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Indian camera buffs looking for quality photo prints can smile. Online photo prints sites are offering easy order options, low digital photo prints costs — and fast anywhere-to-anywhere digital photo deliveries within India. With lifelike photo prints and high-end quality, digital photography enthusiasts and one-time-use camera owners are clicking all the way to photo prints websites.

It’s easy to see why. High quality online photo prints, multiple print-sizes, the latest digital photography software, and easy-to-use digital photo editing tools all help. They give digital prints a “come alive” feeling. Editing options like brightening a digital photo, or “red eye” removal or give digital photo prints a richer look, and a nicer feel – one that captures special memories in photo prints for generations.

With photo prints sites so easy to navigate and use, online photo prints is the way to go. Especially when you can get everything on a digital photography site — like a digital photo or a set of digital prints. Or photo prints from a roll of film of your last vacation.

Good online photo prints and digital photography sites also offer digital prints of personalized online albums, and let family and friends sharing your online gallery order a digital photo if they want. With both mail order and upload-pictures options available, it’s quick, and easy to order digital photo prints from the comfort of a home PC.

Apart from this ease, and the choice in digital prints, photo prints are a great way to bring special moments alive. A good digital photo can recreate every colorful moment of your special memories. That’s why digital photography sites make so much sense. They can breathe life into digital photo prints. And make the good times as alive, fresh and invigorating as the day you clicked them on your camera. That what makes photo prints so precious — and so priceless.

Inderjit Singh Sudan
fobaz.com>Digital Photo Prints

fobaz.com fobaz.com

A photo buyer calls for a picture of pigs. It could be about anything. A hundred responses go online and one lucky so-and-so gets the sale. That’s 99 pictures deemed to be second, and that’s no good in any race.

So, what is it about that winning picture that produced a sale? It may good lighting, it may be striking content… but hey, all the pictures submitted were about the same topic, so eliminate that one. Let’s face it, there could be a million reasons for the selection of that winner, but there isn′t!!

The winning shot is unusual. It’s different from the rest. It’s got something the others just don’t have. It’s got oomph. It’s got pizzazz. Call it what you will’ it’s got that winning streak that just knocks spots of the competition. It has? Well what the heck is it? Tell me, and we’ll bottle it.

It might be stunning exposure. Well it might. That certainly helps. In fact, exposure IS a factor, it must be spot on. However, that’s not the killer factor. Picture researchers, editors and publishers don’t set out to look for stunning exposures. No. That’s not it. There is something else, an elusive factor that underpins every sellable photo. It’s not something you can find by playing blind man’s bluff either. If you want to sell photos You have to recognize it, pursue it, capture it, master it and make it work for you.

It there for all to see in practically every photo that sells and yet most people and even many photographers just don’t see it. How can something so obvious be invisible to a creative eye? It’s a mystery. I don’t understand it. When I look at the range of submissions for any photo request, my heart sinks. Most photos betray a complete absence of this elusive essential quality. They are duff!

Shots taken so far away from the subject that life-size objects are mere pimples. Boring views that have 5% coverage of the intended and desired theme. Constant repetition of the same unimaginative angle. Yes, you’ve guessed it. I’m talking about composition.

If you want to sell photos, for pity’s sake THINK about what you shoot. The first angle of view MAY be the best one, but I doubt it. The old gunfighter adage ..no matter how fast your are…seems to apply to photography also.

Stalk around your intended subject, look at it from all angles, make mental photos before committing one to film or digital memory, as the case may be. Don’t TAKE pictures MAKE them. Fill the screen with powerful compelling artwork. Look for interesting shapes, textures, colours in the most fascinating combination possible, given the lighting conditions and your time constraints.

How you compose your photo says everything about you, so train your eye and mind to maximise your artistic ability. When you shoot in pursuit of beauty, you fulfil yourself. When called upon to make pictures of mundane everyday scenes, you will bring a eagle eye to scour the most pleasing elements of vision and combine them in a most powerful way. You will always be an unpredictable photographer who can capture unusual shots.

Shed the snakeskin of normality and kick out the usual suspects in favour of the racy, the dangerous, the exciting and discover how to enjoy your using your camera, finding the unusual angles and great whacking compositions that draw photo-buyers to you like flies to a honey pot.

You just can’t achieve that by shooting the same stuff as the average Joe. Be a special Joe! Be successful and you’ll sell your photos with ease.

