Los Bandoleros. Michelle as Letty in the short film Los Bandoleros (2009). HD Wallpaper and background images in the मिशेल रोड्रिगेज़ club tagged: fast & furious screencaps short film los bandoleros 2009 michelle rodriguez letty.
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Ftorek Relieved Of Duties
Erie, PA | by Fred Wallace
Kris Knoblauch has been hired to replace Rob Ftorek as new Otters Coach
The Erie Otters of the Ontario Hockey League have relieved Robbie Ftorek from his role as head coach of the club
Ftorek was in his sixth season as head coach at Erie, he took over in October of 2007 from Peter Sidorkiewicz after the Attack had swept the Otters in a doubleheader at the Harry Lumley-Bayshore Community Centre.
The Otters best season under Ftorek was a 40-win campaign in 2010-2011, the year in which the Attack won the Robertson Cup and the OHL Championship
In late February of that season, the Attack dropped a 6-2 decision at the Tuillio Arena to the Otters and the Attack firmly believed that Erie might be the toughest opponent they'd face come the playoffs that year.
However, in the first round of the playoffs, the Otters after winning the opening game of their series with Windsor, lost the series in seven games
Ftorek played in the 1972 Olympic Games for the United States and enjoyed a successful playing career in both the WHA and the NHL.
He also coached in the NHL at Los Angeles, Boston and New Jersey.
The Otters were said to be interested in a coaching candidate who is connected to European hockey, but announced this morning that Kris Knoblauch has accepted in principle the position as head coach of the Otters
Knoblauch is best remembered as the coach of the Kootenay Ice who competed with the Attack, St Mike's & St John at the 2011 Mastercard Memorial Cup in Mississauga.
The Otters like the Attack are on a Northern road swing this weekend
Knoblauch will join the club in time for Friday's game at Sault Ste. Marie against the Greyhounds.
Peter Sidorkiewicz will remain with the Otters as assistant coach.
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"The osteogenic potential of the marine-derived multi-mineral formula a" by Amro Widaa, Orlaith Brennan et al.
The osteogenic potential of the marine-derived multi-mineral formula aquamin is enhanced by the presence of vitamin D.
Bone degenerative diseases are on the increase globally and are often problematic to treat. This has led to a demand to identify supplements that aid bone growth and formation. Aquamin is a natural multi-mineral food supplement, derived from the red algae Lithothamnion species which contains calcium, magnesium and 72 other trace minerals. It has been previously reported to increase bone formation and mineralisation. This study aimed to investigate the 28 day in vitro osteogenic response of Aquamin supplemented with Vitamin D. The osteogenic potential of MC3T3-E1 osteoblast-like cells was analysed in standard osteogenic medium supplemented with Aquamin +/- Vitamin D3, and the controls consisted of osteogenic medium, +/- Vitamin D3. Proliferation of osteoblasts, metabolic activity and cell viability did not differ between Aquamin and the osteogenic control groups. Alkaline phosphatase (ALP) levels and mineralisation were increased by the supplementation of Aquamin, and the addition of Vitamin D3 increased mineralisation for all groups. The combination of Aquamin and Vitamin D3 yielded a significant increase in ALP and mineralisation over Aquamin alone and the standard osteogenic control +/- Vitamin D3. This study demonstrates that Aquamin aids osteogenesis, and that its osteogenic response can be enhanced by combining Aquamin with Vitamin D3.
Widaa A, Brennan O, O'Gorman DM, O'Brien FJ. The osteogenic potential of the marine-derived multi-mineral formula aquamin is enhanced by the presence of vitamin D. Phytotherapy Research. 2014 May;28(5):678-84. doi: 10.1002/ptr.5038.


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A song which soon will be forgotten
For me, one of the most difficult things about being at home in Singapore is how little there is of what ties me to it that I can hold on to. The Singapore of today is one which bears little or no resemblance to the Singapore I grew up in, and one which I am very much attached to. I often find myself overcome with that sense of longing and sadness that accompanies a realisation that I can never return to that Singapore I fell in love growing up in.
I find myself wandering through many of the altered spaces, in search of the little reminders that remain of those times forgotten, often leaving only with regret. Many of these spaces, now devoid of a way of life it once supported, are empty except for the clutter of ornaments inherited from the modern world.
There are but a few spaces which have been spared this clutter. It is in the echoes of these spaces left without their souls, that I sometimes hear the singing of a song the lyrics of which might once have familiar.
A familiar tune is still heard along the northern shores. Spared thus far from the interventions the modern world is too fond of, it is where the memory of naturally formed beaches, now a rare find, has been preserved. It is where perhaps a memory of a way of life we have forgotten can also be found in the casting of nets and rowing of sampan–like hulls.
Alas, the familiar tune may soon be one we are to forget. The advance of a world in which it is hard to find sanity, has reached its doorstep. We see swanky beach front units that reek of the smell of money sprout in an area in which the smells would have been that of seawater soaked wood, of fishing nets drying in the sun, and of the catch from the sea. For how much longer will I be able to hear the familiar tune in my ears, I do not now know, but it is a tune I am determined to try to hear for as long as I am able to.
About the beach and the former coastal villages :
The beach in the photographs is one of the last natural stretches of sandy beaches left in Singapore. It stretches from the seafront of Sembawang Park eastwards past the seawall at the former Kampong Wak Hassan and past the seafront area of the former Kampong Petempatan Melayu or Kampong Tengah, where it is broken by the mouth of a diverted and canalised former tributary of Sungei Simpang, Sungei Simpang Kiri. It would have run further east towards Tanjong Irau at the mouth of Sungei Simpang – that area, currently used as a military training ground and is inaccessible, is a reserve site for public housing and will be the future Simpang New Town – the coastline of which will be altered by land reclamation based on the Urban Redevelopment Authority (URA) Master Plan 2008.
Kampong Petempatan Melayu or Kampong Tengah was a Malay Settlement which was established in the 1960s on some 16.5 ha. of land acquired by the Government from the Bukit Sembawang Group. It was a group of three coastal villages just east of the Naval Base which also included Kampong Tanjong Irau to its east and Kampong Wak Hassan to its west. A mosque, touted as the "last kampong mosque in Singapore", the Masjid Petempatan Melayu, was built in Kampong Tengah which still stands today, despite the disappearance of the village.
Coming a full circle, the land fronting the beach is currently being developed by the Bukit Sembawang Group as a luxury development, Watercove Ville which will see some 80 strata houses built, and in all probability, the beach and beachfront will soon have to be made over.
Tags: Beach, Bukit Sembawang Group, Changing Landscapes, Coastline, Kampong Petempatan Melayu, Kampong Tengah, Kampong Wak Hassan, Natural Beach, Natural Shoreline, Northern Coast, Northern Singapore, Photography, Sandy Beach, Sembawang, Sembawang Park, Shoreline, Simpang, Simpang New Town, Singapore, Sungei Simpang, Sungei Simpang Kiri, URA Master Plan 2008, Watercove Ville, Wild Shores
Categories : Forgotten Places, Nature, Reflections, Reminders of Yesterday, Sembawang, Singapore
The sun sets as dawn breaks
It has been a while since I last took the effort to welcome the new day. The haze filtered sunrises of late have been somewhat subdued and rather uninspiring. One sunrise that I did manage to catch was on the morning of Hari Raya Haji, as the Muslim feast of Eid al-Adha is known to us in Singapore, at what has become one of my favourite spots to welcome the day in Singapore, the water's edge where the former Kampong Wak Hassan once was. The show of colours that accompanied the sunrise were not one of the more spectacular shows that I have observed at the spot. It was however one that was unusual – the cloud laden sky that might have provided the canvas for a dull pink and grey painting did instead find itself decorated with a purple hue at first light, with pockets of gold in places where the clouds had parted.
6.25 am, 26 October 2012.
7.09am, 26 October 2012.
In the glow of the light of the rising sun, I am for a brief moment fooled into thinking that I had found myself in the world that once. I see the silhouette of a man standing by a net. It is not the net of fishermen however that I see, but one of the modern world to keep us from a part of the sea wall which is in imminent danger of collapsing. The sea wall is perhaps one of the last that's standing in the area to remind us of that world that once was, its resistance against not just the forces of the environment but also of the winds of change, proving somewhat futile. The winds of change do in fact seem to be blowing in the direction of the area – a large part of undeveloped land to the south of the former kampong has been placed behind hoardings – possibly being cleared for the beginnings of the huge sea of grey that is to be Simpang New Town, a new Housing and Development Board (HDB) estate planned for the area that will stretch eastwards to Sungei Seletar (Seletar River).
It is not the nets of fishermen that we now see.
The sea wall at the former Kampong Wak Hassan is collapsing.
The land which has been placed behind hoardings was for a while a wild and partly wooded area. Cleared out at the end of the 1980s, it had been a piece of land in an area dominated by rivers that ran through it, the swamp land around the coastal and estuarine areas, fish ponds that were carved out of the swamps, kampongs, rubber plantations and coconut groves. It was one hidden from most of us and one that I have very little knowledge of, except for the stretch on the northern coast where Kampong Wak Hassan was, eastwards to Tanjong Irau at the mouth of Sungei Simpang.
A once beautiful area seen which is now being cleared for possibly what is the beginnings of the HDB's new Simpang estate, 1 April 2012.
