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Catalog > Photo & Video > Commercial > The Business Of Commercial Photography: The Survival Guide > Estimates & Invoices - Advertising, Photo Libraries
The Business of Commercial Photography: The Survival Guide
Estimates & invoices - Advertising, Photo Libraries
Alright, so moving on to advertising, where this is very different from editorial, like we said you get a call, you have a job. Usually you'll hear about this really cool project and you're one of maybe three people that they're also talking to. So it's not yours, it's easy to get emotionally attached but you're not gonna win them all. You're maybe not gonna even win a third of them, it's kind of like baseball in that sense, you maybe get out more than you get a hit. And then Marin, maybe you can talk a little bit about what comes at that point, after you've gotten a call. Yeah, so, generally during the bid process, there are three really key factors. And this is for larger commercial work, when you're working with an ad agency. There is the initial creative call, there's the estimate, and then there's a treatment. Those are the three things we cover off on during the bid process, in general. So I might get a call, and they might say, "Is John available in April for this great shoot?
" And I will say "yes. Cancel your vacation." (laughs) And then they'll say "great, do you think we can get "on a conference call sometime this week?" And we'll organize a call so that, we talked a little bit about roles before, so that John will have a chance to talk to the creative directors and the art directors on the job. Where I'm doing better at my job, is when I offer them something they might not have even asked for, which is, hey, would you like to see a PDF of applicable work? Are there boards that I can see, or inspiration that you guys are working with that would help us better understand what you're after? Any bit of information we can get, or give, gives us an advantage. So, I have had jobs recently where they didn't ask for a treatment, but I offered to make one. And they said, "oh, our creatives, just when they saw it, "they just knew that this artist was perfect for it," and we actually canceled the rest of our creative costs. So we kinda got in there early, with hitting them over the head with how perfect this artist was for the job. And then they just got attached. It doesn't happen all the time, but it's a possibility that it could, and why not? So, if we do the initial creative call, we get to hear a little bit about the job. Sometimes I'll ask questions before the call, is this a triple bid? Is John the only one that shoots celebrity? Oh, actually, it's all celebrity photographers, and John has the least amount of experience with professional athletes, or, this is not true. But with whatever it is, and then I'll say okay, in our treatment, we need to show them all the athletic work you've done and really get them to understand that this is in your wheelhouse, even if it's not on your site. So we have a sense, strategically, of what we can offer in the treatment. Do you want to talk more in depth about calls and treatments now, or? Yeah, I think we could. I mean I think, as we've mentioned earlier on the creative call, it's, again, it's a chance to hear from the creative team on what they're envisioning, or some of the things that they've already talked about with a client, maybe some of the things they want to avoid, or some of the things that they really wanna hammer home, and so for me it's a chance to really hear and give them a clear idea that I'm listening and I understand, repeating back to them that I'm listening and I heard that hey, they really want this to feel premium, and so we're gonna make sure that that's communicated clearly. And then, it's also a chance for me to explain how I would like to do this. Again, they're not asking me to just fit some box, they wanna see what's my approach. Because, all three people that are talking to me might have very different approaches. And so, it's letting them see how you problem solve, how you work, what you're gonna bring to the table. And you wanna be excited about it too, that's why hopefully you're in line with the type of work you wanna be doing, through personal work. So you wanna express that excitement, and how you see all these different aspects. For me, another part of it too, is with a business, a background in business, I understand that people aren't paying artists all kinds of money just to make something beautiful. A business has a goal, they're trying to get more foot traffic through their stores, or they're trying to increase brand awareness, or they're trying to increase internet sales, or whatever that is, and so I like to understand what is the goal of this? I know they're not hiring me just to make something beautiful, so what is the, what should this image, or images, or video, make someone feel compelled to do or think? And the better I can understand that, the better I can work in my strategy, ways to better reach that goal for them. And so, that's how I approach a creative call, is just listening, and problem solving, and then expressing in another way, how I'd like to do it. And there's also another element, which is, this is sort of that X-factor, but they wanna know what type of person John is. These, there's a lot riding on these shoots, and there's a big risk, and they wanna know, is he gonna be fun on set? Is he not gonna talk to the client at all? Is he, if it's a travel job, is this somebody that I can spend 10 days with, and not be annoyed? Is he gonna talk too much, is he gonna talk too little? Is he gonna be so shy that we're afraid he won't be able to engage with the talent? There's, a lot of times, it comes down to, this is true in politics and everything, but it comes down to likeability. If you are on that initial conference call, we know that they like your work. So that's sort of the base ground level. This is an opportunity to show something else. And it, I hear it, I don't say much on these initial conference calls, because I want the creatives and John, or the other artists, to connect and have a spark. But I hear it, and I can always tell, like, oh, they hit it. They have a lot of commonalities, they feel like they've already done the shoot, it feels like a team that will jive well together, because it's a very intimate and stressful situation, doing commercial photo shoots. There's a lot that's being demanded, there's one day, there's a lot of money on the table, or two days, or whatever, but there's a limit. And there's a lot to get done. And then finally on working with ad agencies, you don't have the job 'till you've got a signature, you got that ink on the paper. So it doesn't matter if they say "hey, "we're gonna sign off," or "you got the job," like, you need to get something signed, because it's not yours until you have that signature. This is a, this is an estimate for a smaller company, and the, this is, in a lot of ways, below what we would typically charge. But the reason that we wanted to do this is because there was a period of time where I was considering a different type of photography as I was getting into advertising. I think I more had the mindset of "how can I make money" as opposed to "what do I want to do?" And so, this was something I thought, this is access to a brand, and a type of photography I don't normally have access to, so I felt like this would be a good portfolio-building opportunity to hopefully leverage into something else. But, here it was very scrappy. They had just a very limited budget, and so it's not a matter of what's it actually cost, it's like, how can we make this happen and do good work within these constraints? Marin, I don't know if you can, wanna talk, you were mentioning the other day about, kind of... I mean generally these people do have a flat budget, we will work backwards and we'll just adjust everything accordingly to make it work. So, we spend a lot of time hacking away at line items. But one of the things that John and I were talking about the other day is that when you're dealing with a constricted budget, it's really important that when there are these casual conversations on the call, like, "hey, we're gonna get scrappy, "we're just all gonna help out, don't worry about it," I put all of those promises in the estimate. So, if you're on a call, and they said, "we're totally fine to just "shoot it in John's house, that's great," I put that in the paperwork and I say "location: John's house." Because, inevitably, when there's a lot of hands on this, somebody else from another department will be like, "oh, we'd love to see a choice in the locations "that you're gonna book for this." And they don't know what the budget is, or they conveniently forgot, or sometimes people on a call will say "we can just limit it to two talent to save budget numbers," and then a different art director says "oh, I'd actually like to have six talent." Well, if it's not written on the estimate that we agreed to two talent for this flat rate, or for this fixed budget, then there's, then you're stuck. I mean, there's actually, I've really, I've seen photographers just get caught trying to, wanna please a client, and they end up losing gobs of money, because they're like, "well, we were on set, "and they said they wanted eight times more, "and so I just felt like I wanted them to be happy "and work with me again." But, that's not the way to please a client, that's a way to go out of business. And what you can gently do on set is say, "oh, I'm so sorry, I would love to do that for you, "this is what it would cost to do that. "Let me know if you wanna do that." Or, this would be my suggestion of a solution for that. Recently somebody said that they wanted to have a basketball court set up in studio, for a shoot. But they had a fixed budget, and I actually had halved the budget, of what we had originally given them. But I was able to do it by listing everything, because I had hair and makeup groomer, and she said "okay, let's take out this line, "let's take out that line, and we don't need this." So instead of just taking out those lines, I said "handled by client, not applicable." So these were all the things that we discussed. I keep those line items in, and we had talked about when there's a discount, you say, "50% discount," so that they, the next time they come to you, they understand that that was a deal. That's not what this costs. So everything you can put into an estimate, you should. Can I ask a question? So when John's on a photo shoot, and it changes because they decide they wanna add some people, he calls you, and then you get on the phone with probably the art buyer, and you make another estimate that's signed. How would you recommend, like... Well that's why I said for them it would be best if they could just, if they can know it right away, just say "hey, I'm happy to get another person "to help out on set, it's gonna be $250 dollars to get a PA, "to be an extra set of hands." So, and then, if they say, (all laugh) if they say, all of these things are actually real! (all laugh) If they say that "oh, it's gonna cost money? "No, forget it," then that's fine. But, I always, it's my job to get these things in writing. Sets are frantic, so, if you don't have an agent to do that for you, maybe you get an assistant, or maybe you follow up, make a note of it and follow up after the shoot, and just say, "hey, I wanna make sure that we're all in agreement, "that you had agreed to getting an extra four plates made "at this restaurant, so that we could shoot it "in different ways, this is what it would cost, "it's not part of the original agreement." And these are the things that do keep photographers and agents and producers up at night after the shoot. I mean, it's actually hard work. It's not all fun and games, and we have to track these things over time, it's something that people will text me about on set all the time, standard days are ten hour days, people don't understand sometimes that you just stay until midnight to get it done, which is great, and the photographer will often work without overtime, but you can't do that to your crew members who aren't making that much money. You've gotta account for their time. So, this is a larger ad campaign. This was for a non-profit, actually, and I think our first estimate was triple what this was. And, that was what it cost, and the agency was fine with it, it was where it needed to be, but the client wasn't. They had never done a photo shoot before. And they were in the midst of some growth that they were never experienced before, so for them, they just, I don't know where this number came from, but they were like, "we just can't do anything "above 25 grand," kind of thing. And so, there's only so much we can do, we're not gonna just do the shoot and just do it for free, or cut costs, and so, it was something that was, we were looking forward to creatively, and so we expressed that, but the agency said "okay, "you know what, we wanna obviously do this project "for this client too, maybe there's something "that we can take on." And so there's a give and take, so in this case, the agency says "we will location scout, "and we will get the location permits, "we'll handle all the catering, "we will take care of all the talent, "we'll have a studio teacher," which is someone who's, if you have children talent on set, and you can see there's all kinds of lines on here that the agency covered, and so that was, that allowed us to bring costs down. And then also, it was originally scoped for a three day shoot, and so we made it a two day shoot. That's another way that we can. Again, we're not just saying okay, fine, we'll just take less money, that's not what's happening ever here, really. What we're doing is we're problem solving. And so we're saying, alright, we need to get this down, maybe there's a different approach. And there's usually, there's a cost to all that. We don't wanna do it unless we know we can do a great job, but maybe the difference between a two day shoot and a three day shoot is, we don't obviously have as much time on each set, so we do have to be a little more calculated, and we don't maybe necessarily get to be as picky. We do have to kinda rush things through because we're now doing three location shoots in one day, as opposed to two. But in this case, that's how we were able to work together to get it down to the number that they needed it to be. But you can see again here, some of these numbers are quite different from what we did on the previous shoot. Some of that comes from experience, some of it comes from just the size and scale of the shoot, too, what was needed also required a lot more as well. Let's see. This is for a much larger national campaign for a national brand, and so then again you can see how the numbers have changed. What was required of us was much greater, and also, as Marin talked about, the use and the benefit of, well, how this work was gonna be used by the client was much greater. There's the difference between if someone's gonna put a billboard up on the side of a rural road, and if someone wants to put a billboard up in the middle of Times Square. They're gonna get a lot more value from that Times Square billboard because there's so many more eyes on that, and so that's kind of part of what helps gauge the creative and licensing fee. And this is, just to get into the nitty gritty here, so before I was talking about, okay, let's say it's $10 thousand dollars for one year of advertising, you'll see that here it's three years. So chances are, that my number did not start at 16, my guess is that my number started at 20. And there was a negotiation. They probably said "oh, the client thinks that's too much," okay, then I would say, well, do you think that this is fair? So where I start with general guidelines, I move things around a lot. When I can, I charge $5000 dollars for a pretty light day. But if I'm trying to hit a number, I'll charge three. Or maybe I'll charge 15 hundred. But I will always charge something, because I do have to represent that time, but I'm flexible within that, and if it's the difference between John making $28 thousand dollars or $24 thousand dollars, or making no money, I obviously would rather him make $24 thousand dollars. So, I have my eye on that prize the whole time, I'm not trying to be difficult or make it so that they can't do it. But I also explain to them what the industry standard expectation is, and then we go from there. You'll also notice that I say 20 final images. I always ask people how many final images. I put every piece of information I can on there, because you, this used to happen in editorial a lot, but it happens now in commercial jobs, where people don't ask how many final images. And then I'll talk to this photographer, they'll be like, "I was up until four in the morning, "because they just asked me to retouch every image "from the shoot, because they couldn't figure out "which images they wanted to use." Gosh. And, they didn't know that they could say no to that, or they didn't, like I would push back and say, "we need you to decide which images you want, "and they'll retouch those images. "I'm not sure if you understand this, "but it takes the artist several hours "to retouch each image. "And if you do want every image retouched, "then this is how much it will cost." So I quantify everything I can, when I work with our set designers, and they'll say, "this is for five set-ups," I say "five set-ups" in my number, so that if the client comes back and says "oh, we're adding four more set-ups," I can say, "okay, our scope had five set-ups, so let's," then I can, then I have an opportunity to re-estimate. If I just say a flat number for sets, and the client changes their mind on how many different props and sets they want, then I have nowhere to go, and they will push back, because they don't understand what goes into it. And this is just the expenses for that same shoot, so it's not, again, it's not just the fee that we're charging, there's also all these expenses and things that need to happen, and so in this case there's also a celebrity talent rider, which is not something that you'll necessarily always encounter, but they have things in their contract that you'll have to cover as well. Massage therapist, that's my favorite line. (all laugh) We have joked since then about what would be in our riders, and after being at Creative Live this week, I definitely would put High-Low Candies in my rider. (all laugh) [John And Middle Woman] Hi-Chews. Hi-Chews? Hi-Chews! (laughs) "High-Lows." I don't, I'm gonna have to work on my rider. But I mean, you'll see things like, I mean, we learn on every, and every shoot is different. And it's actually really fun and interesting to learn how people do things, but it's also shocking. They could have a really tight budget, and I would have to bring John's fees down, to possibly make way for a massage therapist for this celebrity talent. So, you have to take into account the immovables that people will not do without. And, make it work. He lost the massage therapist though, because I wouldn't budge on this one, so. (all laugh) So, photo libraries, what is a photo library, Marin? I think you maybe mentioned this a little bit earlier, but. Yeah, nowadays people are wanting just a library of assets to use, over time, maybe throughout the year, so they might shoot one or two libraries a year. And then they can use those assets on social media, maybe on their website, maybe in trade shows. And that way they can keep things feeling fresh and new, without doing a new photo shoot each time. And when people ask about pricing for libraries, again, it depends on how it's gonna be used. So, if it's print advertising and billboards in Times Square, it's different than if it's a social media library. But I tend to start at $20 thousand dollars for a library for one year, and then 30 for two, and then, you know, let's say 50 for unlimited. This is not something that happens every day, truthfully. And especially not at our agency, because we don't specialize in lifestyle photographers as much. But it does happen, and we're happy to do it. And they, this is the type of photographer who is breaking cameras and taking thousands of pictures a day. They will hand over a drive, or have the agency bring a drive that they load up. The digi-tech would load it up and hand it over, and then I would put in some, "hard drive" in the estimate for storage. For a social media library, it would probably be half that. I would probably charge about $10 thousand dollars for a full library. Let's say the fee for five or ten images would be 75 hundred, or 5000, if it's a library I'd bump it up to 10 to account for this. It's basically covering several photo shoots in one. How many images? Account for a library? Yeah. I generally just ask them if it's a library. If they're viewing it as a library, or single images. I mean you can usually tell, because you can't really include post in a library, it's just sort of like a color balance correction on the whole thing. But they're not like precious single images, there's no shot list. There's shot direction, or there's a scene. We're gonna do one library location, we're gonna do one park location. But you're generally not getting a shot. You're getting kids playing, and somebody going on a hike, or you're getting a whole look and feel. It would be applicable to the kind of work you do. And you can pitch it, and say you know, "it does cost a little bit more, "but I can shoot this as a library, "and then you can have tons of assets for the year." People don't realize that they can actually offer things to clients that they don't ask for. And, charge more for it when it's appropriate. Not really actually just as an upsell game, but you just might have more to offer that they don't know that you have. John might say, "I don't know if you know this, "but I actually do a lot of film as well." And they might say "oh my gosh, we're so glad to hear this, "because we didn't want to go through "a whole estimating process "with a whole different production company, "and have to do that. "We really love you and your voice and your vision, "let's just do it all here." It's win-win for everybody. Would you usually specify a minimum or a maximum number of images that you're gonna hand off, or is it? I think the whole notion of paying for a library is that there is no maximum. Is that that's what they're paying for, is unlimited. Okay. Mm.
Whether just starting out in the commercial photography industry, or ready for a new chapter in your career, John Keatley shows you how to survive in a competitive field. Known for being innovative, creative and thinking outside the box when it comes to his photography, John applies those same skills into running his business. In this in-depth course, John shares some of the key elements that allow you to be an artist and a business owner. You'll learn:
How to find your style and attract the clients you want
How to create a bid
The importance of drafting a treatment
Estimates and billing for your work
Planning and scheduling your production
Tips on memorable branding
The difference between an Art Director/Agent/Art Buyer
Techniques for editing your portfolio
If you're at the start of your career or ready to expand your client list, this course will be the game changer you need to create a solid foundation for a thriving business.
Understanding the Industry
Finding Your Style
Marketing Q&A
Set Goals & Make an Action Plan
Before the Shoot
Why You Should Have a Team
Day of Planning / Scheduling
Protecting the Creative & Day of Shoot
Artist and Agent Relationship
Common Questions for Reps/Agents
Editing Your Work - Portfolio Reviews
Creative & Licensing Fees
Estimates & Invoices - Editorial
Creating a Treatment
Billing & Payment Collection
Opportunities for Growth
Investing in Your Career & Moving Forward
Bonnie Aunchman
John & Creative Live - Thank you - Best. Class. Ever.! This is a GREAT class! If you are a photographer, this is definitely a MUST GET class, but even if you work with photographers as part of a creative team - you have to take this class. (I'm a Photo Stylist) John covers it ALL in this class - it really, truly is a Survival (Success) Guide. John is so detailed, honest, and generous in his knowledge/experience/wisdom in the commercial photography industry in helping you understand the business and really succeed (& stand out). When I see that John is teaching a class on Creative Live - I'm in! (I have his other valuable courses as well)
I was lucky to be part of the studio audience for this course. John is an awesome teacher and did an outstanding job of making sense of a very difficult side of photography for a creative to understand. He shared his 18+ years of experience, including the good and bad he has gone through. The "special guests" alone are worth the cost of this class. John has an amazing team working beside him behind the scenes. Their perspective on his business was priceless!
Joseph Brewster
John gave an enormous amount of insight and practical advice in this comprehensive course. I really enjoyed a course focused more on commercial and editorial rather than wedding and family, which is more common. Great info and great work all around!


