text:
London Protest Against Calais Clearances
The demonstration at the French Embassy on Monday was perhaps most interesting for the curiously mixed actions of the police, both toward the demonstrators and the press.
The Embassy is on the corner of Knightbridge and Albert Gate, with its entrance a few yards down Albert Gate. Police wanted the demonstrators to stand in a pen on the other side of Knightsbridge a few yards to the west, where they could only see the Embassy across 4 lanes of traffic. They decided not to comply as it was too far away for their protest to be effective – those in the Embassy would probably not be able to see or hear much of the demonstration, and the protest continued for around an hour and a half in Albert Gate.
One officer came and told a couple of demonstrators standing on the pavement in the centre of the road with a large banner they had to move because they were causing an obstruction. Clearly they were carefully positioned out of the way of anyone, but in the end they decided to move and asked her where they could stand and not cause an obstruction. She then told them they would be OK to stand on the roadway right in front of the embassy entrance porch, much to the consternation of the police who were standing there.
The same woman officer also took one of the demonstrators to the door of the embassy and arranged for one of the diplomats to come out and talk to her as she wanted to hand the leaflet in to the embassy. He came out and they stood for five minutes or so talking on the embassy steps.
At one point while I was photographing the two of them one of the officers standing on the steps deliberately came and stood in front of my lens. I moved to one side and he moved to keep my view blocked. We went back and forth perhaps a dozen times, he obviously thinking it was a fun game. Since his reactions were a little slow I was still able to get some pictures, but this isn't the kind of cooperation the police are expected to give the press.
He hasn't yet noticed I've moved to the right…
I should have made a complaint to the senior officer present, but by that time I would have missed the pictures, so having got a few from that position I moved elsewhere to continue taking pictures.
Another curious incident came when I was talking to another photographer in the middle of the road, and he noticed the police photographer who had been hiding behind a police van come out and point his telephoto lens directly at us rather than the protesters. We went across to him and asked him why he was taking pictures of the press and he denied strongly that he was, saying he had no interest in us at all. I suppose it's some kind of progress. Other than these two incidents, so far as I'm aware, photographers had no issues at all with police behaviour.
A few minutes before the demonstration, which had been entirely peaceful throughout, was due to finish at 2pm, a van load or two of police dressed in blue overalls and some carrying tasers arrived and began to look at the demonstrators in a very menacing way.
One masked protester who had been annoying the police photographer was then warned under Section 14 of the 1986 Public Order act and then arrested. The other demonstrators were then warned under the same act that they would also be arrested if they didn't move across the road to the pen, and eventually decided to go. Once they reached the other side of the road they decided that since they had been demonstrating for over an hour and a half it was time to leave.
More about Calais and this demonstration – and of course more pictures – on My London Diary.
Sex Workers Masked Parade
There isn't a great deal I can say about sex workers from personal experience. I'd suggest than its worth reading the preliminary report of a project, Migrant Workers in the UK Sex Industry from the Economic and Social Research Council of London Metropolitan University which appeared recently. Of course not all sex workers are migrant workers, but many are, and current government thinking on making laws in this area are very much based on the need to take action against the trafficking of women for sex.
There are nine bullet points in the initial report which says that most migrant sex workers were not forced or trafficked, but take up sex work because other work they can get is very poorly paid. The main problems they face are their stigmatisation as sex workers and the lack of official documentation that opens them to abuse and violence. They report that most of their contacts with clients involve mutual respect and consent.
In Soho, many women work from their own or shared flats, and Westminster Council has been trying to get rid of these. The local community association – the Soho Society – and local people, including the rector of St Anne's, Soho, have supported the women. Working from a flat is much safer than working on the street and also creates less nuisance.
The parade was in part to thank the people of Soho for their support, but also to oppose the Policing & Crime Bill currently going through parliament which will criminalise clients and also make it easier for the police to persecute sex workers. It was organised by the 'Soho Working Girls' and the 'English Collective of Prostitutes', who state "We are mothers, daughters, sisters, grannies, aunties struggling to support ourselves and our families, just like other women."
Those taking part in the parade were masked (although I saw many of them before they put their masks on) but otherwise they seemed very little different to any group of women one might meet on the streets of London, as this statement suggests. Although it's a story that has attracted a great deal of interest because of the subject matter, in fact there was very little titillating about the event, though the masks and costumes made it fun to watch and photograph.
You can read more about it and see many more pictures as usual on My London Diary.
A Poet, a Queen, Whores and Artists
I'd come to Brockwell Park for the annual Lambeth Country Show with Dave; its an event we've both photographed in the past, although its more than ten years since I really did much there. And walking briefly through it, neither could summon up much enthusiasm, except for a cup of tea at the café in Brockwell House on the top of the Hill. So, no pics of the Country Show.
It's a nice house, built in 1811-13 for the wealthy city glass maker John Blades, who was then Sheriff of London and Middlesex in 1812–13 and had a good view of most of it from there, although I think the trees have been allowed to grow rather too much since. A public campaign to establish a park in Brixton at first concentrated on the site of Raleigh House on Brixton Hill, but the money raised was then diverted towards the much larger estate of Brockwell Park, which was bought as a Metropolitan Open Space in 1892, largely thanks to the work of Norwood MP Thomas Bristowe, who unfortunately collapsed and died from a heart attack during the opening ceremony.
We walked down from the house towards some of the gardens. Unfortunately the community garden was closed, but we were able to visit the Old English Walled Garden, converted from the houses kitchen garden by J.J. Sexby, the Chief Officer of Parks of the LCC, who also added lakes, waterfalls and a swimming pool – as well as establishing the first tea rooms in the hall.
It's hard to imagine, sitting in or walking around the garden that you are in Brixton, hard to think of anything further from the public image of Brixton, and good to see that people were enjoying its peace.
Dave's lived in the area all his life, and grew up on the Tulse Hill estate we came to next, a typical LCC estate started in 1939, built with an access from the park, solid well-spaced blocks completed after the war. Dave went to the same local boys school, Tulse Hill School, as Ken Livingstone, redeveloped as affordable housing where Jean Charles de Menezes was living in 2005 (the girls school, which overlooked Brockwell Park, was replaced by a luxury gated private development.)
Through the estate we walked along and up to Josephine Avenue, where the annual outdoor Urban Art fair was taking place, London's largest such event. The late nineteenth century development of this road, formerly a part of Rush Common was governed by Lambeth Manor Inclosure Act of 1806 which prohibited building within 150 ft of the road. Houses on both sides are set back by this distance, with a wide path designed for carriages immediately in front of them and then an area now largely divided into individual gardens between that and the road, with an iron fence. The street side of this is covered with paintings, prints and drawings – and a few photographs – as pitches for the artists taking part in the fair.
These often neglected gardens made the street notorious in the recent past, with kerb crawlers and prostitutes taking advantage of its relative isolation from the houses – and some carrying out their trade alfresco in its bushes. An active residents group has done much to clean up the area – including the organising of the Urban Art fair and more recently, a small community garden adjoining the 'Poet's Tree'.
Local legend that Queen Elizabeth I came up the Rvier Effra by boat to meet with Sir Walter Raleigh here under this ancient oak is almost certainly without any foundation, as the Effra was almost certainly not navigable to this point, although in the centre of Brixton some accounts say it was 6 ft deep. Henry Hastings, the first Baron Loughborough, who leased the manor of Lambeth Wick got an Act of Parliament to make the Effra navigable from Brixton Causeway to the Thames years later in 1664, but died before he could do so. (It was no consolation to him to get a Junction station some two hundred years later.) And although there was a Raleigh House nearby on Brixton Hill (where Raleigh Gardens is now) there appears to be no provable connection between the man and Brixton. But he certainly was a poet – as well as a courtier, explorer and pirate.
More or less this same text with rather more pictures is on My London Diary.
Repent!
Although I've photographed a lot of religious events I still sometimes find them a problem. It has nothing to do with the actual beliefs held by the people I'm photographing, but more about feeling that I am intruding on something private.
It's something I seem to feel more strongly with Christians, and also it is only with Christians that I've had people object to being photographed. So while I can go into a Gurdwara and be told "photograph anything you like", in some churches I've been told I can only take pictures when the worship is over.
So on Saturday I wasn't quite sure what reaction I would get when I went to photograph the March of Repentance, but in fact I was made welcome by the stewards running the event. Even so, I felt the need to work with somewhat more reserve than normal when photographing the groups of people praying – they didn't object, but I just felt a little uncomfortable at times, and ended up taking considerably more at longer focal lengths than normal for me.
This was with the 24-70mm at its long end, and I took two versions, one focussed on the closer hand and the second with the woman at right sharp. Both actually work quite well, though I prefer this, with the woman slightly unsharp.
Of course, where longer lenses really come into their own is for pictures like this:
Using the D300 with the Sigma 70-210 gives a an effective 105-315mm, and this was taken from just outside a small ring of people praying, with an equivalent focal length of 270mm.
As always at events, you need to try and think what is going to happen, as well as concentrating on what is actually happening and thinking how to solve the visual problems involved. The guy standing at the front of the march holding a ram's horn was obviously at some point going to blow it, so I made sure to be there when he did. What I hadn't expected was that instead of just sounding the Shofar, he was going to blow it into a megaphone. It's perhaps something that sounds better in USA-speak when that electrical device is called a bullhorn.
