A STRANGER IN THE MIRROR EPUB

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offer a simple DMCA procedure to remove your content from our site. Start by pressing the button below! Report copyright / DMCA form · DOWNLOAD EPUB. Toby Temple is a superstar, the world's funniest man. He gets any woman that he wants, but under the superstar image is a lonely man. Jill Castle is a sensuous. Epub Share: A Stranger In The Mirror by Sidney Sheldon.


A Stranger In The Mirror Epub

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A stranger in the mirror. bySheldon, Sidney. Publication date For print- disabled users. Borrow this book to access EPUB and PDF files. Story the story is the strength of that one, we find a narrative plan reused by many sci-fi movies later. As i said before the acting is not. **A Stranger in the Mirror**. Author: SIDNEY SHELDON. Publisher: Harper Collins. ISBN Toby Temple is a superstar, the world's.

However, this procedure implied that the first time dogs looked at the owner they received no overt response, which may have conveyed an unclear message about the value of the object.

Furthermore, owners did not alternate their gaze between the dogs and the object, omitting a potentially important cue displaying the communicative intent of the informant [26].

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Hence, we were unable to evaluate whether, when the stimulus is made less scary and the informant continues delivering the emotional message, the dog's behaviour changes in accordance with the emotion expressed. The first aim of the current study was to assess whether when facing an ambiguous stimulus dogs, like infants [8] , [9] , [12] , [13] , [17] , will use referential looking towards the informant regardless of their level of familiarity stranger vs. Based on infant studies, this would allow us to show that the dogs' looking behaviour cannot be explained in terms of comfort seeking from the attachment figure, but represents a search for information from the person actively involved in the situation.

The second aim was to test dogs with a social referencing procedure closely mirroring that used with infants, to evaluate whether the poverty of the behavioural regulation response observed in the previous study with the owner as the informant may have been due to methodological differences.

Finally, we aimed at assessing whether behavioural regulation would vary according to the dog's relationship with the informant stranger vs. In one study, dogs were more likely to inform their owner than a stranger about the location of a hidden object which was of interest only to the person [39] ; in the other, dogs that received a pointing cue to an empty container from their owner compared to a stranger, took longer to extinguish their response when the owner was performing the cuing task [40].

There is also some evidence that the quality of the dog-owner bond may affect the dogs' problem solving abilities [41] , [42] , and that in some situations dogs show clear preferential visual attention towards their owner [43].

Taken together these results suggest that, at least in some situations, dogs show differential behaviours depending on the identity of the person they observe or interact with. In the current study, to assess the influence of the informant's identity on dogs' referential looking, either the owner or the stranger acted as the informant whilst the non-acting person sat quietly in the testing room, reading a magazine.

To evaluate the presence of behavioural regulation, dogs' behaviour was measured when the informant delivered the message positive or negative about the ambiguous stimulus that, following the infant procedure, was subsequently switched off.

Hence, dog-owner dyads were randomly assigned to one of four groups: owner-positive, owner-negative, stranger-positive, stranger-negative. Between-groups comparison allowed us to assess the presence of referential looking and behavioural regulation and whether they differed according to the identity of the informant. Given dogs' use of referential looking to the owner in a social referencing paradigm [2] and the use of gaze alternation as a communicative tool also towards strangers in a variety of requesting situations [31] — [34] , [39] , [44] , we hypothesized that dogs would use referential looking also towards a stranger when confronted with a novel, ambiguous object.

Furthermore, considering the evidence of some behavioural regulation in our previous social referencing study [22] and the procedural modifications of the current study, we hypothesized a differential pattern of behaviour for dogs in the positive vs.

More specifically we predicted that, similarly to infants, dogs in the negative message groups owner-negative, stranger-negative would look at the informant more often, stay further away from the object, and generally move less than those in the positive message groups owner-positive, stranger-positive , whereas dogs in the latter groups would move closer to the object and interact with it more especially when it was turned off. Finally, considering previous studies on the dog-owner relationship, we expected a differential pattern of behaviours in dogs tested with the stranger as the informant, compared to dogs tested with the owner as the informant.

In line with the infant literature, we predicted that both with the owner and stranger acting as informant dogs would approach the object more in the positive than the negative group, but they would stay closer to the owner in the negative message groups.