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    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SHUTTER_AUTO_EXPOSURE_LOCK_BUTTONS)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SHUTTER_AUTO_EXPOSURE_LOCK_BUTTONS);
        switch (value) {
            case 0:     return "AF/AE lock";
            case 1:     return "AE lock/AF";
            case 2:     return "AF/AF lock";
            case 3:     return "AE+release/AE+AF";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getMirrorLockupDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_MIRROR_LOCKUP)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_MIRROR_LOCKUP);
        switch (value) {
            case 0:     return "Disabled";
            case 1:     return "Enabled";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getTvAndAvExposureLevelDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_TV_AV_AND_EXPOSURE_LEVEL)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_TV_AV_AND_EXPOSURE_LEVEL);
        switch (value) {
            case 0:     return "1/2 stop";
            case 1:     return "1/3 stop";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getAutoFocusAssistLightDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_AF_ASSIST_LIGHT)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_AF_ASSIST_LIGHT);
        switch (value) {
            case 0:     return "On (Auto)";
            case 1:     return "Off";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getShutterSpeedInAvModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SHUTTER_SPEED_IN_AV_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SHUTTER_SPEED_IN_AV_MODE);
        switch (value) {
            case 0:     return "Automatic";
            case 1:     return "1/200 (fixed)";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getAutoExposureBrackettingSequenceAndAutoCancellationDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_BRACKETTING)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_BRACKETTING);
        switch (value) {
            case 0:     return "0,-,+ / Enabled";
            case 1:     return "0,-,+ / Disabled";
            case 2:     return "-,0,+ / Enabled";
            case 3:     return "-,0,+ / Disabled";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getShutterCurtainSyncDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SHUTTER_CURTAIN_SYNC)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SHUTTER_CURTAIN_SYNC);
        switch (value) {
            case 0:     return "1st Curtain Sync";
            case 1:     return "2nd Curtain Sync";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getLensAutoFocusStopButtonDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_AF_STOP)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_AF_STOP);
        switch (value) {
            case 0:     return "AF stop";
            case 1:     return "Operate AF";
            case 2:     return "Lock AE and start timer";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getFillFlashReductionDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_FILL_FLASH_REDUCTION)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_FILL_FLASH_REDUCTION);
        switch (value) {
            case 0:     return "Enabled";
            case 1:     return "Disabled";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getMenuButtonReturnPositionDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_MENU_BUTTON_RETURN)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_MENU_BUTTON_RETURN);
        switch (value) {
            case 0:     return "Top";
            case 1:     return "Previous (volatile)";
            case 2:     return "Previous";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getSetButtonFunctionWhenShootingDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SET_BUTTON_FUNCTION)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SET_BUTTON_FUNCTION);
        switch (value) {
            case 0:     return "Not Assigned";
            case 1:     return "Change Quality";
            case 2:     return "Change ISO Speed";
            case 3:     return "Select Parameters";
            default:    return "Unknown (" + value + ")";
        }
    }
    public String getSensorCleaningDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SENSOR_CLEANING)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_CUSTOM_FUNCTION_SENSOR_CLEANING);
        switch (value) {
            case 0:     return "Disabled";
            case 1:     return "Enabled";
            default:    return "Unknown (" + value + ")";
        }
    }

