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A Chat With Glass Animals
January 2, 2014 April 30, 2020 8 minute readby Team CBB
Words by Jess Garcia.
2013 was very kind to hard-working UK band Glass Animals, working with producer Paul Epworth (Florence and The Machine, Friendly Fires, Foster The People) on single 'Psylla', and being the first group signed to his new label Wolf Tone, they're ready to take on whatever 2014 has in store.
You've just released your EP, Glass Animals. What did you have to consider when you put your EP together?
We had a few songs hanging around for it, so we had to be quite selective. We wanted to choose four songs that went really well together because we're quite diverse. It was quite a strange mix of sounds, because there's 'Psylla', which is like a psychedelic rock song, 'Exxus', which takes a lot from dub music and there's 'Black Mambo', which takes a lot from hip-hop (and it features a rapper). So we really wanted to be quite diverse and I think we got that.
How do you guys feel being able to work with Paul Epworth and to be the first act signed to Wolf Tone?
It's great! It's kind of a dream. Sometimes I have to pinch myself. He was a producer growing up who really inspired me the most. He put together all those classic records, like that first Bloc Party album Silent Alarm and the first Maxïmo Park record. They were the albums I grew up with and they are completely coherent from start to finish. He's got a great haul of records and I've always been into that, having really cohesive albums. So it's a mark of someone who can make those kinds of records and who can gives us some pointers, so it's really invaluable.
What can you tell us about the making of the single 'Psylla'?
For 'Psylla', we were mainly working from Oxford in our little shed studio and we didn't really have any good equipment. We were using an old computer that my dad had given me as a hand-me-down. But we were finally able to get to a London studio, where we gained access to a whole feat of new synths and equipment. It was stuff that could help us get a harder, more grittier live band sound. The sound that we had for 'Psylla' before was quite cold and computer based and quite digital. But I do think 'Psylla' moved on from that a bit because we were in a better studio.
You're getting a lot of love for 'Psylla' in Australia, especially on one of our radio stations, triple j. Did you anticipate such an international response?
Triple J? Oh I love that radio station! Totally not. It was so incredibly unexpected. I think it's been a better response here at our home country. I mean, it is going okay over here in the UK, but we've got quite a lot of interviews and a lot of demands here in Australia, so that was really unexpected. I've never been to Australia and I never thought that our music would make it out of the UK. But it has and it's really promising the idea that we might be going to Australia. I think we'll hopefully be there with you guys in the first half of 2014.
What was a highlight during your tour in Europe?
We always end up bumping into Mac DeMarco on tour and we bumped into those guys again. We've played with them at quite a lot of festivals, especially around Europe. So bumping into them, hanging out with them and sneaking around backstage with them is always really really fun. They're really great guys.
What were some obstacles that you have to overcome in preparation for the tour?
It was quite a tough time to talk through it while we were right in the middle of making the album. The main obstacle of it was trying to have time to rehearse and record. We were basically in the studio for the whole month before the tour, so it was an obstacle being able to play properly with minimal rehearsal. I think we did okay, even though it was a bit rough. It made the shows a bit messy and a bit more fun, but we danced harder to make up for it.
You guys have been described as cinematic with your approach to music. Do you look at film scores when you're trying to find inspiration or do you look to other sources?
That's really interesting. I haven't really heard that cinematic description, so that's really cool. I do often find myself not really paying attention to a film because I'm listening to the film's score. Maybe that's why we're a bit cinematic. I've never really thought about it like that, but I would love to score a film one day.
What do you look to when you're looking for inspiration?
I listen to quite a lot of old hip-hop, like 90s hip-hop, so lots of Dr. Dre. I also listen to old records from the 70s. However, I listen to a lot of new stuff as well, like Animal Collective and Burial & Four Tet. I'm always looking for new producers and people who are doing weird and new things that haven't been done before.
From some of your earlier Instagram posts, you have a lot of really charming photos of patterns in nature. Are the aesthetics of nature a dominant factor you consider within your sound?
Well I live in Oxford at the moment and we rehearse out in the forest in this little shed. It is quite a nice little sleepy forest, so we end up spending quite a lot of time getting there and walking there. When you walk in the woods you see all the animals. I think that has been quite a strong influence on this album. It's impossible for that world not to infiltrate the lyrics and the stories that you're trying to tell in songs. And being there makes you totally enveloped in that.
Your videos seem to follow along a tangent of surrealism. Did you, as a band, have an input to the visual aspects of your music videos?
Yeah, well with the latest video (the video for 'Psylla') we actually came up with the concept and sent it over to our friend, Raphael (Bonilla Jr) in L.A, then he put his swing on it. We quite like to come up with the concepts for our videos and then give them to someone else to interpret the concepts. Then they can come up with an actual treatment and a real idea. We will always be quite involved with that side of things.
How do you think your band has developed over the past year?
We've moved on quite a bit from our old sound. As I said earlier, we used to mainly work on one old computer, where everything sounded quite digital. And because the computer was quite slow, we really had to think about things before we recorded them. This was because it would take a long time to record something for when we wanted to play it back, so it had to be really thought through. But now we have access to better equipment, which allows us to be a bit more spontaneous. We can mess around when we want a random sound. These things turn into happy accidents in the new recordings, which definitely wasn't the case before.
Do you have any advice for young people (particularly those who want to produce electronic music) who want to get into the music industry?
All I can really say from personal experience is don't rush anything and just take your time. That's definitely the best way to go about it, especially when you want to find out what kind of sound you want to make. And when you start doing it, just go slowly out to the world.
What should we be expecting from Glass Animals in 2014?
You should expect a couple of new songs coming out and we've been working with a few other people. I'm not going to say too many names just yet, because I don't want to say just in case the tracks don't come out. But we have been working with some really cool artists, like rappers, bands and solo artists. So we might release tracks with some cool features and what we've worked on with friends.
A fun one for our very last question: If you could be a literal mold of a glass animal, what animal would it be and why?
Oh my God, that's tough! Probably… a Llamacorn. It's not a real animal of course. It's probably my favourite animal, even though I'm pretty sure it does not exists. It's basically a combination of a unicorn and a llama and they're really delicate creatures. They're funny and they tell good jokes.
Watch the video for Psylla by Glass Animals.
Tags: Glass Animals / Category: Feature
Copyright © 2020 Casual Band Blogger.


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We at PlacateTheCattin pride ourselves on being eco-conscious – always opting for reuse and recycling whenever possible. But faced with the bothersome task of working the new Templated Cave into our old dungeon generation algorithm we decided to junk all those hippy sentiments, recycle nothing and rebuild the entire dungeon generation method from scratch. Here's how it all works now!
Okay, I'm simplifying a bit for the lay-snake and maybe someday I'll write another post about what it means, on a deeper level, to be a biconnected maximal planar graph in a 2D space.
Here's the takeaway. We now have the framework for Meaningful Randomness – plus we can put a Template inside of another Template (that's powerful magic). Using our new system, we can ensure that a level is never filled with Bollgrr Dens, or generate a level which consists solely of interconnected Bollgrr Dens.
So that's how we've arrived here at the Beta.
As you play through the Beta, or watch with curious admiration over someone's shoulder, I hope this explanation gives a little more meaning to the droves of Quadskitters downed deftly as you slither down the winding paths that lead at once to glory and defeat.
Now that we've got the framework – it's time for the content (I love content!). It's time to fill these hallowed and hollow caves with Bosses, Monsters, Snakecessories, Shops, and of course, more majestic herds of Clugs.


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FORT WAYNE, Ind. (WOWO) – Fort Wayne police had to shutdown part of Till Road Friday after a woman threatened to kill herself and barricaded herself inside a home.
Police were called to the 1900 block of Till Road around 9:30 a.m. on reports of an armed and suicidal woman.
Once at the scene, officers were told the woman had threatened to kill herself with the gun, but someone was able to safely take it from her before police arrived. Witnesses also reported to police there were still other weapons inside the home that she could easily get access to.
Officers attempted to communicate with the woman, and to safely get her outside, but she refused.
Police called members of the department's Hostage Negotiation Team and Emergency Services Team to the scene around 10:50 a.m.
At 12:50 p.m., a robot was deployed into the home. The woman then exited the building and surrendered without incident.
During the incident, Till Road was closed to all foot and vehicular traffic.
The woman was transported to a local hospital for evaluation. Charges are pending review by Allen County prosecutors.


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Die Olympus E-1 ist die erste digitale Spiegelreflexkamera (DSLR), die nach dem von Olympus und Kodak gemeinsam entwickelten Four-Thirds-Standard konstruiert und gefertigt wurde. Die Markteinführung erfolgte im September 2003. Durch die robuste Bauweise, die an den klassischen analogen Spiegelreflexkameras orientierte Handhabung und einigen technische Besonderheiten, ist die E-1 ein interessanter Fotoapparat für Profis und anspruchsvolle Amateurfotografen. Allerdings ist die E-1 mit einer Auflösung von 5 Megapixel speziell im Profibereich nicht mehr auf dem allgemein geforderten Stand.

Vorgeschichte
Bereits Anfang 1997 stieg Olympus mit der Camedia C-1000L und C-1400L in die anspruchsvolle Digitalfotografie ein. Damals waren zwar schon digitalen Spiegelreflexkameras auf dem Markt, diese besaßen jedoch noch keine Wechselobjektive. 1998 brachte Olympus die die schnellere und besser ausgestattete C-1400XL und ein Jahr später, die C-2500L auf dem Markt, die bereits mit einem 2,5-Megapixel-CCD bestückt wurde. Diese Kamera erreichte eine Bildqualität und Auflösung, die fotorealistische DIN-A4-Ausdrucke ermöglichte. Mit der Camedia E-10 führte Olympus Ende 2000 eine der ersten professionellen DSLRs ein. Ein Jahr später löste die E-20 die E-10 als Nachfolgemodell ab.