It isn't the greatest picture I've ever taken (and I think I could do a little dodging and burning to improve it ) but I think it records a key moment, and I was surprised I was the only photographer among several there to be in a suitable position to take it.
More about the event and more pictures on My London Diary.
Pig Party
The trough is at the bottom of the steps to the Royal Exchange in London, at the very centre of the City of London. I'm lying down a couple of steps higher and looking through the viewfinder to take a picture of three guys with pig masks with 'Miss Piggy' looking on. In the trough is pig swill, or rather a mix of flour and water and scanned copies of fivers with a pig over the Queen on them.
It's perhaps a more interesting protest than most, organised by Chris Knight and others from the G20 meltdown team to mark the fact that obscene bonuses have returned to the City of London. The taxpayers put millions into the banks and now the banks are rewarding the guys responsible for losing millions with silly amounts – for some more than the lifetime earnings of ordinary workers for a year's gambling on the markets.
Photographically there were a couple of problems. Pig swill did fly around rather, and a number of my shots were ruined by lumps of it on the front glass. I kept checking and wiping the lenses, but soon decided to put the Sigma 12-24mm away. I've just collected it a couple of days ago from a repair at Fixation (my preferred repair firm, located in Vauxhall) when they replaced the front element that had got damaged over several years of abuse.
The Sigma 12-24mm is a great lens. It isn't particularly small or light, but despite being so wide has relatively little distortion, at least when used on DX cameras like the Nikon D300. Straight lines stay pretty well straight and unless you are doing architectural work really never need correction. It works well on autofocus, which isn't always the case for extreme wide-angles, and I've come to rely on it for a lot of my work.
But I bought it around five years ago, soon after it first came out, and the one problem with the design is that the bulbous front element made it impossible to fit a protective UV filter. Over the years that front element got more and more marks and little scratches, and eventually I started to find that pictures taken into the light showed excessive flair.
I asked the guy at Sigma, and he said, no problem – we can replace the front element, so I took it into Fixation. They did the job, though it took over a month for Sigma actually to supply them with the necessary glass, and I collected a shiny as-new lens a couple of weeks ago.
One of the reasons I bought the Sigma rather than the Nikon 12-24 was that it can cover the full 24x36mm frame. Although five years ago Nikon was still saying it would never produce a 'full-frame' camera I wasn't convinced. Although technically it probably wasn't necessary, I thought that perhaps marketing pressure would push them into it – and I turned out to be right.
So I can either use the 12-24 on the D700 – where 12mm is really very very wide, or use it on my D300 where it works as an 18-36mm equivalent, a great focal length range and also even better quality as it's using just the central part of the lens.
Sigma build quality on the EX lenses seems to me to be considerably better than that of the Nikon lenses I've used – mainly from the cheaper range. This and the 24-70 HSM – with which the picture above was taken, the 12-24 having been stowed away safely in my bag – feel really solid. The 12-24mm has a built-in fixed petal lens hood, but the 24-70 is removable, but considerably sturdier than the hood on my Nikon 18-200, which seems nasty cheap plastic.
The picture needed a little fill-flash, supplied by a Nikon SB800, quite simply the best flash I've ever used, though not quite up to hard usage. I'd only just collected that from Fixation also, having had to have a new flash tube fitted. Labour cost around three times the price of the part, but I'm told that Nikon charge considerably more for the job.
More about the event and more pictures on My London Diary as usual.
Photo-Op Impossible
Thursday, July 23rd, 2009
I'm not a fan of 'photo-ops', arranged scenes set up for the press to take photos. Of course in a sense almost all the events and protests I photograph are arranged, and often very much with the possibility of press coverage in mind, though sometimes – for example too often with Stop the War events – you find the stewards do their best to frustrate photographers trying to get good pictures. So much so that I remember one time where we all sat down with our cameras on the tarmac in front of a march going down Park Lane.
But photo-ops are well meaning attempts to present what the organisers think will make a good picture. Usually the problem is that they are just boring, and also many of us like to have a little more chaos and show things how they are. Of course some of the press photographers are very much to blame – they like having things made easy for them.
There are photographers working for newspapers who like to set everything up. My heart sinks when one such decides to take charge of an event and to "set things up so we can get some good pictures" and procedes to get in the way of all of us and produce some massive cliche. Of course sometimes you can still continue to take pictures, ignoring their concept and perhaps concentrating on smaller parts of the subject. He may want a wooden image of all 27 bishops present but you can still photograph the one who is telling his neighbour a risque joke – and the reaction it causes – even bishops don't respond too well to herding.
Another hate of mine is "Lets all move back boys, and we can all get a good picture", usually coming from someone who saw a picture opportunity too late to get there. Or perhaps just can't be bothered to change to a wide-angle lens. It's always said when if anything I'd like to get in closer. You can be too close to people when photographing them – and when the only possible lens to use is a fisheye you probably are, though I do like my full-frame (on the D300) fisheye.
Yesterday, a demonstration outside the Ministry of Energy & Climate Change (from both title and policies its hard to tell whether they are for or against it) came one of those almost impossible to photograph ideas, with protesters getting down on the roadway to try to spell out the words
with their bodies. It was a scene that demanded to be photographed from around 100 ft above, and my feet were firmly on earth.
[Vestas Blades UK are the only UK manufacturers of wind turbine blades whose owners want to move production to the USA to take advantage of government funding available there – no connection with matches or curries.]
They made quite a wide target, and even with a 12mm ultrawide on the D300 I had to stand well back to get the whole message in. Although it was obviously hopeless I took a few frames, though with a less wide lens to minimise distortion.
Then I switched to the 10.5mm fisheye and moved in close to the people on the ground. With its 180 degree diagonal view (and 147 degrees horizontal) getting everyone in wasn't a problem. I got as high as I possibly could by a 'Hail Mary', holding the camera at arms length above my head and pointing it down towards them. It still wasn't high enough, but the best I could do. I could perhaps have gone in a little closer, but I knew that I might need plenty of subject matter around the central scene for the later work.
Then at home it was time for Photoshop, and some perspective correction and cropping and more. I spent far too long trying out various approaches that gave results like this.
Not a great result, but I think the best I could do in the situation.
More about the actual event on My London Diary shortly.
Posted in My Own Work, Photo Issues, Technical | 2 Comments »
Julius Shulman 1910-2009
Wednesday, July 22nd, 2009
Julius Shulman, born in 1910 in Brooklyn, New York, who became America's best known architectural photographer, largely for his pictures of the new modern architecture in California, died on 15 July aged 98. You can read obituaries in The Guardian and most other newspapers from around the world.
Shulman's Russian parents had met in their teens when both came to New York from Russia, and soon after his birth the family moved to rural Connecticut where his father farmed on around a hundred acres, several miles from the nearest village. It was a close to nature subsistence upbringing, living on an isolated farm with a single farmhand.
In 1990 Shulman recorded an interview with Taina Rikala De Noreiga for the Smithsonian Institution Archives of American Art – and much of what I know about his life comes from this, which was a major source when I first wrote about him in 2001 for About Photography. Here he says that the farm "was the beginning of my association with Nature" which remained important throughout his life.
When he was ten the family moved west to California, and his parent ran a dry goods store in Los Angeles, continued by his mother after his father died in 1923. Shulman joined the boy scouts and went hiking and camping and went to a high school that – very unusually for the time – included photography as one of its classes.
He started taking pictures for the class when he was 17, using the family 'Eastman Box Camera', but although his work was good, didn't consider it as a career. He had decided to go to university and study electrical engineering, and took a year out before starting at UCLA in 1929 to earn some money and buy his first car, as well as spending as much time as possible in the outdoors.
He soon dropped out of the college course, but continued to hang out around the campus. He was given a Vest Pocket Kodak as a birthday present and began to use it to take pictures on his hikes. When a friend who was a student at Berkeley suggested he move there, he took the camera and began to make a few dollars taking portraits of students there and selling pictures of the older campus buildings through the campus shop.
In 1936 he went back to Los Angeles, where his sister ran a drug store close to architect Richard Neutra's office. A new young draughtsman who joined Neutra took the spare room in his sister's house and the two young men became friends. One Sunday afternoon he took Shulman to look around a house Neutra had designed that was almost finished, and Shulman took half a dozen pictures.
His new friend took some 8x10s of these pictures to show his boss who liked them and asked to meet the photographer – and on 5 March 1936 when Netra bought these prints, Shulman's career as an architectural photographer was launched. Neutra introduced him to the other architects he knew, including Raphael Soriano, Rudolf Schindler and Gregory Ain, and commissioned him to photograph his own new buildings.
In 1937, Shulman was earning enough to buy a view camera, and he also got married.; at that time photography was a fairly easy way to earn a living and left him plenty of time to go walking and camping. The start of the war brought new commissions as new factories were built, but then his career was interrupted when he had to join the army. He worked for two years as a medical photographer on a private's pay.
His wife kept the business going during his service, getting prints made and selling these, particularly to the architecture collection of the Museum of Modern Art. The young architects whose work he had recorded were becoming famous, and pictures were in demand.
Shulman's successful career as an architectural photographer resumed in the post-war years. His pictures very much shared a modernist aesthetic with those architects whose work he famously photographed, and his 'retirement' in 1987 was probably as much a matter of changing styles of architecture which he felt little interest in as anything else.
