Photographer Review Quotes

It’s hard to trust the world like that, to show it your belly. There’s something deep within me, something intensely fragile, that is terrified of turning itself to the world. I think I’m just scared that if I show the world my belly, it will devour me. And so I wear the armor of cynicism, and hide behind the great walls of irony, and only glimpse beauty with my back turned to it, through the Claude glass. But I want to be earnest, even if it’s embarrassing. The photographer Alec Soth has said, “To me, the most beautiful thing is vulnerability.” I would go a step further and argue that you cannot see the beauty which is enough unless you make yourself vulnerable to it. And so I try to turn toward that scattered light, belly out, and I tell myself: This doesn’t look like a picture. And it doesn’t look like a god. It is a sunset, and it is beautiful, and this whole thing you’ve been doing where nothing gets five stars because nothing is perfect? That’s bullshit. So much is perfect. Starting with this. I give sunsets five stars.

The paradox is that some of the most artistically valuable contemporary photographs are content with being photographs, are not under the same compulsion to pass themselves off - or pimp themselves out - as art. The simple truth is that the best exponents of the art of contemporary photography continue to produce work that fits broadly within the tradition of what Evans termed 'documentary style'.

Toni Morrison once wrote, “At some point in life, the world’s beauty becomes enough. You don’t need to photograph, paint, or even remember it. It is enough.” So what can we say of the clichéd beauty of sunsets? Perhaps only that they are enough.

Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.

On an evening when Perdita's away on a school trip, Harriet sits in front of her computer eating sample squares of lavender shortbread and practicing her favorite form of procrastination: writing highly positive reviews of her eBay, Etsy, and Amazon purchases. Five stars for everybody. She didn't finish one of the books she just gave five stars to. She just liked the author photo. Five stars for the portrait photographer, then. She's been doing this ever since some of her students told her they do this with one-star reviews. Opposing random negativity with random positivity - that's the main thing.

We find ourselves in a historical moment of pervasive mediocrity. Fuelled by basic human drives - flights from death and boredom - the new technologies, bright and all consuming, increasingly blur the lines between direct experience and representation. A photograph of an apple is not food and the Internet has neither scent nor texture.

I am scared to even say this out loud, because I worry that having confessed this fragility, you now know where to punch. I know that if I am hit where I am earnest, I will never recover. It can sometimes feel like loving the beauty that surrounds us is somehow disrespectful to the many horrors that also surround us. But mostly, I think I'm just scared that if I show the world my belly, it will devour me. And so I wear the armor of cynicism and hide behind the great walls of irony and only glimpse beauty with my back turned to it through the claude glass. But I want to be earnest, even if it's embarrassing. The photographer Alec Soth has said, "to me, the most beautiful thing is vulnerability. I would go a step further and argue that you cannot see the beauty which is enough unless you make yourself vulnerable to it." So I try to turn toward that scattered light, belly out and I tell myself, "this doesn't look like a picture, and it doesn't look like a god. It is a sunset, and it is beautiful." And this whole thing you've been doing where nothing gets five stars because nothing is perfect, that's bullshit. So much is perfect. Starting with this.

Toni Morrison once wrote, "At some point in life, the worlds beauty becomes enough. You don't need to photograph, paint, or even remember it. It is enough." So what can we say about the cliched beauty of sunsets? Perhaps only that they are enough.

But I want to be earnest, even if it’s embarrassing. The photographer Alec Soth has said, “To me, the most beautiful thing is vulnerability.” I would go a step further and argue that you cannot see the beauty which is enough unless you make yourself vulnerable to it.

That’s the wonder and terror of computer-generated images for me: If they look real, my brain isn’t nearly sophisticated enough to understand they are not. We’ve long known that images are unreliable—Kafka wrote that “nothing is as deceptive as a photograph”—and yet I still can’t help but believe them.

I’m not sure whether it’s even possible to talk about the suffering of others without exploiting that suffering, whether you can write about pain without glorifying or ennobling or degrading it. Teju Cole once said that “a photograph can’t help taming what it shows,” and I worry the same might be true of language. Stories have to make sense, and nothing at the hospital made any sense to me at all, which is one of the reasons I’ve rarely written about my time there directly.