2003 führte Olympus das Four-Thirds-Standard ein. Somit ist die Olympus E-1 die erste Kamera speziell für dieses System konstruiert und gefertigt wurde. Auch das Zubehör und die Wechselobjektive wurden für dieses System entwickelt und optimiert.

Four-Thirds-Standard
Beim Four-Thirds-Standard handelt es sich um ein von Olympus und Kodak entwickeltes System für digitale Spiegelreflexkameras. Es wurde erstmals im September 2002 auf der Photokina in Köln vorgestellt. In diesem offenen Standard wurden die grundsätzlichen mechanischen, optischen, kommunizierenden und elektronischen Kerndaten festgelegt, um eine möglichst große Kompatibilität zu anderen Kamera- und Wechselobjektivherstellern zu erreichen. Ein weiterer Vorteil liegt in der exakten Abstimmung zwischen dem Gehäuse und den Zubehörteilen, da keine qualitätsmindernden Kompromisse geschlossen werden mussten. Kern des Systems ist ein Full-Frame-Transfer-CCD-Bildsensor der Größe 17,3 × 13,0 mm.

Design und Bedienung

Das Gehäuse

Das robuste 660 Gramm schwere Gehäuse aus Magnesiumlegierung ist für den professionellen Einsatz und für eine lange Lebensdauer konzipiert. 65 Gummidichtungen sorgen auch bei Regenwetter für ein problemloses Arbeiten. Sowohl das Gehäuse als auch die meisten Objektive sind nach IEC-Standard spritzwassergeschützt.

Die Handhabung
Auch die Bedienung der Kamera ist an professionellen Bedürfnissen ausgerichtet. Die Handhabung orientiert sich an den bedienerfreundlichen Konzepten der klassischen Spiegelreflexkameras. Alle wichtigen Funktionstasten sind übersichtlich und leicht erreichbar am Gehäuse angeordnet. Die Einstellungen werden in Kombination mit zwei Einstellrädern vorgenommen, die so angeordnet sind, dass sie wahlweise leicht mit dem Daumen oder dem Zeigefinger der rechten Hand bedient werden können. Auch der Wahlschalter für die Belichtungsarten ist ein einfaches Drehrad nach klassischem Vorbild. Über das Menü des LC-Monitors werden lediglich selten benötigte Einstellungen und Feintuning vorgenommen.

Die technischen Komponenten

Der Bildsensor
Die CCD-Fläche des nach dem Four-Thirds-Standard von Kodak gefertigten Full-Frame-Transfer-CCD-Sensor hat eine Länge von 18 mm und eine Breite von 13,5 mm, woraus sich eine Diagonale von 22,3 mm ergibt. Diese Diagonale entspricht etwa der Hälfte der Kleinbild-Diagonalen (43 mm). Da der Bajonettdurchmesser des Gehäuses in etwa dem Durchmesser einer Kleinbild-SLR entspricht, ergibt sich für das einfallende Licht auf und um den Sensor ein Bildkreis von 33,87 mm. Dieses Größenverhältnis zwischen Bildkreis-Diagonalen und Sensor-Diagonalen ermöglicht eine gleichmäßige Ausleuchtung über die gesamte Sensorfläche, also auch in den Randbereichen. Ein Bild-Seitenverhältnis 4:3 besteht auch bei den meisten digitalen Kompaktkameras und bei vielen Fernseh- und Computer-Monitoren. Der Bildsensor hat eine Auflösung von 5,0 Millionen Pixel. Dabei stehen für die Bildausgabe effektiv 4,9 Millionen Pixel zur Verfügung (2560×1920). Die Full-Frame-Transfer-Technik ermöglicht ein schnelles Speichern und Auslesen der Bilddaten und folglich die schnelle Serienbildrate von 3 Bildern pro Sekunde bei 12 Bildern in Folge – unabhängig von der gewählten Auflösung und vom gewählten Dateiformat. Bezüglich der Bildqualität liefert der Sensor feinste Details in allen Helligkeitsbereichen sowie exzellente Farbtreue und scharfe kontrastreiche Bilder. Nachteilig wirkt sich bei Einstellung einer hohen Lichtempfindlichkeit das höhere Grundrauschen gegenüber DSLR-Kameras mit größeren Bildsensoren aus. Ein weiterer sekundärer Vorteil des E1-Bildsensors ergibt sich durch die Fertigung hochwertiger, besonders lichtstarker Objektive mit einem großen Brennweitenbereich in einer zuvor noch nie möglichen leichten und kompakten Bauform.

Der Supersonic Wave Filter
Bei DSLR-Kameras mit Wechselobjektiven ist die Wahrscheinlichkeit sehr groß, dass sich auf dem empfindlichen Bildsensor Staubpartikel absetzen. Bereits kleinste Staubrückstände zeigen sich als deutlich sichtbare Verunreinigungen auf den fertigen Bildern. Mit Reinigungstücher und Pinsel mit oder ohne Blasebalg muss der Schmutz vom Bildsensor entfernt werden. Bei dieser umständlichen und langwierigen Reinigungsarbeit ist das Risiko einer mechanischen Beschädigung des Sensors erheblich groß. Bei der E-1 befindet sich zwischen dem Bildsensor und dem Verschluss der von Olympus patentierte Supersonic Wave Filter. Dieses Bauteil ist ein neuartiger Ultraschall-Staubfilter, der beim Einschalten der Kamera mit Hilfe von hochfrequenten Ultraschall-Schwingungen die am Sensor haftenden Partikel sicher entfernt. Bedingt durch den Reinigungsprozess beim Einschalten ergibt sich eine etwas längere Einschaltverzögerung als bei anderen modernen DSLRs.

Das LCD-Informations-Feld

Diese LC-Anzeige ist das Informationszentrum für alle relevanten Einstellungen der Kamera. Sie informiert über den Blitzmodus, den Messmodus, den Fokussiermodus und den Speichermodus. Sie zeigt gegebenenfalls den Blendenwert, die Verschlusszeit, den Batterieladezustand und die Restaufnahmen. Ferner informiert sie über Bildqualitätseinstellungen, Belichtungsindex (in ISO), Farbraum, Weißabgleich, Fern- und Selbstauslösung, automatische Belichtungsreihen, Rauschunterdrückung und Serienaufnahmen. Je nach Vorwahl wird ein Belichtungspegel für Nachführmessung und Belichtungskorrekturen, Belichtungskorrekturwerte, das aktive AF-Messfeld und die Anzahl der speicherbaren Serienbilder angezeigt.

Der Sucher
Bei der E-1 kann der LC-Monitor nicht als Aufnahmeanzeige genutzt werden. Dafür entfällt die Notwendigkeit einen zur Lichtversorgung für den LC-Monitor und für den Sucher halbdurchlässigen Spiegel einzubauen. Bei der E-1 wird analog zu klassischen Spiegelreflexkameras das gesamte ins Objektiv einfallende Licht über den Spiegel zum Sucher geleitet. Dadurch ergibt sich ein helles klares Sucherbild. Der E-1-Sucher ist ein optischer Pentaprisma-Sucher mit einer 100 Prozent genauen, dem Bild entsprechenden Anzeige. Am Sucherokular ist eine Dioptrieanpassung möglich. In der Mitte des Suchers wird das Autofokus-Messfeld (AF-Messfeld) mit seinen drei Messfeldern angezeigt. Unterhalb des Sucherbildes wird eine Informationsleiste mit den wichtigsten Aufnahmedaten eingeblendet: Verschlusszeit, Blendenwert, Belichtungs- und Messmodus und Belichtungspegelanzeige bei manueller Belichtung und Belichtungskorrekturen. Ferner informiert der Sucher gegebenenfalls über den Blitzmodus, AF- und AE-Speicher, automatische Belichtungsreihen, Weißabgleich, AF-Bestätigung, AF-Messfeld-Wahl und über die speicherbaren Serienbilder. Okularmuschel und Sucherscheiben sind auswechselbar.

Das Autofokus-System
Der Autofokus (AF) der E-1 arbeitet mit 3 Messfeldern. Auf Wunsch kann das aktive Messfeld manuell vorgewählt werden. In den beiden Betriebsarten des Autofokus ergeben sich folgende Abläufe: In der Betriebsart S stellt der Autofokus bei halb gedrücktem Auslöser scharf und verändert diese Einstellung unabhängig vom Bildausschnitt bis zur vollständigen Auslösung (vollständig gedrückter Auslöser) nicht. In der Betriebsart C wird bei halb gedrücktem Auslöser die Schärfe kontinuierlich nachgestellt, dadurch werden bewegte Motive permanent nachkorrigiert. Die Genauigkeit des Autofokus der E-1 ist sehr exakt, aber etwas langsam. Deshalb ist der Autofokus dieser Kamera für schnelle Abläufe, wie zum Beispiel Sportaufnahmen bei Autorennen, weniger geeignet. In der Betriebsart MF ist die Scharfeinstellung, wie bei klassischen SLR-Kameras, manuell am vorderen Einstellungsring des Objektivs möglich. Über das Menü des Bild-Monitors lassen sich Sonderbetriebsarten programmieren, zum Beispiel eine Kombination aus Autofokus und manueller Nachfokussierung. Sehr interessante und individuelle Einstellungen sind in Kombination mit der Belichtungsmessung programmierbar, so zum Beispiel die Belichtungsmessung bei halb gedrücktem und die Scharfstellung bei vollständig gedrücktem Auslöser oder umgekehrt.

