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UK: Journalist's victory in libel case endorses media freedom
Posted on June 13, 2022 Media 5 min read Share: Share on Facebook Share on Twitter Share on LinkedIn
In a significant victory for public-interest reporting, the High Court in London has dismissed the claim that journalist Carole Cadwalladr defamed businessman and pro-Brexit campaign founder Arron Banks.
ARTICLE 19's Executive Director Quinn McKew welcomed the judgement, and its endorsement of press freedom. "The decision of the High Court sends a strong message to those who use abusive litigation to silence investigative journalism, and to block public interest information from reaching the wider population. People have the right to know about how influential people and lobbyists are shaping policy and their lives and this judgement is a resounding endorsement of the hard work so many journalists undertake on our behalf."
The case was viewed by many activists as pivotal to the future of press freedom in the UK. Banks sued Cadwalladr for libel in connection with a 2019 TED Talk, 'Facebook's Role in Brexit – and the Threat to Democracy' and a Twitter post linking to the TED Talk. Cadwalladr had argued that Banks was not being transparent about his relationship with the Russian government. She and her legal team's success relied on a strong public interest defence. The verdict emphasised that in the TED Talk, Cadwalladr 'made a serious contribution to the discussion of a subject that was of real and abiding public interest at the time of publication. Moreover, the words complained of were themselves on an important matter of public interest.'
Media freedom under threat from rising lawsuits
While the verdict stipulated that the case was a clear defamation issue, ARTICLE 19 considers it a clear case of strategic litigation against public participation (SLAPPs), which have been on rise in recent years. Several law firms have developed aggressive tactics to facilitate cases on behalf of their wealthy clients, contributing to the problem. Rich and powerful people take advantage of claimant-friendly defamation laws in the UK and the steep cost of legal action to file lawsuits and threaten their critics. 'London Calling', an in-depth research conducted by ARTICLE 19 and Foreign Policy Centre, takes a closer look at the several most emblematic SLAPP cases brought to the London High Court and the challenges journalists who have been sued face.
The free expression and human rights community has repeatedly voiced alarm about the rise of the use of SLAPPs, which routinely call for six-figure settlement costs. If Banks, who founded the Leave.EU campaign, had won the case, Cadwalladr would have been forced to pay somewhere between £750,000 and £1m.
Today's decision should serve as another incentive for the Government to introduce comprehensive anti-SLAPP measures in the country. ARTICLE 19 urges the Ministry of Justice to launch a consultation with a view to introducing such an anti-SLAPP law in the next Parliamentary session. Any such law should include an early dismissal mechanism to filter out SLAPPs at the earliest possible point in proceedings, along with robust sanctions to deter the use of this type of litigation. Subsequently, courts should be empowered to issue security for costs and, where necessary, civil restraint orders against those pursuing SLAPPs.
ARTICLE 19 has previously called for robust measures to curb SLAPPs, including an early dismissal and decriminalisation of defamation. Our regional report discusses key patterns in cases from 11 countries across Europe, in particular severe imbalance of power between the defendant and the claimant. We analyse domestic legislation and applicable international standards as well as put forward recommendations.
In late April, ARTICLE 19 and its partners of The Coalition Against SLAPPs in Europe (CASE) welcomed the European Union initiative to tackle lawsuits designed to silence critical speech, shut down accountability, and undermine democratic rights. Together with CASE, we repeatedly urged the UK government to prioritise legislative reforms to protect journalists and others working in the public interest. "Our democracy relies on the ability to hold power to account," the coalition stated.
Read about the rise of SLAPPs in the UK
Read more about the lawsuit against Carole-Cadwalladr
Business and human rights Censorship Media Freedom


