Monthly Archives: July 2017

Night Photography Tri-Pods Only

Night Photography Tri-Pods Only

I see many tourist come through New Orleans with there expensive DSLR cameras, and they always want to shoot at night the many beautiful locations that New Orleans has to offer. However, many people always come up short because they use either a fast Film Speed and/or flash. The secret as most of you may know is first a Trp-Pod, Slow film speed (ISO 100 or lower) and a long expsosure.

This shot was taken with
1)Manfrotto Tri-Pod
2) F/16 for DOF [wide apertures are a mistake as they can increase your chance of flare]
3)A clean lens free of dust (Most important)
4)Long exposure as I used 30 seconds (You want to bath you film or CCD in as much light stopping down on you aperture as much as possible.
5)Always Keep your EV value at 0
6) Manual Focus- Spend about five minutes looking at your seen or subject through your lens, allow time for you eyes to adjust. Then get the sharpest focus you can produce manually.
7_Manual Exposure- Dont depend on Aperture or shutter priorities, true pros shot with manual exposure. Also Use your spot meter feature when shooting night.
Photography

The recipe above should produce the results that I have achieved above everytime.

A good book to read on Night Photography:
"The Complete Guide to Night and Low Light Photography" by Lee Frost
ISBN 0-8174-5041-6
Pick it up at any borders or Barnes & Noble

Happy Shooting
Jamil-Kareem

Posted by Jamil-Kareem Exposures on 2008-05-11 07:47:13

Tagged: , Night , Photography , New , Orleans

Gifts Awaiting

Gifts Awaiting

Pumpkin Cranberry Bread (Preheat oven to 350)

3 cups flour
1 2/3 Tbs. Pumpkin Pie Spice
2 tsp. soda
1 1/2 tsp salt

Combine in large bowl. In medium bowl, mix:

3 cups sugar
15 oz. pumpkin
1 cup vegetable oil
4 lg. eggs
1/2 cup orange juice

Add pumpkin mixture to flour mixture; stir until just blended. Fold in 1 cup dried cranberries. If desired, add 1 cup walnuts. Grease/flour bottom of 2 9"x5" loaf pans (or 6-7 mini loaf pans). Spoon dough into pans, bake @350 for about an hour. Cool in pans 10 min., then on wire rack til completely cool (if you can wait that long!).

Posted by JavaJan1 on 2008-12-11 19:04:21

Tagged: , Pumpkin Cranberry Bread , gifts , holiday , Christmas , baking , recipe , color

Portioning the Rabbit

Portioning the Rabbit

A couple weeks ago my brother-in-law asked me if I’d be interested in some meat rabbits. He had found someone local that raised them and had some that were almost ready.

One of the great things about eating locally is the variety that you can find! I can’t buy meat rabbits at my local grocery store. I didn’t think portioning a rabbit would be much different than chicken. I watched a video on-line. It’s pretty easy. I used the back legs, front legs, both backstraps and the bellies in my stew. The ribs and other parts were used to make rabbit stock, which will be used in a brothy soup later this week.

I remember watching my dad skin rabbits as a kid, we were fascinated by it. My dad is a big hunter so we ate rabbit, squirrel, and a lot of venison.

For more and recipe links: chiotsrun.com/2009/12/08/local-variety/

Posted by Chiot’s Run on 2009-12-08 00:16:31

Tagged: , rabbit , meat rabbit , meat , cooking

Wemyss Bay

Wemyss Bay

And like all things, it has to come to an end. Looking at Google it suggested a 12 hour drive back to Dover, and it was decided that upon reflection we should have an overnight stop. So on Wednesday I booked two rooms at the Premier Inn in Kilmarnock from Friday, near to the airport to drop Tony off as he goes on two further weeks of exploring the highlands, and we go home to the cats and garden and then I can travel on Tuesday to sunny Denmark.

We had a lie in until seven, then were all balls of eergy, packing, tidying, and taking the rubbish out, having showers and so by nine we were ready to go. One last check around the house revealed nothing left behind, so we locked up, put the keys in the safe, and after loading the car we drove out the gates for the last time.