Belichtung und Belichtungsmessung

Die Belichtungsmessmethoden
Das Messsystem der E-1 ist eine TTL-Offenblendenmessung. Die Kamera unterstützt drei Belichtungsmessmethoden, was dem normalen Standard moderner Spiegelreflexkameras entspricht. Die digitale ESP-Messung ist eine Kontrastmessung zwischen der Bildmitte und anderen Bildbereichen. Diese Messmethode liefert die besten Ergebnisse bei starken Lichtunterschieden zwischen dem Hauptmotiv und der Umgebung, zum Beispiel bei Gegenlicht. Bei der mittenbetonten Integralmessung werden die Messwerte der Bildmitte und des Bildhintergrunds ermittelt und ein Durchschnittswert gebildet, bei dem die Bildmitte stärker gewichtet wird, da sich in der Bildmitte gewöhnlich das Hauptmotiv befindet. Bei der Spotmessung wir nur der Bildmittelpunkt, genauer 1,8 % des Bildes, bei der Messung berücksichtigt. Die Umgebung hat keinen Einfluss auf das Messergebnis. In Kombination mit dem Messwertspeicher (AE-Speicher), lassen sich die Messwerte bei halb gedrücktem Auslöser speichern. Dies ist sinnvoll, wenn die Kameraposition für den gewünschten Bildausschnitt nicht mit der zuvor gewählten Kameraposition zur Belichtungsmessung übereinstimmt. Sehr interessante und individuelle Einstellungen sind in Kombination mit dem Autofokus programmierbar, so zum Beispiel die Belichtungsmessung bei halb gedrücktem und die Scharfstellung bei vollständig gedrücktem Auslöser oder umgekehrt.

Der Verschluss
Für die korrekte Belichtungszeit sorgt ein präziser, elektronisch geregelter Metalllamellen-Schlitzverschluss. Als Blenden- und Zeitautomat und bei manueller Belichtungseinstellung erlaubt der Verschluss eine Belichtungszeit zwischen 1/4000 und 60 Sekunden. Bei Wahl der Programmautomatik stellt die E-1 Belichtungszeiten zwischen 1/4000 und 2 Sekunden ein. In der Einstellung für Langzeitbelichtung (bulb), kann der Verschluss bis zu 8 Minuten geöffnet bleiben.

Belichtungskorrektur und Lichtempfindlichkeit
Die mögliche Belichtungskorrektur der E-1 umfasst 5 Lichtwert-Stufen (LW) in positiver (Überbelichtung) und negativer (Unterbelichtung) Richtung. Dabei kann wahlweise in 1/3, 1/2 oder 1 LW-Stufen korrigiert werden. Bei automatischen Belichtungsreihen sind die gleichen LW-Stufen wählbar, wobei wahlweise 3 oder 5 Bilder erstellt werden.

In der Grundeinstellung kann der Belichtungsindex der E-1 die ISO-Werte 100, 200, 400 und 800 annehmen. Bei der Vorwahl von ISO BOOST kann die Empfindlichkeit um die Werte 1600 und 3200 erweitert werden, was jedoch zu einem erhöhten Bildrauschen führt.

Die Programmauswahl
Die Belichtungsautomatiken der E-1 entsprechen dem Standard moderner Digitalkameras. Bei der Programmautomatik (P) wählt die Kamera die Blendenzahl und die Verschlusszeit ohne Einflussmöglichkeit des Fotografen. Die Automatik wählt dabei geeignete Blenden-Zeit-Kombinationen, die unter anderem von der Brennweite des Objektives abhängig sind, um zum Beispiel Verwacklungsgefahr durch zu lange Belichtungszeiten zu verhindern. Ist gleichzeitig die Programm Shift-Funktion (PS) aktiviert, besteht die Möglichkeit die Blenden-Zeit-Kombination auszuwählen, ohne die Programmautomatik zu verlassen. Weitere szenenorientierte Programmautomatiken sind bei der E-1 nicht vorhanden, was bei professionell ausgerichteten Kameras meistens auch nicht erwünscht ist. Bei der Zeitautomatik (A) wählt der Fotograf die Blende vor und die Kamera stellt die Zeit automatisch ein. Bei der Blendenautomatik (S) wird die Zeit manuell bestimmt und die Kamera bestimmt automatisch die dazugehörige Blende. Bei der Manuellen Belichtung (M) bestimmt der Fotograf sowohl die Blendenöffnung als auch die Belichtungszeit, die Automatik greift nicht mehr in die Belichtungsmessung ein. Im Info-Display und im Sucher wird dann eine Belichtungsskala angezeigt, die eine manuelle Nachführmessung ermöglicht. Auch bei aktiver Belichtungskorrektur wird durch diese Skala der Korrekturwert angedeutet. Bei Belichtungsreihen werden manuelle Eingriffe und Belichtungskorrekturen berücksichtigt. Die Blendenöffnung hat einen direkten Einfluss auf die Schärfentiefe. Mit Hilfe der Abblendtaste kann die Schärfentiefe durch Einstellung der Arbeitsblende kontrolliert werden.

Die Blitzmodi
Die E-1 verfügt über keinen internen Blitz. Der Anschluss externer Blitzgeräte (auch Fremdgeräte) erfolgt über einen Blitzschuh oder über eine Blitzsynchronbuchse. Durch die TTL-Blitzmessung und bei Einsatz entsprechender Systemblitzgeräte sind eine Vielzahl von Blitzmodi möglich, die auch beliebig miteinander kombinierbar sind. Die Grundmodi sind hierbei: Manuelle Blitzeinstellung, Automatische Blitzabgabe durch das Blitzgerät, Automatische Blitzabgabe (TTL-Modus) durch die Kamera, Reduzierung des Rote-Augen-Effekts, Langzeitsynchronisation mit Blitz auf den ersten Verschlussvorhang, Langzeitsynchronisation mit Blitz auf den zweiten Verschlussvorhang und Aufhellblitz. Die Blitzsynchronzeit beträgt bei der E-1 1/180 Sekunden. In Kombination mit den Systemblitzen FL36 oder FL-50 ist der Super FP-Blitzmodus möglich. Dieser Modus ermöglicht eine Aufhellung des Motivs auch bei sehr hellem Licht, bzw. bei offener Blende oder bei sehr kurzen Belichtungszeiten. Als Sonderzubehör ist für die E-1 der Blitz-Powergrip FP-1 erhältlich, wodurch sich der Abstand zwischen optischer Achse der Kamera und dem Blitzlicht weiter vergrößert. Im FP-1 ist ein zusätzlicher Auslöser integriert. Der Hochleistungsakku BN-1 ermöglicht für das Blitzgerät FL 50 pro Akkuladung über 250 Blitze und eine Blitzladezeit von weniger als 1,3 Sekunden. Im E-System sind weiter Kameragehäuse und das angebotene Zubehör zusammengefasst.

Der LC-Monitor
Der TFT-LC-Farbbildschirm der E-1 hat eine Bilddiagonale von 4,6 cm (1,8″) und eine Auflösung von 134.000 Pixel.

Die Bildwiedergabe
Der Monitor zeigt 100 Prozent der Aufnahme. Über die Informationstaste und den Wahlreglern können folgende Informationen über das jeweilige Bild abgerufen werden: Die erste Sequenz zeigt die Bildnummer an und informiert über die Druckvorauswahl und den Schreibschutz. Die zweite Sequenz gibt Auskunft über den Speichermodus (Bilddatei), die Pixelzahl, die Bildkompression, das Aufnahmedatum, der Aufnahmezeit und die Dateinummer. In der dritten Sequenz werden überbelichtete Bildbereiche, sogenannte Spitzlichter, blinkend markiert. In der nächsten Sequenz gibt das Histogramm Auskunft über die Anordnung der Helligkeitsanteile des gezeigten Bildes. Mit Hilfe des Histogramms kann die Belichtung bei weiteren Bildern oder bei der Nachbearbeitung am Computer optimiert werden. Die letzte Sequenz gibt aufnahmebezogene Informationen wie Messmodus, Belichtungsmodus, Belichtungsindex, Farbraum, Farbsättigung, Brennweite, Belichtungszeit, Blende, Blitzmodus, Korrekturwerte, Weißabgleich, Kontrast- und Schärfeabstufungen. Im Wesentlichen entsprechen diese Informationen den Einträgen des Exif-Formats. Ferner besteht die Möglichkeit mehrere Bilder gleichzeitig oder Ausschnittvergrößerungen eines Einzelbildes anzuzeigen.

Das Menü

Im Menü können benutzerspezifische Einstellungen, selten benötigte Funktionen und Feineinstellungen der E-1 vorgenommen werden. Es gliedert sich in vier Hauptmenüs auf.

