![]() 'I got a labiaplasty so I wanted to show that off,' she adds. but I don't know if everyone sort of has the luxury I had, where it's not like my rent was due.' 'I think as long as you know what you are signing up for. ' you are signing up to do porn, you have to expect that you are getting naked and people are going to be looking at you in a sexual way,' she explains. says she had no problem getting naked during her go-sees with production companies because it was something she genuinely wanted to do. 'So you sort of make your rounds in each genre, but its like if you do anal first it is like, "Oh, she has already done that."' 'It is all about novelty so that's why they get so excited when new girls show up, but you really want to maximize your potential,' she explains. She and Shy Love went through the porn scenarios she would be willing to do, and the owner of the agency helped mentor S.K., explaining that she should start off in 'masturbation' and 'girl on girl' and stay there as long as she could. says she was so excited about the opportunity that she was almost open to anything, however, she admits that when Shy Love asked her why she wanted to get involved in the industry, she didn't have a really good reason. They really liked the whole natural look.' ![]() 'I think that I was all natural - I even found a literal niche for myself in Amish porn. 'That was actually part of my appeal,' she says looking back. explains that the of the first things Shy Love told her was that she is 'very raw'. I want you three shades darker,' Shy Love told her before giving her the name of a tanning place and hair stylist to start her adult film makeover. ![]() I was like, "I'm sorry I'm from Boston,"' she recalls. I even found a literal niche for myself in Amish pornĭuring their first meeting, she says Shy Love told her to get naked and noted that she has 'five different shades of skin tone'. says she was soon contacted by former porn star Shy Love, who founded Adult Talent Managers. took a series of nude photos of herself and sent them off. says she was reminded of her interest in getting into the adult film industry.Īfter Googling the top porn agencies in Los Angeles, S.K. When one of the women from her improvisation class revealed that a producer asked her to take her shirt off and she refused, S.K. eventually developed a regular fan base and started looking into another avenues of doing porn in on the East Coast before she headed to Los Angeles, where she started doing improv comedy. 'You could truly choose your own adventure, and I had a lot of props and costumes,' she says of her time as a webcamming. says she has 'always had a little sex vixen waiting to be unleashed', but before she got into porn, she was working as a webcam girl inside the the dorm room of her New England liberal arts college. reveals what is really like to work in the industry during a candid interview on the latest episode of the Cosmo Happy Hour podcast (file photo used) Lifting the lid: A former porn star going by the name S.K.
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![]() Brauer!ġ2 Previously Unreleased Outtakes & Alternate Versions! Includes New Remix of the Original Album by Michael H. Volume 17 of Highly Acclaimed Bootleg Series! Typical order times are located within the product description. It is not guaranteed.Ī Special Order item is an item that we do not stock but can order from the manufacturer. When an item is Out Of Stock and we have an estimated date when our stock should arrive, we list that date on our website in the part's description. ![]() We do not have a specific date when it will be coming.Īwaiting repress titles are in the process of being repressed by the label. The Preorder can be released anywhere between weeks, months or years from its initial announcement.Īn Out Of Stock item is an item that we normally have available to ship but we are temporarily out of. Other Preorders are set to release 'TBA.' This means that release date is yet 'To Be Announced'. If a projected release date is known, we will include this in the description in red. Typically the label will set a projected release date (that is subject to change). How about the 1973 sessions for Planet Waves? “There’s not a lot of stuff that circulates from that,” says the source, “so we don’t see a reason to protect it.An In Stock item is available to ship normally within 24 business hours.Ī Preorder is an item that has not yet been released. “I think we’ll probably return to that more in 2024 when we hit the Before the Flood tour.” “You won’t see anything for copyright protection over the next couple of years since there really isn’t anything to keep out of the grey market,” says the source. II and join up with friends like Doug Sahm, Roger McGuinn, and David Bromberg at their own sessions. It’s allowed fans to hear the complete sessions for landmark albums like Highway 61 Revisited and Blonde on Blonde as well as Dylan’s studio collaborations with George Harrison and Johnny Cash.