Our first stop this day was Kylerhea, another place Tony’s Grandmother visited in the mid-60s, and he has slides of locations that over the years he has identified. It is also the location of a small ferry leading to the mainland, and is only accessible on either side y long and winding single track roads.

We turn off the main road to the Kyle and take off down a bumpy track, following in the wheeltracks of a 4×4 ahead, but once we reach the summit of the road, and have breathraking veiws into the sound below, we stop to admire it and take shots. As you do.

Soon, we spay a lady, Jos, riding up the hill on her boike, her exercise before she can have breakfast. She stops when she reaches us, talks and speaks bike geek with Tony.

We go down the hill, nearly 1:5 in places, but don’t see the house in the photo, and with the road so narrow, there was nowhere to turn round, so we continue to the stone jetty and wait for the tiny ferry to arrive. It was large enough for six cars, and access from the jetty was by a turntable arrangement.

It seemed slighly Heath-Robinson and dangerouns, but for 15 quid, why not? Two common seals splashed around a few metres away as we waited, Jools and I looked at the bottom of the sound through about 2 metres of crystal clear water.

The ferry arrives and offloads the six cars from the other side, and we all gingery drive on the deck, the crew rotating it round ready for sailing. THe passenger door was jammed against the railing, so I could not get out, and for 5 minutes, not really worth it. I tell myself.

On the other side we get off, and Tony takes many shots as it loads up again and sails. The owners have a small shop selling snacks and cans, and payment is via an honesty box. He is amazed, but then this is a simpler place

There is then a ten mile drive up a narrow lane that steadily climbs the valley, and then down a steeper on the other side, at which point we get stuck behind a logging truck, which has the bonus of scattering other traffic out of the way.

Onto the main road, and the long way round to Fort William, down impressive and sun-drenched valleys, sometimes able to travel at the speed limit and other times at 30mph when stuck behind a motorhome.

Time clicked towards noon and thoughts turn to lunch. I see a sign and turn off thinking there was a hotel down a narrow lane. We go down it with the road leaping around like a rollercoater, but with no other traffic about I put the Audi through its paces.

We cross the Caledonian Canal, and realise we are nearly in Fort William, so at the side of Neptune’s Staircase, a series of eight locks, we find a hotel with views onto the locks, and did food and drink.

We have sandiwiches and coffee, which is all very nice, then look for a place to fill up before taking the long road south, stuck behind both a Tesco lorry and a motorhome. We putt along at 30mph for what seems like ages, then thanks to the many horses under the bonnet I get past both on exiting a roundabout and using all available horses.

But we run into the back of a lone of traffic going up Glencoe, and so we put along between 30 and 40 for ages before we can get past the camper van and truck causing the delays.

And then we come to Loch Lomond, where the road snakes around the shores of the loch, and we are in a train of cars behind a coach which has to stop whenever a truck wantes to pass.

But we get through, onto a better road, then at Dumbarton onto a dual carriageway, then over the bridge and onto the motorway, following the Clyde out to sea as I had a date with a station to snap.

Waymis Bay is not well known, but is where the ferry to Arran leave from, and the once grand station at the harbour was renovated 20 years ago, and is still in good nick. It is incredible really, and using the wide angle I get the shots I wanted.

We walk on the beach a bit, between the rubbish and dirt nappies, then decide to try to find the hotel, ending up at another ferry port, in a converted industrial building, mixing with the smart set ordering an Italian feast and beers.

The oddly names town of Largs seems that it will have a fish and chip restaurant, but with the sun having come out and the start of the school holidays, the town was full, and a mini Blackpool with amusement arcades, putting greens and full car parks. THe one restaurant we pass is full to the gunnels, so we drive on.

We end up in Ardrossan, another port and stone built town, this one looking initially as unwelcoming as a few further up the coast. We follow the main road in, then I take the road to the port, and what looked unpromising, turned into a fabulous looking marina, and in a converted port building we spotted an Italian restaurant. We park outside, and although it looks full, they open up an upper floor for us, which seemed generous, only in half an hour all other tables are taken and another floor above is now being opened.

We have a fine meal, along with drinks, and the service is great too.

