Hey guys, it's Nate, AKA the Foot Accountant. Welcome back to the channel. Today, team of the season preview video number two. Last time we looked at man of the match cards and the rarity of those cards on FIFA Ultimate Team and how they're gonna be good to trade with and to invest with during team of the season. Today, we need to look at the high tier market. We're talking team of the years. We're talking other special cards in this game. I'm not really looking at icons at this point in time. I will maybe look at that in another video because I know a lot of people wanna know about that. But I just wanna look at today. We're gonna look at a lot of Premier League stuff because that's the most popular league but it's gonna be the same for each league. As we saw in the other graphs that we looked at yesterday, there's a lot of, every single week when we get a new league, Premier League stuff drops for Premier League when it's upcoming. Bundesliga stuff drops for Bundesliga when that league is upcoming. All that kind of stuff. We need to keep our eyes out for it but depending on who you wanna have in your team and who is in your final team and who you're building towards, a lot of people are building towards a final team that they're gonna buy during team of the season and a lot of people have these team of the year cards included in those squads. So I'm gonna take a look at some cards today on the market, talk through some prices with you guys and some possible market movements with these cards because I think a lot of them are gonna go down, a lot of them are going to be panic sold in the hype for team of the year, especially right at the beginning for the Premier League since there are so many Premier League players that are in this team of the year.  Same with Conte. We're gonna have to monitor that situation and we're gonna see here that if you want one of these guys in your team, you can't wait until team of the season to buy this card. You're gonna have to buy it beforehand in the crash before team of the season when kind of the first announcement comes out. That's when a lot of these cards hit their lowest point. But we're gonna look at a few examples here of a few cards that did not get team of the seasons that went up crazy in value when their league was released. First off, we have Once to Watch Obamiang. This card was a Winter Once to Watch card transferred from Dortmund to Arsenal last year. And this is a very good card of FIFA Ultimate Team. Yes, it's a top tier striker with a 99 pace, 90 shooting. And this was his best card that he actually ended up getting last year. And you can see this big jump right here. This is during team of the season. So I wanna take you through some dates here. Last year on April 27th, which is this Friday, that was when team of the season was introduced. They started out with Community Tots, the voting and April 27th was when team of the season officially came out, started, we knew about it. And you can obviously see, look what happens to his price. It had been trending down obviously in the weeks before that. And then boom, April 27th comes and we have him going from 480k to the middle of next week. He hits 420,000 coins. Now people knew that Premier League would likely be next. So you see this card getting panic sold and it hits a low point. On Friday, May 4th was the date when Premier League Tots came out. Just for your memory right there, you see that he hits his low point on actually Saturday, May 5th. He hits 410,000 coins according to this graph. And look what happens after that. People rip their packs, people panic sell everything. They start to try out these new team of the season cards, do the objectives, do the SBCs. Everybody forgets about these cards for that first day or so. Then they get into the team building mode. And you're gonna see that time and time again as we look at these graphs throughout these team of the season market preview videos. Look what happens to a Bamiang's price. He goes from 410,000 coins to the next weekend in the middle of the week. So actually like four days later, he goes up 100,000 coins on the Wednesday, May 9th is when he hits his peak and even into the weekend, he's still upper 400,000 coins. So whether you're looking at this for like an investment value or whether I wanna build my team value and this guy's in it, the best time for you to buy in the short term during team of the season is going to be in that early on period. Now, if you're somebody who's gonna wanna make a new team every single week when team of the season comes out. So primarily comes out and you see, you wanna get Kevin De Bruyne in your team, try him out. You see him for 1.45 million coins.  He hits 1.7 on the weekend. You sell your team, you make bank on your team and then you do the same thing the next week when let's say the Bundesliga comes out second, you buy the Bundesliga cards that are panic sold, build a team around that, do some packs, pack a card or something. You know, you can honestly do that during team of the season. You're bound to lose some coins somewhere but a lot of cards like this, especially like this Abamean card, you can make some big time bank on these cards in the panic sell before team of the season and it's gonna be the biggest rebound with these Premier League cards because Premier League is the most hyped league and the most used league in this game. Let's look at a second example. Now this is a team of the year card, David De Gea, who had a team of the season card of similar value. Look what happens to this card. 935K over 900K drops down so obviously it's announced on May 4th. I don't know if people didn't think that he was gonna get a team this season. His price went from 900K down to middle of the week, to 739K. Now this card's price was definitely affected by the team of the season. We will open this link in a new tab here really quick and just a look at his price, what happened during team of the season. So this card was about the same price, it was a little bit cheaper. You see here he was 697K. The team of the year was down here at 750. It was more rare, this card was more rare and it had very similar stats but a few it had better diving, better handling, or excuse me, better diving and better kicking and on the team of the year card. So they were pretty much the same price but since there's just so much hype for Deheya in that timeframe, there were so many people that probably had Deheya in their end game squad which is gonna be the exact same this year. So many people are gonna have Deheya as their end game goalkeeper that they're going to wanna put in their team when Premier League Tots comes out regardless of who's in it.  Let's say this card hits 700,000 coins again in the panic cell. I could definitely see it going back up to 800, 850 with people just going out and knowing that that's the keeper that they won in their team. They're building their team during that first section of the team this season and the rebound, it wasn't as big but it went from 730 to 830, 824 on that Thursday which is also a week in league rewards day last year and FIFA it was just the rewards were later in the day at 6pm UK as we had always known it. So that's a card to watch. Now I wanna look at Angolo Conte. This was another card that if you were a top tier guy if you wanted this card in your team you had the coins, you had to buy him early. Look what happens in the Tots announcement he's 1.1 million coins, goes to his lowest on the Tuesday during team this season but I think people really realized Conte might not get a team this season card. They started buying their teams, buying him up. He goes up about 50K into Premier League Tots, does not get a team this season card goes back down a little bit on Sunday but then looks what happens into the next week. He skyrockets back up in price up to 1.3 million coins on the Xbox. So he goes from 1.1 to 1.3. Now that's not really a card that you would wanna trade with and just buy to trade with unless you have like 50 million coins. But this is a card that you could just chuck in your team and play with during Premier League Tots because you know if he doesn't get a team this season card this is gonna be the CDM that everybody wants to play with. This year, let me look, let's look at this year's card. The CDM Conte, everybody's gonna wanna have this in their Premier League Tots team. They're gonna wanna surround him with the Tots cards that come out this year. You know, a Tots son. I don't know about any other Chelsea team of the season players, you know but team of the season players from the Prem.  Now those cards, I don't know if Dehaia will get a team this season. I presume that he will. De Bruyne was hurt for a long time. I don't think that he will. And Conte, you know, maybe, maybe not. It just depends on who they put in. Conte is one that's on the fence for me. Van Dyke definitely will but everybody has that Player of the Year card that came out, the SBC that is out right now. I don't see this card as really a great investment during that timeframe just because his team of the season card is going to mimic that Player of the Year and the Player of the Year card only costed about a million coins to do the SBC. So this card might lose a little bit of a type of team of the year, especially because it's not the highest rated version of Van Dyke in the game anymore with the team of the season version and that Player of the Year card going to be higher. So Conte is another one that you wanna watch and see if he gets really low in the panic sale before a team of the season and you want him in your team, that's gonna be your time to buy him. Now we're gonna take a step back here and look at Sergio Aguero. Now I talked about that I also wanted to take a look at cards that did get team of the seasons because so far we've only looked at cards that have not. Sergio Aguero got a team of the season card and the thing with Aguero was look how many special cards he has had through the entire year. If you wanted to use a special version of Aguero, you have already done it during the year of FIFA 18 by the time team of the season comes out. Yes, his 97 rated Tots is very high rated. It's got incredible stats, but it's also very expensive and this is just a type of card that it's not super meta in FIFA and it doesn't have the demand as maybe a De Bruyne or maybe a Sun or maybe even like a team of the season Abamiang would have this year. And you see this informed price literally just stay the same and keep dropping during Premier League Tots because yes he got a team the season card but the demand wasn't there for his other cards to bring him up. That's what I wanna warn you guys with. Even if you have not done the Player of the Year Van Dyke SVC and you wanna get a version of Van Dyke in your team, you might not be able to flip it and make coins like we have looked at some of these other cards just because Van Dyke has had so many special cards this year and yes you're gonna see panic selling of them but there's not gonna be as much buyback on the rebound because he has that Player of the Year and that's the big thing that so many people are doing that Player of the Year SVC and they're gonna have that card or they're gonna pack the team the season card that a card like Van Dyke might not rise as much during the team of the season in that the team building hype as we'll call it because he has so many special cards there's so many ways where people can go where as Abamiang if you wanted the best version this is the only option that you had which at the time it was a 90 rated card because this 91 rated in form I think came after the fact that he got after the fact of team of the season if I'm wrong with it, I'm not entirely sure on that one. I wanna look at one last player and this is more of the middle tier this isn't really a high tier player but Hugo Larisse only had one special card during team of the season and it was a team of the group stage goalkeeper card. Now we're gonna look at more of these middle tier cards later on in another video but take a look at this hype and look at this panic we'll zoom in on the graph here for you guys really quick because this is something that you're gonna wanna see. Take a look at this panic so team of the season is announced on the 27th