderful amenities found at the cabin. With 3 bedrooms, rustic accents and upscale finishes fill this cabin with a great ambiance of rustic luxury. You even get access to the local clubhouse with heated pool & more!\nPowder Keg is a brand new construction with 6 king suites, a heated garage - on all paved roads. It's a perfect location with access to the local ATV and Snowmobile trails and 10 minutes to Deadwood!",
"Title A history of British India [videorecording] / Hayden J. Bellenoit.\nPublication Info. [Chantilly, Virginia] : Teaching Company, 2016.\nPrince Frederick, MD : [Distributed by] Recorded Books, 2016.\nDescription 4 videodiscs (approximately 12 hr.) : sound, color ; 4 3/4 in. + 1 CD-ROM.\nGreat courses (DVD). Modern history.\nPDF requires PC with Adobe Reader or other PDF reader.\nThe length of each lecture is: ca. 30 min. The entire program consists of 24 lectures.\nPerformer Lecturer: Professor Hayden J. Bellenoit.\nSummary Learn how 200 years of British colonial rule in India drastically changed the modern world from Professor Hayden J. Bellenoit.\nContents Introduction to India -- The Mughal Empire in 18th-century India -- Indian and British economic interests -- British expansion in India (1757-1820) -- Knowing the country: British Orientalism -- Race, gender, and culture (1750-1850) -- The age of reform (1830-1850) -- The Great Uprising (1857-1858) -- Economics and society under the Raj -- Caste and tribal identity under colonialism -- The nationalization of Hinduism (1870-1900) -- Indian Muslim identity and colonial rule -- The late-19th century British Raj -- Princely states and royalist relationships -- Indian nationalism and the freedom struggle -- The Grea War and its impact on India -- Gandhi's moral-political philosophy -- The noncooperation movement -- Indian Muslim politics between the wars -- The civil disobedience campaign -- Britain and its empire in the 1940s -- The Raj on its knees (1945-1947) -- A split India: negotiating independence -- Reflections on postcolonial India.\nNote Bonus disc contains PDF course workbook.\nBibliography Course guidebook includes bibliographical references (pages 195-223).\nIndia -- Colonization -- History -- 18th century.\nIndia -- Colonization -- History -- 19th century.",
"The 2018 MC Photo Comp is Now Closed!\nIf you were among the thousand-odd people who chose to leave entering your best shots into our Photo Comp until the dying hours, well done.\nYou slid through the doors right at the last minute, and who knows? Could be the best $5K decision you ever made.\nIf you didn\u2019t enter any shots, that\u2019s alright too. Because you can now enjoy the fruits of everyone else\u2019s labour, and have a little peek at some of our favourite shots that cropped up throughout the comp below.\nDoes their inclusion right here mean they\u2019ve taken out the top prize? No, but maybe. For that, you\u2019ll have to stay tuned as we reveal all of our shortlist finalists in the weeks to come, followed by the six winners on the night of our Sydney and LA Photo Annual launch parties in December (stay tuned for details).\nEnjoy some incredible entries across the Lifestyle, Portrait, Action, Student, Travel and Music categories below, and a huge thanks to everyone who decided to shoot their best shot and go in the running\u2014you\u2019ve made choosing the six winners an absolute nightmare\u2014 and our sponsors Hurley, Wanaka Tourism, New Era, Canon Australia, Huffer and Danner.\nDion Agius by John Respondek // @johnrespondek \u2013 Action Presented by New Era.\nSkull by Ben Thouard // @benthouard \u2013 Portrait Presented by Huffer.\nChasing Light. 5000m above sea level, reaching camp just before last light, by Guy Williment. // @gfunk_ \u2013 Travel Presented by Canon Australia.\nMetro, December 2017 by Joshua Kern // @_kjosh \u2013 Lifestyle Presented by Danner.\nRollinsville, CO by Benjamin Milkes Littler // @thereluctantastronaut \u2013 Music Presented by Hurley.",
"Encontrei 4 Hot\u00e9is em . Escolha a data de entrada e sa\u00edda para ver os hot\u00e9is dispon\u00edveis em . Sem informar as datas, os pre\u00e7os com (*) s\u00e3o pre\u00e7os m\u00e9dios de cada hotel e nos arredores at\u00e9 uma dist\u00e2ncia de 30 km.\nFeaturing free WiFi, a restaurant and a sun terrace, Hotel Cotsoyannis offers accommodation in the area of Ampasambahaza in Fianarantsoa. Guests can enjoy the on-site restaurant. Free private parking is available on site.\nWith a balcony or patio, the rooms offer a fan, mosquito nets and a shower.\nYou will find a 24-hour front desk at the property. There are meeting facilities and a garden.\nFianarantsoa Station is 500 metres away from Hotel Cotsoyannis.\nFeaturing free WiFi, Three Palms Fianar offers pet-friendly accommodation in Fianarantsoa. Guests can enjoy the on-site bar. Free private parking is available on site.\nYou can play table tennis and table soccer/foosball at the guest house.\nOffering a sun terrace and views of the garden, Chez Julienne et Patrick is situated in Fianarantsoa. Guests can enjoy the on-site restaurant.\nA terrace or balcony are featured in certain rooms.\nRem Hotel offers pet-friendly accommodation in Fianarantsoa. Guests can enjoy the on-site restaurant. Free private parking is available on site.\nRooms are equipped with a TV. A terrace or balcony are featured in certain rooms. Each room comes with a private bathroom equipped with a shower. Rem Hotel features free WiFi .\nYou can play table tennis at the hotel.",
"Pete and Repeat is an exhibition drawn entirely from the Zabludowicz Collection, featuring works by 35 artists from 15 countries who use strategies of repetition. Whether by irresistibly returning to a subject or theme, remaking a canonical work of art, serialising a formal element or demonstrating persistent patterns of behaviour, the works in Pete and Repeat all operate in the realm of repetition. Together, they generate a game of 'Spot the Difference', inviting the viewer to ponder what those differences reveal about the works themselves and our assumptions about originality, authenticity and creation.\nBy including works in a wide variety of media ranging from sound and video to sculpture and painting, made between 1977 and 2009, Pete and Repeat seeks to explore the ways in which artists use repetition and to what ends they deploy this strategy. It will emphasize the difference inherent in every instance of repetition, and will reveal the false promise of true repetition. It will highlight the originality that accompanies remaking, reiterating and repeating, showing that any reproduction is always first and foremost a mode of production and that nothing is ever truly the same twice.\nMany works in Pete and Repeat display a strong visual identity that ties them back to geometrical constructions ranging from modernist grids to conceptual seriality; in a repeated mode, the economy and severity of these forms take on more humanist positions, infused with the indeterminacy and variety of life, culture, emotion and humour. The works overtly engage with the complexities of urban environments, popular culture, media or the history of art and often display a tongue-in-cheek attitude.\nThe exhibition will be accompanied by an ambitious series of talks and debates, and a publication for which artists in Pete and Repeat have been invited to write about specific works in the show, and which will also include a selection of new and reprinted texts about ideas relevant to the exhibition.\nThe title Pete and Repeat is taken from Bruce Nauman's 1987 video work Clown Torture in which an increasingly frustrated clown repeats a circular joke to camera. This work is not included in the exhibition.",
"Someone who is addicted to marijuana may be unable to stop using the drug without medical or professional intervention. The abuse of marijuana can lead to addiction and compulsive behavior in some cases, even for the self-reported occasional user. And it may be easier to become quickly dependent on marijuana today since the strains available are much more potent and contain significantly higher levels of THC than in the past. Twenty years ago, THC levels in marijuana were around 3.8%, but today they are as high as 50\u201380%. According to some reports, as many as 30% of marijuana users may have a marijuana use disorder. This includes becoming physically tolerant and, eventually, dependent on it. When someone becomes tolerant to the drug, it means they need more and more of it to feel the same effects that they once easily obtained with lower doses. Despite controversy over the addictive qualities of marijuana, most doctors agree that the drug can be addictive, its effects can be harmful, and its use should be discouraged and avoided. Marijuana abuse hotlines are one resource that provides information about marijuana and treatment options.\nMarijuana\u2019s scientific name is Cannabis sativa, which is a type of hemp plant, the primary active compound of which is called cannabinoids. The most common method of use is smoking it, although it can be ingested in baked goods as well. This method can produce stronger and longer-lasting effects than when it is smoked. Other ways to use marijuana include vaporizing it or brewing it as a tea.\nAlthough marijuana is legal in certain states to treat the nausea or poor appetite associated with cancer treatment or AIDS, or to relieve the symptoms of glaucoma, this does not make it a safe substance for everyone. Just as with other prescription drugs, it should only be taken under the supervision and advice of a qualified physician.\nMost people who suffer from marijuana abuse can be treated in outpatient facilities, which involves attending regular group and individual therapy and medication management (when necessary) at a treatment facility and still being able to live at home. Cognitive behavioral therapy, contingency management, and motivational enhancement therapy have all proven extremely beneficial treatment techniques for treating marijuana addiction.\nAlthough no replacement therapies are currently available, recent discoveries show promise for the developments of medications that can be used to ease withdrawal symptoms, prevent relapse, and block the intoxicating effects of marijuana.\nWhen you are ready to begin treatment, you can start by talking to a trusted physician or mental health professional and asking for treatment recommendations. You may also call a substance abuse hotline for more information about your options.\nWhat is the typical length of a marijuana treatment program at your facility?\nWhat type of detox do you offer (medically assisted, etc.)?\nDo you provide medical supervision and medication management?\nIs your clinical staff licensed and trained in addiction treatment?\nDeficits in intelligence and memory.\nFatal pneumonia, especially in AIDS patients.\nMarijuana abuse hotlines are excellent sources of information for anyone who feels the need to know more about the long- and short-term risks of marijuana use, symptoms and signs of addiction, options for treatment and the whereabouts of local centers that can provide inpatient or outpatient options, including luxury and private centers.\nVolkow, N.D., Baler, R.D., Compton, W.M., & Weiss, S.R.B. (2014). Adverse Health Effects of Marijuana Use. New England Journal of Medicine, 370(23), 2219\u20132227.\nNational Institute on Drug Abuse. (2018). Is marijuana addictive?\nJafari, S. & Tang, T. (2016). Diagnosis and Treatment of Marijuana Dependence. BC Medical Journal, 58(6), 315\u2013317.",
