See Thru

2010-07-15T09:22:00.004+08:00

Internet Explorer is the world's most popular Web browser. Security, ease of use, and improvements in RSS, CSS, and Ajax support are Microsoft's priorities for Internet Explorer.

The latest version of the browser includes support for:

Accelerators - which allow supported web applications to be invoked without explicitly navigating to them.
WebSlices - which allows portions of page to be subscribed to and monitored from a redesigned Favorites Bar.
InPrivate privacy features.
SmartScreen phishing filter.

Download Link 2
http://www.filefactory.com/file/b28g8c4/n/IE8-WindowsXP-x86-ENU.exe

WARNING : DON'T OFFER DUIT KOPI FROM NOW ON!

2008-12-21T19:04:00.000+08:00

DEAR FRIENDS

If you have ever paid or are thinking of paying ' Coffee Money' when stopped for traffic or other offences, DON'T EVER Do This Again.

The traffic department (JPJ) has recently started a campaign to be rid of corruption. Every Officer on duty will be rewarded with RM100.00 if they report each case of bribery to the department.

This is how they do (trick you into) it. They will note down the details of your IC/MyKad, and ask you how you want to settle ( 'Macam mana nak selesai?')

If you indicate yes or even offer to give them any money, they will report the incident by rejecting your 'Kopi Money' and get the RM100.00 instead as an incentive for their integrity and 'Honest' pubicity.

This means that You will end up having a summon issued to you and perhaps a charge for bribery.

SO DON'T PAY DUIT KOPI AGAIN, especially if you hope to go free with a lesser amount of money compared to the fine. Even if you want to pay over RM200, the JPJ Officers would rather have a 'good' name than to take your kopi money. Just beware of their trick because the cops are now accumulating 'cookies' points for their promotion and pay increment - with your help if possible. They should have done this to stop corruption long time ago... but anyway it's better late than never, right?

SPREAD THIS MESSAGE TO EDUCATE OTHERS ON THIS NEW ANTI-RASUAH POLICY! AND DON'T YOU DARE TO CORRUPT ANY JPJ OR EVEN POLICE OFFICERS AGAIN!

WHAT TO DO IF STOPPED BY MALAYSIAN POLICE

2008-12-21T19:03:00.002+08:00

This is is very useful information. Please pass it on to your friends and family.............especially the women folk!

The next time you are stopped by persons who claimed they are plain clothes police, you are under no obligation to answer their questions or follow their orders, lawyers told Malaysiakini today.

"Policeman who is not wearing his uniform does not have the authority to stop anyone," lawyer and human rights activist Sivarasa Rasiah said.

Sivarasa was commenting on the alleged gang-rape of an 18-year-old Uni student by four men claiming to be police officers on New Year's Eve. The girl said that her car was stopped in Taman Tun Dr Ismail in Kuala Lumpur and were asked by the men to open the car bonnet. She was then told that she had committed an offence and ordered to follow the men to a police station. The girl was driven in her car along the North-South expressway to the Tapah-Cameron Highlands road before she was raped in an oil palm estate.

This incident, and many others, have sparked confusion over the procedures which motorists must follow when flagged down by the police. The most common problem is that most people take instructions without determining if the other person is really a cop," lawyer Annie Santiago said.

However, if you are stopped by a uniformed policeman, then you are required to stop. But you need not get out of the car because you are not expected to do so, Santiago said. He other rule to follow is to provide your identity card only when you are asked to do so. "Even then, you should get his ID first to confirm if he is a cop. There is no harm in calling the relevant police station to verify if he is supposed to be on duty that day," Sivarasa said.

Both lawyers said that motorists should never follow an officer to the police station unless one is under arrest . "If you are not sure, and your instincts tell you that something is wrong, then drive off to the nearest police station and lodge a report," Sivarasa said.

In response to the alleged gang-rape of the 18-year-old, Women's Aid Organisation executive-secretary Ivy Josiah called on the police to launch an education program to teach the public about their rights to prevent them from being victimised by bogus police officers.

Procedures to follow in the event you are stopped by uniformed police Officers while driving:

1. Stop the car and wind down your window.
2. If the police officers ask for your documents, request to see their
IDs first.
3. If you are satisfied about their identity, ask them if you are being
summoned, and for what offence.
4. Produce your identity card and driver's license and wait to collect
your summon ticket.

In the event that the police officers ask you to follow them to the police station:

1. Ask if you are under arrest and for what offence.
2. If you are not under arrest, you have the right to leave.

In the event you are flagged down by persons you believe could be plain clothes police:

1. Do not stop because plain clothes police officers do not have the
authority to stop you.
2. Drive to the nearest police station and lodge a report. (The same
procedure applies to pedestrians)

In the event the police come to your house:

1. Do not let them in before checking their IDs.
2. If you are not satisfied, phone the nearest police station and
confirm if they had been sent to your house.
3. You are under no obligation to allow them into the house if they
don't have a search warrant.
4. Do not go with them if you are not under arrest.

In the event persons who claimed to be plain clothes police come to your house:

1. Do not let him in because they do not have the authority to do so.
2. Lodge a report at the nearest police station.

PLEASE PASS IT ON..........

PLEASE PASS IT ON..........

PLEASE PASS IT ON............

觀景窗

2008-11-09T20:35:00.001+08:00

LEICA的觀景器又大又亮，這是非常大的優勢，特別對於手動對焦與低光度下，可達成準確對焦的要求。
關於本問題詢問『尺寸的問題』請恕我也沒有相關資料，僅就一些基本的東西做論述。

首先，關於觀景器本身，要讓人看得舒服（通常就是比較大），就決定於接目鏡的口徑（其實跟望遠鏡道理一樣），就個人使用不同相機，從早年的CANON的手動相機、NIKON FM2這兩台，為了手動對焦的要求，接目鏡比較大，而容易觀景，就RF相機，高級的LEICA M或是ZEISS IKON也都較大，這當然帶給攝影者容易手動對焦的優點；而後來的自動對焦相機便宜的EOS500N還是近年便宜數位機，明顯的小很多，這當然有成本的考量，而高檔的自動對焦相機，如NIKON F5一樣能做得很大，帶給使用者許多方便（畢竟它也設計給裝載手動對焦鏡頭使用）。這實在取決於廠商對於機身功能的要求，不過一昧的將接目鏡做大，並不會帶來優勢，因為相對地要解決視野變大後維持影像品質與亮度的問題。

再來，就觀景器的亮度而言，SLR的光線經由鏡頭，再進入反光鏡與五稜鏡折射後進入眼睛，若要達成高亮度的要求，必須追求上述過程中，光線的損失最小的目標，此時光學設計就非常重要，若仔細的觀察LEICA R6.2（或R8/R9）的反光版，就會發現，它是個半透明的鏡子，有趣的是，有部分的光線（印象中是30%）穿透供測光表使用，剩下才供作觀景，如此還能夠這麼亮，實在是廠商的秘密了，另外日系廠商的頂級機身一樣很亮，如此可以推論，觀景器亮度成本不低。

另外，現在有些數位機身的配件有『觀景器放大鏡片』，說真的，不要期待太高，因為就算把影像放大了，也不會放大亮度，在光線較差的情況下，恐怕效果有限。

R6.2
觀景窗範圍：23x34.6 (垂直 96%，水平 96% 整體為 96% x 96% = 92%)
觀景窗倍率：0.80 (無視力矯正，搭配 50mm 鏡頭)
至於反光鏡：17層鍍膜，70%反射(觀景窗)；30%穿透(測光)

R8/9
觀景窗範圍：23x35 (垂直 96%，水平 97% 整體為 96% x 97% = 93%)
觀景窗倍率：0.75 (無視力矯正，搭配 50mm 鏡頭)
至於反光鏡：17層鍍膜，70%反射(觀景窗)；30%穿透(測光)

以上，請參考。

Canon DPP 安裝分享

2008-10-15T20:31:00.000+08:00

望可以幫到大家

起canon download 既DPP 等software, 只係可以update, 如果部機本身冇裝canon 既software 加唔見左隻cd就裝唔到
舊既version 可以用zip software extract 佢, 但新download 個d就唔得.
研究左一下, 發現只要加入一個registry 就可以順利install 架啦
我測試係windows xp 32-bit 同windows vista ultimate 64-bit

先新加一個text document, 打開佢, 加入以下既data, 之後將個file name 改做canon.reg, 再double click 佢就ok 架啦.
windows xp 32-bit
-------
Windows Registry Editor Version 5.00

[HKEY_LOCAL_MACHINE\SOFTWARE\Canon]
[HKEY_LOCAL_MACHINE\SOFTWARE\Canon\DPP]
[HKEY_LOCAL_MACHINE\SOFTWARE\Canon\EOSViewerUtility]
[HKEY_LOCAL_MACHINE\SOFTWARE\Canon\PhotoStitch]
[HKEY_LOCAL_MACHINE\SOFTWARE\Canon\ZoomBrowser]
-------

windows vista 64-bit
-------
Windows Registry Editor Version 5.00

[HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node\Canon\DPP]
[HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node\Canon\EOSViewerUtility]
[HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node\Canon\PhotoStitch]
[HKEY_LOCAL_MACHINE\SOFTWARE\Wow6432Node\Canon\ZoomBrowser]

original from here
http://www.dchome.net/viewthread.php?tid=575488&extra=page%3D1

REMEMBER HIS FACE!!!

2008-10-15T07:34:00.002+08:00

Last Saturday, a friend and i went to Red Box. On the way going to Plaza Gurney i was stuck in a traffic jam at Jelutong. As normal, i put my hand bag at the back seat while my friend sitting beside me. It was verry jam and because of too long of waiting there i started to look around. Suddenly i noticed a guy standing at the road side and looking at my hand bag that i had put at the back seat. I immediately lock the door. That guy really come to my car and he tried to open my car's back door. I immediately snap his picture.Women out there, pls lock your car door once u get into your car.And pls remember this bastard face. Beware of him.

What TRUE words!!

2008-10-15T07:33:00.001+08:00

F A M I L Y

I ran into a stranger as he passed by,
'Oh excuse me please' was my reply.

He said, 'Please excuse me too;
I wasn't watching for you.'

We were very polite, this stranger and I.
We went on our way and we said goodbye.

But at home a different st! ory is told,
How we treat our loved ones, young and old.

Later that day, cooking the evening meal,
My son stood beside me very still..

When I turned, I nearly knocked him down.!
'Move out of the way,' I said with a frown.

He walked away, his little heart broken..
I didn't realize how harshly I'd spoken.

While I lay awake in bed,
God's still small voice came to me and said,

'While dealing with a stranger,
common courtesy you use,
but the family you love, you seem to abuse.

Go and look on the kitchen floor,
You'll find some flowers there by the door.

Those are the flowers he brought for you.
He picked them himself: pink, yellow and blue.

He stood very quietly not to spoil the surprise,
you never saw the tears that filled his little eyes.'

By this time, I felt very small,
And now my tears began to fall.

I quietly went and knelt by his bed;
'Wake up, little one, wake up,' I said.

'Are these the flowers you picked for me?'
He smiled, 'I found 'em, out by the tree.

I picked 'em because they're pretty like you.
I knew you'd like 'em, especially the blue.'

I said, 'Son, I'm very sorry for the way I acted today;
I shouldn't have yelled at you that way.'
He said, 'Oh, Mom, that's okay.
I love you anyway.'

I said, 'Son, I love you too,
and I do like the flowers, especially the blue.'

FAMILY
Are you aware that if we died tomorrow, the company
that we are working for could easily replace us in
a matter of days.
But the family we left behind will feel the loss
for the rest of their lives.

And come to think of it, we pour ourselves more
into work than into our own family,
an unwise investment indeed,
don't you thin! k?
So what is behind the story?

Do you know what the word FAMILY means?
FAMILY = (F)ATHER (A)ND (M)OTHER (I) (L)OVE (Y)OU

May God bless you and your family

Ways To Speed Up WinXP

2008-09-25T15:33:00.001+08:00

1. Defragmenting remains an important task. Why? For one, power consumption and heat can be directly related to a fragmented hard drive. When the computer's operating system requests data, if a file is not contiguous, then extra seeking on the disk may be required. But a more important consideration is disk failure. Should a hard drive fail, the likelihood of successfully recovering data from the dead or damaged drive improves significantly if the data is contiguous rather than randomly scattered about the drive platters.

2. If a PC has less than 512 MB of RAM, add more memory. This is a relatively inexpensive and easy upgrade that can dramatically improve system performance.

3. Ensure that Windows XP is utilizing the NTFS file system. If you're not sure, here's how to check: First, double-click the My Computer icon, right-click on the C: Drive, then select Properties. Next, examine the File System type; if it says FAT32, then back-up any important data. Next, click Start, click Run, type CMD, and then click OK. At the prompt, type CONVERT C: /FS:NTFS and press the Enter key. This process may take a while; it's important that the computer be uninterrupted and virus-free. The file system used by the bootable drive will be either FAT32 or NTFS. I highly recommend NTFS for its superior security, reliability, and efficiency with larger disk drives.

4. Disable file indexing. The indexing service extracts information from documents and other files on the hard drive and creates a "searchable keyword index." As you can imagine, this process can be quite taxing on any system.

The idea is that the user can search for a word, phrase, or property inside a document, should they have hundreds or thousands of documents and not know the file name of the document they want. Windows XP's built-in search functionality can still perform these kinds of searches without the Indexing service. It just takes longer. The OS has to open each file at the time of the request to help find what the user is looking for.

Most people never need this feature of search. Those who do are typically in a large corporate environment where thousands of documents are located on at least one server. I recommend disabling it.

Here's how: First, double-click the My Computer icon. Next, right-click on the C: Drive, then select Properties. Uncheck "Allow Indexing Service to index this disk for fast file searching." Next, apply changes to "C: subfolders and files," and click OK. If a warning or error message appears (such as "Access is denied"), click the Ignore All button.

5. Update the PC's video and motherboard chipset drivers.

6. Once a month, run a disk cleanup. Here's how: Double-click the My Computer icon. Then right-click on the C: drive and select Properties. Click the Disk Cleanup button -- it's just to the right of the Capacity pie graph -- and delete all temporary files.

7. In your Device Manager, double-click on the IDE ATA/ATAPI Controllers device, and ensure that DMA is enabled for each drive you have connected to the Primary and Secondary controller. Do this by double-clicking on Primary IDE Channel. Then click the Advanced Settings tab. Ensure the Transfer Mode is set to "DMA if available" for both Device 0 and Device 1. Then repeat this process with the Secondary IDE Channel.

