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Chat with Sean Deckert, Photographer.

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How did you discover photography and how has it developed over the course of your career? 
 
I think the first time I remember being into photography was when I got a 35mm auto for a 
birthday when I was 10 or so. I took the camera everywhere but I didn’t take that many pictures. I 
guess I couldn’t find anything exciting to photograph from my position in life.   
 
Since then I’ve gone through two college programs, moved at least 10 times, visited a couple countries, and cultivated colorful friendships with interesting people. I think through all of these experiences I began to see differently and use my camera to define what I see. Nowadays, I take pictures with lots of space and color in them. I also take a ton of pictures, ­like 1,400 to make one final piece. Someone told me once that the best photographers have taken the best pictures….and also taken the most bad pictures. It’s a constant learning experience and I like that I’m evolving with it.  
 
Your work shows the duration of time in a photo. How did you discover that technique?  
 
I’ve seen people condense time into single images before; ­I didn’t invent the technique. Mostly 
I’ve seen it used to compress frames from a movie into some sort of painterly representation of 
the whole movie. As with the history of photography ­ it’s all been done before. I’m a firm believer that if I’m going to make a picture and use a style that exists, which they all do, I had better devote my entire strength to it and do it the best.  
 
Eadward Muybridge is one of my most influential figures in the history of photography because 
over 100 years ago he did invent a new technique that expanded peoples minds and condensed 
their sensibility about the universe. I took a process and made it my own because it gives me the platform to express my ideas of expanding the frame of the camera, capturing elemental 
transitions and creating a sense of figure-­ground reversal. I hope that the process somewhat 
evaporates as people start to understand the ideas intertwined into each slice in the pictures. 

NIGHT INTO DAY 
CHAT WITH PHOTOGRAPHER 
SEAN 
DECKERT 
(Interview continues below) 
How do you decide the content you want to investigate and shoot?  
 
Most of my projects are circumstantial. What I mean is that they develop out of what is happening in the world and my life. I try to interpret what I think about these two positions and how they relate. Then I look back at what I have done and where I can go with it. Also, I try to design projects that challenge my skill level so that I learn a new way of working. Right now, I’m hotographing the sky and doing a lot of timelapse. About three years ago I made a series of lenticular prints titled Smoke & Mirrors which were a reaction to climate change in Phoenix. I think I’ve been focusing on that since then and always trying to reinvent my style while holding tight to the concepts I’m interested in.  

Photographing exhibits seems to be something you engage with your company. Tell us more about it and the experience of being involved in capturing installations of exhibitions.  
 
I had the opportunity to work on a project at ASU Art Museum with an artist couple from Athens. I was the ‘student’ photographer interning under them and learning about relational aesthetics through their project. Contradictory to social practice I was looking at blue chip gallery websites and reading a lot of their resources on contemporary art. At the closing of the exhibition I turned in all of my photographs. I did such a good job they hired me for the next year to work on a wide range of projects and my images were used for national grant applications, catalogues, press and seasonal brochures. It was an excellent way to be introduced to my arts community. I also got to meet some important artists such as Chip Lord, Miguel Palma, Julianne Swartz and work directly with many of them on projects. It is a symbiotic way of working commercially without confusing my artistic reputation. 

(Interview continues below) 
You were the official photographer for the Phoenix popup exhibit CROSSCURRENT. How was that different from past experiences working with artists and galleries.  
 
Many of the projects I’ve worked on are with museums or established programs which means its got a fair amount of certainty in the timeline and structure. CrossCurrent was different because it 
was built from the ground up in a  short amount of time by a small group. I signed on not knowing 
exactly what was going to happen although I was confident in the groups ability to pull it off. It 
was exciting because during the month there were revelations, sales, new friendships, fancy parties and a lot of photography. I shot all of the art prior to installation, which never happens. I was sending out files to the group immediately to use for press on a seemingly daily basis. There was a lot of energy and a collective desire to make it an explosion in Phoenix, which I think is what ended up happening.  
Tell us about the project you were apart of in Israel a little while ago. 
 