My first encounters with the piece of land were in the mid 1990s. It was not more than a barren piece of land then, land which had just been cleared and levelled of the undulations that had once shaped the landscape that was then used for military training. Each encounter was one that required a bumpy passage, which, when seated at the back of a 3-tonner, often meant inhaling an unhealthy dose of dust that the trucks threw up.
A different mood on a misty morning, 28 August 2012.
My brief encounters with the piece of land in more recent times had been happier ones. Besides it being a wonderful place to catch the varying moods that accompany the brightening of the new day, it also is a piece of greenery in which I could find great peace in. I am greatly saddened that as with another place not so far away that I had enjoyed celebrating the new day in, it may never again be.
Tags: Colours of Sunrise, Forgotten Places, Kampong Wak Hassan, Lost Nature, Lost Places, Nature, Photographs, Photography, Sembawang, Simpang, Simpang New Town, Singapore, Sungei Seletar, Sungei Simpang, Sunrise, Tanjong Irau
Categories : Forgotten Places, Nature, Reminders of Yesterday, Sembawang, Singapore


This is a 2.5 gallon glass jar, with a handle and lid.
The jar is perfect for making vinegar, and the price is decent. Don't expect the lid to be airtight though, because it isn't, and the handle is not meant to be used when the jar is full. It can only be used when is empty.
Otherwise, the jar is pretty sturdy, and it will not break easily.


As you may know, I am running my first ever Advanced Excel & Dashboards Masterclass in USA this summer (May / June 2013). We will be doing 2 day interactive sessions on Excel, advanced Excel, interactive charts, pivot tables & dashboards in Chicago, New York, Washington (DC) & Columbus (OH). If you live near any of these cities and want to become awesome in Excel, please consider enrolling in my Masterclass.
Coming back to our topic at hand – interactive calendar, what do we mean by this?
If your events span several months, then you can use formulas to generate calendar.
This is simple. Select all the cells in calendar range and give a name to it. I called mine "calendar".
Select a blank cell in your workbook, give it a name like "selectedCell". We will use this to identify which date is selected by user.
This will help us identify when user selects a cell in "calendar" range. The below 3 line VBA should do. Please attach it to the sheet where your calendar is.
Lets say, each event has 4 details associated with it – title, date, venue & description.
Fetch rest of event details, but keep them blank if date has no events.
Lets say these 4 details are fetched to cells D1, D2, D3 & D4 cells.
Finally, in calendar sheet, add 4 text boxes. Assign them to D1, D2, D3 & D4 cells. Arrange and format them as you fancy.
Tip: to assign a cell to text box, just select the text box, go to formula bar and type =D1 press enter.
PS: in my data above, I have used different formula as we need to highlight 2 dates of a Masterclass even when 1 is selected.
Tip: Introduction to conditional formatting.
Clean up your worksheets and format the calendar so that it looks gorgeous. And you are done!
Click here to download interactive calendar example file and play with it to understand this better.
Examine the formulas in "Calcs" sheet & VBA code so that you can see how this is weaved.
Do you like the interactive calendar?
I often use interactive calendars in my dashboards & client projects. Since calendars are very natural way to understand events, they work really well.
What about you? Do you use calendars often? How do you like the above technique? Please share your thoughts & ideas using comments.
PS: And if you are waiting to become awesome in Excel, then wait no more. Book your spot in my upcoming Masterclass. Click here.
How do you deal with more than 1 calendar entry on a specific day?
That's weird no one replied. I'd really like to know how to work around this as well.
Would love to know this, also, if possible.
Could we just lookup to the 2nd, 3rd, or 4th occurrence of a lookup and have the selection fill multiple cells at once?
Love the aesthetics. Is Segoe UI the best font or what?
Thank you.. Yes, I too think Segoe UI light is one of the best.
This is a very good implementation and use case of interactive calendars. In my templates, so far, I have used dynamic calendars but not interactive ones. One is a Calendar template for customizable printable calendars and the other is a Task Manager template where I used a mini calendar.
Is there a way to identify the selected cell without the VBA code?
Love this one! This may have already been shown somewhere, but how could I add to this by having the calendar highlight dates that had some event connected with them? So, in the little mini-calendars, if there was some event on May 1, it might have a light yellow background, or be bold. I'd click on the date to see the details of the event, but it would be nice to see at a glance which dates were 'filled'.
@CC... welcome to Chandoo.org and thanks for your comments.
To fill up dates with events associated with them, I used conditional formatting.
Set the rule type as "use a formula to determine..."
This will highlight all dates on which there are events in different format. To know more about conditional formatting visit below pages.
Chandoo you really do present some very clever techniques and I'm learning a lot from your site.
1. Change the dates for the New York events to 1st / 2nd June in the hidden calcs sheet.
2. Click the green June 2013 calendar caption.
2. Make the calendar days unlocked and de-select the option "Select locked cells" when you protect the calendar work sheet.
I prefer option 1 as it is cleaner and defines exactly which cells you are interested in tracking.
To clarify my previous post.
It was not a nit-picking, point scoring post to try and point out a "bug".
It's just that I have 24 years of computer programming experience which makes me instinctively test worste case scenarios. That's what led me to this observation.
However, as far as Excel goes I'm nowhere near competent and I do appreciate that you and lots of the posters on your site make my Excel skills look like a beginner!!!
My advice is to always try and think of extreme examples and see if your spreadsheet copes with it.
Awesome. But I found a small problem, when I selected 31, the Details block showing the dates as "31-30 May". Please correct it.
Bravo Chandoo!!! After reading this article and another one (perpetual calendar) from you, I think that it would be great if you could combine both ideas to make an interactive perpetual calendar. Do you think it is possible!?
I have to say that for the past couple of hours i have been hooked by the amazing posts on this site. Keep up the great work.
the VBA code is working well on Office 2010, but is not working on Office 2011 for MAC OS X. Any idea?
When I try save the spreadsheet show this message: "The following features cannot saved in macro-free workbooks."
can I get a video for this pls? or a more detailed instructions on what to do. I am new to excel but I have a task to do this.
Can someone assist me in creating one of these interactive calendars for 2015. I need a very comprehensive calender. My calender need to be from January 1, 2015 to December 31, 2015. I can have up to 200 events on one day. My event data table is big.
what about if I have multiple events in the same day?
As others have said, I need to display multiple events on the sameday. How can I add more than 1 event and have the calendar cover a full 12 months.
Thanks for providing the link for me. I think this is exactly what I am looking for.
Thank you for the calendar link. It's what I have been looking for.
I've followed the link and entered multiple events per calendar day. However, the calendar displays only the one event per calendar date. What I am doing wrong? Appreciate guidance.
Chandoo, first thank you for all this help you are giving in excel. Next this calendar is amazing but would you be able to help me in expanding the formula? I have several events on the same day and some events last 5 days. Would you be able to help with this?
Super helpful content here, interested if anyone has cracked adding multiple events on the same date?
I am unable to download the sample file for this.
Could you please help me with the same through emailing a copy of it.
It tells me the error #NAME. Could someone please advise on this error ?
If someone could advise me please.
My table is on the same sheet as my calendar.
4 columns: Date, country, site nb and patient nb.
I want that it returns the patient nb.
The date column is the first of the array in case.
To correct my comment: Name was because I did not put the "" before and after a word. To know if the formula was working or not I have pur for the IFERROR to return "ERROR" if it does not find the date in the array.
When selecting everything for the VLOOKUP fonction I get the ERROR, however I have something on that day.
You are simply a wow man!!!


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Catalog > Photo & Video > Lighting > Studio Lighting 101 > Faq For Purchasing Studio Light Part 3
Studio Lighting 101
FAQ for Purchasing Studio Light Part 3
If I can have just one modifier which won for sure yeah, and so that depends on what you shoot and well, I I'm standing in front of you as the authority everybody had you know what I mean? Like I've given you my opinions on this, but honestly everybody does have a different opinion based on what look you're going for like what aesthetic you like? So I'm giving you my generalized you just want a piece of gear that a function for the type of photography you do. I'm going to give you my recommendations and there's variations on this, but if you do portrait and head shots and you could only have one modifier, I would get a threesome octo box or three but four foot soft about a soft box the off the box would be if I'm in a small space or with really low ceilings because it's harder if I start raising it up with really low ceilings if I have a bigger soft bus has less control so the three foot now it's a little bit a little bit smaller I can get it up higher and then I could use filled to co...