īut 19 were quiet times for Dylan where he did little in the studio other than record a handful of songs for Greatest Hits Vol. The past few years have seen a flood of copyright protection releases from the Dylan camp because European copyright law stipulates that recordings enter the public domain if they aren’t released after 50 years. ![]() Maybe we’ll understand it towards the end of it. “First of all, the Never Ending Tour, as Bob said, isn’t the name of it,” says the source. We’re going to do that.”Īnother one focusing on 1978’s Street Legal and Dylan’s world tour that year that is a “complete possibility,” says the source, but one dedicated to the Never Ending Tour is less likely. “We very much want to do that,” says the source. There’s no firm timeline for the Bootleg Series after Time Out of Mind, but a box centering around Dylan’s pre-fame recordings in New York City and Minneapolis will happen at some point. That makes a Bootleg Series devoted solely to the album a tantalizing prospect to fans. “I felt extremely frustrated, because I couldn’t get any of the uptempo songs that I wanted.”Ī small army of studio musicians worked on the record at Criteria Studio in Miami, Florida throughout late 1996 and into 1997, and there were handful of outtakes on the 2008 Bootleg Series Tell Tale Signs, but there’s still many recordings from the sessions that have never been heard by the public. “It got off the tracks more than a few times, and people got frustrated,” Dylan told Rolling Stone in 2001. Time Out of Mind won a Grammy for Album of the Year in 1998 and earned Dylan his best reviews since the Seventies, but Dylan and producer Daniel Lanois had differing visions for the album and its birth was very laborious. “I hate to give this stuff away,” says the source, “but I think there’s a good chance we’ll do Time Out of Mind next year because it’s the 25th anniversary.” Bob Dylan‘s Infidels-era Bootleg Series won’t arrive until September, but a source close to the Dylan camp says they’re already thinking about the next one. ![]() From here, you can follow these same steps for vectorization. Polygons can be buffered inward or outward from the polygon boundary. Using a temperature raster as an example, when you group values from as 0 and as 1, you are turning it into a discrete raster. A buffer distance can be different for each feature within a vector layer. Vectors are read from OGR supported vector formats. A vector feature can have a geometry type of point, line or a polygon. If you want to learn how to vectorize a continuous raster, this will take a bit of effort to reclassify cells essentially grouping them into discrete forms. This program burns vector geometries (points, lines, and polygons) into the raster band(s) of a raster image. Vector data is used to represent real world features in a GIS. Several methods for vector data skeleton line extraction have been established, including the improved constrained Delaunay triangulation (CDT) and raster data skeleton line extraction methods, which are based on image processing technologies. In a nutshell, this tool digitizes the raster for you to convert it to a vector. The extraction of skeleton lines of buildings is a key step in building spatial analysis, which is widely performed for building matching and updating. In this case, the polygon layer is the input, while the point layer is the overlay. As its name suggests, the polygon-on-point overlay operation is the opposite of the point-in-polygon operation. After clicking “Run”, the vectorized raster will appear in the table of contents.Īs a reminder, vectorization creates all the necessary vertices and paths as shown with the building outlines. Figure 6.8: A Map Overlay Combining Information from Point, Line, and Polygon Vector Layers, as Well as Raster Layers. From here, you’ll have to select the output of the raster to a point, line, or polygon. Further to this, other providers like GRASS GIS, SAGA GIS, and Orfeo Toolbox bring additional firepower to the table.ĭouble-click the tool and select the raster that you want to convert to vector. For lines, values are transferred to all cells that are touched by a. QGIS comes loaded with algorithms and plugins for you. For polygons, values are transferred if the polygon covers the center of a raster cell. While the area of different polygon shapes in a data set can differ, each cell in a raster data set is the same cell. Raster data represents geographic data as a matrix of cells that each contains an attribute value. The raster clip process results in a single raster that is identical to the input raster but shares the extent of the polygon clip layer. Vector data represents geographic data symbolized as points, lines, or polygons. Here, the input raster is overlain by a vector polygon clip layer. Here’s what the raster buildings look like in the table of contents: A raster dataset can also be clipped similar to a vector dataset (Figure 8.3 'Clipping a Raster to a Vector Polygon Layer'). ![]() When we have a raster data set like our