Piles of sea creatures continue to wash up on Teesside beaches - Saltley Gates October 26, 2021 Related Article: Deep-Sea Anglerfish Found in South California Coast, What Does This Mean to the Environment? Immediate Action "It was so deep and piled so high in certain places." That's been building up for a few weeks, but I've never seen anything quite like it. She's lived in the neighborhood for 21 years and said she's never seen anything like it, even after a hurricane. This has been piling up along our shore for several weeks, and no one is doing anything about it." My husband and I spent hours returning as many live ones to the water as we could something is seriously wrong here. "This is the first time I've ever seen anything like it. Bell, 48, was "utterly horrified and saddened" to find waist-deep seaweed full of hundreds of dead and living crabs and lobsters of all types and species along her daily stroll from Marske to Saltburn. Sharon, who visits the beach near her house every day, said the number of animals has slowly climbed over the last two weeks. They spent the next four hours attempting to get the living ones back into the water. Sharon Bell, a Marske resident, and her husband Christopher were out early on Monday morning photographing the dawn when they made the discovery. The Environment Agency is now looking into whether the strange occurrences are connected to pollution. Those creatures have also washed up at Seaton Carew and Seaham, both in the north of England. According to TeessideLive, they're piled "waist-deep" in some situations. On the shore between Marske and Saltburn on Teesside, crabs - some still alive - lobsters and various other crustaceans have been spotted. (Photo : Photo by Ian Forsyth/Getty Images) Piles of Dead Sea Lifeĭead crabs and lobsters on Hartlepool beach /4LTq9ZbtbJ- Breaking News (Teesside) October 24, 2021
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This can be a great time to present your gifts and give employee rewards or awards. You're set for a good time with silly party hats or a branded Santa hat, a delicious punch (booze optional), and some snacks. Here are Some Ways to Show Your Employees Care this Christmas! Host an Office party! And marking these moments doesn't have to cost, and a simple shout-out, staff member of the week, or cupcake on their birthday are all little ways we can say thanks and make work a place where staff feel valued.Ĭhristmas is the ideal time to fast-track your team's bond and end the year with an explosion of good memories! Some other great ways to increase workplace culture and team bonding throughout the year are office challenges, dress-up days, morning teas, shared coffee breaks and celebrations of birthdays. Your staff appreciation gifts are essential, but the positive workplace you cultivate is even more so! Christmas gifts are a great way to increase workplace culture by showing your staff members they are valued and appreciated. Research shows that teams with stronger bonds led to better communication and less friction in the workplace. Investing in this culture of unity and friendship is also a wise business decision. Many people meet lifelong friends through their teammates and industry connections. Christmas is the ideal time to strengthen relationships, reach out to an old friend and drop off your neighbours' baked goods. Teamwork makes the dream work! And a bonded team brings many benefits to the staff members themselves and the workplace as a whole. Increase Workplace Culture this Christmas! Show your busy staff that you recognise their hard work. There's nothing like receiving a care package! The best gifts are a meaningful gift. The only time quantity may be more important than quality is the last hour of the office Christmas party bar tab! If your budget is tight, one quality item is more impactful than a few cheaper promo items. One quality item is sure to last and be used. Trust us, quality over quantity applies to your staff gifts. Fun, quirky gifts can be a great way to create positive memories. Quality and retail-inspired metal drink bottles or soft pastel coffee cups in trending styles are great products that will be used repeatedly.Ī great way to make an impact and spread festive cheer amongst your staff. Gifts are not always one size fits all, so choosing a product that will be enjoyed, used, and kept means it's probably not going to be a plastic pen! (A sleek, quality metal pen in a velvet pouch – engraved with your staff member's name, however, not a bad idea.) Here are some things to consider when buying your Christmas gifts for Employees.Ī gift that has high usability is a great option for staff. And while it can be easy to reach for gift vouchers, our selection of employees holiday gift ideas are sure to help you express gratitude this year.įinding the perfect Christmas gift for your staff members can be challenging. Branded promotional gifts can help you celebrate your team and their achievements this year. After all, it is the staff who keep your business running.Īn appreciated workforce can lead to higher staff retention, productivity, and employee engagement. Expressing gratitude and appreciation to your hardworking employees helps create a great work culture and environment. Showing appreciation for your employees, whether new or becoming a part of the furniture, is critical for every organisation. Your workforce is the backbone of every industry, and we know that as a business, the people make it great! A staff Christmas gift is an important ritual that business owners, organisation leaders and CEOs should maintain every year. If you have an immediate need for a workspace or channel, submit your request to will Slack be available?