Download a high resolution pdf format version of this poster from minus Stop bullying in our school – a Safe Schools Coalition poster! You're fine just the way you are. Our school wants to be welcoming. If you do not feel welcome here or if you know of any gay, lesbian, bisexual or transgender harassment, please call or visit www. Design by Partners in Design. See this page for our order form.
Remember, whether you find love or make a good friend, you're never to old to meet new people and enjoy yourself.
Summary of services Safe Place of the Permian Basin provides: Clients do not need to live at the shelter to receive any of the advocacy, counseling, or support group services. Our history Safe Place of the Permian Basin began in when a group of concerned citizens came together to provide help and shelter to victims of domestic violence living in and around Midland, Texas. In the agency received its designation as a nonprofit c 3 organization and raised the funds to purchase an old two-story house that served as a shelter and administrative offices.
After a successful capital campaign, a state-of-the-art shelter facility was built in The Safe Place shelter was expanded in , enlarging the children's area, adding a second dining room, a library, and a handicap accessible bedroom, as well as additional advocates' offices and administrative offices. Today Safe Place operates the residential shelter and full-time advocacy and counseling services in Midland, Texas, and a full-time advocacy and counseling office in Odessa, Texas.
The Safe Place service area covers 15 counties and 16, square miles.
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This helps keep the whole business nimble, innovative and forward-looking. Whilst our main supply bases are in Eastern and Southern China, and Bangladesh, over the years we have also developed relationships with factories in Turkey, Tunisia and Mauritius — and we are always looking for new sources and new ways of doing business. Our Four Key Divisions Roberto has four key trading divisions: We also have successful collaborations with Liberty Art Fabrics and others.
We offer a Safe Haven for victims of domestic violence and sexual assault by providing free, confidential services in a safe, caring environment; striving to raise awareness through community education and outreach. Our support, counseling and advocacy restores hope and helps people reclaim their lives. Check out the article here: Safe Haven of Greater Waterbury: The Center's Mission Our Services Safe Haven provides emergency shelter and free comprehensive support services to victims and survivors of domestic violence and sexual assault.
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Thoughtful reviews, the Boulder film scene
" What you're doing is not helping "
— Frosty[?], The Negotiator
Almodóvar returns to his horror roots —Marty Mapes (review...)
Review by Matt Anderson
Sleeping Beauty is an incredibly bold choice for star Emily Browning. Unfortunately, her daring performance is at the mercy of a stolid narrative and detached presentation.
Get On Your Boots
Movie credits
Julia Leigh
Earlier this year Emily Browning starred in Sucker Punch, which featured a young woman working in a brothel and fantasizing about obliterating her pimps and patrons (whilst performing a hypnotic dance routine, no less). It was a great showcase for visual splendor, but the story was absolutely klutzy. Nonetheless, her character, Baby Doll, was one strong girl who knew how to kick butt.
It's interesting, then, that Browning's very next movie is this Sleeping Beauty. In it, Browning plays a promiscuous college girl named Lucy who splits her time between school, working in a restaurant, loaning her body to scientific studies, slaving away in an office copy room, serving as a surrogate girlfriend to a sickly man, snorting lines of coke, and getting drugged up in order to be a play thing to really old men.
Lucy is essentially a lost girl, but the movie never really lets the audience get to know who Lucy really is and given the character's detached relationship with the audience, there's very little reason to care about her. Her detrimental lifestyle doesn't carry much in the way of repurcussions throughout most of the movie. She gets fired from a job she absolutely hates (to the point of conspicuously lying on the floor in the copyroom). She gets evicted from one place, only to move into what seems like a nicer spot (although her one-night-stand du nuit would be the first to point out she needs some curtains).
Girl Adrift
It's not easy to pinpoint what exactly should be gleaned from watching Sleeping Beauty, but its pedigree as a Jane Campion presentation offers up some clues. The director of movies such as The Piano and The Portrait of a Lady has perhaps found an apprentice in writer/director Julia Leigh, who makes her debut with Sleeping Beauty.
Should Sleeping Beauty be taken as male bashing? After mulling it over, the answer shifts from a knee-jerk "yes" to a more reserved "no." After all, the sickly man is rather sympathetic and his relationship with Lucy, while off kilter and hardly traditional, is interesting. She abruptly proposes marriage, but his response takes her popped question as more of a joke than a serious proposal.
Then there's an ex-boyfriend (to whom Lucy also proposes marriage, much more seriously, and much, much too late); he's moved on and he sees Lucy for what she is: one messed up chick.
So perhaps the take-away is the danger of becoming a woman too dependent on men for her own stability; the danger of selling one's dignity to fill short-term needs at the expense of long-term well-being.
That's a good angle. But it doesn't quite fit. Even the press notes aren't of much help. They go off the rails talking about Lucy being "death-haunted" and fall back on the "E" word. When in doubt, simply say "existentialism" and people will go "ah" and think it's a deep work of art.
Talking elder, sleeping beauty
The bulk of the story focuses on Lucy's night job as a quasi-escort. Scantily clad in lingerie, she serves spirits to a party of well-dressed men. Her colleagues are even more bare-skinned. It's kooky enough to think maybe there's some kind of Eyes Wide Shut-style hanky-panky going on.
Alas, the story isn't that detailed. Instead, it turns into a skin-flick with loads of scenes featuring a totally nude Emily Browning. Were it directed by a man, it'd be called another "E" word, "exploitative." Given that it's directed by a woman, it's supposed to be considered a "B" word. "Bold."
There are three old men with whom a drugged up Lucy shares a bed in a remote, opulent house that offers a discreet, confidential setting for the men to play out their erotic fantasies. The one rule: no penetration. But they're free to do pretty much whatever else their hearts desire with their nude, near-comatose girl toy.
One of the men laments his past life and how he treated his wife; he seems kindly enough and is quite content to simply caress Lucy's naked, almost lifeless body, then rest his head on her back.
The second client is a classic dirty old man with loads of issues. He's impotence with an attitude. He stuffs his fingers in Lucy's mouth, sticks a cigarette in her ear, and licks her face all over. He's disgusting. He's a creep. And apparently he gets off on treating women like trash.
The third guy is a big man who has his own issues. He pulls Lucy's nude body to the foot of the bed, picks her up, carries her away a step, then clumsily drops her back to the bed, her drugged body sliding off the mattress and down to the floor while he collapses next to her.
Truth or Bare
Without a doubt, Browning has taken a risk with Sleeping Beauty, but it seems one destined for a limited payoff. It calls to mind another 2011 release, Lovely Molly, in which Gretchen Lodge steams up the screen with full frontal nudity, albeit couched in the rather unpleasant environment of her childhood house possessed by the ghost of her dead, incestuous father. Both films played at this year's sex-charged Toronto International Film Festival and both generate more yawns than intended.
In Sleeping Beauty, Browning spends a surprising amount of time totally nude, with several men putting their hands all over her body. The artistic ambitions of making a statement practically scream out from the screen: This is trying to be something important.
Unfortunately, instead of being important, the end result is an impotent, muddled head-scratcher. For all the risks taken, for all the possibilities of making a statement, it's sad that the result is numbing rather than resounding. One additional, easily overlooked element that is the curiously stilted musical score. Composed by Ben Frost, it works counter to the film's needs. It sits there virtually as lifeless as drugged up Lucy when the movie sorely needed some musical cues to stir up the emotional resonance and accompany the emotions of the characters, most particularly signify Lucy's inner turmoil.
Curious about the after-effects of her new night job, Lucy takes it upon herself to dig into what really happens while she's knocked out. Fine. She should.
But, as dippy as Sucker Punch may have been, it's still more interesting to see Browning take action and kick butt in that movie than to see her bare all in a pretentious play for existential impotence. Oops. That's a Freudian slip. Sleeping Beauty is a pretentious play for existential importance.

