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Walkstool is a unique company making an even more unique and extremely useful product. The Walkstool Comfort is born of fine Swedish engineering and provides a portable posterior platform - in other words, a seat for all occasions. Whereas a folding chair or stool is nothing new, this Walkstool's clever design makes it stand out from the rest. The two primary issues Walkstool's designers focused on were compact size and load strength and the final product reflects their careful engineering and dedication.The primary benefit of the Walkstool is the prevention of back strain or fatigue while keeping a person elevated to a comfortable height. This is useful for sports, event, and press photographers who spend many hours on their feet, squatting or on their knees. It is also good for campers and other outdoor enthusiasts or simply anyone who needs a seat in a location where a comfortable chair may be hard to come by.The Walkstool Comfort line features lightweight and ultra-portable stools with two height positions depending on whether the telescoping legs are extended or not. Transportation of these sub-two lbs stools is a breeze, as it collapses into a compact form that can be easily carried in a camera bag, backpack, or tool bag to be taken just about anywhere. The Comfort line improves on the Basic line with a larger seat, different size seat mesh material, and larger rubber feet to prevent the stool legs from getting stuck in the mud

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!: How to Upsize Your Digital Photos Without Sacrificing Quality

When I first got my digital camera I knew zippo about the importance of resolution and what the real difference between the 'good' quality setting and the 'best' quality setting was, other than that I got more photos in the camera memory if I kept it on 'good' rather than 'best'.

And when I uploaded the photos on the computer they were at 72dpi but they were 18″ wide. That's way too big , I thought. So I resized them to something more sensible, BUT not understanding the mysteries of dpi, I left the resolution at 72 dpi. Then, compounding my ignorance, I saved over the top of the original file. Is this starting to sound familiar to you?

Then I got into digital scrapbooking and I found that 300 dpi was the 'standard' for scrapbooking. And when I dragged these photos onto my digi layouts, my software (PSE) automatically converted them to the resolution of the layout file (300 dpi) and they were the size of postage stamps. And if I just dragged the photos with my cursor to make them larger the quality degraded enormously. Aaarrrghh!!!!

So what to do? Well if you have shared this experience, or if you need to upsize your images and don't have any prints that you can scan at a high resolution, this technique might be of assistance to you.

A digital image is composed of pixels (tiny cells filled with colour). The more cells per inch (known as dots per inch or pixels per inch), the better the quality. When you take a digi photo, most cameras produce their images at 72 dpi. They deal with the quality issue by increasing the size of the image. The idea is that when you upload your photo into your editing software you can increase the dpi and decrease the image size accordingly without changing the number of cells that the picture is made up of. (I hope this is making sense). A bit like pouring water from a wide shallow bowl into a tall jug. Same amount of water but smaller surface area whilst having greater depth.

Now if you try to increase the size of the image by stretching it, you still have the same amount of pixels to work with so you get gaps between the pixels. Your photo editing software will try to fill those gaps by taking its best guess at what colours should go into them.

So it's logical that you'll get a better result if the gaps are small and your software doesn't have to guess too hard. Now hold that thought whilst I outline the following technique to incrementally increase the size of your images. I use PSE4 but the principles hold true whatever the software and it shouldn't be too hard to translate the control directions into your software of choice.

Step 1: Open the Image Size dialog box (Image>Resize>Image Size) uncheck the 'Resample Image' box (bottom left in PSE4) and change the resolution to 300 dpi. Click on OK to exit the dialog box.

Step 2: Go back into the Image Size dialog box and re-check the Resample Image box. Note how the width and height are a lot smaller than your original image. At the top of the dialog box are the fields which tell you how many pixels your image is sized at. Click on the down arrow at the right of the field and select 'percent' instead of 'pixel'. In the width and height fields type 110 over the 100 that currently exists. Click on OK.

Your image will increase in size by 10%. Repeat Step 2 as often as needed until your photo is at a more usable size. You will notice that each time you do this the height and width of the image are increasing. This method is slow and painstaking but it helps to minimise quality degradation.

You'll note I said 'minimise' quality degradation, not prevent it. There will always be quality degradation when you're trying to create pixels where there were none before. But this incremental approach enables you to gradually build the image from a tighter pixel base rather than having your software take a wild stab at filling in large gaps between pixels.

