Marbella Forest Fire

OwnFone: A Custom-Printed Phone Perfect for Seniors and Kids

Some people need all the latest apps and features available on their smartphone so they can be connected 24/7, while others just want to make a phone call. For the connected crowd, read all the latest reviews onMashable. For the others, check out the OwnFone.

It’s designed to call only the people you want to reach most frequently. In fact, it can only hold 12 contacts. There are no keys or buttons to program. Instead you let OwnFone know who you want to add, and they program and send you a custom-printed phone, about the size of a credit card.

If you lose it, they just print you a new one. You do need to call OwnFone support if you need to change someone’s number, or add a contact.

 

OwnFone says it plans to come out with a phone that can be customized in braille in the near future. Right now OwnFone is only available in the UK.

Check out the video above for more details and let us know what you think of a printed, pre-programmed cell phone.

Estepona Wild Fires rage on a 2km front

Police and Ambulances hurried to evacuate as wild fires quickly spread our reporter on the scene photographer the devastation

 

Estepona on Fire

We had a tiny little fire today, which they put out.

Then an hour later, it restarted, and spread along 2 Klm of the coast.

It was horrible seeing old people being run out of their homes, and carried through the smoke by police and ambulances.

The pictures really doesn,t do show bad it really was.many houses have gone

 

 

During experiments on the axons of the Woods Hole squid (loligo pealei), we tested our cockroach leg stimulus protocol on the squid's chromatophores.

 

 The results were both interesting and beautiful. The video is a view through an 8x microscope zoomed in on the dorsal side of the caudal fin of the squid. We used a suction electrode to stimulate the fin nerve. Chromatophores are pigmeted cells that come in 3 colors: Brown, Red, and Yellow. Each chromatophore is lined with up to 16 muscles that contract to reveal their color.

Paloma T. Gonzalez-Bellido of Roger Hanlon's Lab in the Marine Resource Center of the Marine Biological Labs helped us with the preparation. You can read their latest paper at:http://rspb.royalsocietypublishing.org/content/early/2012/08/13/rspb.2012.1374

Brenthaven's brand-new "BX2 Xtreme" foam that provides burly, lightweight padding for cameras and lenses.

Brenthaven, a leader in hardcore casing for laptops and devices, recently made the jump to camera bags in a collection that continues their focus on providing the best protection possible. The complete collection includes a lens case, holster, waist pack, shoulder case, messenger bag and backpack—just about the gamut of any photographer's lugging needs. In our hands-on test of the backpack, the feature that stood out most was Brenthaven's brand-new "BX2 Xtreme" foam that provides burly, lightweight padding for cameras and lenses.

 

The organization of the backpack includes a customizable main cavity with front and side accessibility as well as a top area for smaller stowage. Additional flat sleeves provide storage for smaller items and a side loop allows for tripod attachment. One novel design detail is the side access to a laptop sleeve separate from the main compartments.

 

The backpack is also built for the elements, with a stowable rainfly and gray exterior that resists water and keeps compartments cool. Overall, the pack makes a stellar option for multiple lens photographers looking for impact protection above all else. As an added bonus, all Brenthaven products come with a lifetime guarantee and are sustainably produced.

Breaking Free of the Co-dependency Trap presents a groundbreaking developmental road map to guide readers away from their co-dependent behaviors and toward a life of wholeness and fulfillment.

Breaking Free of the Co-dependency Trap presents a groundbreaking developmental road map to guide readers away from their co-dependent behaviors and toward a life of wholeness and fulfillment.UK Citizens

This is the book that offers a different perspective on codependency and is strongly recommended by Dream Warrior Recovery as part of a solution based recovery. This bestselling book, now in a revised edition, radically challenges the prevailing medical definition of co-dependency as a permanent, progressive, and incurable addiction. Rather, the authors identify it as the result of developmental traumas that interfered with the infant-parent bonding relationship during the first year of life.US Citizens

Drawing on decades of clinical experience, Barry and Janae Weinhold correlate the developmental causes of co-dependency with relationship problems later in life, such as establishing and maintaining boundaries, clinging and dependent behaviors, people pleasing, and difficulty achieving success in the world. Then they focus on healing co-dependency, providing compelling case histories and practical activities to help readers heal early trauma and transform themselves and their primary relationships.