    public String getFlashBiasDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE2_FLASH_BIAS)) return null;

        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE2_FLASH_BIAS);

        boolean isNegative = false;
        if (value > 0xF000)
        {
            isNegative = true;
            value = 0xFFFF - value;
            value++;
        }

        // this tag is interesting in that the values returned are:
        //  0, 0.375, 0.5, 0.626, 1
        // not
        //  0, 0.33,  0.5, 0.66,  1

        return ((isNegative) ? "-" : "") + Float.toString(value / 32f) + " EV";
    }

    public String getAfPointUsedDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE2_AF_POINT_USED)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE2_AF_POINT_USED);
        if ((value & 0x7) == 0) {
            return "Right";
        } else if ((value & 0x7) == 1) {
            return "Centre";
        } else if ((value & 0x7) == 2) {
            return "Left";
        } else {
            return "Unknown (" + value + ")";
        }
    }

    public String getWhiteBalanceDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE2_WHITE_BALANCE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE2_WHITE_BALANCE);
        switch (value) {
            case 0:
                return "Auto";
            case 1:
                return "Sunny";
            case 2:
                return "Cloudy";
            case 3:
                return "Tungsten";
            case 4:
                return "Flourescent";
            case 5:
                return "Flash";
            case 6:
                return "Custom";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getFocusMode2Description() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCUS_MODE_2)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCUS_MODE_2);
        switch (value) {
            case 0:
                return "Single";
            case 1:
                return "Continuous";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getFlashDetailsDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FLASH_DETAILS)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FLASH_DETAILS);
        if (((value << 14) & 1) > 0) {
            return "External E-TTL";
        }
        if (((value << 13) & 1) > 0) {
            return "Internal flash";
        }
        if (((value << 11) & 1) > 0) {
            return "FP sync used";
        }
        if (((value << 4) & 1) > 0) {
            return "FP sync enabled";
        }
        return "Unknown (" + value + ")";
    }

    public String getFocalUnitsPerMillimetreDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCAL_UNITS_PER_MM)) return "";
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCAL_UNITS_PER_MM);
        if (value != 0) {
            return Integer.toString(value);
        } else {
            return "";
        }
    }

    public String getShortFocalLengthDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_SHORT_FOCAL_LENGTH)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_SHORT_FOCAL_LENGTH);
        String units = getFocalUnitsPerMillimetreDescription();
        return Integer.toString(value) + " " + units;
    }

    public String getLongFocalLengthDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_LONG_FOCAL_LENGTH)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_LONG_FOCAL_LENGTH);
        String units = getFocalUnitsPerMillimetreDescription();
        return Integer.toString(value) + " " + units;
    }

