I love the complete flexibility of my Apriori Beauty business; I control my hours, my schedule and my paycheck. This level of freedom does not mean that this is not a serious business endeavor for me. In fact, it's quite the opposite. The most important thing about building a strong business is you have to take it seriously. This type of business can create a very large income for you and your family, but to get to that point you need to stay focused and consistent. No excuses.
I've had enormous life changes that have thrown some very large and expensive problems into my life. Two and a half years ago, my husband was diagnosed with a brain parasite, causing multiple strokes and leaving him disabled. I became the sole provider for my family and was left with stacks of bills. I took some time away from my Apriori Beauty business to evaluate where I was and where I needed to be to successfully provide for my family. I was starting a new job and knew I needed to promote to Manager before that job began. Due to the circumstances I was in, I learned that to get where I wanted to be, all I had to do was step up and get the job done ... and quickly! As the sole provider for my family of five I couldn't afford to treat my Apriori business like a hobby anymore. Instead, I needed to see it as the true business it really was and that meant developing a strong and reliable retail income and team of Consultants.
I've found that retailing not only gives me a weekly paycheck, but is also a significant factor in building my business and team of Consultants. To help increase my clientele base, I ask existing clients if they're interested in hosting a Beauty Bar. This gives me an opportunity to meet and share Apriori Beauty's fantastic products with women I don't know, thus increasing my chances of gaining new clients. Beauty Bars can be a few people or several. Either way, you're likely to build your business faster because you're being exposed to new and different people who in turn may refer their friends to you. There's only so many friends and family you can share with, which is why it's important to step outside your circle and meet new people. Do yourself a huge favor and set up a 2-week window with several "get-togethers." Trust me, you will be amazed at how many clients you can obtain in a short period of time.
In addition to developing a sustainable retail business, I love the thought of having a team of like-minded Consultants, whom I can grow my business alongside with. When building your team, look for people who are hard-working, want extra money, are outgoing, have lots of energy and are overall positive in their life. I am too busy to work with what I call "Debbie Downers," I don't have time to deal with negative people who don't have any intention of putting in the effort. I am on a mission to build a strong, vibrant team and I look for positive people to build with me! With that said, you never want to push this business on someone who isn't looking nor interested in the opportunity. If someone isn't interested, that's okay, move on to the next person. Over time, people may change their minds but it needs to be on their own terms. For me, I sat on the idea for a few years before I took action. When it comes down to it, people can only successfully do this business when they are ready. I'm fortunate to be with a Company that provides a realistic compensation plan and where my efforts are rewarded. This business takes time and work but is so worth it because you reap the benefits of what you put in. I'm a busy mom with a full-time job, yet I make time for my Apriori Beauty business, and because of that I'm creating a successful business that is helping me support my family. Plus, I'm having a blast doing what I love - when's the last time you said that about your job?


text:
Mitchell Tenpenny Shares First Single From 'The Low Light Sessions' EP
Mitchell Tenpenny recently released "Horseshoes and Hand Grenades," the first single from his upcoming EP, The Low Light Sessions, due out on April 15.
The song details the pain that comes when you realize the person you love doesn't feel the same way.
"I guess we were just as close as a first kiss / Closer to God when you're down on your knees and praying / Yeah, close like a secret, you swore you would keep / But somehow you let it slip away / So close you can feel, it hurts when it's real / 'Cause the other don't feel the same / Guess close only counts in horseshoes and hand grenades / Horseshoes and hand grenades," Tenpenny sings in the chorus.
Tenpenny wrote the lyrics for all the songs in the 8-track EP, and several were reportedly written years ago.

redpajama_set_name: RedPajamaCommonCrawl


This is Voices of Value — a selection of valuable insights designed to help you get more out of your professional and personal life through simple, easy to adopt life lessons.
If you're keen to enjoy a better quality of life at work and at home, sit back and join the conversation with your hosts, Peter Kakos and Rik Rushton.
Subscribe to the show today and join Peter and Rik in the search for truth, justice and the value-added way.


She went above and beyond what I'd asked. Place looks amazing. Pleasant, professional, thorough but warm and caring. Fabulous!
LaRita is absolutely marvelous. She has excellent attention to detail and is exceptionally persistent in achieving a wonderfully clean result. I plan to recommend her to everyone I know.
Bonjovi will fill the role well when she gets more training and experience. She was very friendly. She did a good job, especially cleaning the bathroom.


text:
"Her soul beams with the true fire and light of music."
This is how Heather Lee was recently reviewed at a live show. The truth is, this could be said of her at any show — any night — anywhere.
Raised in a musical family, Heather Lee grew up singing along with the 50s and 60s era American R&B that her grandfather's band played. Rhythm - Melody - Lyric. To her, these were the key ingredients to a great song. The music needed to move you in your body, in your heart, and in your soul. Enter Heather Lee as her own songwriter.
Drawing from her roots, she began writing songs with a deep sense of place. Songs crafted around personal experience — joy and longing. Songs with a melody that could stay with you all day long and not become a bother, but rather, a friend. Music with a beat that shakes you to your core and lifts you to your feet. To be honest though, the fact that she's such a stellar songwriter is often nearly overlooked. It's her voice that's most immediately affecting. Her voice.
Garnering comparisons to singers such as Adele, Brandi Carlile, and Florence + the Machine, Heather Lee has the vocal presence of very few performers. With her though, it's not just about the "high notes". It's about the feeling you get when you hear them and sing along with them. She relates the emotion of real life, not fabricated fluff, into each note. Her voice isn't used just as a single-sided statement, but more so, as a means to start a conversation between the listener and herself. Returning back to where it all began, her songs speak to the listener in such a way as to move their body, heart, and soul.
Stay up to date with all of Heather Lee's happenings!
Copyright © 2018 Bride & Groom - All Rights Reserved


text:
package alabno.useraccount;

import java.util.EnumMap;
import java.util.HashMap;
import java.util.List;
import java.util.Map;

import alabno.database.DatabaseConnection;
import alabno.database.TransactionBuilder;

public class DatabaseAccountManager implements AccountManager {

    private DatabaseConnection dbconn;
    private EnumMap<UserType, String> typeMap = new EnumMap<>(UserType.class);
    private Map<String, UserType> typeMapRev = new HashMap<>();
    private EnumMap<UserType, String> dbtableMap = new EnumMap<>(UserType.class);

    public DatabaseAccountManager(DatabaseConnection dbconn) {
        this.dbconn = dbconn;
        initTypeMap();
    }

    private void initTypeMap() {
        typeMap.put(UserType.ADMIN, "a");
        typeMap.put(UserType.PROFESSOR, "p");
        typeMap.put(UserType.STUDENT, "s");

        for (UserType k : typeMap.keySet()) {
            String v = typeMap.get(k);
            typeMapRev.put(v, k);
        }

        dbtableMap.put(UserType.ADMIN, "admin");
        dbtableMap.put(UserType.PROFESSOR, "professor");
        dbtableMap.put(UserType.STUDENT, "student");
    }

    @Override
    public UserAccount createAccount(String username, String fullName, String email, UserType type) {
        String typeString = typeMap.get(type);
        if (typeString == null) {
            throw new RuntimeException("Typemap has no entry for " + type);
        }

        TransactionBuilder transaction = new TransactionBuilder();

        String sql =  "INSERT INTO `user`(`username`, `type`, `fullname`, `email`) VALUES (?,?,?,?)";
        String[] args = {username, typeString, fullName, email};
        transaction.add(sql, args);

        newUserSubtypeSql(username, type, transaction);

        dbconn.executeTransaction(transaction);

        return getAccount(username);
    }

    private void newUserSubtypeSql(String username, UserType type, TransactionBuilder transaction) {
        switch (type) {
        case ADMIN:
            newAdminSql(username, transaction);
            break;
        case PROFESSOR:
            newProfessorSql(username, transaction);
            break;
        case STUDENT:
            newStudentSql(username, transaction);
            break;
        default:
            throw new RuntimeException("Error, unrecognized UserType " + type);
        }
    }

    private void newStudentSql(String username, TransactionBuilder transaction) {
        transaction.add("INSERT INTO `student`(`username`) VALUES (?)", new String[] {username});
    }

    private void newProfessorSql(String username, TransactionBuilder transaction) {
        transaction.add("INSERT INTO `professor`(`username`) VALUES (?)", new String[] {username});
    }

    private void newAdminSql(String username, TransactionBuilder transaction) {
        transaction.add("INSERT INTO `admin`(`username`) VALUES (?)", new String[] {username});
    }