He did in fact continue to take photographs, but was able to choose just the best of the new buildings as his subjects, including Frank Gehry's Guggenheim Museum in Bilbao, Spain and Richard Meier's Getty Center in Los Angeles. He was the only photographer to be granted honorary lifetime membership by the American Institute of Architects.
Shulman's best known image is picture of Pierre Koenig's Case Study House #22, Los Angeles, California. made at night in 1960. In it two women are suspended in a glass and steel box apparently floating over the night-time grid of the lights of Hollywood below. It was created on a single sheet of film, combining a long time exposure with a second short flash lit exposure for the interior, and you can read exactly how it was done in a fascinating Taschen feature, The Making of an Icon, which reunited the six people involved in the shot in 2001.
Also worth looking at are L A Obscura, the web site of a 1998 exhibition of his photography at the University of Southern California, and a feature for the 2005/6 show at the Getty. You can also watch a short trailer for the film 'Visual Acoustics, The Modernism of Julius Shulman' which includes a little footage of the man himself.
I'm not sure that Shulman was "the greatest architectural photographer of all time", but he was certainly a very good one, and the best-known of American architectural photographers of the 20th century.
Wikimedia, Gage and Orphan Works
Tuesday, July 21st, 2009
Whenever two or three photographers are gathered together issues of copyright are seldom far away, and increasingly they hit the news too.
Almost all the pictures on this site are by me. When I wrote and blogged for a commercial site (About.com) for eight years I was required to have explicit written consent for any images used other than those that were unequivocally in the public domain, and its a policy that I've stuck to pretty rigidly here. After all, I don't like others taking my images in vain.
The strength of the Internet is very much in how it links sites together, and takes users on some fascinating journeys. If I want readers to see an image by another photographer, I'd generally prefer to take them to that photographers website, where as well as the image I refer them to they may find other things to interest them. A good link is much more than an image.
Wikimedia and the NPG
Three things about copyright have come to my attention recently. The first hit the national news when the English National Portrait Gallery (NPG) threatened Wikipedia over the uses of images from its collection.
The pictures in the collection are clearly out of copyright, being paintings of considerable age. The dispute is over whether the NPG can claim copyright in its reproductions of these images.
Despite the fact that it takes skill and considerable expense to make accurate photographic reproductios of paintings, it would seem to me to be something that was clearly and deliberately outside the traditional definition of copyright. This clearly stated that it must involve articles of artistic intent rather than those that were a matter of mechanical reproduction.
So far as I'm aware, British courts have never been asked to rule on this specific matter, and although at least one leading UK copyright lawyer has given his opinion that such works are copyright, I've heard others express a differing view. In the US, the case of Bridgeman v. Corel gave a clear decision that such works were in the public domain, but still many museums continue to claim copyright.
Phineas Gage
A similar case exists over the privately owned daguerreotype of Phineas P Gage 1823-1860 in the Wilgus collection. I can't get too worked up over it – it isn't a great example of the daguerreotype art although Gage is mildly interesting – an early victim of an industrial accident, he was a railway builder who had his head pierced through by an iron rod he was using to pack gunpowder which exploded prematurely. Although the rod went in his left cheek and out through the top of his head, he survived for a further 11 years. The photo shows him holding the large rod and with a missing eye.
The dispute here was largely that the image was originally placed on the web site with a visible watermark across Gage. Following a rather furious Internet spat, the owners have re-posted it with the watermark across the case – possibly more interesting than the actual portrait!
Private Ownership and Public Institutions
Both these cases are essentially not so much about copyright as about the business interests of the owners of the original in supplying high res images for reproduction. Owners of public domain images are in general under no obligation to put them on the web and have every right to charge a fee for supplying files, and to impose a suitable licence on their use.
A note on the Gage page states: "High resolution photographs without a watermark are available for reproduction. Contact us for information on usage fees. For several years we have had an informal business supplying images in our collection to publishers, film, and television producers for a modest fee. We often grant permission for educational and non-profit usage, asking only for a credit line and, perhaps, a copy of the publication if it interests us." I find it hard to find fault with this.
For the National Portrait Gallery, the situation is I think different. It is a publicly funded body, and it's my and others taxes that have paid for these images and indeed for their reproduction. The pictures belong to us and it is a central part of the NPG's remit to make them available as widely as possible. Hard to see a better way to meet its obligations than by allowing Google to use them.
The NPG appears to have a poor reputation over its attitude to reproduction of works in the collection. In the comments on the Wikimedia blog you can read this from someone working for a UK publisher:
"I'd just like to say that the National Portrait Gallery is one of the worst offenders in the world in its digital practices. The terms and conditions (quite apart from the cost) associated with getting permission to use one of their images – itself a pretty offensive idea, I know – are so bad that you can't really afford to do business with them.
This is particularly bad because the NPG often holds the only good image of a historical figure. I'm publishing the only book in some decades about a minor 18th-century writer, for instance, whom the NPG owns the only contemporary painting of. It's the obvious choice for a cover image. But we can't afford the money or the legal obstacles, so it's not on our cover. Instead we're using an obscure etching of a sketch made towards the exact same painting.
If I had to name one museum or gallery in the UK as the chief villain in this all-too-common story, the NPG would be the one."
It does seem likely that a compromise will be reached in this case also; an NPG spokeswoman is reported by the BBC to have been said that they would be willing to supply medium resolution images of its public domain works to Wikipedia.
The third thing that I read a month or two ago was a post by Dan Heller on the "odds between the myth and reality of the OWA" (Orphan Works Act.)
What I think this makes clear is that the problem that photographers – or at least 99% of photographers – have is not the likely consequences of the OWA, but with US Copyright Law as it has been since 1976 (at least.) This essentially went against the terms of the Berne Copyright Convention in requiring registration of works at the US Copyright Office for effective copyright protection.
As Heller states, "99% of photographers don't register their works. So, for them, the OWA is inconsequential."
He goes further to argue that for the 1% who do register the OWA is "a new sales opportunity, one that cannot be compared to any other: the searchable database might allow users to find your works."
This post in May was Heller's first in association with PicScout, a partnership that didn't long survive the posting. The PicScout bot, used by Getty Images, Corbis and others to discover unauthorised image usage, has aroused some strong feelings on the Internet, for example being described by William Faulkner as "potentially criminal and certainly unethical." Faulkner points out – among other things – that it's behaviour is expressly forbidden in the terms of usage of Getty Images' own web site.
Posted in My Own Work, Photo Issues | 2 Comments »
Emergency Alternative Parliament
I've photographed demonstrations organised by the Campaign Against Climate Change for around ten years, at first of course on film and now on digital. Often they've had some nice visual touches that make life easy for photographers – one of the earlier occasions I remember involved a rather attractive female 'tiger' being pushed through London on a bed, which was fine until the wheels fell off!
Tamsin, banner, greenhouse and Parliament. And a bus
But one thing that's made life difficult for us in recent years is their trademark globe in a greenhouse. I've yet to find a sensible way to really use it in any photograph over the years, though it was less of a problem than usual. It even sort of fits quite nicely into a few pictures, with the Houses of Parliament behind.
The demonstration was in Old Palace Yard, tucked in behind Westminster Abbey facing Parliament. It's just a little frustrating that it's almost impossible to see 'Big Ben' (or rather its clocktower) from there, although I did manage to get the odd picture where it peeps around an edge.
Big Ben can just be glimpsed from Old Palace Yard
But at least there were a few things to add visual interest, not least the 'Green Queen' who looked suspiciously like a mermaid I've often photographed. Tamsin Omand with her 'Deeds Not Words' sash and the 'Speaker' also added a little, although considerably less once he lost his wig. It's apparently the most daring constitutional change our current government has yet made.
Of course people are interesting, but it has to be said some more so than others, and trying to produce varied images from a succession of speakers can be hard. Some give photographers a tough time, keeping their eyes closed or looking down. You can see what I made of them – and other pictures from the event on My London Diary, as well as something about the purpose of the event. The banner in the second picture has a pretty good précis!
The lighting was interesting at times, with sunshine and showers, though unfortunately no rainbow in the right place (or anywhere else.) The rain was a bit a a nuisance, but fortunately all three lenses I was using have lens hoods that help a little, and the occasional wipe with a microfibre cloth kept cameras and filter free of drops.
Lensculture Audio
I'm not generally a huge fan of interviews with photographers which too often fail to illuminate their work, particularly if they are in glossy magazines and supplements. Too often interviewers fail to ask the right questions, and sometimes photographers seem to have little idea of the answers.
But over the years I've listened to a number of Jim Casper's audio conversations on Lensculture with interest, and often linked to them from posts here and elsewhere. So it's good to have a whole collection of them linked from a single page there, each with a small photograph and a transcript of an excerpt from the audio.
I'm not sure whether it's that Jim asks the right questions or that he chooses the right photographers – but every one I've listened to so far is worth a listen. Or perhaps there are conversations he records that don't make it to the site.
What I do think is missing is an index. At the moment there are (I think) 38 photographers and it's very easy to miss some as you scroll down the very long page, three to a row. Its a problem that can only get worse as Jim talks to more people and adds them to the page.
You are currently browsing the Re-photo blog archives for July, 2009.