"Binder is one of the leading manufacturers of circular connectors worldwide. Binder deliver exceptional quality products both engineered and manufactured in Germany. Binder offers impressive certifications including DIN ISO 9001 and ISO 9001 & 14001 (since 1995 and 2004 respectively).\nAC&E proudly partner Binder as the sole authorized distributor of Binder products for the Australian Market. All Binder products bought from AC&E are genuine binder products with their full warranty.",
"This Shoulder Bag from Celine is a timeless piece. Black Shoulder Bag is a chic and eye-catching choice for your fancy look. The Shoulder Bag is in very good, gently pre-owned condition and authenticity is already verified by our expert team. Don\u2019t miss the opportunity to add this beautiful and fashionable Celine Shoulder Bag to your everyday collection. With 54 off, you can enjoy the fashion with affordable prices.",
"For my Dem Bones sisters who persist each day. Never give up.\nAs always, I am grateful to my beta readers, especially Becky Clark; my friends and family; and my husband Todd, for always supporting my dreams and hard work.\nBeacon of Love \u2013 Lucas and Sophie \u2013 Welcome to the small town of Lindsey Point: home of a haunted lighthouse, a 50-year old murder mystery, and a romance about to erupt between a NYC travel journalist and a hunky local handyman who\u2019s nursing the scars of losing both his best friend and his fiancee. Lucas wants to protect the town's secrets. Sophie is bent on uncovering them at all costs. As the mystery deepens, sparks fly and legends crumble. Can two total opposites find lasting happiness despite the odds?\nLabyrinth of Love \u2013 Chase and Shannon (and Bruce and Vivian) \u2013 Chase Reardon and Shannon O'Brien thought they were strangers assigned to work on the same small town project...until a forbidden love story from 60 years ago linked them in unimaginable ways. How far will we go, and what kinds of secrets will we keep, to stay with the one we love?\nMiracle of Love \u2013 Mick and Annie \u2013 Two best friends are stranded during a Christmas Eve blizzard, along with a pregnant stranger and a pair of donkeys, and realize the love they\u2019ve been looking for has been in front of them the whole time.\nSoldier of Love \u2013 Heath and Franny \u2013 He's a retired Army vet with PTSD. She's the owner of a small-town inn who's nursing the wounds of losing both friends and family. Friendship soon deepens into something more, until a national contest puts the B&B\u2014and their fragile new relationship\u2014under the spotlight. Can two lonely souls help each other find love and hope again, or are some battle scars too deep ever to heal?\nAfternoon sunlight skated across the dean\u2019s desk, a large, uncluttered surface with scars along the edges. The dean himself had some scars, Chloe Garrick noticed, possibly the result of a shave gone wrong, but she kept that thought to herself.\nAs I mentioned on the phone, he went on, ignoring her and speaking more to Chloe\u2019s father, we have a zero-tolerance policy at Blakely for hazing.\nHeath Garrick held up one giant palm to silence her. He had scars too, on his arms and neck and a small one that ran up one side of his right hand. Remnants of battles fought on the other side of the world, long before Chloe had known him. He cut her a glance, and she swallowed the rest of her words.\nI\u2019m sorry, it wasn\u2019t clear on the phone, Heath said to the dean. I know we spoke about consequences, but does your policy mean she\u2019s expelled?\nExpelled? The word cut like ice. This couldn\u2019t be happening. No one had said she might be thrown out of school.\nNo. It\u2019s a first offense, and she doesn\u2019t have anything else on her disciplinary record. The dean looked at Chloe, his expression neutral, tone flat. She\u2019ll be on probation for the fall semester and, as I believe I mentioned during our first phone call, also expected to do one hundred hours of community service before returning to campus. In August, we\u2019ll meet again to reassess.\nA hundred hours? The dean might have mentioned it to Heath, but no one had bothered to share this piece of information with Chloe. How was she supposed to keep her part-time job at the diner? Or take online classes, the way she\u2019d planned? Or have a life?\nChloe, would you please wait in the hall? Her father nodded at the door.\nShe opened her mouth to protest, to tell them if they just asked one of the other Delta sisters, they\u2019d understand that Chloe hadn\u2019t been part of the Delta Spring Soiree at all. She hadn\u2019t helped plan the party or execute it or anything. She\u2019d just been in the wrong place at the wrong time.\nBut her father only pressed the truck keys into her hand and motioned again at the door. I\u2019ll meet you outside.\nThankfully, most Blakely students had already gone home for the summer, so Chloe didn\u2019t see anyone she knew. She climbed into the passenger side of her father\u2019s pickup and listened to three classic rock songs before he finally emerged from the stone building. He opened the driver side door, got inside, and said nothing.\nStill nothing, which wasn\u2019t surprising. Her father wasn\u2019t exactly the talkative type. He silenced the radio, turned the steering wheel in his hands, and pointed the truck toward home. A tiny muscle twitched in the side of his face.\nShe counted to one hundred before she tried again. Dad?\nHe pulled in a long breath through his nose. Only when he let it out, and they were halfway through town, did he answer her. I\u2019m disappointed in you, Chloe. Yes, I know this is college, and college students don\u2019t always make the best choices. I also know your mother didn\u2019t set the gold standard example of behavior for you when you were growing up. But still, you\u2019re going to be a senior. You should\u2019ve known better.\nYou knew what was happening, he said before she could finish. You could have done something to stop it. And you didn\u2019t.\nAt his admonishment, Chloe felt about ten years old. She shrank into the door and leaned her head against the window. She\u2019d heard the disappointment speech plenty of times from her mother. But never from her father. From the day she\u2019d found him nearly five years ago, he\u2019d been more of a best friend than a parent. He never scolded her. He certainly never punished her.\nShe watched mile markers pass along the shoulder of the road, their white paint faded from the sun and salty air.\nSo are you sending me to Mom\u2019s? That would be worse than doing any kind of community service, putting up with her mother\u2019s boyfriend of the month while trying to negotiate piles of laundry, newspapers, carefully cleaned tuna cans, and folded cardboard that took up ninety-eight percent of the free space in her mother\u2019s mobile home.\nNo. He slowed the truck at the only traffic light in downtown Lindsey Point. To their right, the bay shimmered under the afternoon sun, stretching out to the ocean beyond. In a moment, they\u2019d pass the town\u2019s historic lighthouse, and then they\u2019d reach Patchwork Lane and the newly renamed Sunrise Bed and Breakfast. Franny and I talked about it last night, he went on. We have another solution.\nWhat happened at that party is pretty serious. The muscle in his jaw twitched again. You\u2019re lucky you\u2019re not facing assault charges.\nShe twisted her fingers in her lap. She wondered what had happened to the rest of the Delta sisters. She wanted to text Misty and find out, but now probably wasn\u2019t the best time. They\u2019d all had the same kind of meeting either yesterday or this morning with the dean. Chloe\u2019s, apparently, had been the last.\nI agree with the community service, her father continued. I think you\u2019ve thought more about how this whole thing affected you and less about how it affected that poor girl. Maybe helping others will let you see that. And if there was a good place to do it in town, I might agree to it. But I don\u2019t want you hanging around your sorority sisters on your downtime.\nChloe waited, but he didn\u2019t go on right away. He turned onto Patchwork Lane, and the stately bed and breakfast, a restored three-story colonial, appeared before them. Finally he said, We\u2019ve decided to send you away for the summer.\nWait. What? Send me away where?\nHe pulled into the driveway but kept the truck running. Chloe could see her stepmother standing on the front porch.\nThere\u2019s a program Franny heard about called Inter-Help. I\u2019ve looked into it, and I agree it\u2019s a good option. The dean signed off on it today. It\u2019ll give you the hours you need, and I hope it\u2019ll give you some perspective, too.\nChloe went cold. The air conditioning, so welcome against the cloying spring heat just a few minutes ago, swept up her legs, over her chest, and to the top of her head. Something in her heart splintered, the pieces of her that also belonged to her father, the flesh and blood they shared.\nI didn\u2019t mean for anyone to get hurt.\nShe blinked back tears. Did you tell Mom? She might not agree to it.\nHeath gave her a knowing look. Your mother has seen you a total of two times in the last four years. She stopped paying her share of your tuition last year. But yes, in case you\u2019re wondering, I did call her and tell her what happened and what we\u2019re planning. And she\u2019s on board with it.",
"So well, today i had several meetings with the general manager, and yesterday I met the IT manager. He\u2019s a very cool guy and I\u2019m happy I met him cause I feel I can relate to him.\nI was working on making a map of the network and connecting my puter to the network. I wasn\u2019t able to. After a while I saw a screen of one of the servers that do Point of sales for the system they are using here, it\u2019s called fidelio, and it said there was some kind of error.\nI knew this was going to be a HUGE problem, cause those servers manage all the phone calls that guests make and some of the charges the hotel does to the accounts. Well.. after maybe 30 minutes people were running around, coming in and out of the room and trying to fix what was wrong. Of course, noone had a clear idea of what\u2019s going on. Neither have I, but I\u2019ve been here only two days. The one who knows how stuff work, was working all night long as a front desk clerk, and of course, when he\u2019s needed to fix what\u2019s broken he\u2019s too tired to be able to do it.\nI\u2019m tired. and my back hurts, I\u2019ll tell you why later.",
"to be sole legal advisor.\nremove and transfer to Office of the Attorney General.\nfor nomination to scenic streams.\nupon recommendation of Department of Marine Resources.",
