1. Keep your camera ready:
You could get better shots if you had a camera with you. Compact cameras are always easier to take with you. Such a camera will not occupy your pocket, or it can fit on your belt in a case.
2. Position yourself as close to the subject as possible, highlighting the important:
In this case, everything unnecessary will remain behind the scenes. A telephoto lens can also help here.
3. Capture people in action:
A photo like “My friend in a statue pose against the background of something” can only please you and your friend, and only at first. Anyone will soon get tired of the absolute staticity, tension and boringness of such photographs.
4. Selecting an angle:
The choice of angle is important for the audience to form the correct perception of your characters. A top-down view of the subjects makes them look small and insignificant. Conversely, shooting from ground level upward turns characters into more substantial figures.
5. Choose a simple background:
This tip will further draw attention to your subject, making the photo more expressive. You can also advise making the background unsharp and blurry.
Use the “portrait” mode on your camera, or open the aperture wider.
6. Place the subject about a third offset from the edge of the frame:
By placing the subject strictly in the center, you deprive the photo of dynamism and expressiveness.
This rule is also called the “Golden Ratio” rule.
7. When shooting a landscape, add a foreground:
Objects close to the camera when shooting a landscape can add dimension and depth to the frame.
8. For successful landscape photography:
Take the time to explore the features of your chosen location: watch the lighting change throughout the day to decide when shadows and textures look most effective.
Monitor the weather forecast: the day before the planned photo shoot, determine whether it is worth going outdoors at all under the predicted weather conditions.
9. Choose the most favorable lighting conditions:
Please note that shooting at dusk is often the weak point of all digital cameras.
Shooting in bright sunlight has a very wide brightness range. A digital camera simply cannot capture it. Wait until the sun is covered with a light cloud. The best photos will be taken in the morning or evening, in the shade.
10. Hold the camera firmly with both hands and gently press the shutter button:
This is one of the conditions for obtaining clear pictures. Sometimes, in low light conditions, the camera itself signals that handheld shooting is impossible - a blurry image cannot be avoided. A tripod or some other fixed support can help here.
11. Use the built-in flash or an external flash with a radio synchronizer:
At dusk, in a dark room, the flash will illuminate the subject and allow you to shoot handheld, without a tripod.
Just don’t forget that usually built-in flashes are not very powerful - they reach three or four meters.
Flash is also indispensable when shooting in bright sun or against the sun. It will help soften the shadows.
12. Flash sync speed:
Because the duration of the flash pulse is so short, when shooting with curtain shutter cameras, you can only use shutter speeds faster than a certain value called the flash sync speed (X-Sync). At shorter shutter speeds, the frame window may not be fully open, which will lead to uneven illumination of the CCD matrix. For most digital SLRs, the X-Sync setting ranges from 1/125 to 1/500 sec.
13. If possible, set the matrix sensitivity correctly:
When shooting outdoors during the day, a sensitivity of 50 ISO is usually sufficient.
Shooting fast-paced scenes such as sports may require fast shutter speeds. Here and during the day you may need to set ISO 200-400.
Do not forget that high sensitivity leads to additional noise in the image.
14. Correctly focus using autofocus:
Automatic focusing is usually accomplished by pressing the shutter button halfway.
Place the subject you want to focus on in the center of the frame, otherwise autofocus may not work. When the camera signals a successful aiming, recompose the frame according to the “Golden Ratio” rule.
15. Set white balance:
Automatic white balance in simple digital cameras is often wrong. For example, at dusk, under artificial lighting.
Help the camera, set the white balance yourself in controversial situations. Just don’t forget to set the balance again when lighting conditions change.
16. Use exposure compensation if necessary:
Shooting light objects against a dark background, such as a white statue against a background of dark trees, often requires exposure correction of -(minus)
Shooting dark objects against a light background, such as a dark human figure against a background of snow, often requires exposure correction to + (plus).
Do not overuse strong correction; the digital camera reacts very sensitively to this. It is unlikely that a correction of more than one step is justified. Try 0.3, 0.7 stops.
17. During portrait photography:
Focus on the eyes - this will make the photo more expressive. If your model is wearing glasses, make sure they don't reflect anything.
Talk to the model - this will help her relax and look more natural.