Israel was grass roots. It was a long process and it’s still happening. It started through an artist, Meirav, from Agrippas 12 Gallery in Jerusalem visiting Phoenix with her husband. He worked for IBM and there’s an office here. She came to downtown Phoenix and wandered into the gallery co­op I was part of, Eye Lounge. My friend Crystal met her and introduced her to the gallery owner Greg, who had lived in Jerusalem for two years. Eye Lounge came up with the idea of having a traveling show with Agrippas 12. Fast forward a year. Crystal moved and I took over the project. We teamed up with ASU Art Museum’s Desert Initiative and had four exhibitions in two countries. Eye Lounge artists shipped work to Israel and had a show for the season opening in Jerusalem, referred to as Manofim. We exhibited at Agrippas 12 twice and at THE Gallery in the Negev Desert once. The Israeli artists work was held up in customs for four months!!! So we pushed their show until we got the work. Currently, Meirav and I are putting something together dealing with discarded roads in remote areas of the desert. We wanted to keep the focus on ‘arid’ because the landscape and climate are what brings us together. More to come... 

Tell us about the photo you are currently exhibiting at the Phoenix Museum of Art  
 
So, last year I was awarded the Emerging Artist Grant from Contemporary Forum at Phoenix Art Museum. The award was a check to finance a new piece and a wall space at the museum once the work was made. That year went by so fast I couldn’t even believe it. I decided to use this opportunity to refocus my studio practice and slow down, which meant make less work on a 
bigger scale. I refined my understanding of the time lapse process and why I was so interested in it. I think I was trying to create a overly beautiful image that was also disjointed or destabilizing in some way. I made “Day Into Night Into Day” during the winter over a two day period of shooting and a couple of weeks assembling the image. I spend quite a bit of time with proofs looking for something wrong with this piece. I was excited that this piece had achieved a sense of 
continuum with this work as well as a the scale I needed to take over the viewers peripheral sights. I thought of this work as a sort of scroll and was also keeping in mind my experiences in Beijing and the ways Chinese masters depicted the sky. 
 

 

What's next for you? I heard you may be moving to LA in the near future.  
 
Indeed LA! I was born in Culver City 30 long years ago. Back then it wasn’t full of galleries and studios and I didn’t know I was going to grow up to be an artist. I only lived there for two years but I’ve always wanted to return and have the experience of living there as an adult. Now, it seems the stars have aligned because I have a purpose living there.  

My girlfriend, Josselyn, and I are planning on moving next summer. I feel like I still have a lot of opportunity here in Phoenix so I don’t want to leave till it’s the right time. Also, Phoenix is so close that I plan on splitting my time between the two cities. I’ve started a company called Calnicean Projects and I hope that these aren’t the only two cities I’ll be splitting my time between. The 
company caters to career artists, galleries, museums and design firms and produces visual documentation and design services. The team is in place and we are working on building and already impressive client list. Everything is in flux right now and I’m very excited for this year!
To learn more about Sean Deckert, 
check out his website right here. 
We had a chance to have an insightful convo with photographer Sean Deckert. The up and coming photographer talks about his process, recent shows and future discoveries. Enjoy 

