How to Choose the Right Floor Jack for Your Car

What makes a great floor jack? Is one floor jack really that much different from the rest? I found myself asking these questions when I had lifting to be done and having to buy one. Being faced with hundreds of options to choose from I had to wonder how I would go about choosing the best floor jack?

In case you do not know – A best floor jack is a device to lift heavy things. You have probably seen one used by a mechanic to lift your car for a service. Floor jacks are used to lift even heavier and bigger stuff like trucks and heavy machinery.

These nifty lifters can hoist these heavy loads effortlessly by using hydraulics – basically by employing liquids through channels as a source of mechanical force.

So, if you wanna do some heavy duty lifting – go ahead and get a Floor Jack. Choosing the best floor Jack for you need not be a headache if you know your lifting needs.

So What Type of Floor Jack is Best for Me?

This is an important question, as not all floor jacks are created equal. You can lift a range of things with a floor jack, but most commonly they are used to lift cars. There are three types of floor jacks:

1) Scissor Jacks – these are not hydraulic, but screw operated. They are the compact, lightweight jacks that you find in most cars to deal with a flat. These are fantastic for the occasional lift to change a tire, but they are slow and have limitations. It does not have a particularly high lifting capacity and is limited in how high it can lift due to its compact design.

2) A Bottle Jack – this is a hydraulically operated floor jack with a rather small base, but the highest lifting capacity value. This small base can be useful in limited spaces or when you are working on uneven surfaces. The bottle jack has a pretty high free height, which means you can’t get it as low as a scissor jack. So these are no good if you have a low rider. They do find a lot of use though when it comes to lifting trucks.

3) Hydraulic Floor Jack – while this floor jack is bound to leave a much bigger dent in your wallet, it is a good old faithful with many advantages. It’s the one you see most mechanics using. They are a big heavier and larger, but they conveniently have four small wheels for ease of movement. These jacks are pretty effortless to use as they employ hydraulics. Another plus point for these jacks is their superior maximum height over other jacks. While hydraulic floor jacks are ‘go to’ workhorses for most mechanics due to their robust lifting capacity and ease of use, they are pretty hefty, big and bulky. For this reason, they are not as portable as the other varieties.

Choosing the best floor jack is a matter of understanding your lifting needs. Ask yourself, what do I need to lift?


All About Miter Saws

A miter saw is an exclusive crosscut saw, offering precise angled cutting. Since there is an extremely competitive market and several options for miter saws, it is vital that you understand what you want to gain from one. The majority of miter saws available can cut 90-45 degrees in either one or both directions, they are commonly used for crown molding, door frames, fences etc. A captivating feature is the miter index in which it allows the blade to reform to another angle depending on what its cutting. Several miter saws include stops, making it quicker and easier to change angle. Read More


Getting the Best Looks From Your Little One

Baby photography offers you a approach to get pictures of the baby searching its greatest. Although your child is generally cute and most likely even beautiful, finding a photograph or two of them are the professionally may make them seem even cuter. Not only that, but you could look back again in some years and smile realizing that you simply obtained a high quality photo of the child while they had been nevertheless so little. Read More


Do I Need a Tripod?

Making use of a tripod in child photography is not only valuable, for your vast majority of child photography a tripod is necessary.

Employing a tripod and cable release will free you to focus on sustaining a rapport with the moms and dads and youngster. That is particularly accurate when photographing young infants with their parents; you can free yourself to throw a ball to mum or some other antics to boost a smile. Read More


Delightful Experience of Being a Baby Photographer

Being a infant photographer will be the most delightful expertise for the photographer. It can be a profession which tries to preserve probably the most attractive expressions, moods and colours of a human life in the very best doable way. Child photography is the only photography which equally depends upon the mood of the baby becoming clicked along with the skills and talent of the photographer.

Infants can by no means be informed or convinced to provide a fantastic pose. Neither 1 can play with their moods as it can flip even even worse nor they are able to be tackled with force or with anger. Adore and affection would be the only points which could make a infant comfy with you.Being a infant photographer demands 1 more thing and actually essentially the most crucial of all that is endurance. It truly is rather typical to get a baby photographer to watch for hrs to obtain that 1 out from the globe expression or even a one of a kind pose which arrives by natural means when baby is asleep or active with something else. Infant photographers normally have lengthy working sessions operating on a task with 1 customer as it’s not only the issue of time and money but additionally the feelings as well as the mood and also the fun.

It’s not possible that the photographer will say cheese plus the infant will give probably the most final and cheerful smile to click. Nor they’ll surrender for the prompt demands from the photographer so easily. They’re habitual of being pampered due to the fact they are the darlings of their families. So the child photographer wants to pamper the infants too and get acquainted with them to allow them really feel comfortable. The photographer also requirements to work about the program of the child and get it mentioned with their households.

There are different components and infant things which could act as icing on the cake for including the perfection and finesse for the last photographs. The photographer needs to go via the stuff out there at the baby’s location and in addition these toys and unique goodies with which the infant feels the most familiar and loves them for the core. In brief the favourites with the child and may use them inside the pictures which will not only add appeal towards the image but also will include that special goody to the everlasting recollections from the baby also as the family members.


