Large Format Photography Forum > LF Forums > Cameras & Camera Accessories > Newbie. 4x5 body and lenses for fine art copy work?
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I'm investigating cameras to photograph fine art paintings from about 30 x 30 cm to 2 x 2 m.
First, I investigated medium format cameras. It seems a Hasselblad 500 C/M would be an ok choice. The Zeiss 100 mm Planar lens is designed to be very low distortion and specifically recommended for copy work of paintings over 1 m^2. The Zeiss 120 mm Makro-Planar lens is recommended for smaller work. My understanding is that 100 mm and 120 mm lenses on a 6 x 6 cm camera are slightly telephoto which makes them good for 2D copy work thanks to a minor flattening effect.
Now, I'm investigating 4 x 5 in cameras and too my surprise they are not way more expensive! I'm told by several folks that a 4 x 5 would be better for what I want to do. More light on the film.
I haven't found any specific camera body or lens recommendations like I did for the Hasselblad. Is it possible to make specific recommendations for an appropriate camera body and low distortion lens?
A Sinar P or P2, along with a 150mm lens, possibly a G-claron, although there are a lot of great choices.
But before going into this too far, what is your goal? Do you just want film copies, or are you going to make prints?
High-end copy people often use scan backs. Lighting is going to be very important.
It probably more depends on what the ultimate consumer wants, and why you're doing it, unless you are doing this for fun. If it's just inventory for a collector or gallery, that would perhaps require something different than if you are wanting to make full size posters for a museum gift shop. For instance, I used to shoot violins for a big violin shop. Things that were for internal record keeping were adequately covered by a Mamiya RB67/140mm Macro (which I would rather use for this than a Hasselblad, by the way), but shots for publication and calendars were done on 4x5.
Thanks for your response. I'll investigate the equipment you mentioned.
The goal is to make prints so the artists can show galleries in a portfolio of past work and so that prints can be sold at exhibitions.
The best lens in the Hasselblad system for this work is the 135mm f5.6 Planar with bellows (been there done this). This allows focusing from infinity down to 1:1.
The other essential Hasselblad item for this work is the Linear mirror. If one can be found, it will make alignment from camera to copy item much easier with far greater accuracy to keeping camera to copy item parallel. This is essential to limit distortion and getting center to corners in focus.
That said, a view camera is a far more capable tool for copy work due to camera movement and optics available specifically designed for this work. A view camera (Sinar Por P2 or X) coupled with a Hasselblad linear mirror, solid and stable camera support, polarized lighting and polarizer for the camera optics (if needed) and copy support makes a proper copy set up that will get very high quality results.
Overall, view camera optics are a better value than the Hasselblad or similar medium format optics. Beyond that roll film backs can be used on a 4x5 giving much the same results as any medium format camera except with the flexibility and capability of camera movement and large choice of optics.
View cameras have more capabilities than needed for your copy work. The adjustments of a view camera essential for some other photography have to be carefully checked when doing precision copy work. A basic press camera with a decent lens like the Kodak Ektar 203mm f/7.7 might do well enough. The older Speed Graphic Anniversary model has few adjustments. If properly aligned, it stays that way.
I love film. I just got a new-to-me film camera system, a Fuji GX680III. But I would be very tempted to use digital for this work. The ability to fairly easily be very accurate with color would be the draw. With film, you'll have to adjust for the characteristic of the film, you'll have to have very consistent development, and you'll need high end optical prints or scans from the film. With digital you can keep that all in-house. You can with film, too, but you need a very good darkroom for high quality film developing and optical prints, or a drum scanner if you need to digitalize the chromes... If you live close to a good film lab...that might change the equation.
I think larger than 40 inches would be unlikely.
Thanks for all the responses. I appreciate them and will investigate all the equipment mentioned.
I copy fine art 20 X 22" pencil drawing for one artist. My sole client. I have shot 100 of his work using Nikon D700, D800 and now D750. He doesn't want to reproduce his art to sell multiples, as his sales are in unique single drawings. He is now getting $1000 a drawing. I think that's too low. He needs digital images for his website, and to submit to galleries. I made two 5X7" sample books for him to carry with him. He sells directly from the books or exhibitions.
We are very careful to supply low resolution sample images on the website and for gallery submission. We do not want anyone else reproducing his art.
He will bring me 20 more shortly, he handles the art himself and places it on my copy table. I shoot only with him present and he leaves with the art and 1 of 3 digital files. He keeps that file. I keep one and I PS the last one for actual usage. He's very high energy and always in a huge hurry.
Just a story on how everything can be different.
I've had suggestions here and from others for everything from old press cameras to wooden field cameras to monorail cameras. I've had suggestions for lenses from 150 mm up to 300 mm. I'm left thinking that a lot of combinations could work for me. Would the following combination be a reasonable place to start?
The camera and lenses appear to be affordable on Ebay. The Cambo system seems extensive so I could expand and experiment without breaking the bank.
The lenses, tripod, and ball head would be the larger expenses but I'd be happy buying them if I knew they would remain useful if I decided to move on to a more professional camera.
I still need to investigate studio lighting.
That was essentially what I used for the violin work I mentioned above, with a 150 for the work at close to 1:1, and a 210mm for everything else. Something like an 180mm or would be the most comfortable if you have the space. 300mm is probably too long, and would limit your ability to copy small things if that was needed.
Choose a tripod for its stability, not size, and you will probably never use it with the center post extended more than about five inches, but it's nice (absolutely necessary?) to have one for fine tuning the camera position. Copy work is particularly demanding in this regard.
I know this is a LF forum, and I sure love to shoot LF film. But for art reproduction, it doesn't make any sense whatsoever. My opinion.
First, the camera is not the crucial part here. The light is. Get a good studio strobe outfit plus a good digital flash meter (1/10 stop accuracy) and learn how to use it properly.
Second, the chain of film, processing, and scanning is a nightmare. As well as from time, color control or financial perspectives. Nobody will pay you for the additional time and materials. A digital camera gives you a lot of control over white balance, contrast, saturation (for individual colors), etc.. Any good DSLR has enough resolution for portfolio sized prints. Use a good lens, work with precision, and you're fine.
Third, the post production work (Photoshop) is very important. Don't underestimate that part.
That's true--my comments were definitely living in in the past, and I shouldn't have let the OP's film enthusiasm carry me away. The firm that I did the violin work for switched to Hasselblad digital quite a while ago, and I'm using digital for it, too. One nice thing about digital is that with film the problem of precise color reproduction was . . . impossible. With digital it's a snap.
In fact, this work is currently the ONLY thing I do digitally. My D300 easily replicates what we used to do with the Mamiya RB67, and at some point I'll upgrade that and be totally satisfied, but for now, even that is OK.
There are so many conflicting opinions on this. As far as I know, every 35 mm DSLR image I've seen printed at 30" looks quite poor. I imagine improvements could be made but the would need to be dramatic to start getting. Close to acceptable.
Two photographers I've spoken with in person who do copy work both swear by film. One runs a photo lab and says all the digital work (scanning, color correcting) and test proofs are part of the price of making a print. He said just bring in a 4x5 on Provia and let him do the rest.
> Any good DSLR has enough resolution for portfolio sized prints.
How big do you consider "portfolio sized"?
Well can we argue format all day, but everything will get pushed through Photoshop and that is where the work is.
I would not use any tripod for this. I used to use a converted Polaroid MP3, see Glennview.com, I copied his mounting solution.
Now I use an Arkay Studio Stand as it can handle any camera I put on it and can shoot from 9' down onto floor or table. Way easier than any tripod and cheap on the secondary market.
Gettings things square in camera is a great idea, but some lenses balloon and PS will be needed. I also shoot 'white' paper drawings against black matted board with a grid for alignment. I include a black border for PS purposes, but eliminate it for final product.
Lighting is a big challenge and my latest method actually seems best, but I need to check it against my upcoming copy work. Now I am bouncing 2 strobes in small softboxes off my white ceiling. Surround lighting is looking good.
I like my wireless tether with D750, gets wires out of the way.
Since you are new to this, the advice is overwhelming, each needs to find their own way, there is no correct answer.
This is hobby time so some lost time is not the end of the world. The cost of entry doesn't seem enormous. If I don't get it right with the first combination of equipment, I can take a loss and try a different camera (e.g. digital.) If the strobes, light meter, tripod purchased for the first try can all be used with another camera that is a lot of expense spent in the right direction for the second try.
Toyo stuff is very good. (My field camera is a Toyo.) But make sure to check prices versus a Sinar P. These are incredibly easy to use, and they aren't all that expensive.
Any decent camera will work.
However, I must interject taht a lens such as the Rodenstock Apo-Ronar or the Schneider G Claron would be your best choice for this type of work.
The reason is that these optics have a flatter field. The standard type lenses have curvature of filed and the corners are never quite as sharp as the center due the curved projection of the image.
The G Claron or Apo-Ronar, are process lenses originally designed to shoot copy for printing such as maps, news papers etc.
So the image had to be extremely even across the entire field and so they were deigned to project a flat image.
You should have a sturdy rigid body with a bellows draw at least equal to twice the focal length of the lens you get.
This means you could copy any flat art from a 4x5 miniature, to a life size copy, to something quite large.
I'm interested in doing copy work with my soon to arrive Durst 138S. I purchased the copy light cassette and the lights. I'm thinking to try with 4x5 TMAX 100 as 5x7 TMAX is unavailable. Can you give me any advice?
Process lenses are designed for copy work and feature low-low distortion and also keep chromatic aberrations at a minimum. Which one is hard to say. Focal length, film format and lighting method need consideration and you'll have many successful options from which to choose. Apo Ronars have been mentioned, Apo Nikkors and many others are also in the running. With all your options available, narrow-down by reading, pick a format, plan your workspace and lighting method, run trials with any format and adapt to an available format and process lens designed for the task . . . 4/5, 8/10 format, camera of your choosing (sturdy, long process lenses are heavy), look at process cameras, track-down a process camera operator.
Lighting is going to be very important.
I just recently bought some 8x10 film holders locally from a retired professional photographer. He did live in New York and shot artwork for a living using an 8x10 camera and slide film.
He had a bunch of Speedotron equipment for sale also. He said what he did required a lot of light.
Light? Yes. Small apertures (process lens), slowest film, bellows draw, polarization and color correction adds up to considerable attenuation. But no sweat, a well conceived plan will always be successful. Possibles are multiple and repeated strobes in a dark studio, timed daylight exposures, timed incandescent bulbs, multiple flashbulbs, meggaflash flashbulbs and it will be successful and fun.
Planning is a tool of the trade.
Hey I do this daily for a living. For the best repro system I use a Sinar with mirror alignment and a Super 6KHS Betterlight scanning back. The lighting is Northlight 900watt HID copy light complete with a filter slot for UV and Polarizers. The lens choice depends upon what I am doing. Apo Ronars are fine but they are not flat field. That is a myth. They behave flat field once they have been stopped down to f:22...Period...then they are in their sweet spot but stop it down further and now they are on the edge of being diffraction limited.
The Apo Ronar is my choice when I do not need cross polarization. It is also my choice when I need to stitch really large files...because they do not exhibit distortion. These were designed for map making and are a great process lens.
Nikon D810 or D800 has the resolution for 24 inch and smaller prints.It can do well for 30 inch with interpolation.
With this system you must still the use [Zigalign] mirror alignment system. It will pay for itself by saving time and producing better images.
Then use In Camera profiling with a Greytag-Mackbeth SG Chart and Pictocolor software. this is absolutely necessary when X Polarizing to tame contrast and colour rendition.
Tame light falloff with Equalight.
Thanks for your info, Adam.
Hey I do this daily for a living. For the best repro system I use a Sinar with mirror alignment and a Super 6KHS Betterlight scanning back.
Is your Sinar a 4x5?
Does the scanning back scan the entire frame (e.g. 4x5 on a 4x5 camera)?
What focal length Apo Sironar S would you use to photograph a painting that is, say, 30x40 inches?
Something I don't know how to do is calculate how far away from the painting I would need to be to fill the frame for a given lens focal length on a 4x5 camera.