    public String getExposureModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_EXPOSURE_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_EXPOSURE_MODE);
        switch (value) {
            case 0:
                return "Easy shooting";
            case 1:
                return "Program";
            case 2:
                return "Tv-priority";
            case 3:
                return "Av-priority";
            case 4:
                return "Manual";
            case 5:
                return "A-DEP";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getAfPointSelectedDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_AF_POINT_SELECTED)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_AF_POINT_SELECTED);
        switch (value) {
            case 0x3000:
                return "None (MF)";
            case 0x3001:
                return "Auto selected";
            case 0x3002:
                return "Right";
            case 0x3003:
                return "Centre";
            case 0x3004:
                return "Left";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getMeteringModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_METERING_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_METERING_MODE);
        switch (value) {
            case 3:
                return "Evaluative";
            case 4:
                return "Partial";
            case 5:
                return "Centre weighted";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getIsoDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_ISO)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_ISO);
        switch (value) {
            case 0:
                return "Not specified (see ISOSpeedRatings tag)";
            case 15:
                return "Auto";
            case 16:
                return "50";
            case 17:
                return "100";
            case 18:
                return "200";
            case 19:
                return "400";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getSharpnessDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_SHARPNESS)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_SHARPNESS);
        switch (value) {
            case 0xFFFF:
                return "Low";
            case 0x000:
                return "Normal";
            case 0x001:
                return "High";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getSaturationDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_SATURATION)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_SATURATION);
        switch (value) {
            case 0xFFFF:
                return "Low";
            case 0x000:
                return "Normal";
            case 0x001:
                return "High";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getContrastDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_CONTRAST)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_CONTRAST);
        switch (value) {
            case 0xFFFF:
                return "Low";
            case 0x000:
                return "Normal";
            case 0x001:
                return "High";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getEasyShootingModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_EASY_SHOOTING_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_EASY_SHOOTING_MODE);
        switch (value) {
            case 0:
                return "Full auto";
            case 1:
                return "Manual";
            case 2:
                return "Landscape";
            case 3:
                return "Fast shutter";
            case 4:
                return "Slow shutter";
            case 5:
                return "Night";
            case 6:
                return "B&W";
            case 7:
                return "Sepia";
            case 8:
                return "Portrait";
            case 9:
                return "Sports";
            case 10:
                return "Macro / Closeup";
            case 11:
                return "Pan focus";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getImageSizeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_IMAGE_SIZE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_IMAGE_SIZE);
        switch (value) {
            case 0:
                return "Large";
            case 1:
                return "Medium";
            case 2:
                return "Small";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getFocusMode1Description() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCUS_MODE_1)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCUS_MODE_1);
        switch (value) {
            case 0:
                return "One-shot";
            case 1:
                return "AI Servo";
            case 2:
                return "AI Focus";
            case 3:
                return "Manual Focus";
            case 4:
                // TODO should check field 32 here (FOCUS_MODE_2)
                return "Single";
            case 5:
                return "Continuous";
            case 6:
                return "Manual Focus";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getContinuousDriveModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_CONTINUOUS_DRIVE_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_CONTINUOUS_DRIVE_MODE);
        switch (value) {
            case 0:
                if (_directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_SELF_TIMER_DELAY) == 0) {
                    return "Single shot";
                } else {
                    return "Single shot with self-timer";
                }
            case 1:
                return "Continuous";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getFlashModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FLASH_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FLASH_MODE);
        switch (value) {
            case 0:
                return "No flash fired";
            case 1:
                return "Auto";
            case 2:
                return "On";
            case 3:
                return "Red-eye reduction";
            case 4:
                return "Slow-synchro";
            case 5:
                return "Auto and red-eye reduction";
            case 6:
                return "On and red-eye reduction";
            case 16:
                // note: this value not set on Canon D30
                return "Extenal flash";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getSelfTimerDelayDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_SELF_TIMER_DELAY)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_SELF_TIMER_DELAY);
        if (value == 0) {
            return "Self timer not used";
        } else {
            // TODO find an image that tests this calculation
            return Double.toString((double)value * 0.1d) + " sec";
        }
    }

    public String getMacroModeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_MACRO_MODE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_MACRO_MODE);
        switch (value) {
            case 1:
                return "Macro";
            case 2:
                return "Normal";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getQualityDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_QUALITY)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_QUALITY);
        switch (value) {
            case 2:
                return "Normal";
            case 3:
                return "Fine";
            case 5:
                return "Superfine";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getDigitalZoomDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_DIGITAL_ZOOM)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_DIGITAL_ZOOM);
        switch (value) {
            case 0:
                return "No digital zoom";
            case 1:
                return "2x";
            case 2:
                return "4x";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getFocusTypeDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCUS_TYPE)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FOCUS_TYPE);
        switch (value) {
            case 0:
                return "Manual";
            case 1:
                return "Auto";
            case 3:
                return "Close-up (Macro)";
            case 8:
                return "Locked (Pan Mode)";
            default:
                return "Unknown (" + value + ")";
        }
    }

    public String getFlashActivityDescription() throws MetadataException
    {
        if (!_directory.containsTag(CanonMakernoteDirectory.TAG_CANON_STATE1_FLASH_ACTIVITY)) return null;
        int value = _directory.getInt(CanonMakernoteDirectory.TAG_CANON_STATE1_FLASH_ACTIVITY);
        switch (value) {
            case 0:
                return "Flash did not fire";
            case 1:
                return "Flash fired";
            default:
                return "Unknown (" + value + ")";
        }
    }
}

redpajama_set_name: RedPajamaGithub


Horizon Travel & Tourism is an IATA approved Travel Management Company in Kuwait catering to the travel needs of major multinational corporations, prominent local Kuwaiti firms as well as an exclusive list of individual clients. Launched in the summer of 2006, Horizon Travel & Tourism made its entry into the travel market with a vibrant and dynamic approach to corporate and business travel as well as to the increasing demand for personalized individual and leisure travel services. Currently we have a branch in Doha, Qatar and we have already started our growth expansion of opening offices in Saudi Arabia and UAE. Horizon Travel & Tourism is led by a strong management team with extensive travel and airline experience in the industry. The team is represented by its President, Mr. Abdulrahim Al Awadi (ex-Marketing Director of Kuwait Airways & ex-Chairman of Alshamel Group of Companies), Group General Manager, Mr. Prakash Balraj, and Business Development Manager, Mr. Nasr Al Khayyat. The company currently employs a total of over 100 staff across the Middle East and GCC region.


What do the sunny beaches of Maui, HI and the snowy mountains of Jackson Hole, WY have in common? They're two of the eight places where Food Network stars including Giada, Cat Cora and Duff find their favorite foods ...served cold - from a fresh chilled lobster roll to ceviche that is unlike any other...and let's not forget sweets like lemon ice box pie, and passionfruit crème Brule!
Pastry cook Annie Johnson's secret? She always adds one cup of love!
Duff Goldman shares that the best cold thing he ever ate is lobster rolls from P.J.'s Seafood in Wellfleet, Massachusetts. He gushes about how fresh the lobster is on top of the grilled buns, and how getting to P.J.'s in the first place is almost like a quest fought against bumper-to-bumper summer traffic. Owner Donald Reeves explains that the lobster is steamed then cut up and chilled. The chilled lobster is mixed with mayonnaise, while the bread is toasted on top of a buttered grill. The bun is filled with lettuce and the chilled lobster.
Adam says you could have this egg salad in a doughnut and it would be good.
Why Giada adores this treat: it's frozen, chocolatey and dipped in caramel.


So I now use the expression "culture building" knowing that "world building" encompasses that, but finding that gets more at what I would want to do in a work of speculative fiction, and because it gets more to the heart of the matter. How are these humans (or animals, or aliens) human, and what shape is their humanity? I came across this incredible list, written by the anthropologist George P. Murdock (via E.O. Wilson; you might have seen that coming), who sought to create a comprehensive list of all the human cultures he'd encountered. The list follows.
It's meant to be descriptive, but I think it could be to creative writers — like Joseph Campbell's work — prescriptive, a means of planning. Murdock's list is a series of hints and suggestions to creators of imagined and imaginary cultures the many things they might consider working into their book. As I prepare myself to delve into a project that would require full-scale world/culture building, and wondering if I am up to the task, I find this list is extremely helpful. Each item is a question to answer, a challenge that leads me to fully develop my world… and some could lead to passages, with key plot points and character development, that might not have occurred to me otherwise. I don't think I'll need to plod people through ALL 67, but I know I would return to this list again and again for ideas. I also see those points that other authors covered, that made their books rich and wonderful, whether or not they actually read anthropology books: Rowling and 2, Jacques and 22, Richard Adams and 15. They might have had muses whispering in their ear, but for me this list will help me fake it.
* Because I had to look it up: the scientific study of the traditional knowledge and customs of a people concerning plants and their medical, religious, and other uses.
** If, like me, much of your career has been charting the lives of middle-school-aged boys, this one is optional.