I don't understand how they could go from loving me to hating me when I haven't changed one bit," he said one night, and Margaret's heart sank as she tried, from her own vast experience, to explain it. "Because they never loved you," she said. "And they don't hate you now either. They don't know you, Cosmo." It didn't make sense to him. He'd always been so thoroughly a part of the world that he saw these people - the writers, the photographers, the anchors, the reviewers - as peers, acquaintances.

The graphic photographs of Emmett Till’s brutalized body after it was retrieved three days later, flashed across the screen,” says Baker. “I sprang off the couch and screamed ‘No!’ It was the immediate and universal anguish every mother feels at the sight of such cruelty to a child. My heart was broken wide open, and from that moment, I began reviewing how, decade by decade, I had unconsciously been consuming racism my whole life. I read and wrote and read and wrote. And that was the beginning of my journey.

It can sometimes feel like loving the beauty that surrounds us is somehow disrespectful to the many horrors that also surround us. But mostly, I think I’m just scared that if I show the world my belly, it will devour me. And so I wear the armor of cynicism, and hide behind the great walls of irony, and only glimpse beauty with my back turned to it, through the Claude glass. But I want to be earnest, even if it’s embarrassing. The photographer Alec Soth has said, “To me, the most beautiful thing is vulnerability.” I would go a step further and argue that you cannot see the beauty which is enough unless you make yourself vulnerable to it.

(On D.W Griffith's The Birth of a Nation) This was the one time in movie history that a man of great ability worked freely, in an unspoiled medium, for an unspoiled audience, on a majestic theme which involved all that he was; and brought to it, besides his abilities as an inventor and artist, absolute passion, pity, courage, and honesty. “The Birth of a Nation” is equal with Brady’s photographs, Lincoln’s speeches, Whitman’s war poems; for all its imperfections and absurdities it is equal, in fact, to the best work that has been done in this country. And among moving pictures it is alone, not necessarily as “the greatest” — whatever that means — but as the one great epic, tragic film.

As the artist Tacita Dean put it, “Color is a fiction of light.” I think it’s helpful to know how sunsets work. I don’t buy the romantic notion that scientific understanding somehow robs the universe of its beauty, but I still can’t find language to describe how breathtakingly beautiful sunsets are—not breathtakingly, actually, but breath-givingly beautiful. All I can say is that sometimes when the world is between day and night, I’m stopped cold by its splendor, and I feel my absurd smallness. You’d think that would be sad, but it isn’t. It only makes me grateful. Toni Morrison once wrote, “At some point in life, the world’s beauty becomes enough. You don’t need to photograph, paint, or even remember it. It is enough.

It’s hard to trust the world like that, to show it your belly. There’s something deep within me, something intensely fragile, that is terrified of turning itself to the world. I think I’m just scared that if I show the world my belly, it will devour me. And so I wear the armor of cynicism, and hide behind the great walls of irony, and only glimpse beauty with my back turned to it, through the Claude glass. But I want to be earnest, even if it’s embarrassing. The photographer Alec Soth has said, “To me, the most beautiful thing is vulnerability.” I would go a step further and argue that you cannot see the beauty which is enough unless you make yourself vulnerable to it. And so I try to turn toward that scattered light, belly out, and I tell myself: This doesn’t look like a picture. And it doesn’t look like a god. It is a sunset, and it is beautiful, and this whole thing you’ve been doing where nothing gets five stars because nothing is perfect? That’s bullshit. So much is perfect. Starting with this. I give sunsets five stars.

p.cm. Includes indexes.ISBN-13: 978-0-7360-6278-7 (soft cover) ISBN-10: 0-7360-6278-5 (soft cover) 1. Hatha yoga.2. Human anatomy.I.Title.RA781.7. K356 2007 613.7’046--dc22 2007010050 ISBN-10: 0-7360-6278-5 (print) ISBN-13: 978-0-7360-6278-7 (print) ISBN-10: 0-7360-8218-2 (Adobe PDF) ISBN-13: 978-0-7360-8218-1 (Adobe PDF) Copyright © 2007 by The Breathe Trust All rights reserved. Except for use in a review, the reproduction or utilization of this work in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including xerography, photocopying, and recording, and in any information storage and retrieval system, is forbidden without the written permission of the publisher. Acquisitions Editor: Martin Barnard Developmental Editor: Leigh Keylock Assistant Editor: Christine Horger Copyeditor: Patsy Fortney Proofreader: Kathy Bennett Graphic Designer: Fred Starbird Graphic Artist: Tara Welsch Original Cover Designer: Lydia Mann Cover Revisions: Keith Blomberg Art Manager: Kelly Hendren Project Photographer: Lydia Mann Illustrator (cover and interior): Sharon Ellis Printer: United Graphics Human Kinetics books are available at special discounts for bulk purchase. Special editions or book excerpts