Īll active students, faculty, and staff have immediate access to the Trojan Talk workspace. Updates on this rollout can be found under the #its-announcement channel in Slack. There is a phase rollout planned for Slack workspaces and channels based on a broader university deployment plan. How do I set up a new workspace or channel? If you are the owner of a Slack workspace that you would like to migrate into the USC Slack Enterprise, please submit a request to The plan is to migrate all existing workspaces under the larger enterprise grid to enable greater collaboration amongst our students, faculty and staff. Slack is available to active students, faculty, and staff as well as active affiliates. name, job description or title, phone number, time zone, etc.) as well as photo in Slack. organization channels like #its-announcements). These can be public or private, and can be within a single workspace or shared across multiple workspaces (i.e. A workspace has its own administrators and permission settings, and its own members, channels, and apps to enable a large group of people to collaborate long term.Ī channel is a context-based conversation where groups of people can communicate, and interact with information related to a common topic (e.g., project). You may also reference this quick reference card– Slack Interface QRC–which highlights key features of the app.Ī workspace is a separate instance of Slack that sits under the USC Enterprise Grid. It brings threads of communication and files into one place, where they’re instantly searchable and available wherever you go.Ĭheck out this Slack demo to see how the app can be used to support teams, departments and organizations like USC. Slack is a messaging app for students, faculty and staff. Ultimately, this real-time solution makes working together even simpler. Staff can make operational communication even more effective by avoiding lengthy and complicated email chains. Faculty and students can easily collaborate on their courses. Slack is a central collaboration hub for students, faculty and staff. Slack is the equivalent of USC’s digital campus - a collaboration hub that enables real-time communications and connections in a searchable platform for real-time messaging, content sharing, learning, and more. It’s important to remember this during our darkest moments and trust that there is always a guide to help us find our way. In the darkness, there is always a possibility of finding the light. With their reliance on sensory perception and nocturnal habits, they journey through life using their intelligence and intuition to guide them towards light. Moths, creatures of darkness, have long been associated with symbolic meanings. So, the next time you encounter a moth, remember their teachings on transitions and find comfort in knowing that endings are merely the start of a new chapter. By following the guidance of moths, we can learn to navigate these transitions with grace and ease. They encourage us to embrace the changes that come with transitions and to trust the journey ahead. Moths remind us that every ending marks the beginning of something new. As such, they are closely associated with endings and new beginnings in our lives. Across cultures, moths have been seen as emissaries from the Spirit realm. Embracing Endings: The Teachings of Moths on Transitionsīaumann Brunke, an expert in animal symbolism, highlights one of the key teachings of moths: to guide us through transitions between worlds. The moth practices expectant faith each time that call comes and for humans, it represents vigilance in maintaining our intuition at its best possible working order. Moths have connected yin energies which links them back into feminine energy fields – but don’t forget how much these creatures thrive off darkness too! Consider this next time you are afraid: “The shadow represents everything in life over which one has no control.” Moth’s Attraction to Light: Expectant Faith and IntuitionĪ moth is attracted to the light no matter what, even though it’s often dangerous. Moth symbolism is all about transformation and hidden knowledge they can show up to help us discover our inner wisdom with their psychic abilities or bring forward an intuitive discovery of something we’re trying hard not to see because it doesn’t suit who I am now? Yin Energies and Feminine Energy Fields Because these values form a key part in how they live their lives – from gathering food subsidies by day (butterflies) or mating activities at sundown- it’s not surprising why many people have thusly associated them with clairvoyance as well! Moth Symbolism: Transformation and Hidden Knowledge In contrast to their daytime brethren, the butterfly, moths are nocturnal creatures that thrive on the secrecy and darkness of night. – Giacomo Casanova What do moths symbolize? With over 160,000 species of moths (compared to only 17,500 species of butterflies), there’s no shortage of intrigue to explore! Read on to unravel the intriguing meanings behind these nocturnal fliers and embrace the life changes they may foreshadow.īe the flame, not the moth.
