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Squint, 252, 403 Stacked microstrip patch antennas, 323 Standing wave current, 218 220, 272, 481 Statistically thinned array, 587 Stripline series slot, 266 269 Structural mode RCS, 9 Struts, 416 421 Subdomain growth method, 540 Super turnstile, 234 237 Superdirectivity, 168 Surface mismatch, 463 Surface wave antenna design, 479 Surface waves, 293, 475 Surface wave, dielectric slab, 296 299 Surface wave ef ciency, 293, 324 Surface wave scan blindness, 128 Switch combining (SWC), 601 T-bar fed slot antenna, 374 T -match, 248 Takeoff angle design, 484 Taper loss, 137 140 array, 580 paraboloidal re ector, 383 Tapered slot antenna, 512 Taylor circular aperture distribution, 196 200 blockage ef ciency, 210 blockage sidelobes, 210 quadratic phase error, 213 Taylor modi ed distribution, 155 158 Taylor n line distribution, 147 152 Taylor one-parameter distribution, 144 Taylor line distribution with edge nulls, 152 Tenth-power beamwidth, 3 Th` venin equivalent circuit, 18 e Thinned array, 582 Three-wire line, 251 Tilt of polarization, 19 Time-harmonic wave, 2 Transformer balun, 258 Transmit/receive TR module, 577 Transverse resonance, 366 Traveling waves, 475 Traveling wave current, 481 Traveling wave distribution, 188, 279 Triangular array, 123

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When shooting with pack-and-head or monolight systems, always set your camera to Manual exposure mode and dial the exposure settings in yourself. The other modes on your camera are of no use at all when using these larger systems because your camera s light meter needs continuous light to operate properly and ash happens in a fraction of a second. Decide what the subject and background are and how much depth of eld you need, and position the lights or adjust the power settings to get just the look you want. The shutter speed won t be nearly as important when shooting in the studio as it is when shooting outdoor location work, but you still want to keep it high enough to avoid any camera shake. Take time to review the images on the camera s LCD monitor and study the depth of eld and critical focus. Remember that aperture choice controls both depth of eld and the exposure of the ash when using strobes. Your speedlight can be used in all the camera exposure modes such as Programmed Auto, Aperture Priority, Shutter Priority, and Manual for convenience or faster shooting. Regardless of what type of ash system you are using, you should always remember this when shooting outdoors: Shutter speed controls the ambient light level, and aperture determines the ash exposure. Understanding these relationships rapidly increases your knowledge of light and the bene cial role that ash can play. I do a lot of outdoor location work with ash, and once I fully understood this basic principle, it was much easier to determine what my camera and ash exposure setting should be. Experiment and review the images on your camera s LCD monitor to gauge your results.

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The electrical properties of a number of the polyoximes was studied.69,70 All of the structures studied can o er what is referred to as whole-chain resonance that is, the polymer backbone consists entirely of alternating double bonds with the exception of the metal atom. Values for the dissipation factor D ranged from 3 to 10 (at 103 Hz); the bulk resistivity P, from 0.05 to 0.6 (at 103 Hz), and the bulk capacitance from 0.2 to 0.9 K. Thus most of the materials are semiconductors. E orts are currently under way to evaluate some of these after doping. Several mixed functional group-containing Lewis acids have been studied. To use naturally renewable resources, the synthesis of polyester-ethers, 13, using ricinoleic acid was studied. Ricinoleic acid is typically derived from caster oil through a crystallization of the fatty acids giving a product of about 97% purity. The salt of ricinoleic acid was reacted with zirconocene dichloride giving a product as shown in structure 13.71 The products are moderately soluble in acetone, DMF, and benzene. The product has a molecular weight of 8 104 corresponding to a degree of polymerization of about 160.

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