I was gutted that I'd been such a coward

Photograph: Greg Marinovich

Mob attack, by Greg Marinovich 
'I was gutted that I'd been such a coward'

It was my first time in a conflict situation, and I was quite unprepared. I was on my own inside a migrant worker's hostel in South Africa. Suddenly all the men started picking up spears and sticks and clubs, and racing off. So I followed them. They were trying to get into one of the dormitory rooms, and there was someone inside pressing against the door. Eventually, the door was flung open and this guy with a scarf tied like a turban around his head came dashing out. He looked me straight in the eyes, and then took off.

All these other men started chasing him, and he hadn't gone far when he was brought down. About 15 or 20 men were all around him, hitting and stabbing and clubbing. And I was right there, photographing it. On the one hand, I was horrified, and at the same time I was thinking: what should the exposure be?

It was the old days: analogue, manual focus, crappy cameras. I felt torn between the horror of what I was seeing and trying to capture it. I was also thinking, how am I going to survive this? Because sooner or later these people are going to say, "There's this guy taking pictures of us committing murder." I was 1km from my car and the nearest outsider.

They killed him. And then one of them turned and said, "The white guy's photographing." Everyone leapt away, and I said, "No, it's fine, it's fine. Why did you kill him? Who is he?"

I was thinking, "I'll spit on his body, I'll kick this corpse, I don't care – I'm going to survive this." Thankfully, I didn't have to do that. They pulled his ID out of his pocket: he was from another tribe. Then two of the killers posed and said, "Take a picture of us." So I took a picture and walked away. All the time I was expecting somebody to say, "Wait, that guy musn't leave." But I walked off, got into my car and got the hell out of there.

It was my first exposure to such a thing. And although, as a journalist, my reaction was fine, as a human being I felt I'd really let myself down. It wasn't how I'd expected I'd react – I thought I'd try to intervene, or do something more noble. Yet I hadn't. I was really quite torn up about that. I was gutted that I'd been such a coward. From that moment, I was determined that, no matter what, I'd try to intervene and save someone if I could.

Domestic violence, by By Donna Ferrato 
'I saw that he was getting ready to hit her and I took the picture'

Photograph: Donna Ferrato

I try to get into real people's lives and tell their stories. I'd been photographing this couple for a while. I was in their home, sleeping down the hall with my baby daughter, when I heard the woman screaming. It was about 2am and I could hear things crashing and breaking in the master bedroom. I put my little girl in her basket and put her in the closet, because I knew the husband had a gun. And then I grabbed my gun – which is a little Leica M4 – and went running down the hall. As soon as I walked into the bathroom off the bedroom, I saw that he was getting ready to hit her and I took the picture. I thought, if I don't take this picture, no one will believe this ever happened. That's the first picture I took that night. His hand was in the air and I was shocked out of my wits. I had never seen him do that. I saw him being a little rough with her, shaking her up earlier in the day, but he wasn't beating her. That was the first time I saw him commit an act of violence, and my instinct was to get the picture first.

But after I got that one picture – because I knew I had it – I didn't just keep shooting. I wasn't like those war photographers who just stand there: bang, bang, bang. When I saw his hand go back to hit her a second time, I grabbed his arm and said, "What the hell are you doing? You're going to hurt her!" He threw me off and said, "She's my wife and I know my own strength, but I have to teach her a lesson that she can't lie to me", but from that point on he didn't hit her again.

When I was taking other photographs for I Am Unbeatable, my book on domestic violence, I was there first as a photographer, not as a social worker. Yes, I would always be divided about whether to take a picture or defend the victim, but if I chose to put down my camera and stop one man from hitting one woman, I'd be helping just one woman. However, if I got the picture, I could help countless more.

For more information on Donna Ferrato's project on domestic violence, visit iamunbeatable.com.

Pro-hunting protests, by Graeme Robertson 
'He said, "Help me, please help me", and I didn't do anything'

Photograph: Graeme Robertson/Getty Images

This picture was a taken on quite a violent day. The police were really up for it. The demonstrators were really up for it. Everybody was getting hit hard. I was flung to the floor by a policeman. I was lying there, dusting myself, ready to give the policeman a bit of my Scottish abuse, when I saw a man being wrestled to the ground for not doing what he was told. He hadn't done anything wrong, but as he was lying on the ground, the policemen were abusing him and being really aggressive with him, hands round his neck, that kind of thing. I picked up my camera and he said, "Help me, help me. Please help me." And I didn't do anything. I took a picture – and he got dragged off.