    @Override
    public UserAccount getAccount(String username) {
        String sql = "SELECT * FROM `user` WHERE `username` = ?";
        String[] args = {username};

        List<Map<String, Object>> results = dbconn.retrieveStatement(sql, args);

        if (results == null || results.size() == 0) {
            return null;
        } else if (results.size() == 1) {
            Map<String, Object> result = results.get(0);
            String fullName = (String) result.get("fullname");
            String email = (String) result.get("email");
            String typeString = (String) result.get("type");
            UserType type = typeMapRev.get(typeString);
            return new UserAccount(username, fullName, email, type);
        } else {
            throw new RuntimeException("Error when trying to retrieve a user from database: Results size is " + results.size());
        }
    }

    @Override
    public UserAccount getOrCreateIfNecessary(String username, String fullName, String email, UserType type) {
        UserAccount acc = getAccount(username);
        if (acc == null) {
            return createAccount(username, fullName, email, type);
        } else {
            return acc;
        }
    }

    @Override
    public void setUserType(String username, UserType newType) {
        // check that account exists
        UserAccount acc = getAccount(username);

        if (acc == null) {
            return;
        }

        UserType oldType = acc.getUserType();
        String newTypeString = typeMap.get(newType);
        String oldTable = dbtableMap.get(oldType);
        String newTable = dbtableMap.get(newType);

        TransactionBuilder tb = new TransactionBuilder();

        // change type in the user table
        tb.add("UPDATE `user` SET `type`=? WHERE `username` = ?", new String[] {newTypeString, username});

        // remove from the old table
        tb.add("DELETE FROM `#` WHERE `username` = ?".replace("#", oldTable), new String[] {username});

        // insert in the new table
        newUserSubtypeSql(username, newType, tb);

        dbconn.executeTransaction(tb);
    }

}

redpajama_set_name: RedPajamaGithub


Jesus willingly sacrificed Himself for us.
Leading and following by faith instead of fear.
Leave a legacy of love for the church.
Prayer support is valuable support.
Serving others means sacrificing self.
Our tongue has the power to unite or divide.
Unity through diversity is built on love.
Serving servants of Jesus is serving Jesus.
Jesus has the answers to our hard questions.
All are invited to be part of the kingdom of God, but only some are prepped and ready.
Actions are greater than Words.
Our attitude in service determines our place in line.
Faith requires closeness with God and being in community with other believers.
Confronting sin requires humility and honesty.
Following Jesus requires total obedience/sacrifice.


Perfect for warm weekends and holidays alike, these pretty pink pumps put comfort at the forefront. Constructed in canvas, style notes include shimmer detailing which sparkles in the sunshine, alongside a handy riptape fastening for easy on/off and a fun 3D flower trim.
Upper: Textile. Lining And Sock: Textile. Sole: Other.


I was looking for a practical project to explore real world scale and photorealistic lighting in VR. My friend Susie is an architect. She is working on a house for a client, and she wanted to see if VR might be useful in her pipeline.


How Management Control a School Tour Using School ERP Software?
School tours are organized by the management and teachers of the school, in order to make the students get an idea of how subjects taught in the school are actually implemented by people in their day-to-day business and other activities as well as getting them to actually see the things that they would have only read about or seen pictures of in their books.
For example, students can get to see how science and technology are used in growing crops by visiting a farm. Going on a trip to museums helps children to actually see various historical objects, the pictures of which they would have only seen in their books. A visit to a planetarium makes the children view stars and other celestial objects using telescopes, which they would have only read about from books. A trip to a factory helps students to see how mathematics and physics are used for manufacturing various items.
School tours, thereby, form an integral part of the overall development of the child. More often than not, the child gets bored with the routine classroom confined activities and this is where school tours come in handy. School tours help the children to practically see how things which they learn in the classroom are applied in the real world. This experience of learning things in a new environment motivates the child to take an interest in application-based learning, which helps in truly understanding their subjects. It also helps to develop the child's inquisitive abilities and generates curiosity among them.
The relevance of school tours is impeccable. But it is not always that easy to conduct a school tour since the teachers tend to have the huge responsibility of handling a large number of students. It is also very essential to constantly keep track of each and every child, who is part of the tour. There needs to be proper co-ordination amongst the people responsible for conducting the tour. Managing all this manually becomes a very cumbersome activity and because of this, school tours become more of a headache for the teachers.
School ERP software has a module called 'Student Information Management System' wherein the details of all the students are stored in a database. This same data can be used by the management to create a new list of students who will form part of the school tour. This list can then be used for taking the attendance digitally in order to monitor the presence of all students in the tour as and when required, using a mobile or a tablet.
Parents have a separate dashboard, where they can view the attendance of their children. As and when the teacher keeps updating the attendance digitally using the School ERP software, the parents get to know about it immediately on their dashboard. This is very useful for convincing those parents who are hesitant to send their children to school tours, since by using School ERP software they can constantly keep track of their children, thereby getting an assurance of their safety.
UC-School ERP software provides the best solution for the student information management system, which is very easy-to-use, efficient, reliable and customisable as per the school's requirements. The software stores the database on the cloud and therefore this data can be easily accessed by the people having their own unique credentials to log in to their respective portals.


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text:
<!DOCTYPE html><html><head><meta charset="utf-8" />
<meta http-equiv="refresh" content="0;url=/place/sweden/postcodes/" />
</head></html>


Qualicum, BC is a nature filled town located close to Victoria on Vancouver Island. According to a 2006 census it has Canada's oldest average population averaging nearly 61 years. In the Pentlatch launguage the name "Qualicum" means "Where the dog salmon run". Qualicum Beach is located on the Nanaimo lowlands and has a total of 180 freeze free days out of the year which is the longest in Canada.
For all Qualicum, BC residents looking to buy a home feel free to contact us or call us directly today at 855-585-2080 to experience the difference.
Our team of trusted mortgage experts has 35+ years of combined experience. We offer a vast array of services including but not limited to renewing or switching your mortgage, renovation financing, helping you repair your credit and much more!
ResCom is actively seeking new mortgage agents in the Qualicum area. Visit our mortgage careers section to learn how you can join our exciting and growing team. We'd love to hear from you!


text:
82 0f 140 signs set to change when Calvin becomes a university
Samantha Ballast, Staff Reporter|January 24, 2019
Photo by: Hannah Van't Hof
The presidential search committee hopes to be able to recommend a candidate to the Board of Trustees around February 2022.
Along with a historical change that Calvin will experience when the institution becomes a university there will also be changes to the signage around campus and new landscaping and signs along the Burton St. entrance.
The planning for this project began in the summer of 2018. Between that time and up to the present, the strategic planning teams and designers have produced a new logo. The new logo's most significant change replaced "college" with "university".
Donald Levy, Computer-aided Design (CAD) operator and designer, or the "Sign Guy" at the Physical Plant, commented on the changes that will be made to the signs around campus.
"On 82 of these new signs, we have to take out the word 'college' and put in University," said Levy.
That is 82 out of 140 signs that replaced the old signs around campus which were in need of an updated a couple of years ago as part of Calvin's "Master Wayfinding Plan" which rebranded the entire college.
Bob Speelman, landscape operations supervisor at Calvin's Physical Plant, briefly commented on the aesthetic of the new Burton St. entrance landscaping. He described the design concept as being more "coherent" and "contemporary".
Tim Ellens, Director of Communications & Brand Steward at Calvin, commented that the new Burton entrance will be donor-funded so there won't be any extra expense to the institution.
Ellens, being the one overseeing the changes to Calvin in terms of the name and branding, also commented on some of the various things which will be redone across campus, including the apparel sold in the campus store. "One of the things that we have is a licensing program," said Ellens. "And so with Leerfield Licensing, that means all the vendors and campus store. People like that will have to use the logos we've supplied to them."
The campus store is run by Follet, a company that supplies various educational products to schools, colleges and libraries. They will propose some new designs for the new Calvin University apparel, but Calvin will have to officially approve the designs and how the logo is being used within those designs.
In terms of the logo replacements on signs around campus, Ellens said that there will be an extra expense to the college; however, they were expecting this change to be a University when the new signs and logos were placed around campus a couple years ago. Rather than the entirety of the signs being replaced, only the word "college" will have to be changed on each of the affected signs.
While the gym floor in Van Noord Arena doesn't have the words 'Calvin College' on it, it will also be getting replaced around the same time as these big changes are being made to the signage. The new knighthead will be placed on the updated floor as well. This wasn't part of the signage project but is another significant change happening to part of the school as it transitions to Calvin University.
All of these projects are expected to be completed in time for John Calvin's birthday, which is July 10, as an honor and celebration of the historical changes.
"Misperception and misconceptions": A Q&A with Betsy DeVos
SPAUD program expanding to meet demand
Calvin accepted the first cohort of students into its new online MA in speech pathology program last January. The flexibility of the online progr...
Calvin's U.S. News ranking falls overall, climbs in teaching and engineering
Calvin remembers Bert de Vries and Wally Bratt
Peet's: A New Social Hub
School of Health sets goals for 2023
Calvin Athletics introduces football Head Coach Trent Figg
Service-Learning Center moves into time of transition
Calvin grad helps organize global protests
Calvin Athletics hires first Black head-coach for new Men's Volleyball program
All Calvin University Chimes Picks Reader Picks Sort: Newest