Das erste Hauptmenü ist das Aufnahmemenü. Hier kann die Speicherkarte gelöscht oder formatiert werden. Bei der Feinabstimmung der Farbsättigung ist eine Abschwächung um zwei Stufen und eine Anhebung um zwei Stufen vom Mittelwert aus möglich. Außerdem kann gezielt eine Anhebung der roten, der grünen oder der blauen Farbtöne erfolgen. Eine spezielle Einstellung ergibt die optimale Wiedergabe von Hauttönen. Der Kontrast ist in 5 Stufen ((−2) bis (+2)) einstellbar. Für die Scharfzeichnung stehen 9 Stufen von (−3) bis (+5) zur Verfügung. Im Farbraum besteht die Wahl zwischen dem sRGB-Farbmodell und dem Adobe-RGB-Farbraum. Für den Weißabgleich können Belichtungsreihen (Bracketing) zu je 3 Bildern in den Abstufungen −2/0/+2, −4/0/+4 oder −6/0/+6 programmiert werden. Auf Wunsch können die Aufnahmen gleichzeitig im Rohdatenformat (RAW) und im Joint-Photographic-Experts-Group-Format (JPG) gespeichert werden. Bei sehr hoher Einstellung des Belichtungsindexes empfiehlt sich die Aktivierung der Rauschunterdrückung (Noise Filter) oder der Rauschminderung (Noise Reduction). Die Aktivierung einer speziellen Belichtungskorrektur ermöglicht eine Aufhellung der Randbereiche, ähnlich der Wirkung eines Center-Filters. Ist das AF-Hilfslicht aktiviert, sendet die Kamera bei schwacher Beleuchtung ein rotes Streifenmuster auf das Motiv, um die automatische Fokussierung der Schärfe erheblich zu erleichtern. Hinter dem Begriff Anti-Schock versteckt sich die Funktion der Spiegelvorauslösung. Hier kann in Sekundenschritten von einer Sekunde bis 30 Sekunden gewählt werden, in welchem Abstand die Aufnahme nach dem Hochklappen des Spiegels erfolgen soll. Äußerst selten benötigt, aber dennoch sinnvoll, ist die Funktion Pixelkorrektur. Sie gleicht eventuell ausgefallene Sensorzellen automatisch wieder aus und reinigt den CCD-Sensor. Die letzte Funktion des Aufnahmemenüs ist die Blitz-Plus/Minus-Korrektur. Hier kann die Blitzintensität zwischen −2 und +2 EV in 1/3-EV-Stufen korrigiert werden.

Das zweite Hauptmenü ist das Wiedergabemenü. Die erste Funktion dieses Menüs ermöglicht die Auswahl, ob gleichzeitig 1, 4, 9 oder 16 Bilder auf dem Monitor dargestellt werden sollen. Mit Hilfe der Bilddrehung können Hochformatbilder um 90 Grad gedreht werden. Durch die Funktion RAW DATA EDIT ist eine Nachbearbeitung von Rohdaten durch die E-1 möglich. Dabei wird der Rohdatensatz bezüglich Weißabgleich, Farbsättigung, Kontrast, Schärfe, Speichermodus und Farbraum optimiert. Anschließend wird die bearbeitete Bilddatei im JPG-Format abgespeichert. Letzte Funktion des Wiedergabemenüs ist die Druckvorauswahl nach dem DPOF-Format. Dabei können bestimmte oder alle Bilder gewählt werden und diese mit zusätzlichen Druckinformationen, wie Anzahl der Ausdrucke (maximal 10) und Datums- oder Zeitstempel für den Ausdruck versehen werden.

Das dritte Hauptmenü dient zur Feinabstimmung verschiedener Parameter. Zunächst kann bestimmt werden, ob die Stufen der Belichtungskorrektur in 1/3, 1/2 oder 1 EV Schritten erfolgen soll. Mit Hilfe der ISO-Erweiterung kann der einstellbare Belichtungsindex auf die Werte 1600 und 3200 erweitert werden. In der folgenden Funktion kann der Weißabgleich beeinflusst werden. Der automatischen Weißabgleich und die Vorgaben der Farbtemperatur sind jeweils in ± 7 Stufen korrigierbar. Standardmäßige Vorgaben der Farbtemperaturen sind 3000, 3300, 3600, 4000, 4300, 4500, 4800, 5300, 6000, 6600 und 7500 Kelvin. In Kombination mit dem manuellen Weißabgleich lassen sich zusätzliche Farbtemperaturwerte für spezielle Lichtverhältnisse vorgeben. Die SQ-Qualitätsstufe ist die niedrigste Qualitätsstufe im Speichermodus des JPG-Formats. In dieser Qualitätsstufe lassen sich Bildgrößen mit einer Auflösung von 1600×1200, 1280×960, 1024×768 und 640×480 Pixel vorwählen. Für jede dieser Bildgrößen ist eine Kompressionsrate von 1/2,7 oder 1/8 verfügbar. Mit der nächsten Funktion besteht die Möglichkeit die Zeitpunkte für die Speicherung der Belichtung und des Autofokus während der Auslösung zu bestimmen. In der Grundeinstellung wird bei halbgedrücktem Auslöser die gemessene Belichtung gespeichert und bei vollständig gedrücktem Auslöser mit diesen Werten fotografiert. In Kombination mit der Betriebsart des Autofokus, der AEL-Taste und die 2 Stufen des Auslösers lassen sich 12 Modi festlegen um eine sinnvolle Kopplung oder Entkopplung zwischen Belichtungs- und Autofokusspeicher festzulegen. Zum Beispiel kann hier vorgegeben werden, ob bei halbgedrücktem Auslöser die Belichtung gemessen und bei vollständig gedrücktem Auslöser der Autofokus aktiviert wird oder umgekehrt. In der folgenden Funktion lassen sich die Einstellräder in den Programmautomatiken umprogrammieren. In der Grundeinstellung sind beide mit den entsprechenden Vorwahlfunktionen belegt (Anwahl der Blenden-Zeit-Kombination bei Programmautomatik, Blendenvorwahl bei Zeitautomatik und Zeitvorwahl bei Blendenautomatik). Hier lässt sich für jedes Programm eine der beiden Tasten für die Belichtungskorrektur umprogrammieren. Im nächsten Menüpunkt lässt sich die Drehrichtung des Fokussierrings an den Objektiven umkehren. Wird die folgende Funktion aktiviert, besteht die Möglichkeit in der Betriebsart Einzelfokussierung (S) zunächst automatisch zu fokussieren und dann manuell nachzufokussieren. In den nächsten beiden Funktionen wird festgelegt, ob die Auslösefunktion gegenüber den beiden Betriebsarten des Autofokus Vorrang haben soll. Hat der Auslöser Vorrang, wird auch dann ausgelöst wenn der Autofokus noch nicht scharf gestellt hat. Bei aktivierter Funktion der Objektivrückstellung wird die Fokussierung des Objektivs nach Abschalten der Kamera immer auf unendlich gestellt. Im PC-Modus kann gewählt werden, ob bei Anschluss an einen Computer Bilder übertragen (Speichermodus) oder die Kamera vom PC ferngesteuert werden soll (Steuerungsmodus). Die Lösch-Einstellungs-Funktion legt den Modus (ja/nein) der Sicherheitsabfrage für die Löschbestätigung fest. Bei gestartetem Reinigungsmodus geben der Spiegel und der Verschluss den Zugriff auf den Bildsensor frei, um eine manuelle Reinigung des Sensors zu ermöglichen. Da die E-1 über eine automatische Reinigung des Bildsensors verfügt, wird diese Funktion kaum benötigt. Unter den 4 Benutzereinstellungen lässt sich die Kamera ganz individuell den Vorlieben des Fotografen oder ganz bestimmten fotografischen Situationen anpassen.

Im vierten Hauptmenü wird im ersten Untermenü das Datum und die Uhrzeit eingestellt. Als Nächstes kann festgelegt werden, ob die Nummerierung der Bilder im Dateinamen immer fortlaufend (AUTO) erfolgen, oder bei Speicherwechsel rückgesetzt werden soll. In der Aufnahme-Ansicht besteht die Auswahl folgender Optionen:
 AUS: Keine Anzeige der neuen Aufnahme auf dem LCD-Monitor
 AUTO: die Anzeige der Aufnahme wird durch die Kamera bestimmt und ist abhängig von der Dauer des Speichervorgangs
 5 SEC: Die Aufnahme wird 5 Sekunden lang angezeigt
 20 SEC: Die Aufnahme wird 20 Sekunden lang angezeigt.

Die E-1 gibt in der Grundeinstellung nach korrekter Einstellung des Autofokus einen Signalton ab. Dieser Signalton kann im folgenden Menüpunkt abgeschaltet werden. Bei Bedarf kann die Helligkeit des Bild-Monitors durch ± 7 Helligkeitsstufen an das Umgebungslicht angepasst werden. Die Ruhemodus-Funktion ermöglicht die Auswahl der Zeitspanne, die vergehen soll, bis die nicht betätigte Kamera in den Ruhemodus geht. Diese Betriebsart schaltet alle Anzeigen ab, um die Batterien zu schonen. Bei der Sprachumschaltung kann zwischen deutsch, englisch, französisch, japanisch, koreanisch und spanisch gewählt werden. Die letzte Funktion ermöglicht die Auswahl des Videosignals zwischen NTSC und PAL.

Der Speichermodus
Die E-1 unterstützt die folgenden Bildformate. Unkomprimierte Rohdaten (RAW) mit einer Auflösung von 2560×1920 Pixel. Die Bezeichnung des Dateiformats ist ORF und die Dateigröße beträgt etwa 10,2 MB. Unkomprimierte TIFF-Dateien mit einer Auflösung 2560×1920 Pixel. Die Dateigröße beträgt etwa 14,4 MB. Hochauflösende JPG-Dateien (2560×1920 Pixel) mit einer Datenkompression von 1/2,7 (Speichermodus: SHQ; Dateigröße 3,8 MB) oder einer Datenkompression von 1/8 (Speichermodus: HQ; Dateigröße 1,2 MB). Komprimierte JPG-Dateien mit einer Auflösung von 1600×1200, 1280×960, 1024×768 oder 640×480 Pixel (Speichermodus: SQ). In diesem Speichermodus sind jeweils Datenkompressionen von 1/2,7 oder 1/8 anwählbar. Je nach Auflösung und Datenkompression ergeben sich Dateigrößen zwischen 0,1 MB und 1,4 MB. RAW-Dateien und JPG-Dateien lassen sich für jede Aufnahme auch gemeinsam abspeichern.