Obviously you can't keep doing this indefinitely. You will find a cut off point where you start to see a level of reduced quality in your photo that you won't want to accept. That's your signal to stop and accept that that's the largest this photo is going to get.

Then all you need to do is adjust the lighting and sharpen the image and it's ready to drag into your layout.

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Good quality photography is an essential part of business marketing. Nowadays there are many new technologies allowing us to shoot good quality photos. One of these is telescopic mast photography.

Whilst aerial photography is taken by plane or helicopter, mast photography is taken from the ground using a camera elevated by telescopic pole or mast. In most cases the mast is hydraulically operated by an air compressor that extends the mast to a maximum of 100ft... Although some manual systems still exist. Once in position, all camera settings, framing and composition are controlled by the photographer from the ground using computer and special software.

In essence, the concept is very simple. But he results are very dramatic. This change of viewpoint shows us something we have never seen, and often lets us see everything in one shot. For example, in the commercial property sector an image from high in the sky helps present a clear vision of land, buildings, project or venue, giving a site and location overview.

Traditional Aerial photography by plane maybe the right solution for very large sites such as ports or racecourses but airplanes generally photograph at elevations of 500ft, which in reality is quite far away. Skycam gets much closer. 100ft elevation is still pretty high... comparable to ten storeys of a building. But for architecture, building sites and estates, strikes the right balance of overview and clarity.

The other advantage is mobility. Skycam is quick and easy to get into position - allowing for multi angles and views to be captured during one shoot.

Including close ups, overviews, view simulation and create unique elevated virtual tours.... 360 panoramic photography.

Architectural photography also benefits greatly form this positional shift with the mast acting as a very large tripod. Photographing buildings of any height benefit from an elevated shooting position to avoid the classic problems of converging verticals... the optical problems that always occur when tall buildings are photographed for the ground.

These days, particularly online, everyone is competing for attention. For marketing, summarising everything in one shot is key and a change of elevation can present a whole new perspective.

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The Story Behind the Poem - Tale of a Heart and Soul

!: The Story Behind the Poem - Tale of a Heart and Soul

The Poem:

Tale of a Heart and Soul

This is an odd story (or tale)

to say the least,

where I came upon any angry old man once

in Garmish Germany, back in '73--.

We walked together in the surrounding hills

and thus, spotted two young boys--

with silver-white hair, perhaps three or four

years of age, playing with a wolf,

that was peaceful, joyful, quite happy....

"Awe," said the old man in fright and spite,

Just what do we have here?"

Spooked in admiration he was,

angry for whom, knows what!

He said to me, irritatingly, "If I were that

wolf beast, I'd be wild, free and happy!

I wish, I wish, I wish I could be!"

And I do believe, sometimes when we

wish hard enough, God grants us just

that, what we want, but shouldn't have...

a lesson perhaps, to be learned,

if not by the 'wisher' hopefully by others.

And then, all of a sudden, the old man

was calm, peaceful, joyful, singing a song,

wanting to play with the boys, haply,

as if he really knew them...!

(something was very wrong);

then the angry wolf, attacked him--

not me, perhaps (so I thought at the time)

it was the Old man, inside the wolf's skin,

and the wolf inside the man,

and the wolf killed him,

and I shot the wolf...!

#1784 4-8-2007 (D) Sometimes things happen for reasons beyond our comprehension, and simply not knowing why, so we guess at its internal structure, its motivation, reasoning, motives for being, happening, when it is the simplest of all to say what you really think and feel, and that is usually right. As in this case, perhaps the man got his wish, and envy got its revenge, one of the deadly seven sins.

The Story

Here for the first time in print is the story behind the poem "Tale of a Heart and Soul" as told by Poet Laureate, and author, Dennis L. Siluk.

November, 1970.

A village called Garmish, in West Germany in a small valley surrounded by mountains. A focus for the many on ski jumps, meadows, and hills in the valley, the valley with a population of at least than five thousand, supplying the churches, guesthouses and the few hotels. No movie house. The only way the traveler can find his way to the valley in winter is by automobile, the train runs up to the end of October.