Hugo is dropping, he hits on that first weekend of panic 106,000 coins now we know that Premier League Tots is probably gonna be next he stays at a low price under 120 Premier League Tots starts on the fourth, boom he shoots up to 165,000 coins within three days. Look at that, that is crazy there's gonna be a lot of money in some of these rare and older special cards on the game even if they're not the best versions that first week is so Premier League driven and everybody's gonna have some version of a Tots card because Tots cards aren't really that expensive and especially this year with people having a lot more coins they could be more expensive but that just means people can afford them people are gonna be opening upgrade packs people are going to pack these team of the season cards and build teams around them that's why you see this card go nuts during Premier League team of the season and Thursday flipping during Premier League team of the season you're gonna have to obviously buy earlier in the week buy on the weekend when a lot of people are just opening packs that's when you're gonna wanna buy and the panic during that first weekend but Thursday flipping during team of the season oh my goodness it's gonna be insane everybody's gonna be going and buying their teams they're gonna have packs from Weekend League everybody's gonna be playing the game at that point because they're gonna have team of the season cards and packs so who's not gonna wanna play their footchamps games to try to grind and get rewards and more packs to open up during team of the season everybody's gonna be playing the game and that means more rewards and more rewards means more hype on the market and of course more people buying things because they have more coins and stuff like that so this is your East card we're gonna look at some middle tier items like this but this is really the ticket man because so many more people can afford a card like this than they can afford like a team of the year Dehea or something like that so that's a card to kinda keep your eyes on keep your watch on but again focusing on these team of the year cards the ones that do not get in team of the season so from the Premier League we're looking at possibly De Bruyne, possibly Conte those cards that do not get in you gotta be really careful with those and really time it well and watch the panic set a price for yourself I know you've heard other people talk about this set a price that you're willing to pay for that card and when that card hits that price even if you think it might go lower maybe wait it out a tiny bit more but when the card hits that price when you're happy with the price of that card buy the card, throw it in your team and enjoy the card that's what this time of the year is about yes we have coins this is why we've been trading this is kinda like culminates the year of FIFA there's so many things to do during team of the season and if you don't have coins during that time it really sucks so hopefully you guys do have your coins after this period of Thursday flipping make sure that you stay liquid a lot of people think we might get a TOTS announcement this weekend it still could be another week who knows but keeping your coins liquid is a safe bet on the more logistical side of things I've got a lot of coins in Thursday flips right now I'm watching a lot of that kinda stuff but I wanted to bring you guys this video talking about team of the year cards and the very, very high rated cards I haven't touched on other cards yet we'll go back over here to foot 19 we'll look at all team of the weeks you know let's say a card is in team of the knockout stage well that's a bad example maybe your Reese let's say your Reese does not get a team of the season this is his best version maybe you see this card at 100,000 coins or like 110K actually you'd probably go lower than that if this card goes under 100K it's a huge buy because this is gonna be just like his last year card right here this one is gonna rebound and shoot back up as people go and they build their teams but again we're gonna be looking for the highest rated versions of some of these cards I don't know if any of these really cheaper ones would rebound but during Premier League TOTS all these guys are probably getting team of the seasons maybe not a guy like for Tonkin so you know this is a rare card on the market 170K if you see him drop to like 100K even if you don't wanna use this card in your team just buy one put it in the club and in the next week he'll be able to go back up to 150K at least I mean team this season is such a fantastic time to make money because it's like Thursday flipping every day because every single day people are going out after that first weekend they're going out and they're buying players to build teams with this is the most team building like of the entire year happens during this period so again you're gonna be looking for the highest rated versions of OP and meta cards let's say Gabriel Jesus does not get in team of the season this could be a fantastic shout for Gabriel Jesus this might be his best card all year you see this drop to like 275, 280K in the panic selling for team of the season you pick that up and you store it up there because he's gonna be linked up with you know maybe a team of the season let's say somebody packs a team of the season card they wanna build a team around him they wanna have Gabriel Jesus it's striker this card has great stats this card will be panic sold and will rebound because it's rare it's a rare special card all kinds of stuff like that so there's so many examples of this that's gonna happen during team of the season it's gonna present opportunities to flip cards and to honestly it's like I talked about it in the Man of the Match video it's almost like a discard investing method you can just buy one throw it in the club on that first weekend when all the panic is happening when everybody's panic selling for Premier League Tots and you can sell later in the week when people are building their teams around the Premier League Tots cards that they have gotten and you can just make some big time bank or just use the card yourself and play with it in game so that's kinda what I'm thinking for the high rated cards if you have any questions or comments hit me down below in the comment section I'll be down there answering your questions good luck with your Thursday flips as well those are definitely going on and hopefully we hear something about team of the season this weekend if you like the video thumbs up to it and subscribe to the channel if you're new it's been Nate the Foot Accountant catch you guys later peace out


Hi everyone today, we'll see how to do a couple of more widgets of our sonar theme first of all Let me say that if we go to slash usr slash share Slash plasma slash desktop thing We have the default desktop themes that come in your system and we have the default one which is breeze and If we go to the widgets section, we can see all of the widgets that we should do to our Theme we can use this as a reference in doing hours as an example if we pull up tasks Dot SVG that we worked on last week We can see that we have here all the objects and then if we pull up Tasks dot SVG in the breeze theme. You can see that we have many more objects So what is that? Well, what I didn't see last week is that you can customize how the task manager will look depending on the position of the panel either the panel being on the bottom on the top on the left and on the right by adding a east west north and south Prefixes I will not do this on camera because it will take too long. However, let me also notice that there is This element which is called hover Which is actually missing in our SVG that is because I completely forgot about it So we should add that one The hover prefix is used when an application is hovered in the task manager. So it's pretty important Let's copy paste something that we've already done and then change the color I'll go with I don't know purple Now orange how we should again go to the object properties and set all the IDs again to be over Dot top left and so on nice Let's check if this is working by switching to another team and then back to Sonia As you can see when you hover a task manager item the color goes from red to orange However, there seem to be a bug in the corners. So let's go back to the SVG and check what I've done wrong You can see here that I did not write bottom left However, this one already exists because I accidentally said left here, although it's right. Let's try again And now it's perfect So we are done with tasks.svg. Let's go ahead and work on plasmid heading.svg So let's take this one and again copy paste it into a new name plasmid heading Let's open it here And then also as a reference, let's open it here So first of all, let's see how it is done in the bridge theme. We can see that we have Header element and a footer element the header element also has four hint Margin around it whilst the footer hasn't the header element Which you can see whoops If we open up again the bridge theme We can see them here. They have a bottom Separator, which is this one whilst the footer has a top separator, which is this one So we need to do something similar. We need two elements One for the heather and one for the footer. So let's look into it We only need two elements. So let's delete everything else and The top the bottom part for the heather and the top part from the footer Shall not be rounded So let's actually take them off for now. Now, let's do a bottom separator for the heather, which shall be Gray Be aware when you're adding an element to a group you need to first of all double-click the group and then Draw the element. Otherwise, it will not belong to the bottom left or bottom right group Also, I will change the lighting to be a bit more on the top It's not perfect, but I like it. So now to do the footer I'll just take what I have just done and copy paste it to the right and then using the flip option And flip it. I will then color it back to a color that I like more such as purple this time for real Very nice. Now we need to select all the elements and set the appropriate ID They will be over instead of normal for this one and then footer for this one Very nice. Now, let's pull up the themes and set Sonia and see if it worked As you can see, it's absolutely beautiful. We have our heading up here and the footer down here We can also see them in the media applet Heather and footer. That is perfect. Actually, it's almost perfect. I can see that the borders do seem to be a bit less transparent But that might be not actually a bug that I've done in the SVG, but rather the fact that I've done it actually a bit more transparent in the SVG, especially on the borders So by stretching them, it's more noticeable. So I not consider it a bug for now Oh, and I almost forgot that we also have to implement the margins These four margins are actually from the dialogue SVG that we can find as an example in transparent. So let's go fetch it and Then we can simply copy this four open up Deplasmid heading and paste them right onto it So let's now go back to the theme selector, select another one and then back to Sonia Yes A little tip when you're dealing with margins and stuff like that It's always a good idea to go rm.kx-kd star Be aware not to put any space between kd and star. Otherwise You're that and then switch to another theme and then just for sure Delete cake again. Fine get back to Sonia and Then we can see that The cake is updated The look is always the same because in this case it was not our cake issue But still it's always a good thing to know


Okay you'll notice on the bottom of the ArcGIS screen you'll you'll notice a bar that says drawing. What you want to do is go to the symbol. It may look like a square or it may look like a line. Click on it. Select a line and then just trace the line that you want to put on the screen. When you're done double click. Okay and that places your line on the screen and then to change the to change the elements of that line double click on it and then you can change the color. Here I'll change it to red and I'll change the size of it to two. Hit OK. When you're done with the line the way you want it click outside and there you have it.


