Thursday, September 06, 2007
This was 1993. A man stood on lush green grass. Dressed in a casual bowler hat and black trousers, he wouldn’t have otherwise caused a curious glance. But this was not normal. He did not want to be here. He knew beyond that large wall, there was an ocean and he could hear the waves hitting the coast all morning. That’s where he, Mitchley, wanted to be.
He turned around; he could see distinctly, two – no, make that three, people rushing up to him. Where there were three, there would be more. He sighed. He had been in similar situations, but there was something different about this. He knew it would happen. He dint like it. He had been instructed prior to the assignment about this one specific case. He definitely dint like it. He thought for just a second.
Raising both his arms, he put them together in a manner he had practiced the night before. Were someone to describe what his posture looked like, it would seem he were pointing; curiously enough with both his hands. He put the index fingers together and separated them. He continued the gesture feeling very awkward. He brought them down and brought them together again. Somehow he felt he lost his independence.
He glanced at his pal, Liebenberg. Although he could not see him, he knew he would be there; waiting for this particular moment. But this was not a circumstance to think of him as a pal. It would be inappropriate. Anxiously he waited.
One of the persons who were running towards him patted him on the shoulder and smiled.
“Well, what happens next?”
“We wait”, replied Mitchley
They glanced at that group gathering and particularly at one man. He was short. It would turn out that wasn’t his most descriptive feature. They turned and stared at the newly installed “machine”. More of a contraption – thought Mitchley. They looked just like traffic lights.
Finally, a roar from the group closest to him. Mitchley raised his hand and pointed to the sky. No one looked up. The short man was walking away. The short man is Sachin Tendulkar.
Monday, August 20, 2007
PowerShot SD800 IS
|Type of Camera|
| Type of Camera || Compact digital still camera with built-in flash and the lens shift-type image stabilizer (IS) system, 3.8x Optical / 4x Digital / 15x Combined Zoom |
|Image Capture Device|
| Type || 7.1 Megapixel, 1/ 2.5 inch type Charge Coupled Device (CCD) |
| Total Pixels || Approx. 7.4 Megapixels |
| Effective Pixels || Approx. 7.1 Megapixels |
| Focal Length || 4.6-17.3mm f/2.8-5.8 (35mm film equivalent: 28-105mm) |
| Digital Zoom || 4x |
| Focusing Range || Normal: 1.5 ft./45cm-infinity |
Macro: 1.2 in.-2.0 ft./3-60cm (WIDE), 1-2.0 ft./30-60cm (TELE)
Digital Macro: 1.2 in.-2.0 ft./3-60cm (WIDE)
| Autofocus System || TTL Autofocus |
|Viewfinder & Monitor|
| Viewfinder || Real-image optical zoom viewfinder |
| LCD Monitor || 2.5 inch low-temperature polycrystalline silicon TFT color LCD |
Brightness adjustment: 15 levels
| LCD Pixels || Approx. 207,000 pixels |
| LCD Coverage || 100% |
|Aperture and Shutter|
| Maximum Aperture || f/2.8 (W) - f/5.8 (T) |
| Shutter Speed || 15-1/1600 sec.; Long Shutter operates with noise reduction when manually set at 1.3-15 sec. |
| ISO Sensitivity || Auto, High ISO Auto, ISO 80/100/200/400/800/1600 (Standard Output Sensitivity/Recommended Exposure Index) |
| Light Metering Method || Evaluative, Center-weighted average, Spot** Metering frame is fixed to the center |
| Exposure Control Method || Program AE; AE Lock is available |
| Exposure Compensation || +/-2 stops in 1/3-stop increments |
| White Balance Control || Auto, Preset (Daylight, Cloudy, Tungsten, Fluorescent, Fluorescent H), Custom |
| Built-in Flash || Auto, Auto w/ Red-Eye Reduction, Auto w/ Slow Synchro, Flash On, Flash On w/ Red-Eye Reduction, Flash On w/ Slow Synchro, Flash Off |
| Flash Range || Normal: 1.6-13 ft./50cm - 4.0m (W), 1.6-6.6 ft./50cm - 2.0m (T) |
