Friday, 15 August 2014
The second most popular type of modeling is runway. Runway modeling is the art of walking down the runway like a cat, like a slinky sexy cat that cannot be interrupted. The best runway models have an air of confidence and indifference that cannot be matched. These gorgeous women walk effortlessly, slowly and like they have no-where-to-go-that-should-be-of-any-interest-to-you-attitude. Yet they can sell clothes. Watch Style on Cnn or E TV on Saturdays and you can see these marvelous models in action.
Women: Minimum of 5'9 (but preferably 5'10) up to 6'1. You must wear a size 2-4-6, you must have nice skin, and a well toned healthy body, great teeth and a great way of moving down the runway with grace, style, confidence and attitude.
Men: 6' to 6'2, your suit size must be 38-44Regular. You should have good skin, great smile, a well toned buff body. You must be able to move on the runway with ease, confidence and attitude.
Learning the correct way to carry yourself on a runway is essential for all runway models. It takes many hours of practice to perfect the style needed for a successful career in runway modeling. Your model's walk could make or break your career. Carrying yourself with a look of confidence will be to your advantage when dealing in any area of the modeling profession. If you project a professional look and attitude the client will treat you with respect and more than likely book you for the assignment.
On the runway it is important to be smooth, graceful and light on your feet. Place one foot in front of the other with care. You should not bounce, waddle or lose your balance. Your body should be slanted slightly backward with your shoulders relaxed. Your hipbones should be parallel to the floor and knees slightly bent. Your arms should usually be down at your sides in a relaxed manner. When walking, you should not swing your arms any further than your body. Your hands and finger's should be held with grace. If you place your hands on your hips, make sure that your thumbs are pointing forward and your fingers are held together pointing back. If your arms are held out, be sure you're your fingers are held in a " mannequin" style.
Your turns should be performed with the utmost care. They should be smooth and poised. Remember, choppiness cannot be accepted. If you cannot complete a good turn without stopping, losing your balance, being graceful or spotting (which helps you keep your balance), you may not want to choose a career in runway modeling. It is the turn that shows the clothing. If you cannot make outfits look great; no client for any fashion show will book you. You should practice your turns regularly. (Dance classes are helpful for coordination and gracefulness.)
Eye contact is extremely important in runway modeling. When you look people in the eye, you involve them in the show. While doing this, you become less distant and begin to develop a rapport with the audience. If the people like you , they will like the clothes and they will buy. Then you will be in a very good position with the client. It is essential to arrive fully equipped to all fashion shows. Not every client will supply the models with everything they will need. Always ask what is provided and what is not.
Women: Minimum of 5'9 (but preferably 5'10) up to 6'1. You must wear a size 2-4-6, you must have nice skin, and a well toned healthy body, great teeth and a great way of moving down the runway with grace, style, confidence and attitude.
Men: 6' to 6'2, your suit size must be 38-44Regular. You should have good skin, great smile, a well toned buff body. You must be able to move on the runway with ease, confidence and attitude.
Learning the correct way to carry yourself on a runway is essential for all runway models. It takes many hours of practice to perfect the style needed for a successful career in runway modeling. Your model's walk could make or break your career. Carrying yourself with a look of confidence will be to your advantage when dealing in any area of the modeling profession. If you project a professional look and attitude the client will treat you with respect and more than likely book you for the assignment.
On the runway it is important to be smooth, graceful and light on your feet. Place one foot in front of the other with care. You should not bounce, waddle or lose your balance. Your body should be slanted slightly backward with your shoulders relaxed. Your hipbones should be parallel to the floor and knees slightly bent. Your arms should usually be down at your sides in a relaxed manner. When walking, you should not swing your arms any further than your body. Your hands and finger's should be held with grace. If you place your hands on your hips, make sure that your thumbs are pointing forward and your fingers are held together pointing back. If your arms are held out, be sure you're your fingers are held in a " mannequin" style.
Your turns should be performed with the utmost care. They should be smooth and poised. Remember, choppiness cannot be accepted. If you cannot complete a good turn without stopping, losing your balance, being graceful or spotting (which helps you keep your balance), you may not want to choose a career in runway modeling. It is the turn that shows the clothing. If you cannot make outfits look great; no client for any fashion show will book you. You should practice your turns regularly. (Dance classes are helpful for coordination and gracefulness.)
Eye contact is extremely important in runway modeling. When you look people in the eye, you involve them in the show. While doing this, you become less distant and begin to develop a rapport with the audience. If the people like you , they will like the clothes and they will buy. Then you will be in a very good position with the client. It is essential to arrive fully equipped to all fashion shows. Not every client will supply the models with everything they will need. Always ask what is provided and what is not.