We program the postcode for the hotel in the sat nav, and it takes us through industrial areas before turning north and along dual carriageways to Kilmarnock, and beside a busy roundabout sits our home for the night. Its not bad, and for £50 each we have rooms, a good bed and full breakfast in the morning, but the rooms are hot, not enough ventilation after another very warm Scottish day, and on the bed a winter duvet of 550 tog thickness.

We are pooped; six hours of driving and a couple more of photography, and we want to get to the Premier Inn, in Kilmarnock. Which is where we are.

———————————————

Work began in late 1862 on the single track Greenock and Wemyss Bay Railway branching from the main Glasgow, Paisley and Greenock Railway at Port Glasgow and taking an inland route across to the coast at Inverkip before descending to Wemyss Bay. This was to connect to Clyde steamer services for Rothesay, Largs and Millport, Isle of Cumbrae, allowing a combined train and steamer journey time of an hour and a half, compared with a typical time of three hours by steamer from Glasgow. The Wemyss Bay Steamboat Company was formed to own the connecting steamers, competing with the private owners of other Clyde steamer services. The route opened on 15 May 1865, but over-ambitious timetables led to severe delays during the first year, damaging the company’s reputation, and the route subsequently faced strong competition from other pierheads.

Train services were electrified in 1967 by British Rail, using the 25kV A.C system.

The station was designed by James Miller in 1903 for the Caledonian Railway and is remarkable in its use of glass and steel curves. The station is noted for its architectural qualities and, although one of Scotland’s finest railway buildings and Category A listed, it has suffered from neglect. A major refurbishment scheme carried out jointly by Network Rail, Inverclyde Council and the Scottish Government from June 2014 to the spring of 2016 has seen the station buildings and adjacent ferry terminal fully restored.[2][3]

Two platforms are currently in use, though there were three available until 1987

en.wikipedia.org/wiki/Wemyss_Bay_railway_station

Posted by Jelltex on 2017-06-09 15:30:30

Tagged: , Scotland , Railway Station , Jelltex , Jelltecks , Wemyss Bay

Screen shot 2011-02-08 at 7.56.03 PM

Screen shot 2011-02-08 at 7.56.03 PM

DOING YOUR OWN ZINE

Here’s my little guide on how to self-publish, whether it’s a zine, a mini-comic, a book of poetry or whatever. It should be pretty comprehensive, but if there’s anything you don’t understand please write and let me know! I’ve been doing zines a long time, so I may have overlooked something really simple just because doing zines is second nature to me. So if you’ve been reading zines, and think it’s time you tried one for yourself — read on!

Are you ready to do a zine?

This is probably the most important question you should ask yourself when you’re considering doing a zine — are you really ready to do one? Do a zine can take up a lot of your time and become a big responsibility. There’s no reason that you should have to do a whole zine — if you aren’t sure you can handle a zine on your own, consider maybe contributing to zines that you like or getting a couple friends to do one with you.

Also, just because anyone can do a zine doesn’t mean they should. Not everyone is suited to the kind of work that goes into zines, and there’s a lot of forms of creativity that just don’t translate well into a zine. Don’t do a zine because it’s the cool thing to do — lots of other things are cool to do, too.

That said, if you have a lot of ideas and you think this is the way you want to express them, here’s how to do it!

Content

What kind of stuff will be in your zine? Obviously, before you start actually making up pages you need to have some idea what you’re going to put on them. Start collecting clipped stuff, pictures, notes on things you want to write. You can do your zine about anything — it can be interviews with bands or just friends, articles on things you like, recipes — anything at all! You can do a zine of just poetry, or drawings, or comics. Your zine can be about any subject you want (or all the subjects you want). Once you’ve decided what you’re going to put in your zine, start working on it — it’s a lot easier to do a zine with a bunch of work you’ve already finished than to try and do one from scratch.

Size and format

Once you’ve decided what you’re going to put in your zine, you need to decide what it’s going to look like — what size, and what format you’ll do it in.