Curiouser & Curiouser

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Curiouser & Curiouser
Remember the man curling up in dark corner in the loft? That's the scene when Peg first met Edward in Edward's house in the movie Edward Scissorhands. The scene was shot from Peg's view, which would also be the viewer's view that when she saw The back lighting used on Edward gave Edward a feeling of mysterious and gave Peg a sense of uncertainty. Because Peg was in a total unfamiliar environment and so are the audience. The audience doesn't know what will happen in the film, and that's exactly what the effect of the technique of back lighting gives to the viewers. Another Lighting technique that Burton used in Edward Scissorhands is that he used a total different high key lighting in the scene when elder Kim was telling story to her granddaughter at the end of the movie. The using of the high key lighting here gives the audience a feeling of warm and honest atmosphere between the two generations. Because Kim knew Edward when she was younger, so it also gives the viewer that she was opening herself to her granddaughter even though she didn't really say who the girl was in the story.
In Burton's other film, Corpse Bride, Burton again used a lot of high key and low key in different scenes in the movie. For example, when Emily found out that Victor was lying to her, she crawl up to Victoria's balcony and when they saw her, there was a strong light shining on her face to light her up. In this case, the front lighting is a feeling of excitement and surprise indicating that Victor and Victoria didn't know that Emily would find out Victor's lie so when she appeared to be in Victoria's house, they were both in shock. The purpose of using the strong high key lighting here is giving the audience a "oh my god!" feeling for Emily's presence, and also pointed out that the truth is out; an exposure of Victor's lie. Burton of course used low key lighting in Corpse Bride as well. He used the technique on the lord when the lord was overhearing about Victoria's fiance, Victor's situation and he wanted to take the advantage of it by marrying Victoria. The low key lighting creates a lot of shadow and the character, the lord, tend to be seen as dark and suspicious, which in the scene, with his scheme, he was suspicious. On the viewer's perspective, the lighting technique used on the character gave the audience a sense of uncertainty and doubt; viewers could tell that the lord was plotting on his scheme by the lighting, because it's dark and wicked.

Ernesto Kunde "Symbiotic Promise" at the Bakehouse Art Complex

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ERNESTO KUNDE "SYMBIOTIC PROMISE"

Brazilian-born Miami-based artist Ernesto Kunde has found inspiration in the architecture, lifestyle and art of Miami since he first relocated to the city just over seven years ago. His most recent series of works, large scale mangrove paintings inspired by research trips to the Everglades and the Florida Keys, are now presented in an exhibition at the Swenson Gallery of the Bakehouse Art Complex.


Curated by Ananda DeMello, Kunde's solo exhibiton "Symbiotic Promise," examines South Florida's  mangroves, the native flora, and humanity's relationship with nature. DeMello's curatorial approach creates a space designed to heighten awareness about that symbiotic relationship. Surrounded by mangroves viewers are transported into an artistic version of a sensory nature experience.


“Symbiotic Promise” runs until June 8, 2014 at the Swenson Gallery at the Bakehouse Art Complex, 561 NW 32nd Street, Miami 33127


6th Grade Short poems

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The Rainy Welcome

Drops of blue crystals

Falling from the grey pillows,

kiss my cold, wet cheeks.

-Aime H.


Flowers a

re attractive

They are young, then are old

They are colorful like a rainbow

-Evelyn S.


Best friends are so unique

As if they are ten kinds of people

Then swallowed love

-Aylin D.

The Birds

On smiling spring days

The soft breeze blows as I sing

To the birds chattering

-Zoe G.


Butterflies

Bouquet of flowers


Charming creatures

Flying Diamonds

-Gildard

o G.



Little Cub

Cub bear in my hand

Picnic picking pupil boy

Loving wisdom all

-Jennifer G.


Carling: “Decorators” Ad- It’s a Boy

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Carling: 

“Decorators” Ad- 

It’s a Boy

Another advert capitalizing on the royal birth was Carling. Even though this brand is not something that is well-known worldwide, their advertising tactic to focus on a highly covered news event made the company seem accessible to the general public on an international scale.

This advert added comedy and pulled off a high quality online advertisement in a matter of days after the birth of Prince George Alexander Louis of Cambridge. The Carling advert was creative in its objective to have a congratulatory message. Its original use of humor helped this online advert hit almost 5,000 “likes” within the first six hours of its release (Trendolizer.com, 2014).

Created by Creature of London Advertising, is a part of the “not quite Carling” campaign and is the third digital short for the acting partners “Dylan” and “John.”

 In this advert, the decorator of the nursery for the new Prince is not aware that the royal baby was announced to be a boy. The decorator paints the nursery pink and goes to collect his “reward,” a Carling, naturally. Upon which, he finds out that his work is simply “not quite Carling.”