8. Upgrade the cabling. As hard-drive technology improves, the cabling requirements to achieve these performance boosts have become more stringent. Be sure to use 80-wire Ultra-133 cables on all of your IDE devices with the connectors properly assigned to the matching Master/Slave/Motherboard sockets. A single device must be at the end of the cable; connecting a single drive to the middle connector on a ribbon cable will cause signaling problems. With Ultra DMA hard drives, these signaling problems will prevent the drive from performing at its maximum potential. Also, because these cables inherently support "cable select," the location of each drive on the cable is important. For these reasons, the cable is designed so drive positioning is explicitly clear.

9. Remove all spyware from the computer. Use free programs such as AdAware by Lavasoft or SpyBot Search & Destroy. Once these programs are installed, be sure to check for and download any updates before starting your search. Anything either program finds can be safely removed. Any free software that requires spyware to run will no longer function once the spyware portion has been removed.

10. Remove any unnecessary programs and/or items from Windows Startup routine. Using the MSCONFIG utility is one way. Here's how: First, click Start, click Run, type MSCONFIG, and click OK. Click the StartUp tab, and then uncheck any items you don't want to start when Windows starts. Unsure what some items are? Visit the WinTasks Process Library. It contains known system processes, applications, as well as spyware references and explanations. Or quickly identify them by searching for the filenames using Google or another Web search engine. Or even better yet. If you have Spybot S&D installed. You can use it to stop programs from starting up.
Open Spybot and go into Advanced Mode. Go down to Tools, and then open System Startup. There you can disable programs from starting.
NOTE: If you have the Genuine Windows Advantage installed, you will want to leave all "system.ini" running. Or you wont be able to get updates from MS to install.

11. Remove any unnecessary or unused programs from the Add/Remove Programs section of the Control Panel.

12. Turn off any and all unnecessary animations, and disable active desktop. In fact, for optimal performance, turn off all animations. Windows XP offers many different settings in this area. Here's how to do it: First click on the System icon in the Control Panel. Next, click on the Advanced tab. Select the Settings button located under Performance. Feel free to play around with the options offered here, as nothing you can change will alter the reliability of the computer.

13. If you are an advanced user who is comfortable editing their registry, try some of the performance registry tweaks offered at Tweak XP.

14. Visit Microsoft's Windows update site regularly, and download all updates labeled Critical. Download any optional updates at your discretion.

15. Update your anti-virus software on a weekly, even daily, basis. Make sure you have only one anti-virus software package installed. Mixing anti-virus software is a sure way to spell disaster for performance and reliability.

16. Make sure you have fewer than 500 type fonts installed on your computer. The more fonts you have, the slower the system will become. While Windows XP handles fonts much more efficiently than did the previous versions of Windows, too many fonts -- that is, anything over 500 -- will noticeably tax the system.

17. Do not partition the hard drive. Windows XP's NTFS file system runs more efficiently on one large partition. The data is no safer on a separate partition, and a reformat is never necessary to reinstall an operating system. The same excuses people offer for using partitions apply to using a folder instead. For example, instead of putting all your data on the D: drive, put it in a folder called "D drive." You'll achieve the same organizational benefits that a separate partition offers, but without the degradation in system performance. Also, your free space won't be limited by the size of the partition; instead, it will be limited by the size of the entire hard drive. This means you won't need to resize any partitions, ever. That task can be time-consuming and also can result in lost data.

18. Check your system's RAM to ensure it is operating properly. I recommend using a free program called MemTest86. The download will make a bootable CD or diskette (your choice), which will run 10 extensive tests on the PC's memory automatically after you boot to the disk you created. Allow all tests to run until at least three passes of the 10 tests are completed. If the program encounters any errors, turn off and unplug the computer, remove a stick of memory (assuming you have more than one), and run the test again. Remember, bad memory cannot be repaired, but only replaced.

19. If the PC has a CD or DVD recorder, check the drive manufacturer's Web site for updated firmware. In some cases you'll be able to upgrade the recorder to a faster speed. Best of all, it's free.

20. Disable unnecessary services. Windows XP loads a lot of services that you most likely do not need.

21. At least once a year, open the computer's cases and blow out all the dust and debris. While you're in there, check that all the fans are turning properly. Also inspect the motherboard capacitors for bulging or leaks.

How do I backup my files and folders in XP?

2008-09-25T15:15:00.000+08:00

Windows XP comes with a backup tool called NTBACKUP (NTBACKUP.MSI from Windows XP CD-ROM). In Windows XP Home Edition, this tool has to be installed manually from the CD-ROM, whereas in Windows XP Professional, this tool is installed by default.

Double-click the Ntbackup.msi file in the following location on the Windows XP Home Edition CD to start a wizard that installs NTBackup: X:\VALUEADD\MSFT\NTBACKUP

X:\ refers to the CD-ROM drive-letter

Note: Usually, OEMs such as Compaq, DELL won't ship the Windows XP CD nor they include the NTBACKUP utility by default. You can download a copy of NTBACKUP.MSI here.

Backing up your files using NTBackup Utility:

Click Start, Run and type NTBACKUP

Select Backup tab at the top

In the left pane, scroll to the file/folder which you want to backup and put a checkmark on it.

At the bottom, mention the output filename (the backup output)

Once set, click Start Backup button in the right, and again click Start Backup in resulting dialog

NTBACKUP does not have the ability to write to CDs directly. You will need to save the backup to hard drive, then transfer or burn it to a CD-ROM. Also, while backing up several files, make sure you backup the files in separate sets of each max 650MB (so that it fits on a CD-ROM)

Three Prime lenses launched by Leica

2008-09-21T10:46:00.000+08:00

Pre-Photokina 2008: Leica has, amongst its latest announcments, launched three new prime lenses - the SUMMILUX-M 21 mm f / 1.4 ASPH, SUMMILUX-M 24 mm f / 1.4 ASPH and Elmar-M 24 MM F / 3.8 ASPH Lens. Ideal with the M8/8.2, the all three lenses are specifically designed to keep vignetting and distortion to a minimum.

Super fast, compact, with sensational performance even at full aperture, these lenses will enable users to redefine wide angle low light photography. The 21 mm is in fact a world first for 35 mm digital and film photography.

Great care has been taken in the optical designs of the lenses. Despite their pronounced wide–angle characteristics, these lenses can feature extremely shallow field depth. This allows for creative and expressive photography not usually available when shooting wide. Stopped down to medium f values the depth of field can be so great that an entire landscape can be depicted in sharp focus.

Vignetting and distortion, the parameters traditionally difficult to control in fast wide angle lenses, have been corrected to such a high degree in these new Summilux-M lenses that they are hardly noticeable in practice.

The combination of lens speed and width has now become possible by using leading edge lens blank-pressing techniques for aspherical elements. Hand assembled in Solms Germany, the lenses also combine meticulous craftsmanship ensuring life long reliability even in challenging user conditions.Two new metal body view finders (21 mm and 24 mm) will be available as accessories. These new viewfinders will have markings to enable use on Leica M digital and film bodies.

Available from December 2008, the LEICA SUMMILUX-M 21 mm f / 1.4 ASPH and the LEICA
SUMMILUX-M 24 mm f / 1.4 ASPH are £3990 each (inc VAT) SRP.

New Compact Leica Elmar-M 24 MM F / 3.8 ASPH Lens

Leica continues its strategy of producing a range of ultra compact high performance prime lenses.

Ideal for M8 users, this lens is equally at home with M film models. At full aperture, contrast and detail rendering are excellent. Stopping down to medium f values gives such great depth of field, that precise focusing is not required resulting in your M combination outperforming any camera with auto focus in the speed stakes.

Additionally, the new LEICA ELMAR-M 24 mm f / 3.8 ASPH lens is a perfect companion to a faster lens, particularly for day time travel or photography in risk environments. All focal lengths detailed above are based on 35 mm film camera photography. For use on M8/M8.2 camera bodies, all focal lengths should be multiplied by 1.33.

Available from November 2008, the LEICA ELMAR-M 24 mm f / 3.8 ASPH lens is £1380 (inc
VAT) SRP

Carl Zeiss launches Distagon T* 2.8/21

2008-09-21T10:43:00.000+08:00

OBERKOCHEN/Germany – September 16, 2008: The legendary Distagon T* 2.8/21 is now being introduced for SLR cameras with EF, F and K bayonets. Thanks to its excellent performance, this modernized version from the former Contax system sets new standards in this focal length class.

“The outstanding correction of chromatic aberration enables photos without color fringes even in high-contrast light conditions”, says Martin Klottig, Marketing Manager, Carl Zeiss Camera Lens Division. “Even at full aperture, the floating element design ensures optimum edge-to-edge image quality over the entire focusing range.

And even in difficult light conditions, the new Distagon provides excellent results thanks to its T* coating, optimum reflection reduction and exceptional chromatic correction.” The shortest possible distance setting of only 0.22 m makes the lens ideal for impressive perspectives. Typical applications include architectural, journalistic and landscape photography.

The Distagon 2.8/21 is available with an EF bayonet (ZE), F bayonet (ZF) and a K bayonet (ZK). It is suitable for both digital and analog full-format SLR cameras.

Delivery of the Distagon T* 2.8/21 is scheduled to begin by the end of this year with the ZF and ZK version. Its selling price is estimated at 1,399 euros (incl. 19% German VAT).

Mamiya launches ZDb Digital Back

2008-09-21T10:41:00.000+08:00

Cologne, Germany – September 2008 – Mamiya Digital Imaging has announced the next model of their digital back – called the Mamiya ZDb 22 megapixel Digital Back – will be shown at Photokina 2008. To further refine the successful Mamiya ZD Digital Back system, the R&D team at Mamiya has developed the new ZDb Digital Back with several useful enhancements.

To allow longer shooting sessions, the ZDb will have a buffer with up to twice the memory of the original ZD Digital Back – this means that you can continuously shoot up to 22 frames of full resolution RAW files before the buffer is full. The new back is now compatible with SDHC (Secure Digital High Capacity) cards that can store up to 32 gigabytes of images. The Mamiya ZDb Digital Back can also use SD, SDHC, CF I and CF II cards.

When used with the new Mamiya 645AFDIII, the ZDb Back will display the camera’s 35 custom function controls on the LCD panel. This will make custom camera settings fast and user-friendly. In addition, a beta version of the new Mamiya Remote Capture software will soon be downloadable from our homepage, www.mamiya.com. This software makes shooting tethered with the Mamiya ZDb Back faster and easier.

Boasting a 22 mega pixel Dalsa CCD sensor at an affordable price, the ZDb Digital Back allows the Mamiya 645AFDII, Mamiya 645AFDIII, RZ67Pro-IID and RB67Pro-SD to take razor-sharp digital images - transforming professional quality film cameras into high-end digital systems.

Pricing and delivery will be announced in the fall of 2008.

Canon 24mm f/1.4 L II USM lens

2008-09-21T10:39:00.001+08:00

EF 24mm f/1.4L II USM fast aperture wide-angle prime lens

Amstelveen, The Netherlands, 17 September, 2008: Canon today strengthens its line-up of EF-series lenses with the introduction of a new fast aperture prime lens: the EF 24mm f/1.4L II USM. Replacing the EF 24mm f/1.4L USM, the EF 24mm f/1.4L II USM has been completely redesigned to provide an exacting partner lens to Canon’s new EOS digital SLRs, the EOS 50D and EOS 5D Mark II.

The EF 24mm f/1.4L II USM offers:

Fast f/1.4 aperture
Aspherical and UD lens elements for correction of chromatic aberration
Sub Wavelength structure Coating (SWC) to dramatically reduce ghosting and flare
Circular aperture for pleasing bokeh
USM for full-time manual focus
Lead-free glass (RoHS compliance)
Lens hood and pouch supplied

Superior image performance
Featuring a 13-element, 10-group lens, the EF 24mm f/1.4L II USM is designed to achieve the highest standards of image quality. Two high-precision GMo aspheric lenses are employed to correct various forms of aberration such as curvature of field and distortion, with a floating mechanism ensuring crisp corner-to-corner detail throughout the focal range. In addition, two UD lenses reduce the chromatic aberration common in wide-angle lenses.

A fast, ultra-large maximum aperture of f/1.4 delivers excellent low-light performance, with the circular aperture offering the potential for creative out-of-focus highlights. A focal length of 24mm and a USM focus motor providing full-time manual focus also make the EF 24mm f/1.4L II USM ideal for situations where a wide-angle, high-performance lens is required.

Advanced lens coating
Reflections off a digital camera’s image sensor can compromise images with ghosting and flare. To help reduce this, the inside of EF 24mm f/1.4L II USM’s front element is treated with Canon’s new Sub Wavelength structure Coating. Developed specifically to work with Canon optics, this anti-reflective coating helps reduce flare and ghosting - for consistently crisp, undistorted images.

Robust build quality
The EF 24mm f/1.4L II USM is designed to withstand the rigours of even the most testing shooting environment – with Canon’s advanced weather and dust sealing making it the perfect choice for photojournalists and landscape photographers.

Additional images

Sub Wavelength structure Coating

The 24mm F1.4 L USM II sees the debut of Canon's new 'Sub Wavelength structure Coating' (SWC) technology. Considered by Canon to be considerably more effective then their existing 'Super Spectra Coating', the new coating is applied to the inside surface of the front lens element, and is designed to minimize flare and ghosting caused by secondary reflections between the sensor surface and the lens elements, which can lead to significant image degradation in digital SLRs.

The new biomimetic coating is inspired by features found within the eyes of moths, and uses a nano-scale structure to reduce dramatically the amount of internally-reflected light in lenses that contain large curve-radius elements. It is therefore particularly effective with fast wideangles such as the new 24mm F1.4L II USM.

How it works

Conventional anti-reflective coatings work by creating two surfaces off which light can reflect: one at the boundary between the coating and the air, and a second at the boundary between the coating and the glass. The thickness of the coating ensures the distance between these two surfaces is one quarter of the wavelength of light. Consequently, any light reflecting off the second (coating/glass) surface will be half a wavelength out of phase with the light that reflected off the first (air/coating) surface, by the time it has bounced back and will cancel it out.


	Unfortunately, this process only works well when the light strikes the surfaces relatively straight-on (having a small angle of incidence). As the angle at which the light strikes the coating becomes less direct, more light is reflected.

	Canon's new coating works by varying the density of the coating, depending on the distance from the glass surface.

	The coating's ordered, nano-scale structure means that light encountering it is bent as it travels into the increasingly dense coating (and encounters an increasingly high refractive index). The result is that it always reaches the coating/glass boundary at a relatively direct angle, reducing the reflection, particularly at the edges of lenses or, in this instance, on highly curved lens surfaces.

	The new SWC coating dramatically reduces light reflected off the lens surfaces compared to Canon's conventional vapor-deposited Super-Spectra Coating especially at high angles of incidence.