buildings layer, it’s a matter of adding it to QGIS. output projection and parameters the number of overlays point, line, or polygon data type, and the. That mode have to be used with tiled images to beĮfficient.Let’s go in reverse this time and take a discrete raster and convert it to a vector. Vector-to-raster and raster-to-vector conversions are. 2D symbols are used to display features in. Image Source: Colin Williams (NEON) Points: Each individual point is defined by a single x, y coordinate. Each object type has a different structure. There are 3 types of vector objects: points, lines or polygons. The type of symbol you use depends on the type of visualization you would like to create. The organization of the vertices determines the type of vector that you are working with: point, line or polygon. Each vector feature has attribute data that describes it. There are many different types of symbols you can use to style features. Vector data is used to represent real world features in a GIS. The vector mode is useful with a decent amount of inputįeatures and optimise the CPU use. Styling points, lines, and polygons is also known as styling features because every feature contains a geometry and is styled with a symbol. The raster mode is used in most cases and ![]() Point geometries are made up of a single vertex (X,Y and optionally Z). Feature geometry is described in terms of vertices. ![]() įorce the algorithm used (results are identical). Vector data is used to represent real world features in a GIS. ![]() You can easily sort through features by using the suite of search filters. Kijiji Autos has a wide range of used GMC Safari vans for sale in markets across Canada, as well as a large selection of the vehicles it competed against, such as the Ford Aerostar, Chevrolet Astro and Dodge Ram Van. Four-wheel disc brakes were made standard in 2003. for rear-wheel drive versions and 5,800 lbs. A tow/haul transmission mode was introduced in 2000, raising towing capabilities to 6,000 lbs. From 1995, every GMC Safari came with an extended body. Dutch rear doors, featuring a lifting glass tailgate with outward-opening doors below, provided easier loading. A 175 horsepower V6 arrived in 1991, increasing to 200 horsepower the following year. Improvements through the 1990s and beyondįour-wheel antilock brakes were added to the list of options in 1990, while the GMC Safari's interior received a refresh. The GMC Safari was rated to tow trailers up to 5,400 lbs. All-wheel drive and a more spacious extended body with room for eight passengers were optional extras. Rear-wheel drive and seating for five came standard with a 4.3-litre V6, producing 150 horsepower under the hood. Aimed at buyers who wanted more towing and payload than front-wheel drive could provide-without the bulk that comes with a full-size cargo van-the GMC Safari could be purchased with a number of drivetrain and interior configurations. The minivan GMC Safari was introduced in 1985 as a hard-working truck-based alternative to front-wheel drive minivans. To prepare for the task, review the Book and Movie Comparison/Contrast Guide.Explain that students will be create a new DVD cover for the movie adaptation the class has viewed.Students’ ability to attend to multiple tasks should be a factor in making your decision. Explain when students will complete the film section of the Focused Reading and Viewing Guide-while watching the movie or after.Review items in the book column of the Focused Reading and Viewing Guide as a class, and ask students to watch for these elements during the movie.Have students fill in the book column on the Focused Reading and Viewing Guide, working individually or in small groups.During the movie they will consider how well the movie honors the ideas presented in the book. Inform students that since they have just finished the book, they are going to watch a movie based upon it.Students will respond with ideas that suggest they were comparing the book to the movie and mentally noting similarities and differences. Ask students to recall the kinds of things that they thought about as they watched the movie.After the book has been completed, ask the students to think about a time when they read a book and then saw a movie based upon that book.Students use spoken, written, and visual language to accomplish their own purposes (e.g., for learning, enjoyment, persuasion, and the exchange of information). Students participate as knowledgeable, reflective, creative, and critical members of a variety of literacy communities.ġ2. Students use a variety of technological and information resources (e.g., libraries, databases, computer networks, video) to gather and synthesize information and to create and communicate knowledge.ġ1. Students apply knowledge of language structure, language conventions (e.g., spelling and punctuation), media techniques, figurative language, and genre to create, critique, and discuss print and nonprint texts.