The brand director of Carling, Jeremy Gibson, released a comment on this advert stating:

 “As Britain’s number one beer what better excuse to raise a glass than the birth of the Royal Baby? As the big day approached people have spoken of little else, so we thought it would be great to celebrate the birth with a bit of classic tongue-in-cheek Carling humor and congratulate the Royal couple on their new arrival. Carling has a reputation for making adverts that provide an amusing take on current events. It’s a tradition that we’re keen to continue, so watch this space in the coming months,” (LBBOnline, 2014).

This advert went viral! Online blogs, Facebook pages, everyone raved or at least had something to say about this advert. There are questions from the public if the advertisement was appropriate with humor. Unlike the Coca-Cola advert, Carling did not take a minimalistic congratulatory approach. I feel as though that was a highlight of Carlings advertising direction. Among the many “Celebrate with William and Kate” messages, Carling was the first to make an advert that set itself apart. 


share a coke

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Time for a Royal Celebration: 

Share a Coke with Wills and Kate

           When Prince William and Kate Middleton debut their son, Prince George Alexander Louis of Cambridge, to the world the entire world entered frenzy. This wasn’t only a widely covered issue for England, but also from country to country. Even in America the public awaited the arrival of the new heir, advertisements capitalized on this new addition to the royal family and released series of adverts on a world scale.

           Coca-Cola released a non-descript advert of congratulations soon before the birth entitled: “Time for a royal celebration… Share a Coke with Wills and Kate.” The positioning of the Coke bottles was in the form of a “cheers.” The nod to the royal family that the public was wildly awaiting was an ingenuous move for the Coca-Cola advertising company. The company’s drive to become a part of the news-driven cultural movement worked to the advantage of Coke’s previous hashtag campaign from New Zealand and Australia. It was also one of the first companies to release a congratulatory message in the public.

           In an interview on the baby-craze advert Andra London, a global communications manager at Coca-Cola, commented that “[Coca-Cola] didn’t want it to be about pushing a product. We wanted it to be about the happiness of the occasion because that’s where our brand values lie,” (Vega, 2014). In the same article it was noted that by the afternoon of the next day “the ad had received more than 10,000 ‘likes’ on Facebook and was shared about 1,700 times,” (Vega, 2014).

tiff holiday

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Tiffany & Co. Holiday Campaign 2011


I selected the Tiffany & Co 2011 Holiday campaign for a creative international campaign due to its amount of advertising coverage. Covered in international magazines like W, Elle, Glamour, and People this advert received coverage worldwide.

Tiffany & Co is known for its advertising directive of luxury and the perceived notion of what love is supposed to be. In the holiday 2011 campaign they featured Laetitia Casta, a former Guess and Victoria’s Secret model, and Lee Pace, a famous American television and silver screen actor. It shows what every woman in love would like to imagine their holiday season. The advert shows Casta and Pace as a loving couple in snowy New York City, one variation even shows the pair building a snowman (Sam, 2014).

It was one of the first advertising campaigns that made me want to go into advertising. As a high school student, I cut out the advert from every magazine I could and hung it in my room. This idealistic aspect of love and hope during the holiday season is exactly what Tiffany & Co was aiming for. The adoration for family, friends, and lovers runs high especially during the holidays and Tiffany’s capitalized on those feelings.

BusinessWeek comments on Tiffany & Co’s income. At the end of this holiday season Tiffany & Co had a total of $2,151.4 million gross profit at the end of their fiscal year (Businessweek, 2014). And in the annual report Tiffany & Co spent $234.05 million, only 6.4% of net sales, on advertising. This advertising includes cost for worldwide advertising, which in turn includes costs for media, production, catalogs, Internet, visual merchandising (in-store and window displays), marketing events and other related items (Investor.tiffany.com, 2012).

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007

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Coca-Cola Unlock the 
In YOU

This advert was another example of Coca-Cola’s achievements in viral video advertising. The newest Bond movie released in 2012, “SkyFall,” was an international success. The campaign highlighted both the movie and Coca-Cola’s Coke Zero product. I included this in my “Internationalism” portfolio due to the fact that it covered one of the top 2012 grossing movies across the world. The use of recognizable music, a fun tagline, and exciting candid actors aided to the viewing pleasure of this viral ad.