When I got home that night, I felt a bit uneasy. I thought, "I didn't really do anything there. I didn't really help." But is it the job of a photographer to get involved in this sort of thing? For five years, I covered an awful lot of conflict – Baghdad, Afghanistan, all across Africa, the Middle East. The stuff that I saw there… On my first assignments in Iraq, I really struggled with it. It caused me so much stress, I got alopecia and lost all my hair all over my body. Just from thinking about all these things. The first time I experienced it, it actually stopped me taking images I really wanted to take or should have taken, because I was so mixed up and thinking, "Should I be doing this or not? I found it very difficult. But through experience, it's sad to say, you get immune to it. And then you can concentrate on your photography, and you feel that is your power.

If you manage to get a picture that shows the scenario, that is you helping them. I'm not in this situation to help them physically, but that is what I'm on this planet to do.

I know of photographers who have thought, "I can't not help this kid" and taken the kid away. And they've got themselves into so much trouble. Because they don't know the situation or how things work. They have a different culture, different views, different medication, and often in a situation like that you end up being more of a hindrance than a help.

Stoning, by Ian Berry 
'It never occurred to me to do anything'

Ian Berry/Magnum Photos

I was travelling around Congo with Tom Hopkinson, the editor of Picture Post, and a couple of other photographers. I was in the front of the car and I spotted a crowd coming down the street, chasing one man.

We discovered later that the only sin this man had committed was being in the wrong tribe and in the wrong area. The crowd chased him and threw rocks at him; children and adults beat him with sticks. Finally, he was totally exhausted and fell to the ground quite near where I was standing. And I went on photographing.

To my shame, it never occurred to me to do anything. To start with, we were white. On our own. The other two photographers didn't get out of the car. Suddenly I realised that Tom had walked into the crowd and stood over the guy. People were so amazed, they just stood back. The man was able to stagger up, around a corner and escape. It was an amazing thing to do. Tom undoubtedly saved the man's life. And, frankly, it had not for a moment occurred to me to intervene.

When you're working with a camera, you tend to disassociate yourself from what's going on. You're just an observer. We were there to record the facts. But there are moments when the facts are less important than somebody's life.

Stabbing, by Oli Scarff 
'I don't know if I would have had the bottle to put myself in mortal danger'

Photograph: Oli Scarff/Getty Images

I'd been assigned to cover the Notting Hill carnival, so I'd been down there early, capturing the colours and the floats and the jerk chicken. The carnival was winding down, there were a lot more police on the streets, and I noticed a group of about three or four start running. There was nothing else to do, so I ran after them to see what was going on.

It was a chaotic scene, and my first instinct was to take a couple of photos immediately, to record what was happening. It's something I've conditioned myself to do: to get a shot in the bag before you can fully assess the situation. After that, my attention was drawn to a man who had been stabbed, and who was bleeding profusely. I photographed the police and paramedics treating his wounds and trying to keep him conscious, which thankfully they did. It was only after that when I noticed that the two pictures I shot at the beginning included this scene of the man with the knife and a guy attempting to trip him up. I'd manage to capture that in a split second. From the trajectory of the two images I have, it looked like he was just about to run past my left shoulder. He would have passed me in an instant.

To be honest, even if I had been aware of what was going on, I don't know if I would have had the bottle to put myself in mortal danger. It's hard to know, though: those decisions come down to a spur-of-the-moment instinct. But, fundamentally, my role on that day was to document what was happening. In the corner of the picture is someone else taking a photograph. I think, perhaps, there is an innate human desire to record these kind of things. And the facility to do so has now been put in everyone's pockets.

Bomb aftermath, by Hampus Lundgren 
'I became a photographer and not a person'

Photograph: Hampus Lundgren

I'm a freelance photographer and I had my first summer job working at a newspaper a block away from the government offices in Oslo. Up until then I'd been doing feel-good stories, following a group of male synchronised swimmers, that kind of thing. When the bomb went off, I saw a fireball in the air, then a shockwave came towards our office, knocked people to the ground and shattered all the windows. We had to evacuate, so I grabbed the camera on my desk and started running towards where the bomb had gone off. I knew there was the possibility of a second explosion and I was afraid the buildings would collapse, so I gave myself 10-15 minutes to take pictures and then get out.