The hotel is small and clean, the rooms are not well heated; not much more can be said about it, although it has a bar in the back of it, and the architecture is of an old German Bavarian look. A man named Ski (for short: he was Polish) once a Staff Sergeant in the United States Army, a widower and retired and now living in Augsburg, Germany for the last seven-years. He is five feet nine-inches tall. He is in great physical condition and looks younger than he is. He has a handsome square chin, on his face, with deep blue eyes, and an unsmiling mouth that twitches when he is annoyed, irritated or simply angry, and quickly it shapes into grimness and germinates for hours.
Seldom does he smile, but sometimes a cleaver smile appears. The secret of his youthful appearance is not his physical prowess, not his quick wit, nor his sharp words; at times odd if not mysterious they can be, but his lack of tolerance (his facial mannerisms, his boyish frown); also, he is clean shaving, and his hair is always groomed, cu short and perfectly. The color of his skin is milk white and smooth, he constantly grooms himself.

We had first met each other at Reese Compound (an American Army base) at its small PX (a store for the military personnel) through a mutual friend on the base, Bruce Small, a southern boy from North Carolina. He thought we might be interested in going to Garmish Germany together, perhaps skiing, or just for a weekend holiday, since we both liked to travel, to get away, and drink in the few Guesthouses they have. I got to know him, He was an angry man, Ski, and had a reputation as a thief, but I was very interested nonetheless, in doing as much traveling around Germany as I could, and it was a good opportunity I thought to have company and someone who knows the area with me. And Garmish was on my mind. He often became alarmed at anyone disrespectful to him or anyone around him he liked, and as I noticed, had very few friends. He suggested we go to Garmish in November--this was in August. I said it was premature, but I would think about it. During this time there was an investigation going on concerning him and a robbery at the big military PX in Augsburg, the officials involved, were looking at him closely, and I expect the cloths he was wearing, for the robbery involved, 00-dollars worth of stolen cloths, taken. Anyway, I promised to keep him up dated and informed on the matter.

And so it was that I found myself one cold November afternoon standing with Ski on this hillside lightly covered with patches of frost and snow, a winter chill in the air, the valley of Garmish below us, and a cozy farm along side of us. For the most part, this was ski's getaway during winter nothings I had learned.

Ski stood stone-still on the ground, a bottle of Jack Daniel's [whiskey] in his side pocket, to keep his insides warm. We had a fence in front of us; se somewhat absently shifted his body, as if off and on, as if he was playing chess. There were figures in the far distance, between the farm house and the fence were we stood, behind. We both, Ski and I stepped off the dirt road, closer to the fence to get a better look.

DS: The great thing about his place is we are almost alone here.

Ski: There's no snow, wait a few more weeks, all of Germany will be here skiing or resorting for the weekends.

DS: I've never downhill skied before.

Ski: Want to start learning?

DS: You going to give me a lesson?

Ski: perhaps, let's see who those figures are, they're coming out way.

(What I found to be those figures are off were two small boys about four-year olds, silver-white hair, fraternal twins, and a large wolf, they were playing with one another, a large cow with a bell had followed them, and remained close by. They must have been less than twenty feet away from the fence, from us. They waved at us, and in a casual manner went about playing again. I think I took a candid photograph, snapshot inside my mind of this; it was odd for such a scene. It seemed the children were unaware of the danger that lay before them, or it was us who were unaware, that there was no danger to be aware of.)

A little trigger for Ski, I guess that's what you would call this, or this being the beginning of it.

DS: Cute boys! (The cow moves about.)

Ski: Cute nothing...a wolf is never cute with two young boys, it can't be tame, and no wolf is tame.

DS: It doesn't look like they're going to be victims. He looks tame (what I wanted to say, was: '...you look more dangerous than the wolf,' but I didn't.)

Ski: A dumb wolf (to be exact: he meant a wolf that was domesticated, unwilling to be a wild wolf). I think the would was happier before he met his master, look at the pathetic thing, rolling over like a cat, he is nothing but a coward. If I was...! (The must had moved, because I heard the large cow bell around its neck ring.)

If I were the wolf those little boys would have been eaten up, and someone looking for little coffins.

DS: That's quite a view on things?

Ski: I wish I could be in the wolf's place...just look at those teeth, and muscles, and bulk, I mean I'd give heart and soul to take his place, free and wild, not like that old cow, with a bell, that's how I feel now. But beastly free.

