Great photographers have mastered a number of vital skills in their photography, and today I'm going to share with you how to tap into and harness the most important of these in your own images. By the end of this video, you are going to be seeing the world to the eyes of a great photographer, you. How's it, how's it? And thank you ever so much for being here. It's wonderful to see you. Picture the scene, you're 30,000 feet above the ground. You're basking in the glory of the heyday of jet travel. When people dressed for the occasion and drinks were still served in glasses, now your companion has just ordered a cocktail and placed it down on the tray table in front of them.  The moment has passed and the image has been lost. However, William Eggleston didn't. He saw the way that the light created a wonderful shadow on that tray table. He raised his camera and with a soft click of the shutter created this photograph. He was able to do this because he had mastered his skill. And this is the skill that you are going to use to improve your own photography today. When you go about your day-to-day business, you are filtering out visually so much of what is around you. If you didn't, you would become overloaded.  So when you go out to sea and take photographs, your eyes aren't really up to the task. Luckily, you can give your eyes exercise and train them up anywhere, anytime. You don't need a gym or any sort of special equipment. All you need to do is to look around you. Really look. As you do this, pay attention to the small things that before you would have passed over. And as you do this, the more that you are going to become aware of the opportunity for images that are all around you. I would like you to take a few minutes every day just to take in your environment. The next time you're on your commute or waiting at a doctor's office, don't bury your head in your phone, but try to find visual interest in the things around you. In your mind-eye, imagine how they could look like Eggleston. See if you can start to be more aware of the role that light plays around us all the time. How it changes depending on the time of year, the time of day, the shapes and the patterns that it can create. I did a video recently about how to recognize and understand light, which I will link to you for the end of the video. And this is a great way of tapping into the potential the light has in your photography. Even sitting at a desk, try and seek out images. How does the keyboard look? The way the light highlights the keys. If you do the dishes in a sink, or if you're like me, you put the dishes in the sink before they go in the dishwasher, is there a possibility for a photograph in that motley collection of crockery and, in the words of Wittnell, matter? This awareness needs to become second nature. I know that it's difficult at first, but think about Rocky when he started running. He could barely manage to get up those steps in Philadelphia the first time. But by the end of his epic journey across all of the films, you know, he was running up mountains covered in snow, barely, you know, barely breaking a sweat. So now that you're becoming more aware of what's around you, how do you translate this into your photographs? Edward Weston, he of the Peppers, his bedpans and the shells, said that anything excites me for any reason I will photograph. And he wasn't alone in this.  In the modern world of photography, subjects apparently should be spectacular. But you, the more aware photographer, know that anything can be a subject. Anything has the potential for great images. The bedsheets in the morning, as you wake up, they aren't merely sheets, but they are mountains and valleys and canyons. You're not going to fall into this trap that so many other photographers do who discount familiar objects and scenes as photos just because of this familiarity. In the early 2000s, I lived in Edinburgh, right next to the castle. If you've been there or if you've seen it, then you know, this is like, this is picture postcard territory. And every day, thousands of tourists came with their cameras, Marvel, not just at the castle, but the buildings that surrounded it, the views of the city and, you know, the hills to the south and all that sort of stuff. And they took photographs, they were in all of things. But I took them for granted because they had become familiar. During my time there, I barely took any photographs of the old town because that's where I lived. It was only after I'd been away for, you know, like 10 years that I actually returned with my camera and photographed the things that had been under my nose all the time. I had been guilty of being lazy with my vision and falling into that trap of dismissing the familiar. A fork is familiar to you as are tools. There isn't a single object that I can think of that doesn't hold some type of potential for an image. The next time you're in the mood to take photographs, turn your attention inwards, stay at home, or some of that you visit regularly. Take photographs of the things that you've seen a million times before, and not once have you considered actually photographing. I guarantee you that as soon as you start photographing the familiar objects that you see every day, day in, day out, then people will start to connect to your photographs more. Anyone, anyone with a camera or even just a phone, can take a photograph of a spectacular scene that people will go, oh wow, that's amazing.  They take the familiar and they make it unfamiliar and interesting and they make people go, wow, wow, how did you ever see that photograph? This is what we're looking for. We're looking for people to be blown away by the sheer awesomeness of your photographs of things that they think are completely ordinary. I'm sure some of you have seen images that have been totally, the subject has been completely banal, but the image itself has made your jaw drop. If you have, let me know in the comments. I'd love to see some new photography. Now, I must give you a warning here.   So there will be a temptation within you to start to try and find more and more interesting everyday things to photograph, which of course is the problem here.  