text:
package executor

import scala.concurrent.Future
import connectors.Service
import play.api.Logger
import play.api.libs.concurrent.Execution.Implicits.defaultContext
import play.api.libs.json.JsObject
import play.api.libs.json.Json
import play.api.libs.json.Json.toJsFieldJsValueWrapper
import scala.util.Failure
import scala.util.Success
import scala.collection.mutable.MutableList
import connectors.ErroneusConnector
import connectors.FastConnector
import connectors.SlowConnector

object Executor {

  val executors = Map(
      "erroneus" -> Seq(ErroneusConnector),
      "fast" -> Seq(FastConnector),
      "slow" -> Seq(SlowConnector),
      "all" -> Seq(ErroneusConnector, FastConnector, SlowConnector) )

  private def buildResponse(futureResults: Seq[Future[JsObject]]): Future[String] =
    for { list <- Future.sequence(futureResults) } yield Json.stringify(Json.obj("responses" -> list))

  def execute(kind: String): Future[String] = {

    Logger.info(s"Execute future calls of type: [$kind]")

    val executorResults = executors.getOrElse(kind, Seq.empty) map {
       executor =>  executor.asInstanceOf[Service[JsObject]].execute()
    }

    buildResponse(executorResults)
  }

}

redpajama_set_name: RedPajamaGithub


In a large, heavy skillet over medium high heat, bring oil to a shimmer. Add fennel, scallions, sweet potato and shiitake mushrooms, one at a time, stirring frequently to brown. Reduce heat to medium and cook, covered, about 5 minutes, or until sweet potato is slightly fork tender. Add mushrooms, pecans, sage and parsley, tossing to thoroughly mix. Toss in bread chunks, then add bone broth, stirring to incorporate all. Cover, cook on medium heat until all is well combined and stock has reduced and been absorbed by bread and vegetables. Season to taste with seasoning salt, or salt and pepper, as desired.


text:
Tag: populist right
Over the past decade, many countries have seen the rise and consolidation of support for right-wing populist movements and parties
When it comes to beating the left, any way is the right way
Berlin is not Weimar and the Alternative for Germany party (AfD) is not the Nazi Party (NSDAP), but after Thuringia's minister-president was elected with AfD votes, it is all but impossible not to see the historical parallels.
The Ghost of the Danish People's Party
For decades, Denmark has been widely known for being among the first movers in harsh anti-immigrant policies. With the ever more influential Danish People's Party (Dansk Folkeparti, DF) as a front-runner, the country has seen itself accepting radical anti-immigrant laws testing the outer bounds of international conventions. This year's national election, however, marked a turning point as the party suffered its first and severe parliamentary setback.

redpajama_set_name: RedPajamaCommonCrawl


text:
They walked to his old apartment in Bangalore, making way through the traffic that was an inseparable part of the city. As soon as they stepped on a footpath, in a typical fashion, she slipped off a broken edge and fell, bruising her knee. She groaned good-naturedly, cursing her clumsiness. He held back a smile as he fussed over her, marvelling her ability to stumble on even most regular surfaces. He clasped her small hand a little more firmly, intertwining their fingers, hoping he could save her from further cuts and scrapes.
She chattered happily, talking about the time she had been in Bangalore before that, the diner that had a cute boy band playing old Bollywood songs, the coffee-caramel-nut ice-cream she had had that day and the possible mystery behind the salt on the rim of the glass of a Bloody Mary. He let her talk, it aided in distracting himself from other things on his mind. "Anyway the drink tasted so yuck", she made a face and he smiled. He knew what she would say next, repeat for the umpteenth time her fond wish that alcohol tasted as good as her favourite "Kala khatta". Instead, she looked sideways at him and asked with concern in her voice, "You okay? You are so silent".
"Yeah, yeah. I am fine", he said.
She wasn't convinced. She never was.
She stopped walking and drew him to the side of the footpath where they could stand leaning on the railing of a building. "Are you sure you want to do this?" she asked quietly.
He marvelled at her innate talent of guessing what was on his head. Women, he thought. "Yeah" he shrugged. "It will be good to see them again."
And it would be good to see them again, he thought. It already felt good to be back in the city that was home for two whole years. It would be good to catch up with his friends, talk about old days and pull each other's legs. But, would it?
He was sure that one event would linger heavily on every conversation. Unsaid things would be spoken through eyes, in clink of glasses and small, heavy sighs. It was almost 6 months to Aditya's death and it still felt so surreal. No one knew how exactly he died, except that falling off from a 7-storey building didn't seem like an accident. Suicide was something everyone thought but didn't say because it somehow just didn't connect with the person he was.
It was not like they didn't discuss it between their friend-circle. But somehow, standing there, a mere hundred steps away from the place where they had lived together, laughed together, something weighed down his heart.
She hugged him, bringing him back from his reverie and he hugged her back, silently thanking her presence. He remembered the night when the surreality of Aditya's death crashed over him as he found some old photos of them working at a competition together. Aditya had dragged him to get some sleep while he himself worked on their robot that night. He had lain on the bed for a long time, the photos flashing in his mind's eye, sleep evading him, trying to sink in the truth. Her arms around him even in her deep sleep had been the only comfort that night.
His eye suddenly caught something on the stand of a local seller displaying coffee mugs and he made his way to it. He picked a mug with Gateway of India sketched on it and "India" written across it, a million memories crashing over him again. In answer to her questioning glance, he said "I had a mug exactly like this. I forgot it in the apartment when I shifted to Gurgaon and Aditya had coveted it. I had totally forgotten about its existence till a few months back when he sent me a photo of it saying that he had been using it since then and was even planning to take it with him to Germany".
She smiled at that, still looking at his eyes, gauging his reaction. They stood there holding the mug for a while, before he finally returned it to the stall, much to the irritation of the shopkeeper. They started walking slowly towards their destination when he stopped abruptly and said, "Let's go back".
If she was surprised, she didn't show it. Without losing a breath, she said, "take me to that Andhra mess you told me about? I really wanna have some curd rice with pickle". She licked her lips in exaggeration and he laughed, loving her for not asking any questions. He would encounter the same memories again for sure, but today was not the day to deal with them. She took his hand and gave it a squeeze, and for the hundredth time, he thanked for her in his life. They walked in a comfortable silence and in a quieter part of the lane, he kissed her softly.
"I love you" he said, looking into her dancing eyes.
"I know", she smiled and they made their way in the night for some all-time favourite curd rice with pickle.


I'm going to have a few pieces in this show at the Headlands Center for the Arts.
This is text from the show: "Breaking Ranks in military usage indicates the movement among a group to fall out of line, allowing each person to go his or her own way. The Bay Area artists, performers and writers included in this annual exhibition each execute different tactics to investigate the contested division between Nature and Culture. The diverse media in the exhibition, including drawing, painting, video, sculpture, and live performance, reveal the products and processes of culture as part and parcel enough of human nature to make culture at least second nature for humans everywhere."
"Breaking Ranks: Human/Nature," was curated by Brian Karl.