Macro: 1-1.6 ft./30-50cm (when sensitivity is set to ISO Auto)
| Recycling Time || 10 sec. or less (battery voltage=3.7V) |
| Flash Exposure Compensation || Not available |
| Shooting Modes || Auto, Camera M, Special Scene (Portrait, Foliage, Snow, Beach, Fireworks, Aquarium, Underwater, Indoor, Kids & Pets, Night Snapshot), Color Accent, Color Swap, Digital Macro, Stitch Assist, Movie |
| Photo Effects || My Colors |
Vivid, Vivid Blue, Vivid Green, Vivid Red, Neutral, Sepia, Black & White, Positive Film, Lighter Skin Tone, Darker Skin Tone, Custom Color
| Self-Timer || Activates shutter after an approx. 2-sec./10-sec. delay, Custom |
| Wireless Control || Not available |
| Continuous Shooting || Approx. 1.7 fps |
| Storage Media || SD Memory Card, SDHC Memory Card, MultiMediaCard |
| File Format || Design rule for camera file system, DPOF Version 1.1 |
| Image Compression || Normal, Fine, SuperFine |
| JPEG Compression Mode || Still Image: Exif 2.2 (JPEG) |
Movie: AVI (Image: Motion JPEG; Audio: WAVE (Monaural))
| Number of Recording Pixels || Still Image: 640 x 480 (Small), 1,600 x 1,200 (Medium 3), 2,048 x 1,536 (Medium 2), 2,592 x 1,944 (Medium 1), 3,072 x 2,304 (Large), 3,072 x 1,728 (Widescreen) |
Movie: 640 x 480 / 320 x 240 (30 fps/15 fps) available up to 4GB or 1 hour for each file size, 320 x 240 (1 min. at 60 fps), 160 x 120 (3 min. at 15 fps)
|Number of Recordable Images|
|Time of Recordable Movies|
Note: N=Normal F=Fine SF=SuperFine
| Playback Modes File || Still Image: Single, Magnification (approx. 2x-10x), Jump, Auto Rotate, Rotate, Resume Playback, My Category, Histogram, Index (9 thumbnails), Sound Memos, Slide Show |
Movie: Normal Playback, Special Playback, Editing
| Erase Modes || Still Image: single image, by date, by category, by folder, all images |
Movie: part of movie, all of movie
| Computer Interface || USB 2.0 Hi-Speed (mini-B jack) |
| Video Out || NTSC/PAL |
| Audio Out || Monaural |
| Other || Memory card slot; direct connection to Canon CP and SELPHY Compact Photo Printers, PIXMA Photo Printers and PictBridge-compatible printers via camera's USB 2.0 Hi-Speed cable |
| Power Source || 1. Rechargeable Lithium Battery NB-5L |
2. AC Adapter Kit ACK-DC30
| Shooting Capacity || Still Image: approx. 270 shots (NB-5L/LCD on)* approx. 600 shots (NB-5L/LCD off) |
* The above figures comply with CIPA testing standards and apply when a fully-charged battery is used.
| Playback Time || Approx. 360 min. (NB-5L) |
| Operating Temperature || 32-104°F/0-40°C |
| Operating Humidity || 10-90% |
| Dimensions (W x H x D) || 3.52 x 2.28 x 0.99 in. / 89.5 x 58.0 x 25.1mm |
| Weight || Approx. 5.29 oz. / 150g (camera body only) |
| ||Note: 25 display languages provided (English, German, French, Dutch, Danish, Finnish, Italian, Norwegian, Swedish, Spanish, Simplified/Traditional Chinese, Japanese, Russian, Portuguese, Korean, Greek, Polish, Czech, Hungarian, Turkish, Thai, Arabic, Romanian, Ukrainian)|
Sunday, April 01, 2007
Sunday, April 01, 2007 at 12:01:00 AMPosted by Michael Krantz and Marissa Mayer, TiSP Product Team
That's what we call it here at Google, anyway. What you'll call it is a godsend: free wireless broadband throughout your home, a host of optional breakthrough applications -- all with just one quick, easy self-install. Learn more about Google TiSP (beta) today.
i did get a lil bit fooled clicking on the link and reading the material. it made no shit sense at all. then i saw the date and ha ha ho ho
Monday, February 26, 2007
The Carling Cup final was a fascinating, intense game of football until it boiled over into a brawl which started over nothing.
Kolo Toure reacted badly to being pulled back by Mikel Jon Obi and before you knew it there were 12 or 14 players involved and the two managers.
Frank Lampard came in to try to calm it down but then ended up getting involved with Cesc Fabregas, who only seemed to exacerbate the situation.
