Light, shapes, lines, forms — the foundations of photography. No matter what subjects you shoot, you'll end up working with these features for every photo that you take. Architectural photography, though, takes it to another level, with its perfect geometrical lines and shapes that are hard to find anywhere else in the world. In this article, I will cover everything from indoor architectural photography to outdoor "urban landscapes" and cityscapes, including some tips and tricks that I use all the time in my own photos.
A quick note: Apologies that we have not posted an article this past week. Nasim and I have been in New Zealand since the beginning of December, and it has not been possible to publish anything without a reliable Internet connection. Our articles may still be sporadic until we get home at the end of December, so we appreciate your patience. For now, we have published our backlogged articles from recent days. Hopefully, the photos we bring back from this trip will be worth it!
No matter which images you want to capture, the first thing that many people consider is camera equipment. For architectural photography, you can take good photos with any equipment, but there is some gear that certainly works better than others.
First, the most important piece of equipment you can own as an architectural photographer is some type of camera support. This helps you take well-lit and sharp photos even in dark buildings, or for nighttime shots outdoors. A tripod is the most obvious choice, and it's what I use more than anything else. However, some places (especially a lot of cathedrals and museums) restrict your tripod use. So, you have to pick something else that would work in such limiting environments.
Other people prefer to use a miniature tripod instead. Often, buildings that restrict full-size tripods are perfectly fine with small ones, since they don't take up as much space or bother other visitors. This varies from place to place, but it holds true more often than not. However, miniature tripods restrict your camera position to very low angles, unless you hold your tripod against something like a wall or bench (which may lead to blurry photos if you aren't perfectly steady).
Finally, consider something like a stabilizing clamp. There are versions available from Manfrotto (requires additional adapters, and is relatively large) and Really Right Stuff. This piece of equipment lets you attach your camera directly to railings, tables, benches, and so on — allowing a bit more flexibility than a miniature tripod. These are permitted almost everywhere, since they clearly aren't tripods and they don't take up much space to limit movement of other people. However, you need to be somewhere that has the right places to clamp your gear, or you simply won't be able to use them at all.
As is true for every genre of photography, lenses are critically important for architecture and cityscapes. Wide angle lenses let you emphasize the spaciousness of an interior, and telephotos let you zoom into tiny details in distant urban landscapes.
Don't restrict yourself — good architectural photos can be taken at any focal length. Although wide-angles are more popular (since they tend to work better indoors), I always recommend carrying a telephoto lens with you as well. I have gotten many of my favorite architectural shots by focusing on small, interesting details in the distance.
In this case, the photo on the left clearly looks tilted, while the photo on the right — although not perfect — appears much straighter. Tilt-shift lenses do this in-camera rather than in post-production, which often leads to better composition, since you can correct distortion on the spot.
Unfortunately, tilt-shift lenses are quite expensive. Nikon's newest 19mm tilt-shift lens is $3400! Even used tilt-shifts from the big brands can run in the $1500 to $2000 range, putting them out of budget for most photographers.
That's why I don't use a tilt-shift lens; I simply use the wide-angle lens I already own. Although I sometimes need to correct a photo's perspective in post-processing, that's a good enough solution in most situations.
If you have a wide-angle and a telephoto, that's all you really need. Some photographers also like using mid-range lenses for architectural shots; it simply depends upon your personal preferences. For me, though, something like a 16-35mm works for indoor photography, and a telephoto like the 70-200mm works for cityscapes. You can't go wrong with any kit that covers a similar range.
For architectural photography, your camera isn't hugely important. You don't need a top-of-the-line focusing system to capture indoor scenes, and all modern cameras have enough pixels to capture lots of detail. Whatever you currently have should be enough.
There are a few features that are nice for architectural photography, though. If your camera has a tilting LCD screen, for example, you'll be able to take photos of ceilings much more easily. The other nice feature is dynamic range. If you have a new camera with great dynamic range, you'll be able to take photos without resorting to HDR or exposure blending in difficult situations (which, when there are windows in your photo, could happen pretty often).
Finally, if you plan to shoot a lot of handheld architectural photos, your camera's low-light performance is obviously important (as would be your lens's vibration reduction). Hopefully, though, you will be able to use some form of camera support most of the time.
Overall, though — as mentioned above — you can take good landscape photos with any equipment. It's much more important to find interesting buildings and good light. Use the best gear you can, of course, but don't be discouraged if you're missing an item or two.
It is important to use the right camera settings for any genre of photography, and architectural photography is no exception. In fact, with all the extreme variations of light that you may encounter, proper exposure here is arguably even more important than usual.
The main problem with architectural photography is the extreme brightness of window light. If you want details both inside and outside a window, you must resort to extreme recovery in post-processing, or, more often, blending multiple exposures together into one.
Of course, some buildings are much simpler. If you aren't dealing with extreme differences in dynamic range, simply expose how you normally would. Set your camera to its base ISO (assuming you are on a tripod), use an aperture that gives the desired depth of field, and let your shutter speed fall wherever it gives you the proper exposure.
If you do need to work with multiple exposures, you'll need to bracket your photos. Keep your ISO and aperture the same for each shot, but use a range of different shutter speeds — one that exposes the window properly, one that exposes the interior of the building, and as many as you need in between (separating each photo by 2/3 or one full stop of light).
Photography is light — it's as simple as that. When you're taking architectural photos, the best way to get a good image is to make the most of the light in your scene.
Indoors, this means that you should photograph a scene with light that complements the building's design. In modern buildings, the architect likely put a lot of effort into the shape and appearance of the light, and you won't have any major problems. Older buildings might not work as well, but, as always, it depends upon the place. For example, some of the best light you'll ever find is in centuries-old churches and cathedrals lit entirely by large windows.
For outdoor architectural photography, everything is about the interaction between the sun and the building's own lights. After sunset, for example, the dark sky and bright orange lights can complement each other beautifully, leading to fantastic images. This is one of my favorite times to take cityscape photos.
Other times, you may be photographing a building that doesn't have any built-in external lights. In that case, just like normal landscape photography, the sun is all that matters. Try photographing buildings like this at sunset or sunrise — the times of day with the most unusual light and colors in the sky.
Finally, remember that architectural photography is all about geometry. Make the most of lines, shapes, and symmetry — very few genres of photography let you work with such perfect forms and patterns. In fact, a lot of architectural photography ends up looking abstract, which I think is fantastic. If you find an interesting detail in a building, even if it is difficult to put into context, you could end up with some great images.
If you're photographing a popular building, chances are good that people will end up in your photo. Sometimes, there's nothing wrong with this. In fact, I have seen several great images that feature a person inside a grand work of architecture, putting the entire image into scale and providing a center of interest. Other times, though, you'll want your architectural photos to include nothing but architecture, and that's also valid.
The simplest way to remove people in your photo, assuming that they are relatively small and unobtrusive, is just to clone them out in Photoshop. However, not everyone likes using Photoshop to change the way a scene appeared, and other photos simply don't work well for this type of manipulation — the people in your photo may cover important details that Photoshop cannot successfully bring back.
For that reason, a lot of architectural photographers like to own neutral density filters. These filters are simply dark sheets of glass, not tinted any color, that force your camera to use longer shutter speeds than normal. This doesn't sound like a great solution, but it actually works quite well. If your neutral density filter lets you take a 30 second exposure, anything moving in the image will appear completely invisible! So, all the people in your scene will be blurred our of existence, assuming that they don't sit or stand still during most of the exposure.
Finally, if you don't have a neutral-density filter, you can simulate its effects by taking multiple photos from the same position, waiting a few minutes from shot to shot. Then, open the resulting images as layers in Photoshop. For every person in the frame, simply erase or mask them out, revealing the layers below (where, since they were taken a few minutes later, any people have moved out of the way).
None of these solutions is perfect, but you need to do something if there are people blocking important parts of your photo. For architectural photography more than any other genre, you'll want to keep these tools in mind.
Architectural photography is a tremendous amount of fun, and it's something you will be able to practice in nearly every city that you visit. If you live in a city, consider taking some architectural photos of nearby buildings — it's a great way to keep your photographic eye in practice.
Architectural photography works best if you are interested in the basics: lines, patterns, and light. It's also a fantastic genre if you enjoy abstract photography, since many buildings are patterned in ways that seem very unusual when taken out of context.
With all these positives, it's no wonder that architectural photography is so popular. Hopefully, the tips in this article will help you make the most of your next shoot. Feel free to leave a comment below if you have any questions.
I want to buy a tilt-shift lens for architecture photography, which one do you recommend? 24mm? 19mm? It's a lot of money so I want to spend it on the right one.
I use a shift adapter with a 14mm Rokinon on my m4/3 camera to be equivalent to a 28mm shift lens on FF. Works great. I get the full 10mm of shift with no issues since the FF sensor is more than 10mm larger than m4/3.
I'm anxious for the reviews to come out of the new 11mm Irix lens. If it is good this could make a great 22mm equiv shift lens for my m4/3 camera.
hello John, i am on Nikon and had the three PCE lenses : 24, 45 and 85mm.
I cannot recommend the 2008 made 24mmPCE- outdoors, but it works very well indoors. The others are fine and more easy to use.
The 19mm PCE lens is much better than the 24mm PCE made in 2016 for 36MP – but it is expensive.
Remember that TS lenses are complex lenses that need to be carefully used.
I mean focus should be checked in the whole image at working F-stop for the best results.
they are slow, but give results other lenses cannot get.
Not good outdoors? I've never heard that said about any lens before. What would indoors or outdoors have anything to do with how well a lens works (not including extreme weather obviously)?
24mm is much more useful than 19mm for architectural. 19mm has a purpose for sure but it is much more specialized. The most common amateur mistake is to always go as wide as possible. This has a dehumanizing affect since it is further from our natural field of view. For real estate photography this is different because there is a benefit to making the rooms look as big as possible, but for architectural or life style photography this isn't the case. Just look at the shots from Architectural Digest and you'll see that the vast majority are probably shot at 35mm or 50mm.
I'm sure that the new 19mm tilt-shift is fantastic, but it's also $3400. I wouldn't recommend committing that much until you know the lens is perfect for what you do.
Great article. Thank you. And , of course, thanks for showing the beauty of the Duomo di Siena and some part of the city ! As Italian I'm proud of it.
Thank you, Matteo — Siena was spectacular, along with the surrounding countryside!
Interesting article and as usual very nice pictures. Where did you photograph the church interior?
Thank you, Christiaan! That's Amiens Cathedral in Amiens, France. I went there a few years ago, and it was a truly spectacular building (and 750 years old).
I do a lot of architecture photography myself and I sorely miss a tilt-shift lens since I broke my 24mm Nikkor (first and only lens I ever broke). The regular 24/1.4 is often not wide enough, so I have to use the 15/2.8 Zeiss end even then, having to correct the converging verticals in post- is a pain because (1) it often "eats up" a lot of what's on the sides, and (2) you often don't have enough room to step back and include enough ground and sky in the frame to give yourself room to do the work in post-. Then you have to clone the sky in Photoshop or resort to other complicated manipulations, which could be totally avoided if one had a tilt-shift lens.
Stitching can be another make-do solution à la McGyver, but then you have to have an excellent panning head to avoid parallax problems.
So, I 'm setting money aside to acquire the new 19mm Nikkor.
It would have also been interesting to discuss post-production techniques more specifically adapted to architecture photography.
If its quality reflects its price, the 19mm will be a fantastic lens. I'll work on publishing some more post-processing articles for architectural photography as well!
Araxfoto www.araxfoto.com/accessories/ has some tilt/shift adapters to use nowadays cheap manual medium format lenses (Kiev, Pentacon) on DSLR cameras. Obviously not super wide lenses but fun to experiment with the principle of Scheimpflug.
I hadn't heard about those — thanks for adding the link. Looks like they could be fun! Not intended for architecture, it seems, but I'm sure you could make them work.
PLEASE, could you tell were the photos are from? Some are from Siena i gathered from a comment.
Same thing for articles about birds/animals, could you please tell what species they are?
Hi Kristian, thanks for asking! The first photo is from Paris. The comparison was taken in London (Nasim's photo). The following two images, the cathedral and the alleyway, are both from Amiens, France. The final two photos are from Siena, Italy.
As for the bird photos, those are Thomas Stirr's, so you'll have to ask him. Although both of us were in New Zealand around the same time, we didn't actually visit together or meet up, so I don't know how those shots were taken!
How do you compare the Nikon 20mm f/1.8 – in terms of distorsion and sharpness – against the 20mm focal distance of a zoom like the Nikon 16-35 or the 14-24mm ? Greetings.
You should check out the reviews on lenstip.com. All of those have been reviewed. They show everything you would need (sharpness, distortion, flare resistance, etc.). That being said, I can tell you that the 16-35 is not your best option. It is outperformed by the cheaper 18-35 nikon and the 17-35 tokina in nearly every regard (especially distortion because the nikon 16-35 at 16mm has absolutely monstrous distortion). The equally priced tamron 15-30 VC is better than the 2 cheaper lenses and therefore much better than the 16-35. The only thing that the 16-35 has going for it is that it has VR and a 77mm filter thread, both of which are of very little use for architecture since you should be on a tripod anyway.
I had the NIkon 18-35 and sold it after acquiring the 16-35. Personally, I prefer the 16-35 but YMMV. That being said, I wouldn't hesitate to use either for architectural photography and have done so on numerous occasions. I thought about the Tamron 15-30 but ruled it out due to being more like 15.5mm on the wide end and being too big and heavy for what it brings to the table.
Thank you very much Preston for your information. Best regards.


