by Dr. Lukas Brezak "Take a look to the mirror"...and tell me what you see? Alien version of Alien with completely alien feeling from alien world which is soooo alien. ( - . - ")Shower curtain with pixel alien print. 12 plastic hooks included. Pixel Alien Shower Curtain When will it arrive? * incl. 19% VAT. Shower curtain with pixel alien print.Get up, shower, brush your teeth, work/school/uni or other equally annoying diversions are calling... Guess you're thinking it would be so much better just to stay home and spend the day with a bunch of video games, right? Some good ol' classics maybe...? This Pixel Alien Shower Curtain makes the start to the day a little easier as it turns your shower into a scene from the classic arcade game. The situation is no doubt familiar: Pixelated aliens attack Earth, and must be defeated. It's all about speed and skills. Some of the aliens are already beat, but the defence system of the Earth is damaged too.

Who won't wake up to this sight? Luckily of course, you don't need to intervene (and there's no problem with the missing pause function either!).Big Sky Montana T Shirt The curtain is water-repellent and is washable, so there's no risk of alien goo forming and attacking your legs. Where To Buy Noise Reducing CurtainsWith the included hooks, the shower curtain can be hung on all regular bars, almost in the time it takes to put a coin into the arcade machine slot!Uv Light Bulb Specifications Material: 100% Polyester Care and maintenance: Water repellent Included: 12 Plastic Hooks included Dimensions: Width: 180cm Height: 200cm Colored pencils on 30x42 cm paper () —Deep in water-filled underground caves beneath Australia's Nullarbor Plain, cave divers have discovered unusual 'curtains' of biological material – known as Nullarbor cave slimes.

Researchers Sasha Tetu, Katy Breakwell, Liam Elbourne, Andrew Holmes, Michael Gillings and Ian Paulsen from Macquarie University, are exploring how this alien ecosystem works. They published their findings this week in the journal of the International Society for Microbial Ecology, showing that an unusual combination of microbes thrive in the Weebubbie caves. "Earlier studies on the community suggested that there was an unusual chemistry going on in the caves, but we didn't know how the microbes were making a living in the cave environment," says the lead scientist Professor Ian Paulsen, Macquarie University. In order to find this 'missing link', the team of researchers made use of a range of new technologies, such next-generation sequencing of environmental DNA and scanning electron microscopy to take an in-depth look at the composition of the Weebubbie cave slime community. This approach detected a dominant group of organisms in the cave slimes, known as the Thaumarchaeota.

This community of microbes thrives in the total dark, independent of photosynthesis. It is thought that the periodic inundations of the Nullarbor caves by the sea occurred a number of times in the geological past and so researchers suggest that the Weebubbie Thaumarchaeota may have a marine origin. "We know that the Nullarbor Plain's karst system arose from the sea in the Middle Miocene period and so this may be a clue as to where the Weebubbie Thaumarchaeota came from," says Professor Paulsen The research team says this analysis shows that the organisms make up the Weebubbie cave slime community make their living in a very unusual way – by oxidizing ammonia in the salty cave water – and are completely independent of sunlight and ecosystems on the surface. "It just goes to show that life in the dark recesses of the planet comes in many strange forms, many of which are still unknown," says Professor Paulsen. Earliest evidence of our cave-dwelling human ancestors

The Conspiracy Show With Richard Syrett Apr 12, 2015 He was right, and most of the placard has now been read. Nab Lator deblurred the placard image. MUMMIFIED BODY OF TWO YEAR OLD BOY The Roswell Slides Research GroupThis June 2010 CSEC presentation for the CSEC conference outlines counter-computer network exploitation (CCNE) techniques: see the Der Spiegel article The Digital Arms Race: NSA Preps America for Future Battle, 17 January 2015. Syncing to the Camera and Sync Speeds Firing a studio flash from the camera requires some form of instruction from the camera to tell the flash when to fire. This can be done with a sync cord, with a remote control or, in some cases, by letting the camera fire its own built-in flash to set off the flash-sensitive slave trippers contained in most studio flash units. But it is difficult or impossible to set the built-in flashes on many cameras so they fire at the right time. Most digital cameras use a “preflash” to set automatic exposure, for redeye reduction or to determine color balance and other settings.