(Around the fence, and among the slightly green and brown patches of grass and snow, the ground hardening, winter was present, a light wind touched the cheeks of both men, the sound was a hum to a low sharp hiss. I saw the wolf look at Ski, several glances, the boys busy playing, the dark eyes of the wolf under a snow warm winter afternoon gleaming peacefully, harmlessly, it seemed. I listened to the sounds of nature, winter, and the birds the big cow nearby--and its heavy reverberating sound, deep resonant sound from the bell, the breath of the wolf--its intensity and Ski's vile mumbling.)

Ski: The wolf is free, no problems, wild and allowed to be so, because it is expected of him, it is his nature, wish I could make some kind of a connection! I wish, wish wish!

Everybody on base (it was not large) knows everyone else, at least by sight. There was no reason I thought at the time, why he would wish such a thing, perhaps a joke, but he was putting heart and soul into his request, now that I think about it. But again I repeat there was no reason I thought at the time, why he would wish such a thing--although he was an angry man.

(Ski was shrewd and calculating and chose his witty words to hurt or paralyze his victims to be. He left me alone, perhaps I was his equal in combat, and one of his only friends--lest he lose me too, and have no one. He liked to create fights, chaos. It would seem he inherited a bad disposition, if not gene. We had gone to Munich together for the October Feast, and on the train he started a fight with one of the officials, and in the bathroom of a beer tent at the feast, he started a fight, and trouble seemed simply to be part of his shadow. One I tried to avoid, and often tried to pacify if not subdue, in a calmly manner. He talked about the Army in a negative way. And I really was getting a headache. Anyway, Ski stood looking at the wolf and the two children. He regretted what he had in life. Thus, losing any motivations for the human race.)

I had been learning a lot abut him the last few months. Shrewd, tough, hateful, thief, and now I were becoming acquainted with Garmish. He had in the past, called on me to talk, just talk about problems. I thought he was drunk, but he didn't drink half as much as me. He even wanted to give me the cloths he had stolen from the PX. I said 'no' to his supposedly kind gesture, and he was a tinge taken back, I actually hurt his feelings. But here we were, both of us, standing behind a fence, looking at a dumb cow, and his bell, and two children playing with a wolf, and Ski in some kind of trance.

DS: Uh-huh. Let's find a ski lift and go up higher so we can look over the valley?

Ski: What I meant was, my soul and heart have a connection with the nature of this beast-wolf I was keeping that a secret. I've never mentioned it before, to anyone--I should have been born a wolf, never even told Bruce, my best friend.

DS: What are you thinking?

Ski: God made me wrong. I think murder is in the sky, the eyes of the wolf are dull, no fierceness.
What I saw was not what he saw evidently, the two boys seated on the ground peacefully playing. This was a vehicle of his own, his own invention, where it would lead to was profound. He must be kidding or mad, I told myself. I had to slap my face to wake me up to face this charade. Why? I told him; "I don't think so, no I am sure you are wrong." He found himself to tell me.

--In a moment he was calmer. As if he made a connection with the beast (as if someone had stepped in, and opened a door, and he jumped through it...). I told him not to talk so foolishly and surprisingly, he smiled said, "Don't worry."

Ski: the creek, you'll love the creek; enjoy the cool clear fresh water. (He said it in a low, smooth and almost humble voice.)

DS: of course, I'd never have thought of that, going to a creek, but nevertheless, that sounds tranquilizing. Matter-of-fact, you've never mentioned that before. (He had not, so I would find out later, because he had never known of one in the vicinity, only a long time resident or a beast of the wild would know)

It was as though the wolf almost overheard Ski...!

DS: Isn't it curious the wolf is starting to hiss louder, starting to get up, looking deadly at the boys and you Ski? I mean, its whole composure, equanimity, self-control, is changing in front of us.

Ski: Yes, you are right (he mumbled then: '...sometimes when you ask, alas, you receive, not really understanding what you are asking for.')

DS: (Strange I thought at the time, what Ski said, now subjectively it fits into the composure of the wolf) I think something is going to happen, better we try to protect the boys?