Canon EOS 5D Mark II Hands-on Preview

2008-09-21T10:37:00.001+08:00

Preview based on a pre-production EOS 5D Mark II

Back in August 2005 Canon 'defined a new DSLR category' (their words) with the EOS 5D. Unlike any previous 'full frame' sensor camera, the 5D was the first with a compact body (i.e. not having an integral vertical grip) and has since then proved to be very popular, perhaps because if you wanted a full frame DSLR to use with your Canon lenses and you didn't want the chunky EOS-1D style body then the EOS 5D has been your only choice. Three years on and two competitors have turned up in the shape of the Nikon D700 and Sony DSLR-A900, and Canon clearly believes it's time for a refresh.

So here is the 5D Mark II, which punches high in terms of both resolution and features, headlining: 21 megapixels, 1080p video, 3.0" VGA LCD, Live view, higher capacity battery. In other words, a camera that aims to leapfrog both its direct rivals, either in terms of resolution (in the case of the D700) or features (in the case of the DSLR-A900). Full detail below.

Key features / improvements

21 megapixel CMOS sensor (very similar to the sensor in the EOS-1Ds Mark III)
Sensor dust reduction by vibration of filter
ISO 100 - 6400 calibrated range, ISO 50 - 25600 expansion (1Ds Mark III & 5D max ISO 3200)
Auto ISO (100 - 3200) in all modes except manual
3.9 frames per second continuous shooting
DIGIC 4 processor, new menus / interface as per the EOS 50D
Image processing features:
- Highlight tone priority
- Auto lighting optimizer (4 levels)
- High ISO noise reduction (4 levels)
- Lens peripheral illumination correction (vignetting correction)
RAW and SRAW1 (10 MP) / SRAW2 (5 MP)
RAW / JPEG selection made separately
Permanent display of ISO on both top plate and viewfinder displays
AF microadjustment (up to 20 lenses individually)
Three custom modes on command dial, Creative Auto mode
Image copyright metadata support
98% coverage viewfinder (0.71x magnification)
3.0" 920,000 dot LCD monitor with 'Clear View' cover / coatings, 170° viewing angle
Automatic LCD brightness adjustment (ambient light sensor)
Live view with three mode auto-focus (including face detection)
No mirror-flip for exposures in Live View if contrast detect AF selected
Movie recording in live view (1080p H.264 up to 12 minutes, VGA H.264 up to 24 mins per clip)
Two mode silent shooting (in live view)
New jump options in play mode
HDMI and standard composite (AV) video out
Full audio support: built-in mic and speaker, mic-in socket, audio-out over AV (although not HDMI)
IrPort (supports IR remote shutter release using optional RC1 / RC5 controllers)
UDMA CompactFlash support
New 1800 mAh battery with improved battery information / logging
New optional WFT-E4 WiFi / LAN / USB vertical grip
Water resistance: 10 mm rain in 3 minutes

Canon EOS 5D Mark II: 21MP and HD movies

2008-09-21T10:35:00.000+08:00

Amstelveen, The Netherlands, 17 September 2008: Canon announces the full frame, 21.1 Megapixel EOS 5D Mark II: the first EOS with full High Definition video capability.

Compact, lightweight with environmental protection, EOS 5D successor boasts a newly designed Canon CMOS sensor, with ISO sensitivity up to 25,600 for shooting in near dark conditions. The new DIGIC 4 processor combines with the improved CMOS sensor to deliver medium format territory image quality at 3.9 frames per second, for up to 310 frames.

Triggered from Live View Mode, HD video capture allows users to shoot uninterrupted at full 1080 resolution at 30fps – for amazing quality footage with outstanding levels of detail and realism.

The integration of HD movie capability into a high-end 21.1 Megapixel camera opens a multitude of new possibilities for photojournalists and news photographers. With its full frame CMOS sensor and outstanding ISO performance, the EOS 5D Mark II will appeal to any photographer in search of the finest camera equipment available – from studio and wedding to nature and travel photographers.
Other improvements to the EOS 5D include

Addition of Canon’s EOS Integrated Cleaning System, with a new Fluorine coating on the low-pass filter
Larger 3.0” Clear View LCD with VGA resolution, a 170° angle of view and anti-reflective coatings
Improved menu system including Quick Control Screen for more direct access to common settings
Automatic peripheral illumination correction, utilising detailed EF lens information to optimise JPEG images straight out of the camera
Magnesium alloy construction with additional environmental protection
UDMA memory card compatibility.

“Professional photojournalists and wedding photographers already choose the EOS 5D for its discrete size and outstanding image quality,” said Mogens Jensen, head of Canon Consumer Imaging. “The addition of HD movie recording opens a new chapter for EOS. It creates new possibilities for EOS photographers to capture and share their stories and to stay relevant in a rapidly changing digital landscape.”

Key Specifications:

New 21.1 Megapixel CMOS sensor with improved EOS Integrated Cleaning System (E.I.C.S.)
New Full HD 1080 resolution movie recording
3.9 frames per second continuous shooting
High performance DIGIC 4 providing superb image quality
Maximum 310 large JPEG images in a single burst with a UDMA card
3.0” VGA (920k dots) Clear View LCD
ISO 100-6400 (expansion from 50 up to 25,600)
9 AF points + 6 Assist AF points

Additional information

New CMOS sensor
The EOS 5D Mark II’s newly designed full frame 21.1 Megapixel CMOS sensor features ISO sensitivity from 100-6400, expandable to 50, 12,800 and 25,600. Large 6.4µm2 pixels have been redesigned to capture more light and yield a better signal to noise ratio to ensure lower noise images throughout the ISO range. The full frame sensor has the same dimensions as a frame of 35mm film. This means that wide-angle lenses stay wide, without the change in angle of view associated with smaller sensor cameras. As well as benefiting from finer control over depth of field, photographers moving up to the EOS 5D Mark II’s full frame format will find the newly designed wide, bright 98% coverage viewfinder on a joy to work with.

New DIGIC 4 processor
A new DIGIC 4 processor combined with 14-bit analogue to digital conversion provides smooth gradations in mono-tonal areas such as skies, and highly accurate colour rendition. As well as HD movie shooting, DIGIC 4’s high speed provides for long uninterrupted continuous bursts of large JPEGs, near-instant start-up times and immediate and fast review after shooting. DIGIC 4 also provides for improved noise reduction algorithms, complementing the already low noise images from the EOS 5D Mark II’s CMOS sensor.

HD video capture
The EOS 5D Mark II is Canon’s first D-SLR to incorporate full HD 1920x1080 video capture. Once filming is started from Live View mode, photographers can fire off either single of continuous stills, with video capture continuing after the final frame is captured.

See everything
A new 3.0” VGA resolution LCD provides a wide 170º angle-of-view, providing plenty of clarity for accurate focus checks in playback. The screen brightness can automatically adjust to suit viewing conditions, extending battery life in low light and improving viewing in bright conditions. A new dedicated Live View button switches modes to display a real-time image on the LCD. This allows EOS 5D Mark II photographers to enjoy simplified shooting from awkward angles. Simple connection to a PC provides easy remote shooting.

Precision focus and metering
A 9-point auto focus system is supported by 6 additional invisible Assist AF points, located inside the spot-metering circle to optimise subject tracking performance in AI SERVO AF mode. For accurate exposure readings in tricky lighting conditions, the spot metering circle covers just 3.5% of the frame.

Control
The EOS 5D Mark II’s redesigned menu system includes a new Quick Control screen, for instant access to the most commonly changed settings. A new Creative Auto mode allows photographers to cede control of key settings to the camera, while retaining control over creative variables such background blur, drive mode and image brightness. Custom user settings allow photographers to switch between two completely different camera setups. This is ideal for changing quickly between two different environments, such as switching from working inside a church without flash to outdoors with fill-flash at a wedding.

Accessories
Shooting flexibility is enhanced with a range of new accessories. Shooting capacity can be extended with either the high capacity 1800mAh lithium-ion Battery Pack LP-E6, or Battery Grip BG-E6.

A new optional Wireless File Transmitter –
the WFT-E4 – offers external HDD and GPS compatibility along with ability to transmit images direct to computer or FTP server, or operate the camera wirelessly. Both the BG-E6 and WFT-E4 feature a vertical orientation shutter release and other key controls for comfortable portraiture work, with a substantial grip to help balance the camera when used with long lenses.

Technologies Explained:

CMOS
Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.

Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased.

DIGIC
Image data captured by the CMOS sensor is processed by Canon’s purpose-built DIGIC image processors before being written to the camera's memory card. DIGIC technology uses advanced image processing algorithms to ensure precise, natural colours, accurate white balance, and advanced noise reduction. Ultra-fast processing speeds result in highly responsive camera operation and near-instant start-up times.

DIGIC chips work with a high speed DDR-SDRAM image buffer – reading, processing, compressing and writing image data fast enough to keep the buffer clear during long continuous shooting bursts. And because DIGIC integrates all key processing functions, power consumption is kept to a minimum.

EOS Integrated Cleaning System
The EOS Integrated Cleaning System combats sensor dust in three important ways: Reduce, Repel and Remove.

Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself.
Repel - Anti-static technologies, including a special fluorine coating, are applied to the low-pass filter covering the front of the sensor so as not to attract dust.
Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately the shutter release is depressed.

Canon has also developed an internal Dust Delete Data system, which can map the position of visible dust on the sensor. This can then be deleted automatically after the shoot with the latest Digital Photo Professional software.

Picture Style
Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software.

The six pre-sets are:

Standard – for crisp, vivid images that don’t require post-processing
Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones
Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines
Neutral – ideal for post-processing
Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K
Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green).

Software
Digital Photo Professional Software
Digital Photo Professional software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation, noise reduction and colour tone – plus the ability to view Auto Focus points on an image. The Lens Aberration correction tool allows precise correction of different types of distortion caused by certain cameras. Images can be recorded in camera with sRGB or Adobe RGB colour space.

Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and Wide Gamut RGB colour spaces. ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied.

EOS Utility
The latest version of EOS Utility provides essential support for Live View remote shooting, camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system. Users can also tag their images with EXIF data, including copyright information.

Picture Style Editor
Picture Style Editor allows users to create individual Picture Styles that fit with their personal requirements. Each Picture Style contains detailed information on how specific colours should be represented within an image. Once new Picture Styles have been created, they can be uploaded directly into the camera and applied to JPEG or RAW images. When working with RAW files in DPP, both personal Picture Styles and the 6 predetermined Picture Styles can all be adjusted.

Additional images

Are we about to witness a real OS X virus?

2008-07-26T10:01:00.001+08:00

Mac antivirus maker, Intego, has published an interesting alert about a potential OS X virus that an enterprising individual is trying to sell through auction. With absolutely no technical information to go on, the antivirus maker is treating the announcement with caution.

Based on the rate and type of vulnerabilities identified by projects like the Month of Apple Bugs it isn't too far fetched to expect that there are dozens or even hundreds of OS X specific viruses/malware creations that are sitting on the systems of their developers but which do not have many opportunities for widespread distribution.

Some of the more successful OS X-specific pieces of malware have been distributed through file sharing sites and P2P applications, usually claiming to be for highly desirable software. A 5-10MB download for an application suite that should be 500-600MB generally leaves clues as to something not being quite right. More common, though, are exploit attempts against QuickTime and popular OS X web browsers, with US developer Sunbelt Software having identified and tracked a number of these types of vulnerability, though their effectiveness at infecting OS X targets in the wild isn't known. The exploits used in these types of attack will compromise a victim's system, but there aren't any readily available figures as to how many victims have actually been affected by them. From Intego's posting, it appears that the enterprising auctioneer seems determined to make sure that his name is one that is not forgotten when it comes to Apple security, claiming that his exploit is a poisoned ZIP archive that will "KO the system and Hard Drive" when unarchived. He may not be operating on the scale of David Maynor, Tom Ferris, or Kevin Finisterre, and there might not even be the kernel of truth that InfoSec Sellout had with their claimed OS X malware, but it is feasible that there is something in the OS X Archive Utility that lends itself to exploitation and system control like the recent ARDAgent vulnerability did.

From appearing on July 21, to disappearing soon after Intego's post, there is more mystery than substance about the hacker, the claimed vulnerability and the site itself. There are plenty of ways to take an OS X system to its knees by manually launching malicious software or content, there just aren't very many that have demonstrated a capability of being set up for malicious use (despite their potential) and there are even fewer that demonstrate any sort of viability for (semi-)autonomous spreading.

FDA limits salmonella warning to Mexican peppers

2008-07-26T09:49:00.002+08:00

WASHINGTON (CNN) -- Only Mexican-grown raw jalapeños and raw serrano peppers have been linked to the salmonella outbreak, a spokesman for the Food and Drug Administration said Friday.

Mexican officials said the findings were "premature," even as the FDA issued an advisory stating that a contaminated jalapeño pepper originated in Mexico. The news came just days after the FDA announced it discovered salmonella on a jalapeño imported from Mexico at The Agricola Zarigosa produce-distribution center in McAllen, Texas. But Mexican Embassy spokesman Ricardo Alday noted that the investigation is ongoing. "Mexico strongly urges the FDA to abstain from making any further public comment implicating Mexican produce in this outbreak until it has completed its investigation of jalapeño peppers in Mexico, and until the United States has assured the result with their Mexican counterparts," Alday said. Peppers grown in the United States have not been connected to the outbreak that has sickened more than 1,000 people since April, said FDA spokesman Michael Herndon.

Initially, tomatoes seemed the most likely source of the outbreak. The FDA told consumers to avoid certain raw tomatoes on June 7, prompting grocery chains and some restaurants nationwide to stop offering them.

The agency lifted that ban last week, determining that tomatoes currently in fields and stores are safe. Learn about the differences between salmonella and E. coli » The FDA now advises consumers to avoid raw jalapeño peppers grown in Mexico and any foods containing raw jalapeño peppers grown in Mexico. Only immune-compromised people, the elderly and infants should avoid raw serrano peppers from Mexico, Herndon said.

Cooked or pickled peppers from cans or jars are not part of the warning. Learn how to keep your food safe » Tomatoes, which were the original focus of the investigation, still have not been ruled out as a possible source of the outbreak, said Dr. David Acheson, director of food safety for the agency. "The science that indicated that tomatoes were implicated was strong and is still strong," he said "It's not that tomatoes have been exonerated." He said officials do not believe that tomatoes currently on the market are contaminated. Officials said earlier this week that tomatoes could have been paired with another food that was contaminated, prompting the outbreak.

Fake RM50 notes

2008-07-26T09:33:00.002+08:00

Here's some clues upon checking a fake RM50 note(s), well no disclaimer is set upon this email though, and the public has the right to know, the cross means fake, the tick sign means genuine.:

Well, I hope these are the right method to differentiate. Public safety first.

