The MS WEFT application has a number of peculiarities to consider before using it. One is that it links to the site on which fonts are to be embedded, analyses character use & creates a sub-set for each particular domain (ie. it is encrypted to function only at the address provided.). The font is produced as a .eot file, which the tool will upload, along with modified HTML files. This of course, will require logging-on to the host server.

Alternatively, the application can be directed to a local drive for the embedding process. It will still analyse the intended site & create a character sub-set, but the .eot & modified HTML files will not be uploaded. This may be preferrable as WEFT modifies HTML by the introduction of a style block. That is, something to the effect of the following which many developers will prefer to apply via a style sheet ...

<style>
@font-face {
    font-family: Brush Script MT;
    font-style:  normal;
    font-weight: normal;
    src: url(brushc1.eot);
}
</style>

Variable properties such as font-weight may be editted as desired & the modified documents uploaded - along with the .eot file(s) - after off-line previewing. With regard to cross-browser application, it is critical to consider the relative size of font-faces. Some custom fonts are relatively small compared to the default font-faces used by browsers such as Netscape & Opera. This means that at 12 or 14 pts, rendering around the size of 10pt Tahoma on MSIE though remaining over-sized on other browsers. This is a trap that is easy to fall into, making it wise to avoid custom font-faces that cannot be read with ease by about size 10.

Customising scrollbars is one way to add a stylish edge to web pages. It can be done via CSS using the root HTML selector.
For example:

html {
    scrollbar-face-color: silver;
    scrollbar-base-color: gray;
    scrollbar-arrow-color: black;
    scrollbar-track-color: black;
    scrollbar-shadow-color: black;
    scrollbar-highlight-color: white;
    scrollbar-3dlight-color: white;
    scrollbar-darkshadow-color: black;
}

This would generate the customised scrollbar on this page. (Unless of course, you are not using MSIE). Importantly, non-MSIE clients will still see standardised bars & suspect nothing. Note the American spelling. Once again, these are not technically valid which is something code editors, validators & the like will point out.

It is possible to make document objects appear & disappear in chronological sequence. This is done with a proprietory function called time2. Time2 is applied as a CSS attribute to practically any selector, enabling text, images or even whole divisions to materialise or vanish at given times. The possibilities are limited only by imagination & of course, browser-type. On non-MSIE browsers timed objects load with the page, ensuring seamless degradation.

<style>
.time {
    behavior: url(#default#time2);
}
</style>

In the example code above, the class is named time arbitrarily. Once again, it can be applied via any valid class or ID. The function allows objects to appear & disappear according to a defined chronology. This is done by controlling variable properties. The "begin" variable times the appearance of objects in seconds after browser loading. To see it in action, refresh this browser & watch the example code below.

<div class="time" begin="4">Controlling time is fun!!</div>

A second variable called "dur" controls duration of a timed object's appearance. Like "begin", the "dur" variable is measured in seconds, after which time the object will vanish. Again, refresh your browser whilst watching the space below.

<span class="time" begin="2" dur="2">Now you see me!!</span>

<span class="time" begin="4" dur="2">Now you don't!!</span>

<span class="time" begin="2" dur="2">Now you see me!!</span>
<span class="time" begin="4" dur="2">Now you don't!!</span>

Perhaps the most useful application of the function is making objects appear in the same place, at different times. Once again, refresh your browser to see the following code in action.

<img src="images/13.jpg" style="position: absolute; top: 200; left 400; border: black solid 1px;" class="time" begin="1" dur="1" /> <img src="images/14.jpg" style="position: absolute; top: 200; left 400; border: black solid 1px;" class="time" begin="2" dur="1" /> <img src="images/15.jpg" style="position: absolute; top: 200; left 400; border: black solid 1px;" class="time" begin="3" />

The CSS Opacity Filter is an excellent tool for creating subtle, but dynamic web effects.