"When we deal with wooden floors, we soon remember the high cost of this material. There is nothing more beautiful than a whole environment coated with natural wood, however, cost-effective is one of the most important requirements in the decoration. Especially when it comes to a market where news does not stop!\nThe trend of wood-flooring is here to stay. It's the laminate floor is a popular choice! Its thin thickness, quick installation and the reduced price is what most pleases the users of this material.\nHow much does the laminate flooring cost?\nThe price of the m\u00b2 of laminate flooring may vary by model. The brands recognized in this area as Durafloor and Eucafloor start from R $ 30,00 up to R $ 150,00.\nCan I install laminate flooring in wet areas?\nLaminate flooring is not suitable for kitchens, bathrooms or outdoor areas. Its sensitivity is so high that even splashes or excess water during cleaning can steady the material. Therefore, when cleaning, wipe a damp cloth (almost dry) with specialized products for this type of floor. They are easily found in supermarkets or building material stores.\nHow long does the laminate flooring take?\nIts installation is fast and does not dirt. Starting from an apartment of 60m\u00b2, its installation lasts an average of 5 hours.\nWhat is the difference between vinyl and laminate floors?\nThe vinyl floor has a higher resistance to water, also installed in the system click or glue. But the biggest difference is in the sound comfort, where the laminates lose to the vinyl. Remembering that the laminate can be installed on top of another floor (ideal for those who want to change the floor of the house), the vinyl has a greater requirement for its installation.\nModels and specifications of use should be followed according to the environment and the project proposal. Check with the professional for the best indication for the location you wish to install. That way, your flooring will last for years in your home!\nPicture 1 - Mix two different floors for an original proposal.\nThis detail on the floor is a trend in decoration. Besides innovating in the finishing of your house, it is possible to delimit two spaces of the same environment. For residences, try to install in social areas such as living room or kitchen. Already in commercial projects, like restaurants or cafes, make a game that follows the layout of the tables.\nPicture 2 - Softness in the look and in the day to day.\nThe floor has the power to leave the environment soft and inviting. Bet on clear laminates with less rustic face for a lighter and more modern look. In the above project, he even gave up pulling a chair to sit, did not he?\nPicture 3 - Restriction: wet areas!\nThis is another example that can be done to delimit room and kitchen: hexagonal inserts and laminate flooring. The interesting thing is that the tone of the joinery is the same as the floor, leaving the integration harmonic and smooth.\nPicture 4 - Commercial projects also abuse laminates.\nAn office or clinic with laminate flooring is synonymous with beauty and cost savings. They are practical for this type of use and can bring new air to your working nook!\nPicture 5 - The tone on tone that deserves respect.\nYou can blend the materials with the headboard in MDF and the laminate flooring, following the same color pattern.\nPicture 6 - There are models that faithfully simulate the appearance of the wood.\nImage 7 - Serious atmosphere, but full of refinement and good taste.\nPicture 8 - All the elegance of laminate flooring.\nFor a sophisticated ambiance, bet on the dark tones that are pure charm in the proposal.\nPicture 9 - Perfect for any environment: from jovial to intimate.\nThe market offers several types of laminate floors with sizes and colors for all proposals. Try going to the store and know the options that can be applied in your project and who knows take a sample to the site to be sure of the choice.\nPicture 10 - Exuding warmth in every detail.\nPicture 11 - Take a touch of comfort to the environment.\nImage 12 - The pagination is at the discretion of each one.\nThe environment gains more charm with a different pagination! Just as porcelain tiles are positioned at 45 degrees, laminates can also be installed that way. No matter the direction, but the one that pleases you the most!\nImage 13 - Choose a dark color tone for extended environments.\nImage 14 - The right choice to compose with burnt cement .\nImage 15 - Available in the market also in the black version.\nImage 16 - Light shades leave the environment larger.\nFor small environments, always choose lighter shades of laminate. The white falls well in the rooms and gives the feeling that the space is larger.\nPicture 17 - Do not know how to decorate? Use the tone on tone.\nImage 18 - The Scandinavian style is the darling of the moment.\nImage 19 - Social areas with the same laminate floor.\nImage 20 - The almond shade brings many benefits to the environment.\nThey are warm and neutral in any type of occasion and style. If you do not want to go wrong in the decoration, opt for the brown tones that marry in any environment.\nPicture 21 - And still make up with different styles of decoration.\nPicture 22 - Explosion of colors!\nPicture 23 - The combination of the white brick with a floor off white is a success.\nPicture 24 - Make the extension of the balcony with the same type of internal floor.\nImage 25 - Woody shades for a classic ambience.\nFigure 26 - Clarinho to match the teen proposal.\nA child or teen bedroom asks for a more delicate look, so bet on a light laminate floor. In the decoration, combine with details and objects in candy colors like blue, water green and pink.\nImage 27 - And the pagination of the fishbone leaves a distinctive touch in the environment.\nMake discreet, well-planned cuts so there are no mistakes in the middle of the job.\nPicture 28 - The laminate leaves the room even more cozy.\nPicture 29 - Dark floor, light walls!\nImage 30 - The demolition wood is still high in the decoration.\nPicture 31 - Each one in your square!\nImage 32 - The clean coming out of white.\nImage 33 - Highlight the colors of the floor with the pagination in scale.\nThis kind of pagination is original and creative! Mix two colors of the same model to make this finish in your home.\nImage 34 - The ivory tone of the floor heats the rooms of this apartment.\nAny room that has TV calls for a touch of warmth! The suggestion is to opt for a laminate floor in warm tones such as brown or coffee. Observe the contrast of the floor with the rest of the environment, the balance is the correct path for any decor.\nPicture 35 - For a contemporary touch, bet on this composition of colors and materials.\nImage 36 - Flooring and joinery.\nIn square rooms, use the laminate cut of the sofa toward the television. Choose furniture in the same tone or with colored details.\nImage 37 - Exhaling wood on the floor and details.\nPicture 38 - Choose a tone that matches the style of a loft.\nFor large, open environments such as lofts, opt for darker colors for the floor. The boards can be wider and of colors like coffee, brown and even black.\nPicture 39 - This laminate tone is neutral in any environment.\nPicture 40 - The floor and the woodwork gain the same tone, leaving the uniform look.\nImage 41 - Room with laminate flooring.\nPicture 42 - Increase the sensation of amplitude with the laminates.\nOpt for a clear floor, with rulers towards the door and that extend to the maximum by all the environments of the house. In the above case, we can observe the floor running through the living room, dining room and traffic until you reach the entrance door.\nPicture 43 - The choice of the darkest laminate leaves the room much cozier!\nIf your room is rectangular, place the floor toward the larger wall and use details that reinforce that. This will leave the atmosphere charming and harmonious! In the above design, the countertop and shelves follow the same direction as the laminate rules.\nImage 44 - Leave the room with your own identity!\nPicture 45 - Footboard and floor with the same finish.\nImage 46 - Its striking finish with apparent creases bring the original feel of the wood.\nImage 47 - Cutouts indispensable for small apartments.\nImage 48 - The shafts and knots of this laminate leave the environment with a natural look.\nPicture 49 - Be careful with the extension of the floor to the kitchen.\nIf you use the kitchen a little, there is not much problem in opting for the laminate in that area. Seek to match your needs with the beauty of the environment in a functional way.\nPicture 50 - This floor is a great thermal insulation for the room.\nPicture 51 - A flexible floor for different styles.\nFor a modern, discreet, cozy and clean air, escape from the traditional white, with a color like light brown or even in the grayish tonality. In the design above, the darker veins on the floor give a dynamic touch to the environment, leaving the feeling much more pleasant.\nImage 52 - Rolled trend in 2018: continuous designs, invisible seams and wider rulers.\nPicture 53 - Combines even in a darker decor.\nPicture 54 - Integrate the dining room and be with the laminate floor.\nTo integrate these two spaces does not take many artifices in the decoration. In addition to a good layout, it is also necessary to install the same type of flooring. This uniformity ensures harmonious integration and the extension of the social area.\nImage 55 - Areas of common use of a building require a high circulation floor.\nPicture 56 - This laminate has a soft texture that leaves the environment pleasant and relaxed.\nImage 57 - The shafts of the laminate floor are similar to wood.\nImage 58 - Reinforcing the direction of the floor with the carpet.\nImage 59 - Extension up the corridor.\nDo not use different types of laminates around the house. The ideal is to opt for a model that fits for all rooms. If you want to innovate, change the pagination or the direction of the boards, according to the transition of the environments.\nImage 60 - For a more industrial footprint!",
"Knowledge Required: Basic knowledge of R and finance.\nThis is neither an R primer nor an introduction to finance. If you have some familiarity with both R and finance this will help you deepen your knowledge.\nAs you go through the examples you will learn how to use the ggplot2 library to plot zoo time series, how to calculate annualised returns for series stored in zoo objects, how to construct an approximate total return series from a yield series, and how to convert a price and dividend series to a total return series for the S&P 500.",
"Welcome to Crazy Cooking Lady!\nReady to Eat Meals and Meal Kits. Includes client consultation, custom menu planning, grocery shopping, in home preparation (weekly, bi-weekly or monthly options), packaging and labeling, detailed menu with instructions and all the clean-up!\nLooking to learn a new skill in the kitchen or how to cook your favorite cuisine? Or maybe you want to start with the basics. Classes can be customized to your specific needs and are held at your home.",