IDM UltraEdit-32 v14.10.0.1018

2008-07-24T06:43:00.000+08:00

IDM UltraEdit 是一套极棒的文字、Hex、ASCII 码编辑器，可以取代记事本，内建英文单字检查、C++ 及 VB 指令突显，可同时编辑多个文件，而且即使开启很大的文件速度也不会慢。其并且附有 HTML Tag 颜色显示、搜寻替换以及无限制的还原功能；一般大家常会用其来修改EXE 或 DLL 文件。根据经验，文书处理的作业是大多数人使用计算机最常进行的工作，当然需要非常有力的工具。不过像 Word 这种文书处理程序，又太大了些，拿来处理普通的文字文件，有点杀鸡用牛刀，小题大作了些。普通文字文件在 PC 中可是无所不在的，像是各种各样的 readme「自述文件」、批处理文件等等，都是使用普通文字文件的格式。Windows 95/98虽然提供了一个简单的「记事本」来处理普通文字文件，但「记事本」又太阳春了，功能阳春不说，碰到大一点的文字文件，就当场拒绝工作；这个「特点」可是令许多PC玩家哭笑不得。许多高手纷纷研发出各种处理普通文字文件的 Shareware。UltraEdit 可说是其中的佼佼者，更是各个 Shareware 推荐排行榜的常胜军！

UltraEdit 以磁片为基础的文字编辑包含 16位元版本用於Windows 3.x 与 32位用於 Windows 95/98/Me/NT/2000/2003 和 XP (不含 Win32s)。 UltraEdit-32 也同时支持 64位元(标准)档案处理在所有 32位元的视窗平台。

文书处理的作业是大多数人使用电脑最常进行的工作，当然需要非常有力的工具。不过像 Word 这种文书处理程式，又太大了些，拿来处理普通的文字档，有点杀鸡用牛刀，小题大作了些。
普通文字档在 PC 中可是无所不在的，像是各种各样的「读我档案」、批次档案等等，都是使用普通文字档的格式。Windows 虽然提供了一个简单的「记事本」来处理普通文字档，但「记事本」又太阳春了，功能阳春不说，碰到大一点的文字档，就当场拒绝工作；这个「特点」可是令许多 PC玩家哭笑不得。

许多高手纷纷研发出各种处理普通文字档的软体。UltraEdit可说是其中的佼佼者，更是各个媒体杂志报导之推荐排行榜的常胜军！

除了可以像Word一样，提供强大的编辑与列印功能外，如果用它开启非文字档，UltraEdit-32就摇身一变，立刻成为可以直接编辑程式码的编辑器。

更好用的是，您可以在任何档案上按下滑鼠右键，在功能表中直接叫出 UltraEdit-32编辑这个档案，不用再去按开始钮。

UltraEdit 功能强大，实在是太棒了！每个人都应该赶快弄一套来，马上享受丢掉破烂记事本的快感。而且UltraEdit-32 也支持双位字元集 (DBCS)，编辑中文再也不会发生问题了！

●提供超强的文字档编辑、预视、列印功能。
●提供直接编辑十六进位码功能。
●可编辑 HTML 档案，以彩色显示HTML标记，方便网页编辑。
●新版在画面左边提供快速检视栏框，无论切换编辑视窗或档案都很容易。
●新增 Project（计画）功能，可以让您把数个文字档合成一个「计画」，方便您一次编辑数个彼此有关连的文件。

记事本的功能太阳春，WORD 太耗资源了(程式大又占宝贵的记忆体空间)，小作家又用不顺手，想要找个可以处理文字档和二进位档，又方便又好用的文书处理程式吗？用最新的 UltraEdit 就对了！更重要的是它支持 DBCS，中文编辑再也不成问题了！

What in the World Are You Doing?

2008-07-07T06:39:00.000+08:00

by Chris Widener

This week we talk about leaving an impact legacy. "What is an impact legacy?" you may ask. It is how you impact people and the world around you. You see, many people glide through life and do not make much of an impact. That is unfortunate. Others though, those driven by a purpose and passion for living, are continually making the world a better place and making an impact wherever they go.

What in the world are you doing?

Here is the typical life - typical, though not everybody does it this way. But for the most part, people's lives generally go something like this:

You're born
You eat and sleep
You play with toys
You go to school
You play little league
You go to school
You learn to drive
You go to school
You leave high school
You go to more school, but you pay for it now
You get a job
You get married
You buy a house
You have kids
You watch your kids eat, sleep, play and go to school
You work, work, and work
You retire
You die

That's the basic life, isn't it? I know there is more to it, but that is about it for most people.

Here is that question again: What in the world are you doing?

I mean, what are you doing besides the typical "enjoying yourself while you are waiting to die" scenario? What kind of impact are you making?

What I believe sets the successful apart is that they don't just live the average life. They don't just pass time. They make an impact. They have something compelling in their life that drives them - something that gives them an answer when they are asked that question: What in the world are you doing?

I'm helping children.

I'm creating a business that supports many families.

I lead a church.

I am defending our liberties.

I am raising great children.

I'm teaching others to improve their lives.

I help people have fun.

I create memories for people.

In other words, successful people always come down to this:

I make an impact and help other people by (fill in your purpose here).

What in the world are you doing?

If you want to be successful, you need to be able to answer that by describing how you help others. Because if you aren't helping others - if you aren't making an impact - you are just taking up space, eating food and waiting to die.

Here's the question for you to answer this week and what to do with your answer:

What in the world are you doing?

If you know, then you are good to go - live it and make an impact!

If you don't know, then maybe you need to reflect on what you are doing, what your life is about, and how you can explode the mundane bubble you may be living in!

The world needs impact makers - so live to be one!

Have a great week!

Chris

左腦思考還是右腦思考

2008-06-29T20:55:00.001+08:00

試試看---你看到的美女是順時針還是逆時針轉動？---(說明在後)

每個人看來都是不一樣的
順時針轉的話屬於是用右腦較多的類型
逆時針轉屬於使用左腦較多的類型
大部分人的眼裡裡是逆時針方向轉動
但也有人看來是順時針方向轉動的
順時針的情況女性比男性多~

逆時針轉動的 , 突然變成順時針的話 , IQ是 160以上 !!!
試試吧 !~~~

有圖有真相(給一些直接說我騙人的莽夫)
　
左圖：舉左手、頭往左偏
右圖：舉右手、頭往右偏
我做的事情只有用白線明顯告訴你那是左腳還是右腳

科學人雜誌--天才的特殊思維
作者﹕巫石吉

頂葉負責掌管腦中的數學和邏輯，這也是愛因斯坦成為天才的秘密。但不可否認的，愛因斯坦豐富的想像力與創造力，是使他的右腦不斷激發出潛在能力的重要因素之一。

左腦因為是以語言處理訊息，控制知識、判斷力、思考力因此被稱為「知性腦」﹔右腦則控制著自律神經與字宙波動共振，由於是圖像腦，因此造型能力優越，被稱為「藝術腦」。

有關右腦的神奇功能研究，是始於１９８１年加州理工學院羅傑‧史貝利博士研究右腦獲得諾貝爾獎以後，人們才開始對右腦有所認識，在此之前，人們並不認為左腦與右腦的功能有那麼大的差別。史貝利在分割腦的實驗中發現，左腦與右腦這兩個半球完全以不同的方式在進行思考，他發現左腦用語言進行思考，右腦則是以圖像進行思考﹔左腦偏向語言、邏輯性的思考，右腦則是影像和心像的思考。

根據七田真博士的研究，原來人在誕生之初，右腦的能力還很發達，右腦具備了超越常識那種幾乎可稱為全然未知的天才似的能力，這種能力自古以來就隱藏在人們腦海裡，是一種超越時間、空間，與無限境界相連結的能力，但是因為人類世界是以教導、開啟左腦為主，讓小孩子努力學習語言以及往後生存所必需的知識，久而久之，左腦越來越發達，右腦卻因為少用而日形退化。

至於什麼樣的成人比較容易打開右腦，七田真博士認為，心思專注、純真沒有成見的人，比較容易進入神奇的右腦世界。你相信超能力嗎？如果你有看過（雨人）這部電影，一定對片中達斯汀霍夫曼飾演的哥哥印象深刻，他不但能正確快速數出散落一地的火柴數目，而且飾演他弟弟的湯姆克魯斯還利用他天賦異稟的「透視」能力，上賭場找人玩撲克牌，結果對手的牌在達斯汀霍夫曼的「全神貫注」下，被透視得一覽無疑，湯姆克魯斯因此贏了一大筆錢。

或許你會認為那是電影誇張其事，現實世界中，人不可能具備那樣的能力。如果你這麼想，你就是犯了習慣左腦思考的錯誤，其實，人類大腦的另一半－右腦，擁有的能力是左腦思考者很難想像的。

How To Bypass WPA (Windows Activation) On Windows XP

2008-06-24T21:56:00.000+08:00

How to bypass WPA (Windows Activation) on Windows XP
Tested on Windows XP Professional SP2 and Windows Server 2003 R2.

First, click "Run..." on your start menu, type "regedit" and press enter.
The Registry Editor opens up, and you are presented with a long list of keys on the left.
Browse through the list to HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\WPAEvents.
(If you can't find this key, you're screwed!)
On the right, you should see a stringz value named OOBETimer.
This is the activation stuff. If you change it, Windows will change it back within a few seconds.
Whatever its value is, change it to FF D5 71 D6 8B 6A 8D 6F D5 33 93 FD.
(At first I thought this was different for each machine/serial number, but it's always the same if windows is activated...LOL)
After you've changed it, right-click WPAEvents and choose "Permissions..."
A little window opens up with a list of user names. Click SYSTEM, and in the list below ("Permissions for SYSTEM") check every box under "Deny". Click OK to own windows. You don't even have to reboot lol.
If you're too slow windows might change it back, so just hit F5 to refresh and make sure it got saved.
If not, just try again. Microsoft owns for making it so easy to hack their software.
So, just keep on enjoying an activated version of windows. swapnil_009 over and out!

The problem most of you are probably having is when you get to the "Permissions" section, so i expand on this tricky area.

Under "Permissions..." for WPAEvents, Go into the Advanced settings.

UNCHECK "Inhereit from parent the permission entries that apply to child objects. Include these with entries explicitly defined here"

When prompted what course of action to take from here, click "COPY"

From there, Highlight the SYSTEM line, and click edit.
Publish Post
Deny all options, apply, and run a free copy of windows.

Fake RM50 notes

2008-06-15T06:27:00.000+08:00

Please be aware that, there were 2 version of fake note in market now.

Please communicate to your cashier and salesmen a.s.a.p.

Fake Note Version 1

Fake Note Version 2 (Money not 'reflective')

Good morning, refer to 'Shi Hwa' newspaper - dated 19-4-2008, most of the fake note RM50 found at Lahad Datu started from serial number '529' or '530'. Please communicate with sales representative and cashier a.s.a.p.

Fake Note (Version 2)

Nikon Capture NX 1.3(含说明PDF文档和特别文件)

2008-06-13T06:56:00.000+08:00

Cpature NX一经问世即获殊荣，赢得2006-2007年度欧洲影像革新奖。那么，它的革新在哪里呢？EISA是这样说的：“Nikon软件公司的U点技术包括在尼康最新的图像软件Capture NX1.3中，提供摄影师特别的工具对色彩、色调、亮度、对比度进行控制。无需选择任何区域或使用蒙板，很容易根据摄影师的要求调节个别区域色彩。这项强大的功能可以用于JPEG、TIFF或NEF（尼康电子格式）图像文件。允许仅调整版式而不改变原始文件。最终结果可以输出为NEF格式文件。”这段话简明、扼要的说明了NX软件的主要优点。

http://nikon-asia.com/downloadstuff/Software/CaptureNX_1.3_Updater/NX1.3_SC.EXE 简体NX1.3下载地址
http://chsv-soft.nikon-image.com/int/manual/cn/CAPNX13_T_(15)01.pdf 简体NX1.3说明手册

相关教程:CaptureNX快速掌握(PDF) 上海产品摄影

其余Nikon Capture NX1.3.0版针对以前的老版本1.0或1.2所作的修改：

-增加了对使用D3和D300拍摄的RAW相片的支持；

-增加了对相片控制的支援。在“基本调整”中的相机调整中增加了相片控制项目。相机调整中的色彩模式、色调补偿、饱和度和清晰度项目，以及RAW调整中的色调调整已经移到新的相片控制专案；

-在基本调整中的RAW调整中增加了Active D-Lighting项目。此功能只能用於启用Active D-Lighting时拍摄的RAW影像；

-白平衡专案已经移到基本调整中的RAW调整中，并且增加了钠蒸汽灯和高温汞蒸汽灯(7200 K)设置；

-RAW影像目前可用无损压缩方式保存。以无损压缩RAW格式拍摄的影像现在可以无损压缩的RAW格式保存，而不受相机型号的限制（但仅限使用尼康数码SLR相机拍摄的影像）；

-以前只能用於RAW影像的虚光控制功能现在也支援JPEG和TIFF影像（但仅限使用尼康数码SLR相机拍摄的影像）；

-对用鱼眼镜头拍摄的影像进行修改的功能（以前在“基本调整”中的镜头调整中）现在也可用於使用AF Fisheye-Nikkor 16mm f/2.8D拍摄的影像；

-以前在“相机设置”面板中提供的RAW影像编辑功能已经去除。

成吉思汗

2008-06-08T19:40:00.000+08:00

神奇的内蒙古草原，是中国古代北方游牧民族活动的历史舞台。早在七十万年前，这里的祖先便挥动石斧，开始铸造原始文明。近三千年来，东胡、匈奴、鲜卑、突厥、契丹、蒙古等古代北方游牧民族，前后承接，在这片土地上创造了辉煌的草原文明。

　　从二000年开始的全球风云人物评选中，成吉思汗多年名列前茅。因此他也被称为千年风云人物。这位被称为一代天骄的中华民族历史上的伟人，他波澜壮阔、金戈铁马的一生令人叹为观止。无论是中国的军事学界还是外国的政治家、军事家，大家都一致认为成吉思汗是世界历史上最伟大的军事统帅，至少可以说是世界上最伟大的军事统帅之一。有人曾经统计过，成吉思汗一生共进行了60多次战争，除十三翼之战因实力悬殊主动撤退外，没有一次失败过。

　　因此有学者说：“成吉思汗是后人难以比肩的战争奇才......什么人才能称得上战神？惟有成吉思汗。”成吉思汉曾经说过：“要让青草覆盖的地方都成为我的牧马之地”。

　　一代天骄成吉思汗是闻名中外的蒙古族及中华民族的英雄，是公元后第二个千年最伟大的人物之一。铁木真在一片原始荒凉的国土上，由一个完全无依无靠、目不识丁的囚犯崛身而起，成为世界上最强大的人物。