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Flagstaff Hill Maritime Village
Photograph - Mr Henry Giles, International Art Company, Circa 1880
The pair of photographs of Mr Henry and Mrs Mary Jane Giles was made by the International Art Company, the price was 30 shillings and the choice of frame was Rosewood. It is part of the Giles Collection, which also includes a photograph of the couple's daughter Christina Giles, who died in 1899 aged seven years. There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the "Giles Collection". Many items in the Lighthouse Keeper's Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera's parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor's Flat State School and where she eventually was to become a student teacher. After which she became a governess at "Injemiara" where her grandfather, Francis Freckleton, had once owned land. Henry and Mary's family consisted of six, some of the children were born at Mailor's Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.This photograph is locally significant due to its association with a local pioneering family. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it's establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation. The photograph itself is of added significance as we can see the faces of the family whose lives the collection represents . This photograph is a portrait mounted in an oval rosewood frame, one of a pair. This photograph is Henry Giles, dressed formally and showing a moustache and side-burns. The couple in the pair of photographs is Mr and Mrs Giles of Woodford, Victoria. The photographic studio was the International Art Company. It is part of the Giles Collection.Inscription on back of frame "International Art Company 30/-" "Rosewood"warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, photograph late 1800s, oval wooden frame, portrait, mrs mary jane giles of woodford victoria, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor's flat, wangoom, 19th century personal effects, mary giles, christine giles
Photograph - Mrs Mary Jane Giles of Woodford, International Art Company, Circa 1880
The pair of photographs of Mr Henry and Mrs Mary Jane Giles was made by the International Art Company, the price was 30 shillings and the choice of frame was Rosewood. It is part of the Giles Collection, which also includes a photograph of the couple's daughter Christina Giles, who died in 1899 aged seven years. There are many 19th century items of furniture, linen and crockery donated to Flagstaff Hill Maritime Village by, Vera and Aurelin Giles. The items are associated with Warrnambool and the Giles Family history. Items donated by the family have come to be known as the "Giles Collection". Many items in the Lighthouse Keeper's Cottage were donated by Vera and Aurelin Giles and mostly came from the home of Vera's parents-in-law, Henry Giles and his wife Mary Jane (nee Freckleton) who married in 1880 and whose photos are on display in the parlour. Henry was born at Tower Hill in 1858, and was a labourer on the construction of the Warrnambool Breakwater before leaving in 1895 for around seven years to build bridges in NSW. Mary Jane was born in 1860 at Cooramook and she attended Mailor's Flat State School and where she eventually was to become a student teacher. After which she became a governess at "Injemiara" where her grandfather, Francis Freckleton, had once owned land. Henry and Mary's family consisted of six, some of the children were born at Mailor's Flat and later some children at Wangoom. They lived with their parents at Wangoom and Purnim west, and this is where Henry died in 1933 and Mary Jane in 1940.This photograph is locally significant due to its association with a local pioneering family. The Giles family collection is of social significance at a local level, because it not only illustrates the level of material support the Warrnambool community gave to Flagstaff Hill during it's establishment. But the Giles collection also gives us today a snapshot into what domestic life was like in early colonial times prior to Federation. The photograph itself is of added significance as we can see the faces of the family whose lives the collection represents . Portrait photograph mounted in an oval rosewood frame, one of a pair. This photograph is Mary Jane Giles, dressed formally showing chest to head. Her hair is tied back hair and she has a neck band. The couple in the pair of photographs is Mr and Mrs Giles of Woodford, Victoria. The photographic studio was the International Art Company. It is part of the Giles Collection.Inscription on back of frame "International Art Company 30/-" "Rosewood"flagstaff hill, warrnambool, shipwrecked coast, flagstaff hill maritime museum, shipwreck coast, flagstaff hill maritime village, great ocean road, photograph late 1800s, oval wooden frame, portrait, mrs mary jane giles of woodford victoria, giles collection, henry giles, tower hill, cooramook, warrnambool breakwater, mailor's flat, wangoom, 19th century personal effects, mary giles, christine giles
Federation University Australia Historical Collection
Book - Art Book, Current Masters 2: World Wide Art Books, 2016
A artbooks featuring numerous artists. One of them is former Ballarat Technical Art School student and teacher Betty Collier (Thege). Collier's work is featured on pages 54-55. non-fictionbetty collier, art
Book - Art Book, Important World Artists: A World of Art, Vols 2, 3, 4, 2016
Three artbooks featuring numerous artists. One of them is former Ballarat Technical Art School student and teacher Betty Collier (Thege). 1.) betty Collier page 27 .2) Betty Collier pages 34-35 .3 Betty Colier pages 50-51non-fictionbetty collier, art, sarah lynch, karl weimung lu, daniel plasket, debra thompson, jeanette adams, yvette swan
Kew Historical Society Inc
Article, Kew Floral, Art & Industrial Society, 1897
A newspaper article describing a Kew Floral Industrial & Arts Society event associated with the Congregational Church in Kew. Article describing this 1897 local exhibition of art and industry, opened by the Mayor of Kew, Job Smith, which includes notable attendees and the award winning contestants.kew floral industrial and art society, amy grigg, sunday school competitions - 19th century - kew (vic)
Women's Art Register
Women's Art Register Bulletin, Women's Art Register Bulletin number 40
20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#40 3 News from the Register 4 Unique artworks by Melbourne "re-emerging " artist. Veronica Caven Aldous 5 Art among the guntrees – an unusual gallery at Tanja Kerry-Anne Cousins 6 Karen Ferguson's Pear Tree (memento mori) Penny Peckham 7 Plus, Loris Button, Sally Miller & Maryanne Coutts Dr Nola Stratford 9 Women's Suffrage in Victoria – Exhibition Margaret Gurney, A bare and beautiful exhibition 10 Art and Healing, paintings by Rosemary Mangiamele- Julianne Lewis 11 Sufferance: women's artists' books State Library of Queensland 12 Wise Reflections Dr Alison Richardson 14 Give up today… Naomie Sunner 15 Opportunities 17 Back issues 19 Membership details veronica caven aldous, kerry-anne cousins, karen ferguson, penny peckham, loris button, sally miller, maryanne coutts, dr nola stratford, margaret gurney, rosemary mangiamele, sufferance: women's artists' books state library of queensland, dr alison richardson, naomie sunner
Greensborough Historical Society
Pamphlet, City of Darebin, Bundoora Homestead Art Centre July-December 2017 Program, 2017_07
Program of activities and displays held at Bundoora Homestead Art Centre in 2017.10 p. pamphlet, col. illus.bundoora homestead
28 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author. #44 19 2 Heads are Better than 1 Judy Bourke
22 A Dark and Merry Dance - Mona Ryder Ingrid Hoffmann Arts Writer
28 Advertising rates
17 Artist Statement Dragica Milunovic 7 Art for Community Enjoyment. -
The Majura Women's Group Project Kerry-Anne Cousins 26 Arts Residencies in Asia 2009
6 From Mao to Now Denise Keele-Bedford
10 I call myself an artist. Carmel O'Connor
14 Josie Telfer - Nine Waves Richard Perry
18 Nature and Change Ev Hales
carmel o'connor, judy bourke, ingrid hoffmann, mona ryder, dragica milunovic, kerry-anne cousins, denise keele-bedford, josie telfer, ev hales, margaret gurney, anna glynn, lea kannar, janet goodchild chuffley, desiree radi-mansbridge, sayraphim lothian, noela stratford, sasha grishin, annette vincent, women's art library london, annette iggledon, gail stiffe, althea greenan
28 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.#43 3 News from the Register Gail Stiffe July 2008
25 Nude Margaret Gurney
5 Parallel Dreams Anna Glynn
24 Reflection Helen Clancy and John Bainbridge
13 Success for one of our members Lea Kannar
9 Tin Sheds Gallery, Malmsbury Janet Goodchild-Cuffley and
Desiree Radi-Mansbridge
26 Totem Sayraphim Lothian
12 Travelling: Time, Place and Translation:
1 998 – 2008 Noela Stratford
19 Warringah Printmakers Sasha Grishin
21 Water Ghosts Annette Vincent,
15 Women's Art Library Gail Stiffe and Althea Greenan
7 Words and Images Annette Iggledonmargaret gurney, judy barrass, kate hendry, jan delaney, irina kuzminsky, ramona barry, kevin murray, ellen michel, francesca mataranga
Wheen Bee Foundation
Publication, Sutherland, G, Bees [fine art catalogue], (Sutherland, G.), London, 1977
Bendigo Soldiers Memorial Institute Military Museum
PRINT, FRAMED
The soldier in the photo is Nr 1366, Dvr Donald GILLIES of the 4th Field Artillery Brigade. The grey horse, Bess, was blinded by shell fire. The bay horse was Lady. Photo was taken near Villers-Bretonneux. For photo of the four Gillies brothers, refer to Reg No 3531. For book refer to Reg No 3534.Photographic print in colour of a soldier smoking a pipe. He is in uniform - slouch hat, jacket, trousers, puttees & boots, alongside 2 horses. Print is mounted in wooden decorative frame with floral arrangements at top, bottom & both sides. Frame is rounded at top & at each corner with curved glass front. Wire hanging strap on back.Written in black texta on back: Donated by J Gillies Stamped on back: Empire Art Company Ltd
Eltham District Historical Society Inc
Book, Percy Leason, 1889-1959 : centenary exhibition / [organised by Castlemaine Art Gallery & Historical Museum for tour to Victorian Regional Art Galleries], 1989
Paperback; 1 v. (unpaged) : ill. ; 22 cm.percy leason, artists
Book, Art Ages, 1929 (exact)
Pedro J. Lemos was an educator and artist. He was also the editor of the School of Arts Magazine and Director of Stanford University Museum of Fine Arts. He was born in 1882 and died in 1954. This art portfolio contains ten periods of art history: Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Some of the images are: The Temple of Luxor in Egypt, Temple of Zeus, the Arch of Titus, Gothic cathedral in Cologne, Assyrian furniture and weapons, Greek architectural decorations, Byzantine costumes, Renaissance weapons and household articles, plus much more. Blue, large, hard cover. Black tape edges and spine. Title is written in orange on front cover. Ribbon ties stitched to the edge of the cover used to close book by tying them together. Loose pages showing coloured and b/w illustrations of the ages of art. Includes fold-out text booklet with five pages. The book has a number of coloured prints of examples of art through the ages, including Egyptian, Assyrian, Grecian, Roman, Byzantine, Romanesque, Saracenic, Gothic, Renaissance and Georgian. Inside the front cover there is a plate titled "Ballarat Techincal Art School Library no. R/400". It is also stamped with the publisher's details. art, art ages, pedro j lemos, historic art, egyptian art, grecian art, roman art, byzantine art, romanesque art, saracenic art, gothic art, renaissance art, american colonial art, assyrian art, ancient costumes, ancient weapons, ancient instruments, ancient household articles, ancient furniture, ancient architectural, textile decorations
Old Colonists' Association of Ballarat Inc.
Photograph - Photograph - Colour, Ballarat Old Colonists' Club World War One Honour Board, c1919
This Honour Board was made by the Ballarat Technical Art School, a division of the Ballarat School of Mines. Timber honour boards with names on repoussed copper. ballarat old colonists' club, old colonists' association, honour board, world war one, world war i, a.h. white, w.s.t. morgan, g.f. morgan, e.s. holgate, j.s. lazarus, m. mcgregor, j.g. tyler, j.d. tassell, dr j.k. richards, a.w. bennett, t.e. peart, f. beaton, j.r. cameron, f.f. brind, l malin, h.g. morrow, r.s. anderson, t.c. naples, n.h. jones, f.h. ronaldson, t.j. entwistle, ballarat technical art school
Phillip Island and District Historical Society Inc.
Photocopy, Tudor Inn Art Gallery
Tudor Inn Art Gallery was originally the Catholic Church in Chapel Street, Cowes.Copy of drawing or lino print of Tudor Inn Art GalleryTudor Inn Art Gallery - Lance Sullivantudor inn cowes, churches, cowes catholic church phillip island, cherry mcfee
Warrnambool and District Historical Society Inc.
Booklet, Art Gallery Ballarat, 2015
This is the program for the exhibitions and activities conducted by the Art Gallery of Ballarat in the winter of 2015. It includes the exhibition of the works of James Meek, of particular interest to Warrnambool as Meek was resident there for a number of years in the 19th century. The Ballarat Art Gallery is the largest and oldest regional art gallery in Australia, being established in 1884. The booklet is of interest as it shows the depth and variety of exhibitions and activities held at a regional art gallery. It includes the exhibition of the works of James Meek, a 19th resident of Warrnambool where he was well-known as a fishing company operator, a punt operator, a fisherman, a writer and lecturer and a gold prospector in the Otway Ranges. His calligraphy works are of great interest, both artistically and historically and one of his works belonging to the Warrnambool and District Historical Society was loaned to Ballarat for this exhibition. This is a booklet of 32 pages containing the program of the Art Gallery of Ballarat for Winter 2015. It contains logos of sponsors, a floor plan of the gallery, black and white and colour photographs and sketches and printed material on each exhibition. The cover has a reproduction of an image from Norma Redpath's 'Flight From Jerusalem' art work. Front Cover: 'Art Gallery of Ballarat, Winter 2015'art gallery of ballarat