18. Subject Size:
The distance between the photographer and the model that appears to the viewer greatly influences the perception of the photograph: when it is large, the portraits appear more distant and formal. Close-up portrait photography brings the warmth of close relationships to the work.
19. Lights in the eyes:
The light reflected in the model's eyes greatly enlivens the portrait. To make lights appear in the eyes, place a reflector in front of the model.
20. Camera and heat:
When photographing in the heat, remember that the black camera body heats up quickly. Do not leave it in the sun - hide it in your bag or cover it with light reflective material. In a worst case scenario, a simple Panama hat will do.
21. Chamber & frost and dampness:
If there is high humidity or frost outside, and you are going to a photo shoot, keep in mind that moisture begins to condense on the optics, mirror and electronics of the camera. Therefore, it is better to turn on the camera some time after the camera has “accustomed” to the ambient temperature. Preferably in a case. It’s the same thing when we return from frost or humid weather to a warm room, only an action is added - turn off the camera before entering the room (some recommend taking out the battery), they also advise waiting even a couple of hours after entering a warm room, because condensation that accumulates can damage the electronics.
22. Cleaning the optics:
It is not recommended to wipe foggy (or dirty) optics yourself. To do this, you need to let it dry and use the appropriate accessories, for example, a LENSPEN LP-1 pencil or napkins - Pre-moistened lens cloths - American, Brillen klar - German, etc.
23. Wildlife photography:
When photographing birds in flight with eyeliner, you may find that the camera will try to focus on the tips of the wings because they will be closest to you. Therefore, before releasing the shutter, you will need to either select a different focus point that is closer to the bird's head, or perform preliminary manual focusing.
Don't bypass zoos. Although this is not “wild nature,” it is the most convenient and safest place to hone your skills. And with carefully thought-out composition and skillful control of depth of field, you can get shots that no one will distinguish from “wild”. Filming with wiring will also help hide traces of the presence of civilization.
24. Shooting in the forest:
To successfully photograph a forest or trees, you will have to learn how to work with light. Forget that the sun should be behind you - let its rays break through the treetops!
25. Sports photography:
You shouldn’t always hunt for “tails” from moving objects - yes, it emphasizes speed, but often an absolutely clear shot looks more advantageous. Use the minimum shutter speed and open the aperture wider - then the blurred background will highlight the main subject.
26. To avoid wiggle:
Most people can hold a camera with a standard lens steady as long as the shutter speed is no longer than 1/60-1/30 sec. A good rule of thumb when choosing a shutter speed when shooting handheld is that it should be numerically no longer than the focal length of the lens in millimeters (or the equivalent focal length in the case of compacts). That is, when shooting with a 200 mm telephoto lens, it is advisable to use a shutter speed no longer than 1/200 sec.
There are two main paths to wealth: The path of the MASTER and the path of the MERCHANT.
The path of the MASTER- this is the creation of a product or service that people will buy from you. The more valuable a master you become, the more money comes to you. I once learned an amazing statistic.
In every field of activity there are the best MASTERS and the goods they produce. For example, in cars it is a Rolls-Royce. In Briony men's suits. In music, this is Igor Krutoy. And the best presenter is Ivan Urgant.
I named a few names, but there are about 3-4 leaders in each category. 30% of people want to buy only from them. Therefore, Urgant must be paid 50,000 - 100,000 dollars for the performance. After all, all the oligarchs and businessmen want to invite him. And he only has 20 days a month. And millions of people want it. Moreover, the best buyers are those for whom money is no longer important. They value quality, prestige and time. They simply ask: Who is the best? ... and buy. 30% of people want to buy from the first three. 30% of people find out the price and if they have the opportunity, they also buy from the first three. 40% don't even look at the first three. After all, they want to save money. They don't have much money. And besides the first three, there are thousands more masters in each category... And they are all fighting for the attention and money of 40% of the remaining audience. And these 40% really like to pay less)))
That's why the life of the first three is paradise. They choose who to work with and who not to work with. They themselves set any price for their goods. After all, demand exceeds supply. But to rise to the top you need 5-7 years of intense and hard work.
One day, a woman approached Pablo Picaso in a cafe and asked him to draw something on a napkin. 10,000 dollars - Picasso told her. In 5 minutes and a few strokes? - she was surprised. For 50 years of hard work that allowed me to become Pablo Picasso - he answered.