How's it, how's it guys? Got a fantastic treat for you today. We are talking to Obie Oberholzer, who is one of South Africa's most famous photographers. His landscape photography of the South African bush or Southern African bush and people and landscapes is just a joy to behold. It was wonderful to spend time talking with him, hearing about his approach to photography, advice he would give, you know, photography might be a little bit stuck. And of course, how he goes about creating these fantastic and unique images of the landscape of his homeland. Anyway, without further ado, let's go over here from the man himself. Right, so here we have today the great Obie Oberholzer, who I am exceptionally fond of. He is one of my favorite photographers all the time. So how's it, Obie? How are you doing? I'm good. I'm good. I'm wearing my favorite John Lennon T-shirt just in case you know, give piece of chance. Absolutely, absolutely. So just, you know, to give the guys like a little bit of a background to you, because obviously, while in South African circles, you're very well known, and you know, for viewers in America, you may be less well known. So briefly, you know, how did you get involved in photography and give us a quick view of your career up to this point? Well, it all started with my mom who took me on long journeys when I was a little boy of 1911. And then I had a Kodak reflex camera. She took me to Pisa. This is actually my first picture I ever took. Took me to Pisa. And I straightened the leading tower in my frame. And then when I came home, I had it printed and I told all my friends that churches were falling over. So that was when I started on an old Kodak camera. And then I went to the University and studied photography amongst other things, like I made Tassenberg famous with other friends. And then the teacher who was German said, you've got to go and study photography. And I said study. She said yes. I did no school in South Africa in 1968, 1969. So I went to study at the Bavarian State Institute of Photography in Munich in München. And in those years, there are only two photographic schools in the world, the one in Vienna and the one I went to. And it was very difficult because the first time I learned how to work and to play, not like at Stellenbosch. And I worked extremely hard and I had to learn better my German. Yes. And then to make a long story short, I came back and I hummed it in a hard photographically, came back in 1974. And then my mom again, I saw this ad in the newspaper that said lecture I wanted for first a start of a graphic school in the urban. So all for a young OB went and became a lecturer at the Natale Technicom. And I was very enthusiastic and I tried to, about my own work, and I tried to instill this enthusiasm with the students. And I have so many quotations I used to say to them. I always used to start my lectures by saying good morning class. But I said to them in photography, if your sales are not filled with passion, your ship will never leave port. And then I really instilled contact with so many of those students who are now my first year way over 50 years old. Harry lives in Sweden and Janine lives in Sweden. And like I said, and I look back the scatterlings of Africa. Yeah. And then I got a better, better post or a situation because nature's valley where I got it. And I went to Rhodes University in Graham Stone, which was a great time. And I had some fantastic students and I lived quite hard and I worked extremely hard. And I rose university from the great British colonialists. I always spelt Rhodes, R-O-A-D-S so that the administration people would never get me to do any admin work, which was great. And then during my long vacations, I had the opportunity to travel this southern lands of the great southern lands, which I've always done. First with a combi and this and that and slept outside and engraved us. And it became a thing that I really love to do is to share images of, you know, like I call it, even from those years, the happy sad land. Yeah. Yeah, I was going to say, it's a happy sad land. Is this is your new monograph that's coming out soon? Yeah. This is the new book I've just managed to, it's still on the runway. We still need a couple of orders. I think this will be my speaker. I think it's my 14th coffee table book. And it's about this incredible countries, well, let's include Mozambique and Namibia.  And then I couldn't go back there for a while. So yeah, so happy sad land tells the, with hope, I hope the story of this incredible continent, which is indeed, there's a lot of happiness and a great deal of sadness. Indeed, indeed. And I think anybody who's been to, you know, to Africa will get a feel of that. And the images in this new monograph, are they new or are they some like a collection of your previous work? That's a good question. Look, they're quite, they're one or two or 10 out of about 150 that are quite old. But I've always, you know, I've become fairly known for my writing. And believe it or not, I had extra lessons of English in metric and high school. And I can't write. I only write like I photograph. Always in a slightly haphazard way. That's, that's what it's a lot of stories.  Yes, absolutely. And I see, you know, you talked about something like being in a haphazard, sort of your approach. And I find this is one of the joyous things about your photography is that while the technical aspects of things are very, you know, well thought out and they're, you know, they have a serious approach, but an approach takes it properly for one of a better word. That there are within a lot of your photographs, you know, like random elements that just sort of turn up, I think also because of the, you know, the style that you photograph using the long exposures and the torchlight. So, so, you know, so these kind of haphazard, as you said, events turn up and you, but you're happy to keep them in that they are not mistakes that maybe somebody else would go, oh, that's a mistake. And I'm thinking specifically one, which I don't have in front of me, but I'll put it up on the screen for the viewers is from, and there's a book where there's the, you're photographing a family at a table. And you've obviously, I think been running around popping flashes. And the little boy's been following you around the room as you move. So every time you pop a flash, his face is in a different place. And I just love that because the parents are very much like, I'm just gonna stand because I've been taught to be still.  And I love that because it, you know, so many people would go, man, the kid moved, he's ruined the picture, but you're just like, leave it in. So, so I love that sort of thing. And we're going to look at some of your, some of this work that I think is, is, it's kind of, certainly for me, you know, my favorite sort of period where you drink lots of the, you know, the painting with light, and we're going to talk through it because I think it's a, it's an approach that a lot of people could, you know, connect with. I mean, anybody can do this, it doesn't require specialist's equipment. And it tunes us into, or something I feel that tunes us into the playful element that we can have in photography, where you go from thinking that light is something that is beyond our control, but we can only kind of modify it with, you know, flash heads and reflectors and things, that it becomes a tangible object that we can actually physically hold and splatter where we want to on the images. So with having said all that, I'm going to, we're going to jump into an image that, that I recall you talking about many, many years ago when I was, as a long-haired student full of, full of snot. And, and this is the, the very wonderful photograph of, I forgot the name of it again, silly of me. It is, what was it, it's a pass. Swabberg pass, yeah. Swabberg pass, there we go. So here we go. So this is, for those of you who are sort of not familiar, and this is obviously a pass like a sort of thing in South Africa. And actually rather than me waffling on about how you do this, we're going to talk, talk to the man himself. So Obi, would you like to talk us through how you, how you did this? Well, you know, I'm going to say before I start that this, I never coined this term painting of light. I mean, I started doing this in the late 70s and early 80s, and somebody came up with this idea, are you painting with light? So I never claimed to have started it, but I have sure used it. And it started in the, on my long trips when I slept, still slept outside, because I was younger and under the stars in a sudden cross. And I would then be in a canyon or somewhere and at night, I would just paint and play around with these very strong, powerful hunting torches, which you can see over here. This is a delet torch I had. And then I started to use it in my photography. And one of my, also there were, I must say that that what's important of these long exposures that in the heyday of when we use a thing called film, and after two or three seconds, the, the firm loses its sensitivity tremendously. So after two or three seconds, six seconds, immediate six seconds becomes 12 or 15 and 12 seconds becomes two minutes and two minutes becomes 20 minutes, so on. So it gives you the opportunity, this failure, which we call the reciprocity law failure, enabled me to drive up and down a pass. So this is a SWAT back pass. It's the most beautiful area of Sarifika at night with the full moon that that streak up there. Somebody asked me, what is that neon, neon tube in the, actually the moon moving a time exposure. This exposure, obviously I'm using F16 or F22, so a small aperture. So I can slow my exposure down for two, three hours. I see there are three hours moon rise. So the moon rises and young OB then started at the top. It's pitch stock. There's not, I mean, it's not pitch stock, but there's no car around. So for funny places, a bottle of wine tells he's at the top, puts his light on, it starts the exposure and travels down the S bends down the sparse and it puts another bottle of wine at the bottom. He goes up again and has a sip, comes down again. But in the, during this drive, he's armed out the window, he's got torch and he shines up the edges. So you can see the lit edges as he goes and then coming back again on the other side, he lights up the side.  I wanted to have a party actually, played the music and had a party and I wanted somebody to join me there. Of course, nobody came. So I just fell asleep in the middle of the road. So that's the moon rise, time exposure, using torches over the sidewalk, both parts. Oh, long story.   And of course, because as you mentioned, this is film, you don't see the results until you go back and, you know, you process the film and you get all the things back. So you don't even know if it's worked.  