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The intelligent ambush hunters can learn quickly—and remember, experts say.
When you go after the same fish as a goliath grouper, you may be in for a tug of war—as a fisherman recently learned on a dive off Apalachicola, Florida.
Grayson Shepard was spearfishing for snapper at a shipwreck site in June when he captured a startling video of several goliath groupers trying to take his catch.
"I weigh 220 lbs. [100 kilograms], and it dragged me easily 20 feet [6 meters] or so before letting go," Shepard says.
Native to shallow reefs and coastal waters in the western Atlantic and Gulf of Mexico (see range map), the fish were once aggressively hunted, and have been protected from hunting in the U.S since 1990.
In the new video, the goliaths appear to become the hunters themselves, stalking Shepard and waiting for just the right moment to grab the fish.
"[Were they] following the diver around? No question about it. They probably know his boat by the sound of it," says R. Grant Gilmore, a fish ecologist at the Florida-based company Estuarine, Coastal and Ocean Science, Inc.
Gilmore, who has studied the fish for decades, says goliath groupers are ambush predators that "prey predominantly on slow-moving animals. A speared snapper on the end of a spear-gun is a slow-moving animal," says Gilmore.
Sylvia Earle, National Geographic Explorer-in-Residence, also suggested looking at the incident from the fish's perspective.
"Thinking like an ocean, it is clear that the diver, not the grouper, is doing the stealing," she says by email.
"What is a grouper supposed to do, anyway, when a fish is injured in the neighborhood?
Goliath groupers have slowly rebounded in Florida, and despite being protected, Gilmore says goliath poaching is common, and he fears fishing the behemoths could become legal again.
As for Shepard, the spear fisherman, he says he has a lot of respect for the mighty fish.
"As frustrating as it is to lose my catch to them, I respect the laws protecting goliaths and will never physically harm or kill them," he says.