"This adventure first began back in December of 2012 when I was 10.\nIt all started when my dad realized that I needed to get my thoughts out somehow and figured a website were I could blog would fit the bill. I started writing and fell in love with it.\nI tried my hand at whatever I felt inspired to write, which turned out to be a vast variety of subjects, anywhere from what I was reading in the Bible, to lessons I had learned in my day-to-day life.\nHardly anyone besides my family read the posts, but I wasn\u2019t bothered much. To me, blogging wasn\u2019t about how many people liked my writing, but whether I wrote what God wanted me to and if I was growing.\nAfter contentedly writing on my own little blog for about 4 years, I started to seriously consider trying to get published on bigger websites. I finally worked up the courage and submitted to The Rebelution and The Old Schoolhouse Magazine, getting published by both after a few tries.\nThese years have been a season of great growth and discovery. I would not trade them for anything. God has done amazing things through this blog. He\u2019s used it to grow my writing skills and to prepare me to write for a much bigger purpose than my 10-year-old-self could have imagined.\nWhen I wrote that first paragraph and hit publish, I had no idea what the future held. Today I don\u2019t have any more of a clue where the path ahead leads, but I do know that God knows. That is why I\u2019m not afraid to follow where He is leading me.\nToday marks the beginning of a new path for this blog. There are going to be some big changes in the way we do things.\nBe a voice for young people in the political realm.\nProvide news from a biblical worldview at a child\u2019s level.\nTrain young people to effectively share their faith, and participate in the political realm.\nChallenge young people to live differently by boldly following God.\nProvide answers to questions that young people face about Christianity and the Bible.\nThere are a lot of exciting changes in store for ACBPAK over the next few months. They will help us reach more kids to help them better engage with the culture. I\u2019m excited to see what God does in the next months and years. Knowing Him, it will be good.",
"JRP & Associates Pte Ltd - The Metal Roofing, Ceiling and .\nStainless Steel Composite Material - Alpolic?\nAluminium Composite Panels and Cladding . - ALUCOBOND?",
"Timothy J. Holst, who joined the Ringling Bros. and Barnum & Bailey Circus as a lowly Keystone Kops clown, rose to the role of singing ringmaster and ultimately became the show's talent czar, died April 16 in Sao Paulo, Brazil, during a visit to sign up circus acts. He was 61.\nHolst came to Venice, Fla., for his clown training in 1971 and was a longtime resident of Sarasota County.\nBefore proselytizing for the circus, Holst spent 2 1/2 years as a missionary in Sweden for the Church of Jesus Christ of Latter-day Saints. Recently, he served as executive secretary of the church's Lakewood Ranch Ward.",
"I\u2019m making two versions of this image available today. As before these posts are part of my on going update of the fine art part of my site. If you\u2019d like to purchase either version of this shot be sure to use the PayPal link below the version you want.\nThese images were made form the same negative, taken with my Speed Graphic. The place is in Box Canyon, which is between the San Fernando Valley and Simi Valley. One of the great things about living in Los Angeles is how many really wild places there are inside the city. Of course wild can be interpreted in several ways, and some areas, like Laurel Canon have been wild in nature and in people. Box Canyon is a little like that: very rustic with a wild population. I lived there for several years, and I still miss it. I\u2019m adding more pictures from this area, so I hope you\u2019ll keep looking at my site and the blog.\nBelow is a more neutral interpretation of the negative. All photographic printing involves interpretation; even a \u201cstraight\u201d from a chemical darkroom involves choosing a paper and a contrast. Of course Photoshop allows us more room for interpretation, which can be a good thing.\nIf you\u2019d like to buy a print of either or both versions of Box Canyon #3 please use the PayPal links. You\u2019ll get a print mounted and matted to 16X20-ready to pop into a frame. Why not order one now?\nOf course I\u2019m thinking about the workshop next weekend. There are only two spaces left, so you should SIGN UP NOW!\nSamantha will be one of the models for Sunday October 18th.\nOne of the things I want to examine at the workshop is the lighting tool kit for a photographer. The equipment manufacturers want us to buy everything; they\u2019re not exactly on our side. Many of the available tools are of little use, or totally redundant. So I hope that this workshop will actually help you to save money by experimenting with the tools. I\u2019ve seen a lot of people who work with hammers: carpenters, roofers and neurologists. The all use different kinds of hammers; purpose built for their applications. When we choose our tools we need to exercise the same care a carpenter does when he buys a hammer.\nThe main tools we use as photographers are designed to work for a large variety of applications. So my Nikon D800 is a terrific camera to fit onto a microscope or use for architectural photography or even an auto race. While the camera will work well in all those applications, I\u2019ll need to use different lenses for each situation. This is one of the great strengths of camera design: a good camera can be adapted to different situations. Can you imagine buying a whole new camera everything you needed a lens or even a filter? Strobe lights are the same way: a basic strobe can be used for a lot of applications, if you have the light modifiers for the job. This is one of the good aspects of strobe lights over movie lights, which are purpose built. Over the years I\u2019ve worked with many light modifiers for strobes, everything from large soft boxes to fiber optics. These modifiers are designed to make the lights useful in all kinds of applications. Some of modifiers have been good, some bad; some work in a lot of situations and some are only good for one kind of job. I hope one of the things you\u2019ll receive from the workshop is a better way to choose your tools.\nThe first step in adding a tool to your kit is identifying the reason you need or want that tool. So I may choose a new light because I didn\u2019t have the lights I felt I could use at my last job, but I may also choose a tool because it inspires me. I think this second reason is really important. I often get tools because they make me want to work, or because they open up new ideas for shots. I also get tools because they replace or upgrade or back up the tools that I have. Of course one problem is that I now have too many tools to take on location.\nWhen I shoot a motorcycle I need to use large light modifiers to build good light.\nI\u2019ve got a large studio so I have some tools that are only useful in a full time studio. One of the best is my Broncolor Hazylight. I picked up the frame in a studio sale, and adapted a Norman head to fit the frame. Then I put the whole thing on a camera stand, so it\u2019s easy to position in my studio. Most photographers don\u2019t have a space for a light modifier this big. If you\u2019re going to use a smaller studio you might want to use light panels. The panels are cheap to make and incredibly adaptable.\nHere\u2019s a shot that mixes hard light, soft light and continuous light effectively. Effective catch lights as well.\nOne of the important aspects of a portrait is the catch light in the eyes. The catch light, which is really just a small reflection of you\u2019re the light, can change the whole quality of a portrait. If you don\u2019t see a catch light, or if you see an umbrella, or just a tiny pin prick of light, it can damage an image. There are all kinds of light sources for portraits shooting that address this problem. I\u2019ve used quite a few: portrait dish, soft box, octabox, umbrella and so on. One of the things that makes better catch lights is a large circular light source, which will make a round catch light in the subject\u2019s eyes. For this reason I\u2019ve got a cover with a circular cut out for my Hazylight. I would build a similar cover for a soft box, if I were using one. I also use a light panel and a snoot to make a circular light source. I can use the snoot to put a circle of light onto the panel. I can use these tools to make other shapes and control the direction of the light. This gives me a round catch light, or I can change the angle of the snoot and get many different shapes on the light panel. So both the snoot and the light panels are at the top of my list for light modifiers. I also use the snoot as a hard light source in my shots. I\u2019ve found that the snoot is an incredibly fun tool to have in my lighting kit.\nJust a guy using thee right tool for the job!\nI also like using a set of barn doors with my light for illuminating the light panels. The barn doors can even crate a strip with the light panel. I also like the barn doors for shooting architecture. I can control a bounce off a ceiling or other surface, to keep the light out of my image. Of course the barn doors can help to place a highlight in a subject, say a hair light or a rim light. Both the snoot and the barn doors are small light sources, so the position of the light is important, but if you use the snoot or the barn doors with a modifier like the light panel you can make a large light source.\nIt really doesn\u2019t matter whether you make light with a mono-light or a dedicated strobe. What matters is controlling just a few things: the color of the light, the power of the light, the size and shape of the light source and the position of the light. The color and power of the light really only matter relative to other light sources in your shot. So if you were using just one light you could change the ISO or the aperture to control the amount of light, but if you have two lights they have to be balanced. Not necessarily the same power, but a balance that suits your vision for the shot. Similarly you might want all the lights in a shot to have the same color balance, but you might also want one light to be warmer. A warmer light might give the effect of sunlight coming into your shot. You can control the color of one light in your camera, but the camera won\u2019t make one light warm and another cool. Controlling power and color are tools that you use to build your shot. The size of the light source, relative to your subject, affects the quality of the light: hard or soft. The larger your light source is the less that the position of the light matters; consider how the light comes from the whole sky on an overcast day, no shadows and no direction.\nThe image should start in your mind. If you have an idea of how to position a model, or how to light a face, or a room, or a product, then you can start to build that shot. If you start with the same light each time, or only use existing light, then you have much less control over your shot. So it\u2019s important to understand how each tool works, how you can use the tools together, to build the images you want to make. One of my heroes is Felix the Cat, because whenever he gets in a fix, he reaches into his bag of tricks. As photographers we need a big bag of tricks. Here are a couple of things I have in my bag of tricks whenever I go on location: umbrellas (white, silver, gold all with black covers) gaffers tape, magic arm and super clamp, small tripod, large tripod, lighting filters (Rosco gels) light stands, maybe even a reflector or two. Of course I\u2019ve also got some interesting strobes on location, mine work with both ac and dc power. The heads are small enough to fit almost anywhere. I\u2019ve been doing this for more than forty years, which means a couple of things: I\u2019ve got multiple kits for different location work. I can grab just one box if I\u2019m shooting an executive portrait, but I\u2019ll add a couple of boxes to this, if I\u2019m making room shots. The time I\u2019ve spent shooting also means that the way I use the tools, and the tricks I use, have evolved over the years. Part of being a creative photographer is learning to see what could be, not just what is. I want to help you to build the images that could be.