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Here's a round-up of APS-C E-mount lenses for Sony a5000, a5100, a6000, a6300, a6400, a6500 and Sony NEX mirrorless cameras, along with Sony FS5 & FS7 XDCAM Super 35 video cameras.
These lenses can also be used with Sony a7-Series E-mount cameras in APS-C or Super 35 crop mode.
In addition to the lenses listed here, you should also consider fullframe E-mount lenses – especially if you're considering stepping up to fullframe in the future. See the full list of Fullframe E-Mount lenses.
Ultra wide-angle E-mount zoom lens offers a constant maximum aperture of f/4 through the entire focal length range. This 10-18mm (35mm fullframe equivalent of 15-27mm) provides an ultra wide angle zoom for shooting landscapes, in tight quarters or for creative exaggerated perspectives and built-in Optical SteadyShot image stabilization system.
Compact retractable zoom lens 16-50mm (35mm fullframe equivalent of 24-75mm) covers shooting lengths from true wide angle to standard portrait length and is a great day-to-day type compact lens. When powered on, the lens expands, but in its off position the lens is only 1.2″ (30mm) which will fit in your pocket.
Mid-range zoom lens (35mm fullframe equivalent of 24-105mm) covering wide-angle to short telephoto perspectives. Constant f/4 maximum aperture offers consistent performance throughout the zoom range. Optical SteadyShot image stabilization, which serves to minimize the appearance of camera shake by up to four shutter speed steps.
The original kit zoom for Sony NEX E-mount cameras. This wide to medium zoom lens is ideal for a variety of subjects including portraits and landscapes. With a near focus distance of only 9.7″, you can get in tight for close-ups. Internal motor allows for smooth and quiet autofocusing, great for capturing images in the camera's HD movie mode.
This zoom lens (35mm fullframe equivalent of 27-158mm) covers wide-angle to telephoto. It has two extra-low dispersion elements and three aspherical elements to minimize distortion and chromatic aberrations with enhanced contrast and clarity. Constant f/4 maximum aperture and Optical SteadyShot image stabilization.
Featuring Smooth Motion Optics (SMO) resulting in no axial shift and no focus shift while zooming along with minimal focus breathing which makes it ideal for video filmmakers and cinematographers using Sony FS5 and Sony FS7 XDCAM Super 35 video cameras and Sony a6300, a6000, a5100 and a5000 mirrorless cameras.
This versatile zoom for APS-C-format E-mount mirrorless cameras offers Optical SteadyShot image stabilization for sharper handheld shooting. Its linear autofocus motor, delivers quick and accurate focusing that's also quiet for video recording. Intelligent optical design uses both extra-low dispersion glass and aspherical elements to control spherical and chromatic aberrations for high sharpness and clarity throughout the zoom range.
This 11x optical zoom (35mm fullframe equivalent of 27-300mm) lens can handle everything from wide landscape photos to portraits to sports, action and even wildlife photography with the telephoto up to 300mm. Four aspherical elements which reduce aberrations across the entire zoom range, a quiet AF motor for improved sound recording with video, and optical Steady Shot image stabilization for steadier handheld shots.
With the broad focal length coverage of the lens, from 18mm wide angle to 200mm telephoto, it is also an ideal high-magnification "travel" lens. With it, you can capture grand landscapes, charming portraits, and even sports and nature shots. Optical SteadyShot (OSS) technology aids in this by cutting down on blur caused by camera shake, reducing the reliance on high ISO settings when shooting in dark environments.
Powerful, yet compact zoom lens for APS-C format E-mount mirrorless cameras with an internal linear stepping motor that provides quiet and smooth focusing that's ideal when shooting video. Power Zoom offers three variable zoom speeds, plus it offers constant speed zooming for slow, smooth zooms when shooting video. Zoom can be controlled from camcorders that feature built-in zoom levers and by the standard control on the lens barrel.
Two extra-low dispersion elements, combined with Optical SteadyShot (OSS) image stabilization, improve the overall quality of images captured at the telephoto end of the zoom range, especially while shooting in low-light. Internal focusing and linear motor-driven AF system provide responsive yet quiet focus while minimizing mechanical noise. A separate manual focusing ring is capable of Direct Manual Focus.
This lightweight and compact lens is exceptionally portable (it will fit in your pocket). It features an internal stepping motor for smooth, accurate, and very quiet auto-focusing for photos and videos. Its fast f/2.8 maximum aperture helps to deliver clear images in low lighting.
Compact 20mm prime lens for the Sony APS-C mirrorless cameras. Its f/2.8 maximum aperture is bright enough for low-light capture and shallow depth of field imaging and its optical design consists of three aspherical elements which correct distortions and aberrations and provide clear, high contrast, detailed images. A smooth, quiet internal stepping motor is used for both focus drive and aperture actuation. makes it ideal for shooting video.
Versatile medium wide-angle lens (equivalent of 36mm in full-frame 35mm format) with superb Zeiss Sonnar optical design. The lens design includes aspherical lenses which compensate for distortion and an ED element which suppresses chromatic aberration, for excellent corner-to-corner sharpness – even wide open. The wide maximum aperture of f/1.8 is ideal for shooting under low-light conditions and to create photos with shallow depth-of-field.
Featuring a 1:1 magnification ratio so subjects can be captured at full size on the camera's image sensor. Ideal for macro close-ups of flowers, insects, and small objects. ED glass and multi-coating minimize chromatic aberration and color bleeding to produce clear, crisp photos and video. Internal stepping motor and rear-focusing design provide the quiet, smooth operation that's required for high-quality video capture.
This compact prime lens (35mm fullframe equivalent of 52.5mm) offers a fast f/1.8 maximum aperture ideal for blur-free capture of fast moving subjects and shooting in low light. Quiet linear motor controls focus and in-lens stepping motor controls aperture offer smooth and virtually silent lens action, ideal for shooting video. Sony's built-in Optical Image Stabilization system provides approximately 4-stops worth of anti-shake control.
This prime portrait-length lens (35mm fullframe equivalent of 75mm) features a bright f/1.8 maximum aperture with a seven-blade circular aperture that provides a smooth out-of-focus backgrounds. Optical SteadyShot image stabilization, which works to minimize the appearance of camera shake by up to four shutter speed steps to support use in low-light conditions.
Wide-angle prime lens designed specifically for use on APS-C-sized image sensors which provides a 35mm-equivalent focal length of 18mm. This lens is compatible with Sony E mirrorless cameras and supports all camera functions, including autofocus and exposure control.
Normal length prime lens designed specifically for use on APS-C-sized image sensors, and as such provides a 35mm-equivalent focal length of 48mm. This lens is compatible with Sony E mirrorless cameras and supports all camera functions, including autofocus and exposure control.
Moderate telephoto macro prime lens designed for use on cameras with APS-C format sensors, this lens is compatible with Sony E mirrorless cameras and supports all camera functions, including auto-focus and exposure control.
Designed for APS-C-format Sony E-mount mirrorless cameras, this 16mm f/1.4 is provides a 24mm equivalent focal length. Fast f/1.4 maximum aperture excels in low-light conditions and allows focus control for shallow depth of field. Optical design incorporates three FLD elements, two SLD elements and two molded aspherical elements to help reduce color fringing, chromatic aberrations, and spherical aberrations for edge to edge sharpness, clarity and color accuracy. Super Multi-Layer Coating helps minimize lens flare and ghosting in backlit conditions.
Prime wide-angle lens (35mm fullframe equivalent of 28.5mm) with minimum focus distance is just 7.9″. It's f/2.8 maximum aperture is ideal for shallow depth of field imaging and low light situations. Internal focusing system means the lens does not extend when focusing and its newly developed linear autofocus motor is accurate and quiet. It has three glass molded aspherical elements to keep aberrations at a minimum.
Standard prime lens equivalent to a 45mm lens in the 35mm format. With a minimum focus distance is 11.8″ and f/2.8 maximum aperture allows relatively shallow depth of field. Inner focusing system means the lens does not extend when focusing and its newly developed linear autofocus motor is accurate and quiet. Two glass molded aspherical elements including a double-sided aspherical element, keep aberrations to a minimum.
This lens completes the Sigma large aperture series of portable wide-angle, standard, and telephoto prime lenses in Micro Four Thirds and Sony E mounts. Featuring compact design, light weight and outstanding image quality offered in Sigma's Contemporary line, this lens stuns with a beautiful bokeh effect and the amount of brightness expected from F1.4 lenses even in the mid-telephoto range for cropped sensor cameras.
With a 90mm focal length equivalent in the 35mm format, this is a mid-range telephoto length lens ideal for portraits. The minimum focus distance on this lens is 19.7″ with a maximum aperture of f/2.8 provides shallow depth of field and makes this lens effective in low light. Linear auto focus motor provides accurate and quiet focusing which is ideal when shooting video.
This APS-C zoom lens (35mm fullframe equivalent of 27-300mm) incorporates a stepping motor that is optimal for Sony mirrorless which only have contrast-detection AF systems. It's equipped with Tamron's VC (Vibration Compensation) to enables easy handheld shooting.
Rokinon, Samyang and Bower offer manual focus E-mount lenses designed for Mirrorless APS-C cameras. Despite different branding, the optical construction of all these lenses is identical.
Fisheye lens specifically designed for APS-C sized image sensors providing a full 180 degree angle of view. With three extra-low dispersion elements and two aspherical elements to minimize chromatic aberrations and UMC coating has been applied to the lens elements to reduce surface reflections and prevent lens flare and ghosting.
180 degree rectilinear fisheye lens provides a 35mm-equivalent focal length of 12mm. With one hybrid aspherical element reduces chromatic aberrations. UMC coating improves light transmission and suppresses lens flare and ghosting for more contrast-rich, color-neutral images. Removable lens hood also helps to reduce lens flare and surface reflections.
Wide-angle prime lens provides 35mm-equivalent focal length of 15mm for a 109.5 degree angle of view, this lens is well-suited for interior, architectural, and landscape photography. One extra-low dispersion element and two aspherical elements have been incorporated into the optical design to minimize chromatic aberrations and distortion. Nano Coating System (NCS) reduces surface reflections to prevent lens flare and ghosting.
With it's fast f/2.0 maximum aperture this lens excels in difficult lighting conditions and also enables greater control over focus placement. It has a rounded nine-blade diaphragm to produce a quality of bokeh and one extra-low dispersion element and a three aspherical elements to control aberrations and distortions for increased clarity and sharpness.
Manual focus wide-angle APS-C lens (35mm fullframe equivalent of 24mm) with fast maximum aperture of f/2.0 is effective in low light shooting and provides shallow depth of field. With two aspherical lens elements and one extra-low dispersion element, chromatic aberrations are minimized and sharp, color-accurate images are the result. UMC lens coating facilitates even light transmission and reduces ghosting and flares.
With it's fast f/1.4 maximum aperture this lens excels in difficult lighting conditions and also enables greater control over focus placement. It has a rounded nine-blade diaphragm to produce a quality of bokeh and one extra-low dispersion element and a three aspherical elements to control aberrations and distortions for increased clarity and sharpness.
This standard angle manual focus lenses for mirrorless cameras with APS-C sensors offers a bright F1.2 aperture to allow fast shutter speed even under the restricted lighting conditions. It also offers shallow depth of field with beautiful Bokeh. Samyang Optics Ultra Multi Coating and two aspherical lenses have been included among nine glasses in seven groups to minimise aberrations.
Fast prime offering a portrait lens provides a 75mm equivalent focal length with a bright f/1.2 maximum aperture and rounded nine-blade diaphragm for a smooth bokeh quality. The lens construction incorporates a pair of aspherical elements to minimize chromatic aberrations and distortions for a cleaner, sharper image quality void of color fringing. Ultra Multi-Coating boosts contrast by suppressing lens flare and ghosting.
The lens' Cassegrain design enables it to achieve a 450mm 35mm-equivalent focal length perspective within a compact and lightweight lens design that is significantly smaller than a traditional 300mm lens. It features a fixed f/6.3 aperture and utilizes manual focus operation for focusing as closely as 2.95 feet. One extra-low dispersion element and the inherent mirror construction of the lens work to eliminate chromatic aberrations.
Feeling the need for speed? These manual focus lenses all offer maximum aperture faster than F 1.0!
The World's Fastest E-Mount lens with its exceptionally fast f/0.85 maximum aperture. This manual focus prime lens has an optical construction of 10 elements in 8 groups, including a concave front element to reduce chromatic aberrations. It has a 10-blade diaphragm and circular aperture produces a pleasing bokeh. This is a BIG lens that weighs in at a whopping 2.65 pounds.
Designed for low-light performance and refined depth of field control, this manual focus prime lens is ideally suited to working in difficult lighting conditions and for creative focus control. It incorporates six extra-low dispersion elements to minimize chromatic aberrations and distortion.
Another extremely fast manual focus prime lens (35mm fullframe equivalent of 75mm) with a maximum aperture of f/0.95. Its wide maximum aperture is particularly useful in low light and for its extremely shallow depth of field. Designed to be equally effective for still photographers and cinematographers who want pleasing out-of-focus backgrounds created by the shallow depth of field. It has a geared, stepless aperture ring.
This budget-priced APS-C Circular Fisheye lenses features 11 Elements in 8 Groups, 12 Blade Diaphragm and Multi-Layer Coating. Compact and Lightweight 0.6oz/275g, yet it features an Aluminum Body and Copper Core. Aperture Range: F2.8-22. Closest Focus Distance: 0.12m.
Manual focus Ultra-wide 192 degree diagonal field-of-view circular fisheye lens for Sony APS-CE-mount mirorrless cameras features multi-layer nano coating to reduce the lens flare. It has a minimum focusing distance of 70mm.
Manual focus 5.8mm lens provides a circular image. The lens has an aperture range of f/3.5 to f/22 and captures a 185Ëš angle of view. It features a close focusing range starting at 0.25″ and going to infinity, all while providing expansive depth of field and image sharpness.
This 7.3mm circular fisheye lens was specifically designed for Sony APS-C E-mount cameras. Called the Madoka, which means round in old Japanese, the lens offers a 180º angle of view and is the first compact mirrorless camera lens to provide circular fisheye images.
Characterized by its simple doublet optical design, this lens relies on spherical aberration to produce a soft and glowing image quality, while still delivering in-focus results, for an ethereal look. Softness can be adjusted by manually adjusting the aperture setting, and manual focus control is also available for working with subjects as close as 11.8″ away. This lens has a slim, pancake profile that measures just over 1″ long for portability and sleek form factor.
This macro lens offers 4:1 or 5:1 magnifications. Its removable lighting module has three LEDs for lighting very small objects. It includes four plastic holders that can be mounted to the front of the lens to maintain a consistent distance of 0.43-0.75 inches (11-19mm) between lens and subject.
Here's a round-up of budget-priced Chinese Manual Focus E-Mount APS-C Lenses.
This compact budget-priced manual-focus wide-angle prime lens is ideal for landscape, interior and architectural photography. Its f/2.8 maximum aperture is ideal for low-light shooting while maintaining a small and lightweight form factor for handheld shooting.
This budget-priced APS-C wide angle prime lens features 7 Elements in 5 Groups with 12 Blade Diaphragm. Compact and Lightweight 0.31oz/143g yet built with Aluminum Body and Copper Core construction.
Compact portrait prime with bright f/1.4 maximum aperture well-suited for available-light photography and for isolating subject matter using selective focus and shallow depth of field. The six elements, five groups optical design is enhanced with a multi-layer coating to suppress flare and ghosting for improved contrast and color rendering in a variety of lighting conditions. Manual focus design of the lens permits focus as close as 1.1′ and its 14-blade diaphragm contributes to a pleasing bokeh quality.
Manual focus wide-angle APS-C fast aperture prime lens for Sony E-mount cameras features built-in telescoping lens hood, smooth focusing operation and a metal mount for added stability and multi-coated to reduce flare.
Manual focus wide-angle APS-C prime lens for Sony E-mount cameras features smooth focusing operation and a metal mount for added stability and multi-coated to reduce flare.
Manual focus normal APS-C prime lens for Sony E-mount cameras features smooth focusing operation and a metal mount for added stability and multi-coated to reduce flare.
Manual focus telephoto APS-C prime lens for Sony E-mount cameras features smooth focusing operation and a metal mount for added stability and multi-coated to reduce flare.
Manual focus Ultra-wide angle APS-C E-Mount Lens. Constructed of 12 glass elements in 10 groups with aperture range of f2.8 – f22. Minimum focusing distance of only 3.94 inches this lens takes a 72mm filters and includes a removable lens hood.
Manual focus wide-angle prime lens for Sony APS-C E-mount mirorrless cameras features super multi-coated lens coatings and 6 elements in 5 groups.
Manual focus normal prime lens for Sony APS-C E-mount mirorrless cameras features super multi-coated lens coatings and 6 elements in 5 groups.
Manual focus telephoto prime lens for Sony APS-C E-mount mirorrless cameras features super multi-coated lens coatings and 6 elements in 5 groups.
Fast wide-angle prime lens designed for APS-C Sony E-mount mirrorless cameras, where it provides a 36mm equivalent focal length. The bright f/1.7 maximum aperture is ideal when shooting in low light and it allows increased control for shallow depth of field photography. Extra-low dispersion glass has been incorporated into the optical design to control aberrations and distortions for increased clarity and color accuracy.
Priced a hair under Ten-Thousand-Dollars, this Super 35 E-Mount lens features a 21-100mm zoom range, making it a one-size-fits-all alternative for budget-constrained productions. The lens is optimized for digital cinematography with focus markings in feet. It will cover image sensors sizes up to Super 35mm.
This lightweight cine-style zoom lens for E-mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine-style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
This lightweight cine-style zoom lens for E-mount cameras with a Super 35mm-sized sensor. It features a mechanical design with three independent lens control rings: focus, iris, and zoom. Each ring incorporates a cine-style gear with a 0.8 MOD for interfacing with standard cine -style lens accessories. The focus ring features approximately 200° of rotation, which provides room or precise focus pulls, and the iris is clickless, enabling smooth iris pulls. The lens also incorporates a macro mode for close focusing capabilities.