This is the path of the MASTER. And how to go through it as accurately, correctly and quickly as possible, I teach in the program “Get Rich! 4 Basics and the Main Secret”.
THE MERCHANT'S WAY- this is a different path and I talk about it in the program “Sell! Sales for EVERYONE”.
Exercise: Find the best MASTER in your favorite business and study his biography. Choose a book from his biography that he studied. And study it. QUOTE
It is still widely believed that a writer and poet can only work in moments of inspiration. Is this why writers wait for years for this inspiration and do not look for anything? I am convinced of only one thing: inspiration comes during work. Nikolay Ostrovsky
EVERY time I am convinced that: “Nothing can replace perseverance: neither talent - there is nothing more common than talented losers - nor genius - the loser genius has become a proverbial hero. Only perseverance and perseverance are omnipotent.” Calvin Coolidge, US President 1923-1929
JOKE
The father asks Vovochka: “Well, son, you’re already big, have you already chosen what you want to be when you grow up?” - Yes, dad! I want to be a pool cleaner. - That's all? - No, also a gardener, plumber and pizza delivery guy. The father became thoughtful, scratched the back of his head and shouted to his wife: “Listen, mother!” Looks like he found that tape...
Take action! Live! Make an impact! Get rich! Love! Isaac
It is still widely believed that a writer and poet can only work in moments of inspiration. Is this why many writers wait for this inspiration for years and do not write anything?
I am convinced of only one thing: inspiration comes during work. A writer must work as honestly as every builder of our country - in all weathers, in good and bad moods, for work is the noblest healer of all ailments.
There is nothing more joyful than work.
I’m looking forward to the end of my “ordered” vacation so I can pick up my pen again.
You ask me what my plans are beyond Stormborn? Don't ask me such disturbing questions. I can lose myself and unfold such a fantasy of desires before you that you will be stunned.
I want to write a book for children. Then a science fiction novel, and then finish the last volume, “How the Steel Was Tempered,” entitled “Korchagin’s Happiness.” And above all, I think to study in depth and breadth, to study until the last day of my life.
This is not a paradox, but a necessity. For all these plans, you need to live for at least ten years.
I wonder what the doctors will say to this? To be honest, I really want to break the longevity record. After all, life in our country is damn good!
I am ready, friends, to accept the harshest and most demanding criticism from you. I need it now, before the book is published, so that I can make all the necessary corrections.
First of all, I want to know the general impression of the book. There are two kinds of books. The first category includes those in which there are good exciting passages, but the books themselves are generally bad. And there are good books, but they have some unfortunate weak points. So, what is the overall impression of my book?
I have to say that the feedback I've received so far about "B[orn] of B[urei]" has been positive. This calms me down a bit. Frankly speaking, I was afraid of Syoma Tregub’s arrival. So, I think, he read the book, will come and say: “Move, friend, to another profession! Well, at least invent recipes for soap or become an accountant somewhere!” No, even he didn’t say that, and he’s a nasty critic. It makes it easier when the book is not criticized. After all, it is the result of two and a half years of work. I feel and understand that the book is far from perfect, and I will never rest on my laurels. I am the most malicious and picky of all my critics. I need to know whether it will serve the cause of communist education of youth, whether it will excite the hearts of readers and call them to struggle, to exploits, whether it will give an image of a young man of our era? Or it should be preserved immediately, without going to press, in the area of this house and quickly forgotten about it.
I received feedback from G[rigory] I[vanovich], from the adjutant of Marshal Voroshilov. These are positive reviews and they calm me down a little.
I decided to gather public opinion and only then give publishing houses the right to publish it. For now it has only been sent for viewing. I am very interested in the opinion of Komsomolskaya Pravda, as a youth newspaper. This is my professional newspaper, just as a railway worker or a miner has his own. They are interested in other newspapers, but their own first and foremost...
The boiler room scene resulted from a conversation with Lahuti. He gave me Gorky’s appeal to writers, in which A[lexey] M[aksimovich] asks writers to stop delving into themselves, to abandon psychologically sophisticated research, and to give in their books strong characters, great passions, to give people of great impulse, ebullient action, who will excite readers.
I know of three exceptional cases of the insane bravery of our soldiers during the civil war. I summarized them and gave the episode in the boiler room; I, as an artist, had the right to do this.