ntrol the shadows instead of having a bigger soft box where it's filling from beneath whether I want to or not so if I have a smaller space and usually going more for the three foot than the three by four foot the great place to start next one down newborns, newborns of course, I'm sure there's different styles, but in general you want really broad wrapping light that looks like a window most of time. That's the quality so you want a big soft box three by four foot or larger or a big shoot through umbrella. A larger shoes have not a small one, but larger because then it starts acting like a soft blocks, so that might be a good place to start, because generally umbrellas are less expensive than soft boxes, so if you're just trying it out, that might be a consideration. The next one for groups. I'm not talking about huge groups, but a mitt like the group that I have here from my audience, you would want either a larger octo box or a large umbrella would fusion and I might go with the umbrella with diffusion because it is less expensive and it's easier to collapse when you have a five foot off the box. If you were trying tio, tear it down every time we moved with it, it's it's kind of a pain. So an umbrella like we had yesterday silver where the diffusion will act like a soft bucks, but you wanted you wanted to be bigger. It's gonna have to be depending on the size your group like at least forty inches. But if you can if you have the space for a big one like we had yesterday, I would try that. And then if you do fashion and beauty photography, I would recommend a beauty dish twenty inches and white says if I could recommend one modifier depending on the type of photography you d'oh that's super super helpful we do have some questions online as well as go ahead and start. What about a ring light? Okay, so bring lights are cool, especially for fashion photography. What they do is they can you can have strobe ones that actually fought fire or they could be constant fluorescent and they're just a tube that is round and what it does is it gives you really flat frontal light that's glowing and really cool catch lights in the eyes. The problem is that's all they d'oh I think that's really much all you can use them for it's cool and it's stylized what's nice is there's one company called stellar lighting systems that makes a ring light it's like two hundred dollars so it's really inexpensive solution, but that's it very much one way you would want exactly, because because then at least with the octo box I could use it for a newborn if I had teo and with the octo box I could do a group if I backed it up it's one be ideal or for soft lots and I can mix and match that ring like just as its ring lighting that would be that would more to me be like your seventh modifier a third I have one and I have but I have like a billion so yeah I seem to do a lot more groups than normal but at the same time I also you headshots and whenever that five foot octo would work as long as I have the room to head wise right you can do it it just your life is pretty much always going to be soft you're if you're getting one modifier you're not going to be able to make it really dramatic if you have a five foot doctor box you've got on lee so much you can do but it always looks good on the skin. Can I ask you a couple more scenarios for that? Like what would one modifier b s o clarification for sofia is when you say portrait's does that count as head shot and full body when we talk about that first one the three foot doctor sure so for a three foot doctor box you can't exactly you can but you don't really get even illumination had to tell if I want a full length fur, they're evenly illuminated. I have to pull the octo box back far enough to allow the light to spread out like the bucket of water. It starts to be less soft when I do that, but there's a balance that if you really try to pay attention the light, you know, if I'm two feet away, I'm not going to let her feet, but if I'm like four, five, I'm starting to light more full length and it's still pretty soft. My question to you is, and I get this question as how important it is it that the feet are lit? I mean, is it actually important to that photograph that they be bright? If it's not, then bring it closer and you can shoot it like that. We'll talk more about lighting head to toe shots tomorrow for my ten common lighting problems, but, yeah, you could use that feeling great. Thank you couple more if you don't mind people who are this is from stupor, man, what would your men we recommend for a product and food photography? We were talking about this. Yeah, for a product photography, soft boxes, squares or hard boxes, hardage boxes, because on products you're looking for the highlight and and around the highlight really looks good like in a blind bottle or something like that. But just before the class started we had this same conversation so for product go with rick direct tangles or squares and when I and this is not be well it's actually relatively versatile but there's something called a scrim you might want to look up if you do product photography it's basically a big diffusion panel on a frame and then you move your light around and up and down in the distance of that scream to your subject and it all makes different effects so does not even technically it's a modifier but it's it's not going to stick on your light and it gives you a lot of different capabilities to featured a lot of products that might be going to play with and the one that I use is the westcott scrim jim but I mean you could even make something make shift to try it out yourself to begin with which I think is a great name the scrim jim yeah, I think you'll like it and if that is something that you are doing actually just the product and food photography we definitely have classes that are specifically and go way further into detail about that particular subject so a lot to get there and you can search our catalog can I ask you one more than okay so can you please make a recommendation for action? Studio studio actions shot on high key, so this person has no batons that are aging and just recently purchased for alien bees, but is a little concern that it won't keep up. So if you're trying to get those movement and dancing shots in the studio, I mean that's not really a modifier question per se, but I think what I think would be the best solution. Well, it's for fist and the fact that last pledge duration to stop action, but you want to fast recycled time, so maybe even if, like we said with the stuff box where you can put two heads in it, so you get twice the amount of power with the same recycle time, you could put two half and half power and get a full power output in two and a half to recycle times that weighs a way of doing it and related to that. So so how is this playing as well? Is if you have minimal output, if you're getting if you have, like, a one sixty, what? How many seconds isn't think various one right? So you have what you have, but you released him with the bees? Oh, yes, it depends on the alien because you want ideally would have picked the ones with more output because then you don't have to use them at full power because that full powers where the recycle time takes longer and that becomes a problem for action did they say they had multiple alien bees for yes techem you can lower the power and get more I'll put it with the word fester recycle speeds cool. All right, thank you, let's go. I think so. Here is this a picture of what I was talking about? Because I didn't want to fill up the space again with all those modifiers but when I was talking about a three foot or five dr box and octo boxes a soft box that is shaped like an octagon ah three by four foot or four by six foot soft box rectangular again was one of the things they recommended for portrait shoot through umbrella just looks like a semi translucent white ish umbrella but you actually shoot through it it doesn't reflect intuit it points this top part points at your subject. Okay, then we had the beauty dish I mentioned about twenty inches and white and then lastly we talked about this yesterday and this is the one that john had in his studio when he photographed me does really you know your desert island thing you can take one white modifier with you would be the foe texts off leiter the sixty inch because it's a regular umbrella you can take the black off it and use it as a shoot through umbrella and you can put the diffuser on it and be like a soft box and I think it's about one hundred thirty bucks and you could put any light into it it doesn't use the speed ring but it goes on an umbrella shift yeah and so it is literally umbrella soft box shoot through like all in one so I would take a look at that and then faux ticks makes one that's same concept yeah it might be going back to my old question but quality of that versus the west got one there thirty dollars difference is there a reason you pay that is it build quality difference well well after that the shift on the folk text off light and learn about the faux ticks you'll see there's not a big chef coming out the shift actually on screws so you can bring it up so it becomes a sixty inch octo box except it has ten panel so it's I say it's an octave that goes to ten yeah I like that but that's where we talked about not fitting all white heads though because ellen chrome needs a seven seven millimeter shift this has an eight millimeter chef so they can on screw so it won't fit into some l a crowd heads but almost every other brand it should fit so what this means to you guys even though you think that all umbrellas work with everything, they don't, so just check the millimeter the science that got my for the pro photo once it's right on the head itself is where you put the umbrella other ones it's actually an adapter on the bottom of what they can be different sickness even though you think and they're like a million which is annoying their millimeter difference and which is the weird one? Outcomes only promises a smaller has a smaller opening in the flesh heads so just to give allen crawl know that you need to get the seven hundred yeah, I remember running into that once where I was like, how is this possible that an umbrella isn't universal. Okay, okay. All right, next one pack and head or mono block. So what does this all mean? So packing head is the more traditional route or this is what has existed forever. When I went to college, this is what we had in college. And what it means is the pack itself is where all the juice exists. It's where all the water all the power is in the pack. You change everything from the pack you're changing the output of the strobe from the path here change I mean, whatever you're going to change in control is right there and then the head is just what flashes and you put the modifier on that. All right? So I'm going to tell you about the pros and cons of thes one of the things that is a different thing model block is first, so a lot of black, also known as mono light everything self contained you don't need a pact to plug into. So these pro photo d ones, those are model lights, you don't need anything extra. All right? So some differences here if you get a five hundred watt second model, like when that light fires you can have up to five hundred watt seconds of output when you get a pack, there are there could be multiple heads that khun go in one pack, you could attach multiple lights to one of those pack power sources when you have multiple heads that four hundred, five hundred watts is split up between them, so each head is no longer five hundred watt seconds. There would be you could make it to fifty. I'm not. This is less of a button kind of class because each set up is different, but when you look at the different packs, they have something where you could make them symmetrical meaning. If you have two heads, each one has equal power or you could put it at a two to one ratio, so one is going to be twice as bright as the other, and that is all something you control from the pack when we tell you the pros and cons, in my opinion of these systems and especially well, especially for beginning, photographers usually mano lights or the better solution on one of the reasons they do tend to be less expensive. But I'm going to compare kind of the pros and cons one of the benefits off mano lights. And this is something that I struggled with, and I'm not sure if you find this a hassle, but I found this a hassle is ok, so let's say you've got a pack and I already told you, you can plug two heads into it. What I found very difficult was getting the amount of control independently because I knew like there was one, but in, depending on what pack is a fight turned it up, they both get brighter. But what happens if I just wanted the left one and and been trying to figure out when I split it, okay, what I did to tow one which how much more like was that? A little bit amount I turned it up dividing it like I found it more difficult to control them independently and it required me to do a lot more mass and sinking than just look I'm turning this one up and turning this one down it's much harder to control the ratios and power output independently similarly to that is when you've got a power pack and plugging the two lights into a power pack what happened if I want one light here and one light all the way over here a lot of times I have all these cords that I'm tripping over because I've got to put the power pack in a place that can reach both and then all of a sudden if I'm trying to boom this arm out and I've got you know I've got one of the court's hanging in front of me and so it just tended to be a little bit more of a hassle so I recommend mano lights just because it's easier to learn it's simpler to handle and it's easier to control the independent outputs but this is more like if you really want to get into the pros and cons are definitely reasons that packs air good generally impacts you can get faster recycle times so if you're shooting a lot of action like and so the person that originally had the nova trans is mean there's actually if they were old there's actually should have better recycle times for packs another awesome