High Speed Super 35 Zoom Line offers the constant aperture of T2 throughout the zoom range, and the optical performance is ready for high-resolution shooting such as 6K – 8K. According to Sigma, despite offering the highest image quality in its class, the High Speed Zoom Line has a compact construction.
Manual Focus cine lenses designed for Sony E-Mount cameras covering formats up to APS-C/Super 35. Constructed of aircraft-grade aluminum and has optical glass elements with multi-coating for color consistency with other Veydra Mini Prime lenses.
This cine prime lens has a 300° barrel rotation and a constant volume focus design (internal focus) wherein the front of the lens doesn't come out when you change focus, providing for compatibility with rod-mounted accessories such as matte boxes. It also incorporates 0.8 MOD focus and iris gears, allowing it to interface with standard lens accessories, and the bright yellow dual focus scales allows the lens to be easily read from either side.
Features an internal focusing design, so the lens does not change its physical size when changing focus, which makes it compatible with rod-mounted accessories such as matte boxes. It incorporates standard 0.8 MOD focus and iris gears, allowing it to interface with standard lens accessories, and the bright yellow dual focus scales allows the lens to be easily read from either side of the lens.
The length, 80mm front diameter, and gear ring positions of the 85mm lens matches that of other Veydra Mini Prime lenses, allowing you to swap between them without having to adjust the position of your follow focus or matte box. The lens also features a common T2.2 maximum T-stop as well as multi-coated elements for color consistency.
Tokina has announced 35mm, 50mm, 85mm T1.5 Fullframe Cine Prime Lenses available in PL, EF, MFT and Sony E-Mount. They feature 9 blade apertures and 300 degree focus rotation and all have identical 112mm filter threads. They also have matching iris and focus positions, making it much simpler to switch lenses when using a follow focus.
In Sony E-mount, the 35mm T1.5 weighs 2.12kg and is expected to begin shipping in January 2017.
In Sony E-mount, the 50mm T1.5 weighs 2.28kg and is expected to begin shipping in January 2017.
In Sony E-mount, the 85mm T1.5 weighs 2.32kg and is expected to begin shipping in January 2017.
Tokina Cinema ATX 18mm and 25mm T1.5 full-frame lenses are slated for late-2017.
Looking for Fullframe E-Mount Lenses?
In addition to the lenses listed here, you should also consider fullframe E-mount lenses – especially if you're considering stepping up to fullframe in the future.
It's your guide to all of the Sony a7-Series I & II cameras. While the camera manual explains what the camera can do, it 't show how to use the camera to create great images! Starting with the Top Ten things users need to know about the cameras, author Brian Smith, a Pulitzer Prize-winning photographer and Sony Artisan of Imagery, carefully guides you through the operating features of Sony a7, a7R, a7S, a7II and a7RII and how to use them. Get practical advice from a pro on which settings to use when, great shooting tips, and assignments at end of chapter to practice what you've just learned.
Fyi re the typo for the description of the Zeiss Touit 12mm/2.8 lens, it is designed for APS-C-Sized Sensors.
Good catch, thanks. Fixed now.
That's on the fullframe E-mount lens list. The link is at the bottom of the post.
Is it possible to manually focus the E 10-18mm for astrophotography?
This is VERY, VERY thorough and helpful. Thanks a lot for putting it together.
Very helpful. I am waiting for a good prime 24 mm lens that has a reasonable price tag. F2.8 would be plenty of speed. I shoot either scenics or snapshots with my A6000 – I have no use for bokeh or for paying for high speed lenses so they might have "good bokeh". A good 23 or 24 mm high-resolution lens for APS-C that does not try to cover full frame should be a relatively easy lens to design. But if anyone has done it yet I don't know about it.
The Sony E 20mm F2.8 APS Lens is pretty close to that request.
How do you feel the Rokinon 21mm f/1.4 compares to the Sony 24mm f/1.8 ZA?
I came across this video on youtube comparing the 2 lenses. I felt he is biased towards the Rokinon as he really doesn't like the price of the Sony 24mm, however the side by side pictures are interesting to compare. Let me know what you think!
Rokinon E-mount lenses are generally good optical designs. Bear in mind that unlike the Sony E 24mm/1.8, the Rokinon 21mm f/1.4 Lens is manual focus.
Thanks for getting back to me! That was exactly something I worried about. I shoot in Manual normally, but it's nice to have the option to autofocus. Are there any other wide angle prime lenses you would recommend ? The other than caught my eye is the Sigma 16mm f/1.4, but I fear it might be too wide for my purposes.
Sigma 16mm f/1.4 DC DN Contemporary Lens is an excellent choice!
I have the Sigma 19mm but I found the focus is way too slow compared to the Sony 35mm.(for example the tracking focus doesn't work in the whole focusing area. Is there any limitation with this lens? Or it's a piece that should be replaced as guarantee?
That's a potential drawback of ANY third-party lens.
Thanks a lot for this article. I bought a sony camera for my video gigs and it saved to find the best lenses on this page !
Glad I could be of help. Happy shooting!!!
I'm new to all this, but from my amateur/potential enthusiast enquiries it appears that if there was a native, equivalent to the Sigma 18-35 1.8* for either aps-c or M 3/4's with OIS then that lens would own the prosumer compact/mirrorless market at around $1500.
It would still be a 'big' lens for either APS-C or M 3/4, but smaller overall than FF.
It would likely be slightly longer but otherwise similar is size of the the Sigma 18-35mm f/1.8 DC HSM Lens. There is no native E-mount version but either the EF or Sony A-mount versions are adaptable to E-mount.
This list is incredibly helpful. Thank you!
This list is amazing, I hope you will continue to keep up to date! Such a helpful resource! Thank you!
Very helpful! One of the best resources for people with a Sony APS-C camera i've seen (mine is the a6500). I know it might be not easy. Thanks a LOT!
Thanks for the well compiled list Brian.
Came here looking for ideas on teleconverters for the Sony E55-210 OSS. Want to shoot birds at a distance. Can't afford another lens.
Sorry. There are none that fit that lens.
Thank you for that info…I guess if I want to shoot long distance, I better spend some money.
I want to shoot wildlife photos, birds, what would be my options for the A6000? I currently have the E55-210. I will budget about $2000.
BTW, I started following your blog in Dec, I find it most helpful and interesting….Nice job! Thank you.
The best lens for that in terns of both sharpness and AF performance would be the Sony FE 100-400mm f/4.5-5.6 GM OSS Lens. It's a bit over your target – but it's a great lens.
Thank you for the great recommendation! Yep, a bit over my budget. But I want a great lens. That's the price to play.
At least I get a free UV filter.
Gotta go buy some glass. Love B&H!
Took your advice and bought the FE 100-400mm, beautiful!
Amazing job! The best list i' ve found ! Thank you very much. Is the Meike MK-E 35mm f 1.7 and the Neewer 35mm f/1.7 Manual Focus actually the same lens? And if not which would be the best then?
Yes. Same lens. Different name.
Great guide Brian. Thanks for collecting all the information and making it easy reading.
Great guide! I love it.
Cool and really helpful, Brian! Thanks, man!
Thank you for this list. It's a marvelously useful resource.
Hi Brian, thanks for such a detailed information about e-mount Sony cameras. I'm a new owner of a Sony a6000 + 35mm f/1.8 Sony prime lens. The results are great so far, but there're moments that I can't use my feet to "zoom", so I decided to add another lens. The logical option would be a wide angle to mid telephoto range lens according to my needs. But, I can't find any with really good reputation. Even the 18-105 mm or the new 18-135 mm have bad reviews or downsides. Is there any better option than those? (budget of 600-800 USD, only for stills) or should I buy 2 more primes? Since I'm new on photography, I'm not sure if this option would be complicated since I should be changing lens most of the time. Any advice from you will be greatly appreciated. Great article, and regards from Argentina!
Some online reviews are worth the paper they're not printed on. Either of those lenses are a great choice.
Sony E 18-105mm F4 G OSS offers F4 max aperture throughout the range, while Sony E 18-135mm f/3.5-5.6 OSS Lens offers longer range on the telephoto side and corner-to-corner sharpness at all focal lengths.
I received my Sony E18-135 f/3.5-5.6 OSS lens last week for my Sony A-6000. I also have the Sigma 30 f 1.4 and the Sony 85 mm f 1.8. I have been running tests on the lens. The quality of the zoom really amazes me for how sharp the lens is – really superlative – very close to the fixed lenses. I try to shoot one f-stop smaller than maximum aperture. I mostly shoot scenics so have the time to set up, and generally use manual focus – the focus magnifier in the A-6000 when used with a manual focus lens is a huge help. And to my surprise, the optical stabilization of the lens feature really does work. I am in my 70's and not as steady as once I was. It really helps.
Hello. Your work is beautiful. A recommendation, please. For travel: street, dim interior buildings, exterior shots for details and landscape beauty (yes, the full gamut!) all hand-held what two or three lenses might you suggest for a soon to be purchased 6500? Prefer sharp, quality lenses. Thank you!
The first two are bargains for good quality, sharp, fast glass. The third is a bit of a splurge since it's a fullframe lens. But it's an EXCEPTIONAL lens that's both a great normal lens on fullframe and a great portrait lens for APS-C. So start with the first two and add the third when you can.
Fabulous suggestions! I noticed no zoom included. Any thoughts on that? Can't wait to place the order…getting close. You are a great help. Thank you very much.
I am actually planning to get a Rokinon 10mm f2.8 for my A6000, I already have Rokinon 8mm fisheye 2.8, question is if you recomend me 10mm 2.8 or 12mm2.0, mainly for shooting stars. Will such a shooting drastically improve if I get an A7s paired with Rokinon 14mm 2.8? thx!!! I also have 24.240 Sony zoom, now only for my couple of A6000, but maybe later for A7s, is the lens much better used with A7s or same results as on my A6000?
for astrophotography with a7S, I'd suggest Venus Optics Laowa 15mm f/2 FE Zero-D Lens. It's a better lens than the Rokinon 14.
Fantastic resource, thank you so much for compiling this.
Can you speak to the difference between the Sony E 18-200mm f/3.5-6.3 OSS APS-C and the Sony E 18-200mm f/3.5-6.3 OSS LE APS-C? What does the LE mean?
LE may refer to the two low-dispersion elements. However…while the Sony E 18-200mm f/3.5-6.3 APS Lens only has one low-dispersion element, it's actually slightly sharper and focuses closer than the LE.
Can you tell me for sure if the Touit 12mm 2.8 can fit the Sony PXW FS5, without black corners ?
And if the Aperture and focus is fully controlled by the camera?
Carl Zeiss official importer in Israel claims it won't fit.
Sony PXW-FS5 XDCAM is a Super 35 camera, so yes, APS-C E-mount lenses like the Zeiss Touit 12mm/2.8 lens	will more than cover Super 35.
Does anyone know if the aperture in that lens controlled by the PXW-FS5?
Brian – I am a poor girl with a rich love of shooting photos of birds and wildlife. Which would be the best quality and affordable (zoom) lens for this experience?
Your best budget-priced super-telephoto option would be Sigma 150-600mm f/5-6.3 DG OS HSM Contemporary Lens + Sigma MC-11 Mount Converter. It doesn't match the AF speed or sharpness of Sony FE 100-400mm f/4.5-5.6 GM OSS, but it's half the price with a longer range.
Brian, I purchased the A6500 along with the Sony 18-135 and Sony 10-18 to take with me to Cuba. I have read plenty of great comments about the 18-135 but a very mixed review on the 10-18. What is your opinion on this lens? If it will work better on a FF I do have the A7R3 but did not want to take it with me but can if needed. My trip will be in December.
Both are very nice lenses. That will give you a great range.
Sigma just announced 5 new lenses for the e mount system. Great time to be a sony e mount shooter.
"Leaked" might be more accurate at the moment than "announced", but either way I'd expect all future Sigma DSLR lenses to include an E-mount version. Still waiting for them to step up with lenses actually designed for fullframe mirrorless cameras – but I suspect they're in development.
Why can't Sigma just make their 18-35 1.8 an e-mount lens. Does the flange make it all that difficult to convert a lens they've already created? Or at least more fast lenses with autofocus would be nice. Thanks a lot for this guide man. I look at it constantly to see any new lenses.
Sigma is starting with their Fullframe Art Primes. I imagine they'll get to one at some point.
I was looking to upgrade the kit lense that came with my Sony a6300- any suggestions? I am so overwhelmed by all the choices!
Sony E 16-70mm F4 ZA OSS ($998 US) is the priciest of the three because it uses Zeiss glass and optical design.
Sony E PZ 18-105mm F4 G OSS ($598 US) is a great choice for video since 'PZ' means it's a power zoom lens.
Sony E 18-135mm f/3.5-5.6 OSS ($598 US) is the newest of the three and though it lacks the fixed F4 max aperture – it's the sharpest of the three corner-to-corner throughout the entire zoom range.
Those lenses were T-Mount – not E-mount – and they're discontinued.
hi Mr. Brian can u tell me the necessary lenses for a6500 for wedding.
Start with a wide to tele zoom like either the Sony E 16-70mm F4 ZA OSS or Sony E 18-105mm F4 G OSS.
Then you'll want a fast prime or two like Sony E 35mm f/1.8 OSS, Sony E 50mm f/1.8 OSS, or Sigma 16mm f/1.4 DC DN, Sigma 20mm f/1.4 DG HSM Art, Sigma 24mm f/1.4 DG HSM Art, Sigma 35mm f/1.4 DG HSM Art or Sigma 50mm f/1.4 DG HSM Art Lens.
And yet, Brian, what should I choose 18-105 or 18-135, if video is the significant thing for me. Do I need a Power Zoom if this is considered a bad practice (for pros, not for travelers like me)? In short, which one would you choose travel zoom (equally photo / video). Thanks.
Your post is so helpful to me, but at the same time a lot of information for a newbie to the photography world. I have an a6000 and the 2 lens that comes with it.
I like taking landscape, scenery, city view and some time with people in it and i think wide angle would allow me to capture the most.
I was wondering which lens would you recommend for a wide angle?
However, I was wondering which lens would you recommend for a wide angle?
If you want a wide zoom, check out the Sony E 10-18mm F4 OSS. Or if you prefer a wide prime Zeiss Touit 12mm f/2.8.
I will read about those 2 lens and might have some follow up questions. Thank you for taking the time to a answer my question.
Will this work with the Sony a7iii?
A7 III is a fullframe camera, so you'll want to stick to this list of fullframe E-mount lenses.
Thanks for providing this list! I am currently investigating about Sony on the APS-C end since they are about to announce a new camera, however the lenses I see on this list, there is no good option for something like a 24-70mm f/2.8 as far as I can see right?
Hi Brian, How are you doing??
I currently own a SLT-A65 camera with the following lenses: 18-55 kit and 55-200 kit lens, 50mm 1.8f prime.
When adapted to E-mount, Sigma 18-35mm f/1.8 DC HSM Lens for Sony may be a bit sluggish in terms of AF speed due to the size of its focus elements.
I am trying to find a good all-round lens for my a6500 that is capable of shooting landscapes and wildlife. Ideally with a zoom which amounts to 400mm. Should I settle on the fact that I'll need to carry two lenses?
Yes. Any wide angle to 400mm lens would be a total piece of crap.
I'm shooting with a Sony FS7M2 and I am considering purchasing the Sony FE 100-400mm. This lens is advertised by Sony as being compatible with the FS7M2 as it has an E-mount but unfortunately as it is a full frame-lens massive loss of pixels will be inevitable. Can you suggest another (aps-c) solution ?
I think I will get the Sony E 35mm f/1.8 OSS Lens, since it has OSS as well and AF.
Option B would be Sigma 30mm f/1.4 DC DN. But it has no built in stabilization..
It's for an a6000 body.
If you're shooting wide open, OSS should not be quite as much of a concern, but I do like it for other purposes.
Thanks for your opinion. You're right about the OSS.
I have 2 Sony cameras. Sony a5100 and Sony a5000 full spectrum.
From lenses i have Sigma 30mm 1.4, Samyang 12mm 2.0, 7artisan 7.5mm 2.8 fish eye, Sigma 19mm 2.8, other …. Tamron 16-200mm DC II (with a-mount to e-mount adapter) and Tamron 200-400mm a-mount.
I like to shoot landscapes, nature and night photos too.
So, astrophotography and deepsky is on the menu recently. I'm also using tracker for night photography, not all the time, but mostly for deepsky.
I need your opinion about telephoto lenses.
Is Sony 50-210mm better then my Tamron 16-200mm DC II? Also it's easier to manual focus for nightsky then auto, but anyway, what's your opinion ?
Are you referring to the Sony E 55-210mm f/4.5-6.3 OSS Lens? If so, it offers good performance for its price and it's native which offers better AF than adapted lenses.
Tamron 18-200mm f/3.5-6.3 Di II has a considerably wider range which makes it handy as an all-in-one walk-around lens – but 10X zooms rarely perform as well as those with a more confined range.
As for night sky focusing, yes, I would say that manual focusing using focus magnification is generally the best way to go.
Yes, I was thinking Sony e55-210mm.
Is this lens more sharp than Tamron 16-200mm and can i also use it in manual mode ?
Tamron 16-200mm DC II is not that bad, but i'm looking something little more sharper.
I have one question about full frame e-mount lenses.
The Rokinon 24mm f/1.4 ED AS UMC (full frame).
Does attaching full frame lens to apc-s is fine ?
I already have Samyang 12mm f/2.0 NCS CS, so , will i benefit from any of those 2 lenses i'm looking ? I'd like to have second lens in future for astrophotography.
Yes. Fullframe lenses will cover APS-C. Just not the other way around.
cool, thank you very much !
I need the glasses 18 200 f 3.5 6.3 for sony a6000. Whith 300usd, there is Tamron Di III VC. Should buy it? What will the image quality look like?
Review Tamron 18 200 3.5 6.3 DiIILD Aspherical IF Macro more.
And I have lens 55 Artison, what do I need to do to make it work best with my a6000 ?
Tamron 18-200 3.5 6.3 Di II LD gets a DxO sharpness score of 4, which is pretty horrendous.
A MUCH better option would be Sony E 18-135mm f/3.5-5.6 OSS. It has a shorter range, but it's incredibly sharp corner-to-corner at all focal lengths.
I would need to know the lens mount of your 55 Artisan in order to advise you about an adapter.
Thanks for Sony E 18-135mm suggestion !
How it is , if I want to add teleconverter for more focal lenght ?
Do I loss quality too or ?
HiBrian! Thank you for interest.
The 55 artison is for sony E mount, it suits my sony a6000. I just do not know, what kind of shooting mode to shoot for the best results?
Lens Tamron 18 200 Di III VC for Sony E mount with price 330 USD should buy? It is good with the lens sony 18 200 F 3.5 5.6 OSS?
I just played, had no experience, so I asked a lot, hope you sympatize.
Yes, the both the Sony E 18-200mm f/3.5-6.3 OSS LE and Sony E 18-200mm f/3.5-6.3 OSS are sharper than the Tamron.
Brian, what do you think about a good portrait lens for Sony APS-C. Sony 50, Zeiss 55, the new Sigma 56, Sony 85, something else? And what about the bright wide-angle lens for shooting in places like dark cafes and so on. The priority is video, in both cases. Your blog is the best on the net!
Thanks Igor, Sony FE 55mm F1.8 ZA and Sony FE 85mm F1.8 are both excellent choices for portraits with Sony APS-C cameras. It just depends if you prefer a shorter or longer focal length.
Thanks Brian. I hope Sony will soon release a new Hi-End APS-C camera + a new lenses. Mr. Tanaka gave us hope!
Depends what you mean by that.
If you mean a Sony a6500-replacement with the new features found on Sony a6400 the chances are excellent.
Tanaka-san also hinted at the possibility of a 12mp APS-C camera with pixel-for-pixel 4K recording like a7S series cameras.
But…if you mean an a9 with an APS-C sensor, such a camera would likely cost $4000, yet most people who've been floating the idea fantasize about a price much lower. It. Ain't. Gonna. Happen.