I work in the morning at a manual typewriter. I do about four hours and then go running. This helps me shake off one world and enter another. Trees, birds, drizzle — it’s a nice kind of interlude. Then I work again, later afternoon, for two or three hours. Back into book time, which is transparent — you don’t know it’s passing. No snack food or coffee. No cigarettes — I stopped smoking a long time ago. The space is clear, the house is quiet. A writer takes earnest measures to secure his solitude and then finds endless ways to squander it. Looking out the window, reading random entries in the dictionary. To break the spell I look at a photograph of Borges, a great picture sent to me by the Irish writer Colm Tóibín. The face of Borges against a dark background — Borges fierce, blind, his nostrils gaping, his skin stretched taut, his mouth amazingly vivid; his mouth looks painted; he’s like a shaman painted for visions, and the whole face has a kind of steely rapture. I’ve read Borges of course, although not nearly all of it, and I don’t know anything about the way he worked — but the photograph shows us a writer who did not waste time at the window or anywhere else. So I’ve tried to make him my guide out of lethargy and drift, into the otherworld of magic, art, and divination.

Cultivating loyalty is a tricky business. It requires maintaining a rigorous level of consistency while constantly adding newness and a little surprise—freshening the guest experience without changing its core identity.” Lifetime Network Value Concerns about brand fickleness in the new generation of customers can be troubling partly because the idea of lifetime customer value has been such a cornerstone of business for so long. But while you’re fretting over the occasional straying of a customer due to how easy it is to switch brands today, don’t overlook a more important positive change in today’s landscape: the extent to which social media and Internet reviews have amplified the reach of customers’ word-of-mouth. Never before have customers enjoyed such powerful platforms to share and broadcast their opinions of products and services. This is true today of every generation—even some Silent Generation customers share on Facebook and post reviews on TripAdvisor and Amazon. But millennials, thanks to their lifetime of technology use and their growing buying power, perhaps make the best, most active spokespeople a company can have. Boston Consulting Group, with grand understatement, says that “the vast majority” of millennials report socially sharing and promoting their brand preferences. Millennials are talking about your business when they’re considering making a purchase, awaiting assistance, trying something on, paying for it and when they get home. If, for example, you own a restaurant, the value of a single guest today goes further than the amount of the check. The added value comes from a process that Chef O’Connell calls competitive dining, the phenomenon of guests “comparing and rating dishes, photographing everything they eat, and tweeting and emailing the details of all their dining adventures.” It’s easy to underestimate the commercial power that today’s younger customers have, particularly when the network value of these buyers doesn’t immediately translate into sales. Be careful not to sell their potential short and let that assumption drive you headlong into a self-fulfilling prophecy. Remember that younger customers are experimenting right now as they begin to form preferences they may keep for a lifetime. And whether their proverbial Winstons will taste good to them in the future depends on what they taste like presently.

Scientists have found that there are two important genes, the CREB activator (which stimulates the formation of new connections between neurons) and the CREB repressor (which suppresses the formation of new memories). Dr. Jerry Yin and Timothy Tully of Cold Spring Harbor have been doing interesting experiments with fruit flies. Normally it takes ten trials for them to learn a certain task (e.g., detecting an odor, avoiding a shock). Fruit flies with an extra CREB repressor gene could not form lasting memories at all, but the real surprise came when they tested fruit flies with an extra CREB activator gene. They learned the task in just one session. “This implies these flies have a photographic memory,” says Dr. Tully. He said they are just like students “who could read a chapter of a book once, see it in their mind, and tell you that the answer is in paragraph three of page two seventy-four.” This effect is not just restricted to fruit flies. Dr. Alcino Silva, also at Cold Spring Harbor, has been experimenting with mice. He found that mice with a defect in their CREB activator gene were virtually incapable of forming long-term memories. They were amnesiac mice. But even these forgetful mice could learn a bit if they had short lessons with rest in between. Scientists theorize that we have a fixed amount of CREB activator in the brain that can limit the amount we can learn in any specific time. If we try to cram before a test, it means that we quickly exhaust the amount of CREB activators, and hence we cannot learn any more—at least until we take a break to replenish the CREB activators. “We can now give you a biological reason why cramming doesn’t work,” says Dr. Tully. The best way to prepare for a final exam is to mentally review the material periodically during the day, until the material becomes part of your long-term memory. This may also explain why emotionally charged memories are so vivid and can last for decades. The CREB repressor gene is like a filter, cleaning out useless information. But if a memory is associated with a strong emotion, it can either remove the CREB repressor gene or increase levels of the CREB activator gene. In the future, we can expect more breakthroughs in understanding the genetic basis of memory. Not just one but a sophisticated combination of genes is probably required to shape the enormous capabilities of the brain. These genes, in turn, have counterparts in the human genome, so it is a distinct possibility that we can also enhance our memory and mental skills genetically. However, don’t think that you will be able to get a brain boost anytime soon. Many hurdles still remain. First, it is not clear if these results apply to humans.