reason is these one of the pro photo had another all attached okay they're actually relatively heavy amano late in itself which becomes a problem when you have a light boomed out way over your subject because then you're really worrying about stability and I remember I wrote the sense of audio I wrote this down somewhere these in this light is actually on the lighter and it's not not too heavy but imagine you've got this going to make you hold that harry okay but then you put a big soft box on and it's boomed out over here now you're worried about okay I got to put the sandbags in the right place and I've got a balance out the wait where is when it's a pack and head it weighs almost nothing in the head it was much easier to manipulate and so thank you if I know that I'm going to have a really complicated set up with lights boomed out over the subject's head right above their head I'd rather just have ahead then this whole thing for safety purposes so you've got that benefit thank you perfect all right so just to summarize real quick model blocks some of the benefits no heavy pack especially if you're traveling around with these a lot somebody asked me yesterday about going to different people's houses you wanted to keep your set up simple without a lot of gear well, a package is another thing to carry and they generally weigh a bit model blocks there easy tio independently control they're usually less expensive of course there's use gear or certain brands that you could get cheaper package heads but moderates tend to be less expensive over all the downsides is the heavy head the sore recycle time more or less that benefits the pack late we had improved recycle time this is gives you like and overall when you're deciding I think mono lights are probably the way to go for someone just starting off so how about you get questions so far we do have some questions about with with the mono lights do they always have to plug in or is there any battery powered mano like sure so there are mono lights that do not have to plug in but then their battery operated and so I will this is number nine I think so I will show you the brands and the options that you have available to you there's more than I'm going to list but the ones enlisting are more popular and so that would probably get to the question of can you use mano lights on location? Yes you just have to power them but the same thing ah power pack is not a battery ah power pack well, there are some that are but a power pack still has to plug into the wall what it's doing is acting as the capacitor is monitoring all the output monitoring the recycled time is monitoring what? What power is going to each head so it's kind of the brain of the whole system where is the head is just the strobe but it's still gotta plug into the wall, actually a battery that you can pick up and take outside unless you buy one like the bron color move kit, for example that it's a pack and it's ahead but it's also a battery and then there's uh we'll get to the b one's later called example number seven what system do I buy to trigger my strobes? Not really a right or wrong answer for these. And put this up just to say sing chords air like the cheapest it'sjust accord that hooks into hooks into on mine is someplace in the bottom of the light, but and it plugs into your camera, but as anything where it's an extra cord it's, another thing to trip on, and a lot of people I have heard in the past have had problems because when they step on or yank it out, it actually ruins the sink connection. So after doing that repeatedly over and over again now it doesn't even work, so you can't even use this in court, a perfect he has one so I use these and I thank you I don't actually know what that costs I vote they always come with what I'm with the floor she would come with the flashes I keep these around always for when technology fails like there's, I run out of batteries for my other triggers or I lost them or as usually happens with me I dropped something like that so I keep them around. This is like the hardwire non non digital way of making your strokes fire it's just there's another court on the way to trip on. And another thing with sinclair is there with some builder packs told older speed of charms and no veterans they have a high sink voltage. You know, when the when the camera shutter closes, it sends a little voltage between this in some digital cameras can get damaged by it, so pretend to not use the chords of impossible now. Yeah, there's one other thing that reminded me up if you ever if you happen to like somebody has a really inexpensive power pack and heads that they give you and that's great it's a great way to get started. I just want to mention this because I did this one is you need to make sure you have everything unplug and the power dumped before you take the head out of the pack because I it's loud and I thought blues are of of in that would that would have been painful. I didn't actually do it, but long story short just out of safety when you're unplugging and moving things like turn everything off or and dumped the power beforehand to find a way that you know, that there's not electricity, running in it, because that would be awful. I didn't actually get hurt, but it made for an adrenaline rush for almost a day once played with it wasn't me, it was that someone standing next to me pulled the plug out of a belle carter really old nineteen sixties arab box and just the loud bang unjustly, well, mine was a speedy trial that I did in college. I pulled it out and I was just like it's, impressive looking that's about the extent of it. The next way that you can trigger your strobes is something called optical, and on the back of many of you're strobes, you'll see something that says optical might say like slaves, exactly. So what that means is, when it sees something flash, it will flash as well, and it will work in your exposure is not like it's a delay that won't show up, it'll still flash light is very, very fast you don't have to worry about it often would I d'oh is I have a trigger and this is not with my pro photos, but when I'm not using pro photos I have a trigger that somehow sets off one like so I have one trigger set and then I said the rest on optical so I don't have to buy additional receivers additional pieces to make it fire. The downside is if you were shooting at a wedding or a reception or any place where people have flash on their camera because it doesn't care what flash is firing it could see an iphone flash and fire and the downsides of that are a people are stealing your light you know, at a wedding for example, but the other side of it is especially if you have a less expensive brand if they fired it and it fired and you went to shu it might not have recycled in time or the color might be off, so you just kind of use it with caution but running down you may most flesh is that runoff batteries get about two hundred, two hundred fifty fleshes per battery charge, so you want all this pleasures for yourself? Thank you, yeah, no thanks perfect sense there are some downsides besides that also depending on distance sometimes like if you're really far away and the light is behind a pole, it doesn't see it like just the way that the late was pointed so I was doing a demonstration ones where all they gave me was one trigger and one light with the trigger, so everything else was supposed to fire doesn't sound like a problem I'm definitely no one else should be taking pictures of flash the problem was, is I had a grid on my main light, so the grid on my main light means where the light was going was just on the subject's face and other lights weren't firing and they're supposed to be there on optical it's because no light was going anywhere that's what agreed does a grid focuses it all in one direction? So there are downsides like that, and then you've got to get creative. I don't know if you've ever done like in the situation like like where it's not seeing I've seen people try to build like catchers next to the boil, the tin foil next to the sensors don't it's just kind of a hassle, so no, if it works or if it doesn't ms keel over there's there's I are there certain ways that it's infrared it's actually triggered by line of sight. It will be a trigger that sends out an infrared pulse, and it has to be detected by either the strober that trigger itself, but the one that is the most professional, most reliable would be ready some sort of radio transmission they you can also get radio transmission ones that can actually change the power output of the strobes from the trigger so instead of having to constantly go change everything, you change the power outputs right from that remote control right from that trigger the one that I had I talked about yesterday and I have a slide of it honey public so this is what I have on my camera right now it is specifically made for the pro photo lights einstein has one specifically made and what is a funny name? So I guess cyber sink I think it's because they have one specifically made for and generally the ones that are made by that brand give you more capabilities like I know that one gives you and like hyper sink capabilities for one of the things that's not one o one I'm just telling you it exists, but I have the ability to separate things into channels and into groups all right? Why does that matter? Why would I need it? Why would you need to buy a trigger? That is more than that. If you do event photography of some sort anyplace where another photographer would be set up, you definitely need the ability to separate things into channels because what that means is let's say you've got just the generic trigger that's just firing by strobe or just firing on channel one if they're over there shooting and you're like why the hacker my lights firing I don't see anyone else shooting it's because their signal it might be triggering your strobes so what you khun dio is channel basically puts you on a different wavelength and it says ok, there they're over there on one I'm going to go to two or three so if you're shooting a lot of events or for example, if you do maybe like the press release events where you're shooting head shots of a band or oven author or that type of thing you're going to be other photographers around, you're going to want to able to do for different channels so channels they're basically what you use to separate yourself from other people there are other uses for it but that would be my simple explanation whereas the groups are my way to control each strobe independently from the trigger of my own. So this one I consent to a that when I consent to be that when I consent to see and then right here on my uh trigger on a aiken click to increase the energy and then I can click to be and say he was too strong I'm going to decrease the power so I can control everything which becomes really important when you're short and you don't want to keep moving your life every time you change it that's that's one of the main reasons I use it but also if the whole idea is you keep connected with your subject and you have to constantly keep going back and changing the light you lose that connection you lose your momentum so that would be a reason that you might upgrade to a system with these capabilities. Um let's see, there are some inexpensive trigger options that are totally fine if you just want to make sure your flash is firing and they do have some other options for groups and channels so some of the inexpensive ones would be the cactus transceiver I've heard talk to ivan use this I talked to a ton of people I took a poll and which is why one of the reasons I love social media they put up on facebook and I said, listen guys, you know, I've been chained to a photo for a while now, so I really just used a lot of the d one air remote and then I've used pocket wizards what else out there exists? And I got lots of good reviews for the cactus transceiver and then another one there's a faux ticks areas trigger system which you need something on your camera to send a signal to something on one of the lights so that's what you have to keep in mind as well it's it's not just like it magically talks to whatever like you have you've got to plug something into this light so that there's something to send a signal to the light to fire you have any favorites? Ok look the fuse pocket with this so when you want more capabilities kind of one of the industry standards is pocket wizards they just cost more money and there's a lot more you can do with them to control the lights independently there's also something fancy for the ability this is a question yesterday the ability to go faster then your sink speed there's a way to get pocket wizard certain ones where you can exceed your sink speed by the way it works is called hyper sink not a one on one thing but it exists I personally don't think for a one on one photographer and studio that you need a setup like this you just need something to make your strobes fire and these were a couple hundred or several hundred each so maybe one of the less expensive systems would be a good place to start and there are even like twenty dollars things that just trigger one like that's what I had I had heard it micro sink or micro something I had one of these things that's that's what it's called okay where it was just a little sitting on top of my hot shoe the trigger goes on your hot shoe and then I plugged into the back of my uh the black of the strobe the problem is, with wearing terror, I ended up having tio gaffer's tape it down onto my camera so that the connections would hold. So when you buy an expensive, you get inexpensive, so it's just being aware of kind of that element, so can I use speed lights for studio lighting? Just speed like, so, I mean, you can treat them like studio lighting, but if you need to make do, like get, you can do it. But there's a lot of weaknesses or there's, a lot of lack of control and so here's some of the things that that air the downsides. Generally, speed lights have slower recycle times if you're trying to kick out a lot of power. So, you know, if you've ever used a speed light where you have it turned up to full power and it flashes and it goes