IPL and Hockey

IPL has seen a lot of controversy this year. A minister resigned because of his interests in IPL. Lalit Modi IPL's commissioner is in trouble and so on. All these untoward events happened this season especially after the auction of two IPL teams. Numbers involved in this process was staggering, considering it's a sports team. If it is not cricket, then nobody would have spent a paisa, is a open secret. Lalit Modi has attracted attention not because he is a commissioner of a sporting body. But controller of money and naturally the power it buys.
Looking back in time the Indian hockey team had to fight for it's salary and sponsorship. Hockey, the official national game of India is in the drain. Future of the game in India in dark. Professional body to govern the sport in India is not good.
Infrastructure for hockey in India is not up to international standards. We can divert the money from cricket to promote all other games. This would help in reducing the hype about cricket and development of other sports. Well, it happens only in my dreams. Cricket is one of the drugs, for people given by politicians and business people.

Bribe Small Word to Describe Huge Amount to Count

Government, is it still functioning. Dr. Ketan Desai President of medical council of India was arrested for accepting bribe from a person to grant permission for starting a medical college. CBI have arrested Mr.Desai and they have recovered 1500 crores in cash and 1.5 tonne gold from him. This brings out the ugly face of the Indian administration system. He was allowed to earn such a huge amount of money illegally and he stored his booty in cash and gold.

How he was able to escape the police all these years. It must have been happening for a very long time.Medical Council of India is functioning under the health ministry. Politicians will be involved in this corruption racket. They will escape because of their power. Will they be spared or will they be punished. If you ask me, "Arrest, oh its all the beginning of another drama".

The Art of Appraisal

The Art of Appraisal


Big Boss: This year your performance was good, excellent and outstanding. So, your rating is "average".

Kumar: What? How come 'average'?

Big Boss: Because...err...uhh...you lack domain knowledge.

Kumar: But last year you said I am a domain expert and you put me in this project as a domain consultant.

Big Boss: Oh is it? Well, in that case, I think your domain knowledge has eroded this year.

Kumar: What???

Big Boss: Yes, I didn't see you sharing knowledge on purchasing domain.

Kumar: Why would I? Because I am not in Purchasing, I am in Manufacturing.

Big Boss: This is what I don't like about you. You give excuse for everything.

Kumar: Huh? *Confused*

Big Boss: Next, you need to improve your communication skills.

Kumar: Like what? I am the one who trained the team on "Business Communication", you sat in the audience and took notes, you remember?

Big Boss: Oh is it? Errr...well..I mean, you need to improve your Social Pragmatic Affirmative Communication.

Kumar: Huh? What the hell is that? *Confused*

Big Boss: See! That's why you need to learn about it.

Kumar: *head spinning*

Big Boss: Next, you need to sharpen your recruiting skills. All the guys you recruited left within 2 months.

Kumar: Well, not my mistake. You told them you will sit beside them and review their code, and most resigned the next day itself. Couple of them even attempted suicide.

Big Boss:*stunned* (recovers from shock) Err...anyway, I tried to give you a better rating, but our Normalization process gave you only 'average'.

Kumar: Last year that process gave me 'excellent'. This year just 'average'? Why is this process pushing me up and down every year?

Big Boss: That's a complicated process. You don't want to hear.

Kumar: I'll try to understand. Go ahead.

Big Boss: Well, we gather in a large room, write down the names of sub-ordinates in bits of paper, and throw them up the air.in Whichever lands on the floor gets 'average', whichever lands on table gets 'good', whichever we manage to catch gets 'excellent' and whichever gets stuck to ceiling gets 'outstanding'.

Kumar: (eyes popping out) What? Ridiculous! So who gets 'poor' rating?

Big Boss: Those are the ones we forget to write down.

Kumar: What the hell! And how can paper bits stick to ceiling for 'outstanding'?

Big Boss: Oh no, now you have started questioning our 20 year old organizational process!