Book, Walter Withers : a survey / Geelong Art Gallery, October 10 to November 21, 1975
Paperback; 11 p. : ill. (some col.) ; 22 cm.artists, walter withers
20 page Magazine photocopy in black and white with following contents where the first figure is the page number and this is followed by the article title then the author.catherine hearse, ev hales, maxienne tritton young, anna glynn, kerry-anne cousins, naomi downie, marilyn newby, irina kuzminsky, regina mcdonald
Women's Art Register Bulletin, 2003
Photocopied Booklet 14 pages A4dianne beevers, elizabeth milsom, elizabeth james, carol bryan, margaret nixon, nora sumberg, judy bourke, veronica caven aldous, patricia alexander, maxienne tritton young, ann marie power, nu horizons 2003, maggie mc cormick, inter-twined 9, depth of field karen hall and louise tegart
Artwork, other - Public Art, Helen Bodycombe; Art Loop, Sam Merrifield Library, Mosaic, Art Loop, 1996
None1996Public ArtCeramic tile mosaic set in footpath red and blue background with line images of a woman holding an object, yellow, and line image of open book in white, several white dots that could be braille.library, community resources, information, knowledge
Artwork, other - Public Art, Ribbon Timeline, Mosaic, Art Loop, 1996 - 97
None A Job Skills Public Arts Program in 1996-97 which also made three other original mosaics and a series of hand painted step edges around Queens Park Cottage. Public Art, MosaicHelen BodycombA Mosaic depicting time; day, night, young old, seasons and growthseasons, time, growth, life, death
Plan, Plan for the Ballarat Technical Art School, c1914, 05/04/1913
The Ballarat Technical Art School building opened in 1915. It was a division of the Ballarat School of MinesPlanes for the Ballarat Technical Art School basement and ground floor, featuring hand coloured sections. Wood Carving and Metal Working were located in the basement. Scale is 8 feet to 1 inch School of Mines Ballarat New Art School C.B.G.5.4.13ballarat school of mines, ballarat technical art school, plan, buildings, metalwork, wood carving, freehand and plant drawing, model and cast drawing, lecture room, modelling room, light and shade, architectural drawing
Ringwood and District Historical Society
Leaflet, Souvenir Catalogue. Ringwood High School Art Show - 1961
Souvenir Catalogue. RHS Art Show. Held at the showrooms of Bill Patterson Motors, Whitehorse Road, Ringwood for Ringwood High School.|Opened by Eric Westbrook Director of the National Gallery of Victoria. Sponsored by Bill Patterson and Mr Ormondy. Arranged by Mr R. Harman and Mr H. Hudson.Souvenir Catalogue. RHS Art Show. Brown bifold heavy paper with dark terracotta coloured design and black printing. +Additional Keywords: Patterson, Bill / Ormondy, G. S. / Westbrook, Eric / Harman, R. / Hudson, H.Souvenir Catalogue. RHS Art Show. Ringwood High School.
Leisure object - Stereoscope, H C White, Late 19th century
The development of stereoscopic photography views or stereographs was immensely popular in the United States and Europe from about the mid-1850s through the early years of the 20th century. First described in 1832 by English physicist Sir Charles Wheatstone, stereoscopy was improved by Sir David Brewster in 1849. The production of the stereograph entailed making two images of the same subject, usually with a camera with two lenses placed 6 cm apart to simulate the position of the human eyes, and then mounting the positive prints side by side laterally on a stiff backing. Brewster devised a stereoscope through which the finished stereograph could be viewed; the stereoscope had two eyepieces through which the laterally mounted images, placed in a holder in front of the lenses, were viewed. The two images were brought together by the effort of the human brain to create an illusion of three-dimensionality. Stereographs were made of a wide range of subjects, the most popular being views of landscapes and monuments and composing narrative scenes of a humorous or slightly suggestive nature. Stereoscopes were manufactured for various price ranges and tastes, from the simple hand-held device introduced by Oliver Wendell Holmes who promoted stereography through articles to elaborate floor models containing large numbers of images that could be flipped into place. The stereograph became especially popular after Queen Victoria expressed interest in it when it was exhibited at the 1851 Crystal Palace Exposition. Like television today, stereography during the second half of the 19th century was both an educational and a recreational device with considerable impact on public knowledge and taste. The Fine-art Photographers Publishing Co-published many stereoscopic pictures from many different photographers from around the world under license. They also not only sold these photos of various scenes and of famous people of the time but also were retail sellers of the viewers with the subject item having been made in the USA probably by H C White who held the patent for the subject items design from 1895 to 1902. (For more information on the manufacturer of this item see note section this document).An item that was very popular from the mid 19th century through to the beginning of the Edwardian period. Used for entertainment and also educational purposes and significant as it gives us a snapshot into the Victorian era and its social and domestic societal norms. Stereoscope viewer with adjustable view-finder with broken handle unattached and screw at end of handle. The padding on the nose rest is coming adrift. The Fine-art Photographers Publishing Co 46 Rydevale Road, London, SW, engraved pattern on lens cover warrnambool, shipwrecked-coast, flagstaff-hill, flagstaff-hill-maritime-museum, maritime-museum, flagstaff-hill-maritime-village, stereoscope
Book - Art Book, International Contemporary Masters X111, 2019
A artbooks featuring numerous artists. One of them is former Ballarat Technical Art School student and teacher Betty Collier (Thege). Collier's work is featured on pages 65 . .1) Collier's work is featured on pages 65 . .2 ) Collier's work is featured on pages 66 . non-fictionbetty collier, art, michelle purves, jillian grombeek, jean marc la roque, christine vella
Peterborough History Group
Book, The Inimitable Mr Meek, 2015
Mr Meek was the first person to build a house in Peterborough prior to 1858. Born in England in 1815 and came to Australia in 1838. this catalogue showcases his artistic skill. The art exhibition was curated by Joan Luxemburg as part of her PHD.Mr Meek is credited with building the first house in Peterborough. He was an artist and had a varied and interesting life and this book mentions the dates he was in Peterborough (Curdies Inlet, as it was then known) and his activities in Peterborough. 85 page soft cover catalogue of an exhibition held at the Art Gallery of Ballarat in 2015mr james mckain archibald john meek, calligraphy, calligraphic works, graphic arts, joan luxemburg, peterborough, curdies inlet
Photograph, Clare Gervasoni, Ballarat School of Mines Technical Art School, c2008
The former Ballarat Circuit Court Building, later the first building of the Ballarat School of Mines, was demolished to make way for a new custom built Art School building. Sir Alexander Peacock opened the Ballarat Technical Art School in July 1915. It cost 10,000 pounds and was constructed by the Public Works Department from plans drawn by the then Art School Principal, Herbert H. Smith. The building contractors were Messrs Gower and Eddards. According to the SMB Annual Report of 1914 'the internal upholstering and fittings have all been carried out in Australian timbers, with Queensland maple largely used throughout.' Before this building was constructed art and craft classes were held in various buildings around Ballarat. The building could be described as federation-art deco in style. It features sandstone insertion with sandstone string coursing. The base of the building is rusticated sandstone. The relief stone panel on the front with the words "Technical Art School" features stone pilaster brackets and corbels. In the centre front can be seen rectangular sandstone pediment with decorative stonework incorporating the date of construction. The windows in the lower floor feature five supporting keystones whereas the upper windows have sandstone lintels. The building also features decorative cast iron downpipes. The entrance on the northern side has attractive leadlight glazing in an art deco style. Above the door a miner's lamp and pick are featured in the design. The building is functional in design with large metal windows in the south wall to ensure good light into the studios. The northern wall has standard double hung windows. The interior of the building features a carved wooden staircase and cast iron ceiling vents. The rear drawing studios can be made into one large studio by opening panelled timber doors. This opening features classical plaster pilasters with a pediment above.Colour photographs of a double storey, red brick building built - the Ballarat Technical Art School, a division of the Ballarat School of Minesballarat school of mines, ballarat technical art school, architecture, art, gribble building
Document, Ballarat School of Mines and Industries Ballarat: The Art School, c1948
Entrance requirements for a full-course student was an Intermediate Certificate of equivalent. The Certificate of Art was a two year course of basic study to enable students to undertake a further two years of specialised training in a chosen field of art. The Diploma of Art was a two-year course of specialised training available to students, who have passed the Certificate of Art Examination or its equivalent. Candidates of the examination must be at least 19 years of age, must have completed two years' full -time training or not less than three years' part-time training, and must present for the Matriculation examination for English Expression. Part-Time classes at the Ballarat Technical Art School c1948 were: Day: Dressmaking, Weaving, Leatherwork, Pottery, Metalwork, Painting, Sculpture, Junior Art. Evening: Dressmaking, Weaving, Leatherwork, pottery, Metalwork, Painting, Sculpture, Ticket Writing, Lettering, Figure Drawing. Two fold, 6 page information flyer on classes held at the Ballarat Technical Art School. The Art school offered Diploma of Art, Certificate of Art and Part-time classes.ballarat technical art school, art, diploma of art, certificate of art, part-time classes, syllabus, design, scholarships, diploma of art in pottery, diploma of art in advertising, art education, dressmaking, weaving, leatherwork, pottery, metalwork, painting, sculpture, junior art, dressmaking, weaving, leatherwork, pottery, metalwork, painting, sculpture, ticket writing, lettering, figure drawing
Slide kit, Nonagon Slide Kit: 9 Contemporary Australian Women Artists, 1991
Produced by the VCE Consultative Committee: Women's Art Register in 1991 at a time when art courses in secondary schools had little material to use in relation to Australian women artists. An invaluable resource for secondary school teachers to broaden the scope of student knowledge about women artist's and thereby offer alternative role models for art students. This slide kit and booklet is a comprehensive, practical resource which provides a rare snapshot of women's art practices in the early 1990s. It is an excellent resource for research and teaching purposesKit containing 74 page booklet and 36 slides, activities, artist's comments and other source materials. Published in 1991 by the Women's Art Register. Artists include Elizabeth Gower, Sally Smart, Wendy Stavrianos, Pam Hallandal, tori de Mestre, Lyn Moore, Deborah Halpern, Tracey Moffat & Jill Orr. Cover image by Jill Orr, 'Walking on Planet Earth'elizabeth gower, sally smart, wendy stavrianos, pam hallandal, tori de mestre, lyn moore, deborah halpern, tracey moffat & jill orr.
Australian National Surfing Museum
Book, Switch-foot (surfing art music), 2005
Switch-foot is a classic publication out of Australia 2005. This 210 page hardcover book has many of the immortal surfing images from the golden era in surfing from photographers such as Albe Falzon, George Greenough and Jack Eden. Stories from: George Greenough looking at his simple genius and his movie magic with 'Dolphin Glide' and 'Behind the Scenes.' The unmasking of the truth behind Peter Drouyn, 12 legends of the Lens (images from the golden era) The telling of Dick Van Straalen's story and his current relationship with Dave Rastovich The art of Harry Daily Global surf travel with Colas Thomas Campbell drops by Rasta and friends music with the exploration into the mystery of the art of jamming Discussions about sustainable surfcraft production with Tom Wegener, the unveiling of new school talent within music and photography and also talking to important leaders in the field of classic surfing to gather information on surfboard design, single fin surfing and fin dynamics. Music from low pressure sound systems in the story titled 'the art of jamming' A significant publication that explores art, photography and music in surfing culture.Switch-foot (surfing art music) is a hard copybook of surfing photography with a black cover featuring 5 art panels and one panel with text. 'Switch-foot surfing art music'.ISBN 0-646-45057art, surfing, jack eden, switchfoot, music, surf photography, alby falzon, george greenough, peter drouyn, dolphin glide, dick van straaleen, jim banks, peter crawford, mark richards

