C'est un lit comme ça que je veux faire !

The Magic Cloth Technique

Advanced If you shoot landscapes - especially scenes containing water, such as waterfalls, oceans and lakes, you probably already know something about using a neutral density (ND) filter. The neutral density filter is the go-to tool for any photographer who wants to take a long exposure during daylight hours. All those stunning images of misty oceans and rivers that you've admired were probably taken with ND filters. But if you don't have a set of ND filters there is another trick you can employ to capture similar images - and it's less expensive and more flexible than a set of ND filters, too.

Before I explain this trick to you, it's important for you to understand how one type of ND filter in particular works. The graduated neutral density filter is a tool that was most likely invented by a photographer who was starting to get irritated by all the blown-out skies in his otherwise beautiful landscape photos. Because the sky in almost any daylight scene is brighter than the rest of the scene, a graduated neutral density filter - which is darker at the top and transparent at the bottom - will block some of the light coming from the sky while leaving the rest of the scene alone, resulting in a better exposure.

Like standard ND filters, graduated ND filters are available in different stops, and just so you'll have more stuff you need to buy, they also come in "hard" and "soft" versions, which basically means that the transition from dark to transparent is either abrupt or gradual. Now, since you're a photographer, you're used to having to buy expensive stuff. But a full set of high quality graduated neutral density filters might cost as much as (or more than) your DSLR, and for a lot of photographers (especially hobbyists) that's a hard pill to swallow.

This was landscape photographer Tony Brackley-Prower's beef with graduated neutral density filters when he pioneered a technique now widely known as "the magic cloth technique".

No, you don't need to infiltrate Madam Lestrange's vault to find this "magic" cloth, because you can really use just about anything to achieve the desired effect, from your smart phone to your sock - though if you're shooting a snowy scene you probably don't really want to use your sock. But the technique really is that simple, and if you don't have a dedicated "magic cloth" with you, just about anything will do in a pinch.

How to use the magic cloth

The magic cloth technique is exclusively used with long exposures of at least two seconds, though you will find it easier to execute with exposures that are a lot longer than that. The basic concept of the magic cloth technique is very simple. Just cover the front of your lens with your magic cloth or whatever object is standing in as your magic cloth, and then - using your camera's timer or a cable release - open the shutter and slowly raise the cloth. Fast movement will simulate a hard ND filter, while slow movement will simulate a soft one. Sounds like a no-brainer, right? Except that there's obviously a lot more to that, since the length of time you allow the cloth to block your lens will determine how much light is going to reach the sensor. The more time you hold it there, the more light you block. If you ever printed film images in a darkroom, this will seem familiar to you - it is very similar to the dodging and burning techniques film photographers once used to get the correct contrast in a print.

The Specifics

To get started with this technique, Tony Brackley-Prower suggests setting your exposure compensation at +2, which will help with your foreground exposure. Use as small an aperture as your lens will allow (f/16 or f/22, ideally) and make sure your ISO is also very low: no more than 100. You will most likely also need to purchase at least one standard (non-graduated) neutral density filter, preferably one that blocks at least 8 stops of light. Combining this technique with an ND filter will help you achieve those longer exposures that you need in order to have success with this technique.

So besides expense, why is this better than a graduated ND filter?

The coolest thing about the magic cloth technique is that it is dynamic, which means you aren't limited by where that transition in your graduated ND happens to be. You can apply the technique to the top or bottom of the frame, or even divide the frame into multiple parts and block each part for a different amount of time. You can create movement in the clouds by applying the magic cloth to the sky in short intervals rather than exposing it all at once. If an annoying tourist walks into your scene and starts poking around in a tide pool, you can cover your lens with the magic cloth and wait until he goes away. And if you're shooting at night and you want to capture both the foreground and the night sky without any star trails, you can use this technique to get the right exposure for both parts of your scene.

OK so what's the catch?