About The Author

One of a series of articles by Robert Hartness, successful freelance and author of an hot-linked, flip-over, e-book, published on the web in October 2004. It offers a step-by-step guide to those on the threshold of freelance photography and is illustrated with 40 published photographs. Acclaimed as a great reference source for serious freelancers. More information and order link - cashfromyourcamera.com” target=”_new cashfromyourcamera.com

What exactly is improvisation? It’s a word that means, “to make up…” to create without forethought or plan.

Many students want to improve their ability to improvise but make a big mistake when they think this means learning new techniques. No. The key to improving improvisation skill is to be able to let go of the need to control what comes out of you and let the music itself takeover. This makes all the difference!

Here, we are not making something up or trying to produce something. We are allowing the music to come through us and be born of its own. This “difference in approach” makes all the difference because it puts an end to trying to come up with material!! Being able to improvise does not mean having a lexicon of techniques to draw upon. It does not mean virtuosity at all. It means being open and receptive to what’s coming next.

This skill is developed as you learn how to accept what is coming out of you, regardless of so called mistakes or errors.

Your improvisation skill will increase with your ability to relinquish control. A paradox to be sure, but one that I’ve found to be true again and again. Learn technique of course. Learn chords, yes. But then let it go and play the piano.

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s quiescencemusic.com/piano_lessons.html online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Visit quiescencemusic.com/piano_lessons.html www.quiescencemusic.com/piano_lessons.html now and get a FREE piano lesson!

We’ve been searching the Internet for quality Internet TV content for a very very long time. The web history is filled with “almost”s ventures trying to give the world of surfers what they really want - FREE content, but there aren’t many success stories out there.

There once was a brilliant TV show named “The Prisoner“ and one of the famous lines from the series is: “I will not be pushed, filed, stamped, indexed, briefed, debriefed, or numbered”. It seems like we don’t mind being indexed anymore, like we don’t mind being watched and used, that we will forget all about the cookies they implant and the spam we see everywhere (and not only in e-mails) - as long as we get our content for free.

There are many great sites to visit today that are actually working good and offer TV content for free and we’re not talking about the funny clips, homemade movies or 3 minutes music videos. We are talking about the real deal - Internet TV.

If you’re looking to something to watch online, you will probably find something interesting in one of these really high-quality sites (the list is not sorted in any particular order):

1. AOL In2TV is the first real broadband TV network, as far as we know. You can watch hundreds of high-quality, full length classic TV episodes that you probably never forgot about them or never heard of them. The content is mostly nostalgic, but you can find many gems there, like Babylon 5, Beetlejuice, Freakazoid, Growing Pains, Head of Class, Luis and Clark, The Fugitive, V: The Series, Wonder Woman and many others.

2. ABC Streaming is available only until June 30th, so hurry up and try it, before it goes down. It’s a test they’re running to check the effectiveness this will have on advertisers and viewers, and we believe it will have good results. It’s only open for US residents, so if you’re living somewhere else in the world - forget about the global village. You can watch TV series like, Lost, Desperate Housewives, Alias, Commonder in Cheif and others. If you haven’t done it already, you should check it out.

3. The Innertube is run by CBS and although it’s not nearly as good as the above sites, it has some good original content there, like companion shows that extend CBS broadcast programs - Survivor Live, The Big Brother Talk Show, Clips from The Amazing Race and some funny comedy bits. We’re onlt mentioning this site in this list, because we see it has great potential ar becoming something worth visiting, but unfortunately now is not the time.

4. The not-so-legal PeekVid is something completely different. Peekvid collects the quality content from YouTube and categorize them into these groups - TV shows, cartoons, anime, Asian movies, independent TV, comedy and music. After you select one of the groups, you’ll recieve a more detailed list of all the shows available for you. For example - if you choose TV Shows, you’ll see a list of all TV shows available to watch (use this bookmarklet to save the videos you’re watching with KeepVid) and if you choose Comedy, you’ll have to select your favorite artist or show. You can spend hours and days in that site going through and watching all the shows. You can almost say it looks like the future.

Links to all sites mentioned and many more sites are available at 6initiative.com/quality-internet-tv-the-sites-you-should-know/” target=”_blank 6initiative.com.