redpajama_set_name: RedPajamaCommonCrawl


text:
Промза — река в России, протекает по Ульяновской области и Республике Мордовия. Левый приток реки Суры.

География
Река Промза берёт начало в Кабаевском лесу в Дубёнском районе Мордовии, западнее села Сайнино на высоте около 200 метров над уровнем моря. Течёт на восток по территории Сурского района Ульяновской области. Устье реки находится в посёлке Сурское в 341 км по левому берегу реки Суры на высоте 88 метров над уровнем моря. Длина реки составляет 22 км, площадь водосборного бассейна — 127 км².

В верхнем течении протекает по оврагу высотой 2—3 м. Река протекает по открытым ландшафтам, лишь исток находится на опушке лесного массива. Долина реки шириной 0,5—1 км слабо разработана под нужды сельского хозяйства, в то время как большая площадь бассейна занята обрабатываемыми полями. У посёлка Сурское река имеет ширину около 3 м, глубину 0,3—0,5 м. Грунт илистый, толщина ила до 30 см. Отдельные участки русла открытые, отдельные поросшие ольхой чёрной.

Данные водного реестра
По данным государственного водного реестра России относится к Верхневолжскому бассейновому округу, водохозяйственный участок реки — Сура от Сурского гидроузла и до устья реки Алатырь, речной подбассейн реки — Сура. Речной бассейн реки — (Верхняя) Волга до Куйбышевского водохранилища (без бассейна Оки).

Код объекта в государственном водном реестре — 08010500312110000037019.

Примечания

Притоки Суры (приток Волги)
Реки Сурского района
Реки Мордовии

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Uses of Interface com.avaje.ebean.SqlUpdate (Ebean 2.6.0 API)
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Uses of Interface
com.avaje.ebean.SqlUpdate

Packages that use SqlUpdate

com.avaje.ebean
Core API (see Ebean and EbeanServer).

Uses of SqlUpdate in com.avaje.ebean

Methods in com.avaje.ebean that return SqlUpdate

 SqlUpdate
EbeanServer.createNamedSqlUpdate(String namedQuery)

          Create a named sql update (refer
 Ebean.createNamedSqlUpdate(String)).

static SqlUpdate
Ebean.createNamedSqlUpdate(String namedQuery)

          Create a named sql update.

 SqlUpdate
EbeanServer.createSqlUpdate(String sql)

          Create a sql update for executing native dml statements (refer
 Ebean.createSqlUpdate(String)).

static SqlUpdate
Ebean.createSqlUpdate(String sql)

          Create a sql update for executing native dml statements.

 SqlUpdate
SqlUpdate.setAutoTableMod(boolean isAutoTableMod)

          Set this to false if you don't want eBean to automatically deduce the
 table modification information and process it.

 SqlUpdate
SqlUpdate.setLabel(String label)

          Set a descriptive text that can be put into the transaction log.

 SqlUpdate
SqlUpdate.setNull(int position,
        int jdbcType)

          Set a null parameter via its index position.

 SqlUpdate
SqlUpdate.setNull(String name,
        int jdbcType)

          Set a named parameter that has a null value.

 SqlUpdate
SqlUpdate.setNullParameter(int position,
                 int jdbcType)

          Set a null valued parameter using its index position.

 SqlUpdate
SqlUpdate.setNullParameter(String name,
                 int jdbcType)

          Set a named parameter that has a null value.

 SqlUpdate
SqlUpdate.setParameter(int position,
             Object value)

          Set a parameter via its index position.

 SqlUpdate
SqlUpdate.setParameter(String name,
             Object param)

          Set a named parameter value.

 SqlUpdate
SqlUpdate.setTimeout(int secs)

          Set the timeout in seconds.

Methods in com.avaje.ebean with parameters of type SqlUpdate

 int
EbeanServer.execute(SqlUpdate updSql)

          Execute a SQL Update Delete or Insert statement using the current
 transaction.

static int
Ebean.execute(SqlUpdate sqlUpdate)

          Execute a Sql Update Delete or Insert statement.

 int
EbeanServer.execute(SqlUpdate updSql,
        Transaction t)

          Execute explicitly passing a transaction.