Die Kommunikation
Drei voneinander unabhängige Schaltkreise übernehmen in der E-1 die internen Funktionen und Abläufe. Bildverarbeitung, Datentransfer und Kamerasteuerung können deshalb gleichzeitig durchgeführt werden. Eine Besonderheit ist der detaillierte Informationsaustausch zwischen der Kamera und dem Zubehör, der dem Kommunikationsprotokoll des Four-Thirds-Standards folgt. Objektive und Systemblitzgeräte liefern nicht nur die üblichen Daten wie Entfernung, Brennweite und Belichtung, sondern auch Informationen über die eigene Charakteristik und die eigenen Abbildungseigenschaften. Jedes Objektiv, aber auch anderes Zubehör, ist deshalb mit einer eigenen Intelligenz ausgerüstet, die – ebenso wie die Kamera selbst – bei Änderungen und Anpassungen aktualisierbar ist. So können zum Beispiel winzige Abweichungen in der Farbcharakteristik verschiedener Objektive durch die Kamera berücksichtigt und automatisch kompensiert werden. Auf demselben Weg kann auch der geringe Lichtabfall bei extremen Weitwinkelobjektiven in den Randbereichen durch die Kamera kompensiert werden. Somit sind winzige Abweichungen jeglicher Art kompensierbar.

Die Anschlüsse
Für den Anschluss eines externen Blitzgerätes verfügt die E-1 über einen Blitzschuh und eine Blitzsynchronbuchse. Zum Anschluss einer Fernsteuerung ist ebenfalls eine entsprechende Buchse vorhanden. Für die externe Stromversorgung über ein Netzteil ist ein 9-Volt-Gleichspannungseingang vorhanden. Für die Kommunikation mit einem Computer ist ein FireWire- (IEEE 1394) und ein USB-2.0-Anschluss eingebaut. Zur Bildbetrachtung an Fernsehgeräten und externen Monitoren verfügt die Kamera über einen entsprechenden Videoausgang.

Literatur

Weblinks

 Die E-1 bei Olympus Deutschland
 Beste Kamera 2004 bei Stiftung Warentest, in: test, Heft 02/2004 (abgerufen am 2. Januar 2013)
 Inoffizielles Olympus-Wiki

Four-Thirds-Standard
E-001

redpajama_set_name: RedPajamaWikipedia


Seekyung Chung, Ma, University of Tampere.
Higher Education as Choice of Individuals: An Empirical Analysis of Individuals' Behavior of Education Decision-Making in South Korea.
For my master's thesis I have studied on a phenomenon of higher education expansion in South Korea by exploring individuals' decision-making behavior and I have just graduated from University of Tampere, Finland. It has been of interest to delve into rationale behind heated investment in education across South Korean society. In order to shad light on causality with respect to choice and effects of higher education, I examined relevant factors of decision on higher education based on literature concerning sociology and economics of education and furthermore investigated actual monetary and non-monetary returns to education in the labor market. Currently, I am writing a research proposal to apply for PhD position. For a doctoral study, I am keen to research further into individuals' choice and effects of higher education by conducting comparative study between Asia and Nordic countries.
Mária Kubincová, Ma, University of Turku.
Media Discourses on the Collective Identity of Hikikomori.
I am currently a 2nd year MA student in East Asian Studies at CEAS, University of Turku. My research is focusing on the phenomenon called hikikomori. The term originated in Japan and refers to people of various age groups, who voluntarily isolate themselves from the society, by staying shut in (usually) in their own rooms for years, even decades. You might be familiar with this term, as it has repeatedly appeared in Japanese pop-culture. The phenomenon is now also gaining more recognition outside of Japan, most notably Italy, where numerous cases of self-isolated young people have sprung up in the recent years, bearing many similarities to cases in Japan. In my research, I want to focus on the changes in the general approach of Japanese society towards this group, as well as looking at the possibility of a collective identity beginning to form around hikikomori in Japan.


Erin Cloke started the company Kicky Pants while on bed rest with her second child. WOW!!! That says alot for me here she was on bed rest and designing a line of baby clothes. The Kicky Pants line is both convenient, fun and looks great. Kicky Pants are made out of bamboo fabric. Since starting this blog I have fallen in love with all the great bamboo and green lines of clothing. Bamboo is antibacterial, anti fungal and antistatic. Tie all this in with the cute look that Kicky Pants gives and you have a super clothing line for the little ones.
If you are looking for something special to put in the Easter Baskets of tiny little ones? Maybe you should consider peter Rabbit organics. I created an earlier post with Peter Rabbit Organics and you can read that post here The goal of Peter Rabbit Organics is to provide great tasting, healthy, organic food. Peter Rabbit never adds sugar or anything artificial. You can feel good by allowing your little one to enjoy Peter Rabbit Organics. Princess loves these from a very young age and now that she is able to feed herself she still loves Peter Rabbit Organics.
Win: One of Annie's Home readers will receive a 10 pack of mixed Peter Rabbit products.
To enter this giveaway you should visit the Peter Rabbits Organic website and let me know something that I did not share with you.
This works for me. Try it may work for you.
visit here to see more great pictures of friday flashbacks.
Spring time brings warm weather, Easter, and bugs. Yes, I said bugs. I can remember how fearless many of our children were with the great bugs, worms etc... they would find outside. I was not as fearless as them and they soon found that out and had lots of fun.
David Carter has created one of the cutest springtime pop up books. Not only is it for Easter but it has those glorious bugs inside. My grandbaby loves pop up books and makes her mommy read them over and over to her. She giggles and laughs as she sees the different pages and the great colors.
Eric Carle is another author that has created a great book about a bug. The Very Hungry Caterpillars seems to gobble up lots of things. Reading the book will help the child to gobble up concepts such as numbers, the days of the week as well as the life cycle of a butterfly.
2. please leave and shut the door quietly, please.
3. Up in the air sounds like a great movie.
4. St. louis is where you'll find me.
5. Ooh! What is that sound in the other room are the twins at it again?
6. the health bill is a good idea.
Today I am thankful for my teens, my church, my family and pretty much all that is surrounding me. The spring weather of yesterday has been replaced by the rain of today but the thought of that rain bringing beautiful flowers brings happy thoughts to mind. My teens and I will again be traveling to a teen Christian concert that we are looking so forward to. Since my teens are all getting older there is no real telling how many more conferences such as this we will travel together as a family. I delight in the thought that my children love to worship our Lord as much as I do and that they will continue on with the joy of worshiping at their home, at their church, or where ever they are. That is what I am thankful today the though of a future here on Earth and a promise of one in Heaven.
boil and drain spaghetti, mix together with the rest Top with 2 T melt margarine and 1/2 c bread crumbs Bake uncovered at 350 degrees for 45 to 60 minutes.
this can be made ahead and frozen and in a 9x13 or (2) 8x8 pans and freeze.
for nests. Place mini jelly beans candy in the nest while the chocolate is still warm so that they will stick.
Rainy Day Organics where joy, happiness and love for life are sold in "ducky designs" for babies and toddlers. Rainy Day Organics is the name of a great ebay store that sells organic tees, rompers among other things for babies and toddlers. Rainy Day Organics reached out to me and asked me to host a giveaway for them We received a ducky tee to review and we loved it.
I personally love the Rainy Day Organics tees for several different reasons. The organic part to me means the company cares about the earth and their customers. I also love the little ducks that adorn every product they sell. From puddle jumping umbrella carrying ducks to soccer playing or tricycle riding ducks they all are adorable.
Two of Annie's Home readers will win the Rainy Day Organics product of choice. That's right the ebay store of Rainy Day Organics wants you to go shopping and look at all their great looks come back here and in a comment let me know which one is your favorite. You must do this to enter the giveaway.
Plan Toys is a company that we can all agree on. The great toys that are sold here are green toys created by a green company but are also versatile, hands on learning that all should love. Plan Toys creates toys that will provide hours of hands on learning that helps to promote and grow a child's imagination, physical and intellectual development. Plan Toys believe in the "Three R's" reduce, reuse and recycle. So if you are looking for the perfect toy for your child then you want to look no further than Plan Toys.
We recieved a lovely toy that is perfect for Princess. It was built accordian style and allowed her to crawl on the floor pushing it along making vibration noises or simply to hold and play finger time within the accordian style car. This toy was great as it was made of wood like the great old toys and held Princesses attention for a while. Thank you Plan Toys for allowing me to review a great product of yours.
Have you been on the search for the perfect Easter basket treat? Dillygiggles in my opinion has a great treat that you may want to consider. Dillygiggles is a safe lip balm and an alternative to those on the market that are chemically laden. Amy Havens is a mother and the driving force behind Dillygiggles started Dillygiggles in 2007 when her daughter showed interest in lip balms.
Dillygiggles quickly became a fun filled whimsical line of products for young girls and parents approve the great organic chemical free product.
Buy: you can order directly off the Dillygiggles website.
While rice cooks, heat oil in a large nonstick skillet over medium-high heat. Add onion, bell pepper, and turkey, and cook 3 minutes or until done, stirring to crumble. Stir in chili powder and the next 8 ingredients (chili powder through tomato juice); bring to a boil. Cover, reduce heat, and simmer 10 minutes. Serve over rice, and sprinkle with cheese.
Sissy the person behind the fancy Sissy Tags is human like the rest of us. With the world ahead and fears behind she struck out to follow her dreams, take risk and find passion in life. The financial front to Sissy looked bleak with layoffs ahead and she had no idea of what she would do, how she would pay the mortgage and bills that she was facing. But with the strong will power she bestows, her husband who loves her and her family that supports her Sissy made a dream of owning her own business come true.
Sissy Tags are the original tag for your bag. Stylish, sassy and fashionable Sissy Tags not only make ones life easier but makes the user look good doing it. Whether you want others to know the bag is yours or who you are Sissy Tags will help you get the job done.
Sissy Tags has tags for every member of the bridal party. These would make cute place settings, be great for luggage for those friends and bridal parties that travel to a lovely place to get married.
Here is one that you all know that I would love. I am the grandma and I want everyone to know it. Not only am I a proud grandma but with this sissy tags I can announce to everyone and let all know just who I am.
What about this great tag that allow you to quickly identify your tote or bag without giving to much information away about your self.
The best thing about Sissy Tags is that Sissy actually wants to give one of Annie's Home readers a 6 pack of tags for their selves. YEAH!!! How great your choice.
To enter this giveaway please visit the Sissy Tags website and let me know what 6 would be your choice if you were the lucky winner.
I did not receive anything for posting this giveaway and the thougths and opinions shared are my own and you may or may not agree with them.
during a recent ball game in the back yard our dog just seemed to be a fan taking it all in.
We love cartoon glasses, rather hubby loves them and I get to clean and keep up with them. This is a great collection of glasses that I would love to have just look at the great colors. This is the peter pan collection. These I have never seen but will be keeping my eyes open for them. What do you think?
I so love the beautiful products that The Baby Bunch makes. Simply splendid for mom and all those around. The Baby Bunch provides that gift that the baby and mom both can appreciate. The beauty involved pleases the eye and the baby item will tend to the babies needs. Recently I shared a review of the Baby Bunch Bouquet here with a giveaway. Now The Baby Bunch has reached out and offered a new product as a giveaway, this one to help celebrate Easter.
The Baby Bunch creates the perfect shower and baby presents that are both beautiful and practical. The Baby Egg Nest is a clever gift for the new mom and baby. The little baby socks are organic, sized to fit infants 0 to 6 months or up to 16 lbs and are rolled up to resemble little bird eggs. With the nest is a handcrafted scented bird sachet and are posed over the eggs in a natural nest. The precious little set comes in two colors pink for girls and blue for boys, perfect for baby shower gifts.
Mix meat, egg, 1/4 c biscuit mix and the pepper. With wet hands, shape beef mix into 6 oval patties, 1/2 inch thick Coat patties with 1.5 c biscuit mix Heat oil over medium heat Arrange patties in a single layer in skillet. Add onions slices around and on top of patties. Cook 15 minutes Turn patties once and stirring onions occasionally til meat is done Spoon fat from skillet. Add mushrooms and gravy to skillet. Turn patties to coat with gravy heat to boiling.
Today I will be washing bed linens. We do this once a week because (1) fresh sheets always feel great and (2) helps cut down on allergies in our house. We have 2 sets of sheets for our beds this allows us to rotate sheets and the beds are made whenever we are not in them. However on bed changing day we do let the bed air a few hours before putting clean sheets on. It normally does not take a full cycle of my dryer to completly dry linens. It is best if you take the linens direclty out of the dryer and fold them right away this cuts down on wrinkles. However, if the sheets do wrinkle one great way to get them out is to dry the linens with a wet sock or washcloth for 10 minutes. Taking care of your bed sheets and linens will help you to get a more fully rested sleep. In the summer time I love to hang my bed linens outside on the line they come in smelling so great.
to absorb the order of cooking cabbage place a small tin cup or can half full of vinegar on the stove near the cabbage.
Let raw potatoes stand in cold water for at least a 1/2 hour before frying then dry before adding to oil This will help improve the crispness of the french fried potatoes.
Mix all Pour in crock pot and cook on low 4 to 5 hours.
Yes, we live in rural America where sites like this can be seen quite often. This is a picture of my friends son and his 4H projects. I thought it was perfect for Ruby Red Tuesday.