But, you know, it was, it was taking a leap of faith that you would end up with this, this photograph. And, and I just, I love this idea about, you know, committing to it, to an image. And not in a kind of a very earnest, serious way. It's more like, okay, I've got an idea, and we're just going to run with it. And this is kind of a thing that I wanted to, to touch on is that you very kindly sent through some, you know, sort of, not necessarily before and afters. But when you've seen the, the scene itself, and then you've, you know, what you've kind of resulted with, and here's a thing. And is this in the middle of like swap equipment around there? Yeah, that is, you know, before I just quickly tell you about that, I think one of the main things that I, that I have in my small kitty is that I always say that in traveling through Africa, your best partner, your best friend to have with you is a sense of humor. And I've always stuck that because, you know, in Africa, in Africa, if you think you know, be where you probably don't. Yes. Yeah, absolutely. This is a, this is a diamond area in the Norma Desert in Namibia. It's a place that I love greatly, loved by all photographers in, in Southern Africa, it's called Kolmanskop, with all these, these abandoned diamond trousers. And this, this specific place is called Gras Platz of Deutsch. And that means grassy area, area of grass, which they named it because during the Kaiser Titan, the German rule, they used to drop food for the horses at this place. So I saw this, I went for a, what we call a a wrecky and I saw this potential and then came back much later, had a long exposure on film, where, in which I could then actually walk up to the house, lighted with my tungsten halogen beamer of a spotlight, walk down again and blight these railway tracks and throw some light on the grass plots. And there we have the scene before and after, which is so important in this, doing this thing. It's obviously now much difficult on digital film because it's so much more sensitive. I still do it, but my exposures are much shorter. The most important thing in the heyday of film is that I would peg my, my exposure, peg my, my time on the sky. So I would wait till it's twilight, dark and dark until the sky reads F16. And then I know of my little chart that F16 would be five minutes or 10 minutes. Okay, as you mentioned, you know, obviously digital these days has kind of changed the landscape, as it were, sort of completely. But you know, look at, you're talking about landscapes, what is it that you are particularly drawn to? I mean, is it, do you just kind of go with a gut instinct when you see an image and then sort of give us some ideas or, or what, what, yeah, what attracts you to the possibility? Well, that's, that's a good, good one. You know, when I've learned I'm looking over my screen above my Mac and the upper little frame thing that says a man, a man can make mistakes for years and call it experience. Anyway, yeah, you know, with all the travels I've done over 50 years, one learns to, to visualize. I can, I can go past an image and I would know how it, how it would look to visualize the final print. And that's the art for me. I don't snap around or, or take many shots. So if I think inside my diesel and dust filled mind, and there's a good, I will stay and come back and do it again. So all of these you're showing, always the, that's a digital one on a Canon, I think. Yeah. And that's a short exposure where the sky is quite dark already and I've walked off camera, use, what is interesting now, I'll show you just not on the screen. I don't know if you can see me. Can you see me on the screen? Yeah. You know, I'm using a Clara's LED now, which is a very, very powerful 1800, 1800 lumens. But it's a very cold light is LED. Yeah. Light emitting diode. But so what, what I do now is I use, I cut up an old color negative, six, seven color negative, you can see that there, which I now place in front of the, front of the camera to give me a warm light. So I have a cold light. Okay. Yeah. And I've got a warm light. So you can see in that previous shot of the, somewhere, I've forgotten the name there, I used the, I used the warm light on the, on the quiver trees and that old broken building. And I used the colder light on the sort of dead plant in the front. Yeah. It is at this, the quiver tree one. Let me just bring that up for you. Eventually. There we go. All right. Is this the one you were talking about? Those are also the famed quiver trees. Now, again, I've worked on that. I'm going to start with exposure for the normal viewer, for the guy sitting in his, in his tent, it looks like almost dark. But so I'm using the exposure here of a half an hour or an hour F 16 for depth of field where I then leave the camera, obviously a tripod and I walk and I light three, one, two, two or three and four. You can see the one is a little bit more from the side whilst the moon is rising. And the silly student asks me again, is that a neon tube in the sky? Then I say yes. But one of the things that I think you were talking about, because if I'm correct, this is Shobhan film. Yes. Yeah, yeah. So one of the things that it may be a misremembered memory or what happened, but I seem to call possibly that you said that you did some sort of dodging and burning in the color lab, which to a young student was like, well, hang on, but the colors shift. Can you do that? Is that true? What sort of post work did you do in the dark room on these, if anything? Well, you know, in this, and it was a long time ago, I was quite enthusiastic or I really teach quite a few students how to color print and I made them learn all the color opposites and what to do with dodges and older backers and also the things here. I think because of the warm tungsten light I use in those days, I must have made the final print slightly cooler. In other words, so the tree wasn't that yellow. And then obviously, anywhere there's no light like the sky, sky goes blue. I played with it. I can actually see that I must have also lit some of the rocks in the background. There's little dabs around. And I think this is kind of, because I'll bring them up on screen so people can see them a lot nicer, but you talk about the landscape and you talk about Africa and all these sort of places. And I know that you said you're heading off to Holland soon to do some, are you working on a new book or is it just for a personal work or? You said you're off to, I think you said Amsterdam, is that for work? Oh, yes. So much going on with me. What I did over the last years, I worked for a magazine called Country Life. And here, it was quite nice because I could travel and they really paid me nothing, which I can travel more. Anyway, so I started doing these Dutch, the South African Dutch towns with Dutch names. Because in the early days, when the Dutch, East Indie country, Leanne, and Jan van Rieken, they came up and they were all Dutch speaking. And then the Boers trekked away from the English. And they all formed these little, some of them towns with Dutch names because they obviously longed for home. And I started to photograph some of them, Utrecht and Harlem and Amsterdam and so on. So what I've done now, I've almost finished the South African ones, and I'm going to, in two weeks time, I'm going to the Netherlands, which are called Flatland, to photograph the original. Okay, lovely. Okay, so so again, a nice thing. And that is, you know, for viewers who are not familiar, South Africa was colonised mostly by the Dutch back in the day. So lots of Dutch names. So I like these kind of ideas.  And is that I find the images that you create of Africa, both, you know, sort of interesting because I'm seeing it through the lens of Omi, which I quite like. But also they have a very powerful feel to me. They talked to me of an Africa that was kind of half glimpsed out of the corner of my eye. But what I do find is when I look at, like if you look at some photographers, you can see it very clear influence, but without sort of sounding like a big sort of sycophanticism, I don't see much of an influence in your photography. It seems to be not necessarily devoid of influence, but it seems to be very much yours. So do you have, I mean, who are your influences? Well, you know, to be quite honest, even though in my later teaching years, I had to read a lot about photographers and I was never influenced by any particular photographer. I was influenced by Elvis Presley, who's told me to follow that dream wherever that may lead you. But I was very fortunate when I was at some all, all photographic festival in southern France, I was doing a story on some vineyards or something. And there was this arts photographic arts festival and there somebody said to me, your hero is there. And my hero at that stage or still is Don McCullen. Okay, I love his work and I, you know, I always wanted to be a war photographer, but I just, I think I've got it. I don't think I have it. So thank heavens I didn't become one, because you know, I'm of the age I would have, would have been in Vietnam. So I managed to corner Don McCullen also then quite younger. And I said, we had a couple of glasses of wine together and, you know, I said, I teach about you and say, and then I said, Don, give me one, give me one liner for my students back home. And he looked at me, he took a sip of wine and he said, tell them, I say, I use my camera like a toothbrush. It does the job. So what are you saying? And what I've also followed and use is that you should know your, your, your, your technical side, your equipment so well that it's second hand. To me, there's, there's nothing worse than going to a camera club or speaking at some sort of photographic amateur and everybody ends up talking about apertures and instops and pixels and stuff like that. So really, it's not about like in the heyday of a Lance Armstrong, he, you know, he said, before he's downfall was, it's not about the bike. So for me, it's not about the camera. Sure. I mean, I try and use the best cameras that I can get. But if you can look past that and you can look not, not what you're using, but what you're photographing, then then you'll be halfway there. And you know, for young, young, if I may, some advice, you know, some young photographers, I'll once too, maybe they walk around and take a picture and then it's like in the bag and then they relax. Sometimes a big pictures happen just around the corner. So always stay alive, always be ready. Don't, don't throw it and say it's in the bag. And another practice that I've always followed since I put the pizza up straight is that when I don't have a camera and I walk around the block, I'm always conjuring up images, make believing somewhere. This sort of adds to my experience. It's staggered in the diesel and dust filled mine of mine. So if you walk around, conjure up, just look at the scene. There's a hedge and there's a plant. How would you photograph it? Closer? Would I use a light here? Would I come back when it's darker? Oh, that's enough. Yeah, any more? Alex? Yeah, that is, I mean, these, I think it's, it's wonderful to hear you say about the fact that, you know, the camera is just a tool. You know, certainly in, in, you know, the modern world, there's, there is, for various reasons, you know, fascination with gear and things. And that has always been in photography. I mean, it's not a new thing, but it's been more prevalent now. And I'm, you know, it's great that you're saying that, you know, if you can understand the camera, so it's second nature, that if you have a, you know, not a comprehensive knowledge of all the technical nonsense and stuff like that, but enough to have to not to think about it too much, that you can spend more time being creative, being more in the moment, as you said, I think that's, that is an absolute joyous sort of thing to hear.  And that's kind of why, you know, listening to photographers like yourself, who have a deep passion and enthusiasm for photography. And I think that's kind of the word that, if I have to think of one to sum me up is enthusiasm for it, that whenever we look at any of your images, that it seems like you aren't just going through the motions, you're not just taking pictures for the sake of taking a picture, but you are to coin a phrase from dead person society, you know, like you're sucking that marrow out of life. And, and whatever comes along, you just like, man, I'm just going to roll with it. I think, you know, the faces of the people who feature in your photographs, all of them look like they're involved.   And then they take some of this, you know, that they were inspired the same way that in off camera previously, we were talking about when we very briefly met when I was a student, and you gave a talk about the Swarberg past story. And that evening, we all went out and took our cameras outside and started from the moon and things, because we also wanted to try that. And then, you know, some guy put his camera up the whole night, and then forgot to open the shuttle because he's a nurse. So, you know, it's, it's, I think it's wonderful to hear you talk. I think, you know, it's great. As I said, earlier, you've got your new monograph Happy Sadland coming out, which I will put a link for people in the description box below in the video. And also, you'll see at the back, I've got some of my things. This is one of OB's. I think, is this your first monograph? Yeah.  I'm a Rose Clute from XTN Fontaine. Yeah. And then you've got her again. Later on. And I think she features in another one. But, you know, you can find OB's books on various places and they, you know, and I would highly recommend that you go and you check them out. Anyway, OB, I have to say it has been an absolute pleasure.  You have inspired me so much both as a young photographer and now as an older photographer where I see all the light you work and publish my NSB in an absolute joy and pleasure. And thank you for being here with us. Okay. If I remember, for everybody out there in photography, if you go, you'll get. If you go, you'll get. There we go. That's fantastic. Thank you all so for watching and we'll see you again soon.


