Thursday, May 28, 2009

新加坡书展今天开幕

 
 

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十多、二十年来年年在6月份学校假期举行的"世界书展",今年改称"新加坡书展",今天起至6月7日在老地方—新达新加坡国际会议与博览中心第四展览厅举行,以更符合参展活动及鼓励国人培养阅读习惯。

 
 

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环线通车 学生最乐

 
 

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地铁环线第三阶段线段沿线有多所学校,它们的学生现在可选择直接搭地铁上学,快捷又方便,受惠不浅。接近地铁站学校包括莱佛士书院、莱佛士高中部、南洋初级学院、公教中学、海星中学和养正小学。

 
 

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Tuesday, May 26, 2009

Singapore confirms first H1N1 flu case

 
 

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via EdgeSingapore RSS on 5/26/09

The Singapore government today confirmed the city-state's first H1N1 flu case, a 22-year-old woman who is being quarantined in hospital, reported Thomson Reuters.

The Ministry of Health said the Singaporean woman arrived from New York on May 26 on a Singapore Airlines flight.

The World Health Organisation said yesterday nearly 13,000 people have been confirmed infected with the new H1N1 flu strain worldwide.

{jcomments on}


 
 

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Sunday, May 24, 2009

Oslo Workshop - Day 1

 
 

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via Confessions of a Photographer by admin on 5/23/09

I'm having a blast here in Oslo, Norway. The previous days I was wondering if the city was build under a waterfall or if it was just raining all the time. But despite the rain, Martha showed us the most beautiful spots in the city, the best coffee places and we even got invited to a fantastic dinner prepared by her personal viking.

Today we had the first day of the 2-day workshop. This was mainly the theoretical part and tomorrow everybody will shoot in small groups. Talking about groups, this one is a lot of fun. I'm so blessed to always get fantastic people in my classes.

Linnea was our model for today. As 95% of the Norwegian girls, she looks simply fantastic but she also proved to be a patient and skilled model, who gave us one killer look after the other. I know it's really hard to perform model magic in front of 25 geeky photographers, but she did really well.

Here are a few pics I took during the workshop today. I quickly processed them in Lightroom and I'm too tired to talk a lot about the tech stuff, so I'll keep it simple.

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White balance on tungsten to get the daylight shift to blue and a CTO filter on a speedlight (with umbrella) on the model.

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From a moody dark picture to a high key summery photo in the same setup. We just ditched the CTO-filter and fiddled a bit with the white balance and shutterspeed.

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Saw this killer natural light, coming in from those big windows.

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Now let's try to recreate that light with a speedlight through a shower curtain and another speedlight bouncing of the floor for some fill from below.

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One bare speedlight. I love it when you get a model that can take just about any light, makes my job a lot easier.

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And now I'm going to hit my bed for some well deserved sleep. Tomorrow it's outdoor location shooting day!


 
 

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Saturday, May 23, 2009

Families bid farewell to College Green

 
 

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via Lushhomemedia by luxuryasiahome on 5/23/09


The Yaps will say goodbye to their College Green home today.

The family of five, and another six remaining families, have to vacate the estate off Dunearn Road by the end of this month to make way for new tenants.

Petitions by residents to stay on, and meetings with the relevant authorities over the past year, have been unsuccessful.

The 35,000 sq m estate contains 63 pre-war terrace homes which are owned by the Singapore Land Authority and managed by United Premas.

Come July, they will be leased to the National University of Singapore.

The units will be converted into hostels for about 240 overseas graduate students of the Lee Kuan Yew School of Public Policy.

'It's a great place for children to grow up in. They can roam about freely in nature, as children should,' said market researcher Yap Miew Leng, 32, who has lived there for two years.

About 60 per cent of the estate's residents are Singaporeans, while the rest come from countries such as Australia, the United States and Japan.

Model-actress Nadya Hutagalung and former Zouk marketing manager Tracy Phillips were once residents, along with lawyers, teachers and artists.

The Yaps' living room opens out onto a central basketball court and tennis court set amid lush greenery.

'At 5pm, almost all the estate's children come out to mingle. Toys such as plastic cars and slides are left in the middle and shared among the families. Nobody locks their doors and mothers often have to go from house to house looking for their kids at dinner time,' said Mrs Yap.

Halloween was the annual highlight for the community. Then, almost all the families would decorate their homes and the zinc-roofed walkways, and children would go round asking for candy.

The estate takes its name from the days when it was a hostel for University of Malaya students in 1952.

It was later renamed Dunearn Road Hostels before being rented out as private residences for between $1,800 and $2,000 a month.

'We were hoping maybe they would set aside at least some units for private use,' said Filipino hotel consultant and permanent resident Farhan Sharadji, 55, who lives there with his Singaporean wife and four children.

They will be moving to a landed property in Jurong next week.