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The Sony MILC (Mirrorless Interchangeable Lens Camera) lens lineup would not be complete without a high quality, wide-aperture 85mm prime lens to satisfy the discerning needs of bokeh-loving portrait photographers everywhere. As such, Sony included the FE 85mm f/1.4 in its introductory announcement for the top-of-the-line GM (Grand Master) lens series. But while the 85mm and f/1.4 combination may be renowned by portrait photographers the world over, a medium telephoto focal length combined with a blur-inducing wide aperture is also prized for a varied range of purposes.
And as far as 85mm primes go, at review time, the FE 85mm f/1.4 GM is hands-down the best option for those invested in Sony-based camera kits, especially from an image quality perspective where this lens delivers impressively.
A prime lens, by definition, has one focal length. So when you purchase a prime lens, that one focal length must suit your needs. Thankfully, there are many uses for the 85mm focal length, though the standout use is, as already alluded to, portrait photography.
Primarily for perspective reasons, the classic portrait focal length range is from 85mm through 135mm (after FOVCF is factored in). An 85mm lens hits the bottom classic range figure on a full frame camera and, at a 127.5mm angle of view equivalent on an APS-C 1.5x body, it remains in the ideal portrait range on this format also. An APS-C format camera of course requires a longer working distance to get the same framing as a full frame camera (and therefore will have more depth of field and a less-strongly blurred background at the same aperture).
The "portrait photography" designation is a broad one that covers a wide variety of potential still and video use including with subject framing variations ranging from moderately-tight head shots to full body portraits and with a wide variety of potential venues including both indoors and outdoors. Portrait subjects can range from infants to seniors, from individuals to large groups. Engagements, weddings, parties, events, theater, stage performances including concerts and recitals, families, small groups, senior adults, fashion, documentary, lifestyle ... all are great uses for the 85mm focal length. There is often adequate space in even a small studio for portraiture with an 85mm-provided angle of view. I have done entire senior sessions with a wide aperture 85mm lens and subjects always love the results from this focal length.
That portrait photography is one of the best revenue-producing genres out there helps justify the acquisition cost of this lens (you cannot buy stock photos of most people). I also argue that there are no subjects more important than people.
The image below shows the Sony FE 85mm f/1.4 GM Lens capturing a portrait during a recital (captured at f/1.4).
Regardless of the camera format being used, the 85mm focal length can be useful for landscape photography.
Some sports, such as basketball, can be captured with an 85mm lens, and thanks to the ultra-wide aperture, this lens can capture such events in very poorly-lit venues including gymnasiums. This focal length also works very well for architecture, products (medium through huge), commercial, general studio photography applications and a wide range of other subjects.
With only a few exceptions, the f/1.4 max aperture made available by this lens is as wide as MILC lenses get. The wider the aperture, the more light that is able to reach the imaging sensor. Allowing more light to reach the sensor permits freezing action, handholding the camera in lower light levels and/or use of a lower (less noisy) ISO setting.
Increasing the opening also permits a stronger, better subject-isolating background blur. The shallow f/1.4 depth of field must of course be acceptable to you in these circumstances, but a shallow depth of field is a highly-desired lens capability, perfect for making the subject pop from a blurred background. I love the shallow DOF look which draws the viewer's attention to the subject by eliminating background distractions. This capability also adds artistic-style imaging to this 85mm lens' capabilities list.
The images above and below demonstrates how the Sony FE 85mm f/1.4 GM can make the background melt away.
While I had decent lighting at this recital, it was still indoor lighting and that I could easily handhold this lens at an also-subject-motion-stopping shutter speed using only ISO 100 was awesome. The f/1.4 wide aperture is especially valuable after the sun sets, under shade and when shooting indoors, including indoors using only ambient window light.
Note that, especially under full sun conditions, you might find even 1/8000 second shutter speeds not fast enough to avoid blown highlights in f/1.4 images. Use of a neutral density filter may be needed to keep images dark enough at f/1.4 under such conditions. Shooting with a narrower aperture always remains an option.
Unique for a lens of this class is that an aperture ring is provided, permitting a manually-chosen aperture to be selected. With the ring in the A (Auto) position, the camera controls the aperture setting. All other settings force the aperture to the selected opening and a 2-position switch on the bottom right side of the lens toggles between 1/3 stop clicks and smooth, non-clicked adjustment. The aperture is electronically controlled by the ring and the response, though fast, is not immediate and when de-clicked, not perfectly smooth.
There are notable drawbacks to lenses that feature very wide maximum apertures compared to lenses with narrower max apertures. Wider max aperture lenses require the use of larger and heavier glass elements which, in turn, lead to larger and heavier lenses. Unfortunately, those larger elements are not only evidenced by the increased weight, but also in the increased price of the lens.
For most photographers, the benefits of a wide max aperture prime lens far outweigh the drawbacks.
The Sony FE 85mm f/1.4 GM Lens is not optically stabilized, but Sony takes care of that issue with Steady Shot or IBIS, the acronym for "In-Body Image Stabilization". On a traditional DSLR with an optical viewfinder, IBIS results in an unstabilized view, meaning that stabilization was not helpful for composition or for providing a still subject to the camera's AF system. With EVFs being prevalent in Sony's lineup, the viewfinder and AF-based image are being read from the imaging sensor – which is stabilized. Therefore, when the 85 f/1.4 GM is used on one of these cameras, the viewfinder image is very nicely stabilized.
Mounted on a Sony a7R III with Steady Shot enabled and shooting in ideal conditions (indoors, concrete floor), I was able to handhold this lens with nearly perfect results down to a 1/15 second shutter speed. A sudden drop to a just under keeper rate a 50% was experienced at 1/13 sec., followed by an improved just-over-60% keeper rate at 1/10 second. Results steadily became worse at longer exposures.
Again, this testing was under ideal circumstances and your results will vary dependent on your own skills and the conditions you are shooting in, but IBIS contributed very nicely to the handholdability of this lens. Combine f/1.4 with IBIS and it seems that this lens can be handheld in even the darkest circumstances (as long as the subject is relatively still), greatly aiding the versatility of this lens.
How sharp is the Sony 85mm f/1.4 GM Lens? That is a highly relevant question and we'll begin that answer by looking at the lab image quality results where we see this lens turning in very good sharpness from full frame corner to full frame corner. The resolution at f/1.4 is excellent with even very fine details being captured. Sharpness, notably contrast, shows a significant bump of improvement at f/1.6. Another touch of improvement is visible at f/2 where image quality becomes quite impressive throughout the frame. At f/2.8, the sharpness this lens delivers is amazing.
In addition to our standard lab tests, I like to share some real world examples. Following are center-of-the-frame 100% crops from images captured with a Sony a7R III. Capture One processing settings include a natural creative style with a sharpness setting of "30" and no lens aberration corrections. Sony a7R III RAW images were processed to 16-bit TIFF, cropped to show 100% resolution and output to 70-quality JPG images.
Again, we see the f/1.4 results showing excellent resolution. Add a touch of contrast increase and they will appear especially nice. F/2 brings that contrast increase naturally and the results at f/2.8 are very impressive.
I didn't need to include the f/4 and f/5.6 results as they primarily show increasing depth of field. However, I was observing a slight focus shift toward the rear as the aperture narrows and wanted to show that evaluation in the samples. Especially since Sony cameras focus with as-set apertures vs. these sharpness samples being focused once at f/1.4 prior to all of the test image captures, there should be practically no real world issues in this regard.
Now let's look at the Sony 85mm GM's corner image quality with similarly processed images.
If I told you the f/1.4 crop was from the center of the frame, you would likely be impressed. That it is from the absolute top left corner of the frame raises the impressiveness dramatically. By f/2.8, with peripheral shading clearling significantly, the corner of the frame is razor sharp.
Corner of the frame performance is not important for all uses of an 85mm lens, including many portrait uses, but sometimes corner performance matters a lot and this lens is ready to capture your scene with razor sharp corners.
Certain is that a wide aperture full frame lens is going to show peripheral shading when used on a full frame body and this one exhibits that feature. At f/1.4, full frame corners are darkened by about 3 stops. At f/2, between 1.5 and 2 stops of shading is evident and at f/2.8 through f/4, a little more than a stop of corner shading remains. Rarely will the .5 stops of shading at f/5.6 show. Corner shading remains level at about .5 stops through f/8 and drops to a negligible roughly .3 stops through the narrower aperture range.
Vignetting can be corrected during post processing with increased noise in the brightened areas being the penalty. Vignetting can also be simply embraced, using the effect to draw the viewer's eye to the center of the frame and this option often works well for portraits – unless the subject's face falls into the shaded area of the frame.
The effect of different colors of the spectrum being magnified differently is referred to as lateral (or transverse) CA (Chromatic Aberration). Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii) with the mid and especially the periphery of the image circle showing the greatest amount as this is where the greatest difference in the magnification of wavelengths exists. Let's look at a worst-case example from this lens, a 100% crop from an extreme corner of an ultra-high resolution a7R III frame. This is the top left corner.
There should be only black and white colors in these images and the lack of easily visible additional colors show lateral CA being very well controlled. Fortunately, when lateral CA is evident, it is easily software corrected (often in the camera) by radially shifting the colors to coincide.
Another common lens issue affecting sharpness in ultrawide aperture lenses is spherical aberration along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier). The spherical aberration color halo shows little size change as the lens is defocused and stopping down one to two stops generally removes this aberration.
In the real world, lens defects do not exist in isolation with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures - and create a challenge for evaluating a lens. Since all colors are not focused identically, the perfect test focus distance setting becomes vague with the high resolution black and white test chart being especially unforgiving. The focus distance setting that shows the highest resolution must be selected, but with colors not being focused identically, some fringing is commonly seen at very wide apertures.
Below are 100% crop samples taken from near the center of the frame.
The primary subjects are silver bracelets and obviously, the highlight fringing color is not the same in the background as it is in the foreground. This attribute is not unusual for fast 85mm lenses, but it is not stellar either.
The Sony 85 f/1.4 GM handles flare very well. With the sun in the corner of the frame, minimal flare effects (primarily a loss of contrast) can be seen at the widest apertures. Minor flaring effects become visible by the middle of the aperture range and through f/16. This lens' flare performance is 85mm-class-leading.
Coma is generally recognized by sharp contrast towards the center of an image and long, soft contrast transition toward the image periphery. Coma becomes quite visible mid-frame and in the corners of images captured at wide apertures and significantly resolves when the lens is stopped down. Astigmatism is another lens image quality attribute that is especially apparent in the corners and the pin-point stars in the night sky are a subject that makes these aberrations, along with some others, easily recognizable to me. The following image is a 100% crop taken from the top right corner of an a7R III frame.
While the stars are sharp and nicely rounded, the wings are a bit ugly.
One of many good reasons to buy a prime lens (vs. a zoom) is for low linear distortion and that is a good reason to get this lens. The Sony 85mm f/1.4 GM Lens shows a only small amount of pincushion distortion, barely discernable at the bottom of this reduced-size un-cropped image.
Here are some examples of out-of-focus specular highlights this lens creates with BG and FG representing background and foreground respectively.
The f/11 100% crop examples are from near center of the frame and show the results of aperture blade interaction. These results look very nice and the specular highlights are especially round for an f/1.4 lens stopped down this much. That feature is courtesy of the huge blade-count aperture – the 11 rounded blades keep things nicely round even at this tiny aperture.
The last two bokeh example images are 100% crops showing natural backgrounds being rendered very smoothly at f/8.
With an odd-numbered aperture blade count, point light sources captured with a narrow aperture and showing a star-like effect will have twice as many points as aperture blades or 22 points in this case.
Are 22 points too many? That answer is a personal preference. I tend to like many points on my stars, but 22 might be too many for me.
I don't see image quality stopping anyone from buying this lens. In fact, image quality is going to sell a lot of these lenses. The Sony 85mm f/1.4 GM Lens delivers superb image quality.
The 85 f/1.4 GM lens' AF system utilizes Sony's Direct Drive SSM (Super Sonic wave Motor). This system is quiet and the lens can focus very fast, though unfortunately in this case, the speed of focusing is in part controlled by the camera. The Sony a7R III (and most/all other current Sony MILC cameras) de-focuses the lens slightly before focusing on the subject, even if focusing to the same distance as the lens is already focused to and even with the same motionless subject, for an overall mediocre focus speed.
The lens focuses quickly and the focus speed is adequate for most uses, but don't expect to hit the shutter release and have an instant photo captured. There is a slight pause and this was a bit of an issue for me when photographing the recital mentioned earlier in the review. When photographing a violinist, the position of the bow changes rapidly and not all positions are equally photogenic. With the a7R III and 85 f/1.4 GM, I needed to prefocus and then time the shutter release to capture the desired position, hoping the subject didn't move in the meantime.
Sony's always-stopped-down-to-the-set-aperture strategy has some benefits including constant depth of field preview, but it also means much slower AF is experienced at narrow apertures with hunting and failure-to-lock issues becoming more prevalent.
The Sony 85mm f/1.4 GM Lens focuses internally with impressively-consistent accuracy. In AF-C (Continuous AF) focusing mode capturing action, performance was decent with a good majority of images being properly focused. While the lens and AF system appear ready for action photography, it must be noted that the EVF in the a7R III and most of Sony's other current MILC cameras (excluding the Sony a9) are not. The viewfinder blackout/freeze time is too long to permit the photographer to adequately track moving subjects and timing the first image in a burst is a good tactic with these camera models.
Unique to a lens of this type is an AF hold button. While in continuous focus mode, this button can be pressed to lock focus at the currently selected focus distance, permitting a focus and recompose technique. This button also acts as a custom button (C5) and can be programmed to another function using the camera's menu (note that not all models are supported).
FTM (Full Time Manual) focusing is supported via Sony's DMF (Direct Manual Focus) AF mode.
The manual focus ring is nicely sized, is very smooth, is ideally dampened and the 127° of rotation is just right for precise manual focusing at all distances. With an ear to the lens, the very-well-done focus-by-wire implementation can be discerned by blips of motor noise interacting with the focus ring adjustment. There is a moderate change in subject size as full extent focus adjustments are made.
Focus distance marks are not provided and the lens does not feature hard stops at the extents of its focusing range. However, a focus distance meter will show in the lower portion of the electronic viewfinder during manual focusing.
The Sony 85mm f/1.4 GM has a 31.5" (800mm) minimum focus distance spec and the related maximum magnification spec is 0.12x. That number is closer to the bottom of lenses in general and certainly nothing to get excited about, but this number is practically a standard for 85mm f/1.4 lenses.
Perhaps most important for this specific lens is that it is capable of framing relatively tight head shots. Following is a maximum magnification example with the largest flower measuring about 2" (51mm) in diameter.
To reduce the MFD and thereby increase the MM, mount an extension tube behind this lens. Understand that infinity and long distance focusing are sacrificed with an ET in use.
The Sony FE 85mm f/1.4 GM Lens is not compatible with the Sony FE 1.4x or FE 2.0x Teleconverters.
The G Master lens series represents Sony's best-available lenses and as expected, this one qualifies for its GM badge.
Sony FE lenses have a rather narrow mount and, to accommodate an 85mm f/1.4 lens design, a substantial diameter increase not far into the lens is necessary. Once the wider diameter is reached, the lens maintains a mostly straight design with a slight diameter increase occurring at the focus ring, making it easy to tactilely find. The outer barrel is an engineering plastic design.
Sony focus rings make distance adjustments by turning in the same direction as Canon lenses (the opposite of Nikon lenses).
Overall, this lens' build quality seems very high with all ring and switches having a precision feel to them.
While this lens will often be used indoors, it also shines outdoors and since the sun doesn't always shine, weather sealing can save the day. This lens features weathering sealing, including a gasketed mount as seen below.
More specifically, the owner's manual states: "This lens is not water-proof, although designed with dust-proofness and splash-proofness in mind. If using in the rain etc., keep water drops away from the lens."
This is a medium-sized lens with a somewhat heavy weight, similar to most lenses in its class. A lot of glass is required to create an 85mm f/1.4 lens and glass is not light. While you will know that you have been carrying some weight if using this lens for long periods of time, I find the dense design to be advantageous for steady holding.
For many more comparisons, review the complete Sony FE 85mm f/1.4 GM Lens Specifications using the site's Lens Spec tool.
While this lens is very nice to hold and use, Sony's current MILC cameras (such as the a7R II, a7R III and a9) provide an inadequate grip size. There is not quite adequate room for my upper-side-of-medium-sized hand's fingers to rest between the camera and the lens. Near the edge of the primary diameter increase, the lens presses into the first joint of my middle and ring fingers when the camera is gripped surely. Of course, the lens is not soft and the grip is not comfortable. The pressure is lessened if the lens is hanging downward from a loose grip or if I rotate my grip away from the lens, but ... that does not give me the grip assurance I would like to have. This issue applies to all of the Sony lenses I've reviewed to date and this scenario will not likely change until a camera grip redesign occurs.
The 24-70 f/2.8 GM lens is shown in the above photo, but the issue is similar with the 85 f/1.4 GM. Smaller hands avoid this problem.
I always find it helpful to visually compare the size of lenses and here we see the Sony fitting into its group nicely.
keep in mind that the Tamron has a narrower f/1.8 max aperture, but it includes the VC feature omitted on some of the comparables. The same lenses are shown below with their hoods in place.
Use the site's product image comparison tool to visually compare the Sony FE 85mm f/1.4 GM Lens to other lenses.
Notice that the Sony lens appears to be positioned higher than those around it? The lenses in the comparison image are vertically aligned on their camera mounts and the Sony has a shallow lens mount cap. While the smaller lens cap size does not affect the lens' in-use size, is does modestly impact storage space requirements when unmounted, such as in a backpack.
Filter sizes used by 85mm f/1.4 lenses vary significantly, ranging from 72mm up to 86mm in the above table. The Sony 85 f/1.4 GM lens uses the good-old 77mm standard, matching many other lenses that could end up in a quality kit.
Sony includes a semi-rigid plastic hood in the box. The hood has a flocked interior for superior reflection avoidance and a push-button release makes the bayonet mount easy to use. Like most lenses in its class, the Sony 85 GM's hood is the rounded style, enabling it to stand on its hood, even with the camera attached in situation where you are comfortable with that. Nice is that the end of the hood is rubberized, protecting both it and what it is against from scratches and making it less likely to slide. The rubber is also nice to have when bracing the camera against something to steady the shot. And, it looks nice.
Sony includes a nice zippered, padded nylon lens case in the box. This case has a belt loop sewn onto the back and a shoulder strap is provided.
At this time, quality Sony lenses are expensive and this one is no different. Sony cameras are currently viewed as being very competitively priced, but a set of quality lenses generally equalizes the differences. Regardless, to a serious photographer with a Sony-based kit, the Sony FE 85mm f/1.4 GM Lens is going to be worth every penny of its cost.
As an "FE" lens, the Sony FE 85mm f/1.4 GM Lens is compatible with all Sony E-mount cameras, including both full frame and APS-C sensor format models. Sony provides a 1-year limited warranty.
The reviewed Sony FE 85mm f/1.4 GM Lens was sourced retail/online.
Cutting to the chase, if you can afford the Sony FE 85mm f/1.4 GM Lens, get the Sony FE 85mm f/1.4 GM Lens. It is a very impressive lens that, overall, at review time, outperforms any other Sony E-mount or adapted to E-mount 85mm lens. That said, comparisons are fun and I won't disappoint you by skipping them.
Note that the Sony's 11-blade aperture is unique for this class of lenses, with most having 9-blades. I'll skip repeating that difference for each comparison. I'll also skip mentioning again that the Sony is the only lens being compared that has the manual aperture option.
The Canon camp has the Canon EF 85mm f/1.4L IS USM Lens. In the Sony vs. Canon 85mm f/1.4 image quality comparison shows these two lenses competing closely. At f/2, the Sony appears somewhat sharper, but it has more moiré, showing that differences in the processing pipelines are coming into play. At f/2.8, both lenses are outstanding. The Sony shows fewer flare effects.
The Sony vs. Canon 85mm f/1.4 specifications comparison shows these lenses more the same than different. The Canon has in-lens image stabilization while the Sony relies on IBIS. The Canon's price tag is roughly 10% lower (at review time).
Until the Canon and Sony lenses hit the streets, the Sigma 85mm f/1.4 DG HSM Art Lens was my easy favorite 85mm f/1.4 lens and the Sigma still competes very strongly from an image quality perspective and it wins hugely from a price perspective. Sony vs. Sigma 85mm f/1.4 image quality comparison shows the Sigma performing at least as well as the Sony. The Sony has less vignetting and the Sigma has slightly less linear distortion.
The Sony vs. Sigma 85mm f/1.4 specifications comparison shows the Sigma to be the larger lens, measuring 3.73 x 4.97" vs. 3.52 x 4.23" (94.7 x 126.2mm vs. 89.5 x 107.5mm). Weighing in at 39.9 oz vs. 28.9 oz (1130g vs. 820g), the Sigma is also the heavyweight in this comparison. Also larger are the Sigma's filters, 86mm vs. 77mm. With relatively few lenses having filter threads larger than 82mm, the Sigma joining a kit may require the purchase of a new set of filters and those large filters can reduce the price differential.
Zeiss offers a pair of exceptionally-well-built, high-optical-grade, manual focus-only 85mm f/1.4 lenses, the Otus and the Milvus. The Otus is an extremely-high-priced lens that competes strongly from an image quality perspective, including less linear distortion. The Otus is considerably larger and also has 86mm filter threads.
The Milvus is, at review time, priced $1 more than the Sony. The Sony vs. Milvus image quality comparison shows these two lenses also performing similarly. I like the Sony's f/2 results better, but the two are essentially equals at f/2.8. The Sony shows slightly less flare and the Zeiss has slightly less linear distortion.
The Sony vs. Zeiss specs comparison again shows the Zeiss as the noticeably larger and heavier lens. Both Zeiss lenses have significantly longer focus ring rotations.
Sony's FE 85mm f/1.8 Lens remains on my to-review list at this time, so I can't tell you a lot about it. Obvious is that it gives up the f/1.4 aperture and along with that, it loses a lot of size and weight and a huge amount of cost.
Tamron has an f/1.8 entrant in the 85mm class, the 85mm f/1.8 Di VC USD Lens, featuring in-lens vibration control. I see the Sony being sharper than the Tamron. The Sony shows less vignetting in the same wide aperture comparisons and the Tamron has a touch less linear distortion. The Tamron is a bit smaller and lighter.
If f/2.8 is wide enough for your needs, the Sony FE 70-200mm f/2.8 GM OSS Zoom Lens becomes an option. The zoom lens of course has a big focal length range advantage, but the prime lens has the wide aperture advantage along with an image quality advantage in the comparable aperture range.
Sony calls it "The ultimate portrait prime" and, at least for Sony systems, I think they are right. The focal length is ideal for portraits (and a wide variety of other subjects) and there seems to always be enough light to photograph with this lens handheld. Highly-reliable focus accuracy is an important part of the image quality equation and this lens checks that box. The nicely-built Sony FE 85mm f/1.4 GM Lens consistently delivers very impressive image quality and the look of images captured at this focal length and max aperture combination are remarkable.