What a joy this book is! I love recipe books, but it’s short-lived; I enjoy the pictures for several minutes, read a few pages, and then my eyes glaze over. They are basically books to be used in the kitchen for one recipe at a time. This book, however, is in a different class altogether and designed to be read in its entirety. It’s in its own sui generis category; it has recipes at the end of most of the twenty-one chapters, but it’s a book to be read from cover to cover, yet it could easily be read chapter by chapter, in any order, as they are all self-contained. Every bite-sized chapter is a flowing narrative from a well-stocked brain encompassing Balinese culture, geography and history, while not losing its main focus: food. As you would expect from a scholar with a PhD in history from Columbia University, the subject matter has been meticulously researched, not from books and articles and other people’s work, but from actually being on the ground and in the markets and in the kitchens of Balinese families, where the Balinese themselves learn their culinary skills, hands on, passed down orally, manually and practically from generation to generation. Vivienne Kruger has lived in Bali long enough to get it right. That’s no mean feat, as the subject has not been fully studied before. Yes, there are so-called Balinese recipe books, most, if I’m not mistaken, written by foreigners, and heavily adapted. The dishes have not, until now, been systematically placed in their proper cultural context, which is extremely important for the Balinese, nor has there been any examination of the numerous varieties of each type of recipe, nor have they been given their true Balinese names. This groundbreaking book is a pleasure to read, not just for its fascinating content, which I learnt a lot from, but for the exuberance, enthusiasm and originality of the language. There’s not a dull sentence in the book. You just can’t wait to read the next phrase. There are eye-opening and jaw-dropping passages for the general reader as Kruger describes delicacies from the village of Tengkudak in Tabanan district — grasshoppers, dragonflies, eels and live baby bees — and explains how they are caught and cooked. She does not shy away from controversial subjects, such as eating dog and turtle. Parts of it are not for the faint-hearted, but other parts make you want to go out and join the participants, such as the Nusa Lembongan fishermen, who sail their outriggers at 5.30 a.m. The author quotes Miguel Covarrubias, the great Mexican observer of the 1930s, who wrote “The Island of Bali.” It has inspired all writers since, including myself and my co-author, Ni Wayan Murni, in our book “Secrets of Bali, Fresh Light on the Morning of the World.” There is, however, no bibliography, which I found strange at first. I can only imagine it’s a reflection of how original the subject matter is; there simply are no other sources. Throughout the book Kruger mentions Balinese and Indonesian words and sometimes discusses their derivations. It’s a Herculean task. I was intrigued to read that “satay” comes from the Tamil word for flesh ( sathai ) and that South Indians brought satay to Southeast Asia before Indonesia developed its own tradition. The book is full of interesting tidbits like this. The book contains 47 recipes in all, 11 of which came from Murni’s own restaurant, Murni’s Warung, in Ubud. Mr Dolphin of Warung Dolphin in Lovina also contributed a number of recipes. Kruger adds an introduction to each recipe, with a detailed and usually very personal commentary. I think my favorite, though, is from a village priest (pemangku), I Made Arnila of the Ganesha (Siwa) Temple in Lovina. water. I am sure most will enjoy this book enormously; I certainly did.” Review published in The Jakarta Globe, April 17, 2014. Jonathan Copeland is an author and photographer based in Bali. thejakartaglobe/features/spiritual-journey-culinary-world-bali

