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There are big companies that have some of the biggest and the best marketing teams in the United States, companies such as Johnson & Johnson and Ikea. Graphic Designing is evolving greatly because companies just continue to get more and more technologically advances

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Twenty-some years ago, we found ourselves in awe of how computers and the internet changed so many aspects of life. Just when we thought technology had reached its peak, we were also blithely aware that more was going to unfold.

Today we can only look back at the impact the digital revolution made on how we communicate, the way we work, and even the way we socialize. Graphic design is no exception to this change. Technology now plays a major role in the creation of digital work available in many fields. Portfolio design, presentations, signage, logos, websites, animations and even architectural production have all traveled far since the dawn of the digital revolution.
Appreciation In Graphic Design Investment
Gone are the days when graphic design was solely focused on the obvious graphic elements of a product like its packaging and marketing materials. Technology has enabled brands to have more exposure online, allowing businesses to interact with their clients and consumers, which has also allowed us the ability to review and analyze real-time data to measure and see what sources are driving more traffic. We can actually analyze digitally the type of content and graphics that are getting more media impressions, more likes, more saves and, ultimately, are more appealing and converting to an audience.

With the internet as the major source of marketing and exposure, companies have invested so much ion content creation for customer communication, analytics and real-time feedback from consumers. Companies like Ikea and Johnson & Johnson employ the world's most sophisticated marketing teams to spread their message and gain analytics across digital media globally. For example, according to the Digital Agency Network, Ikea launched a virtual-reality kitchen experience that brings you a life-size virtual IKEA kitchen. The pilot program is aimed at gathering feedback and suggestions from users. This is a great example of how companies are using analytics and customer feedback to improve their content marketing strategies and product offerings.

Content marketing and the evolution of graphic design for digital marketing is continuing to rise. One industry that is seeing the impact of this growth is the hotel industry. It is the amalgamation of creativity, technology and the right graphic and web design tools that made some businesses in the hospitality industry stand out from the rest. On paper, the last two years have been great for the hospitality industry, with digital marketing playing a huge role in generating revenue. Graphic design and quality content are influencing this, as content remains king. Hospitality giants like Virgin Hotels and Marriot are continuing to invest in modern marketing to boost occupancy rates and get heads in beds. Virgin Hotels has seen an uptick in online bookings and is constantly A/B testing the content tiles on its website home page. These hotel brands can effectively generate engagement by presenting eye-catching graphics in online media to gain a competitive edge over others. Today's hotel sites are no longer solely for contacts and reservations but also serve as a portfolio of the hotel's interior design and amenities to gain critiques.

The visual power of graphic design is even inspiring companies to combine useful tools for the office. For example, Peerhatch, one of our clients, employs graphic designs to create customizable wall surfaces. With its collection of images that companies and workspaces can customize to fit their own spaces, they are able to create stunning visuals for any work area that lends itself to brainstorming, allowing employees a collaborative environment where all ideas feel welcomed. We have helped Peerhatch develop an effective communications strategy that incorporates modern content marketing campaigns to expand their exposure to its target market.

Connectivity And The Progression Of The Graphic Design Career

Along with the improvement of digital graphics technology, careers in this field have also evolved. Graphic designers are no longer glued to their workstations. With graphic design software now readily available on laptops and mobile phones through apps, it has made it much easier for them to work anywhere in the world, which also makes it easier for companies to outsource talent without having to hire in-house.

In 2016, Adobe made a whopping $5.85 billion compared to its $4.8 billion 2015 revenue. This figure represents what the company earned from its subscriptions that seamlessly connect Photoshop, InDesign and Illustrator through its Creative Cloud. Graphic designers can now work anywhere they want and still be connected with their offices. This occasion led to the rise of freelance designers now working in their respective creative spaces anywhere in the world, which some companies have realized is much more cost-efficient than hiring someone in-house. Take Upwork, for instance. This company built its entire existence on the use of creative freelancers where companies, sole proprietors or individuals can source freelance talent by reviewing resumes, portfolios and reviews from clients in a matter of minutes.

It goes without saying that technology and creativity never take on a steady form, so it is inevitable for graphic design to change as we move forward. The rise of content marketing and good design is going to continue to make an impact on businesses' bottom-line revenue. Graphic design will always be a necessary tool for artistic, economic, marketing and architectural expression and will continue to evolve as a result of advances in technology and online mediums.

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Twenty-some years ago, we found ourselves in awe of how computers and the internet changed so many aspects of life. Just when we thought technology had reached its peak, we were also blithely aware that more was going to unfold.

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To be a photographer or to just take good looking close up pictures, you don't necessarily need a very expensive camera. Getting good close up pictures requires good lighting, try taking them outside in the day time or just have good lighting to use inside. You can always mess around with the manual exposures and color contrasts to correct your pictures or to even make them pop out or look better.

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Photography Articles | Photography Tips | NYIP

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Photography tips and photography how to articles from the New York Institute of Photography. Photography tutorials from professional photographers.

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Producers and directors are both directly involved in how a theatre performance takes places, but in different capacities. Producers are in charge of the finances and ensure that the production is ready in time for opening day. They sit and watch auditions as well as rehearsals, but they also make day-to-day final decisions about a play's finances. Directors, like producers, watch auditions and rehearsals, but they are more involved in what the actors do on stage. Directors also work closely with the crew to make sure the set and costumes are accurate to the vision of a play.

Producer

Producers oversee the entire production of a stage play, from hiring the director and crew to promoting and publicizing the event. They usually work behind the scenes to ensure that the play has a sufficient budget, which they make sure stays on track. Producers may sit and listen to auditions, helping to select the cast. Since their job includes making sure the project stays on track, they may also sit and watch rehearsals. Producers usually work long hours at inconvenient times, such as at night, to make sure a play gets finished on time.

Job responsibilities of a Producer include:

Researching topics unique to a play

Communicating with members of a theatre production

Choosing the play script

Making sure directing is coordinated well

Raising money to pay for a theatre production

Director

Directors in a theatre production are closely involved with everything that an audience sees on a stage, from what the actors say to what the set looks like. To do this, they work in tight coordination with every member of the cast and crew, including set designers, costume designers, and makeup artists. They make sure their actors give a believable and engaging performance. The bottom line for directors is that they oversee all creative elements of a theatre show, but they must account for most of what they do to the producer. Directors usually must work at many inconvenient times, like on weekends and holidays, to pull off a strong production. They may also have to travel long distances if their show travels.

Job responsibilities of a Director include:

Supervising the lighting crew

Writing cue cards to help when actors forget lines

Coordinating with the sound crew

Listening effectively to cast and crew members

Making sure the play stays on track with what was originally envisioned

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difference between producer & director in theatre

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Difference Between Producer & Director in Theatre

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Producers and directors are both directly involved in how a theatre performance takes places, but in different capacities. Producers are in charge of the finances and ensure that the production is ready in time for opening day. They sit and watch auditions as well as rehearsals, but they also make day-to-day final decisions about a play's finances.

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Why Technical Publishing Shouldn't Be Art
by Alan J. Porter
Give a canvas and a box of watercolors to a landscape painter and a second-grader. The same materials, the same process, but you get very different results. " Writing is a solitary occupation. Publication is a group exercise," stated novelist Madeline. Why she's correct.

More Articles

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Technical Writing Articles | Technical Communications | Writing Assistance

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Why Technical Publishing Shouldn't Be Art by Alan J. Porter Give a canvas and a box of watercolors to a landscape painter and a second-grader. The same materials, the same process, but you get very different results. " Writing is a solitary occupation. Publication is a group exercise," stated novelist Madeline.

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When a film does well at the box office, the actors, director, and producers get most of the accolades. But film editors also play a major role in a movie's success or failure. By combing through a film's raw footage, isolating individual shots from multiple takes, and choosing which frames to keep or delete, film editors weave the storyline into a cohesive final product. (For a taste of just how powerful editing can be, consider the recut of Mary Poppins as a horror film trailer.) We spoke to a few film editors for some secrets of this mysterious but influential trade.

1. THEY CAN INFLUENCE AND EVEN CHANGE A FILM'S SCRIPT.

Although the screenwriter and director make the final decision about dialogue, film editors can heavily influence a movie's script. Emmy-nominated film editor Anita Brandt Burgoyne, who's currently finishing up editing The Bachelors (starring J.K. Simmons and Julie Delpy), tells mental_floss that "if something in the film rings false, or is confusing the audience in some way, it's the editor's responsibility to not only shine a light on the problem, but also to offer alternatives that can solve the problem." To make the story flow better, film editors may cut out confusing lines of dialogue, use different takes of an actor's performance, rework a scene to change its tone, or even rewrite lines in the script.