Some residents have found similar black-and- white rental homes in Changi or Seletar, while others have moved back to their countries.

Mrs Yap will be uprooting her family to Beijing, where her husband studies, this week.

Several NUS students and academics started moving in late last year, residents observed.

With more movers and unfamiliar faces around, security has been compromised, said ex-physical education teacher Shahrudin Zainuddin, 35, who has lived there since 2007.

A break-in was reported earlier in the year while residents have also observed a growing rat problem.

The SLA said it tenanted the estate to NUS 'after careful consideration' and that all tenants were given at least six months' notice prior to the expiry of their tenancies, to give them time to make alternative arrangements.

Each unit will house about four students, according to a spokesman for the Lee Kuan Yew School of Public Policy.

The units, sports facilities and multi-purpose hall will be refurbished at an estimated cost of more than $3.5 million.

Source : Sunday Times – 24 May 2009


 
 

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Friday, May 22, 2009

Bride at the Arc Hotel

 
 

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via The Posing Handbook Pool by nobody@flickr.com (gilfenn) on 12/1/08

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Bride at the Arc Hotel


 
 

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Rachel - Headshot

 
 

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via The Posing Handbook Pool by nobody@flickr.com (Click.Chick) on 5/21/09

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Rachel - Headshot

ACP Lighting 1, Term 2/2009 - Test Session 2

Model: Rachel Handshu

Lighting: 1 x Large Softbox above model at camera right w/ white reflector at camera left tilted upwards towards model, 1 x Monobloc w/ standard reflector and black flag aimed at white backdrop


 
 

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Thursday, May 21, 2009

Take Me to The River…..

 
 

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via Joe McNally's Blog by Joe McNally on 5/18/09

Going back to my old studio building this summer and doing a series of lighting workshops. More basements. More loading docks, cracked windows, train tracks.  Warmer weather. We had a ball doing these last time.

Hit this link for workshop application PDF…

They'll be running June 22, 23, 24, 27, 28, 29, 30 & July 1.

We will have breakfast, lunch, and lights all day. Free parking. Everybody gets time behind the camera, as well as gripping for shoots, observing, talking, discussing, looking at gear and all manner of light. Minimal setups, maximum setups. We go at it all day long.

Last time, we worked high key….

We worked low key….

Lotsa lights….

We worked one light….

We worked character…..

We worked beauty….

We had firefighters…..

Boxers and trainers….

We did incredibly cute….

And sophisticated style….

Here's what some students from our Winter '09 session had to say:

"…My associate Karen and I did go to Joe's seminar on Monday, the 19th, and it was spectacular!  I came away with so much information and so inspired to try new stuff, outside my comfort zone."

"I wanted to honor your request for some feedback… problem is, I can't really think of anything that could have been improved upon.
Things were beautifully organized.
The coffee was superb.
The facility was magical.
The crew were all top-shelf —  pleasant, accommodating and SO helpful…And of course Joe was dazzling. What a gift his work is for all of us. I had an amazing time."

    "As I am thinking about yesterday's workshop in the warm comfort of my Manhattan apartment, I continue to be amazed how all of you were dedicated to giving us a tremendous day. On top of that, rather than increase the number of participants, you increased the number of days…THANK YOU."

    Hope to see you there…..more tk….


     
     

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    Working Around the House

     
     

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    via Strobist by noreply@blogger.com (David) on 4/22/09

    I have been playing architectural photographer this week for a new blog I am working on.

    This blog will have one post, and is designed to do one thing -- help us sell our house in a down market.

    I have a separate post about the mechanics putting together a blog/brochure. It is mostly designed for general consumption, as I think the idea has worked out really well and might get a little play as a house-selling strategy.

    But this lighting post details the problem solving on some of the photos I shot, because any readers heading to the other post for the general real estate / recession stuff probably would not understand our interest in the lighting end of it.

    (Heathens...)

    Architectural Digest on the cheap, after the jump.
    __________


    Some General Stuff

    Some of the techniques were the same throughout the shoot, which happened over Monday and Tuesday of this week. I had shot some available light stuff earlier, when the daffodils were more in bloom. But most of the lighting pix were done over a couple of days, along with the gazillion other things you have to do to sell your house.

    No umbrellas of softboxes were used. Not that I was trying to avoid them. But a Flickr commenter pointed it out after the fact, and I found it interesting. That was mostly a function of lack of space. I was hiding flashes everywhere, and bare lights are smaller. Ceilings (and sometimes walls and doors) were my bounce cards.

    No tripods were involved either, which is a little unusual for architectural stuff.

    Why? Because Chuck Norris don't need no stinkin' tripod... No, actually, I was working off of an ambient base for most of the shots, and I needed an appropriate exposure to let daylight work as a contributory light source. Mostly pretty comfy handheld range.