Ĩ. Students employ a wide range of strategies as they write and use different writing process elements appropriately to communicate with different audiences for a variety of purposes.Ħ. They draw on their prior experience, their interactions with other readers and writers, their knowledge of word meaning and of other texts, their word identification strategies, and their understanding of textual features (e.g., sound-letter correspondence, sentence structure, context, graphics).ĥ. Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate texts. Among these texts are fiction and nonfiction, classic and contemporary works.ģ. ![]() Students read a wide range of print and nonprint texts to build an understanding of texts, of themselves, and of the cultures of the United States and the world to acquire new information to respond to the needs and demands of society and the workplace and for personal fulfillment. Ahead days and behind days are temporary. Sinek credits Carse with changing the way he thinks about time: “I don’t have good days and bad days anymore. Instead of racing against the clock to meet arbitrary projections, you’re more likely to keep your eye on your long term goals. The biggest impact of seeing your life and work as an infinite game is that it changes your approach to time. We no longer look at other people as a means to an end-as a cost on the balance sheet-but as a renewable resource that we want to nurture and develop. Adopting what Sinek calls an “infinite mindset” is a matter of individual choice, for people and for organizations, but to be infinitely minded changes the nature of relationships from transactional to appreciative. The game of life that interested Carse, and now Sinek, is one where our participation matters-it’s social and collaborative. (it is literally classified as a zero-player game!) Conway’s is an infinite game, but one without a role for players. ![]() The other is mathematician John Conway’s computerized cellular automaton from 1970 that spawned the field of artificial life which thrives to this day. One is Milton Bradley’ s original board game, circa 1860, an enjoyable but altogether finite game. The game of life has two very different associations. ![]() Where economists-and most actual game players-make use of finite games with definite rules and time frames, the players of the infinite game play with the rules to extend its duration.Ĭarse, who died in September at age 87, ended his book ponderously, “There is only one infinite game.” When I asked Sinek earlier that month what he thought Carse meant, he said, “I think he’s probably talking about life.” It’s poignant now that I can’t ask him myself, but I suspected as much. Carse’s genius was to transpose game theory from its mechanistic concern with economic motivations to a more philosophical exploration of what it means to be human. This may sound philosophical (it is) but Sinek casts this idea in a practical business context, updating James Carse, the author of the influential and aphoristic Finite and Infinite Games from 1986. ![]() Instead, it’s a form of play that seeks only to continue itself. But the kind of game that writer Simon Sinek describes in his new book, The Infinite Game, is not at all about backstabbing or time-wasting. If I tell you someone is playing a game at work, you might think they’re being manipulative, or that they’re actually playing Candy Crush on their phone. ![]() Another factor to consider is the number of Ethernet ports available on the device, in case you need to connect wired devices.Īre you tired of constantly having to deal with slow and unreliable internet? Want to get the best possible speeds for your Optimum plan? Then investing in the best modem router combo is definitely worth considering. Compatibility with Optimum’s network is also crucial, so it’s always better to double-check the specifications before making a purchase. Look for a device that supports high-bandwidth activities like streaming and gaming, and offers a robust Wi-Fi signal for multiple users. When it comes to choosing the best modem router combo for Optimum, speed is key. Before making a purchase, it’s important to consider factors like modem and router speeds, compatibility with the Optimum network, and the number of Ethernet ports available. This all-in-one device can deliver high-speed internet connectivity, along with the convenience of a router that supports multiple devices. If you buy your own router, I recommend consulting our guide to enhancing it with open-source firmware if you want to get the best performance possible.If you’re looking for an efficient and reliable internet connection for your Optimum plan, purchasing the best modem router combo is the way to go. Gateways are very convenient since there’s only one device to set up, but if you want the best wireless router features and performance you should consider purchasing them separately. If your ISP has supplied you with a gateway instead of a simple modem and you intend to use your Internet access for more than one device, you should either buy another