2. THEY'RE SWORN TO SECRECY ON BIG MOVIES.

Feature films are usually extremely costly. Because the studio and production company have invested millions of dollars into a project, they want to protect their investment and maximize revenue. With big films such as the Harry Potter series and Star Wars: The Force Awakens (2015), studios also want to build audience anticipation and avoid spoilers. Therefore, film editors on big features may be sworn to secrecy about the content of the script. Before starting work, an editor will sign a non-disclosure agreement, promising not to leak the content of the script to the press or the public.

3. YOU MIGHT HEAR THEIR VOICES IN A FILM'S SOUNDTRACK.

Besides fulfilling their regular job duties, film editors may get involved in unexpected ways. Because film productions run on tight schedules, an additional voice or double (a hand or an arm) is sometimes needed, and editors are a convenient go-to since they're nearby. "Sometimes we even perform lines!" Brandt Burgoyne says. When she edited Legally Blonde (2001), she contributed her voice to a classroom scene as well as a scene with a group of angry drivers on the street.

4. THEIR OBJECTIVITY IS INVALUABLE.

Just like book or magazine editors, the objectivity that film editors contribute to a project is important. Because a film's director, writer, and producer spend vast amounts of time and money to make a film, they become very attached. Film editors, by contrast, are more emotionally removed, so they can be ruthless about cutting out unnecessary scenes. Fred Raskin, the film editor on Django Unchained (2012), revealed to Slant Magazine that he left almost two hours of the film's rough version on his cutting room floor.

5. THEY'RE ALCHEMISTS WHO RELY ON INSTINCT AND FEELING.

According to film editor Stephen Mirrione, who edited The Hunger Games (2012) and The Revenant (2015), film editing involves more than simply determining what frames to show."There is an alchemy in film editing that is difficult to articulate, partly because so few people are even aware of it ... As an editor, you are largely molding and shaping the emotional content of a scene and affecting the point of view of the audience," Mirrione explains to MasteringFilm.com. Michael Kahn, an editor on Saving Private Ryan (1998) and Schindler's List (1993), echoed Mirrione's point. "We do a lot of things from feeling, not necessarily from knowledge," Kahn admitted at an American Cinema Editors seminar.

6. INTROVERTS CAN MAKE THE BEST FILM EDITORS.

Film editors usually work long hours, viewing hours of footage in dark rooms. Although they do interact with directors and assistant editors, their job is highly solitary. While not all great editors are introverts, the job is best suited to those who don't mind being alone for long stretches of time.

"I do think there are quite a few editors who absolutely prefer the quiet of the editing room to the noise and chaos of a movie set with a hundred people around," Brandt Burgoyne says.

7. THEY CAN REQUEST THAT THE DIRECTOR FILM ADDITIONAL SHOTS.

Although editors on low-budget films may not start work until after production has wrapped, most editors begin working on the first day of production. Editors may even start work before principal photography to discuss editorial decisions such as scene transitions and specific shots. "It's quite important to have the editor on during shooting, because sometimes, there's no way to know if there's a problem until the scene is assembled. The editor can then request a missing piece be shot to make something work," Brandt Burgoyne says.

When she was working on Legally Blonde, Brandt Burgoyne watched the dailies (all the footage shot each day) and realized that there was no close-up shot of Vivian's engagement ring-an image needed to emphasize the ring's emotional importance to Elle Woods. "If an editor hadn't started until after they had wrapped production, it would have been a lot more difficult to shoot an insert of that ring. An editor is there to keep an eye on the story and make sure there aren't any holes in the storytelling," Brandt Burgoyne says

8. THEY CAN SPEND A LOT OF ENERGY TRYING TO LINE UP THEIR NEXT JOB.

While some film editors work in-house at a production company, others work freelance, taking each job as it comes. Besides having the flexibility and freedom to choose which projects to edit, freelance film editors generally get paid more than their in-house counterparts. But when a project ends, they don't pack their bags and head to Hawaii for vacation. The process of finding their next job can be stressful because of the uncertainty: They don't receive any income when they're waiting for their next project to start.

9. THEY'RE NOT FAZED WHEN THEY GET FIRED.

When creative personalities such as the director and producer clash, the fallout often hits the film editor, who can be a convenient target. Because it's usually easy for a producer or studio to hire a new editor to recut the previous editor's work, firing the film editor can seem like a simple solution to what may be a larger creative problem. Brandt Burgoyne says that editor Tom Rolf, who worked on Taxi Driver (1976), gave her advice when she was starting her career: "If you work in this business long enough, you're going to get fired, so you better learn to not take it personally."

"I have worked long enough to know he was correct ... That's showbiz," Brandt Burgoyne says.

10. DETAILS ARE EXTREMELY IMPORTANT TO THEM.

Although a film's big picture storyline is important, film editors also need to focus sharply on the details. Editors can manipulate the tone, pace, and comedic beats of a film to create better performances, craft a more compelling story, or distract audiences from a continuity error. Slight differences-such as a small variation in dialogue or waiting an extra beat before a joke-can make a huge difference in the overall quality of the film. Film editor Walter Murch, who has worked on The Godfather series, Ghost (1990), and Apocalypse Now (1979), tells NPR that he thinks of his job as "sort of a cross between a short-order cook and a brain surgeon ... Sometimes you're doing incredibly delicate things. Two frames different will mean whether the film is a success or not."

11. IF THEIR WORK IS GOOD, IT'S INVISIBLE.

When audiences watch a well-edited movie, transitions between scenes flow smoothly and naturally. A poorly edited film, though, will be obvious. As Murch tells Variety, citing a line from The Wizard of Oz director Victor Fleming: "Good editing makes the director look good, great editing makes the film look like it wasn't directed at all."

But well-made movies with flashy editing sequences can call attention to a great editor's work. Thelma Schoonmaker, who edited Goodfellas (1990) and The Wolf of Wall Street (2013), tells Film Comment that she probably won an Oscar for editing The Aviator because of the film's dramatic plane crash scene. "There's a great deal of mystery in film editing, and that's because you're not supposed to see a lot of it ... And because there is so little understanding of what really great editing is, a film that's flashy, has a lot of quick cuts and explosions, gets particular attention," said Schoonmaker.

12. DESPITE THEIR JOB, THEY STILL LOVE WATCHING MOVIES.

Most editors get into their jobs because of their deep love for movies. Although editing is their life's work, they can still enjoy watching movies for fun just like any other audience member. "Watching movies as an audience member only reminds me what I love so much about working in the movies myself. To be able to transport people to a totally different place; to immerse them in other people's lives, joys, struggles-that's a pretty powerful gift," Brandt Burgoyne says.

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When a film does well at the box office, the actors, director, and producers get most of the accolades. But film editors also play a major role in a movie's success or failure. By combing through a film's raw footage, isolating individual shots from multiple takes, and choosing which frames to keep or delete, film editors weave the storyline into a cohesive final product.

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Chiropractic is a complementary medical practice that treats problems with the musculoskeletal system. Its main focus is spine care.

The musculoskeletal system is made up of a person's muscles, bones, joints, cartilage, and tendons. It supports a person's body, allows them to move, and protects their organs.

Traditionally, chiropractic was based on the belief that problems with the musculoskeletal system caused disease through the central nervous system. This belief is no longer officially part of the practice.

This article explores chiropractic manipulation and the scientific evidence available to support its effectiveness. It also considers safety and what to expect at a chiropractic adjustment appointment.

What is chiropractic manipulation?

Chiropractors apply hands-on therapy for musculoskeletal conditions.
The word chiropractic comes from the Greek words cheir (hands) and praxis (practice). As the name suggests, it is a hands-on therapy.

Chiropractic manipulation is the application of pressure to a person's spine or other parts of their body by a qualified chiropractic doctor, or chiropractor. This pressure allows a chiropractor to adjust and correct alignment.

Chiropractic manipulation aims to reduce pain and improve mechanical function, or the way a person moves.

The basis of chiropractic manipulation

Modern chiropractic is based on a spinal care model. But chiropractic manipulation has its roots in less scientific theories.

Historically, chiropractors believed that a misaligned spinal column could cause disease. This was thought to happen via the central nervous system and something called "innate knowledge".

The theory was called "vertebral subluxation complex". Early practitioners believed 95 percent of diseases were caused this way. They believed that chiropractic manipulation would correct problems in the musculoskeletal system and, in turn, cure disease.

Skeptics and scientists found this belief to be lacking in scientific basis. Early chiropractors also rejected the germ theory of disease and immunization. As a result, chiropractic lacked legitimacy in the eyes of the scientific community.

Chiropractic theory has since evolved. It is becoming more accepted as a treatment for musculoskeletal pain.

In 2009, a study published in the journal Chiropractic & Osteopathy explored the theory behind vertebral subluxation complex. It concluded that there was a lack of evidence to fulfil the basic criteria of causation. This meant it was unscientific for chiropractors to claim disease was caused this way.