Cinematographers, or Directors of Photography, occupy a central role in providing a film or TV show with a unique tone and visual context while capturing unique shots that stay in the minds of viewers for years. As the legendary filmmaker Nicolas Roeg once said, “You make the movie through the cinematography – it sounds like quite a simple idea, but it was a huge revelation to me.”
So what exactly does a cinematographer do? Cinematography is the art and craft of translating a story into images. To perform such a task, the cinematographer is required to master several different practices: materializing images with cameras, lenses, and lights; understanding both story as a concept and “the story” of the particular project as expressed by the director; and understanding how filmed images work together to deliver a story in ways that a novel, spoken word, or live performance cannot.
Of course, there is no shortage of cameras that a cinematographer might choose to use, and to that extent, students in the School of Cinematography get hands-on experience with a variety of formats and cameras, including Hi-Def, 16mm film, 35mm film, the Red Epic digital video camera, and HDSLR’s. Students enrolling in our Cinematography School not only get hands-on experience with a vast array of cameras, they also learn how cameras work and what each camera can achieve.
Central to becoming a successful, in-demand cinematographer is the development of one’s own unique voice and style behind the camera. While a cinematographer often develops a singular aesthetic that makes his or her work immediately recognizable, one must also focus on meeting the technical and creative demands of the director. A cinematographer is at once responsible for maintaining the technical aspects of shots, while simultaneously working to deliver images that fulfill the director’s aesthetic and creative vision. The cinematographer serves as the director’s main visual collaborator and as a result oversees every shot of a production. Furthermore, our Cinematography School aims to shape aspiring cinematographers into well-rounded Directors of Photography who are able to both film the scenes as the director envisions while also being able to inject their own style and ingenuity.
One cinematography challenge is to get the desired shot in the best and most effective way possible. As such, our School of Cinematography focuses on immersing students in the many nuances involved in setting up a shot, operating a camera, and effectively working with a film crew. One of the primary aspects that sets the Academy’s Cinematography School apart is our philosophy of learning by doing. Students can expect to shoot at least eight projects, while also serving on the crew of dozens of other productions as camera assistants, focus pullers, gaffers, and key grips, providing them with copious on-set experience that will translate to a successful professional career.
Students should expect to supplement their on-set education with extensive in-class instruction to familiarize them with the lexicon of cinematography, in addition to learning to work with a wide breadth of film stock, lenses, filters, depth of field, aspect ratio and framing, lighting, and camera movement. In short, our School of Cinematography provides the best real world education to help train a new generation of successful cinematographers.
At this stage, the soap still contains too much water, which has to be removed. This was traditionally done on chill rolls, which produced the soap flakes commonly used in the 1940s and 1950s. This process was superseded by spray dryers and then by vacuum dryers.
The dry soap (about 6–12% moisture) is then compacted into small pellets or noodles. These pellets or noodles are then ready for soap finishing, the process of converting raw soap pellets into a saleable product, usually bars.
Soap pellets are combined with fragrances and other materials and blended to homogeneity in an amalgamator (mixer). The mass is then discharged from the mixer into a refiner, which, by means of an drill, forces the soap through a fine wire screen. From the refiner, the soap passes over a roller mill (French milling or hard milling) in a manner similar to calendering paper or plastic or to making chocolate liquor. The soap is then passed through one or more additional refiners to further plasticize the soap mass. Immediately before extrusion, the mass is passed through a vacuum chamber to remove any trapped air. It is then extruded into a long log or blank, cut to convenient lengths, passed through a metal detector, and then stamped into shape in refrigerated tools. The pressed bars are packaged in many ways.
Sand or pumice may be added to produce a scouring soap. The scouring agents serve to remove dead cells from the skin surface being cleaned. This process is called exfoliation. Many newer materials that are effective, yet do not have the sharp edges and poor particle size distribution of pumice, are used for exfoliating soaps.
Nanoscopic metals are commonly added to certain soaps specifically for both colouration and antibacterial properties. Titanium dioxide powder is commonly used in extreme “white” soaps for these purposes; nickel, aluminium, and silver compounds are less commonly used. These metals exhibit an oligodynamic effect when in contact with bacteria, thereby disrupting their functioning and killing them. Since some of the metal is left behind on the skin and in the pores, the benefit can also extend beyond the actual time of washing, helping reduce bacterial contamination and reducing potential odours from bacteria on the skin surface.