text:
Mural Project Reflections from Artist, Kelly Brown
Photo by Alan Schlesinger
When we came into the mural project painting group, the canvas seemed endless. It appeared to be a gigantic piece of white canvas that went on forever and ever. How would we ever fill it? What would we say?
People were there for a variety of different reasons. Some people had experienced homelessness very recently and were still in transition. They were no longer on the street, but not yet experiencing the stability and security they desired.
Others were still on the street and actively engaged in the struggle to end that phase of their journey. One person didn't see himself as an artist, and just came to possibly make twenty dollars. There were some who resonated with the title of "artist" and wanted to make a statement. They wanted to show both sympathy, as well as empathy for those living on the streets and in shelters. They wanted to express that those experiencing homelessness are not "ghosts" or "apparitions," but real live human beings who have a presence and an existence on this planet even if they have no residence. The mural painters wanted to affirm the dignity of all human beings no matter what their present station in life may be.
The first step in the process involved putting white paint on the canvas. There was no dramatic transformation, but at least brush had been put upon canvas! The next step was more visible and involved as different shades of background color were applied. It ascended from dark gray to sky blue. A bridge and steps were added. Both of these were powerful symbols. The bridge connects from where one begins to where one wants to go. The steps represented ascension of people who were in transition. Underneath the bridge, those still experiencing homelessness were located in the dark shades of chaos and confusion. All were recognized in their various stages and understood in their proper context. Everyone is in various stages on the journey of life.
Our final feat up till now was the addition of the words... "here but not forgotten!" It recognized that those experiencing homelessness are present. They are not going anywhere. They are not forgotten by those who have completed that stage of the journey and remember those they left behind in the streets.
The canvas is no longer blank. It has a life of its own. It has been molded and shaped into a beautiful creation by a collective process of caring artists. The work continues. The journey does as well.
Kelly Brown is a TAPH artist partner, a writer and watercolor painter.
Photo by Lanecia Rouse
City Hall Mural Update
The men and women of The Art Project, Houston gathered in St. John's Bread of Life yesterday to continue their work on their newest mural. This mural, once finished, will be a depiction of the feelings and experiences of the homeless men and women of Houston, and it will be hung in City Hall.
This week was the second of six sessions. Last week, the background of the mural was completed: a smoky, dark gray that gradually becomes lighter as it moves to the top of the canvas. This week, a new touch was added to the top half: a deep blue that fades as it approaches the bottom. So now, bottom to top, the canvas goes from dark gray to light gray to light blue to ocean blue.
The mural will also feature a bridge, and this week they decided which one: the bridge spanning Buffalo Bayou near the University of Houston - Downtown. Since a large portion of Houston's homeless community call this bridge their home, it only seemed appropriate. By this time next week, that bridge will be displayed on the canvas.
Take a Creativity Break with TAPH and 47 Strings in August
Come enjoy a special TAPH watercolor class that uses classical music--performed live--as an extra source of creative inspiration!
In partnership with 47 Strings, participants will have beautiful music for voice & harp to guide their brushes & keep the creative juices flowing, alongside expert watercolor instruction from Joe Synan.
When: 12-1:30pm in August 2014
Where: Watercolor Studio at TAPH
Cost: Suggested donation of $15
Space is limited.
Partner Organization: 47 Strings
Founded in 2012 by harpist Meghan Caulkett, 47 Strings began with the mission of bringing classical music to the greater Houston community with one concert for every string on the harp. Though the initial goal of 47 concerts has been achieved, the vision continues.
So far, over 1,700 people in Houston nursing homes, homeless shelters, and schools have been reached.
Performing artists:
Julia Fox, soprano
Meghan Caulkett, harp
Get Creative with TAPH Saturday, May 3!
Get Creative with The Art Project, Houston is a day of creativity and fun. Each participant experiences two workshops of their choice, led by professional Houston artists. In each workshop you will learn a new art skill, tap into your creativity and leave with your very own masterpieces.
We provide art experiences for everyone to tap into their creative spirit within, as well as creative ways for people to financially assist the Bread of Life in offering therapeutic art opportunities for Houston's homeless community.
Reflection from TAPH Artist Partner, R.B.H. Yates
Thank You, Lovett Elementary Fine Arts for the Certificate of Artistic Excellence!!!
You are an Outstanding School. It never occurred to me; that my views on Houston, Texas would have had such an impact. This was an educational experience, which I enjoyed.
I got the opportunity to listen and view students from a Houston Public magnet school orchestrate beautiful music. After talking with the children, I learned they received their musical instrument at a fundamentally early age. That's wonderful.
Most of all, Lovett Elementary substantiated my beliefs about Houston. All the necessary information and resources are here.
St. John's Church Downtown, the Art Project of Houston and a host of various organizations have greatly enriched my life; since, I returned to my home town. I bank on Houston!
Thank You Very Much!!!
R.B.H.Yates
3rd April 15, 2014
Photography by John Bullock of Bullock Art
Celebration & Exhibition with Our Friends at Lovett Fine Arts Elementary School
All of the artists from Lovett Fine Arts Elementary School, some of the TAPH artists who participated in the collaboration, Laura and Roy Nichols and other TAPH friends
The Lovett Fine Arts Elementary School and TAPH celebration and exhibition of "The Perfect Place in the Whole World Is..." at Lovett was a wonderful. One of the first grade artists told a parent volunteer while receiving cookies and juice at the reception, "This is the best day of my life!"
It was a great day!
Each artist who participated received a certificate and recognition before family, friends and some of the faculty at Lovett Fine Arts Elementary School for their art contribution to the exhibition. Over the next couple of weeks we will be sharing reflections from the TAPH artists who shared in this special exhibition and moment in the life of our city.
Special thanks to the following individuals who helped to create such a special moment:
Principal Dawn Thompson
Magnet Coordinator Cara Boynton
First Grade Teacher Liasons Jennifer Pedigo & Christine Hunt
First Grade Teachers Susanne Oliver, Carla Vlaskamp, Dana Nathan
Visual Arts Teacher Rickey Polidore
Friends from Re-Imagining Life Together, Laura and Roy Nichol
Photographer John Bullock
Lovett Fine Arts Elementary School Orchestra
St. John's Staff Jessica Jones
All photographs taken by John Bullock
Celebrate with us on Thursday, April 10
You Are Cordially Invited to the
Lovett Elementary School & The Art Project, Houston Collaboration Exhibit & Celebration
"The Perfect Place in the Whole Wide World Is..."
Noon-1pm
Lovett Elementary School, Multi-Purpose Room
8814 South Rice Avenue
The Lovett Elementary Visual Arts Department and First Graders partnered with artists from
The Art Project, Houston to create a once in a lifetime watercolor art exhibition.
The first graders and artists of The Art Project, Houston were each invited to write letters inspired by the given writing prompt "The Perfect Place in the Whole Wide World Is...". The responses were traded between groups and used as muses to create marvelous watercolor pieces. This unprecedented union of artworks was highlighted at Prescription:Paint 2013 on December 7, 2013.
We are thankful to our friends from Re-imagining Life Together and Lovett Elementary School for helping to make this exhibition and collaboration possible.
To learn more about this collaboration and how you can host this special exhibit click HERE to contact Project Manager, Lanecia Rouse.
Paint Party at Westbury United Methodist Church
Saturday, March 29, The Art Project, Houston team led a worship banner painting paint party for members of Westbury United Methodist Church. With the help of our our friend and artist partner, Pastor Steve Braudt from The Art Project, Iowa who created the design during his visit early this month, the team led 15 participants of all ages in creating worship banners for their Easter service.
To learn how to host a private paint party with The Art Project, Houston click HERE.
A Reflection from Rutherford Yates, TAPH Artist Partner & Participant
Mr. Yates was one of the participants at our first Get Creative with TAPH on February 22. He has been apart of The Art Project, Houston since October 2013. We invited him to write a reflection about his experience with The Art Project, Houston and Get Creative with TAPH.
Here is his reflection...
Saturday, the 22nd of February 2014, I was fortunate enough to attend 2 classes of The Art Project at St. John's Church Downtown from 10am until 2pm. These workshops were taught by 2 brilliant local creative artist. This experience opened my mind up to the reality that there are numerous things in this life I can attempt to learn. If no more than the principles or theories of how things operate. (How did they do that.)
The participating hands on in the creative work process show me that if, I focused my mental abilities in a structured and controlled environment my potential is unlimited. There is always a different angle to look at what you are going through. I learned that God is healing me and it is a process.
The Art Project has been a stabilizing factor in my life. I am coming out of homelessness. These workshops have allowed me to maintain my sanity through its various creative projects. This was exactly what I needed at this stage in my life.
The Art Project and St. John's Church has exposed my mind to a whole new world out there.
Rutherford Yates, TAPH Artist Partner & Participant
For registration details for our next Get Creative with TAPH CLICK HERE.
Reflection from Get Creative with TAPH Participant, Amanda Emmons
Ask me a question and I'll have to think for just a moment to find the proper words to answer your inquiry. Place an art media before me and my thoughts and my hands will immediately begin to work to create something…taking me to another place.
The Art Project, Houston allows me that space and guidance to come together with like energies to explore…and it gives me life. I love it when I have one vision of how the piece is to come out, I make a mistake and it turns out to be the best imperfection that makes the piece unique…such as life. And to watch the process of other masterpieces in the making is inspiring and life giving in itself. It feeds my spirit.
Amanda Emmons was 1 of 31 participants at our first Get Creative with The Art Project, Houston day on Saturday, February 22. Get Creative with TAPH was a day of creative workshops offered by professional Houston based artists, helping each participant tap into their creativity, learn new art practices and create masterpieces to take with them. Each participant got to select 2 out of 6 workshops offered for their donation.
Our next Get Creative with TAPH will be held on Saturday, May 2 (10am-2pm) at St. John's Downtown. Hope to see you then! For registration details click HERE.