There's a reason why most photographers just bite the bullet and buy the set of filters - because the magic cloth technique, though very cool, requires a lot of patience and - worse - a lot of trial and error. Obviously any technique that relies on manual manipulation (vs. that little computer in your camera that can do everything in exactly the same way every single time) is going to be highly error-prone, which is why we photographers are always thanking our lucky stars that we no longer shoot expensive film. Since you'll need to shoot many frames and spend a lot of time in the field when experimenting with the magic cloth technique, you should probably only try it when you aren't out hiking with a bunch of people who'd really just like to get back to the campsite already. This technique can create magic, but it's going to take a lot of practice.

Like everything else, the magic cloth technique is one that you'll master over time, and with enough experimentation you'll get a pretty good feel for how the light will need to be manipulated in any one scene. Just don't forget that you're likely to have more failed images than good ones - and remember that if you keep working at it eventually the good ones will be those jaw-dropping, wow-inducing images that make other photographers green.

Toutes les ressources pour construire un téléscope.

What is it?

Magic Lantern is a free software add-on that runs from the SD/CF card and adds a host of new features to Canon EOS cameras that weren't included from the factory by Canon.

Video

Tools like on-screen overlays and headphone monitoring allow you to capture footage with confidence.

Photo

While most popularly known for video features, Magic Lantern provides a broad array of features for photographers as well.

1. Essuyer les tomates.
2. Les passer dans le Tomato squeezer, afin de séparer la pulpe et le jus des graines et de la peau.
3. Mettre la pulpe à bouillir. Je fais bouillir dehors, sur un réchaud au gaz propane. Pour ne pas transformer la maison en sauna.
4. Entretemps, laver les pots au lave-vaisselle, à la température la plus chaude possible.
5. Allumer le four à 250°F. Enfourner les pots propres. Les faire chauffer pendant 30 minutes. Éteindre le four. La sauce est prête lorsqu'il y a beaucoup de pulpe dans le fond, une pulpe un peu grumeleuse. C'est le temps de mettre en pot.
6. Elena recommande de sortir du four 3 pots à la fois. Tout d'abord, Elena jette quelques feuilles de basilic dans le fond de son pot. On l'entend crépiter, selon elle. On remplit les pots jusqu'à la ligne renflée qui précède le goulot.
7. On essuie le bord du pot avec application pour éviter que la rondelle de métal n'adhère pas au verre. (Si la rondelle n'adhère pas, vous n'entendrez pas POP. Si vous n'entendez pas POP, c'est que le vacuum n'est pas fait. Pas de vacuum, pas de conserve!) On dépose dessus la rondelle de métal. On visse délicatement la bague qui a pour mission de maintenir la rondelle de métal en place. On n'exerce pas toute sa force lorsqu'on visse.
8. Ensuite, Elena dépose ses pots dans une boîte. Elle couvre la boîte au moyen de la couverture la plus chaude dont elle dispose dans la maison. Elle laisse la couverture sur les pots durant 24 heures. Elena fait remarquer qu'après 24 heures, les pots sont encore très chauds. C'est durant cette période que les pots poperont (le fameux POP). Les pots ont popé lorsque le centre de la rondelle est légèrement creusé vers le bas. Si on touche le pot et qu'on a l'étrange impression que nos doigts font du trampolin, le vacuum ne s'est pas fait. Il faut recommencer le processus.
   Note Tarzile dépose ses pots dans une marmite pleine d'eau bouillante. L'ébullition s'arrête. Lorsqu'elle reprend, Tarzile compte 25 minutes. Lorsque le temps est écoulé, Tarzile sort ses pots de l'eau. Elle les dépose sur le sol de céramique de sa cuisine - son Chéri craignant que les pots très chauds ne brûlent le plancher de bois de la salle à dîner mais çà reste à voir - et ferme les fenêtres afin que les courants d'air ne fassent pas exploser les pots de tomates, maculant ainsi les murs de sa cuisine qui, à ce moment précis des opérations, a l'air d'un cirque échevelé.
9. Elena n'ajoute que du sel et du basilic à ses tomates. Pas d'ail, ni acide citrique. Elena estime que les tomates millésime 2005 sont acides.
   Note Tarzile suit plutôt les enseignements de son ami Vincent le canneux et ajoute du jus de citron. Sans que son Chéri ne le sache, comme de raison.