The Cabinet Office, through the PMEB. leads the Whole-of-Government planning and reporting functions. The Whole-of-Government (WoG) approach involves a broad-based, comprehensive establishment of monitoring and evaluation across government. The WoG Business Plan sets out the broad functional and fiscal goals of the Government over a three-year horizon and explains how Government intends to achieve greater coordination in policy development, programme and project implementation, governance and service delivery across the public sector. The Plan reflects the strategic direction of government, its medium-term strategic priorities, WoG outcomes and their key performance indicators.
The WoG Business Plan is supported by a monitoring and evaluation framework. The framework includes information from Ministry quarterly reports; the biannual Whole-of-Government Progress Report and the annual Whole-of-Government Performance Report. The reports detail the implementation status, performance assessments of key policies, programmes and projects that support the strategic priorities of Government as well as, recommendations for improving performance.
The Policy, Planning, Monitoring & Evaluation Community of Practice (PPME CoP) is aimed at bringing together practitioners and academics in a discussion forum with the objective of facilitating healthy discussions on issues relevant to the community. The discussions are geared towards developing capacities and addressing challenges in the policy development process and to the effective planning, monitoring and evaluation of policies, programmes and projects in the context of the Jamaican Public Sector.


text:
Weaving as Reasonable Suspicion for DWI in North Carolina
Home > DWI > Weaving as Reasonable Suspicion for DWI in North Carolina
Until recently, North Carolina courts required that weaving within your lane, by itself, is not sufficient to provide reasonable suspicion for a traffic stop, but it could contribute to reasonable suspicion under the totality of the circumstances. To provide reasonable suspicion, at least one other factor had to be present, such as driving at an unusual hour or being in the vicinity of bars. In 2012, North Carolina courts seemed to shift their analysis to allow weaving, as long as there was lots of it, to provide reasonable suspicion by itself. Let's see how they got there.
First, we'll start with the Fourth Amendment, which protects us against unreasonable searches and seizures. The Fourth Amendment states that
The US Supreme Court has held that a "traffic stop is a seizure 'even though the purpose of the stop is limited and the resulting detention quite brief.'" Traffic stops are reviewed under the standard set out in the US Supreme Court case Terry v. Ohio, which requires an officer to have ""reasonable, articulable suspicion that criminal activity is afoot."
The north carolina Court of Appeals summarized in the 2009 case, State v. Fields, the rationale behind the reasonable suspicion standard. "The requisite degree of suspicion must be high enough 'to assure that an individual's reasonable expectation of privacy is not subject to arbitrary invasions solely at the unfettered discretion of officers in the field.'" The court noted that they had previously "held that weaving can contribute to a reasonable suspicion of driving while impaired." However, courts had held that there must always be another factor present in addition to weaving. Examples of additional factors noted by the court were traveling well below the speed limit, driving off the road, speeding, driving at an unusual hour, and being in the vicinity of bars.
The court stated that
In order to preserve an individual's Fourth Amendment rights, it is of the utmost importance that we recognize that the presence of any one of these factors is not, by itself, proof of any illegal conduct and is often quite consistent with innocent travel.
Because in Fields there was no additional factor (the defendant was stopped at 4 p.m. and there was no evidence showing that there were bars in the vicinity), the court held that "[t]he totality of circumstances do not give rise to a reasonable, articulable suspicion of criminal activity justifying the stop of defendant's vehicle."
Later in 2009, the court of appeals, followed their previous reasoning, requiring a factor in addition to weaving in State v. Peele. In that case, the officer responded to a dispatch regarding "a possible careless and reckless, D.W.I." headed towards a nearby intersection. The dispatch was in response to an anonymous tip. The officer spotted a vehicle matching the color and make of truck, followed the truck for about a tenth of a mile, and saw the truck weave in its lane once. The court stated that all they had was "a tip with no indicia of reliability, no corroboration, and 'conduct falling within the broad range of what can be described as normal driving behavior.'" They held that the single instance of weaving combined with the unreliable anonymous tip did not provide reasonable suspicion and stated that if they were to allow it to, they "would be, as the Court in Fields cautioned against, 'extend[ing] the grounds for reasonable suspicion farther than our Courts ever have.'"
Then, in 2012, the court of appeals decided the case, State v. Fields (which was not related to the 2009 case of the same name). In the 2012 Fields, the officer notice the defendant's car because he had dim taillights. The officer followed the defendant for at least ¾ of a mile, during which time he observed the defendant "weaving within his lane of travel constantly and drove on the center line at least once." The defendant's driving was so erratic that drivers going the opposite direction pulled over to the side of the road in response to the defendant's driving. At about 10:30 p.m., the officer pulled over the defendant.
The court distinguished the decisions in the 2009 Fields and Peele, which required an additional factor to weaving, from the 2012 Fields facts because neither of the other cases "involved the level of erratic driving and potential danger to other drivers that was involved in this case." Because the defendant's weaving was so substantial, the court held that the officer had reasonable suspicion to stop him.
Later that same year, the North Carolina Supreme Court decided State v. Otto, which seemed to confirm the court of appeals reasoning in the 2012 Fields. In Otto, the officer saw the defendant's car coming from the direction of an equestrian center where he knew there was a banquet that night. The officer didn't know specifically where the car was coming from and didn't know for sure that alcohol was served at the banquet. The officer happened to turn behind the defendant's car and "immediately started noticing [it] was weaving" within its own lane, though it never left its own lane. The defendant's car traveled at the posted speed limit of 55 m.p.h. The officer watched the defendant weave for about ¾ of a mile and then stopped the defendant.
The Court distinguished the 2009 Fields as involving only a single instance of weaving and Peele as involving only three instances of weaving over the course of a mile and a half. In contrast, the defendant in Otto "constantly and continuously" over the court of ¾ of a mile. The Court added, almost an afterthought, "[i]n addition, defendant was stopped around 11:00 p.m. on a Friday night." However, this factor did not seem to be dispositive and the Court seemed to base its reasoning mainly on the severity of the defendant's weaving rather than the time of night. It concluded that the officer had reasonable suspicion to stop the defendant.
Earlier this year, the court of appeals decided another weaving case, State v. Derbyshire. In that case, the officer came upon the defendant from the opposite direction and thought the defendant had his brights on. She flashed her own brights at him in an attempt to cause him to dim his. When the defendant failed to respond, the officer glanced at him when her car passed his and noted that he had a "blank stare" which she thought was an indication of a potential impaired driver. She turned around and began following the defendant, during which time she saw him weave "at least once." She then stopped him on suspicion of dwi.
As it turned out the defendant did not have his brights on, but had "very, very bright" halogen headlights. The court distinguished the Otto decision because Derbyshire did not involve "weaving constantly and continuously over the course of three-quarters of a mile". Because the defendant had only an instance or two of weaving, the court required that there be a factor present in addition to the weaving. The court held that "the facts that Defendant was driving at 10:05 on a Wednesday evening and that [the officer] believed Defendant's bright lights were on are not sufficiently uncommon to constitute valid "plus" factors." The court reasoned that "[a]n increase in the likelihood that an individual may be subjected to a Terry stop merely because that person owns a car that 'sits high off the ground' or that was built with brighter headlights, as in this case, would constitute an irrational inference of criminal activity, which we decline to adopt here."
If you have been charged with DWI after a traffic stop based on weaving, contact an attorney at Rosensteel Fleishman, PLLC (704) 714-1450, to discuss your options.