The creativity of this advert comes from the structure. The “reality” of this scenario and following unknown suspects through an everyday venue made this advert have a sense of realness. Coca-Cola is, at the point of the release of this video, known for their entertaining and viral commercials. I do not feel that it would be out of line to say that this is a strong suit in their marketing endeavors. Coca-Cola is also one of the first companies to create adverts like this.

The “Coke Zero drives you to unlock the 007 in you,” video was shot at the Central Station of Antwerp in Belgium inviting real consumers to unlock the 007 in themselves and overcome a “mission” to win exclusive tickets for the movie “SkyFall.”

The viral effect of the video was unprecedented; the new Coke Zero product was put on the map by this advert. The advert broke Coca-Cola’s company record for online views and engagement. As of 1 November 2012, the high reach was 7.1M views on YouTube with 98% “likes” and 832.3k “shares,” (Palmen, 2014). The video was placed in Mashable Top 100 most shared commercials ever and is still being “shared” through social media today.  Also, the video is the most shared Bond related ad and in the Top 3 YouTube search results of “007,” (Palmen, 2014). I would say this advert was ultimately successful.


america the beautiful

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“America the Beautiful”

Coca-Cola campaign

This advert was included in my theme of Internationalism because I feel it represents cultures instead of a particular nationalism feeling. It took a notion of pride in your country and made consumers look at the bigger picture.

This advert received backlash due to its controversy. It is one of the most ground-breaking and creative advertisement campaigns released over the past year. This social responsibility centered campaign made consumers take a second look at their society, and it would be difficult to find another advert that has done that.

This one minute advert was shown, in its full, during the American 2014 Superbowl. This caused social media to go into frenzy and split Coca-Cola’s audience on the matter. According to a company release, Coca-Cola wanted to debut a 90-second version of the advert during the Winter Olympics on February 7 of the same year. "We hope the ad gets people talking and thinking about what it means to be proud to be American," said Katie Bayne, president of Coca-Cola North America, in the release (Lee, 2014).

There were no known specifics on how this advert affected total net revenue, but the advertising costs are approximately $4 Million for a 30-second advert. This America the Beautiful advert had to have cost Coca-Cola somewhere around $8 Million (Kay, 2014).


Carlsberg

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Carlsberg - Fan Academy

I chose this due to the fact that being an international student, I was fully able to appreciate and understand it. Even though it was not shown anywhere other than the United Kingdom, I feel it represents internationalism well.

It was a creative commercial highlighting one of the biggest sporting events of the year (the European Championship football tournament).  Through this advert, the consumer was able to feel like an active member of the game and root for their chosen team.  Instead of focusing on the actual product, the advertising structure focused on the feeling of inclusion. The consumer was the focus instead of the actual product.

This advert, normally too lengthy to be shown on television, had its own TV spot. It marked the first change to the branding since it chose a new tagline (“That Calls for a Carlsberg”) in 2011 (Joseph, 2012).

With the help of this advert, Carlsberg’s sales in beer went up by 1.01%, and their net revenue increased by 1.06% (Carlsberg Group, 2012). And although there is no direct statement accrediting this increase to the 2012 advert campaign, one can only assume.


iphone 4s

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iPhone 4s Siri Advert

I selected this advert because for its time, it showed the consumer something that no other competitor had. It was a universal way to highlight the features of the product in real life. I found this creative due to the fact that it was the first advert worldwide to show something new, and also showed the consumer how the future affects everyday life. Variations of this were shown in the United States as well, making it a perfect example of global marketing.

It was made for a television spot, being only 30 seconds long, by iPhone Apple. It was released in 2011 and was among a series of adverts highlighting the Siri feature on the new 4s’. This feature-centered approach to advertising seemed to highlight the product effectively.

Forbes online released an article on this advert recording a few financial tidbits:

“According to its annual filing, Apple spent $933 million on advertising last year, $691 million in 2010, and $501 million in 2009. Its total sales those years were $108.249 billion, $65.225 billion and $42.905 billion.