In 2014, The International Chiropractic Education Collaboration put out a position statement making it clear that the profession no longer supported the vertebral subluxation complex theory:

"The teaching of vertebral subluxation complex as a vitalistic construct that claims that it is the cause of disease is unsupported by evidence. Its inclusion in a modern chiropractic curriculum in anything other than an historical context is therefore inappropriate and unnecessary."

The statement also clarified that a number of chiropractic education institutions do now support the World Health Organization's (WHO) immunization mission.

In 2016, an article in Chiropractic & Manual Therapies advocated for a new approach to chiropractic that would leave behind its "bad" unscientific elements. Aspects of the profession to be left behind included:

adherence to a flawed chiropractic ideology focusing on innate intelligence and vitalism

claims of cures for visceral and other non-musculoskeletal conditions

anti-vaccination propaganda

anti-drug and anti-medicine propaganda

an unhealthy disregard of clinical research, evidence-based practice, and non-specific treatment effects including natural history and the placebo effect

The article went on to lay out a ten-point plan for modernizing the profession. This notably included the need for chiropractors to become "solely musculoskeletal practitioners with a special emphasis on spinal pain".

Modern chiropractors have, for the most part, left behind the belief systems that claimed spinal therapy could cure unrelated illnesses.

Types of chiropractic practitioner

Although the chiropractic profession has evolved, there are still some chiropractors that believe in unscientific theories.

Chiropractors who hold on to beliefs that the rest of the profession has left behind are referred to as "straights".

Before making an appointment with them, it is a good idea to find out whether a chiropractor takes a modern or straight approach. This way, a person can make an informed decision about the sort of treatment they are due to receive.

People with musculoskeletal problems may also want to consider:

It is always a good idea to discuss treatment options with a doctor before deciding which route to take.

Chiropractic adjustment appointment

Treatment from a chiropractor will often focus on the spine and use massage, heat/cold, and relaxation techniques.
When a person first visits a chiropractor, they may ask questions about musculoskeletal pain.

The chiropractor will then examine the person physically, focusing on their spine. The chiropractor may also perform other tests, such as X-rays, to determine the necessary treatment.

If treatment is needed, the chiropractor will develop a treatment plan. Treatment normally involves using the hands or a device to quickly apply controlled force to a joint. The aim of this is to improve the quality and range of physical movement.

Other treatments the chiropractor may offer include:

heat and ice

electrical stimulation

relaxation techniques

exercises

counselling around lifestyle factors that affect musculoskeletal health

dietary supplements

Does chiropractic adjustment work?

There is growing evidence to suggest that chiropractic manipulation may be an effective treatment for:

Neck pain: According to a 2017 literature review, chiropractic workplace interventions may reduce self-reported mechanical neck pain among office workers.

Lower-back pain: A 2016 study found moderate evidence that chiropractic care may be as effective for lower-back pain as physical therapy. A 2017 systematic review found that spinal manipulative therapy was associated with modest improvements in pain and function for those with lower-back pain.

Chest pain: A 2016 study found chiropractic care to be more cost-effective than self-management for chest pain. It can be seen as a good primary care approach for those with non-specific chest pain.

As the profession has evolved, chiropractic has gained legitimacy as a complementary medical practice. In some countries, it is now considered to be part of mainstream medicine.

In Switzerland, chiropractic is now considered a primary medical profession. According to a 2016 article, the training programme chiropractors go through in Switzerland sets them up to become experts in primary spine care.

There is no evidence that chiropractic works as a treatment for health conditions that do not relate to the musculoskeletal system.

Safety of chiropractic adjustment

Chiropractic adjustment involves manipulating the spine. This may cause mild side effects such as:

A 2007 study looked at the safety of chiropractic care for neck pain. It found that although side effects were common, they were rarely severe or long-lasting.

The study concluded that the benefits of chiropractic care for neck pain outweigh the potential risks.

Research also suggests chiropractic manipulation is safe for those with lower back pain. A 2016 study found no serious side effects of chiropractic care for lower back pain.

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Chiropractic: What is chiropractic manipulation?

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Chiropractic manipulation is the most common form of alternative, complementary medicine. It is used to treat problems with the musculoskeletal system, and it focuses mainly on the spinal column. In this article, we will explain how it came into being, what it entails, and some possible risks and adverse effects.

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Pharmacy technicians play a vital role in any pharmacy. They interact with patients and customers, monitor inventory and even compound custom pharmaceutical products for patients who need special formulations.

But where did the role of pharmacist (and pharmacist technician) start? Long before your neighborhood drug store existed, ancient Greeks and Romans were using pharmaceutical methods to heal the sick and injured.

Centuries later, Benjamin Franklin would create the first hospital pharmacy in Philadelphia. Back then it was called an apothecary.

While pharmacy technicians were always an integral part of the pharmacy environment, the field didn't gain its first professional association, The American Association of Pharmacy Technicians, until 1979.

Today, pharmacies need a robust staff to keep up with demands of a patients and the evolving pharmaceutical industry. That's where pharmacy technicians come in.

They work in hospitals, retail chain pharmacies, mail-order pharmacies and even long-term care facilities. Since pharmacies are open at all hours, a pharmacy technician's work schedule may include night and weekend shifts.

On the job, you can expect to use equipment such as:

Lab balances

Lab blenders

Tube-filling and crimping machines

Automatic bottle filling machines

Medical software

As a pharmacy technician, you'll need to have a strong attention to detail, unparalleled integrity and compassion for others. The role can be fast-paced and demanding at times so the ability to work well under pressure is also necessary.

If you're considering a career as a pharmacy technician, now is a great time. The field is expected to grow faster than average over the next decade and you can expect to earn a median salary of $30,410.

Pharmacy technicians are needed across the country for a number of reasons. The population is aging and chronic diseases often require medication. In addition, more U.S. citizens have access to health insurance which covers many types of prescriptions.

As pharmacies increase their patient care services, pharmacy technicians will be needed to assist pharmacists more than ever. Accurately collecting patient information and preparing medications are critical pharmacy technician skills.

Becoming a Pharmacy Technician

As the pharmaceutical industry grows, more schools are offering certificate and degree programs to prepare the next generation of pharmacy technicians.

Certificate programs typically take one year or less to complete. If you're interested in earning a more extensive education, an associate's degree is another option. Although you'll spend approximately two years in school, you'll learn the necessary pharmacy technician skills in addition to earning a liberal arts education.

Courses typically include pharmacy law and ethics, medication dispensing, record keeping and medication dosages.

Once you've received your pharmacy technician education, you may be required to earn certification, depending on your state. Even if it's not required in order to work, professional certification demonstrates your knowledge and skills. Employers may be more inclined to hire someone who has earned credentials from the Pharmacy Technician Certification Board or the National Healthcareer Association.

To help you get started, we've compiled some of the best pharmacy technician resources on the web. Browse through information about professional organizations, view videos and tap into relevant publications.

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Pharmacy Technician Resources | Complete Guide for Pharm Techs

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Pharmacy technicians play a vital role in any pharmacy. They interact with patients and customers, monitor inventory and even compound custom pharmaceutical products for patients who need special formulations. But where did the role of pharmacist (and pharmacist technician) start?

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Health Careers >> Browse Articles >> Dentistry

Nature of the Work

Dental assistants work closely with, and under the supervision of, dentists. (See the statement on dentists elsewhere in the Handbook.) Assistants perform a variety of patient care, office, and laboratory duties.

Dental assistants should not be confused with dental hygienists, who are licensed to perform different clinical tasks.

Dental assistants sterilize and disinfect instruments and equipment, prepare and lay out the instruments and materials required to treat each patient, and obtain patients' dental records. Assistants make patients as comfortable as possible in the dental chair and prepare them for treatment. During dental procedures, assistants work alongside the dentist to provide assistance. They hand instruments and materials to dentists and keep patients' mouths dry and clear by using suction or other devices. They also instruct patients on postoperative and general oral health care.

Dental assistants may prepare materials for impressions and restorations, take dental x rays, and process x-ray film as directed by a dentist. They also may remove sutures, apply topical anesthetics to gums or cavity-preventive agents to teeth, remove excess cement used in the filling process, and place rubber dams on the teeth to isolate them for individual treatment. Some States are expanding dental assistants' duties to include tasks such as coronal polishing and restorative dentistry functions for those assistants that meet specific training and experience requirements.

Dental assistants with laboratory duties make casts of the teeth and mouth from impressions, clean and polish removable appliances, and make temporary crowns. Those with office duties schedule and confirm appointments, receive patients, keep treatment records, send bills, receive payments, and order dental supplies and materials.

Work environment. Dental assistants work in a well-lighted, clean environment. Their work area usually is near the dental chair so that they can arrange instruments, materials, and medication and hand them to the dentist when needed. Dental assistants must wear gloves, masks, eyewear, and protective clothing to protect themselves and their patients from infectious diseases. Assistants also follow safety procedures to minimize the risks associated with the use of x-ray machines.