Like many, online casino gambling has spawned an enormous gambling growth worldwide. The days of just Americans wanting to play their favorite online casino games in land based casinos are long gone with the emergence and popularity of giocho casino and gioco casino (online casinos & games).

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Eberhard Havekost was born on 1967 in Dresden, Germany, lives and works in Dresden and Berlin. Eberhard Havekost re-invents painterly supremacy. Taken from personal photos and media sources, his imagery is rendered to highlight the limits of their own mechanically reproduced distortion: speed is represented with the blurry lines of film, colors are unnatural, and grim buildings and landscapes are given a clinical rebirth. Seeing painting as a method of improving on reality, Havekost portrays his subjects with a harsh artificial light, making intimately recognizable scenes seem stiffly manufactured and strange, resonating with the newness of expertly packaged products. In Mobile 1, Eberhard Havekost paints a train carriage: attending only to its formal elements his familiar image is twice removed from reality, becoming a casual mixture of lines and squares, a pure representation of modernity and momentum.

Eberhard Havekost’s Shelf does the opposite of what a still life should. Unlike traditional still life painting where consumables are rendered as symbols of wealth and death, Eberhard Havekost conveys these ideas through the presentation of an empty display unit. Set against a dense black backdrop, Eberhard Havekost paints his shelves with the harsh dead light of department store showcases; glamour without product becomes a discomforting void. The lighting effect of the horizontal shelves carries the optical illusion of movement, as if this exhibition of nothingness is speeding past in continuum.

Eberhard Havekost often paints series of repetitive images to replicate the serial change of visual effect in nature. In Zelte II, Eberhard Havekost captures an idyllic view of an apartment block bathed in sunshine it’s a transitory moment, a fragile instance of sublimity in the constant movement of light. Monumentalized in scale and enhanced through intensity of color, Havekost fixes this phenomenon in space and time. Like finding the perfect film still in 24 hours of footage, Eberhard Havekost isolates the defining climax. Through capturing the instantaneous his paintings resonate with an intense anticipation, frozen on the periphery of expectant flux.

SELECTED SOLO EXHIBITIONS
2004

• Marvel Anton Kern Gallery, New York
• Brandung/Surf Galerie Gebruder Lehmann, Dresden
2003
• White Cube, London
• Beauty Walks A Razor’s Edge Galerie Gebruder Lehmann, Dresden
2002
• Square Anton Kern Gallery, New York
2001

• Dimmer Galerie Gebruder Lehmann, Dresden
• Driver Museu Serralves, Porto
• J.F.B., Hobby Industries Galerie Onrust, Amsterdam
2000

• Premio Michetti Museo Michetti, Francavilla al Mare
• Mobile Galerie Gebruder Lehmann, Dresden
• Pressure- Pressure Anton Kern Gallery, New York
1999

• Kontakt Galerie Gebruder Lehmann, Dresden
• Statements Art Basel
• Flugplatz Reinsdorf Kunsthalle Luckenwalde
• Druck Druck Galerie für Zeitgenossische Kunst, Leipzig
• Geitz, Luxus Kulturwissenschaftliches Institute, Essen.

Conclusions:
Based in Dresden, Eberhard Havekost often paints the city’s modernist-style buildings as a means to reference 20th century post-war politics and failed Utopian vision. Eberhard Havekost explores the parallels between these systemic ideas of perfection and the modes of ideal image construction. Working from his own collection of photos and video footage, Eberhard Havekost alters the original images on a computer: hues are subtly altered, forms imperceptibly stretched and skewed. These complications are then further translated through the process of painting.

What to Do Next…
If you want any information about Eberhard Havekost or looking for his paintings please visit us on saatchi-gallery.co.uk/artists/eberhard_havekost.htm

View Eberhard Havekost paintings, biography, solo exhibitions, group exhibitions and resource of Eberhard Havekost. View art online at The Saatchi Gallery - London contemporary art gallery. saatchi-gallery.co.uk/artists/eberhard_havekost.htm Eberhard Havekost

Call me cynical but it’s official, the 2006 NFL Draft Watch has begun! If you bothered to watch the final 1:37 of the Saints/Jets ESPN finale Sunday night, you know exactly what I mean.

Far be it for me to insinuate that any NFL team would be simply playing out the string rather than trying to win but it was never more painfully obvious than it was last Sunday at the Meadowlands.