Don't forget to check out our commercial games!
*Note: The VerseOrganizer was written by and provided free of charge by Steven F. Trandahl. It requires certain standard Windows help file components which your system probably already has. If not, they can be downloaded from the Microsoft HTMLHelp download page at http://www.microsoft.com/en-us/download/details.aspx?id=21138.


text:
Oakland police nab 2nd of 3 suspects in Benicia…
Oakland police nab 2nd of 3 suspects in Benicia shooting
By Vallejo Times-Herald |
PUBLISHED: May 20, 2010 at 12:00 a.m. | UPDATED: August 29, 2018 at 12:00 a.m.
A second man was arrested Wednesday in connection with a Benicia shooting earlier this month.
Oakland police officers arrested Marques Agee, 31, of Vallejo in the 56th Street area of Oakland at about 10 a.m. Wednesday, Benicia Lt. Mike Daley said in a press release.
Agee is allegedly involved in a kidnapping and robbery case that culminated in the shooting of a 34-year-old Benicia man May 4 in his home, Daley said.
Agee, who also goes by the name Bobby Mark, is on parole for weapons offenses, Daley said.
His arrest closely follows that of Benjamin Taft, 33, of Vallejo on Monday.
Taft, on parole for assault weapons violations, is also believed to have been part of the May 4 incident, Daley said.
The third suspect and alleged shooter, Larry Short, 22, of Vacaville, remains at large.
At about 1 a.m. May 4, the 34-year-old Benicia victim had gone to visit a friend"s home on the 200 block of Woodrow Avenue in Vallejo, Daley said.
Taft and Agee arrived at the home and confronted the victim"s friend about problems with a Cadillac the Vallejo man had sold to Agee, Daley said.
The Vallejo man reportedly told the two suspects that the Benicia man had originally sold him the faulty car, Daley said. Taft and Agee then held the Benicia man at gunpoint, demanding compensation, until Short arrived, also armed, Daley said.
Short allegedly drove the Benicia man to his home at about 2:30 a.m. and told him to give his credit cards, cash and other valuables, Daley said. Agee and Taft remained at the Woodrow Avenue home with the Benicia man"s car.
A verbal confrontation ensued, and the victim shut a bedroom door, separating himself from Short, Daley said.
Short then allegedly shot through the door, striking the Benicia man in the left shoulder, Daley said.
Short fled the scene and has been on the run ever since. The victim survived the gunshot wound, Daley said.
Taft was arrested at a Ramada Inn on Summersville Road in Antioch and was found with an assault rifle, an automatic shotgun and a handgun, Daley said.
Anyone with information is asked to call the Benicia Police Department at (707) 745-3412 or leave an anonymous tip at (707) 644-STOP (7867).
Some Project Roomkey participants not pleased with program
Vallejo City Councilmember Hakeem Brown criticizes constituents in profanity-laced emails
Solano District Attorney Krishna Abrams announces bid for re-election
Photo: Georgia Street bridge closes
Early morning shooting claims life of 39-year-old Vallejo man
PG&E electricity and gas bills are slated to jump 9% in early 2022
George Roth: Stop work now?
Vallejo announces opening of application period for Surveillance Advisory Board
Vallejo Times-Herald
Caltrans seeks public input with issues regarding Highway 37
City of Vallejo expects to finalize ordinance to prohibit 'ghost guns'
Vallejo High School boys basketball team rallies for home win over De Anza


text:
Sahotra Sarkar (born 1962) is an Indian-American professor at the University of Texas at Austin, specializing in the philosophy of biology.

Education and career

Sarkar is originally from India where he lived in Darjeeling until 1975. He earned a BA from Columbia University, where he won a Van Amringe Mathematical Prize, and a MA and PhD from the University of Chicago where he worked with William_C._Wimsatt. He was a Fellow of the Wissenschaftskolleg zu Berlin (1996–1997), the Dibner Institute for the History of Science and Technology (1993–1994), and the Edelstein Centre for the Philosophy of Science (1992). He was a visiting scholar at the Max Planck Institute for the History of Science in Berlin (1997–1998, 2002–2003) and taught at Montreal's McGill University before moving to Texas.

Philosophical and scientific Work
Sarkar is one of the founders of systematic conservation planning within conservation biology, promoting the use of multi-criteria decision analysis and supervising the creation of the ConsNet decision support system. In this context he has advocated participatory environmental planning and strongly criticized the imposition of authoritarian and discriminatory environmental policies on local residents. His laboratory also works on a suite of neglected tropical diseases (or diseases of poverty) including Chagas disease, dengue, leishmaniasis, and tick-borne diseases.

In the philosophy of biology, Sarkar is known for his work on reductionism and criticism of hereditarian thinking in biology as well as the use of informational concepts in molecular biology. In the philosophy of physics Sarkar is known for controversially defending the conventionalism of simultaneity in special relativity (with John Stachel) and suggesting a stochastic modification of quantum dynamics. Earlier in his career he worked in mathematical population genetics where, in collaboration with Wing Ma and Guido Sandri, he was responsible for the standard recursion relation to compute the Luria–Delbrück distribution in bacterial genetics.

Sarkar is also a noted critic of creationism and intelligent design and played an important role in combating attempts to introduce creationism into high school curricula in Texas.

Allegations of sexual misconduct
In 2017, Sahotra Sarkar was suspended for a semester after multiple allegations of sexual misconduct with students. Although he denied some of the allegations, he admitted to discussing the possibility of one student posing for nude photographs for money.  In November 2019, a group of students interrupted a class Sarkar was teaching in order to protest his continued presence at the university.

Books
 Sahotra Sarkar, Genetics and Reductionism (Cambridge Studies in Philosophy and Biology). Cambridge University Press (October 13, 1998)
 Sahotra Sarkar, Molecular Models of Life: Philosophical Papers on Molecular Biology (Life and Mind: Philosophical Issues in Biology and Psychology). The MIT Press (March 30, 2007)
Sahotra Sarkar, Biodiversity and Environmental Philosophy: An Introduction (Cambridge Studies in Philosophy and Biology). Cambridge University Press (September 19, 2005)
Sahotra Sarkar, Doubting Darwin: Creationist Designs on Evolution. Blackwell (April 20, 2007)
Sahotra Sarkar, Environmental Philosophy: From Theory to Practice. Wiley-Blackewell (2012)
Chris Margules and Sahotra Sarkar, Systematic Conservation Planning (Ecology, Biodiversity and Conservation). Cambridge University Press. (October 8, 2007)
Sahotra Sarkar, Ed., Science and Philosophy in the Twentieth Century: Basic Works of Logical Empiricism. 6 Volumes. Routledge (February 1, 1996)
Sahotra Sarkar, Ed., Logical Empiricism and the Special Sciences : Reichenbach, Feigl, and Nagel (Science and Philosophy in the Twentieth Century: Basic Works of Logical Empiricism) Routledge; 1 edition (February 1, 1996)
 Sahotra Sarkar and Jessica Pfeifer, Eds., The Philosophy of Science: An Encyclopedia Routledge.(December 9, 2005)
 Sahotra Sarkar and Anya Plutynksi, Eds., Companion to the Philosophy of Biology (Blackwell Companions to Philosophy). Wiley-Blackwell (March 14, 2008)

References

External links
Sahotra Sarkar at University of Texas at Austin
Sahotra Sarkar at MIT Press