As parents and grandparents, caregivers and surrogates, family friends and dedicated aunts and uncles, you see every day the difference that a Morris Jeff Community School education provides.
Beyond your PreK student's macaroni noodle art that decorates your refrigerator or your fifth grader's Pulitzer Prize contender of an essay, you witness the smiles. It's a smile of confidence —that your child feels safe, feels intellectually challenged, and feels a sense of belonging and respect at our school. The cost of that type of education is immeasurable, because it takes the contributions of each one of you and hundreds of teachers, student support service providers, administrators, and behind-the-scenes staff to ensure your child's success. However, each year, we are financially challenged with the uncertainty of public funding sources and we need your help to fund the gap. By making a monthly contribution, you preserve the integrity of our innovative PreK program, which takes a yearly loss even with tuition. You help to protect the diverse and inclusive practices that ensure every child has the opportunity to learn with and from their peers. Your contribution helps to increase access to our International Baccalaureate program with the continued expansion of our high school.
You have the opportunity to make an impact. Every gift makes a difference.
You can choose from one of the following giving plans or write in a custom amount. Debit, credit, and all charge cards are accepted. Fill out the accompanying form and return to the development office. For questions, please email development@morrisjeffschool.org or call Julie Thibodeaux at 504-373-6258.


Many festivals might claim to be multi-genre but will often feature very few acts from the worlds of hip-hop, RnB, rap and other urban genres. Here's our rundown of the European festivals that put these sounds at the forefront, or feature them heavily amongst the mix.
An entirely new festival taking place in the default capital of European hip-hop, this day event takes place in the western suburbs of the city at the newly built U-Arena.
Managing to secure Kendrick for the maiden voyage is quite the coup, so it appears this will be a mainstay for years to come.
From Nas to Rick Ross, both legends and young names deserving of more attention have all visited the holiday haven of Fresh Island.
Inviting world famous names to London's Finsbury Park, it's no surprise Wireless has become one of the capital's urban highlights.
Couleur Café is a colourful cultural celebration of walkabout performances, workshops, art and an incredible 50 concerts across 3 stages. Lineup surprises also include funk, reggae, soul and world music.
Taking place over only 2 days seems so unfair for a festival that boasts a funfair, art installations, cabaret, busking stages, comedy, spoken word and all kinds of glorious themed zones.
One of the most popular city festivals London has to offer, this annual party invites the best of hip-hop, RnB, electronic and the best fusion acts in between.
Combining heavyweights from the worlds of electronic and hip-hop, the festival also offers comedy, fashion stalls and unbeatable food markets.
An incredible gathering of almost 400 artists with a broad programme that includes African artists, workshops, exhibitions, films, graffiti jams and block parties.
Since it's formation in 1985, Openair Frauenfeld has hosted some of the pillars of hip-hop from the likes of Kanye West, to 50 Cent, to Cypress Hill.
You can see why over 150,000 festival-goers attend year in, year out.
Taking place in a small Czech town, Hip Hop Kemp goes easy on your wallet but offers premium sounds over three days. Highlights include a basketball court, skate ramps, bungee jumping and the chance to swim in a lake.


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text:
The 1971 Italian presidential election was held in Italy on 9–24 December 1971.

Only members of Parliament and regional delegates were entitled to vote, most of these electors having been elected in the 1968 general election and in the 1970 regional elections. As head of state of the Italian Republic, the President has a role of representation of national unity and guarantees that Italian politics comply with the Italian Constitution, in the framework of a parliamentary system.

On 24 December 1971 former Prime Minister and president of the Chamber of Deputies Giovanni Leone was elected president with 518 votes out of 1,008, the smallest majority ever obtained by an elected president. With twenty-three rounds of voting, this presidential election remains still today the longest presidential election in the Italian republican history.

Procedure
In accordance with the Italian Constitution, the election was held in the form of a secret ballot, with the senators and the deputies entitled to vote. The election was held in the Palazzo Montecitorio, home of the Chamber of Deputies, with the capacity of the building expanded for the purpose. The first three ballots required a two-thirds majority of the 1,008 voters in order to elect a president, or 673 votes. Starting from the fourth ballot, an absolute majority was required for candidates to be elected, or 505 votes. The presidential mandate lasts seven years.

The election was presided over by the President of the Chamber of Deputies Sandro Pertini, who proceeded to the public counting of the votes, and by the President of the Senate Amintore Fanfani.

Proposed nominees
 Francesco De Martino, former secretary of Italian Socialist Party, was the first proposal of the left-wing opposition parties;
 Amintore Fanfani, one of the most important leaders of Christian Democracy, was initially proposed by the centre-left government;
 Giovanni Leone, whose nomination emerged only since the twenty-second round of voting;
 Pietro Nenni, former partisan and leader of the socialists, proposed by left-wing parties at penultimate round of voting.

Political background
The period from the late 1960 through the 1970s came to be known as the Opposti Estremismi (from left-wing and right-wing extremists' riots), later renamed anni di piombo ("years of lead") because of a wave of bombings and shootings. The first victim of this period was Antonio Annarumma, a policeman, killed on 12 November 1969 in Milan during a left-wing demonstration. In December 1969, four bombings struck in Rome the Monument of Vittorio Emanuele II (Altare della Patria), the Banca Nazionale del Lavoro, and in Milan the Banca Commerciale and the Banca Nazionale dell'Agricoltura. The later bombing, known as the Piazza Fontana bombing of 12 December 1969, killed 17 and injured 88. Social protests, in which the student movement was particularly active, shook Italy during the 1969 autunno caldo (Hot Autumn), leading to the occupation of the Fiat factory in Turin.

In December 1970, a neo-fascist coup, dubbed the Golpe Borghese, was planned by young far-right fanatics, elderly veterans of Italian Social Republic, and supported by members of the Corpo Forestale dello Stato, along with right-aligned entrepreneurs and industrialists. The "Black Prince", Junio Valerio Borghese, took part in it. The coup, called off at the last moment, was discovered by the newspaper Paese Sera, and publicly exposed three months later.

In this extremely difficult context for republican institutions, on 9 December 1971 Italian Parliament convened to elect a new President. As a result of the 1968 general election, left-wing parties had now more representatives in the Parliament, while Christian Democracy had shrunk its numbers, making it more difficult to elect the new President without the help of its centre-left allies.

After a long voting period which lasted almost two weeks, the Christian democrat Giovanni Leone managed to be elected President with the votes of the Christian Democracy and the neo-fascist Italian Social Movement, facing the extreme opposition of the left-wing parties.

Results

Inauguration
Giovanni Leone officially sworn in as the new President of Italy on 29 December 1971.