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Facebook Vowed to Stop Climate Change Misinformation – Then Suspended Greenpeace
By Eric Worral
Climate activists are furious that Facebook's new misinformation algorithm backfired and banned all their friends.
Clearly Facebook needs to add special exceptions to their climate misinformation algorithm, to prevent their system from accidentally blocking climate activists.
Facebook suspends environmental groups despite vow to fight misinformation
Facebook blames mistake in system for restrictions on groups including Greenpeace USA
Oliver Milman@olliemilman
Tue 22 Sep 2020 17.30 AEST
Facebook has suspended the accounts of several environmental organizations less than a week after launching an initiative it said would counter a tide of misinformation over climate science on the platform.
Groups such as Greenpeace USA, Climate Hawks Vote and Rainforest Action Network were among those blocked from posting or sending messages on Facebook over the weekend. Activists say hundreds of other individual accounts linked to indigenous, climate and social justice groups were also suspended for an alleged "intellectual property rights violation".
The suspended people and groups were all involved in a Facebook event from May last year that targeted KKR & Co, a US investment firm that is backing the Coastal GasLink pipeline, a 670km-long gas development being built in northern British Columbia, Canada. …
Many of the accounts have now been restored, but a handful are still blocked, with no fuller explanation coming from Facebook. …
The suspensions came just a few days after the social media giant said it was launching a "climate science information center" to counter widely shared but misleading posts that reject the established science of the climate crisis.… Read more: https://www.theguardian.com/environment/2020/sep/22/facebook-climate-change-environment-groups-suspended
Google may have encountered a similar problem in 2017, when they apparently discovered applying an objective truth algorithm to climate studies frequently produced answers which did not align with the prejudices of google management.
Update (EW): Added a link to the 2017 post which described Google's mishap with objective truth.
This article appeared on the Watts Up With That? website at https://wattsupwiththat.com/2020/09/22/facebook-vowed-to-stop-climate-change-misinformation-then-suspended-greenpeace/