• Marinated Agar Agar Pearls | Kitchen Theory
• Sodium Alginate & Spherification | Kitchen Theory

Ingredients

For the dough

• 2 and ½ cups (313g) all-purpose flour (spoon & leveled)
• 1 teaspoon cornstarch*
• 1 teaspoon baking soda
• ½ teaspoon salt
• ¾ cup (1.5 sticks; 170g) unsalted butter, softened to room temperature
• 1 cup + 2 Tablespoons (225g) granulated sugar
• 1 large egg, at room temperature
• ¼ cup (60ml) fresh or bottled lemon juice, at room temperature* — environ 1 citron
• 1 Tablespoon lemon zest* (packed Tablespoon, it’s a lot of zest!) — environ 2 citrons
• 1 teaspoon vanilla extract

For Rolling

• 3 Tablespoons (35g) granulated sugar (optional, see step 6)
• 1 cup (120g) confectioners’ sugar

Instructions

1. Whisk the flour, cornstarch, baking soda, and salt together in a medium bowl. Set aside.
2. In a large bowl using a hand mixer or a stand mixer fitted with a paddle attachment, beat the butter and granulated sugar together on medium-high speed until creamed, about 1 minute. Add the egg, lemon juice, lemon zest, and vanilla extract and beat on high speed until combined, about 1 minute. Mixture will appear curdled and that’s ok. Scrape down the sides and up the bottom of the bowl. Add the flour mixture and beat on low speed until combined. Dough is thick, creamy, and sticky.
3. Cover dough tightly and chill in the refrigerator for at least 3 hours and up to 3 days. Chilling is mandatory for this sticky cookie dough.
4. Remove cookie dough from the refrigerator. If the cookie dough chilled longer than 3 hours, let it sit at room temperature for about 10 minutes. This makes the chilled cookie dough easier to scoop and roll.
5. Preheat oven to 350°F (177°C). Line baking sheets with parchment paper or silicone baking mats. Set aside.
6. Roll in sugar: Scoop and roll balls of dough, about 1 Tablespoon of dough each, into balls. (Each dough ball should weigh about 20g.) Some readers have had trouble with the confectioners’ sugar melting/absorbing into the cookie dough balls, so to prevent that, you can roll the balls in the granulated sugar first. And then roll each ball very generously in the confectioners’ sugar. If you want lots of confectioners’ sugar to show on the baked cookies, roll 2-3x in sugar! Place 3 inches apart on the baking sheets.
7. Bake the cookies for 12–13 minutes or until the edges appear set and the centers still look soft. Tip: If they aren’t really spreading by minute 9, remove them from the oven and lightly bang the baking sheet on the counter 2–3x. This helps initiate that spread. Return to the oven to continue baking.
8. Cool cookies for 5 minutes on the baking sheet, and then transfer to a cooling rack to cool completely. The cookies will slightly deflate as they cool. 
9. Cookies stay fresh covered at room temperature for up to 1 week.

Guide pour couper des moulures d'angles.

These two things are constant

1. Set your miter saw to bevel (tilt) left at 33.9 degrees. (Your saw might say 33.8 — the .1 degree is not enough of a difference to matter.)
2. Your crown molding always lays flat on the saw.

These two things will change depending on the cut you are making.

1. Miter will change between right and left (but at the same setting of 31.6 degrees).
2. Sometimes the bottom of the molding will rest against the fence. Sometimes it will be the top. (The bottom of the molding has the decorative profile.)