<style>
div.transOFF {
    width: 100%;
    background-color: white;
    border:1px solid black;
}
div.transON {
    width: 100%;
    background-color: white;
    opacity:.50;
    filter: alpha(opacity=50); -moz-opacity: 0.5;
    border:1px solid black;
}
div.trans25 {
    width: 100%;
    background-color: white;
    opacity:.25;
    filter: alpha(opacity=25); -moz-opacity: 0.25;
    border:1px solid black;
}
div.trans75 {
    width: 100%;
    background-color: white;
    opacity:.75;
    filter: alpha(opacity=75); -moz-opacity: 0.75;
    border:1px solid black;
}

</style>
<div class="transOFF" onmouseover="this.className='transON'"
onmouseout="this.className='transOFF'">
<p style="padding:5px;width:75%;">
Place cursor here. The Opacity Filter is not a MS proprietary function &
therefore works in Mozilla, MSIE & latest Opera releases. It can be applied
to practically any Selector.</p></div>

Condell Park & Auburn agencies share a seperate index due to an alternate tipping comp. The Racing menu could be incorporated with Sports Info. as changes to RaceTAB.com.au have rendered links practically useless. This needs to be discussed along with development of the training site. The JavaScript engine behind the central menu is not supported by MSIE 5 or earlier.

Unitext cards require an ISA slot, which do not appear in IBM-compatibles newer than P2. Pelican Electronic Developments - a division of Captive Data - produces the cards & supports them through its site. Most information is quite technical whilst remaining generally vague on the specifics of TABText. The card will not auto-tune until hardware resources are configured & doing this incorrectly may create conflicts; potentially rendering components & peripherals like the keyboard, useless. Other local machines should be accessed to copy IRQ Interupts, Capture Ranges etc., plus channel frequencies though auto-tuning will locate these. Additionally, AusText can be captured if desired. An option also exists to use .bmp slides rather than the standard TABText screensaver. In most instances this will be a SportsTAB logo which is actually obsolete. Agency-specific .bmp files can be readily created to replace old slides, whilst an updated example is in the pipeline.

The site requires product macros presently dynamically in relation to a catalogue. Perhaps a single page/IFrame arrangement linked to a database. This would enable smaller pages to be built for product categories, from which macros will be called. The exact construction will require experimentation though it should be easily possible to avoid a Frameset. An e-commerce facility is under consideration, especially with regard to retailing gift baskets. Xmas decoration is due.

With the basic Ajax engine installed, magazine-style sub-pages will be built for product categories. This should provide an excellent context for the MS time2 function & W3C Opacity filter.

In photography, the term ISO refers to the speed of negative materials. Previously, this was known as ASA. Like many photographic concepts, this variable concerns the interaction of light with the camera (particularly, the sensitivity of film or digital sensors to exposure). "Faster" or higher ISO film allows shorter exposures (faster shutter-speeds) though there is a trade-off as faster film also produces grainier pictures.

Digital cameras of course, do not use film & instead feature electronically-controlled ISO equivalents. Once again, a trade-off exists between ISO & the Signal to Noise Ratio (S/N)* of the digital sensor.

In simple terms, an aperture is a hole of adjustable diameter that is used to control the angle of light flowing through a lens. The angle of light-rays meeting at a camera's image plane defines Depth of Field (DoF). Restricting aperture also reduces the volume of light reaching the film or digital sensor, requiring the exposure to be compensated through shutter-speed.

Aperture size is expressed as a Focal Ratio or ƒ-Number, which is its diameter relative to the focal length of the lens. Aperture ranges are often included in lens specifications, the smaller ƒ-number being the larger aperture. The maximum aperture is called Lens Speed. Fast Lenses (> ƒ/1.0) are favoured by professionals & occassionally, film-makers. Stanley Kubrik's film Barry Lyndon for example, was shot with the largest aperture in cinema history (ƒ/0.7). Fast lenses sometimes have fixed focal-lengths & are known as Prime Lenses. Zoom lenses normally feature a variable relative aperture (maximum ƒ/2.8 to ƒ/6.3), though high-end models will be a constant ƒ/2.8 through their range.

