Random thoughts on art, technology, stuff, and occasionally Real Estate: August 2007

The End Of Time

I heard it early this morning on KNX News Radio.  If I find a collaborating article on the web, I will post the link.

But AT&T has evidently announced the end of telephone Time Service in California. 

If you grew up in the 50s or 60s, you might remember calling "time" (853-1212) to get the accurate time of day.... "At the tone, the Pacific Daylight time will be seven fourteen and twenty seconds.  Beep."

Evidently California and Nevada are the only two states in which AT&T still provides this service.  And at the end of this year, the service in California will be history. 

AT&T says the service will continue in Nevada until the equipment stops working. (What would you call that equipment, I wonder, a "Time Machine"?)

37 commentsCheryl Johnson • August 29 2007 11:36AM

The Way Back Machine

Yesterday, when I was looking for the Katrina Remembrance Dinner website, I was reminded just how useful the Way Back Machine is!

Need to find a website that doesn't exist anymore?  Type the old URL in the web search box at the Way Back Machine and click Take Me Back,  Chances are, the old web site has been archived.

 

The Way Back Machine will return a form showing every available version of the site that has been stored in the Way Back archive.  (Here's mine)  Click on the date to see exactly what the web site looked like on that date.

 

Do you ever do a search on Google  -- and a web site is returned in the search results, that from its description, sounds like it is exactly what you were looking for -- and you click on it, only to find it no longer exists?  No problem, plug its URL into the Way Back Machine.

Do you have a strong stomach?  Plug your own website into the Way Back Machine for a trip down memory lane.  Here's what we looked like in 1996.  I thought it was pretty cool at the time.  Take a look here  http://web.archive.org/web/19961019224336/http://bob-taylor.com/ .  Get a look at me when I only had one gray streak, instead of a full head of silver.  <s>

12 commentsCheryl Johnson • August 28 2007 08:36PM

Katrina Remembrance Dinner

August 29 will mark the two year anniversary of Hurricane Katrina's landfall.  Last year, celebrations and remembrances were well publicized.  This year, not so much.  Maybe in realization of the fact that recovery is still a long, long road.

Last year, amateur New Orleans photographer Justin Lundgren proposed an annual ritual dinner in remembrance.  It was moving and spiritual.  But his http://www.katrinadinner2006.com has disappeared from the web.  And it has not been replaced by a katrinadinner2007.com site.

Partial bits of his idea can be found on various blogs and websites.  I am risking copying parts of them here, since the idea, I think, is too beautiful to lose:

Katrina Dinner 2006

Welcome All New Orleanians, no matter where you are!!

I always used to tell friends that "New Orleans is a state of mind". That sentiment is truer now than ever. The wind and water of Katrina fractured our beloved town. It tore our community apart. And despite our varying individual circumstances, I believe that most of us yearn for wholeness. For reunion.

A few months ago, the idea of a ritual came to me. How powerful would it be if every New Orleanian currently living in Houston, Dallas, Atlanta, and every other town across the country, sat down at the same time to recognize the losses of the last year and to reaffirm their connection to the city? And how great would it be if this ritual centered around the favorite activity of every homegrown New Orleanian, eating? The entire New Orleans diaspora could sit down simultaneously, fork in hand, to tell the world that this was a special place, a special community, one worth fighting to restore.

And so, with that in mind, I humbly offer a basic outline of the first ever "Katrina Dinner" to be held on the one year anniversary of this momentous event. The outline does not have to be acted out literally, although you're certainly welcome to follow it word for word. My hope is that it will be fun and delicious with only a smidgen of hokiness. Like everything in New Orleans, feel free to improvise. Make up your own blessings, your own questions, your own ritual food plate. Invent your own way of celebrating the city that connects us all.

This August 29th, 2006, only a portion of the city will be where it's supposed to be: HOME. But we can still eat together.