This was one of the first things I saw. My mind shut down a bit, I think, because I don't remember taking this picture. I just felt adrenaline. I became a photographer and not a person. It didn't cross my mind to talk to them. The man was being held up by his wife. He was badly injured, and getting help from other people nearby, including an off-duty policeman. The others I could see were already dead. I don't know first aid, so I thought the thing I can do, and what I do best, is to document this, show people what happened.

I met the couple a few months later to see how they were doing. He was severely injured by shrapnel, and had had his right leg amputated. They told me they were really angry at the time, because the first thing they noticed when he was lying on the ground was a photographer taking a picture of him. That made me feel guilty, but later, when I showed them the image and spoke to them, they said they were pleased these pictures were taken because it helped them to remember. That helped me a lot, to feel I hadn't used them.

London riots, by Kerim Okten 
'I wanted to shout "Stop!"... but I was frightened'

Photograph: Kerim Okten/EPA

It was 8 August, day three of the London riots. I was in Hackney, and I watched this group approach a line of shops behind shutters. They obviously knew which shop was the newsagent because they went straight for it, breaking the locks on the shutters, then smashing the door, breaking in and looting anything valuable: money, alcohol, food, cigarettes. Dozens of people began queuing up outside, chatting and waiting for their turn to loot. It was darkly funny: they almost looked like a normal line of people waiting at the checkout.

Suddenly one of them turned to me. "Why are you taking pictures? Did you ask my permission to take a photo of my premises? This is my shop and this is my street now, so fuck off." They became aggressive, and so I backed away with the other photographers.

Of course I wanted to stop them. This was somebody's shop, and what was really sad and silly was that these kids probably lived on this street. This was probably the newsagent where they bought their bread and milk. I wanted to shout, "Stop! How can you do this to your neighbours? Have you lost your minds?" But I didn't say anything. I just took photographs, and talked to the other photographers and onlookers. We were all saying, "Somebody should tell them to stop." But nobody did. We were all waiting for the police to come, and they didn't come for a very long time.

I feel bad about it. I was frightened, so I just stuck to my professional duty. But life as a photojournalist teaches you that during this kind of violence, getting involved won't end it; it will just lead to more people getting hurt. With the lootings, you're dealing with group psychology. A looter won't act like a person, they'll just go with the wave of action. You feel powerless, but the power you hold is in your job: to tell the story.

Famine, by Radhika Chalasani 
'To this day, I think I didn't necessarily do the right thing'

Photograph: Radhika Chalasani

Some photographers and journalists have a very absolute point of view that you never interfere, because your job is as an observer and you can do the most good by remaining one. I decided a long time ago that I had to do what I could live with in terms of my own conscience, so when it felt appropriate to try to do something, I would. There are certain situations you struggle with. We're interfering with a situation by our very presence, and that automatically changes the dynamic. At one point, I was photographing a woman carrying her son into a feeding centre. He was extremely malnourished, and I was photographing her as she walked along. All of a sudden, these Sudanese people started directing her for the photos. They had her sit down and were indicating how she should hold her child. I ran to get a translator, and said, "Tell her to take her child to the feeding centre. She should not be stopping because I'm taking a photograph."

Another time, there was a family sitting under a tree just outside the feeding centre, about 10 feet away. But they couldn't walk, they were so emaciated. And there was a group of photographers all around them. I took a few pictures, but then I walked into the feeding centre and asked a nurse, "Is there anything you can do for this family?"

I've been in situations where it's been a hard call, though. On one occasion, a group of photographers went into an abandoned refugee camp and found a massacre site. There were some children who had survived. There were two baby twins in a hut: I tried to get one child to take my hand and realised it had been chopped off. We didn't know how long they had been there. And it's in the middle of a civil war, so you're not sure how safe things are.

Myself and another photographer wanted to take the kids out of there in the car. Several of the other people didn't think it was safe, in case we got stopped at a checkpoint, and they wanted to get back for their deadlines. In the end, we didn't take the children. We found the Red Cross and reported the situation to them, but I found that another photographer went there the next day and found another child who was a survivor. To this day I think that I didn't necessarily do the right thing.