The ƒ-number ƒ/# - often notated as N - is given by ... where ƒ is the focal length & D is diameter. By convention, ƒ/# is treated as a single symbol & specific values of ƒ/# are written by replacing the number sign with the value. For example, if the focal length is 16 times the diameter, the ƒ-number is ƒ/16 or N = 16. The greater the ƒ-number, the less light per unit area reaches the image plane of the system.

On a sunny day, an aperture of ƒ/16 & a shutter speed close to the ISO inversed, will result in a generally balanced exposure. For example, an aperture of ƒ/16, ISO 100 & a shutter speed of 1/100 meets what is called the Sunny 16 Rule. This rule is approximate as all lenses - particularly zoom models - absorb light in themselves. Some lenses feature a T (transmission) function than compensates for this through calibration to ƒ-stop equivalents in an ideal, non light-absorbing lens.

Whilst DOF increases with ƒ-number, aperture also affects image quality; depending on the lens or more particularly, the materials used in its manufacture. The sharpest images are found between ƒ/5.6 & ƒ/8 in standard, modern lenses. In older lenses, ƒ11 gives the sharpest pictures. The aperture of the human eye incidently, varies approximately from ƒ/8.3 in bright light to ƒ/2.1 in darkness.

Standard Shutter Stops 1/8000 s 1/4000 s 1/2000 s 1/1000 s 1/500 s 1/250 s 1/125 s 1/60 s 1/30 s 1/15 s 1/8 s 1/4 s 1/2 s 1 s Bulb (shutter remains open until released) T (shutter remains open until 2nd release)

Shutter speed is the second parameter concerning light reaching the film or capture device. Naturally, the variable concerned is time which affects exposure quite differently than aperture size. This is because of motion. Shutter speed is measured in seconds of exposure time. High shutter speeds freeze moving subjects, whilst slower speeds allow movements to blur. Shutter speed calibrations are standardised 2:1 like aperture F-stops, so that opening aperture & increasing shutter speed by equal stops, will result in consistent exposures.

Stillness of the camera becomes a consideration at low shutter speeds. For handheld shots, a rule of thumb is that the lowest safe shutter speed is inversely closest to the lens focal length. For example, the lowest safe speed for a 35mm camera with a 50mm lens, is 1/60 s. For slower shots, a tripod would be necessary.

The three common types of lenses are: Normal, Wide-angle & Telephoto. Normal lenses approximate how we see the subject before us. The subject doesn't change in size, nor is distorted in any way. This occurs when the focal length of the lens is equal to the diagonally measured width of the film frame or capture device. For example, for a 35 mm camera the normal lens adopted by most manufacturers is 50 mm.

A lens of focal length 35 mm or less is considered wide-angle. Common wide-angle lenses for a 35 mm camera are 35, 28, 24, 20, 17 & 14 mm. Extreme wide-angle lenses are known as Fisheye lenses. Common focal lengths for these in a 35 mm camera are 6 to 8 mm (which produce a circular, rather than rectangular image).

A regular lens with a focal length longer than normal is not necessarily a telephoto lens. Importantly, a telephoto lens has a focal length that projects its optical centre beyond the camera, such that the entire lens assembly lays between the optical centre & the focal plane.

Wide-angle & telephoto lenses are distinguished by focusing distance & Angle of View.

Direction of light can have a dramatic effect on how a given subject appears. Along with an understanding of light intensity, it is possible to wash out highlights, throw whole areas of a subject into deep shadow or emphasis specific details.

Front Lighting produces flatness which, though shows much detail, provides little shape contrast as there is no strong shadow. Top Lighting highlights upper surfaces, shadows being cast downward. Side Lighting creates shadows on one side of a subject & emphasises the solidness of 3-D shapes. Side lighting can also be very effective in highlighting textural detail. Back Lighting picks up edges from behind but the subject remains cast in shadow. This can be dramatic & is popular as a theatrical technique in rock videos & the like. Bottom Lighting is rarely encountered in nature (usually only as a reflection from water) & can provide a mystical or supernatural effect.