　　成吉思汗，名铁木真，蒙古乞颜氏孛儿只斤人。元朝追谥太祖。

　　1162年出生于蒙古部贵族世家，父也速该，母斡额仑。铁木真九岁时，父遭世敌下毒身亡，少年时代经历艰难坎坷，炼铸了他坚毅勇敢的性格。

　　其时，蒙古高原部落林立，蒙古人、塔塔儿人、克烈人、乃蛮人、篾儿乞人、斡亦剌人相互攻战杀伐不息。铁木真依靠亡父的盟友收集旧部，在十二世纪八十年代建立了斡耳朵，称汗。历经多年征战，铁木真先后消灭了塔塔儿、篾儿乞、克烈、乃蛮等部。1206年，铁木真在斡难河源召开忽里台大会，建大蒙古国，即大汗位，号成吉思汗。

　　成吉思汗将整个蒙古国划分为九十五个千户，并建万人怯薛军，作为政权的武力支柱。设断事官，掌管行政司法事务。他在全国推行维吾尔体蒙古文，使之成为本民族的文字。在成吉思汗的统治下，蒙古高原各部落之间界限逐步消泯，蒙古民族共同体开始形成。

　　成吉思汗即位后，先后向西夏、西辽、金朝用兵。1215年蒙古军占领金中都。1218年灭西辽。1227年灭西夏。

　　1219年至1224年间成吉思汗大举进攻花剌子模，征服了亚欧大片领土，先后建立四大汗国。

　　成吉思汗以其卓越的才能，成为中国历史上杰出的政治家、军事家。他战略上重视联远攻近，力避树敌过多；用兵注重详探敌情，善于运用分割包围、远程奇袭、佯退诱敌、运动中歼敌等战法，史称“深沉有大略，用兵如神”。他知人善任，曾起用一大批杰出的军事、政治人才。

　　成吉思汗统一蒙古各部，对蒙古民族的形成有巨大意义；攻金灭夏，为全中国一统王朝元朝的建立奠定了基础；后因西方大国边将杀死近五百人的商队，其国王又杀死蒙古正使，成吉思汗进行了西征。蒙古铁骑兵锋所指，多少支军队被打得人仰马翻，多少个王公贵族纷纷人头落地：不可一世的西方对手被消灭了，其统治区域成为剧烈争夺的战场。他只手建立横跨亚欧的大帝国，打开了东西方的大通道，推动了东西方经济文化的交流。

　　特别是以成吉思汗为代表的蒙古民族，从十三世纪起，创造了震动世界的历史业绩，至今仍然是蒙古草原的主体民族。这一展览，是中国古代北方游牧民族所创造的独具特色的草原文化的真实体现，这里凝聚着他们的智慧和创造，回荡着中华民族悠久而深沉的足音。

　　对于成吉思汗的千秋功罪，历史学家对其褒贬不一，尽管后人对他残酷的攻城掠地多有微词，但他的确成就了无上功业，这也并不影响他做为马背天骄的伟人的地位。”

R 鏡頭的單刀、雙刀、三刀(1 cam, 2 cams & 3 cams)和 ROM 版本

2008-06-08T07:48:00.000+08:00

想著手進入 Leica R 系列，除了選擇機身外，首先面臨的便是 R 鏡頭的單刀、雙刀、三刀(1 cam, 2 cams & 3 cams)和 ROM 版本（尤其是想接二手之鏡頭）。

參考過去網路上前輩的意見和國外幾個網頁（較具代表性的為：http://members.lycos.co.uk/JemK/Pic-A- Week/cams.htm 和 http://www.nemeng.com/leica/001c.shtml），整理出以下資料供大家參考。（由於沒有LEICAFLEX、SL和 SL2的操作經驗，以下相關資料，均來自以上相關網頁，所以若有誤，請不吝賜教，謝謝！）

光圈連動

在談到上述鏡頭差異之前，先談一下單眼相機（SLR）的工作方式。平時SLR會將鏡頭切至光圈最大處（若光圈不連動者不會如此）使進光量最大以方便構圖和對焦。即使改變光圈設定至較小值，鏡頭仍會保持在最大光圈處。直到攝影者按下快門後，光圈縮至設定的較小光圈處，接著反光鏡上掀、快門簾開啟、底片曝光、快門簾關閉、反光鏡彈下，最後鏡頭的光圈又回到最大光圈處，等待下次快門按下。為達成此光圈連動之功能，Leica R 鏡頭有一光圈連動機構，如圖一右下方紅色圓圈內的突起物。有些鏡頭的光圈連動機構是三角形，如圖一和圖五；但也有些是方形的，如圖二和圖三。

附註：
為了讓大家比對方便，文中鏡頭的紅點都置於右上方的位置。

光圈設定值回饋

在進行測光時，如前述，鏡頭會一直保持在最大光圈處，鏡頭必須要有一特定的機構告知機身設定之光圈，機身再依當時設定的快門光圈組合與其測光表測出值的差異提出建議，進而達到正確的曝光組合。Leica SLR 的特定機構便是單刀、雙刀和三刀。

但由於 Leica 生產的 SLR 大致可分為三大階段，其鏡頭與機身溝通光圈設定值的機構略有不同：
1. LEICAFLEX （1968 停產）
2. SL和SL2（1974/1976 停產）
3. Leica R （R3~R9）

圖一為 Leica 三刀（3 Cams）鏡頭，可見其三刀的分布。
1. 第一刀是給 LEICAFLEX 使用
2. 第二刀是給 SL 和 SL2 使用
3. 第三刀是給 Leica R 使用

圖一：Leica 三刀（3 Cams）鏡頭

Leica SLR 鏡頭可分為以下幾種版本：
1. 單刀鏡（1 cam lens）（1965~1968）只有第一刀；支援 LEICAFLEX
2. 雙刀鏡（2 cams lens）（1968~1976）有第一刀和第二刀；支援 LEICAFLEX、SL 和 SL2
3. 三刀鏡（3 cams lens）（1976~）有第一刀、第二刀和第三刀；支援 LEICAFLEX、SL、SL2 和 LEICA R
4. R 刀鏡（R cam only lens）（1986~）只有第三刀；支援 LEICA R
5. ROM 鏡（ROM lens）有第三刀和 ROM 電子接點（如同 R 刀鏡加了電子接點）；支援 LEICA R（若非 R8/R9，ROM 無作用）

Leica R SLR 配單刀鏡和雙刀鏡

此類搭配仍可行，只是會比較麻煩操作。由於鏡頭始終保持在最大光圈，測光表建議修正值是架構在最大光圈和機身設定之快門組合之上而非實際設定光圈快門組合，因此所有的修正要依最大光圈為起始。例如：使用 f2.8 鏡頭，當測光表告知要減光三格時（此時光圈假若已定在 f5.6），在快門不變的狀況下，應將光圈定在 f8，而非 f16。

R 刀鏡（R cam only lens）

由於生產三刀鏡需要較高的精確度來設定三刀之位置，影響到其生產的良率。因此 Leica 於 1986 年（此時 LEICAFLEX 已停產十八年；SL2已停產十年）推出單單支援 Leica R SLR 的 R 刀鏡。為避免 R 刀鏡（含 ROM 鏡）裝上 LEICAFLEX、SL 和 SL2，造成不必要的困擾，大部分的 R 刀鏡的接環底部會有一圈凸起環（如圖三和圖五）（圖二為 Summicron 50mm）。可惜是同時也無法將 R 刀鏡頭配上早期的接寫環和蛇腹（可參考“ 接寫環改裝“一文）。


圖二：Leica R 刀鏡 (Summicron-R 50 加拿大版)	圖三：Leica R 刀鏡 (接環底部有一圈凸起環)

第三刀﹝Cam 3﹞的功能

第三刀﹝Cam 3﹞為黑色階梯狀，目的在對應機身上的兩個獨立的連桿﹝為了避免混淆，在文中稱為機身的第三連桿和機身的歸零連桿。請參考圖四﹞。機身的第三連桿主要功能是得知鏡頭上預設的光圈值﹝如同早先鏡頭第一刀/第二刀的功能相同﹞。若撥動此連桿，機身依序會顯示 1.4、1.7、2.0、2.4、2.8、3.4、4.0、4.8、5.6、6.8、8.0、9.5、11、13、16、19 和 22﹝由此推論：藉由第三刀是無法搭配光圈大於 1.4 或小於 22 的鏡頭﹞。然而藉由這兩個獨立的連桿，R 機身可獲得較先前機種更多的鏡頭資料。

例如：
1. 鏡頭的最大光圈值。主要是靠機身的第三連桿和機身的歸零連桿相對應的距離﹝M﹞。光圈大者，M 比較短；光圈小者，M 比較長。
2. 機身在獲得先前資訊後會進一步判定光圈的範圍：若是 Summilux (f1.4)或 Summicron (f2.0) 的鏡頭，最小光圈是 16；若是 Elmarit (f2.8) 或最大光圈更小的鏡頭，最小光圈是 22。
3. 如此，可避免鏡頭未接妥，系統誤判鏡頭上預設的光圈值，導致曝光不足﹝因為未至定位時，相機得知的光圈值會較實際大﹞。
4. 在一些無法獲知鏡頭狀況時﹝如鏡頭搭配加倍鏡，因為無法預料搭配鏡頭的最大光圈﹞，加倍鏡第三刀﹝Cam 3﹞會設計成一階黑色階梯狀﹝相較於右圖的兩階﹞。如此機身的第三連桿和機身的歸零連桿會靠在一起﹝M = 0﹞，此時，機身不會顯示預設的光圈值，機身測光表還是會提供正確的建議值。

圖四：Leica R 鏡第三刀﹝Cam 3﹞對應機身連桿

ROM鏡（ROM lens）

於九零年代初期，Leica 推出 ROM 鏡，如圖五。於 http://www.nemeng.com/leica/001c.shtml 一文中，Pascal Heyman 提及主要功能有二：自動切換閃光燈反射版的焦段和另一較耐人尋味的是使攝影更方便。

先談一：讓一些可自動調整焦段（其燈旁之反射板）的閃光燈（如 Metz 54MZ-3/4、40MZ-2/3、32MZ-3 搭配 SCA3501 或 SCA3502 座）做自動調整之動作。也就是說，裝 50mm 的鏡頭，閃光燈會自動調整到 50mm；裝 28mm 的鏡頭便到 28mm。但一般閃光燈望遠端能切到 105mm 者已經很了不起，如裝 180mm 的鏡頭可能只能到閃光燈的上限 105mm or 85mm。因此說：此功能對使用標準變焦鏡者, 如 R28-70、R35-70 和 R28-90 最方便。如用 R28-70 的鏡頭，當鏡頭在 28mm 端時，閃光燈會自動調整到 28mm；當鏡頭在 70mm 端時，閃光燈會自動切到 70mm（其實此類閃光燈同時具備手動調整功能）。但若您的閃光燈無法自動調整，如 32 Z-2，那閃光燈上有調整的部份，可讓您用手調至 50mm、28mm 或其他。此時，即使是搭配 ROM 鏡，ROM 鏡也無用武之地。回過頭來，若可自動調整的閃光燈接上非 ROM 鏡，閃光燈上仍有可調整的部份，可讓您用手調至 50mm、28mm 或其他。

附註：上述的功能以閃光燈直射被攝物為主。若是跳燈，不見得一定要將閃光燈切到鏡頭對應的焦段。若將閃光燈切到較鏡頭對應稍長的焦段﹝視狀況﹞，閃光燈可以打較遠的距離。

圖五：Leica ROM 鏡

鏡頭	閃光燈	R3、R4/R4s、 R5/RE、R6/R6.2 & R7	R8 & R9
ROM 鏡	54MZ、44MZ、40MZ、32MZ 等加 SCA3501/3502 腳座	手動調整	自動調整
ROM 鏡	其他可調整反光板，如 32 Z-2	手動調整	手動調整
R刀鏡和三刀鏡	54MZ、44MZ、40MZ、32MZ等加SCA350x腳座	手動調整	手動調整
R刀鏡和三刀鏡	其他可調整反光板，如 32 Z-2	手動調整	手動調整

再談二：今年九月承蒙 rocaf 前輩於攝影家手札 Leica 版指點和 ycr 兄提供的使用資料，可確定“使攝影更方便”的功能是傳遞預設的光圈值、鏡頭的最大光圈值等與先前所述第三刀﹝Cam 3﹞相當的功能。當使用 ROM 鏡時，機身會獲得兩組相當的資料﹝ROM 和第三刀﹞，機身會優先取用 ROM 的資訊。在一般狀況，兩組資料會相同，以致於會讓人覺得是不是 ROM 鏡差異不大。但是，ROM可突破第三刀有限的功能，使 ROM 鏡推出之後有更多的發展空間。

例如：
1. 非定光圈的變焦鏡，ROM 可回饋正確的光圈值。如使用 R28-70 時，機身會顯示出 3.6、4.5 和 27 等光圈值
2. 使用 ROM 鏡加 ROM 加倍鏡，機身可顯示正確的光圈值。如鏡頭設定光圈 f5.6 加兩倍鏡時，機身會顯示 11
3. 或是將來 Leica 會推出 Noctilux-R

附註：
1. R8/R9搭配 ROM 鏡、R刀鏡和三刀鏡，其M/A/T/P/F模式均能正常動作。
2. ROM 鏡唯有搭配 R8/R9 方有 ROM 鏡的功能；搭配其他 R 機身是藉由第三刀傳遞資訊，並無搭配問題。R

一生中你會遇到三個人

2008-06-08T06:35:00.000+08:00

曾經讀過一篇文章﹐覺得還蠻准的﹐

一生中你會遇到三個人﹐

第一個﹐最愛你的人﹐把你寵壞的﹐從來不曾說你有錯﹐處處維護你的人。他/她﹐是這一生最愛你的人。

第二個﹐你最愛的人﹐你可以為他/她付出和徆牲﹐只希望你能帶給他/她開心。你愛他/她比較多﹐連你自己也很請楚。他/她是你這生最愛的人。

第三個﹐給你幸福的人﹐他/她會握著你的手﹐一起走完下半輩子的人。他/她決對是能給你幸福﹐也是你的結婚對像。

讀完這篇文章後﹐覺得天意弄人噢﹐怎麼要遇到第一﹐第二個才能遇到第三個呢﹖反正第三個才是共渡一生的那一位啊。真的很浪費時間噢。這真的是一個過程嗎﹖你遇到這三個他/她了嗎﹖

Filling up petrol with smart tactics

2008-06-05T20:57:00.000+08:00

This is a message related to filling petrol:

I don’t know what you guys are paying for petrol ... but here in Durban, we are also paying high for petrol, up to 47.35 per litre of petrol. But my line of work is in a petroleum company for about 40 years, so here are some tricks to get more of your money’s worth for every litre of petrol.

Here at the Marini Hike pipeline, where I work in Durban, we delivery about 4 million litres of petroleum in a 24 hrs period thru the pipeline.

One day is diesel, the next day is jet fuel, and petrol, LRP and Unleaded. We have 34 petroleum storage tanks here with a total capacity 16,800,000 litres.

