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The Science of Sadness: Overlooked Signs of Clinical Depression

[Entry 37, The SubSelfie Blog]

True events inspired portions of this article.

Scene One: Driven to Sadness

He was about to meet a friend he encountered in one of his travels. We were driving along the expressway. I stared at the clouds making their slow trip across the sky when he said:

“Nakilala ko siya noong October.” (I met him last October)

He told me they don’t know each that well. Nonetheless, he was kind enough to offer his time as a tour guide for a day. He was nice like that. He had always been that nice. He just dragged me along for the ride.

This was the first time in a long while that it was just the two of us. We would see each other but with our other friends. So there was really no time to talk, no time to catch up.

The car sped along NLEX when he confessed to me…

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RAW Retouching Class Session

Photofocus (old site)

Retouching a RAW capture as much as possible before finishing the photograph in Photoshop is a best practice. RAW files contain all of the data that the camera was able to record of a scene, without a gamma curve imposed. In other words the RAW photo is pure, unaltered image info along with a color look up table (LUT) telling the RAW processor what color each pixel is on the sensor. Edits in Camera Raw are non-destructive. They provide the highest quality image to hand off to Photoshop. For instance it is much better to darken a sky of a RAW file in Camera Raw than it is to  the Camera Raw Filter on pixels in Photoshop.

Great Point, LighthouseCompare the exact same settings in Camera Raw on a RAW capture (left) to them rendered with the Camera Raw Filter on pixels (right.) Pixels, even in 16 bit, can’t match the quality…

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The Grudge: On the Journey of Writing Memoir

BREVITY's Nonfiction Blog

By Allison K Williams

Words on the page.

I am still married. My friend is still my friend. My lover is still my lover, and then he is not. Scroll up, and we are paying bills, or shopping, or sneaking around. Scroll down, we are fighting, or consoling each other on unhappy affairs, or breaking up over another woman. Zoom out, past the glow of the screen and my fingers on the keyboard, and all of it’s gone. I am in another life.

Now, I sort out themes and carefully choose incidents for a better sense of tension—tension! My God, there was tension!—my temporal continuity notes in all-caps, places to fill in more details highlighted yellow, the color of cowardice. I stall on a section for days, I don’t want to go there. I write forward instead, discover what should be in the past, what is missing from the path…

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Deep source network, experience underpin AP reporting in Gaza

Help Gaza


The Associated Press team in Gaza is reporting the news as they live it, working quickly — under extremely difficult conditions — to verify and debunk information for AP’s customers around the world. Senior Managing Editor Michael Oreskes lauded their efforts in a recent memo to staff:

It was late Sunday afternoon [July 20] and a brief cease-fire had silenced a raging battle in the Gaza neighborhood of Shijaiyah. Dozens of Palestinians were dead, hundreds wounded and thousands fleeing. In a matter of minutes, the battle would resume.

AP Gaza photographer Hatem Moussa, touring the area, caught sight of someone he knew from Gaza’s Civil Defense who was searching for bodies and followed him into a badly damaged building. From under the rubble came the barely audible sound of a family trapped: A woman crying for help alongside her husband, 7-year-old niece and three dead relatives.

“I’m here under the…

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