Our most requested lighting system is pathway lighting. Pathway lighting utilizes light fixtures that direct light down to the walkways, and most importantly from a safety standpoint, steps and obstacles. These are very popular as you do not see the light bulb itself, but rather the affect of the light bulb. When designed properly, you only see the path of ground. Other ideas include illuminating trees, water features, street address numbers, stone features, and moon lighting. If you can imagine it, we can light it.
Dallas outdoor lighting systems can be as small as one or two lights or as many as one hundred lights, depending on your needs. It is very important that you make a plan for the system so it is electrically sound. We are called to repair many outdoor lighting systems that were not designed properly, if at all. This is usually indicated by too many lights connected to a single wire, or a “daisy chain.” This not only causes lights to be uneven in brightness, but it can also be a fire hazard. When there are too many lights connected to a single wire, it creates heat in the wire, enough to where we have found melted wire connectors and wire with the insulation melted off. If the mulch in the flower bed is dry, this could result in a fire. Before you invest in a new lighting system, verify with your contractor that you will be provided with a design of the system, as well as a chart that illustrates the light fixtures, bulb size and electrical calculations. If this is not an option for your contractor, Pearson Sprinkler Companyrecommends that a deposit for the work not be paid until a design and chart are provided; otherwise, you might be paying for a professional lighting system that will only cause you problems and be a negative investment for your property. In addition, the design should also have the bulb wattage and type labeled. This way, when a bulb needs to be replaced, it is replaced with the correct bulb. Something this simple can prevent you or your LED High Bay Light Suppliers maintenance contractor from inadvertently changing the design of the system and creating preventable problems.
If you have made investments in your landscaping, consider showing it off at night or if you just want to make your property safer, Pearson Sprinkler Company would be happy to come out and give you a free estimate and consultation for your outdoor lighting needs. Just have an idea of what your outdoor lighting goals are and Pearson Sprinkler Company will help you to reach them....
Cymbidium orchids is a genus of 52 species of the orchid family. They are evergreen and typically bloom during winter for about 8 to 10 weeks.
They are available in many colors including white, cream, yellow, brown, pink, red and there is also a green cymbidium orchid. Many come with markings of other colors on blooms.
Because of its unusual color the green cymbidium orchid has been gaining popularity recently.
Selecting a good specimen:
Nicknamed the “boat orchid, there are seven important steps to take when selecting an orchid cymbidium.
Buy from a reputable grower. Buy plants that are healthy; e.g. the leaves of the chosen plant are green, the roots have white tips, the roots are growing over the sides of the pot. Choose a plant that will do well in the temperatures in your home or around your home,
if you should choose to keep your plant outside. These plants come in varieties that enjoy temperatures from 60 degrees Fahrenheit to 85 degrees. Buy mature plants. They’ll be sturdier than seedlings. Look for cymbidium orchids that are in bloom (with buds and full blossoms), then you’ll know what color the blooms will be when it’s time for your plant to bloom again and will have a plant that blooms for its full duration. Don’t buy a plant that is full of blooms but otherwise looks unhealthy. Don’t buy a plant that’s bone dry or sopping wet.
Propagating cymbidium orchids:
Cymbidium orchids are fairly large orchids that quickly can overwhelm a pot. Their size also makes them great candidates for propagating.
These orchids have pseudobulbs or swollen parts of the stem between two leaf nodes. Sometimes there’s a “back bulb”, or a pseudobulb that has been stripped of its leaves, is located behind the active pseudobulb and appears to be dead. Unless it feels soft and mushy or entirely dried out, it still probably has life and is just dormant.
The easiest way to propagate an orchid cymbidium is to pull off a back bulb or one of the several pseudobulbs that might be present and to plant it in some potting medium.
These back bulbs often have eyes that are dormant and may actually take a few years to flower. So propagation of cymbidium orchids can be a process that can take a lot of patience.
To propagate orchids cymbidium:
Remove a group of three or more pseudobulbs or back bulbs or divide the entire plant. Be sure the plant is done flowering and then remove it from its pot. Either gently, but firmly pull the plant apart or divide it with a sharp, sterilized knife. Make sure that each new plant has at least three pseudobulbs. Throw away dead leaves or soft and mushy or dried out bulbs. Put some medium mixture (like fir bark with charcoal and perlite) in a pot that will allow about two year’s worth of growth. Place the new plant on top of the medium mixture with the newest growth points toward the center of the pot. Fill the pot with medium mixture to cover only the root mass, not the bulbs. Water well and keep them someplace shady. You should water them again a week or two later.