In early November, there was considerable buzz around the league that Jet HC Herm Edwards was on his way to Kansas City to succeed Dick Vermiel at the helm of the Chiefs. Jet owner Woody Johnson somehow convinced Edwards that his future was with Gang Green and was given a pardon for a horrific injury-riddled 2005.

Armed with that vote of confidence, lets take a look at Edwards “Clock Management” on his teams final drive keeping in mind the Jets had lost five straight and had not won since October 9.

(1:37) First and ten, Jets 46, no timeouts. Brooks Bollinger completes improbable pass, threading the needle to Doug Jolley who bulls his way to Saints 33. At this point Jets have used 14 seconds and have a 50-yard FG for the win with a kicker (Mike Nugent) who was already four-for four on the night.

(1:24) First and ten, Saints 33. Curtis Martin, who had 93 yards on 23 carries to this point, off right tackle for one yard loss. No spike, clock running.

(1:01) Second and 11. Out of the shotgun, Bollinger fumbles a poor snap and gets dropped for three yard loss. Again, no spike and clock continues to run.

(0:38) Third and 14. Out of shotgun, Bollinger finds jerricho Cottechery for three big yards in the middle of the field. At this point Edwards can′t stop clock and out trots Mike Nugent. Haslett not inclined to freeze the rookie out of Ohio State with his final time out.

(0:14) Fourth and 14. Nugent’s kick is dead center but falls inches short of the crossbar. Tough loss Herm. Jets fall to 2-9 to join Texans, Packers, 49ers, and possibly Arizona in the race for that first pick. Real conspiracy theorists could question any of the other’s four losses this week.

Texans blow 21 point halftime lead to Rams and then allow 10 points in final 26 seconds before succumbing in OT. Did I mention that Rams were led back by rookie form Harvard who threw for 310 yards and 3 TDs in less than three quarters work.

Packers lead entire second half before allowing Eagles 12 play 60 yard drive resulting in FG with 4:31 left. Eagles lead 16-14. No problem, Favre leads Pack into FG range for the winner right ???
Wrong! Andrae Thurman fumbles KO return and Eagles get to run another 2:34 off the clock and tack on coup-de-grace FG sending all Packer ticket holders ( 4.5) looking for Jack daniels and Draino.

49ers lead 14-9 at half but give up 24 unanswered to the Titans who eventually go on to 33-22 win. The week before saw Ken Dorsey throw final play 2-point conversion into the ground against Rams. Cards drove 56 yards in less than a minute only to see their comback dowsed by Kurt Warner fumble.

Saturday, USC’s Matt Leinart and Reggie Bush will line up vs. their cross-town rival UCLA Bruins in a game that will likely ensure the Trojans their long awaited Rose Bowl showdown with Texas, possibly decide the Heisman Trophy and depending on performance, influence the coveted first overall pick in next year’s NFL draft.

Sunday, Houston, the Jets, Packers, 49ers, and the Cardinals will strap it up in games that will in many ways determine their short and long term futures. Probably a good idea to keep that in the back of your mind as you′re doing your handicalling this week.

Dennis Macklin is a documented member of the Professional Handicappers League.
Read all of his articles at procappers.com/Dennis_Macklin.htm procappers.com/Dennis_Macklin.htm

A Passing Era

Say not, the passing era has passed
And all the great ones dead at last:
No more mountains left to climb:
Yet I foresee a brighter time.

A wiser Albert Einstein, maybe born
A braver Patten win a war:
A taller America thunders in:
A stronger Hitler conquers and wins.

We’ll see before this world is done
A second Bin Laden destroy our fun:
A more alluring Marilyn Monroe:
A nobler Sister Teresa, come and go.

A weaker Israel shall be destroyed
By foe and friend in sheep’s skin:
And a wilder fighter than Casius Clay:
Demons and witches on parade:

A look-alike Christ: part the waves.

Aye, miracles will come about: through
Men, marvels and Poets warn-out…!

#1077 1/14/06

Faulkner’s Hamlet

Here where sunsets cling—ablaze

To scarlet peaks,
In the antebellum South, on
Plantations and all: over green
Gardens, Civil War plows—

Here the master of the words calls:
Snopes, Varner to Jefferson:
Faulkner, to join his: Yoknapatawpha
Ghouls…!

#1073 1/14/06

Quicksalt and Peacock Eyes

It was this early morn, he slipped

Into this pond filled substance
Called Quicksalt, like Quicksand:
It swallowed him up: head to toe—
Bitterly warm, like hot burning coal.
Digging, swimming he tried his best
Never making it to the top: never
Knowing just were he was.