Career highlight: After the Prix de Lausanne, I danced with the Houston Ballet for a year where I had the opportunity to dance several roles. I was also invited to dance at the Latin Grammy Awards in Houston for a special guest appearance. After Houston, I danced with the San Francisco Ballet. While in San Francisco, I toured different countries with the company and for dance galas: the UK, Denmark, Hungary, China, and several cities in the US. The Chilean ambassador to the US presented me a special award for Chilean artists representing the country in the US. I was also named a Young Leader by the Chilean press and recently I danced in the finals of the USA International Ballet Competition in Jackson.
Favorite roles/choreographies: I have worked with amazing choreographers like Christopher Wheeldon, Jaime Pinto, Helgi Tomasson, Marcia Haydee, Demis Volpi, Mathew Nenan. I also danced pieces by Balanchine, John Cranko, McMillan, Petipa.


Cellular Energy Production* Free Radical Scavenger* Coenzyme Q10 (CoQ10) is a vitamin-like compound that plays a central role in cellular energy production.* CoQ10 is found throughout the body, but is especially concentrated in the heart, liver, and kidney and production has been found to decline with age. CoQ10 functions as a potent free radical scavenger in cell membranes, as well as within blood vessels.* Years of scientific research have shown that CoQ10 helps to maintain a healthy heart and vascular system.* Separation and color variation in the softgel may occur. This is natural and doesn't affect product quality. NOW® CoQ10 is Pharmaceutical Grade.
Supplement Facts Serving Size: 1 Softgel Servings Per Container: 50 Description Amount per Serving % Daily Value ™ Daily Value not established. Vitamin E (from Mixed Tocopherols) (soy free) 30 IU 100% Coenzyme Q10 (CoQ10) 100 mg ™ Other Ingredients: Softgel Capsule (bovine gelatin, water, glycerin, organic caramel color), Organic Extra Virgin Olive Oil, Sunflower Lecithin and Silica. Not manufactured with wheat, gluten, soy, corn, milk, egg, fish or shellfish ingredients. Produced in a GMP facility that processes other ingredients containing these allergens. Caution: For adults only. Consult physician if pregnant/nursing, taking medication, or have a medical condition. Keep out of reach of children. Separation and color variation in the softgel may occur. This is natural and doesn't affect product quality. NOW® CoQ10 is Pharmaceutical Grade. Store in a cool, dry place after opening. Please Recycle. Family owned since 1968.


In this short but very effective post Coaching is Not…, the author brings a very good distinction between coaching and other disciplines such as therapy, mentoring, management and consulting.
In my professional (and personal experience) so far, there is nothing more powerful and important than setting expectations. If you do it right, the path is clearer and better laid out for you and your client. So setting the expectations about what coaching is and is not is one critical step before initiating the coaching sessions per se.
And it is even more important in the current scenario where coaching is increasingly becoming more popular, and so we run the risk of having misconceptions about what it really is.
The coaches already know this but let me reinforce it: it is vital that you spend some time with your client setting the right expectations for the work. Even if your client does not think it is important or does not have the time for it.
If you are a client, make sure your coach addresses the nature of the work and what you can expect upfront. It is a well spent time.
Many clients are unclear of what to expect from coaching. Some of my clients come to their first coaching sessions expecting me to tell them what to do, focus on their past behaviors, or fix them. I explain coaching focuses on the present, goal setting, and forward movement. As a coach, I view my clients as naturally, creative, resourceful and whole. They have the solution. They may not realize it, but they do! It is my job to help them uncover the solution and to create action.
A colleague from the local ICF Chapter created the below distinctions between Coaching and other service professions.
What other distinctions stand out for you?


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Gary Walkow is a filmmaker, photographer, writer and visual artist.

Biography
Gary's earliest dream, from age four, was that he was lying on an operating table with his head split open.  Tangled strands of 8mm film were pouring out of his head.  A doctor picked up a strand of film and held it to the light, it was a scene of little Gary running across the front yard.

Walkow's first film was a film version of Allen Ginsberg's "Howl" which he made at Bellaire High School.  Walkow went to Wesleyan University, where he studied film with Jeanine Basinger.  He did honors thesis research on the films of F.W. Murnau, with George Pratt at the George Eastman House, and in the archives of William K. Everson.

Walkow began his professional career as a film editor, working on industrial films in Houston, Texas.  After a memorable but unsatisfying semester in the MFA Program at USC Film School, Walkow eked by as an editor in the low budget realms of Hollywood.   Working for George Gale (who had edited Jean Renoir's The River), Walkow compiled nature footage bought at bargain basement prices into feature-length films for TV syndication at the rate of one feature a week.  The company specialized in what Gale called "outdoor psychic mysteries."  They were set outdoors because you could shoot without lighting.

Walkow spent an entire year working for Family Films, a company devoted to making Lutheran religious films.  The twelve part "Life of Jesus" needed cleaner dialogue, so all of the dialogue was rerecorded, and Walkow had to cut in the new dialogue.  This process was called looping, as sound loops were made of each line of dialogue and the actor then matched his performance to the loops.  Walkow came to call this "looping for the lord."

His short film, Auto-Mates was about a husband and wife who discover they cannot get out of their automobile, adapt to living inside the car.  It is Exterminating Angel in an Oldsmobile Starfire.  The film shot entirely inside an automobile.  Tom Frei, who shot Gary's Wesleyan films, designed and built a tracking system that allowed for tracking shots inside a moving automobile.  This innovative technique was the subject of an article in the August 1979 issue of "American Cinematographer."

The Trouble With Dick was Walkow's first film as a writer-director.  It tells the story of a struggling science fiction writer, Richard Kendred, who moves in with three women and has a nervous breakdown.  The story of Richard's fictional character, an escapee on a prison planet, is intercut with the narrative in the house.  The Trouble with Dick won the Grand Prize at the Sundance Film festival.  The film was acquired for distribution by FilmDallas Pictures, but the company went bankrupt before it released the film. This began a pattern of jinxed distribution that has haunted Walkow.