About half of dental assistants have a 35- to 40-hour workweek. Most of the rest work part-time or have variable schedules. Depending on the hours of the dental office where they work, assistants may have to work on Saturdays or evenings. Some dental assistants hold multiple jobs by working at dental offices that are open on different days or scheduling their work at a second office around the hours they work at their primary office.

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career guide: dental assistant dentistry training articles

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Nature of the Work Dental assistants work closely with, and under the supervision of, dentists. (See the statement on dentists elsewhere in the Handbook.) Assistants perform a variety of patient care, office, and laboratory duties. Dental assistants should not be confused with dental hygienists, who are licensed to perform different clinical tasks.

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What Does a Radiologic Technologist Do? A Bare-Bones Look at this Healthcare Career | Rasmussen College

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Before taking the next step on your path towards a new career, you need to have a solid understanding of what it entails. That's why we compiled thi

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music producers of different genres of music have similar but pretty different lines of work. The producer's job can range from picking songs to picking keys and tempos, picking studios, and choosing instruments and players.

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I have the great privilege of making records for a living. I have worked on tracks for/with/featuring Queen Latifah, Jennifer Lopez, Shakira, Santigold, Freshlyground, Mark Ronson, Les Nubians, Musiq Soulchild, Toots And The Maytals, Bon Jovi, Babyface, Nat King Cole, and many others, mostly at my own FLUX-Studios in NYC.

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The Role of the Producer in Music Creation

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I have the great privilege of making records for a living. I have worked on tracks for/with/featuring Queen Latifah, Jennifer Lopez, Shakira, Santigold, Freshlyground, Mark Ronson, Les Nubians, Musiq Soulchild, Toots And The Maytals, Bon Jovi, Babyface, Nat King Cole, and many others, mostly at my own FLUX-Studios in NYC.

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capturing pictures and videos from many different angles can help make the photo more dramatic but it can also help your work stand out. Depth is very important when it comes to shooting 2-dimensional film, and I think that these tips and tricks are very interesting and helpful.

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If you want to up your cinematography game, here are a few tips that'll help you do it.

Whether professional or not, everybody and their mom is out shooting videos and photos. So, what can you do to make your images stand out from the rest? Well, photographer Peter McKinnon has shared 5 simple tips that will help you become a better image maker, tips that primarily center around better ways to approach capturing a scene.

Though McKinnon's video is geared toward photographers, the lessons still translate well in the world of filmmaking. Let's take a look at each of his tips with a little bit of a cinematic twist:

Shoot from different perspectives

There's always another way to skin a cat. Capturing a scene from different angles can not only help you tell your story in a more dynamic way, but it can also help your work stand out from that of others. But I think the main lesson here, which is something McKinnon sums up nicely, is to just be an intentional filmmaker-someone who thinks about their stylistic and technical choices instead of going with what they've always done or what's easy and tried and true. Like he says, take 10 seconds and really think about how you're going to shoot something but for you shoot it.

Create depth

When McKinnon talks about shooting through stuff, the effect he's referring to is depth, which is incredibly important to create when dealing with a 2-dimensional art form like film. Capturing objects in the foreground or background help create the illusion of depth and allows your audience's eye to look into the frame rather than just at it. You can do this by framing up your scene in such a way that there are foreground and background elements, and whether or not you want to shoot with a shallow depth of field to create bokeh, like McKinnon mentions, is up to you.

Think Opposite

A good way to push the limits of your own creativity is to try to do something new. McKinnon suggests thinking of how others tend to shoot a scene and just try to do it the exact opposite (of just differently). For example, think about how standard dinner table scenes unfold: it's usually a series of over-the-shoulder shots of two people sharing some dialog. The fact that the vast majority of these kinds of scenes are shot this way gives you a great opportunity to change it up and try something no one has tried before.

Lighting and composition

I combined the last two tips because they say essentially the same thing: technique is important. Lighting is often the biggest reason why an image looks either good or bad, and composition, if done right, is one of, if not the, the main workhorses of visual storytelling. One thing that will take you to the next level as a filmmaker is ensuring that both of these elements are effective at, yes, making your shots look beautiful, but also, more importantly, at serving your story.

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5 Things You Can Do Right Now to Become a Better Cinematographer

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If you want to up your cinematography game, here are a few tips that'll help you do it. Whether professional or not, everybody and their mom is out shooting videos and photos. So, what can you do to make your images stand out from the rest?

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a music agent is the person who is in charge of booking the shows for the bands or artists, and they will negotiate with the promoters and make sure everything that the band wants is there at the venue. Good music agents are the ones who make live shows happen, and they can get the band in front of the right audience to increase their popularity and profile.

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In the narrow definition of the word, a music agent is a person who is responsible for booking shows for bands. Agents, more broadly, also approach promoters about shows, negotiate contracts for live performances and basically make sure the wheels of a concert tour, or just a single show, turn smoothly.

An agent will work with a promoter to make sure that everything a band needs will be at the venue, that there is an appropriate soundcheck period set aside for the band, and of course, what the payment will be for the performance and if the accommodation will be provided by the promoter. Want only red M&Ms backstage? Your agent is the one who will make sure the promoter knows.

Music agents, also called booking agents or talent agents, make live music happen. A good agent with well-placed connections can get a band in front of the right audience and increase their profile. Agents work closely with promoters and record labels to make sure the bands on their books get the proper exposure.

While the level of responsibility for a music agent may differ depending on the visibility of band they're working with, the basic tasks remain the same whether booking club shows for a smaller indie band or an arena show for a major label act. Agents tasks include:

Liaising with bands/labels/management to agree on a window for tour dates, the financial and logistic requirements of the tour, and the goals of the tour (eg, promote a new album).

Contacting promoters and venues to pitch bands and agree on performance dates.

Arranging contracts with promoters regarding pay, rider, guest list and equipment.

Music agents typically earn a percentage of the proceeds from a tour or performance. The amount is limited to the actual payments for performances and does not usually include money earned from merchandise sales sold at shows, such as T-shirts or CDs. The most common arrangement gives the agent 10-15% of the money paid to a band for a gig, though 18% or even 20% is not unheard of. Thus, it's obviously in the agent's best interest to secure the most money possible for a band from a promoter - the more money the band makes, the more money the agent makes.

Music agents hold the key to the good shows, and as an up and coming band, a good agent on your side can mean playing in front of bigger audiences sooner than you probably would by booking your own gigs. If you sign with an agent who works with larger bands, you'll have the inside track on getting the support slot on tours with these larger bands. Music agents also have the ear of all the good promoters, which means you have an immediate foot in the door with venues and promoters instead of having to convince them to give you a shot.

Agents likewise have the pull to get you more money than you could on your own.

A contract will help fend off any misunderstandings down the road and will also lay out what the musicians expect of the agent and the agent expects of the band. You won't be fighting about money or arguing over who was supposed to arrange for a drum kit if everything is documented on paper.

Approach established agencies and seek an internship; you'll make great contacts and learn the ropes from the pros. Or if you're a real go-getter, try your hand at booking gigs independently. If you're interested in building your own agency from the ground up, look to friends who are in bands and start out booking local shows for them. Make use of those contacts to expand to booking with promoters outside of your area. Be prepared to put in long hours for little pay (or no pay) while you proving yourself.

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Learn What a Music Agent Does and How Having One Helps a Band

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In the narrow definition of the word, a music agent is a person who is responsible for booking shows for bands. Agents, more broadly, also approach promoters about shows, negotiate contracts for live performances and basically make sure the wheels of a concert tour, or just a single show, turn smoothly.

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voice acting became more popular on the radios, animated cartoons and more. Many famous voice actors have gained great amounts of publicity from animation successes such as those produced by Pixar or Disney. Voice acting is about providing a voice for a piece of audio work. There are a variety of voice acting jobs you could do: announcers, narrators, voice actors, voice-over artists, and voice talent.

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Voice acting is part art, part perspiration and a whole lot of practice. In this post we are going to give you an insight into the amazing, exciting and fun world of voice acting.

When we think about what is voice acting, we often hit the first problem. People don't realise how often they hear voice acting in their everyday lives.

Voice acting is extremely varied so, let's first of all establish: "what is voice acting?"

What Is Voice Acting - A Potted History

It is commonly believed that the first voiceover was created by Walt Disney for Mickey Mouse in "Steamboat Willie." Although this was in 1928, in reality the first voice over was performed in 1900! This historical first belongs to Reginald Fessenden, a Canadian inventor. He was thrilled with Alexander Graham Bell's new device, the telephone, and set out to create a way to remotely communicate without wires. The beginning of "Wireless!" In 1900, working for the United States Weather Bureau, Fessenden recorded the very first voice over: reporting the weather.