Under normal circumstances, you wouldn't advocate managers entering the field of play but I actually thought they did quite well and the situation seemed to calm down after they came on.
I thought Mikel was very unlucky to be sent off. He did tug Toure's shirt and he could have expected a booking for that but he didn't seem to do much wrong apart from that.
I don't know what Emmanuel Adebayor did and he may have been extremely unlucky too, but that does not excuse his reaction.
He refused to leave the pitch and that is completely unacceptable in a major final.
Arsenal had a young side out there and what happens with young players is they get tired more quickly - both physically and mentally.
And their frustration was understandable: they dominated the game for a long time, they had taken the lead and they could have gone two up.
And it was down to Arsenal's inexperience that Chelsea scored their winner as the Gunners gave the ball away as they tried to play their way out of defence.
Drogba got in front of Philippe Senderos to head in Arjen Robben's cross - and the Swiss defender has come in for some criticism after his performance.
It was the 22-year-old who played Drogba onside for Chelsea's equaliser but I wouldn't be too hard on him.
He was unlucky for the first goal because you couldn't fault his positioning and for the second, I think you have to give an enormous amount of credit to Drogba for a brilliant piece of movement and a wonderful header.
I don't think Senderos played nearly as badly as Andriy Shevchenko and Michael Ballack did but because Chelsea won, those two performances have been ignored.
Wenger has already shown a lot of faith in Senderos and given his record with young players, who are we to argue with his judgement?
I don't think it's great for the competition when clubs don't select their strongest side but it is difficult to have any complaints about Wenger's policy when you see how close they came to winning the cup.
They beat Everton, Liverpool and Tottenham and then more than matched the double league champions, who were almost at their strongest.
If Arsenal had won, it would have been one of the greatest managerial achievements we have seen in the English game.
Even in defeat, it still goes down as a remarkable feat by Wenger and his young players.
Thursday, February 15, 2007
Its thought that William Gallas will be out until 2013 with a new injury following an inoccuous looking tackle from Alexander Hleb in training er... yesterday. This was later refuted, and proved to be no more than a made up story for the purile reason of using an unfunny, half cocked, tin pot headline on a tin pot, half cocked, unfunny website...
Sunday, January 14, 2007
|Born||March 07, 1984|
|Joined Arsenal||July 22, 2004|
|Arsenal Debut||Everton (a)|
|August 15, 2004,|
mostly a defensive midfielder. scored some very important goals for arsenal and has done hgihly respectable work. never have i been unhappy with his performance. not the most talented guy in the squad. but his hard work and ethic gives him full points. sometimes disappears from the team. not the first teamer yet. arsene has played him more often this year.
kind of guy who will rol his sleeves up and take the task head on. kind of a mix of roy keane and park. funny im comparing to manu players. as in stern-ness from roy keane and the running ability from park. he can run a lot and has a lot of stamina. pops in with the odd goal. most recently and importantly against chelsea at chelsea.
captaincy material definately if he can stay here for 3 more years. played as left back for almost a year when ashley cole and clichy were injured. and i remember he played right back for some time too. so he's versatile.
Sunday, January 07, 2007
From Publishers Weekly
The enduring Robbins's 23rd novel chronicles the obsessively lustful life and times of a mythical cavalier of radio and TV in an impish, sometimes romanticized history of American broadcasting. Newly graduated with honors from Harvard in 1931, Jack Lear marries the snobby debutante daughter of a prominent Boston arms manufacturer. Grandson of a Jewish intellectual who fled Prussian oppression and made a fortune as a California junkman, Jack resists his boorish father's demand that he work in the family business and returns to Boston to buy a pioneer radio station, bolstered by his grandparents' gift of a cool $1 million. The narrative traces Lear's entrepreneurial career over 60-odd intrepid years during which, flying by the seat of his pants, he builds a dominant TV network. In trademark Robbins fashion, the plot unfolds in a constant parade of freewheeling adultery, sibling incest, sadomasochism and bondage. Recounted in his flat narrative style, Robbins's litany of erotic exercises quickly becomes boring. Nevertheless, the complex cast of charismatic characters is well-calculated to spark speculation in the posh power rooms and boardrooms of New York, Boston and Hollywood over "who's actually who." Wooden prose notwithstanding, the intricate blend of corporate intrigue and carnal gymnastics makes this a highly seductive read.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.