Mae'r atiwys i'w ddisgusting periods in sports team massively vary. Yn my experience, I would say it's more common that they're not spoken about. So I think it's so important that we start raising the profile of menstrual cycles in sport. Ni'n swer lwgus yn perioed cymry oherwydd ni'n gyd yn fach ed, a ni'n gyd yn cael misliv. Ond mae'n dechrau o pryd mae'n dechrau ddim yn esudweud bod nhw'n teimlo'n yn leol ni. Mae gallu dangos bod chi ddim yn grif i chwarae neu i trein o. Felly dyna ble mae'r tibwz yn dechrau cwp o mewn. I have been really fortunate, particularly in Wales, where I've had coaches that are really keen to embrace where we are in our cycles. And embrace understanding how periods affect us individually. Pan dwi ar fy'n misliv, i fi yn personol dwi just yn crac omlann, pryd dwi'n dod i pyrroed, mae'n job fe beth sy'n dwi eisiau just cary omlann yn neud cant y can. Ond dwi yn lwgus iawn bod ymerched o gwmpas fe ni'n gyd yn cefnogi'n gilydd. I think in order to support athletes further in sport with their menstrual cycles, we have to start with this conversation, we have to have coaches, educators, our athletes themselves feeling comfortable talking about something that is so natural and a part of our being. I think one of the most important things is owning the fact that our body is not going to change, it's going to do what it needs to do in order to support us, but what can change is our perceptions, our thoughts and our environment. Mae'r lot o pethau diddi pob o ddim yn nabod ymdano fel penna tost neu bola tost a pethau fel ni, ni'n lwcus bod cyflesterau ni'n morda, ond rwy'n gwybod bod clwbbiau local ddim yn cael eri'n cyflesterau a ni a maen nhw'n problem. If we're willing to listen to one another, we can then be educating each other and that can promote change, which is only ever going to be a good thing. A period proud Wales for me embraces the human body, it works with it and not against it, and it gives people with periods to maximise the opportunity to perform at their best, regardless of what their body is doing. Cymru sy'n fach o'r meslef, yw Cymru sy'n cefnogi ni fel pelroedwyr yn rhywbri ddormbeth.


So, okay. I want to give a view of programming and modeling. We're learning how to program, so the class is about, and it's based on modeling. So, two questions I want to look at. What is modeling, and how is programming an example? I'm really going to take a sort of extreme view, which is more than you might see in some treatments, that programming, the essence of programming, really is all about modeling. It's really more like, okay, so that's our agenda. Step one is what is a model? What is modeling? What is modeling? And, you know, if I'm completely honest and I try to imagine it from a fresh perspective, I would probably think modeling is what Heidi Klum does. I don't know, many guy, red pit, I don't know, saw him next to perfume in the paper the other day. I guess that's modeling. What else? Lionel trains, model trains, model planes. That's obviously modeling. Modeling clay, modeling. All things that we say that modeling is, I want to add programming to the list. And so, how we start with like a train.  And it's not literally a real train scaled down. It's something that's made to have certain aspects of the thing that it is a model of. So overall, we're talking about the elements of a model. There are basically just a few things. It is reality. And reality doesn't actually have to be real, that's why I put it in quotes. It's just the thing that we are making a model of that could be just about anything. It could be another model. Then usually in the model, we're going to focus on discrete models. There can be models that don't have this. Usually there's some objects and rules of behavior that govern what happens. And it's easy to think about this as being like a game. You have cards and you can only put a red card on a black card and vice versa, whatever it is. This is the stuff of the model. And then crucially, you have a mapping between one and two. A mapping between reality, states of reality. Reality states getting mapped to model states. So that's the real key. And so we can look at, you know, we have a real train. We have the road runner sitting outside Placidas, getting ready to head to Santa Fe. In my model, when I had trains, when I had Lionel trains, I had O-Gauge trains, which were scaled down 48 to 1. So 48 feet out in the world became 1 foot in the model, or 4 feet in the real world became 1 inch, 4 feet, 1 inch. And they have the rules of behavior, how they interact. Lionel trains are all electric. They rolled down the tracks. They did whatever they did. If you had two of them and you tried to make a collision, like Omer's Adams always did on the Adams family, they would do whatever they would do. Then we have the mapping. And in the case of the trains, the mapping superficially seemed to just be, you know, a spatial scaling down. It turns out that they're not really literally just 1 to 48 in all ways, because it wouldn't really work. The things would fly, the little hooks that hold the wheels onto the tracks have to be bigger than they ought to be, or else the model trains wouldn't stay on the tracks. So there's some mapping, something to say, if this is the state out in the world, then this is what we get in here. And then what we're trying to find out is, we're trying to find out, is this model predictive? Okay, there's lots of things we can do with a model. One of the main things we do, at least with scientific models, is we try to make predictions. So let's look at the master picture. Whoops. Diagram. And so here we have reality. And again, I'll put it in quotes. And then we have the mapping, which takes us to objects in the model, objects and rules. And we can then run the model. We can then operate the model using its rules, saying if the model is in, if the objects are in this particular state and you ask for time to pass or you pump in some money or some water or whatever it is that the model is driven by, then you get to a new state of objects. This is objects number two. This is objects number one. This is reality number one. And then the idea is, is we ought to be able to take the mapping backwards. It's called the inverse mapping and come up with a new state in reality. And you notice that whereas reality number one was all kind of raggedy and jaggedy, I've drawn reality number two with kind of boxy because we've lost all of the little nooks and crannies of reality when we abstracted it, this step is called abstraction. Step is called instantiation or other things. We have no basis. We have this very simplified model just has trains and tracks and rules that says if you turn the knob on the thing, the train will go. And it gets to another state where the train crashed into another train and they both fell off the tracks. When we do the inverse mapping, we do not get all of this extra stuff of reality back. We just say, well, there should be two trains and one ought to be fallen this way and one ought to be fallen that way. And if we did this all right, if we made a good abstraction that had objects that were naturally separable objects and the rules for the objects to do things were rules that corresponded to the things that tended to happen in actual reality and then when we do the inverse mapping, we will come up with a state of affairs that is similar to if the real reality happened to be, and this is life stuff, right, that we go from one state of reality to the next state of reality. And if this really works, if what's in state reality number two is similar in a useful way to what, starting with state number one in reality and letting life happen, then we say the model is predictive. It's a good predictor. All right, so we talked about what that might be like in the case of trains, in the case of modeling, like fashion modeling.  When we abstract it, we have something like people, clothes, perfume, shoes, whatever it is. And the mapping that's being offered is, you know, I am Brad Pitt. So the dynamics implicitly say, and this is what, you know, the marketing is all designed to do, that, you know, if I am standing next to this perfume, then whatever would happen to Brad Pitt will happen to me. That's the implicit model that's being offered by fashion modeling, by all of modeling. Is it really very predictive? You be the judge. Clay is just like modeling trains. We can take modeling clay and we can make it into just about any shape that we want. It just doesn't have very good rules of behavior. Once we've finished putting the clay into the shape that we like, and we just let time pass, basically it just kind of shrinks a little as it dries out, or if we put it in the oven, it turns into stone. But that's about all it does. So it's good for, clay is good for modeling a moment in time, but not so good for modeling things changing over time. And that's, in fact, where programming comes in. Programming a computer is, in fact, like active digital clay. What programming is all about is about, just like clay allows you to very flexibly make shapes, programming allows you to very flexibly make behaviors. So all of the things that we had here, in elements of a model, also become, let's take this for example, and to do, interesting. All of these things carry over to programming as well. And really, if you want to know, when you first start out programming, it's really just, you know, there's so much stuff, and the computer doesn't like what I said, then it's terrible. But after you get past the hump of learning how to talk to the computer, and we're using a language, we're using NetLogo, which as languages go, is really pretty gentle. It's still confusing.  But once you get over that hurdle, then things that start happening wrong, happening wrong for sort of interesting reasons. It's like you've learned to speak to the computer, but what you said didn't do what you thought it was.  It's like you said, do this, and it said, okay, I do this, and the result was not what you kind of thought it was going to be. And that's an awful lot of what programming is. But really, it's about the essence of programming is figuring out, given we have reality, we have some kind of issue out in the world that we're going to write a program to predict, to manage, to represent in some way, the goal of the programmer, the real goal is to figure out what is the model that, what objects do I want to have, and what rules of behavior do they want to have between them so it captures what is important for reality in this particular problem. And you can take the exact same reality and have two different problems and you'll have totally different objects and rules of behavior, okay? So the ultimate effort, the ultimate creativity that really goes into programming is into taking what's out there and some purpose or goal and figuring out what we need to do that is, well, we're going to represent not the train at all, we're going to represent the people in the train and we don't care if they happen to be in a train or a car or walking because what we are writing a program about is something about how disease spreads and it doesn't really care what mode of transportation, it only cares how fast they're going and how many people they're near, or whatever. So, all right, figuring out the objects, figuring out the rules of behavior and the mapping, the input and output between the model and reality is what it's all about. So finally, and then we'll wrap this up, examples of programming models. So, Solitaire mentioned it before. Computer games in general. Bank account. Weather prediction, say. As an example of scientific modeling. So, in Solitaire, the entire world becomes cards and you can put red on black and the numbers have to go down, whatever sort of rules you're playing and everything else goes and hangs and in particular, the actual act of you shuffling the cards is not generally modeled in a Solitaire game and in fact it would be a pain in the butt and the main reason it's so much more fun to play Solitaire on the computer is that it's not realistic that the obvious moves, the cards just go flying.  But you have the exact same, the exact same model in the sense that if you had a particular stack of the deck and you played it out in a computer and you played it and you won in a certain way, that with very high probability, if you stacked a physical deck the same way, laid it out, you could make all the same moves and you'd win or lose in exactly the same way. So, the Solitaire game, very predictive. Similarly, the bank account, now totally different objects, now there's accounts, so now I, me, I am represented in a bank account by an account number and a balance. And the rules of behavior are if I deposit a penny, I have a penny more. If it's six months later, it's time to give me interest and the interest rate of zero plus whatever my account is, gives me the same amount and so on. And finally, weather prediction, we're taking, you know, cubic kilometers of atmosphere and saying what temperature they have, which direction is the wind going and then making rules like, well, if the wind is going this way in this cube of air, well, then the wind probably ought to be going about the same direction in the next cube of air unless it's being pushed by other forces coming in on other edges of the cube and so on. And you can grind through that using all of the data that you have, an Albuquerque, it's 43 at 6 a.m. and so on, and you come up with a prediction. Programming is modeling. The essence of programming is not the if and the then and the while and the for loops, although that's what you do to express the dynamics, that's what you do to express the rules. But the essence of programming is what are the objects, what are their relationships? Given that you have some gnarly reality out there but you have some limited purpose, some limited intent, and it's that intention, that problem that you wish to solve that lets you say, well, I don't care about the weather, I care about the pennies. And once you get to that level, it takes some time, but it's a blast. Okay, that's it.