and you have the weight, whereas I'm working with studio strobes means ready to shoot so I can catch action. And after the subject, we're not waiting on my speed light to refill for groups they depending. On what speed light. First a strobe you have. Sometimes they have less power output, so you probably struggle toe light groups, you need several of them, which, at that point, you could buy a strobe but maybe you have six seven speed lights at that point if you have a bunch of writers will use them that's fine, but usually it's not gonna have enough power output there's also fewer modifiers there are adapters to make all these different modifiers kind of work with speed lights but they're not really made for it. And there's there's two reasons why if you do want to see modifier specifically made for speed lights that mimic studio lighting gear, check out pro photo are sorry proper checkout westcott and faux techs for example faux ticks has something called the faux ticks luna, which is a beauty dish made for speed lights. It has a little bracket so you can treat it like a baby dish. Uh the other reason why that it doesn't really work is flash heads are really small like the front of them are small and what we said yesterday is smaller light source relative to the subject more harsh the light okay, so it's going to be harsher just to begin with? And then what happens is when you take a speed light and try to light a big soft blocks it just doesn't feel the soft box it will still give you a hot spot in the center and so really even though I've got a three by four foot soft box, the light source sitting my subject is still not that big didn't have enough size of the head to spread out and give me a nice big, soft, even light source so it doesn't it doesn't quite have the same please in qualities, but it was really interesting because joe mcnally did a block post that I saw at one point where he took to portrait identical one was with a speed light and one with his with the strobe trying to figure out which one was which I couldn't quite tell but he also picked soft light source really closely he picked things that would trick you whereas you know if I wanted to use a big giant soft box for really broad light really, really soft wrapping light I would need multiple speed lights it wouldn't really quite work the same so that's kind of a downsize and then also a huge one for me is that speed lights don't have a modeling like so I'm trying to look for lighting patterns and sculpt the lead in the face you saw yesterday it was using it a lot like I have just moved her head to take it from rembrandt toe loop I don't have that anymore and also if you're shooting a lot with strobes where they're on full power through modifiers you can overheat them a lot more quickly than you would get with a strobe so you do damage to your gear more quickly no s o if you get the presentation, this broke down what I just said it's all in there but, you know, like a benefit of a speed light. If you already own them, you already on them. And if you're going on location, you really need portability. That might be an easier later. Wait. Solution most of time, that stroke, you're gonna be a better choice. Okay. Number nine is, can I? Dual purpose studio and location gear. Can I buy something that I can take out on location? Not need to plug into a wall so I can use it for my location lighting. I can use it at somebody's house report. Should I can use it in my studio and the answer's? Yeah, but these were your three options. You can buy battery packs, that's. One option so I can actually buy a battery pack that these mono lights or whatever model lights instead of plugging into the wall, they plug into the battery pack and they suck from the battery pack so you can do that. All right, next one is portable strokes in the studio. You could buy strobes that are intended to shoot on location and just shoot them in your studio, and then you just have to keep changing the batteries, they wouldn't be plugged into the wall. And then there are strobes that can plug into the wall in the studio but feed off of a battery when you take them their own battery when you take them out on location so those all three options doing exist so depends on which one of these system looks most enticing to you and which is the right price point. So give you a couple examples one that a lot of people use is a policy buff products and it's like incredibly good price a couple hundred dollars, three hundred dollars or something um depending which when you get and there's a vagabond lithium it is just a big battery and if you look it has the same outlets, the same plugs you'd have on the wall. So as long as you have a monolith that can plug into a wall, you can plug it into this battery and it's pretty lightweight and it could come with you wherever you go. Some downsides of it is if you have ah higher wattage light, those recycle times are brutal. I think if you're shooting at like for some reason a thousand watts second light you're shooting a group and you use it at full power it could be several seconds before it recycles like the statistics are on the site but it could be like four seconds five seconds before it gets back up to full power even more than that but if you're shooting with lower power in alien b and you plug it in there pretty awesome this is what I used when I had my small studio I would take my weight lightning's my alien bees out on location with a bag of on this is their new one they came out with a new one and these they're better than their old ones and they weigh less another one is faux ticks came out with a light that how it works is in the studio it plugs into the wall on location it plugs into its own battery pack I tested it out and I thought it was pretty cool so it might be something that you'd like and they have you convey by different it's not that it's really different attachment so you can use different modifiers on it but by default I think it's a bowen's modifier other one is pro photo be ones this is what I use what they are is they are basically the same unit like as the d one that looked the same they function the same but they run off of this battery that's where all the power exists so I don't need to plug it in the wall I don't need a pack I don't need anything extra I just go out on location I could shoot that in the studio and on location to switch the battery this one's expenses though I think it's like two thousand for one head, so maybe for someone first starting off that might not be what you want, but if you're looking for a solution where you just plan on buying one light to use in the studio and in location that would cover both of your bases and so each one of these solutions has, you know they're pros and cons this is recycled time can't pull as much power this you given us to see if you like the light itself, this one's more expensive s o number ten to ramp up this ten most commonly asked what stuff do I buy? Section purchasing questions is what other stuff do I need? Because I know when I first set up there I'm always fumbling around as missing things, so here just a couple of things to be aware of that help you run a studio and grip and gear grip is like group is more the stuff to set up your studio where his gear is actually like the studio heads if you hear the word grip. All right, so we talked about speeding already, so we already touched on this don't need to go into it too much more gaffer's tape is the best thing ever what it is it's very, very strong tape that you can use for everything, but it doesn't leave a residue which is really important if you're using it on lights because you don't want to have that residue there so then it gets us tacky and also it doesn't burn like its heat resistant I use it tio cover up when I have a set and I have cords running across the set if you're photographing children and you've got cord running around, you're definitely going to want to use gaffer's tape to tape down that court so they can't trip over it, protects them and protect so gaffer safe is expensive it is much more expensive than duct tape or electrical tape it's not the same thing is electrical tape it's totally different? You'd have to get at theater supply or it at aram online or wherever it may be or at your local camera store s so you definitely want to get a rule of that for sure you might want to get a couple clamps of some sort these you can get at home depot lowe's wherever I always use these their names a clamp because it's an a and c clamp because it's see in case someone mentions it, I use these all the time too you can see the big ones up there to hang the backgrounds up instead of having to have an extra polls I'm just like right now we're using one poll there's a white background behind it and then we draped the background in front, instead of having to switch it, I can just rape it and flip it over. I'll use it to clamp clothing, I'll use it the whole hold a piece of foam core or reflector to a stand, so definitely get some clamps for sure. Sure, the super clamp excellent thiss make use many places, you can put more lights, like we said, you can put extra lights into that. So you put this on the stand, put a light head on it, you can clamp it to a bar, you can put this on top of stand a hold your foam core that's just has a myriad of uses in the studio, and it screws down tight so you don't have to worry about falling off, and they're made by a very small manufacturers usually called super clamps or math for clamps. Yeah, I like that because there are instances where it's easier for you if you're stacking light and I will give you a demo that but if you have one light above and a second light below just too attached to the same stance, you don't have all these stands around, you know you can do it that way, or as he said here, attaching it, there's another head, I don't know how you would do it to have another head right here unless you have a stand awkwardly like tilted it wouldn't work so that's a pretty good tool that other one is auto polls and how auto polls work is they used tension you could put them up to the ceiling and on the ground and he's attention to hold them in place and you can use that to hang a lot of things but I use it in my studio for background stands there are also regular background stands that's totally fine you can use that you can get basis for the auto polls so they can stand on their own as well but this is something you'll see and a lot of studios rental studios there is there a little bit heavier duty and they're a little bit more stable and I use them all the time all right lastly just to touch on stand a couple rules of thumb can I have it there it's not use stand ok a couple rules of some for stand some things you want to look for in a stand is you wanted to have ideally some of this air shock which means we'll see if this one has it that one doesn't something to watch out it's something to watch out for this one does not have it so imagine you're raising your light up and it's really heavy and your hand slips and like crushes your hand okay because this doesn't have like hydraulic airships called air shock it is something to help you out it's like a safety thing. It's a little bit more difficult to raise the light out there's a little bit more resistance but it's also safer so that would be a consideration the wider the base of the stand, the more stable it isthe. So this would be an example. This is ah, metal heavy duty stand it's got a pretty wide basis would be like a c stand and the's are what you would see in most professional studios. The reason that many beginners and often I don't even use them is they're really heavy. This is something that is pretty good. C stand a century stances manufacturer and you can line him up together so you each leg is a different height so you can stack them right close to each other if you need the lights really close to each other where you can't do that with the wider basis. Yeah, these these are more stable, like dave. I mean, you can see that right here I'm giving the same kind of push on each one of them and this one slides where is this one? The way it's still it's much more stable the's are more expensive and it's easier to put a weight on this much, much easier to put a put a sandbag on it, then it is on one of these, and the sandbag is more effective on the c stand than it is on one of these, and the other thing I really wanted to mention is when you're setting up your stand, you don't you don't want it to be like this, but if you left, but the thing is people doing to save space, right? If you're in a small space you don't want to have, the problem is the narrower that that base is, the more unstable it is, and you don't also want to be at the other far extreme either. Typically you're aiming for something around ninety degrees, you can see how john hasn't set up here, you just don't want them to be elevated too much, because then it loses its stability. All right? We want to be sturdy, a lot of ground. We talked about boom arm yesterday, so I won't touch on it, but that's something that I would recommend personally gives you a little bit more flexibility so that your life doesn't always have to be on the top of the stand. You can actually move it out over the scene. I recommend if you are going to buy one by a good one because the money you put into those lights is held in the hands of that step boom arm
Expertly light a portrait using just one light and one modifier
Work with more complex two and three light set-ups
Create light for portraits, beauty, or drama
Light a group photograph
Learn to troubleshoot the most common lighting questions
Confidently purchase the right lighting equipment for your work
ABOUT LINDSAY'S CLASS:
Intimidated by studio lights? In Studio Lighting 101, fashion photographer Lindsay Adler deciphers the complexities of studio light, breaking it down into simple concepts for beginners. In this class, you'll learn everything from basic lighting terminology to creating multiple light set-ups. Start with the basics like how to adjust your digital camera settings for studio strobes and layer in the details you'll need to light your first photo studio portrait.