The reason you're developing this photographic skill of teasing out potential for unfamiliar objects is so that when you are confronted with this spectacular, the amazing that you don't just photograph it in the way that everybody else does and expect the uniqueness of the subject to carry the photograph. But what will happen is that you will be able to take your newfound photographic skill of awareness and make this great scene into something amazing. As you develop this vital skill, it would be helpful to work on it alone or with others. Certainly, I found that in my own experiences because when you are trying to take photographs like this with some other photographers around, often they will say, oh, but why are you photographing this, you know, little piece of thing when there are some other better things to be photographed? You know, they mean well, but they, they, they don't get it. You get it. They don't. Think about all those photo workshops that we've been on, all of us, you know, where there's all those photographers standing in a clump or photographing the exact same thing in the exact same way. Be the person who stands apart from the crowd, who sees the whole scene, not just the tiny rectangle in their viewfinder. Tied into awareness is observation. Think about how a scene familiar to you looks across the year. Don't think about your house. They're outside my house right now. The sun is starting to get stronger and it's a bit warmer. The snow drops are coming out. There's, you know, daffodils starting to poke through the, through the grass. And the garden looks very different to how it did three months ago. And in three months, it is going to look different again. So what has this garden got to do with, you know, your photography? Well, it's like this, right? If you say you see in a subject that kind of interests you, because now that you're on the lookout for these interesting subjects, you know, perhaps it's a tree on your commute or, you know, unremarkable building. And you think most of the time, it holds a bit of potential. We could go and we could photograph it, but there might just be one day in a year or one time of, you know, of the day where everything just aligns the right way in the, in the right setting. And it makes that subject absolutely sing. Think about this. This is the art of observation in action. You're finding something and you're watching how it changes depending on the time of day or the time of year. A project you could do with this is to photograph the same object or the same scene, maybe outside your bedroom window or something, the same way across the, you know, the day or the season or the year if you could, see how these things change, how the, how the same setting can look so radically different. Make a mental list or if you like me, like a physical list to probably be good of all the places and things that you could photograph that are utterly familiar and completely mundane most of the time, but have that one moment that we talked about where everything just comes together because you've been observing over time and you've seen, you know, not only how it can hold interest in its banality, but has that, that potential for a small window time for a great photograph. Of course, having an idea about a photograph isn't the same as actually taking it, so with that notebook that you're making the little sketches and what have you, you know, write them down and the places and the times and all that sort of stuff and any sort of idea that you have for a photograph, because that's going to help you actually engage and follow through with taking the pictures, but also what it does is to help to start you thinking about the world photographically, to training your mind and your eyes to see the world not just as a collection of objects to be filtered out, but as a world of vast amazingness. The more that you practice the skill of learning here, of awareness, of observation, the benefit is going to be that your photography will become more fluid, that the idea that you have in your mind will actually translate better into the final image. Your challenge is to create one image of a familiar object that goes beyond the obvious. It's something that you can do right now, that you can, you know, that in half an hour it's gone and takes a photograph of something that you would never have considered and see what you can find. Light plays such an important role in photography and this is the video earlier that I mentioned which will help you understand it in simple terms. Thank you ever so much for watching and I'll see you again soon.


If you sack this I give you 10 bucks You almost in my coffee Yes How it's up guys pulling up at El Serino today gonna meet up with Dan and Haley get some skating done Pretty pumped to skate this morning had a good breakfast finally sold one of my fixed gear bikes I've been trying to sell for like a year now. So that's gone a little bit of money in the bank picked up Only the best brunch you can get in LA If you know, you know Yeah gonna skate gonna get some clips Some kind of stuff. I want to do on the transition here. So I'm keen to skate today I've got a long sleeve on again because I don't want to get sunburned. I've got some sunscreen on the back of my neck SPF 70 that's right. I didn't know SPF 70 existed until the other day So shouts out to I can't remember the name of the brand, but it's SPF 70 and Act every time we come to El Serino.  So they didn't skate in the last video. So I was too lazy That was yesterday. I was supposed to skate yesterday. Would you film other people? No, I just had a nap and then drew some stuff Yeah, Andy Warhol rode my electric scooter to the store to buy a drink.  I got a switch only on it early. That's still a little bit scary. What else I Don't know. Just stuff the board slide thing on there. What would you call that? The board side up the shark fin Okay Sharks remember that cut in that show ever That was literally just them being like oh Ninja Turtles work. Let's just change the animal shocks, dude I had one he had a motorcycle little figurine. I'm gonna buzz around is what Dan says It's a brown park. I don't talk like that.   Yeah backboard if it's a front lift. What does that mean? That's a lip slide Yeah, if you come from the side of a lip slide, it's not a lip slide Straight on it not really so if you're any direction if you're any bit on this side lip side any bit on this side board side If you shack this I give you 10 bucks I'd be sick slappy nose off the end of it. I'll be Dan's trick Well, mine was fakie was it?  I had you reckon scarier I think so. I think right slappy like bashing nose slide scarier than fashion switch nose slide I'll give it a few more goes With my backside big spoon dude, I landed it. No, you didn't knock it fall.  No, just go Oli hide and get it Yeah, it's John He said that when he doesn't skate for a while makes him want to skate harder when he finally does And I was like and and I watched him watch some skate videos online And it made me keen to skate and try new stuff. So I'm out here trying new stuff So it's clearly my channel that you watch online Got them all amped up. You see what happens when you watch my videos He's gonna try to keep up the kicker the kicker because I told him to You had a first try.  You almost in my coffee I put my coffee behind that pole specifically so you couldn't hit it. I'm so smart Was that the end of it?   