When Bindi, Robert, and I got home on the evening of Steve’s death, we encountered a strange scene that we ourselves had created. The plan had been that Steve would get back from his Ocean’s Deadlist film shoot before we got back from Tasmania. So we’d left the house with a funny surprise for him. We got large plush toys and arranged them in a grouping to look like the family. We sat one that represented me on the sofa, a teddy bear about her size for Bindi, and a plush orangutan for Robert. We dressed the smaller toys in the kids’ clothes, and the big doll in my clothes. I went to the zoo photographer and got close-up photographs of our faces that we taped onto the heads of the dolls. We posed them as if we were having dinner, and I wrote a note for Steve. “Surprise,” the note said. “We didn’t go to Tasmania! We are here waiting for you and we love you and miss you so much! We will see you soon. Love, Terri, Bindi, and Robert.” The surprise was meant for Steve when he returned and we weren’t there. Instead the dolls silently waited for us, our plush-toy doubles, ghostly reminders of a happier life. Wes, Joy, and Frank came into the house with me and the kids. We never entertained, we never had anyone over, and now suddenly our living room seemed full. Unaccustomed to company, Robert greeted each one at the door. “Take your shoes off before you come in,” he said seriously. I looked over at him. He was clearly bewildered but trying so hard to be a little man. We had to make arrangements to bring Steve home. I tried to keep things as private as possible. One of Steve’s former classmates at school ran the funeral home in Caloundra that would be handling the arrangements. He had known the Irwin family for years, and I recall thinking how hard this was going to be for him as well. Bindi approached me. “I want to say good-bye to Daddy,” she said. “You are welcome to, honey,” I said. “But you need to remember when Daddy said good-bye to his mother, that last image of her haunted him while he was awake and asleep for the rest of his life.” I suggested that perhaps Bindi would like to remember her daddy as she last saw him, standing on top of the truck next to that outback airstrip, waving good-bye with both arms and holding the note that she had given him. Bindi agreed, and I knew it was the right decision, a small step in the right direction. I knew the one thing that I had wanted to do all along was to get to Steve. I felt an urgency to continue on from the zoo and travel up to the Cape to be with him. But I knew what Steve would have said. His concern would have been getting the kids settled and in bed, not getting all tangled up in the media turmoil. Our guests decided on their own to get going and let us get on with our night. I gave the kids a bath and fixed them something to eat. I got Robert settled in bed and stayed with him until he fell asleep. Bindi looked worried. Usually I curled up with Robert in the evening, while Steve curled up with Bindi. “Don’t worry,” I said to her. “Robert’s already asleep. You can sleep in my bed with me.” Little Bindi soon dropped off to sleep, but I lay awake. It felt as though I had died and was starting over with a new life. I mentally reviewed my years as a child growing up in Oregon, as an adult running my own business, then meeting Steve, becoming his wife and the mother of our children. Now, at age forty-two, I was starting again.

KIRKUS REVIEWS BOOK REVIEW A retired professor explores the life and writings of Carl Sandburg in this debut book. “During the first half of the twentieth century,” Quinley writes, “Carl Sandburg seemed to be everywhere and do everything.” Though best known for his Pulitzer Prize–winning poetry and multivolume biography of Abraham Lincoln, Sandburg had a wide-ranging career as a public intellectual, which included stints in journalism as a columnist and investigative reporter, in musicology as a leading advocate and performer of folk music, and in the nascent movie industry as a consultant and film critic. He also dabbled in political activism, children’s literature, and novels. Not only does Quinley, a retired college administrator and professor, hail Sandburg as a 20th-century icon (“If my grandpa asks you a question,” his grandchildren joke, “the answer is always Carl Sandburg”), but much of his own life has been adjacent to that of the poet as well. Born in Maywood, Illinois, a “few blocks” from Sandburg’s home 30 years prior, Quinley would eventually move to the Appalachian Mountains. He lived just a few miles from Sandburg’s famed residence in Hendersonville, North Carolina. As a docent for the Carl Sandburg Home National Historic Site, the author was often asked for literature about the luminary’s life. And though much has been written about Sandburg, biographies on the iconoclast are either out of print or are tomes with more than 800 pages. Eschewing comprehensiveness for brevity, Quinley seeks to fill this void in the literary world by offering readers a short introduction to Sandburg’s life and writings. At just 122 pages, this accessible book packs a solid punch, providing readers with not just the highlights of Sandburg’s life, but also a sophisticated analysis of his passions, poetry, and influence on American culture. This engaging approach that’s tailored to a general audience is complemented by an ample assortment of historical photographs. And while its hagiographic tone may annoy some readers, this slim volume is backed by more than 260 endnotes and delivers an extensive bibliography for readers interested in learning more about the 20th century’s “voice of America.” A well-written, concise examination of a literary legend Kirkus Indie, Kirkus Media LLC, 2600 Via Fortuna Suite 130 Austin, TX 78746 indie@kirkusreviews.com