1962 births
21st-century American biologists
American philosophers
Columbia College (New York) alumni
Critics of creationism
University of Chicago alumni
University of Texas at Austin faculty
Living people
Philosophers of science
Indian emigrants to the United States
People from Darjeeling

redpajama_set_name: RedPajamaWikipedia


Are You Looking For The Best Dry Puppy Food For Your New Best Friend?
Welcome To Our Complete Guide To Choosing The Right Puppy Kibble.
We Check Out The Benefits And Drawbacks Of Dried Food, And Find Out Which Brands Come Out On Top.
We all want to give our puppies the best start in life.
One of the most important considerations when welcoming a new pup into our lives is food.
Food will provide the fuel for our puppies' daily activity, and also the building blocks she needs to grow.
But with so much conflicting advice it's hard to know what to think.
Dry food has the benefit of convenience, and is usually the cheapest option too, so what's the best dry puppy food and how can it help our tiny furry friends?
Growing is hard work! Puppies need all the help they can get.
Nutrition is important at every stage of our dogs' lives, but never so much as when they are puppies.
A healthy and well balanced diet will have a huge range of positive implications later in life.
More than this, a poor diet can actually be seriously harmful to growing pups.
Lack of proper nutrition at this stage of life can even be fatal.
Needless to say it's always better to save the homemade diet experimentation for when your dog's older and a bit tougher.
So, it's always best to go for a food made specifically for puppies.
Even the best dry puppy food does have it's downsides, but it also has some key advantages over the wet options.
Your puppy will really appreciate having something to crunch on while they're teething, and wet food can't give them this.
It is also easier for you to store, comes in larger quantities and lasts longer too.
So what makes a good dry puppy food?
And what should we look for to find the best dry puppy food?
What is the best dry puppy food?
Dry food is great because it doesn't have that wet dog food smell, and it's usually quite a lot cheaper.
This owner friendly format is one of the more popular, but it can have its pitfalls.
Manufacturers will sometimes stretch cheap food with fillers.
These are ingredients that have no real nutritional value to your dog.
Although the creators of these foods are a lot more careful when it's a puppy specific product, sometimes corners are still cut.
Dogs are descended from wolves — carnivores that survive almost entirely on meat.
Despite years of selective breeding, they still have an almost identical stomach, but have adapted to a few human foods.
With this being said the ideal diet for a dog is still one that consists mainly of meat.
The best dry puppy food will therefore contain high quality meat for those all important proteins and fatty acids, along with nutrients that will assist their growth.
Size itself can also be a factor, with some puppy foods marketed specifically toward large breeds. But for most dogs this won't need to be taken into account.
The best dry puppy food for Labs will be the same as any other similarly sized puppy.
Puppies can sometimes have problems digesting grains.
Fortunately there are numerous grain free dry puppy foods available.
Most dogs can digest grains, but this is a fairly recent development as wolves cannot.
As you might expect, this causes problems for some pups.
Occasionally young dogs find themselves less adept at processing this food.
In addition to this some pups have allergies to certain grains.
For these reasons, we have a number of grain free puppy foods to choose from.
One such food is Wellness' Complete grain free puppy food.
As well as being grain free, there's also no soy in Wellness Grain Free Puppy Food.
Soy is often used to replace grains, but can be an allergen for some dogs.
Wellness puppy food's main protein is chicken, but it also contains a good amount of salmon.
This is beneficial because salmon is rich in fatty acids essential for a number of bodily functions.
The reviews are extremely positive on this one, so it's well worth a try!
Our next grain free food is from Natures Recipe.
This grain free Nature's Recipe puppy food uses pumpkin and sweet potato instead of grains to bolster its energy content.
It's well represented on the protein front, with the largest ingredient by volume being chicken.
There are omega fatty acids and vitamins added to promote healthy skin and overall support growth.
The reviewers' pups love this food, and yours likely will too!
Next, lets look at some of the most health oriented puppy foods available.
Health is a number one priority for any new puppy owner.
We want our new dogs to be in top condition, so they can take anything the world throws at them.
By providing our puppies with a balanced and well thought out diet we can bolster them against disease, and ensure they grow into healthy adult dogs.
Although most puppy foods have health as a main consideration, some are clearly more focused on this aspect.
Our next contender for the best dry puppy food brand is Hill's.
Hills' science diet range has a good reputation across the board.
This brand is available for tons of different pets, but let's focus on their puppy food.
Hill's science diet puppy food is one of the most popular products in this category, and with good reason.
All the ingredients are high quality, aimed around easy digestion for immature stomachs.
The main ingredient is chicken, followed by barley and pork.
Having two meats in the top three ingredients will bolster the protein and fat present in this food.
There's also a few other nutrients added to help make this food more complete and health-conscious.
Fish oil adds DHA to the mix, which is one of those all important omega fatty acids vets are always going on about.
Antioxidants are also well represented with vitamin C+E added with a focus on immune health.
All in all this seems like a great option.
Our next super healthy food is from another popular brand, Royal Canin.
Royal Canin's kibble dog food for puppies is designed to help your puppy's digestive health, and also their dental health.
Crunching down on this kibble puppy food will help to clean and maintain your growing pup's teeth.
There's a good amount of meat product in this dry food as well, which is exactly what your puppy's stomach has evolved to digest.
If your dog has any kind of grain allergy/intolerance this might not be the best choice, as it contains wheat gluten and corn, but most pups will think this food is great!
Our next example in the healthy section is from Purina One.
It's almost impossible that you won't have heard of this brand, but lets take a closer look at what's going on inside their Smartblend range.
Purina One's puppy food is made with chicken first.
This healthy food contains omega 6 and all the benefits that come with it.
Purina one smart blend is also packed with antioxidants to help your pup fight off disease as she goes through her young life.
Some of the more health conscience humans prefer their food organic, but is this something we can use to benefit our pups too?
Whether it's because of concerns over GMOs, or concerns about pesticides and hormones, a lot of us would rather eat organic food. The good news here is that you can adhere to these same standards when it comes to your puppy.
But what is the best dry puppy food in the organic isle?
This organic puppy food from Castor & Pollux will give you peace of mind, and help your puppy to grow big and strong.
This dry puppy food by Castor and Pollux is certified organic by the USDA.
It's another food on this list where the main ingredient is chicken.
This helps ensure that your pup is getting the protein and fat that he thrives on.
Castor & Pollux puppy food is aimed around complete nutrition, providing everything your puppy needs.
In this case doing so with all the benefits of organic food.
It is a little more expensive than some of our previous examples, but this is what we expect from organic foods due to the more costly methods of producing them.
Every pup is different. Some have allergies and intolerances to different food.
But on the whole, if you go with a good quality brand you will do just fine.
The best dry dog food options cater to your growing dog's health requirements, and they taste good too.
We've compiled the above list of some of the top dry puppy food available to give you some options to choose from, based on your puppy's individual needs.
Remember, if you're changing from your puppy's current diet, do so gradually.
Slowly replace larger amounts of your puppy's current food rather than suddenly switching. This will give your pup some time to adjust.
They're young, so a sudden change can upset their stomachs.
What's your pup's favorite dry dog food? Let us know in the comments.
I have a 1 1/2 year old Chocolate Lab that now weighs over 115 lbs and is all muscle. He has always been fed Wellness Core. First for puppy now large breed.
How about Pro Plan Focus?
Iams puppy large breed? Is this a decent one?


text:
Cardiophorus kryzhanovskyi is een keversoort uit de familie kniptorren (Elateridae). De wetenschappelijke naam van de soort is voor het eerst geldig gepubliceerd in 1980 door Dolin & Chantladze.

kryzhanovskyi


November 2014: Does your manager seek your input regarding potential new hires?
A sound majority of hiring authorities choose to actively include an array of individuals in the hiring process in order to determine how well they feel a particular candidate may fit within the corporate culture.
October 2014: Has your company begun to utilize gamification software as part of its salesforce performance approach?
The number of offerings in this area has grown rapidly in recent years. Many have sought to gamify their processes in various forms and degrees in an attempt to improve closing rates and performance against quota.
September 2014: Do you feel that your corporate website properly conveys the value of the company's offerings?
Those surveyed tend to be happy with the job their web department is doing to promote their organization. Others would like to see a more detailed and understandable outline of the benefits their products offer.
August 2014: Does your sales department utilize a method for lead scoring?
About three-quarters of the respondents to this poll have a system in place that allows them to properly assess and prioritize sales leads.
July 2014: Do you make your contracts and proposals available online?
The availability of these forms and documents to potential clients has increased substantially along with the ability to apply and interpret relevant analytics to determine their effectiveness.
June 2014: Do you require potential prospects to complete a form in order to access content?
Many utilize this type of pre-sales approach to qualify and attempt to more fully engage potential buyers. The majority still find it more productive to allow unbridled access to pertinent and necessary information.
May 2014: Do your inside sales managers sit with team members or maintain their own office?
Numerous inside managers have made a move to operate directly within their sales team's direct work area. The shift to more collaborative environments has made this type of structural arrangement much more common in recent years.
April 2014: Does your company have a workplace wellness program?
This type of offering has become highly popular amongst companies and employess for many financial and corporate reasons.
March 2014: Would/do you wear a productivity sensor at work?
The notion of wearing this type of device in the workplace clearly is not a popular one. Many employees view the practive as overly intrusive while a number of corporations maintain that they can predict and enhance productivity by utilizing these devices along with tailored analytics.
February 2014: Will a bad onboarding process prompt you to consider leaving a new position?
It appears that most people will look past a less than ideal introductory session with a new company. A fairly concrete correlation between a sound and well-structured onboarding process has been established that should prompt organizations to ensure that this part of the hiring process is sound.
January 2014: How many interviews did you complete with your current employer in order to obtain your job?
The results of this poll match what experience has shown over the years - most candidates go through 2 or 3 interviews to get a particular position.


text:
Cinema Gadfly
by Arik Devens
Criterion CollectionEclipse SeriesArchivePodcastAboutCriterion CollectionEclipse SeriesArchivePodcastAbout
As emotionally affecting a film as I can remember seeing in forever. This film made me feel so many things, all at once, and there's really no higher praise I can give a film than that.
I don't know how to start writing about this film, it had such an effect on me that I'm left almost speechless.
I spent most of the time I was watching in an uncomfortable state of sadness about the inevitability of what was happening on screen. If that doesn't sound like a particularly pleasant way to spend an evening I'd understand, but really this is an absolutely astonishingly good film.
Anything that makes you feel so strongly for the characters involved, and for the story that is being told, is a masterpiece as far as I'm concerned. The power of film is to move us, to make us think, and to create an emotional response in us. This film did all three of those things in heaps.
The story starts with a couple in bed, the husband somewhat older than the wife. The wife, Camille, played by the inhumanly beautiful Brigitte Bardot, is asking her husband, Paul, about each of her body parts and how he feels about them. Paul tells her he likes each one, but in a lazy sort of way, and finally she tells him that means he must love her completely. His response is to say "Totally, tenderly, tragically." That tragic part is what the film is about.
We learn the next day that Paul is a writer, and has recently been approached to do some rewrites on a terrible film adaptation of The Odyssey, directed by Fritz Lang, who does a phenomenal job playing himself. Paul agrees to do the rewrites even after seeing first-hand that the producer is a totally stereotypical American jackass.
Camille comes to meet him at the studio and the producer suggests that she ride back to his house without her husband, and that Paul follow them in a cab. Over her objection Paul agrees, seemingly without thinking, and heads off separately. From the moment he does this things turn dark for their relationship.
Suddenly Camille doesn't seem to feel the same way about him as she previously did and he spends the rest of the film trying, and mostly failing, to figure out why.
This is the story of the failure of a marriage, of the destruction of love. In that way it's very similar to Journey to Italy, and in fact at one point the characters here exit a screening of that film. Unlike Journey to Italy though, there isn't really any chance of anything like a hopeful ending. Paul represents an absolute failure of a husband; he has mostly checked out by this point and doesn't even seem to really care that he sends his poor wife off alone with this obviously predatory producer.
From that moment he has clearly shown her that she isn't important to him, he really doesn't care what happens to her. The film was supposedly an apology of sorts from its director, Jean-Luc Godard to his actress-wife Anna Karina, and you can see that in the way it totally sympathizes with the Camille part of the story. She is presented as clearly being the wronged party here, even when she does some things that are not particularly nice to Paul.
He is the cause of all of this after all; he doesn't respect her or treat her all that well, and he seems to be willing to sell her out in a moments notice. I don't think he intentionally sent her off with the producer, but simply by not caring enough to think what that would mean to her, he shows her how he truly feels.
As I said at the beginning, this film made me incredibly uncomfortable. I could easily see the train wreck as it was unfolding and I just wanted to yell at Paul, to shake some sense into him, and prevent him from making all of the terrible mistakes he was making. I kept hoping against hope that he would turn things around, to do something that would prove himself worthy of his wife's love. But he never did, and really he never could, it was simply not in his rather skittish nature.
Camille was right about him, he hadn't done the horrible thing she thought he had, but he might as well have. Through his own inaction he created the situation he supposedly most feared, and even when he was in the middle of it he didn't seem to have the presence of mind to figure it out and turn things around. There were definitely chances for him to do the right thing and yet he never did, not until it was far, far too late.
I felt uncomfortable for what was going to happen, and I also felt extremely sad for the characters involved. Paul was kind of a dope, but he didn't deserve what happened to him, and neither did Camille. It all feels like Godard was drawing a parallel to the plot of the Odyssey, and making the point that this was simply fate, that these characters could only have this ending.
That would mean that none of this could have been prevented. I really want to believe that's not true. - Oct 1st, 2014
france, 1963, 2.35:1, french
Copyright © 2020 Arik Devens / Letterboxd / Twitter / Feed


Exile Paint Ball is located at the address 110 S Coker St in Greenwood, Arkansas 72936. They can be contacted via phone at (479) 996-0701 for pricing, hours and directions.
For maps and directions to Exile Paint Ball view the map to the right. For reviews of Exile Paint Ball see below.


text:
Bryan Marshall, né le  à Battersea et mort le , est un acteur britannique comptant un grand nombre de rôles à son actif, au cinéma ou à la télévision

Biographie

Né à Battersea (Grand Londres), Bryan Marshall est d'origine irlandaise. Il étudie au Salesian College à Battersea, et reçoit une formation d'acteur à la Royal Academy of Dramatic Art, avant d'apparaître à l'Old Vic de Bristol, et dans un théâtre local.

Carrière
On compte parmi ses rôles Pacte avec le Diable, Quatermass and the Pit, Top Secret et L'Espion qui m'aimait. Mais de loin le rôle où il a le plus marqué les esprits est celui de l'avocat Harris dans le film policier Du sang sur la Tamise.

Il a d'autre part interprété le rôle de Frederick Wentworth dans Persuasion, la mini-série de 1971 tiré du roman du même nom, de Jane Austen.

Filmographie

Notes et références

Liens externes

Naissance en mai 1938
Naissance à Wandsworth (borough londonien)
Élève de la Royal Academy of Dramatic Art
Acteur anglais
Acteur de James Bond
Décès à 81 ans
Décès en juin 2019


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Typically now utilized in homes with a living room or open floor plan, they are often big configurations that seat plenty of guests. In smaller areas, they can be useful for seats within an region which has a strange corner or other room limitation. The opportunity to combine part models, end models and lying sections based on room and person preference makes this sofa style super flexible. Sofa sofas also come in a wide variety of designs, from extremely modern or extremely luxe, to much more loved ones-pleasant modern designs.
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Fluffy, overstuffed loveseat cushions are not your thing? This reclining loveseat from GDF has crisper, cleaner lines than your conventional reclining loveseat, which makes it a stylish accessory for a mid-century contemporary, modern, eclectic or modern style of home. And, at just 46.46 inches in width, its easy to squeeze into a smaller space, like flats, dens or office spaces. Available in a number of colour and fabric choices, including charcoal material, navy blue material and slate micro-fiber, its easy to find the right match for your home decorations, and also the sturdiness your family needs for everyday use. Gone are the days of excellent-looking, but uncomfortable furniture you no longer have to give up comfort and ease for design. This lying loveseat functions a big, soft, plush-filled seat cushioning with sufficient space for 2 or sufficient room for you to spread out and relax.
Copyright © Mullaney 9' Market Umbrella By Beachcrest Home in Small Patio All right reserved.


text:
Metopochetus lugens är en tvåvingeart som beskrevs av Mcalpine 1998. Metopochetus lugens ingår i släktet Metopochetus och familjen skridflugor. Inga underarter finns listade i Catalogue of Life.

Källor

Skridflugor
lugens


Many chemicals, paints and solvents could be hazardous if they come into contact with each other or are spilled during transportation. Failure to manage the risks associated with their transportation may lead to staff being injured or suffering from ill-health.
To help you to identify the hazards associated with the transportation of small quantities of chemical substances and the appropriate ways of controlling them, use our example Risk Assessment - Transporting Small Quantities of Chemicals, Paints and Solvents. It covers the generic hazards associated with this type of activity and suggests control measures to reduce risks to an acceptable level. You should ensure that your document only addresses "significant" hazards, i.e. any that could, and more importantly are likely to, cause an accident or injury.
Note. The list of potential hazards is not exhaustive. However, for your risk assessment to be considered suitable and sufficient in the eyes of the law it must accurately reflect the "significant" hazards found when your staff transport chemical substances.
Note. This risk assessment only deals with the generic risks associated with the transportation of small quantities of chemical substances. Your assessment should take into consideration the actual substances your staff are transporting as well as the dangers damage to containers and spillages could cause.


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"...Cooling the concrete sprawl that is the Circuit of the Americas..."
"...I lost my wallet in Poland last October – the night we returned to Krakow..."
"...Mimi Leder. Starring: George Clooney, Nicole Kidman, Marcel Iures, Alexander Baluev, Rene Medvesek, Gary Werntz and Randal Batinkoff...."
"...December 30, 2010, with less than 48 hours in the year, Artly Snuff slowed to make a U-turn while..."
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Video: The Sword with Lars Ulrich "Freya"
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It's been a dozen years since Robert Caro's previous book about Johnson, and now he's back, this time with Master of the Senate, an exhaustive and exhausting examination of the United States Senate during the years of Johnson's time there.
"...The first volume of Robert Caro's protracted meditation on the..."
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In this early Pasolini film marked by the director's sumptuous neo-realism, Magnani plays a middle-aged prostitute who retires from the trade to become a full-time mother to her 16-year-old son.
"...Garofolo, Franco Citti, Silvana Corsini, Luisa Orioli, Paolo Volponi and Luciano Gonini. Pasolini's 1962 film has finally (!) made..."
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"...The Festival Hill summer series (www.festivalhill.org), which opens Saturday, June..."