(The picture, four of them, the cow in the background, his bell ringing, clanging, and keeping all alert to the growing alarm: the wolf that now had glossy black-and-deep red eyes. Ski with a darker flesh, and dove like eyes, calmer than me, I had never seen him this way. There seemed to be a narrow line between the beast and Ski, a line I hoped no one crossed over--some kind of unknown intensity was growing, over something I didn't know was going to happen. Something had overturned. The wolf's eyes were looking like headlights. I wished I had a guillotine--so I thought ((cut off the head of this intensity)), but I did have my 38-Special (revolver) tucked into by pants, and shirt, fastened to my belt, on my left side, for emergencies. The beast was no longer lying down, he was on all fours. And Ski merely stood their serene, except for the blinking of his eyes, his face was calm, his pulse didn't seem to have raised one iota, no violence whatsoever on it, almost innocent, paleness only circled his eyes, soft eyes. Ski leaned forward over the fence looking at the wolf closer, and the wolf at him.)

First I saw simply a leaping shadow jumping over the fence. Then a snarling sound and two shapes on the ground somewhere around three feet from me. He, the wolf, killed Ski, ran back to the two boys, I cursed myself for not reacting quicker. My eyes looked at the attack, and then watched him make his escape. But when I cleared my head, I pulled my 38-revolver from its holster, from the left side of me, attached to my belt, unsnapping its leather safety latch overhead (it all took so long it seemed) and shot the beast at about twenty feet distance. In fact, the bullet struck its head, and was laying a foot away from the two boys, whom were simply sitting up, not sure if they were amazed, dumbfounded or what.

I never have understood completely, what took place, about that happening, just that it is so, but the why of it all, why it took place in the first place, will never be clear; I told myself, it is preposterous, but really there is nothing preposterous about it. My friend had simply figured out a nice neat way to decapitate his heart and soul (his spirit and will was strong in his quest) from one body of flesh to a new possibility, a wolf. I repeat, the reasoning, I'll never know, it is like asking I suppose: why does the devil want to be like God. I doubt the devil knows him self completely.

I suppose someone, somewhere, sometime, someplace, will come along and say, there's a mathematical element to this, or astrological one, or something psychological, or even demonic, involved here--for it is not possible. I'm always bewildered with such talk. I realize everything I say is virtually invisible talk, so broad; there is no room for daylight. Perhaps sometimes, God grants the fool his wish.

The bite from the beast, caught Ski right under his chin, took a slice out of his throat, as easily as cutting through butter. And that wasn't preposterous. He loved and savored what he did, that long moment, not for protection or food did he kill, perhaps for a long lived envy or revenge. These are not yes and no questions, I doubt there aren't any complete or perfect answers, only guesses, conjectures here; those minutes seemed like hours before and during the attack, when he wasn't Ski to me, never once combed his hair, or tidied up this or that, or wiped his shoes clean, off against his pants legs, as he normally would. He was silent, not a sad silence, but an unexplained one indeed, for whom I had known him to be. It was only 12:00 O'clock (PM), the two itsy-bitsy little boys ran to the farmhouse thereafter; the cow following behind, clanging its bell in alarm. It was kind of like he killed himself, and I killed him too! The only thing that bothered me was that he involved me.

In short, I didn't realize the significance of his will, even though he was begging to be that wolf. Chewing his lip, frowning at the wolf, I didn't take it at first seriously, who would, I thought he was just being his old spiteful self, but the moment took place, strange as it be, but I think he savored the moment--he was in ecstasy, and I was his witness, and this is his story. He could have killed me, even after the first attack, but he didn't, I knew then, and I know now, it was his cup of poison, his suicide note, fast and powerful, almost odorless.

The Story Behind the Poem - Tale of a Heart and Soul

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Brand : Induro | Rate : | Price : $654.00
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Grooved Center Column – prevents unwanted column rotation, Non-Rotating Leg Sections – offer quick and easy setup, Dust and Moisture Resistant Rubber Grip Leg Locks – ensure a positive lock in any condition, Reversible Center Column – allows low angle shooting, Interchangeable Rubber Feet and Stainless Steel Spikes – provide the right contact on any surface or terrain, Adjustable Angle Leg Locks – accommodate uneven surfaces and awkward shooting situations, Reversible Tripod Head Mounting Screw – assures compatibility with virtually any tripod head, Built-in Bubble Level – allows adjustment to prevent uneven pans and tripod head movements, Spring Loaded Weight Hook – allows additional weight mounting stability during windy conditions, Closed Cell Foam Grip – provides comfortable handling during cold or hot outdoor conditions, Tripod Head Set Screws – add mounting security for tripod heads. Load Capacity 26.5 lbs (12 kg) Head Attachment Fitting Dual 3/8" & 1/4"-20 Maximum Height 76.8" (195.1 cm) Maximum Height w/o Column Extended 66.6" (169.0 cm) Minimum Height 17.6" (44.6 cm) Folded Length 29.9" (75.9 cm) Weight 6.3 lbs (2.8 kg) Legs Material 8x Carbon fiber Leg Stages/Sections 2/3 Leg Lock Type Twist locks Independent Leg Spread Yes Spiked/Retractable Feet User interchangeable/non retractable Center Brace No Center Column Center Column Type Sliding Center Column Sections 1

