Steve Guess posted a photo:
Watercress Line Spring Gala 2026
Friday 24 April 2026
© Copyright Steve Guess MMXXVI
Steve Guess posted a photo:
Watercress Line Spring Gala 2026
Friday 24 April 2026
© Copyright Steve Guess MMXXVI
Steve Guess posted a photo:
Watercress Line Spring Gala 2026
Friday 24 April 2026
© Copyright Steve Guess MMXXVI
Steve Guess posted a photo:
Watercress Line Spring Gala 2026
Friday 24 April 2026
© Copyright Steve Guess MMXXVI
Since 1989, Utah’s Great Salt Lake has lost some 70% of its surface area, reducing its ecosystem services and creating stretches of drying lake bed (playa) that send toxic dust into the air.
That drying ground has also provided opportunities for scientists to survey what lies below the lake’s floor. In a study published in Geosciences, researchers revealed glimpses of fresh water and salt water, with some fresh water lurking only a few meters below the surface. The work could provide clues for conserving the lake, a crucial resource for both the ecology and the economy of the region.
In 2023, Michael Thorne and colleagues began using a technique known as electrical resistivity tomography (ERT), which can reveal the presence of fresh or salty water, at dozens of spots near the southern and eastern edges of the Great Salt Lake. Thorne is a geophysicist at the University of Utah in Salt Lake City and a coauthor of the new study.
The lake’s desiccation allowed the researchers to access areas where “at previous times, you would never be able to do measurements because [they] would be underwater,” said Thorne.
Establishing a network of ERT sensors requires robust fieldwork. Over the course of long days in the field, Mason Jacketta, lead author of the new study, and others placed electrodes into the ground a few meters apart, making lines that stretched hundreds of meters. Between pairs of electrodes, they measured the resistance to electrical current. Salty water, filled with electricity-conducting ions, has lower resistance than fresh water.
Paired with information on the rock and sediment beneath the surface, as well as with measurements from nearby wells, the ERT data allowed the team to work out a profile of how electrical resistance varied with depth and to figure out what kind of water seeped through pores in the ground below. The team shared the results of their work on the southern part of the lake in Geosciences, while more in-depth findings about the eastern shore will appear in an upcoming publication.
“What this is really showing is that [fresh water is] prevalent all over the place.”
At many of the sites, Jacketta and others found fresh water near the surface.
“What this is really showing is that [fresh water is] prevalent all over the place,” said Elliot Jagniecki, a geologist at the Utah Geological Survey who wasn’t part of the work.
That fresh water was often in close proximity to patches of salty groundwater. At one spot in the southeastern part of the lake, the team found a shallow layer of brine. But right below that, at only 5 meters of depth, they encountered fresh water. At the team’s most northern study site, they found fresh water around 2 meters deep. On the southern shore, they found fresh water in some places as shallow as 2.8 meters.
The team’s results also helped explain curious features around the Great Salt Lake, including mounds made of salt and islands made of reeds.
The lacy-looking layers of the lake’s so-called mirabilite mounds form in the winter, when the cold freezes upwelling salty water, concentrating its salts. With measurements taken next to where some mirabilite mounds form, the researchers could visualize the underground conduits that send salty water to the surface.
While mirabilite mounds form close to shore, mounds made of Phragmites reeds appear in the lake’s interior as well as along its periphery. Thorne and his colleague William Johnson first noticed these mysterious circles popping up in Google Maps more than a decade ago. When they went to investigate, they found Phragmites.
“The population of Phragmites around the Great Salt Lake is really not allowing fresh groundwater to go back into the Great Salt Lake.”
In the new work, the team placed a line for electrical resistivity tomography straight through a Phragmites mound. These reeds wouldn’t be able to survive in the lake’s briny water, Thorne said, but the team’s results showed fresh water rising right to where the invasive reeds grew thick.
“The population of Phragmites around the Great Salt Lake is really not allowing fresh groundwater to go back into the Great Salt Lake,” said study coauthor Tonie van Dam, a geophysicist at the University of Utah. The reeds suck up some 70,000 acre-feet of fresh water that could go back into the lake, she said. In “sucking up [fresh water] for their own existence,” van Dam explained, the reeds crowd out native plant species that provide habitat for native birds.
Overall, the study provides a new picture of the fresh and salty groundwater beneath the lake and how these resources feed what people observe at the surface.