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A web site is like everything else in life – there are good ones and not-so-good ones! Professional web designers have a check-list of elements that make up those in the first category. Here are the nine main elements to be considered – each contributes to the impact and success of your site.
Your home page is your billboard or store front – it creates an immediate impression on visitors to your site, so it's got to create the right impression … right?
Aim to "underwhelm" rather than overwhelm! Too many flashing lights, colours, drop-down boxes, graphics etc will be distracting. It's a bit like those stores that play loud, frenetic music – your heart rate rises, your stress levels go up and you just want to get out – fast!
We all know that speed is the key to keeping visitors. I often catch myself getting impatient because it's taking me 20 or 30 seconds to connect to some site or other. Then I stop and think about the fact that here I am, sitting in my office on the east coast of Australia, connecting to a site in the north of England, on the west coast of the US, in Canada, South Africa, India or one of the dozens of other places I regularly contact, and I shake my head in wonder. How quickly we become accustomed to technology.
However, we DO get impatient if it takes us too long to make contact – so you must ensure that your home page at least, loads as quickly as possible. That means no big, flash graphics.
Keep reminding yourself that your first page is like a billboard. When driving your car, you don't have time to read detailed descriptions, or admire intricate pictures on billboards. The signs flash past you and have to make an immediate impression.
Your web visitors are 'flashing past' as well, so keep your front page simple and fast.
There are numerous articles on the net about how to improve speed – take the time to check them out and then discard anything that slows down your home page too much.
The graphics and lay-out of your home page contribute to that first impression – think about what image your site is trying to convey and make sure everything on your site contributes something towards that overall image.
If you have a serious business site, you don't want garish cartoons on your front page – but if you have a games site, then cartoons can be an integral part of the image.
Graphics are what eat up the loading time of your site. A rough rule of thumb to determine good loading time for a page is to keep the entire page around 30k.
Images should be between 6 – 8 k. Each additional 2k adds approximately one second to loading time.
If in doubt, right click the image and then click on Properties to get the size of the image.
Consider the effect you want to create and choose a colour that is appropriate.
When reading Western texts, the eye travels from the top left of the page, across and then down to the bottom right. Remember this when you're placing graphics on your page.
Any graphic which has a directional aspect should be placed to point the eye towards the most important section of the page. If you have a picture of a bird on the top left corner of your page, make sure it is facing inward and that its beak is leading the eye to the centre of the page, not away from it.
This is also why you should place your navigation bars down the left side of your page – it keeps them constantly in the visitor's field of vision.
This doesn't refer to the words you use (we'll look at them in detail later) – but to the way the words look on the page.
Going back to the concept of the billboard, your words need to stand out on your page – you need to surround them with plenty of white space.
Think over some of the sites you've visited – some make you feel as if you have to duck your head to read them! Dark backgrounds make you feel as if you're in a small space and also have a depressing effect on your mood.
Certain coloured backgrounds make it very difficult to read the text; purples, orange tonings and reds dazzle the eyes.
The colour of your text is just as important – bear in mind that different browsers read colours differently – what looks great on your browser, could well be invisible on another!
Take a lesson from the newspapers and divide your text into columns for easier (and quicker) reading – even two columns are better than one slab of text that covers the entire width of the page.
Another element that contributes to text readability is the font you choose. Plain fonts (Arial, Times New Roman, Garamond and Courier) are the easiest to read. Fancy fonts are fine for headings, but not for full pages (imagine trying to read a whole page in Gothic, Script, Westminster, or Cloister). Your eyes would soon tire of the effort involved and you'd be reaching for the back button!
You have to make your page as easy for your visitors to read as is humanly possible and this means breaking it up into little 'chunks' for them. We've already looked at the need for columns, (which divide the page vertically) – you also need to divide your page horizontally, by the use of headings and sub-headings.
When you were at school, your teachers told you to use headings in your notes – apply the same principles to your web pages. Look for the key points on each page and write a short statement that summarises each point – this is your heading.
Read through each section and see if it can be further divided into smaller points; write a summary of these sub-sections and these are your sub-headings.
Select a font for all your headings and sub-headings (and stick to it). It's not necessary to have a different font for headings (just go up one size for headings, and then use bold on all headings and sub-headings).
This way it's easy to recognise which is a heading (large and bold) and which is a sub-heading (same size but bold).
The point of this is to make it easy for your visitors to glance at your page and to take in all the key points. If what they see interests them, they'll stay and keep reading – so it goes without saying, that your headings should be written with care!
To draw attention to other important points, you can also highlight them – by putting a whole sentence in bold or a different colour (or both). However, take care with the colours you select – some are quite difficult to read – even against a white background.
We're accustomed to finding navigation bars on the left of web pages – why buck the system (especially when it works)?
On a long page. It's also a good idea to have a brief nav bar along the bottom of the page (just home | top of page will suffice).
When you've found a system you're happy with – use it on every page, so that your visitors know where to look for the information.
Make a blank page which has your page layout (columns), any logos or standardised graphics, alt tags and navigation bar already built in. Call this 'blank" and then when you make a new page, you have everything already set up and just have to enter the content, html tags and then save it as "whatever.htm".
If your site is a business site, then one of the most important things you have to do is to ensure that your potential customers feel confident dealing with you. On the web, you do this by telling people exactly what you're doing to safeguard their interests – in particular, how you're protecting their privacy. It's worth having a separate page which sets out – in detail – your policy towards their email addresses; how you accept orders; how you gather information; who has access to this information; how you use information gathered from children and so on.
Visitors also like to know that real people have used your products or services, so it's worth asking your satisfied customers if you can quote any positive comments they've made about you. Don't be afraid to ask for testimonials – we all like to know that our opinions are valued.
Set up a separate page for your testimonials and offer to include links to your customers' pages in return for using their comments. This is one of those "win-win" situations!
Now we come to the most important element – if this part is wrong, the rest of your efforts are largely wasted. How many times have you been impressed by a site's initial appearance, only to be disappointed by poor spelling, careless grammar and punctuation?
It reflects badly on the site owner and indicates that whoever is responsible for this page, is sloppy, careless, lazy, unprofessional or all of the above! Would you entrust any of your hard-earned money to someone who doesn't even care enough to check the expression of his/her own site?
You can employ someone to write your pages for you.
There are places that will assist you with any or all of these steps. Don't spoil all your hard work by skipping this one, vital step!


Jude The Foodie Recipe Monday, February 4, 2013 on WNYPapers.com. Quick tip: I put it together last night and will come home to a fresh cooked meal!
Put together this morning…just bake and serve tonight! Recipe to follow. Have a yummy day!!
Cook egg noodles one minute less than package directions. Drain then put back into pan. Add a little butter or oil to prevent sticking.
In medium saucepan, over medium melt 2 tablespoons of butter. With a whisk, add flour and whisk for a minute or two until butter and flour mixture is cooked. Add 1 cup milk and whisk until thick, about 3-5 minutes. Add a pinch of salt. Turn heat to low. With a heavy spoon soften mascarpone cheese in the container then add to the white sauce and whisk until blended. Add cheese and whisk until blended.
Add the sauce to the egg noodles in the pot. Add turkey, frozen peas and 1 cup milk. Stir gently.
Topping: melt 2 tablespoon butter. With a fork, stir in crumbs and cheese.
Butter a 13″ x 9″ casserole dish. Pour noodle mixture in pan. Lightly top with crumb mixture.
Bake in oven, covered for about 25 minutes. Uncover and cook another 10-15 minutes until bubbly and brown.