Tip #1

Only buy or fill up your cars or bike in the early morning when the ground temperature is still cold. Remember that all petrol station have their petrol storage tanks buries below ground. The colder the ground, the denser the fuel, when it gets warmer, petrol expands, so buying in the afternoon or in the evening, your litre is not exactly a litre of petrol.

In the petroleum business, the specific gravity and the temperature of the petrol, diesel and jet fuel, ethanol and other petroleum product play an important role. A one degree rise in temperature is a big deal for this petroleum business. But the petrol station do not have temperature compensation at the petrol pumps.

Tip #2

When you are filling up petrol, do not squeeze the trigger of the nozzle to a fast mode. If you look, you will see that the trigger has three stages, low, middle and high. In slow mode, you should be pumping petrol on low speed, thereby minimizing the vapours that are created while you are pumping. All hoses at the petrol pump have a vapour return. If you are pumping on the fast rate, some of the liquid that goes to your petrol tank becomes vapour. Those vapours are being sucked up and back into the underground storage tank so you are getting less worth for your money.

Tip #3

One of the most important tips is to fill up petrol when your tank is half full. The reason for this is, the more petrol you have in your tank, the less air occupying its empty space. Petrol evaporates faster than you can imagine. Petroleum storage tanks have an internal floating roof, this roof serves as zero clearance between the petrol and the atmosphere, so it minimizes the evaporation.

Unlike petrol station, here where I work, every truck that we load is temperature compensated, so that every litre is actually the exact amount.

Tip #4

Another reminder, if there is a fuel truck pumping into the petrol storage tanks, then you stop to buy, do not fill up. Most likely the petrol is being stirred up as the fuel is being delivered, and you might pick up some of the dirt that normally settles on the bottom of the petrol storage tank.

Hope this will help you get the maximum value for your money. Please share this information with others! Lets share information and benefit all, for the better of mankind.

江民25日病毒播报:ARP魔鬼冒充局域网网关

2008-05-25T17:44:00.000+08:00

江民今日提醒您注意：在今天的病毒中Trojan/ARP.a“ARP魔鬼”变种a和Trojan/PSW.OnLineGames.tse“网游窃贼”变种tse值得关注。

病毒名称：Trojan/ARP.a

中文名：“ARP魔鬼”变种a

病毒长度：268311字节

病毒类型：木马

危险级别：★★

影响平台：Win 9X/ME/NT/2000/XP/2003

Trojan/ARP.a“ARP魔鬼”变种a是“ARP魔鬼”木马家族的最新成员之一，采用Delphi 6.0 - 7.0编写，并经过加壳处理。“ARP魔鬼”变种a运行后，在被感染计算机系统的“%SystemRoot%\system32\”目录下，释放多个恶意 DLL功能组件程序文件，并将文件属性设置为只读、系统、隐藏。在被感染计算机系统的“%SystemRoot%\system32\drivers\” 目录下释放一个恶意驱动程序文件“pop.sys”(文件属性为：只读、系统、隐藏)。在被感染计算机系统的后台以服务的方式安装启动恶意驱动程序 “pop.sys”，然后利用该恶意驱动程序和其它恶意DLL组件程序在被感染计算机系统的后台执行恶意操作。修改注册表，实现木马开机自动运行。利用被感染的计算机冒充其所在局域网中的主机网关，然后对其所在的整个局域网络中的计算机进行ARP欺骗攻击等操作。“ARP魔鬼”变种a能够在局域网中挂马、达到传播其它恶意网站广告或恶意病毒程序等功能。感染了“ARP魔鬼”变种a的局域网会造成网络堵塞，网速变慢，用户(局域网中没有安装ARP防火墙的计算机用户)使用浏览器上网会莫名其妙地弹出广告窗口等，严重干扰用户正常上网和办公等。

病毒名称：Trojan/PSW.OnLineGames.tse

中文名：“网游窃贼”变种tse

病毒长度：20326字节

病毒类型：木马

危害等级：★

影响平台：Win 9X/ME/NT/2000/XP/2003

Trojan/PSW.OnLineGames.tse“网游窃贼”变种tse是 “网游窃贼”木马家族的最新成员之一，采用Delphi语言编写，并经过加壳保护处理。“网游窃贼”变种tse运行后，自我插入到被感染计算机的系统 “explorer.exe”进程中加载运行，隐藏自我，防止被查杀。修改注册表，实现木马开机自动运行。在被感染计算机系统的后台利用HOOK技术和内存截取等技术盗取网络游戏《暗黑破坏神》玩家的游戏帐号、游戏密码、仓库密码、角色等级等信息，并在后台将玩家信息发送到骇客指定的远程服务器上，致使《暗黑破坏神》玩家的游戏帐号、装备物品、金钱等丢失，给游戏玩家带来极大的损失。

针对以上病毒，江民反病毒中心建议广大电脑用户：

1、请立即升级江民杀毒软件，开启新一代智能分级高速杀毒引擎及各项监控，防止目前盛行的病毒、木马、有害程序或代码等攻击用户计算机。

2、江民KV网络版的用户请及时升级控制中心，并建议相关管理人员在适当时候进行全网查杀病毒，保证企业信息安全。

3、全面开启BOOTSCAN功能，在系统启动前杀毒，清除具有自我保护和反攻杀毒软件的恶性病毒。

4、“网页安全专家”可以检测到用户计算机上是否感染了恶意网页，如检测发现恶意网页，用户可以按照提示自动上报给国家计算机病毒应急中心进行处理。网页安全专家下载地址：http://www.antivirus- china.org.cn/avtools/avtools_webexpert.htm

5、江民防马墙在系统自动搜集分析带毒网页的基础上，通过黑白名单，阻止用户防问带有木马和恶意脚本的恶意网页并进行处理，有效保障用户上网安全。

6、将应用软件升级到最新版本，其中包括各种IM即时通讯工具、下载工具、播放器软件、搜索工具条等;更不要登录来历不明的网站，避免病毒利用其他应用软件漏洞进行木马病毒传播。

7、“江民密保”可有效保护网上银行、支付平台、网上证券交易、网络游戏等账号密码，全面保护用户私密信息。

8、怀疑已中毒的用户可使用江民免费在线查毒进行病毒查证。免费在线查毒地址：http://online.jiangmin.com/chadu.asp.

病毒中心提醒谨防木马"驱动杀手"新变种来袭

2008-05-25T17:39:00.000+08:00

新华网天津５月２５日电（记者张建新、王宇丹）国家计算机病毒应急处理中心通过对互联网的监测发现，近期出现一个木马“驱动杀手”的新变种Ａ（Ｔｒｏｊａｎ—Ｄｒｉｖｅｒ.Ａ），提醒广大计算机用户小心谨防。

专家说，该变种会用恶意驱动程序文件替换受感染计算机系统驱动目录下的原有驱动程序文件，并将该恶意驱动程序注册为系统服务，使计算机系统中的防病毒软件无法正常使用，进而躲避防病毒软件的查杀。该变种还会最终将恶意驱动程序文件删除，并在受感染计算机系统的动态连接库缓存目录下复制一个被该恶意驱动程序替换掉的原系统驱动文件。

该变种运行后，会把恶意动态连接库组件程序插入到受感染操作系统中所有用户级权限的进程中加载运行，防止被计算机用户发现删除。如果恶意攻击者利用该变种入侵感染计算机系统，那么受感染的操作系统会主动连接互联网络中指定的服务器，下载其他病毒、木马等恶意程序。同时，恶意攻击者还会窃取计算机用户的键盘操作信息，最终造成受感染的计算机系统被完全控制，严重威胁到计算机用户的系统和信息安全。

专家提醒，已经感染的计算机用户应立即升级系统中的防病毒软件，进行全面杀毒。未感染的计算机用户建议打开系统中防病毒软件的“系统监控”功能，从注册表、系统进程、内存、网络等多方面对各种操作进行主动防御。用户要及时下载安装操作系统和系统中应用软件的漏洞补丁程序，阻止各类病毒、木马等恶意程序入侵操作系统。

Planar 85/1.4 ZF

2008-05-25T16:58:00.000+08:00

Planar T* 1,4/85，实际焦距84.8mm，最大光圈F1.4，最小光圈F16，可1/2档调节，最近对焦距离1m，光学结构6片5组，滤镜口径72mm，镜头直径77mm，全长62mm，全重570g。

Planar T* 1,4/85 ZF是这7支ZF镜头里面口径最大的一支，这也是蔡司推出的第五支135系统用85mm焦距大口径镜头了，最早的是C/Y （Contax/Yashica）Sonnar T*85/2.8（5片4组），然后是比较常见的C/Y Planar T*85/1.4（6片5组），极为少见的是限量版的C/Y Planar T* 85/1.2（8片7组），还有一个跟限量版差不多罕见的是自动对焦的Contax N 卡口的Planar T* 85/1.4（10片9组），可以看出，ZF版的85/1.4实际上是继承了C/Y卡口的85/1.4的结构略做改动的结果，实在不能称为一支新镜头，不过生产商也变了，C/Y镜头的生产商是富冈光学，ZF则改为确善能(另有小道消息称之前的contax镜头所用玻璃是由德国肖特玻璃厂提供的，现在ZF则改用了Hoya提供的环保玻璃)。

Planar 85/1.4 ZF是蔡司ZF卡口镜头群里面最富吸引力的一支，单单是外表就足以激起你的购买欲望，做工精良的全金属镜筒，最前端的镜片清澈无比，镀膜颜色是淡淡的青绿色，就像一只眉目含情的大眼睛一样看着你，令人痴迷，令人沉醉。不过，这也是最难以掌握的一支镜头，它就像是一个像黄蓉那样冰雪聪明的姑娘，每当你觉得已经把她握在手中的时候，却总发现她小腰一扭就逃出了你的掌心，没办法，再重来一次吧，Planar 85/1.4 ZF亦是如此，它最大光圈只有F1.4，虽然浅浅的景深对于营造气氛非常有好处，但也带来了对焦上面的极度困难，很少有人能把它又快又准的对好焦的。

也许你激动不已的拍摄了xxx张照片之后，回家放大一看，却只有那么3，5张是合焦的，其他都在两可之间，那时的沮丧是可想而知的。加上尼康能使用ZF系列镜头的机种对焦屏一贯的做的不是那么的亮，在对焦上难度就更大了，要用好这支Planar 85/1.4 ZF，先得练好鹰眼功，还要练好铁手功，然后最好给相机换个裂像对焦屏，多说一句，AIS接口的ZF镜头装在D200及以上的机身上时的确有合焦提示的功能，不过1.4的光圈还是太大太大了，不要盲目相信相机，学会利用裂像对焦屏还是很必要的。

这是一支极难掌握的镜头，习惯了迅捷而又准确的自动对焦的朋友们肯定一时很难习惯它，更难适应这种精工细作的拍摄方式，这支镜头根本不是拿来干活的，它是一个奢侈的玩具，在你终于能够抽出一点点时间逃开尘世的喧嚣与烦躁之后，带上这支Planar 85/1.4 ZF仔细的对焦，慎重的拍摄，去寻找那份属于你的安静和闲适吧。

Carl Zeiss不朽的经典-Carl Zeiss历史

2008-05-25T13:05:00.000+08:00

摄影，我想不光是需要技术以及多么昂贵的摄影器材，更重要的，是对摄影的态度，一种心境，一份虔诚。

言归正传,研究历史:

蔡斯历史

Zeiss 今天也许已经没有如同过去般地辉煌，也许已经不在那麼热衷商业性的镜头（成本的考量），但在最顶尖的光学领域，她仍然是一枝独秀。翻开这近百年来的光学设计史，彷佛就是一部活生生的蔡司史，几位大师级的科学家，如 E. Abbe, P. Rudolph, Otto Schott, H. Harting, C.P.Goerz, L.J.Bertele..等等都是光学设计史上的关键人物。十九世纪末Robert Koch 博士利用蔡司显微镜发现杆菌是导致结核病的原因。1911年挪威探险家Roald Amundsen首开人类踏上南极大陆，他用蔡司望远镜看南极大陆。大到人造卫星的空照镜头，小至眼镜玻璃，Zeiss 对各种光学玻璃的制作乃至光学设计上的突破，都在在的显示她对人类科学的贡献，成就非凡。

【蔡司光学史 & 年表】

时至今日，世界上优良的光学系统很多，并非全然Zeiss 设计的系统就是最好，但所有经典的作品中Zeiss 所占的比例最重却也是个公认的事实。以下仅例举几项最经典，也最被广为讨论的光学设计。光学设计始於英国，但在E.Abbe之前几乎没有什麼很严格的理论基础，完全是尝试错误与经验的累积，而制造者多半是机械工匠与玻璃师傅。

1868 E.Abbe建立全新的设计理论，如 Sine relation；定义各种Distortion及Abberation，并确立光学计算的方法。同年并制造出史上第一支，经由理论计算的显微镜。

1881 E.Abbe与Otto Schott 合作，开始有系统地研究并开发各种光学级的玻璃。

1886 Schott公司出版史上第一本光学玻璃目录，生产44种不同特性的光学玻璃，并为往后的新光学设计打下基础。

1890 Rudolph与Abbo 研发出史上第一支消散光像差的设计，Anastigmat，这项惊人的成就敲开了近代光学设计的大门，其功劳不亚於贝尔发明电话。数年后推出商业化镜头，Zeiss Protar及Zeiss Planar。

1902 Rudolph 改良 Anastigmat 而推出最著名的商业化镜头 Zeiss Tessar f6.3 1911 Zeiss Biotar f1.8，设计者为M.V.Rohr

1919 第一次世界大战结束。

1923 Zeiss APO-Tessar

1929 Zeiss Biotar f1.0及f0.85 注：在没有电脑辅助设计以前，大光圈的高速镜头设计是项很繁琐的工作，其「追迹」所计算的数学资料有时候必须要好几千张才能完成。

1932 Sonnar f1.5及f2.0，设计者为L.Bertele这是当时世界上结像品质最佳的高速镜头。

1936 Sonnar 180mm f2.8这是史上第一支高速望远镜头。 Smakula 首开先例，在镜片上利用真空镀膜技术镀上一层低折射率的抗反射膜 Antireflection Coat-ings）T Coating

1945 第二次世界大战结束。

1948 西德蔡司成立 1952 R.Richter设计出18×18cm，90°视角之pleogon这是有史以来结像品质最佳的空照镜。

1954 L.Bertele设计出 90°视角，没有形变的超广角镜，这支Biogon真可算是光学设计史上的艺术极品。 Biogon 21mm f4.5 for 35mm 片幅 Biogon 38mm f4.5 for 6×6 片幅 Biogon 53mm f4.5 for 6×9 片幅 Biogon 75mm f4.5 for 9×12片幅 1954 G.Lange 设计出全新5 片组的Planar 80mm f2.8（R-olleiflex）Planar 可算是中距离镜头，大光圈光学设计的希望，时至今日有很多知名厂牌的 50mm f1.4或是 50mm f2 都是采用类似planar Double Gauss 的光学设计。

