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Since that time, our understanding of the deep ocean and its ecosystems has changed enormously, enabled by technological advances that have allowed us to map the seabed at high resolution, generate startlingly detailed images in photographs and video, record animal sounds, document their mass migrations, even detect gas bubbles acoustically, and “sniff” the chemistry of seawater remotely. Sampling of deep-sea sediments in the 1950s and 1960s revealed these small inhabitants to be surprisingly diverse (Sanders and Hessler, 1969). The first hundred years of deep-sea exploration, conducted with sampling gear lowered from the ocean surface, painted a picture of a fairly homogeneous, mud-covered seafloor, understood to be cold, dark, environmentally stable, food-poor, and inhabited by small life forms. Despite the monster stories, the concept of the deep ocean as an azoic, lifeless desert dominated public perception until the 1860–1880s, when major expeditions ( Lightning, Porcupine, Challenger) undertaking serious sampling of the deep sea provided consistent, incontrovertible evidence of an abundance of life in deep water (Koslow, 2007). These monsters inspired fear, mystery, and some wonderful literature, such as Jules Verne’s 1870 classic 20,000 Leagues Under the Sea ( Figure 1b). This realm, largely out of sight and poorly explored, remains one of planet Earth’s final frontiers.Įarly imaginings of the ocean were as a home to sea monsters, like the kraken, a giant cephalopod in Norse mythology ( Figure 1a). Because of their great depth, deep-ocean waters (below 200 m) represent over 95% of the volume on Earth that is habitable for animal life as we know it. The ocean covers 71% of our planet, but few people realize that most of the ocean consists of deep water, with an average depth of 3,800 m (nearly 2.4 miles). Levin, the twentieth annual lecturer, spoke on April 24, 2019, at the National Academy of Sciences. The Roger Revelle Commemorative Lecture Series was created by the Ocean Studies Board of the National Academies in honor of Roger Revelle to highlight the important links between ocean sciences and public policy. Digitizing 35mm slides9/25/2023 ![]() This extension length prohibits a longer lens with the ES-1. An APS cropped sensor body (crop factor 1.5) can use the ES-1 with 40 to 60 mm macro lenses, but possibly needing a proper short extender tube (below). Most other film sizes or longer lenses will require other setups to fill the frame properly. It is for 35 mm slides, and is designed for a 55 mm 1:1 macro lens and a full frame body (crop factor 1). The ES-1 is NOT a requirement to copy slides. The ES-2 is about double price of the ES-1, handheld the ES-1 should easily do mounted 35 mm slides fully as well (but cropped sensor bodies will need to add additional extension with either copier). Any full frame body should do slides the same (or B&W negatives too, easily inverted in an editor). But it does mean a full frame body (unless extra extension is used as described here). The ES-2 is said to be designed for the D850 camera, obviously because the D850 has a direct color negative inversion mode, explaining the reason for the provided film strip holder. The extension needed for the ES-2 possibly might be a little different than the ES-1. The ES-1 and 40 mm lens was just about right for a cropped sensor body. Using a proper extension with this 40 mm DX lens on a full frame body to extend the holder further out would not crop, but then it will be a smaller image, about 2/3 size, just right for a cropped sensor, but which cannot then fill a full frame sensor. My guess is this is significantly understated for a DX lens on a full frame body at 1:1 (but extra extension can always be added as a complete solution for the 40 mm or 60mm lenses on bodies with cropped sensors. The ES-2 user sheet says the 40 mm lens will "crop the edges" when used on a full frame body. The Nikon 40 mm lens will fit the 52mm threads, but it is a DX lens, which we are unlikely to own for a full frame camera. The ES-2 also has 52 mm threads, and provides two 62 mm thread adapters which work on the full frame camera with both old and new Nikon 60 mm macro lens (the ES-1 does not provide the thread adapters). Both the ES-1 and ES-2 are designed for a full frame camera, and extra extension as described below is needed for both of them if used on the 1.5x or 1.6x crop bodies (the same issue either way). ![]() I have not used the newer ES-2, I have only looked at its user sheet online. $60 may seem expensive for a slide holder, but the job it does is about priceless. This macro lens will be optically superior to a 10x diopter close up filter on a regular zoom lens. Adding an extension (between the lens and ES-1) lets it work on a cropped sensor DSLR. The ES-1 is an empty tube, a slide holder which contains no glass lens, and is designed to hold the slide in front of a 1:1 macro lens (designed for 55 mm focal length on a full frame body). To work on a DX camera (1.5x crop), the setup as shown also requires an extra 20 mm extension tube between lens and ES-1 (shown, but not included). The ES-1 fits a 52 mm lens filter thread, or a suitable adapter there. It was one thing to sit down one evening with one roll of slides, but it's something entirely different to be facing a few thousand old slides. But the camera is fast, and great for slides. ![]() And some film scanners offer an infrared dust and scratch cleaning feature (often named Digital ICE or FARE) that the camera cannot do, which is extremely useful, but it adds even more time (and may be unsuitable for silver-based Kodachrome slides). The digital camera (with a macro lens) can copy slides very well (and fast), but a real film scanner can be better for color negatives (with the film holders, and better quality for removal of the orange mask, on another page). The Nikon 5000 film scanner did have its SF-210 Auto Slide Feeder accessory ($450) for overnight runs of 50 slides, if it doesn't jam. You may do well to average 10 slides per hour overall, so thousands of slides may take many months, and it's a good bet that you may never finish. Film scanners are very good, but are also very slow. Packer game channel milwaukee9/25/2023 Click that and you'll have the week's big Thursday night game, beginning with the pregame at 6 p.m. Download the app, log in with your membership information and, once again, a large and bright blue Packers-Titans matchup banner should be at the top of the screen. If you're watching on your phone or tablet, you can download the Prime Video app, log in your information and similarly click on the Packers-Titans Thursday Night Football banner.