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Urban Drought Guidebook 2008 Updated Edition
Publications (WR) Water Resources 2008 Urban drought guidebook 2008 updated edition State of California Follow this and additional works at: https://digitalscholarship.unlv.edu/water_pubs Part of the Natural Resources and Conservation Commons, Natural Resources Management and Policy Commons, and the Water Resource Management Commons Repository Citation State of California (2008). Urban drought guidebook 2008 updated edition. 1-208. Available at: https://digitalscholarship.unlv.edu/water_pubs/3 This Report is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Report in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Report has been accepted for inclusion in Publications (WR) by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. UrbanUrban DroughtDrought GuidebookGuidebook 20082008 UpdatedUpdated EditionEdition StateState ofof CaliforniaCalifornia DepartmentDepartment ofof WaterWater ResourcesResources OfficeOffice ofof WaterWater UseUse EfficiencyEfficiency andand TransfersTransfers Cover Photo Lake Mead, storing Colorado River water that supplies irrigation and domestic water to much of Southern California at 50 percent capacity, winter 2007. Photo by Andy Pernick , U.S. Bureau of Reclamation photographer. If you need this publication in an alternate form, contact the Equal Opportunity and Management Investigations Offi ce at TDD 1-800-653-6934, or Voice 1-800-653-6952. -
The Castle Studies Group Bulletin
THE CASTLE STUDIES GROUP BULLETIN Volume 21 April 2016 Enhancements to the CSG website for 2016 INSIDE THIS ISSUE The CSG website’s ‘Research’ tab is receiving a make-over. This includes two new pages in addition to the well-received ‘Shell-keeps’ page added late last News England year. First, there now is a section 2-5 dealing with ‘Antiquarian Image Resources’. This pulls into one News Europe/World hypertext-based listing a collection 6-8 of museums, galleries, rare print vendors and other online facilities The Round Mounds to enable members to find, in Project one place, a comprehensive view 8 of all known antiquarian prints, engravings, sketches and paintings of named castles throughout the News Wales UK. Many can be enlarged on screen 9-10 and downloaded, and freely used in non-commercial, educational material, provided suitable credits are given, SMA Conference permissions sought and copyright sources acknowledged. The second page Report deals with ‘Early Photographic Resources’. This likewise brings together 10 all known sources and online archives of early Victorian photographic material from the 1840s starting with W H Fox Talbot through to the early Obituary 20th century. It details the early pioneers and locates where the earliest 11 photographic images of castles can be found. There is a downloadable fourteen-page essay entitled ‘Castle Studies and the Early Use of the CSG Conference Camera 1840-1914’. This charts the use of photographs in early castle- Report related publications and how the presentation and technology changed over 12 the years. It includes a bibliography and a list of resources. -
Enhancing the Home Automation Experience
Enhancing the home automation experience When it comes selecting the appropriate CMOS image sensor for a home automation IoT device what do you need to take into account? Radhika Arora explains ensors are at the heart of the are called zoom lenses, those with the lens, and the focal length of the Internet of Things (IoT) Ixed focal length are prime lenses. lens. Larger aperture (smaller f- revolution and most Within Ixed focal length, lenses of number) results in a shallower DOF. Sapplications will deploy multiple shorter focal length are called wide- Closer focus distance results in a sensors including an image sensor. angle lenses (14 to 35mm, 114 to shallower DOF, which is appropriate for The more compelling home automation 64°). Longer-focal-length lenses are artistic imaging. It focuses on the products tend to deploy cameras referred to as long-focus lenses subject at hand and dims out the which are commonly based around a (85mm to >300mm, 30° to <1° FOV) background, highlighting the main CMOS image sensor and this, coupled and are used to magnify distant object. For a given f-number, increasing with sophisticated computer vision objects. the magniIcation, either by moving the algorithms, look set to become the For example, home security camera closer to the subject or using ‘brains’ of the smart home. cameras which make up a large a lens of greater focal length, Field of View (FOV) is what is visible portion of the IoT typically have wide decreases the DOF; decreasing through the camera at a particular angle Ixed focal length lenses with magniIcation increases DOF. -
Mirrors of Madness: a Semiotic Analysis of Psychiatric Photography