In doing so, it is generally accepted that he was the first voice on radio. In Boston, in 1906, during the Christmas season, he recorded an entire program of music, Bible texts, and Christmas messages to ships out at sea.
What is voice acting then?
Well, as communications developed, voice acting became more common in radio, animated cartoons, etc. The actors behind those voices were rarely known by the public with perhaps the exception of the eponymous Mel Blanc, a radio personality and comedian. He became known as "The Man of 1000 Voices" for his versatility, and is the voice on many cartoons that were made and distributed by Warner Brothers.

One of the most influential and prolific voice over actors of all time is not commonly known by the public, but very well known in the industry. This is Don LaFontaine, who began voice acting in 1962, recording VO for a movie trailer.

He became the voice of movie trailers and the sound of the cinema for a generation of movie goers, setting the gold standard for how they were written and voiced.

While voice over acting has grown into being a recognised career path, it still remains unseen and largely unknown by most people. Most voice over work is still done by classically trained actors who often use voice acting to fill gaps in-between jobs. However, voice acting is increasingly getting noticed and gaining recognition as a true performance art and profession in its own right.

Famous actors have gained huge amounts of publicity from box-office animation successes such as those produced by Pixar and Disney. Actors like Liam Nielsen have essentially played leading roles in films through their voice, he was the Lion in Narnia series. People now expect well known actors to be in animated films. Of course there are other benefits. Studios can use the name of the stars that appear in the animated films to globally promote these films.

Well-known actors love to perform in animations! Nancy Griffin said it well, in her NY Times article from 2003 , "Film/Television; When A-List Actors Are Happy to Hide Their Faces." She wrote, "No hair and make-up necessary, not a personal trainer in sight and a four-hour work day: these are just a few of the enticements luring A-list actors, including Jim Carrey, Will Smith and Robin Williams, to headline as voice actors on animated features."

There is now a global roster of famous actors who have become voice actors as a result of these films. Furthermore, new and ambitious actors in their thousands want to find our about voice acting. It's no wonder, as a career voice acting provides a rewarding and challenging opportunity for people from all sorts of backgrounds and skills. Moreover it is the fun and friendliness of the industry that attracts people.

So when you are thinking about how to become a voice actor, remember, if you get good at it, you too could become part of the long history or voice over.

A Definition of Voice Acting

Voice acting is the art of doing voiceovers. It is about providing a voice for use in a professional piece of audio work. The variety and breadth of work of voice acting is astonishing. If you take a look at voice over on Wikipedia you will see just how wide and all encompassing this variety of work really is.

You will have realised by now that voice acting applies to many genres. Voice over professionals have a number of different monikers depending on their area of expertise. They can be broken down into five basic voice-over types.

Announcers can be heard introducing segments of live television or radio broadcasts such as; award shows, talk shows, continuity, promo and sporting events.
Narrators often specialise in audio books, documentaries, explainer videos, educational videos, business videos, medical videos and act as audio tour guides.
Voice Actors are heard performing in animated movies, TV cartoons, radio dramas, ADR, video games, puppet shows and in foreign language dubbing.
Voiceover Artists are versatile performers, able to weave interchangeably between any of the above as well as direct telephone prompts (IVR), they can be heard welcoming visitors to a website, or guiding road trips as the voice of a GPS.

Voice Talent refers to the all of the above. The term was coined as an easy way to reference all types of voice-over performers and is often used by agencies or companies that hire voice overs.
So the range of work in voice acting is extremely varied:

films

dubbed foreign language films

animation shorts or films

tv programs

commercials

radio or audio dramas

video games

audiobooks

live events

awards shows

toys and games

vehicle and transportation

documentaries

promos

trailers

training / e-learning

and many more areas.

In general though the voice actor is not seen only heard and as such, the range of voices needed is huge. The skills and techniques needed for voice acting vary enormously. The techniques and skills you will need for animation are quite different to those needed for say, narrating an audiobook.

The Role of Voice Acting

Voice actors then, are performers whose role is to read and interpret someone else's words. The life of a professional voiceover actor is varied and interesting. Work can involve short as well as long term projects. A voiceover for a twenty second commercial will be a short piece of work, but a video game may take months to produce.

Voice acting also varies in its nature by Country. In the UK, the BBC has a long standing history of using voice actors for radio dramas, documentaries and films.

This has led to voice acting being recognised in the UK as a specialised dramatic profession. The craft is supported by the British Actors union EQUITY. Many working voiceover artists are members. Similarly in the USA, SAG/AFRTA support American voice actors.

Now you know more about what is voiceover work you will probably have more time to listen to the many voiceovers that we normally do not associate with voice acting; two examples are:

telephony - such as voice prompts and on-hold messages

continuity - the voice between TV programs

toys - yes the voices when you press the buttons! Think Buzz Lightyear.

Not all voice acting is the same and more importantly not every voice talent can perform all the many types of voice over required.

There are many voiceover professionals that do get a wide variety of work and are known in the industry as all rounders for the many different characters and voices they can perform, but there are very few of them. Most voice actors tend to specialise in one or two niches, for which they become well known.

VOICE ACTING NICHE WORK OR GENERALIST

This means that they often get picked because they know the industry, have good contacts and have a history of delivering high quality work.
Some well known voiceovers by type of work:

movies - Star Wars: Darth Vader - James Earl Jones

Animated Movies - Toy Story: Woody - Tom Hanks

Animated TV - The Simpsons - Hank Azaria

X-Factor UK and 2012 Olympic Games - Peter Dickson

Commercials (UK) - The Meerkat Comparethemarket - Simon Greenall

Promos TV (USA) - Joe Cipriano

Reality TV (UK) - Marcus Bentley - Big Brother

One type of voice over work you may not have heard of is ADR. Sometimes a section of a movie may not have been recorded well, for all sorts of reasons.

Rather than getting an often famous actor to fly-in to record that one scene, a voice actor is used who can mimic that actors voice. Another type of voice acting involved in films is called 'looping' and involves voice actors producing conversations for the background artists in a scene. What this illustrates is the diverse range of work you can end up being involved in as a voiceover actor.

When looking at what is voice acting, you soon get to understand that it is different today than it was 10 years ago and it continues to change and evolve in many different ways. The world has become digital, there are many more channels and as a result more and more voiceover work is needed.

Some examples of this are the growth of audiobooks, the growth of video for corporate markets as well as the growth in e-learning. This growing need for voiceover work, along with the opportunities to work from anywhere, including your home now make voiceover an appealing profession, that increasing numbers of people want to work in.

VOICE ACTING - KNOWING WHERE TO BEGIN

When looking at what is voice acting you begin to slowly realise that the focus is on what skills a voice over actor needs in order to be successful.

The main skills of voice over are broadly similar across all types of work. The main skill is to read "copy" in a style that is suited to the type of work you have been commissioned for.

The art is to make it sound like the words flow naturally and fit with the character (e.g. animation character) or context (e.g. documentary), and do not sound like you are reading the words from a piece of paper in front of you.

In many types of voice over you will need to quickly adapt and modify your delivery to be in harmony with the type of work and script. The art of a professional is that they can not only adapt and provide the voice that fits, but also require little preparation or direction.

So while having a good voice is important, it is being able to adapt it to fit the material and subject that really matters. To do that, you need to learn the essential skills that are required of a voiceover actor so that you can compete for and get work. It's what we teach day in and day out at www.gravyforthebrain.com.

GETTING STARTED IN VOICE ACTING

The key to getting started as a voice over, is first of all to find out if you have a voice and personality that is suited to this type of work. To do this you first need to be screened by a professional voiceover training company, such as www.gravyforthebrain.com.

It is worth investing some time and a little money in this initial stage, rather than diving in headfirst and spending time and money on developing yourself only to find you do not have what it takes.

Like singing though, there are many people who have undiscovered talents - and you could be one of those undiscovered voiceover talents.

One of the biggest reasons people want to get involved in the industry is that it enables them to have a more flexible lifestyle, be their own boss, work from home, in the hours that suit them and most of all have fun doing something that they enjoy.

Once you have been given the green light and have had help in identifying what parts of the industry your voice would be suited to, then you need to learn the basic skills. Time and practice, with professional feedback is paramount.

SUCCEEDING IN THE VOICE OVER INDUSTRY

The great thing about working for yourself as a voice over actor is that you are the boss and you make the decisions.

However, you also need to approach this like a business if you want to make money and that involves being disciplined with your time, understanding your industry, marketing yourself and learning the technical skills necessary to produce great work.

So you are a business person, marketer, sales person AND a voice actor!

The good news is that at www.gravyforthebrain.com, we are here to help you at every stage of the journey. We have helped thousands of voiceover artists succeed and we are committed to helping you achieve your goals in the voiceover business.

BONUS - SAMPLE VIDEO FROM OUR VOICE OVER FOR BEGINNERS COURSE

For more information on voice acting visit our series of posts on how to become a voice actor

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Voice Acting - What Is It and What Do Voice Actors Do?