\nThis is shot made with just a snoot.\nOf course I want to see you at the lighting workshop on October 17 & 18. You can sign up here. You can also see another post about the workshop here. There are only two spaces left for the shoot on Sunday. You can also sign up for just Saturday, which will be demonstrations and explanations. Of course if you just can\u2019t make it to the workshop, you can still get my books.\nMy books and my classes give me a reason to keep doing this blog. If you\u2019re in Indiana I hope you\u2019ll consider taking my Portfolio Workshop. You can see a little more information about this workshop if you check out this blog post . I\u2019ve listed my BetterPhoto classes at the end of this post. Thanks so much for your attention.\nMy relationship with post-production has evolved over the years. When I first started capturing images with a digital back (a leaf DCB II) I was suspicious of Photoshop. I\u2019d been working with transparency film for years, and with transparency film if you didn\u2019t get the image just right in camera then it was never going to be right. It took me a while to understand that making good images didn\u2019t stop when you pressed the button. I\u2019ve been buying updates of Photoshop since version 3 or 4, but I don\u2019t think I\u2019ve ever been an expert user. Photoshop requires practice and regular use to achieve mastery. I\u2019m quite good at the things I do regularly, practice will do that, but there are things I don\u2019t do very often or at all. In addition Photoshop requires some hand skills that I never seem to get good at. Finally all post-production work takes time. Sometimes I\u2019d rather do other things than spend hours retouching.\n240Z: Adjusted the color. Smoothed out the light on the side of the car. Darkened the ground in front of the car.\nAtlanta Airport, New Terminal: Removed crane, porta-potties and exit sign.\nHorse: Removed the fence and sharpening.\nThis site now has 695 subscribers, and more join everyday! Frankly I don\u2019t know why since nobody posts. If you have any thoughts about this blog please let me know. I appreciate your membership. Of course there are other ways of improving your photograsphs, like taking a BetterPhoto course. Here are the three I teach, perhaps you\u2019d like to take another one or share them with a friend.\nOne other note about BetterPhoto: I\u2019ve been in the habit of sending out a private note to all my former students at BetterPhoto (Almost a thousand people!) each month. There\u2019s some sort of hang up in the e-mail system for this so, for a while anyway, I won\u2019t be sending that note. I hope no one is too disappointed.\nI\u2019ve been doing commercial photography for several decades. One of the problems with what I do is communication with my clients. Often they haven\u2019t worked with photographers, and really don\u2019t have an idea about the process. I\u2019ve been wanting to update the information I give them about the jobs I do. Most of my clients are businesses rather than ad agencies, so this is particularly important. As I thought about this I realized it might be a good thing to put this on the blog because I\u2019d like to get feedback about how you work with clients. As you read this keep in mind that my clients are looking for shots of their jobs and products rather than weddings and babies. I like working with businesses; there is more variety in the work and businesses come back for more work sooner than families. I\u2019ve included a couple of pictures just to keep things interesting.\nThe most important thing in creating an effective image for a client is to engage the client in building that image. Without an ad agency the client is the only source of expertise on the subject. I have shot things the size of a pinhead and subjects about as big as a city block. I have literally shot everything from cuticle cream to parts for a submarine. While I find it\u2019s useful to know a little about a lot of things the only subjects I know in depth are photography and lighting. So if I can\u2019t get the client to help me tell the story many jobs will be worse off. Whenever possible I want the client, or their representative, at the shoot. Certainly someone should be at the first shoot, after that I will know more about the product and the client\u2019s taste. However the results are usually better when the client is engaged. I have a wireless system for showing the images to the client as the shoot progresses.\nBefore I can begin a job there needs to be a shot list. The client and I need to agree on a time and place for the shoot, and of course the price. It\u2019s at this point that I explain to the client that my price is largely based on the amount of time that will be involved doing the client\u2019s shoot. In three hours I might have finished shooting a bank\u2019s board of directors, but I\u2019d still be doing the set up for a motorcycle shoot in my studio. One of the problems of negotiating with a client is that they often think that the prep, shot and clean up happen in almost no time at all. I\u2019ll just walk in with a camera and shoot. Not only is this a problem when we\u2019re negotiating the price, it can be difficult to get the client to block out enough time for the shoot. If you don\u2019t address this issue before the shoot you might have trouble during the shoot. In addition the material needed for the shoot, assistant and the location will affect the price.\nBefore I can give the client a price the client and I need to agree on what will be delivered when. My preference is to give the client an edited low-res version of most of the files. Then I hope the client will choose the files they\u2019re most interested in and final retouching can be done on those files. I will include the time to prepare the edited version of the files in the original estimate. When I do the editing I will remove images that are just bad and others that are redundant. I will open each file in Adobe Camera Raw and adjust such things as color, exposure, cropping, sharpness and lens distortion. While this only take a few seconds on a single image, a shoot with 500 images can take a while to edit. I reduce the size of the files to them easier to review. I spend the time to prepare this set of files because I want to show the client a good version of my work, obviously this group of images will reflect on my talents. The difficulty is that the client doesn\u2019t always review these files. I don\u2019t know if I should reduce the number of files I send or make other changes. Regardless I will deliver whatever version of the files the client wants, but I do try to keep the mistakes to myself. The client can even have my Raw files if they want, but since most clients can\u2019t open these files I generally don\u2019t deliver them. I will give the client an estimate for image editing, if any, before I do any additional work to a particular file. This is all part of the negotiation with the client. We need to define just what the client will get and when.\nI\u2019ll get a deposit from the client before the day of the shoot. Generally the deposit is 50% of the estimate. I try to deliver the first version of the files to the client in 48 hours or less, and I\u2019ll include a bill for the balance with these files.\nIf you know what usage means to a photographer you are in the minority. Of course this can make it difficult or impossible to charge a usage fee to a client, and most of the time I don\u2019t. Usage is simply the way the image is used, say in a magazine or on a web site. By extension it is a license, for a fee, to use the image in a specific way. If a photographer sells a photo from his/her files to be used once in a magazine and then sees it used on a billboard or a national advertising campaign the photographer has been cheated and the usage agreement has been violated. This can result in litigation. My policy is the when the client pays me to create a custom photograph, rather than buying an image from my files, that purchase includes the right to use the photograph to aid the client\u2019s business for as long as the client feels the image is useful, with few exceptions. The client can\u2019t sell the photograph, as a photograph and not part of packaging, to a third party. So a contractor can\u2019t sell a photo to a window manufacturer with out negotiating compensation for me. If the client chooses to give the image away, well that\u2019s the clients business. Any stock images that I license a client to use have specific limits on usage. I hope that my clients will be successful, and that they will return to me for more photographs. I also do consulting for businesses setting up in house photographic systems. I expect that the material I create for these businesses will not be shared outside the business. In addition to my concerns about how my images are used I understand that the client has concerns about how I use the images. My policy is that I don\u2019t offer client images for sale to other clients or third parties. Specifically I don\u2019t license client images through any stock agency. I will use the images to promote my business: in print, on line and in magazine articles. However I appreciate that some images have proprietary information so I will give the client a chance to review images before I use them.\nThere are things I\u2019m still thinking about, for instance weather and working hours. When I had a business in Los Angeles years would go by without a weather conflict. That isn\u2019t true in Indiana. I would prefer that a client reschedule a job if the weather is predicted to be unworkable two days in advance. If the client insists and the job can\u2019t be done then there\u2019s a problem. I haven\u2019t been able to use the time in another way and I think I should charge the client. Any thoughts? In addition I wonder about what hours I\u2019m expected to keep? A wedding photographer expects to work weekends and evenings, as an architectural photographer I might have to be on site a dawn to shoot a building. Should I charge extra for special hours? Should I charge extra if I have to do rush work on the files? Of course I do charge extra for a day that is more than 10 hours long. I fyou\u2019d like to let me know what you thing please (john@siskinphoto.com) or register with this site.\nOf course, if you can\u2019t come to Indianapolis you can still get my books or take my classes. And I hope you will!\nThe second portfolio class was great. Please let me know if you want to be on the mailing list. Here\u2019s some more information the next meeting is Tuesday June 18, 2013, 6:30 pm. We may be meeting at my new studio. Stay tuned for more about that! The class is a great opportunity to make a greater commitment to your work and learn more about how others see your work. Still only $20. I look forward to seeing you if you\u2019re near Indianapolis.