There are lots of formats to do a zine in. As you order zines, you’ll see that some people use "nicer" printing methods — better paper, or color. But for a first zine, your best bet is photocoping. It’s easy, you can make up copies as you need them (instead of having them all sit in piles in your closet) and the art looks clean because of the white paper. Half-size zines like this look nice (like most of the zines listed in Action Girl), especially if they’re stapled properly. You also can experiment with colored paper for the whole thing or the cover, or even an insert. The two bad things about photocopying: Collating (putting the xeroxed pages in order) can be a real pain (a zine I worked on once had 24 full-size pages, and we made 500 copies — it took FOREVER to put them together), and if you have a lot of pages it can get very expensive. The biggest advantage is that you can put out a zine like this with practically no money — just get a few copies together at a time, after you get an order with money in it.

When you’re copying your pages, you can do almost any size zine — the folded-in-half size is pretty much the standard. You can also do full pages and just staple them together, or even do the pages on 11" x 17", fold them in half and staple, and voila! a zine that looks printed. Other variations I’ve seen: legal-size xeroxes folded in half (makes a squarish zine) and pages that have been folded in quarters and even sixths, stapled and trimmed to make mini-zines. Remember that the size page you use will affect the number of pages in your zine — if you do a half-size zine, every double-sided copy = 4 zine pages, so you have to have a page count that you can divide by four (8, 16, 24, etc).

Plan on starting small — start off with an issue with a really low page count to save money, and if you get enough to put out future issues, then start adding pages. One girl I know does incredibly tiny xeroxed zines, but she also does a new one every time she has something new to say or show, whether it’s a week later or a month. A zine doesn’t have to be big to be good, that’s for sure.

Layout

Once you’ve decided what’s going into the zine, you can start worrying about making up your pages. You don’t have to make the pages in the correct order, but you do need to make them the correct size. Make up a bunch of "flats" (base pages you glue everything up on) — you can use any kind of paper for this. (If you are doing a full-size zine you might want to conside a heavy paper, like card stock, for the base.) Make the pages the size of your zine pages — if it’s a half-size zine just cut 8-1/2" x 11" paper in half, and so on. Number the pages on the back or right on the flats if you want page numbers in your zine. When that’s all done, you can paste up anything you want onto the pages. (Keep in mind that a xerox machine will cut off about 1/8-1/4" on the edges, so don’t put anything important too near the sides.)

Next figure out how many pages you’re going to have, and start working out what you want to put on each page. If your zine is full size, it’s pretty simple, but if it’s a halfsized zine, you’re going to have to lay them out and copy them in the right order for them to come out the way you want. The easiest way to do this is to make up a blank zine, the length that yours is going to be. Fold the pages in half and make it the same size as yours. Go from front to back like you’re reading it, and number the pages as you go. You can also make notes on what you want to put on each page. When you’re finished making up all your individual pages, you can take it apart, and just glue the flats down on the blank numbered pages wherever you want them to go. Now you have a double-sided original, which will make it easier to remember how to xerox them.

The stuff on the pages

TEXT: the text (writing) in your zine can be done any way you want — from handwritten to nicely typeset. Handwriting is an option if your handwriting is VERY legible (ask someone else if you aren’t sure how legible it is) and you use a good black pen. Don’t use colored pens, and never use a ballpoint. Typing on anything from an old manual typewriter to some spiffy new electronic one will always work. Try marking the outline of the area you want filled with type in pencil on a regular size sheet of paper, and then type directly on it, following the outline. Then erase the pencil, cut it out and paste down. And if you have access to a desktop computer or even a good word processor (if you don’t know anyone with one, try school) you can actually typeset stuff for your zine.

ART : as far as art goes, anything that’s black and white (even if the "white" part is greyish or yellowed), like drawings or stuff you’ve cut out of magazines, will usually come out just fine. You can photocopy most colors, too — try different things out. And you can copy almost anything to make a background pattern — I’ve put half my clothes on a copying machine at one time or another. Experiment! One of the big advantages to photocopying is that you can reproduce so many things with no extra cost or effort.