Īs for watching on TV, if you're outside the local markets, since the game's not on any conventional channels, you'll need to download the Prime Video app onto your streaming device of choice – such as a Roku, Chromecast, Apple TV or Amazon Fire stick. What channel is Packer game on today CBS. Click on that, and it'll take you to the game's home screen – and come kickoff, if you're a member, you'll be able to watch the game. 13 What NFL games are on today 14 What is Channel 32 on Spectrum 15 What time and channel is the NFL game tonight What channel is the Packer game on in spectrum Find us on Spectrum channel 32/1332 in Milwaukee and Green Bay/Appleton. If you're watching on the go – on a laptop, for instance – going to Amazon's home page shows a giant ad for the Packers-Titans game at the top. When it comes to actually finding the game, it's pretty easy. ![]() Be sure to remember to bail in time, though – because otherwise else a Prime membership is $14.99 a month and a Prime Video subscription is $8.99 a month.) Or cancel in 29 days before the trial run ends if you want to see what it's like but also you've already got enough streaming options in your life and on your bank account. (Pst! If you're not already a subscriber, there's a 30-day free trial for newbies – so feel free to sign up and then cancel shortly after tonight's game. Whether you are a Prime member or just a Prime Video subscriber, you have access to the game – but you need to be some sort of subscriber. Instead, Thursday Night Football bouts – like tonight's Green Bay-Tennessee game – can exclusively be found on Prime Video with a Prime membership. Unlike past seasons, Thursday night football games are no longer found on NFL Network, ESPN or any other normal cable or broadcast channels. ![]() If you don't live in those markets, however, you'll have to rely on. In those markets, the Packers-Titans game will be simulcast on local channels NBC26 (in Green Bay) and on FOX 6 (in Milwaukee). If you live in the Green Bay or Milwaukee markets, congratulations because tonight remains very simple for you. But to help you cheer on Green Bay tonight – because their season is still very much in tense limbo – here's where you can find Aaron Rodgers, his terrible haircut and the rest of the Packers battling it out at Lambeau on Thursday Night Football. Indeed, thanks to Amazon Prime Video getting into the live sports business and purchasing the rights to Thursday Night Football this season and beyond, watching these mid-week NFL clashes is a little more complicated than usual. If you sign up for a service by clicking one of the links, we may earn a referral fee. Newsrooms are independent of this relationship and there is no influence on news coverage.In case it wasn't strange enough watching a Packers game on a Thursday, Green Bay's critical tilt against the Tennessee Titans may not be on the usual TV channels you expect tonight. We recommend interesting sports viewing/streaming and betting opportunities. Call the National Council on Problem Gambling 24/7 at 1-800-GAMBLER. 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Magic compendium 3.59/25/2023 ![]() Later, a series of WotC web articles offered a more nuanced interpretation, and added details about the Summer and Winter Courts, complete with rivalries and intrigue. ![]() With a few exceptions.īefore 3.5, TSR had briefly debated the subject of Seelie and Unseelie fey, and did so with the usual black and white mentality: seelie are pretty and Good, unseelie are ugly and Evil. Traveler, prepare to be amazed, but also beware!īut where do fey hail from? How, if at all, are they organized? Do they have an internal hierarchy of some sort, alliances and rivalries? Do they have societies, Courts or a plane of their own? Do they grow old, and do they die when their time is up? What is it, in the end, that unifies all these widely different creatures under the type of "Fey"? As a rule, the designers were silent on the matter. Instead of defining them, they used them to define the part of nature they inhabit: if there are fey around, this grove must be old and magical and wondrous and possibly dangerous. For the most part, they are portrayed as elusive and tricky creatures living in the wilderness. Official D&D publishers never explained fully what exactly fey are and how they work. "A fey is a creature with supernatural abilities and connections to nature or to some other force or place." The word "All" is, of course, a wild exaggeration. The purpose of this Compendium is to compile All Things Fey (official and homebrew) in one place. Relevant information is scattered all over the place, and a lot of things about them remain vague. There are crueler things allowed by spells.Popular though they are, fey never got a Handbook of their own in D&D. That means you couln't summon a whale into the desert but you could call a human to the surface of the ocean, and if they can't swim that's their own damn fault. I suppose you could just have the DM rule situationally, or reinterpret the text to lallow summoning or