Translation: Apple spent less than 1% of sales last year on advertising. And its sales growth has been far outpacing its advertising budget.” (Forbes, 2012)


Page 2

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Global advertising is “[advertising] on a worldwide scale reconciling or taking commercial advantage of global operational differences, similarities and opportunities in order to meet global objectives,” this definition was the basis for my choice in portfolio.  After much deliberation, I decided on “internationalism” as my theme. Being an exchange student, I found it was important for me to find something easily relatable, yet also something that I could find interesting advertisements on. My basis for my chosen theme is adverts that bridge cultural gaps.


In the business world today, it is becoming increasingly important to be a diverse and open-minded firm. Also it is becoming gradually more vital to the success of a company to produce adverts on an international scale. More and more ads are learning to focus on diversity in order to keep their adverts and product line adaptable. This theme is not only important on a business scale, but is something that also hits a bit closer to home. Being an international student, this theme is something that I can relate to.


First Page

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Internationalism
Laura Petersen
Advertising and Copywriting
13052191

Urban Hunting by David Tamargo (London Campaign Launch)

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URBAN HUNTING IN 
L O N D O N 
Modern man, evolutionarily speaking, is still a hunter. Although he has traded spears for cash and credit cards, the hunter is still alive inside. Urban Hunting addresses the struggle of interpreting modern society. It asks the question; “How will the imagined world of our present day be interpreted by future humans?” 

An exhibition of photographs and video by Cuban-American artist David Josef Tamargo as part of the launch for his International Urban Hunting campaign for climate change and species extinction awareness. 

Reception at The Groucho Club in Soho (London) this Saturday May 3, 2014, upstairs in the Gennaro Room from 7pm - 2am. This exhibition is co-curated by Michelangelo Bendandi, of Lisson Gallery and Alan Greenhalgh, of Shinesquad.
For more info visit Shinesquad 

7th Grade Parodies

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Snake

Stranger,murderer

chokes,bites,constricts

hunter,predator,lizard,reptile

bites,chomps,fishes

chomper,fisher

               Crocodile

- Brandon R.


Chupacabra

Tall,Bloody-sucking

Running,Eating,Hunting

Dog, Human, Myth, Story

Sneaking,Hiding,Killing

Terrifying,Brutal

Legend

-Leslie O.


This is just to say


I have eaten

the huevos rancheros

that were in

the refrigerator


and which you were probably

saving

for dinner


forgive me it was really good

so delicious

and so tasty.

-Jocelyn R.


This is just to say


I have killed

the fish

that you asked me

to care for


an which you probably

fed it

loved


forgive me

it was

so much work

and so boring.

-Gloria M.


This is just to Say


I have eaten

the pizza

that was in

the fridge


and which

you were probably

saving

for lunch


forgive me I was hungry

so tasty

and so good.

-Xavier R.

This is just to say


I have eaten

the hot chips

that were

in your room


and which you were probably

saving

for the field trip


forgive me

they were so irresistible

so spicy

and so yummy.

-Leslie O.


this is just to say
I have entered
the fast food restaurant
that was
at the end of the street
and which
you were probably
entering
for mcchickens
forgive me
they were yummy
so tasty
and so delicious.
-Yvette A.


This is just to say 
I have eaten
the pizza
thats was in
the kitchen table
and which
you were probably
saving
for school
Forgive me
it was so delicious
so cheesy
and so perfect
-Melissa A.

This is Just to say…
This is just to say
I have eaten the last three cookies
that it was in the refrigerator
and which
you were probably
saving
for saturday
Forgive me
it was tasty
so crunchy
and so yummy.
 -Ivan


6th Grade Poetry

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If  happy  was  a  color,

It  would  be  like  the  big  fluffy  clouds  in  the  sky


If  happy  was  a  taste,

It  would  be  like  a  sundae  with  a  cherry  on  top


If  happy  was  a  smell,

It  would  be  combined  with  daisies, icecream,  cherry  flavored  lipgloss


If  happy  was  a  feeling,

It  would  be  like  when  you  see  your  soulmate


If  happy  was  a  sound,

It  would  be  like  the  fireworks  on  the  4th  of  July

By Ayleen C.