\nI\u2019m going to discuss the kinds of prints I\u2019ll be using in my show at Indiana Landmarks. The opening is on June 7 at 6pm. I hope I\u2019ll see you there! For more information check this link. Most of the images in this week\u2019s blog are going to the show at Landmarks. Please keep in mind that images on your screen aren\u2019t good representations of what real prints look like. The images are linked to the fine art part of my website, which you can use to buy a print. The prints available on my website are made on the Moab Entrada rag paper discussed below.\nI\u2019ll start with silver gelatin prints because in many ways they\u2019re my favorites. These were the most common black and white prints for most of the twentieth century. The black part of the image is silver and the emulsion is made of gelatin, which is probably the reason for the name. One of the most beautiful aspects of these prints is the bright whites created by a layer of barium clay called baryta. This layer is on most prints made on a paper base, usually called fiber based paper. This layer was replaced by a titanium layer when resin coated papers were introduced. I think resin papers aren\u2019t as beautiful because they don\u2019t have the baryta layer.\nFiber based silver gelatin papers are still available ready to use. The prints are exposed in a darkroom with an enlarger. Processing time is over an hour; most of this is wash time. If the prints are properly handled, particularly given through washing, they will last for at more than a hundred years. There are many examples of prints that have lasted longer than a hundred years. The photographer has considerable control over the print; in addition to changing density the photographer can also change contrast tone and local density.\nCyanotypes have bright blue images on a base that is the color of the paper or other material you print on. Sir John Herschel invented the process in 1842. The light sensitive chemistry is iron based, and the final image is an iron compound. The final dye is called Prussian blue. The chemistry is mixed by hand and brush coated on the paper. Multiple coatings add to the saturation of the image, which is why I usually triple coat the paper I use for cyanotypes. Processing is just a long wash.\nCyanotype, Vandyke and other processes are usually referred to as alternate processes or alt process. The idea is that these are different from the more commercial photographic processed used for most photography. These processes are much more personal, for instance the paper is hand coated by the photographer. The processes are not very sensitive to light so enlargers can\u2019t be used. Most often the original camera negative is pressed right against the hand coated paper. An alt process print is a handmade object and each print will be unique. Of course the photographer has to exercise considerable care when preparing and processing these prints in the darkroom.\nThe Vandyke process produces a brown toned image. The image is made of silver, but the light sensitivity is based on iron chemistry, like cyanotypes rather than silver chemistry like a silver gelatin print. This process is often referred to as Kallitype. The sensitizer contains Ferric Ammonium Citrate, Tartaric Acid and Silver Nitrate. Processing includes considerable wash time as well as a bath in sodium thiosulfate. Properly processed Vandyke images have lasted for about a hundred years.\nFrom the time that George Eastman introduced the Kodak camera with the slogan \u201cYou press the button, we do the rest\u201d there have been places to get your processing work done for you. In some cases, for instance Kodachrome processing, there was literally no way to do it yourself. In addition much processing can\u2019t be done economically unless you do a lot of printing everyday. Certainly many people have noticed that their ink jet printers don\u2019t work well after sitting unused for several weeks. There are several things that are important to the photographer and the viewer with all of these processes; first is how much control does the photographer have over the images. The printer that I am using allows me to manipulate the image files in Photoshop. This gives me incredible control over the final print. Another consideration is how long will the prints last. While none of these processes have been around long enough to prove durability, prints can tested using light and heat.\nFuji Type R Paper was actually used when photo labs had enlargers. The R stood for reversal. It allowed the lab to maker a print directly from a slide or a larger film positive. So you could make prints from Kodachrome or Ektachrome without making an inter negative. Labs generally used enlargers to work with this paper, so you could do dodging and burning, but there was not much other control. I am not sure if anyone is still making Type R paper. These prints had good saturation and good durability.\nMoab Entrada Rag 290 Bright paper is made to high standards and designed for specialized ink jet printers. It is a rag paper and has no acid or lignin. The Epson Ultrachrome inks are used. These are pigment inks so they will last for an exceptionally long time. I find that these prints have a very long tonal scale and very fine color. These prints are made from files that have been prepared with Photoshop. Both color and black and white prints can be made on this paper.\nI am showing a 20X50 inch print of this image! It looks great.\nFuji Crystal Archive Matte paper is a color photographic paper designed to be used with digital enlargers. Prints are made from files that have been prepared with Photoshop. This kind of paper is usually used to make color prints. I often use it to make mono-chrome images with a warm tone. Prints made with this product are expected to last more than twenty years.\nThe first portfolio class went really well. Please let me know if you want to be on the mailing list. Here\u2019s some more information the next meeting is Tuesday May 21, 2013, 6:30 pm room 407 at the Indianapolis Central Library. This is a great opportunity to make a greater commitment to your work and learn more about how others see your work. Still only $20. I look forward to seeing you if you\u2019re near Indianapolis.\nI started out with a Kodak Retina and a roll of Plus-X. The first film developer I used was D-76 and I printed with Dektol. I guess you could say that I have my roots in black and white. If you\u2019ve looked at my work you can see that I still see a lot of shots in black and white. I\u2019ve mentioned, in these notes, that I\u2019m doing some work with my 8X10 film camera. I wanted to talk about how I\u2019m working with those images in digital. It doesn\u2019t really matter whether you start with a digital image or a film image; these techniques make better final images. I start with a low contrast scan of my negative. If I were shooting film, for traditional silver gelatin printing, I would want a negative that I could interpret in the darkroom and that is a low contrast negative. Of course my new negatives aren\u2019t really low contrast, because they need high density so I can print them using the Vandyke technique. Even though these techniques aren\u2019t really new I think it\u2019s important to work with them from time to time.\nIf I\u2019m starting with a color image, usually from my digital camera, I\u2019ll look at the red, green and blue channels. The differences can be really huge. When I shoot with black and white film I use color filters to get the kind of control. The important thing to keep in mind is that you can make choices about what parts of the picture you want to make black & white. In addition to the red, green and blue channels you can mix the channels together.\nI know there are a lot of programs for working with your images, but I use Photoshop for just about everything. It\u2019s big, it\u2019s complex and it offers wonderful control over your image. I mention this because I\u2019m going to show the changes I make to an image in Photoshop.\nScans always have some dust and perhaps the negative has some defects, so I\u2019ll fix those right away. I like to do this at the beginning because I\u2019m working on a gray-scale image rather than a color image so the fixes are quicker, especially with a big file. In this case the file is over 100 megs, because the original negative is 4X10 inches. I want to get the biggest scan I can. Negatives are delicate so it\u2019s best to make a digital copy as soon as possible. I make a flat, long scale, scan to capture as much information as possible. I shoot digital images in RAW for the same reason: to have a copy that can be interpreted as many ways as possible. I\u2019ll save this image, so I can return to it.\nI\u2019ll create a new copy of the image, and the first thing I\u2019ll do is open up Levels. I\u2019ll position the sliders at the edges of the histogram. I may move the center slider to adjust the middle of the curve. This isn\u2019t as controlled as using curves, but it makes the image look better quickly. Next I convert the file to RGB using mode. When I printed with an enlarger on silver gelatin black & white paper I used warm toned paper much of the time. Even when I used a neutral toned paper I usually developed in Selectol to warm the paper up a little. I can change the pallet, warmer, cooler or whatever once I have an RGB file. Now I open up curves. I like to depress the bottom left of the curve and raise up the upper right, usually I don\u2019t make big changes here. This makes the middle tones of the shot a little more contrasty and makes the highlight ands shadows look a little more like a silver gelatin print. Next I\u2019ll add color, while still in curves, by choosing the red curve. For most images I\u2019ll raise the bottom of the curve about 7 units. Then I\u2019ll go to the blue curve and remove about 8 units from the middle of the curve. You can add as much color as you would like this way.\nI wanted to lighten the boots, so I used the dodging tool. On the original I also did some sharpening, but that doesn\u2019t really show up on this small file.\nI wanted to discuss another thing I like to do in curves. If you take the bottom left of the curve up to the top of the graph you file will be all white. If you pull the center of the curve back down, usually around 1/4 from the bottom of the graph, interesting things will happen. If you didn\u2019t add any color to your shot it will look a little like a solarisation (also referred to as the Sabatier Effect) an old darkroom technique. However if you did the toning you\u2019ll get a sort of dual tone solarisation, which is really fun. You can see how well it worked here. I usually refer to this as a u-shaped curve.\nPictures this week are from a shoot I did at the Indianapolis Central Library. The first portfolio class went really well. Please let me know if you want to be on the mailing list. Here\u2019s some more information the next meeting is Tuesday May 21, 2013 at the Indianapolis Central Library. This is a great opportunity to make a greater commitment to your work and learn more about how others see your work. Still only $20. I look forward to seeing you if you\u2019re near Indianapolis.