Hey what's going on everyone welcome back in today's video we're going to review the most interesting and unique lens I've ever seen which is the wait a second oh yeah oh my god what do you have here oof what is this a toothpick this my friends is the lova 24 millimeter f14 macro probe lens the reason why you want to take a closer look at this lens is because you can get some really interesting b-roll shots with it now i borrowed this lens from a good friend to test it out so that you can see how it performs in action now i have a bunch of stuff laying around here that we can use to shoot some great b-roll sequence now let's see how this baby performs in action all right now that you have a good idea of how awesome this lens really is let's talk about it a little bit more the lova 24 millimeter probe lens is fully compatible with full frame cameras it feels good when holding it in my hands and has a solid metal design to it now there is no autofocus on this lens meaning that you have to focus manually also the aperture can only be controlled on the lens and not on the camera now focusing on this lens works pretty well and I don't find it too hard to find focus even with its small aperture what's really impressive is that you can focus to infinite meaning that everything that is in the frame will be in focus no matter how distant it is to your lens so you can capture some awesome wide angle video as well as super macro shots so you have everything in one what really stands out from the other lenses is the design I mean look at it the traditional macro lens usually have longer focal lengths and focus distance to really keep you away from the subject which can be good for not having shadows in your shots but also not scaring away insects but with this lens you can really get into action achieving a unique perspective now people will notice when you shoot with the 40 centimeter probe lens and it could be mistaken for a barrel of a gun but the reason why it's built that way is because of the two to one magnification this way you can have your subject much larger in frame and the focus length of 24 millimeter gives you that bug eye perspective another great feature I really like is the built-in led light which you can power using a portable battery I think this is a great idea and can be very effective for illuminating places that is hard to reach now because it's so long I find it difficult to transport it into my bag it doesn't really fit properly and takes away a lot of the space I prefer transporting the lens with the metal case that is included even though the lens is certainly large it doesn't weigh that much it's around 474 grams now in terms of image quality I find it overall really good for video the 24 millimeter produces a very pleasing look and gives a cinematic feel to it I love how you can get really close to the subject and maintain sharp focus because this is a dark lens you do lose a few stops of exposure because of the length of the barrel in many cases I had to shoot the video with an ISO as high as 3200 shooting at an f14 which is the maximum aperture allows you to have a shallow depth of field than usual macro lenses but keep in mind that it will need a lot of light to compensate for the reduced light hitting the sensor a great feature the lens has is that the front barrel is waterproof which is great for beverage commercials or shooting in water general now you can't put the whole length into the water because of the usb input which is used to powering the small built-in led light so keep in mind to not go beyond that now here are some things I came up with when shooting video with this lens shoot in a log picture profile or raw this is the best way to retain the shadow details don't use the crop factor because this way you will lose that wide angle macro always right and shoot full frame with this lens shoot at 6c or 120 frames per second to slow down your footage this not only looks great for creating speed ramps but also increases the stability of your video in post if you're in a studio use powerful studio lights if you're planning on shooting outside take a small video light with you so that you can properly place it in front of the barrel combining it with the ring light for good video lighting use a tripod or a slider to increase the stability of your video if necessary increase the iso this can really help you get a better image if you're shooting on a sony pushing the iso up to 3200 should not be a big issue if you can use an external monitor or activate focus speaking in your camera so that you can really see what's in focus so overall the laova 24 millimeter f14 problems is priced at around 1500 bucks I think this lens is really unique I really had fun using it and it's really great to be able to capture wide angle to super macro video all in one it produces a really nice image quality and it's especially great for shooting products the thing I don't like about this lens is that it's difficult to take with you on shoots and also the small aperture can make it a little bit difficult to shoot in low light situations that's about it guys I'm very happy with this lens I will definitely not give this lens back to my friend just don't tell him but yeah if you liked this video then leave a thumbs up and let me know what you think of the probe lens follow me on instagram at bennett graser and if you're interested in other lenses I have a couple of reviews that I have done in the past that will certainly help you find the right lens so make sure to check out these two videos right here thanks so much for watching have a great day stay creative and I will see you in the next video


What's good? Charge the Bull Rocks back again with another video. So let's check out Guerrero family calls Dominic disrespectful WWE 2K 23 gameplay WWE star and impacting other wrestling news. This is a interesting one. We know Dominic per story line wise has been, you know, pretty much. I guess you could say mocking Eddie Guerrero, the whole poppy thing with real Ripley and, you know, on the surface you would think that maybe the situation wasn't, you know, that bad. Maybe, you know, they got approval from the family. But apparently that may not be the situation. So we're going to check this out. See what's going on with that. Appreciate all the love and support you guys have shown on the channel. Let's do the jumping. Amy here back with another video. Join us now as we look at the wildest news stories and rumors you need to know including a real life heat on Dominic Mysterio from the Guerrero family. It's over for Sami Zayn. Cody Rhodes' long lost sister 2K releases WWE 2K 23 gameplay and much more. Be sure to subscribe and hit that notification. I know about the Cody long lost sister thing. I saw that on Twitter. That was actually pretty hilarious. Asian belt for daily wrestling videos. And follow us on Facebook for exclusive list. Also, check out our new channel. And now let's do the intro and get straight into our first story. Our first story looks at it's over for Sami Zayn. Yeah. But top of today's news is a sad report from the former honorary ooze Sami Zayn. As it's clear he's still dealing with being kicked out of the group after refusing to end Kevin Owens' career at the Royal Rumble. Sami tweeted a photo of memorabilia from his heyday in the bloodline. The picture shows memorabilia of him in the bloodline and signed photos. Not to mention the Survivors series war games chair. Sami also showed off new merchandise, which has a silver tape over the name Uso. He's not Sami Uso anymore. He's just back to Sami Zayn. The Sami storyline with the bloodline is far from over as rumor has it he's scheduled to face Roman Reigns at the upcoming elimination chamber PLE. Next up the Undertaker Talks learning fact. Yeah. I know a lot of us were speculating maybe he wins the elimination chamber, but they reserved after United States Championship this year. So looks like they're setting that match up. Sami's not winning. I think it would be cool to call that audible, but they're saving this for obviously, I guess Cody Rhodes. Cody Rhodes won. He called him out for both championships. So, Sami's not winning. You would think that would be the perfect moment since it's going to be in Sami's backyard. But he's not winning that match. It'd be interesting to see what they do, but it looks like they may be going with the route of them going for the tag team titles, him and Sami and Kevin on. So we'll see, but I do think maybe them pulling an audible at some point with Sami before WrestleMania could be the way to go. That's just my opinion. It's down at a show. At the Undertaker's entering careers over, but Mark Callaway, the man who made the character so famous is starting a second career entertaining fans with live shows where he discusses his storied career. While Taker says many of the shows have been successful, he discussed one show that flopped. Speaking with Sports Illustrated, the phenomenon revealed that while the first four shows in Boston were hit, he felt the fifth was not. I went too long in the beginning. Part of the show dragged on too long. The first few shows almost came too easy. I wasn't happy with parts of this one. Taker explained what he tried to deliver to his audience when he performed. I'm trying to give people the layers and stages of my life that brought me to where I am now. It's a very limited audience and I want to make it special. I want people to leave being blown away. I want to make people think I want them to believe in themselves. I want to entertain but also use my experience to show that anything is possible. My story exemplifies that. I was told at every turn I wasn't good enough. Yeah, look at the final product. Hopefully that gives people inspiration to battle through in their own lives. This is very true. As far as I think it was working to learn from what leads to a successful show and what makes a show less appealing. Have you guys seen The Undertaker Show? Let us know in the comments down below. I would not have a problem checking out his telling of his career, his story when he went through in person. I think that would be a pretty cool experience, in my personal opinion. Next up, 2K releases WWE 2K23 gameplay trailer. As big news for gamers as 2K tweeted a gameplay trailer for 2K23 with this caption. It's time for you to elevate your game to the next level, step into the ring and come out even stronger. The trailer provides plenty of peeks at the upcoming console game including appearances by legends such as Randy Savage, Hulk Hogan and look at how the Wargames match looks in 2K23 and more. What's funny that in the trailer, Sami Zayn's hair looks black at one point. Obviously this must have been a tech striglage, but some fans are pointing out that the hair might appear darker when it's slicked back and wet. That would be an awesome new feature. The trailer also shows the new Wargames cage which looks absolutely fantastic. The trailer ends for a pre-order and pre-orders featuring a playable Bad Bunny character and a Bad Bunny Ruby Faction card. Are you guys getting 2K23? Let us know in the comments down below. Next up, the Guerrero family upset with Dominic Mysterio with comparisons to Eddie Guerrero. It looks like Dominic Mysterio's resemblance to Eddie Guerrero's Latino heat character is getting some real life heat from members of the Guerrero family. Fans have posted pictures of Dominic dressed like the late great Eddie Guerrero, remarking how he and Dominic look like twins or father and son. Eddie's widow Vicky Guerrero commented about this on Facebook. I'm tired of hearing Dominic compared to Eddie. He will never be Eddie in any way, shape, or form. It's plain disrespectful.  