    Everything was done with two-to-six SB-800's, a D3 and a Nikon small-chip 12-24. That's not a typo, either -- that 12-24 is my FX format wide zoom. It covers full FX frame down to 19mm. I would get an FX-format 14-24, but I simply cannot be trusted with a lens that wide.

    Strobe triggering was done optically. That is to say that each shot started with some kind of on-camera flash for fill, which triggered all off-camera SB-800's in SU-4 mode.
    __________


    Let's start in the living room, shall we?

    This picture (final seen up top) is built on the ambient coming through the doors at back right, and the lamps in the room. The ambient exposure is a compromise to pull all three of those continuous light sources in as best as possible. This is a late shot with no flash, and I think I may have opened the ambient up half a stop or so from this level. But you can get the idea.

    There are four flashes -- two fill and two accent. I lit the room up to about one stop down with two flashes aimed at the ceiling -- one on camera and one out of frame at camera right.

    One accent flash (also camera right) brought the couch and painting up to full exposure from a hard angle. It was a snooted, bare flash. The other accent is hiding behind the tree on the ground playing a little subtle pattern on the ceilings.

    Why? No logical reason. Just to do it for a little interest. Kinda like no-underwear Wednesdays.

    Exposures? Flash power? Aperture? Couldn't tell you.

    I built the ambient highlights exposure as stated, and filled with the bounce flashes for a good baseline exposure. Then I accent-lit to taste. (If that's a little bit Greek to you, you can read more here.)
    __________


    Almost forgot about the powder room, as I shot it last month. This is lit, but with on-camera flash. This room is only 3x6 feet, so bounce off of the ceiling is a default choice. The trick is going into vampire mode for the mirror.

    The solution is to shoot with a very wide lens, vertical, from a very low position. Keep the camera vertical to keep the lines straight. Use the top part of the frame and you just got yourself a poor-man's shift camera -- no reflection.

    The other reflection to watch out for is that of your back wall being nuked by the flash. So I angled the flash a little forward to paint a more pleasing reflection of the back wall in the mirror. (Even still, I smoothed it with a little Gaussian blur.)

    Exposure is straightforward, but delicate. Exposure at a reasonable aperture with manual (bounce) flash, then dial in the shutter speed until you get exactly the amount of glow you want from the continuous lights. The walls and floor of such a small room act as fill cards, so the shadows magically fill themselves. You actually have very little choice in the matter.

    I left the towel a little rumpled just to not be too anal.
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    The kitchen had me scratching my head for a few days as I wondered how to light it. I wanted to show the whole room, which had no windows -- and lots of very warm CFLs as light sources.

    At first, I did not know where I could hide a flash. And in the end, I wound up hiding five speedlights in the frame -- plus one on-camera aimed at the right wall, to trigger the others and fill the front. The room is entirely lit by hidden speedlights, with the only ambient coming through the back door in the living room at rear.


    How do I light thee? Let me count the ways.

    1. Main fill / trigger light on camera, as mentioned above.

    2. Main light in the room: An SB-800 hidden in the overhead fixture. Nifty, huh?

    3. Not so nifty: The flash was wedged in off-center with a diffuser dome, so it threw a cockeyed light pattern onto the ceiling. I disguised this somewhat with another SB low and behind the counter. It was snooted and aimed up at the fixture to splash a more even circle of light around it.

    4. My over-sink fluorescent lamp was swapped out for an SB which was duct taped to the near cabinet wall. (We had already packed the gaffer's tape.) A sheet of white paper on the underside of the bottom of the cabinet gave a soft bounce surface. This also lit the fruit bowl nicely.

    5. Same thing, over the stove, but no paper needed -- the range hood interior was already white.

    6. Last but not least, a flash was stuck in the living room and aimed at the ceiling to bring the whole room up. Sliding door daylight was the basis for the ambient exposure.
    __________


    Here is where I shot the kitchen from. I made this photo later in the evening (we needed the full dark) with two SB-800s and some road flares that we painted white.

    Kidding. The fireplace was lit with a few small candles. We shot in the dark with long exposures and the candles really glowed the place up when we opened up that shutter -- even lit the kindling box nicely.

    But now the room has to be lit believably. Again, one SB in the overhead fixture (I later cropped that out, but still a perfectly natural spot for a key light. Problem now is contrast. So I fixed that with a fill strobe bouncing into the kitchen at camera left, which smoothed it all out.

    Fill was set a coupla stops down. You can see the ratio on the floor at bottom left. Highlights are key-lit, shadows are fill lit. This is the area that shows you how much fill to dial in. Make it look like your eye sees the room normally. No ratios -- salt to taste.

    The room was left just a little dark overall, to let the fireplace sing a little bit. We pretty much bought the house the moment we rounded the corner and saw that kitchen fireplace 17 years ago.
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    As it starts to get dark on (a rainy) Monday night, Susan asks if I remembered to shoot her garden in the back. Of course I did not remember to shoot it, because I am a total moron during allergy season. So I stepped out onto the deck and saw this mix of tungsten light and deep, foggy twilight.