Documentary photography is one of the prominent and influential branches in the art of photography that records social, cultural, and even historical realities. This type of photography allows the photographer to depict real and sometimes untold stories of everyday life and people. In this type of photography, the main goal is to convey the sense of realness and authenticity of the scenes. In this article, we will review important tips and principles for documentary photography with a camera and explain how to record facts in an attractive and effective way. Choosing the right equipment Choosing the right equipment Choosing the right equipment for documentary photography is very important, because you often need to act quickly and accurately. Using DSLR cameras and mirrorless cameras are the best options for this type of photography. Camera feature advantages High flexibility DSLR, excellent image quality, various lenses Mirrorless light and compact, more speed, silence Recommended lenses: 50mm prime lens: for portraits and close-ups. 24mm wide lens: for shooting wide landscapes and scenes. The importance of light in documentary photography Natural light is one of the main factors in documentary photography. You can't always control the lighting conditions, but learning to use ambient light, especially in public or outdoor settings, can help you create better images. Important points in using light: Natural light: during the golden hours (early morning and evening) is the best time to take documentary photos. This light is soft and pleasant. Shadow Light: If the direct sunlight is strong, try shooting in the shadows to avoid harsh shadows on your subjects. Composition techniques in documentary photography Composition is one of the key principles in documentary photography, with the help of which you can tell a telling and interesting story. The rule of thirds is one of the best and most common compositional rules used by documentary photographers. Rule of thirds: Divide the image frame into three horizontal parts and three vertical parts. Place the important subjects of the photo at the intersection points of these lines. Also, pay attention to the depth of the scene and try to use the foreground and background properly to make your image more dynamic. Taking meaningful photos One of the important principles in documentary photography is the meaningfulness of the images. Each photo should tell a story or capture a special moment. In order for your images to be real and emotional, it is better to interact with your subjects and capture them in their natural state. Don't be afraid to record unexpected and normal moments; Because these moments can better reflect the reality of everyday life. Recording feelings and emotions: Documentary photography should be able to show feelings and emotions well. Pay attention to small details in faces, gestures and looks. These details can add depth to your images. Choose the right angle The right angle of view can make a big difference in the impact of your documentary photo. Try different angles to find the best way to tell your story. Low Angle: To show the power or glory of a subject. High Angle: To show the smallness or loneliness of the subject. Normal angle (Eye Level): to create a closer and more realistic connection with the viewer. Camera settings for documentary photography Camera settings for documentary photography Camera settings are very important for documentary photography, as you may be shooting in different light conditions and at high speed. In the following, we mention some key camera settings for documentary photography. shutter speed For documentary photography, where there is a lot of movement in the scene, the shutter speed is very important. If you are shooting moving scenes, the shutter speed should be faster than 1/250 second to avoid blurring. resource : nivamag.ir

OUT OF FOCUS by Fallon DeMornay: Eva's a talented photographer with a growing business on Haven Island — she's also a single mom in the Witness Protection Program. Marshall's an investigative journalist sent to unmask her. When Eva's business goes viral and things between the pair heat up … you'll want to keep on clicking right though the very last page.

photograph by David Burnett Cover copyright © 2015 by Hachette Book Group, Inc. All rights reserved. In accordance with the U.S. Copyright Act of 1976, the scanning, uploading, and electronic sharing of any part of this book without the permission of the publisher constitute unlawful piracy and theft of the author’s intellectual property. If you would like to use material from the book (other than for review purposes), prior written permission must be obtained by contacting the publisher at permissions@ hbgusa.com. Thank you for your support of the author’s rights. Little, Brown and Company Hachette Book Group 1290 Avenue of the Americas, New York, NY 10104 littlebrown.com twitter.com/ littlebrown facebook.com/ littlebrownandcompany First ebook edition: April 2015

