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Top 20 applications for mobile web designers

• Sep 29, 2010 from pixelstoreus(PIXELSTORE.US) in Technology
  Top 20 applications for mobile web designers
  We are in the middle of the boom of mobile applications, exempt from thousands every week. Some are silly, some are serious, and some simply sucks. But there is more that web designers and developers simply can not do without. Here are developing the cream of the crop: time-saving, speed, amplifiers and other mobile web design tools that will make your working life much easier? C regardless of the mobile platform. 20 WhatTheFont Website: new.myfonts.com Price: Free Platform: iPhone Applications and WhatTheFont are proof we are living in the future. We can not yet point to something and were butler robot riveting facts about it, we have applications that are trying to figure out what you see, to save us time.
  From WhatTheFont, take a picture of some of the text confirms the characters and wait for the application to identify the font. Not surprisingly, it is not always accurate, but often in the vicinity? C and for those times when a bang-on, it will save hours, even though you free. 19 PHP Cheat Sheet Website: concentricsky.com / products / Price: 59p Platform: Android, BlackBerry , iPhone, Palm Pre Concentric Sky offers a heap-oriented application code cheat sheet for a range of devices. While they are, according to some experts, and variable in quality, but also has become a cheap(usually 59p), accurate enough, and may be useful in certain situations.
  
  Karl Stanton, developer Fi in New York, is very pleased with the PHP Cheat Sheet: This is useful when you are developing and have no internet connection ? C in an airplane or train? C, PHP and need help. 18 Convertbot Website: tapbots.com / software / Price: 1.19 Platform: There are two reasons why you should Convertbot install on your iPhone. First of all, designers often have to balance individual and Convertbot happily lets you convert data transfer speed, length and entities associated with the typography.
  
  Secondly, as the main Studio Kicker Dan Saffer says, the application offers more serious turn: I am a big fan of Convertbot, not only for its practical application, but also her example, that there are ways to manipulate data in a small space, which need not be boring. That sounds pretty good to us. 17 ConnectBot Website: code.google.com / p / Price: Free Platform: Android For developers on the more technical end of the spectrum, the tools often vary from graphic and practical. Applications in this area as recommended by several participants ConnectBot.
  
  According to its site, this application is to create a secure connection through which you can use a shell on the remote computer and transfer files back and still on the phone . Yes, this is the Secure Shell Client, but good and it happens to be free. Unfortunately, it appears that some iPhone users out of luck on the free aspect, but I hear good things about Apple TouchTerm for users who want some SSH goodness. There are two flavors of the application available? C core is 2.39, the pro version is 5.49, and adds a slew of extra features. Visit jbrink.net / for more information. 16 Sherpa Website: wiredthing.com / sherpa.html Price: 2.39 Platform Basecamp from 37Signals, is an online project collaboration tool is very popular among designers and developers.
  
  Many iPhone customers have access Basecamp sync but Sherpa is a solid. You get access to the projects, messages, tasks, milestones and contacts, and information is secured using SSL. 15 Creative Whack Pack Website: creativethink.com Price: 1.19 Platform: iPhone Sometimes applications are remarkable, not because they are useful tools and powerful programs, but because they can inspire. Amy Hoy, Webnographer to slash7 , is a big fan. This is a deck of cards with the creative principle of the book by Roger von Oechs Whack on the side of the head, he explains.
  
  If you get stuck or want a dose of inspiration, you can choose the card and apply that rule to think about. She has the physical card pack, but this application, you can use them when I want? C, and the descriptions are even better than the real cards. 14 Web View Source Website: jimmithy.tumblr.com / Price: Free Platform: Android Most Internet users do not care about source code, so it is entirely understandable that mobile browsers do not shoehorn View Source option in the streamlined user interface.
  
  For developers, however, able to peek under the hood is of the utmost importance. On Android, View Source, Web allows you to load any URL source selected, the search resulting in the text, and copy and paste the code. free HTML Viewer is essentially the same thing if you have an iPhone. 13 Reeder Website: reederapp.com Price: 1.79 Platform: iPhone designers and developers how to track what is happening in the industry, and most of this information comes from blogs. To this end, RSS is a huge time savings, which means you do not have to visit dozens of pages a day.
  
  Reeder is a Google Reader client that...