I do believe that our main contribution is trying to get the story understood. And sometimes, when you think you're helping, you're actually making a situation worse. But, for me, you try to do what you can live with.

HANGING OUT WITH FRIENDS TODAY

Grabbing a cup of coffee    Dining out at your favourite restaurant   Spending some time at the museum      Meeting at a popular fast food centre        Relaxing at the beach     Going to a game          Going out on a date       Taking a drive around town I am thankful I belong to another generation  !!!!   “It’s become appallingly clear that our Technology has surpassed our Humanity” -- Albert Einstein

Tattoos are permanent reminders of temporary feelings

'It's wisest to pick someone whom you cannot break up with or divorce.' Photograph: Gary Powell/Getty Images

Tattoos are permanent reminders of temporary feelings – at least if you believe the report in Thursday's Daily Mail, which looked at "embarrassing" matching couple tattoos – designs that complement or complete each other across two, romantically involved bodies.

Yet there are millions of people who feel no embarrassment about the tattoos they share with their friends, lovers and even exes. Moreover, as with most perceived "new trends" in tattooing, this practice is one with a history far older than the current generation; it's a phenomenon that provides both an insight into human beings' fundamental relationships with their own bodies and the bodies and lives of those close to them.

 

Tattoos have been used as markers of association for probably as long as human beings have walked the earth, to mark tribal affiliations, regimental membership in the military, membership of fraternal orders such as the masons or US college Greek letter groups, and to signify gang membership.

The most common of these types of affiliative tattoos, though, is marking an attachment to a loved one. There's an old adage in tattooed circles that suggests getting your lover's name tattooed on you is a sure kiss of death for that relationship, and it's an old gag too: Norman Rockwell's famous 1944 Saturday Evening Post cover painting, The Tattooist, shows a salty sailor in the tattooist's chair, having yet another name added to an arm already full of the crossed-out names of past paramours. Even earlier, a cartoon in Punch from 1916 shows a "fickle young thing" – a well-turned-out young woman, as it happens – revisiting her tattooist to seek an amendment to the ornamental crest tattoo on her arm as she has, euphemistically, "exchanged into another regiment".

 

None of this seems to have affected the long-standing popularity of having names or symbols tattooed to commemorate couples' love and bond. Magazines in the 1920s reported the latest fad for newlyweds was getting matching tattooed wedding rings; preserved tattooed skins in the Wellcome Collection from the late 19th century feature names and portraits of lovers; studies of tattoos in the American navy in the 18th century reveal a large percentage of seamen of the period bore tattoos of the names of women; even Christian pilgrims in the 16th century were recorded to have borne the names of their wives on their skins, as tokens or identificatory marks; and records attest to romantic tattooing even in ancient Rome – St Basil the Great (329-380) is said to have condemned the tattooing of a lover's name that he observed on someone's hand. While I'd certainly never advocate getting a permanent mark of your relationship too hastily, it does seem that the instinct to inscribe a permanent token transcends the ages. Caveat amator.

 

Single tattoos that span multiple bodies appear to be a more recent phenomenon, however. In 1977, New York-based tattoo artist Spider Webb undertook what was probably the first conceptual art project to use tattooing, in a piece called X-1000, in which he tattooed single, small Xs on to 999 individuals, and, as a culmination, one large X on the final, 1,000th skin, conceived as one contiguous work. This tattoo, potentially spanning thousands of miles at any one time, was, Webb said, "the largest tattoo ever done at any point in history". In 2000, as the culmination to a performance art project begun in 1998 designed to highlight the horrific lives and plights of the homeless and hungry in Mexico City, Santiago Sierra produced his piece 160cm Line Tattooed on Four People, a single black line tattooed across the backs of prostitutes in exchange for wraps of heroin, as a symbol of their desperation, interdependence, and utter powerlessness. Sierra would later remark: "You could make this tattooed line a kilometre long, using thousands and thousands of willing people." In 2003, author Shelley Jackson famously published her short story Skin on the bodies of 2095, one tattooed word per person. These tattoos bring together strangers in common cause.