It’s also helped to prompt other work, Thorne said, including one recent study in which researchers used a helicopter carrying a wire loop to create and sense electrical currents underground. That study, published in Scientific Reports, suggested there could be a large amount of fresh water under one part of the lake.
But that work is a proof of concept, Jagniecki said, and accessing such potential aquifers might not be sufficient to help address the lake’s current desiccation. Even if they could, refilling them could take thousands of years. “I just don’t think that’s a solution,” he said.
Saline lakes are fragile ecosystems sensitive to climate change, Jagniecki said. The Great Salt Lake harbors plenty of life, such as brine shrimp that become food for a host of migratory birds that use the lake as a stopover. Mineral extraction and the use of brine shrimp for feed in aquaculture are important drivers of Utah’s economy.
Getting a better understanding of how saline lake systems function could be helpful in conserving them and maintaining the resources they provide humans, Jagniecki explained.
“It’s actually more than that. It’s a beautiful landscape,” he said.
—Carolyn Wilke, Science Writer
It took nearly 20 years of work, tons of concrete, $724 million, demolishing buildings, and changing the urban landscape of a city to finally inaugurate the largest and most ambitious cultural project in Los Angeles in recent years: the expansion of LACMA, the Los Angeles County Museum of Art, the leading art museum in the western United States and home to the largest collection this side of the Mississippi. An immense concrete structure, a Herculean amoeba, now snakes through the heart of the United States’ second-largest city to house part of the vast permanent collection, previously stored in warehouses, which will now be enjoyed by its million annual visitors, and likely many more.
© Mónica Rubalcava (EFE)
Heat, air pollution, and flooding can affect a city and the health of city residents. Yet few cities have a comprehensive network of weather stations providing accurate measurements of rainfall, humidity, and air temperature across different neighborhoods. Some of this information can be filled in by community members’ personal weather stations, like those connected through Weather Underground. But because of a lack of sensors and inconsistencies in data collection, these types of community networks are often not reliable on their own. Furthermore, most personal weather stations are located in higher-income neighborhoods, with very few in lower-income, underserved neighborhoods.
The same is true in Baltimore, where personal weather stations are more prevalent in higher-income, majority-white neighborhoods around and stretching north from the Inner Harbor but are lacking in lower-income and majority-Black neighborhoods to the west and east. Furthermore, only one National Weather Service sensor is present in the city itself, in the Inner Harbor, and another sensor is located about 12 kilometers (8 miles) away at Baltimore/Washington International Airport.
Waugh et al. describe a partnership between universities, state agencies, and Baltimore residents to build the Baltimore Community Weather Network (BCWN) that addresses the missing data coverage around the city. Unlike the patchwork of personal weather stations, community members participating in the BCWN are from underserved areas in the city and are actively involved in data collection and interpretation.
Weather stations are placed in open spaces to avoid obstacles like buildings or trees affecting measurements of temperature, rainfall, or wind. This careful placement is designed to ensure that the data collected are as close as possible to the conditions experienced by actual residents.
BCWN sites are carefully monitored and managed by community members. Baltimore residents are actively involved in data collection, weather station management, and decisionmaking with scientists and local organizations to help promote engagement, education, and community empowerment.
Because Baltimore is not the only U.S. city that has historically lacked accurate weather data coverage, the BCWN system could be applied to other locations—or even used to monitor other environmental exposures, such as air pollution, the authors say. (Community Science, https://doi.org/10.1029/2025CSJ000154, 2026)
—Rebecca Owen (@beccapox.bsky.social), Science Writer
Buying fireworks can feel stressful when the season is near. Prices go up fast, popular items sell out, and you are often left choosing from what is still available instead of what you actually want. Many buyers also worry about safety rules, storage, and whether they are getting real value for their money. These problems make it harder to plan a good show, especially if you wait until the last minute.
Some buyers avoid this pressure by shopping early. Retailers like Chicago Fireworks offer a wide selection throughout the year, which gives customers more time to plan and compare options. This raises a simple question. Is buying fireworks during the off-season really worth it, or does it create new problems?
Off-season buying refers to purchasing fireworks months before major holidays like the Fourth of July or New Year’s Eve. This often happens in late summer, fall, or early spring when demand is lower.
During this period, stores are less crowded, inventory is more stable, and pricing is usually not affected by holiday demand. Buyers are not rushed, which leads to better decisions. Instead of reacting to limited stock, you can build a planned selection that fits your space, budget, and show goals.
One of the biggest reasons people buy early is price. Fireworks prices are heavily influenced by demand. As holidays get closer, costs increase due to higher traffic and limited stock.