On May 28, 1987, Judge Michael Tynan set September 30 for the trial, warning the Hernandezes to be ready. On September 11, the Hernandezes again requested a delay of a few months, citing the prosecution’s failure to turn over items the defense needed to plot strategy and plan defense. Tynan refused to give them six months and set trial for February 1, 1988, only to grant another delay before then because the Hernandezes appealed to the district court of appeals to get certain evidence the prosecution was refusing to give the defense—namely, crime-scene photographs. On January 19, Tynan announced that the state court had granted a last-minute request by the Hernandezes for the state to turn over the evidence the defense wanted. On the twenty-fifth, he set March 22 for the trial date because of the uncertainty surrounding the appellate ruling. On March 16, the defense asked for yet another delay to review the new material they’d gotten as a result of the appellate decision, which Tynan granted, making April 29 the date for trial. Again, on the twenty-ninth, the defense asked for a delay, citing the huge amount of work as reason they weren’t ready. Tynan then scheduled June 30 for trial, but on June 21, the defense filed a motion to exclude Tynan, citing him as being racially biased against the defense, a tactic expected to buy more time. On July 8, Orange County Superior Court presiding judge Philip E. Cox ruled that Tynan was not biased. Finally, on July 21, 1988, jury selection began, and the battle began in earnest.

In a series of experiments involving hundreds of subjects, Princeton psychologist Diana Tamir and three colleagues examined how people's recording of their experiences, through online comments or digital photographs, influenced memory formation in three different scenarios: watching a lecture on a computer, taking a self-guided tour of a historic building alone, and taking the same tour in the company of another person. "Media use impaired memory for both computer-based and real-world experiences, in both solo and social contexts," the researchers reported in the Journal of Experimental Psychology. "Creating a hard copy of an experience through media leaves only a diminished copy in our own heads." With social media allowing and encouraging us to upload accounts of pretty much everything we do, this effect is now widespread. A 2017 Frontiers in Psychology survey of peer-reviewed research on how smartphones affect memory concluded that "when we turn to these devices, we generally learn and remember less from our experiences.

I have pointed out that the concept current among most flying-saucer enthusiasts that the unidentified flying objects are simply craft used by visitors from another planet is naive. The explanation is too simple-minded to account for the diversity of the reported behavior of the occupants and their percieved interaction with human beings. Could this concept serve precisely a diversionary role in masking the real, infinitely more complex nature of the technology that gives rise to the sightings? [...] Here then, is a brief statement of five new propositions based upon the material we have reviewed so far: 1. The things we call unidentified flying objects are neither objects nor flying. They can dematerialize, as some reliable photographs seem to show, and they violate the laws of motion as we know them. 2. UFOs have been seen throughout history and have consistently recieved (or provided) their own explanation within the framework of each culture. In antiquity their occupants were regarded as gods; in medieval times, as magicians; in the nineteenth century, as scientific geniuses; in our own time, as interplanetary travelers. (Statements made by occupants of the 1897 airship included such declarations as "We are from Kansas" and even "We are from anywhere... but we'll be in Greece tomorrow.") 3. UFO reports are not necessarily caused by visits from space travelers. The phenomenon could be a manifestation of a much more complex technology. If time and space are not as simple in structure as physicists have assumed until now, then the question "where do they come from?" may be meaningless; they could come from a place in time. If consciousness can be manifested outside the body, then the range of hypotheses can be even wider. 4. The key to an understanding of the phenomenon lies in the psychic effects it produces (or the psychic awareness it makes possible) in its observers. Their lives are often deeply changed, and they develop unusual talents with which they may find it difficult to cope. The proportion of witnesses who do come forward and publish accounts of these experiences is quite low; most of them choose to remain silent. 5. Contact between human percipients and the UFO phenomenon always occurs under conditions controlled by the latter. Its characteristic feature is a factor of absurdity that leads to a rejection of the story by the upper layers of the target society and an absorption at a deep unconscious level of the symbols conveyed by the encounter. The mechanism of this resonance between the UFO symbol and the archetypes of the human unconscious has been abundantly demonstrated by Carl Jung, whose book Flying Saucers makes many references to the age-old significance of the signs in the sky. I am not regarding the phenomenon of the UFOs as the unknowable, uncontrollable game of a higher order of beings. Neither is it likely, in my view, that an encounter with UFOs would add to the human being anything it did not already possess. Everything works as if the phenomenon were the product of a technology that followed well-defined rules and patterns, though fantastic by ordinary human standards. It has so far posed no apparent threat to national defense and seems to be indifferent to the welfare of individual witnesses, leading many to assume that we may be dealing with a still-undiscovered natural occurrence ("It cannot be intelligent," say some people, "because it does not attack us!"). But its impact in shaping man's long-term creativity and unconscious impulses is probably enormous. The fact that we have no methodology to deal with such an impact is only an indication of how little we know about our own psychic world.

