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There are two methods for performing the standing broad jump the CMJ countermovement jump and the squat jump. The squat jump is a static hold then jump, were as the CMJ uses the elasticity of the muscles to preload and release during the movement achieving better results. Squat down bringing chest towards knees swinging arms back, come into a deep or half squat. Once you reach the above position instantly jump forwards swinging your arms to propel you. The following table can be used to asses your standing broad Jump test resulst using the CMJ technique. Do you currently use the quadrathlon in your training?  If so, leave a comment below telling the community your experiences with the Max Jones Test.
T-Enami.org - A Welcome, all who like old Photos of Japan !YOU ARE ONE OF OVER 100,000 VISITORS TO THIS SITE. Standing jump tests are also a very consistent fitness test which can be repeated very easily and with very little fitness testing equipment. It is also a more realistic measurement of what we would achieve in sport since we will naturally utilize the elasticity of muscle in this way.
It should not be used on clients who are injured, pregnant, hypertensive or have just begun exercising. OTHERWISE, BEGIN SCROLLING DOWN FOR A TREASURE-TROVE OF RARE AND BEAUTIFUL PHOTOS OF OLD JAPAN.
ENAMI WEARING SAMURAI ARMOR, TAKING A REST BETWEEN POSES IN HIS YOKOHAMA STUDIO, CA.1898-1900.


ENAMI, OTHER WELL-KNOWN JAPANESE PHOTOGRAPHERS WHO OPERATED DURING THE MEIJI-ERA (1868-1912) ARE MENTIONED THROUGHOUT THE COMMENTS.I HOPE YOU FIND THE STORY AND DATA BOTH INTERESTING AND HELPFUL.
FOR THOSE WHO ARE HERE PRIMARILY TO LOOK AT THE IMAGES, I HOPE THAT YOU EXPERIENCE SOME ENJOYMENT IN GAZING AT A FEW OF ENAMI'S"LOST PICTURES" OF OLD JAPAN. THOSE THAT LIVE FOR DISCOVERING NEW DATA AND CONNECTING THE DOTS WILL NO DOUBT FIND SOME EYE-OPENING REVELATIONS HERE.A OF COURSE, WE ALL LOVE KIMBEI KUSAKABE AND THE REST OF THOSE ILLUSTRIOUS JAPANESE PIONEERS OF PHOTOGRAPHY WHO GOT THEIR START LONG BEFORE ENAMI OPENED HIS OWN MEIJI-ERA STUDIO. THEIR BEST WORK IS ENOUGH TO TAKE YOUR BREATH AWAY.HOWEVER, ENAMI ALSO HAD HIS FANS AND FRIENDS, BOTH AS A PERSON AND AS A PHOTOGRAPHER. AS YOU SCROLL DOWN THESE PAGES, FOR A FEW MOMENTS YOU MAY STEP INTO ENAMI'S SHOES, AND TAKE A PEAK THROUGH HIS LENS.A LIKE SO MANY OTHERS --- SOME NOW FAMOUS, BUT MOST BEING FORGOTTEN --- ENAMI DEDICATED HIS LIFE TO CAPTURING, AS BOTH ART AND DOCUMENT,A WORLD THAT WAS QUICKLY VANISHING BEFORE HIS EYES. AS THIS SITE IS A PERSONAL HOMAGE TO ENAMI, YOU WILL FIND SOME AMATEUR ELEMENTS, AND THE OCCASIONAL PITFALL.
AT ALL TIMES, PLEASE "EAT THE MEAT, AND SPIT OUT THE BONES" WHILE DIGGING FOR VISUAL TREASURE.DISCOVERING THE OCCASIONAL GEM OF A PICTURE, OR ODD BIT OF INFORMATION, WILL HOPEFULLY MAKE THE SCROLLING WELL WORTH IT. The general wording seen above was fairly common to all photographic self-promotion during the Meiji-era, and actually contains less specifics than some of his studio ads which he placed in various guide books of the time.
OGAWA, who was actually a year younger than Enami, was still his "elder" in terms of experience.
It was photographed by Enami's friendly competitor and neighbor Kozaburo Tamamura, whose studio was located at No.2 Benten Street.
It would be built in 1894 just down the street on the right hand side, and appear in endless views and postcards as the most recognizable landmark of Benten Street.
Other images of Enami's studio -- both interior and exterior views -- are shown farther down on this page.A  While offering many of the same services and productions as his contemporaries, he also engaged in other activities that made him unique.


Further, while no photographer did "everything", Enami worked and published in more processes and formats than any other Japanese photographer of his time.
A He was one of only a few photographers born during Japan's old Edo-Bakumatsu period, who went on to photograph right through to the Showa period of Emperor Hirohito.Enami was also one of the few to experience, and then successfully outgrow his roots as a traditional maker of the classic, large-format "Yokohama Shashin" albums. While successfully embracing the smaller stereoview and lantern slide formats, he added to that a portfolio of Taisho-era "street photography" that maintained his own unique and artistic content.
Enami and Kimbei Kusakabe are now the only two Japanese photographers known to have a surviving list of their commercial 2-D images. While Enami's 2-D portfolio contained a sprinkling of older, public domain images, his 3-D images and slides made from them were wholly his own.A THE 3-D CATALOG "S 26.
Girls Looking at Pictures" A Maiko and two Geisha Looking at Stereoviews in Enami's Yokohama Studio. One of over 1000 cataloged 3-D images of old Japan.A THE "CATALOG OF COLORED LANTERN SLIDES AND STEREOSCOPIC VIEWS"A  Not surprisingly, Enami matched his older Catalog of Meiji-era Prints with a separately published catalog of his classic STEREOVIEWS. In the case of the 3-D Catalog, the lantern-slides were all made directly from one half of the stereoview negatives. The Cover and two sample pages of the Stereoview Catalog are shown just below in the Enami Activity List numbers (6) and (9). ENAMI'S ACTIVITIES and CONTRIBUTIONS TO THE WORLD OF JAPANESE PHOTOGRAPHYA A  For the moment, based on a wide range of primary sources, it is now clear that T.



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