gateway or buy a separate modem and wireless router. Gateways are more convenient than installing a modem and router separately, but you can’t tweak them as much as you could a discrete modem or router. These include the modem function to connect to the ISP and a wireless router function, so you can share the connection among multiple computers and devices wirelessly or by plugging them into the ethernet ports. When shopping for a modem you might find modem/router combinations, commonly referred to as gateways, like the Motorola SURFboard Cable Gateway SBG6580 or the Actiontec DSL Modem Router GT784WN. ![]() ![]() Consider investing in a modem that also supports a newer type of DSL, so you’ll be prepared if your ISP upgrades its system. Check with your ISP to figure out its specific type, but residential connections typically use ADSL, ADSL2, or ADSL2+ (in order from oldest to newest), and business connections could also use SDSL or VDSL. If you have a DSL Internet connection, note that there are different types and versions of DSL, and you need to buy a modem that’s compatible. Even if your ISP is still on 2.0, you probably want to prepare for the future and upgrade to a modem that supports DOCSIS 3.0, like the Motorola SURFboard SB6141 or the Zoom 5341.īuying the latest modem can net you a tidy performance increase if your Internet package benefits from support for new networking technology like DOCSIS 3.0. You can call your ISP to see which DOCSIS version it supports. Some cable ISPs currently support DOCSIS 2.0, and are (or will be) upgrading their infrastructure to DOCSIS 3.0 to provide faster speeds and better performance, especially if you subscribe to their higher-speed packages. If you have a cable Internet connection, the biggest spec to compare when shopping for a modem is the version of DOCSIS standard it supports. It is occasionally prone to hunting at closer distances, as macro lenses often are, but if you wait patiently it does get there.Īs a general 50mm lens, the focusing is far better. Autofocusing from around 60cm to infinity on the original Alpha 7R takes just under one second, while from the minimum focusing distance to infinity takes nearer three seconds. Not surprisingly, this means autofocus can be rather slow. Unlike most modern macro lenses, the FE 50mm f/2.8 Macro doesn’t use internal focusing instead, the lens barrel extends hugely on focusing closer. There are no silent piezo electric stepping motors here, just good old-fashioned motors that whirr away steadily and methodically to get your subject in accurate focus. It suddenly sounds like you’re stepping back a decade in terms of technology. The first thing you notice when using the lens is the noise and pedestrian speed of the AF motor. ![]() Manually fine-tuning is easy, especially with 100% magnification. Electronic focusing isn’t always the best option when it comes to focusing macro images, but I found that the 50mm f/2.8 didn’t present any difficulty once you have the subject roughly in focus. As with all Sony FE lenses, the 50mm f/2.8 Macro lens uses electronic fly-by-wire focusing, with a thinly ribbed manual-focus ring at the end of the lens. ![]() There are a few controls on the lens itself, namely an AF/MF switch, a focus limiter and what looks like an AF on button, but is actually an AF lock button. It combines well with the Alpha 7-series cameras, and feels pleasingly in scale with the camera. It has a solid metal body and mount, but it measures just 70.8x71mm in size and weighs only 236g. Sony FE 50mm f/2.8 Macro review: Build and handlingĪt £500, we expect a decent build quality, and the FE 50mm f/2.8 Macro doesn’t disappoint. Those with the second-generation Alpha 7-series cameras needn’t worry so much, as these have in-camera sensor-based stabilisation, which should give more flexibility to shoot handheld.Īs an interesting aside, as the majority of Sony’s new cameras have sensor-based stabilisation, it is perhaps a chance for the company to introduce more of these affordable lenses without need for the additional expense associated with optically stabilised lenses. It should be noted that the lens isn’t optically stabilised, so owners of the first generation of Alpha 7-series cameras will need to keep an eye on shutter speeds and make sure the camera and lens are held steady when shooting macro images. There are seven circular aperture blades for that all-important smooth out-of-focus area, which is even more important when shooting macro images, and it has a 55mm filter thread. More importantly, it offers 1:1 macro at a minimum focus distance of 16cm. Its 50mm focal length offers a 47° angle of view on full-frame E-mount cameras. Optically, the lens is constructed of eight elements in seven groups, and has an aperture range of between f/2.8 and f/16. With the emphasis on affordability and price, the Sony FE 50mm f/2.8 Macro lens is something of a no-frills affair in terms of its feature set. The FE 50mm f/2.8 Macro lens may be cheaper, lighter and smaller, but just how