text:
A Shaper Story
Mike Whisnant started building surfboards at the age of 15 with his long-time friend Winnie Strickland in Neptune Beach, Florida. Initially, they started small by building one board a month. As time went on, they were able to build up to 40 boards a week with a full crew!
Mike had the opportunity to work with some of the most reputable surfboard brands in the market including: Atlantis surfboards, Savage, Rozo, Escape, Nev, HIC, Blue Hawaii, Byrne, Line Drive, and R. Wood surfboards. Mike started to build a reputation for building high quality boards.
In 1989 Mike was ready to start shaping under his own name, and Whisnant Surfboards was born in Jacksonville Beach, Florida. The main focus was to provide a customized experience to each individual surfer's needs.
Mike spent the following years shaping and designing thousands of boards, while building one of the most recognized surfboard brands in and out of Florida. This recognition resulted in an invitation to the Florida Shape-Off at the Surf Expo in 2011. The Challenge was to copy one of Joe Shriver's (WRV) last boards, a step deck shortboard. Out of all of the many talented East Coast shapers,Mike won by replicating the board close to perfection in 45 min! He won again in 2015, and in 2016 he even won the Master of Masters!
Most recently, Mike has worked in a number of collaborations including the creation and design of the Void Magazine surfboards. This unique quiver of boards were developed specially for Florida surf conditions. Mike was also selected by Trimcraft Surfboards to be the official shaper for the south east region. Trimcraft Surfboards was created by a roster of famous shapers including Gerry Lopez and Rich 'Toby' Pavel.
Today Mike finds himself as busy as ever. He continues to make high quality hand shaped surfboards by mixing traditional shaping techniques with new innovating surfboard designs.
Strickland Surfboards
Mike Whisnant and Jim Dunlop
Trimcraft Surfboards
WHISNANT SURFBOARDS
1089 Atlantic Blvd #9 Atlantic Beach, FL 32233
mike@whisnantsurfboards.com
©2022 Whisnant Surfboards. All rights reserved.