More than three decades later, the image of that explosion remains as iconic as Buzz Aldrin standing on the moon. For the first time in its history, NASA had lost a crew on a mission-with the nation watching. And images of the grotesque, Y-shaped explosion dominated the news cycle for days to come. Teachers scrambled to get their kids out to recess. Challenger disappeared as white vapor bloomed from the external tank. The space shuttle Challenger exploded 73 seconds after lift off.īut 73 seconds after Challenger’s launch, that dream quickly became a nightmare. The 'Space for Everyone' Dream Shattered That Morning Kids nationwide would watch the launch live and know that no dream was beyond reach. As a civilian, she was PR catnip: infinitely relatable and proof that space was now truly open to average Americans, not just hot-shot fighter jocks. The sun had been up for less than an hour and air temperatures were a few notches above freezing when the crew of STS-51L boarded the orbiter Challenger that Tuesday morning.Īll around the country people were getting excited-in large part because the seven-person crew’s included Payload Specialist Christa McAuliffe, a schoolteacher and mother of two chosen to fly as part of NASA’s Teacher in Space program. The launch on January 28, 1986, was different. For many Americans, shuttle flights carried little of the bravado and romance of the Apollo era. Missions-to conduct research, repair satellites, and build the International Space Station-failed to ignite popular imaginations the way a moon landing had. Projected frequency: more than 50 flights a year.īut had space flight become…too routine? Even as the shuttle undertook fewer than one-tenth that many flights, excitement quickly waned. The government agency had debuted the space shuttle program five years earlier with an aggressive public-relations message that the reusable vehicles would make access to space both affordable and routine. A good well acted drama but a little bit too neatly packaged to make it digestible for the viewing audience.Challenger Needed to Rekindle America's Romance With Spaceīy January of 1986 America was already bored with spaceflight. The reveal at a press conference was exactly how it happened in real life. It all came down to 'O' rings and how they reacted in sub zero temperatures. In real life she was more outspoken about the deficiencies of NASA when it came to safety. Eve Best who plays Sally Ride was rather sidelined. Hurt portrays Feynman as dogged but he was also very ill at the time of the investigations. Feynman is the vehicle who was famous for making science accessible. The film had to summarise these investigations and sell it to the viewer in an easy to understand way. There are various factions, some with their own self interests who wanted to hinder the investigation or put it down to human error. The drama is based on the Space Shuttle Challenger disaster of 1986 and the Presidential commission set up to investigate the accident. This is a drama-documentary that has been co produced by the BBC and they managed to attract a starry cast with Oscar winner William Hurt playing distinguished scientist Feynman and Bruce Greenwood continuing his mini run of playing nice guys as General Kutyna. The AstroGNU above is again a great example because it was design for small pins. Well there is also that nowadays people like simple stylized logos rather than complex detailed logos (though we might have come to this point because we realized that complex logos are much less passe-partout, less flexible to all kinds of use cases so even this might actually be the same thing) so it suits vector. It has to stay sharp and distinguishable on all these use cases. This is why you do logos or similar designs as vector, because your logo can end up extra small on the footer on some document, a little bigger next to a title, or huge, like full page document or 4K full screen, or whatever. Typically when you do something which will be used at many size, you want to go vector (if possible it's not always, typically the photo case). You may also choose depending on the usage. Then later, she redrew the chosen design in Inkscape for a finale version. Well the cute "AstroGNU" in particular, Aryeom first drew several quick idea sketchs in GIMP. We (to be more accurate, Aryeom, our director for ZeMarmot) designed these pins for the FSF: AstroGNU and other pins. A very typical approach is that you may make initial sketch in GIMP because it's more natural to draw, even when you know that you will do the finale version in Inkscape. Note that here again, it can be a dual approach. If you want no limitation by the tool and paint in a more unconstrained style, then you want GIMP. If you want to draw more with shapes (even complex shapes) or a very stylized approach, then Inkscape is more often than not the right choice. If working on an illustration from scratch, it really depends on what you want to do, the image style, the goal, etc. So basically you can go from one software to another. Typically a poster could have photography contents (raster, processed with GIMP) with vector designs (created in Inkscape), texts (added in Scribus when layout-ing), etc. Once again, it can be done in GIMP, but often something like Scribus will be a lot more efficient. You may also want to do some actual layout of several images, photos, design elements, etc. Though of course, text can be done in GIMP too. But then if you add design elements, say text or something like this, depending on what you do, it might make sense to switch to a more vector approach (Inkscape or even more a layout software like Scribus). It can be both on the same project.