FXCM MENA 1 Year Later

• Sep 20, 2010 from krislarsen39(Kris Larsen) in *
  The cult of Leica.
  
  Image by nimboo
  From The New Yorker
  www.newyorker.com
  A Critic at Large
  Candid Camera
  The cult of Leica.
  by Anthony Lane
  September 24, 2007
  Fifty miles north of Frankfurt lies the small German town of Solms. Turn of the main thoroughfare and you find yourself driving down tranquil suburban streets, with detached houses set back fro the road, and, on a warm morning in late August, not a soul in sight. Nobody does bourgeois solidity like the Germans: you can imagine coming here for coffee an cakes with your aunt, but that would be the limit of excitement. By the time you reach Oskar-Barnack-Strasse, the town has almost petered out; just before the railway line, however, there is clutch of industrial buildings, with a red dot on the sign outside. As far as fanfare is concerned, thats about it. But here is the place to go if you want to find the most beautiful mechanical objects in the world
  Many people would disagree. Bugatti fans, for instance, would direct your attention to the Type 57 Atlantic, the only car I know that appears to have been designed by masseuses. Personally, I would consider it a privilege to die at the wheel of a Lamborghini Miuranot difficult, when youre nudging a hundred and seventy m.p.h. and waving at passersby. But automobiles need gas, whereas the truest mechanisms run on nothing but themselves. What is required is a machine constructed with such skill that it renders every userfrom the pro to the banana-fingered fumblermore skillful as a result. We need it to refine and lubricate, rather than block or coarsen, our means of engagement with the world: we want to look not just at it, however admiringly, but through it. In that case, we need a Leica.
  There have been Leica cameras since 1925, when the Leica I was introduced at a trade fair in Leipzig. From then on, as the camera has evolved over eight decades, generations of users have turned to it in their hour of need, or their millisecond of inspiration. Aleksandr Rodchenko, Andr Kertsz, Walker Evans, Henri Cartier-Bresson, Robert Capa, Robert Frank, William Klein, Garry Winogrand, Lee Friedlander, and Sebastio Salgado: these are some of the major-league names that are associated with the Leica brandor, in the case of Cartier-Bresson, stuck to it with everlasting glue.
  Even if you dont follow photography, your minds eye will still be full of Leica photographs. The famous head shot of Che Guevara, reproduced on millions of rebellious T-shirts and student walls: that was taken on a Leica with a portrait lensa short telephoto of 90 mm.by Alberto Daz Gutirrez, better known as Korda, in 1960. How about the pearl-gray smile-cum-kiss reflected in the wing mirror of a car, taken by Elliott Erwitt in 1955? Leica again, as is the even more celebrated smooch caught in Times Square on V-J Day, 1945a sailor craned over a nurse, bending her backward, her hand raised against his chest in polite half-protestation. The man behind the camera was Alfred Eisenstaedt, of Life magazine, who recalled:
  I was running ahead of him with my Leica, looking back over my shoulder. But none of the pictures that were possible pleased me. Then suddenly, in a flash, I saw something white being grabbed. I turned around and clicked.
  He took four pictures, and that was that. It was done within a few seconds, he said. All you need to know about the Leica is present in those seconds. The photographer was on the run, so whatever he was carrying had to be light and trim enough not to be a drag. He swivelled and fired in one motion, like the Sundance Kid. And everything happened as quickly for him as it did for the startled nurse, with all the componentsthe angles, the surrounding throng, the shining white of her dress and the kissers capfalling into position. Times Square was the arena of uncontrolled joy; the job of the artist was to bring it under control, and the task of his camera was to bring lifeor, at least, an improved version of it, graced with order and impactto the readers of Life.
  Still, why should one lump of metal and glass be better at fulfilling that duty than any other? Would Eisenstaedt really have been worse off, or failed to hit the target, with another sort of camera? These days, Leica makes digital compacts and a beefy S.L.R., or single-lens reflex, called the R9, but for more than fifty years the pride of the company has been the M series of 35-mm. range-finder camerasdurable, companionable, costly, and basically unchanging, like a spouse. There are three current models, one of which, the MP, will set you back a throat-drying four thousand dollars or so; having stood outside dustless factory rooms, in Solms, and watched women in white coats and protective hairnets carefully applying black paint, with a slender brush, to the rim of every lens, I can tell you exactly where your money goes. Mind you, for four grand you dont even get a lensjust the MP body. It sits there like a gum without a tooth until you add a lens,...