text:
Partnership with Spiral International
Northfield Elementary School and Northfield Middle/High School welcomes speakers of all languages. During the school year, the English language learner program provides direct instruction to those students who have a demonstrated need for language support and who speak a language other than English in their home. Since 2012, our learning community has hosted English language intensives for students wishing to explore Vermont and American culture while developing English skills and we look forward to this summer when we welcome a new group of learners.
Our schools are committed to common goals that enhance the academic, character, and citizenship qualities of our students, including those who are not yet fluent in English. By law, English language support is provided to all school-aged children who speak a language other than English in their home and who have a demonstrated need for English language learning support. We strive to provide a positive culture of support and community for English language learners and their families and are proud of the international friendships and rich cultural sharing within our schools.
Questions or Comments? Email me at mtofelmurray@cvsu.org.
Seeking host families and peer mentors for the Northfield Middle High School partnership with Spiral International July 25 through August 5, 2019. Peers participate in the summer camp and build friendships with the visiting Chinese students, sharing about school, sports, food and hobbies. Host families provide bed, meals and transportation to and from school, and receive a stipend to offset their expenses. Families share their love of Vermont and their community.
Please contact Michele Tofel Murray at mtofelmurray@cvsu.org if interested.
WIDA and SIOP Resources


text:
Novartis proposes to exit Grimsby UK site by end of 2020 as part of global manufacturing network transformation
The proposal is made as part of a global transformation of the Novartis manufacturing network and product portfolio, reflecting today's changing healthcare needs.
Novartis hopes to secure a future for the site and is working to identify potential partners
395 Novartis employees at the Grimsby site are directly affected by the decision, and additional contactors employed through third parties may also be impacted.
Grimsby, 25th September 2018 – Novartis today announced that it plans to exit its Grimsby manufacturing site by the end of 2020, subject to consultation. The announcement has been made as part of a global transformation of the company's manufacturing network, including changes announced today to Novartis manufacturing sites in Switzerland, and previously announced adjustments in Japan, the US and other countries.
In a continuation of the manufacturing strategy initiated in 2016, Novartis plans to adapt its manufacturing network further in response to its changing product portfolio; with fewer high volume products, which the Grimsby site has focused on producing, and an increased emphasis on specialised and personalised innovative medicines.
"Novartis has been a part of the Grimsby community for many years so this has been a very difficult decision. The Grimsby site is an effective, well-running operation that is testament to the hard-working and dedicated employees. We will treat every employee with the utmost respect, sensitivity and fairness during this difficult time." said Haseeb Ahmad, Novartis UK Country President. "This decision has been made alongside broader changes to our business globally, and as a result of the changes in our product portfolio which now focuses on more specialised medicines, reflective of today's changing healthcare needs. Novartis remains committed to the UK and believes that the UK is a world-leader in life sciences. Today's announcement is part of a global review of our manufacturing operations and is not linked to the decision of the UK to leave the European Union."
The proposed exit will be phased until the end of 2020. During this time options including divestment, which could potentially allow the facility to stay open, will be carefully considered by Novartis. Novartis will work closely with the elected staff consultative body to support associates over the period, and will offer enhanced severance packages and outplacement services should closure be implemented.
About Novartis
Novartis provides innovative healthcare solutions that address the evolving needs of patients and societies. Headquartered in Basel, Switzerland, Novartis offers a diversified portfolio to best meet these needs: innovative medicines, cost-saving generic and biosimilar pharmaceuticals and eye care. Novartis has leading positions globally in each of these areas. In 2017, the Group achieved net sales of USD 49.1 billion, while R&D throughout the Group amounted to approximately USD 9.0 billion. Novartis Group companies employ approximately 125,000 full-time-equivalent associates. Novartis products are sold in approximately 155 countries around the world. For more information, please visit http://www.novartis.com.
In the UK, we employ approximately 1,500 people to serve healthcare needs across the whole of the UK, as well as supporting the global operations of Novartis. In 2017 Novartis invested almost £30million in R&D and is a leading sponsor of clinical trials in the UK. For more information, please visit www.novartis.co.uk.
Novartis UK is on Twitter. Sign up to follow @NovartisUK at https://twitter.com/novartisuk
For Novartis multimedia content, please visit https://www.novartis.co.uk/news/media-library
Novartis UK Media Relations