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Home | All Almanac Topics | Education
Ethnic Distribution of Pupils
By School Districts
Photo by Michael Anderson, courtesy of National Cancer Institute & Wikimedia Commons.
Also see: Directory of Public School Districts - Los Angeles County
The Los Angeles Unified School District is the second largest school district in the nation (after New York City Dept. of Education). In the 2017-18 school year, it enrolled 621,414 K-12 students, employed 26,046 teachers in 1,306 schools, and operated on a budget of $7.5 billion.
Total Enrolled
Race Not Reported
All Districts 1,492,652 64.9% 0.2% 7.7% 0.3% 2.2% 7.5% 14.1% 2.3% 0.8%
ABC Unified 20,550 45.9% 0.4% 23.9% 0.7% 11.6% 8.5% 6.0% 2.4% 0.5%
Acton-Agua Dulce Unified 14,855 38.6% 0.4% 3.3% 0.2% 1.2% 6.6% 40.4% 6.1% 3.2%
Alhambra Unified 16,855 40.6% 0.2% 51.4% 0.1% 2.2% 0.7% 2.2% 2.5% 0.2%
Antelope Valley Union High 22,726 62.1% 0.3% 1.3% 0.1% 1.4% 17.2% 13.1% 4.3% 0.1%
Arcadia Unified 9,460 14.4% 0.1% 65.8% 0.0% 3.1% 1.8% 13.2% 1.5% 0.1%
Azusa Unified 8,270 92.4% 0.2% 1.1% 0.0% 1.1% 1.1% 3.3% 0.5% 0.2%
Baldwin Park Unified 16,695 72.6% 1.4% 4.8% 0.2% 1.5% 3.4% 3.7% 1.1% 11.3%
Bassett Unified 3,611 93.1% 0.1% 3.6% 0.1% 1.3% 0.7% 1.1% 0.0% 0.0%
Bellflower Unified 11,946 64.5% 0.4% 4.0% 0.9% 4.6% 12.8% 10.0% 2.6% 0.3%
Beverly Hills Unified 3,933 7.9% 0.2% 12.1% 0.3% 1.0% 2.5% 71.5% 4.0% 0.5%
Bonita Unified 10,088 52.1% 0.1% 5.8% 0.2% 2.4% 3.1% 27.9% 5.4% 2.9%
Burbank Unified 15,173 35.0% 0.2% 5.3% 0.1% 4.0% 2.7% 47.0% 4.0% 1.7%
Castaic Union 2,153 43.7% 0.0% 4.1% 0.2% 3.5% 1.8% 42.5% 4.1% 0.0%
Centinela Valley Union High 7,501 74.4% 0.2% 2.2% 0.9% 0.9% 15.4% 2.9% 2.3% 0.8%
Charter Oak Unified 4,765 67.6% 0.4% 5.2% 0.4% 2.5% 3.0% 17.8% 3.0% 0.2%
Claremont Unified 7,075 42.4% 0.2% 10.1% 0.2% 1.4% 4.5% 33.5% 5.7% 2.2%
Compton Unified 23,665 79.0% 0.2% 0.1% 0.5% 0.0% 17.9% 0.5% 0.3% 1.4%
Covina-Valley Unified 11,862 78.7% 0.3% 5.8% 0.2% 3.1% 2.6% 8.4% 0.8% 0.1%
Culver City Unified 7,048 37.9% 0.3% 10.4% 0.3% 1.6% 13.6% 26.4% 9.3% 0.3%
Downey Unified 21,962 89.1% 0.2% 1.8% 0.2% 0.9% 2.7% 4.6% 0.6% 0.0%
Duarte Unified 4,318 66.2% 0.7% 5.3% 0.1% 3.8% 3.7% 10.4% 3.1% 6.7%
East Whittier City 8,650 84.7% 0.1% 1.6% 0.2% 0.9% 0.8% 10.5% 1.2% 0.2%
Eastside Union 3,402 63.7% 0.2% 0.5% 0.2% 1.3% 22.2% 8.2% 3.6% 0.1%
El Monte City 8,233 80.0% 0.0% 17.9% 0.1% 0.6% 0.2% 1.2% 0.0% 0.0%
El Monte Union High 8,880 76.5% 0.1% 20.8% 0.1% 0.7% 0.3% 1.4% 0.1% 0.0%
El Rancho Unified 8,674 97.7% 0.0% 0.4% 0.0% 0.4% 0.3% 1.0% 0.1% 0.0%
El Segundo Unified 3,474 20.3% 0.3% 7.0% 0.5% 1.2% 4.6% 51.9% 14.1% 0.1%
Garvey 4,670 37.6% 0.1% 58.1% 0.0% 1.0% 0.4% 1.5% 0.6% 0.7%
Glendale Unified 26,071 21.2% 0.2% 11.9% 0.1% 5.7% 1.1% 57.2% 2.7% 0.0%
Glendora Unified 7,444 43.3% 0.1% 8.6% 0.1% 2.2% 1.2% 40.0% 4.5% 0.0%
Gorman Joint 2,604 33.4% 0.3% 2.6% 0.2% 1.6% 5.0% 47.9% 4.6% 4.5%
Hacienda La Puente Unified 18,438 79.1% 0.1% 13.8% 0.2% 1.9% 0.9% 3.0% 0.5% 0.5%
Hawthorne 8,364 71.2% 0.3% 2.3% 1.2% 1.7% 20.5% 2.1% 0.6% 0.1%
Hermosa Beach City 1,361 12.7% 0.4% 5.0% 0.7% 0.2% 0.7% 70.7% 9.6% 0.0%
Hughes-Elizabeth Lakes Union Elementary 191 27.2% 0.5% 0.5% 0.0% 0.0% 1.0% 64.4% 3.1% 3.1%
Inglewood Unified 12,086 57.4% 0.6% 0.4% 0.3% 0.2% 40.1% 0.4% 0.4% 0.1%
Keppel Union Elementary 2,718 77.6% 0.3% 0.3% 0.1% 0.2% 4.9% 14.7% 1.5% 0.4%
La Canada Unified 4,167 11.0% 0.2% 29.8% 0.0% 1.6% 0.8% 48.1% 8.2% 0.2%
Lancaster 15,212 49.7% 0.5% 1.0% 0.2% 1.5% 29.8% 13.2% 4.0% 0.2%
Las Virgenes Unified 11,323 11.3% 0.7% 6.4% 0.2% 0.9% 2.2% 73.9% 4.2% 0.2%
Lawndale Elementary 5,953 75.8% 0.1% 4.2% 0.9% 0.9% 9.6% 4.8% 2.0% 1.6%
Lennox 7,244 88.5% 0.1% 0.3% 0.3% 0.4% 4.6% 0.6% 0.2% 5.1%
Little Lake City 4,475 90.9% 0.2% 1.0% 0.2% 0.9% 1.5% 3.4% 0.5% 1.3%
Long Beach Unified 74,681 56.8% 0.2% 7.4% 1.4% 3.1% 12.8% 13.1% 3.0% 2.2%
Los Angeles County Office of Education 8,062 68.8% 0.3% 2.5% 0.1% 1.4% 15.9% 8.0% 2.0% 1.1%
Los Angeles Unified 621,414 74.1% 0.2% 3.7% 0.3% 1.9% 8.1% 10.1% 1.3% 0.3%
Los Nietos 1,617 95.8% 0.2% 0.5% 0.4% 0.2% 0.6% 2.0% 0.3% 0.1%
Lowell Joint 3,147 67.7% 0.0% 3.2% 0.4% 1.0% 1.5% 23.7% 1.6% 0.9%
Lynwood Unified 14,211 93.8% 0.1% 0.1% 0.2% 0.0% 4.9% 0.8% 0.1% 0.0%
Manhattan Beach Unified 6,647 11.7% 0.1% 10.0% 0.2% 1.2% 1.4% 62.2% 12.9% 0.4%
Monrovia Unified 5,563 63.6% 0.2% 4.7% 0.2% 2.8% 6.0% 19.8% 2.2% 0.4%
Montebello Unified 26,521 95.6% 0.2% 1.8% 0.1% 0.3% 0.3% 1.0% 0.2% 0.4%
Mountain View 6,773 93.8% 0.0% 5.3% 0.0% 0.2% 0.2% 0.0% 0.0% 0.4%
Newhall 6,537 48.4% 0.4% 9.5% 0.1% 3.0% 2.3% 30.5% 5.8% 0.1%
Norwalk-La Mirada Unified 17,890 79.9% 0.2% 4.1% 0.4% 2.8% 2.6% 8.3% 1.2% 0.5%
Palmdale 22,777 75.3% 0.5% 0.6% 0.2% 0.8% 14.7% 6.1% 1.5% 0.2%
Palos Verdes Peninsula Unified 11,346 12.9% 0.2% 27.4% 0.2% 2.4% 2.3% 46.4% 7.8% 0.4%
Paramount Unified 15,213 88.4% 0.1% 0.8% 0.7% 0.4% 7.7% 1.1% 0.8% 0.1%
Pasadena Unified 18,164 58.3% 0.3% 5.0% 0.2% 1.9% 12.5% 18.1% 3.0% 0.7%
Pomona Unified 23,741 85.7% 0.2% 3.4% 0.1% 1.2% 4.5% 3.6% 1.1% 0.2%
Redondo Beach Unified 9,937 23.3% 0.3% 9.5% 0.4% 1.9% 3.8% 45.9% 15.0% 0.0%
Rosemead 2,438 38.6% 0.0% 49.6% 0.0% 1.3% 0.4% 1.9% 0.3% 7.9%
Rowland Unified 14,132 62.9% 0.1% 20.6% 0.3% 7.4% 2.3% 4.0% 1.2% 1.2%
San Gabriel Unified 7,244 31.1% 1.7% 36.9% 0.2% 1.7% 2.5% 10.8% 3.3% 11.9%
San Marino Unified 3,072 6.4% 0.1% 57.9% 0.3% 1.8% 0.7% 23.5% 9.0% 0.3%
Santa Monica-Malibu Unified 10,806 29.4% 0.2% 6.0% 0.2% 0.6% 6.6% 50.4% 6.2% 0.5%
Saugus Union 9,960 29.3% 0.3% 8.9% 1.1% 4.9% 3.8% 48.6% 2.5% 0.7%
SBE* - Academia Avance Charter 389 93.8% 0.0% 0.0% 0.0% 0.0% 0.3% 0.5% 0.0% 5.4%
SBE* - Anahuacalmecac International University Prep 363 94.2% 1.4% 0.0% 0.0% 0.0% 1.1% 0.6% 0.8% 1.9%
SBE* - Barack Obama Charter 438 35.8% 0.2% 0.0% 0.2% 0.2% 61.6% 0.5% 1.4% 0.0%
SBE* - Celerity Himalia 615 99.2% 0.0% 0.0% 0.0% 0.3% 0.5% 0.0% 0.0% 0.0%
SBE* - Celerity Rolas 309 78.3% 0.6% 0.6% 0.0% 8.7% 1.6% 1.3% 1.9% 6.8%
SBE* - New West Charter 825 28.0% 0.6% 5.6% 0.2% 1.2% 5.6% 50.7% 7.9% 0.2%
SBE* - Prepa Tec Los Angeles High 224 99.1% 0.4% 0.0% 0.0% 0.0% 0.0% 0.4% 0.0% 0.0%
SBE* - The School of Arts and Enterprise 769 79.5% 1.2% 0.9% 0.3% 1.8% 4.4% 9.8% 2.2% 0.0%
South Pasadena Unified 4,794 24.0% 0.2% 32.2% 0.1% 2.3% 1.7% 28.0% 10.3% 1.2%
South Whittier 2,781 94.6% 0.1% 0.4% 0.1% 1.0% 0.7% 2.9% 0.1% 0.0%
Sulphur Springs Union 5,395 55.1% 0.2% 4.6% 0.1% 4.8% 5.7% 25.1% 4.2% 0.2%
Temple City Unified 5,831 21.4% 0.1% 64.8% 0.2% 1.5% 0.5% 8.0% 3.3% 0.2%
Torrance Unified 23,496 30.2% 0.2% 29.2% 0.5% 5.0% 3.9% 21.8% 7.8% 1.4%
Valle Lindo 1,049 93.2% 0.0% 5.2% 0.0% 0.6% 0.0% 0.9% 0.1% 0.0%
Walnut Valley Unified 14,310 23.1% 0.1% 58.0% 0.5% 5.8% 1.8% 7.3% 3.3% 0.1%
West Covina Unified 12,754 65.5% 0.5% 9.7% 0.4% 3.8% 6.1% 11.5% 1.7% 0.9%
Westside Union 9,434 46.6% 0.3% 2.4% 0.1% 1.5% 10.5% 33.1% 5.2% 0.3%
Whittier City 6,104 91.7% 0.2% 0.4% 0.2% 0.5% 0.6% 3.6% 0.5% 2.4%
Whittier Union High 11,851 88.4% 0.2% 1.1% 0.2% 1.2% 0.9% 7.7% 0.3% 0.1%
William S. Hart Union High 25,080 37.7% 0.3% 6.7% 0.1% 4.8% 4.5% 39.5% 4.9% 1.4%
Wilsona 1,308 68.0% 1.3% 0.2% 0.0% 0.2% 10.6% 15.3% 4.1% 0.2%
Wiseburn Unified 4,495 53.4% 0.2% 3.6% 0.6% 1.2% 14.0% 18.2% 6.9% 2.0%
* SBE - State Board of Education Charters. About California Charter Schools
Source: California Dept. of Education