Kumar: *faints*

Books in Bangalore

Where to shop for books in Bangalore

Avenue Road is the bargain-hunter's destination for book-shopping in Bangalore. This street is adjacent to KG road near the City central railway station and bus-stand. You can find all kinds of books in this street - from management to the latest fiction novels. You can buy these new, off ths shelf or look for second-hand and used books. One of the unique features of this road is that you can sell your old books for cash or exchange them for books (depends on the shop). Almost all shops here follow this. You can also find pirated copies of novels and general books along the footpath (sidewalk)



Other places where you can buy books:



Strand Book Stall‎ - Conducts bargain book fairs and sells second-hand books
#S-113-114, Manipal Centre, First Floor, South Block, Dickenson Road, Bangalore, Karnataka 560042‎ - 080 25580000



Sapna Book House‎

One of bangalore's oldest book stores and its first book mall.
Thunga Complex,Opposite Tribhuvan Theatre, Gandhi Nagar, Bangalore, 560009‎ - 080 22262815



Higginbothams Pvt Ltd‎ - Perhaps Bangalore's oldest bookstore.
74, Mahatma Gandhi Road,

Bangalore, 560001‎ - 080 25091696



Gangarams Book Bureau‎ - One of Bangalore famous landmarks on MG Road
72, Mahatma Gandhi Road, Bangalore, 560001‎ - 080 25581618

India Book House Ltd‎
5th Main Road, Gandhinagar, Bangalore, Karnataka 560009‎ - 080 22261305



Shankar Book Shop
84/85,Safina Plaza, Infantry Road, Bangalore, 560001‎ - 080 25595074



Select Book Shop‎
No. 71, Brigade Road, Cross, Brigade Road, Bangalore, Karnataka 560001‎ - 080 25580770



Premier Book Shop‎
#46/1, Church Street, Off M G Road, Bangalore, Karnataka 560001‎ - 022 22883210



Sapna Book Home
14, 4th Block,27th Cross, Jayanagar, Bangalore, 560011‎ - 080 41307322

Blossom Book House‎
#84/6, Opp.Amoeba, Church Street, Church Street, Bangalore, Karnataka 560001‎ - 080 25320400



Bangalore Book Shop‎
#72, 17th Cross, Malleswaram, Bangalore, Karnataka 560003‎ - 080 23560193
Tips for shopping in Bangalore

*

While shopping for electronics in places like National Market, insist on a demo or test the product you are buying
*

Start negotiating when you are shopping in Alankar Plaza, National Market and surrounding areas. Usually shopkeepers hike prices steeply and it is not difficult to get a good deal if you bargain well. You can move on to the next shop in case the seller doesn't accept your number in the bargain
*

Shopping in Bangalore generally gets crowded during the weekends. It is best you head shopping on weekdays
*

To get good deal for books, head to Avenue road in the afternoon when it is less crowded and the stores may offer you a discounted price
*

Insist on Receipts for all purchases you make (except in National Market and surrounding malls here) as this is what you will use to claim warranty in case of defects.
*

Discounts are usually offered by all sellers during Indian Festivals and special occasions such as Ganesh Chaturthi (August - September), Diwali (October - November), Dusshera (September), Christmas and New Year (November - December), Ugadi (April). From time to time, there are discount sales which run for a month.
*

Be careful when buying counterfeit products, especially if you want to carry them abroad. It may get you in legal trouble.
*

Bangalore's shopping atmosphere is different as in other cities of India. It is festive - like abd can get insanely crowded. Enjoy shopping in Bangalore!

City of Bangalore- Remains of the Raj

City of Bangalore- Remains of the Raj

Yesterday, I went to Avenue road, Bangalore with my sister to find the wedding card shops. We had a little trouble in finding the exact location as the Avenue road consists of jewelery shops, book sellers and cloth merchants. Irony is that the auto-rickshaw driver didn't know the exact location. These were the old market area of the city of Bangalore. There is no product which is not available in this part of the city. We inquired people in a quest to find the exact location where they sell wedding cards. But, for our luck it was a Sunday, most shops were closed. There were few shops which were open and we had a chance to see the types of cards available.

       But this is not my story today. It's about the glorious past of these streets which stand as a testimony to a unique culture which prevailed during the times of British Raj. These streets have a lot of quality in appearance.

       From the Beautiful Indo-British architectural style, now they have become box shaped concrete buildings. Whole sale merchants, who migrated from all over India have a shop in this part of the city. Almost all cities have a place synonymous to this market. Such places area usually found around the city which was built by the British people.

       Remains of the British lifestyle can be witnessed from these streets. Even the imprints of past rulers in forms of Old temples, Mosques and Churches in these towns of the past. I believe that these places are significant to the documentation of a city's history. These streets though narrow and full of ugliness has beauty hidden behind this veil.

      I want to do a photo documentary about this place in at least three cities which I believe have their own fragrances in South India. Chennai, Hyderabad and Bangalore. Hope it happens soon.