Okay. Yeah Sean just said it's hard to get speed for that What? You have infinite speed Haley switch tail slide cameo Oh, you're up there, baby Oh, yeah, yeah, that's right No, that was good smack your tail. Sorry smack your tail. I don't know how to do it Yeah, you do same way do it on a bank. No way same exact trick. Really? Yeah, try it Yeah, you got that. Is it? Yeah.  You got to get on top and glide across it lightweight like uh, like you're doing it on a ledge Okay That was a really really fun day out at el serena. It's probably the one of the best skate days I've had in a long time Since that video where I keep flipped over the ball at harbour city and then backside flipped it Like that that day was a good skate day and like this one was like a really good one I felt like I was really comfy on my board. We stayed there all day. I could have skated more But I was like eating a bunch that day and snacking and drinking water And then I just felt bloated because I ate too much. I didn't want to I didn't want to try to skate again I was like tired. I had a headache. So I just headed home for a lovely afternoon nap Look at my t-shirt If you're new here, make sure you hit that subscribe button Drop us a comment below Make sure you head on over to evening mob.com pick up something you get free stickers of every order And yeah, cheers for watching the video Hopefully you guys are satisfied with the skateboarding in this video because I didn't skate in the last video So hopefully it makes up for it. But yeah, see you guys in the next video. Cheers


Our next talk will be by Caroline Harden and Jen Dalson. They're going to be talking to us today about sluts, bullies, and best selves, rethinking digital privacy education. So taking away Caroline and Jen. We live in a technological world, or should we say a cyber world. We're uploading photos, sharing videos, or sending messages. It's just part of our daily routine. And when our personal information is everywhere, digital privacy can literally become a life or death issue. But how are schools and teachers helping our kids navigate this water to digital privacy? I'm Caroline Harden. I'm a PhD candidate at University of Wisconsin-Madison where I'm studying computer science education. And I'm Jen Dalson, also at the University of Wisconsin. We're academics, but we're trying to work on it, so bear with us. So in this presentation, we'll be looking at a couple of things. First, what is privacy? Second, what hackers think we should be teaching about digital privacy? What are our teachers actually teaching our kids at school? And then the concerning implications about what they're being taught. AKA, this is some bullshit, and we need to fix it. So unequal burdens, vulnerable groups, and most impacted by that. And what can we do about this? So according to Seva Valdez, what we really demand in some measure is our control over our reputations. Who should have the power to collect, cross-reference, publicize, or share information about us? How this plays out in a practical example depends on culture, on individuals within these cultures, and on circumstances particular to these individuals. It's not a simple public or private flag. Privacy settings are much harder than ACL. Digital privacy varies from meat space, privacy only, and how easy it is for information to flow beyond what we intend. While we do spend a lot of time teaching our kids about physical space, such as close the bathroom door, or wear pants when you go outside, the education we give kids about digital privacy is not enough. The need we need, we need to have more than a one-off conversation, or a unit at school that happens once a year.  Nobody. And we have to tell people, like, what parents are gonna do about this? A parent is not about to sit down and have a long conversation about a kid with the stuff.  Talking about nude photos with your kid is super awkward. So to understand how digital privacy is being taught in school, we wanted to start with seeing what hackers and InfoSec professionals, and other people with a technical background, think about digital privacy and how it should be taught. So we did a survey with the question, what advice would you give others about protecting digital privacy? For this survey, we used what is called a convenience sample, which meant we asked our friends, which are mostly computer science and InfoSec people, to take the survey. And then because it became obvious that just asking our friend turned out to not be very many people, we did what's called a snowball, which we asked our friends to ask their friends. In the end, we surveyed 47 people, 27 women, and 20 men. And we analyzed the responses and found that there were two main categories in what hackers and InfoSec professionals said about what should be taught about digital privacy. 81% of participants said technical advice, VPN, full disc encryption, setting Facebook privacy settings, and so on. In addition, 65% of people offered avoidance or discretion philosophies. Don't post photos of yourself in that swimsuit. Don't tweet that you like Windows Vista. In only one case, did someone recommend negotiating social, negotiating privacy with your social groups and with your family? And talking about how you want your information to be shared. These findings reflect a lot about how digital privacy curricula is structured. But something about this always struck me as really incomplete. As we know, a webcam sticker can only go so far when you have a neighbor or aunt who consistently over shares things on your behalf. I took a class in sociocultural theory where I learned about a somewhat obtuse theory called Figured Worlds. So Figured Worlds are the socially and culturally constructed realm of interpretation in which particular characters and actors are recognized. ELI 5, people are messy. And we live in this world where it's easy to understand when you think about all the different roles people have. And the Figured World is kind of like an augmented reality overlay that says, this matters to me when I'm in this role and this matters to me when I'm in this other role. So privacy lets us live these rich social lives because we have somewhat contradictory Figured Worlds in which we need to keep information separate from one of our roles from the other role that we have. So consider the off-color joke. It means something different when told to a friend drinking beer in your kitchen as it does when said as a representative of your company at a professional conference. Failure to understand this and failure to understand when you should and should not tweet the overhead joke has serious implication on people's lives and jobs. So we kind of need to figure out this digital privacy education thing. So based on our research, we decided to investigate what digital privacy looks like in education. What are kids being told? We looked at a major curriculum to figure out how kids are