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text:
From dust to dust: Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China
Paul Kapp, Alex Pullen, Jon D. Pelletier, Joellen Russell, Paul Goodman, Fulong Cai
The Ordos Basin of China encompasses the Mu Us Desert in the northwest and the Chinese Loess Plateau to the south and east. The boundary between the mostly internally drained Mu Us Desert and fluvially incised Loess Plateau is an erosional escarpment, up to 400 m in relief, composed of Quaternary loess. Linear ridges, with lengths of ~102-103 m, are formed in Cretaceous-Quaternary strata throughout the basin. Ridge orientations are generally parallel to near-surface wind vectors in the Ordos Basin during modern winter and spring dust storms. Our observations suggest that the Loess Plateau previously extended farther to the north and west of its modern windward escarpment margin and has been partially reworked by eolian processes. The linear topography, Mu Us Desert internal drainage, and escarpment retreat are all attributed to wind erosion, the aerial extent of which expanded southeastward in China in response to Quaternary amplification of Northern Hemisphere glaciation.
https://doi.org/10.1130/G36724.1
10.1130/G36724.1
Fingerprint Dive into the research topics of 'From dust to dust: Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China'. Together they form a unique fingerprint.
wind erosion Earth & Environmental Sciences
loess Earth & Environmental Sciences
escarpment Earth & Environmental Sciences
plateau Earth & Environmental Sciences
dust Earth & Environmental Sciences
basin Earth & Environmental Sciences
eolian process Earth & Environmental Sciences
Kapp, P., Pullen, A., Pelletier, J. D., Russell, J., Goodman, P., & Cai, F. (2015). From dust to dust: Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China. Geology, 43(9), 835-838. https://doi.org/10.1130/G36724.1
From dust to dust : Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China. / Kapp, Paul; Pullen, Alex; Pelletier, Jon D.; Russell, Joellen; Goodman, Paul; Cai, Fulong.
In: Geology, Vol. 43, No. 9, 2015, p. 835-838.
Kapp, P, Pullen, A, Pelletier, JD, Russell, J, Goodman, P & Cai, F 2015, 'From dust to dust: Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China', Geology, vol. 43, no. 9, pp. 835-838. https://doi.org/10.1130/G36724.1
Kapp P, Pullen A, Pelletier JD, Russell J, Goodman P, Cai F. From dust to dust: Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China. Geology. 2015;43(9):835-838. https://doi.org/10.1130/G36724.1
Kapp, Paul ; Pullen, Alex ; Pelletier, Jon D. ; Russell, Joellen ; Goodman, Paul ; Cai, Fulong. / From dust to dust : Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China. In: Geology. 2015 ; Vol. 43, No. 9. pp. 835-838.
@article{4386eccedd2a482cbfa9154fb366d7de,
title = "From dust to dust: Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China",
abstract = "The Ordos Basin of China encompasses the Mu Us Desert in the northwest and the Chinese Loess Plateau to the south and east. The boundary between the mostly internally drained Mu Us Desert and fluvially incised Loess Plateau is an erosional escarpment, up to 400 m in relief, composed of Quaternary loess. Linear ridges, with lengths of ~102-103 m, are formed in Cretaceous-Quaternary strata throughout the basin. Ridge orientations are generally parallel to near-surface wind vectors in the Ordos Basin during modern winter and spring dust storms. Our observations suggest that the Loess Plateau previously extended farther to the north and west of its modern windward escarpment margin and has been partially reworked by eolian processes. The linear topography, Mu Us Desert internal drainage, and escarpment retreat are all attributed to wind erosion, the aerial extent of which expanded southeastward in China in response to Quaternary amplification of Northern Hemisphere glaciation.",
author = "Paul Kapp and Alex Pullen and Pelletier, {Jon D.} and Joellen Russell and Paul Goodman and Fulong Cai",
note = "Publisher Copyright: {\textcopyright} 2015 Geological Society of America. Copyright: Copyright 2018 Elsevier B.V., All rights reserved.",
doi = "10.1130/G36724.1",
journal = "Geology",
publisher = "Geological Society of America",
T1 - From dust to dust
T2 - Quaternary wind erosion of the Mu Us Desert and Loess Plateau, China
AU - Kapp, Paul
AU - Pullen, Alex
AU - Pelletier, Jon D.
AU - Russell, Joellen
AU - Goodman, Paul
AU - Cai, Fulong
N1 - Publisher Copyright: © 2015 Geological Society of America. Copyright: Copyright 2018 Elsevier B.V., All rights reserved.
N2 - The Ordos Basin of China encompasses the Mu Us Desert in the northwest and the Chinese Loess Plateau to the south and east. The boundary between the mostly internally drained Mu Us Desert and fluvially incised Loess Plateau is an erosional escarpment, up to 400 m in relief, composed of Quaternary loess. Linear ridges, with lengths of ~102-103 m, are formed in Cretaceous-Quaternary strata throughout the basin. Ridge orientations are generally parallel to near-surface wind vectors in the Ordos Basin during modern winter and spring dust storms. Our observations suggest that the Loess Plateau previously extended farther to the north and west of its modern windward escarpment margin and has been partially reworked by eolian processes. The linear topography, Mu Us Desert internal drainage, and escarpment retreat are all attributed to wind erosion, the aerial extent of which expanded southeastward in China in response to Quaternary amplification of Northern Hemisphere glaciation.
AB - The Ordos Basin of China encompasses the Mu Us Desert in the northwest and the Chinese Loess Plateau to the south and east. The boundary between the mostly internally drained Mu Us Desert and fluvially incised Loess Plateau is an erosional escarpment, up to 400 m in relief, composed of Quaternary loess. Linear ridges, with lengths of ~102-103 m, are formed in Cretaceous-Quaternary strata throughout the basin. Ridge orientations are generally parallel to near-surface wind vectors in the Ordos Basin during modern winter and spring dust storms. Our observations suggest that the Loess Plateau previously extended farther to the north and west of its modern windward escarpment margin and has been partially reworked by eolian processes. The linear topography, Mu Us Desert internal drainage, and escarpment retreat are all attributed to wind erosion, the aerial extent of which expanded southeastward in China in response to Quaternary amplification of Northern Hemisphere glaciation.
U2 - 10.1130/G36724.1
DO - 10.1130/G36724.1
JO - Geology
JF - Geology