Basic Photography Techniques

Photographic Composition Photographic composition is the pleasing arrangement of subject matter elements within the picture area. Creative photography depends foremost on the photographer's ability to see as the camera sees because a photograph does not reproduce a scene quite the way we see it. The camera sees and records only a small isolated part of the larger scene, reduces it to only two dimensions, frames it, and freezes it. It does not discriminate as we do. When we look at a scene we selectively see only the important elements and more or less ignore the rest. A camera, on the other hand, sees all the details within the field of view. This is the reason some of our pictures are often disappointing. Backgrounds may be cluttered with objects we do not remember, our subjects are smaller in the frame or less striking than we recall, or the entire scene may lack significance and life. Good pictures are seldom created by chance. To make the most of any subject, you must understand the basic principles of composition. The way you arrange the elements of a scene within a picture, catch the viewer’s attention, please the eye, or make a clear statement are all qualities of good composition. By developing photographic composition skills, you can produce photographs that suggest movement, life, depth, shape, and form, recreating the impact of the original scene. How are photographic composition skills developed? You look, you study, you practice. Every time you take a picture, look all around within the viewfinder. Consider the way each element will be recorded and how it relates to the overall composition. You must become thoroughly familiar with the camera and learn how the operation of each control alters the image. Experiment with the camera and look at the results carefully to see if they meet your expectations. With experience and knowledge of your equipment, you begin to "think through your camera" so you are free to concentrate on composition. Devote serious study to the principles of good composition. Study books and magazine articles on composition. You should analyze various media: motion pictures, TV, magazines, books and newspapers, and evaluate what you see. What is good about this picture or that TV image? What is bad about it? What principles of good composition could you apply in a different way to make the picture better. Good or correct composition is impossible to define precisely. There are no hard-and-fast rules to follow that ensure good composition in every photograph. There are only the principles and elements that provide a means of achieving pleasing composition when applied properly. Some of these principles and elements are as follows: Center of interest, Subject placement, Simplicity, Viewpoint and camera angle, Balance, Shapes and lines, Pattern, Volume Lighting, Texture, Tone, Contrast, Framing, Foreground, Background, Perspective. As you study these principles of composition, you should soon come to a realization that some are very similar and overlap one another a great deal. Because all or most of these principles must be considered and applied each time you take a picture, it may all seem quite confusing at first. With experience you can develop a sense of composition, and your consideration and application of the principles will become almost second nature. This is not to suggest that you can allow yourself to become complacent or careless in the application of the principles of composition. Doing so will be immediately obvious because the results you produce will be snapshots, not professional photographs. The principles of composition that follow apply equally to both still and motion media photography. Center Of Interest Each picture should have only one principal idea, topic, or center of interest to which the viewer's eyes are attracted. Subordinate elements within the picture must support and focus attention on the principal feature so it alone is emphasized. A picture without a dominant center of interest or one with more than one dominant center of interest is puzzling to a viewer. Subsequently, the viewer becomes confused and wonders what the picture is all about. When the picture has one, and only one, dominant "point of interest," the viewer quickly understands the picture. Note: "Point of interest," as used here, has the same meaning as center of interest; however, using the term point of interest prevents giving the impression that the center of interest should be located in the center of the picture. The specific topic, idea, or object to be portrayed must be set in your mind as you prepare to take a picture. When there is nothing in the picture to attract attention to a particular area or object, the eyes wander throughout the scene. The center of interest may be a single object or numerous ones arranged so attention is directed to one definite area. When the center of interest is a single object that fills most of the picture area or one that stands out boldly, such as a white sail against a background of dark water, attention is attracted immediately to it. As may be expected, not all subjects are as simple to arrange or as bold and impressive. A photographer usually has at his or her disposal many factors or elements that can be used and arranged within the picture area to draw or direct attention to the primary idea of the picture. Some of these elements are lines, shapes, human figures, tone, and texture. Human figures attract attention more strongly than almost any other subject matter and unless they are the main object of the photograph should probably be kept out of the picture; for instance, a photograph showing a person standing at some distance in front of a building may leave the observer wondering whether the person or the building is the primary subject. When people are included in a scene for comparative size of objects or just for atmosphere, keep them from looking directly at the camera. When people look at the camera and therefore at the viewer of the picture, the