teleportation to areas which are not IMMEDIATELY life-threatening due to basic terrain. But if water counts as an open surface capable of supporting you, what's to keep people from teleporting or conjuring creatures to the center of the ocean? But you can technically summon it onto dry land, where it will die, making you a shitty Druid. Obviously, if you use Summon Nature's Ally to summon a whale, which is on the approved list, they intended you to summon it into the water. The text was obviously intended to keep people from summoning whales above their opponent's heads, and keep people from teleporting each other into dangerous locations, but it doesn't literally do the latter. The same for air for flying creatures, I suppose. I suppose it would be a reasonable interpretation of the rules to say that water counts as a surface capable of supporting you, yes? Otherwise aquatic creatures can never make meaningful use of conjuring magic, and no one can ever use Summon Nature's Ally to get that Baleen Whale they always wanted. ![]() They did extend that to teleport spells in 3.5, and not just Calling or Summoning spells, didn't they? Which is good, in one sense, but bad in another because it actually complicates things a bit for a nautical campaign I have been kicking around. Native instruments maschine studio9/25/2023 ![]() For a while, if a musical inputting device was used, it was often a simple and affordable piano keyboard controller – far from the complexity of control and ease of workflow we’re used to today. The role of the programmer also became more prominent with many new generations of creatives crafting their music using just a mouse and computer keyboard. Alongside the evolution of more powerful and affordable home computers, the pain of a hardware recall soon became forgotten, replaced by the convenience of ‘saving all’. The start of this new era was when the accessibility of music-making started to broaden through virtualised studio environments. The sonic limitations which then became characteristics of classic sample based drum machines have been approximated in Maschine’s sampler to borrow some of that classic vibe VST plug-ins had already arrived in 1996, but coupled with VST Instruments (VSTi) in 1999, this represented a sea change in the standardised software-based studio and a move away from the costs of what were becoming perceived as dusty old hardware studio tools. Around this time, a turning point occurred, as PCs (and pricey Macintoshes) were becoming powerful enough to run modest audio/MIDI sequencing and audio recording. This would require all sound sources to be external ie, hardware drum machines, sound modules, synthesisers and samplers. ![]() Towards the late 1990s, unless you were running a Commodore Amiga as your affordable 8-bit, domestic priced sequencer and sampler, the main accessible choice for bedroom producers was an Atari ST running Cubase for MIDI sequencing. To set the scene for Maschine’s first arrival, it’s important to understand the major shifts through the 2000s. Akai’s MPC60 set the early standard for workstation design, it was later expanded and relaunched in 1994 as the MPC3000 Computer love These later hardware-based incarnations all have their own stories of success, but there was soon a major shift in music-making which happened towards the end of the 1990s that would alter the course the entire music production landscape forever. 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Chicago red stars players9/24/2023 ![]() In the 2014 National Women's Soccer League season Naeher played every minute of the season for Boston and won the Goalkeeper of the Year award as she recorded a record 106 saves in 24 games. In May 2013, Naeher signed with the Boston Breakers in the newly formed National Women's Soccer League, returning to the United States after playing two years in Germany. Naeher returned to Potsdam for the 2012/2013 season after the 2012 WPS season was suspended. She appeared in 24 matches across all competitions in the 2011/2012 season for Potsdam as they won the 2011–12 Frauen-Bundesliga. The Breakers finished second in the WPS standings but lost the Super Semifinal to the Philadelphia Independence.Īfter the 2011 WPS season concluded, Naeher transferred to German Bundesliga club Turbine Potsdam. Naeher recorded her first career shutout on August 4, 2010, against the Atlanta Beat. Naeher was selected by the Boston Breakers with the 11th overall pick in the 2010 Women's Professional Soccer draft, she was the first goalkeeper selected in the 2010 WPS draft. Club career Boston Breakers (WPS), 2010–2011 She was a First Team All-American in 20 and was named the Big 10 Defensive Player of the Year in 2007. Naeher attended Penn State from 2006 to 2009, she started 74 games during that span with a record of 50–19–5 with 24 shutouts. Naeher also was a star basketball player scoring over 2,000 points during her career. In addition to this, she was a Parade All-American and two-time NSCAA Youth All-American. She was a three-time All-State and three-time FAA All-Conference selection. Naeher attended Christian Heritage School, where she was a standout player in soccer. With the Breakers, she won the 2014 NWSL Goalkeeper of the Year award. She has also played for the Boston Breakers and Turbine Potsdam. at the 2019 FIFA Women's World Cup in France. She was on the 23-player roster for the United States at the 2015 FIFA Women's World Cup and was the starting goalkeeper for the U.S. ![]() ‡ National team caps and goals, correct as of August 6, 2023Īlyssa Michele Naeher (born April 20, 1988) is an American professional soccer player who plays as a goalkeeper for National Women's Soccer League club Chicago Red Stars and the United States women's national team. *Club domestic league appearances and goals, correct as of June 6, 2021 AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |