i need help,but i don't have money :S?

by familymwr

i have nikon coolpix L16 digital camera,and the show is whole white,and has some black spots on it,so i can’t see when i take pictures.i lost the bill so i can’t use the guarantee papers,and my parents won’t give me the money to fix it because it’s really expensive.can somebody help me clarify in details how can i repair it.in simple words,because english is not my first language.

Answer by fhotoace
First try using the two button reset. There are two green dots next to the buttons for resetting the camera. Press persons two buttons at the same time

It that does not do it, then you will have to save your pennies and have your fine camera repaired

Know better? Place your own answer in the comments!

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Preacher Man


Image by familymwr
PHOTO CAPTION: Lieutenant Col. Gregory VanHeukelom with the 110th Fighter Wing is pictured outside a tent chapel life used for religious services at the Alpena Combat Readiness Center.

Army Photography Contest – 2007 – FMWRC – Arts and Crafts – Preacher Man

Photo By: MSGT Dale Atkins

To learn more about the annual U.S. Army Photography Competition, visit us online at www.armymwr.com

U.S. Army Arts and Crafts History
After World War I the reductions to the Army left the United States with a small force. The War Department faced monumental challenges in preparing for World War II. One of persons challenges was soldier morale. Recreational activities for off duty time would be vital. The arts and crafts program informally evolved to augment the needs of the War Department.
On January 9, 1941, the Secretary of War, Henry L. Stimson, appointed Frederick H. Osborn, a prominent U.S. businessman and philanthropist, Chairman of the War Department Committee on Education, Recreation and Community Service.
In 1940 and 1941, the United States involvement in World War II was more of sympathy and anticipation than of action. But, many different types of institutions were looking for ways to help the war effort. The Museum of Modern Art in New York was one of these institutions. In April, 1941, the Museum announced a poster competition, "Posters for National Defense." The directors confirmed "The Museum feels that in a time of national emergency the artists of a country are as vital an asset as men skilled in additional fields, and that the nation's first-rate talent should be utilized by the government for its official design work… Discussions have been held with officials of the Army and the Treasury who have expressed remarkable enthusiasm…"
In May 1941, the Museum exhibited "Britain at War", a show selected by Sir Kenneth Clark, director of the National Gallery in London. The "Prize-Winning Defense Posters" were exhibited in July through September concurrently with "Britain at War." The giant overnight growth of the military force meant mobilization type construction at every camp. Construction was quick; facilities were not fancy; rather drab and depressing.
In 1941, the Fort Custer Army Illustrators, while on strenuous war games maneuvers in Tennessee, documented the exercise The Bulletin of the Museum of Modern Art, Vol. 9, No. 3 (Feb. 1942), described their work. "Results were astonishingly excellent; they showed serious devotion …to the purpose of depicting the Army scene with unvarnished pragmatism and a remarkable ability to capture this scene from the soldier's viewpoint. Civilian amateur and professional artists had been transformed into soldier-artists. Reality and straightforward documentation had supplanted (replaced) the ancient romantic glorification and fake dramatization of war and the slick suavity (charm) of commercial drawing."

"In August of last year, Fort Custer Army Illustrators held an exhibition, the first of its kind in the new Army, at the Camp Service Club. Soldiers who saw the exhibition, many of whom had never been inside an art gallery, loved it thoroughly. Civilian visitors, too, came and admired. The work of the group showed them a new aspect of the Army; there were many phases of Army life they had never seen or heard of before. Newspapers made much of it and, most vital, the Army approved. Army officials saw that it was not only authentic material, but that here was a source of enlivenment (vitalization) to the Army and a vivid standard for conveying the Army's purposes and processes to civilians and soldiers."
Brigadier General Frederick H. Osborn and War Department leaders were concerned because few soldiers were using the off duty recreation areas that were available. Army commanders recognized that efficiency is directly correlated with morale, and that morale is largely determined from the manner in which an individual spends his own free time. Army morale enhancement through positive off duty recreation programs is critical in combat staging areas.
To encourage soldier use of programs, the facilities drab and uninviting environment had to be improved. A program utilizing talented artists and craftsmen to decorate day rooms, mess halls, recreation halls and additional places of general assembly was established by the Facilities Section of Special Services. The purpose was to provide an environment that would reflect the military tradition, accomplishments and the high standard of army life. The fact that this work was to be done by the men themselves had the added benefit of contributing to the esprit de corps (teamwork, or group spirit) of the unit.
The plot was first tested in October of 1941, at Camp Davis, North Carolina. A studio workshop was set up and a group of soldier artists were placed on special duty to design and decorate the facilities. Additionally, sundown recreation art classes were scheduled three times a week. A second test was established at Fort Belvoir, Virginia a month later. The success of these programs lead to more installations requesting the program.
After Pearl Harbor was bombed, the Museum of Modern Art appointed Mr. James Soby, to the position of Director of the Armed Service Program on January 15, 1942. The later program became a combination of occupational therapy, exhibitions and morale-sustaining activities.
Through the efforts of Mr. Soby, the museum program built-in; a show of Fort Custer Army Illustrators work from February through April 5, 1942. The museum also built-in the work of soldier-photographers in this exhibit. On May 6, 1942, Mr. Soby opened an art sale of works donated by museum members. The sale was to raise funds for the Soldier Art Program of Special Services Division. The bulk of these proceeds were to be used to provide facilities and materials for soldier artists in Army camps throughout the country.
Members of the Museum had responded with paintings, sculptures, watercolors, gouaches, drawings, etchings and lithographs. Hundreds of works were received, including oils by Winslow Homer, Orozco, John Kane, Speicher, Eilshemius, de Chirico; watercolors by Burchfield and Dufy; drawings by Augustus John, Forain and Berman, and prints by Cezanne, Lautrec, Matisse and Bellows. The War Department plot using soldier-artists to decorate and improve buildings and grounds worked. Many artists who had been drafted into the Army volunteered to paint murals in coming up rooms and clubs, to decorate dayrooms, and to landscape grounds. For each artist at work there were a thousand troops who watched. These bystanders clamored to participate, and classes in drawing, painting, monument and photography were offered. Larger working space and more instructors were required to meet the growing demand. Civilian art instructors and community communities helped to meet this cultural need, by as long as volunteer instruction and facilities.
Some proceeds from the Modern Museum of Art sale were used to print 25,000 booklets called "Interior Design and Soldier Art." The booklet showed examples of soldier-artist murals that decorated places of general assembly. It was a guide to organizing, plotting and executing the soldier-artist program. The balance of the art sale proceeds were used to hold the initial arts and crafts furnishings for 350 Army installations in the USA.
In November, 1942, General Somervell directed that a group of artists be selected and dispatched to active theaters to paint war scenes with the stipulation that soldier artists would not paint in lieu of military duties.
Aileen Osborn Webb, sister of Brigadier General Frederick H. Osborn, launched the American Crafts Council in 1943. She was an early champion of the Army program.
While soldiers were participating in fixed facilities in the USA, many troops were life shipped overseas to Europe and the Pacific (1942-1945). They had long periods of idleness and coming up in staging areas. At that time the wounded were lying in hospitals, both on land and in ships at sea. The War Department and Red Cross responded by purchasing kits of arts and crafts tools and supplies to distribute to "these restless personnel." A variety of small "Handicraft Kits" were distributed free of charge. Leathercraft, celluloid etching, knotting and braiding, metal tooling, drawing and clay modeling are examples of the types of kits sent.
In January, 1944, the Interior Design Soldier Artist program was more appropriately named the "Arts and Crafts Section" of Special Services. The mission was "to fulfill the natural creature desire to make, provide opportunities for self-expression, serve ancient skills and develop new ones, and help the entire recreation program through construction work, publicity, and decoration."
The National Army Art Contest was plotted for the late fall of 1944. In June of 1945, the National Gallery of Art in Washington D.C., for the first time in its history opened its facilities for the exhibition of the soldier art and photography submitted to this contest. The "Infantry Journal, Inc." printed a small paperback booklet containing 215 photographs of pictures exhibited in the National Gallery of Art.
In August of 1944, the Museum of Modern Art, Armed Forces Program, organized an art center for veterans. Abby Rockefeller, in particular, had a strong interest in this project. Soldiers were invited to sketch, paint, or model under the guidance of skilled artists and craftsmen. Victor d'Amico, who was in charge of the Museum's Education Department, was quoted in Russell Lynes book, Excellent Ancient Modern: An Intimate Likeness of the Museum of Modern Art. "I questioned one fellow why he had taken up art and he said, Well, I just came back from destroying everything. I made up my mind that if I ever got out of the Army and out of the war I was never going to ruin another business in my life, and I chose that art was the business that I would do." Another man said to d'Amico, "Art is like a excellent night's sleep. You come away refreshed and at peace."
In late October, 1944, an Arts and Crafts Branch of Special Services Division, Headquarters, European Theater of Operations was established. A versatile program of handcrafts flourished among the Army occupation troops.
The increased interest in crafts, rather than fine arts, at this time lead to a new name for the program: The "Handicrafts Branch."
In 1945, the War Department published a new manual, "Soldier Handicrafts", to help implement this new emphasis. The manual controlled instructions for background up crafts facilities, selecting as well as improvising tools and gear, and basic information on a variety of arts and crafts.
As the Army went from a combat to a peacetime role, the majority of crafts shops in the United States were equipped with woodworking power machinery for construction of furnishings and objects for personal living. Based on this new trend, in 1946 the program was again renamed, this time as "Manual Arts."
At the same time, overseas programs were now employing community artists and craftsmen to operate the crafts facilities and instruct in a variety of arts and crafts. These highly skilled, indigenous instructors helped to stimulate the soldiers' interest in the respective native cultures and artifacts. Thousands of troops overseas were encouraged to record their experiences on film. These photographs provided an invaluable earnings of communication between troops and their families back home.
When the war finished, the Navy had a firm of architects and draftsmen on contract to design ships. Since there was no longer a need for more ships, they were agreed a new assignment: To develop a series of instructional guides for arts and crafts. These were called "Leisure activity Manuals." The Army was impressed with the quality of the Navy manuals and had them reprinted and adopted for use by Army troops. By 1948, the arts and crafts practiced throughout the Army were so varied and diverse that the program was renamed "Leisure activity Shops." The first "Interservice Photography Contest" was held in 1948. Each service is eligible to send two years of their winning entries forward for the bi-annual interservice contest. In 1949, the first All Army Crafts Contest was also held. Once again, it was apparent that the program title, "Leisure activity Shops" was misleading and overlapped into additional forms of recreation.
In January, 1951, the program was designated as "The Army Crafts Program." The program was recognized as an essential Army recreation activity along with sports, libraries, service clubs, soldier shows and soldier music. In the official statement of mission, professional leadership was emphasized to insure a balanced, progressive schedule of arts and crafts would be conducted in well-equipped, attractive facilities on all Army installations.
The program was now defined in terms of a "Basic Seven Program" which built-in: drawing and painting; ceramics and monument; metal work; leathercrafts; model building; photography and woodworking. These programs were to be conducted regularly in facilities known as the "multiple-type crafts shop." For functional reasons, these facilities were divided into three separate technical areas for woodworking, photography and the arts and crafts.
During the Korean Conflict, the Army Crafts program utilized the personnel and shops in Japan to train soldiers to instruct crafts in Korea.
The mid-1950s saw more soldiers with cars and the need to repair their vehicles was recognized at Fort Carson, Colorado, by the craft director. Soldiers familiar with crafts shops knew that they had tools and so automotive crafts were established. By 1958, the Engineers published an Official Design Guide on Crafts Shops and Auto Crafts Shops. In 1959, the first All Army Art Contest was held. Once more, the Army Crafts Program responded to the needs of soldiers.
In the 1960's, the war in Vietnam was a new challenge for the Army Crafts Program. The program had three levels of support; fixed facilities, mobile trailers calculated as portable photo labs, and once again a "Kit Program." The kit program originated at Headquarters, Department of Army, and it proved to be very well loved with soldiers.
Tom Turner, today a well-known studio potter, was a soldier at Ft. Jackson, South Carolina in the 1960s. In the December 1990 / January 1991 "American Crafts" magazine, Turner, who had been a graduate student in art school when he was drafted, said the program was "a godsend."
The Army Artist Program was re-initiated in cooperation with the Office of Military History to document the war in Vietnam. Soldier-artists were identified and teams were formed to draw and paint the events of this combat. Exhibitions of these soldier-artist works were produced and toured throughout the USA.
In 1970, the first name of the program, "Arts and Crafts", was restored. In 1971, the "Arts and Crafts/Skills Development Program" was established for budget presentations and construction projects.
After the Vietnam demobilization, a new emphasis was placed on service to families and children of soldiers. To meet this new challenge in an environment of funding constraints the arts and crafts program started charging fees for classes. More part-time personnel were used to teach formal classes. Additionally, a need for more technical-employment skills training for military personnel was met by close coordination with Army Education Programs. Army arts and crafts directors worked with soldiers during "Project Transition" to develop soldier skills for new careers in the public sector.
The main challenge in the 1980s and 90s was, and is, to become "self-sustaining." Directors have been forced to find more ways to generate increased revenue to help foot the loss of appropriated funds and to cover the non-appropriated funds expenses of the program. Programs have added and increased emphasis on services such as, picture framing, gallery sales, engraving and trophy sales, etc… New programs such as multi-media computer graphics appeal to customers of the 1990's.
The Gulf War presented the Army with some familiar challenges such as personnel off duty time in staging areas. Department of Army volunteer civilian recreation specialists were sent to Saudi Arabia in January, 1991, to organize recreation programs. Arts and crafts supplies were sent to the theater. An Army Humor Cartoon Contest was conducted for the soldiers in the Gulf, and arts and crafts programs were set up to meet soldier interests.
The increased operations tempo of the '90's Army has once again placed emphasis on meeting the "recreation needs of deployed soldiers." Arts and crafts activities and a variety of programs are assets commanders must have to meet the deployment challenges of these very different scenarios.
The Army arts and crafts program, no matter what it has been titled, has made some unique contributions for the military and our society in general. Army arts and crafts does not fit the narrow definition of drawing and painting or making ceramics, but the much larger sense of arts and crafts. It is painting and drawing. It also encompasses:
* all forms of design. (fabric, clothes, household appliances, dishes, vases, houses, automobiles, landscapes, computers, copy machines, desks, industrial machines, weapon systems, air crafts, roads, etc…)
* applied technology (photography, graphics, woodworking, monument, metal smithing, weaving and textiles, sewing, advertising, enameling, stained glass, pottery, charts, graphs, visual aides and even formats for correspondence…)
* a way of making learning fun, practical and meaningful (through the process of designing and making an object the creator must choose which materials and techniques to use, thereby engaging in creative conundrum solving and discovery) skills taught have military applications.
* a way to buy quality items and save money by doing-it-yourself (making furniture, gifts, repairing things …).
* a way to pursue college credit, through on post classes.
* a universal and non-verbal language (a picture is worth a thousand words).
* food for the creature psyche, an element of morale that allows for individual expression (freedom).
* the celebration of creature spirit and distinction (our highest form of public recognition is through a dedicated monument).
* physical and mental therapy (motor skill development, stress reduction, etc…).
* an activity that promotes self-reliance and self-esteem.
* the record of mankind, and in this case, of the Army.
What would the world be like today if this generally unknown program had not existed? To quantitatively state the overall impact of this program on the world is impossible. Millions of soldier citizens have been directly and indirectly exposed to arts and crafts because this program existed. One activity, photography can provide a clue to its impact. Soldiers encouraged to take pictures, beginning with WW II, have shared persons images with family and friends. Classes in "How to Use a Camera" to "How to Develop Film and Print Pictures" were instrumental in soldiers seeing the results of using quality gear. A excellent camera and lens may maybe make a huge difference in the quality of the print. They bought the top of the line gear. When they were discharged from the Army or home on place this new gear was showed to the family and friends. Without this encouragement and exposure to photography many would not have recorded their personal experiences or known the difference quality gear may maybe make. Families and friends would not have had the opportunity to "see" the environment their soldier was living in without these photos. Germany, Italy, Korea, Japan, sou’wester, etc… were far away places that most had not visited.
As the twenty first century approaches, the predictions for an arts recovery by Megatrends 2000 seem realistic based on the Army Arts and Crafts Program practical experience. In the April '95 issue of "American Demographics" magazine, an article titled "Generation X" fully supports that this is indeed the case today. Television and computers have greatly contributed to "Generation X" life more interested in the visual arts and crafts.
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I’m not a pro and not looking to be, so I’m not yet ready for an SLR, yet I get too disappointed with all the well loved point and shoot “tiny” pocket cameras out there. I don’t mind lugging around something a bit larger as long as it will take satisfying pictures.