PHOTOS: photographs should be black and white, although most color pictures will reproduce okay. Again, you’ll have to experiment. They should be as focused and clear as possible. You can either paste the actual photo into place if it’s the right size, or you can xerox it and paste the xerox into your page. If you want them to really look like photos, you can get a "half-tone" made. A half-tone makes a "continous-tone image" (like a photo or pencil drawing, things with grays in them) into a black-and-white dot pattern that looks like a photo, but actually isn’t. If you look closely at any (black and white) photo in a newspaper, you’ll see that they are really made up of a lot of little dots. Halftones should be pretty easy for you to get, but they usually aren’t cheap. The best thing would be to look in the yellow pages — try printers, graphics, maybe advertising production if they have it. Any place that says it has "full production services" is a very likely bet. Spend an afternoon calling them up and asking if they do halftones. Most of them will say no, but in case you find a lot, ask them a test price — ask them how much, say, a 8" x 10" 85-line-screen halftone would cost. Then of course pick the cheapest and closest place you found. Or if a place seemed really friendly or helpful, it might be worth a little extra to go there. (An 85-line-screen means that the piece of equipment they use to make the half-tone has 85 lines per inch — there’s actually 85 rows of dots in each inch of the screen.) But when xeroxing, you can use a finer or a coarser screen — a finer screen would look more like a photo, but it might not reproduce as well. If you wanted a big dot effect you could get one done on a coarser screen, they usually go down to 45-line screens at most places. Ask them to show you some examples. Also, if you have access to someone’s computer with a scanner, you can scan in the photos and print out a half-tone. Not quite as perfect, but a lot cheaper!

Pasting up pages

Once you’ve got all your contents organized and ready to be put together, start pasting up the pages (gluing everything down) one at a time. Don’t feel rushed, you can do it in fits and starts for as long as you want — you’re not on a deadline here.

You can use scissors to cut things out, or move up to x-acto knives (special knives for doing crafts and things — you’ve probably seen one before, all office supply stores have them). I personally recommend the "X-ACTO gripster", which has a rubbercoating on the part you hold. They’re much cooler. When you cut things with an x-acto, put the paper you’re cutting on top of a piece of cardboard or something similar. It keeps you from cutting up the tabletop, and also makes the cutting much eaiser.

Paste things down with glue sticks (you can get these from any office suply also — I recommend the purple-tinted UHU glue stick, it’s my favorite), not a regular glue like Elmer’s or something — those wet glues will make the paper buckle up really bad. Make sure you give whatever you’re gluing down a good coat or it might fall off when it dries! Once you’ve put something down on your flat you can wiggle it around and even peel it back up if you have to, but only for about the first 10 seconds. Be careful! Make sure you’re putting things where you want them. Be neat or be sloppy — look at other zines to get inspired.

When you’ve finished up the individual pages, you need to get them ready to copy. If your zine is fullsized, all you have to do is put them in order. If it’s half-sized (or some other wacky size), you’re going to have to make originals that are the same size as the paper you’re copying them onto, and in the correct order. Follow the directions under "LAYOUT" to make up your originals.

Printing (i.e. photocopying)

Once your originals are completely finished, you can go get your double-sided copies made. (If you do not have double sided originals, be very clear when placing your order if you don’t do the copies yourself.) Do as many as you think you’ll need, but don’t feel like you have to make too many. You can always get more done. Plus, it’s easier to collate smaller numbers at a time. Once you’ve got your copies back, you need to collate them (put them in order), and fasten them somehow. You can staple them together, leave the pages loose but folded in the right order, punch holes in the center and tie them together — or come up with something entirely new. (A lot of people ask how you staple a big zine right in the center — the secret is a special extra-long stapler that is at least 12" long. A lot of copy shops have one available for people to use, and if you’re going to be doing a lot of zines, you can find them at any big office supply place.) All done? Voila! You are a proud parent.

Finance — budgeting your zine

I’d say that money is a consideration for almost everyone doing zines (unless you’re independently wealthy or you work at a Kinko’s). With your zine do you expect to: (A) lose money; (B) break even; or, (C) make a little money? If you expect to make a little money, well, think again. If you expect to lose money (not much of course), good for you. I lose money on most of my projects. But I consider the non-financial rewards to be more than worth it. (What are they, you ask? Well, mail, other zines, positive feedback, new friends, stuff like that…) And if you want to break even, well, you’ve got a really good chance!