redpajama_set_name: RedPajamaCommonCrawl


text:
The 2015 World Snowshoe Championships was the 8th edition of the global snowshoe running competition, World Snowshoe Championships, organised by the World Snowshoe Federation and took place in Quebec City on 31 January 2015.

Results
The race, held on the distance of 10 km, has compiled two different ranking (male and female) overall, it was the mass start system and more than 200 snowshoers participated in it.

Male Overall

Women's overall

References

External links
 World Snowshoe Federation official web site

World Snowshoe Championships


What is slacklining? It's the act of balancing along a narrow strip of flexible webbing, basically a 2-inch wide trampoline. Why? It's a FUN (and FREE) challenge, not to mention a great balance trainer that strengthens the core and lower body.
Slackline Industries will have several styles of beginner slacklines set up over a padded area for everyone to try. It's fun for all ages and if you have never tried it, this is the place to do it. Find us in the Historic Tredegar parking lots, with pro athletes on hand giving pointers on the basics and some entry level tricks. Before you know it you'll be hooked and amazed at what you see the pros doing at Dominion Energy Riverrock's Slackline Invitational!


The excitement is building ahead of the grand opening and Glasgow Live was there to get a first look inside tonight.
Excitement has been building ever since we broke the news that Glasgow is getting its first street food market.
The city has been spoiled for choice with food pop-ups such as the Big Feed and Chompsky – not to mention the much-loved Christmas market at St Enoch's Square.
But now DockYard Social has rolled into the city's west end – our first permanent feeding spot.
The market boasts carefully selected, ethically-sourced food vendors providing the biggest, best flavours from around the world.
Take a tour with our reporter Gillian as she meets Kyle Steel, the man behind pop-up restaurant firm Section 33.
DockYard Social is situated at 95-107 Haugh Road. Tickets can still be purchased on their website.


Taught by our expert tutors who have years of experience in PAT testing, our course is taught in an easy-to-follow, step-by-step fashion which makes it easy to understand portable appliance testing.
Developed around the IET Code of Practice that governs PAT testing in the United Kingdom, the course is aimed at teaching you all the rules and regulations of PAT testing as well as how to operate PAT testing equipment.
Those who successfully pass the exam/practical will be issued with a Certificate of Competence awarded by PASS.
Our PAT competency course lasts for one day from 9AM to 4PM.
This course is open to everyone and is especially suited for those with no PAT testing knowledge at all.
We would suggest owning a copy of the IET Code of Practice, but full training materials will be provided on the day.
Train to competently operate PAT testing equipment and safely test portable electrical appliances with our Liverpool PAT testing course.
Ideal for those in Merseyside, Liverpool and the surrounding area, our PAT competency course is open to absolutely anyone who would like to learn how to PAT test. You don't even have to have any prior electrical training!
Taught by our expert tutors, the course mixes together both practical and theory work with plenty of hands-on time testing to get you familiar with the equipment.
We highly recommend businesses wanting to PAT test their own equipment or those looking for a PAT testing qualification to create their own PAT business consider taking this course.


ROP-type GTPases of plants function as molecular switches within elementary signal transduction pathways such as the regulation of ROS synthesis via activation of NADPH oxidases (RBOH-respiratory burst oxidase homolog in plants). Previously, we reported that silencing of the Medicago truncatula GTPase MtROP9 led to reduced ROS production and suppressed induction of ROS-related enzymes in transgenic roots (MtROP9i) infected with pathogenic (Aphanomyces euteiches) and symbiotic microorganisms (Glomus intraradices, Sinorhizobium meliloti). While fungal infections were enhanced, S. meliloti infection was drastically impaired. In this study, we investigate the temporal proteome response of M. truncatula MtROP9i transgenic roots during the same microbial interactions under conditions of deprived potential to synthesize ROS. In comparison with control roots (Mtvector), we present a comprehensive proteomic analysis using sensitive MS protein identification. For four early infection time-points (1, 3, 5, 24 hpi), 733 spots were found to be different in abundance: 213 spots comprising 984 proteins (607 unique) were identified after S. meliloti infection, 230 spots comprising 796 proteins (580 unique) after G. intraradices infection, and 290 spots comprising 1240 proteins (828 unique) after A. euteiches infection. Data evaluation by GelMap in combination with a heatmap tool allowed recognition of key proteome changes during microbial interactions under conditions of hampered ROS synthesis. Overall, the number of induced proteins in MtROP9i was low as compared with controls, indicating a dual function of ROS in defense signaling as well as alternative response patterns activated during microbial infection. Qualitative analysis of induced proteins showed that enzymes linked to ROS production and scavenging were highly induced in control roots, while in MtROP9i the majority of proteins were involved in alternative defense pathways such as cell wall and protein degradation.