During one retreat of the First Cavalry Army, one fighter, a Budenovite, fell behind the detachment. The Poles occupied the territory. Their headquarters was located in the field, and an emergency meeting began. And so, in the midst of disputes, a mounted Budenovist flies out of the rye, shoots from a revolver, kills two generals, a colonel, and chops down about five staff officers. This surprise paralyzed everyone, but by the time they came to their senses, the Budenovo man killed nine people and disappeared again into the rye. He disappeared without a trace and was never found. Then he appeared several more times, always swooping down unexpectedly, shooting, slashing and rushing away like a whirlwind. And note - he was in his uniform, wearing a Budenovka with a scarlet star. He did not disarm behind enemy lines, did not hide. This is a man of extraordinary courage, some kind of legendary hero. But his name remained unknown, this episode was taken from Rydz-Smigly’s book, this is a fact, not a fantasy. If a writer describes such a fighter, the readers will not believe him - they will say far-fetchedly, such a fighter does not exist in life. But we know that struggle creates situations that are completely impossible in a peaceful, quiet environment.
The second case is told by Pilsudski in his book “The Twentieth Year”. During the retreat of the Poles, the state of their army was extremely depressed; they were terrorized by the red cavalry. And our reconnaissance team of seventeen people with four machine guns, in the heat of battle, pulled ahead sixty to seventy kilometers and found themselves cut off. These daredevils attacked the headquarters of the Polish division at night with wild screams, whooping, and shooting. They are in red trousers, in budenovkas with scarlet stars (even in the summer, the soldiers of the First Cavalry did not take off their red cloth trousers and cotton helmets - this was a special panache). They immediately created incredible panic. The Poles were seized with wild fear. Judging by the noise, one would think that most of them had attacked. Moreover, the First [Cavalry] Army attacked the enemy in its entirety. And a wild, incomprehensible retreat began. Seventeen people drove an entire division - four thousand five hundred people - and drove it sixty kilometers during the night. The division surrendered Kovel, and four days later our troops arrived and secured the victory. It is necessary to instill in young people the awareness that even one fighter, in the most seemingly hopeless situation, having found courage in his heart, can bring enormous harm to his enemies. We must cultivate courage and determination to fight to the last opportunity. I want to prove this point with the Bird type. Nine hundred passive workers were thrown into the street, a helpless, frightened crowd. And Bird alone, locked in the boiler room, raises the whole city and defends himself, like a lion cub, from the legionnaires. Outbursts of such courage, courage contrary to logic, are sometimes necessary, they prove to the passive masses that there are no hopeless situations, the courage of resistance destroys everything. If it was possible to show this, then I’m glad...
Non-Union complex sentences are such complex sentences, the parts of which are connected only by meaning and intonation, without the help of conjunctions and allied words.
Different signs are placed between the parts of a non-conjunct complex sentence: comma, semicolon, colon, dash.
I. Comma between the parts of a non-union complex sentence is placed if these parts are closely related to each other in meaning, indicate simultaneously or sequentially occurring events (a conjunction can be inserted between them And):
Meanwhile, the sun came out, it sent its rays to the ground, the rays penetrated the thick thicket and illuminated every branch.
II. Semicolon is put when the parts of a non-union complex sentence are more distant from each other in meaning or are significantly widespread (especially if they have commas inside them):
Thick icicles hanging from the roofs melted in the sun; the drops falling from them hit the ice loudly; along all the streets the drops sang the ringing song of spring.
III. Colon in a non-union complex sentence that splits into two parts, it is placed in the following cases:
1) if second part (one or more sentences) explains, reveals the content of the first part (between these parts you can insert the expression "namely"):
He had never seen such an autumn before: there was neither a breeze nor a cloud in the transparent sky (namely, what kind of autumn?).
2) if in first parts are verbs see, look, understand, know, feel And T. etc., with the help of which a warning is made that a statement of some fact or some description will follow (in such cases, a conjunction can be inserted between the parts What):
I am convinced of only one thing: inspiration comes during work.
3) if the first part contains verbs look out, look around, listen and others, warning about further presentation and allowing insertion after themselves words “and I saw that,” “and I heard that, and I felt that,” etc.:
The prince lowered his bow and looked: the kite was drowning in the sea and not like a bird
groans with a cry.
4)Ifsecond part indicates the reason for what is said in the first part (you can insert a conjunction between them because, since, since):
Daytime stars are never visible in the sky: they are eclipsed by the sun.