Off-season buying often allows you to:
There is also a hidden saving factor. When you are not rushed, you are less likely to overspend on items you do not need. Many last-minute buyers purchase extra products just to complete their show. Early buyers tend to stick to a plan, which helps control the total cost.
Another key benefit is product availability. During peak season, popular items like 500g cakes, assortments, and specialty effects sell out quickly.
Buying off-season gives you:
This is especially important if you are planning a themed show or trying to match colors and timing. Waiting too long often forces you to compromise, which affects the overall experience.
Buying early comes with one important responsibility. You need to store fireworks safely for a longer period of time.
Safe storage includes:
Fireworks are designed to be stable, but poor storage conditions can affect performance. Moisture can damage fuses, while heat can weaken the structure of certain items. If you are not prepared to store fireworks properly, off-season buying may not be the best option.
One advantage that is often overlooked is better show planning. When you buy early, you have time to organize your fireworks instead of using them randomly.
This allows you to:
A well-planned show feels smoother and more engaging. Even with a smaller budget, proper timing and variety can create a stronger impact than a larger but unplanned setup.
Fireworks are imported products, and supply chains can change. Delays, shipping costs, and regulations can affect what is available during peak season.
Off-season buying reduces the risk of:
By purchasing early, you are working with what is already in stock instead of relying on incoming inventory that may or may not arrive on time.
Despite the benefits, off-season buying is not always the right choice for everyone.
It may not work well if:
Some buyers like to wait for new arrivals or updated product lines. While early buying offers stability, it may limit access to newer items released closer to major holidays.
If you decide to buy fireworks during the off-season, a few simple steps can help you get the most value.
Start with a clear plan. Know your budget, your space, and the type of show you want to create. This helps you avoid unnecessary purchases.
Focus on core items first. Cakes, assortments, and fountains often form the base of most shows. Once these are secured, you can add specialty items later if needed.
Check product details carefully. Look at duration, effect type, and performance level. This helps you build a balanced lineup instead of repeating similar effects.
Store everything properly. Use sealed containers if needed and keep products in a stable environment. Good storage protects your investment and ensures reliable performance.
Off-season fireworks buying can be a smart choice if you plan ahead and handle storage properly. It gives you lower prices, better selection, and more control over your show without the pressure of peak-season crowds.
For buyers who want reliable options year-round, Chicago Fireworks offers a wide range of products beyond the busy season. Shopping early helps you avoid last-minute stress and gives you time to plan your display with more care.
Buying ahead also lets you organize your setup, prepare safe storage, and make better decisions about what works for your space. With more time and fewer limits, you can build a smoother and more enjoyable fireworks experience.
The post Off-Season Fireworks Buying: Is It Worth It? appeared first on Social Lifestyle Magazine.
Words by James Lee.
| As Hong Kong’s economic boom faded and manufacturing moved to China, some long-established, family-run companies preserved their traditions as others innovated to survive. In our new series, HKFP documents the craftsmanship and spirit behind the goods that are still proudly “Made in Hong Kong,” as local firms navigate the US-China trade war. |
Wielding a brush with bristles tapered to a needle-thin point, Joseph Tso applied black overglaze paint, filling the gaps in the outlines of an old Guangcai porcelain piece with a deftness that belies his age in the late seventies.
“These old ones, the outlines are all broken, and the colours have faded,” he said with his arm resting on a wooden box to keep the numbness in his hand at bay. “Back in the day, I would have just handed this to one of our painters.”
Tso is the third-generation owner of the 98-year-old Yuet Tung China Works in Kowloon Bay, the city’s oldest hand-painted porcelain factory.
He was six when he moved from mainland China to Hong Kong with his family in 1956. He grew up surrounded by porcelainware.
The factory was originally named Kam Wah Loong when it was established by Tso’s grandfather in 1928 in Kowloon City.
“Historically, there was a lot of conflict in China, whereas Hong Kong was much more stable. My grandfather saw an opportunity and realised that foreigners really liked our porcelain, so he set up the first factory,” Tso said.
Two decades later, after World War II, the factory was renamed Yuet Tung – its name to this day.
The painstaking detail that goes into the Qing Dynasty-era craft, named guangcai or “Canton famille rose porcelain” in English, demands a three-year apprenticeship before craftspeople can work at the factory, Tso said.
Only after he graduated from secondary school in the late 1960s was he allowed to start learning porcelain techniques at the factory.