Collecting information is easy. Reviewing and applying information is hard.

Campaigns A “humble campaign” is very similar to Sean and Alan’s approach: launch a small campaign as your first project to learn the ropes, then launch a more ambitious project later. Humble campaigns aren’t meant to raise $100,000+ from thousands of backers, though. They have humble ambitions. Not only is this good for running the campaign itself, but it also gives you the opportunity to learn how to create and ship something without the pressure of thousands of backers. The other benefit of a humble campaign is that it’s not as all consuming as a big, complex project. You might actually get to sleep and eat on a regular schedule during a humble campaign. A prime example of a humble campaign is Michael Iachini’s light card game, Otters. In a postmortem blog post6 following his successful campaign ($5,321 raised from 246 backers), Michael outlined the five core elements of a humble campaign: • Low funding goal Keep the product simple and find a way to produce it in small print runs. • Paid graphic design Just because a campaign is humble doesn’t mean it shouldn’t look polished and professional. • Creative Commons art The cards in Otters feature photos of actual otters downloaded from Google Images using a filter for images that are available for reuse (even for commercial purposes, pending credit to the photographers). • Efficient marketing Instead of spending every waking hour on social media, Michael targeted specific reviewers and offered them prototype copies of Otters before the campaign. All he had to do during the campaign was share the reviews when they went live. • Limited expandability Michael offered exactly two stretch goals (compared with dozens for many other projects) and one add-on. In doing so, he intentionally limited the growth potential for the project. You might read this and wonder why you would want to run a humble campaign for $12K or $5K when you create something that could raise $100K. Aside from the standard cautionary tales about letting a project spiral out of control, maintaining a manageable project is like having a summer internship before jumping into a career at an unknown organization. It gives you the chance to poke around, experience the pros and cons firsthand, and make a few mistakes without jeopardizing your entire future.

author of the ransom note. Quoting Steve Thomas (Thomas 2000)[10], “Then, while reviewing a list of book titles from the Ramsey home at the request of Don Foster, I dug out the Polaroid photographs from the Evidence Room. Using magnifying glasses, evidence tech Pat Peck and I compared the titles on the list with what the pictures showed. Entire shelves of books had been overlooked. When we checked the photos from a big manila envelope marked as evidence item #85KKY, I almost fell out of my chair, and Peck inhaled in sharp surprise. A picture showed Webster's New Collegiate Dictionary on a coffee table in the first-floor study, the corner of the lower left-hand page sharply creased and pointing like an arrow to the word incest. Somebody had apparently been looking for a definition of sexual contact between family members. Ever so slowly, our accumulated circumstantial evidence grew.

Julie and I had met several times and played together as eight year olds in January 1957, at the time of the second Eisenhower-Nixon inauguration. On Inauguration Day, a photograph was taken of us on the reviewing stand with Granddad, Vice President Nixon, my seven-year-old sister, Anne, and Julie's ten-year-old sister, Tricia. Julie, who had lost control of her sled the week before and crashed into a tree, had a skinned nose and dramatic black eye. At one point when the cameramen gathered to take pictures, Granddad had turned to her and whispered, "Look this way and they won't see your black eye." In the resulting photograph, I am staring intently at Julie and she is looking at me.

The Press in 1914 had no Cinema, no Radio, and no Politics: so the painter could really become a 'star'. There was nothing against it. Anybody could become one, who did anything funny. And Vorticism was replete with humour, of course; it was acclaimed the best joke ever. Pictures, I mean oil-paintings, were 'news'. Exhibitions were reviewed in column after column. And no illustrated paper worth its salt but carried a photograph of some picture of mine or of my 'school', as I have said, or one of myself, smiling insinuatingly from its pages.

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