High key photography concentrates on lighter tones, using subject matter that is white or pale. This is normally combined with flat lighting to avoid shadows, though deliberate over-exposing can be part of the technique. High key is often used to convey delicate, feminine intentions or atmospheric brilliance. Most high key pictures contain balancing areas of darker tones to avoiding it appearing too washed out or insipid.

Low key pictures concentrate on darker tones, often conveying an atmosphere of tension or strength. This is sometimes used for male portraits, though more often a fuller tonal range with hard lighting is used. Although low key often uses high contrast lighting, most of the subject is likely to be in shadow, with relatively small areas brightly lit.

The Super Paxette is a manual 35mm film camera, manufactured in Germany c.1958 - 1962. The original User's Guide is reproduced below, including a list of warnings added by the Australian supplier.

The Super Paxette camera, made by Carl Braun of Nuremberg, is a first class product that reflects the skill & care of the operatives behind its manufacture & also the modern quality of the plant itself. This booklet describes the Super Paxette in detail & should be carefully studied before handling the camera. The Super Paxette will prove a constant friend & pleasant companion at all times.

First of all make yourself thoroughly familiar with the various parts of the camera & before inserting a film, go over the necessary options several times. Good snapshots can only be acheived if your Super Paxette is always ready for instant action.

Rewind Push Button Acessories Shoe with Exposure Counter Rapid Winder Window of Coupled View & Range Finder Shutter Speed Setting Ring Socket for Cable Release Shutter Release Lever Focusing Ring Coupled with View & Range Finder Camera Backing Lock with ¼" Tripod Bush Rewind Knob with Film Speed Reminder Window of Coupled View & Range Finder Depth Of Field Ring Flash Contact MXV Adjustment Aperture Setting

How to Open the Camera

Release the milled locking ring on the camera base by turning it to the left. The back of the camera can then be slid off.

How to Insert the Film

Insert the film cassette into the film chamber so that it engages in the rewind knob. Open the film pressure plate & draw out the trimmed end of the film far enough to be inserted into the slot of the take-up spool. At the same time esnure that the lug on the take up spool hooks into the preforation in the film. Now wind the lower wheel of the empty spool until both sockets engage in the preforations of the film; it is also advisable to depress the fim rewind button at the same time. Lastly, swing the film pressure plate back into the closed position & close the camera.

Important: Avoid direct sunlight when loading or unloading the camera. Turn your back to the light & hold the camera in your own shadow.

How to Close the Camera

To close the camera the back should be inserted between the camera housing & the front plate & the locking ring tightened.

The Exposure Counter

The exposure counter reads backwards from 36 to 1, indicating each time the number of unexposed frames still available. After the film has been inserted & camera closed, set the counter at the red dot near the figure 36 by turning the toothed wheel which is positioned just below the maker's name. Advance the film twice (each time advancing the rapid wind lever 1½ times until a definite resistance is felt), & the film counter should then read 36.

The Rapid Winder

The shutter winding mechanism, film transport & film counter are coupled by means of the rapid wind lever. Advance the lever as far as possible, then release it, allowing it to spring back; then advance it approximately half way until a noticeable resistance is felt. The film is now transported, the shutter cocked, the exposure counter correctly set & your Super Paxette is ready for the next shot.

Loading & Unloading Drill Loading the Super Paxette Open the camera Insert film cassette Attach film to take up spool Set the exposure counter Advance the rapid rewind lever twice The camera is ready for the first shot Unloading the Super Paxette Press down rewind button Pull out rewind knob as far as it will go Turn rewind knob in direction of arrow Wind the entire film into cassette Open the camera Take out the cassette

How to Unload the Camera

When the exposure counter shows figure 1, this means the entire length of film has been exposed.

To wind back the film, press the rewind push button, then pull out the rewind knob as far as it will go & turn in the direction of the arrow. Just before the rewinding operation is completed, a more marked resistance will be noticeable indicating that the end of the film is still held by the take up spool. A few more turns will wind the film completely into the cassette. The camera can then be opened & the film changed.