Everything you need to know can be found at http://www.katrinadinner2006.com/ : the candle blessing, an ingredients list, the five questions, the readings, the ritual food plate, the Katrina Gris-Gris, and much more.

Justin Lundgren

~~~~~

The Katrina dinner that Lundgren details on his Web site consists of 20 to 25 minutes of ritual before a group meal. He has tried to get his idea out to as many people as possible, and overall the reaction has been positive. Lundgren's suggested recipes are from Emeril's Web site, but you can use your own, or make it a pot luck.

The ritual starts with a candle blessing, then proceeds to five questions (at right), asked by the youngest person and answered by the oldest.

Adults then take turns with the readings, a selection from Lafcadio Hearn, John Kennedy Toole, Louis Armstrong, Charles Dudley Warner, Andrei Codrescu, Jed Horne and Martin Luther King Jr.

Next up is ritual tasting of very small bites of symbolic foods, and Lundgren suggests that the person who has attended the most Mardi Gras parades should read the text for it. Sips of wine clear the palate between bites, and "if this ritual is performed correctly, everyone should be a tad drunk by the end," Lundgren writes.

Cane syrup reminds attendees of the sweetness of life, and dill pickle symbolizes its bitterness. Oysters symbolically link us to the sea and wetlands. A chocolate reminds us "that in New Orleans it's sometimes OK to eat dessert first," and grits symbolize the grit and determination of the people as they rebuild their lives along the Gulf Coast.

Lastly, Lundgren said, "borrow your neighbor's spoon and feed him or her a few kernels of corn: This is to remind us of one of Katrina's greatest lessons, that we depend on each other."

Everyone who attends is asked to bring a small object of personal value that symbolizes Katrina or the year following. In a quasi-voodoo ritual, the meaning of each item is revealed as it is put into a bag; after a poem is recited over it, the bag is put under the table while dinner is eaten.

Then there is a moment of silence for those who died in the storm. Finally, there is the feast, and Lundgren also gives an extensive list of suggested New Orleans music to play as it unfolds.

~~~~~

(To be recited in unison as the candles are lit)

Let these candles bring the light of peace to this struggling world and to the people of New Orleans, many of whom have spent the last year in exile

Let these candles light a fire inside ourselves so that we might act with heart and perseverence in rebuilding our beloved city

Let the light of these candles renew our spirit and give us the strength and imagination to improve both ourselves and our city