being taught about privacy, how they're told to manage these Figured Worlds and how people should respond to privacy loss. So we looked at a popular curriculum that focused on digital privacy, IROC, the Institute for Responsible Online and Cell Phone Communication. So IROC's core message is, quote, anything that you do with digital technology can instantly become public and permanent trademark. This curriculum is available for purchase in book, video, form, or you can schedule a school presentation. The map shows the presentations that are currently scheduled for 2018. So yay, webinar for kids about digital privacy. What fun. So the advice found in IROC and other similar curricula that we looked at answered the first question. Who is responsible for privacy with? Privacy can be assured through individual discretion. What is meant by individual discretion? It means everyone is responsible for making sure they control what is shared about themselves on the internet in every circumstance all the time. In the curriculum we looked at, we found the emphasized things such as not posting pictures, not taking pictures, not being in the background of pictures that other people take that might get posted. A typical example of this comes from IROC in this quote and emphasis is my own. True, if you apply digital consciousness trademark, a mindset of public and permanent trademark, when using the internet, cell phones, apps, social media, interactive gaming, and any other digital tools and technologies, you eliminate any potential for self-inflicted challenges and reduce your risk of facing devastating and life-octering consequences that often accompany the abuse of digital tools. So the answer to the second question. How do you manage different figured worlds? Was answered by these curricula in what can be summarized as, only post stuff which reflects a singular best self, but best self to who? Another quote explains. Each time you power up any digital tool, camera, computer, internet, cell phone, picture a family member, friend, child, enemy, criminal, deceased, loved one, whoever means or meant the most to you in this world standing right over your shoulder. In other words, you must consider a single best self for every possible audience with everything used digital tools for. Finally, the third question is, how should people in community respond to situations where there is a loss of privacy? These curricula emphasize that consequences are inevitable and must be borne individually. They offer many examples in lurid detail of the negative consequences which can occur from a loss of privacy. These warning stories included those of a person's misjudgment, an honest mistake, and malicious attacks. But all are framed as this is the way the world is, this is what happens. You can see an example of this in the quote comes from digital consciousness trademark, contract the IRA curriculum, suggest parents have their kids sign. I am aware that my poor digital judgment betrays my ancestors. My parents, my community, and my future generations. In other words, the consequence is shame and it is a betrayal of others and this betrayal is individual. So these findings reveal some concerning implications of these common themes in digital privacy curriculum. Even if you are discreet on what you post, on what you say, complete discretion is unrealistic unless you and everyone around you doesn't do anything with the digital tools. So to say privacy is entirely responsible of an individual, ignore how a loss of privacy requires at least two people. We are taught not to open someone else's diary, for example, and if it's left on the table all alone. But if we have someone who are to say put the wrong settings in their live journal and yes, we're dating ourselves by saying live journal, we're not teaching kids, are we teaching kids not to read that post or are we ignoring that completely? To let the poster know that perhaps the needs to change the settings again or do we just read through it? So in what about malicious privacy violations? Situations such as non-consensual photos are largely not discussed in this curriculum. So who is talking to their kids about these issues? I mean, we are not robots and yet we are being told that we need to be in order to be successful in discretion. But nobody has a single best self to let someone's identity to a single public and permanent trademark figured world in this case, an idealized student or worker who only says a thing that they would not upset anyone else and who can only talk about the successes is completely impossible. We're not robots. We may say something to a coworker and passing in that you know hallway and then maybe the boss should not be knowing about that but it spreads. Like where does the discretion lie? And for teenagers who are still figuring out their identity, how horrible is it to put pressure or this added pressure on them for what they must be perfect? Perfect online at all times. Furthermore, what message should we send to vulnerable and marginalized groups? For example, the LGBT people who are often focused to make more nuanced decisions about how out they are in different contexts, less they risk discrimination, harassment in some countries, imprisonment and literally death.  This best self has created a culture of slut shaming. Anyone who has an intimate photo or text released, this has literally cost the lives of young women and men and it needs to stop. This is example of how the burden of digital privacy privacy aren't equal. This advice creates equity issues as it recommends erasure. For those whose identities are frequent targets of cyberbullying such as women and LGBT groups and some online spaces such as gaming, this often means women feel they can't use voice chat less their gender is revealed and they become a large target of harassment. A final implication is that we suggest that bullying is an expected and appropriate response to misjudgments about what to share. Little to nothing offered to help teens learn to recover from privacy miscalculations or violations to support their friends when it does occur or to renegotiate how their information is shared in cases of misunderstanding. Instead, these materials are rife with the almost gleeful recounting of tragedies from loss of privacy with limited discussion of the culpability of those who instigated or otherwise participated in the privacy violations. Blaming the acts who shares news is important but there is also culpability with every person who also forwarded that. Elsewhere and more disturbingly, it is suggested an appropriate consequence to visit on those who violate others in privacy is death. And I quote Iraq, quote, her full remarks made just move bullies to the head of a kill list, end quote. It's not that hard to find anyone through the internet.  