good are the images it produces, and is it destined to become a favourite among Sony Alpha 7 series owners? Sony FE 50mm f/2.8 Macro review: Features Crucially, at around £500, it is some £450 cheaper than Sony’s other FE macro lens, the FE 90mm f/2.8 Macro. ![]() Now there is another 50mm lens, this time with an f/2.8 maximum aperture and the ability to capture 1:1 macro images. Costing nearly £250, this lens is still around £100 more expensive than its Canon and Nikon DSLR counterparts, but it is a step in the right direction. It started with the FE 50mm f/1.8, which we reviewed (and quite liked). Additionally, the lens sports a dust- and moisture-resistant design to benefit working in inclement weather conditions.After listening to the feedback from its users, Sony has gradually been increasing the number of affordable lenses in its FE line-up for full-frame Alpha 7 models. ![]() Complementing the handling capabilities, the optical design also incorporates both an aspherical and an extra-low dispersion element, which work to suppress chromatic and spherical aberrations for increased clarity throughout the focus range. Useful controls, such as a top-printed distance and magnification scale, focus range limiter, and focus hold button, all benefit more precise focusing adjustments for refined results. A normal-length prime with close-focusing capabilities, the FE 50mm f/2.8 Macro Lens from Sony offers an impressive 1:1 maximum magnification, along with a 6.3\" minimum focusing distance, for making life-size imagery of close-up subjects. ![]() More information: Adobe | Deploy packages This will also probably need some trial and error to properly get right so ensure to always test! (Not shown above) This is an undocumented feature (thanks Foigus!) to automatically accept the EULA when removing all installed softwareĪs you can imagine, this command will need to be ran as root, however your software deployment / script running solution can achieve this.(Not shown above) This will uninstall all installed Adobe suite applications.I’d suggest setting this to ‘ false‘ unless you have a specific reason to remove those settings True here will also try to remove the user’s preferences.To be honest, as you’re running this on a Mac, I’m not sure why you need to specify the platform, but best to just use this as is! ![]() This differentiates between macOS and Windows.If you’re looking for older versions of Application base versions, check out the “Previous versions” disclosure arrow further down that page. CC 2019) so again Adobe has a (mostly) up to date reference table here – Adobe | Applications that can be deployed without their base versions. These will never match the PR version (e.g. The base, or major version, of the application you wish to target.These aren’t always obvious, but Adobe has a (mostly) up to date reference table here – Adobe | Applications that can be deployed without their base versions Provide the Sap code of the application you wish to uninstall.Provide the number 1 to the uninstall flag to specify this is to uninstall.Path to the command, note the quotes due to the spaces."/Library/Application Support/Adobe/Adobe Desktop Common/HDBox/Setup"."/Library/Application Support/Adobe/Adobe Desktop Common/HDBox/Setup" -uninstall=1 -sapCode=PHSP -baseVersion=17.0 -platform=osx10-64 -deleteUserPreferences=true The syntax for this on Mac is as follows (that’s all on one line): All “Hyper Drive” Adobe installers (which is almost all, if not all of them for the last few years) will also deploy the means to run a command line uninstall of the software. Lastly, there is indeed the command line option. More information: Adobe | Uninstall Creative Cloud products (different to the above article!) Command Line This will probably also be the case for the uninstaller packages it generates. Note: CCP wasn’t designed to be used on macOS Catalina (10.15) or newer and has had some reliance on 32-bit processes. I’ve detailed this in a previous post here – Using Adobe Creative Cloud Packager to create an uninstaller in preparation for Adobe Creative Cloud 2019 Shared Device License deployment. If you still have access to the older Creative Cloud Packager (CCP), it’s possible to generate an “uninstall all the things” package. More information: Adobe | Uninstall Creative Cloud products Uninstall “All the Things” Package any “Animate 2020” uninstaller will remove any version of “Animate 2020” but won’t remove “Animate CC 2019”). Now it’s not as precise and will remove any matches for the major version (e.g. ![]() You can upload this uninstaller package into your Mac software deployment tool of choice ( Munki has an ‘ uninstallpkg‘ flag to pass when uploading both packages) and “install” this to remove the corresponding software. Migrating macOS Devi… on Migrating macOS Devices from o…ĭazwallace on Moving devices from Adobe Shar… Richard Glaser on Changes to Docker Desktop for… Stephan Peterson on Submit Jamf inventory update o…
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