Notes of The Journey

They took a picture of mine in front of the wall!

You shall know me on the white paper”

We started to take the notes of the journey with a month’s delay. This will be a sort of diary. Every day, we will write down which activities we do with whom into this notebook. Of course, those who wish to add their feelings might do as they please. This study was realised on the last days of September. The photography project, thought of separately by Enfants du Monde (Children of the World) and Dayanışma Gönüllüleri (Volunteers for Solidarity), was started one afternoon in a tent overlooking the tent city when the shared idea of these two groups was expressed.

The former ammunition barrack No. 4 was going to be converted into a darkroom. We immediately started to work. The roof, door and windows had to be covered. Corpse bags were the most suitable materials we had in hand. They were of no use any more, so we took them.

We built tables from the separation boards of the tents, and electric cables were laid. While the restoration of the darkroom was going on, we decided to drive the photography circles in İstanbul into action. By the end of the first week, the basics of a darkroom were established with the 5 agrandiseurs, bathing tubs and tongs. Besides this donated equipment, we went to İstanbul and bought the things we lacked. On the first days of October, the darkroom was ready for use. In the following days, Fuji Film supported the project with 15 instematic apparatuses and numerous films.

We started with our first lesson on October 5, 1999. There was a tremendous interest. The capability and talent of the children were amazing. Such a start excited us a lot.

The photography workshop has been continuing with varying degrees of participation. Within this period we have made significant progress with about 15 children. These kids are quite in control of the camera and the darkroom. They are familiar with bathing films and printing cards in both theory and practice.

In line with the results from the experience we had had in the first month, we developed the following course schedule and methodology:


INSTRUCTORS: Allaua, Özcan, Gökhan, Mehmet, Baha, Dora are participating in this study as instructors. Allaua and Gökhan are the permanent lecturers of this project. The instructors’ group is open to new participants.

WORKING DAYS AND HOURS: The photography workshop is open throughout the week. Classes are held between 10:00/12:00 and 14:00/18:00. However, the darkroom work sometimes exceeds the given hours.

1. Cameras and components
2. Introduction of the darkroom
3. Photogram
4. Films
5. Composition
6. Shooting Exercise
7. Shooting on a pre-specified topic (photo-reportage)

A board has been prepared for each of these courses. The instructor gives his lecture on these boards. Thereby, integrity between the subjects covered by different colleagues can be achieved. We make utmost efforts to follow the above-mentioned order of topics. However, minor changes can be made in the order according to the level of participants.

METHODOLOGY: We try to avoid plain technical information during the classes. We are trying to do our best to teach by entertaining them in the real application. Therefore, we want all our instructor friends to use and improve their creativity and ability. We try to establish an equal, honest, just and clear relationship with the participants.

We try to teach the participants to think in terms of photography apart from teaching them photography techniques. We encourage them to use their imagination and creativity in order to understand the nature, environment and life, and express them in the language of photography. For this end, we frequently ask them concrete questions about the general photography work, a photograph they have taken, or one they have chosen, and make them write down their opinions.

Each student is keeping a notebook. During the classes, they keep notes of the lectured topics in these notebooks. Besides, the opinions, projects mentioned above are also included there. Examining these notebooks, we can easily understand the level of any student.

2. STAGE: While the studies mentioned in the first stage continue, an exhibition and book project is going on as well. We organise regular slide shows.

THE EXHIBITION: We are planning to prepare an exhibition consisting of the works of the photography workshop participants by the end of 1999. We are also planning to open this exhibition in Cephanelik, İzmit, İstanbul and Paris.

THE BOOK: We have already started to prepare a book comprising the works of the workshop participants. This book will consist of the photographs taken by the children on topics they have chosen, of photograph scripts and impressions. Additionally, photographs depicting the photography project as a whole will take place in this book as well.

SLIDE SHOWS: We are planning to organise slide shows accompanied by the works of photography artists, photography experts, photo-correspondents and pedlar photographers together with panels to be presented to the workshop participants and residents of the tent city.

Within the first month, 60 children joined the photography workshop. However, we lost contact with almost half of these participants because of several reasons, such as the inauguration of schools, some families moving to other places, and the loss of the child’s interest.

The groups of which we had already planned the working days and hours did not work. The working schedule of the children formed on its own during the process. We started to work every day with some participants, and several times a week with others.

On some days, we had 15-20 kids in the workshop and made classes outside and inside grouping them according to their level. This situation we were in showed us that we needed at least two instructors at the workshop every day.

There were also days, on which we had no participants at all. Instead of sitting there and waiting, we found the kids we knew and called them one by one.
Even when we had only one student, we did not cancel the study and followed the program with him/her. We saw the benefit of these two methods. The uninterrupted program recovered soon, and received broad participation.

The distribution of the cameras to the children and their return caused turmoil and obstacles. We solved this problem by sticking stickers on the cameras with names and dates of return on them and preparing a schedule. A similar chaos was experienced in the separation of the films. This problem, on the other hand was solved by putting down names on the films, bags of the negatives and contact prints “immediately”.