We did find two resources which we can recommend. The human sexuality curriculum our whole lives does a good job of discussing how to create a pure culture of respecting privacy, especially in intimate relationships. And the smart girls guide to privacy by Violet Loo does an excellent job covering how to respond to incidents and in taking a firm anti-slut shaming stance. So what are our next steps? We want to see digital privacy which not only covers the technical aspects of how to protect privacy and having reasonable discussion but also includes material and how to help people identify where the conflicts between their figured worlds might exist, makes negotiating privacies with others a norm and covers more resources to help recover privacy, recover from privacy, whether it's accidental or malicious. So we thought it was a little weak sauce to say there should be better digital privacy education without offering any examples. So we made one. We created digital privacy detectives, an interactive narrative mystery game. Its design was based on the sociocultural framework presented here. It looks at discretion philosophies of keeping and maintaining social relationships in figured worlds, setting and communicating boundaries with others regarding privacy and using technology solutions. This workstation was piloted for the first time at Roots yesterday. So now that your kids have had their way with what we thought would be a great lesson plan, a game, we're gonna redesign it a little and with their feedback in mind and later this fall we'll release it for everyone to use, we'll just watch our Twitter feed for details on that. We also have a draft of a creative commons like license for private information tentatively called sexting, the license to help people easily negotiate how information is shared. So under what terms are you sharing this photo with whom? How long do they get to keep it? Who do they get to show it to? Things like that. If you're interested in collaborating on sexting the license, please come talk to us. What can you do? For the tech you design, design it in ways which represents people as complex social creatures with a variety of roles. Create sharing settings that allow users to easily specify who is shared with each piece of shared content, not a single public private flag. Kinda like Google Plus. I know you didn't expect to hear anyone defend Google Plus here at DEF CON, but. So I'd like to conclude with this quote from Jesse Irwin. Privacy isn't about hiding, it's about sharing on your terms. Thank you.


Welcome to the weather forecast for the week, beginning Wednesday, October 11th, 2023. This is chief meteorologist John Hemsworth for Longmont Public Media. We have a very special new moon, Saturday, October 14th, rising very close to sunrise time and setting close to sunrise time, maybe more so than normal, because we have an eclipse coming Saturday morning. There are three types of eclipses, partial, annular, and total, which is not the best picture for a total, but should be totally dark with the sun's outer atmosphere around it. But this is what the eclipse is for people along the central path. We are not going to see that in Longmont, but we will see a good chunk of the sun covered out. So we have the path here coming in through Oregon and going down off of the coast of Corpus Christi, and it is clipping the Four Corners area and communities in very southwestern Colorado that if you are inside that darker orange or red band on the map, you will see sunlight all the way around the moon for a little while. I think it's over four minutes inside the sun like that, because the moon is at a more distant point in its elliptical orbit, and we are kind of average in distance from the sun right now, so it's not as small as it can be. So some of the stats are, first contact will be 9.14 am, mountain time, mid or maximum partial eclipse is at 10.35, and it all ends at 12.05, the sun going back to being just a circle. This is a computer simulation of what it will look like from Longmont. It's pretty well covered. The cool thing is if you do go out, let me just straight up warn, do not look at this eclipse. Even if you go to the path of maximum annularity, it's going to damage your eyes.  So don't look at this with your eyes, definitely not with binoculars or telescopes or anything like that.  So no other way to say it more plainly. There are eclipse glasses I ordered a pack of five from Amazon, and I got it here overnight. So you can probably still order some certified ISO solar viewing glasses. And since there are some spots like that, you might be able to see those naked eye through the glasses. So also if you look to go out around the mid eclipse, take a look under trees. Trees still have a lot of leaves on them. Look at the spots of light coming through the leaves, and you'll see all these little tunnel clipping shaped images of the sun. So you can observe it that way as well. You can do a pinhole camera. You can Google that and see how a pinhole camera can project an image of the sun on a piece of paper below it. It's as simple as cutting a little square in an index card, putting some aluminum foil over it, poke it with a little needle or pin, and then put another card below it, and just adjust. The card on top gives you the shade you need, and you'll see the sun. So lots of ways to do it safely, just don't look up. That being said, I am opening up Cherry Wood Observatory from 9.30 to noon for anybody who wants to come see it. I have an almost $200 filter that goes over the entire front of the telescope and blocks out 99.99% of the light. You can see activity on the surface of the sun where it's not covered, see the sunspots and other interesting features like that, and of course you'll get to see the big dark notch taken out of the sun. So feel free to come by. I'm not going to put the address here. If you look on next door and search Cherry Wood Observatory Eclipse, you will find me. That is what the sun looks like with sunspots. So it's quite possible you might make out these with your solar viewing glasses. Definitely we'll see it in my telescope. So taking a look at drought, getting back to the weather. It's been a long time there on Eclipse. Things are getting a little worse on the western slopes with lack of rain. Naturally nothing really changed. There's a little bit of drought relief up in the northwest, a little bit worse right here, but everything else kind of stayed the same. Again, it's smoke. We still have some smoke lingering around. I just looked at the window from school here and saw a small fire. It looked like it was somewhere in Lyons, Destas area. Not really sure. I'm not used to the angle from Loveland looking up into the mountains from Longmont. I can tell you where everything is. All right, so we got rid of our severe weather animation, but we start frame one of our