Walkow's second film, Notes from Underground, was adapted from the Dostoevsky novella.  Walkow reset the story to contemporary Los Angeles.  Dostoevsky's text was in the form of a first person journal.  Walkow changed this framing device to a confession made to a video camera.  The film stars Henry Czerny, Sheryl Lee, Jon Favreau, and Seth Green.  Robert Frank, who authored the five volume study of Dostoevsky, regarded Walkow's film as the best film adaptation of Dostoevsky.  Frank had been a Professor of French Literature at Princeton when he first read Notes from Underground.  Profoundly moved by the book, Frank changed the course of his life to study Dostoevsky.

Notes from Underground premiered at the Toronto International Film Festival and at Sundance, and won the Innovation Award at the Taos Talking Pictures festival.  The prize was five acres of land on the Taos mesa.

Walkow's third feature, Beat, tells the story of two killings that were pivotal events in the lives of the core Beat writers: Lucien Carr's stabbing of Dave Kammerer in New York City in 1944, and William Burrough's shooting of Joan Vollmer Burroughs in Mexico City in 1951.  The film was shot in Mexico City, Patzcuaro and Paricutin.  It stars Kiefer Sutherland, Courtney Love, Norman Reedus, Ron Livingston, Sam Trammell.  After some controversy at its Sundance Festival premiere (where a certain actress scuffled with a certain film critic's wife), the film was released by Lion's Gate.  Iain Sinclair writes about the film in his book "American Smoke."

Crashing is a meta-sequel to The Trouble With Dick (it tells the story of Richard McMurray, the author of the novel The Trouble with Dick).  Richard's wife locks his out of the house, freezes his assets, and files for divorce.  Richard winds up crashing on the couch of two writing students, and from that borrowed vantage point starts writing about their lives.  The films stars Campbell Scott, Lizzy Caplan, Izabella Miko, Alex Kingston, David Cross, and Stephen Gyllenhaal.

Callers is a Bunuelian comedy.  The plot: Will's fiancé leaves her cell phone behind when she rushes off to work.  She is killed in a car crash, but Will can speak to her on her cell phone.  Soon other dead start calling Will on the cell phone to demand favors.  Walkow lost control of the movie, and new scenes were written, new scenes filmed, and the film re-edited and retitled without Walkow's participation.  Walkow's director's cut of the movie does exist and is discussed by Iain Sinclair in "Sight & Sound" November 2013 issue.  The film stars Nelson Franklin, David Clennon, Katie Holmes, Catherine Hicks, Alex Kingston.

Chasing Flavor is Walkow's first documentary feature.  It follows Maxwell Colonna-Dashwood as he seeks to win the World Barista Championship.  His quest to master coffee leads to Maxwell becoming the world's leading authority on water for coffee.  The experience of making a documentary was a pivotal experience in Walkow's approach to shooting fictional narrative.

Walkow is the author of six novels.  Radio Mary is adapted from his first novel.  Be My Baby is adapted from Walkow's sixth novel.

As a photographer, Walkow has had shows at the William Turner Gallery in Santa Monica.  His Airport Avenue Series was paired with the paintings of Lawrence Ferlinghetti.  The Corner of the Universe series is on permanent display in the upper patio of the Original Farmer's Market in Hollywood.  He is represented by Millinnium Images (London).

Walkow's papers, The Gary Walkow Collection, is preserved at the Margaret Herrick Library of the Academy of Motion Pictures Arts and Sciences.  Walkow's films are preserved at the Academy Film Archive.

Filmography (writer-director)

FEATURE FILMS
Steve Stays to Dinner (2022)
Notes From Underground (2021)
Existential Risk (2017)
Chasing Flavor (2012-2019)
Caffiend (AKA The Trouble with Dot & Harry) (2015)
Radio Mary (2013)
Callers (2009)
Crashing (2007)
Beat (2000)
Notes from Underground (1995)
The Trouble with Dick (1987)

SHORT FILMS
Keep on Truckin' (2022)
The Trick is Existing: Dan Sallitt (2016)
Sleep II (2003)
Mojave Exodus (1985)
The Wedding Dice (1983)
Auto-Mates (1978)
Rite of Passage (1976)
The Continuous Victim (1975)
A Voyeur (1974)
A Futile Attempt to Escape from the Middle Class (filmed 1973, completed 2019)

Novels
Radio Mary
Weekend
The Lone Star of David"
As Bad As It Gets (The Making of "Beat")
The Master Debater
The Laurel Canyon Album
Be My Baby

Photography (series)
My First Truck (36 Years Later)
Corner of the Universe: Fairfax & Third
Airport Avenue Series
23 Short Stories
This White and Silent Room

References
"Beat" by Dan Sallitt, published in 24fps www.panix.com/~sallitt/beat.html
"Dream Science" chapter in "American Smoke" by Iain Sinclair
"Walkow's Way" in "Sight and Sound"  November 2013
"Moving Camera Shots in a Moving Automobile" "American Cinematographer" August 1979

External links
 www.garywalkow.com - Official website

Year of birth missing (living people)
Living people
American film directors

redpajama_set_name: RedPajamaWikipedia


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Q: Docker swarm - selenium VNC port - how to make it distinct? I'm coming from VMs background and with each having a different IP there's no issue connecting to a specific node in a group on a VNC port.
With containers, looking at https://github.com/SeleniumHQ/docker-selenium/blob/master/README.md , "Version 3 with Swarm support"
I can see that I can publish a port for a service corresponding to a specific container image, but I think that'd be a single value for a number of replicas.
So, if I use, say, 20 containers and each container suffixed "debug" exposes VNC on port 5900, how can I access a specific container I want that I assume is identified within an output of a Jenkins job, which sends a selenium test script to one of the nodes on the grid?
I.e. if there's an issue with the test script and I see a container identifier, how can I access that specific container over VNC to see what's going on there?  Since there's a single host IP for multiple containers, they need to have different ports published externally vs 5900 to be distinguishable, but I don't see how this can be done in docker-compose/swarm.  Is this doable?
As an alternative, would that be any easier with Kubernetes rather than docker swarm? (I have not done much research on it yet)

redpajama_set_name: RedPajamaStackExchange


Screenr is a web-based tool that lets you create screencasts without installing any software. You just click the record button and your screen activity is recorded along with narration from your microphone.
Screenr makes it easy to share your screencast on Twitter, YouTube and now you can easily share them right on your JotForm forms! Just paste the Screenr screencast URL on the widget.


You are all welcome to join us on multicultural festival in period from 21st to 28th of April where you can connect with people of various cultures, learn about the history, origin, customs and current situation of minorities in Slovakia's society. Join different workshops, public discussions, enjoy various concerts, exhibitions and listen to life journeys of interesting people.
The Fjúžn Festival has been organized by the Milan Simecka Foundation since 2006. The main aim of the festival is to bring people the most diverse cultures, to raise awareness about the new minority in Slovakia, presenting the life of foreigners and inform the public on issues of migration and multiculturalism.
During one whole week the Fjúžn festival focuses on new minorities who live in Slovakia, where you can check out a number of colorful events – concerts, dance and theatre performances, film projections, debates, workshops or informal meetings with interesting people from around the world.
In the early years when the festival took place it was called Week of New Minorities. Initially it was a chamber music event, which grew each year until it became a small city festival, which is now one of our regular spring cultural events of our increasingly growing capital. In order to emphasize its main idea – to combine. People, ideas, projects.


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Q: Deployer Laravel failing on migration So I'm using deployer to deploy my Laravel application, and everything seems to work right up until migrations. It keeps attempting to use the default variables forge@localhost even though I've tried both copying a .env file into the folder and setting the environment variables globally. (I'm not sure which one of those is considered best practice so I would appreciate if someone could let me know).
But either way it still errors out because it's using the default for some reason.

Hopefully someone can help.


Mobile Spy supplies a special method to discover exactly how the phones are used. He will allow you to keep track of your teen wherever they are. He is easy to use. Auto Forward Spy has been in the marketplace for more than five years and has done a superb job in surpassing the competition.
SMS Commands (it is possible to control the phone remotely!) It amazes me how the majority of people don't utilize even the most fundamental strategies to safeguard their phones. Mobile phones in addition to messages have also come to be an integral component of the work place too, particularly for businesses who have employees working out in the area or who work at home.
Highster mobile is extremely strong and useful mobile phone monitoring app. Currently, it is one of only two products I am aware of that offers free telephone support. It is one of the most advanced and powerful spy software currently available on the market.
As soon as you are backed up, you're ready to reset the telephone. It tracks the phone employing the geo-location data found in text messages and sends the individual's location every quarter hour. If it's still true that you suspect your mobile phone is being monitored by spy software you have to remove it! Naturally, you can stick to the old ways of sneaking through his mobile phone and attempt to read all the messages stored in the mobile phone.
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RSPCA in protest over Five show
The RSPCA's press and PR efforts to rally public support around its battle to prompt action against the misuse of animals in Five show The Farm has seen complaints to regulator Ofcom rocket.
As PRWeek went to press, the media watchdog had received 137 complaints about the series and 34 specific complaints about an episode in which Rebecca Loos extracted semen from a pig.
RSPCA concerns drew wide support, including coverage in The Sun, an appearance by a representative on Channel 4's Richard and Judy and backing from the likes of Uri Geller.
The charity has ramped up its press and PR work to bolster its daily email complaints to producer Endemol and to urge people not to watch the show and complain to the programme's makers, the broadcaster and Ofcom.
The campaign follows RSPCA complaints about the treatment of animals in ITV's I'm a Celebrity, Get Me Out of Here! and comes ahead of a separate lobbying campaign around the proposed Animal Welfare Bill.
An RSPCA spokeswoman said: 'We hope that broadcasters will stop airing these reality TV shows that [go] too far. They enhance people's phobias of animals and we have had reports of people mimicking [The Farm] with things like tarantulas in pub contests. We are delighted that people have been so supportive.'

redpajama_set_name: RedPajamaCommonCrawl


A Spanish woman who threw her newborn baby out of a window has been sentenced to four years in jail after a court found her guilty of attempted murder.
The woman, who is now 37-years-old, had given birth to the girl in secret on Christmas Eve in 2013 in the bathroom of the apartment in eastern Madrid that she shared with her parents, three brothers and two other children.
She then cut the umbilical cord of her newborn girl, wrapped her in a pair of jeans and threw her out of a kitchen window into an interior patio from a height of 1.70 metres (5.7 feet).
The woman's mother found the baby girl, whose heart and breathing had stopped. The child, who was also suffering from hypothermia, was taken to hospital where she spent 74 days.
A Madrid court ruled on Wednesday.that the woman had intended to kill her newborn when she threw her out the window and found her guilty of attempted murder, sentencing her to four year in jail.
The court also ordered her to pay €63,074 ($69,053) in compensation to her daughter.
The girl, who suffers from poor muscle tone as a result of her fall, was given to a foster family and put up for adoption.


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Dominican Republic ratifies treaty to eliminate discrimination against disabled people	February 7, 2007
Posted by C.A.R.D in Argentina, Bolivia, Card, Chile, Citizens Against Racism and Discrimination, Colombia, Costa Rica, Discriminate, Discrimination, discrimination against disabled people, Discrimination against people with disabilities, Ecuador, El Salvador, Guatemala, Inter-American Convention on the Elimination of All For, Mexico, Nicaragua, Organization of American States, Panama, Paraguay, Peru, Uruguay.
In a ceremony held at the Organization of American States ( OAS ), the government of the Dominican Republic today formalized its ratification of the Inter-American Convention on the Elimination of All Forms of Discrimination Against Persons with Disabilities.
Santo Domingo.- The Ambassador of the Dominican Republic to the OAS, Roberto Alvarez, deposited the instruments of ratification and reiterated his country's commitment to strengthen and promote human rights and in particular to help integrate people with disabilities into society.
As we all know, the level of state commitment to the human rights of all of its citizens lies in the extent to which it provides help to the most vulnerable groups of society, and unfortunately the disabled have been one sector that traditionally has received little attention from our governments, Ambassador Alvarez said.
The diplomat noted that with this instrument, we hope that not only governments but also organizations throughout society become more aware and begin to join in the effort that belongs to everyone, because this is not only a task for governments, but one that must be carried out by society as a whole.
OAS Secretary General Jose Miguel Insulza announced that in accordance with the terms and commitments of the treaty, the states parties will hold the First Meeting of the Committee for the Elimination of All Forms of Discrimination against Persons with Disabilities, which will take place in Panama City from February 28 to March 1.
Noting that the Dominican Republic becomes the seventeenth OAS member state to ratify the instrument, Insulza called on the three countries that have signed but that have not ratified yet (Dominica, Haiti and Jamaica) to do so as soon as possible.
As we know, there are few conventions in our organization that have been signed and ratified by the 34 states, and I hope that this one will soon be one of them, because truthfully, this is a cause that should not only not divide us or give us problems; rather, it should unite us to work together for such a noble cause as this one, the Secretary General said.
The anti-discrimination treaty entered into force in September 2001 and to date has been ratified, in addition to the Dominican Republic, by the following countries: Argentina, Bolivia, Brazil, Chile, Colombia, Costa Rica, Ecuador, El Salvador, Guatemala, Mexico, Nicaragua, Panama, Paraguay, Peru, Uruguay and Venezuela. Besides seeking to prevent and eliminate discrimination against persons with disabilities, the treaty is also intended to facilitate their full incorporation into society through legislative, social, educational and labor-related measures.
CARD {Citizens Against Racism and Discrimination} Source: dominicantoday.com


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Pressuring Big Business to Start Rehiring
October 9th, 2009 by Phil Mattera
The conventional wisdom is that the emerging economic rebound will be a jobless recovery for a long time to come. Yet there is no consensus on why this is the case.
Congressional Republicans are all too willing to cite the purported shortcomings of the Democrats' stimulus program, but their ulterior political motives are transparent. Some claim that banks are keeping too tight a lid on business credit, while others suggest that newly frugal consumers are to blame for not spending more.
There is surprisingly little criticism being directed at those who are in the best position to do something about joblessness: employers, especially large ones. The assumption seems to be that corporations are helpless victims of economic turmoil and cannot be expected to start hiring again on their own initiative.
Now, it is being said, we need to give companies an extra incentive to replenish their payrolls. Congress and the Obama Administration are reported to be giving serious consideration to the creation of a new tax credit for job creation. This would be a boon for those who get hired, but it is more than a bit infuriating that we now need to subsidize employers to do what used to happen routinely when the business cycle began to turn around.
The coddling of the employer class is all the more questionable given that, in many cases, large-scale layoffs appear to be a matter of choice rather than necessity. Take the case of computer maker Dell, which just announced that it will obliterate more than 900 jobs as part of its decision to close an assembly plant in Winston-Salem, North Carolina that it opened in 2005 after pressuring state and local governments to cough up some $300 million in subsidies. Dell said the move was "part of an ongoing initiative to enhance the long-term value it delivers to customers by simplifying operations and improving efficiency." Translation: the company has been selling off its production facilities to cut costs and raise profits.
Or consider Simmons Bedding Company, which has laid off 1,000 workers and will probably shed more as it heads to bankruptcy court. Its problems are less the state of the economy than the effects of having been taken over by a series of private equity firms that have milked the operation dry.
Then there's the situation of the housekeepers at Boston-area Hyatt hotels who were forced out of their $15 an hour jobs so the company could replace them with $8 an hour temps. Before being told that they were being booted out, the housekeepers were asked to train the temps, whom they were told would be filling in during vacations. The layoffs have prompted protests in Boston and around the country (photo).
In Fremont, California, nearly 5,000 workers at the New United Motor Manufacturing plant are losing their jobs because Toyota decided to get rid of its only unionized U.S. operation after the new federally subsidized General Motors exited what had been a 25-year joint venture between the two companies.
Last month, drugmaker Eli Lilly said it would eliminate 5,000 jobs as part of a restructuring designed to "speed medicines from its pipeline to patients."
These recent examples are part of a trend that began well before the current crisis. For the past decade, U.S. private sector employment levels have been stagnant as corporations engaged in an orgy of offshore outsourcing, union-busting, downsizing and compelling the workers who remained to produce more than ever before.
This is not to say that all job losses can be blamed on restructuring and corporate greed, but neither is it accurate to attribute them all to forces beyond the control of employers. Instead of focusing exclusively on bribing corporations to hire people, it would be good to hear some criticism of big business for failing to do enough to help the country recover from the unemployment crisis—and for causing much of that crisis through its short-sighted and self-interested practices.
For years, large corporations announced layoffs as a way of currying favor with Wall Street. It would be refreshing to have them now feel pressure to announce new hiring to appease the rest of us.
This entry was posted on Friday, October 9th, 2009 at 12:28 am	and is filed under Corporate Profits, Employment, Layoffs, Private Equity, Restructuring. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.
2 Responses to "Pressuring Big Business to Start Rehiring"
Thurman James says:
Poor Michael Dell, after bilking the good people of my state and hometown out of $300 million, he's going to have to cough up a big portion of that cash to make amends for not upholding his end of the agreement. It will be interesting to watch him try to worm his way out of the repayment. Maybe when Mikey was in college he should have spent a bit more time taking a few ethics classes and less time in his dorm room building computers.
Not to mention the genius it took to sink all that money into a plant for building desktops when any village idiot could have seen the end was in sight for desktop computers as laptops and even smaller devices gained ascendancy in the market. That whole endeavour seemed suspect from the beginning.
Phil Mattera says:
Fortunately, North Carolina did not pay out the whole $300 million up front. Unfortunately, state and local officials may not be able to recoup all of what was spent to lure the ill-fated plant: http://www.forbes.com/feeds/ap/2009/10/09/business-technology-hardware-amp-equipment-nc-dell-plant-closure_6987096.html


A Sioux City woman survived after being hit in the head by a shot fired through the wall of her apartment this weekend. Officers learned that 43-year-old Phuoc H. Nguyen had fired a rifle through the walls of the residence. One of the bullets struck 54-year-old Hang Duong in the head. She was treated and released at a local hospital. A search warrant was served and the firearm that was believed to have fired the shot was seized.
Nguyen was arrested for reckless use of a firearm, discharging a firearm within the city limits and assault while participating in a felony.