(Aye, so what do you think happened?
How did the young lad escape?)

The pink rain came and dissolved
All the gains of salt, mixed with coal;
And for the lovers of evil, let it be said,
Midnight, never came to ruin this poem.

Aye, yes, thereafter, said the young lad:
(with the peacock eyes), looking about
“I will never run off from school again,”
And off he went, to find his friend.

#1071 1/14/06

See Dennis’ web site: dennissiluk.tripod.com dennissiluk.tripod.com

When CAS, made his decent,
(Paid his toll, before he left—
Earth’s crust)
Proud he was when he appeared
At dock #666 Hell’s Northern Pier.

There stood Satan himself—
Opening the gates, “Drop the oars,”
He said, formal and brief: “You are
Amongst friends, the Dead, who
Never die, nor ever sleep…!” And
His ten-wings snapped insanely.

There was the Henchman, Agaliarept
Ruler of an army in Hell; he leaped to
His feet, held out his hand—saw the
Scorn on his face, said:
“Welcome, you are home my friend!”

His eyes—vile, a hoary-red; he
Stepped up onto the dock, over the
Ash-dark canopy (called a sky)
Saw Satan taking off his ten-winged
Ring, said: with a whisper to CAS:
“Wake thy eyes, and make me a
poem that will never die…!”

#1122 1/29/06

Note: Clark A. Smith, was of the old stock, yet he rose above his day, and went from
Imagery poetry, such as George Sterling used, who was Smith’s teacher, and that of Robinson Jeffers, and Lovecraft, along with Baudelaire, to cosmic and fantasy. He perhaps went as deep, if not deeper than Poe. From symbolism to modernism; he did adjust to the times, but he also would not leave what was considered leaving the demonic roots of imaginative freedom Pure Poetry allowed.

I am sure if I had asked Mr. Smith, had the chance to edit this poem, he would perhaps have himself sitting down with Robert Howard, Lovecraft, and Satan himself, at a dinner table talking about verse, meter and other elements of poetry. And would tell me: I’m too soft with the imagery.

See Dennis’ web site: dennissiluk.tripod.com dennissiluk.tripod.com

Digital photography has come a long way in producing high quality pictures, but contrary to popular belief, this cannot be achieved simply by pointing the camera at an object and clicking. Understanding certain concepts is necessary in order to achieve exceptional picture quality e.g. automatic flash, no flash, forced flash, twilight mode, natural light and red-eye reduction. The following should help in clarifying certain misconceptions.

Automatic Flash

Most digital cameras offer an automatic flash setting, which simply means that the camera will automatically gauge whether the use of flash is necessary. Once this calculation is complete the flash will go off if needed. In many cases this is the best option to choose, but there are exceptions.

Forced Flash

This feature should be used in cases where very bright light exists behind the object being photographed. This background light will cause a shadow to be cast over the subject. If your camera is set to automatic flash, this shadow will cause the flash to go off, creating an inappropriate effect. Use of the forced flash setting would, on the other hand, eliminate the shadow.

No Flash

This option is ideal in situations where the existing light is dim and the subject is too far away for the flash to have an effect, when photographing a bright object with a dark background (use of flash will erase lights in the picture), or in settings where flash photography is prohibited. The one thing to keep in mind when using this option is that the camera must be kept very steady.

Natural Light

In most cases, if used correctly, natural light is really the best option for producing vibrant pictures. If sunlight is available, snapping the picture at just the right angle is necessary to avoid glare. Squinting, although is still a common problem when using bright light. As far as natural lighting goes, cloudy days are best. Not only is shadowing not a problem but the picture itself has an additional softness to it.

Twilight mode

The twilight mode setting is best when your subject is surrounded by darkness. This option will clearly light your subject, maintaining the dark backdrop, as long as the object is within flash range.

Red-Eye Reduction

This seldom desired effect is the result of the flash reflecting off the eyes’ retina. The red-eye reduction feature instructs the camera to set off multiple flashes in order to eliminate the effect. Once again the subject must be within range of the flash as well as looking directly at the camera.

It is not to say that without the above information you will never achieve a decent picture, but committing these tips to memory will surely improve the quality of your photography as well as bring memories to life more accurately.

This