Vast red tracts of land show the extent of Octobers wildfires in Southern California in this false-color Moderate Resolution Imaging Spectroradiometer (MODIS) image taken on November 18, 2003, by the Terra satellite. In this image, vegetation is bright green, charred area are brick red, and bare earth is pink. Light grey patches along the coast are cities.Los Angeles in the north and San Diego in the south. The fires occurred in three clusters. Top are the Piru, Simi Incident, and Verdale burn scars. The center burn scar was made by the Old, Grand Prix, and the Mountain Fires. The largest burn scar, south, is the result of the Paradise and Cedar Fires. Along the California-Mexico border is the scar formed in the Otay Fire. Older burn scars are also visible in the image as lighter red patches.


This entry was posted in computational linguistics, programming on April 30, 2009 by david.
It's been a few years, but I used to use Timbl a lot. It's a lazy learner, quite fast and easy to use. At least, that's how I remember it. Take a look at http://ilk.uvt.nl/timbl/. It think it should count as a command line tool… and it's been used for different NLP related stuff.
It's been a while since I've had to think about NLP tools, but when I did I found Morphix-NLP indispensable. It's a Linux Live CD packed with NLP goodness.
Thanks. It looks a bit stale (no release since 2004), but the list of packages seems to be an interesting resource.
David you should head on over to Mark Watson's site. He's released many of his NLP tools, as well as writes on the subject (and AI in general).
I believe that libsvm has a command line tool as well.
It does "N-Gram-Based Text Categorization", eg for language guessing, "a task on which it is known to perform with near-perfect accuracy". Wonderful software.
Also, for the more rule-based crowd, the machine translation system Apertium is all based on the command-line (the main program is just a short shell script calling each module of a language pair pipeline); as is the vislcg3 Constraint Grammar parser.


After being invited to the Christening of your sister's son, you arrive to find a deserted estate in Grim Tales: The Legacy! After getting married to the love of her life, it seems like a happy ending is right around the corner for your sister. However, all is not well. The sounds of ravenous beasts echo through the halls of the once great estate and your sister is missing! Use your Hidden Object talents to track down her family and save them in Grim Tales: The Legacy!
Proposed to download game Grim Tales: The Legacy scanned with anti-viruses and have no ads, no adware, no spyware inside. The "Play Hidden Objects" project thankful for your choice and wish to download Grim Tales: The Legacy free from our server.


• Was it when you landed that first big contract that turned you into a proper business owner?
• Or was it that time when you got a note from a client thanking you for doing such a great job?
• Maybe it was the time when you got a tax bill and you actually had the exact amount set aside for it and all you had to do was B-pay it on the day it was due?
• How about the time a favourite employee left but you had two absolutely perfect candidates keen and ready to slot right in?
• Or how about that time when you took a client to lunch on Friday afternoon and simply decided not to come back because you knew everything was under control?
I bet your best memories in business are all like those and one thing they have in common is that they have nothing to do with how much profit you made last year.
But when we measure the success and value of a business, all we do is measure profit or "Shareholder Value"…!
Why is that? And is there another way?
Let me tell you about my client Lisa. Lisa had started a creative agency a few years previously and she was now employing eight people besides herself. Her clients were German car brands and 5-star hotel chains and such like, and she was making money too. By all appearances, Lisa had done extremely well in the 5 years since she got started.
But Lisa felt stuck. She spent her days managing crises, and the only time she ever got to do the creative work she was so passionate about was late at night at home or on Sundays.
Business just wasn't much Fun anymore so Lisa and I decided to make Fun the focus for our work together.
We started by creating a Fun in Business scale. 10 on the scale meant that the week had been as much Fun in Business as Lisa could imagine and 0 meant the opposite. Every week I'd ask Lisa how the week had rated on her scale and then I'd ask what number she'd want to get to next week and what specific steps she might take to achieve that number.
One time, Lisa reported that the week had been a 5.4 on the scale and that next week she wanted to get to 5.5. The task she set herself to get there was to spend an hour writing a procedure for managing the business dropbox filing system and train her staff. This simple system would save her lots of frustration dealing with missing files and conflicting versions.
Another week Lisa decided to take action on some outstanding debts to improve her cashflow. Making Fun in Business her Key measure of Success and consistently taking this approach, week by week and step by step changed Lisa's business and her life forever. So much so that a year later Lisa decided to take Fridays off to focus on her other passion, sculpting.
If you have any questions or would like to suggest new topics please drop us your thoughts below. For more useful tips and updates follow Leaders in Heels on Twitter and visit our Facebook Page.
Experts who love to share their knowledge!
Which Step Of The Entrepreneurial Ladder Are You On?


David Padgett told Eric Crawford of WDRB that he will be working for ESPN as a color analyst. His first game will be January 6th for the Rhode Island vs Saint Louis game. Louisville is already the number 1 college basketball television market and with a city fan favorite on the call, it definitely won't hurt ratings – Nice move ESPN.
I feel pretty certain that I speak for every UofL fan when I say that we are happy for David to get this opportunity. David stepped in and took over the Louisville basketball program when he knew the odds were against him. He handled every single situation with class and respect.
I have not spoken to David personally about this but from what I understand, he wants to continue coaching. While this isn't a coaching job, my hope is that it stirs up some new interest and hopefully lands him a job. He deserves it and I'm rooting for him.
Scott Satterfield doesn't even have a full staff assembled and people are freaking out that Louisville only signed 4 guys on the early signing day and every other ACC school signed at least 11. This kinda frustrates me. People need to calm down and be patient.
It didn't really matter who took over as coach when it pertains to recruiting because Louisville was going to have a small class regardless. There are varying reports on the number of players that can be added this year but I believe it's between 11 and 15. I think that number fluctuates depending on transfers but regardless, this is going to be a small signing class which in return will earn a lower recruiting ranking. So don't put too much stock into the rankings this year. Just trust the process and that coach Satt will get the guys he needs to get this program headed in the right direction.
Coach Satt is trying to change the culture and simotainously rebuild a once proud program. Satterfield said in his introductory presser that once the culture is right, winning will follow. We must trust him and give him time.
I don't think it's any secret that Petrino didn't really have his heart in recruiting this past season….
And the compare that to the list of App State decommitments. UNC, Miami, Louisville, and a kid deciding between Auburn, Bama and Georgia.
The TE decommit did commit to Baylor yesterday. This is one that I wish we could have kept.


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text:
How Airplanes Punch Holes in Clouds
How Airplanes Punch Holes in Clouds (and Increase Snowfall Around Airports)
Andrew Heymsfield, with the National Center for Atmospheric Research in Boulder, Colo., was one of the first scientists to study firsthand the formation of a hole-punch cloud—those mysterious circular gaps seen in clouds. PM caught up with him to hear about his new study in Science on this strange phenomenon—which is decidedly not caused by UFOs.
By Douglas Main Published: Jun 30, 2011
How did you first observe the hole-punch-cloud phenomenon?
Three years ago during a field project in Colorado, we saw this very narrow band of precipitation that we had never seen before. It was very unusual for winter. It looked like it could be lined up with the flight path of two turboprop planes that had just flown by above us, and, sure enough, it matched.
And you happened to be in a plane with instruments that could study the precipitation?
This was the first time a fully instrumented aircraft had been able to fly through snow falling from other aircraft, and this allowed us to characterize hole-punch clouds in a study we published a year ago.
The thing that intrigued me was that these holes seemed to be long-lived. It's amazing that something that starts out as small as a pencil can spread throughout a whole cloud layer.
Basically, you say, aircraft create hole-punch clouds when they fly through a supercooled cloud layerwhere water is below its normal freezing temperature but remains a liquidand induce the formation of ice. How do they do that?
Propeller planes create them at the propeller tips, and jets [create them] over their wings. Propellers move the plane forward by pushing air behind. As the propeller pushes the air outward, the air expands, which causes a lower pressure and cooling. With jets, there is a lower pressure above the wing than below. In both cases, air is cooled, which creates condensation, and you get a stream of ice crystals behind the plane. Under the right conditions, the expansion process kicks in to create hole-punch clouds.
How do these holes expand through the cloud layer?
This phase change (from supercooled water to ice) produces some latent heat that causes some buoyancy. That bubble of air rises like a hot-air balloon. As the air rises, it cools and causes more condensation, more ice, and so on. This pattern of circulation spreads with time as the ice particles move farther and farther out. [The fact] that the holes are so symmetrical shows this pattern of circulation occurs.
What conditions are necessary for hole-punch clouds to form?
We think for propeller aircraft, surrounding temperatures need to be between -10 degrees Celsius and -40. For jet aircraft, -15 C to -40 C. Hole-punch clouds can be differentiated from jet contrails, which basically occur only below -40 C. Drops of liquid water spontaneously freeze at this temp. Commercial jet aircraft typically fly at altitudes where temperatures are below -40 Ctoo cold for hole-punch clouds.
What's new in this study?
This study shows that many types of planespropellers, jets, commercial and military aircraftcan all produce hole-punch clouds. We also further characterized how these things spread and use data from satellites to map out how often low-level clouds conducive to this effect occur around major airports.
Tell us more about the airport factor. How many airplane takeoffs produce hole-punch clouds?
Around major airports, this phenomenon happens 3 to 5 percent of time on average per year, and about 15 percent of the time in the winter. This generates a little bit of additional snow that could affect operations like de-icing. In our paper we showed that planes departing Denver International Airport created bands of snow whose rate was 3 inches more per hour than its surroundings. It might be enough to cause a need for more de-icing than might be expected due to added snowfall at the airport.
How long do hole-punch clouds persist?
They can last for 4 hours or more. They spread for about the first hour and then slowly dissipate.
Why hasn't this phenomenon been well-understood before now?
I'm not exactly sure, but certainly the recent advances in satellite imagery have helped make it possible. We were also lucky to fly through precipitation caused by the hole-punch phenomenon.
How is this different from cloud seeding?
It is exactly [a type of] cloud seeding. With that, you try to deliver ice nuclei, using a chemical like silver iodide, for vapor to condense onto and create snow that falls out or melts into rain. We found that planes inadvertently do this without releasing special chemicals.
What percentage of hole-punch clouds are visible?
I don't know, but I hope to come up with a good estimation in the future.
Why should people care about hole-punch clouds?
You see a phenomenon that absolutely captivates people's attention. There could be misinterpretations.
Have you been confronted by people who think the clouds are actually UFOs?
I have. I generally explain the science. Now that this study is coming out, I'm probably going to get a flood. But I'm not worried, because the science is solid.