"Leap and the Loom Will Appear" is an upcoming exhibition by 82-year-old, world-renowned Canadian Fibre Artist Sola Fiedler, known for her intricately woven tributes to cities that have hosted Olympic Games. Each hyper-realistic tapestry took the artist as much as five years to complete. Self-taught, Sola's method is as impressive as the final piece: Using yarn from recycled sweaters, she meticulously weaves large-scale cityscapes in pinpoint detail, from the number of floors in a building to the colour of the trees and water. Her work captures the architectural elements and spirit of each city at that moment in time.
For the first time, Sola's massive Las Vegas (11' x 7.5', 2009) and Salt Lake City tapestries (10' x 7', 2002) will be exhibited side by side. The Vancouver tapestry (11.6' x 5.3', 2014), graciously loaned by the Canuck Place Children's Hospice; the iconic Canada 150 flag (8' x 4', 2018), and a new Granville Island Tapestry (8' x 4', 2018) will also be presented with a retrospective of Sola's vintage works, totalling 17 pieces.
Sola Fiedler, simply known as Sola, is a senior Canadian fiber artist, best known for her large-scale tapestry tributes to the cities that have hosted the Olympic Games. Her work captures the architectural and spiritual elements of each city, at that moment in time. Since winning a prize in 1973 for Best Fiber Art in Vancouver, B.C., Sola's work is collected by a wide range of renowned institutions and individuals such as the Key West Museum, the ResMed Corporation of San Diego, Canuck Place, the Sarah Mclachlan School of Music, and Jim Pattison. Born in 1936, Sola grew up in London during and after World War II, when reuse and recycling played a fundamental role in daily life. Her tapestries transform the idea of thrift and make it glamorous. Using yarn procured from thrift stores and estate sales, Sola creates inviting, colourful landscapes full of rich detail and a warmth that comes from its materials. Her work has widespread appeal and is more relevant than ever today when young artisans worldwide are claiming craft traditions like weaving as their own. Sola Fiedler currently lives in Vancouver, B.C. For more information, visit www.solafiedler.com.
The Textile Society of America (TSA) is a United States 501(c)3 non-profit that provides an international forum for the exchange and dissemination of textile knowledge from artistic, cultural, economic, historic, political, social, and technical perspectives. Established in 1987, TSA is governed by a Board of Directors made up of scholars and professionals, including museum staff and university faculty located in North America. Their 800 members worldwide include curators and conservators, scholars and educators, artists, designers, makers, collectors, and others interested in textiles. The 2018 Textile Society of America Symposium will take place in Vancouver, B.C., Canada, at the Sheraton Wall Centre from September 19 to 23, 2018. For more information, visit www.textilesocietyofamerica.org.
CEO, Conscious Public Relations Inc.


John II Komnenos or Comnenus (Greek: Ίωάννης Βʹ Κομνηνός, Iōannēs II Komnēnos; September 13, 1087 – 8 April 1143) was Byzantine Emperor from 1118 to 1143. Also known as "John the Beautiful" or "John the Good" (Kaloïōannēs), he was the eldest son of Emperor Alexios I Komnenos and Irene Doukaina and the second emperor to rule during the Komnenian restoration of the Byzantine Empire. John was a pious and dedicated monarch who was determined to undo the damage his empire had suffered following the battle of Manzikert, half a century earlier.
The Latin historian William of Tyre described John as short and unusually ugly, with eyes, hair and complexion so dark he was known as 'the Moor'. Yet despite his physical appearance, John was known as Kaloïōannēs, "John the Good" or "John the Beautiful". The epithet referred not to his body but to his character. Both his parents had been unusually pious and John surpassed them. Members of his court were expected to restrict their conversation to serious subjects only. The food served at the emperor's table was very frugal and John lectured courtiers who lived in excessive luxury. His speech was dignified, but he engaged in repartee on occasion and his seriousness did not exclude a sense of humour. As a father he was affectionate, though he demanded high standards from his children, and he was a faithful husband to his wife. Despite his personal austerity, John had a high conception of the imperial role and would appear in full ceremonial splendour when this was advantageous. He was highly respected and honoured by his subjects.
John was famed for his piety and his remarkably mild and just reign. He is an exceptional example of a moral ruler, at a time when cruelty was the norm. He is reputed never to have condemned anyone to death or mutilation. Charity was dispensed lavishly. For this reason, he has been called the Byzantine Marcus Aurelius. By the example of his personal purity and piety he effected a notable improvement in the manners of his age. Descriptions of him and his actions indicate that he had great self-control and personal courage, was an excellent strategist and an expert imperator in the field, and through his many campaigns he devoted himself to the preservation of his empire.
John II succeeded his father as ruling basileus in 1118, but had already been proclaimed co-emperor by Alexios I on September 1, 1092. Niketas Choniates alone tells of the actions by which John II secured his own accession to power. Alexios I had favoured John to succeed him over his wife Irene's favourite, the Caesar Nikephoros Bryennios, who was married to their daughter Anna Komnena. Alexios resorted to dissimulation in order to avert Irene's criticism of his choice and her demands that Nikephoros should succeed. As Alexios lay on his deathbed in the monastery of the Mangana on 15 August 1118, John, consorting with relatives whom he could trust, among whom was his brother, the sebastokratōr Isaac Komnenos, stole into the monastery and took the imperial signet ring from his dying father. Then, taking up arms, he rode to the Great Palace, gathering the support of the citizenry who acclaimed him emperor. Irene was taken by surprise and was unable either to persuade her son to desist, or to induce Nikephoros to act against him. Although the palace guard at first refused to admit John without proof of his father's wishes, the mob surrounding the new emperor simply forced entry.
Alexios died the following night. John refused to join the funeral procession, in spite of his mother's urging, because his hold on power was so tenuous. However, in the space of a few days, his position seemed secure. Within a year of his accession, however, John II uncovered a conspiracy to overthrow him which implicated his mother and sister. Anna's husband Nikephoros had little sympathy with her ambitions, and it was his lack of support which doomed the conspiracy. Anna was stripped of her property, which was offered to the emperor's friend John Axouch. Axouch wisely declined and his influence ensured that Anna's property was eventually returned to her and that John II and his sister became reconciled, at least to a degree. Irene retired to a monastery and Anna seems to have been effectively removed from public life, taking up the less active occupation of historian. However, Nikephoros remained on good terms with his brother-in-law. To safeguard his own succession, John crowned his young son Alexios co-emperor in 1122.
The family intrigues that challenged his succession to the throne probably contributed to John's approach to rulership, which was to appoint men from outside the imperial family to help him govern the empire. This was a radical departure from the methods of his father, who had used the imperial family and its many connections to fill almost all senior administrative and military posts.
The emperor had complete confidence in his appointees, many of whom had been chosen on merit rather than their connection to the imperial family and related aristocratic clans. John's unwillingness to allow his family to influence his government to any great extent was to remain constant for the rest of his reign. John appointed a number of his father's personal retainers to high office, men such as Eustathios Kamytzes, Michaelitzes Styppeiotes and George Dekanos. These were men who had been politically eclipsed during the ascendancy exercised by John's mother in the later years of the reign of Alexios I. A number of 'new men' were raised to prominence by John II, these included Gregory Taronites, Manuel Anemas and Theodore Vatatzes, the latter two also became his sons-in-law.
After his accession, John II had refused to confirm his father's 1082 treaty with the Republic of Venice, which had given the Italian republic unique and generous trading rights within the Byzantine Empire. Yet the change in policy was not motivated by financial concerns. An incident involving the abuse of a member of the imperial family by Venetians led to a dangerous conflict, especially as Byzantium had depended on Venice for its naval strength. After a Byzantine retaliatory attack on Kerkyra, John exiled the Venetian merchants from Constantinople. But this produced further retaliation, and a Venetian fleet of 72 ships plundered Rhodes, Chios, Samos, Lesbos, Andros and captured Kefalonia in the Ionian Sea. Eventually John was forced to come to terms; the war was costing him more than it was worth, and he was not prepared to transfer funds from the imperial land forces to the navy for the construction of new ships. John re-confirmed the treaty of 1082. Nevertheless, this embarrassment was not entirely forgotten, and it seems likely that it played a part in inspiring John's successor (Manuel I Komnenos) to re-establish a powerful Byzantine fleet some years later.
John's marriage to the Hungarian princess Piroska involved him in the dynastic struggles of the Kingdom of Hungary. In giving asylum to Álmos, a blinded claimant to the Hungarian throne, John aroused the suspicion of the Hungarians. The Hungarians, led by Stephen II, then invaded Byzantium's Balkan provinces in 1127, with hostilities lasting until 1129; however, an alternative chronology has been suggested with the Hungarian attack and Byzantine retaliation taking place in 1125 with a renewal of hostilities in 1126. John launched a punitive raid against the Serbs, who had dangerously aligned themselves with Hungary, many of whom were rounded up and transported to Nicomedia in Asia Minor to serve as military colonists. This was done partly to cow the Serbs into submission (Serbia was, at least nominally, a Byzantine protectorate), and partly to strengthen the Byzantine frontier in the east against the Turks. The Serbs were forced to acknowledge Byzantine suzerainty once again. The Serbian campaign may have taken place between two distinct phases in the war against Hungary. The Hungarians attacked Belgrade, Nish and Sofia; John, who was near Philippopolis in Thrace, counterattacked, supported by a naval flotilla operating on the Danube. After a challenging campaign, the details of which are obscure, the emperor managed to defeat the Hungarians and their Serbian allies at the fortress of Haram or Chramon, which is the modern Nova Palanka; many Hungarian troops were killed when a bridge they were crossing collapsed as they were fleeing from a Byzantine attack. Following this the Hungarians renewed hostilities by attacking Braničevo, which was immediately rebuilt by John. Further Byzantine military successes, Choniates mentions several engagements, resulted in a restoration of peace. The Byzantines were confirmed in their control of Braničevo, Belgrade and Zemun and they also recovered the region of Sirmium (called Frangochorion in Choniates), which had been Hungarian since the 1060s. The Hungarian pretender Álmos died in 1129, removing the major source of friction.
Early in John's reign the Turks were pressing forward against the Byzantine frontier in western Asia Minor, and he was determined to drive them back. In 1119, the Seljuqs had cut the land route to the city of Attaleia on the southern coast of Anatolia. John II and Axouch the Grand Domestic recaptured Laodicea and Sozopolis, re-opening land communication with Attaleia. This route was especially important as it also led to Cilicia and the Crusader states of Syria.
Following the end of hostilities with Hungary, John was able to concentrate on Asia Minor during most of his remaining years. He undertook a campaign against the Danishmendid emirate in Malatya on the upper Euphrates from 1130 to 1135. Thanks to his energetic campaigning, Turkish attempts at expansion in Asia Minor were halted, and John prepared to take the fight to the enemy. In order to restore the region to Byzantine control, he led a series of well planned and executed campaigns against the Turks, one of which resulted in the reconquest of the ancestral home of the Komnenoi at Kastamonu (Kastra Komnenon); he then left a garrison of 2,000 men at Gangra. John quickly earned a formidable reputation as a wall-breaker, taking one stronghold after another from his enemies. Regions that had been lost to the empire since the Battle of Manzikert were recovered and garrisoned. Yet resistance, particularly from the Danishmends of the northeast, was strong, and the difficult nature of holding the new conquests is illustrated by the fact that Kastamonu was recaptured by the Turks even as John was in Constantinople celebrating its return to Byzantine rule. John persevered, however, and Kastamonu soon changed hands once more.
In the Levant, the emperor sought to re-inforce Byzantine claims to suzerainty over the Crusader States and to assert his rights over Antioch. In 1137 he conquered Tarsus, Adana, and Mopsuestia from the Principality of Armenian Cilicia, and in 1138 Prince Levon I of Armenia and most of his family were brought as captives to Constantinople. This opened the route to the Principality of Antioch, where Raymond of Poitiers, Prince of Antioch, and Joscelin II, Count of Edessa, recognized themselves as vassals of the emperor in 1137. Even Raymond II, the Count of Tripoli, hastened northwards to pay homage to John, repeating the homage that his predecessor had given John's father in 1109. There then followed a joint campaign as John led the armies of Byzantium, Antioch, and Edessa against Muslim Syria. Aleppo proved too strong to attack, but the fortresses of Balat, Biza'a, Athereb, Maarat al-Numan, and Kafartab were taken by assault.
Although John fought hard for the Christian cause in the campaign in Syria, his allies Prince Raymond of Antioch and Count Joscelin II of Edessa sat around playing dice instead of helping John to press the Siege of Shaizar. The Crusader Princes were suspicious of each other and of John, and neither wanted the other to gain from participating in the campaign. Raymond also wanted to hold on to Antioch, which he had agreed to hand over to John if the campaign was successful in capturing Aleppo, Shaizar, Homs, and Hama. Latin and Muslim sources describe John's energy and personal courage in prosecuting the siege. The city was taken, but the citadel defied assault. The Emir of Shaizar offered to pay a large indemnity, become John's vassal, and pay yearly tribute. John had lost all confidence in his allies, and a Muslim army under Zengi was approaching to try to relieve the city, therefore the emperor reluctantly accepted the offer. The emperor was distracted by a Seljuq raid on Cilicia and developments in the west, where he was pursuing a German alliance directed against the threat posed by the Normans of Sicily. Joscelin and Raymond conspired to delay the promised handover of Antioch's citadel to the emperor, stirring up popular unrest in the city directed at John and the local Greek community. John had little choice but to leave Syria with his ambitions only partially realised.
Having prepared his army for a renewed attack on Antioch, John amused himself by hunting wild boar on Mount Taurus in Cilicia, where, on April 8, 1143, he accidentally cut himself on the hand with a poisoned arrow. John initially ignored the wound and it became infected. He died a number of days after the accident, probably of septicaemia. It has been suggested that John was assassinated by a conspiracy within the units of his army of Latin origins who were unhappy at fighting their co-religionists of Antioch, and who wanted to place his pro-western son Manuel on the throne. However, there is very little overt support for this hypothesis in the primary sources. John's final action as emperor was to choose Manuel, the younger of his surviving sons, to be his successor. John is recorded as citing two main reasons for choosing Manuel over his older brother Isaac: Isaac's irascibility, and the courage that Manuel had shown on campaign at Neocaesareia. Another theory alleges that the reason for this choice was the AIMA prophecy, which foretold that John's successor should be one whose name began with an "M". Fittingly, John's close friend John Axouch, although he is recorded as having tried hard to persuade the dying emperor that Isaac was the better candidate to succeed, was instrumental in ensuring that Manuel's assumption of power was free from any overt opposition.
The Byzantine empire under John II Komnenos, c. 1143.
16. Isaac, strategos of Thrace?
Kinnamos, John (John Cinnamus), Deeds of John and Manuel Comnenus, trans. Charles M. Brand. Columbia University Press, 1976.
Magdalino, Paul The Empire of Manuel I Komnenos 1143–1180, Cambridge University Press, 1993.
↑ John II, The World-wide Encyclopedia and Gazetteer, Vol. V, Ed. William Harrison De Puy, (The Christian Herald, 1908), 3654.
↑ Note:The primary sources, Kinnamos and Choniates, give little detail about this campaign, no dates are specified, and what they do say differs considerably. The chronology presented here, 1127-1129, follows that of Angold and other scholars, Fine has the events taking place earlier, in 1125-1126.
↑ Holt, Lambton & Lewis 1995, p. 240.
↑ Two rather ambiguous Byzantine rhetorical allusions were the basis of this theory – all contemporary historical writing unanimously agrees on an accidental cause for the death of John II.