Master of Light: Conversation with Contemporary Bollywood Cinematographer ? Rajeev Jain ICS WICA

• Sep 14, 2010 from khemso(Hassan Khamis Eliwah) in *
  Master of Light: Conversation with Contemporary Bollywood Cinematographer ? Rajeev Jain ICS WICA
  
  Master of Light: Conversation with Contemporary Bollywood Cinematographer Rajeev Jain ICS WICA Rajiv Jain Indian Cinematographer / DOP - The Complete Interviews, Vol. I The Shape of Light Rajiv Jain Paints with His Camera Rajeev Jain (Born: 1968, Lucknow) started working as a director of photography in 1993, after serving an apprenticeship as camera assistant and camera operator. Since then Rajeev has worked as director of photography with some of Indias most esteemed directors, in some cases establishing a close and intimate association. We met up with Rajeev Jain in India, on the occasion of a five day seminar organized by the Delhi Film Club on The Shape of Light, an event which saw the participation of hundreds of students, filmmakers from across India. How has cinematography changed in the last fifteen years? I went to the Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We were witnessing a cinematographic quality which had unchained itself in many senses in films from the period until the end of the 1980s. Even the montage was much more liberated, and Cinematographer/ Directors, with Gautam Ghose at the forefront, were searching for greater liberty. Even when it came to shooting, using hand-held cameras, using natural lighting, or lighting in a way which seemed natural, such as through open windows, etc. In other words an absolute freedom whether with camera movement or lighting. And in our country? In India there was still a more classical style of photography, and I am making reference such as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray up until Agantuk (1991). Meanwhile other new cinematographers with different ideas were also emerging, like Ashok Mehta (36 Chowrangi Lane), especially with black and white. But this black and white image with its own proper aesthetic beauty had a characteristic quality of merging lighting to atmosphere or ambience. Hence from this point on maybe cinematography acquired a more important significance, a complete symbiosis with the film and the narrative. Can the meeting between director and director of photography influence the career of one or the other? During the seminar a meeting of a good director of photography and a great poet. With the cinema of Ray, on the other hand, there was without a doubt a decisive turn with the arrival of Pather Panchali (1955) onward. Which filmmakers have made a particular impression on you? The rapport with Shyam Benegal on Tota Maina (TV Series) certainly was for me an event which I remember with great emotion until this day. I meet people who confide with me that they decided to become a director of photographer after seeing that serial, or directors who decided to enter cinema thanks to Tota Maina. For example, one day there was a kenyan boy who happened to be at my house that decided to come to India to make Tv seial after seeing Tota Maina. So it has been an important film for many people, and much more for me because I was lucky to work with Shyam babu. How did you meet? It was quite by accident. He was looking for a director of photography who was also mentally prepared for this adventure, and through various sources my name came up. A friend of mine who worked as assistant director introduced me to Shyam babu. I remember when he called to tell me that Shyam Benegal wanted to meet me. We met at his office for tea, and at the end of this encounter he takes out a script and offers it to me. I can feel the emotion of that moment right now. Can you tell us about the TV Seriess dynamic photography? Shyam babu used to tell me that TV uses time like a narrative element, while the photography normally remains constant for the duration of a sequence. It is precisely time that the dynamic photography exploits to render a different consistency to the film. An example is the atmospheric conditions within nature: if during a cloudy day the sun comes out at a certain moment this will modify the condition of the light. In an interior space if someone enters a dark room and turns on the light this will change the condition of the light. However, this is all tied to precise actions. This discourse is amplified in Tota Maina, where in addition to variations in natural light were added variations which correspond to emotional motivation rather than any sense of logic. During some scenes you also used different shutter speeds, sometimes barely noticeable. During the filming Shyam Babu would ask for certain precise frames a slight increase in shutter speed, hardly noticeable, and therefore far from the slow motion effect we have been accustomed to seeing in many TV Series. This was solely to have greater suspension, therefore always in the service of a certain atmosphere in the serial. Technically this variation in speed consisted of a slight adjustment of...