Photographers on a budget will learn how to light a portrait using a single light, modifier, and photography light stand. Then, learn to work with two and three light kits to create drama, background separation, and more. You'll see dozens of studio lighting set-ups, from start-to-finish, behind the scenes in this live recorded class. Develop the skills to troubleshoot several common photography studio lighting problems, like lighting large groups and correcting reflections on glasses.
By the end of this class, you'll know how to buy your first studio lighting kit and how to shoot that first in-studio portrait. This class is ideal both for beginning photographers that don't understand much beyond the exposure triangle and experienced natural light photographers ready to try a studio setting.
Beginners with a grasp of the exposure triangle
Intermediate and advanced natural light photographers new to studio lighting
ABOUT YOUR INSTRUCTOR:
Fashion photographer Lindsay Adler is one of the most well-known in her field, noted for her style, posing and mastery of the studio lighting system. Along with working as a photographer, she's also a respected educator, a Canon Explorer of Light, and author of three instructional photography books. Her work has appeared in publications such as Marie Claire, Elle, InStyle, Noise, Essence, Zink Magazine, Rangefinder, Professional Photographer and dozens more. Lindsay is a sought after speaker for her experience and straightforward, easy-to-follow teaching style.
Studio Essentials: Shutter Speed
In the first lesson, gain an overview of the course. Dispel some of the most common lighting myths. Learn how camera settings change when working with studio lighting instead of natural lighting. Figure out your sync speed limitations and how shutter speed affects the ambient (or existing) light.
Studio Essentials: Flash Exposure
While shutter speed won't change the look of your studio light, aperture and ISO will affect the exposure, or the amount of light, from the flash. Learn how aperture affects the way that burst of light from your strobe or speedlight looks. Then, factor in ISO and the strobe output, or how much light the strobe lighting creates. Work with a light meter to take out some of that guesswork.
Studio Essentials: White Balance
Where should you set the white balance when working with studio lighting? In this lesson, learn where to set the white balance on the camera, and why those settings are different for different types of light and even different brands. Work with additional factors that can also affect color temperature.
Light Principles: Inverse Square Law
Dive into the three things that affect the look of the light. Consider factors like the intensity of the light, lighting ratios, and the quality of the light. Take the complexities out of the Inverse Square Law and learn how bringing the light closer or farther away makes a difference in the image.
Lighting Patterns
Learn the lighting lingo to establish a basic foundation in light -- and the ability to learn and talk about light. Pick up terms like broad light, short light, flat light, highlights, and shadows. Then, dive into common lighting patterns like paramount, loop, Rembrandt, and split.
Shoot: Demo Lighting Patterns
Watch the lighting patterns from the previous lesson in action. Learn how to set up each type of pattern. Then, add variety to the lighting set-ups through simple changes, such as understanding how height affects dimension.
Quality of Light and Modifiers
Control the quality of light from hard to soft adding modifiers to your lighting kit. Learn why size and distance matters for modifiers. Look at the different types of lighting accessories available and see how several types of modifiers affect the light.
Shoot: Choosing a Modifier - Diffusion and Grid
See those lighting accessories in action. In this live shoot, see how adjusting the different available diffusers and grids change the look of the image. Determine how to pick a modifier that matches the look you want.
Shoot: Choosing a Modifier - Umbrellas
Umbrellas are a large, inexpensive, and easy-to-use light modifier. Work with the different types of collapsible umbrellas, including silver, white and shoot through. Discover how to place the umbrella and work with umbrellas in a portrait shoot.
Shoot: Choosing a Modifier - Softboxes
Softboxes are similar to umbrellas in that they create soft light, but they can be a bit easier to control. See the pros and cons of different shapes and sizes. In the live shoot, learn how to control the light spill by feathering a softbox.
Shoot: Choosing a Modifier - Extra Stuff
Work with strip boxes, barn doors, grids, and snoots -- modifiers that are often used for rim light, backlight or hair lights. Explore how each type works, then see the different options in action. Learn about Lindsay's favorite modifier, the beauty dish.
10 One Light Set-ups: 1 and 2
Launch into ten different lighting setups that you can achieve with just one light -- this lesson covers the first two. Create paramount and loop lighting with a softbox in this live shoot using a single light, a light stand, a boom arm, and an octabox.
10 One Light Set-ups: 3 to 5
Moving through the ten lighting set-ups with a single light, work with a Paramount octabox and two fill cards for a lighting setup called the beauty box. Create a Rembrandt light with an octabox and watch the behind-the-scenes fine-tuning using a modeling light, or continuous lighting, to see how small adjustments affect the light. Then, add a silver reflector to the Rembrandt for another option.
10 One Light Set-ups: 6 to 10
Continue building variety with a single light using a Rembrandt set-up with a white reflector. Create a short light loop with an octabox, a short light Rembrandt with a reflector, an octabox rim light, and an octabox behind.
One Light Set-ups: Pop Quiz
Review what the class has done so far. Look over the ten images from the one-light set-ups, recap the qualities of that light and how it was created.
Which is better, strobe light kits or a continuous lighting kit likes the ones often used with video cameras? Discuss the pros and cons of each type to help determine what type of lighting gear works best for you. Dive into the most frequently asked questions about buying photography lighting, like what wattage to look for.
This class allows you to shoot multiple set-ups with a single light -- but ideally, how many lights should you have in your light kit? Continue working with purchasing questions on lighting in this lesson, including name brands, DIY alternatives, and the difference between the pricey strobes and the less expensive strobes.
If you can only afford one modifier, which one should you start with? Finish the round of purchasing questions in this lesson, including questions posed by students like you. Learn how strobes differ from flash heads or speedlights, and why strobes are often better for a studio space than an off camera flash.
10 Two Light Set-Ups: 1 and 2
Move from simple single light set-ups to lighting with two light sources. Start with a basic portrait with a softbox loop and a stripbox hair or rim light. Then, learn to shoot a basic clamshell with a softbox, a reflector and a strip box for added highlight.
10 Two Light Set-Ups: 3 to 6
Continuing the two-light set-ups, move into more dramatic lighting with a Rembrandt using a softbox key light and a strip box rim light. Next, tackle a Rembrandt portrait lightened with a fill card and a clamshell with a softbox and stripbox.
10 Two Light Set-Ups: 7 to 10
Go behind the scenes for a short light Rembrandt with a second light behind the subject 45-degrees with a barn door modifier. Create a "checkerboard" style light using a Rembrandt key light and a grid on the background. Finally, create a dramatic Rembrandt with a silver dish and stripbox or barndoors.
5 Two Light Set-Ups: 1 & 2
Two light set-ups aren't limited to just ten possibilities. In the second set of two-light scenarios, Lindsay walks through some less common photographic lighting techniques. Start with using two rim lights, then jump into a sideways clamshell.
5 Two Light Set-Ups: 3 to 5
Create a wrap around beauty light with a softbox behind, a beauty dish in the front and a silver reflector. Or, build a more dramatic wrap-around light without a reflector. Learn how to shoot with a dramatic grid light and a barn door modified light towards the back.
5 Basic Three Light Set-Ups: 1 & 2
A three light kit will open up even more possibilities. In this lesson, Lindsay discusses why you may want three lights, then jumps into the first of five different basic three light set-ups. Start with a high key portrait, followed by a high key clamshell.
5 Basic Three Light Set-Ups: 3 to 5
Learn to light groups using a three light set-up. Anticipate the likely problems with lighting groups before they happen and watch a live demonstration of a group lighting set-up. Then, create a three-point light set up with a softbox and two stripboxes, then a checkerboard with a key, rim, and background light.
5 Intermediate Three Light Set-Ups: 1 to 3
Move into the more advanced three light set-ups in this lesson. Start with a Rembrandt with a gridded beauty dish and two rim lights with barn doors. Then work with film noir studio lighting and a high key drama shot.
5 Intermediate Three Light Set-Ups: 4 & 5
Learn to use your lights to create a high key spill light. Finally, create a high key clamshell lighting in the final intermediate three-light set-up.
10 Common Lighting Mistakes
Now that you know how to light, learn how NOT to light. Work with some common lighting mistakes that beginners make, and learn how to fix each one.
Solving 12 Common Problems of Studio Lighting: 1
In the final day of the class, work through twelve common problems that are common in studio lighting. Learn how to problem solve lighting in the studio. Work with issues like getting a white background with one light or multiple lights.