 

My favourite set of matching tattoos, though, are probably the ongoing collection of work worn by twins Caleb and Jordan Kilby, tattooed with matching work by influential and extraordinarily talented New York-based artist Thomas Hooper. If you must get matching tattoos with someone, it's wisest to pick someone whom you cannot break up with or divorce, and to get the work carried out by a tattoo artist who will produce a piece of work that will stand the test of time on its own terms.

Latvian company creates leather bound Ferrari

We're familiar with seeing tight leather on smoking hot women, and weird old men, but it's a first for us seeing a leather bound Ferrari F430.

There seems to be a lot of fuss over this leather bound Ferrari F430 in the UK with both The Sun and The Daily Mail reporting about it recently.

However, this isn’t a new car by any means as US motoring blog Jalopnikreported on the F430 way back in August last year. It’s a pretty cool, albeit manky, car so we thought we’d show you anyway.

It’s the work of a Latvian custom car company called Dartz who hit the headlines in 2009 when they created a $1.5 million ruby red SUV with whale foreskin-covered seats. Yes, foreskin…

Anyway, some high roller with more cash then sense decided it would be a great idea to cover his €170,000 Ferrari in dark leather.

The owner of Dartz, Leonard Yankelovich, said: "One of our very rich customers from the Cote d'Azur wanted a leather exterior and knew we could deliver.

"It took three of my staff 16 working days to apply the leather and finish. He was more than happy when he picked it up."

He won’t be too happy when he scratches it though.

Is this the most expensive way to ruin a Ferrari?

Is it a tent hammock or a portable treehouse?

 

 Either way, Tentsile bills itself as "the world's most versatile tent," with structures that can accommodate two, four, or even a whole family of eight campers — suspended in the trees!

Conceived by architect and treehouse designer Alex Shirley-Smith, the London-based Tentsile line "provides separation from floods, sand storms, earth tremors, cold and lumpy ground, as well as offering increased protection from wildlife, including insects, snakes and other predators." Seems like it would be a good idea for that timid city friend who's venturing into camping for the first time!

It also sounds like it would be a fun and portable solution for families that don't have suitable trees in their backyards to build treehouses, but still have trees that can support a lightweight structure. The company is currently developing a stand to allow setup of the Tentsile on the ground.

The tent is made of a collapsible frame of webbing straps with fire-retardant and UV- and water-resistant polyester panels. The unique design features a level, trampoline-like floor and semi-rigid sides that are held in place by tension, so you won't roll into another person the way you do in a hammock. Each tent configuration also includes vestibules and storage areas.

Intended Consequences, his powerful series of portraits of women who were brutally raped in the Rwandan genocide and the children they bore as a result.

A visitor looks at Jonathan Torgovnik's photographs at Rencontre d'Arles. Photograph: Gerard Julien/AP/Getty

Jonathan Torgovnik has won the Discovery prize at this year'sRencontre d'Arles photography festival for Intended Consequences, his powerful series of portraits of women who were brutally raped in the Rwandan genocide and the children they bore as a result. Torgovnik, who is based in South Africa, photographed in Rwanda for three years and interviewed all his subjects about their experiences. He is co-founder of Foundation Rwanda and, in his acceptance speech, said he would be donating a large portion of his prize money of €25,000 (£19,850) to the organisation, which supports the women and children and raises awareness about the consequences of sexual violence through photography and film.

The Latin American Photobook (Aperture), a historical overview of the form edited by Horacio Fernandez, deservedly won the historical book award.

One of my personal favourite photobooks from 2011, Red Headed Peckerwood (Mack) by Christian Patterson took the author book award. A blend of fact and fiction, oblique narrative and found ephemera, the book retraces the infamous killing spree of Charlie Starkweather, 19, and his 14-year-old girlfriend, Caril Anne Fugate, across Nebraska and into Wyoming in 1958. I enthused about the book when it came out and also included it in my list of best photobooks of 2011. It is a beautifully realised project, despite its visceral subject matter, and fully deserves the prize.

British-based independent publishers Mack are on a roll at Arles, having now won the author book award two years running – Taryn Simon's A Living Man Declared Dead and Other Chapters was last year's winner.

The festival's opening week concluded on a celebratory note on 7 July with a well-received screening of Journal of France, a film on the great French photographer Raymond Depardon made by his wife and sound recordist, Claudine Nougaret.