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00378.MTS

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5 Tips to Improving Digital Camera Photography

!: 5 Tips to Improving Digital Camera Photography

Whether you are using your digital camera for recreational use or are considering a venture into the world of professional photography, you will find it helpful to know some important tips to improving the overall quality of each picture that you take.

1) If you are taking a picture of a person or your favorite pet, make sure that you place the camera at the subject's eye level. If you are photographing a child sitting down or your new puppy lying on the ground, you will need to stoop down to their level. This does not mean that the subject has to be staring into the camera directly because just being at their eye level will create an inviting image.

2) Avoid taking a photograph with a lot of activity in the background. Instead, a plain background will bring more attention to your subject and less to what is going on around it. When you look through the viewfinder, also take a moment to scan the surrounding area in an effort to make sure there are no distracting factors in the background.

3) Did you know that using your digital camera's flash outdoors can greatly enhance the quality of your image? If you are taking photographs on a sunny day, especially, shadows are often very problematic and can be reduced or eliminated altogether with the use of the flash.

4) When taking photos with your digital camera, move as close to your subject as possible. You can use the zoom feature if you are unable to get as close as you would prefer because your goal should be to fill the entire picture with your subject. If you get too close, however, the photo may end up blurry. If you are in doubt, take several pictures just to make sure you get the perfect one.

5) Get creative with your digital camera pictures. Take both horizontal and vertical photos. Most people simply point and click and never give another thought to the option of taking vertical photos, which can greatly enhance an image of tall subjects. From office buildings to landmarks, vertical photos are often the best way to capture every single detail of your subject in one single image.

While you are taking photos, no matter your location, take special care to notice the lighting. Cloudy days often provide optimal photo opportunities, but you will need to be aware of much more than just the weather pattern. If you are using your digital camera indoors, consider the lighting and try to avoid anything that may cause a glare in the photo. Afterall, the brightest thing in your photo should be the subject.

5 Tips to Improving Digital Camera Photography

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Wolverine BP202 Camera and Laptop Backpack - 10x14x20 Inches

!: Shop For Wolverine BP202 Camera and Laptop Backpack - 10x14x20 Inches grand sale

Brand : Wolverine
Rate :
Price : $129.99
Post Date : Oct 20, 2011 06:30:51
Usually ships in 24 hours

WOLVERINE CLOTH CAMERA-LAPTOP COMBO BACKPACK Recognizing how Photographers travel and what they carry on these days, Wolverine is offering an excellent combination of Photo/Laptop backpacks. The backpack is made of soft cloth material and has a separate laptop compartment that is nicely padded, and fits any 17" laptop with ease. The camera compartment offers padded inserts that can fit multiple cameras, lenses, and more. One very pleasing aspect of this bag is the weight. Some backpacks can add unnecessary poundage to your load. At 6 lbs it can be lifted with one finger. And the external dimensions - 10x14x20" are well within carryon limits for all domestic and international airlines (max 45" total).

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Bog Gear Shooting and Photography Tactical Tall Tripod

!: Discount Bog Gear Shooting and Photography Tactical Tall Tripod Best Quality

Brand : BOG Gear
Rate :
Price : $116.89
Post Date : Oct 17, 2011 21:50:58
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TRIPOD - three telescoping legs, designed for rifle or pistol shooting and photography. Useful for many other outdoor purposes while camping or hiking. Universal Shooting Rest swivels 360° and has a non-slip scratch resistant rubber-covering that won’t damage your gun stock Vel-Coat finish on top tubes provides better grip when wet and eliminates glare.

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