text:
Top 10 Most Common TRID Issues
Recorded on June 18, 2018 | With Jack Holzknecht
View the Sample
With Jack Holzknecht
The Consumer Financial Protection Bureau (CFPB) published a final rule to implement the new integrated disclosures (TRID) on November 20, 2013. The final rule was effective on October 3, 2015. The TRID rules and guidance from the CFPB continue to evolve. After much industry confusion and concern regarding elements of the regulation, the CFPB released a proposal to update the TRID regulation in July 2016. The final TRID Amendment was released on July 7, 2017, with a mandatory compliance date of October 1, 2018.
This two-hour program reviews the 2017 amendments and explains how the amendments impact the existing rule, including:
The general rules contained in 1026.19;
The content rules and the detailed instructions for completing the loan estimate from 1026.37; and
The content rules and the detailed instructions for completing the closing disclosure from 1026.38.
Daily TRID management continues to challenge many banks and lenders; this webinar provides a thorough review of the 2017 amendments. Whether you are new to TRID or have been involved since its inception, this review of the 2017 amendments provides the information you need in order to implement the changes.
Participants receive a detailed manual that serves as a handbook long after the program is completed.
Upon completion of the program participants understand:
The expanded scope of TRID coverage;
The rules for the timing and content of revised disclosures;
Guidance on sharing disclosures with various parties involved in the mortgage origination process;
Proper disclosure of construction loans;
How to disclose simultaneous subordinate lien loans;
Accurately disclosing the Calculating Cash to Close table;
Tolerance requirements for charges paid to all parties;
Clarification on when and how to disclose a rate lock;
Proper disclosure of lender and seller credits;
Revisions to disclosures of escrow disclosure requirements; and
So much more.
This program is designed for managers of all departments that originate mortgage loans, compliance officers, loan officers, auditors and others with responsibilities for preparing, delivering or auditing the TRID disclosures.
Webinar Q & A Document
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Jack Holzknecht
Jack Holzknecht is the CEO of Compliance Resource, LLC. He has been delivering the word on lending compliance for 39 years. In Jack's 34 years as a trainer over 125,000 bankers (and many examiners) have participated in his live seminars and webinars. Jack's career began in 1976 as a federal bank examiner. He later headed the product and education divisions of a regional consulting company. There he developed loan and deposit form systems and software. He also developed and presented training programs to bankers in 43 states. Jack has been an instructor at compliance schools presented by several state bankers associations. He developed and delivered compliance training for the FDIC and OTS for ten years. He is a Certified Regulatory Compliance Manager and a member of the National Speakers Association. He is also a "BOL Guru."
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Recently nominated for the Third Sector Board Director of the year award, Christine Pope has defined herself as an innovative strategist and Board Director. Working with the Australian Traditional-Medicine Society (ATMS), Christine has played a pivotal role in increasing membership engagement and retention, the implementation of a radically successful marketing plan and an extremely successful student engagement program to name a few.
Christine donated some of her time to have a quick interview with us here at TAS to share her valuable insights regarding the plight of the modern association.
You have been nominated for the Board Director of the year award, what are three things that make you a great Board Director?
Answer: I am financially astute, I understand the consequences of making a decision and I am highly capable of both big and small picture thinking. As a practitioner myself, I can see the impact it has on day-to-day practice, but on an industry level and from an industry perspective, what actions need to be taken.
We have noticed an enormous amount of changes occurring within ATMS over the last few years. What has been the greatest change you have brought to ATMS?
Answer: I've been directly a part of the initiation of ATMS' Natural Medicine Week which has primarily been about marshaling our resources to promote natural medicine generally and really focus on the marketing aspect of our association. We saw a fantastic response with most of these workshops filling quickly and generating some great conversation about natural medicine, particularly on social media.
Another key direction has been the Student Engagement Program. This consists of strong and regular marketing in the form of newsletters, emails and social media. These are designed to provide students with invaluable information ranging from step by step establishment through to marketing and running a practice to the latest updates in the traditional-medicine environment.
We further run a one day event (very reasonably priced if I may add!) called the 'Transition to Practice' – a course designed to inform and educate students on how to start and maintain a successful practice.
What do you think is a major pitfall or challenge that the modern association faces?
Answer: I think the biggest issue associations face is membership engagement. Once upon a time you graduated as an accountant, joined your association, were a member until you retired and by then you were probably a life member.
Answer: Many people believe they can find the information from alternate sources and may not be aware of the advocacy and drive occurring from our end. You are still required to justify the benefits of being a member which we have found far easier with an increase in membership engagement through media, events and effective marketing.
What do you think is the most important direction modern associations must adopt or address to remain relevant?
Answer: Using technology in a way in which members can interact is critical, whether it's a member portal so they can easily access and change their information or online registrations for events.
We have adopted and harnessed modern technology to dramatically improve ATMS. In a short period of time it is difficult to have sufficient information to determine exactly how great a positive effect it has and will continue to have on ATMS, but we have already seen significant changes taking place regarding membership engagement and retention.
Is there anything else you would like to add before we wrap up this interview?
Thank you very much for your time Christine! You have given a fantastic snapshot into the plight of the modern association and strategies to succeed in the association world!


Download Free The Inerrant Word Biblical Historical Theological And Pastoral Perspectives Book in PDF and EPUB Free Download. You can read online The Inerrant Word Biblical Historical Theological And Pastoral Perspectives and write the review.
Edited by John MacArthur, this collection of essays by a host of evangelical pastors, theologians, historians, and biblical scholars presents compelling arguments from a variety of disciplines in defense of the doctrine of biblical inerrancy.
Historians and theologians alike have long recognized that at the heart of the sixteenth-century Protestant Reformation were five declarations (or "solas") that distinguished the movement from other expressions of the Christian faith. Five hundred years later, we live in a different time with fresh challenges to our faith. Yet these rallying cries of the Reformation continue to speak to us, addressing a wide range of contemporary issues. The Five Solas series will help you understand the historical and biblical context of the five solas and how to live out the relevance of Reformation theology today. In God's Word Alone—The Authority of Scripture, scholar and pastor Matthew Barrett looks at the historical and biblical roots of the doctrine that Scripture alone is the final and decisive authority for God's people. He examines the development of this theme in the Reformation and traces the crisis that followed resulting in a shift away from the authority of Scripture. Barrett shows that we need to recover a robust doctrine of Scripture's authority in the face of today's challenges and why a solid doctrinal foundation built on God's Word is the best hope for the future of the church.
A method of interpretation--a hermeneutic--is indispensable for understanding Scripture, constructing theology, and living the Christian life, but most contemporary hermeneutical systems fail to acknowledge the principles and practices of the biblical writers themselves. Christians today cannot employ a truly biblical view of the Bible unless they understand why the prophets and apostles interpreted Scripture the way they did. To this end, Abner Chou proposes a "hermeneutic of obedience," in which believers learn to interpret Scripture the way the biblical authors did--including understanding the New Testament's use of the Old Testament. Chou first unfolds the "prophetic hermeneutic" of the Old Testament authors, and demonstrates the continuity of this approach with the "apostolic hermeneutic" of the New Testament authors.
Where was the gospel before the Reformation? Contemporary evangelicals often struggle to answer that question. As a result, many Roman Catholics are quick to allege that the Reformation understanding of the gospel simply did not exist before the 1500s. They assert that key Reformation doctrines, like sola fide, were nonexistent in the first fifteen centuries of church history. Rather, they were invented by Martin Luther, John Calvin, and others. That is a serious charge, and one that evangelicals must be ready to answer. If an evangelical understanding of the gospel is only 500 years old, we are in major trouble. However, if it can be demonstrated that Reformers were not inventing something new, but instead were recovering something old, then key tenets of the Protestant faith are greatly affirmed. Hence, the need for this book. After reading Long Before Luther, readers will: Possess a greater understanding of church history and the role it plays in the church today. Have a deeper appreciation for the hard-won victories of the Reformation. Be equipped to dialogue with Catholic friends about the presence of Reformed doctrines throughout church history. Feel renewed gratefulness for the unearned nature of grace and the power of the gospel.


text:
package com.enigmabridge.provider.specs;

import com.enigmabridge.EBEngine;
import com.enigmabridge.EBEngineReference;
import com.enigmabridge.create.EBUOGetTemplateRequest;

import java.math.BigInteger;
import java.security.spec.RSAKeyGenParameterSpec;

/**
 * RSA key generation spec for EB.
 *
 * Created by dusanklinec on 28.06.16.
 */
public class EBRSAKeyGenParameterSpec extends RSAKeyGenParameterSpec implements EBEngineReference, EBCreateUOTemplateSpec {
    private final EBEngine engine;
    private EBUOGetTemplateRequest tplReq;

    /**
     * Constructs a new RSAParameterSpec object from the
     * given keysize. Public exponent is 65537.
     *
     * @param keysize        the modulus size (specified in number of bits)
     */
    public EBRSAKeyGenParameterSpec(int keysize) {
        super(keysize, F4);
        engine = null;
    }

    /**
     * Constructs a new RSAParameterSpec object from the
     * given keysize and public-exponent value.
     *
     * @param keysize        the modulus size (specified in number of bits)
     * @param publicExponent the public exponent
     */
    public EBRSAKeyGenParameterSpec(int keysize, BigInteger publicExponent) {
        super(keysize, publicExponent);
        engine = null;
    }

    public EBRSAKeyGenParameterSpec(int keysize, BigInteger publicExponent, EBEngine engine) {
        super(keysize, publicExponent);
        this.engine = engine;
    }

    public EBRSAKeyGenParameterSpec(int keysize, EBEngine engine) {
        super(keysize, F4);
        this.engine = engine;
    }

    public EBRSAKeyGenParameterSpec setTplReq(EBUOGetTemplateRequest tplReq) {
        this.tplReq = tplReq;
        return this;
    }

    @Override
    public EBEngine getEBEngine() {
        return engine;
    }

    @Override
    public EBUOGetTemplateRequest getTemplateRequest() {
        return tplReq;
    }
}


Research shows that poverty has a significantly negative impact on African American and Latino families. Poverty adversely impacts early brain development and has a lasting impact on childhood development and learning.
We all know that poverty can have a lasting effect on children and families. Families experience stress during economic hardship. Children can experience stress from families, which plays a role in learning. Early childhood programs need to be aware of the individualized needs of families and children. They also need to address the whole child and take into consideration variations in learning styles.
Contact us today to learn more and/or to discuss your particular needs.