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Voice acting is part art, part perspiration and a whole lot of practice. In this post we are going to give you an insight into the amazing, exciting and fun world of voice acting. When we think about what is voice acting, we often hit the first problem.

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Every year, the U.S. 911 system receives about 240 million calls, and emergency dispatchers are the very first responders. They translate a caller's situation into actionable instructions so police, fire, or medical teams can respond as quickly as possible. It's an incredibly demanding job, with some shifts lasting up to 16 hours. That's a lot of time spent listening to terrified callers in their most desperate moments, and it takes a certain kind of person to survive the stress. Hopefully you never have to dial 911, but if you do, here are a few things you should know about the person answering your call.

1. Most of the calls 911 dispatchers deal with aren't emergencies.

On busy days, 911 dispatchers may get somewhere between 300 and 500 calls, and they have to answer every single one of them. However, many of them aren't true emergencies. "Ninety-five percent are nothing calls," says Amanda, a dispatcher of eight years in British Columbia, Canada. "They're not people who need help. They're people who have low coping skills. The fact you don't know how to change the batteries in your fire alarm is not a 911 call. The fact you don't know where you parked your car at the mall is not a 911 call. But you'll have days where it seems that's all you get."

The irrelevant calls can be about anything from barking dogs to parking disputes, and in some states there are penalties for abusing the system. In 2015, a woman in Ohio was arrested and charged with a misdemeanor after calling 911 to report bad Chinese food. A man in Illinois was arrested and charged with disorderly conduct for using the emergency line to request an ambulance ride to a doctor's appointment.

"The level of distress somebody is displaying is in no way correlated to how serious their problem is," Amanda says. "The people who are screaming the most generally have overflowing toilets. But the calmest guy will call up and say, 'I don't really wanna bother anybody, but my wife isn't breathing.'"

2. 911 dispatchers have a call hierarchy.

Emergency calls don't necessarily get responded to in the order in which they're received. "Calls get triaged based on the level of immediate public danger," Amanda says. So calls involving things like weapons, kids, or domestic violence get prioritized. If you just woke up and realized your car or house was broken into, unless the invader is still there, the police are told to respond when they have a free moment.

Bill Blume, a dispatcher in Virginia since 2001, says call severity also dictates whether emergency vehicles respond with or without sirens. Life-threatening events get lights and sirens. For events that are less severe but happening now, officers go quickly but without lights or sirens. And for low-priority calls, an officer might take their time. "A low code call tells officers, 'if you need to go get some coffee or grab lunch, it's a good time to do it on the way to this call. No matter what time officers arrive, it won't affect the outcome," Blume says.

3. Butt-dials are a big problem for 911.

All over the country, cell phone owners are unwittingly dialing 911 and clogging up the lines with the muffled sounds of their pants or purse pockets. The Federal Communications Commission estimates that roughly half of all 911 calls made by cell phones in New York City are accidental, which translates into about 84 million calls per year. "This is a huge waste of resources, raises the cost of providing 911 services, depletes PSAP morale, and increases the risk that legitimate 911 calls-and first responders-will be delayed," FCC Commissioner Michael O'Rielly declared in a memo.

These accidental calls may be a waste of resources, but that doesn't mean they're not entertaining. "We've had people call with the phone under their pillow while they're having sex, or people singing while they're driving down the road," says Nikki, a dispatcher for nine years in Michigan.

And not all butt-dials are useless. "We once had a police chase going on and the people being pursued accidentally dialed into 911 so we could hear their conversation and let the officers know their plan," Nikki says. One accidental 911 call in Deltona, Florida, led officers to a meth house.

4. The 911 system might give you a busy signal ...

Sometimes there are more calls than dispatchers can handle, especially during emergencies that a lot of people witness, like a fire or car crash. "When you have a very public incident going on, sometimes you'll get busy signals because there are instantly 1000 calls," says Amanda. "The problem is that within those busy signals are some set of people calling for things that are not the public incident."

5. ... but there's a way around it.

If you can't get through to 911, you can try calling your local police or fire department directly through their seven-digit phone number, which you can find online. "You should have that number programmed into your phone," says Rachael Herron, a former dispatcher in California for 15 years who is also an author. This trick lets you bypass the 911 traffic jam, but should only be used if you know your exact location, because the 911 dispatchers have better tools for locating you.

6. Whatever you do, don't hang up on a 911 dispatcher.

The worst thing you can do to a 911 dispatcher is end the call before they answer. Every time someone calls and hangs up, dispatchers are required to call that number back. Even if you called by mistake, the best thing to do is stay on the line and explain, rather than hanging up and initiating a game of phone tag.

"I understand how frustrating and how long it can seem when you're sitting there waiting and it feels like nothing's happening quickly," says Blume, "but at same time people just don't appreciate how much a hang-up can slow the process down."

7. A lot of callers to 911 dispatch don't know their own location.

The most important piece of information for an emergency operator to acquire is a caller's exact location. After all, they can't send help if they don't know where you are. But because not all emergencies happen at home or near a clearly-labeled street sign, many callers simply don't know where they are when disaster strikes. "Maybe you're stuck in a store and you didn't pay attention to the address," explains Amanda. "Or on the highway people are very fuzzy about where they are. In hotels people don't know their room number."

This requires some investigative work on behalf of the dispatcher, and everything becomes a clue. "Any descriptors are really useful, like if it's really close to a landmark or store," says Amanda. If the caller spots a license plate, the dispatcher can run the number and cross-reference it with the owner's home address. If all else fails, dispatchers can send police cars to where they think the caller is and guide the officers using the sounds of the sirens over the phone.

Experience has taught dispatchers to be extra-aware of their surroundings at all times. "I used to say 'left' or 'right' but now I say 'north, south, east, west,'" says Nikki. "I pay attention all the time now to where I am and what's going on around me."

8. 911 dispatchers wish you'd call from a landline.

The prevalence of cell phones means the number of 911 calls made from landlines has decreased through the years: More than 80 percent of emergency calls now come from wireless phones. But this poses a challenge for dispatchers, because unlike a landline, cell phones are not attached to a specific address.

"The absolute number one thing if there's an emergency, please call from a landline," says Amanda. "If you're in an apartment building with 35 floors, it will give us an apartment number. Your cell phone will only give us an approximate."

But this information varies by location and carrier. "We've discovered that Sprint and Verizon have the most accurate locations," says Nikki. "We were once trying to locate a man with a gun, and he had Sprint, and the map showed him on one side of a pine tree and that's exactly where he was." In 2018, Apple and Google also both added services that transmit location data from cellphones to 911.

9. You don't have to say anything to the dispatcher.

In some dire emergency situations, a 911 caller may be unable to speak. For example, if an intruder is in their home, or they're choking or having a heart attack. Dispatchers are trained to ask yes-or-no questions a caller can answer with the push of a button. "We'll tell them to press a button if they're in the city," explains Martha, a dispatcher in Georgia. "If they don't press a button we'll know they're in a county. Or if there's a domestic situation, we'll ask, 'Is he still in the room? Does he have a weapon? Has he been drinking?'"

10. 911 dispatchers don't know what happens to callers.

One of the hardest things about being a dispatcher is the lack of closure that comes with the job. Once the first responders are on the scene, dispatchers have to hang up and move to the next call. They will probably never find out what happens to their callers. "It is the worst part," says Jill, a 14-year veteran dispatcher in Florida. "You have this intense moment with this person, it could be the most horrible moment of their life and you're the first one to help them, and you never find out what happens."

11. Dispatchers have learned that sports fans procrastinate in medical emergencies.

One guaranteed slow time for 911 dispatchers is during a major sporting event, particularly the Super Bowl. "You get no calls when the game is on," says Amanda. "None. It's bizarre." But dispatchers don't have to follow the game to know when it's over. When the buzzer goes off, the phones start ringing. "As soon as the game is over, you'll have 20 guys having a heart attack because they weren't willing to call during the game," says Herron. "It's true every single year."

12. 911 dispatchers are very superstitious.

One word you'll never hear a dispatcher mumble is "quiet." Acknowledging a shift has been particularly sedate is a quick way to get an onslaught of calls, Amanda says. Acceptable alternatives include "tranquil" and "serene."

13. Dispatchers don't care why it happened.

Dispatchers want to know the what and where of your emergency, but never the why. "'Why' is the one question we never ask," says Blume. "Everyone is dying to tell us why, and the thing is that has nothing to do with determining the level of safety for our officers."

14. They're traumatized.

One 2012 study found 911 dispatchers are at risk for post-traumatic stress disorder due to the high volume of distressing calls they receive. "This is a population of people who are routinely exposed to events that should be considered traumatic," says Michelle Lilly, a psychology professor at Northern Illinois University.

"I heard a gentleman take his last breath after being stabbed," Jill admits. "That one bothers me today and it happened seven years ago. I have a thick skin but not around my heart."

Insomnia, paranoia, and grief can haunt dispatchers when they're not manning the phone lines. Herron says she can't drive around her town without remembering the bad things that happened at particular addresses. "I know the geography of grief," she says. "I know which woman hanged herself in that window and which mother found her son dead in that bedroom."

Some dispatchers survive by emotionally detaching, others by approaching their job from a mindset of positivity. "A lot of people I work with live with a lot of fear and assumptions that terrible things will happen in the world because that's what they hear," says Amanda. "But my frame that keeps me ok is I know that this person is having a terrible day whether I'm there or not, and anything I do might make things better. And most people never have to call us. The majority of people go through their days and nothing bad happens to them and that's very powerful also. We have to remember the things we hear are rare."

15. For dispatchers, kid calls are the worst.

Many experienced 911 operators develop pretty thick skins over the years. But emergencies involving children are an exception.

"Everyone hates a baby call," says Herron. "If you get a call that a baby isn't breathing, the whole room gets really, really quiet and all the dispatchers pull for the person giving CPR instructions. I've had a couple that have gone badly and those are hard to let go."

16. Dispatchers have regulars.

If you're lucky, you'll never have to call 911, but some people call the number so often the dispatchers recognize them immediately and know them by name.

"We call them frequent flyers," Blume says. "You kind of develop a relationship with them. You remember them and know how that conversation is gonna go. It may be someone prone to alcoholism or who has a history of mental illness and you know certain things that work on other calls just aren't gonna work there."

17. Dispatch is full of creatives.

A lot of dispatchers enter into the career through the side door, as writers or musicians looking for steady income while they pursue their art on the side. "You rarely see someone come into a job as a dispatcher where that is their career goal," says Blume, who is an author of several books himself.

"I work with five or six people who have written and published books because that's what they want to do but they can't make any money doing it so they do this four days a week," says Amanda, who took the job to supplement her magazine writing.

According to the Bureau of Labor Statistics, police, fire, and ambulance dispatchers make an average annual salary of $39,640, a pretty decent supplemental income. But finding the right kind of person for the job is difficult considering the high stress levels and long hours, and a lot of new dispatchers quit. "Our survival rate is one-third," Blume estimates. "In my academy we had nine people in the beginning and by the time we were done, there were three of us left."

18. Your dispatcher might be knitting when you call.

Dispatchers are multi-taskers who thrive on adrenaline, and that's what makes them good at their job. They can talk a caller through CPR while simultaneously typing instructions for first responders at record speeds. But between calls and on slower days, they get bored like the rest of us, and resort to browsing social media or even knitting to occupy the time.

For some veteran dispatchers, the job has become so routine they can nearly do it with their eyes closed. Nikki admits that sometimes while she's instructing a caller on how to administer CPR, she's simultaneously browsing Pinterest. "I'm like holy crap I just saved somebody's life without realizing what I was doing."

19. Dispatchers know that tasks keep people calm.

A dispatcher's job is to get as much pertinent information as possible from a caller, and that's hard to do when the caller is hysterical. But there are tricks that dispatchers use to calm people, even in the most terrifying situations. "I slow my language and bring my tone way down," says Herron. "If they're shouting, I don't shout back because it's human nature, if someone else talks quietly, you listen."

One quick way to get a panicked caller to concentrate, Jill says, is to give them something to do. "If they don't know where they're at, I tell them to look for a piece of mail. If you give them a small task it seems to make them focus a little more and that can de-escalate their stress a little bit."

The most important thing is to just keep talking, Blume says, because silence can make a caller feel alone, which breeds panic. Skilled dispatchers will explain exactly what they're doing on their end of the line and why, even if it's boring. "I'll say 'standby just a moment, I'm going to enter this,' or 'hold on I'm going to update the units, don't hang up.' A lot of times those little touches can completely change the tone of a conversation. It's all about communicating."

20. Dispatchers are human lie-detectors.

From the second they answer your call, dispatchers are listening for signs the situation is not as you say. Callers lie to them all the time for various reasons. For example, someone might exaggerate the seriousness of their situation (perhaps by reporting that gunshots have been fired when they haven't) to get a faster police response. In a domestic abuse situation, a victim might place the call but be unable to communicate, or the abuser could somehow end up with the phone and lie on their behalf, or hang up. The dispatcher's job is to use strategic questions to gather any revealing information they can.

"Usually you can read into tone," says Blume. "A red flag is if, when I call back, they say the call was a mistake, that's a big difference than if they say it was an accident. If they say it was a mistake that gives me the impression they were trying to call on purpose and clearly there was a reason why they did it. You have to be suspicious."
A version of this piece first ran in 2015.

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11 Behind-the-Scenes Secrets of Prop Masters

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Every year, the U.S. 911 system receives about 240 million calls, and emergency dispatchers are the very first responders. They translate a caller's situation into actionable instructions so police, fire, or medical teams can respond as quickly as possible. It's an incredibly demanding job, with some shifts lasting up to 16 hours.

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Scientific American assistant news editor, Tanya Lewis, and collections editor, Andrea Gawrylewski, take a deeper look at two short articles from the Advances news section of the December issue, on counterfeit whiskeys and the effect of real ecstasy...on octopuses...

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Scientists Play Favorites with Studying Human Genes. Here's Why.

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Despite the Human Genome Project having heralded the exploration of previously unknown human genes, the focus of genetic studies remains narrow.

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Colour Technologist Job Description | AllAboutCareers

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Take note that some universities actually offer degrees in colour technology and colour science. Chemistry and chemical engineering may also tackle colour science. Remember this when applying for a colour technologist job; you are at a disadvantage if your undergraduate degree did not tackle this specific area.

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Clinical psychology is the branch of psychology concerned with the assessment and treatment of mental illness, abnormal behavior, and psychiatric problems. This field integrates the science of psychology with the treatment of complex human problems, making it an exciting career choice for people who are looking to work in a challenging and rewarding field.

Early influences on the field of clinical psychology include the work of the Austrian psychoanalyst Sigmund Freud. He was one of the first to focus on the idea that mental illness was something that could be treated by talking with the patient, and it was the development of his talk therapy approach that is often cited as the earliest scientific use of clinical psychology.

American psychologist Lightner Witmer opened the first psychological clinic in 1896 with a specific focus on helping children who had learning disabilities. It was also Witmer who first introduced the term "clinical psychology" in a 1907 paper. Witmer, a former student of Wilhelm Wundt, defined clinical psychology as "the study of individuals, by observation or experimentation, with the intention of promoting change."

By 1914, 26 other clinics devoted to the practice of clinical psychology had been established in the United States. Today, clinical psychology is one of the most popular subfields and the single largest employment area within psychology.

Evolution During the World Wars

Clinical psychology became more established during the period of World War I as practitioners demonstrated the usefulness of psychological assessments. In 1917, the American Association of Clinical Psychology was established, although it was replaced just two years later with the establishment of the American Psychological Association (APA).

During World War II, clinical psychologists were called upon to help treat what was then known as shell shock, now referred to as post-traumatic stress disorder (PTSD). It was the demand for professionals to treat the many returning veterans in need of care that contributed to the growth of clinical psychology during this period. During the 1940s, the United States had no programs that offered a formal degree in clinical psychology. The U.S. Veterans Administration set up a number of doctoral-level training programs, and by 1950 more than half of all the Doctor of Philosophy (Ph.D.)-level degrees in psychology were awarded in the area of clinical psychology.

Changes in Focus

While the early focus in clinical psychology had been largely on science and research, graduate programs began adding additional emphasis on psychotherapy. In clinical psychology Ph.D. programs, this approach is today referred to as the scientist-practitioner or Boulder Model. Later, the Doctor of Psychology (PsyD) degree option emerged, which placed a greater emphasis on professional practice rather than research. This practice-oriented doctorate degree in clinical psychology is known as the practitioner-scholar, or Vail model.

The field has continued to grow tremendously, and the demand for clinical psychologists today remains strong.

Approaches

Clinical psychologists who work as psychotherapists often utilize different treatment approaches when working with clients. While some clinicians focus on a very specific treatment outlook, many use what is referred to as an "eclectic approach." This involves drawing on different theoretical methods to develop the best treatment plan for each individual client.

Some of the major theoretical perspectives within clinical psychology include:

Psychodynamic approach: This perspective grew out of Freud's work; he believed that the unconscious mind plays an important role in our behavior. Psychologists who utilize psychoanalytic therapy may use techniques such as free association to investigate a client's underlying, unconscious motivations.

Cognitive behavioral perspective: This approach to clinical psychology developed from the behavioral and cognitive schools of thought. Clinical psychologists using this perspective will look at how a client's feelings, behaviors, and thoughts interact. Cognitive-behavioral therapy (CBT) often focuses on changing thoughts and behaviors that contribute to psychological distress.

Humanistic perspective: This approach to clinical psychology grew out of the work of humanist thinkers such as Abraham Maslow and Carl Rogers. This perspective looks at the client more holistically and is focused on such things as self-actualization.

Education Requirements

In the United States, clinical psychologists usually have a doctorate in psychology and receive training in clinical settings. The educational requirements to work in clinical psychology are quite rigorous, and most clinical psychologists spend between four to six years in graduate school after earning a bachelor's degree.

Generally speaking, Ph.D. programs are centered on research, while PsyD programs are practice-oriented. Some students may also find graduate programs that offer a terminal master's degree in clinical psychology.

Before choosing a clinical psychology program, you should always check to be sure that the program is accredited by the APA. After completing an accredited graduate training program, prospective clinical psychologists must also complete a period of supervised training and an examination.

Specific licensure requirements vary by state, so you should check with your state's licensing board to learn more.

Students in the United Kingdom can pursue a doctorate level degree in clinical psychology (D.Clin.Psychol. or Clin.Psy.D.) through programs sponsored by the National Health Service. These programs are generally very competitive and are focused on both research and practice. Students interested in enrolling in one of these programs must have an undergraduate degree in a psychology program approved by the British Psychological Society in addition to experience requirements.

Opportunities

Clinical psychologists work in a variety of settings (hospitals, clinics, private practice, universities, schools, etc.) and in many capacities. All of them require these professionals to draw on their expertise in special ways and for different purposes.

Some of the job roles performed by those working in clinical psychology can include:

Assessment and diagnosis of psychological disorders, such as in a medical setting

Treatment of psychological disorders, including drug and alcohol addiction

Offering testimony in legal settings

Teaching, often at the university level

Conducting research

Creating and administering programs to treat and prevent social problems

Some clinical psychologists may focus on one of these or provide several of these services. For example, someone may work directly with clients who are admitted to a hospital for psychological disorders, while also running a private therapeutic office that offers short-term and long-term outpatient services those who need help coping with psychological distress.

A Word From Verywell

Clinical psychology is one of the most popular areas in psychology, but it's important to evaluate your interests before deciding if this area might be right for you. If you enjoy working with people and are able to handle stress and conflict well, clinical psychology may be an excellent choice. The field of clinical psychology will continue to grow and evolve thanks to the changing needs of the population, as well as shifts in approaches to healthcare policy. If you're still unsure whether clinical psychology is right for you, taking a psychology career self-test ​may help.

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Article Sources

Bureau of Labor Statistics. Psychologists. U.S. Department of Labor. Occupational Outlook Handbook. Updated January 30, 2018.

Carr A. Clinical Psychology: An Introduction. London: Routledge; 2012.

Trull TJ, Prinstein M. Clinical Psychology. Belmont, CA: Wadsworth; 2013.

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How Clinical Psychology Is Used to Treat Mental Illness

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Clinical psychology is the branch of psychology concerned with the assessment and treatment of mental illness, abnormal behavior, and psychiatric problems. This field integrates the science of psychology with the treatment of complex human problems, making it an exciting career choice for people who are looking to work in a challenging and rewarding field.

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For many people, the prospect of helping heal animals is an intriguing profession. In our last article, we explained the differences between similar-sounding fields (veterinary technicians, technologists, and assistants), and outlined the different types of secondary education programs for veterinary technicians.

Once you've completed a 2- or 4-year degree at the university of your choice, what's next on the career path?

You're Not Done Studying Yet

Before a veterinary technician can accept their first job, they must pass the Veterinary Technology National Exam in order to become credentialed. Credentialing requirements vary (like everything else) by state, and some do not require technicians to pass this particular test to get their licensed, though most do.

The VTNE is administered by the American Association of Veterinary State Boards and is offered three times per year. The three-hour test consists of 170 multiple-choice questions and costs $300, with additional fees for practice tests. The VTNE covers pharmacology, surgical nursing, dentistry, laboratory procedures, diagnostic imaging, anesthesia, emergency medicine, pain management and animal care/nursing. The VTNE is made more challenging by its general nature-even if you know you're only interested in practicing in one or two species, you could be asked questions on dogs, cats, birds, horses, cows, sheep, goats, pigs-maybe even exotic pets or fish.

For this reason, experts recommend that prospective veterinary technicians spend a day or two at a clinic that deals with species you are less familiar with.

"Absolutely the best route I think is shadowing someone at a vet clinic, either a tech or a vet ... or volunteering," said Deb Reeder, RVT, VTS-EVN, and executive director of the American Association of Equine Veterinary Technicians/Academy of Equine Veterinary Nursing Technicians. " Working at a zoo, or working at a cat-only practice, or a specialty practice ... they see a variety of different animals, and our examination covers all animals. Even someone who is geared toward small animal, they really do need to spend a day at a large animal clinic just so they can kind of get an idea of what's involved."

After prospective technicians pass the VTNE, they are often required to sit for a separate state board examination in order to become accredited. These tests will include practical skills, as well as questions about the state's specific rules and regulations, as well its veterinary practice act.

Continuing Education

Even after technicians receive clearance to practice in their state and land a job, the learning isn't over yet. States require technicians to earn continuing education credits to maintain their credentialed status; for many, somewhere between 5 and 10 hours in a variety of recognized CE activities. CE credit may be earned by attending certain parts of a convention or meeting, by participating in wet labs or even through online courses. Some employers may pay part or all of the costs relating to continuing education, but expenses for these events often fall on the technician.

Technicians interested in a particular area of veterinary practice may also elevate their knowledge of that area by joining a society or an academy. The National Association of Veterinary Technicians in America recognizes five societies, which are aimed at grouping professionals with similar interests and providing forums to encourage collaboration and share ideas. Those five societies include the Society of Behavior Technicians, American Association of Equine Veterinary Technicians, Association of Zoo Veterinary Technicians, Veterinary Emergency and Critical Care Society, and the Society of Laboratory Animal Veterinary Technicians.

NAVTA also recognizes 11 academies, which are open only to credentialed technicians and mirror the system of specialty academies for veterinarians. Technicians must first apply to study through the academy of their choice, which often requires documenting the number of hours they have spent on the job, and how many of those hours relate to the specialty the technician is seeking.

Applicants will then be asked to spend around a year keeping a case record log of detailed information on the progress of patients they have treated in their area of interest. They will also likely work their way through a list of recommended reading and will be assessed in anywhere from 75 to 150 clinical skills related to their field. After all this, applicants will sit for yet another examination.

Upon completion of all the academy requirements, the technician gains a new series of letters attached to their title in addition to their deepened understanding of their chosen specialty.

The 11 specialties recognized by NAVTA are: dental, anesthesia, emergency and critical care, behavior, zoological medicine, equine veterinary nursing, surgical, clinical practice, nutrition, and clinical pathology.

Challenges of the Profession

As much as most technicians say they enjoy the day-to-day elements of their work, the job is not always an easy one. One of the most frustrating parts about being a technician for longtime professionals like Reeder is a lack of national reciprocity in the profession; in addition to the difficulty of wading through different regulations in each states, technicians find their credentials don't carry across state lines. If a technician needs to move, they have to sit for the next state's examination all over again.

Considering the depth of knowledge required of veterinary technicians and the continuing education credits they must maintain, technicians are almost notoriously underpaid. NAVTA's website cites a 2003 survey which revealed members averaged $30,500 for full-time employment. Currently, experts estimate pay can run around $20 per hour, depending on location, but it doesn't often increase significantly with specialty certifications.

"For the equine vet techs, there's a lot of them that are running anesthesia on million-dollar horses and they might be making $18 per hour. So, kind of a disparity there that is a little frustrating," Reeder said.

Like any profession that deals with long hours and high stress, Reeder says there is also a sizable burnout rate for veterinary technicians. A study released in the Journal of the American Veterinary Medical Association in late 2014 found about 35.3 percent of respondents to a survey about job satisfaction were at high risk of burnout, a proportion that researchers said was "concerning."

"It's unfortunate because most of these schools will graduate probably 10-20 [students, each] a year. We lose that many," she said. "Our profession isn't really gaining in numbers because people get burned out; compassion fatigue is a big problem."

Long Hours, With Rewards

Fortunately, their education allows veterinary technicians to settle in a variety of settings, not just clinical practice. Technicians' knowledge, compassion and team-player attitudes are valued in rehabilitation centers, rescue facilities, government agencies, pharmaceutical companies, laboratories, zoos, research and wildlife preservation initiatives. That versatility, combined with the field's steady growth, is a recipe for success for those willing to put in the time.

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What To Expect In Your Vet Tech Career - Veterinary Practice News

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You've got the degree ... now what? For many people, the prospect of helping heal animals is an intriguing profession. In our last article, we explained the differences between similar-sounding fields (veterinary technicians, technologists, and assistants), and outlined the different types of secondary education programs for veterinary technicians.