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Penticton Vees
Living 55 Plus
Rotary in the Community
AEDs save another life in Penticton
A successful campaign to add more AEDs to the community is paying dividends
Dan Walton
The need for accessible automatic external defibrillators (AEDs) has been acknowledged in Penticton, and a successful campaign to add more to the community is paying dividends.
An AED on standby at the Penticton Community Centre had to be put to use by two staffers on April 16 after pickleball player Gary Gierlich collapsed on the court and was not breathe properly.
Lisa O'Daly and Graeme Naish, both recreation department employees, responded by initiating the AED and CPR.
"The AED indicated a shock was required, so Lisa delivered it," said recreation manager Lori Mullin in a briefing note to council. "There was no response from Gary so Graeme continued CPR. After another 30 compressions and one breath, Gary started breathing and regained consciousness."
Gierlich was then taken by ambulance to the hospital for treatment.
"The rescue was flawlessly executed and, without a doubt, saved Gary's life."
"The motions you got through (during the rescue) are the same as the training but the actual feeling was totally different," Naish said. He said a strong feeling of relief was experienced once he notice Gierlich to be breathing on his own again, and credits O'Daly for initiating the procedure.
"By the time I got there I was just able to get in and go to work, she had everything basically ready to go."
Naish's role at the community centre requires him to undergo safety courses to do with CPR, AEDs and lifeguarding, which last about four hours and are held every three months.
The efforts were recognized before council on June 1 during a recognition of excellence presentation.
"I feel like Penticton's lottery winner," Gierlich told council, adding that he was inspired by the entire procedure, even including the follow through in ensuring his recovery.
In addition to the council meeting, O'Daly and Naish were recognized alongside their workplace by the Lifesaving Society on May 22. The following day, Gierlich was in good enough shape to visit his saviours.
"There were a few tears from everyone … his gratitude is really beyond words. He is expected to make a full recovery and plans to be back at pickleball as soon as the doctor says it is okay."
A similar rescue took place in 2012 during a baseball game at Lion's Park, where Grant Gichard, who was in good health, collapsed on the field as a result of a cardiac arrest. Fortunately, firefighters were playing in the same match. They had an AED on hand and knew how to treat Gichard.
According to the heart and Stroke Foundation, the use of an AED combined with CPR increases the chances of survival by at least 75 per cent.
"There was such a disparity that it became a public health issue," Gichard said. "(The province) started to mandate the installation of these devices because there's such a clear-cut advantage."
"We are hoping to place over 700 AEDs by early 2017 and are actively seeking venues," Heart and Stroke Foundation spokesperson Shelley Parker said in an email. "Anyone interested in having an AED at their publicly accessible facility can complete an application form also found on bcpadprogram.ca."
A province-wide registry of AED locations launched last fall, so that when a respiratory emergency is phoned in the dispatcher can tell the caller where the nearest AED is, in case it can be accessed before the ambulance arrives. It is also free for public use at bcpadprogram.ca.
Valedictorians say bye to Pen High
UPDATED: Interim CAO steps down
Harlem Globetrotters' Hops Pearce is pumped to bring show to Penticton
Less than two weeks to get your tickets to see Globetrotters' high-flying stunts
Okanagan health care community mourns loss of long-time hospital director
Ken Jarrard dedicated his life in Penticton to health care; he passed away today at age 92.
UPDATE: One deceased after serious collision on Hwy 97 near Summerland
Southbound vehicle lost control, entered northbound lanes, hit by a transport truck.
Four arrested, weapons, suspected drugs seized by RCMP in Penticton
Penticton RCMP take down local drug trafficking operation
Waste removal in Penticton may be missed or delayed due to snow
The City of Penticton says they may not be able to collect all waste due to the snow.
Explore Penticton Western News
Penticton Classifieds
© 2020, Penticton Western News and Black Press Group Ltd.