That was when Hong Kong’s industrial boom was in full swing, with several dozen workers hand-painting Yuet Tung’s porcelain and a client list containing the names of European royal families and overseas department stores.
“I would help with the external affairs, while my father would handle the manufacturing,” he said.
Tso attributes the factory’s success in part to his English-language education in the British colony, which helped him meet overseas buyers and expand the porcelain factory’s clientele worldwide.
At its peak, a vast majority of the factory’s business was export-driven. American department stores such as R.H. Macy – known today as Macy’s – led demand for the porcelain maker’s products, and would regularly ask the factory for new designs, while European royal families would commission the factory to have their coats of arms painted on porcelain dinnerware.
Local hotels such as the Peninsula and the Regent were also among Yuet Tung’s top clients.
The city’s industrial boom slowed after mainland China introduced economic reforms in 1978 and opened up to foreign trade and investment.
The resulting labour flight in the 1990s hit the factory hard after its painters, along with the dozens of other factories in Hong Kong, left for the mainland.
Yuet Tung is the only factory that stayed. “I didn’t want to go up for networking,” Tso said with a chuckle.
Now, only a low hum from an industrial kiln and the occasional clinking of porcelain plates punctuates the silence in the factory, as its ageing painters work quietly behind stacks of porcelainware.
After the city’s economy de-industrialised, Yuet Tung maintains its operations by serving luxury clients and selling custom pieces locally. In recent years, it has secured funding from the government’s Intangible Cultural Heritage scheme.
Yuet Tung is still maintaining its local, hand-drawn heritage while introducing new techniques to help ease the painstaking work of its painters.
Traditional Guangcai artisans use black pigment and razor-thin brushes to draw outlines of motifs such as peonies, phoenixes, dragons, and carp on white porcelain. The outlined illustrations are then filled in with pale pinks and contrasting greens with touches of sharp vermillion and gold highlights.
After the painted wares are fired in an 800-degree-Celsius kiln, the special overglaze enamel paints are vitrified and bonded to the porcelain, taking on a transparent matte finish.
A closer look at some of the finished porcelains at the factory reveals black outlines that tend to vary in weight and coloured paints that creep beyond the dark lines.
Those distinct, organic visual imperfections are proof of Yuet Tung’s hand-painted craftsmanship and a testament to the artisans’ experience – as well as to their age, as they find it more challenging to paint with great precision.
“I was originally going to retire,” Tso said. “I’m 77, and some of the workers are over 80.”
Fully hand-drawn and painted porcelains have become far rarer, however. To take some of the strain off the elderly painters, Yuet Tung has introduced a special method of printing readymade “decals” of the outlines onto the porcelain, using a water-activated transfer paper.
The outlines are drawn on a tablet computer, then printed onto transfer paper, which is then cut out, moistened, and placed onto the porcelain. Once the outlines are transferred to the porcelain, the painters can fill in the colours by hand.
In the age of artificial intelligence, one may wonder whether they are tempted to join the AI bandwagon.
“You might say that AI can easily create a design, but AI creations are boring,” Tso said. “Even though all the old masters paint dragons, they all have their distinctive styles. AI doesn’t have that personalised touch.”
“People admire our creations for the handiwork,” he added.
The transfer paper technique retains some of the qualities of hand-painted outlines, such as a slightly raised texture, while precise linework retains a uniform thickness, Tso said. It also makes the products more affordable for customers, he added.
The technique was introduced by his daughter, Martina Tso, who runs the factory with her father.
Martina Tso, who holds a bachelor’s degree in design from the Hong Kong Polytechnic University and a master’s degree in comparative literature from the University of Hong Kong, now manages much of Yuet Tung’s business operation.
Since joining the family business, she has modernised some of the factory’s designs for collaborations with brands such as Casetify and Lane Crawford.
She also designed a special series of tableware themed “Canton People,” displayed at the Palace Museum in Beijing in November last year during an exhibition organised by the Hong Kong Culture, Sports and Tourism Bureau.
Adopting techniques found in traditional Chinese paintings, Martina Tso depicts scenes at cha chaan teng – Hong Kong-style cafes – and dim sum restaurants with distinctive booth seats and trolleys, and the city’s skyline in the background.
Images of a modern city, such as the Hong Kong Cultural Centre and high-rises, are juxtaposed with traditional motifs like the pink rose.
“In the old days, we relied mostly on exports, but over the past decade we’ve found more local collaborations,” the fourth-generation entrepreneur said. “What we do really represents Hong Kong’s heritage.”
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