Important: The rewind button must remain depressed throughout the rewinding operation.

Checking the Film Transport

In order to ensure that the film transport is functioning correctly, pull up the rewind knob as far as it will go. If the film is moving forward properly, the rewind knob will turn in the direction opposite to that indicated by the arrow when the rapid winder is advanced.

Important: This check should be made for a short time only. After checking, push the rewind knob in again.

Checking the Rewind

To check the rewinding action, release the locking stud during the rewinding operation. If the mechanism is functioning properly avery definite resistance will be noticeable. If no resistance is felt, this means that the film has been pulled out of the cassette & cannot be wound back. This fault can only be remedied by opening the camera in a darkroom.

Important: Do not attempt to force the film or the preforation of the fim will tear. When continuing to rewind, press in the locking stud.

The Coupled View & Range Finder

The coupled view & range finder of the Super Paxette does not only give the frame of the picture but also the range finder image which is visible as a light circular area in the centre of the field. By turning the focusing ring on the lens the exact distance to the subject can be measured & is automatically set.

Attention: All interchangeable lenses for the Super Paxette are coupled to the range finder.

How to Use the Range Finder

In the middle of the light circular area you will see a double image of the subject sighted. By turning the focusing ring these two contours should be made to coincide; in this way the exact distance to the subject is established & the lens focused.

The Film Speed Reminder

In order to avoid errors when choosing aperture & shutter speed, set the film speed indicator to the speed of the film used as the latter is inserted into the camera.

Exposure Time

The shutter is set by bringing the red mark on the milled ring of the shutter into register with the desired speed engraved on the collar of the shutter housing.

The Lens Diaphragm

The lens aperture or diaphragm is set by means of the front ring on the lens. Bring the red dot into register with the black line at whatever setting is required.

Note: The smaller the aperture number, the more light is admitted, but the more light limited is depth of field. The larger the aperture number, the less light passes, but greater is the depth of field. For example, ƒ/2.8 passes more light than ƒ/16, but the depth of field is much less.

The Delayed Action Release

With the Prontor SVS shutter, put the lever at the green setting "V". The delayed action release can be set either before or after the shutter is cocked.

Attention! When the setting "V" is used, the shutter setting time B cannot be used

Depth of Field Ring

The depth of field or depth of definition comprises the zone from the foreground to the background of the picture which is sharply defined in the reproduced image. This area or depth varies according to the aperture chosen, that is to say, a large aperture (ƒ/2.8) gives less depth of field & a small aperture (ƒ/16) gives a greater depth of field.

With the Super Paxette the depth of field for every photograph can be easily read off the depth of field ring which is between the focusing ring on the lens & the shutter speed setting ring; this repeats on the left & on the right of ƒ/2.8 to mark the full range of apertures.

Changing the Lens

The lens should be screwed firmly home into the lens panel in a clockwise direction. If correctly screwed in, the central dot on the red engraved depth of field scale should be just below the engraving "SUPER-PAXETTE". Remove the lens by unscrewing it in the opposite direction. When unscrewing the lenses in & out they should be held by the knurled fixed ring bearing the depth of field scale.

The Attachable View Finder

Without mask this view finder gives the exact framing of the picture when using the wide angle lens of 38mm focal length. The mask must be used for long focus lenses of 85 & 90mm. For the 135mm tele-lens an additional mask is necessary, which is supplied together with the lens.Furthermore these focal lengths are engraved on the bottom edge of the view finder & on the mask.

For High Demands!

Ask your photodealer for the Universal Prismatic view finder of Steinheil or for the Polyfocus Universal view finder which give you the exact images for all focal lengths.

Taking a Picture

The Super Paxette should be held firmly in both hands with the rounded bottom edge resting in the palms of the hands. When the shutter is released hold the camera steady with the left hand.

Release the shutter gently & deliberately without jerking it, moving the middle finger only & not the whole hand. Allow the finger to rest on the release lever until the release action is completed. Remain perfectly still & composed whilst taking a picture, especially when taking snapshots. If you follow these rules you will be delighted with the excellent results achieved.