Gallery

Notes

References

Presidential elections in Italy
1971 elections in Italy

redpajama_set_name: RedPajamaWikipedia


text:
Feed Loader
Brian Fitch Sr.
"He didn't want anything from the lick," Crockson testified. "He just wanted them dead."
The target, Crockson said, was Taya Moran, Fitch's ex-girlfriend, who had become a witness for the state in his murder trial.
Moran testified last week that Fitch owned a black handgun with a laser sight. Her description matches the Smith & Wesson 9mm semi-automatic that authorities have said was used to kill Patrick. Moran testified last week that she and Fitch got into an argument so alarming that she called the Oakdale police. Fitch flipped out, she said in court, and in an emotional tirade the night before Patrick was killed, Fitch said he would shoot any police officer who pulled him over.
In court Wednesday, Crockson said Fitch drew a map of the Oakdale neighborhood where Moran lived at the time. A copy of the detailed map was shown in court, with a half-dozen businesses, street names and Moran's apartment building all marked. There's an "X" on the apartment building and the words "top floor" written next to it.
Crockson said he called police to tell them about the map, and it was eventually turned over to Bureau of Criminal Apprehension special agent Chris Olson. Olson said he drove the neighborhood described in the map and said it's accurate.
Crockson said he never acted on the plan to rob and kill Moran, but Fitch gave him another name of someone he wanted dead: Laurie Pocock, the Mendota Heights woman who sold Fitch the green Grand Am he was allegedly driving when Patrick was killed. The car is plainly visible in video from Patrick's squad car. The driver of the Grand Am cannot be seen.
Pocock testified last week that Fitch bought the car from her.
Crockson won't get out of prison until 2020, but he denied defense attorney Lauri Traub's suggestion that he turned in Fitch hoping to see the state reduce his prison sentence.
"You were a snitch before?" Traub asked.
"Yes," said Crockson, but when Traub hinted that Crockson knew from his past experience that he would get a break, he pushed back.
"I didn't get anything the first time," he said. "I did it because my friend got killed. I don't consider it snitching when somebody kills somebody close to me."
Dusterhoft then asked Crockson why he called police to tell them about Fitch's alleged plot to assassinate witnesses.
"To clear my name, that's one reason," Crockson said, before adding that Fitch likely regrets making the plan. "I figured Brian was thinking, 'What was I thinking? I should be in prison bettering myself, not playing games,' " Crockson said.
Same gun
BCA firearms examiner Kurt Moline testified Wednesday that the 9mm handgun found with Fitch when he was arrested was the same firearm used to kill Patrick. He said his examination of the gun and of the two bullets recovered from Patrick's body proved a match.
Traub tried to discredit Moline's testimony, questioning the science behind bullet identification and quoting from a national study that said forensics labs like Moline's may have a bias toward law enforcement.
Moline said he had testified for the defense "a couple of times" in his career and for the prosecution about 130 times.
"It's based on one person's opinion," Traub said. Moline agreed, but qualified his answer by saying that he uses scientific principles to arrive at his conclusions.
Earlier Wednesday, West St. Paul police Lt. Matt Swenke testified that Fitch, who was described as a drug dealer by his defense team in opening statements, made or received 2,300 phone calls or texts between July 15 and July 28. He switched to a new phone on July 28 and had about 300 more calls or texts before his arrest the evening of July 30.
Judge Mary Theisen concluded the day's testimony with a message to the jurors: They'll get to watch the Super Bowl. Saying she doesn't want to interrupt their weekend plans, she won't give them the case until Monday at the earliest.
Matt McKinney is a reporter on the Star Tribune's state team. In 15 years at the Star Tribune, he has covered business, agriculture and crime.
mckinney@startribune.com 612-673-7329 _mattmckinney
Assembly Majority Leader Jim Steineke announced Tuesday that he won't seek reelection this fall.
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Having left the horror of Hinkley Point behind us, we were set to continue further along the England Coast Path, moving ever closer to the western end of the South West Coast Path.
Without any inland diversion awaiting our next steps, this would become our first full and proper coastal walk since crossing the beaches of Berrow and Burnham-on-Sea, back in September.
After driving along the familiar pothole-ridden road that leads to the free car park near Lilstock's bay, we were soon on the coast path. At the other end, my car was awaiting us in Blue Anchor – amazingly, every one of the many seafront parking spaces is free to use. I'm not aware of another seaside town or village nearby that offers this. I would've happily paid £1 to park here all day, as I'm sure many others would, if the money could be put to good use.
Beneath us, the beach was awash with pebbles; much like the bay we saw in our previous walk. It felt good to walking along something more than a riverbank. But you cannot argue that the "coast path" through Somerset offers great diversity!
As we climbed gently up on to the headland, the fields to our left lift up with the glow or rapeseed.
In and amongst which, we spotted this structure – which, according to Anna's book, was a bunker used during the Second World War.
Slightly further ahead was a look out tower. Surrounded by security fencing, it looks as if it may still be in use by coastguards today, even though it looked deserted as we passed by. Although you could probably walk around the southern boundary, the England Coast Path signs direct you along the northern side; a narrow passage between tall steel fencing and a dark hedge.
Already, the views were beginning to open up, as we looked on to where we would be walking towards the end of this challenge.
Showcasing the way forward for this walk.
Although not stated on any of the maps I've seen, we spotted this fort-like building on our approach to Kilve (ST 148 445) and I headed over the rise to investigate.
It certainly wasn't built for the taller gentleman but the view ahead was looking more like the adventure we had hoped to find.
It had taken us nearly an hour to reach the beach at Kilve Pill. Like those before it; this one was littered with pebbles and small stones. As we stopped for a snack halfway up the opposite hill, we watched one woman destined to reach the mud whilst wearing perhaps not the most appropriate form of footwear.
Speaking of shoes; we found this lone insole only a few yards behind the bench we had sat on. This mystery continues!
In planning for this walk, we'd both sketched out the route we would be taking online and the elevation looked as though it would be 'inconsistent' – although, perhaps not as severe as what you might find further south. We wouldn't be climbing anything as steep as the Quantock Hills but we were walking parallel towards their western end.
We soon encountered a steep climb up and over Quantock's Head. Heading down the western side of the hill, we passed a small family of others who's lack of oxygen suggested it might be tougher heading eastwards along this section.
But with the England Coast Path now instated through here, the signs lead you down to the beach and along its stoney shore.
I'm not sure whether the West Somerset Coast Path has been redirected to follow the new one or, whether you can still take the inland diversion as a second option… We did spot signs warning that this next section could be impassable, in the event of a high tide.
It was somewhat tiring to be walking this uneven section and our ankles weren't overly grateful.
But compared to the prospect of leaving the St. Audrie's Bay to climb hills and follow roads… There was no contest.
It was one of those situations where we had come so far that we just had to try it. Otherwise, it was a fair old walk back to the steps that had led us down here.
That waterfall was quite a spectacle in itself, as we walked beneath a holiday village and camp site.
On the approach to Doniford, the coast path does require you to depart the beach up steep steps and following a quiet road to pass beside another holiday park.
We noticed a viewpoint to our right (right next to an area filled with rubbish) and hopped over the disfigured wire fence to poach a picnic table for our lunch. Beyond the white buildings and the frequency of silver cars in between, we could just make out the West Somerset Railway, setting off for Minehead.
In Part 2, we'll continue our coastal walk with more beach-walking and a harbour-town to follow, before reaching Blue Anchor.
It really does look like the "Engtland Coast Path" is following the exact route I took around this part of Somerset. I'm surprised the route along the beach at St Audries Bay is the official route because it is not that easy, as you say.
Yes, it certainly does. I forgot to mention that there were warning signs before dropping to the beach; advising you to ring the given number to enquire about the tide times. But I can imagine some walkers not doing this… (myself, included) Especially given the large number of drivers who recently got their cars stuck in the mud near Burnham-on-Sea, recently.


A fractured fairy tale about greed and gratitude. Cranky Gertie Cramp is bitter, selfish and hard to please. Contented Bedelia Bell is happy and accepts what little life has to offer. Frizella the frazzled fairy is tired of cleaning pee-pots and just wants to graduate from Wish-Granting School. How much can these three characters affect the way the other sees the world? "A Tale of Two Biddys" is the result of merging the characters from two classic folktales, "The Old Woman Who Lived in a Vinegar Bottle" and "The Hedley Kow," into one remastered story with a twist of fate.


Pure blackberry and cherry flavors shine in this pristinely fruity yet nuanced red. Unoaked, unfiltered and unrefined, it's a fascinating glimpse into Finger Lakes Cabernet Franc without makeup or adjustment. Crisp, cranberry acidity is sharp and penetrating on the midpalate, accentuating a long finish marked by subtle tones of green herb and tobacco leaf.


text:
Re-photo
'Rays' on Photography and Photographers
Fuji Sense
Sunday, May 31st, 2015
I like Fuji cameras, and have four of them. Five if you count the film-using Hasselblad X-Pan they made, though this is pretty much in retirement, waiting for me to finish the film I loaded into it Northfleet on Jan 1st 2013. But I also currently own a Fuji X100, X-Pro1, X-E1 and X-T1, though its mainly the last two that I now use. All have their strong points and their weaknesses, but the X-T1 is my favourite.
I've never been good at selling cameras. Sometimes the amount they fetch compared with what you paid seems derisory, but more its because I become attached to them and feel one day I might just want to use them again, pick up that X-Pan and go out to take pictures. Though I know I probably won't.
But although I'm a Fuji fan, I'm also a Fuji critic. And I hope a Fuji realist. And I get quite fed up with the posts on my Facebook feed by people who enthuse about the special quality of images from their Fuji cameras, about how much better they are than those from Canon or Nikon. People who claim the images are sharper, have higher resolution, better colour etc. It just isn't so, and though I'd be hard put to prove it, the images from my Nikon D800E and even the smaller D700 files have a slight edge. Though a difference that is seldom if ever of practical consequence.
So I was pleased to read a huge chunk of information and common-sense from Robert W Boyer, about the Fuji System, starting with his recent Fuji X-System, A Clarification which I think has a great summary of their strengths and defects- the major strength being that "in the glass department no other manufacturer comes close."
Although I wrote almost 15 years ago about EVFs as the viewfinder of the future, the future is not quite with us yet. The X-T1 viewfinder is the first I've used that I really like most of the time, but sometimes it's too slow to update and gets wiped out by rapid and extreme light changes. Optical viewfinders update at the speed of light, and my eyes respond pretty rapidly to light changes. EVF still have a little catching up to do, but I'm a little happier with it than Boyer.
About the other problems – the lack of responsiveness and battery life, I agree entirely, though the X-T1 does have a mode where the EVF only turns on when you put your eye to the eyepiece, which surely ought to enable battery life to be improved?
Boyer also comments on the lack of real changes in various model releases, and it is very hard to disagree. But perhaps to be fair to Fuji they have greatly improved the cameras by firmware updates, making hardware upgrades largely unnecessary for existing users. I'm still hoping that the Version 4.0 Firmware promised for late June is going to make the autofocus noticeably faster in low light.
Also worth reading, written over a year ago in his X100S Vs. Nikon Urban Myths (and I'm sure much more.) There he concludes that the main differences in colour between different cameras (quite a few of which use the same basic sensor as the Fujis) are a matter of white balance. Fuji cameras, as he also shows, interpret ISO differently, and my own simple tests agree. If I meter a typical subject with my Fuji X-T1 set at ISO3200 I find get the same shutter speed and aperture as with the D700 set at ISO1600. Taking pictures at the same shutter speed and aperture produces files that need rather different exposure adjustment, with the Fuji images despite the nominally higher ISO generally a little darker until adjusted in Lightroom.
I generally prefer the colour from Nikon. I seem to have more problems with colour and the Fujis, particularly with greens. Fuji images often seem to be just a little pink while Nikons are just sometimes a little yellow. Bright orange and red seem a pain with both, but then they were with film too.
Posted in My Own Work, Photo Issues | No Comments »
I'm not sure what I think about Simon Høgsberg's 'The Grocery Store' project,which I read about in a post on DVAPhoto. It's certainly remarkable, made from around "97,000 photos of people outside a grocery store in Copenhagen" which were then analysed by the facial recognition algorithms in Picasa – freely downloadable photo software – to identify people who appeared in multiple images.
It's worth reading the interview with Høgsberg by DVA's M Scott Brauer which explores the how and why of the project and some of the issues, particularly around privacy involved, though I feel this could have been investigated more.
The images were made by Høgsberg "returning to the bike rail outside the supermarket with my camera" and zoom lens on 159 afternoons and "Freezing face after face with a click." They certainly seem often to be very carefully chosen moments – as you can see from exploring some of the 2067 images that make up the web project – which is a very impressive one, with the images laid out on a single zoomable page as a grid "of sequences of images crossing each other in horizontal and vertical lines. Each sequence shows the same person caught on different days" and " are arranged in chronological order." It's easier to look at than explain.
On Høgsberg's web site there is more about how the project was carried out and his discovery of the face recognition in Google's Picasa, software which enables you to "Organise, edit and share your photos" and share them with your friends on Google+L
Picasa uses facial recognition technology to find and group similar faces together across your entire collection of photos. By adding name tags to these groups of faces, new people albums are created.
The link tells you how it is done. Picasa is software I found rather annoying when I played briefly with it (here is a set of images of Paris I shared in 2006, complete with a multiple spelling mistake), but it seems perfect for this project.
Høgsberg gave some people in his images tags, starting with A1, A2, A3… and Picasa then sifted through the images to find the same people in other pictures. One man, E46, turned up in 276 of them. These sets were used to construct the project image.
There seems to me to be some theoretical problems here. Lets consider three people, who we could call A, B and C, and assume that there is a picture including A and B, another including B and C and a third including A and C. If the set of pictures of A is laid out horizontally then the set of pictures including B could be laid out vertically, with the picture including both at the crossing point. But if you then want to add the series including C, it can either be set to include the image together with A as a vertical, or that together with B as a horizontal series, but not both. And if A and B appear together at several different times, what then? Don't even think about A, B and C all turning up at once…
Perhaps these kind of problems are why only around 2% of the images taken appear in the final presentation, though I imagine the interest and quality of the images was also a consideration.
But these are technical matters, and it is perhaps the privacy implications that concern me more. I wonder what 'E46', 'R51' and the others make of this project and their inclusion in it.
Its also a project that makes me think about the millions of images gathered every day by security cameras in various public places, and the kind of analysis and use to which they might be put – with the aid of far more powerful software tools than that included in Picasa.
Posted in Photo Issues, Photographers, Political Issues | 2 Comments »
Save Yourself $89,910
Back in February I wrote Prince of Pilfering about the selling by Richard Prince and his gallery of large-scale reproductions of Instagram images and comments without permission from the those who have produced the work. On the web, the photographs look exactly as the Instagram originals, though after having been enlarged and printed on canvas, the image quality must be rather poorer, but by adding his name to them, Prince has apparently persuaded some deluded individuals to hand over $90,000 a throw.
One image was by photographer Donald Graham, though it had been posted on Instagram, apparently without his permission by a third party, and Graham was understandably not amused, and it was reported that his lawyer had sent "cease and desist" letters to Prince and the Gagosian Gallery.
I've not been able to find any comment on-line as to the current state of play between the two sides over this case, though while it may seem cut and dried to photographers, for lawyers the issues it raises are more complex, as you can read in The Latest Richard Prince Controversy, Clarified by Patent and Copyright Attorney John Arsenault on Fstoppers.
A day or so ago came a development by another of those whose Instagram image was ripped off by Prince – in this case 5 images. As I first read in PDN Online, rather than go to law, 'Missy Suicide' has decided to re-appropriate the work by Prince, making the five prints available through her own web site at the same size and printed on canvas like his for a mere $90 – with any profit being donated to the Electronic Frontier Foundation. Dedicated collectors who bought all five could save themselves £449,550.
It's perhaps a rather cleverer act of appropriation than Prince's and one that Prince himself has responded to personally (thanks to PetaPixel for the link) with a tweet "Much better idea. I started off selling my "family" tweets for $18 at Karma not to long ago. Missy Suicide is smart."
She may be smart, but Prince is already laughing all the way to the bank, though there is no way I would want to buy any of these images, either in the Prince or Missy Suicide versions, though I think the latter are more honest. They will also have considerably higher image quality, being reproduced from the originals rather than the low res Instagram. And in case anyone still thinks this is about photography, that will make them worth considerably less. While the controversy will undoubtedly have increased the art market value of Prince's pilfering.
Personally I'm going to save myself slightly more – another $90 – by not buying the prints from Missy Suicide. The site – described by PetaPixel as the "pin-up photo brand SuicideGirls" appears to deal in the kind of idealised soft-porn 'glamour' that I find boring, de-humanising and rather offensive. Lets keep photography real.
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Deutsche Börse Prize 2015
For once I have to say I was pleased to hear the result of the Deutsche Börse Prize. Although I wasn't entirely enchanted with the work of Mikhael Subotzky (b.1981, South Africa) and Patrick Waterhouse (b.1981, UK), Ponte City was an impressive publication which includes some truly excellent photography, and I felt it stood head and shoulders above the other three short-listed works. Perhaps for once the gap between the winner's £30,000 and the £3,000 to the runners up which I've always thought fundamentally unfair could be justified.
The DBP isn't of course just about photography, its also a prize on several levels about politics which has often resulted in work which I think has little place in a photography gallery being short-listed and sometimes even winning. Unlike this year, politics has meant it often hasn't been the best photography that has been successful.
Ponte City is a work that uses photography, but certainly isn't just photography, but unlike many concepts it has photography at its heart and uses it well. There are some superb images here, and some of the other things – like the series of pamphlets published as a part of the book – are fascinating if not for their photography.
There is still time to see this and the other three sets of work that were short listed as the show continues at the Photographers Gallery until 7 June. I think it says something about the gallery's fundamental contempt for photography that on the web page about the prize, the images from the four projects are shown as a narrow strip cropped from an image, 720x260pixels, an aspect ratio of 2.76:1,though of course you can see the full picture on the artist's individual pages.
That for Subotzky and Waterhouse shows 7 full images along with one detail view of a multiple image and a gallery view, as well as a postage stamp sized video, which in my browser refuses to go full screen or link to Vimeo except by some tricky right clicking, though perhaps that may have been because of a current heavy demand on the site. You can however watch it on Vimeo, where the page also has links to the videos of the other three artists. I'd suggest changing the video to HD and making it full screen unless you are viewing it on some miniature device.
The other work I found of some photographic interest were the portraits by Nikolai Bakharev made on Russian public beaches, mainly in the 1980s, when there were various restrictions on photography and the taking and circulation of photographs containing nudity was strictly forbidden.
While some of these excited me, there were too many that seemed to have little to offer. I had rather similar doubts about the portraits of black gay women by Zanele Muholi, where though the project may have been commendable and worthy, it needed some stronger images. And although I know people who enthuse over the work of Viviane Sassen, it did nothing for me.
Posted in Photo Issues, Photographers, Reviews etc | No Comments »
Mary Ellen Mark (1940-2015)
I don't often make web sites full-screen, but one you really need to see as big as you can is Streetwise by Mary Ellen Mark (1940-2015), her most memorable essay from Life magazine in July 1983. Time Lightbox also has a brief obituary, In Memoriam: Mary Ellen Mark (1940 – 2015) by Olivier Laurent on the photographer who died last Monday after a long illness. A tribute to Mary Ellen Mark's extensive body of work will be posted on Timeon May 27th.
Her own web site has a great selection of her work from her books, starting with Passport, published by Lustrum Press in 1974, as well as other information and pictures. It has much more material from the book Streetwise including the texts and several clips from the film directed by Mark's husband, Martin Bell.
New Homes for the Rich
Class War's Chingford candidate Lisa McKenzie holds a poster on the window of the Rich Door. D800E, ISO3200, 18mm (27mm), Flash, 1/40 f8
Class War's protest on March 19th was livelier than usual, partly because the Texas millionaire owner of the block at One Commercial St was thought to be actually in the building, but also because there was a rather larger group present than most weeks. But perhaps the main reason was that there were no uniformed officers present for the first twenty minutes of the protest.
D700, ISO 3200, 16mm, 1/60 f4
The event was more congested than usual as both building works on the front of One Commercial St and pavement replacement works were taking up much of the usual space. It made it harder than usual to get in the right place to take pictures.
Class War had prepared for Taylor McWilliams' presence, producing a 'Wanted' sticker with his picture calling for information on him: 'Dirt? Gossip? Dodgy Deals? Sex? Drugs? Money?' They had also brought with them a number of copies of one of their best-known posters, based on a classic Class War magazine cover from over 30 years ago. An image of a giant cemetery with wooden crosses stretching to the horizon, it has the Class War logo and the message 'We Have Found New Homes For The Rich.'
It may be an image in bad taste, but it is hard to see it as illegal, and I've previously photographed it at a number of public events where no action was taken. But one of the charges which police have now made against Lisa McKenzie is of displaying this poster 'with intent to cause Taylor McWilliams harassment, alarm or distress contrary to Section 4A(1) and (5) of the Public Order Act 1986.' You can see from the pictures that the poster was not being displayed to those inside the building – presumably including McWilliams – but to the other protesters outside.
D800E ISO3200 18mm(27mm) Flash 1/40 f9
While clearly McKenzie was displaying the poster at the protest, another of the contentions in the charges is clearly false. She is charged with placing stickers on the building to the value of £50.00. From both from my photographs and my observation of her during the event I am clear that she put no stickers on the glass herself, but was simply holding the posters to the glass, with both hands occupied in doing so. It's also evident that removing a sticker from the glass surface should take more than a minute's work and perhaps a scraper and a damp cloth and would hardly justify a cost of 50p, let alone £50.
Of course I did see people put stickers on the glass and metal of the building, but McKenzie didn't, and I was watching her closely because of her candidature in Chingford. Others were also as my pictures show displaying the poster, and certainly others were also saying similar things to her at the protest, but for some reason police only arrested and charged her.
Could it be because she was standing against a government minister in the coming general election? It seems clear that the arrest and charges against her are simply a matter of harassment – as was the arrest last November of another prominent Class War protester Jane Nicholl, and the seizing of the Class War banner with the accompanying arrest – which I understand has not yet been followed by any charge, although the police have not returned the banner.
D700 ISO3200 16mm 1/50 f4
McKenzie wasn't arrested until two weeks later, but another protester was arrested after plastic road-works barriers were put across the main road. The arrest was made by two plain clothes officers who had earlier been standing around on the edge of the protest, too far away to see what was then going on.
D700 ISO3200 16mm 1/100 f5
The protest started ten minutes before sunset, and the light rapidly faded. But for virtually the whole hour of the protest I was photographing with the D700 without flash at ISO 3200 with the 16-35mm f4 lens wide open, and shutter speeds between 1/13 and 1/80th. Quite a few were a little blurred either due to camera shake or subject movement. In some I added a little light with a Neewer CN-216 LED hand-held light source.
After taking a few frames with the D800E and 18-105mm without flash, I put the SB80 flash into the hot-shoe, still working at ISO3200 and using a shutter speed of 1/40th to get plenty of exposure by ambient light. Often using a slow shutter speed with flash on subjects where there is quite a lot of movement gives some interesting blur along with the sharp core image from the flash. The effect is sometimes rather hard to see in the web-size images.
Photographing the arrest was made a little tricky by the car headlights, which illuminated a rather narrow band of the subject and made some frames unusable with burnt out highlights. But I was able to burn in some where the exposure was not too extreme. And the flaming torches also pose some problems, which often call for some fairly extreme reduction of the highlights using the Lightroom slider or local adjustment.
You can see more pictures at Poor Doors blocks Rich Door.
Posted in My Own Work, Photo Issues, Political Issues | No Comments »
Class War in Chingford
It seems a long time now since the General Election on May 7, and the shock of waking up the morning after to find the Conservatives were in power. Not that I have any great faith in Labour, but anything would have been better than a Tory majority.
Of course there was no chance that Class War would sweep to power. They were only standing in seven seats and when party leader Ian Bone talked at the party's election launch about hoping to get into double figures he was talking about votes, not seats. And even for rather more serious parties – like the Greens – getting more than a million votes doesn't give you proper representation, still just the one seat won by Caroline Lucas in Brighton. And if Labour had put the kind of effort they put into trying to unseat her into their fight against the Conservatives, the election might well have had a different outcome, though the dirty tricks would have generated considerable negative publicity.
We don't have a fair electoral system. Attempts to reform it were voted out by the major parties who both thought they would prefer to continue to benefit from its unfairness, though I think Labour made the wrong call, failing to take Scotland into account – and going on to shoot themselves in the foot before and again after the referendum there.
But back to Chingford, the seat of Iain Duncan Smith, IDS, architect of dramatic changes to our welfare system, and a man caught out in lying and failures so many times, truly the man who launched a thousand food banks or more. And truly impregnable as the Conservative candidate in a true blue constituency like Chingford and Woodford Green. Any of the other candidates would have been a better choice, but none stood a chance.
Queen Elizabeth's Hunting Lodge on a sunnier day in 2009
Chingford is on the end of the line, and not a place that sane Londoners would ever visit, except perhaps as a start or finish point for walks in Epping Forest. I've been there when walking the 'London Loop' path around the edges of Greater London, and also to Pole Hill, which has an obelisk marking the Greenwich Meridian when I did a project on that virtual line back in pre-Millennium days. I wasn't surprised to find myself the only photographer who had come to record Class War's second visit to to the place, along with a couple of people making a video about Class War for Vice.
I arrived half an hour or so early, and took the short walk up the hill in faint drizzle to Queen Elizabeth's Hunting Lodge, built for Henry VIII in 1543, but given a makeover and a new name by his daughter in 1589, hurrying back down the hill in time to greet the Chingford candidate Lisa Mckenzie as she walked down the platform, wearing a bright red coat, something that has become a trademark of the 'Class War Womens Death Brigade' since Jane Nicholl was picked on by police and arrested while wearing on at the Bonfire Night Poor Doors protest (see Poor Doors Guy Fawkes burn Boris.)
Class War Candidate for Chingford & Woodford Green arrives in the constituency
Jane Nicholl is arrested at the bonfire night protest for setting light to an effigy of Boris Johnson
The one piece of good news on Election Day was about Jane's case, which came to court on that morning. Probably because of political pressure from on high heels in the Conservative Party, the police attempted to raise the seriousness of the charges, to a level where she could have been banged up for life, but almost hilariously failed to come up with any believable evidence. It was yet another case where the police were obviously committing perjury, clearly lying in the efforts to get a conviction, though as usual no action was taken against them.
In the end it became so ridiculous that the prosecution lawyer withdrew the case. The court also was of the opinion that burning an effigy of the London Mayor was a legitimate political protest and it was clear to all who had been present at the event that there was no danger to anyone caused by it. While our policing is often highly politicized, the courts do at least at time stand for a more neutral justice.
Lisa McKenzie and the Lucy Parsons banner opposite the Conservative HQ
Back in Chingford, it was not the most exciting of events to photograph, a small group of people moving down a fairly empty shopping street with a megaphone and a banner. If Chingford has a centre I've yet to find it, and nor did Class War. Some among the few constituents we met took the flyers and shared some very negative views of IDS, while others shrunk away in horror as if the gates of hell had opened. I tried but failed to capture some of their expressions, but they turned away or fled at the sight of my camera. Though I did just manage to catch one old man on a passing bus scowling and making an angry 'V' sign.
The Metropolitan Police had clearly expected trouble and the group was provided with a police guard, a van following their progress a few yards behind as they walked down the street. Their senior officer provided the major interest in visual terms when he came to threaten one of the protesters with arrest if he continued to display a poster with a photograph of David Cameron and the word 'Wanker', which he said was offensive. As he walked back across the road, that protester folded the poster so that the the part he felt was offensive – Cameron's face – was no longer visible and continued to display it.
The officer continued to stand across the road watching the protesters from beside the van full of police officers, as the rest of the protesters continued to display the Cameron poster and Ian Bone parodied the officer's action and his stance as he stood sternly watching. The police took no further action, but continued to follow all of the Class War group until they finally got on the train and it pulled out of Chingford station.
Lisa puts a leaflet through the letterbox at Chingford Conservative HQ
After a number of speeches heard by only a few passing Chingfordians, Class War decided it was time to go to the pub, stopping briefly on the way for a photo opportunity outside the closed office of the Conservative Association.
NIKON D800: 18.0-105.0 mm at 26mm (39mm), 1/60s, f/4.5, ISO 6,400
Class War have serious political views, but believe that politics and protest should be fun as well as making their point. Given that the UK is now the most unequal of Western societies (equal worst with Russia) and that things are getting even worse since the financial crash their class-based analysis makes increasing sense. In part it harks back to the immediate post-war sense of purpose and community that gave us the NHS and the welfare state and opposes the selfishness and greed that Thatcher brought to the centre of politics – and which was perhaps the determining factor in our recent election – and behind the odd Tory pledge to extend 'right to buy' to housing association tenants. But Class War have no prospect of power, and standing a few candidates in the election isn't about trying to gain seats, but about trying to raise issues – and in this case the issues around social class, welfare and benefits.
At what I tongue-in-cheek headlined 'Class War party discuss tactics for Chingford General Election seat' and hoped I had made clear in the media summary 'After a march and street rally in Station Rd, Chingford, Class War cadres adjourned with their candidate Lisa Mckenzie, who is opposing controversial Tory minister Iain Duncan Smith, to discus their forthcoming election campaign in the constituency' there certainly was some talk of politics, but it was a rather more relaxed occasion, with a deal of hilarity over the Iain Duncan Smith masks that were brought out there. It would perhaps have made for some more interesting images had some people worn those during the protest.
The picture above is one where I like the 'red-eye' effect from the mask held in front of Lisa's red coat. Perhaps I should have zoomed in to make it stand out more. Red-eye is of course often a nuisance in flash pictures, but here I was working with available light, though not a great deal was available in the dimly lit pub interior.
It was the first time that I remember using ISO6400. Matrix metering did a reasonable job of exposure despite the window light and the lens is wide open at 1/60s – any slower speed and there would almost certainly have been blurring due to subject movement. Looked at closely – at 1:1 – the image lacks fine detail but is about as sharp as possible, with a noise (after suitable noise reduction) that has much of the feel of a 'fast' ISO400 colour film. The colour quality too is perhaps a little more filmic than when using digital at more moderate speeds.
It wasn't a posed image. The two women are talking with a third just out of frame to my right, and I made several frames. It's the kind of situation where the noisy Nikon might have been a distraction, and the silent Fuji would have made working easier, but they had got used to be using a camera around them and were ignoring my presence.
Standing there, perhaps it was the presence of the gambling machine that made me think of this image as being rather like a fruit machine display, with the 'Look £100 Jackpot' standing in for the third result. It would perhaps have been nice to read the full message on the t-shirt at left, but I rather like the hint of an 'FU' at the top left of it, and the 'THE RICH' below the IDS mask which blocks out the 'CK FOOD BANKS' on the top line and the word 'EAT' below. It's a very 'Class War' statement, and one like most of their slogans not intended to be taken literally.
More pictures from the street rally at Class War Chingford Election Launch, from the pub at Class War celebrate Election Launch, and from my journey from Chingford across London and into the occupation on the Aylesbury Estate with a few people from Class War at Class War go to Aylesbury Estate.
Posted in My Own Work, Photo Issues, Political Issues | 1 Comment »
Gardeners Delight?
'The Gardener' Jan Brykczyński (Dewi Lewis Publishing, 2015)
I have to confess to being a colourist. Someone who seems more affected than the general population and by the art photographic establishment in particular by colour. I had to quickly leave one room in Photo London when confronted by wall-sized images with a particularly nasty thin yellow cast.
My first real job was as a colour chemist, in the research lab of a company making dyestuffs, where small differences in shade were vital. For various reasons I didn't stay in it long but perhaps something of it stayed with me. When I began as a photographer in the early '70s, carrying two cameras, one for black and white and another for colour, I was seldom if ever in doubt about what was a colour and what and black and white image and my work in the two was quite different. I was, as a then eminent photographer commented on my work, a colourist.
Jan Brykczyński talks to Diane Smyth at Photo London detail- apologies for poor quality
Few photographers now actually work in black and white, and most of those who do seem to think – if they think at all – in colour. Others certainly do think in colour, and Jan Brykczyński is certainly one of them, but his colour is rather different to mine – around R+3 B+7 different from both me and Photoshop, as I find if I put one of his images into that programme and examine the colour of a neutral shade.
It may not seem a great deal, but R+3 B+7 is enough to make me feel a certain nausea when I turn the pages of this book, and it gets in the way of my appreciating his imagery. I have a slightly smaller problem with the rather muted colours and contrast. Brykczyński uses a large camera (4″x5″?) and film, and likes to shoot on dull days, staying in and researching when the sun comes out, to lessen the technical problems of light and shade. Colour film has always been balanced for summer sun (or tungsten); back in the bad old days of transparencies you had to use CC filters when the sun went in to get the colour right, though with the switch to negative we got lazy and made the corrections on the enlarger and it almost worked. But breathed a huge scream of relief when digital gave us more accurate colour with far less hassle. Film has become relegated to a 'look', something one can apply to digital with what a less polite than me photographer referred to as 'f**king up filters'.