text:
Q: Subtract date from day field Original Question
I need to write a Microsoft SQL statement where I subtract a date from number of days from another table. So, essentially, the table example is below:
Table 1 (date)           Table 2 (number of days)
2013-05-08 23:59:13.000     7
2013-05-08 23:59:16.000     7
2013-05-08 23:59:06.000     7

Any help would be appreciated.
Updated Question
The only two item I have to work with is the following information:

I need to know how long an invoice has been in the invoice queue. TimeoutDate is when the invoice will timeout of the queue, and TimeOutDays is the length of days this queue is given before it times out, but it's business days, so excluding weekends.
So, if you calculate based on this information, the invoice has been in the queue for 8 business days <-- this is the answer I need to get from the query.
Extra Information
The invoice entered into the system 04/30/2013, but since the webapp does not count the day the invoice entered the system, the time-out counter starts the day after, which is 05/1/2013. Hope this explains a little clearer!
I have a quick query, but that's not going to help, since it doesn't show what I need, but in effect below is the results of what I need:

A: Try
SELECT DATEADD(day, -(t2.days), t1.datefield) new_date
  FROM table1 t1 JOIN
       table2 t2 ON t1.id = t2.id

Output:
|                   NEW_DATE |
------------------------------
| May, 01 2013 23:59:13+0000 |
| May, 01 2013 23:59:16+0000 |
| May, 01 2013 23:59:06+0000 |

SQLFiddle
UPDATE: A solution to the completely changed question
SELECT timeoutdate,
       timeoutdays,
       timeoutdays
       -((DATEDIFF(dd, GETDATE(), timeoutdate) + 1)
       -(DATEDIFF(wk, GETDATE(), timeoutdate) * 2)
       -(CASE WHEN DATENAME(dw, GETDATE()) = 'Sunday' THEN 1 ELSE 0 END)
       -(CASE WHEN DATENAME(dw, GETDATE()) = 'Saturday' THEN 1 ELSE 0 END)) daysinqueue
FROM table1

Output:
|             TIMEOUTDATE | TIMEOUTDAYS | DAYSINQUEUE |
-------------------------------------------------------
| 2013-05-14 23:59:13.000 |          10 |           9 |

SQLFiddle
Thanks @CMS for a solution for getting number of working days between two dates

A: You can try something like this
Select DATEADD(month, -(Table2.day) , Table1.date)
FROM Table1 Inner Join Table2
ON Table1.Col=Table2.Col

Of-course you can modified the join as per your structure.

redpajama_set_name: RedPajamaStackExchange


Kasiva has a decade's experience working in the fields of Human Rights, Transitional Justice, Gender Justice and Institutional reform. She holds an LLM from the Klau Center for Civil and Human Rights at the University of Notre Dame. She joined the Raoul Wallenberg Institute's Nairobi Office in November 2018.


Dear RedFly Marketing - Please Can You Modify Your Firefox Plugin?
So I included Red Fly's Google Global plugin in my recent post about essential SEO plugins for Firefox and while using it this morning I realised that it didn't actually work quite how I thought it did.
At the moment, when you select a country to search in it simply does a search in Google.com with the "&gl=[country code]" spliced into the search string.
I would prefer that as well as splicing in the "&gl=" it also performs the search in the relevant Google site. So for example, if I select FR as my language - it performs the search in Google.fr and also appends "&gl=FR" into the search string. Simply searching Google.com with the "&gl=" in the query string doesn't return the same results as searching in the actual language version of Google.


text:
/**
 * @file camera_trigger_params.c
 * Camera trigger parameters
 *
 * @author Mohammed Kabir <kabir@uasys.io>
 * @author Andreas Bircher <andreas@wingtra.com>
 * @author Lorenz Meier <lorenz@px4.io>
 */

/**
* Camera trigger Interface
*
* Selects the trigger interface
*
* @value 1 GPIO
* @value 2 Seagull MAP2 (over PWM)
* @value 3 MAVLink (forward via MAV_CMD_IMAGE_START_CAPTURE)
* @value 4 Generic PWM (IR trigger, servo)
*
* @reboot_required true
* @group Camera trigger
*/
PARAM_DEFINE_INT32(TRIG_INTERFACE, 4);

/**
 * Camera trigger interval
 *
 * This parameter sets the time between two consecutive trigger events
 *
 * @unit ms
 * @min 4.0
 * @max 10000.0
 * @decimal 1
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_FLOAT(TRIG_INTERVAL, 40.0f);

/**
 * Minimum camera trigger interval
 *
 * This parameter sets the minimum time between two consecutive trigger events
 * the specific camera setup is supporting.
 *
 * @unit ms
 * @min 1.0
 * @max 10000.0
 * @decimal 1
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_FLOAT(TRIG_MIN_INTERVA, 1.0f);

/**
 * Camera trigger polarity
 *
 * This parameter sets the polarity of the trigger (0 = active low, 1 = active high )
 *
 * @value 0 Active low
 * @value 1 Active high
 * @min 0
 * @max 1
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_INT32(TRIG_POLARITY, 0);

/**
 * Camera trigger activation time
 *
 * This parameter sets the time the trigger needs to pulled high or low.
 *
 * @unit ms
 * @min 0.1
 * @max 3000
 * @decimal 1
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_FLOAT(TRIG_ACT_TIME, 40.0f);

/**
 * Camera trigger mode
 *
 * @value 0 Disable
 * @value 1 Time based, on command
 * @value 2 Time based, always on
 * @value 3 Distance based, always on
 * @value 4 Distance based, on command (Survey mode)
 * @min 0
 * @max 4
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_INT32(TRIG_MODE, 0);

/**
 * Camera trigger pin
 *
 * Selects which FMU pin is used (range: AUX1-AUX8 on Pixhawk controllers with an I/O board,
 * MAIN1-MAIN8 on controllers without an I/O board. The PWM interface takes two pins per camera, while relay
 * triggers on every pin individually. Example: Value 56 would trigger on pins 5 and 6.
 * For GPIO mode Pin 6 will be triggered followed by 5. With a value of 65 pin 5 will
 * be triggered followed by 6. Pins may be non contiguous. I.E. 16 or 61.
 * In GPIO mode the delay pin to pin is < .2 uS.
 *
 * Note: only with a value of 56 or 78 it is possible to use the lower pins for
 * actuator outputs (e.g. ESC's).
 *
 * @min 1
 * @max 12345678
 * @decimal 0
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_INT32(TRIG_PINS, 56);

/**
 * Camera trigger pin extended
 *
 * This Bit mask selects which FMU pin is used (range: AUX9-AUX32)
 * If the value is not 0 it takes precedence over TRIG_PINS.
 *
 * If bits above 8 are set that value is used as the selector for trigger pins.
 * greater then 8. 0x00000300 Would be Pins 9,10. If the value is
 *
 *
 * @min 0
 * @max 4294967040
 * @decimal 0
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_INT32(TRIG_PINS_EX, 0);

/**
 * Camera trigger distance
 *
 * Sets the distance at which to trigger the camera.
 *
 * @unit m
 * @min 0
 * @increment 1
 * @decimal 1
 * @reboot_required true
 * @group Camera trigger
 */
PARAM_DEFINE_FLOAT(TRIG_DISTANCE, 25.0f);

/**
 * PWM output to trigger shot.
 *
 * @min 1000
 * @max 2000
 * @unit us
 * @group Camera trigger
 * @reboot_required true
 */
PARAM_DEFINE_INT32(TRIG_PWM_SHOOT, 1900);

/**
 * PWM neutral output on trigger pin.
 *
 * @min 1000
 * @max 2000
 * @unit us
 * @group Camera trigger
 * @reboot_required true
 */
PARAM_DEFINE_INT32(TRIG_PWM_NEUTRAL, 1500);


"Tell me about war." Oh no. I hate it when C.W. gets like this. He assumes the form of a 12-year old boy and starts asking questions for which I don't have good answers.
"I don't think there is a good answer," I said.
"Good people die in wars," he said.
"I wish I knew," I said.
"The 'subtleties' of our language cause much confusion," I said.
"That's a gross generalization," I said.
religion prohibited them from supporting war? - C.W.
I stopped in my tracks and thought, but I didn't have a ready answer.
He looked at me with true sadness in his eyes. "You really are a big dope," he said.
Be sure to click some ads. I need that computer.
What Steinbeck Character is Big Dope?


text:
Мартюшино — деревня в городском округе Истра Московской области России. До 2017 года входила в состав сельского поселения Бужаровское Истринского района. Находится примерно в 12 км на северо-запад от Истры, высота над уровнем моря — 199 м. Зарегистрировано пять садоводческих товариществ.

Население

Примечания

Населённые пункты городского округа Истра

redpajama_set_name: RedPajamaWikipedia


text:
Q: Polling Vs AsyncCallback callbacks - best approach for a slow web service? I have a webpage that uses AJAX to get search results for a page. On the server side I am querying a web service that is very slow - 20 seconds to 2 minutes.
As I understand it, my options are either polling or having a long running request.
AsyncCallback seems to be ideal since the result would be returned as soon as the web service responds and the thread won't be blocked on the server-side.
Is there a better approach to doing this? Do you know of any issues with long running HTTP requests in jQuery?
Update: Yes, I will be caching the response from the web service when possible. I don't have any control over the external web service that I am querying.

