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|Ben Long||O'Reilly Media||ePub|
Using a flash is not hard, but it is something that sometimes requires a little bit of extra thought and planning. In fact, one of the most important things to learn about your camera's flash is when not to use it. You've already learned some low-light shooting tricks that provide you with additional strategies for shooting in dark situations, but sometimes you simply need more illumination to get a good shot. The Rebel T1i has a capable built-in flash, as well as support for Canon's entire line of external flashes. In this chapter we'll look at both built-in and external flash use, as well as some additional ways that you can control light, regardless of whether you choose to use a flash.
Before we get into a full discussion of flash shooting, let's look at some simple non-flash-related strategies you can employ to control the light in your scene.
In Chapter7, you learned about fill flash and saw how you can use the T1i's builtin flash to fill in some of the more shadowy areas in your scene to create a more even exposure. Although the flash can work well for this situation and is definitely easy to carry, sometimes a better alternative is to use a reflector.See All Chapters
|Frisch, Æleen||O'Reilly Media||ePub|
These days, the phrase "computer security" is most often associated with protecting against break-ins: attempts by an unauth orized person to gain access to a computer system (and the person will bear a strong resemblance to an actor in a movie like War Games or Hackers ). Such individuals do exist, and they may be motivated by maliciousness or mere mischievousness. However, while external threats are important, security encompasses much more than guarding against outsiders. For example, there are almost as many security issues relating to authorized users as to potential intruders.
This chapter will discuss fundamental Unix security issues and techniques, as well as important additional security features offered by some Unix versions. See Practical Internet and Unix Security by Simson Garfinkel and Gene Spafford (O'Reilly & Associates) for an excellent, book-length discussion of Unix security.
This chapter will undoubtedly strike some readers as excessivelyparanoid. The general approach I take to system security grows out of my experiences working with a large manufacturing firm designing its new products entirely on CAD-CAM workstations and experiences working with a variety of fairly small software companies. In all these environments, a significant part of the company's future products and assets existed solely online. Naturally, protecting them was a major focus of system administration and the choices that are appropriate for sites like these may be very different from what makes sense in other contexts. This chapter presents some options for securing a Unix system. It will be up to you and your site to determine what you need.See All Chapters
|Madeline Pecora Nugent||Pauline Books and Media||ePub|
All the Sisters
Dormitory, San Damiano (EARLY JULY, 1228) “I have had a dream,” Clare said to the sisters clustered about her bed. “It holds a message for us all, I believe.”
The sisters nodded at Clare, who was more mother than abbess. Deeply prayerful, Clare must have had many visions and dreams, although she rarely shared them. Now, in this light-flooded airy room, the sisters felt buoyed by joy and expectation. Dreams were windows into the soul, and Clare was opening that window.
Clare’s blue eyes flashed. “In my dream, I was caring for our holy Father Francis. I was bringing him a bowl of hot water and a towel for washing and drying his hands. He was high above me, so I was climbing a very high stairway to reach him, but I was going very quickly as if on level ground. When I reached Father Francis, he opened his tunic, bared his breast, and said, ‘Come, take, and drink.’ I drank fully without surprise. Again he asked me to drink and I did. What I tasted was so sweet and delightful that I cannot describe it.”See All Chapters
|Colum Kenny||Karnac Books||ePub|
Francis Bacon (1561–1626), chancellor of England, observed that, “All kinds of constraints are unhappy—that of silence is the most miserable of all” (Spedding, Ellis &Heath, vol. 4, p. 485). The constraint of silence may be self-imposed, as a result of shyness or of a sense of personal inadequacy. However, directly or indirectly, it is frequently imposed by others. A most obvious form of silencing is the denial of freedom of speech through censorship or other legal mechanism, but it certainly does not require action by the state to deter citizens from articulating their views. Powerful personal, cultural, or social factors may act to silence people as effectively as any law. Those most affected include women, members of ethic minorities, students, and employees.
Moments of silence between two people in a relationship may be a sign of that couple's deep understanding of one another, and of their wonder at the experience of love and of their shared perceptions of reality. Such “visible silence” finds expression in poetry. Thus, in his beautiful sonnet entitled “Silent Noon”, which was later set to music by the English composer Ralph Vaughan Williams (1872–1958), Dante Gabriel Rossetti (1828–1882) recalled being with his lover on one especially warm day:See All Chapters
|Victoria Charles||Parkstone International|
Lucas Cranach the Elder
The third Grand Master among the painters of the German
Renaissance is Lucas Cranach the Elder (1472 to 1553), who quickly achieved a high reputation, and, as a result of his incredible amount of work produced under his name and painting symbol, the winged snake, also became rich. Among this work are large and small altarpieces, allegorical, historical and mythological portrayals, genre scenes, numerous wood cuttings and above all portraits of the Saxon princes and their families, as well as the portraits of the Reformers Luther, Melanchthon and Bugenhagen.
As a purely artistic painting, Rest on the Flight to Egypt from 1504 is unsurpassed among Cranach’s work. It was only in his last years of life, when his best artistic work was said to be his Self-Portrait at seventy-seven years of age (1550), and the middle painting of the winged altar in the Weimar town church (1552/1553), that he developed a similar artistic energy. All the same, in the first twenty years of his work in Wittenberg, he created a series of oil paintings, which come quite close to the Rest on the Flight, and must be referred to if we want to get a genuine picture of Cranach’s art. Among his wonderful depictions of the Madonna are the Virgin and Child under an Apple Tree (1520/1526) and the Madonna and Child with GrapesSee All Chapters
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