įor instance, when working based on photos, you will want to work on raster (unless your goal is to simplify the photo, like when making some "stylized photo-drawing" or other specific cases). But basically, it's not one OR the other. I mean when I read nonsense like " Tip: You can quickly cut down file size by reducing the resolution to 72 PPI for online images.", I wonder if the author doesn't repeat something heard without understanding what things mean (for online images, the PPI doesn't matter you should really think your images directly in pixel size).įor the question at hand, I would say that with experience, you just know when to use one or another. This article is not completely wrong, but you can feel they are themselves parotting some "common saying" without understanding and giving very generic advices. r/FreeCAD FOSS Parametrical CAD/CAM /r/scribus Desktop Publishing Darktable FOSS tool for photographers r/gmic FOSS image processing framework /r/inkscape Vector-based graphic editor /r/blender 3D modeling, animation, & rendering /r/mypaint painting for digital painters /r/darktable/ photo editing software /r/krita digital painting application /r/synfig FOSS 2D Animation /r/FOSSPhotography Folks who use all the above /r/libredesign changing the paradigm Other Links of Interest
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Self-reported long COVID was defined as symptoms persisting for more than four weeks after the first suspected coronavirus infection that were not explained by something else. This analysis was based on 297,743 responses to the Coronavirus (COVID-19) Infection Survey (CIS) collected over the four-week period ending 5 September 2021, weighted to represent people aged two years and over living in private households in the UK. These new cases of self-reported long COVID follow a period of increased incidence of COVID-19 infections in the UK during July 2021 (see the datasets accompanying the latest COVID-19 Infection Survey statistical bulletin for estimated incidence rates). There has been a notable increase in the number of people with self-reported long COVID who were first infected (or suspected they were infected) less than eight weeks previously, from 50,000 (5.2% of those with self-reported long COVID) at 1 August 2021 to 132,000 (12.2%) at 5 September 2021 (Figure 1). This is an increase from 970,000 in the four weeks to 1 August 2021, the largest monthly increase since estimates of self-reported long COVID prevalence were first published in April 2021. Changes in the prevalence of self-reported long COVID since the previous monthĪn estimated 1.1 million people living in private households were experiencing self-reported long COVID (symptoms persisting for more than four weeks after the first suspected coronavirus (COVID-19) infection that were not explained by something else) in the four-week period 8 August to 5 September 2021. The time it takes to recover from COVID-19 is different for everyone, and the length of your recovery is not necessarily related to the severity of your initial illness or whether you were in hospital.Ģ. If you are worried about new or ongoing symptoms four or more weeks after having COVID-19, there are resources available to help: see the NHS webpage on the long-term effects of coronavirus and the NHS Your COVID Recovery website, which can help you to understand what has happened and what you might expect as part of your recovery. As a proportion of the UK population, prevalence of self-reported long COVID was greatest in people aged 35 to 69 years, females, people living in more deprived areas, those working in health or social care, and those with another activity-limiting health condition or disability compared with the previous month, prevalence of self-reported long COVID was notably higher among young adults aged 17 to 24 years and people working in the hospitality sector.Fatigue was the most common symptom reported as part of individuals' experience of long COVID (56% of those with self-reported long COVID), followed by shortness of breath (40%), loss of smell (32%), and difficulty concentrating (31%).Symptoms adversely affected the day-to-day activities of 706,000 people (65% of those with self-reported long COVID), with 211,000 (19%) reporting that their ability to undertake their day-to-day activities had been “limited a lot”.Of people with self-reported long COVID, 831,000 (77%) first had (or suspected they had) COVID-19 at least 12 weeks previously, and 405,000 (37%) first had (or suspected they had) COVID-19 at least one year previously.The estimates presented in this analysis relate to self-reported long COVID, as experienced