A: We are using AsyncCallbacks for a server polling that tipically respons in 4:30 - 5 minutes, and the system runs just fine.
It is worth mentioning that you will get no  benefits (performance, response time,etc) except the fact that IIS's worker thread pool will not get depleted if you get too many requests: ie. If we get 2 requests per minute, we will usually have 10 - 12 pending requests.In this case AsyncCallback will make NO difference whatsoever. If we get 100 requests per minute, this means 500 - 600 pending connections, so Async is a must. It's only about managing the thread pool.

A: There is only one problem with this approach of user browsing to another page what you can do is cache the results somewhere so you dont end up querying the webservice all the time.


Over recent years there has been increased interest in the transatlantic option for Higher Education, and we have made good use of our own American staff in learning about the process. In recent years the School has set up a SAT prep course, and also established itself as a SAT Test Centre.
In June each year, the School hosts a conference aimed at providing information about the university system in the USA. We decided to run this conference as a way of enabling information and good practice about applying to the USA universities to be spread amongst a wide audience, making full use of our own knowledge and expertise as well as that of outside consultants. The conference offers advice to schools, and to potential students and their parents. We invite a wide range of schools and colleges in the Midlands and North of England, and we also invite our old friends within the Rugby Group. We also extend the invitation to interested students and their parents at these institutions.
We also offer written resources and guidance on universities in Australia, New Zealand, Ireland and the Netherlands. Europe is becoming a more attractive choice for pupils who want degrees with a more international or European focus, and many universities teach in English. For copies of the printed Guides, please visit the Careers Library.


We are seeking on behalf of our client, a Fitness instructor to join a friendly and motivated sports team.
Whilst on duty you will work independently to provide a clean, safe and motivational setting in which customer`s sports and fitness goals can be achieved.
The role will include using your skills and experience to provide professional gym inductions for all new members, along with delivering a diverse range of exercise classes.
You will be responsible for creating your own personal sessions around the facility using the equipment available to you.
You will be required to coordinate sports sessions, ensuring all sports and fitness areas and equipment is cleaned and maintained to a high standard.


Blue Lotus Consulting is a company devoted to developing human potential. We see ourselves as partners with our clients as well as the community. Therefore, the mission is to partner as well as to collaborate with people to create innovative solutions and make informed choices to improve their lives. We aim to become a regionally recognized brand name, capitalizing on the sustained interest in life coaching, grant proposal preparation and program compliance assessment to ensure efficiency and effectiveness. The Blue Lotus motto is: Together, we believe that the best in each and every one of us enriches all of us.
At Blue Lotus Consulting, LLC, we work with clients to assist them with envisioning future possibilities, exploring and designing pathways leading towards change to excel. Whether it's academic, coaching, compliance assessment or technical assistance, we are ready and willing to assist you in closing the gap from where you are to where you want to be.
Just as athletes need coaches to be the best in their sport, there are individuals who need a coach to help them focus their gifts and talents leading towards a desired goal.
Our service include Compliance Assessment, Technical Assistance and New Project Development. Compliance assessment examines program standards.
Have any questions? We are here to help you and provide you best solution with our experience.


SYR is the West's foremost academic yoga research conference. SYR showcases some of the best new research and offers multiple poster sessions as well as ample opportunities to interact with other scientists, experts and professionals in the field. SYR 2017 will be held at the Kripalu Center for Yoga & Health in the beautiful Berkshires in western Massachusetts.
SYR 2017 is a single-track academic research meeting that will include keynote speakers, invited oral presentations from other senior researchers, multiple poster sessions and ample opportunities to interact with other scientists, experts and professionals in the field. The conference is also a unique learning opportunity for yoga therapists, clinicians, integrative healthcare professionals and psychology and education professionals interested in yoga research.
Since Kripalu is somewhat remote, they do provide some shuttle service and information about rideshare on their website. Please review the information on the Venue page.
The SYR 2017 conference team works closely together to make this conference a valuable and enjoyable experience for all attendees. They also welcome your ideas and suggestions for improvement.


text:
Towns – New Hampton
New Hampton, New Hampshire 03842
New Hampton, NH Lodging, Real Estate, Travel & Visitor Information
The seacoast town of Hampton, New Hampshire was first called Winnacunnet, the Indian name for pleasant pines. Hampton was one of four original New Hampshire towns established by the Massachusetts government. In 1638, the area, which included land now in Seabrook, Kensington, Danville, Kingston, East Kingston, Sandown, North Hampton, South Hampton, Hampton Falls, and Great Boar's Head, was settled by a group of parishioners led by Reverend Stephen Bachiler. The Reverend had previously preached in Hampton, England, and the town was incorporated as Hampton in 1639. Poet John Greenleaf Whittier was a direct descendant of Reverend Bachiler. Construction of the railroad in the 1850's made Hampton's oceanfront a popular resort. Hampton beach features soft sand and is one of the widest ocean beaches in New England. In 1656, Eunice "Goody" Cole, 64, of Hampton was convicted of witchcraft. Being spared from execution she spent most of her life in prison in Boston. She died in 1680 and was exonerated in 1938.
To share any New Hampton, NH information with us, please contact us. Learn more about advertising in NHLiving.
County: Belknap
New Hampton, NH Population:
New Hampton, NH Local Information
New Hampton Police Dispatch: 911
NH Seacoast Region New Hampshire


Have you found the plugins?
19:32 Redmine Open discussion: How can I merge 2 projects into one?
Is there any way to merge two projects into one, including all objects: Wiki, Documentation, Issues.
Yes, but I could not install it.
13:04 Redmine Help: RE: Please how continue?


text:
Gadsden City rallies to beat Florence 31-24 for 1st win
By Michael RodgersTimes Staff Writer
Oct 13, 2018 at 12:20 AM Oct 13, 2018 at 1:13 AM
Down 21-0, the Gadsden City Titans — winless in their first six games of the season and on a nine-game losing streak going back to 2017 — found a way to come back and claim a 31-24 victory over Florence in Class 7A, Region 4 action Friday night.
Big plays hurt the Titans early as two of Florence's first four plays went for more than 50 yards and a touchdown.
With 2:34 left in the first quarter, the Falcons had taken a three-touchdown lead, but Gadsden City had some late-quarter magic.
Quarterback DeMarcus Macon found Jaquan Woods for a 35-yard touchdown pass on the final play of the quarter to cut the lead to 21-7.
An interception by Joshua Richard put the ball back in the Titans' hands and Jamontez Woods had a 23-yard run to make the score 21-13 with 7:52 left until halftime.
The Titans withstood a fake punt and Hail Mary in the last minute of the half, but Florence scored first in the second half with a field goal.
Again the end of the quarter proved to be good for the Titans as Macon hit Trey Blount for a 52-yard score with 1:04 left. The two connected again on the two-point conversion to cut the lead to 24-21.
On the ensuing drive, Gadsden City got pressure on the quarterback, causing a fumble that Jamari Boston plucked from the air and returned for a touchdown, putting Gadsden City ahead 28-24.
The defense continued to shine as Samuel Goldthreate had an interception on the next drive to set up a drive that might have put the game away, but Florence blocked a 19-yard Gadsden City field goal.
Tyron Tripp then came up with a fumble recovery for the Titans that led to a 32-yard field goal from Carlos Flores to cap the scoring with 6:08 left in the game.
Florence had one last chance to score, but the Titans defense stood tall to deny a fourth-down attempt at their own 15-yard line with just over a minute left to play.
Play of the Game
After a shaky start, the Gadsden City defense settled into the game, and the pressure leading to Boston's fumble return for a touchdown proved to be the difference in the game.
Coachspeak
"Our coaching staff has been in a lot of big football games and had a lot of big wins throughout our career. When you get old, that happens, but this is as big a win as I've ever coached in in my career. To see this group of kids, this group of coaches, week after week after week, the ridicule, the people giving up on them, the people quitting on them — to know that they came in and fought every single day... and to do what they did tonight down 21 with people leaving the game early, they see that. What a great job by this group of kids. And what an awesome week for this program.
"We had 32 kids on the A or A and B honor roll when report cards came out yesterday, and to come back get this win tonight, I couldn't be more proud of this group of kids. Doing things the right way eventually pays off." — Gadsden City coach Bart Sessions
"I was reading the (quarterback). I saw the ball in the air, and I just went and caught it and scored. That's my first touchdown ever — I've been playing for going on 12 years now, and it felt pretty great." — Boston
Gadsden City (1-6, 1-4) travels to face Huntsville. Florence (3-5, 2-3) plays host to Grissom.


text:
HomeMotorcycle NewsYamaha Motobot Moves Ahead
Yamaha Motobot Moves Ahead
Jan 11, 2016 Steve McDowall Motorcycle News 0
Yamaha announces partnership with SRI to develop Motobot.
Yamaha Motobot Moves Ahead – Yamaha Motobot has moved a step closer to reality with this new partnership.
Motobot, Yamaha's motorcycle riding robot, is entering its next stage of development.
In an announcement made at the Consumer Electronics Show in Las Vegas, Yamaha confirmed it has entered into a partnership with SRI International to further develop the technology.
SRI International is a non-profit, independent research centre and will provide its robotics expertise to help develop Motobot towards its ultimate goal of being able to beat nine times world champion Valentino Rossi's lap times around a racetrack.
To give Motobot accurate position recognition, it will employ technology including high-precision GPS and sensor fusion, a process where data from several different sensors is "fused" to compute something more than could be determined by any one sensor alone.
Motobot will also be given the ability to learn, enabling it to make its own decisions regarding the ideal line to take around a racetrack.
In this way Motobot can improve its lap times with each successive lap of the track. Initial trials have begun in closed test areas, and these will continue as development progresses.
Yamaha began the project to pioneer a new approach to vehicle development by using a humanoid robot capable of operating the motorcycle at levels higher than those possible with a human and with little or no modifications having to be made to the vehicle.
Yamaha officials said, "The sophisticated technologies acquired in achieving the high objectives are also intended to be applied to advanced technologies and rider support systems in the future, as well as other options that may segue into new business development."
But the next goal of the team is to have Motobot lapping a race track at speeds of 200km/h by 2017, and then challenging Valentino by the end of that year.