MIRRORS OF MADNESS: A SEMIOTIC ANALYSIS OF PSYCHIATRIC PHOTOGRAPHY A THESIS Presented to the Visual and Critical Studies Program Kendall College of Art and Design, Ferris State University In Partial Fulfillment of the Requirements for the Degree Master of Arts in Visual and Critical Studies By Jacob Wiseheart March 2019 TABLE OF CONTENTS Abstract……………………………………………………...…………………………….……i List of Figures………………………...…………………………………………………….…..ii Acknowledgements……………………………………………………………………….……iv Chapter 1: Introduction……………………………………………………………………..…..1 Chapter 2: Proposed Chronology of Madness…………….………………………………..…..8 Chapter 3: English Diagnostic Photography: Case Study I……………………………………12 Chapter 4: French Hysterical Photography: Case Study II…………………………………….21 Chapter 5: Treatment Photography in the United States: Case Study III.……………………..31 Chapter 6: Conclusion…………………………………………………………………………42 Bibliography…………………………………………………………………………………...45 Figures…………………………………………………………………………………………47 i ABSTRACT At the surface, madness appears to be the quality of the mentally ill and is constructed by Western Society into a complex and nuanced ideology. Western culture reinforces the belief that madness and mental illness are synonymous, from the television we watch, the images we share endlessly on social media, to the very language we use when we confront someone whom we believe is mentally ill. All previous platforms of communication illustrate our constructed view of the mentally ill. The conflation of the terms madness and mental illness occurs mainly because the visual and non-visual culture of madness is riddled with misunderstandings. Misunderstandings that have spread themselves through both the visual and non-visual aspects of contemporary culture by way of psychiatric photography. This thesis examines the visual culture of psychiatric photography that was used in the diagnosis and treatment of mentally ill patients in English, French and North American asylums largely in the nineteenth and early twentieth centuries. -
California-Ko Ostatuak: a History Of
3-79 Af&ti /Jo. 281? CALIFORNIA-KO OSTATUAK: A HISTORY OF CALIFORNIA'S BASQUE HOTELS DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Jeronima (Jeri) Echeverria, B.A., M.A. Denton, Texas May, 1988 Echevenia, Jeronima (Jeri), Cal^fornia-ko Ostatuak: A History of California's Basque Hotels. Doctor of Philosophy (History), May, 1988, 282 pp., 14 tables, 15 illustrations, bibliography, 512 titles. The history of California's Basque boardinghouses, or ostatuak, is the subject of this dissertation. To date, scholarly literature on ethnic boardinghouses is minimal and even less has been written on the Basque "hotels" of the American West. As a result, conclusions in this study rely upon interviews, census records, local directories, early maps, and newspapers. The first Basque boardinghouses in the United States appeared in California in the decade following the gold rush and tended to be outposts along travel routes used by Basque miners and sheepmen. As more Basques migrated to the United States, clusters of ostatuak sprang up in communities where Basque colonies had formed, particularly in Los Angeles and San Francisco during the late nineteenth century. In the years between 1890 and 1940, the ostatuak reached their zenith as Basques spread throughout the state and took their boardinghouses with them. This study outlines the earliest appearances of the Basque ostatuak, charts their expansion, and describes their present state of demise. The role of the ostatuak within Basque-American culture and a description of how they operated is another important aspect of this dissertation. -
How to Pass Quality Control
How to pass Quality Control This guide offers an overview of our most common failure reasons. We recommend you check your images at 100% against this guide before submitting to make sure they pass QC. If you have any questions about QC see our FAQs, contributor help pages or email [email protected]. Version 1.0 Failed image reasons We fail images submitted to us for a number of reasons; below we have listed some of the most common QC failure reasons and included some examples so you can spot the issues with your images. Here are some example failure reasons and images. Name Description Image example Image example (100%) Blemishes – Dust, Small dark circles/marks, noticeable in scratches or sensor dust areas of flat colour such as skies Blurred or soft image giving the Camera shake impression that the camera moved when the photo was taken Chromatic aberration or Magenta/cyan fringing, particularly ‘coloured fringing’ noticeable on wide angle shots 2 · Quality control Still need help? Get in touch: alamy.com [email protected] Failed image reasons (continued) Name Description Image example Image example (100%) This is caused by having an incorrect white Colour cast balance Blocky or patchy appearance in areas of Compression artifacts flat colour, caused by compressing your files too much Double edges, or artifacts. Don’t sharpen, Excessive sharpening leave it to the customer Artifacts & degradation of detail that can Interpolation artifacts look noisy and soft 3 · Quality control Still need help? Get in touch: alamy.com [email protected] -