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art May 13, 2015
Yoko Ono and the Myth That Deserves to Die
Why is it such a perennial youthful rite of passage to misunderstand, to underestimate, even to hate her?
By Lindsay Zoladz
Yoko Ono in 1974. Photo: David Bailey
In Tokyo, in 1964, the 31-year-old conceptual artist Yoko Ono organized a happening in which she screened a Hollywood film and gave the audience a simple instruction: Do not look at Rock Hudson, look only at Doris Day.
Like most of the countercultural riddles that appear in Grapefruit, Ono's book from the same year, the instruction — titled Film Script 5 — was at once facile and mischievously impossible. (Other variations on the piece include asking the audience not to look at any round objects in a film, or to see only red.) It was also, in its way, autobiographical: As one of the few women associated with New York's avant-garde music scene and the "neo-Dada" Fluxus movement, Ono was by then used to being overshadowed by the more powerful and self-serious men around her. ("I wonder why men can get serious at all," she mused in Grapefruit. "They have this delicate long thing hanging outside their bodies, which goes up and down by its own will.") The year she first staged Film Script 5, she'd already extricated herself from one failed marriage and her second was unraveling. She was still two years away from meeting the man with whom she would realize her dream of a completely egalitarian partnership — to symbolize this, they both wore white during their wedding ceremony — but the rest of the world wouldn't see it that way. They would, of course, see only the towering, superior Him — what could he have possibly seen in Her?
It's a question that's somehow echoed across cultures, continents, generations. One evening about ten years ago, when I was working at a summer camp in Washington, D.C., I took some kids to the Hirshhorn Museum's sculpture garden, where one of Yoko Ono's Wish Trees was on view. Meant to evoke the Japanese prayer trees Ono saw in her youth, these installations instruct the viewer to anonymously write down a wish on a piece of paper and hang it on the tree. I can remember a hell-raising boy camper — earlier in the week he'd sneaked away from the group and blown almost all of his two-week allowance on cigars — reading the placard aloud in a sarcastic tone: "When the tree is full, Yoko will collect the wishes and bury them herself at the base of the Imagine Peace Tower on Videy Island in Iceland." He cackled. I watched him pick up a pencil, scribble down his wish, and hang it on a branch of dogwood. It said: "I wish Yoko Ono hadn't broken up the Beatles."
Why is it such a perennial youthful rite of passage to misunderstand, to underestimate, even to hate Yoko Ono? What is this strange power she continues to wield? It's as good a time as any to ask these questions, since this month she is the subject of her first official MoMA exhibit, "Yoko Ono: One Woman Show, 1960–1971." I say "official," of course, because in 1971 Ono staged an "imaginary" MoMA exhibit, partially to protest its collection's lack of female artists. Thanks to a slyly placed F on the cover of the accompanying catalogue, the piece is colloquially known as Museum of Modern Fart. (And Camille Paglia says Ono has no sense of humor!)
Beginning to love Yoko Ono is a dangerous experience, because then you wonder: If Yoko Ono was something more than the woman who broke up the Beatles, then what other lies have I been told?
Here is the tricky and brilliantly fearless thing about Yoko Ono's art: It inherently makes peace with that teenage boy's irreverent response. It invites it, even. Drawn to words like "incomplete," Ono has always trusted the viewer to finish her work. When she got together with John Lennon during the latter part of the era covered by the show — the same era when she became arguably the most hated woman in the world — her art continued to engage with whatever anybody had to say about her. Although it might strike some as more mawkish than her provocative early efforts, Wish Tree exists on the same continuum as 1964's Cut Piece — in which she sat stone-faced (like a modern Buddha or a proto-Abramovic) in front of an audience and asked them to snip off pieces of her clothing. The possibility of mockery, dissent, and violence is all part of the point. Love it or hate it, Ono's art is a two-way mirror, throwing your own reaction back at you. In her thoughtful book Reaching Out With No Hands: Reconsidering Yoko Ono, Lisa Carver asks: "Should I have sympathy or admiration or worry about what she might reveal to me about me?"
Ten years ago, I wasn't ready to answer that question. What's most troubling about my Wish Tree memory is not what the boy wrote but that I laughed at it. Back then, I didn't feel any need to defend Ono — if anything, I wanted to position myself apart from what I thought she represented. I bought the Yoko Myth wholesale. The only received images I could conjure of her were ones in which she was tied to John: Here she is sitting silently at the Let It Be sessions as Paul fumes; there she is entwined with her man in the famous Annie Leibovitz picture. I still considered her name an insult — the woman who won't let the boys have their fun. In my early 20s, it felt important to let men believe that I wasn't like that. I hated all the parts of myself that could be perceived as co-dependent or excessively feminine. I was terrified of vulnerability because I thought it could exist only at the expense of independence. I thought I knew what a feminist was. I thought I knew about Yoko Ono. I had a lot to learn.
It was only just recently that I began to love her, after devouring Carver's book. Beginning to love Yoko Ono is a dangerous experience, because then you wonder: If Yoko Ono was something more than the woman who broke up the Beatles, then what other lies have I been told?
Yoko Ono was born in Tokyo in 1933 to a Buddhist mother and a Christian father — the first of many facts of her wildly antithetical life that sound like the set-up to a bad joke. (A Beatle and a Japanese conceptual artist walk into a bar …) Her parents were well off, but her childhood was still turbulent because she couldn't measure up to their expectations. Her (beautiful) mother deemed her "handsome" but "not pretty." When she was 13, her father — a failed classical pianist turned successful banker — advised her to give up playing the piano because her hands were too small. Yoko blurted out that she would rather be a composer than a pianist anyway, and he told her this was even less likely: Could she name a single female composer? She couldn't, but even back then her idea of the profession was a tad unconventional. The homework assignment that most sparked her imagination had been one in which she was asked to translate a bird's song into musical notation.
When she was young, her father's job shuttled the family between the U.S. and Japan, but in the '40s this became impossible. The war ripped apart Ono's family — and her sense of self. After the firebombing of Toyko in 1945, Yoko, her mother, and her brother and sister fled to a bunker, where they had to barter for food. Her father was taken to a prisoner-of-war camp; he was assumed dead for almost a year. External order was eventually restored, but for Yoko the postwar years were marked by internal tumult, especially since she was becoming fascinated by Hollywood. "I remember being in film theaters where the baddies were always Asian," she has recalled. "When the lights went up, I thought, Am I [a baddie too]?"
When she was 18, Ono became the first female student to enroll in Gakushuin University's philosophy department. She read Marx and Sartre and Dostoyevsky, then got bored by the rigidness of it all, dropping out after two semesters. In the meantime, her parents had moved to — of all places — Scarsdale, New York; in 1953, she joined them and enrolled at Sarah Lawrence. She felt, as ever, isolated and adrift, but she'd begun exorcising those feelings by writing strange short stories and Zen-like poems. She wrote one called "Secret Piece" that summer: "Decide on one note that you want to play. Play it with the following accompaniment: the woods from 5 a.m. to 8 a.m. in the summer." She showed her writings to a trusted professor and confessed her lifelong dream of translating birdsong into music. He asked if she'd heard of this guy John Cage.
And so began Ono's involvement with the New York avant-garde. By 1956, she was married to the Juilliard student Toshi Ichiyanagi; by 1960, they were hosting a concert series in their $50-a-month Chambers Street loft attended by such luminaries and luminaries-to-be as Marcel Duchamp, Jasper Johns, and Philip Glass. Occasionally, Ono performed some of her own pieces: In one, she took eggs and Jell-O out of her fridge and smeared them onto a canvas, and when she was done she lit a match and set it on fire.
Like that of her contemporaries in the conceptual-art world, Ono's early work was all about blurring the line between art and everyday life. Every image is a painting; every sound is a song. More than the work of anybody she actually hung out with, Ono's early art reminds me of Yves Klein, the impish French artist whose first piece was — in his imagination — to sign his name in the sky. It's true that some of Ono's ideas inspired George Maciunas to start Fluxus, but she never felt entirely included in this — or any — group. Accordingly, there's a loneliness to the pieces from early in the period covered by the MoMA show: One subtitled Painting for Cowards instructs the artist performing the work to cut a hole in a canvas and shake people's hands through it. Ono felt alienated by a certain stuffiness and elitism in the scene. "The avant-garde guys … were all just so cool, right?" she recalled years later. "There was also this very asexual kind of atmosphere in the music. And I wanted to throw blood."
Ono sitting in her Half Bedroom, 1967. Photo: John Knoote/ANL/REX Shutterstock/1967 Rex USA.
Recently, I sent a friend a YouTube link in an email and warned her, "Only watch this if you want to be angry!" It was a video by the comedian and podcaster Bill Burr, talking over a 1972 clip of John and Yoko performing with Chuck Berry on The Mike Douglas Show. Lennon and Berry are "killing it," Burr declares, and Ono's just "playing some stupid fucking drum, and even though she has no fucking talent whatsoever, he's putting her in the fucking band just so she'll shut the fuck up and stop nagging him!" This joke was not original enough to offend me, but I felt an anger rising when Burr panned back: "Dude, did you ever have, like, a buddy of yours and he's dating some fucking psycho but he's in love with her so you can't fucking say anything? And you're just sitting there waiting for the fucking lightning bolt to hit your friend in the head where he finally realizes that he's dating a psycho cunt?"
I have always been drawn to the women who can arouse this kind of vitriol. The kind of hate that seems too big and billowing to be directed at just one woman, the kind that seems like a person or an entire society is vomiting out all its misogyny onto one convenient scapegoat. At some point — after successive Joan of Arc and Courtney Love phases — I started to see this position of feminine abjectness as a kind of superpower. A position from which a woman could offend far more deeply than a man.
When I watch that Mike Douglas performance now, I see something different from what Burr does — or from what I might have seen a decade ago. I see in Ono a locus of possibility. A portal leading toward an alternate universe in which I can freely admit sacrilegious things: that I feel uncomfortable falling at the feet of both Lennon or Berry because one of them beat his ex-wife and the other was once arrested for transporting a 14-year-old girl across state lines; that these two don't sound all that great together; that there is something laughably tame about their performance, and by extension the entire supposedly revolutionary art form of rock and roll, if it can be so profoundly threatened by a woman playing a drum and making weird noises with her voice. I see a woman throwing blood.
In 1964, Ono began staging Cut Piece, still probably her best-known work, the tone of which depends entirely on the energy in the room. When she debuted it in Tokyo that year, the audience was polite, but in Kyoto, a man "took the pair of scissors and made a motion to stab [her]." Conversely, when the artist Charlotte Moorman performed Cut Piece in a convent, Ono says, "they bypassed the sexual connotation totally and just understood the philosophical connotation and the positive side, which was to be giving."
Ono encourages other people to stage her pieces. As the film scholar Scott MacDonald writes of her Unfinished Film scripts: "For Ono, the concept of a film is, essentially, the film; once the concept exists, anyone who wants to can produce a version of that concept." This is one of the aspects of her '60s work that feel strikingly contemporary — in line with how we think of crowdsourced creativity in the YouTube era. Ono eventually helped Lennon translate this kind of openness into his post-Beatles identity too. Think of that famous motto: "You are the Plastic Ono Band."
Yoko and John met when he swung by a preview of her show at London's Indica Gallery in November 1966. He took a bite out of the apple she'd staged like a Duchamp readymade — at last, she'd found her Eve. After connecting with Lennon, it was easy for other artists to dismiss her as a sellout or a gold digger, but really Lennon completed her vision, gave her the populist audience she'd long desired. Ono's art came alive when it broke out beyond the avant-garde, because her mission was to awaken the artist in everybody — not just those who were cool enough to know about the latest goings-on in that Chambers Street loft. "She came to think that the loss of the 4/4 beat by the art-music composers had set them up at the top of a building," writes her biographer Barb Jungr in Woman: The Incredible Life of Yoko Ono. "Whereas for her the beat gave back the heart to the music, brought it down into the ground of human experience." Maybe rock and roll was the birdsong she'd been chasing all along.
To that misconception that she is humorless, I offer the following image: a grinning Yoko Ono directing hundreds of people to walk on a treadmill as she films, in close-up, their bare asses.
Such was the production of Ono's 1966 film No. 4, more often just called Bottoms. The longer version is featured in the MoMA exhibit, but the six-minute cut is on YouTube, and it's oddly hypnotizing: After about a minute, the four quadrants of the screen become an abstraction, a moving meditation on levity, physicality, and … well, butt cheeks. Ono dubbed the film "an aimless petition signed by people with their anuses."
Is Ono's art less subversive when we're living in a world that loves her?
Ono's film work is unabashedly sexual, but never in an obvious or placating way. She made a film called Erection that was a beautiful sequence of a building going up … and, around the same time, she made a 42-minute slow-motion film of John Lennon's penis called Self-Portrait. (Always delighted by the inanity of censorship, Ono has noted that it was much more difficult to ferry the former film through Customs.) After Bottoms was a succès de scandale in London, an American producer offered her money to make a version with breasts. "I said, If we're going to do breasts, then I will … fill the screen with a single breast over and over," Ono said, "but I don't think that was erotic enough for him. He was thinking eroticism; I was thinking about visual, graphic concepts."
The most striking of Ono's films from this time is Rape, her 1969 collaboration with Lennon. Ono's cameraman follows a German woman (with the cooperation of her sister) through the streets of London, filming her without her consent. At first she's giggly, and a little flattered by the attention — you have to wonder how it would have played out if the subject were a man — but by the end of the 79 minutes, we're complicit, watching her have a full-fledged nervous breakdown. It's an unsettling vision of our present: Viewed today, Rape scans like a pilot of a very fucked-up reality show.
The 2014 Grammys were the night I began to wonder whether millennials would be the ones to finally reject the Yoko Myth. Ono, then 81, strutted out in a jaunty top hat, presented the Album of the Year award to Daft Punk, and danced gleefully to "Get Lucky" from her seat. The internet approved, loudly. My Twitter feed was full of people freaking out about #Yoko; the Huffington Post declared, "Sorry Taylor, Yoko Ono's the Grammys' Real Dancing Queen." Here, at last, she seemed liberated from the hate and punch lines that had plagued her entire public life. Look not at John Lennon; look only at Yoko Ono. It felt triumphant, but I also found myself wondering an inconvenient question: Is Ono's art less subversive when we're living in a world that loves her?
The MoMA show prompts that question, too: There is something a little dispiriting about an artist who once staged a protest against the museum being warmly welcomed within its ranks. (And it's easy to be cynical about that embrace, given the institution's celebrity-chasing — see the Björk debacle.) But whatever its reason, the show arrives at a moment that is, for once, in step with Ono's vision. Her meditative instruction pieces feel perfectly aligned with our mania for so-called mindfulness. Her work is being lauded by people correcting a history of female erasure — looking anew at the Doris Days instead of the Rock Hudsons. Many of Grapefruit's pieces have a sub-140-character brevity. They feel, now, like the 1960s version of a tweet.
"Last year," Ono wrote in 1968, "I said I'd like to make a 'smile film,' which included a smiling face snap of every single human being in the world. But that had obvious technical difficulties and was very likely that the plan would have remained as one of my beautiful never-nevers." Back then, the idea sounded like a whimsical lark; today, in the age of the selfie, it sounds almost banal in its achievability. Maybe she's not a radical — or a martyr — anymore. Maybe we're just beginning to inhabit the world that Yoko Ono always imagined.
*This article appears in the May 18, 2015 issue of New York Magazine.
Yoko Ono in New York
Intimate Portraits of Yoko Ono From the '70s to Now
Peter Jackson's The Beatles: Get Back Accomplishes the Unthinkable
All 213 Beatles Songs, Ranked From Worst to Best
seen spring 2015