Let the light inspire us to honor Katrina's dead by refusing to allow this to ever happen again.

 ~~~~~

You can create your own questions and answers, or use Katrina dinner organizer Justin Lundgren's suggestions before the meal. The youngest at the table reads the questions, the oldest gives the answers.

Why are we gathered here tonight?

We're here tonight because we're New Orleanians. Some of us are living in the city, and a great number of us are spread out around the country. But we all have a link to a small piece of land at the southernmost point of the Mississippi River. It's a fragile and extraordinary patch of land that has served as the cradle of American architecture, food and music. The winds of Katrina and the Corps of Engineers conspired to break us apart, but no matter where we are now as individuals, we're all still part of a very special club.

Why did this happen to us?

One could ask: Why does anything bad happen to anyone? Some say that we deserved the devastation of Katrina, that God is full of wrath and vengeance and that we're being punished. We must reject this line of thought. . . . The truth is that for the last 50 years we did not insist on the type of leadership and resources needed to create a safe city. For too long, we settled for too little. The good news is that we get another chance to make it right.

Should we live somewhere else?

It takes a special kind of person to choose New Orleans over most of America. You have to be the kind of person who favors a crawfish boil over the Denny's buffet line. The kind of person who can dance at a funeral and spend thousands of dollars on plastic trinkets just for the privilege of throwing them off a tractor-driven float to complete strangers. The kind of person who can spend a lifetime rooting for a football team that has never been a winner. The list goes on and on. There are many who aren't cut out for the New Orleans life, and we wish them the best of luck.

Will the city ever be the same?

The city will never be exactly the same, but this is not the time to get overly nostalgic. One year out from Katrina, we can still unite in making the city better than it was before the storm. That means pushing for higher standards of both our leaders and ourselves. It's not as if we have to make a trade. We can have parades and good schools at the same time. We can have Mardi Gras Indians and jazz and gumbo and still expect a solid police force and accessible health care.

What can I do?

For those who aren't back home, keep trying. Don't give up yet on a city that needs you desperately. For those who are home, get involved in your neighborhood. Go visit your City Council member. Write letters to the editor. Help a neighbor rebuild their house. Make an effort to keep your street clean. Each day when you walk out your front door, there are a thousand opportunities to do a good deed. Don't become so jaded and self-focused that you fail to recognize those opportunities.

 

My sources:

http://www.nola.com/printer/printer.ssf?/base/living-1/115640619650270.xml

http://www.urbanconservancy.org/letters/katrina-dinner-2006

http://www.nola.com/living/t-p/index.ssf?/base/living-1/115640619650270.xml&coll=1

Justin Lundgren's Blog (dormant) http://greetingsfromneworleans.typepad.com/

 

And thanks to the WAY BACK MACHINE, here are the original pages:

http://web.archive.org/web/20060821002608/http://www.katrinadinner2006.com/

 

 

 

3 commentsCheryl Johnson • August 27 2007 07:59AM

Making Do With Elements: Masks & Mixers

If you are following Bryce Mohan's posts on Layer Masks in Photoshop, you know the man is a master artist.  And if you using full version Photoshop, the Channel Mixer is right here:  Layer -> New Adjustment Layer -> Channel Mixer:

 

But, what if you are using Photoshop Elements?  Well, you had to know there was some reason Elements costs about $60.00, while the full version Phhotoshop CS3 costs about $600.00.  The reason is Adobe stripped a few things out of Elements to make it affordable for the average guy or gal.  Channel Mixer was one of the casualties.

But not to worry.  We can kinda, sorta, almost get you to the same place in Elements without the Channel Mixer.  Without even installing Hidden Elements set of secret power tools.

Try this:

1.  Open your image.  Choose one that is colorful to start with, so you can better see the effect.

 

2.  Hit Layer -> New Adjustment Layer -> Hue/Saturation

 

3.  Either go with the default layer name, or choose a new name and click OK

 

4.  The Hue/Saturation dialogue box will pop up.  Drag the Saturation slider all the way to the left side (-99).  Click OK.

 

4.  Notice you now have a new adjustment layer in your Layers Palette. .

 

5.  Click the Gradient tool.

 