Home Personal development Mind Is your brain safe from sugar?
Did you quit sugar yet?
I try to limit refined, processed junk, and follow a Mediterranean diet, but sadly, I'm quite partial to a piece of chocolate with my afternoon post-nap coffee.
Diabetes, especially type 2 diabetes, is a risk factor for dementia.
People with diabetes have a 47% increased risk of any dementia, a 39% increased risk of Alzheimer's disease, and a 138% increased risk of vascular dementia.
And if you have diabetes you're also at greater risk for general cognitive decline as you age.
Scientists are still unravelling the exact molecular pathways and mechanisms that link diabetes and dementia, but it's most likely a combination of the effects of insulin resistance, vascular pathology, oxidative stress, glucocorticoid excess and inflammation.
You don't need to have diabetes to get be at higher risk of dementia.
A recent report in the New England Journal of Medicine followed 2000 over-65 year olds for five years in the Adult Changes in Thought (ACT) study. The participants blood sugar levels were taken 17 times and averaged out of the course of the study.
The finding was clear: high blood sugar levels were associated with an increased risk for developing dementia.
In people WITH diabetes, dementia risk was 40% higher for people with an average glucose level of 190 mg/dl compared to those with an average glucose level of 160 mg/dl.
For people WITHOUT diabetes, those with an average glucose level of 115 mg/dl were compared to people with an average glucose level of 100 mg/dl (normal is 70-100 mg/dl). The higher blood sugar group had an 18% higher risk of going developing dementia.
Rather depressingly, the authors reported that they have not yet found evidence that dementia risk could be lowered even if people ate less sugar.
Professor Crane and the ACT study group have previously found that exercise lowers the risk of dementia developing (as have numerous other studies). EXERCISE. There you have it again! Exercise is one of the best ways to regulate your blood sugar levels and prevent the development of diabetes.
Time to quit sugar perhaps?
Tell me in the comments below if you've tried to quit sugar. Or are you like me and can't kick the chocolate?
Crane et al Glucose Levels and Risk of Dementia. New England Journal of Medicine, 2013; 369 (6): 540 Group Health Research Institute. "Dementia risk tied to blood sugar level, even with no diabetes."ScienceDaily, 7 Aug. 2013. Web. 4 Nov. 2013. Strachan MWJ, et al. The relationship between type 2 diabetes and dementia. British Medical Bulletin, 2008, 88:131-146. Lu F-P, et al. Diabetes and the risk of multi-system aging phenotypes: a systematic review and meta-analysis. PLoS ONE, 2009, 4(1): e4144. Alzheimer's Australia.Dementia Risk Reduction: A Practical Guide for Health and Lifestyle Professionals. March 2010.
The post Is your brain safe from sugar? appeared first on Your Brain Health.


text:
// This file was generated by Mendix Modeler.
//
// WARNING: Only the following code will be retained when actions are regenerated:
// - the import list
// - the code between BEGIN USER CODE and END USER CODE
// - the code between BEGIN EXTRA CODE and END EXTRA CODE
// Other code you write will be lost the next time you deploy the project.
// Special characters, e.g., é, ö, à, etc. are supported in comments.

package boxconnector.actions;

import static boxconnector.proxies.microflows.Microflows.createSessionUploadNewFileVersionImpl;
import com.mendix.systemwideinterfaces.core.IContext;
import com.mendix.webui.CustomJavaAction;
import boxconnector.proxies.BoxChunkedUploadSession;
import com.mendix.systemwideinterfaces.core.IMendixObject;