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Practice Areas Overview
Summary Of Some Of Our Cases
We represent clients in all stages of the criminal process: from investigation, through pretrial motions, in plea negotiations, at trial, and in post-conviction proceedings, including appeals and petitions for a writs of habeas corpus. We are pleased that we have been able to have achieve success at each level of the criminal process for our clients.
Representation Before Charges Have Been Filed
By thorough and early intervention, we have been able to persuade prosecutors not to charge clients.
We have represented clients in SEC investigations of alleged insider trading, failure to accurately report financial data, improper allocations of stock trades, and represented other clients subject to investigation by the Criminal Investigation of Internal Revenue Service regarding claims of unreported income, the use of foreign banks, improper accounting for losses and expenses. In multiple cases, we have been able to prevent any criminal charges from being filed.
We have also represented clients in investigations by many different government agencies including the Department of Defense, the Environmental Protection Agency, and the Anti-Trust Division of the Justice Department. In California, we have represented doctors, lawyers, nurses, teachers, students and real estate brokers in both licensing and criminal investigations.
We have also been involved in many investigations of claims of all types of insurance fraud, from overbilling, to allegations of fabricated or exaggerated loss.
Because we have been able to resolve many investigations favorably and without publicity, we have been able to keep both our name, but more importantly, our clients' names and reputations out of the public spotlight
Representation Of Clients In The Trial Courts
After a four and one-half month federal trial, we secured the acquittal of a client charged in 28-count Indictment with bankruptcy fraud and related crimes.
On multiple occasions, we have convinced the judge to dismiss charges against a client after we successfully moved to have the prosecutor to disclose identity of an informant, and the prosecutor has refused to do so.
We represented one of five defendants charged in the largest seizes of heroin in United States history. After lengthy litigation, we obtained the release of our client on bail. After more litigation regarding illegal government surveillance, we negotiated and secured probationary sentence for our client. (Our client did not cooperate with the authorities.)
In a federal habeas corpus evidentiary hearing, we were able to convince the district court that our client had been denied the effective assistance of counsel at his state court trial, and to issue a writ of habeas corpus releasing out client from state prison.
We represented a prominent personal injury attorney accused of failing to pay taxes due on settlements in mass tort litigation. We were able to convince the jury that due to the attorney's substantial expenses, no taxes were in fact due and the attorney was acquitted.
We have successfully moved to suppress evidence in cases involving business records, and all types of drugs, leading to the dismissals of all the charges against our clients.
We secured the acquittal of the president of a failed savings and loan charged with misapplying millions of dollars.
We secured the dismissal of all charges against a major stock brokerage firm accused of criminal contempt in a case where another brokerage firm claimed that our client had violated court orders to turn over documents and not contact clients.
We have been involved in multiple medical billing cases. We have represented clients charged with up-coding and inaccurately describing services. We tried and won an acquittal for a podiatrist charged with over-billing for medical procedures.
We have been involved in multiple false claim cases, and obtained an acquittal for a government contractor accused of making false claims in order to obtain government contracts.
We also obtained a manslaughter verdict and a short sentence following trial for an individual originally charged with murder following allegations of extraordinarily high speed and reckless driving resulting in a collision and death.
Some Of Our Appeals, Habeas Corpus And Writ Proceedings
We represented a client convicted to two murders and sentenced to life in prison without the possibility of parole. We argued in the California Court of Appeal that the conviction was the result of a statement taken in violation of our client's 5th Amendment rights and the Miranda rule. That victory eliminated one of the convictions. We then filed a federal habeas corpus petition in federal court, and persuaded the Ninth Circuit on appeal to overturn the second murder conviction.
We represented man serving a 30-year federal prison sentence after a conviction for drug and weapons charges in Los Angeles. After initially losing a petition for a writ of habeas corpus before the Judge who originally found our client guilty, we convinced the Ninth Circuit to set aside the conviction.
We represented a man serving a life sentence following the largest seizure of methamphetamine in the United States. We were retained for additional post-judgment proceedings, including a habeas petition, after he lost his appeal. We won, resulting in a sentence of time served.
We were retained to represent on appeal a man who was serving a 30-year federal fraud sentence after multiple prior federal fraud convictions. On appeal, we were able to reverse the conviction.
We represented a client convicted of murder after an attempted robbery of a business. On appeal, we convinced the California Court of Appeal to reverse the conviction because the trial court had refused to admit defense evidence and improperly instruct the jury on the elements of the defense.
We represented an individual who pled guilty in a California case involving alleged sexual misconduct with children and was sentenced to eight years in prison. After he retained Sugarman & Cannon, we won a decision in the California Court of Appeal setting the conviction aside and releasing our client from custody.
We represented a client serving 127-years-to-life sentence after a conviction for this third strike. On appeal, we convinced the California Court of Appeal to reverse the sentence.
On appeal, we obtained a reversal of a sexual battery conviction because the prosecution had failed to present sufficient evidence of the crime charged. When the case was returned to the trial court, we obtained a ruling forbidding a re-trial.
We have a particular expertise in challenging loss calculations under the Federal Sentencing Guidelines and have obtained substantial reductions in prison terms after demonstrating to appellate courts that the loss finding by the district court was overstated.
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Laura Kate and Blake are literally the sweetest couple. They tackled the southern heat and made the most of their session by adding layers.
It's so hot!!! I know I know- we live in The South, but it's just miserable. And it's far from over. Laura Kate wanted more than one look, but didn't want to fuss with changing (or peeling sweaty clothes off in the summer heat). So we got smarter than the heat. Here is how they made it happen.
Consider shoes on and off!
On a Tuesday night, Blake and Jake got down on one knee to publicly offer Laura Kate their hearts. They knew she made them complete and together they are a family. Laura Kate of course said yes! "It was the best decision I have ever made, because not only do I now have the love of my life, I have a bonus love that could never be defined."
Hugs, snuggles, adventure, laugher, and so much love. Laura Kate and Blake purchased my Dreamer's Collection along with an engagement session, so I will be seeing them again very soon when they become husband and wife!
I would say this family nailed it- what is your favorite way to layer?
Ashley offers engagement sessions and a limited number of weddings a year. However your story is unfolding, let's capture it together!
Let's talk! I love coffee, telling stories and making new friends. Let's schedule a time to chat.


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Hon Rita Saffioti BBus MLA
Minister for Transport; Planning
Greater diversity of housing options secured in City of Armadale
State Government supports amendment to Armadale's local planning scheme
New density codes set to boost housing diversity in Kelmscott
Transit oriented development at the heart of Kelmscott renewal projects
Changes to the City of Armadale's local planning scheme will ensure more diverse and attractive housing options on land adjacent to the Kelmscott train station and around Kelmscott Senior High School.
Planning Minister Rita Saffioti today announced support for an amendment to the City's local planning scheme to support greater diversity of housing options in close proximity to public transport.
The introduction of new residential density codes will increase options for redevelopment through higher density housing types. It will also complement redevelopment works associated with the METRONET Denny Avenue level crossing removal project.
New housing types will include one and two-bedroom dwellings, townhouse developments and two to three-storey apartment developments, providing greater opportunities for first homeowners and allowing residents to age in place.
The new scheme is consistent with the McGowan Government's METRONET vision to create transit oriented communities, providing greater housing options within walkable distance of public transport and local community amenity.
Development applications will be subject to planning approval, including consistency with the State Government's Design WA principles and guidelines released earlier this year, and may also be subject to review by the City of Armadale's Design Review Panel.
Comments attributed to Planning Minister Rita Saffioti:
"I welcome the City of Armadale's response to the need for more housing options, and for planning for accommodating those dwellings close to public transport connections.
"This is a proactive amendment to the local planning scheme that greatly supports the Government's efforts to provide appropriate housing density in key growth areas and METRONET transport corridors.
"It also goes a step further by ensuring that good design is at the centre of all developments and prioritises the retention of street trees - something that Armadale is known for."
Comments attributed to Armadale MLA Tony Buti:
"This is a contemporary approach to planning that will allow more people to live close to parks, bike paths and important transport corridors.
"It works with a number of State Government projects underway in the area such as the METRONET Denny Avenue upgrade, cycle path upgrades and improvements to major roads."