Flash Synchronisation for the Prontor SVS shutter

The new Gauthier shutter Prontor SVS is fully synchronised for flash & enables you to set the lever in any desired position, before & after cocking the shutter.

Three settings are possible:

• Setting M
  In this position, the M-type flash lamps are ignited with shutter speeds of 1/50sec. to 1/300sec. Setting M cannot be used for electronic flashes. The delayed action release does not work. If no flash-gun is attached the shutter operates normally.
• Setting X
  In this position electronic flash shots can be taken at any shutter speed. For flash lamps, only shutter speeds of 1/25 second can be used. The delayed action release does not work. If no flash unit is attached the shutter operates normally.
• Setting V
  This position is used if you want to work with the delayed action release. For flash shots the same conditions apply as for position X.

Accessories for the Super Paxette

Interchangeable lenses coupled to the range finder:

• Wide angle lens Choro ƒ3.5/38
• Wide angle lens Westron ƒ3.5/35
• Long focus lens Telexon ƒf5.6/85
• Long focus lens Quinar ƒf3.5/85
• Long focus lens Telenar ƒf3.8/90
• Long focus lens Ennaston ƒf3.5/135

Prismatic View Finder made by Steinheil for focal length 38, 85/90 & 135mm with parallax compensation.

TEWE-Polyfocus Universal View Finder for focal lengths 35/38, 45/50, 85/90 & 135mm with parallax compensation.

Optical view finder for 38mm with mask for 85/90 & 135mm.

Paximat 35mm Slide Projektor with rapid slide changer. Amazingly simple to handle

Branax 35mm Enlarger can be used for reproduction & macro photography in conjunction with ground glass adaptor, intermediate rings & repro lens

Paxitron Home Flash works without dry or wet batteries & takes it energy directly from the mains. Guide number 44 for 17/10 DIN = 40 ASA films. Light output approx. 80-90 W/sec.

Pico Electric attachable exposure meter masters all exposure problems. Ranging from 15 sec. - 1/1000 sec.

Eveready & combi-cases - filters & filtersets - sunshades

The right for change of construction due to improvement is reserved herewith.

Warnings:

1. To assure the lifetime service of the shutter: First set the speed, Then transport the film (which also cocks the shutter). Then, if wanted, set the self-timer. This order of procedure will assure that the film will not wrinkle in consequences of changes in temperature.
2. When re-winding the film, press the clutch properly & never use force. You may not only tear the film but severly damage the mechanism.
3. If you have a Paxette I or a Paxette I M with fixed lens, do not try to unscrew the lens. It is not meant to be unscrewed - you may break the mount.

Repairs which should be necessary due to non-observance of these warnings &/or of those mentioned in the Instruction Book, will be charged.

There are two distinct stages in podcast production, each of which is a broad field in itself. The first stage involves gathering, recording & editting audio resources to compose the podcast. The second stage involves employing .html & .xml in order to publish & brodcast the podcast via the internet.

There is a variety of tools & other resources available to podcasters - some free, some not - that whilst making the task more feasible, require a modicum of understanding for effective use.

• Create Podcasts Using Your PC, from O’Reilly Windows Dev Center
• Podcast Publishing Applications

• Opinion Polls re: 50-50 Parenting
• Personal Safety Survey 2005, ABS *
• "Australian Safety Survey Kills Feminist Distortions"
• "Call for Compulsory DNA Testing in Family Law Cases", ABC Radio transcript/.mp3
• "Ways of Knowing About Domestic Violence", Susan Evans UWS 2003

* The Preamble notes attempts by the Domestic Violence Clearinghouse & the University of New South Wales to bias results by submitting data relating exclusively to women. The survey authors were forced to gather men's data themselves.

#1/usr/bin/Perl

• VegWeb.com
• Susan's Vegetarian Bookmarks
• Vegetarian/Vegan Society of Queensland
• Vegetarian Network of Victoria