As I've sat watching the current productions of these shows (or will sit watching, when I see Evita tomorrow), certain musical passages have elicited warm rushes of memory, transporting me back to my teenage bedroom, with my LPs strewn across the floor, singing heartily along to the songs, imagining what the full Broadway stagings must have looked like from the production photos in the gate-folds of the cast recordings.
In some cases, the shows have more than lived up to the promise of those teenage memories. The most recent Follies, for sure, and Evita when I saw the current production during its London run. Other times, the memory has been richer and more artistically fulfilling than the production itself. Godspell and the recently opened Jesus Christ Superstar fall into that disappointing category. It may be mere coincidence that it was the two religion-based shows that appealed far more to my younger self than to the adult who has strayed significantly and irrevocably from the path. I think it has more to do with my evolving musical-theater aesthetic: when I was younger, I either didn't see or was able to forgive these shows for their dramaturgical flaws. Today, I'm not.
Regarding Jesus Christ Superstar in particular, here's the bottom line: individually, the songs are great, but they add up to an entertaining album, not a compelling stage show. The score represents composer Andrew Lloyd Webber at his most inventive and ambitious, back when Lord Andrew actually seemed to care and made adventurous choices. Note the interesting time signatures, for example the 5/4 in "Everything's Alright," giving the listener the subconscious impression that the title is ironic. Or the purposeful use of leitmotif, as in "Judas' Death," which quotes numerous musical passages from earlier in the show, including "I Don't Know How to Love Him." Even more moving is the use of the musical phrase that underscores the lyric "Then I saw thousands of millions..." from the premonitory "Pilate's Dream." Lloyd Webber repeats the phrase during the scene in which Pontius Pilate pleads with Jesus to assist him in saving Jesus's life, and the emotional callback is stunning.
But if Lloyd Webber's music is more interesting than anything he's written since, Tim Rice's lyrics for Jesus Christ Superstar have aged far less well. The quips, the schoolboy snark, the anachronisms, which I found refreshing as a teen, in context work against the tone of the piece. For instance, during "The Last Supper," the apostles sing, "Then when we retire, we can write the gospels so they'll still talk about us when we've died." It's clever, sure, but it calls attention to the lyricist rather than revealing something meaningful about the characters. The show is also replete with slant rhyme: "fire/messiah," "fighting/riding," and most egregiously, "apostle/gospel."
The show also has detrimental holes in the narrative. For instance, we never really learn why Judas turns Jesus in to the authorities. We see him kvetch and moan before and after, but we don't really know why he did it. Now, someone might say that the Bible never really explains this either, and that this question has been the subject of debate for nearly two millennia. But Jesus Christ Superstar isn't a theological treatise. It's a musical-theater piece, and it would have been perfectly appropriate for the author's to fill in the blanks, as it were, to make the piece more dramatically compelling.
So, for a variety of reasons, Jesus Christ Superstar doesn't really work as a show. What about the merits of the current production beyond the words and the music? Well, director Des McAnuff seems to have returned to his Jersey Boys form after the painful misstep that was the most recent revival of Guys and Dolls. McAnuff makes a number of smart and additive choices in staging the show, particularly in the prologue, which compellingly evokes a sense of police-state persecution and establishes Jesus for what he most likely would have been at the time: a wanted man, a subversive figure, a danger to the men in power. McAnuff makes only one major misstep, during Judas's death scene. At first, it seems that McAnuff is content to suggest Judas hanging himself by having 30 pieces of silver fall from the fly space, which was extremely effective. But then McAnuff gilds the lily by having the feet of a dummy Judas suddenly appear dangling from the top of the proscenium. Which was extremely laughable.
Most of the comments I've heard about the show focus on the cast, and there are certainly some standouts. Paul Nolan as Jesus has piercing eyes and killer rock belt, but there didn't seem to be much emotion going on behind those eyes. Josh Young as Judas Iscariot could certainly act the role, but his vocal technique didn't seem sustainable, although perhaps that's more a function of the illness that has caused him to miss quite a few performances. Young seemed to be focusing more on making the role of Judas believable and sympathetic, and less on the vocal pyrotechnics that typically accompany this role. Young did, however, appear to be very uncomfortable during the title number, and couldn't seem get into the groove of the music, although that may have been due to the tight, unflattering, bright blue Vegas tuxedo he was forced to wear in this number.
For me, the best person on stage was new to this production. As you may know, this Jesus Christ Superstar started at the Stratford Festival in Toronto, followed by a stint at the La Jolla in San Diego. Tony winner Brent Carver originated the role of Pontius Pilate, but dropped out before the California production. In his stead, we have Broadway stalwart Tom Hewitt, who has both the vocal and the acting prowess to bring this role to vivid life. Hewitt is simply outstanding, and it made me wonder what the production might have been if more of the performers had Hewitt's well-rounded profile of performance abilities.
As you may have read, two formidable cultural icons are making double comebacks on Broadway this season: Jesus Christ and Andrew Lloyd Webber. The former is represented by both Godspell and Jesus Christ Superstar, while the latter has Evita and...Jesus Christ Superstar.
I've been hearing great things about the new Jesus Christ Superstar, which has played successful and acclaimed engagements at both the Stratford Festival and in La Jolla. My sources tell me that director Des McAnuff has breathed new life into the piece, which already features one of Andrew Lloyd Webber's most ambitious and accomplished scores, not to mention the sharp and erudite lyrics of Tim Rice. I'm eagerly anticipating seeing the show again, and greatly look forward to communicating my views of the show to you, dear reader.
Below are five trivia questions about the show and its authors. Answer the questions as best you can and I will randomly draw a winner from all of the entries with the correct responses. (You can submit your answers via the comment link below. Don't worry: I won't publish your comment until the contest is over.) The contest ends Monday, March 19th.
PLEASE NOTE: The contest is over and the winner has been notified. The answers to the trivia questions are below. Thanks to everyone who entered. --C.C.


AT&T in North Richland Hills, Tarrant County, Texas outage or service down? Current problems and outages - Is The Service Down?
The most recent outage reports and issues originated from Arlington, Fort Worth, North Richland Hills, Grapevine, Euless, Keller, Belt Junction, Roanoke, Southlake, Bedford, Hurst and Haltom City.


With the new year many people are making resolutions. One we would like to help with is for people to become more active and more medically informed. To this regard I am starting/leading a local chapter of a program and partnering with Bon Secours St. Francis, American Family Fitness and many other physicians in the community to help people meet these goals. This program is called Walk With a Doc.
Walk With a Doc is an international organization dedicated to the reversal of sedentary lifestyles by bringing physicians and patients/communities together to walk on a regular basis. During the walk the second goal is to help educate those present through medical lecture and natural conversation. Seven out of the ten most common causes of death are related to sedentary lifestyle so the hope of the program is that by getting people more active we can reverse or prevent those consequences and improve the health and wellbeing of the community.
Our program will consist of a walk every 2nd Wednesday of the month from 6-7PM. The walk will start off with a short talk by one of our physicians/specialists with the plan to rotate the topics/speakers to provide patients with a broad medical education and bring in different physicians that patients may want to engage with. Then we will spend the rest of the time walking at everyone's own pace with the goal to get people walking but also to provide patients and the community with a dedicated period of time to ask questions and engage our physicians. We encourage people to bring a friend or relative and even a pet when we are outside. We have partnered with American Family Fitness to provide us an indoor location during the winter and as a back up for inclement weather during the other months. Starting in the spring, we will hold our walks outdoors at Midlothian Mines Park.
Our first walk will be February 13th and our specialty focus will be Orthopaedics. I will be the speaker and will be giving a short talk on the benefits of walking on musculoskeletal health.
Walking is a low impact activity that has multiple direct and indirect benefits for musculoskeletal health.
With the new year, hopefully you will take this as a chance to continue to fight against our sedentary lifestyles and come out and walk with us on February 13th. We look forward to sharing in the emotional and physical benefits of walking while sharing some medical knowledge on orthopaedics and other medical issues.
If you would like to learn more please refer to the links below or contact Brooke Hopkins Brooke_Hopkins@bshsi.org.


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