And this has got to stop.  Do you think Vicky and Shawl should be upset with the gimmick? After all, isn't the gimmick supposed to get heat? Looks like it's doing its job. And that's the thing. And that that is the thing about this whole situation is I'm thinking maybe they, you know, maybe shouldn't they know this is this is what gets is getting him mega heat right now. He's one of the biggest heels in WWE and definitely one of the biggest heels in wrestling in a sense of how many people just despise him for what he's doing with this gimmick. I think it's working perfectly, honestly. You know what I'm saying? So I don't know. I don't know how, you know, why they would feel as upset considering that obviously I'm sure he doesn't feel like that. You know, behind the scenes, I'm sure he has a lot of respect for Eddie Guerrero, you know, so. Next up, Dominic praises Eddie Guerrero for all he did for him. Now, while Vicky and Shawl Guerrero are upset with fans comparing Dominic to Eddie, Dominic appreciates everything Eddie did for him. Dominic was recently interviewed by Wrestling Inc and he praised Eddie Guerrero for inspiring him to become a wrestler. He even recalled the angle where Eddie claimed to be Dominic's biological dad leading to a ladder match at SummerSlam for the custody of Dominic. Dominic said he wasn't sure at the time what would happen, but he wouldn't have minded having to live with Eddie. Dominic's love and respect for Latino was obvious as he recalled working in the custody storyline. Knowing that I was a part of that and I got to work with him, that's such a blessing, man. He's one, if not the best, to ever do it and I got to work with him as a kid and that's something that now as a wrestler, it's something that I have a passion for. It means so much more now that we had with him in the ring. I'll cherish those forever because he's one of the best and I would have loved to pick his brain or be in the ring with him today. The fact that I even had a chance to be in the ring with him back then as a kid is a blessing and I'm very thankful. What do you guys think of Dominic's comments? Let us know in the comments down below. It just makes sense. I'm sure he's healing it up for television purposes, but I'm pretty sure he appreciates what Eddie has done for the industry and what he's done for him as well. I don't know if they should be mad about that or maybe this is a complete work. They're probably standing character who knows, but I don't think they should be as mad about that. A former superstar of the Road Dog is praising current rule superstars Chad Gable and Otis for their abilities in the ring and their characters.  I feel the same way about them as I do about Dolph. When they come out I know I'm going to be entertained with a great wrestling match.  He's going to blow up and fall down on somebody. It's fun to watch those guys. The Road Dog who is currently serving in WWE is Senior Vice President of Live Events to discuss some of the other things he likes about Gable. He's the right human being, he's the right kind of athlete, he's a role model. I can't speak the guy's praise and sing his praises from the mountaintop enough. He's just that kind of dude. While the famous Kurt Angle is also praised Chad Gable and many WWE fans feel he's capable of even more than he's doing now. You think he should be in line for a big push? Let us know in the comments down below. Honestly I would prefer him to get a decent singles run. I get it. You want to have something for him to do with Otis. I don't have a problem with Otis. Otis gives me more of a comedy act than someone that, I mean he can go in the ring. But I do feel like Otis is more of the comedy side of the thing. And obviously they got something going on with the whole shoes. People buying into it, people want to blow them. They have something working for themselves right now. And Gable can actually go in the ring. You give him a one-on-one situation. He can put on a pretty good match. He's good when it comes to his in-ring ability. Maybe we'll see something this year. Maybe he'll get a mid-card title opportunity. We'll see. Next up, Kota Ibushi is now a free agent. A New Japan Pro Wrestling sensation Kota Ibushi is now a free agent. New Japan announces on their website. As with the conclusion of his contract period on January 30th, 2023, Kota Ibushi has now departed New Japan Pro Wrestling. Ibushi had been recovering from an injury since October 2021. We apologize to Ibushi's fans for the abrupt announcement and join them in wishing Ibushi the very best in all his future endeavors. The 40-year-old grappler held a track-in-case worth of titles in New Japan, including the IWGP World Heavyweight Championship, the IWGP Heavyweight Championship, and the IWGP Tag Team Championship, which is to name a few. For select reports, there's major interest from a number of companies to sign him. Okada will be wrestling in the US as soon as he's scheduled to make his Game Changer Wrestling debut on 30th March. Next up, a former WWE star signs with Impact Wrestling. It's good news for former superstar Fandango and his friends, as he's now signed with Impact Wrestling. PWInsider reports that Curtis is working as Dirty Dango. Wrestling News noted that at a debut with Impact, a bound for glory in October, he exerts a primalized open challenge for the Digital Media Championship. Davis also recalled that in 2020, Curtis said that he was preparing to retire. However, as fans have seen countless times, retirement is easier said than done. Next up, Booker T Talks when he learned he was in the Royal Rumble. The Royal Rumble featured some surprises, including the return of Booker T. However, fans weren't the only one surprised to see the two-time Hall of Famer compete, as Booker recently revealed just when he was notified he was in the Rumble. I was sitting at the table at the kickoff show and I got a text message, and it was the invite telling me, Book, you're in the Rumble. And me and I'm old school dog, I'm old school. I went down in a Winnebago, right? So, something told me bring your gear, alright? Make sure you're just ready so you don't have to get ready or stay ready, and boom, there it was. The text message came through and I said, Ok, here we go. The master of the Spinarooni kayfabe discipline to appear saying he thinks he would have done better if he had time to warm up and prepare for the match. Oh for sure. Regardless, fans were happy to see King Booker. Next up, T Talks. That's crazy. He's doing the kickoff show and they's like, Hey yo, you're in the Rumble. He didn't even know, but he just so happened to have his gear with him. That's cool. That was a cool moment just to see that, to be honest with you. That was a pretty dope moment. A Hall of Famer produced the Pitch Black match. A Fightful Select is reporting on who produced the Mountain Dew Pitch Black match at featuring Bray Wyatt and L.A. Knight. The Patron site reports that Impact Hall of Famer Abyss laid out the match. Christopher Park worked plenty of wild hardcore matches during his career as Abyss, so he seemed like a good choice. According to a fight that we're even rumored as Park might appear in the Rumble. And finally, Cody Rhodes is a long lost sister. That match, it just, the idea, it looked cool, but one thing I guess you can kind of say, anytime a match is sponsored by somebody, you can tell it's not going to be what you think it is, because one, they're sponsoring it. So they can't go all out because they're being sponsored by someone. So it looked cool. It's just the execution, in my opinion, didn't live up to the months of build-up. That's just my personal opinion. It wasn't awful, but is there something that you're going to go back to the Rumble and watch? Most of us not, so. I like to point at least, does Cody Rhodes have a long lost sister? No, he doesn't. I'll clear the air during a recent appearance on impulsive with Logan Paul's YouTube show. As one of Logan's co-hosts, I asked Cody a former adult film star Lana Rhodes, is his sister? The look on Cody's face when he was asked this was just absolutely priceless. But they have at folks, the wildest news stories in history, asked this, when he was asked, they kind of resembled each other, like in the eyes, that's about it, but it's just funny that, he was like, he was like the porn star? He was related. Adult film star Lana Rhodes is his sister. That was funny. The look on Cody's face when he was asked this was just absolutely priceless. That was hilarious, bro. The porn star? You sure about that? That was hilarious, man. But, hey, this was a pretty dope video. Let me know down below. Do you guys think the Guerrero family should be upset with Dominic's, you know, portrayal of him, you know, mocking Eddie, or idol, I wouldn't say idolizing, but more so like, kind of mocking Eddie, or embracing Eddie, do y'all think? That should be a problem, or do y'all think it's more along with his heel character, and it makes everything even, it makes him become even a bigger heel because we know he's mocking Eddie and doing the little shimmy and the three amigos and all this other stuff. He knows it's gonna give some real good heel heat. Let me know how y'all feel about that down below. But I appreciate all the love and support you guys are showing on our channel. Thanks for 150K and I am still the undisputed YouTube person and champion of the world. Appreciate y'all kicking in with me. See y'all next time. Peace.