Arcgis Geostatistical Analyst Tutorial Copyright © 2001, 2003–2006 ESRI All Rights Reserved
ArcGIS® 9 ArcGIS Geostatistical Analyst Tutorial Copyright © 2001, 2003–2006 ESRI All Rights Reserved. Printed in the United States of America. The information contained in this document is the exclusive property of ESRI. This work is protected under United States copyright law and the copyright laws of the given countries of origin and applicable international laws, treaties, and/or conventions. No part of this work may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage or retrieval system, except as expressly permitted in writing by ESRI. All requests should be sent to Attention: Contracts Manager, ESRI, 380 New York Street, Redlands, CA 92373-8100, USA. The information contained in this document is subject to change without notice. DATA CREDITS Carpathian Mountains data supplied by USDA Forest Service, Riverside, California, and is used here with permission. Radioceasium data supplied by International Sakharov Environmental University, Minsk, Belarus, and is used here with permission. Copyright © 1996. Air quality data for California supplied by California Environmental Protection Agency, Air Resource Board, and is used here with permission. Copyright © 1997. Radioceasium contamination in forest berries data supplied by the Institute of Radiation Safety “BELRAD”, Minsk, Belarus, and is used here with permission. Copyright © 1996. CONTRIBUTING WRITERS Kevin Johnston, Jay M. Ver Hoef, Konstantin Krivoruchko, and Neil Lucas DATA DISCLAIMER THE DATA VENDOR(S) INCLUDED IN THIS WORK IS AN INDEPENDENT COMPANY AND, AS SUCH, ESRI MAKES NO GUARANTEES AS TO THE QUALITY, COMPLETENESS, AND/OR ACCURACY OF THE DATA. EVERY EFFORT HAS BEEN MADE TO ENSURE THE ACCURACY OF THE DATA INCLUDED IN THIS WORK, BUT THE INFORMATION IS DYNAMIC IN NATURE AND IS SUBJECT TO CHANGE WITHOUT NOTICE. -
Microstock Photography
Microstock Photography How to Make Money from Your Digital Images Douglas Freer AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Cara Anderson Developmental Editor: Valerie Geary Publishing Services Manager: George Morrison Project Manager: Kathryn Liston Editorial Assistant: Kathryn Spencer Marketing Manager: Marcel Koppes Interior and Cover Design: Alisa Andreola Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA Linacre House, Jordan Hill, Oxford OX2 8DP, UK Copyright © 2008 Quentin Douglas Freer Bargate. Published by Elsevier Inc. All Rights Reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: (+44) 1865 843830, fax: (+44) 1865 853333, E-mail: permissions@ elsevier.com. You may also complete your request on-line via the Elsevier homepage (http://elsevier .com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Library of Congress Cataloging-in-Publication Data Application submitted British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library. ISBN: 978-0-240-80896-3 For information on all Focal Press publications visit our website at www.books.elsevier.com 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 Printed in China. -
Outline of California Water Rights
Outline of California Water Rights General: The State of California owns all of the water in the state (California Constitution, California Water Code (CWC)). In California, rights are usufructuary and pertain to the use of the water, not actual ownership of it (California Constitution, CWC). The State Water Resources Control Board is the state agency in charge of administering and allocating water rights. Pueblo Rights http://www.watereducation.org/aquapedia/pueblo-water-rights Under Spanish and Mexican law, some missions attained status as a municipality to use adjacent sources of water. These rights are paramount to all other rights. This system only affects a few towns in southern California. Riparian Rights: http://www.watereducation.org/aquapedia/riparian-rights Entitlement stems from the ownership of property abutting a natural watercourse. Riparian rights are a facet of English Common Law1[1] which the U.S. adopted following the revolution. Entitlement established under the riparian doctrine must only be for use on the riparian parcel. Rights are subject to "reasonable and beneficial use" clause. Rights are senior to appropriators and correlative with respect to other riparians. Title cannot be lost through nonuse. See Hudson v. Dailey (1909) [re subdivisions of riparian parcel], Gin S. Chow v. Santa Barbara (1933) [applied "reasonable and beneficial use" to riparians], Harris v. Harrison (1892) [rights are correlative among riparians] Appropriative Rights http://www.watereducation.org/aquapedia/appropriative-rights Entitlement is based on actual use of the water and developed from the miners in the 1850's using water on the public domain. Appropriative rights may be sold or transferred. -
UNIVERSITY of CALIFORNIA RIVERSIDE Proxy Applications for Reconstructing Carbon and Sulfur Cycling in Ancient Marine Environment