The industrial production of soap involves continuous processes, such as continuous addition of fat and removal of product. Smaller-scale production involves the traditional batch processes. The three variations are: the 'cold process', wherein the reaction takes place substantially at room temperature, the 'semiboiled' or 'hot process', wherein the reaction takes place near the boiling point, and the 'fully boiled process', wherein the reactants are boiled at least once and the glycerol is recovered. There are two types of 'semiboiled' hot process methods. The first is the ITMHP (in the mold hot process)and the second is the CPHP (crockpot hot process). Typically soapmakers choose the hot process methods if they wish to reduce the cure time to a three-day air dry process. Most soapmakers, however, continue to prefer the cold process method. The cold process and hot process (semiboiled) are the simplest and typically used by small artisans and hobbyists producing handmade decorative soaps. The glycerine remains in the soap and the reaction continues for many days after the soap is poured into moulds. The glycerine is left during the hot-process method, but at the high temperature employed, the reaction is practically completed in the kettle, before the soap is poured into moulds. This simple and quick process is employed in small factories all over the world.
Handmade soap from the cold process also differs from industrially made soap in that an excess of fat is used, beyond that needed to consume the alkali (in a cold-pour process, this excess fat is called “superfatting”), and the glycerine left in acts as a moisturizing agent. However, the glycerine also makes the soap softer and less resistant to becoming “mushy” if left wet. Since it is better to add too much oil and have left-over fat, than to add too much lye and have left-over lye, soap produced from the hot process also contains left-over glycerine and its concomitant pros and cons. Further addition of glycerine and processing of this soap produces glycerin soap. Superfatted soap is more skin-friendly than one without extra fat. However, if too much fat is added, it can leave a “greasy” feel to the skin. Sometimes, an emollient additive, such as jojoba oil or shea butter, is added “at trace” (i.e., the point at which the saponification process is sufficiently advanced that the soap has begun to thicken in the cold process method) in the belief that nearly all the lye will be spent and it will escape saponification and remain intact. In the case of hot-process soap, an emollient may be added after the initial oils have saponified so they remain unreacted in the finished soap. Superfatting can also be accomplished through a process known as “lye discount” in which the soap maker uses less alkali than required instead of adding extra fats.
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Fish Farming Technology
Fish farming is the principal form of aquaculture, while other methods may fall under mariculture. Fish farming involves raising fish commercially in tanks or enclosures, usually for food. A facility that releases juvenile fish into the wild for recreational fishing or to supplement a species' natural numbers is generally referred to as a fish hatchery. Worldwide, the most important fish species used in fish farming are carp, salmon, tilapia and catfish.
There is an increasing demand for fish and fish protein, which has resulted in widespread over fishing in wild fisheries. Fish farming offers fish marketers another source. However, farming carnivorous fish, such as salmon, does not always reduce pressure on wild fisheries, since carnivorous farmed fish are usually fed fishmeal and fish oil extracted from wild forage fish.
Fish feed making
Catfish feeds have generally been based on a fixed formula with little use of a least-cost approach as is used in other animal industries. To use a least-cost computer program to formulate feeds, manufacturers must know the cost of feed ingredients, the nutrient concentrations in feedstuffs, nutrient requirements and nutrient availability from feedstuffs, and nutritional and nonnutritional restrictions.
Use of least-cost feed formulation is limited because we don’t know much about the nutrient levels that bring maximum profit in relation to levels that result in best weight gain, we can’t store large number of different ingredients at the feed mills, and getting a wide assortment of feedstuffs on a timely basis is a problem. But we can use a simple application of least-cost feed formulation used to formulate catfish feeds. Here are some examples of restrictions placed on nutrients and feed ingredients for least-cost formulation of catfish feeds.
Poultry Management
Management of egg producing hens
The housing and management of layer hens can be carried out using one of two methods, caged layer production or floor production. Use of either method can keep the hens in production throughout the year if proper environmental and nutritional needs are met.
The poultry house should be located away from other farm structures. The ground should allow good water drainage. Adequate light fixtures are needed to provide proper light intensity. Adequate light is present if the water and feed levels in the troughs can be seen after allowing enough time for your eyes to adjust to the dim lighting. Fresh, clean water should be available at all times.
The house should allow for plenty of ventilation and sunlight. Place 1 inch, poultry wire netting over all openings to separate the hens from other birds and animals, both wild and domestic. Removable curtains or doors are recommended so the openings can be opened or closed as the weather changes. Keep the house dry and comfortable by ventilating from all sides in the summer and closing most openings in winter.