viewer tends to return their gaze by looking directly back into their eyes. When they are not the intended point of interest, we miss the statement and purpose of the picture. When people are subordinate elements within the picture and they are looking in a direction other than at the camera, the viewer’s attention is directed from the people to what they are looking at, which should be the center of interest; for example, when people are grouped around a piece of machinery that is the center of interest of the picture, have them look at the machine, rather than the camera. Subject Placement Sometimes good composition is obtained by placing the center of interest in the geometrical center of the picture; it is generally not a good idea to place it there. Too frequently it divides the picture into equal halves and makes the picture uninteresting and difficult to balance. By dividing the picture area into thirds, both vertically and horizontally, and locating the center of interest at one of the intersections of the imaginary lines, you can usually create a feeling of balance to the composition (fig. 5-5). In photographic composition there are two general guides for determining the best location for the center of interest. The first is the principle of thirds. The other is dynamic symmetry. In the principle of thirds, the intersection of lines that divide the picture area into thirds are marked by O’s. These intersections are good locations for the center of interest in most photographs. Notice we said THE center of interest. Remember, have only one center of interest to a picture-keep it simple. The principle of dynamic symmetry is a similar idea. A good location for the center of interest is found by drawing or imagining a diagonal line from one corner to an opposite corner. Then, draw a second line perpendicular to the first from a third corner (fig. 5-6). The intersections of the lines are the location for the center of interest. Simplicity Simplicity is the key to most good pictures. The simpler and more direct a picture is, the clearer and stronger is the resulting statement. There are several things to be considered when we discuss simplicity. First, select a subject that lends itself to a simple arrangement; for example, instead of photographing an entire area that would confuse the viewer, frame in on some important element within the area. Second, select different viewpoints or camera angles. Move around the scene or object being photographed. View the scene through the camera viewfinder. Look at the foreground and background. Try high and low angles as well as normal eye-level viewpoints. Evaluate each view and angle. Only after considering all possibilities should you take the picture. See beyond and in front of your subject. Be sure there is nothing in the background to distract the viewer's attention from the main point of the picture. Likewise, check to see there is nothing objectionable in the foreground to block the entrance of the human eye into the picture. A last point of simplicity-tell only one story. Ensure there is only enough material in the picture to convey one single idea. Although each picture is composed of numerous small parts and contributing elements, none should attract more of the viewer's attention than the primary object of the picture. The primary object is the reason the picture is being made in the first place; therefore, all other elements should merely support and emphasize the main object. Do not allow the scene to be cluttered with confusing elements and lines that detract from the primary point of the picture. Select a viewpoint that eliminates distractions so the principal subject is readily recognized. When numerous lines or shapes are competing for interest with the subject, it is difficult to recognize the primary object or determine why the picture was made. Viewpoint And Camera Angle The proper viewpoint or camera angle is an important factor in good composition. Repositioning your subject within the viewfinder frame and changing the camera viewpoint or camera angle are two simple ways of controlling composition. Photographing from a different viewpoint or camera angle can often add drama and excitement or even bring out an unusual aspect of a subject. Most of the subjects you photograph are three-dimensional and should be photographed from an angle (to the right or left of and/or from higher or lower than the subject) that allows the viewer to see more than one side of the subject. The photographer should study the subject from different sides and angles. Walk around the subject and look at it from all viewpoints. See it from elevated and low positions as well as from eye level to find the best composition. This greatly assists in composing the subject for the best balance and helps to select a background that compliments, not distracts from the subject. The terms viewpoint and camera angle are often used in conjunction with one another and sometimes used interchangeably. They can also have different meanings depending on how they are applied. Viewpoint" is the camera position in relation to the subject. "Camera angle" is the angle in which the camera lens is tilted; for example, a picture of sailors marching, made from ground level with the camera held horizontal with reference to the ground, may be referred to as a "low viewpoint" (or camera position); however, when this picture is made, again from ground level, but with the camera pointed up, it may be referred to as a "low camera angle." Likewise, a picture made from an elevated or high position, with the camera again held horizontal with reference to the ground, or even pointed straight down, can be referred to as a "high viewpoint"; however, if the camera is not held horizontal to the ground or pointed straight down, but pointed at some angle between horizontal and vertical, the camera position could be referred to as a "high camera angle." Eye-Level Shots With the camera held horizontal, eye-level shots are usually made at a height of about 5 1/2 