Freeze Fresh Herbs in Oil to Preserve Them

Have a few fresh herbs sitting around that you won't get to using before they turn? Sure, you can freeze them in water or dry them out, but if you know you'll use them relatively quickly, you can add a few weeks to their life without damaging their potency by freezing them in oil instead. We've shown you how to make simply syrups with them, and how to use sea salt to dry them, but if you have some lovely herbs you want to use, but won't get to before they turn brown, consider dropping them in an ice cube tray, filling up the cubes with olive oil (or any other oil of your choice, as long as it freezes nicely), and popping them in the freezer. When you're ready to fry some potatoes, for example, pop out a couple of rosemary oil cubes—you'll need the oil for the pan anyway, and the rosemary will be right at home. Need some oil in a baking dish or crock pot for a few chicken breasts? Grab a frozen sage oil cube. The sky's the limit. The only thing to note is that with some herbs have a shorter shelf life when frozen in oil than in water (like garlic, for example), so this won't beat drying if you're looking to keep your herbs fresh for months and months. It will, however, work for weeks on end, and if you freeze them, pop them out of the ice cube trays and put them into zippered baggies, they'll keep even longer. Then, the next time you need oil for a recipe, you can add a little fresh flavor at the same time. Hit the link below for even more oil-freezing tips, and some tips on which herbs take well to freezing and which don't.

mclaren 12C spider convertible

'MP4-12C spider' by mclaren

mclaren automotive has produced its second 'MP4-12C' model, the '12C spider'. bred through the essence of a race car, the '12C spider' incorporates a 

convertible roof explicitly designed to let users experience the sounds of the vehicle's V8 twin turbo engine. unlike many other convertible models, 
the hard top roof can be operated whilst moving at speeds of up to 30 kph (20mph) taking less than 17 seconds to raise or lower. with the '12C' originally
designed as a convertible, its 75kg carbon fibre monocle frame required no additional strengthening for it to feature in the 'spider'. 

closing the hard-top

the raising of the roof frees 52 liters of space for storage. in 2013, vehicle lift will be available as an option, allowing for the '12C spider' to be raised 
in the front and rear for improved ground clearance, up to 40mm (1.5") at the front and 25mm (1") at the rear.

the MP4-12C will be launched in 'volcano red', one of 17 exterior paint finishes currently available for the '12C' and '12C spider'. 
first deliveries to customers are planned for november 2012. 

closed top

3/4 top view

 

3/4 rear view

 

top view

interior view

specifications: 

0-62 mph (0-100 kph) : 3.1 sec 
0-100 mph (0-161 kph) : 6.1 sec
0-124 mph (0-200 kph) : 9.0 sec
¼ mile (400m) : 10.8 sec at 134 mph (216 kph) 

engine configuration: V8 twin turbo, 7 speed automatic

star wars recreations of famous photographs

a photo series by david eger recreates famous photos and paintings with star wars figurines and handcrafted sets
above: 'troopers raising the flag on iwo jima' (joe rosenthal's 'raising the flag on iwo jima')
all images © david eger
as part of a year-long project '365 days of clones', canadian art teacher david eger has recreated famous photographs and paintings 
using star wars figurines. the scenography is done in real life rather than in photoshop, in a project that was eger's response to his 
new year's resolution to pursue personal photographic endeavours more often.

eger photographed each piece on a date relevant to the original work: the anniversary of the date the photograph was taken
in the case of most contemporary pieces; or the birth or death dates of the artist for images like his recreations of pablo picasso's
'guernica' or leonardo da vinci's 'vitruvian man'.



'troopers atop a skyscraper' (charles c. ebbets's 'lunchtime atop a skyscraper')




'abbey road' (ilan macmillan's 'abbey road' cover shot of the beatles)



'galactic gothic' (grant wood's 'american gothic')



'B.F. boba fett' (cover of film 'E.T. extra terrestrial'), with yoda in bicycle basket



'migrant trooper' (dorothea lange's 'migrant mother' great depression photograph of florence owens)



'a royal kiss' (recreation of the wedding day first kiss of prince william and catherine middleton at the buckingham palace)



'gandhi' (margaret bourke-white's portrait of gandhi spinning cotton)



'million trooper march' (bob adelman's photograph of martin luther king jr.)



eger's setup for the 'million trooper march' recreation



'the cloned kiss' (alfred eisenstaedt's 'the kiss')