In the past I had a Pentax (35mm) for years and loved it, then went on to a Kodak Z740 which I loved loved loved for about 2 or 3 years. The only conundrum was one day I picked it up and somehow the LCD screen cracked. The process to get it repaired by Kodak seemed daunting, so I abandoned it and my hubby got a pocket Kodak, which I’m not really tickled with. I’d hold another one in a heartbeat, but I’ve heard lots of public had issues since mine died with any LCD screens not lasting or life durable enough, or the battery life sucking even if you get rechargables.

So… I am considering another Kodak if it’s similar to the Z740; List; or Nikon. I’m not comfortable with additional brands out there yet. As far as pricing goes, between $ 150-400 tops. HD record would be fantastic, a huge 2-3″ LCD screen is a must, and lots of helpful presets for action shots or special lighting would be fantastic too. I prefer a comfort grip to traditional square b/c it’s simpler to hold and steady. Color saturation is huge for skin tones and sunsets/sunrises.

So, what do you suggest? Do you have a “hobbyist” digital camera from one of the three brands I mentioned? How long have you had it? Any issues? Advice? Suggestions?

I’m pretty much open, but I really want a camera that will be dependable- based on your experience and what I confirmed I’m looking for.
A continuous shooting option would be a nice feature too…

Answer by fhotoace
If you still have your Pentax, 35 mm, you may want to buy one of the entry level Pentax DSLR’s. All the skills you have from using your Pentax 35 mm camera are directly transferable to a digital SLR

P&S cameras typically do not allow you to control your exposure and are limited to the one lens that came with the camera. It is your choice, but DSLR’s are the only cameras that can successfully shoot sports (P&S cameras have shutter lag and controlling exposures is all left to the camera, so using special lighting is out until you choose to buy a DSLR)

Answer by Cat Lover
I would not get any Kodak camera. From reading the questions on here, way too many public have distress with them.

Why do you reckon you have to be a pro, or want to be to use a DSLR? Why not go to a excellent camera store like Ritz or Wolf and look at the Canons and Nikons? Persons are the only brands I would consider. I’ve had a List Rebel XTi for a couple of years and am very satisfied with it.

Answer by Sam
a small camera that will allow for all that stuff, but your limited to only on lens but can still mount an external flash on shoot in raw format, etc… would be the list powershot g11… its the closest to an DSLR that i can reckon of but is still pocket sized and from the pics my buddy takes with it the quality is brilliant.

http://www.usa.list.com/consumer/controller?act=ModelInfoAct&fcategoryid=144&modelid=19209#ModelDetailAct

also though you are limited to only one lens… but you can get a teleconverter and a conversion lens adapter

Answer by Edwin
I’m confused. You say you had a 35mm Pentax and loved it yet now when you’ve switched to digital you prefer a digicam? When you consider the shutter lag of a digicam and its tiny sensor and its permanently emotionally involved lens I judge you just might be ready for a DSLR. Since you’ve used Pentax before, why not take a look at the Pentax K-x DSLR? I found it at B&H for $ 749.95 w/18-55mm and 50-200mm lenses. http://www.bhphotovideo.com

If you have any lenses from your 35mm film Pentax they can be used on the K-x as well as any additional Pentax DSLR.

You can read a review of the K-x at http://www.dpreview.com

Give your answer to this question below!

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