snow animation and it says we're at 140% normal because there's been a dusting up there. Yeah, we're still above normal. That's great. This next storm that was going to really give us a bump and we're going to see this happen. So we just needed this starting graphic. For the last seven days, precipitation has been miserable. I mean, that's nothing. It's tenth of an inch or less in just a couple of spots. Looking at severe weather possibilities, climatologically, we should be getting out of it, but in reality we do have a marginal risk out here and we have a kind of a tropical like thing that's going to go across Florida. We have a chance of convection Wednesday today with this storm coming in. Thursday, the chance of storms moves to I-25 and eastward and then away from us on Friday we are in the dry stability. This map always overdoes the mixed precipitation. I don't think they take a look at elevation very closely. So for Wednesday night, they have a little chance basically north of Denver and up in the northeast, west part of the state mixed precipitation, some good snows in north central mountains. It really should be rain at the lower elevations, not a mix. Friday it pulls away to the north and east. Looking at the normals, going from 70 down to 66 is all we expect for high temperatures as we get to the middle of the month. I didn't look it up. It looks like the average first snow for Denver International is around October 19th. I'm just doing that for memory. So the first snow is coming. It's just a couple of weeks away on average, but it's been much later in some years. Friday went down to 37, is the expected low, creeping closer to freezing. We are going to see freezing temperatures this week. I'm going to cover that carefully. Time to get your outdoor stuff like boats and campers ready. If you have a sprinkler system, it's a good time to do it, get them blown out. I'm not going to be able to, but I'm going to put a blanket over the exposed pipes. The underground stuff will be fine. So taking a look at this little storm here, we have a little wrap-up right here. This is our approaching storm here on Wednesday. The deep tropical moisture is way out here. There's that quasi-tropical blob that's going to create the severe chances. In the upper atmosphere, the low is crossing over northern Colorado, and that's what's kind of robbing a lot of people of the moisture. So here's our mountain snows and precipitation on Thursday morning. Not too far south of Longmont or Denver. You're just not going to see much. We do have a shot of cold air behind this. Looking right along I-25, that looks like a little downslope signature, that the air coming off the mountains from the northwest sinks and warms as it does so, as it compresses. So even though it's really cold out here with really getting really chilly and cold mountains, and you can see the sharp cold front heading down like that, maybe we won't be quite so cold until the winds die down. Let's put this in motion. You can see this low rolling over us on Thursday, and then moving on with northwest winds bringing cold air in. The ridge comes back briefly, but we still have northwest flow, so that will keep us cooler. The ridge is building on the western...I really don't want that. Thank you, Adobe. The ridge is building on the west coast, and then the northwest flow brings another low down middle next week, which doesn't look quite as significant. Looking at temperatures, I don't know what that first frame is. Here's the cold air coming down pretty quickly and spreading across the state. You can see the cold front making it down into Texas and off the coast. I send the warmth that's on the western slopes, and the cold is on the eastern side of the Rockies. Then we start warming up. You can see the remaining snow on the mountains keeping it cold in the higher elevations. The middle next week, here comes the little blob for the next cold front, Wednesday, Thursday again, and then off. For moisture, we start with the low wrapping up, bringing a lot of moisture into Wyoming. Then as it pulls away, really dry air comes in behind it. There is lots of moisture out in the western states, and by Monday, Tuesday is a little chance of a storm. Right there it starts to focus and move south, dry air right behind it, and then for a Wednesday, Thursday storm, the moisture comes back again. This is precipitable water through the atmosphere. Surface dew points are, for this time of year, still a bit low. So the lower atmosphere is pretty dry in the upper 30s and 40s, and really dry stuff comes in after that. You can see the dry air pushing all the tropical moisture back into the ocean, and really dry stuff locally. That's good enough for that. So let's take a look at the storm. First comes in is rain, and kind of wraps up giving the mountain snow, and then pulls away Thursday night. Going into next week, pretty dry through the weekend. If you've got any camping or any hiking plans, it'll be beautiful, cold, but beautiful, especially if you go up to the mountains. Here comes that Tuesday ripple. I didn't put chances of showers in. This could be just a model anomaly. Then going into Wednesday Thursday next week, you can see this less significant storm with some more mountain snows coming in. Just taking a look at the southwestern states and seeing the snow add up over the beginning of this next week, just the next few days. It's pretty significant, 10, 15, 11 inches of snow in the higher elevations. And just taking a look at the precipitation there, you can see a little bit Denver, Boulder, Longmont. Again, could be the downslope that's cutting that off because it warms and dries as it sinks off the mountains. But the mountains up here, getting some good precipitation, really significant water north of Cheyenne because the low is just going to throw the stuff up there. Here's our better look at the snow, and 12 inches, and plus in many locations. So there is a winter storm or weather-weather advisory for the mountains. This could be upgraded. I don't know why that's here. So this is from weather 5280. And then looking over the next 10 days, a little more precipitation across the state with those next two ripples and just a touch more snow in the mountains. So we should see the first freeze on Friday. This should end the growing season for the year. It's going to be a hard enough freeze that it should do that. We lose the warmth until next week we see 70s, at least low 70s, but the weekend will be pretty chilly, starting out below freezing and then getting back above freezing. So again, get the stuff outside prepared. Check out Longmont Leader for frequent weather updates when the weather calls for it, and local news. This has been Chief Neuraljust Johninsworth talking for a long time, urging you to keep looking up, and I hope to see you Saturday morning.