Outside Right

1. TOP against fence
2. RIGHT of blade
3. Bevel LEFT at 33.9°
4. Miter RIGHT at 31.6°

Outside Left

1. BOTTOM against fence
2. RIGHT of blade
3. Bevel LEFT at 33.9°
4. Miter LEFT at 31.6°

Inside Right

1. BOTTOM against fence
2. LEFT of blade
3. Bevel LEFT at 33.9°
4. Miter LEFT at 31.6°

Inside Left

1. TOP against fence
2. LEFT of blade
3. Bevel LEFT at 33.9°
4. Miter RIGHT at 31.6°

Un mélange des recettes suivantes :

• Faire de la pâte d’amande maison {recette facile sans oeufs} | Royal Chill - blog cuisine, voyage et photographie
• Recette de Pâte d'amande maison sans oeuf

Ingrédients

• 200 g de poudre d'amandes
• 200 g de sucre à glacer
• 35 g d'eau
• 5 g d'essence d'amande amère

Instructions

1. Mélanger au robot la poudre d'amande et le sucre à glacer
2. Ajouter l'eau et l'essence d'amande amère au mélange
3. Mélanger au robot pour obtenir une pâte qui se décole des bords
4. Finir en pétrissant à la main pour homogénéiser le mélange

Ingredients

For the crust:

• 2 packets active dry yeast
• 1 and ½ cups water, very warm (about 110 degrees)
• 2 tablespoons sugar
• 3 and ½ cups all-purpose flour, plus more if needed
• 2 teaspoons kosher salt
• ¼ cup olive oil
• Extra olive oil for greasing pan
• Grated Locatelli for sprinkling

For the sauce;

• 6 Roma tomatoes, cut in half
• 3 tablespoons olive oil
• 15 ounces tomato puree
• 2 tablespoons tomato paste
• 3 cloves garlic, finely minced
• 1 tablespoons sugar
• 1 tablespoon balsamic vinegar
• 1 teaspoon dried basil
• ¼ teaspoon dried oregano
• Salt and pepper to taste

Instructions

For the Crust:

1. In the bowl of a standing mixer fitted with a dough hook, combine the yeast with the warm water. Stir to dissolve and let stand until it looks foamy, about 5 minutes. Stir in sugar, salt, and olive oil. Turn the mixer on low, and slowly add the flour to the bowl. When the dough starts to come together, increase the speed to medium. Stop the machine periodically to scrape the dough off the hook. Mix until the dough is smooth, glossy, and elastic - about 10 minutes. Form the dough into a ball and place in a well oiled bowl. Cover with plastic wrap and let rise in a warm place until doubled in size, about an hour
2. When you're ready to bake! Preheat oven to 500 degrees (F). Line a large baking sheet with parchment paper and coat with olive oil. Place the dough on the baking sheet, and using your fingertips, press dough out toward edges of pan until it's a large rectangle. Using a fork or small pointed knife, poke the top of the dough, popping any large bubbles. Cover pan with plastic and let dough rest for another 30 minutes.
3. Place baking sheet on your baking stone (or just the oven wrack) and lower oven temperature to 425 degrees. Bake for 15 minutes. Remove pie from oven, top with tomato sauce, rotate pan, and bake for another 10 minutes. Let cool for 5 minutes before removing the tomato pie from the pan and placing on a cooling rack to finish cooling. Top with some grated cheese and serve warm or cold. I love it both ways!

For the Sauce:

1. Preheat oven to 350 degrees (F). Slice the tomatoes in half, sprinkle with salt and pepper, drizzle with olive oil, and roast in oven for 45 minutes
2. While your tomatoes are roasting, combine the rest of your ingredients in a large saucepan and simmer for about 30 minutes (or until your tomatoes are done roasting. Once your tomatoes are out of the oven, give them a quick whirl in the blender, pulsing until it's a chunky consistency. Add roasted tomatoes to saucepan and continue to simmer until most of the water has evaporated and the sauce is very thick. Set aside until needed for pie.

Idée pour mon bureau, 3 prises double dont 2 GFI.