It will take about ten weeks for the pseudobulbs to root. A back bulb may take six to nine months for an eye to begin to grow and can take another three to five years for it to produce a flower spike and to bloom.
In either case your patience will pay off beautifully with many more gorgeous cymbidiums to enjoy for years....
Writers put words on paper for public consumption, and it isn't
always easy. Why? Isn't that what we are supposed do? What kind
of courage does it take to write something - a piece of news, a
brochure, a PR release, or an article - and let someone else read
it? How scary could that be? The answers to those questions are:
Yes, that is what writers do. In reality, it takes a great deal
of courage to do it time after time; day after day; sometimes,
year after year. In fact, there are few aspects of freelance
writing that don't require just plain chutzpah. Think about what
it takes to make a living this way.
* Finding work: To get an assignment in the first place writers
have to make cold calls, send out query letters, show our work,
and prove again and again that we have the experience, ability,
and wherewithal to do the job. In short, we are constantly trying
out for the part.
* Proving ourselves: Once we've gotten over that hurdle, no
matter how many years we may have been doing this type of thing,
we have to convince the client, or editor, that we are capable of
learning their particular business, product, audience, or unique
perspective. And then we have to prove it.
* Pricing our work: Clients usually want to know what the project
is going to cost before we have any idea how much of the
information is supplied, how much will have to be researched, how
many interviews are required, how long it will take to write a
first draft, and how many revisions there are likely to be, for
starters. Sometimes, we aren't exactly sure of what the client
wants because he or she can't quite articulate it. ("I'll know it
when I see it," should be a bright red flag!) Yet, even without
this basic information, we are expected to come up with an
estimate - and live with it - even if it turns out to be
* Standing our ground: When we finally arrive at an hourly or
project fee that reflects our experience and expertise, we not
only have to say it out loud, we have to mean it and insist on
it, even when the client or editor says, "What makes you worth
that much? I could hire someone for half that amount!" If we
submit a contract or letter of agreement with such terms as, "I
will begin this project upon receipt of this agreement and 50
percent of the agreed-upon fee," it takes inordinate self-
confidence to sit tight until the agreement is signed and the
check is in hand.
* Learning to leave: And, finally, when the client or editor
turns out to be impossible to work with, satisfy, or respect (but
you need the money), think of how gutsy it is to say, "This
relationship doesn't seem to be working out to our mutual
satisfaction. I believe that you should seek another writer."
These are not unusual scenarios; they come with the territory. To
face such challenges to one's self-esteem requires a special
brand of confidence - one that is solid and assured, but never
arrogant or defensive. If you're good, you're good. If you've
proved it 10,000 times in every conceivable circumstance, you
know it. In fact, you radiate it - or, at least, you should.
An experienced writer I once knew was asked by an editor for a
sample of his work. He haughtily replied, "My dear young woman, I
do not audition." Not so. As freelance writers, we are constantly
auditioning. The trick is to do so with confidence and class. The
question then becomes, how does one achieve that attitude?
Obviously, no single article can provide all the answers. But
since this is an issue that particularly plagues writers, here
are some techniques I have found helpful over the years.
* Give every project your all. Then, you'll always know you did
the best job you could possibly do. That is one of the most
powerful confidence builders you can employ.
* Maintain your professionalism in every situation. Expect to be
treated as a professional. Among other things, that means that
you do not have to accept inappropriate or abusive behavior. It
takes a strong feeling of self-worth to put a stop to such
treatment, even if it means leaving the room or leaving the
client; but it's very important to your self-respect to do it.
* If you're not getting feedback, ask for it. Writers often feel
as if we are throwing our work into a bottomless, black hole. A
lack of criticism in not the same as a compliment or positive
reinforcement. It's just a lack of feedback.
* Take criticism graciously. Learn from it. Get your ego out of
the way, and concentrate on finding the best solution to a
communication problem, not on being a star. Consider constructive
criticism a way to improve your work.
* Accept praise. If you receive a well-deserved pat on the back
for a job well done, accept it with appreciation. Often, the best
response is a simple, "Thank you."
* Keep a portfolio of your best work. That has two purposes:
first, it is a powerful marketing tool; and, second, it reminds
you of how good you are.
* Keep a file of any "fan letters" you receive. Reread them on
bad days. They provide spontaneous, sincere positive
reinforcement, which is worth its weight in gold.
Remember that self-confidence in a creative field does not always
come naturally. Even if you were born with it, it is subject to
rough treatment in this business. That's why it's important to
keep it from eroding by reinforcing it after each perceived
assault. If you consistently do your best work, you will know it
and so will those who hire you. Excellence has a way of shining
its own light.