\nI\u2019m still looking for a studio space here in Indianapolis. I\u2019ve checked on a couple of spaces, but they have been too large, and therefore too expensive. I\u2019d like to have the extra space and I could have a couple of offices for related businesses, but I don\u2019t want to have to commit to a more expensive lease. I\u2019m going to continue checking out spaces. My goals, right now, are to have about 1600 feet, with a large commercial or cargo door. The actual studio space must be at least 20X30 feet. I will need air conditioning and heat. You always here \u201clocation, location, location\u201d applied to real estate. I think the key is to be sure you understand what you want in a location. I want to be in a good area of town, but I don\u2019t need to be in a mall or on an expensive street. I can be a couple of blocks off the boulevard especially if the parking is good.\nI\u2019ve written about processing film and scanning it before, but as I did a lot of work with my 8X10 Toyo recently I thought I would discuss this again. I\u2019ve made some changes in the way I\u2019m processing film for printing Vandykes. I\u2019ll be discussing how I\u2019m scanning the film as well.\nI started out working with a two-part developer based on Kodak D-23. The idea of a two-part developer: separating developer and activator, is that you can process almost any film at almost any temperature, which certainly makes things easier. The problem was that the Vandyke process, and most alternate printing processes, requires a very long density range with a very high maximum density. That is the film records the information in a way the makes the whites and blacks further apart, because the printing process tends to push the tones closer together. So I\u2019ve switched to Ilford ID-11 developer. The biggest differences between the two developers is the addition of hydroquinone and the inclusion of the activator (borax) in the single solution developer. I\u2019m using a dilute version of this developer with a very long development time because it makes a longer tonal range. Of course it\u2019s kind of annoying that the processing time is now thirty minutes. If I were going to try and print these negatives on traditional silver gelatin photographic paper it would be difficult, and would require special paper or special handling.\nOne of the great advantages of scanning a negative is that you make a good scan of a negative that wouldn\u2019t print well without special handling. I set the scan to keep the detail in the whites and black while maintaining a lot of detail and light in the mid-tones. My actual scan looks pretty flat. Of course the scan is in black and white, and I scan in 8-bit depth. I\u2019m making very large scans: 3200 dpi. The first thing I do with these scans is basically spotting. I remove dust and so on. Since the scans are the first thing I do after processing there isn\u2019t much of this. The next step is to make a copy of the scan and convert it to RGB. As many of you know I like a warm color palette. I use curves for this. I will raise the red curve about 7 units at the very bottom of the curve. Then I\u2019ll move the center of the blue curve down into the yellow about 8 to 10 units. This makes my black and white image a slightly warm black and white image. Then I\u2019ll adjust the whole curve, usually by deepening the shadows and lightening the highlights. This is how I make the final image less flat. Of course sometimes the curves will get rather complex. Then I\u2019ll do a little sharpening, usually with smart sharpening in Photoshop.\nThere is one more thing I do with curves: you can see it in the shot below. This is a u shaped curve. I raise the bottom left of the curve to the top of the box and lower the center of the curve, usually to about the 1/4 line. If you do this without adding the red and yellow first you get an image that looks a little like a solarization that you might make in a darkroom. If you change the curve after you change the color you get the two-tone effect you can see in this image. I think this is a really interesting effect; of course it doesn\u2019t work with most images.\nI am involved with Candlelight Home Tour in the Old North Side of Indianapolis. The tour will happen on Halloween this year. I\u2019ll add more information about the tour in later entries. I am also doing this with a few people from the Indy MU Photo Club. So I have a small audience for these shoots. The plan is that I\u2019ll shoot one room, with my lights, and they\u2019ll shoot the rest of the house. Yesterday was the first shoot, and it went very well, although more time would have been welcome, especially for the people from the club.\nI started by looking around the house, and I settled on the dining room, because of the look of the room, and also because of the complexity. I was particularly interested in shooting into the two connecting rooms and the windows at the same time. The second camera angle was interesting because of the way the staircase was framed in the door. It was easier to shoot, first because the lights were set up and because there weren\u2019t any windows.\nYou can see the position of the lights in this diagram, of course everything isn\u2019t exactly to scale. The A light is a Calumet 750 Travelite set at 1/4 power. It creates the overall light of the shot, and is positioned near the camera so that the shadows are less visible from the camera. I bounced the light off a 60-inch umbrella, with a black back, to create soft shadows. Of course there is a lot of information about placing lights in my book: Photographing Architecture: Lighting, Composition, Postproduction and Marketing Techniques The B light is a Norman 200B modified with a 30-inch shoot through umbrella. I normally don\u2019t use umbrellas in this way, but here I\u2019m trying to add light quickly to a small ancillary room, and this is a quick way to do it. I used a 1/4 CTO filter over the light because I wanted the two rooms on the side of the shot to have different colors of light. Rosco makes these filters that enable you to modify single lights in a shot. Of course you can modify all the lights in a shot in the camera and in post-production. Light C is also a Norman 200B with a 30-inch shoot through umbrella, but it doesn\u2019t have the 1/4 CTO filter so the color is cooler. This fits because there is a window this room. The light moved from the first position, which is shown to the other side of the room to keep the reflection of the light out of the mirror. In the first shot I placed the D light to open up the left half of the room. I used another Norman 200 B and a silver umbrella. The silver umbrella is a little brighter than the white satin umbrellas I use most of the time, but the light is a little harder. In this case the extra brightness helped. I also used a 1/8 CTO filter to add just a little warmth to the edge of the room. When I made the second shot I pulled this light back just a little and changed its direction so it lit the hall rather than the room, position D2. This wasn\u2019t quite enough to create separation on the staircase so I added a Sunpak 120J light at about 1/4 power. I used the standard bowl reflector on this light, so it was hard light, and pretty bright. I like the sparkle it added to the staircase. I just got a couple of the Sunpak 120J units, they are similar to an older Quantum strobe, but use high voltage batteries I already had. I use a lot of older equipment mostly because I started buying strobes a long time ago. I spend a lot of time helping the students in one of my BetterPhoto classes identify the type of equipment that will work best for them. The exposure was f11 at 1/15 and ISO 200. The exposure needed to be long for the windows and the lighting.\nI looked at the shots in Adobe Bridge, and of course it was easy to choose the shots I wanted to work on. When I do architectural shooting the last shots are usually the ones I want to use. Next I opened the horizontal version of shot 1 in Adobe Raw. I reduced the blacks to 3, and I moved the fill light to 12. The exposure was a little dark, so I increased the exposure using the exposure slide. Then, since the right wall was too dark, I opened two separate versions of the file. The second version was much brighter than the first, almost a stop. I mixed the two versions of the shot using layers in Photoshop. I also did a little sharpening and use the dodging and burning tools here and there. The result is at the top of the shot, and I think it worked really well. Oh, I also adjusted the perspective just a little to get the verticals right.\nThis version was handled the same way, except that I used a little vibrance and saturation to make the carpet a little more colorful.\nOn this shot I increased the exposure a little and added just a little fill light. I only needed one version of this shot, so it was quick to process. I didn\u2019t have as much time to do this shot, so I\u2019m quite pleased at how well it turned out. About the only thing I had to do in Photoshop was use the burn tool to darken a couple of highlights.",
"Hand Cream, A daily care that moisturizes and protects hands.\nA daily care that moisturizes and protects hands.\nThe MAVALA HAND CREAM is specially formulated for dry, damaged hands or for those which you would simply like to be protected. Its composition blends marine collagen, very moisturizing, and allantoin well-known for its soothing properties, to soften dry skin and prevent roughness and redness. A light product that penetrates and hydrates skin, leaving a non-sticky film which protects hands from daily agressions.\nMassage hands with a small amount of cream, paying particular attention to the backs of the hands, without forgetting elbows and knees. To be used after each hand washing and every evening before retiring, so that it can work overnight.\nTips : Economic use, as very few cream is enough.",
"It\u2019s a bit challenging buying wooden benches online in India, as most of us associate them as park furniture. But if you are looking for some un-conventional seating furniture that will blend in irrespective of whether you have a large or small living room, wooden benches must be in consideration.\nOur upholstered wooden benches move a step ahead than their plain functional predecessors. We have looked them up on varied styles like: contemporary, transitional, modern and classic which make them unique. These styles when blended with comfortable seating upholstery make for a beautiful setting. If you are looking out for an artistic change on a budget then we recommend investing in a wooden bench. Buying a wooden bench online is now a breeze, and as just with a few clicks you can get your desired bench at your doorstep. However, one must indulge in some prudent research in choosing one.\nWhy choose Afydecor for Online Sofa Benches?\nAfydecor is among the few Indian home d\u00e9cor firms that offer a broad variety of online sofa benches in different styles. Here, you get assisted by our expert online team that shall guide you in product selection, and will be available online to trouble shoot your queries. Also, we would like to inform you that to make your online furniture shopping experience hassle free, our developers have enabled a very proactive, safe and secure transaction set up which keeps your confidentiality guarded when doing transactions online.\nAfydecor ensures that it keeps your interest always at large. It seeks to establish a win-win relationship with its family of customers. Registering with Afydecor gives you the opportunity to avail of product discounts and deals in the future. You will get exclusive promotional mailers on future products we plan to introduce. Afydecor endeavours to help you renew your home into fresh new beginnings.",