text:
Which 16-Year-Old Fictional Character You Are, Based on Your Zodiac Sign
Are you a Lara Jean Covey or Katniss Everdeen?
By Six
Netflix and Everett Collections
A sweet 16 is your coming-of-age party. At this point, you may not have the full freedom of being an adult, but you're starting to figure out the person you want to become. With the Sun in Gemini right now, you're probably feeling excited, but maybe a little anxious too about this life change. The new moon in Gemini has encouraged us to have conversations about "what's next" or "what's going to happen?" While you may not be able to read the future, what you can do is gain a deeper understanding of yourself. What better way to do that than through movies and TV shows?
In honor of getting closer to adulthood, we compiled a list of what iconic 16-year-old character each sign represents. Are you more of a Katniss Everdeen or a Lara Jean Covey? Read on to find out.
Six is a sex and love astrologer, writer, social worker (MSW), and the creator of BlackWomenCry.
©Netflix/Courtesy Everett Collection / Everett Collection
Aries: CJ Walker, See You Yesterday
Even though Aries is the "baby" of the Zodiac, you'll still find that these firecrackers pride themselves on their independence and strong personalities. Like an Aries, CJ is a go-getter who isn't afraid to stand up for herself, especially if it's something she's passionate about. A naturally born leader, she doesn't hesitate to take action and makes bold decisions. Whether arguing her grades or spontaneously traveling back in time, CJ Walker is willing to live in the moment.
©Lions Gate/Courtesy Everett Collection
Taurus: Katniss Evergreen, The Hunger Games
Famous for the line "I volunteer as tribute," Katniss seems like a Leo because of her bravery, but her motivation for stepping up came from her desire to protect her younger sister. Taurus is ruled by Venus, the planet of love and beauty, and you'd be surprised how devoted a Taurus can be when they feel responsible for you. Taurus is a strong and practical sign, and through Katniss's love for her family we see how brave Taurus signs can be.
ERIKA DOSS
Gemini: Starr Carter, The Hate U Give
Quick-witted and expressive, Geminis are balls of energy that value communication and intellectual thought. They are characterized as needing to be on the move, so it's not difficult to imagine the outspoken and athletic Starr Carter as a Gemini. Starr has no issues adapting to and switching between two opposing worlds, and she doesn't lose herself in the process. She does have a fun and gentle side, but when called to action, she has no problem revealing a more serious and powerful version of herself.
Sam Taylor/Netflix
Cancer: Otis Milburn, Sex Education
Cancer can be one of the more difficult signs to be, especially if you don't live in a society that embraces people being their most authentic selves. Cancers are loyal, highly imaginative, empathetic, and intuitive — just like Otis Milburn. Otis used his experience to be of service to others, which is why, when his friend Maeve said she needed help, he stepped right up. Otis uses his ability to sympathize with others to do double-duty as a student and a sex therapist, and helps a friend in need.
Courtesy Everett Collection
Leo: Moana Waialiki, Moana
You'll know when you meet a Leo. Trust me, they'll tell you who they are. Leos are super proud and they love being admired, but they are also very warm-hearted and will go out of their way to defend who and what they believe in. Moana is described by her Gramma Tala as someone who "stands out from the crowd." She's more humble than her friend Maui, but you can still see her Leo traits shine when she bravely leaves her family to save her village.
Virgo: Hermione Granger, Harry Potter
A typical Virgo is loyal, analytical, hardworking, and practical. They prefer to work behind the scenes, and would rather be praised for the quality of their work than their social presence. Virgo is the sign most likely to pick up on the smallest details, making Hermione Granger's line, "It's leviOsa, not levioSA" an obvious giveaway. Like a Virgo, Hermione presents as a serious and put-together character, but even she has moments of being too hard on herself.
Libra: Cady Heron, Mean Girls
Without really realizing it, most Libras feel a deep desire for everyone to get along. They value balance and cooperation, so much so that they'll work extra hard to support others at the expense of themselves. Partnership and sharing are very important to this sign, which is why Cady Heron is a classic Libra. Mean Girls starts off with Cady getting heartbroken over her childhood love, and then transitions into Cady falling for Regina George's boyfriend, Aaron. Throughout the movie, Cady works her hardest to be diplomatic, and in the end takes accountability for her actions to restore social peace.
Diyah Pera/Netflix
Scorpio: Sabrina Spellman, The Chilling Adventures of Sabrina
They aren't exactly recognized for their sensitivity, but Scorpios are extremely emotional in nature, which is why they're so suspicious and protective. They are a water sign after all, and they hold great potential for being perceptive and intuitive individuals. Being a Scorpio, Sabrina Spellman values long term and tight-knit friendships and is protective of her loved ones. While she's still developing her Scorpio powers of perception and understanding, you'll notice she's learning to better understand herself through understanding others.
MARVEL/EVERETT COLLECTION
Sagittarius: Shuri, Black Panther
If you remember nothing about Sagittarius, remember that they are all convinced that they are the funniest sign out of the entire Zodiac. Sagittariuses are optimistic, freedom loving, and always cracking jokes. That's why Shuri is a perfect example of this sign. She's extremely intelligent and doesn't hesitate to speak her mind. Ruled by Jupiter, Sagittarius energy needs to have the ability to expand and grow, which is why you'll never catch Shuri having a closed mind.
ABC via Getty Images
Capricorn: Mulan, Once Upon a Time
Out of all the signs, Capricorn has the whole "adulting" thing down. They are responsible, hardworking, and prefer to maintain tradition. As controversial as this argument is, Mulan is an great example of a Capricorn. She did defy the rules by pretending to be a man and joining the army, but she did it to maintain her father's honor and protect her family. Mulan showcases a high level of discipline and duty.
©Walt Disney Co./Courtesy Everett Collection
Aquarius: Ariel, The Little Mermaid
It's not lost on me that labeling a mermaid an Aquarius is a stereotypical thing to do, but hear me out: Aquarius has to step outside of the box; they can't deal with being restrained by people, things, or expectations. This sign demands autonomy and originality, which is exactly why they get uncomfortable when you tell them what to do. A little known fact about Aquarius is they love being in love. That's why Ariel's decision to disobey her father, trust an evil sea witch, and leave everything she knows for a boy was an extremely Aquarian thing to do. When an Aquarius is in love you'll know it, because they'll be willing to sacrifice being heard for you.
PHOTO: COURTESY OF NETFLIX
Pisces: Lara Jean Covey, To All the Boys I've Loved Before
The last sign of the Zodiac is Pisces, and they are known for compassion, wisdom, and having a dreamy-disposition. Pisces love to lose themselves in creative pursuits; writing, vision-boarding, music, and even astrology. So it's no surprise that the quirky, scrapbooking, fashionista Lara Jean is a Pisces! She's one of the most compassionate characters in the movie, which we see by her encouraging her father to remarry, even though she still misses her mother. Plus, what could be more Pisces than to write a series of love letters to all your crushes, and never mail them?
KeywordsmoviesTVzodiacastrology


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AutoVIBES: Gas Price Concerns Reach All-Time High
Recent Gas Price Spike Significantly Impacts Vehicle Segment Consideration
Due to increasing gas prices, more than 60 percent of new-vehicle shoppers (62 percent) are at least strongly considering the purchase of a vehicle they normally would not have considered, and half of those (30 percent) say they already have changed their minds about what vehicle they are going to buy. According to preliminary data from the April 2006 AutoVIBES, a monthly automotive study from Harris Interactive® and Kelley Blue Book Marketing Research tracking consumer automotive buying intentions, consumers' level of concern has reached an all- time record high since tracking the effect of gas prices on vehicle choice began two years ago.
Prior to the new April 2006 record, the highest level of concern for this topic was 59 percent in August 2005, when the national gasoline price average was approximately $2.61. This week the national gas price average reached above $2.90 (according to AAA), and many reports indicate that gas prices will continue to climb in the coming months. This news has the potential to affect consumers' vehicle purchase decisions greatly, with profound differences emerging in segment consideration.
In the preliminary April 2006 AutoVIBES data, many segments saw either all-time highs or lows in consideration levels. Consideration for compact sedans is at an all-time high at 19 percent, up four points from the previous month. Hybrid vehicle consideration also reached an all-time high in April at 14 percent, which is more than double the percentage of consumers that were considering hybrids last month. (Six percent considered hybrids in March 2006). In contrast, consideration for mid-size SUVs is at an all-time low at 19 percent, and full-size pickup consideration also is down considerably at 11 percent, a 5-point drop from the previous month.
"The new data from the latest AutoVIBES study provides insight into consumers' future buying intentions," said Rick Wainschel, vice president of marketing research and brand communications for Kelley Blue Book. "Extreme shifts in segment consideration levels reveal just how profound the impact of recent increases in gas prices is on consumers and their vehicle purchase behaviors. This information will be an important bellwether of the long-term effect of this issue on new-vehicle shoppers."
These preliminary April 2006 AutoVIBES data also show an increase in awareness of alternative fuel vehicles. Sixty-six percent of consumers are aware of E85 (a mixture of 85 percent ethanol and 15 percent gasoline), and 59 percent are aware of flex-fuel vehicles (those that can run on either regular gasoline or E85). The April awareness levels for both E85 and flex-fuel vehicles jumped a significant number of points over the previous month (E85 and flex-fuel awareness levels were at 60 percent and 55 percent in March 2006, respectively).
"With gas prices on the rise and continuing to climb, consumers are more aware of and interested in highly fuel-efficient cars now than they have been in the last 25 years," said Jack R. Nerad, executive editorial director and executive market analyst for Kelley Blue Book and kbb.com. "We expect to see increased consumer interest for some of the recently-introduced fuel-efficient sub-compact vehicles such as the Toyota Yaris, Nissan Versa and Honda Fit, in addition to hybrid, flex-fuel and compact models."
AutoVIBES is a monthly omnibus survey of approximately 1,500 U.S. adults ages 18 and over who plan to purchase or lease a new vehicle within the next 12 months. This survey was conducted on Kelley Blue Book's Web site (www.kbb.com), the most visited Web site among in-market vehicle buyers. The study is designed and analyzed jointly by Harris Interactive and Kelley Blue Book Marketing Research. The preliminary data reported for this wave are not weighted, and therefore comparisons to previous waves should be viewed directionally.
For more information about this study, please contact Kelley Blue Book Marketing Research at 949-268-3074 or Harris Interactive at 877-919-4765.
About Harris Interactive®
Harris Interactive Inc. (www.harrisinteractive.com), based in Rochester, New York, is the 13th largest and the fastest-growing market research firm in the world, most widely known for The Harris Poll® and for its pioneering leadership in the online market research industry. Long recognized by its clients for delivering insights that enable confident business decisions, the Company blends the science of innovative research with the art of strategic consulting to deliver knowledge that leads to measurable and enduring value.
Harris Interactive serves clients worldwide through its United States, Europe (www.harrisinteractive.com/europe) and Asia offices, its wholly-owned subsidiary Novatris in Paris, France (www.novatris.com), and through an independent global network of affiliate market research companies. EOE M/F/D/V
To become a member of the Harris Poll Online(SM) and be invited to participate in future online surveys, go to www.harrispollonline.com.
Kelley Blue Book's kbb.com is America's most used and trusted vehicle pricing, values and information resource. The top-rated Web site provides the most up-to-date pricing and values for thousands of new and used vehicles, including the Blue Book® New Car Value, which reveals what people actually are paying for new cars. Since 1926, car buyers and sellers have relied upon Kelley Blue Book for authoritative and unbiased information to make well-informed automotive decisions. The company also reports vehicle prices and values via products and services, including the famous Blue Book® Official Guide and software products. Kbb.com also has been named the No. 1 automotive information site by Nielsen//NetRatings and J.D. Power and Associates seven years in a row. No other medium reaches more in-market vehicle shoppers than kbb.com; one in every three American car buyers complete their research on kbb.com.
McNally, +1-949-268-3079, jmcnally@kbb.com, both of Kelley Blue Book; or Jen
Cummings of Harris Interactive, +1-585-214-7720
Web site: http://www.harrisinteractive.com/