6.  Notice the Tool Options bar.  Click on the drop-down arrow, and choose the Black,White Gradient. (You will want to come back later and experiment with the other gradients, too).  At "Mode:" I set the Opacity at 50%, also be sure transparency is checked. 

 

7.  Click at one edge of the image, then drag the gradient line across the image.  You can drag all the way to the other edge, or you can stop somewhere before the edge.  I stopped about 1/3 of the way across.  How far you drag the gradient, whether you drag at a straight line or diagonal will all give you different results.  You'll want to experiment to find what works for your particular image.

 

8.  When you stop dragging and release the mouse button, the image will change, revealing partial color, fading to black and white.

 

You don't have the kind of precision or control you would have in the full version of Photoshop, but whaddaya want for $60 bucks?  <s>

 

16 commentsCheryl Johnson • August 25 2007 07:30AM

Photoshop: 1st Grade Primer On Layers: Page 3

Page One here:  Photoshop: 1st Grade Primer On Layers

Page Two here:  Photoshop: 1st Grade Primer On Layers: Page 2

One more simple concept to be aware of as we prepare to jump into Layer Masks with Bryce:  Photography 101: Masks Pt 1  ...

Have you played around with moving object from one image to another ... like this:

Photoshop Elements 5: Creating A Llosa Collage

Photoshop: Merging Windows and View

Photoshopping Paparazzi Style

Photoshop Elements: Beyond The Lasso

Did you notice that as you dragged objects from one image to another, each object became a LAYER?  This happens automatically without any intervention from the user.

Like this:

Close up of the Layer Palette:

And each Layer can to be edited separately, turned on and off, or stacked in a different order. 

As you work in Layers, the file name extension will show as .PSD, photoshop's native file format.  When you are satisfied with the final result, you would "Flatten" the image, then save it in JPEG format for use on the internet.

Here is Saturday morning's  post on using layers in Photoshop Elements: Making Do With Elements: Masks & Mixers

 

37 commentsCheryl Johnson • August 24 2007 10:55PM

The Supremes' Greatest Hits

Here's another book for Maureen Henry's bookshelf. 

If you order Plato and a Platypus (Book MEME / Challenge , This Book Will NOT Appeal To Everyone ) from Amazon, chances are Amazon will also offer you The Supremes' Greatest Hits in a package deal.  Take the deal!  Buy it!

No, it's not about Diana Ross and the Motown Sound.  It's about the 34 Supreme Courts Cases That Most Directly Affect Your Life.

It's not a big book.  It is fascinating.  And easy to read.  The cases are presented in a kind of "conceptual order", not chronological order. 

Each case is presented in 5 or 6 pages, summarizing the people, the issue, the decision, the historical context.

You'll get a quick look at everything from Marbury vs. Madison (1803) and the infamous Dred Scott vs. Sanford (1857), to Bush vs. Gore (2000).

You'll finish the book with new understanding of how our government and judicial system operate. 

 

Here's a little more info:

http://blogcritics.org/archives/2007/01/22/030804.php   

http://blogcritics.org/archives/2007/01/23/033943.php

 

 

12 commentsCheryl Johnson • August 22 2007 06:44AM

Photoshop: 1st Grade Primer On Layers: Page 2

As you are creating a image using layers, each layer will be listed in the Layer Palette --

  

 

Bryce gave us a screen shot of a layer palette for one of his images here.  Notice how he has applied different special effects to each layer.  And he has named each layer according to the effect ... an excellent practice that helps you keep track of your workflow.

 

Here is a close up of the layer palette for my Sun-Mountain-Man-Dog image.   The currently active layer is the one highlighted dark blue.    You can make a layer invisible and visible again by clicking the little eye icon on and off.  You can apply special effects or edit each layer individually.  (And of course, all this "Primer" stuff is leading up to what those special effects are all about.)

Here's page 1 in the Primer:  Photoshop: 1st Grade Primer On Layers

Here is page 3:  Photoshop: 1st Grade Primer On Layers: Page 3

3 commentsCheryl Johnson • August 21 2007 09:02AM

Photoshop: 1st Grade Primer On Layers

Bryce Mahon wrote a terrific post on using Masks in Photoshop, and has promised more to come.

But just in case there are some folks that are just getting acquainted with Photoshop, and don't quite have a handle on either "Layers" or "Masks" yet,  I thought I'd put together a First Grade Level Primer on Layers, as a kind of prequal to Bryce's info.  Just to get the basic concept clear.

Any image in Photoshop can be made up of multiple layers.  Each layer can be edited independently, and laid on top of or beneath another layer; all the layers combine to form a single image.