feet, the height from which the average adult sees, and with the camera horizontal. With the camera held at eye level but pointed up or down, the camera position changes and you have either a low or high camera angle, respectively. Low Viewpoint And Low Camera Angle Low viewpoints and low camera angles can add emphasis and interest to many ordinary photographs. A low viewpoint can be used to distort scale or add strength to a picture or to emphasize certain elements within the picture. A low camera angle is achieved when the camera angle is located below the point of primary interest and pointed upward. Low angles tend to lend strength and dominance to a subject and dramatize the subject. Low angle shots are used when dramatic impact is desired. This type of shot is very useful for separating the subject from the background, for eliminating unwanted foreground and background, and for creating the illusion of greater size and speed. High Viewpoint And High Camera Angle High viewpoints and high camera angles help orient the viewer, because they show relationships among all elements within the picture area and produce a psychological effect by minimizing the apparent strength or size of the subject (fig. 5-8). Balance Balance in photographic composition is a matter of making pictures look harmonious. Each element in a picture has a certain amount of value in respect to all the other elements. Every tone, mass, shape, tree, rock figure, building, line, or shadow contributes a certain amount of weight that must be arranged correctly in the composition to give the impression of balance. The subject placement within the picture area is the factor that must be carefully considered. Composition is kept in balance by two different methods: symmetrical, or formal, balance and asymmetrical, or informal, balance. Symmetrical Or Formal Balance Symmetrical or formal balance in a photograph is achieved when elements on both sides of the picture are of equal weight (fig. 5-9A). The idea of formal balance can be related to a seesaw, When there are two equally weighted objects on the seesaw and they are equidistant from the pivot point, or fulcrum, the board will be in balance. Pictures with formal balance may look static and unexciting; however, they do present an air of dignity. Formal balance does not always mean a picture has to the seesaw in perspective. The forces or weights are symmetrical. Symmetrical pictures, in which both are presumed to be approximately equal; but, the imaginary sides are exactly the same, are produced only when your pivot point is set deep into the picture space. With this want a special effect; therefore, they are not often variation to symmetrical balance, a more interesting product. A variation of symmetrical balance deals with photographs is usually created (fig. 5-9B). Asymmetrical Or Informal Balance Asymmetrical, or informal, balance is usually much more interesting than symmetrical balance. In asymmetrical balance the imaginary central pivot point is still presumed to be present; however, instead of mirror images on each side of the picture area, the subject elements are notably different in size, shape, weight, tone, and placement. Balance is established by equalizing the element forces in spite of their differences. Asymmetrical balance is introduced when the presumed weight of two or more lighter objects is equalized by a single heavier object placed on the other side of the imaginary pivot point (fig. 5-10). Asymmetrical balance is more difficult to achieve than symmetrical balance, because of the problem of establishing relative weight values for dissimilar elements within the picture area as well as presenting some form of stability. Aspects Of Balance There are many other factors to consider in order to make pictures appear balanced. Some of these are as follows: An object far from the center of the picture seems to have more weight than one near the center. Objects in the upperpart of a picture seem heavier than objects of the same size in the lower part of a picture. Isolation seems to increase the weight of an object. Intensely interesting objects seem to have more compositional weight. Regular shapes seem to have more weight than irregular shapes. Elements on the right side of an asymmetrical picture appear to have more weight than elements of the same size on the left side of the picture. The directions in which figures, lines, and shapes appear to be moving within the picture area are important to balance; for example, a person may be walking in a direction, or his eyes may be looking in a direction, or the shape of some element creates a feeling of movement. When the feeling of direction is present within a scene, it tends to upset the balance if judged on the size of the subject alone. Understanding the factors required to create pictorial balance is essential for you to produce good pictures. To gain this understanding, you can continually test your feelings for balance as you look through your camera viewfinder. Once you gain an understanding of the principles of pictorial balance, achieving balance in your photographs becomes an easy process.

Bangalore, the city of gardens is slowly losing it's sheen. Namma metro rail project, is causing lot of disturbance to the environment. Due to the construction, which is mainly through the arterial roads of Banglaore the level of dust pollution has increased. Owing to the construction trees are been cut down. Even trees in Cubbon Park are be felled. In present scenario of Global climate change, this can be avoided. Otherwise, trees should be planted at a ratio of atleast 1:10 trees that are felled. Hope, Bangalore will return to the time of tree lined avenues and the sulubrious climate.

நந்தினி உணவகம் பெங்களூர்.

St. மார்க்ஸ் ரோட்டில், பெங்களூரில் உள்ள நந்தினி உணவகத்தில் உண்டு கழித்த அனுபவம் மிக மோசமானதாக இருந்தது. ஐஸ் கிரீமில் எதோ ஒரு பூச்சி இருந்தது.
ஹைதராபாத் பிரியாணி என்று ஒன்று பரிமாறப்பட்டது. அதற்கும், சாதாரண பிரியாணிக்கும் எந்த ஒரு வேறுபாடும் இல்லை. ஒரு மதிய உணவு வேலை வீண் ஆனது.