Chris Conrad on Instagram: “Witch, designed and folded by me from one uncut square of 70cm painted Wenzhou paper. Last weekend, I participated in a Halloween themed 5…”

Pour importation à usage personnel

1. Fruits confits en provenance de France
   • Description SH : 200600
   • Extension AMG : 212201
   • Limite : 20kg
2. Farine de seigle en provenance des États-Unis
   • Description SH : 110290
   • Extension AMG : 717800
   • Limite : 20kg

NOTE il faut valider les exigences de documentation et d'enregistrements au moment de l'importation. Les lois peuvent changer.

Liens utiles pour préparer l'importation

• Les quantités maximales pour l'exemption pour usage personnel - Agence canadienne d'inspection des aliments
• Système automatisé de référence à l'importation: Exigences d'importation

Here is the Original Carbonara Recipe from the business card I got in 2022 at "Luciano - Cucina Italiana" in Rome.

Ingredients :

• 280g spaghetti
• 4 egg yolks
• 200g guanciale in 1cm cubes
• 30g grana padano, grated
• 20g pecorino romano, grated

Instructions :

1. Cook pasta in boiling water like mentioned on package.
2. Frying little guanciale cubes in order to make them crispy outside and soft inside.
3. Whisk in a bowl the egg yolks, the grana padano, the pecorino and the melted fat obtained from frying guanciale.
4. Let this mixture rest.
5. Once pasta is cooked, mix? (mantecarla) the mixture, ground pepper, and the little cubes of guanciale in a bowl, add a little warm water, and mix to get it creamy.
6. Plate the pasta, springkle pecorino cheese oon top, and grrind fresh pepper too.
7. Serve at the right temperature, not too hot, not too cold, tepid.

Now, below are my personal notes on how to really make carbonara pasta like Luciano Monosilio.

EGGS

• 70g pasta per person seems a good amount since the ddish is very rich.
• Use only egg yolks (1 per person) if you want a richer, yelower colour, or use whole eggs if you want it a little more traditional.

PASTA

• Spaghettoni, thick spaghetti are prefered to spaghetti. They take longer to cook, it gives you more time to cook the sauce PLUS they are hardder to overcook. Worst you could do is cappelli, vermicelli. They would mush and soak up too much sauce anyways.
• Pasta pot should be wide more than tall, especially for cooking spaghetti/oni. Underseason the water ( a pinch is plenty). Water level should be 1/2 inch (1cm) over pasta. Stirring is mandatory.
• Undercook pasta by 2-3 minutes, this will compensate for the amount of time they spend in the bain marie afterwards.

MEAT

• Luciano cuts guanciale in cubes, not matchsticks. The card says 1cm cubes but it’s more than that. At least 1/2 inch / 1.5 cm if not 2, as they shrink a bit during frying. If you’ve ever cooked steak before, you know that obtaining perfect medium rare center is easier with a thicker piece. Overcook = dry. Cooked right = juicy.
• Don’t go high heat. Pork fat has a low smoking point. Also, the chunks are too big for this they would be burnt outside and raw inside. Go Medium high to sear first, and then low. Once they are crispy on the outside, get them off the heat. Room temperature is fine. Keep all that melted guanciale fat, we’re gonna need HALF OF IT, not all of it, for the sauce later on.

BAIN MARIE / DOUBLE BOILER METHOD

• Ingredients mix better if they are warm, and using a double boiler instead of just a frying pan, means it will be more gentle. We’ll have more control, and we’ll be able to stay below 65°C where eggs start cooking and cheese start creating lumps. Large heatproof bowl over simmering water, the bottom of the bowl can't touch water?
• Whisk hard to mimick the SABAYON technique. SABAYON is a foamy custardy dessert where eggs are whisked over a bain marie. This dish really is about the light/foamy/airy texture. Air bubbles enhance sensory properties.
• As you whisk : Drizzle pork fat in there. This is the same proccess as for HOLLANDAISE SAUCE. By gradually incorporating fat you create an foamy emulsion. Holanlldaise uses clarified butter but here it’s pork fat.

The rest you can most likely get it from my video. Practice. Practice and Hang in there. You got this !