Unless the preflash can be disabled in the particular camera, it will trip the studio flash units prematurely and they will not expose the shot. Many cameras, including the popular Canon Digital Rebels, have no facility to disable the preflash and therefore cannot be used to trip studio flash from the camera flash. These cameras and many others also lack a standard sync terminal to connect a studio flash, but most cameras do have a standard hot shoe. In order to connect a sync cord to such a camera, you may need a hot shoe adapter. This adaptor provides a standard sync connection to which you can connect the sync cord provided with most studio flash units. However, the standard “PC style” photo sync cord connection is notoriously unreliable. They become loose, fall out and make poor connections regularly. Because of the unavoidable unreliability with the PC sync connection, we highly recommend our CyberSync™ Radio Remote Control System for syncing our studio lights to the camera.

The tiny transmitter slides right onto the camera hot shoe and runs typically for a year or more without changing batteries. A CyberSync™ receiver may be attached to one of the studio lights and when that light fires, any other studio flash units will also fire via their flash-sensitive slave trippers. If you wish to make flashmeter tests from various positions in your shooting environment, it’s a simple matter to slip the CyberSync™ transmitter off of your hot shoe and carry it around with you to test-fire the lights. Or, you can invest in a second CyberSync™ transmitter expressly for this purpose as well as for backup. If you are shooting in locations where other photographers are also shooting, you might want to use a separate CyberSync™ receiver for each of your lights and disable their slave trippers. First, successful studio flash use normally dictates that you turn off all automatic functions in the camera and with a fixed ISO setting (preferably ISO100 for highest resolution and minimum noise).

This will require you to set the aperture and exposure manually. A decent flashmeter is the easiest way to determining proper aperture settings. Perhaps the most frequently asked question from studio flash users is The answer to this lies in the camera itself. Nearly all shooters are using cameras with focal plane shutters. The black band is caused by the shutter partially blocking the sensor when the flash fires. A focal plane shutter exposes the image by moving two light-blocking curtains across the front of the image sensor. The first curtain slides open to begin the exposure, then the second curtain slides closed to terminate the exposure. In order to expose the picture from a flash, both curtains must be open at the time the flash is fired. As you shorten the camera’s exposure time a point is reached where the first curtain is not completely open before the second curtain begins to close. The effect becomes a “moving slit” that slides in front of the sensor at this critical exposure time setting.

Thus the camera maker specifies a maximum sync speed that assures both curtains will be completely open when the flash is fired. The maximum flash sync speed varies from camera to camera, with most modern digital SLR cameras being rated between 1/125 and 1/250 second. You must also consider any delay that might be introduced by radio remote controls since these can introduce a small delay between when the camera sends the fire command and when the flash unit actually receives it. It is therefore prudent to set the camera shutter speed somewhat below the published maximum flash sync speed. If your camera is rated at 1/200 second, shoot at 1/125 second to avoid problems. Many shooters don’t realize that in typical studio usage it is almost solely the flash duration of the flash unit that determines action stopping. This is because the brightness of the flash is typically hundreds of thousands brighter than the ambient studio lighting and modeling lamps. So, even if you shoot at 1/30 second shutter speed, the ambient light is generally so much weaker than the flash that it doesn’t contribute to the exposure.

Setting the shutter speed at 1/60 to 1/125 will almost always result in proper flash exposures with no black bars or motion-blur. This situation changes when you are using flash outdoors or in areas with extreme amounts of ambient light. Here, the contribution of ambient light can approach or exceed the flash exposure and must be balanced and controlled. If, for instance, the camera meter reads f8 at 1/60 second from the ambient light and you wish to use fill flash to bring the subject illumination up to f11, you would meter the flash and ambient light together, increasing or decreasing flash power until flash and ambient light together reach f11. If you shoot a test picture under these conditions and see that you need more flash and less ambient, you can adjust the flashpower upward and shoot at a higher aperture to get the proper exposure. You can also move the shutter speed up to say 1/125 and leave the flashpower alone. The change in shutter speed will lower the amount of exposure from ambient light but will have no effect on the flash exposure.