If determined was a color,

it would be firing red like the biggest fire.


If determined was a taste,

it would be a pepper. because the heat is a challenge


if determined was a smell,

it would be gasoline from the Fastest car.


if determined was a feeling,

it would be power from all the punches and kicks


If determined was a sound,

it would be a car crash from the boom to the tears

By Angelica G.

Lost

Cocking me

back and  

                  fourth

Let go

                 Pulling me

                      down

Losing my dignity

going down in the

                 drain

whoosh


every last

                   drop.

-Sirine N.


Best friends are so unique

As if they are ten kinds of people

Then swallowed love

-Aylin D.


The Birds

On smiling spring days

The soft breeze blows as I sing

To the birds chattering

-Zoe G.


Green

A wonderful color

Light, dark, and regular type

Color of nature

-Alyssa P.



Post title...

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HIERARCHY OF COMPUTERS
Supercomputers are the most powerful computing system of them all - able to solve complex calculations in a matter of nanoseconds

Then next you have the mainframe, rather than focusing on single calculations mainframes are better at handling thousands of processes at once!
MiniComputers could be also called the mini-mainframes. They handle multiple simultaneous processes also but to a much smaller scale. Where mainframes handle thousands - a minicomputer is a scaled down version and can handle up to 200
And then you have your individual computer systems. The Workstation and the Personal Computer - however even though the Workstation has been before the more powerful computer - the personal computer market is quickly catching up and the line between both is slowly fading.

Post title...

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Starting at the top of the computer hierarchy, we have a  super computer. this is a computer which is capable of extreme processing power and is able to carry out calculations in a mere few nanoseconds. Due to their processing prowess over standard computer systems, they are used in data intensive areas such as quantum mechanics, molecular modelling and even complex simulations of things like the brain or even to simulate the effects of a nuclear bomb.These features make the super computer much more suited for research purposes, and therefore will be in places like universities or private research institutions such as CERN - where they want to compute/simulate huge sets of data.

One level down from supercomputers we have Mainframes, these are similar to super computers in the sense that they have huge processing power. However they cannot execute a single program as fast as a super computer can - instead a mainframe's function is to support hundreds or even thousands of computers giving it's other name : a multi-user system. Their advantage over super computers is that they can support many more programs at once. Making them much more suitable for larger organisations who need to support thousands of workstations and/or individual systems, So this would be anything from a government organisation to a bank.

Types of Computers:
Exa's PowerFlow - www.prweb.com

Up next are Minicomputers, these are in the most primitive sense a smaller version of a mainframe. Where mainframes can support thousands of computers at once, minicomputers could probably reach around 200. So these would be more suitable for smaller businesses/organisations.
This is an example of a SUPERcomputer
An IBM mainframe - www.zdnet.com
So we have gone over the large processing monsters, but they were all multi-user systems, what do individuals use?.
We Will first talk about the WorkStation, which are one level down from MiniComputers but are above personal computers. Now if you remember we had referred to the workstation before, as to what a multi-user system such as a mainframe supports. now as a workstation is still above personal computers it means it has some considerable processing power, meaning it will be used for semi-intensive tasks; such as engineering applications like using
-cad/cam,software development,graphics processing/modelling and much more.

Finally we have the Personal computer otherwise known as PC. These are the least powerful of all the other computers or computer systems. They are fully based on single microprocessors and are relatively inexpensive, and is like it says: a personal computer. the user will therefore use this to surf the web, play games or watch videos - while they still have the ability to use these computers for work. the market is split between macintoshes and pc. macintoshes being the trade mark personal computer by apple - who were also the first company to come out with a personal computer; called the apple II. These days high-end pc's are pretty much comparable to low-end workstations, but that line is slowly getting thinner and thinner as consumers demand more.
A Dell Precision Workstation - www.itpro.co.uk
References
-Definitions: www.webopedia.com

-Images: www.google.co.uk  
AUTHOR:
Abbas Ahmed