all right new piece here oh nice definitely fast and snappy cool i like it hold on let me just bring this in take the whole thing in there okay hold on this is cool definitely like all of this that's all very cool good hang time here the only thing i would say he gets so stretchy here like i get you an exaggerate some of the moves i mean he's definitely stretchy here an exaggerate i don't know that's very subjective i buy all of this and then once you get to here that last one feels so rubbery from this this into that that i would reduce but i don't know i don't know why this is maybe a bit strong i would probably reduce the amount of like it feels like you're doing like really over stretching the middle part and it's only going over there versus not as high like the nose will be maybe here and then reduce that a little bit to get a bit of a softer line of action in the head that's all fun because he seems more on model even this is a bit strong there is there's something about being also on model that even this feels a bit almost broken in terms of how far you go i would i would reduce the the nose and then you can stay somewhat with the head to be a bit softer with all that other than that i think i think you're okay you can probably shave out a couple frames depends how once you spline this but i would probably go like two frames and then straight into that appearance so it's it's a bit it's super picky but it's a bit of a long pause quote unquote long i'll get into this a bit sooner but i love all of this i think once you spline this i'm not quite sure like how far you want to go with the style and if you want to spline this like right now the camera work i would wait with how early you truck with it so that character is a bit there like the character is overtaking the camera and it's leading the camera move right now we're just a bit too early in all of this i understand that you're having all of this and end up here but he can end up here as well and then the camera can catch up and that's fine even this here feels we're going up too soon because he can also easily get to this point and that's a clean nice pose and this is already cut off here that's solely fine because you're not getting much out of that pose anyways you can be delay with the camera and just be here and then we get to this again we're maybe a bit soon with the because it's so delayed here with the tilt up i would wait then you can catch up there and even here we're going a bit too soon so make sure that character drives the camera just a bit more and i know we want to get there and see this but you can be okay cutting it off here and getting to this with a bit of a faster tilt down that's not too bad and that's kind of that other than that i think it works like picky things like again depending on how far you want to go with the spliny aspect of it and and the breakdowns but like that thumb lines right there with the forearm be with tangent there's a tangent here not too bad through there but then you got that wrist with that sleeve or just look at lines how lines form and where where you form temporary tangents even like over here a little bit but that's like you know the last like two percent other than that i do like all of this because you also don't have too many repetitions here right you got a stretch into this i mean this is knees up arms up but in this pose it still feels different enough it's bit similar i'm gonna draw here so i have a bookmark so this could be potentially a different pose just to throw that out there you do have that which is really fun love all of this that's all fun i like how he looks up there probably probably with this i wonder if instead of this and you stretch out so far not that it's wrong it can work it's such a stretch out where it's not like a jump into something what if the other leg is here and it's more of a i'm i'm reaching forward with my arms to then almost roll into something to then roll finish jump into this just a thought and it could be destructive so i'm gonna throw that out there and he gets into this so once we get to here i think you might also be okay with so much momentum and the camera follows and recovers that you can end up here that's also fine do all of this i think this will be tweaked but then at the end we are a bit recomposed here but so it's a bit more in the thirds just a tad but especially here i think it's okay kind of recompose a little bit it's mainly that it's really fun love all this again the the timing and the the playfulness and all of this is really you can probably play with expressions a bit more words he's like this this feels like ah he's ready and then it's just it's kind of the same but just pushed in terms of that curve and the openness of the jaw versus he gets to here and this could be like like what if it's like a shape like i'm ready i'm ready so you have a bit of contrast of ooh ah versus ah ah that's the sign i can make you know i mean trust the thought and that maybe a bit straight i think once he goes oh man could be either you're lining with this and it's a tilt or it's a tilt back like oh man i don't mind a tilt back because that's the box but he doesn't like it so he's disengaging from it so he's moving away from it so the head is tilt the back so you can have maybe you know a bit of a see how far it can go until you break it but tilt that head away from it a little bit that could be something to him all righty that is that thank you all right there's an email you can sign up you can start whenever you want you can submit whatever you want you get 16 submissions either way a like and subscribe would be awesome all right thank you