/**
 * Create an upload session for uploading a new file version.
 */
public class CreateSessionUploadNewFileVersion extends CustomJavaAction<IMendixObject>
{
	private IMendixObject __accessToken;
	private boxconnector.proxies.AccessToken accessToken;
	private java.lang.String fileId;
	private java.lang.Long fileSize;
	private java.lang.String fileName;
	private IMendixObject __asUser;
	private boxconnector.proxies.BoxUser asUser;

	public CreateSessionUploadNewFileVersion(IContext context, IMendixObject accessToken, java.lang.String fileId, java.lang.Long fileSize, java.lang.String fileName, IMendixObject asUser)
	{
		super(context);
		this.__accessToken = accessToken;
		this.fileId = fileId;
		this.fileSize = fileSize;
		this.fileName = fileName;
		this.__asUser = asUser;
	}

	@Override
	public IMendixObject executeAction() throws Exception
	{
		this.accessToken = __accessToken == null ? null : boxconnector.proxies.AccessToken.initialize(getContext(), __accessToken);

		this.asUser = __asUser == null ? null : boxconnector.proxies.BoxUser.initialize(getContext(), __asUser);

		// BEGIN USER CODE
		BoxChunkedUploadSession session = createSessionUploadNewFileVersionImpl(getContext(), this.asUser, this.accessToken, this.fileName, this.fileId, this.fileSize);
		if(session != null){
			return session.getMendixObject();
		} else {
			return null;
		}
		// END USER CODE
	}

	/**
	 * Returns a string representation of this action
	 */
	@Override
	public java.lang.String toString()
	{
		return "CreateSessionUploadNewFileVersion";
	}

	// BEGIN EXTRA CODE
	// END EXTRA CODE
}


bride.ca | Lash Test Dummies, To-Wear or Not-to-Wear..
Lash Test Dummies, To-Wear or Not-to-Wear..
I am a makeup artist and I love to use false eye lashes on my brides. But do the brides love them?
That is a question you should be asking yourself before the 'big day'. How will you like them and will they work for you on your wedding day.
False eye lashes were originally made of fringe. Fringe was carefully attached to thread and then this pattern was affixed to eyelid with glue. Obviously, these eyelashes failed to look natural; besides, they lived a short life - just for several hours. As the procedure was rather expensive, only famous people could afford it. It became more popular when American movie director D.W. Griffith designed the first set of false eyelashes. A wig maker created the lashes out of human hair and gauze, and the result was catching. They became a staple for makeup artists in Hollywood and later around the world. Twiggy made them more famous in the 60's when the POP culture fashion trends started in Britain--along with the British Invasion. Her pencil thin body and her lower lashed doe-eyes became the trend to follow. Thus was born, the Mod Look.
Individuals are glued to your own lashes in a one by one application giving a 'lift' to the corner of the eyes or accentuating the full upper lid. They feel very comfortable and look extremely natural.
Strip lashes are also applied with adhesive and are glued to the natural lash line. They should be cut and trimmed for the most flattering appearance and comfortable fit.
There are options in the lash length of course, but also in colour, design and flexibility.
I prefer to choose natural hair lashes with white glue that dries clear.
Be sure to pick ones with a soft, flexible and fine base.
I avoid the self-adhesive ones, as they are bulky and do not stay on.
I recommend the lashes to be used at the trial makeup for comfort and wearability.
A non-water based adhesive keeps them on, even through the tears. Professionally applied individual lashes are an option, and last up to a month. They are very comfortable and stay on very well.
The down side? You have to be exceptionally careful removing your makeup when you wear this type and if one falls off in an obvious place on your eye, you have to go to the salon for a touch up.
I do recommend having a trial with lashes to feel and look most glamorous and polished, but make sure you know how long they will last and how they work for you, BEFORE the wedding day.
Dea Code (iDea Makeup Application) is a Winnipeg makeup artist with 20 yrs experience, across Canada.
Her training is from Paris and Montreal, in skincare, makeup and current styles; she was the Western Canadian makeup artist for CHANEL for 14 years; her wedding makeup has been featured in Wedding Bells, The Jewish Post and Chatelaine; she also has 10 years experience in commercial makeup, working for W Network, CTV, CBC and numerous photographers.


text:
Dame Shirley Bassey Blog
Special: Shirley Bassey Live in Amsterdam -1980-
July 24, 2015 Pieter 11 Comments
Today we're proud to present the fabulous 1980 concert from the Concertgebouw in Amsterdam, very famous for its acoustics.
This new high quality version is without subtitling and other intrusions found on the TV broadcast. It is one of the best ever recorded Bassey concerts and the only venue that had stairs to the stage – Dame Shirley makes the most elegant entrance imaginable.
I'll Be Your Audience
Never Never Never
What Now My Love
If I Never Sing Another Song
SHIRLEY BASSEY: STUNNING
"They used to call her the tigress of Tiger Bay in the dusty neighbourhood of coal town Cardiff where she was born in 1937 as a daughter of a Nigerian seaman and an English mother. Now the whole world knows her as SHIRLEY BASSEY, the stunning and sensual singer of great songs like: 'Hey, Big Spender, Goldfinger and Diamonds are forever'.
Shirley was in our country some time ago to do two gala concerts in Amsterdam and Rotterdam.
The concert in Amsterdam, on the 5th of April was recorded for television and is being broadcast next Saturday.
"It is a reflection of her superb performance in a sold out venue with an audience that is cheering her" says director Fred Rombouts.
"It was the kind of atmosphere you never capture in a television studio, it only works during a live recording. If that atmosphere can be seen on television than I have succeeded".
Shirley Bassey features songs like: Stargazer, Something, New York Medley and This Is My Life
Her performances in Holland are part of a short tour through the BENELUX.
Rumours that Shirley wants to stop singing are definitely not true. Last year, the 43-year-old singer became a grandmother. She is and remains, active. She is recording a series of shows in England and she also was star-guest on the Muppet show some time ago. It is an episode of the Muppet-show that has not been televised here yet but we are looking forward to it very much."
Below some great photos made by John Den Outer plus a picture I made myself a day later at the same concert in Rotterdam where Shirley received a gold record for her 25th anniversary album.
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text:
Planina pod Šumikom () is a dispersed settlement in the Pohorje Hills in the Municipality of Slovenska Bistrica in northeastern Slovenia. The area is part of the traditional region of Styria. It is now included with the rest of the municipality in the Drava Statistical Region.

Name
The name of the settlement was changed from Planina to Planina pod Šumnikom in 1955.

Church
The local church is dedicated to the Three Kings and belongs to the Parish of Tinje. It dates to the early 16th century.

References

External links
Planina pod Šumikom at Geopedia

Populated places in the Municipality of Slovenska Bistrica


text:
Mahindra-Ford to form a new joint venture company in India
Home - News - Car - Mahindra-Ford to form a new joint venture company in India
By Team Autoalive 3 months ago
Earlier last year, we had brought news that Mahindra and Ford are looking to collaborate for future new products. The deal was signed and it is being said that work has already started on the same. Now, a fresh news comes in that the two may form a joint venture company in India. Mahindra-Ford are expected to announce this new development within the next three months.
Not only this, the report also says that Ford will likely cease its operations in India. An exit next year is likely. Ford has been in India since 1995 and while the company has given many an enthusiast a wet dream with their models, none of them could hold the market interest for long. This was primarily due to the perceived higher cost of spares as well as dated products that made it to our shores. The current Ford portfolio in India includes the Figo, Freestyle, Aspire, EcoSport, Mustang and Endeavour. The Figo is the least costly car in the lineup while the Mustang is the most expensive.
Does this mean new Mahindra-Ford vehicles in the showroom soon?
We are not sure about the details at the moment. What we understand is that Ford will hold 49 per cent stake in the new joint venture while Mahindra will hold the majority. Ford will be looking to leverage Mahindra's retail outlet reach in the country while the latter can make use of the American giant's technology prowess. As it is, a new Mahindra-Ford SUV, the size of the XUV500, will be developed soon and marketed. How the badging happens, remains to be seen.
Ford India's social media response to the speculation was, "
We are focused on building our future, so not too worried about the past 🙂 Also, speculations aside, Ford has no intention to exit India and will continue bringing products that Indian customers want and value. "
Mahindra-Ford in India
Mahindra-Ford joint venture
SUVs from Mahindra-Ford
Jeep Compass Sport Plus launched in India at Rs 15.99 lakh
Transporting a motorcycle to another city
Team Autoalive
Kia Seltos bookings started at Rs 25,000 in…
Suzuki Access 125 SE launched in India at…
Skoda Rapid Rider launched in India at Rs…


text:
The GOC Army Headquarters (, Mifkedet Zro'a HaYabasha, abbreviated Mazi), is a multi-corps command headquarters created in 1998, which amalgamates the ground forces of the Israel Defense Forces. The current size of the Israeli Ground Forces is estimated at 126,000 active soldiers and 400,000 soldiers in reserve.

Name

The GOC Army Headquarters is known unofficially as Mazi, the Hebrew pronunciation for an acronym for "Ground Arm Command" (, (, Mifkedet Zro'a ha-Yabasha), which was the GOC Army Headquarters' previous name before being renamed to the current "Ground Arm" (). After this renaming, the acronym MAZI officially refers nowadays to "Commander of the Ground Arm" (, Mefaked Zro'a Ha-Yabasha). However the old acronym MAZI still remains the popular name for the GOC Army Headquarters.

Units and structure

The Headquarters of the Ground Forces commands the following five corps:

 Maneuvering Corps (Established in 2020) :
 Infantry Corps ()
 Armor Corps ()
 Combat Engineering Corps ()
99th "HaBazaq" Paratroopers Division (He)
 Combat support corps:
 Artillery Corps ()
 Combat Intelligence Corps ()

In addition, the Headquarters includes four "staff divisions":

 Planning Division (Budget and Organization Planning) ()
 "Ground" Division (Training and Doctrine) ()
 Personnel Division ()
 Technological Division (Materiel R&D and Acquisition) ()

The IDF's third arm

Under the IDF 2000 reforms, MAZI was set to become the IDF's third Arm, alongside the Air and Space Force and the Navy. Until the creation of MAZI, IDF ground forces were directly subordinated to the Chief of Staff through the Regional Commands (North, South, and Central). The intention of the reform was to subordinate the ground forces to one ground commander, who is a part of the Joint Staff, by the example of the Israeli Air and Space Force and Navy; and unlike most of the other armed forces, where operational Army, Air Force, and Navy plus other auxiliary support units, are all subordinated to unified commands.

The proposed reform for the Ground Arm was rejected and the ground forces remain subordinated to the three regional commands. Likewise with combat support and rear-line corps, which are partly subordinated to the respective Directorates. In times of war, the Ground Arm Commander acts as an advisor to the IDF Chief of Staff on ground warfare.

As an IDF arm, the Ground Arm is meant to build of the ground forces' strength and working toward balance, combination, and coordination between the ground corps. It does so by instruction and training of individual units, planning and publishing the relevant doctrine, organizing the forces respectively for their missions, and R&D and acquisition of materiel. Its authority ranges up to the corps level. Above it, meaning the regional commands themselves, the authority is of the IDF Joint Staff.

Commanders

See also
 Israeli Ground Forces equipment

References

External links
 Ground Arm website
 Army Headquarters' LIC2005: an international conference on "Warfare in Low Intensity Conflict"

1998 establishments in Israel
Israel Defense Forces
Israel
Military units and formations established in 1998


Forty years ago, in an early collection of Southern Living vegetable recipes, the "Final Touches" chapter included clever twists on classic sauces and festive relishes along with novelties such as chive-blossom vinegar and tarragon-herb butter. In defense of the old-school recipes in the preceding chapters, we offered this introduction: "Southerners have never apologized for cooking their green beans 'to death,' but it is not widely known that properly motivated we can cook them as crunchy as the most sophisticated chef can and dress them in many ways, from herb-buttered to hollandaised to amandined. It is just that we may want to cook them half a day with salt pork or ham hocks if we are alone with the home folks; and that is a preference that bears no relationship to ignorance."
As much we love all the new crunchy, barely blanched, paired-with-walnuts-and-feta green bean creations (and we truly do), there's still something so wonderful about the way a hambone broth infuses old-fashioned Southern-style green beans with a salty, meaty smokiness.
Remove the strings from the beans, and cut the beans into 2-inch pieces. Wash the beans thoroughly.
Place the ham hock and 5 cups water in a Dutch oven; bring to a boil. Reduce heat, and simmer 1 hour. Add the beans, salt, and pepper; cook, stirring occasionally, 30 minutes or until tender.


Located in the heart of Middlebury, Charter House provides free community meals seven days a week throughout the year, as well as housing and sheltering services throughout the winter months. Charter House is a multifaceted organization with a number of moving parts and divergent programs that, when woven together by a number of hardworking individuals, fit together to provide a beautiful, largely self-sustaining service for our community. As the intern this summer, I've had to opportunity to engage with the people and processes that make our programs run so smoothly.
The majority of my working hours are spent in two locations: the garden and the kitchen. Charter House has two sizable organic gardens that serve as a sustainable, nutritious base for our community meal programs and are used to teach environmentally responsible farming and food preservation techniques to volunteers. In addition to manual work of my own, my job involves coordinating volunteers to help plant, tend, and harvest the thousands of pounds of produce that we grow throughout the summer, ranging from lettuce, tomatoes, onions, summer squash, zucchini, garlic, carrots and kale to beets, broccoli, cabbage, and more!
Then, in true farm-to-table fashion, I get to use these harvests within our community meal programs. Throughout the week, I help prep, cook, and serve meals to the 40-50 guests that we receive on a daily basis. Our home-grown veggies serve as healthy (and tasty) complements to the wide variety of dishes that we have donated to or make onsite at Charter House. Our guests are always well fed—we never say no to seconds and are always happy to package additional food in take-home containers to keep our guests nourished throughout the day. And still, there's always enough food for me to grab a plate and be able to sit, eat, and talk with our guests, which honestly is the best part of my job.
-Zucchinis can grow up to the size of a small child if you neglect to pick them for too long.
-Sometimes it's easier to let the dishes soak and come back to them, rather than scrubbing incessantly to get them done right then and there.
-Sometimes you've got no choice but to scrub the dishes incessantly to get them done right then and there.
-There is an exponential relationship between the amount of responsibilities that you have and the number of emails coming into your mailbox.
-When using a rotary tiller, you've got to be submissive. It knows how it wants to till the ground, and if you try to make it do what you want, it will show you who's boss.
-It's great to follow a recipe, but, to me, cooking is an improvisational process.
-There are times when you should talk, times when you should listen, and times when you should smile—and the frequency of those actions should correspond with that order.
-Sharing a meal around a table is truly an equalizing experience and food is one of the most satisfying ways to make people happy.
This entry was posted in Midd Blogosphere and tagged addison county, Charter House Coalition, internship, Internships, shepherd, stories, Uncategorized on August 4, 2016 by Sarah Karerat.
Below is an interview with our community partner, Doug Sinclair, President and Housing Programs Director of the Charter House in Middlebury.
What was your role in developing the Charter House?
I was a member of the founding group which included representatives from local churches, United Way, and the Community Engagement Office at the College. The Charter House emergency shelter and the Community Lunch program at Charter House came about because of the economic downturn that began in 2008 and caused many more individuals and families in Vermont to be precariously housed and food insecure. The members of the founding group engaged the community in volunteering to staff the housing and food programs and in providing financial support for operating the programs. Among the most important challenges was figuring out how to operate and manage emergency housing and food programs entirely with volunteers and then develop appropriate training to prepare volunteers for the work. Volunteers also needed to gathering donated furnishings and linens from across Addison County and set up living quarters for all the future guests. There was a lot to coordinate. The learning curve the first year was steep. I was fortunate to have been part of that fun and excitement. Many students, including three who worked at the shelter for their winter term course, played an important role in launching these programs.
Seeing day after day how many lives are uplifted by the work of Charter House Coalition is stimulating and motivating to all who are touched by it. The organization has grown from a first Community Supper prepared and served by maybe 10 individuals to organization with over 950 volunteers and 7 different housing and food programs. None of the founders had any idea this would happen. Charter House Coalition is now an important resource for many in our community because the idea of neighbor helping neighbor in the rural setting of Addison County appeals to our human nature.
What do you see as the greatest strength of this community?
There is no question in my mind the greatest strength of the community is the willingness of those who live in this area to support the well-being of each other in time of need.
What do you envision for the Charter House in the future?
One of the most important learnings for me over the past 10 years is not to underestimate what a community can accomplish when volunteers unite together with a common goal. People helping people is contagious. Each new person brings new ideas and new energy to the organization. As new groups of volunteers identify new needs in the community, they will continue to find ways to help the community meet those needs.
What role have Middlebury students had with the Charter House?
Over 25% of the organization's volunteers are students. Five or six students help lead our programs each year through volunteer work, paid internships, and unpaid internships. There is no doubt the organization could not be where it is, or be doing all it does, without the talents and effort of the hundreds of students who have supported our programs.
Anything else you would like to add about your experience with the Charter House, or Middlebury College student involvement?
Working with Charter House Coalition has been an exciting ride with many enriching experiences. I have many wonderful memories of the students who have been so important to the organization over the years. The opportunity to learn and teach while working with them has been a blessing for me and for Charter House Coalition. I hope many others will have similar experiences in the years to come. The work of Charter House Coalition changes lives. Sometimes it's the lives of the volunteers. I count myself as one of them.
For more information on the Charter House Coalition, click here.
This entry was posted in Midd Blogosphere and tagged A community leader's insight, Charter House Coalition, community partner on April 1, 2015 by Lydia Gordon.


I know homemade fresh bread is the last thing on your radar as you prepare your Thanksgiving feast. Trust me, I am not master baker. But, this is my go-to bread recipe that I make often. It's easy to tweak and the best part is that most of the work is done in a bread machine.
Yep, a bread machine. True, I am a foodie and like to make many things by hand. Unfortunately, bread is not one of them. Back in my younger days, before the boys came along, I could knead dough all day. Now, I am lucky if I am able to bake them fresh bread at all. I invested in a bread machine about 5 years ago and it makes all the difference.
Every once in a blue moon I get a wild hair and make bread by hand, but most days I use the bread machine. Remember when I told you that for many of my Thanksgiving meals I use a mixture of my four favorite herbs? This loaf is no exception. The herbs infuse the bread with wonderful flavor and aroma. The green herb specks make the loaf attractive and look great on the table. It will almost be too pretty to eat…almost.
The coolest things about "cutting" in a design for this loaf is that first of all it makes the bread look pretty, Second, you won't need to slice it before serving. Your guest can rip off a hunk without taking half the loaf! I don't know who invented this technique, but it's genius!
Impress your guests this Thanksgiving with a flavorful and festive fresh herb bread. It's simple to make and requires few ingredients.
Place 1 cup warm water, olive oil, bread flour, sugar, salt and yeast into bread machine pan in the order recommended by manufacturer. Select Dough cycle, and press Start.
When the machine has formed the ingredients into a ball, add the herbs. Let the dough rise in the pan or, after the dough has been kneaded place dough in a greased bowl, turning to coat all sides. Cover, and let rise in a warm place for about 30 minutes, or until doubled in bulk.
After the dough has risen, punch down dough. Place on a lightly floured surface and cut the dough into two equal pieces.
On a lightly floured surface, roll into a 16x12 inch rectangle. Cut dough in half, creating two 8x12 inch rectangles. Roll up each half of dough tightly, beginning at 12 inch side, pounding out any air bubbles as you go. Roll gently back and forth to taper end. Place 3 inches apart on a greased cookie sheet. Make deep diagonal slashes across loaves every 2 inches, or make one lengthwise slash on each loaf. Cover, and let rise in a warm place for 30 to 40 minutes, or until doubled in bulk.