Creating a quilt requires much time and effort. Meant to led tunnel light wholesale be cherished and enjoyed, quilts can end up damaged by improper use, cleaning, storage and display. Whether created for every day use or as heirlooms, proper care will ensure that they last to bring the pleasure intended.
Use
When planning a quilt consider the intended use. What fabrics are used, the type of quilting done, etc. - are dependent on the intended use of the quilt.
So decide if the quilt will be used as an everyday quilt on a bed or is it meant to be an heirloom and thus displayed but not used.
Keep in mind that a quilt for a cot, child or lap quilt definitely needs to be of a fabric that is durable and washable, as it will require more frequent laundering.
Cleaning
Baby and lap quilts will get soiled and need to be washed often. It is important that a mild soap is used and that the quilt is rinsed well. Quilt shops carry products specially designed for quilts. "Quilt Wash" is one such product. All commercial detergents are much too harsh and will strip colour from quilt fabrics. A great product for stains, yellowing or other stubborn marks is "Restoration".
Laundering a quilt may not be necessary. Many will only require having the dust removed. The best way to remove dust from a sturdy quilt is to place a nylon stocking, over the nozzle of a vacuum and then gently vacuum the quilt--preferably on both sides. Avoid surface abrasion.
Airing a quilt can also remove odours and dust. There is no need to beat the quilt and keep in mind that sunlight is bad for your quilt.
Dry cleaning a quilt is not recommended. It is not a gentle method as large tumble machines are used and harsh chemicals are applied, which can be quite damaging.
Storage
Light and moisture are a quilts worst enemies. Direct sunlight will not only fade the newest and highest quality fabric in no time at all, but it also will cause the fibers to weaken. Moisture can cause mildew to form, which can be not only difficult to remove, but impossible.
Many people use cardboard boxes and plastic bags with the intention of protecting their precious quilts. Both of these gather moisture, causing stains and encouraging mildew and musty smells. They are bad choices for storage. The big plastic storage boxes are not any better, as they do not have ventilation.
A closet shelf is a much better choice. Do not use open shelving as this exposes the quilt to light and you will end up with fading along the folds. The storage area should be clean, cool, dry, dark, and as free as possible from drastic changes in temperature and humidity. If you have shelf space, it is a good idea to fold the length of the quilt and roll, to eliminate creases. The next time, fold a different way before rolling.
It is also essential that the quilt is clean and dust free before put it away. Stains can attract insects while dust particles actually create abrasion, causing wear.
Avoid storing near an outside wall where condensation will occur particularly in winter. Be aware that smoke for cigarettes and fireplaces can seek out stored textiles leaving an ugly surprise. One of the best places to store a quilt is on a bed. Do you have a guest room? Pile your quilts on the unused bed, in layers, and then top with a cotton sheet to block the light.
No matter where you choose to store your quilts, it is important to inspect them every two to three months. Take them out to air them for a few hours and examine, front and back. It is a good idea to clean the storage area at this time before putting the quilts back.
Display
Both sunlight and artificial light will cause fading. Never display a quilt where direct sunlight will reach it. If you have fluorescent lighting, it is wise to cover the tubes with a UV shield.
When hanging a quilt, use a method that will distribute the weight over the entire width of the quilt. Sew a four inch wide tube or sleeve of fabric along the top edge on the back of the quilt and stitch through all layers of the quilt every inch or so. Do not use nails, pins or staples to hang a quilt. These can tear through fabrics, corrode and cause staining and cause distortion of heavier quilts.
Cherish your quilts and they will reward you with years of enjoyment.
When it comes to simple basic Still-Life Tabletop Photography, as far as the novice 'wanna-be-photographer' is concerned there is often a mental block, when really it's quite simple, so much so that if you start to do led street light wholesale it professionally, after a few years the trick is to stay awake.
I asked UK photographer Phil Selfe why he sold his very successful studios a few years back and he answered, "I just got bored Rog".
I remember when he was my assistant back in the seventies, I would set up the first still-life shot, then say to him, "Shoot off the rest Phil" and go out for the rest of the day.