Hello everyone. My name is Dr. Rishikesh Ugra. I'm a third year resident in department of the radio diagnosis, Krishna Institute of Medical Sciences Karate. I'm going to present a paper on comparative evaluation of ultrasound and magnetic resonance imaging in detection and grading of sport-related ACL injuries using orthroscopy as a gold standard. So as we all know, internal injury of the knee joint accounts for almost half of the all sport injuries. Physical examination technique using the assessment of internal knee injury has its limitation and it lacks sufficient sensitivity and specificity. MRI represents the optimal imaging in the evaluation of knee injury which is far more accurate and is non-invasive method of diagnosing the ligament, meniscal, cartilage and muscular structures injury. Now ultrasound, it has been a little less popular as a diagnostic tool in the field of orthopedics. A normal anterior cruciate ligament is delineated as a hypoequic structure in sagittal and transverse sections on ultrasound. And cruciate ligaments of the knee, they can be seen on MRI imaging as a band of low signal intensity in contrast with high signal intensity of surrounding fat and other tissues. So aim of this study is to evaluate the role of ultrasoundography and MRI in ACL injury in the sports patients. So objectives, the objectives are to investigate the diagnostic accuracy of ultrasound and of MRI and comparing them with orthroscopy as a reference standard. So this is a cross-sectional and observational study. Total 42 patients were taken. So inclusion criteria is all the patients with clinical diagnosis of knee injury in sports were taken with the ACL injury based on the persistence of symptoms for minimum of 3 months. And the patients with previous history of any knee trauma, previous history of knee surgery and history of steroid injection in the affected knee were excluded. And the patients in whom MRI is contraindicated were also excluded from this study. So sonography, the ultrasound scans were performed on Siemens-Accusin ultrasound machine. We used a high frequency linear transducer. Now in order to examine the ACL knee joint has to be flexed more than 90 degree during its maximal internal rotation. On subject to section, the middle half of ACL is seen as a straight hyperquick band. And if there is no evidence of such a hyperquick structure and if there is associated joint diffusion, it is to be considered as ruptured ACL.  The study procedure was the patient kept in supine position. The extremity coil was wrapped around the knee. The FOV was kept between 14 to 16 and 3 to 4 mm slices were obtained. And this imaging is done with a full extension in the neutral position. Now we have acquired T1 and T2 weighted images along with STER and PDFS images in porous axial and surgical sections. Now grading of ACL is done as grade 0 is intact ligament, grade 1 is a partial tier with less than 50% of disrupted fibres. Grade 2 is also a partial tier but with more than 50% of disrupted fibres. And grade 3 is a complete tier. Now these are the sets of images. In the first case, we can see this is a normal knee and we can see that we have a linear hyperquick band which represents the normal ACL. And in the knee with trauma, we can see that this band is replaced by a hyper-ecogenic thickened structure which represents a high grade partial thickness here. Now in the MRI T2 weighted MRI image, we can see the high grade partial thickness tier of the ACL in the same patient. In the next case, we can see in the right knee, we have a normal ACL and in the left knee with the history of trauma, we can see the ACL fibres, they are bulky and heterogeneous, representing the complete tier. Now in the same patient, we have a sagittal PDFS MRI image which is showing us a full thickness tier of the ACL. And in the third case, again, we have the normal ACL in the right knee and we can see a full thickness tier of ACL on the left side. The sagittal PDFS image in the same patient, we can also appreciate that there is full thickness tier of ACL. Now the observations, these observations were grouped under three categories, the ultrasound grading, MR grading and orthoscopic grading. Now we can see out of 42 patients, 25 patients were labeled as a grade 3 tier on ultrasound, 29 patients were labeled a grade 3 ACL injury on MR and orthoscopy its findings were like 29% patients out of 42 were having grade 3 tier. Now the agreement between ultrasound and orthoscopic findings, like on ultrasound 25% like 25 patients out of 42 were labeled as the grade 3 tier. However, the 29 patients out of the 42 patients were having the grade 3 tier in orthoscopy. So the above table and statistics shows us that there is a good agreement between the ultrasound and the orthoscopy. And as we can see in these tables, 29 patients out of 42 were given as a grade 3 ACL tier on MRI and 29 patients out of 42 were found out to be of grade 3 injury on orthoscopy. So now these above table and stats, they show us that there is a very good agreement between MRI and orthoscopic findings. Now the findings we have just seen, these are represented in a bar diagram in this slide. Now for ACL partial tier, that is a grade 1 and grade 2 injury. Now ultrasound it has a diagnostic accuracy of 84.61% and MRI had a diagnostic accuracy of 100%. Now when it comes to a complete tier that is grade 3 injury, now ultrasound will show a more diagnostic is showing a more diagnostic accuracy than it was showing in the cases of partial tier. Now when ultrasound is showing almost 90.48% of diagnostic accuracy in complete tier and MRI is showing almost 100% diagnostic accuracy in complete that is a grade 3 injuries. Now discussion on ultrasound out of 42 patient of ACL tier, 25 were found to have grade 3 tier, 6 of a grade 2 tier, 5 patients of grade 1 tier and 6 patients they were found to be normal. On MRI out of 42 patients of ACL injuries, 29 cases were having a grade 3 tier, 4 patients of grade 2, again 4 patients of grade 1 tier and 5 cases were found to be normal. On arthroscopy out of this 42 patients 29 patients were found with a grade 3 that is complete tier, 2 cases of grade 2 tier, 5 cases of grade 1 tier and 6 patients were found to be normal. Now coming to the conclusion of the study, now ultrasound can be used as a screening modality of choice for grading of this ACL injury. Why? Because it has a very good correlation, there was a very good correlation between what are the like the arthroscopic findings and ultrasound findings. Now it is easily available and it is a cheap modality. Now MRI, it is the most accurate tool in grading of the ACL tier but now MRI has a limitation of a cost and time. Now limitation of our study are that this study was conducted on a limited number of patient of 42 patients only and these normal patients they were not followed. These are the references. Thank you so much.