UNIVERSITY OF CALIFORNIA RIVERSIDE Proxy Applications for Reconstructing Carbon and Sulfur Cycling in Ancient Marine Environments A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Geological Sciences by Leanne Grace Hancock June 2018 Dissertation Committee: Dr. Timothy W. Lyons, Chairperson Dr. Gordon D. Love Dr. Sandra Kirtland Turner Copyright by Leanne Grace Hancock 2018 The Dissertation of Leanne Grace Hancock is approved: Committee Chairperson University of California, Riverside ACKNOWLEDGMENTS First and foremost, I would like to thank my advisor Dr. Tim Lyons for the opportunity and privilege to study with him at UC Riverside. These years have been challenging at times, but always rewarding. You never denied me an opportunity to learn or explore, and even in the deepest of my rabbit holes, you were a constant source of support and encouragement. Thank you for pushing me to do more than I could have thought possible every step of the way. To my committee, thank you for your time and effort in reviewing this dissertation and for countless conversations and feedback. Gordon Love, thank you for keeping me excited about the weirdness of the Monterey Formation, and for your infectious enthusiasm for geochemistry. Mary Droser and Sandra Kirtland-Turner, thank you for being strong female role models that seem to effortlessly do it all and for making me believe I could be even half as fierce as you are. Steve Bates, thank you for the literal hundreds of hours spent discussing my samples, but most importantly for your friendship and encouragement. This work was made possible by a number of individuals and organizations. -
Working with Color
4 WORKING WITH COLOR e are very sensitive to color, and our eyes are Wtremendous tools to see and compare color. The emotional and subliminal importance of color in our world cannot be denied. For retouchers, being sen- sitive to color values can make the difference between a so-so print and a print that looks as vibrant as the memories it represents. The importance of color challenges us to work with our visual memory in combination with the best that Photoshop has to offer: Adjustment Layers, the Info palette, the Histogram dialog box, painting and selec- tion tools, and Blending Modes. In this chapter, you work with color images to learn • Additive and subtractive color correction with image variations and color balance • Global color correction with Levels and Curves • Selective and interchannel color correction • Correcting color temperature problems Many of the tools and techniques used to improve tone, contrast, and exposure discussed in Chapters 2, “Improving Tone and Contrast,” and 3, “Exposure Correction,” serve as the foundation for working with color. I highly recommend that you review those two chapters before diving into the wonderful world of color. 92 Photoshop Restoration & Retouching COLOR ESSENTIALS Combining additive primaries yields the subtractive primaries, and combining the subtractive primaries There are two types of color in the world: additive creates the additive primaries. For the retoucher, and subtractive. In the additive world, a light understanding this opposite relationship can be very source is needed to create color. When the primary useful when identifying and correcting color prob- colors (red, green, and blue) are combined, they lems. -
Street Photography Reframed
arts Editorial Street Photography Reframed Stephanie Schwartz Department of History of Art, University College London, London WC1E 6BT, UK; [email protected] Afraid of contagion? Stand six feet from the next protester, and it will only make a more powerful image on TV. But we need to reclaim the street. Davis(2020a) When I began writing this Introduction in April 2020, the streets were empty. Or, to be more precise, this was what I was seeing in the many photographs that were making up the daily news. Day after day, photographs of empty piazzas in Rome and Venice were filling up my news feed. I was seeing or being shown the impact of the spread of the coronavirus on public spaces. There was no traffic on the Brooklyn Bridge and no footfall through London’s Trafalgar Square. New York’s Times Square also appeared to be at a complete and total standstill (Figure1). As of March 2020, public life in the streets of most financial capitals had been put on hold for the foreseeable future. It was eerie—or so I was told. This was the word being used over and over again in the headlines.1 It seems that those sitting Citation: Schwartz, Stephanie. 2021. at home needed to be haunted—though not necessarily by what once was. They needed Arts 2021, 10, x FOR PEER REVIEW 3 of 13 Street Photography Reframed. Arts to be haunted by what might no longer be: living in public, being in the streets, loitering, 10: 29. https://doi.org/ meandering, and shopping.2 10.3390/arts10020029 Received: 7 April 2021 Accepted: 8 April 2021 Published: 28 April 2021 Publisher’s Note: MDPI stays neutral with regard to jurisdictional claims in published maps and institutional affil- iations.