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The course includes 1 hour of on demand video with 1 downloadable resource and you will earn a certificate of completion. The introduction and exposure video lessons you will be able to access for free. The video lessons range from the aperture exercise, the mode dial and the shutter speed exercise. This course is for absolute beginners and someone who has some knowledge of how a camera works.
28 days with sue bryce torrent download
The course includes 22 hours of on demand videos with 63 articles and 1 downloadable resources and a certificate of completion. The video lessons range from exposure and composition to lighting and flash photography. You will have assignments to complete along the way and a full lifetime access to the course so you can go back and rewatch the course material as many times as you like. You will receive a certificate of completion at the end of the course.
The course consists of 15 video lessons (3h 4m) with a class trailer and sample of the course you can watch for free. The video lessons range from portrait photography, studio vs. location to the technical side of photography. A downloadable workbook accompanies the video classes with lesson recaps, assignment and additional resources. You will also have access to the Hub which is a social forum for you to network with other learners, where you can send your work in for critique and ask questions.
The course consists of 20 video lessons (4h 10m) with a class trailer and sample you can watch for free. The video lessons range from On location climbing photoshoot, portraits and natural light to gear: camera, lenses, power and storage. A downloadable workbook accompanies the video classes with lesson recaps, assignment and additional resources
The course includes 2 hours off on-demand video with 11 downloadable resources and full lifetime access. The welcome and explanation to the course is free to access, so you can get a taste of what is to come. The on-demand video lessons range from night photography demonstration to editing night photos. The course is created for beginners but can also be a good follow up from Photography Masterclass: A complete Guide to Photography.
Technological advancements in years saddling the new millennium brought sweeping changes to the way data is transferred across the world. The rapid increase in the availability and acceptance of broadband internet connections has allowed people from the far reaches of the globe to download large multimedia files at much faster speeds than ever before. Sharing files between computers became easier for the general population to understand. The once dominant UseNets and IRC channels slowly gave way to user-friendly graphical user interface (GUI) peer-to-peer (P2P) programs where anyone can make a simple search to produce desirable results. Emerging technologies such as Wikis and BitTorrent coupled with old tools like email and instant messaging provided additional techniques where information can be transferred from one client to the next. Finally, the adoption of standardized media formats improved the sharing experience as a whole. All of these changes, old and new, provided the foundations for the present day's pervasive illegal distribution of copyrighted material.
Since the piracy problem is pertinent across many fields, the definition of this term and possible classifications have been extremely controversial over the years. While members of the justice system used piracy and theft almost interchangeably, people on the other side of the aisle view this practice as a grand exaggeration of reality. To them, it is unfair to compare downloading a song with real life thievery, or in this case, the carnage of 17th century sea "pirates." Even the organizations representing the large media and software industries do not have standard, unified definition for what they are fighting. MPAA defines piracy as "a serious federal offense." As for the different kinds of piracy, MPAA only mentions "internet piracy of movies, DVD copying, illegal sales and theatrical camcording." To the ISAA, "making additional copies, or loading the software onto more than one machine, may violate copyright law and be considered piracy." RIAA defines piracy as "the illegal duplication and distribution of sound recordings." Each organization is representing its respective industry, only showing pertinent consumers mere pieces of the puzzle. A definitive, yet agreeable definition for piracy and an universal way to classify the many faces of this issue are needed.
Categorizing piracy by methodology only answers the "how" question. "Why" people pirate can be grouped by a measurement of intentionality. Kids and adults alike have different reasons for why they choose to download from P2P networks or buy counterfeit media. Some, however, are quite unaware of their actions while others are completely oblivious between what is right and wrong. In a recent ZDNet report on UK businesses running Windows, "Microsoft would not put a figure on how much it loses from unintentional piracy, but said that while 85 percent of UK small businesses run Microsoft software, only 15 percent pay for it." [6] All of this, of course, hinges on intentionality. Individuals who are completely aware of their actions are considered director facilitators of digital or physical piracy. From the acquirers of prerelease content, to the online intermediaries, from the distributors to the customers, this group includes people anywhere on the piracy chain. Intentional piracy usually involves some sort of monetary gain at the loss of the copyright holder. Individuals somewhat aware of piracy are usually consumers of counterfeit content. They understand to an extent what they are doing is wrong but choose to go ahead with it for various reasons such as personal enjoyment or curiosity. Educating these indirect facilitators the wrongs of piracy is the recording industries' best chance at curbing this problem. Finally, consumers completely unaware of piracy are usually those who are victims of counterfeit scammers or those whose computer or personal network has been hijacked to illegally contribute copyrighted material.
In March 2001, the FastTrack protocol allowed for a more distributed network without a centralized sever. Faster computers in the network now has the ability to become supernodes, or machines with server-like capabilities to help out slower clients. Newer P2P programs like KaZaa, Grokster, and iMesh successfully implemented this protocol and gained millions of users. Two years later, "FastTrack was the most popular file sharing network, being mainly used for the exchange of music mp3 files. Popular features of FastTrack are the ability to resume interrupted downloads and to simultaneously download segments of one file from multiple peers." [9] During the same decade, true distributed network protocols such as the open source Gnutella and eDonkey 2000 also caught on with mainstream P2P file sharers. Likewise spawning other P2P clients, Limewire, Morpheus, and eDonkey. Compared to Napster, these newer networks were able to attain higher maximum speeds because every client also had the capability to share files. Also, since the copyrighted material were stored on individual computers, with the proper disclaimers, the P2P client companies were able to brush off the majority of legal accusations.
BitTorrent was developed by Bram Cohen in 2001. By splitting large files into sizable pieces, data can be widely distributed and shared "without the original distributor incurring the entire costs of hardware, hosting and bandwidth resources." [10] For a client to download additional data, one must supply requested chunks of the larger file to newer recipients. Cohen's implementation not only proved to be incredibly efficient, but also managed to exploit a legal loophole. While the initial releases of the BitTorrent system depended on trackers to operate, these servers answered the requests clients only by giving them the location of other computers who are concurrently sharing the same sought after file. Since tracker servers did not host any of the copyrighted content, the prosecution had a harder time shutting down these organizations. BitTorrent soon grew to become the sharing mechanism of choice.
Digital piracy only constitutes a portion of the whole picture. True, today's extensive counterfeit CD/DVD markets are largely fueled by the established presence of piracy in the digital realm. Resellers and distributors usually get the content to copy from online sources. But, the history of physical piracy can be traced back to the days of floppy disks and cassette tapes. In 1964, the Philips company brought compact audio cassette technology to the United States. Although there were other magnetic cartridge technologies available, Philip's decision to license the format for free made compact cassettes the most accepted recording medium during this time. [11] In the 1970s and 1980s, cheaper multi-track recording mechanisms for artists and the consumer compact cassette boom prolonged the popularity of this new medium. The trading of these recordable cassettes among music fans across the U.S. and U.K. via the mail was dubbed "cassette culture." [12] Acceptance of floppy disk technology starting from the early 1980s provided users an easy way to copy computer related files. Copyrighted computer software and games especially could be easily duplicated using these disks. Of course, anti-piracy campaigns also started as a reaction to these new fads. The British Phonographic Industry, a music trade group in the 1980s, launched an anti-piracy campaign with the slogan "Home Taping Is Killing Music." Similar to the RIAA's concerns today, the BPI was afraid that the rise of a new recording medium (in their case, the cassette tapes) would hurt legitimate record sales. In 1992, the Software Publishers Association produced an anti-piracy campaign centered around a video commercial called "Don't Copy That Floppy." [13] 2ff7e9595c
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