"How can we get into USA Today?"
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Walker Sands' President Mike Santoro and Lab42's Director of Marketing Andrea Kempfer will present the fastest, most direct ways to get media coverage by mining and reframing the data your company may already have on hand. They'll present case studies from Lab42 and Walker Sands clients, demonstrating how it's possible to use data and get media results while being mindful of budget.
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text: Q: Datapoint on highmap slow down the Angular Application Problem is when I am showing datapoints on map it is slowing down my page and when doing zoom in or zoom out on the map it is also slowing down my page, I mean it make my page unresponsive. please guide me how to handle this issue. Datapoints are upto 10,000 or maybe 50,000. I am also using boost and turbo threshold properties but still same behaviour.

redpajama_set_name: RedPajamaStackExchange


text:
Drafted by the Milwaukee Brewers His Senior Year, Rivera Didn't Even Play High School Football
Ryan DePaul
Joel Rivera is easily one of the most gifted wide receivers in the A7FL but it was actually baseball where he'd find himself being drafted right out of High School. "After completing my senior year in high school I was the 429th pick in the 15th round of the 2003 MLB draft to the Milwaukee Brewers. I played Rookie ball in the Brewers minor league system in Arizona for a year and a half before ultimately deciding to walk away from the game for family reasons," says Rivera who is a father to two daughters ages 13 and 2. "My children are my world. I had Liana at the young age of 19 years old when I was in the minor league system. I decided to walk away from the game of baseball because I believed raising my daughter was more important. My father was not around much for my brothers and I as a child so I did not want my daughter to experience the heart ache I felt. Liana is a polite selfless and intelligent girl. She's also an athlete and plays softball/track… Ayva is an energetic little girl I call caterpillar. She might be small but her personality is a big as an adults. She dances her life away to just about anything that has a beat. My girls are my life and they will always come first."
Rivera would later attend William Paterson University to give football a shot as a walk-on. Not only did he make the team but he broke 7 records and was selected to participate in the New York Jets Rookie camp. Born and raised in Hoboken, NJ Rivera stands at 6'1, 205lbs but at 33 years old he realizes professional sports has passed him by. "Every athlete has dreams of becoming a professional athlete but due to my parental responsibilities I had to make a decision on pursuing a degree and entering into a career field that will allow me to take care of my family or continue to pursue my own dreams of becoming a professional athlete. Being a big family man I chose to continue my education and graduate with a degree in Sociology with a concentration in Social Services," says Rivera. Joel is currently working in his degree field of Mental Health for the state of New Jersy at the Meadowview Psychiatric facility.
I went on to ask about the 2019 season and his expectations for The Paterson U. "It's not a secret that the Paterson U has a bad taste in our mouths from losing in the final four three years in a row. With our new additions this year I believe we can break our streak of bad luck in the final four and go back to the championship. My ability as a pure receiver and grinder in crunch time coupled with the talents of all my fellow U members I am confident that we will be representing New Jersey in the Championship, says Rivera."
While I've always acknowledged Rivera's talents he might not have been featured in so many highlights possibly because his teammates Kareen Moon and Marcus "Hardbody" McKinney have soaked up most of the attention. "My style of play isn't flashy but it's productive. It's tough to rattle me on the field because I view this league as an escape from my every day stress and not a league where I need to prove something to others. I love and respect this game of football. For me I have always strived to be the best at every sport I participate in because I viewed it as my way of escaping the hardships I faced as I child. As an adult I play this game strictly for the love of competing. I love this game and appreciate the league for allowing me to continue feeding that beast I call my competitive side. I don't need the recognition or to be on top of anyone's favorite list. Just know when I am on the field you will always have to be on the look out for number 19, says Rivera."
Off topic but I was curious if Joel has or wanted to visit other parts of the world. "I would love to visit Tibet. Growing up in the projects in Hoboken my brothers and I would always watch the Discovery channel and as an adult I am an avid viewer of the Travel channel and food network. Tibetan culture, cuisine and architecture has always fascinated me so I plan to visit one day and experience the Tibetan culture first hand, says Rivera."
The Paterson U will take on the Pennsylvania Immortalz April 7th at 4pm. Watch it live on FaceBook.
Related TopicsFeaturedJoel RiveraPaterson UWide Receiver
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The pages on the SSW tell about the games but you have to find the game you're looking for.
The Sploder Games wiki is also for non-series games.
I'm adding this for no reason.
The reason i made the "Sploder Games Wiki" is because pages about Sploder Games aren't allowed on the Sploder Wiki.
Stop editing this topic "Dewott the Epic".
Lol I'm just trying to be funny.
Mjd you're just a bit too serious.
Sometimes you got to take things as a joke.
I know, but it doesn't mean you get to edit the post off topic "as a joke".