Hi and welcome to the session. Let's discuss the following question which says that f is equal to the set of ordered pair x, comma x is square upon 1 plus x is square such that x belong to the set of real numbers via function from r to r determining the range of f. So first let us learn what is a function. Now a function from a set a to b is a specific type of relation for which every element x of set a 1 and only 1 image y in set b. That is f x is equal to y for all x belonging to set a and y belonging to set b and the range is equal to all the f x such that x belong to set y. So the definition is a key idea which we are going to use in this problem to solve it. Let us now start with the solution and here we are given function f is equal to set of all the ordered pair x, comma x square upon 1 plus x square such that x belongs to r we have to find the range of f such that r goes to r is a function fx is equal to x square upon 1 plus x square and let y is equal to fx which is the range of f then we have y is equal to x square upon 1 plus x square which further implies that x square is equal to y into 1 plus x square which we get on cross multiplying it or x square into 1 minus y is equal to y or x square is equal to y upon 1 minus y or x is equal to plus minus root over y upon 1 minus y and now since x belongs to r this implies y upon 1 minus y is greater than or equal to 0 which implies that 1 minus y is not equal to 0 or y is not equal to 1 also y upon 1 minus y is greater than or equal to 0 implies that y is greater than or equal to 0 and 1 minus y is greater than 0 or we can say that y is less than 1 therefore from these two we conclude that y is less than 1 and greater than or equal to 0 as we say that range of f is equal to the set having elements y this is equal to fx such that y is less than 1 and greater than or equal to 0 that is ranges any positive real number 0 is less than or equal to x is less than 1 so this is the range the solution of the problem hope you enjoyed the session take care and have a good day


Greetings and welcome to the Introduction to Astronomy. In this lecture we will talk about the HR diagram, which is a way of looking at the properties of stars in a graphical manner. So let's go ahead and take a look at this, and this was developed in the early 1900s by Henry Norris Russell and Enyar Hertzsprung, who made graphs of these properties of stars. And what they looked at was the luminosity as compared to the spectral class or temperature. So what they found was that there was a relationship between temperature and luminosity for most stars. So for most stars, we saw that there was a line kind of going from upper left down to the lower right, and that most of the stars fit there. Now there were certainly exceptions to each side, and we can look at those later, but it was found that the vast majority of stars did fit what we call the main sequence of stars. So when we look at these, we see that the vast majority, 90% of the stars were found to lie on the main sequence, and that's the one that starts in the upper left and runs down to the lower right here. White dwarf stars accounted for about 10% of stars, and the giants and super giants, some of the more prominent stars that we see in the night sky, were less than 1% of the stars that we see. Now let's look at an HR diagram and how we can plot one, and we're going to do a rough plot here, and we'll look at this a little bit more detail in a future lecture. So first thing we want to do is draw the axes of this. So we draw an axis here for the y-axis, and we'd go across for the x-axis. On the x-axis, we graph something that relates to the temperature. Now it could be a number of different things, and we see that we can use things like temperature itself, we can use spectral class, and we can use the color index, which we've talked about in a previous lecture. Temperature increases to the left. Now that's the opposite of how we often graph things, but for this HR diagram, the temperature will be to the left. On the y-axis, we plot the luminosity, and the luminosity increases going up as you might expect. Now when we plot this, we can locate the main sequence of stars going from the upper left down to the lower right. So that's our main sequence, the giant branch up above the main sequence off to the right, the supergiants up above that, the white dwarf stars down below the main sequence, the sun maybe somewhere towards the middle here, and then the largest stars up in the very upper right-hand corner. So we could just do a quick sketch here just looking at these. So again, we have the white dwarf stars down below, the main sequence stars diagonally, the giants, and the supergiants stars. So scattered across the diagram, but there was again that definite pattern with the main sequence stars. Now again, we're going to look at this in more detail, but what can we learn from the HR diagram? Well, the main sequence, we find that the larger and more massive stars are on the upper left, the smaller, less massive stars on the lower right. And this has been confirmed with models of star formation, which predict this to be the case. Stars do not stay in one spot on the HR diagram. Over their lives, the temperatures and luminosities will both change, which means that their position on the HR diagram will change. And we will see that as evolutionary tracks, paths that stars take over the course of their lives. Now when we look at some extremes here, we have the star diameters. The smallest stars are down in the lower left-hand side, the largest diameter stars in the upper right. Now star masses we can tell, but only along the main sequence. This doesn't apply to giants or supergiants. We find the most massive stars on the main sequence to the upper left and the least massive down to the lower right. Densities, the least denser in the upper right with the largest stars, so the largest stars would also be the least dense. The most dense in the lower left would be the white dwarf stars, which are where the smallest stars are. And white dwarf material is extremely dense with a teaspoon weighing 50 tons. So this is a basic look at the HR diagram, and then we will go over in the next lecture and look at this a little bit more detail as to how to create the HR diagram. So let's look at our summary first, and we plot the luminosity and temperature, and that gives us patterns that we see in the different types of stars. The HR diagram shows how these quantities are related, and we find that stars spend most of their lives on the main sequence, but will change position as they age, which means that their temperatures and luminosities will change. So that concludes this lecture on the HR diagram. We'll be back again next time for another topic in astronomy. So until then, have a great day, everyone, and I will see you in class.


Welcome back. So as promised, we're now going to put some walls up for our room We're only going to do the back walls so that we can see into the room Which will make it a little bit easier for navigation and we're going to create the wall from a cube So the last time we created a polygon primitive We did it from the create menu, but we've got this poly modeling shelf open and we can say that there are some Shapes there waiting for us just saying hey, would you like to create one of me? And my answer is yes. Yes, mr. Cube. I would like to create one of you So we're going to do that by just clicking on the cube icon from the shelf And what this does is creates us a new cube at the origin, which is 0 0 0 on your grid As I've already stated I would like you to get into the habit of naming things as quickly as possible So now that we've created this and we know it's going to be the wall. We're going to name it Wall There we go. Next what we'll do is just put on our scale tool and We are going to resize it So it's going to be this wall here that we're putting in and so if we resize it on the x-axis, which is what I'm doing here We're just going to decide on what we want the thickness of our wall to be So I think that thickness should be plenty. It might even be a bit too much. Let's bring it in a bit Okay, then what I'm going to do is just Scale it on the z-axis to get it roughly where I want it for the length of the wall But to get it to the exact size that we want we're going to cheat a little bit And we'll do that by moving into vertex mode and moving the vertices Into place so we're going to make sure that these vertices line up perfectly with this vertex here So to do that I'm just going to right click on my shape This brings up what's called the marking menu and it gives us some options related to what we have selected and I would like to put this into Vertex mode, so I've still got my right mouse button held and when I release on one of these options It will do that and then you can see that as I mouse over it show me that I can select vertices So what I'll do is just do a marquee selection click and drag and That's going to select the ones on the top the ones on the bottom everything on this side Now I'm going to switch to our move tool, which is this one here or w on the keyboard and Just like with this scale tool we can work in different axes So we've got the y-axis going up and down Z is going backwards and forwards and x is going side to side and What we can do here is just move these vertices so you can see this side's being left alone And we can move these and try and get them in line But the real super duper trick that we're going to do to get this to make sure it perfectly lines up with the edge of this Is something called snapping? You've got some snapping options up here. You can snap to the grid points. You can snap to curves You can snap to vertices and I want to do a vertex snap So to do that I'm going to press and hold V on my keyboard and you will see that that highlights up here Which kind of snapping I'm going to use and then just move it on the axis that I want it to move on So you can see as soon as I do that it will only snap to where there are already vertices So it's snapped to that one there And then I'll repeat that process on this side. So select all of the verts Hold V and then just move it so that it moves out to where it should be That wall is now perfectly sized Now that we've finished our first foray into component mode in this case the component was vertices We're going to just right-click on the shape again and go back into object mode And now with the move tool on we're going to move it towards the back of the room and The final thing that we'll do is just try with the scale tool to get some height on our wall Yeah, that looks pretty nice So that then is our first wall constructed from a polygon cube We have created it. We've resized it We've made sure that it perfectly lines up with our floor using vertex mode And then we've put it in place and given it a bit of light The next step is going to be all about Duplicating this wall so that we've got the other back wall Duplicating is good. We don't need to make and resize one of these cubes again So we'll take the lazy way or the more efficient way to create our second wall So I will see you in the next step for that Game Dev Academy is graciously supported by these absolute legends If you'd like to offer your support then check out our patreon page using the link in the description below


That's it.   You have a backup even that's why we have the freaking auto liquidation man.  They're not algos.   Yeah, right now.


At the Wheelock Family Theater, actors of all ages can be found perfecting this year's performance of Matilda the Musical. While some kids can barely sit still, these young actors rehearse every Tuesday, Wednesday, and Friday from 5 p.m. all the way to 10 p.m., and in just a week those empty auditorium seats during their rehearsals will be filled with an audience. The Wheelock Family Theater was founded in 1981 and since then has staged more than 100 productions. Evan Brown, one of the assistant choreographers, said the return of live theater after the pandemic has allowed her to make a show people can connect with. So I think it's really fun being able to work with dancers of all ages and explore movement and kind of make an awesome show that means so much to not only me but so many other people here. And the people who attend are the core of why the show is up and running. In fact, the mission of the theater is to unite families under the shared experience of theater. Zachary McConnell, one of the Matilda cast members, said he feels live theater creates a special connection between him and the audience. What I always say that I love most about live theater is that it only happens in that night, in that moment. That every night is a little bit different and so when you get to go to a live show you get to see something that no one will ever see again and no one has ever seen before. The group will have their first tech rehearsal today, Friday, October 14th, and in one week the cast you just saw performing inside of that theater will have previews up and running of their show on October 21st and the 22nd of this month and that Saturday will be the grand opening where Matilda can finally have its magical start. Reporting from Boston for BUTV 10, I'm Lanie Broussard.


Hi, mwy neis yw Matt. I'm the area facilities manager for the Chichester area. A facilities officer deals with the compliance and reactive maintenance on a range of buildings in the area, such as libraries, fire stations, children and family centres and our main corporate office buildings. A typical day for a facilities officer would be arriving at the office around about eight o'clock in the morning and going through the workload for the day, which is varied, it will include compliance such as fire testing, water compliance, temperature checks, but it will also be looking at any issues that have arisen the night before, failures in a children's home perhaps, blocked toilets to broken lights, furniture removals, the list goes on.