Solving 12 Common Problems of Studio Lighting: 2 to 6
Continue troubleshooting in the studio and dive into creating full-length shots with an all-white background. Work with stacking light, dealing with ambient light, and more.
How can you prevent the subject from casting a shadow on the background? In this lesson, Lindsay explains how to tackle this tricky challenge.
How far away you place the light plays a role in the image -- so what about working inside a small studio? In this lesson, Lindsay tackles the challenges of working inside a small space with studio lights.
How do you avoid reflections on the subject's glasses? Learn how to avoid reflections on glasses when using studio lights.
Solving 12 Common Problems of Studio Lighting: 10 to 12
Finish the list of the most common problems that come up with studio lighting. Work with separating the subject from a dark background, lighting groups evenly, and using wide apertures with strobe lights.
Portrait Lighting: 1, 2, and 3 Lights
In this set of rapid-fire studio set-ups, learn how to light a traditional portrait using, one, two or three lights. Watch behind the scenes for these "go-to" portrait set-ups.
Beauty Lighting: 1, 2, and 3 Lights
Beauty shots are a bit different from a traditional portrait. Walk through ideal lighting set-ups for beauty light using one, two and three lights.
Lighting Groups: 1, 2, and 3 Lights
Build these go-to group lighting set-ups into your repertoire. Learn easy lighting set-ups for using a single light, or one or two.
Lighting for Drama: 1, 2, and 3 Lights
Work with three go-to lighting set-ups for drama (which also work well for men). Learn dramatic light with one light, two or three.
Your First Studio Lighting
In the final lesson, gain insight into what to consider when building your studio lighting kit. Lindsay shares tips on what to buy and how to save cash for photographers on a budget.
BolesMA
If you're on the fence about this class I can easily answer your concerns. BUY IT. Lindsay provides top notch professional education while keeping things interesting. Her words are precise and direct. I actually felt GOOD just watching and learning. I mean, like someone surprised me with a cupcake kinda GOOD. After the class I could immediately see improvements in my photography. The best part is that I learned enough to see the wrong in my setups. Knowing what's wrong is just as important as knowing what's right. She is funny, easy going, energetic and filled with knowledge. I would also highly recommend her Posing 101 class as a must have addition to this course. I feel like I have learned more than I could possibly use. I will be going through this course over and over again just to make sure it all sinks in. There's THAT MUCH she offers that you will always learn more with each time you watch. I hope this helps someone make the decision to up their game. That is exactly what it did for me.
Beatrice Palma
Hi, I am Beatrice from Italy. I think this class is superb. I finally understood what are the guide lines to follow, I tried for years but never found such a good explanation. Lindsay is a wonderful teacher, she explains in a simple way, she shares a lot of knowledge and she shows in practice what are the results of every single choice. Thank you so much, it was really amazing and super interesting!!!!
Penny Foster
I have been shooting families and pets in my living room space for two years now and I thought I was doing a good job but certain skills had eluded me, like lighting a white background to perfection and shooting people with glasses without the reflections in my shots. Then I watched this course and had so many 'aha' moments that I HAD to buy it; not just for Lindsay's teaching style (which is pretty awesome( but also for all the lighting diagrams that I can refer to whenever I feel like 'stepping my lighting up to the next level'. Lindsay shows you what you can do with minimal gear, so you can get started right away; no need for expensive triggers (I have a set that just fires when I press the shutter), and no need for expensive branded modifiers (she shows you what you can do with one umbrella). Lindsay is so enthusiastic, it is obvious that she loves light, and it is hard not to get 'fired up' to try all of her lighting setups. Brilliant course once again!


After having issues where our vacuum system cool traps would run out of LN2 before the process cycle was completed, and to reduce strain on operators having to manually pour LN2 in to the cool trap, we started looking for a better solution.
We found Norhof online, and after a brief discussion regarding their technology, we bought two automatic LN2 dispensing systems for evaluation.
After installing and testing the systems, we bought an additional four, and now we have six systems in operation.
The model is 608-100-035 LN2 Cooling system #608.
Its intended purpose is to fill small LN2 containers in scientific instrumentation, but with a few tweaks in the included software it works very well for our application as well, even though our cool traps have a larger volume.
For a reasonable price, Norhof designed custom adapters to fit their system on our cool traps, meaning the systems were essentially plug and play for us. They work by dispensing LN2 until the level of liquid reaches a sensor at the top of the cool trap. The dispensing is then stopped, and the system is in standby for a time set by us. After that time, the system once again fills the cool trap to the top.


text:
Conservativate manifesto ABI summary
The Conservative party plans to eradicate the deficit by 2018, cut taxes, and make further efficiency savings of £30bn. Other key pledges include holding a referendum on Britain's membership of the EU by 2017, pledges on childcare and numerous measures to promote home ownership and financial independence in retirement.
Tax / Economy
Deliver a balanced structural current budget in 2017-18 (£30bn of further consolidation)
Personal income tax allowance to be raised to £12,500
Introduction of £50,000 threshold for 40p rate by 2020
Will not raise VAT, National Insurance or income tax
Linking the minimum wage to the personal income tax allowance so no one on the minimum wage should pay income tax
Inheritance tax to be removed on properties worth up to £1 million, removing millions of middle-income families from the threat of the levy
Crack down on tax evasion and aggressive tax avoidance (projected to raise at least £5bn)
Build a Northern Powerhouse
Increase the annual tax charges paid by those with non-domiciled status
Maintain the most competitive business tax regime in the G20
Conduct a review into business rates by the end of 2015
Industrial action in public services only possible with support of 40 per cent of those entitles to take part in strike ballot
Cut £10bn of red tape over course of next Parliament
Repeal restrictions on employers hiring agency staff for cover during strike
Treble the Start Up Loans programme during the next Parliament
Require companies with more than 250 employees to publish the difference between the average pay of their male and female employees.
Build 200,000 starter homes for first-time buyers under the age of 40, to be sold at 20% below the market rate
Extension of the right-to-buy scheme for housing association tenants in England
Continue the Help to Buy mortgage guarantee until the start of 2017, and the Help to Buy equity loan until at least 2020.
Introduction of the Help to Buy ISA
Extend Help to Buy to cover an additional 120,000 homes
Offer 10,000 new homes to rent at below market rates
Create a Brownfield Fund to unlock homes on brownfield land for additional housing
Create a new London Land Commission, with a mandate to identify and release all surplus brownfield land owned by the public sector
£8 billion extra funding a year by 2020
7 day a week access to GPs
Pensioners over the age of 75 will be guaranteed same-day access to a family doctor
Ensure that the independent Care Quality Commission rates all hospitals, care homes and GP surgeries
Increase funding for mental health care and treat mental health as importantly as physical health
£12bn cuts to welfare spending
Reduce the benefits cap to £23,000
Introduce Day One Work Requirements for young people claiming out-of-work benefits
Replace the Jobseeker's Allowance for 18-21 year-olds with a Youth Allowance that will be time-limited to six months, after which young people will have to take an apprenticeship, a traineeship or do daily community work for their benefits
18-21 year olds on Job Seekers Allowance no longer have an automatic entitlement to Housing Benefit
Freeze working age benefits for two years from April 2016, with exemptions for disability and pensioner benefits
In / Out referendum on Britain's membership of the EU by 2017
Negotiate a new settlement for Britain in the EU
Expand the Single Market, breaking down the remaining barriers to trade and ensuring that new sectors are opened up to British firms
Resist EU attempts to restrict legitimate financial services activities
Lift cap on number of University places available
Freeze the amount of government spending per school pupil
At least 500 extra free schools with enough places for 270,000 children
Support three million new apprenticeships
Ensure there is a University Technical College within reach of every city
Abolish employers' National Insurance contributions on earnings up to the upper earnings limit for apprentices under the age of 25
30 hours of free childcare for three-and four- years olds for working parents
15 hours a week of free childcare for all disadvantaged two-year-olds
Keep the triple-lock so that the state pension increases by inflation, earnings, or 2.5 percent, whichever is highest
Limit individual liabilities, protecting individuals from unlimited costs if they develop very serious care needs
Maintain all the current pensioner benefits including Winter Fuel Payments, free bus passes, free prescriptions and TV licences for the next Parliament
Implement the "temperature test" for Winter Fuel Payment, so that expats in hot countries no longer receive it
Allow pensioners to access their pension savings and decide whether or not to take out an annuity
Guarantee that people will not have to sell their home to fund residential social care
Cap the amount charged for residential care
Transport / Infrastructure
No above-inflation rises in rail fares until 2020
Invest over £100 billion in infrastructure by 2020
Delivery of superfast broadband in urban and rural areas to provide coverage to 95 per cent of the UK by the end of 2017
Environment and rural affairs
Push for further reform of the EU's Common Agricultural Policy
Give Parliament the opportunity to repeal the Hunting Act on a free vote
Will protect the Green Belt, and maintain national protections for Areas of Outstanding Natural Beauty, National Parks, Sites of Special Scientific Interest and other environmental designations
Build 1,400 new flood defence schemes, to protect 300,000 homes
Build new roads and railways in a way that limits, as far as possible, their impact on the environment
Allow farmers to smooth their profits for tax purposes over five years
£13 billion in departmental savings
Reduce the number of MPs to 600
Implement the boundary reforms
Will ensure that every home and business in the country has a Smart Meter by 2020
Will support low-cost measures on energy efficiency, with the goal of insulating a million more homes over the next five years
Continue to support the safe development of shale gas
Create a Sovereign Wealth Fund for the North of England
Push for a strong global climate deal at UN Climate Change Conference
EU migrants who want to claim tax credits and child benefit must live here and contribute for a minimum of four years
Introduction of a new residency requirement for social housing
End the ability of EU jobseekers to claim any job-seeking benefits at all. If jobseekers have not found a job within six months, they will be required to leave
Maintain our cap of skilled economic migration from outside the EU at 20,700 during the next Parliament
Introduce a new Controlling Migration Fund to ease pressures on services and to pay for additional immigration enforcement, in areas with high immigration
Dealing with terrorism
Keep up to date the ability of the police and security services to access communications data – the 'who, where, when and how' of a communication, but not its content
Maintain the ability of the authorities to intercept the content of suspects' communications, while continuing to strengthen oversight of the use of these powers
Introduction of new Banning Orders for extremist organisations and create new Extremism Disruption Orders
Enable employers to check whether an individual is an extremist and bar them from working with children.