Methods Ethics Statement No special permission for use of animals dogs in such socio-cognitive studies is required in Italy. All the owners who visit our lab with their dogs sign a consent form and each time they visit for a new behavioural study they are carefully briefed to obtain consent for participation.

Subjects Ninety dogs 37 males, 53 females; mean 4. Dog-owner dyads were semi-randomly assigned to one of four groups, balancing for sex and age. Thus, 44 dogs participated in the study with their owners as the informant: of these 26 were tested with the owner conveying a positive emotional message owner-positive group and 18 with the owner giving a negative emotional message owner-negative group about the object.

Forty-six dogs were tested with the same female stranger IM acting as the informant: of these 21 witnessed the stranger giving a positive message stranger-positive group and 25 a negative message stranger-negative group.

All dogs were pets and lived at home with their owners. Stimulus Selection The experimental stimulus was the same for all dogs in all groups: a 50 cm tall and 34 cm wide electric fan, with plastic green ribbons attached to it Figure 1.

I like to ask to take photographs. What I try to avoid is having someone just look at me and pose for me with a peace-sign. Where you from? How would you describe your personal style? Direct your subject If you ask for permission from your subject, know that you can also direct them. I generally ask them to stand against a simple background, and try to get them to do an interesting hand-gesture. To get a subject to do an interesting hand-gesture, I ask them about their sunglasses, their hair, or even their watches.

Can you keep wiping his forehead?

A Stranger in the Mirror

You can either look for an interesting background, billboard, leading lines, and create a juxtaposition with your subject who walks by it or somehow interacts with it.

Sometimes you catch a lot of fish. You never know—but the skill to have is patience. Rather, they shoot from the side. If you want to make photographs that are a lot more engaging, full of energy, and dynamic— shoot head on.

So the way you can do this is walk down a crowded street, stop somewhere in the center, and wait for people to walk head-on towards you.

Then after you take the photos, play dumb, and move on. What I suggest is putting your camera to manual focusing, and pre-focus to the background whatever is furthest away, between 3—5meters.

Then try to incorporate more subjects into your frame— the foreground, middle ground, and background. A good photographer to study is Alex Webb, who does this extremely well. Embrace negative space I am more of a minimalist and prefer having negative space in my photograph.

Where to add negative space? My suggestion is to just use it intuitively — if your frame feels too crowded, add more negative space. Furthermore, you can add more negative space to your photograph by capturing dramatic shadows. Shoot either at sunrise or sunset, or shoot in the bright light with —1 or —2 exposure compensation.

A great photographer to study who uses minimalism, negative space, and shadows well is Rinzi Ruiz. Minus exposure compensation This is related to the prior technique. The idea is to put your subject into the bright light, and set the exposure-compensation of your camera anywhere between —1 and —3. Leading lines Leading lines can be found anywhere— from alleyways, to street poles, to parks, or even drive-ways.

An easy way to incorporate leading lines is to first identify the leading lines, and then wait for the right subjects to enter the frame. Subtract from the frame The last tip is remember: what you decide not to include in the frame is more important than what you decide to include in the frame. What is a distraction at the edges of my frame?

What should I decide to keep, and what to ditch? Try a combination of these techniques, or if you want to practice, just focus on 1 of these techniques in a day. The more tools you add to your street photography toolkit— the more prepared you will be for certain shots. Even though we all have different styles and approaches, trying something outside of your comfort zone will help you grow and develop as a photographer and human being.

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So be brave friend, go forth, and make beautiful photos! Here are some practical tips I have in shooting candid street photography: 1. For example, if you want to take a photograph of someone, by moving your camera too quickly to your face, you will give yourself away. Assignment: Keep your camera close to your eye A solution: try to have your camera really close to your face.

This way, when you want to make a photograph, the distance between moving your camera to your eye will be very short.

If you have a camera neck strap, tighten it very close to your chin. Then you can quickly bring up your camera to take a photograph, without attracting too much attention. If you use a wrist-strap, walk with your camera close to your face. Then when you want to take a photograph, you can just move your camera very subtly to your eye, and click a photo.