Of course not all still-life is so mundane and in fact some still-life shots are very exacting, requiring careful planning, construction of the set and attention to lighting details, which would include running test shots to acquire the effect that was needed. Sometimes this could take a day or two to successfully complete.
If you were shooting room sets as I use to do some time back, this would require a lot more work and would involve the use of many assistants, carpenters for set building and in many cases taking days to successfully complete. You would also need some serious studio space to accomplish this type of specialist work, as I use to have.
But as UK comedian Ronnie Corbett would say "I digress", lets get back to the basics of still-life tabletop photography.
For lighting you will need an attachment to your studio flash unit called a 'Soft Box'. This is as it sounds, a box constructed in fabric, which is reflective on the inside, with a diffuse panel at the front, providing a directional soft defused light to illuminate the subject. An umbrella attachment is not sutible for this work as the spread of light is to wide.
If you don't have a studio flash unit you can buy a soft box that will attach to a hammer head flash gun. If you have a second flash head you can put this to good use by simply bouncing it off the ceiling, to help fill any shadow area.
What you will need for Still-Life Tabletop Photography.:
1. Medium Format Camera and a 'macro' lens (close focusing). Better still a 5x4inch. View camera, which has tilt and swing front and rear panels for ease of focusing.
Did you know that only one in fifteen NEW cameras sold to day, are film cameras, this means there are great bargains to be had in the use film camera market, take advantage of that right now.
2. Soft Box Attachment.
3. Tripod, a good solid one.
4. Lighting Stands, you will need two or three.
5. White Card as reflectors or as a background, size 1mtr.x70cm. from your art shop, get three.
6. Background. muslin or material, off white or neutral in color.
7. Low table about 2ftx2ft. 18 inches high.
8. Light Meter for flash exposures.
What to do:
Set up your soft box at an angle of 45 degrees to the left or right of camera and slightly to the back of the set. This should be for small still-life objects and the light should be no more than a meter away from the subject, so you are able to stop down, (set the lens aperture), to at least f22, to get as much depth-of-field as possible so the image will be in sharp focus. If you have a second flash head, use it bounced off the ceiling to help to fill any shadow area.
Fix your reflector, (white card), the opposite side to the flash and an additional reflector the other side underneath the soft box.
Use a good lens hood, such as a bellows lens hood, to keep the light from the soft box hitting the lens. It's also good practice to fix a small piece of black card, suspended over the lens of the camera to prevent any light causing flare from the lens, taking care that the black card doesn't clip the picture area, or effect you meter reading.
Make test exposures to find out the best result and after some experimentation, you will find the results that you want. It's also good to "bracket" your exposures, which means to make three exposures, one at half a stop, (f.stop number), above the reading and one at half a stop below, choosing the best density of the three exposures made. Most pro photographers, even after a tests, use this as standard practice. Film is cheap and digital is nothing.
Now if you think that there is some other 'magic' formula that the pros use to shoot simple still life, your WRONG. This is the most used pro photo still-life set up, but of course there many exceptions to the rule and not all still life work is table top.
Final comment: The best way to become an accomplished photographer in still-life or other work, is go work for one as an assistant. It's the way most good pro photographers make it.
Happy shooting.
On Lake Michigan, at the end of led stadium light manufacturers the Stonington Peninsula, there's a stretch of empty beach. Part of the Hiawatha National Forest, it's framed on either side by private property, with no easy access. To walk on the beach, however, is legal. Past the last cabin, the public land starts, and goes for six or seven miles. This is where I would test my ultralight backpacking skills and gear.
I hiked a few miles the first day and explored the woods, where I ate wild blueberries for an hour. Then I set up camp behind a small ridge on the beach. I collected dry grass along the edge of the forest, which made a nice mattress. I pitched my backpacking tarp fairly high, so the breeze would keep out the mosquitos. When camp was set, I went for a swim.
This area has many crayfish, which look and taste just like miniature lobsters. After swimming I caught a dozen under the rocks in shallow water, and carried them back to camp in a whipped-cream container I found. You never know what will wash up on a beach.
I boiled them with some cattail hearts and evening primrose roots, in my cheap three ounce pan. It made a good meal with the crackers I brought. (You remove the meat from the tail of the crayfish, after cooking.)