The caged layer production method consists of placing the hens in wire cages with feed and water being provided to each cage. The birds are housed at a capacity of two to three hens in each cage, which measures approximately 12"x16"18". The cages are arranged in rows which are placed on leg supports or suspended from the ceiling so the floors of the cages are about 2 to 3 feet above the ground. Water is supplied by individual cup waterers or a long trough outside the cages that extends the length of the row of cages. The feed trough is also located outside the cages and runs parallel to the water trough on the opposite side of each cage. The cages are designed so the eggs will roll out of the cage to a holding area by means of a slanted wire floor. This method of housing is used primarily with egg-type layers kept for infertile egg production.
Poultry Feed Making Technology
Poultry feed is food for farm poultry, including chickens, ducks, geese and other domestic birds. Feed for poultry mostly consists of grain. A portion of commercial feed, typically around a quarter, is known as bulk and is indigestible. The amount of bulk is referred to as bulk density. The quantity of feed, and the nutritional requirements of the feed, depend on the weight and the age of the poultry as well as the season. Healthy poultry require a sufficient amount of protein and carbohydrates, along with the necessary vitamins, dietary minerals, and an adequate supply of water. Certain diets also require the use of grit, tiny rocks such as pieces of granite, in the feed. Grit aids in digestion by grinding food as it passes through the gizzard. Grit is not needed if commercial feed is used.
The feed must remain clean and dry; contaminated feed can infect poultry. Damp feed encourages fungal growth. Mycotoxin poisoning, as an example, is "one of the most common and certainly most under-reported causes of toxicoses in poultry". Diseases can be avoided with proper maintenance of the feed and feeder. A feeder is the device that supplies the feed to the poultry. For privately raised chickens, or chickens as pets, feed can be delivered through jar, trough or tube feeders. The use of poultry feed can also be supplemented with food found through foraging. In industrial agriculture, machinery is used to automate the feeding process, reducing the cost and increasing the scale of farming. For commercial poultry farming, feed serves as the largest cost of the operation.
Snail Rearing Technology
Snail is a common name that is applied most often to land snails, terrestrial pulmonate gastropod molluscs. However, the common name "snail" is also applied to most of the members of the molluscan class Gastropoda that have a coiled shell that is large enough for the animal to retract completely into. When the word "snail" is used in this most general sense, it includes not just land snails but also thousands of species of sea snails and freshwater snails.
Occasionally a few other molluscs that are not actually gastropods, such as the Monoplacophora, which superficially resemble small limpets, may also informally be referred to as "snails".
Snail-like animals that naturally lack a shell, or have only an internal shell, are usually called slugs, and land snails that have only a very small shell (that they cannot retract into) are often called semislugs.
Irrigation Farming Technology
Irrigation is the artificial application of water to the land or soil. It is used to assist in the growing of agricultural crops, maintenance of landscapes, and revegetation of disturbed soils in dry areas and during periods of inadequate rainfall. Additionally, irrigation also has a few other uses in crop production, which include protecting plants against frost, suppressing weed growth in grain fields and preventing soil consolidation. In contrast, agriculture that relies only on direct rainfall is referred to as rain-fed or dryland farming.
Irrigation systems are also used for dust suppression, disposal of sewage, and in mining. Irrigation is often studied together with drainage, which is the natural or artificial removal of surface and sub-surface water from a given area.
Organic Fertilizer Production
Organic fertilizers are fertilizers derived from animal matter or vegetable matter. (e.g. compost, manure). In contrast, the majority of fertilizers are extracted from minerals (e.g., phosphate rock) or produced industrially (e.g., ammonia). Naturally occurring organic matter|organic fertilizers include animal wastes from meat processing, peat, manure, slurry, and guano.
Seed and Seedling
Once the seedling starts to photosynthesize, it is no longer dependent on the seed's energy reserves. The apical meristems start growing and give rise to the root and shoot. The first "true" leaves expand and can often be distinguished from the round cotyledons through their species-dependent distinct shapes. While the plant is growing and developing additional leaves, the cotyledons eventually senesce and fall off. Seedling growth is also affected by mechanical stimulation, such as by wind or other forms of physical contact, through a process called thigmomorphogenesis.
Vegetable Oil Processing
A vegetable oil is a triglyceride extracted from a plant. Such oils have been part of human culture for millennia. The term "vegetable oil" can be narrowly defined as referring only to plant oils that are liquid at room temperature, or broadly defined without regard to a substance's state of matterat a given temperature. For this reason, vegetable oils that are solid at room temperature are sometimes called vegetable fats. Vegetable oils are composed of triglycerides, as contrasted with waxes which lack glycerin in their structure. Although many plant parts may yield oil, in commercial practice, oil is extracted primarily from seeds.
Corn Meal Processing
The maize milling process starts with cleaning the grain and is usually followed by conditioning the maize (dampening the maize with water and then allowing it to condition for some time in a bin)
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