text:
Joel Kim Booster is done trying to be a role model: 'My job isn't to represent all of you'
Joel Kim Booster knows about having "a moment."
In the past five years, the actor/writer has voiced characters in Netflix's "BoJack Horseman" and "Big Mouth," guested on TBS' "Search Party" and HBO's "Curb Your Enthusiasm," and starred in the short-lived NBC sitcom "Sunnyside." But with a Hulu rom-com ("Fire Island"), Netflix standup special ("Psychosexual") and Apple TV+ comedy ("Loot") all premiering this month, the long-touted "comedian to watch" is finally poised to break out.
"Since 2016, when I ended up on 'Conan,' well-meaning people in my life have been like, 'This is it! You're about to be huge!' " says Booster, 34. "I've been hearing that for years and it hasn't exactly happened, so my response now is incredibly measured. I'm very grateful that I'm able to support myself doing this, and I'm very pleased that people seem to be liking (these projects)."
'Fire Island':Hulu's gay rom-com pays steamy, stormy ode to 'Pride and Prejudice'
Co-created by Matt Hubbard and Alan Yang ("Parks and Recreation"), "Loot" (first three episodes streaming Friday; new episodes weekly) stars Maya Rudolph as Molly, an ignorant yet well-meaning billionaire who turns to philanthropy after her husband (Adam Scott) leaves her. Booster plays snooty assistant Nicholas, who tries convincing Molly to give up her noble new venture so they can go back to getting massages and buying castles online.
Nicholas "is like the most negative aspects of my personality blown up tenfold," Booster says. "It's so fun to be heightened and just watch people like Maya do their thing. I don't know that there's a real villain in the show, but it is fun to be the devil on her shoulder. I don't often get to play that part."
6 new TV shows to watch this summer:'Loot,' 'Ms. Marvel,' more
For Booster, "Loot" was an opportunity to stretch himself and just be silly after "Fire Island" (now streaming), in which he and "Saturday Night Live" favorite Bowen Yang play two friends attempting to find love while on vacation in New York's famed gay mecca. Inspired by the tart humor and sweeping romance of Jane Austen novels, the film is also grounded in real-world issues of race, class and toxic body standards.
"Coming to a place like Fire Island can be so freeing, because as gay people, we don't even realize the weight we carried around navigating heterosexual spaces," says Booster, who wrote and executive-produced the movie. "But some people feel so free that they get emboldened, like, 'How do gay men start to oppress each other when there's no one around to oppress us?' It really does become a microcosm of that."
Conrad Ricamora, who plays Booster's love interest in the dramedy, says it was "super inspiring" watching him navigate so many different roles in front of and behind the camera.
"I've seen white people in this role over and over again," Ricamora says. "But I've never seen an Asian American – let alone a gay Asian-American man – given so much guidance of a film, and then actually starring in it as well. It was healing to see how empowered we can be."
That "Fire Island" so deftly wrestles with queer trauma and identity is no surprise to anyone familiar with Booster's comedy. He was born in South Korea and adopted at a young age by white, evangelical Christian parents. Homeschooled for most of his childhood in Plainfield, Illinois, Booster never thought he was "especially funny" until high school, where he realized that his "very blunt" sense of humor made other students laugh.
It was around that time that Booster was outed by his parents after they read his journal, which contained lists of "guys I'd hooked up with or drugs I'd tried."
"It was very easy for them to sift through and find all the stuff I didn't want them knowing," Booster recalls. "It wasn't until I discovered playwriting (at Millikin University in Decatur) that I really began to figure out how to process a lot of what happened to me through narrative. And then standup was a huge evolution of that; it was really the start of processing my experience and the way I navigated the world."
Booster performed standup for the first time while living in Chicago after college, when someone dropped out of his theater company's variety show at the last minute. He volunteered to fill in by testing out a few jokes, which "created the addiction in me."
"Psychosexual" (now streaming), Booster's first hourlong standup special, is chock full of bawdy humor about masturbation, threesomes and taking explicit pictures. But it also grapples with Booster's struggles to get in touch with his cultural background and the expectations placed on him to be a "role model" as a gay and Asian comedian.
"I always wanted to talk about myself in a way that felt authentic, and early on, I was celebrated for that. That felt revolutionary," Booster says. "And then suddenly, if (audiences) don't see themselves reflected in my experience, they get very angry with me because I'm not representing everyone. It feels really frustrating when people feel ownership over you.
"There aren't a lot of gay comedians. There aren't a lot of Asian comedians. Scarcity creates resentment, and that's what I'm trying to address in my special: My job isn't to represent all of you and make everyone happy. A couple years ago, my inclination was, 'Oh, what I should be doing is making as many people as possible feel seen.' You lose sight of yourself and the real reason you're up there, which is to make people laugh."
After his whirlwind of June premieres, Booster plans to relax by taking a brief vacation over the Fourth of July weekend – in Fire Island.
"Depending on how people like or don't like the movie," he says, "it'll be a real fun experience or it will be a nightmare. We'll see."


City of Toronto is in shortage of money and I was stopped by one of their collecting agent (a.k.a A Cop) this morning.
I was preparing to make a right turn on the right lane. It is a bus lane (HOV lane) and the cop said that I cut in too early - the law states that I can be on a HOV lane no more than 60 meters before making a right turn at the intended intersaction.
Personaly I don't think I broke the law, but I didn't argue as the cop is always right.
In addition, I forgot my driver licenses at home and he issued another ticket to me for this matter.
I was driving my wife's car that was registered to her parent's address (i.e. not my own address).
1) What's the best way to fight off these tickets?
2) Would all those "technical errors" (i.e. wrong family name, emtpied driver licenses field, wrong address) help me to fight these tickets off?
To fight the charge, send the ticket in pleading not guilty, and make a disclosure request. In the disclosure request, ask for an explanation and clarification of the charge.
154.1, I believe, applies only to the "King's Highway," at least if I read it correctly. This would be roads like the 404 or 403. I don't think a Toronto surface street counts. "Disobey sign" might be an appropriate charge, depending on the circumstances. I haven't read anything that says you must be within 60 metres of the intersection before joining the lane to turn. I think some more info from the officer's notes would help you proceed. Also, I think that the HOV lanes in Toronto require a by-law to be designated as such, but I'll have to look into it. If that's the case, the disclosure package would require a certified copy of the by-law showing that they are transit/HOV lanes; if it is not included, could motion for a stay based on improper disclosure. There are other ways of contesting it, but better to get the background information from the officer/Crown first.
As for not having the license, the failure to wear seatbelt may be intended as punishment for it, but that is not the correct charge. Should be beatable, at least on paper. As for the errors and omissions, they will be corrected at trial. For the ticket to be dismissed as invalid, the errors have to be HUGE, basically meaning no offence date, defendant is not named, ticket is not signed, offence is not included, or something like that.
Toronto HOV lanes are not bilingual!
TC, reading 154.1 it appears to apply only to the King's Highway. Incorrect charge?
horus1219, which street did this occur on? There are several possible issues here that may help you fight the charge. Might want to go back and photograph the area with a time-date stamp on the photo so you can present it in court, as a starting point. With a little more info there's a good chance you could put together a solid defence on this case.
The King's Highway includes highways 2-148 along with the 400-series and the QEW. The most popular HOV road in Toronto is probably Don Mills, which as far as I know is not a King's Highway (it's Regional Road 12 or something like that).
I'm not sure if a highway retains the King's Highway designation when responsibility for the road is turned over to a local authority.
Hmmm... so if it was Dundas Street (hwy 5), Markham Road (hwy 48 ), Yonge Street (hwy 11), Avenue Road (hwy 11A), Kingston Road (hwy 2), "King's Highway" might apply, depending on designation. However, none of them, AFAIK, have HOV lanes.
Regulations for high occupancy vehicle lanes - 154.1.
(3) No person shall drive a motor vehicle in a high occupancy vehicle lane or enter or exit a high occupancy vehicle lane except in accordance with this section and the regulations made under it.
Would think that since subsection (1) says this applies to a "King's Highway," the road the offence took place on would also have to be a King's Highway, not a local road.
I'd try to trip them up with the improper by-law disclosure. If they don't give you a certified copy of the by-law, 15 days in advance of the trial file a motion for a stay based on improper disclosure. That will stop the trial in its tracks. As for the 60 metre rule, I have no idea where that came from, I can't find any reference in the HTA, maybe it's under one of those obscure O. Regs.
Assuming that this was not on a King's Highway, I think the charge should have been under the City of Toronto Municipal Code 400-21, or the old Metropolitan Bylaw 132/93. I can find neither of those online, so I can't read the text to determine if either specifies a 60 m limit.
No by-law disclosure and the bilingual defence should kill the first ticket.
I got nailed like that on Dundas. The funny part is that I had paper stubs to prove that I was going to make a turn 100m ahead (I was expensing the parking fees) and he still nailed me with a ticket. Making a lane change and a turn on Dundas at 9am within 60m is suicide. Fortunately at least I had all of my papers/equipment up to spec. They need to change that bylaw to about 150m.
Another HTA section that needs re-working. Why not just say "highway"?
Well, to avoid any confusion, toss that one; going with the two options that TC said are the best way to go: Quash on improper disclosure or bilingual defence.
FiReSTaRT wrote: They need to change that bylaw to about 150m.
Yeah no kidding. I don't even know why anyone would bother enforcing exactly 60 metres, either. In 99% of cases there are no buses or taxis anywhere near you.
A family member was stopped driving in the "bus only" lane on the southbound stretch of William Allen Rd. last spring in Toronto. The charge laid was for "improper use of the HOV lane - 154.1 (3). Thanks to information shared in this thread I now know the 154.1 (3) specifically refers to the King's Highways, and as such William Allen Rd. is exempt from said by-law.
I am fighting the charge on my family member's behalf. I requested disclosure 6 weeks before the first court appearance (the disclosure request form states 6-8 weeks are required for processing) and didn't receive it in time for the first appearance. When I arrived in court the prosecutor told me I requested disclosure "too late" and that she "likes to request disclosure no later than 8 weeks" before the scheduled court date. I told her I was told informed otherwise by the administrative clerk, and she instructed me to wait until after court proceedings concluded so I could receive disclosure from the officer who was in attendance. The case was adjourned for a month because my family member wasn't present with me, and I did indeed receive disclosure from the officer after court.
It's been a couple weeks since then, and with a couple of weeks left to go before the scheduled second appearance I'll be attending court once again to request another adjournment. My family member will not be able to take time off work on the scheduled court date (her employer refuses time off during a hectic period) so I'll be asking the judge for some leniency in this regard and will request any other future date (without the officer in court today to chime in about the date). In addition I'll be informing the prosecutor that I received improper disclosure from the officer (officer's handwriting illegible - requesting typed notes AND no by-law disclosure) and that the 4 weeks between the first court appearance and second scheduled court appearance wasn't enough time to put a repeat request through for disclosure once more. I'm confident the prosecutor will oblige, but if he/she won't I plan on making the same argument before the judge. I presume it's in the court's benefit to give me adequate time to receive proper disclosure.
After several court appearances requesting a rescheduled date, I appeared before the Justice. I explained that I didn't receive proper disclosure after my initial request as the disclosure I received from the officer didn't include a certified copy of the City of Toronto by-law (pertaining to driving on a City of Toronto road with an HOV lane). The prosecutor interjected several times, expressing confusion at the discussion I was having with the Justice and kept stating "I don't understand, this is a highway traffic act matter!" - I took that to mean she thought I was arguing for a certified copy of the HTA, which I wasn't. When I explained to the Justice I didn't received a certified copy of the City of Toronto by-law he understood where I was coming from, because when the prosecutor interjected, again, and stated on the record that she "didn't know about any such by-law and doesn't have any such by-law" the Justice held the case until the end of the session. When I was called back up I reiterated my case and the prosecutor reiterated her confusion, again, to which the Justice replied on the record that "the prosecutor has failed to provide you with the copy of the by-law, you have certain rights, go investigate." Another court date was then chosen and I left.
My question now is which step/s do I take in relation to the Justice's comments in order to have the charge dismissed/stayed? I haven't seen any specific posts from someone else that was in the exact same position so any help is greatly appreciated!