1960 Planar 55mm f1.4 for Contarex

1961 Zeiss 数学家E.Glatzel 发表全新电脑辅助光学设计方法。

1964 Distagon 40mm f4 （哈苏6×6） 1966 Hologon 15mm f8 （35mm SLR） Planar 50mm f0.7（35mm SLR） Distagon 18mm f4 （35mm SLR）

1972 Distagon 35mm f1.4（Contax）非球面 Planar 85mm f1.4（Contax） Planar 50mm f1.4（Contax） Distagon 15mm f3.5（Contax） 1974 电影机 35mm 用的Distagon 35mm f1.2 及Distagon25mm f1.2

1976 再推出35mm电影机用的超广角超大光圈镜头Distagon18mm f1.2，你能想像它是什麼可怕的模样吗？ Planar 110mm f2（哈苏）

1982 浮动元件设计的Distagon 40mm f4（哈苏）

1984 第二阶（Secondary Spectrum）完全消色差的Tele-Apotessar 300mm f2.8

（1984年后的光学设计不作补充说明）

卡尔·蔡司其人

卡尔·蔡司

一个仅高中毕业的学徒工；德国古镇耶拿（Jena），卡尔·蔡司的故乡。当初也许谁也没有想到古镇上的这位学徒会成为世界光学巨子。

因为多年对光学和化学的兴趣，在学徒期满之后，卡尔长期在当地的耶拿大学(粉不错的大学，度假的好地方，可惜计算机专业……)旁听。1846年，30岁的卡尔创办了一个工作室，早期产品是放大镜片和简单的显微镜。得益于两位大科学家恩斯特·阿贝和奥托·肖特（听说过光学玻璃中大名鼎鼎的“肖特”玻璃吗？开创者就是此老）的帮助，蔡司厂光学镜头的质量一直处于领先地位。二战以前设在德累斯顿的生产车间，是世界上生产规模最大的照相机工厂。

一波三折的经历

1945年2月14日晚上，灾难降临，德累斯顿（明年一定要去逛逛这个易北河畔的佛罗伦萨）照相机工厂被盟军炸毁。在二战将近结束时，巴顿将军的第三军团占领了耶拿，由于雅尔塔条约规定美军的位置必须后退向西移，德国被一分为二，耶拿和德累斯顿全部由苏军占领。

对于这个光学巨人的财富，俄国人当然不会让“美帝国主义”染指，作为战争赔偿，苏军拆除了剩下94%的工厂设备。在基辅建立了现在的Kiev（基辅）照相机制造厂（借着这一丝血脉，俄罗斯镜头至今还能在光学领域占有一席之地）。

但是德国人的技术好像抢不走，在耶拿大学的支持下“Carl Zeiss Jena”的标志很快又出现了。当初被巴顿掠走的126名蔡司关键管理人员和技师，在美国的支持下，也在联邦德国（西德）的奥伯考亨重新建厂。卡尔·蔡司在“资本主义”社会里也获得了新生，蔡司厂从此一分为二。

东德的产品冠名Carl Zeiss Jena（卡尔.蔡司.耶拿）史称“东蔡”，西德的产品冠名Carl Zeiss，史称“西蔡”，东、西蔡都标榜自己为是蔡司正宗，其实双方在设计上都秉承了蔡司传统。“塞翁失马，焉知非福”，正是这种竞争使得蔡司在光学技术上的更臻完美。

两德统一后，东西德的蔡司厂又联系经营。总部仍在奥伯考亨，拥有员工3500名，同时在世界各地设有分厂。这时的蔡司双剑合壁，在光学领域已经是第一强者。在135领域还尚有康太克斯与徕卡抗衡（康太克斯采用卡尔蔡司），但到了120领域Carl Zeiss 便称雄天下：哈苏、禄徕两大120巨头都使用卡尔蔡司镜头。进入数码时代，依靠蔡司的鼎力相助，原本是光学外行的索尼，摇身一变，成为消费级数码相机的业界老大之一。

经典的缔造者

蔡司开创了镜头工业中的诸多经典设计。蔡司的创始师保罗·鲁道夫就是镜头制造史上最有名的设计师之一。1890年，他设计出第一只消像散正光摄影镜（Anastigmat），开创了蔡司镜头的新纪元。1896年鲁道夫又发表了大名鼎鼎的普兰纳（Planar）双高斯结构的镜头，对各种镜头像差都进行了出色的纠正。此后，世界各地生产的各种品牌的标准镜头（包括徕卡）无不借鉴普兰纳镜头的设计。

1902年，他又设计出四片三组的“鹰之眼”——天塞（Tessar）镜头，虽然结构简单、价格适中，成像质量惊世骇俗，明快锐利。

其他诸如广角镜头的典范Holgon、大光圈镜头的典范Sonnar（索尼DSC-F828的镜头正是基于Sonnar镜头结构设计的）、专为旁轴相机设计的Bio-gon等等，都是蔡司创造的经典名镜。光学产品只要沾了蔡司镜头的边就有市场，这就是事实。

在蔡司、徕卡的耀眼光环下，罗敦司德（Rodenstock）和施奈德（Schneider）在外行人眼里变的默默无闻。其实在德意志百年的光学传统工业里曾经出现过大量的优秀品牌，但在蔡司、徕卡的垄断下大多凋零了，但罗敦司德和施奈德靠自己的一流的设计还坚强的存在。如果你看到哪款数码相机使用了罗敦司德和施奈德的镜头，其他的不说，光学性能尽可放心。虽然有传闻说数码相机用的德国镜头都只不过是德国设计甚至授权，但就算镜头在日本或其他什么地方 OEM，德国人也会顾忌一点自己的面子，性能绝不会太离谱。

150 年历史的卡尔蔡司生产世界上屈指可数的高品质透镜。以其独有的色彩还原和成像特点令世界摄影爱好者爱不释手。HandyCam 里装备了变焦镜头 (Vario-Sonnar)(Vario-Tessa)。分辩率及对比性高，颜色还原出色，几乎没有四角失真现象。忠实提供高画质量摄影。同时，透镜 T*(T star)表面涂层，抑制无用反射光，使图像更鲜明。[Vario·Sonnar]达到MTF指标 ※ ，生产中为确保质量，在透镜块上编上序号，在严格的质量控制下逐一生产出来的。

"Tessar"镜头与天塞之父–保尔.鲁道夫

不论是东蔡斯Carl Zeiss Jena玩家,还是西蔡斯Carl Zeiss发烧友,大伙都很喜欢用一款号称“鹰眼”的天塞Tessar结构的镜头.

1902年，保尔.鲁道夫博士设计的Tessar镜头正式取得了Tessar的专利权.

1889年，耶拿Carl Zeiss公司的设计师Paul Rudolph博士提出了他的像场边缘像散矫正原则，第一支可以真正矫正像散的镜头于1890年被开发出来，这是一支广角镜，利用了高斯在1840年设计的一款望远镜头的2组4片结构。Rudolph博士又先后在1897年和1900年设计出了Planar和Unar镜头，在1890至1900这十年，总计有10000支非像散镜被销售出去。Zeiss公司生产的这些镜头均以Anastigmat为标记，由于这一名称未申请专利，为了防止仿造，Zeiss 公司从1900年起，用Protar、Planar和Unar这三个专利名称标记自己的非像散镜头。其中Unar是由四片独立的镜片组成，最前段放置一片凸透镜，然后是一片凹透镜，两片半月板型透镜在镜头末端；Protar是由两组粘合在一起的非对称的镜组构成。1900年之后开发出的钡硅玻璃使得镜头不仅能够矫正像散，同时还能得到平坦的像场。

1902年，Rudolph博士设计出了今天的寿星Tesser，它与Unar、Protar有着紧密的联系，这支镜头由4片镜片组成，两两一组不对称的分布在光圈两边，其中前组是独立的两片玻璃，后组是由一片凹镜一片凸镜粘合而成，光线经前组镜片汇聚，再由后组的粘合平面发散投射到底片平面上。 Tessar镜头一直以来都被当作是Triplet镜头的改型，通过现代对光学历史的研究，我们又把Tessar镜头的起源追述到Portrait- Antilanet。

1902年Zeiss公司开始出售Tessar镜头，其中包括用于速拍的最大光圈为6.3的Tessar系列，以及用于翻拍的最大光圈为10的 Tessare系列。1905年和1906年设计师E.Wanderleb又将Tessar的最大光圈提升到了4.5和3.5，这些发展都是依靠新品种玻璃的产生。1912年Wandersleb博士又进一步修正了Tessar镜头，使其更加流行，这时人们已经可以把Tessar安装在固定的大型座机上使用。

1921年Tessar的计算数据被进一步调整，这一年Willy博士开发出了适合远摄的光圈分别为6.3和8的Tele-Tessar，这两款 Tele-Tessar的实际后截距要比镜头焦距短，它们并非典型的Tessar结构。只有后来为胶片机生产的Kino-Tele-Tessar和为 Contax生产的Tele-Tessar-K才是具有典型Tessar结构的望远镜头。为了适应航空摄影的需要，Zeiss在同年又推出了f 4.5/250 f5/500和f5/700这三支镜头。

1927年，Willy Merte博士将Tessar镜头的光圈进一步提升至1:2.7。当时这种新开发的Tessar镜头被用于大多数摄影机和照相机上。但与当时同样流行的 f/3.5相比，这种镜头的边缘成像清晰度略显不足。1931年，Zeiss公司用Bio-Tessar 1:2.8/135，1:2.8/165代替了1:2.7/120和1:2.7/165。新的Bio-Tessar是一种由Willy•Merte博士设计的六片三组式消色差Triplet式镜头，镜头前组由一片凹透镜与一片凹凸透镜粘合而成，中间是一片独立的凹透镜，后组是由一片凹凸透镜，一片凹镜，一片凸镜粘合而成，中间设置的独立的凹透镜可有效的改变像场边缘的相差问题。此后Zeiss又设计了Apo-Tessar f1:9/1200mm和用于翻拍的S-Tessare f6.3/1200mm。

30年代初，Willy.Metre博士为Zeiss设计出了专用于小画幅相机的Tessar镜头，这支镜头的结构来源于Tessar f3.5，只不过光圈提升至了1:2.8，这种镜头首先被用在Kolibri 3*4cm相机上，之后便被德雷斯顿的Zeiss Ikon相机厂生产的Contax1 型机作为标头使用。1934年Zeiss又开发出了前景组经镀膜的Tessar f2。1939进一步改进的Tessar通过对第6或7片镜片的矫形，使得Tessar f2在全开光圈是成像变形问题得到了更好的解决。在广角摄影领域，Zeiss为Contax设计了一款光圈为f1:8的28mm镜头，虽然光圈很小，但这支镜头的成像角度已达到了75度。直至30年代末，Zeiss一直把Tessar当作自己生产的成像最为锐利的镜头，正如那时Zeiss的广告中所描述的 “Zeiss Tessar-相机的鹰眼”。

二战之后(1947年)，Harry Zoellner博士(现Carl Zeiss Jena厂的技术总监)，通过应用新开发的钍元素玻璃设计出了Tessar f2.8/5cm，1951年这款Tessar镜头才正式投入市场开始销售，与f3.5相比，除了光圈增大以外，在成像素质方面也达到了Tessar镜头的一个新顶点。 1965年Harry Zoellner博士设计的Tessarf2.4，已经达到了当时光学水平的顶点，但是由于过大的光圈而带来像质损失，使得这支镜头的开发半途而废。

位于斯图加特附近的Carl Zeiss Oberkochen工厂，也在致力于Tessar镜头的开发，并且为Tessar系列镜头光学素质的提高做出了很大贡献，1956年 Wandersleb改进了1938年已获得专利的Tessar原始镜头的设计，生产出适合Contaflex 3/4的镜间快门型超级Tessar f4/35mm 以及f4/85mm。1962年超级Tessar的全开光圈又被提升至1:3.2。之后Zeiss公司修正了广角Tessar和望远Tessar的前镜组，使得Tessar镜头终于可以系列化的应用于Contaxflex相机上，满足了各个焦段用户的需求。

至此Tessar镜头家族的组织性建设已基本完成，自50年代至今，已有更多的经过改进的Tessar镜头被摄影师所应用。同时，其它相机厂也纷纷借鉴Tessar镜头的设计生产出了一系列的变形品种，这其中也包括Leitz公司早期的Elmar系列镜头。如果有谁想要收集Tessar镜头，那么目前在世界上至少还有400多个不同品种的Tessar可供选择。

庞大的Tessar家族向人们展示了，光学技术的进步如何能使1840年的一支结构简单的四片镜，发展成为在今天的摄影领域仍然举足轻重的镜头。也告诉我们，今天我们在商店里很容易就买到的镜头，无一例外都是经过光学工程师年复一年，甚至一辈接一辈的辛勤工作才设计出来的，在Tessar镜头百年诞辰之际，让我们想它致敬，更想它身后的无数工程师们致敬。

卡尔蔡司照相机摄影镜头发展里程碑

1890-开始生产相机用镜头

1896-Paul Rudolph发展出Planar镜头的始祖

1902-Tessar镜头面世,后来这种镜头被称为"鹰眼"

1928-推出特别高速的BiotarF/1及F/0.85镜头,是专为X光摄影而设计

1932-推出高速的Sonnar F/2镜头,供Contax相机使用

1935-T镜头镀膜技术出现

1951-Flektogon广角镜出现,供单镜头反光相机PRAKTICA、 EXAKTA、PENTACON six使用

1954-Biogon F/4.5镜头出现,视角达90度

1962-蔡司镜头用于"水星8号(Mercury 8)"太空任务,成为第一只在太空使用的镜头

1963-出现Hologon F/8的设计,视角达106度(35mm片幅)

1966-世界上最大光圈的光学镜头50mm Planar F/0.7问世

1972-首支有色差矫正的Superachromat Sonnar 250mm F/5.6镜头面世

1980-首支能够达到1:1的Makro-Planar F/2.8微距镜头面世.而这镜头可适用于Contax的SLR上

1993-卡尔蔡斯开始生产高质量的变焦镜头[八十年代初东德的Zeiss Jena公司早己开始制造高品质的变焦镜头了

1996-Planar镜头百年纪念,推出限量生产的Planar 55mm F/1.2

关于德国百佳

第二次世界大战后，德国分裂成东德和西德。原来位于德累斯顿的ZEISS IKON AG. 也分为东德蔡司和西德蔡司两个公司。
东德蔡司继续留在德累斯顿，由于两个蔡司为了相机名称的问题一直争论不休，所以，在战后一直到60年代，东德蔡司的相机名称是比较混乱的。比如1948 东德Zeiss厂发明第一代五棱镜平视单反135相机 Contax S 来说，也是CONTAX/PENTACON混用了很长时间，还出现了CONSEL/HEXACON等名称，当然，它们都是M42的罗口机，后来有出现了PRAKTINA/PENTINA/PORST REFLEK 等另类的机器，还有47年左右的PRAKTIFLEX，居然用的M40的罗口！
PRAKTICA 的名字最早出现在1949年的一款35毫米俯视取景的相机。接下来，东德蔡司将这个M42接口的相机衍生出了许多系列，许多外型各异的机器，一路洋洋洒洒，浩浩荡荡的生产到了1989年。加上数量庞大的蔡司镜头群，使得M42罗口在很长的一段时间内成了统一世界的135单反的标准接口，许多品牌的相机都曾效仿。