"Memories on FB showed me something I wrote after the hurricane in 2016. That was also just a few weeks before Don died. Little did I know that in the next two years I would have to apply that \u201cthinking\u201d in my own life.\nI decided to create a visual. The trees in this picture have withstood not just the hurricane in 2016 but another in 2017. They are still there today.\nDeath is a different sort of storm. It is, as I said in the original writing a season of drought and wind and storms.\nJust like in a hurricane, it causes change in everyone around you. The roles of the relationship cease. Life is vastly different. Dynamics of family and friends change. Our very identity changes. Death is much bigger and more far reaching than the loss of a person.\nBUT if we are like a tree planted by streams of Living Water, we will endure and not just endure, we can flourish. Just like these trees at Mandarin Park.\nWe had the hurricane. Seemingly healthy and sturdy trees were simply uprooted. People are helping others too.\nWe can not tell by looking at a person how they really are. How deep their \u201croots\u201d go. Sometimes we do have deep roots and then such a huge storm comes that we need to be \u201cshorn up\u201d by others too.\nHow does a tree get deep roots? By going through times of \u201cdrought\u201d in part. By facing \u201cwinds\u201d and \u201cstorms\u201d.\nThe notion came to me that one reason we are instructed to \u201cPray without ceasing, give thanks in all circumstances; for this is God\u2019s will for you in Christ Jesus.\u201d (1 Thessalonians 5:18) could be because just like the trees in my town, we NEED strong roots in God. Every trial, every struggle, every \u201cdrought, storm, wind\u201d we face could be something that is sending our roots deeper and deeper into the bedrock/cornerstone which is faith in Jesus.\nThis entry was tagged Christianity, grief, inspiration, reality, security. Bookmark the permalink.",
"The infinity Ring. Delicate ring made from 20ga wire. Available in 14k yellow gold filled, 14k rose gold filled, and sterling silver.",
"It\u2019s \u201cGet out of your rut!\u201d day here on Ear to the Ground, and I have a fun little review on Rimfaxe, an album by Gjallarhorn, a Nordic band bringing traditional Nordic folk to new ears. The whole thing started when I was speaking with a Norwegian artist friend and he brought up this group because rumor has it that they\u2019ll have a new album out later this year. His initial attempt to introduce me to Gjallarhorn\u2019s music lead to a bit of a mix-up, as there\u2019s also a similarly-named group that puts traditional Nordic stories to heavy-metal music going by the name of Gjallarhorn Metal. I half Jokingly proposed the latest heavy metal album to Greg, and to my shock he said he trusted my judgment (never a good idea). Emboldened by that confidence-builder, I decided to go ahead and write this piece, because frankly we could all do with trying new music occasionally, right?\nGjallarhorn, or the \u201csounding horn,\u201d was founded in the Swedish speaking areas of western Finland in 1994. They work in both Swedish and English at times, and both versions are touching. Really, the distinction between Gjallarhorn and Gjallarhorn Metal is the mode of delivery only. Both deal with different stories than we\u2019re accustomed, both have a different (although similar) sound than we typically hear, and both are classed as \u201ctraditional Nordic folk\u201d music. This really makes one ask a number of questions, like what the purpose of folk music is, what makes something \u201cfolk,\u201d how one\u2019s own identity influences their idea of folk, and more.\nGjallarhorn has a sound that brings to mind our concept of fairies and pastoral scenes, much more calm and earthy than Gjallarhorn Metal\u2019s treatment of the same material. They almost sound close to Gaelic musicians like Loreena McKennit or the Chieftains. The instrumentation is variable, and can range from very simple fiddle, vocals, and pipes to intricate arrangements with some members trading off instruments during one song or otherwise calling upon more than one sound in close succession. Their music truly spins an enchantment as you listen.\nRimfaxe was the last album released before Gjallarhorn disappeared for a bit. Produced and recorded in the US with the help of Bruce Swedien. Swedien is recognizable in the US from his work with the likes of Michael Jackson, Quincy Jones, Duke Ellington, Ella Fitzgerald and recently Jennifer Lopez. The title Rimfaxe comes from a magical horse that appears frequently in Norse mythology. The first and title track is variable in tone, and changes tempo through the song, vaguely like riding a horse from starting out to gallop to stop. Kokkovirsi dances and twirls as a bonfire or dancers circling a bonfire, more dark and dramatic than soft and light. Systrarna is a string-driven familiar song, and like any sisterly relationship has its harsher and softer moments, all weaving together a beautiful tapestry. Most versions of Blacken available on the web include an English introduction which tells one story of the magical horse, in this incarnation a king\u2019s favorite battle steed. The driving back beat mimics horse hooves, while the haunting melody remind us of the magic that is woven into these and all myths. Hymn has a somber, prayerful tone, but with a foreign quality that feels more Marakesh market than Northern European. It\u2019s a great reminder of connections we all share.\nBreaking from this more serious tone to lighthearted Sylvklar (or Villfar og Slyvklar) and its almost dancing spirit seems as natural as a summer festival on a Sunday afternoon. Norafields has some similarities with our own mountain folk music- fiddle and pipe accompany human voice- although there\u2019s more complexity than found in Appalachian folk music. Shrieking begins iVall, a word with no direct English translation and a song with no real US comparison. Digeridoo, drums, pipes highlight, and the song\u2019s exotic urbane feel lead one to think of all the cultures that one has yet to experience. Taklax is one of the few instrumental songs on Rimfaxe, and sticks out for the intricacy of the playing that is required even for simple percussion instruments. This is, in my opinion, the most technically skilled of the tracks. Staffan has a lullaby quality to start, put picks up half way through. The more confident tone of the second half is spritely and uplifting, and has moments of near teasing sounds before fading out. The album ends with Graning and its accapella beginning. Jenny\u2019s voice carries the song off perfectly until the winds take over a bit, and they trade and accompany each other into a wonderful ending to this world music gem.\nGjallarhorn had been lying low for a number of years, until their tour began in 2011 and continued through 2012. While the extended hiatus slowed their growth, there continues to be interest in Gjallarhorn both in their homeland and abroad. The recent tour seems to have renewed interest in them, as indicated by the number of their videos and covers posted on YouTube. They have toured successfully over the years across North America, Australia, Europe, and Japan thanks to their broad appeal and technical skill. If we\u2019re lucky, the rumors of a new album will be true. In that case, 2013 will be quite an exciting year, but no matter what, there\u2019s music available from this group on their website, on YouTube, MySpace, and for sale on Amazon. Go ahead, try some other folk\u2019s folk, and treat your ear to a Nordic ballad or two. And check out Gjallarhorn Metal, as well, if you want to really change things up.\nTracks: Rimfaxe (Rimemane), Kokkovirsi (Bonfire Song), Systrarna (The Sisters), Blacken [Grey & Frost Club Mix], Hymn (Hymn), Sylvklar (Silverbright), Norafields (Mountain Poem), iVall (@ley), Taklax 1037, Taklax 1034, Staffan (Stephen), Graning (Dawn).",
"Michael Block Atty At Law is a SIC: 811103 - Attorneys based in New York, New York . You can call them at 2122279008 or check the details below for more contact information about the firm. The record of Michael Block Atty At Law law firm profile that we have is not complete, if you are the representative of this company then please contact us to update this company profile information in our website.",
"As every year, our brand Antoine Motard was present at the Salon Esprit Furniture Porte de Versailles. The appointment was held Porte de Versailles, a moment of meeting and sharing around our new creations in a setting granting sobriety and fantasy flowers.\nThe study of the modes is essential in our work, so we set up a notebook of trends which will help our designers to elaborate pieces answering the desires and needs of the users. With colors, materials and shapes that will align perfectly with future styles.\nThis year 2018 surprises us and with especially a desire to set up a newsletter to inform you of new trends and our evolution in the company. Subscribe to stay informed about news.",
"Sonoma's Infineon Raceway will install $3 million worth of solar panels from Panasonic, part of a 5-year sponsorship deal that will see the global electronics-maker assume a charter sponsor role in the raceway\u2019s new green performance program.\nThat initiative will significantly enhance the facility\u2019s existing sustainable practices in its daily business operations, while at the same time looking to communicate to the raceway\u2019s customer base about the performance benefits of green transportation technologies. The cooperation with Panasonic also includes the renaming of the Infineon Raceway Technology Center, based in the paddock. It will now be known as the Panasonic Technology Center.\nA total of 1,652 of Panasonic\u2019s Sanyo solar panels will be installed at the raceway, much of which will be visible by the raceway\u2019s patrons at its major events and will serve as a continuing reminder about sustainability. The solar power produced by the new system will provide for 41-percent of the raceway\u2019s overall energy usage.\nOther current partners participating in the program also include Safety-Kleen and PG&E, which conducted a comprehensive energy audit of the raceway earlier this year."
],
"desc_act": false,
"exllama_config": {
"version": 1
},
"group_size": 128,
"max_input_length": null,
"meta": {
"quantizer": [
"optimum:1.24.0",
"auto_gptq:0.7.1"
]
},
"model_seqlen": null,
"module_name_preceding_first_block": null,
"modules_in_block_to_quantize": null,
"pad_token_id": null,
"quant_method": "gptq",
"sym": true,
"tokenizer": null,
"true_sequential": true,
"use_cuda_fp16": false,
"use_exllama": true
},
"rms_norm_eps": 1e-05,
"rope_scaling": {
"factor": 8.0,
"high_freq_factor": 4.0,
"low_freq_factor": 1.0,
"original_max_position_embeddings": 8192,
"rope_type": "llama3"
},
"rope_theta": 500000.0,
"tie_word_embeddings": false,
"torch_dtype": "float16",
"transformers_version": "4.49.0",
"use_cache": true,
"vocab_size": 128256
}