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New guidelines may provoke confusion as Clery Act marks its 20th
November 8, 2010 September 5, 2018 Frank LoMonte
Jeanne Clery lost her life in April 1986, but there is no telling how many lives have been saved since then due to her family's tireless work to make sure that college students have adequate warning of campus safety threats.
The Jeanne Clery Act took effect twenty year ago (November 8, 1990), an enduring memorial to the 19-year-old Lehigh University student who was murdered in her dorm room by a fellow student. Her parents, Howard and Connie, discovered that Lehigh, like many colleges of the time, had no effective warning system to give students notice when they are at heightened risk of violent attack.
In response to the family's lobbying, Congress enacted the Clery Act to require that colleges give "timely" warning (recently upgraded to "immediate" warning) when a dangerous criminal is believed to be at work on campus. The Act requires each college to make readily available an up-to-date daily log of serious crimes on campus, and to distribute a yearly statistical recap of crime each Oct. 1.
(Clery represents the bare minimum of information to which journalists are entitled. Compliance with the Act is no substitute for also complying with any applicable public-records laws, which apply to police incident reports at virtually all public colleges and even some private ones. To learn more about the interaction of the federal Clery law with state public-records laws — and in which states journalists may be able to obtain incident reports from private as well as public colleges — check out the SPLC's "Covering Campus Crime" guide.)
According to the advocacy organization founded by the Clery family, Security on Campus, Inc., the U.S. Department of Education has revised its guidelines for what type of crime qualifies as a "burglary" for Clery reporting purposes. The change took effect for the annual crime report that was due Oct. 1, 2010.
Under the new guidance, a crime can be classified as a "theft" (and thus not reportable) if there is no evidence of unlawful entry into a structure. For example, if a laptop goes missing from a dorm room, then — in the absence of evidence that the computer was taken by a break-in artist as opposed to an invited guest — the police can assume that the thief entered consensually and categorize the crime as theft, not burglary.
This revision brings the Clery guidelines in line with how the FBI defines burglary for purposes of its Uniform Crime Reporting system, but it is likely to produce some curious statistics for the next year or two as burglary stats drop off precipitously. The revision reinforces the need for journalists to dig deeply when faced with suspicious-looking statistics. While a drastic dip in reported crimes can be evidence of intentional manipulation, innocent explanations are also possible.
Tagged campus crime, FOI
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Not sure about the Malin Bridge site belonging British Gas in the 60's. Remember Brown Baileys at Olivers Mount very well. The Metro Vickers /AEI site I think was known as Firth Vickers in the 60's and I played there a few times also. Further up Bawtry Rd on the same side was Edger Allen-Aerex and on the opposite side was Dunford Hadfields. Over the crest was Steel Peach and Tozer later BSC.
I used to go to school at Meadowhead and remember the sports field at Jordanthorpe but never got the chance to visit there.
Also remember playing in Chapeltown, was that Newton Chambers ?
Dormer tools at Jordanthorpe. Then boundary heard the club house was a state do not know what has happened to it now.
Jubilee Sports on Claywheels Lane,got a crate of beer in the changing room.


Situated in a quiet road connecting Athenry Road with Dublin Road, number 10 is situated within easy access of schools, shop and social amenities. The property comes to market in sound structural order but in need of modernisation. A small porch leads to two reception rooms, one on either side of the stairway. To the right the family room has an open fireplace with a kitchen and bathroom to the rear. To the left the sitting room has another open fireplace and would also make a great playroom/study or a third bedroom. Upstairs there are two bedrooms. To the front of the house there is a small garden while the rear garden is considerably larger than those usually found in semi-detached houses. A well-constructed garden shed offers extra storage space. There is currently a strong demand for rental property in the Tuam area.
Bedroom 1 2.61m x 3.83m.
Bedroom 2 3.90m x 3.93m.
Within walking distance of Tuam town and all amenities.
Close to all local schools in the area.
76.1sq m /819 sq ft approx.


Herbicide-resistant black grass is by far the biggest threat to arable farmers in the UK. In some parts of East Anglia farmers have been forced to plow under their entire crop because of fields overgrown with resistant weeds. That was one reason why Bayer UK set up a Black Grass Task Force and launched a very informative website highlighting the four building blocks of black-grass management: checking the weed population; cultivating soil as part of a cultural control strategy; enhancing crop competition; and diversifying chemical control, i.e. applying herbicides with different modes of action to reduce selection pressure.


Over the years 23 Degrees has hosted and organised a variety of camps, safaris and tours. Being located in Southern Spain where the sunshine is more abundant than in most other parts of Europe, and with our offices nestled in the Sierra Nevada National Park, we have the ideal location for training camps, organised tours and even special events outside of this region. We have hosted many safaris in Africa for example!
23 Degrees can also provide an ideal Winter Training Camp for teams, clubs and National Federations seeking an ideal location with great roads, more than 200km of forest trail and downhill runs. We have our own 10 person Finnish sauna, jacuzzi and recreation area. We have a hotel beside our premises with 15 rooms. Simply contact us to arrange your perfect trip to Southern Spain.