The future of the UK
Strengthen and improve devolution for each part of our United Kingdom in a way that accepts that there is no one-size-fits-all solution
Implement the Smith Commission and St David's Day Agreement or equivalent changes in the rest of the UK, including English votes for English laws
Extend the principle of English consent to financial matters such as how spending is distributed within England and to taxation – including an English rate of Income Tax – when the equivalent decisions have
been devolved to Scotland
A new Scotland Bill in first Queen's Speech and introduced in the first session of a new Parliament
Implement the recommendations of the Smith Commission so that more than 50 per cent of the Scottish Parliament's budget will be funded from revenues raised in Scotland and it will have significant new welfare powers to complement existing devolved powers in health and social care
Provide the Scottish Parliament with one of the most extensive packages of tax and spending powers of any devolved legislature in the world
Retain the Barnett Formula as the basis for determining the grant to cover that part of the Scottish Parliament's budget not funded by tax revenues raised in Scotland.
Agree new rules with the Scottish Government for how the block grant will be adjusted, to take account of the new devolved tax and welfare powers.
Ensure that where responsibility for taxation has been devolved, tax changes only affect public spending in that part of the country
Devolve to the Welsh Assembly control over its own affairs – including the Assembly name, size and electoral system, Assembly elections and voting age
Implement other recommendations of the second Silk Report where there is all-party support as set out in the St David's Day Agreement; this will include devolving to the Welsh Assembly important economic powers over ports and energy consents
Introduce a 'funding floor' to protect Welsh relative funding and provide certainty for the Welsh Government to plan for the future, once it has called a referendum on Income Tax powers in the next Parliament
Work to implement fully and faithfully the historic Stormont House Agreement to enable devolution to function more effectively; to deal with the legacy of the past; and to make progress on divisive issues such as flags and parading
Complete the devolution of Corporation Tax powers to the Assembly, consistent with the Executive fulfilling its commitments on finance, welfare reform and efficiencies in the Stormont House Agreement
Repeal Human Rights Act, and introduce a British Bill of Rights
Work for peace, stability and an inclusive settlement in Syria and Iraq; and pursue a comprehensive political and military strategy to defeat ISIL
Uphold the sovereignty, integrity and capacity of Ukraine, and continue to reject Russia's illegal annexation of Crimea
Continue to support the Euro-Atlantic path for Western Balkan nations
Support a two-state solution to the Israeli-Palestinian conflict and help to lead international efforts to prevent Iran from obtaining a nuclear weapon
Work to ensure that North Korea ends its development of nuclear weapons
Push for freer global trade, concluding major trade deals with the US, India and Japan and reinvigorating the World Trade Organisation
Push for an ambitious EU-India trade deal and support India's bid for permanent representation on the UN Security Council
Strengthen economic links with China, doubling support for British firms selling goods there and championing an EU-China trade deal
Continue to support universal human rights
Uphold the democratic rights of the people of Gibraltar and the Falkland Islands to remain British, for as long as that is their wish, and protect our Overseas Territories stand up for the rule of law and human rights in Zimbabwe
Maintain the size of the regular armed services and not reduce the army to below 82,000.
Retain the Trident continuous at sea nuclear deterrent to provide the ultimate guarantee of our safety
Build the new fleet of four Successor Ballistic Missile Submarines
Commitments for the equipment plan to be funded at one per cent above inflation for the next Parliament
Plan to invest at least £160 billion in new military equipment over the next decade
Continue to invest in cyber defence capabilities
Continue to meet the 0.7 per cent target
Maintain an independent Department for International Development and keep aid untied
Insist that every government and organisation we fund meets global transparency standards
Expand payment by results and ensure all money to governments is clearly earmarked for specific purposes
Work to prevent climate change and assist the poorest in adapting to it
Triple in size the International Citizen Service
Double the Aid Match scheme, which matches donations to charity from the aid budget
Huw Evans speech at Gibraltar Finance Insurance breakfast 7 November 2019
The ABI has 22 Gibraltar-based firms in our membership and we have established a close working relationship not only with our members but also the Gibraltar Insurance Association...
IFRS 17 the final straight
For a journey that started back in 2001[1] surely we must be in the final straight by now?! For most companies however, the finish line still feels quite far away. The implementation challenge has a…
Clarity needed on how income protection insurance interacts with Universal Credit
More certainty around the possible impact of Universal Credit for individual income protection (IIP) customers is needed according to the ABI.


In the Peter L. Bull documentary Lift the Bandstand, soprano saxophonist Steve Lacy said that in 1960, that he and John Coltrane were the only modern jazz soprano saxophonists. Today, Mr. Lacy would be very happy to know that this is no longer the case.
Since that time, the soprano has found it's way into the hands of many. And I think Wayne Shorter summed it up best when he said that "Anyone who plays soprano orientates himself on Steve Lacy." And of course, there was a lot done with the soprano that I'm sure Lacy would not want to take credit for--or at least he would not want to have it blamed on him. But all in all, it has been a positive journey for this enigmatic instrument that Lacy affectionately calls "the difficult child" of the saxophone family.
Now the focus of this article was to highlight saxophonists who identify themselves as soprano specialists. I say this because many saxophonists who are actually great soprano players have been left off this list: Branford Marsalis, Wayne Shorter, Roscoe Mitchell, John Butcher, Evan Parker, just to name of few. But I felt in order to truly commemorate Lacy's legacy, it would be most fitting to highlight soprano specialists, being that we are the ones who are doing as he did, which is to forge a path in jazz that's solely centered around the soprano and all of its many sonic possibilities.
I'm sure if you were to compare my list with that of the 62 Annual Downbeat Critics Poll (the Soprano Saxophone and the Soprano Saxophone Rising Star categories) there would be little overlap--which is an article all to itself. In addition to aforementioned reason, I'm keeping the scope of this list very narrow because (1) to name all of the saxophonists who double and dabble on the soprano would be too exhaustive, and (2) players who specialize on the soprano are often overlooked by the popular jazz press, such as Downbeat, Jazz Times, Jazz Improv, etc. So this is an opportunity bring some attention to players whom jazz audiences should know, but don't, simply because of the instrument that they play as well as having a musical aesthetic that is not in alliance with popular trends in contemporary jazz. And as an aside, many of soprano players listed actually had the opportunity to study with and play alongside Lacy. One cannot help but to envy that.
The players are not listed in any order of importance. It's simply what felt right at that moment. And if I left anyone off this list, it was not intentional. It's only because I was not aware of what you do. So please reach out to me, I'd love to hear from you.
Happy Birthday, Mr. Lacy. And thank you for the legacy you've left behind.


Gorilla Garden Sheds Limited manufacture a range of quality garden sheds and log cabins that are built far beyond the standards that most companies work to.
Our sheds are built using quality materials. All our cladding is 5th grade or better Scandinavian redwood pine, the framework is either C16 or C24 grade and all our framework is smooth and rounded 4 corners. Our floors are either tongue and grooved or 18mm exterior plywood on the larger sheds.
Our standard roofing felt is hard wearing polyester based green mineral, not the cheap rag based felt more commonly used.
We try not to hide extras in our pricing as well. All our prices include delivery in South Essex and East London. Don't worry if you are outside of those area's though, we do deliver further afield, the cost is worked out according to the postcode.
We install all or our sheds free of charge at the time of delivery. We need you to ensure that there is good access and a suitable firm, flat base for the shed to go onto.
We give our sheds a basecoat treatment as standard which is also included in the price. Alternatively, you can have us treat your shed for you prior to delivery with a very high quality spirit based treatment that penetrates the timber and gives your shed the best start in life. We also sell the treatment if you would rather do this yourself after the shed is installed.
Our windows are real glass, we do not use plastic that might yellow over time. If safety is an issue then we can swap the standard horticultural glass to laminated glass at additional cost.
As all our sheds are built to order it is no problem for us to modify a design for you or to build a completely bespoke garden building for use as an office, man cave, ladies retreat, garden room or a crash out for the kids.
At Gorilla Garden Sheds we build garden sheds up to a high standard using good quality graded timber to ensure that your shed lives up to our reputation. Many companies build their garden sheds using cheap whitewood cladding which keeps their prices down but isn't as durable as the redwood pine that we use.
Whether your requirement is for a garden storage box, a garden shed , a home office or a bespoke garden building, we exercise the the same care in providing your new garden shed or building as we would if it were going in our own garden. If you cannot find the garden shed or building that you require on this site then please give us a call or drop us a line.