Because with an LCD screen, we look more like a tourist. Not only that, but it is less obvious who we are taking a photo of. I used to do it a lot, but the problem if you can never frame accurately. Rather, try to shoot without your viewfinder, but just use the LCD screen if you have one. The funny thing is that you can stand really close to someone, and still take candid photos of them not really noticing. Just look at your subject through your viewfinder or LCD screen— avoid making eye contact.

See their reaction. Rather— try to go to the most crowded area of town. That might be in the downtown area. Or perhaps at a mall.

Or maybe at the city next-door. The benefit of shooting in a crowded or touristy area is that you disappear into the crowd. Assignment: Look like a tourist Another assignment you can do is to look as much of a tourist as possible.

Wear a bright-yellow fanny-pack. Generally I find more people will ignore you, or not really give you any flak for shooting in the streets. The concept is that you walk around the streets with your camera glued to your eye, or your eyes glued to your LCD screen. Assignment: degree video Try to go to a busy area, and stand in the center. Then hold your camera to your eye or LCD screen up, and turn around degrees and slowly take photos all around you.

See how others react to you. This is often how Henri Cartier-Bresson got a lot of his famous shots the bicycle shot comes to mind. He would pre-visualize his composition, setup his framing and camera, then just wait for someone to enter the scene, to complete the image. The more patient you are, the more likely you are to catch a good fish. But at the same time, there are days you will catch no fish no matter how good of a fisherman you are.

Assignment: Fish for 30 minutes Find an interesting scene, background, or wall, and wait there for 30 minutes. Try to wait for the right person to walk by the wall, to create some sort of interesting juxtaposition or scene. Take a lot of photos, and then when you go home, choose the best one.

Rather, try to capture hand-gestures. By capturing hand-gestures, you will have more dynamic images. Not only that, but your photos will have more emotion.

Assignment: Hand-gestures Simple: only photograph hand gestures for an entire day. See how many different hand gestures you can observe and capture. The solution especially if your camera has slow autofocus is this: use zone-focusing.

The concept of zone-focusing is this: you manually pre-focus your lens to a certain distance I like 1. Then when you go out and shoot, only take photos of people 1. By having a high ISO your shutter-speed will be relatively fast. For example, with a 35mm lens, if you pre-focus to 1.

Focus on the subject furthest-away from you If you want to add more depth and layers to your candid street photos, focus on the subject furthest away from you in the frame.

When we start off in photography, the beginner technique is to always focus on what is closest to us.

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But by focusing on what is furthest away from us and having a subject in the foreground , you will have more depth, layers, and intrigue in the frame. Assignment: Pre-focus to 5 meters For a day, pre-focus your lens to 5 meters, and try to add more elements in your foreground, to add more layers and depth.

When in doubt, click Whenever you see a street scene that you think might be a good photo, just click. Just take the photo. Personally, I have hesitated too much in my street photography, and as a result, have missed thousands of potentially good shots. Not only that, but if you see a good scene, take many photos.

Make many different versions of a potentially good scene, and the more likely you are to get a good shot. Conclusion These are 10 brief tips for candid street photography. I feel the best thing about candid street photography is the sense of thrill, excitement, and spontaneity that comes around. When we look at old street photos of the past, we reminisce on the nostalgic images of Andre Kertesz, Henri Cartier-Bresson, Robert Doisneau, and many others.

Why black and white street photography? Of course in the past, when photography first started off, there was only black and white.

When color photography first got introduced to the world, it was used for mostly amateur snapshots. Nowadays times are different. Modern digital cameras boast impressive image quality, with billions of different gamuts of color.

With technology, we are able to post-process our photos however we would like. Yet there is still a charm for black and white photography.Between-groups comparison allowed us to assess the presence of referential looking and behavioural regulation and whether they differed according to the identity of the informant.

And I mean it's not like you're Hawkmoth. Is it passable? A 50mm might have sufficed when there was more room in the streets to shoot.

Directly outside the door stood a street lamp, whose gleam gilded the leaves of the tree that bent out over the fence behind him. All the time there was a smell of lilac all round him. He knocked on the door.

That was the very last thing she said. I has run into the hallway of our apartments to get out to a battle and our lying neighbor grabbed me by the shoulders and kissed me.

LILLA from Joliet
I do fancy reading comics upliftingly. Look through my other articles. I have always been a very creative person and find it relaxing to indulge in button collecting.
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