    Okay, technically I only saw the foggy evening and imagined the tungsten light, but I knew I could make it if I worked fast in the last few minutes of light. Before I even go back to get a strobe, I metered an ambient shot and dropped the exposure about two stops down. The color was real -- no tungsten white balance needed.

    Working very quickly, I grabbed an SB on a stand with a dome diffuser and stuck a 1/2 CTO on it. (I wanted tungsten the way my eye sees tungsten.) Where to put the light? Heck, I am batting pretty good aping our normal fixtures, so I went to the well again. I put it on a stand right next to our deck light, which is on the house edge of the deck, in the middle.

    I powered my warmed-up flash to balance the ambient with a couple of test shots and it looked great -- except the shadows were too contrasty. That's easy enough to fix, quick and dirty, with a two-stop-down on-camera flash. It looks great when you are using it to erase contrast with off-axis light. (More on that here.)

    If you look at the deck shot bigger, it looks very crisp and 3-D, but legible everywhere. I was rushing fast (gotta get the garden with the last bit of light) but with a little time I would have prolly dropped the fill ratio a bit. Just a matter of taste, tho.
    __________


    The waning foggy light made the garden look lush, if a little flat. And the garden was way darker then the grass in back. So with the last bit of twilight I grabbed an ambient (somewhere in the 1/4 - 1/2 second range) and exposed for the grass.

    A little on-camera fill with the flash zoomed way tighter than the lens gave me a nice center-vignette, and I underexposed that a stop or so. Then I grabbed my stand flash and pulled the dome and gel off for some off-axis light. It came from the far corner of the deck at camera left and was aimed just past the center to feather the key a little.

    The ratios are very tight, but even so the two lights bring the garden up to the level of the grass in a very sharp, 3-D way. Bare light sources do that very well, but you do have to keep your fill levels in mind. (Here for bigger.)
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    Among the fifteen shots I did for the house brochure, this detail of the library master bath shower area went very quickly. It is white-on-white, so again the exposure is delicate. But that is not to say it is difficult.

    Bathrooms are just big softboxes -- and you work inside the box. The key light is an SB on a stand in the shower behind the curtain. Aim it at the back right wall and you have a nice, soft source. But even in an all-white room, the fact that the key is behind the curtain means the shadows will be too deep.

    An Orbis made quick work of that. Just dial up the fill light in manual mode to taste -- chimp and go. That way, you can keep the whites white, and have just as much contrast range as you want. The ring light fill adds no directional light signature, either.
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    The last one I am going to mention was a little bit of a challenge to work through. Ben's room is only about 10' x 11', and the loft bed soaks up a lot of that.

    Note the two-toned rails on the right side. We had to augment this design after he fell out of bed during the middle of the night. (That'll wake everyone in the house up quickly...) We still have not stained and poly'd the extra rails yet, but he is pretty much in jail up there.

    Problem is, there is just no place to hide a flash in here, and my goal is a lit/natural balance. So this one was a little bit of a head-scratcher, too.

    The exposure was based on the light streaming in through the window, or more accurately, what that light was doing in the back of the room. No leaves on the tree yet, so the view is not worth saving. Thus, I could let the window blow out a little and also grab some under-bed ambient from the desk lamp.

    Now, to build the rest of the frame with flash, but only up to a ratio that looks like normal room light the way your eye sees it. Fill on the far left was from a stand-mounted flash, up high tucked into the corner of the small room. The wall was blue, so we had to correct the bounce color by taping up a shoot of newspaper to get it neutral.

    If you ever need to fix the color of the splash your flash makes on the wall, newspapers are a pretty easy fix. For a few more years, anyway.

    The other side fill was easier, once I realized that the open closet door out of frame at camera right made a great big reflective light panel when you shot a flash into it. The trick was not overdoing either of the fill lights.

    This picture is an rarity in the Hobby household, as we have not actually seen Ben's carpet in several years. It is usually covered in about two feet of Legos, most recently Technics and Mindstorms. He builds these weird robots and vehicles and is teaching himself the programming.

    He is even trying to blog a little bit (all by himself, as you can see) but I think we need to work on the "actually developing content" part. To be fair, I must say that his site is better than my blog was at 8-yrs-old.

    I digress.

    That's it for the lighting stuff. I am working on a more general-audience post on the "buy my house" pseudo-blog idea, which will go up shortly. One more thing, which I will not be mentioning in that post:

    If anyone within the sound of this post actually ends up buying the joint, you'd better believe there will be a full Starving Student light kit (with an SB-26) a boxed set of Lighting DVDs and a case of cold, delicious Diet Mountain Dew left behind when we move out.

    Just reveal your secret decoder ring flash status after we agree on a price.


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