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Back in the days of film, cross processing meant to process film (or photo paper) using chemistry intended for another type of film or paper. For example, a typical cross-processing gambit was to process Ektachrome using Kodacolor’s C41 chemistry rather than the E6 chemical process intended for Ektachrome. This could be done backwards as well, processing Kodacolor in
Ektachrome’s intended E6 bath.
Within Photoshop, the Variations command opens a window that shows thumbnails, each thumbnail representing an exposure or lighting variation from the original photo.
Part of the point (and pleasure) of analog cross processing was that you never really knew what you were going to get.
Photos can be represented in a number of different modes
(also called color models), depending on your needs and what you plan to do with the photo. For example, RGB mode is used for images that will be displayed on a monitor, using a system that adds the colors while emitting light, and CMYK mode is used for images that will be printed, using a system that subtracts the colors while reflecting light.See All
|Joe Kissell||TidBITS Publishing, Inc.||ePub|
When I speak at conferences, I sometimes want to give attendees PDF handouts or other digital goodies. Or, I might want to give away something on Twitter or in an email promotion, for a short time only. In cases like these, I don’t want to Sync Folders with Others (as in the previous chapter) or Send Files to Others (as in the next). I want to make the files available to an indeterminate number of people without my having to contact or approve each one individually—and without requiring anyone to sign up for an account with a cloud provider or download special software.
While I want to make it simple for recipients, I also want to be able to limit access to the files (say, require a password or make them available only for a limited time) while remaining able to modify the original file (for example, if I correct an error).
The easiest way to do all this is to put the file in a centrally accessible place (typically cloud storage) and then publicize a link to that file. In years past, this may have involved uploading files to a Web or FTP server and then managing it manually. But with Dropbox (or, in some situations, iCloud Drive), nearly the whole process can be automated.See All
A fluid, coherent, and dynamic theoretical narrative is capable of integrating new ideas and changing over time. This chapter incorporates recent understandings from developmental research into a transactional analysis theory of script. Our theory must keep abreast of empirical research to prevent script becoming scripture—a rigid or dogmatic narrative.
The mind is no longer understood to be an autonomous disembodied entity. Neuroscience, infant research, and relational psychoanalysis have all converged around the idea that the mind is embodied, relational, and functions like a complex system (Aron, 1996, p. 3; Bromberg, 2006; Cozolino, 2006; Siegel, 1999; Stern et al., 1998). These ideas invite a re-conceptualization of script in transac-tional analysis theory and practice.
Script is broadly understood as a series of decisions, formed as coping strategies in childhood, which continue to shape the life course outside of awareness (Berne, 1972; Erskine, 1980). The theory developed from an early emphasis on determinism and pathology (Berne, 1961; Steiner, 1974) towards a concept of script as meaning making, which includes healthy as well as self-limiting decisions (Allen & Allen, 1987; Cornell, 1988; English, 1988). More recently, script has been viewed through a constructionist lens as the co-construction of narrative identity (Allen & Allen, 1997; Loria, 1995; Summers & Tudor, 2000). There has been a gradual shift in emphasis away from internal and cognitive processes (decisions, injunctions, or beliefs) (Goulding & Goulding, 1976) towards interpersonal and affective processes (Cornell & Hargaden, 2005).See All
|Edited by Kenneth L. Untiedt||University of North Texas Press|
TEXAS MENU 1835: VENISON AND HONEY,
PRAIRIE CHICKEN, OR BAKED FISH by Jerry Bryan Lincecum
The autobiography of Gideon Lincecum, my great-great-great grandfather, contains some remarkable accounts of hunting and fishing in unspoiled areas of Texas in 1835. Lincecum’s six-month exploration of Texas came about after a good many citizens of
Columbus, Mississippi, where he resided and practiced medicine, became interested in migrating to Texas. An emigrating company was organized late in 1834, and Lincecum was appointed physician to an exploring committee charged with traveling to Texas and bringing back a report. He and five other men left Columbus on
January 9, 1835, and crossed the Sabine River into Texas on February 3.1 The following excerpts from Lincecum’s autobiography are among many that describe encounters with wildlife in Texas. In
1848, Lincecum moved his family to Long Point, Washington
County. His memoirs were written when he was an old man, and most of his accounts of hunting and fishing were first published inSee All
|Elliott Quinley||Saddleback Educational Publishing|
Reasons for Writing
Every piece of writing—from a short note to a long novel—is written for a reason.
Perhaps the writer’s goal is to tell a story or to describe a person or a place. Or it may be to explain why an event happened, or to urge the reader to take action.
A. Use words from the box to complete the sentences about four kinds of writing
with different goals. If any words are unfamiliar, look them up in the dictionary. expository narrative persuasive descriptive
1. ________________________ writing attempts to convince the reader that a particular idea has merit.
2. ________________________ writing tells a story, usually relating events in chronological order.
3. ________________________ writing creates a picture in the reader’s mind of an object, event, or person.
4. ________________________ writing explains an opinion, process, or idea, often by using a definition or a cause and effect.
B. Write an example sentence to demonstrate each of the four “reasons for writing.”See All
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