IV. A dash in a non-union complex sentence, split into two parts, is placed in the following cases:
4) if insecondpart contains an unexpected result or an indication of a rapid change of events:
He hit the brakes- the speed has not decreased.
The cheese fell out- There was such a trick with him.
5) if insecond part contains a sharp contrast with respect to the content of the first part (a conjunction but or a can be inserted between the parts):
The brave win- the cowardly perish.
6) Ifsecond part contains a consequence, a conclusion from what is said in the first part (between the parts you can insert the words therefore, so):
The heat was getting worse- It was becoming difficult to breathe.
7) if infirst part indicates the time of the action mentioned in the second part (at the beginning of the first part you can substitute the conjunction when):
The forest is being cut down- chips are flying.
8) Iffirst part denotes the condition for performing the action mentioned in the second part (at the beginning of the first part you can substitute the conjunction if):
The weather will be good tomorrow- let's go to the forest.
9) if insecond part contains a comparison with what is said in the first part (you can insert conjunctions between them as if, as if, as):
Says a word- the nightingale sings.
7) ifsecondpart is a connecting clause (the word this can be inserted before it):
In the evenings, the crimson, dim sun hung over the horizon for a long time.- a bad sign.
It should be remembered that someone else’s speech cannot be transmitted verbatim, but only with its content preserved. In such cases they talk about indirect speech. Indirect speech is the subordinate part of a complex sentence.
Sentences with direct speech can use appeals, interjections, particles, affirmative-negative and interrogative-exclamatory words.
Punctuation marks in dialogue. Use of quotation marks.
“- When was Benckendorff born?
Year seventy , - I answered.
Or more precisely? – the woman asked.
Unfortunately , - I say , - forgot…"
S. Dovlatov (“Reserve”)
In short, I hope everyone understands... I don’t know how to explain this. If there is a period, and then indirect speech, then this period turns into a comma. Exclamation marks, question marks, and ellipses remain in effect. If direct speech is torn, then either: “You know,” she hesitated , - I’ve been wanting to ask you for a long time...” (because “You know , I’ve been wanting to ask you for a long time...") or: “It’s cloudy today,” he said . – Let's go to the house." (because “Cloudy today” . Let's go to the house")
Punctuation marks for address, interjections, affirmative, negative, interrogative and exclamation words.
Appeal- this is a word or phrase that names the addressee of speech (i.e. the one to whom the speech is addressed).
The appeal is distinguished by commas, and in case of special emotional stress - by an exclamation mark:
Hello my friends.
And you, friends, no matter how you sit down.
You're still not fit to be musicians.
Poet! Do not value any people's love.
If after the reference there is a definition or application, then it is isolated and perceived as a second reference:
Petya, my dear, where are you?
Petya, dear, where have you hidden?
Particles o.Oh. Aetc., standing before the appeal, are not separated from them:
O deceptions beloved by the heart...
If there is an interjection before the address, then it is separated by a comma or a question mark (unlike a particle, the interjection is intonationally emphasized, accentuated):
Hey. guys, help me.
Calling for attention, an interjection can itself act as an address:
Hey! Come here!
Personal pronounsYouAndYou,As a rule, they do not act as appeals.
Punctuation marks for negative and interrogative-exclamation words
1. WordsYesAndNo, expressing affirmation and negation are separated by commas. Depending on the intonation, they may be followed by an exclamation mark, an ellipsis and a period:
Yes it is.
East. this is wrong. No" I'm not going anywhere!
WordYescan appear as a particle, and then it is not separated by commas:
Yes, everything is fine!
Come on! Enough for you!
WordNocan act as a member of a sentence (predicate), in which case it is not separated by commas:
There's no one here.
Yes, we have nothing.
Question and exclamation wordswhat, what, how. what, how, well, wellare distinguished by punctuation marks:
What. Are you already tired?
Let's take a rest, shall we?
Where are you, huh?
Use of quotation marks.