by study participants who responded to a representative survey, rather than clinically diagnosed ongoing symptomatic COVID-19 or post-COVID-19 syndrome in the full population.An estimated 1.1 million people living in private households in the UK (1.7% of the population) were experiencing self-reported “long COVID” (symptoms persisting for more than four weeks after the first suspected coronavirus (COVID-19) infection that were not explained by something else) as of 5 September 2021 this is up from 970,000 (1.5%) as of 1 August 2021, reflecting increased COVID-19 infection rates in July 2021. While C-41 is usually considered a color process, Ilford manufactures two " chromogenic" C-41 compatible black-and-white films, their own XP2 Super and Fuji's Neopan 400CN. The finished negative is printed using color photographic paper to yield a positive image.īlack-and-white use C-41 "chromogenic" black-and-white films Some C-41 films, intended for scanning, do not have this orange base. These C-41 negatives appear orange when viewed directly, though the orange base is compensated for in the formulation of color print materials. Nearly all C-41 films also include an additional orange mask to offset the optical inadequacies of the dyes in the film. The resulting film is a negative, meaning that the darkest spots on the film are those areas that were brightest in the source. Due to the complexity of the film and exacting nature of the process, the results vary widely as with black-and-white negatives, the process generally results in a negative that is higher in contrast and sometimes higher in grain. Like the black-and-white film process, the C-41 process can be used to push-process films. These are not used by commercial C-41 processors, and are marketed for home or field use. There are simplified versions of the process that use a combined bleach-fix ( EDTA) that dissolves the silver generated by development and removes undeveloped silver halide. This is followed by a wash, and a final stabilizer and rinse to complete the process. After the bleach, a fixer removes the silver halide. Incorrect temperature can result in severe color shifts or significant under- or overdevelopment of the film.Īfter the developer, a bleach converts the metallic silver generated by development to silver halide, which is soluble in fixer. The control of temperature and agitation of the film in the developer is critical in obtaining consistent, accurate results. As the silver is developing, oxidized developer reacts with the dye couplers, resulting in formation of dyes. The developer develops the silver in the emulsion layers. The developing ingredient is a paraphenylene diamine-based chemical known as CD-4. The C-41 process is the same for all C-41 films, although different manufacturers' processing chemistries vary slightly.Īfter exposure, the film is developed in a "color developer". These couplers, located in the blue, green and red-sensitive layers, produce yellow, magenta and cyan dyes, respectively, when developed. There also may be layers to space different emulsions, or additional filter layers.Įach emulsion layer, in addition to the light-sensitive components, contains chemicals called dye couplers. Some films are top-coated with UV blocking layers or anti-scratch coatings. In addition to multiple emulsion layers, real films have other layers that are not sensitive to light. Each of these layers has different speed and contrast characteristics, allowing the film to be correctly exposed over a wider range of lighting conditions. Almost all C-41 films contain multiple layers sensitive to each color. The illustrative example outlined above differs from the design of actual film, in respect to the number of layers. Beneath the blue-sensitive layer and the yellow filter are the green and red sensitive layers. This filter layer serves to remove the blue light, which would expose the layers beneath it. All silver-based photographic emulsions have some sensitivity to blue light, regardless of what other colors they may be sensitized for. Beneath the blue layer is a yellow filter, composed of dyes or colloidal silver. In the classic illustrative example, there are three emulsions: one is red sensitive, another is green sensitive, and the top is blue-sensitive. Each layer is only sensitive to a certain color of visible light. Note the antihalation layer.Ĭ-41 film consists of an acetate or polyester film base, onto which multiple emulsions are coated. This diagram illustrates the layers FujiFilm has chosen for this film. This was a significant problem with early films whether the newer films are archival or not is a subject of some debate.įilm layers FujiColor Superia is an example of a C-41 process film. Due to the long-term instability of dyes, C-41 negatives can fade or color-shift over time. Processed C-41 negatives, as with all color films, consist of an image formed of dye. C-41, also known as CN-16 by Fuji, CNK-4 by Konica, and AP-70 by AGFA, is the most popular film process in use, with most, if not all photofinishing labs devoting at least one machine to this development process.
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