Think of each layer as a clear film sheet, sort of like the stuff page protectors are made of.  Suppose you had, oh, say 4 or 5 sheets of clear film, and you wanted to do something artisic.

Let's say you drew the sun on the first sheet.

 

Then you drew some mountains on the second sheet.

 

Then you put the sheet with the mountains on top of the sheet with the sun:

 

Voila!  You just created an image using Layers.  Layers in Photoshop works on exactly the same principle.

This is too much fun, I'm going to keep going.  I'm going to draw a dog on the third sheet.

 

And I'll put the dog on top of the two other layers so you can see all three objects:  The sun, the mountains and the dog.

 

One more:  How about adding a person?

 

Combined image with all Layers:  Sun, mountain, dog, person:

 

But suppose I decide to take the dog out?  All I need to do is remove the Layer with the dog.

I can also apply special effects to each layer separately ... and that's where Masking will come in. 

Primer Page Two:  Photoshop: 1st Grade Primer On Layers: Page 2

Primer Page Three:  Photoshop: 1st Grade Primer On Layers: Page 3

Take it away, Bryce.....!!

17 commentsCheryl Johnson • August 19 2007 05:32PM

Photoshop: Merging Windows and View

You know how it is.  When someone mentions they have a Photography/Photoshop issue, I try to see if I can come up with a simple easy-to-follow answer. 

Yesterday Janice Sutton was looking for some Botox for a set of home staging photos.  It's that same old problem of too much backlight flooding in through the windows. 

Just looking at her photos, it struck me that merging the images in Photoshop might be the quickest fix.  Especially since it looks like Janice has some photos showing the view out of the window, and others showing the room interior from basically the same angle.  I'm using two of Janice's images here.

The screen shots in this demo are from Photoshop 7.  This is equally doable in later versions of Photoshop, and in Elements.

1.  Choose images that are similar in size, shot from the same angle.  One with the view out the window properly exposed,  Choose one with the room interior properly exposed.  Open both images.

 

2.  Click the Magnetic Lasso tool.

 

3.  Trace (lasso) the outline of the window, (in the view shot)  clicking at each corner to anchor the lasso. 

 

4.  When you reach the starting point, click to close the rectangle.  The lasso will change to the "marching ants" outline to indicate a complete selection.

 

5.  Click the Move Tool

 

6.  Then, click to place a checkmark in Auto Select Layer.  This will save having to reselect the view in a later step.

 

7.  Click in the selected view, then drag the view from the "view image" into the image of the room interior.

 

8.  Position the view as closely as you can in the window frame, then hit Edit -> Transform -> Skew.   (If you had not checked Auto Select Layer, you would have to lasso the view all over again to do this.)

 

8.  Grab the skew handles and pull outward, inward, upward or downward until the view is properly nested in the window frame.

9.  Be sure veritcal and horizonal lines match up.  When you are satisifed with the "fit", hit Enter to apply the transformation.  You'll need to repeat the process for each window section. 

 

Important note:  In Photoshop Elements 5, the skew tool is found under Image -> Transform -> Skew  (insted of Edit -> Transform)

 

11 commentsCheryl Johnson • August 18 2007 09:31PM

Photoshop 7: 3 Basic Techniques for Real Estate

Most Active Rain members probably are not Photoshop junkies.  They simply want to use the "digital darkroom" to improve images they have taken of available properties.

I'm using Photoshop 7 in this tour, since 1. I am rather fond of it, and 2.  Marcel Peterson asked about Photoshop 7 tutorials.

Here are the 3 basic skills that I think will put your photos a cut above most others found on your local MLS:

First technique: Adjust Levels

1.  Hit - Image -> Adjustments -> Levels

2.  The  Levels dialogue box will open.  Click and drag the center slider towards the left to lighten, toward the right to darken.  Click and drag the sliders on either end until you are satisfied with the result.  Click OK.

 

Second technique: Skew

1.  Hit Select -> All to place a selection border (marching ants) around the entire image.

2.  Hit Edit -> Transform -> Skew  

3.  Click to grab a "handle" and drag outward (or inward) until door frames, window frames, standing lamps, and other vertical lines appear straight.  Hit Enter when you are satisfied.

 

Third technique:  Sharpen

1.  Hit Filter -> Sharpen -> Sharpen (or try the other sharpening tools)

In my opinion, just these three simple basic techniques will get you off to a fast start.

The crummy, totally uninspired image was shot in one of the rooms in my office with a Kodak V570

 

10 commentsCheryl Johnson • August 17 2007 08:26PM