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Common Cents provides the best products and services in all of their stores - but what about providing the things that are important to a community? Over the years, Common Cents has donated merchandise and services to the organizations that make a difference in YOUR community. Organizations like Big Brothers Big Sisters of the Black Hills, the Shriners, youth tennis, American Legion Baseball and the United Way.
Organizations like these not only strengthen the lives of the youth they come in contact with, they also bring families together and solidify the community. It's a special moment in a child's life when they're able to accomplish things, meet new friends, or just talk to someone that they normally wouldn't - organizations like these make small miracles happen every day with help from Common Cents and you.
If you'd like to join Common Cents in strengthening our children's lives and our community, call any of the above mentioned organizations to find out more information on how you can help.
Click on a link below for info and details on our Common Cents Stores events.


text:
Ageless Beauty Elizabeth Hurley Shows Off Her Thighs In New Instagram Photograph
IAN JACOBS GETTY IMAGES
Sarah Batool Haider
British actress Elizabeth Hurley is well-known across the globe for her age-defying looks and she keeps reminding her fans that age is just a number by posting her sexy photographs on Instagram almost every week.
The 53-year-old beauty recently posted a photograph wherein she is featured wearing a red, shirt dress which allowed her to flaunt her slim physique. As the thin material of her dress made it clear, Lizzy wore no bra underneath it and she tugged at the hem of her dress to provide a generous view of her thighs which left her fans and followers hot under the collar. She wore almost no makeup and let her blonde tresses down to pull off a very sexy look.
Within a few minutes of going live, the picture already racked up more than 7,000 likes and close to 200 comments wherein fans and followers of the actress showered her with various compliments and praised her for maintaining her youthful appearance.
"Omg, you are truly a gift from God," one of her fans commented on the picture, while another one wrote that Liz is the "hottest woman alive." While another devout fan wrote that he has always been a big fan of her work and that she's absolutely stunning.
On beautiful @tagomagoisland ❤ #ChineseRedShirt @elizabethhurleybeach
A post shared by Elizabeth Hurley (@elizabethhurley1) on Jan 20, 2019 at 4:57pm PST
Prior to posting the current photograph, Lizzy followed the ongoing social media trend and participated in the famous 10-year challenge wherein people have to post a picture collage of themselves featuring a current and a 10-year-old picture to demonstrate how much they have aged over the years. The picture garnered 62,000 likes and close to 16,00 comments and as expected, Lizzy's picture proved that her beauty is, indeed, timeless.
As a matter of fact, many fans couldn't even tell the difference between her new and the old photograph because she looked almost the same in both of them. One of her fans opined that Lizzy looks 10 years younger and more vibrant, while another one agreed and added that Lizzy has "aged like fine wine" which has made her better and better with time.
#10yearchallenge ❤
According to an article by Today, Lizzy said that she uses one serum all the time to keep her skin looking fresh and healthy and added the following.
"You need to look after your skin. You need to look after your health. If you want to glow from the inside, you have to be healthy. You have to watch your diet. You have to watch your lifestyle. You have to get enough sleep."


In the second round of the US championship Timur Gareyev met Wesley So, the 2017 winner and one of the favorites, and "surprised" chess fans by playing a completely "normal" opening: the Bogo-Indian defense.
The former US Champion failed to achieve a significant advantage in either the opening or middlegame against the unpredictable Uzbek.
When a perfectly balanced endgame with a rook and a knight against rook and knight arose, you'd be forgiven for expecting an imminent handshake. But you'd be wrong!
We're not heading for a draw? Nope! In fact, now the game became really interesting. A few moves later this position was on the board.
The task certainly has become more difficult for Black, though not impossible. But now his opponent shocked him with 47.♘f6! When the black rook moves, 48.♘g8 follows and the f8-knight is lost. After 47...♚xf6 (47....gxf6 48.g7) 48.♖xf8 ♚e7 49.♖f7+ Gareyev played ♚d6. Far better is 49...♚e8 with good drawing chances. The game continued with 50.♖xg7 ♜xh5 and now 51.♖d7+!, after which the g-pawn cannot be stopped. The resulting position with e6-pawn rook against the queen was not holdable for Black.
Sam Sevian also joined the leaders getting his first win of the tournament against Awonder Liang. After castling on opposite wings, both sides were attacking but White landed the first blow.
Actually, here White missed his chance to drop the hammer with 33.Nf6+! deciding the game on the spot. The king, denuded of defenders, won't survive for long. However, he first played 33.♖g1 and after 33...♜xe5 34.dxe5 ♕e2 35.♕g4 g6 36.♘f6+ ♚h8 37.♕e4 went into a promising endgame.
In the women's championship, unlike yesterday — a true bloodbath — this time there were also "only" two decisive games. First, Carissa Yip won with Black against Akshita Gorti in unconventional fashion.
White gave up after 23...♝f5. But why? Gorti had missed that after 24.♕c1 and ♝xb1 she has 25.♗f3 ♛d3 26.♗a5 regaining the material.
Jennifer Yu also won against Ashrita Eswaran as Yu better handled the tactics in a complicated middlegame. Yip and Yu now lead the field with two wins.
Timur Gareyev should fire his barber.


text:
Q: The following code works when I manually pass the value but fails when I unwrap the value I just started learning Swift as my first coding language. My current challenge is trying to automate the transitions from a current level setup as  LevelOne.sks to another level also created in Xcode level editor as LevelTwo.sks. What I'm attempting to do is trigger a transition to the next level with the following set of code.
In my base scene I have this function to send the player to the next level
private func goToNextLevel(nextLevel: String) {

    //When hard coding the arguments as...
    //loadScene(withIdentifier: .levelTwo)
    //The level two scene loads and is playable...however,
    //When trying to change the level argument in code
   // by passing a nextLevel variable
   // the optional unwraps nil and crashes the app.

    loadScene(withIdentifier: SceneIdentifier(rawValue: nextLevel)!)

}

This is then passed to a SceneLoadManager File
  enum SceneIdentifier: String {
    case levelOne = "LevelOne"
    case levelTwo = "LevelTwo"
//    case levelThree = "LevelThree"
}

private let sceneSize = CGSize(width: 768, height: 1024)

protocol SceneManager { }
extension SceneManager where Self: SKScene {

    func loadScene(withIdentifier identifier: SceneIdentifier) {

        let reveal = SKTransition.flipHorizontal(withDuration: 0.5)
        let nextLevel = SKScene(fileNamed: identifier.rawValue)
        nextLevel?.scaleMode = .aspectFill
        self.view?.presentScene(nextLevel!, transition: reveal)
    }

I think this has something to do with how I'm trying to set nextLevel. Currently I'm setting this up as follows
let nxtLvl = String?
nxtLvl = ".levelOne"
goToNextLevel(nextLevel: nxtLvl)

Hopefully you can make sense of what I'm trying to achieve and that I'm at least close to being on the right track here. Any help would be greatly appreciated. Thanks!

A: Since you are initializing with a raw value, you need to actually use the raw value.
let nxtLvl = String?
nxtLvl = "LevelOne" //this is the rawValue of the .levelOne case
goToNextLevel(nextLevel: nxtLvl)

Alternatively, you could change your API so that goToNextLevel simply accepts a SceneIdentifier like this.
//tip: use the parameter name as part of the method name
private func goTo(nextLevel: SceneIdentifier) {

//Then calling the function
goTo(nextLevel: .levelOne)

Though, that might not be appropriate in the larger scope of your API.

A: What could really help you to solve :
SceneIdentifier.levelOne.rawValue returns this -> "LevelOne"
BUT
SceneIdentifier(rawValue : "LevelOne") returns -> SceneIdentifier.levelOne
See the difference ?
In the first you get the string , in that case what you want
And in the second you get the "left member" (I don't know the therm)
An example to see clearer if you have an enum :
enum SceneIdentifier: String {
    case case1 = "LevelOne"
    case case2 = "LevelTwo"

}

SceneIdentifier(rawValue : "LevelOne") !
returns this : SceneIdentifier.case1
and SceneIdentifier.case1.rawValue
returns this : "levelOne"