I'm not criticising Brykczyński for having chosen a particular aesthetic with its desaturated and slightly unreal colour, just relating my own difficulties in approaching his work though a barrier which for me is hardly mountable but others may take in their stride; from his comments in the presentation at Photo London, the approach may in part derive from having to blend together images taken at different times in four very different areas. But personally I would have liked to have seen a book that represented differences in the conditions under which the images were made rather than attempt to minimise them for the sake of a perhaps spurious unity.
A very different garden image from 'Secret Gardens of St John's Wood' by Peter Marshall'
As a photographer who has also produced a very different book on gardens I appreciate the problem of dealing with all that green. And back to that room I had to leave, some can live with (or at least work with) and pay very silly money for giant images I find nauseating.
Jan Brykczyński talks to Diane Smyth
So I struggled to appreciate this book, although the images there are at least clear. I felt for the photographer at the presentation, where his images on screen behind him and Diane Smyth of the BJP asking him questions were projected at a standard that would have disgraced an amateur gardening club in a run down church hall. It seemed a disgraceful contempt to the photographer and his work and the seriousness of his approach as well as to a paying audience. Some images from the position I was sitting, a few rows back from the front, were almost completely burnt out with the screen a glaring white.
I took pictures only when a few images were better projected
The project looks at urban gardeners in 4 cities in very different states of development and with very different histories, Nairobi, New York, Warsaw, and Yerevan in Armenia, and seems to attempt to suggest à la 'Family of Man' that whatever our social arrangements and historical development, at base people around the world are much the same. It's a thesis undoubtedly close to the heart of a multi-national Swiss-based giant like Syngenta, and behind the singular title 'The Gardener' that the photographs, mixed together as they are in the book, rather triumphantly overcome.
Perhaps behind the book there is a rather more subversive mind than the company hoped for. Perhaps I should make myself a pair of colour-correcting spectacles to enable me to get to grips with it more adequately. But you may well not share my personal problem.
Boiko, Brykczyński's series on rural life among the Rusyn people (a small group of farming people who apparently consider the name Boyko derogatory) in the Ukrainian Carpathian Mountains which became his first self-published book is a fascinating series (and I have no problems with their colour), as too is the group of photographs of the sheep farmers of Árnes in Iceland that won him the Syngenta Award, with a grant to pursue the project and, later, to publish the book 'The Gardener'.
Born in Poland in 1979, much of Brykczyński's work has been on rural areas. He is a founding partner of Sputnik Photos, an international collective of photographers that focuses on transformation in Eastern Europe and post-Soviet states.
Posted in My Own Work, Photo Issues, Photographers, Reviews etc | 3 Comments »
Photo London
Thursday, May 21st, 2015
I wasn't going to bother with Photo London. I'm rather busy and thought there were better things I could do with my time, so hadn't bothered with accreditation. But a day or two ago I decided I could fit in a few hours there on my way to something else, and took up an invitation to a book launch (more of which in a later post) which included a complimentary day ticket. If you have to pay, a day ticket costs £20 (concessions £17) and the show continues until Sunday 24 May.
There certainly are things worth seeing, particularly the first UK showing of a remarkable project by the late Iranian documentary photographer Kaveh Golestan in the in the Citadel of Shahr e No (New Town), Tehran's red light district, a walled ghetto where 1,500 women lived and worked, between 1975–77. With the Iranian revolution the whole area was destroyed, together with many of the women in it.
Beneath the Surface, 200 rarely-shown photographic works from the Victoria & Albert Museum Photographs Collection, features a fine collection of work by William Strudwick (1834-190), an employee of the V&A. The museum purchased around 50 of his cityscapes, 'Old London: Views by W Strudwick' in 1869, and then proceeded to disperse them around their collection, only re3cenly reuniting them for this show. There are some other interesting prints from a century ago or more, but the choice from the last hundred years was rather less interesting, with a number of good but well-known works, and some more contemporary work about which the museum may well feel rather embarrassed in another hundred years.
I was disappointed by the show of Sebastião Salgado's Genesis series as large-format platinum prints. Frankly many of these images were more convincing on the magazine page. Making platinum prints doesn't necessarily mean better prints as this exhibit proves. Elsewhere on some of the gallery stands there were rather better prints of his work and I think it is more suited to silver or inkjet.
The backbone of Photo London is of course the commercial gallery shows, and in the main I found these a little disappointing. There was an awful lot of large and rather empty images and a dearth of interesting photography, and the range of work didn't seem to match that which I've seen at every Paris Photo I've attended. There were things that were good to see, but most of them I'd seen before, and very little that was new.
One of the more interesting was the series series Liverpool 1968, by Candida Höfer, black and white images made during a trip there when she was twenty-four years old. If anyone doubts the dire effect of the Dusseldorf school on photography they should go and study these images made long before she studied with the Bechers, whose work I admire but who seem as teachers to have inspired a huge pyramid of boredom, with just the occasional photographer and work of interest. They were I think at Galerie Zander.
Another set of pictures that I really admired was by Anthony Hernandez, Landscape for the Homeless showing at the Galerie Polaris stand. A book of these was published by the Sprengel Museum, Hannover, Germany,in 1996 and there is an article in Unhoused. The book was a relatively small print run and is fairly rare and a little expensive.
Somerset House is a fantastic building, but a rather confusing layout which wasn't quite clear to me from the exhibitor map, and I had to ask my way a couple of times but eventually I think I managed to find everything in the show, including the LensCulture area which is all on its own with a separate entrance, and where work by all 31 award-winning photographers of the LensCulture Exposure Awards 2014 was on show.
Raina Stinson, with her winning image 'Alluring' at top left, holds the Lensculture Awards Catalogue
Also on the LensCulture web site you can see their view of Photo London – rather different to mine, but recommended.
Posted in My Own Work, Photo Issues, Photographers | No Comments »
Max Pinckers
Thanks to a Facebook post by photographer George Georgiou for a link to Colin Pantall's blog post Liverpool Look/15: Don't Take Boring Pictures, a look at the current Liverpool at Look/15 Festival continuing until Sun 31 May 2015.
Were I in Liverpool I would certainly go and take a look, although the big show, Martin Parr and Tony Ray Jones in Only in England at the Walker Art Gallery is one already seen in London, and which I reviewed here last year as well as posting a link to a review by John Benton-Harris, who knew TRJ well.
While I had huge reservations about the ideas behind the show and some aspects of its presentation and John made very clear his thoughts on the misrepresentation of his friend's work, I still concluded "It really is one of the most significant shows of photography here in the UK for some years". In part that is a reflection on the fact that most of the more significant photography shows fail to get a showing in this country. But it is an opportunity to see around 50 vintage images taken by TRJ (if rather fewer of them actually made by him than claimed) but also as a reminder of what a good black and white photographer Martin Parr could be back in the 1970s.
But this is also a show which contains Parr's selection of work the TRJ rejected, printed in a way he would have felt totally unsuited to his work, contradicting the clear directions he gave to people – like Benton-Harris – he got to make prints for him. It was a travesty that Benton-Harris clearly felt strongly about and makes his feelings abundantly clear in his review, and I think represents a failure to respect the work of Ray Jones by the organisation entrusted with his legacy.
What prompted me to write this post today was however the final section of Pantall's post, about the apparently rather hard to find show of work by Belgian photographer Max Pinckers, Will They Sing Like Raindrops Or Leave Me Thirsty, a project on "the price of love in India and the stories encountered daily by the Love Commandos, a volunteer group working to prevent honour killings by providing assistance to those who have found love outside their prescribed destiny" which you can explore in greater depth on Pinckers' own web site.
The work is the fourth self-published book by Pinckers (as well as a self-published book dummy – I'm unclear about the distinction) and copies of it are expensive, with a 'special edition' including a signed print still available for 320 Euros and shipping. There is an interesting interview with the photographer about his earlier highly praised book 'The Fourth Wall' by Taco Hidde Bakker, though this was a work that failed to arouse much of my interest.
Looking on-line at a selection of pages from the latest book and images on the web site, I find the work far more suited to the web presentation, which animates the series of images of images which on the page – which despite Pantall's assertion – do sometimes become rather boring.
Posted in Photo History, Photo Issues, Photographers | No Comments »
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