It was summer, so I hadn't brought a sleeping bag. At seventeen ounces, my bag wouldn't have added much to my packweight of eight pounds. I just wanted to try using a nylon sleeping bag liner I had recently sewn (5 ounces). I wore my clothes to bed, including a hat I made from the sleeve of an old thermal shirt (1 ounce). I slept well, and ate granola bars for breakfast.
Water was all around, so I only had a 16-ounce plastic pop bottle (1 ounce) and a few iodine tablets for purification. I took a good drink before I packed up.
I found fresh bear tracks on the beach. The bear had walked within 60 yards of where I slept. I had a freon horn (2 ounces) that I'd bought after reading that people have used it's high-decible shriek to scare off bears. I pulled it out. I followed the tracks for an hour, but only because I was going in that direction.
I had two old cabins to explore, another patch of berries I knew about, and a beach full things to check out. The strangest item that regularly washes up is light bulbs. I take them home to use them. After years of finding these, a sailor finally told me that they throw them off the ships to shoot at them in the water. I was finding the ones they missed.
The next day I headed back. The rain I expected never came, so I didn't get to test my garbage bag rainsuit (2 ounces), but I had used a similar one with success before. Overall, I was happy with my ultralight backpacking "test." Of course, you can get by with fragile clothing and gear when you're hiking an open beach. Oh, and I never did see the bear.
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It's just a general malaise, dissatisfaction, with the status quo. Unfulfilled, not connected, not doing something that really lights that spark. I'm sure you know what I mean.
I had a myriad of ideas when my employer laid me off. I've failed led canopy light manufacturers at one business already a couple of summers ago. Then I retreated; I retreated from work, from life, into my home, away from responsibility, away from my ideas and placed more importance on me. I felt selfish, irresponsible, guilty, lazy, et al. Again, anyone who has been out of work you know what I mean!
My computer died, along with it, so did much material for many of my ideas. Whoa! What's this I noticed, I feel lighter, more able to focus. It may be short-lived but I'll take it while I can. Rebuilding the computer I discovered I can finally play games; I did that. I forgot about a lot of what has been (key word here) DRIVING me. I learned to relax again. I learned a bit more about my self. Still not where I think I should be, but certainly more aware again.
Read a lot of books!!! Now this leads to where I'm going with this post. In light of all this striving, driving, achieving, dissatisfaction with life, work, meaning, etc. I really wonder the reason why. There was a time when the work wasn't so important, that we could enjoy just going to work and the rewards of work: Time off, money to enjoy it, family, friends, hobbies, volunteers, special interests etc.
Now, what's been happening to our world of work? Are we working harder, striving to do more with less? Are we feeling this malaise because we're not taking our time for our own creative pursuits, for our own Rest & Relaxation? Are we searching for some meaning? Is this lack of meaning because we're not feeding our spirit? Isn't our spirit a creative being? How do we feed that with this go, go, go, attitude in society today? How can we take time to relax and enjoy being ourselves when society is continually pushing us to do more, more, more; what?
I've been doing some interesting reading lately and some interesting re-reading. One that really raised a number of these questions is Aldous Huxley, Island, and then the Brave New World Revisited.
Now I'm working on the Vein of Gold, the sequel to the Artists Way. I'm no artist in the literal sense of our culture, drawing, painting and such, but I do think we're all artists of a sort. Now working with this book, getting back to some basics, which is what this book reinforces, I find myself slowing down and getting back in touch with myself. In light of the other reading, the cause and effect of our culture on my own particular situation, the similarities with others I've seen asking the BIG questions, I can't help but wonder if this questing, searching that we're all on, has more to do with our spiritual evolution than it does with our career?
I feel there is something here for us all to discover that may just alleviate our sense of despair. As a contact in my network said to me, "Our whole life is our career, not just what we've come to label our paid work." What he means is a more holistic approach to career. Your career is your life; it is your kids, your hobbies, your reading, your sports, your volunteering, your work, your relationships, and so on.
If our lives are so one dimensional, it's no wonder we're all eager to look elsewhere and it's no wonder we're so at a loss as to where to look.
Best wishes, Lee