Article: Start by considering the specimens you are trying to identify and insert into a dichotomous key. Note characteristics that define the things you are looking at, and start listing them out. If you are trying to create a dichotomous key for a series of animals, you might see that some have feathers, some swim, some walk on legs, etc. For example, if you are trying to differentiate a set of big cats, you might note that some are brown, some are black, some have stripes, some have spots, some have long tails, some have short tails, and so on. A dichotomous key works by the process of elimination, so you want to note characteristics that can be used to differentiate the things you are examining. For example, if some of the specimens you are looking at have feathers but others have fur, then "feathers" is a good distinguishing characteristics. However, a trait all of the animals share is not a good distinguishing factor. For example, since all big cats are warm-blooded, you wouldn't want to use that trait on your dichotomous key. You want to create a dichotomous key based on increasingly specific differentiations, so you'll have to order the characteristics of your specimens from general to specific. This will help divide your specimens ever-smaller groups. For instance: When making your dichotomous key for big cats, you may find that some of the cats you are analyzing have dark fur, and some have light fur. You may also see that all of them have short hair. Finally, you see that some of them have long tails, but some of them have no tails at all. You would start your key with a question/statement about fur color. You wouldn't need to ask a question about fur length, since all of the examples have short fur. You would follow up with a question about tail length, since tails are not common to all of the cats, and therefore are a less general characteristic.
Question: What is a summary of what this article is about?
List the characteristics of your specimens. Look for principles of exclusion. Determine the most general characteristics.
Article: Three-point lighting is the standard lighting setup used by professional photographers in the studio. It involves setting up one light behind and above your subject, and 2 lights on opposite sides of the camera. A three-point setup can be created used a standing light and 2 desk lamps with LED or CFL bulbs. The light in the back of your subject is called the backlight. The main light next to the camera is called the key light, and the fill light refers to the final light on the opposite side of the key light. Place your standing light above and behind your subject to make it the backlight. Use lamps for the key and fill, which go under your subject on opposite sides of your camera. Make your brightest bulb or strongest lamp the key light. In a three-point lighting setup, the key light is the main light source that you use to illuminate a subject. A fill light is the light source on the opposite side that softens shadows. Set up your studio space so that it's right next to a window to save yourself from having to get an extra light. You can use the window as a fill or key light depending on whether the natural light is stronger or weaker you're your lamp. Window light will provide your subject with a clean, natural look that studio lighting often has a hard time imitating. Choose an east-facing window if you want to shoot in the morning and a west-facing window to shoot in the evening. If you're shooting objects on a table, lay down a white foam core board underneath your subject. Use clamps to secure your foam board to the table and tilt your camera above your subject. The foam board will reflect light to make it easier to get a good exposure at a higher shutter speed, and will serve as a clean, minimalistic background for your compositions. White paper can have a similar effect, but it's easily damaged and torn.
Question: What is a summary of what this article is about?
Set up a standing light and 2 lamps to create a three-point lighting setup. Set up your studio next to a window to replace a key or fill light. Lay a foam core board on a table to reflect light.
Article: Snowboards are usually measured from tip to tip in centimeters. To size a board, place the tip on the ground and stand the board up to your face. -- the top of the board should reach your chin. However, there are a lot of benefits buying a shorter or longer boards. In general, shorter boards are more maneuverable and longer boards are more stable and can go faster. Beginners should choose a board on the longer end -- one that reaches their nose when stood up, for example. Heavier riders should consider slightly longer boards to distribute their weight. On the back of every board is a weight classification, so get the right board for your body. If you're too heavy you could break the board, too light and you will have trouble maneuvering. The width of a board needs to fit your body, and most people will be fine with a normal board width of 246-255 millimeters. Your snowboarding boots should barely hang over the edges of the board when you stand on it, with no more than an inch of your toes and heels sticking out on either side. Generally, those with a US men's size 11 or US women's size 11.5 shoe and larger should get a "wide" board (250+ millimeters). If your foot is smaller then a men's 7 or a women's 9 you should choose a narrow board (235-245 millimeters). There are 2 main snowboard bases, both start by being pieces of plastic: Extruded The pieces are melt together, is less dense and less porous which makes it slower but easier to maintain. Sintered The pieces are pressed together, which makes it more porous and dense. It's faster and more durable.
Question: What is a summary of what this article is about?
Choose a board size. Make sure the board is made for your weight. Choose the right board width for your feet. Check out the base material to know how fast a snowboard is.