You need to figure out a balance between your cost and your price — you don’t want to charge too much, but you don’t want to go totally broke either. Your cost will obviously depend on the number of pages in your zine. Your price should be as low as you can afford, and will depend on your distribution. Keep in mind that $1 is a standard zine price — if you’re charging $3 (even if that’s your cost), a lot of people simply won’t risk $3 on something they’ve never seen before. Keep your zine small and keep the price low.

For example, a typical half-size zine, at 20 pages (5 double-sided xeroxes) will cost you 65¢ at Kinko’s (if you find a cheaper place, use it!!) If you charge $1 for it, you’ll make a little money when you sell it in person, break even if you sell it in a store, and lose a little bit when you mail it. It should come out about even. If your zine’s a little bigger, you might want to put $1 on the cover, and charge $1 + postage by mail. Like I said, sell it for as little as you possibly can — and when pricing it you should also take into consideration how many you plan on doing. Losing 25¢ each on 50 copies is a few day’s lunch money. But 25¢ each on hundreds of copies could break you for sure.

Distribution

There are several ways to get a zine out into the world, including: giving out/selling copies yourself (at shows or school or whatever); doing mailorder yourself; having other mailorder/distribution places handle copies; and, selling it in stores.

Distributing it yourself involves two possibilities, doing it in person or through the mail. In person you have the most options, you can sell it or give it away, and even sell it to some people and give it to others. Doing mailorder yourself is the most popular approach by far — you need to figure out a price that will include postage and then get exposure for your zine through ads and reviews. (You can either charge the cover price, or add extra for shipping. A lot of zines will make it on one 32-cent stamp, others need 55-cents postage. Take a copy, or a blank one of the same weight, down to the post office and find out.)

There are a few distributors of zines, but very few of them are carrying new zines anymore, and they’re generally difficult to deal with. Until you’ve been doing zines for a while, it’s not even worth worrying about them. When you think you’re ready, you can find out from other zines who distributes them, and send sample copies and wholesale info to those distributors.

Selling directly to stores (or more likely, putting on consignment) is also an option. Any store that you or a friend can get to (on a regular basis) is a good place to try and put copies on consigment. You may have to negotiate the amount with each store individually, but you should get 60-75% of the cover price. Don’t take less than 50%, ever. You’ll have to make up a consigment slip and have it signed by someone with authority, unless they have one already. Usually you set a time limit on the consignment, and at the end of that time, they have to give you money for all the copies they don’t have and give you back whatever’s left. But you can work this out depending on your relationship with the store.

There’s lots of combinations of this depending on what you can afford and how into it you are. You could give it away locally in stores or at shows, but charge for it by mail. Or only do it by mail. Do whatever you feel comfortable with.

Getting exposure

If you’re selling your zine by mail, there are two ways to get people to order: through ads and through reviews.

Ads are always good. A lot of smaller zines will trade ads for free, and classified ads in bigger zines (like Factsheet 5 or Fizz) can get a really good response (if you want that much of a response, that is).

Reviews are very important — not only can you get orders from them, but good reviews will help you get ads, distributors and encourage people to pick your zine up if they see it somewhere. The most important place to submit a copy is Factsheet 5 (see GIRL POWER RESOURCES). Other places you send copies to will be determined by the content of your zine. Judge for yourself whether you think the readers of a particular publication would be likely to like your zine. When sending a review copy, it’s a MUST to attach/enclose a note which clearly states at your name, the name of the zine, your address, and mailorder price of the zine.

Trade copies with other small zines like yours, especially if they list other zine addresses. (And list addresses of zines you like in return.)

And keep in mind that you can send a copy of your zine to me, for feedback or review in the regular newsletter.

Whatever you decide to do, remember that this is supposed to be FUN. If you start getting burnt out, or sick of doing zines, then stop. Fill your orders, but don’t feel like you have to keep putting out new issues. If you want to change the name or content of your zine, go right ahead! There are no rules — you can do whatever you want!

Good luck!!

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All contents of these pages are © and/or TM Sarah Dyer. All Rights Reserved.
No part of the contents may be reproduced without written permission.
The character "Action Girl" and her likeness are TM Sarah Dyer.

Posted by Digital Imaging January 2011 on 2011-02-08 11:56:24

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