Words used in an unusual, conventional, ironic meaning
The following are highlighted in quotation marks:
1) unusual, rarely used words that the author wants to draw attention to, for example: We went to the forest, or, as we say, to “order”(Turgenev);
2) words used in a special, unusual meaning, for example: They[third class passengers] had no right to be on the upper decks, intended exclusively for the “clean” public of first and second class(Kataev);
3) words that represent little-known terms, for example: Early in the spring... “burns” or forest fires begin(Aksakov);
4) words are outdated or, conversely, completely new, if this feature is emphasized, for example: Almost all high school students came to this fun “party”;
5) words used in an ironic sense, for example: ...In literature we honor the “table of ranks” and are afraid to speak out loud about “high-ranking persons”(Belinsky);
6) words used in a conditional meaning (in relation to a situation or context), for example: During the maneuvers, the “reds” opposed the “greens”; “the enemy” used “atomic weapons”.
Wed. Also: "barrel"(in aviation) "boiler"(in military affairs) "green Street"(for railway workers) "White gold"(cotton), "white coal"(water electricity), "White paper"(collection of documents), "black gold"(oil), "lightning"(urgent release at the printing house), "bat"(miners' lantern) be on “you” (on “you”), cut “under the pot”, “great dumb”(movie), "goat"(in sports), etc.
THE CENTER FOR SCIENTIFIC THOUGHT WAS CREATED ON MARCH 1, 2010 ON THE INITIATIVE OF A NUMBER OF SCIENTISTS OF THE CITY OF T AGANROG. THE MAIN ACTIVITY OF THE CENTER IS AIMED AT CONDUCTING INTERNATIONAL SCIENTIFIC AND PRACTICAL CONFERENCES IN VARIOUS BRANCHES OF SCIENCE, PUBLISHING MONOGRAPHIES AND TEACHING GUIDELINES. ALL ACCEPTED MATERIALS PASS A PRELIMINARY EXAMINATION, AND THE CENTER EMPLOYEES MADE SPELLING, PUNCTUATION, AND STYLISTIC CORRECTIONS. THE CENTER COOPERATES WITH THE PUBLISHING HOUSES “SPUTNIK +” AND “P ERO” (MOSCOW). ALL MANUAL MANUAL PRODUCED BY THE CENTER HAVE THE INTERNATIONAL ISBN INDEX, ARE MADE ON HIGH-QUALITY PAPER, AND ARE DIFFERENTIATE BY HIGH QUALITY PRINTING. TODAY THE CENTER OF SCIENTIFIC THOUGHT IS A MODERN, DYNAMICALLY DEVELOPING ORGANIZATION WITH HIGH SCIENTIFIC POTENTIAL, GIVING THE OPPORTUNITY TO PUBLISH THEIR WORKS FOR BOTH ALREADY SCIENTISTS AND YOUNG GRADUATE STUDENTS FOR STUDENTS.
Materials for publication are accepted almost around the clock. - Flexible payment system. - Conference participants are sent a ready-made document for payment (no need to fill it out themselves). - Conference participants receive a certificate of participation in the conference and a diploma (which is necessary to form their own portfolio). - A collection of published materials can be received 2 months after the end of the conference. - Collections of the Moscow publishing house, with ISBN, UDC, BBK numbers. - The cover of the collection is full color. - Collections are sent to 16 major libraries in Russia and abroad. - International conferences. - All materials undergo preliminary examination (we carry out spelling, punctuation and stylistic corrections).
Basic: Conducting Internet conferences. 1 Publishing collections of scientific articles. 2 Publication of scientific articles. 3 Publication of monographs, textbooks. 4 Compiling reviews of abstracts of master's and doctoral dissertations. 5 Reviewing monographs, textbooks. 6 Translation of articles, annotations to articles, monographs, information about authors from Russian into English. 7 Writing scientific articles to order. 8
Additional: Forwarding collections of scientific and practical conferences. 1 Issuance of diplomas to conference participants. 2 Issuance of certificates confirming the fact of publication. 3 Issuance of a detailed certificate containing information about all published works in the Center. 4
Our conferences: 1. Current issues in the modernization of Russian education. 2. Current issues of modern science. 3. Educational activities of a pedagogical university: problems and prospects for development. 4. Law and order. 5. Linguistics in the modern world. 6. International scientific and practical conference of Young Scientists. 7. Municipal educational space in the paradigm of personality-oriented education. 8. Municipal education system (content, technology, development prospects). 9. Science in the modern world. 10. New technologies in education. 11. Psychology in the 21st century. 12. Modern teacher: personality and professional activity. 13. The values of education in the process of spiritual and moral education of modern youth.