百佳产品型号、年份和销售数量

Model (型号) Year(年份) Quantity(数量)
Praktiflex 1938 240.000
Praktiflex,nera 1938 360.000
Praktica 1948 110.000
Praktica FX 1952 100.000
Praktica FX2/FX 1956 120.000
Praktica FX3 1957 100.000
Praktica IIA 1959 190.000
Praktica IV 1960 130.000
Praktica IVB series 1961 130.000
Praktica NOVA 1B 1965 110.000
Praktica Mat 1966 100.000
Praktica Super TL 1967 100.000
Praktica NOVA 1968 110.000
Praktica SUPER 1968 160.000
Praktica LLC 1969 150.000
Praktica VLC 1975 180.000
Praktica LTL3 1976 120.000
Praktica PLC2 1976 140.000
Praktica VLC2 1976 200.000
Praktica EE2 1977 130.000
Praktica MTL3 1979 100.000
Praktica PLC3 1979 150.000
Praktica VLC2 1979 210.000
Praktica B100 1980 130.000
Praktica B200 1981 160.000
Praktica BC1 1984 180.000
Praktica MTL5 1984 120.000
Praktica BCA 1986 120.000
Praktica BX20 1988 210.000
Praktica BMS 1989 150.000
Praktica BX20s 1990 320.000

关于M42卡口—世界的M42

我们是不是一直向往用一个机身通用各厂镜头？其实不夸张说，这个想法三十年前就已经实现了,那就是——M42螺口系统！

M42×1是三十年前风行一时的相机接口。它出现在二战前的德国，50年代起，由德国KW（Kamera-Werkstatten）推动此规格镜头盛行于世。许多著名相机生产厂都生产过M42×1接口镜头，如西德的Carl Zeiss、Schneider、Schacht、Enna、Rodenstock、Voigtlander、Kilfitt，东德的Carl Zeiss Jena、Meyer、Pentacon，法国的Angenieux，日本的Pentax、Fujica、Mamiya、Olympus、 Yashica、Chinon、Cosina，美国的Vivitar等。目前俄罗斯和乌克兰还有M42螺口的镜头在生产，而且日本的Cosina公司又复古地推出了以Voigtlander为品牌的多款M42镜头和机身，看来，世界大一统的想法至今未绝。

那个时代是机械相机技术发展、工艺完善的一个巅峰时代，不管是机身还是镜头，都把它当作工艺品一样精心制作。因为同用一种接口，所以竞争十分激烈。镜头手感或成像稍不满意，用户就会换用别家的镜头，所以各个镜头生产厂都不惜成本，只为在竞争中领先。不像现在各个厂家都是各自为政，各有各的卡口，只能自己和自己比，用户不满意就得连机身一起换系统。

正是因为这个原因，M42时期的各个厂家生产的镜头基本上都是精品，做工考究，成像优良。那时的镜头，基本都是全金属结构，调焦手感极佳。成像嘛，现代镜头发展起来的是变焦技术，由此发展出了非球面镜和超低色散镜片。但这些技术对定焦镜头来说作用并不大，反而会大大增加成本，所以从成像质量来讲， 30年前的定焦镜头表现已然十分优秀。
那时的理念是用尽量少的镜片来设计出最优秀的镜头，关键在设计，所以出现了一批经典结构。而现在镜片是能加就加，甚至个别镜头的镜片组合达到20片以上！那时的镜头全部用的是光学玻璃，而现在是模铸的甚至是有机玻璃的，再镀以增透膜，制造成本要比从前低多了。比较起来，只有在抗眩光技术上，由于早期M42镜头缺少多层镀膜技术，所以比现代镜头明显差上一截。

M42机身由于是三、四十年，甚至是五十年前的东西了，测光元件老化是一个普遍现象，而且那时用的电池目前早已不生产了，即使找到测光正常的机身，也得找现代电池替代。所以现在找二手的M42机身，不能苛求测光是否准确了，只能把它当纯手动相机来玩儿。我用过的M42机身有PENTAX SPF、FUJICA ST801、YASHICA TL ELECTRO X和最新出的Voigtlander Bessaflex TM。Voigtlander就不用说了，新机器嘛，各项指标都令人十分满意。这里单说说前三款老机器。

PENTAX SPF是M42机身的经典，1—1/1000秒的快门速度，外加B门、自拍，全开光圈测光、指针式测光显示。整机做工精致，手感极佳。缺点是对焦屏不是裂像的，取景器稍暗。FUJICA ST801则弥补了以上的不足，对焦是裂像屏，取景器是M42机身里最亮的，而且快门速度达到1/2000秒，这在当时是不多见的。YASHICA TL ELECTRO X是一款电子快门的M42相机，现在可以用4节A76纽扣电池代替原来的PX28电池，因为不太严丝合缝，还要加上垫片，才能保证不会接触不良。它的快门必须有电时才能正常工作，没电时只有一档1/60秒可用，此外还有反光镜手动预升功能。但我还是最喜欢PENTAX SPF，只因为它的操作手感最好。欧洲是M42的发源地，但欧洲生产的机身比日本的功能要少许多，反光镜震动也比较大，收藏价值已大于实用价值。

镜头方面，我将按焦距段来介绍几只我个人认为不错的M42镜头。

20mm～24mm：最有名的就是前东德的Carl Zeiss Jena MC Flektogon 20mmF2.8了，它成像柔润、色彩清丽，而且做到F2.8的大光圈，极为难得！我则比较喜欢PENTAX SMC TAKUMAR 20mm F4.5镜头，它色彩鲜艳、成像锐利。PENTAX做事比较严谨，没有追求大光圈，而是把重点放在了控制畸变上，别看是20mm广角，畸变控制却非常好。 PENTAX SMC TAKUMAR 24mm F3.5镜头有其同门师兄20mm F4.5的一切优点，而且24mm这个焦距比20mm好控制，所以是我使用率较高的镜头之一。

28mm～35mm：PENTAX SMC TAKUMAR 28mm F3.5镜头按说比24mm F3.5要好做，但据我实拍，它的成像却比不上24mm F3.5，不知是不是特例。PENTAX SMC TAKUMAR的35mm镜头有两只，分别是35mm F3.5 和35mm F2。35mm F3.5是我用过的最顺手、成像最优秀的M42接口35mm镜头。35mm F2稍差，不够锐，颜色发黄。Carl Zeiss Jena有一只MC Flektogon 35mm F2.4，成像也很不错。

50mm～55mm：俗话说“标头无弱旅”，我用过的不下10只M42标头没有一款差劲儿的，这里就不一一列举了。
85mm～135mm：这个焦距段常被称为人像镜头。85mm镜头的价格曾被人为炒得极高，是性价比最不合理的镜头，但因为它最适合拍半身人像，还是极受用户的追捧。Carl Zeiss Jena MC Pancolar 80mm F1.8和PENTAX SMC TAKUMAR 85mm F1.8都是难得一见的好镜头，价格当然也极高。价格因素是我至今还没找到合适的85mm镜头试拍的原因。135mm这个焦距很容易做，有许多杂牌小厂都生产过此焦距镜头，价钱也很便宜。但要做到大光圈、成像又好也不是件容易的事。我的135mm镜头比较多，所以多说两句。我目前有Carl Zeiss Jena MC Sonnar 135mm F3.5、Carl Zeiss Jena Sonnar 135mm F3.5斑马头、A.Schacht Ulm Edixa-Mat-Travenar 135mm F3.5、ISCO-GOTTINGEN Berolina-Tele-Westanar 135mm F3.5和PENTAX SMC TAKUMAR 135mm F2.5。我分别把它们和我的一只C/Y卡口的Carl Zeiss T* Sonnar 135mm F2.8镜头比较了一下，其中的PENTAX SMC TAKUMAR 135mm F2.5脱颖而出，如果Zeiss镜头的成像得95分的话，那TAKUMAR至少能得90分，而且调焦和使用手感比Zeiss镜头一点不差！

200mm～300mm：由于技术原因，那个时期长焦镜头的最近对焦距离都比较远，大约是现代同焦距镜头的一倍左右，所以实用性不够强。

在欧洲，几大镜头生产厂也都生产过42螺口镜头，经典好镜头也有许多，但由于国内极少见到，即使见到，价格也比国外市场高出许多，所以本人试用过的仅寥寥几只，总体感觉是：手感不错，成像风格与日本镜头有很大的差别，这是否就是所谓的“德头风味”不得而知。

M42镜头还有一个极大的优势，就是可以利用转接环转接到现代机身上使用，甚至最新的数码单反相机。目前据我所知，可以转接到佳能EOS、佳能 FD、美能达MD，美能达AF、宾得PK、康太时C/Y、柯尼卡AR、富士卡X、百佳PB等卡口机身，多数镜头在用于光圈优先、手动曝光等模式时，只需手动对焦和收缩光圈测光，其它功能并不损失。
综合起来讲，所有的M42镜头手感都很好，成像也不差，价格便宜，又能加上转接环和现代机身通用，可以说是目前二手市场上性价比极高的镜头群。玩儿M42，不只因为它便宜，主要是M42中藏有太多的故事，玩儿它的同时，就能了解三、四十年前的那段历史。复古也罢，怀旧也罢，玩儿的就是那种感觉。

曾经有位朋友说过这样几句话，感触颇深，摘抄下来与大家共勉：的确，时代不同了，如今的厂商早已经没有了将相机和镜头当作工艺品来精心制作的心态，他们现在一心只想着压低成本、扩大产量。而在螺口相机的时代，相机的的确确是一件奢侈品。那个时代的产品中所凝聚的匠心，远不是现在大规模自动化生产线的产物所能比拟的。另外，当我们今天有幸拿到这些品相完美的老产品时，在赞叹其精湛工艺的同时，也不能不对如此精心爱护和使用它们的原主人表示极大的敬意！正是有了他们的珍惜，我们这些晚辈才能够在近半个世纪后，得到如此完美的心爱之物。

对着灯光看镜头时，发现由于镜片结构不同，镀膜不同，反射的光线也五颜六色，各式各样，好看之极。忽发奇想：要是把这些反光照下来，该多漂亮？于是支开三脚架，多打了几盏射灯，一张张带着美丽光影的镜头正面照就完成了。在电脑上合成在一起，真是爽心悦目！

一个不得不提的名字—CONTAX

CONTAX简史

Saale河仍然流过德国工业城镇耶拿(Jena)，这是Carl Zeiss基金会的故乡，耶拿就像那河流一样，尽管时光流逝，容颜未改。

1846年，Zeiss先生在这里创建了他的工作室，为耶拿大学制造高质量的放大镜片，就从这寒酸的陋室开始，Carl Zeiss作坊逐渐成长为世界上最大和最为领先的光学公司。
Carl Zeiss于1816年9月11日出生在图林根州(Thuringia States)的魏玛市(Weimar)。他父亲是魏玛王朝时代一个车削车间的工厂管理人员。卡尔在魏玛高级中学就读，并完成了六级课程。毕业后不久，他自愿给Frederick Koerner博士做学徒，Koerner博士当时正在研究用于望远镜目镜的玻璃。在学徒期满后，卡尔被耶拿大学短期聘用，并作为大学的旁听生。

从此，Zeiss开始了镜片制造的理论研究。在随后的几年里，Zeiss访问了斯图加特(Stuttgart)、达木斯塔特 (Darmstadt)、韦恩(Wein)和柏林(Berlin)等城市里玻璃和镜片制造商，做了大量的笔记，内容涉及玻璃熔炼、材料、烧制温度和任何与玻璃制造、显微镜和其他光学仪器有关的题材。

他回到曾经在那里学习化学和数学的耶拿大学后，1846年，Zeiss刚满30岁，他开始在耶拿建立了工作室，有20个雇员，早期产品是放大镜片和简单的显微镜。1858年开始生产复合型显微镜。Carl Zeiss赢得了高质量产品的声誉，并于1861年在图林根州的展览会上获得了金牌。

Carl Zeiss所有的工作都是凭经验，既试错法来完成的。显然这种生产方法要消耗大量的时间和浪费大量的材料。Zeiss相信会有种科学的方法，能够更精确、可预见和更经济地生产镜片。Zeiss对此进行了五年的努力，最终无功而返。于是在1866年，他访问了耶拿大学，在那里遇到了当时在大学作讲师的 Ernst Abbe.

Ernst Karl Abbe生于1840年元月23日，出生在Eisenach。Abbe在21岁时就毕业于Goettengen大学，1863年到耶拿大学工作，于 1870年成为物理和数学教授。1878年成为天文和气象台的主管。1866年Abbe就以研究导师的身份加入了Zeiss的工作室，两人开始研究生产光学产品的科学基础结构。经过六年对新型光学玻璃的研究，终于在1872年制造出无与伦比的复合显微镜。这台仪器是今天所有现代复合显微镜的鼻祖。

在开始生产Carl Zeiss复合显微镜的第二年，1873年，Abbe发表了一篇科学论文，对如何设计完美的复合式显微镜的数学方法作了详细的描述，第一次详细地叙述了光学设计中的像差、衍射、慧型像差等内容。Abbe对光学过程描述得如此详细，以至于这篇论文成为了现代光学的基础。作为其发明的奖励，Carl Zeiss于1876年邀请Abbe作为合作者。
1879年，Abbe邀请了第三个合作伙伴Freidrick Otto Schott加入其阵营，共同致力于改进显微镜。当时Freidrick Otto Schott正在研究将锂加入到一种新型的光学玻璃，并致函给Abbe，说明其进展。Abbe博士立刻对这种新型玻璃产生了兴趣，随即对玻璃进行了测试，并高度地赞扬了Schott的研究结果。他们两人很快见了面，并形成了维系他们后半生的协议。Schott专门生产用于新型Carl Zeiss显微镜的玻璃，1884年建立了一个全面的工厂，其所有权归属于Carl Zeiss、Ernst Abbe和Freidrick Otto Schott，称为Jena Schott & Genossen光学工厂。Schott研制出100多种不同类型的光学玻璃，还有多种用于装饰及功能性玻璃。从此耶拿玻璃成为世界上最有名的玻璃。

我们是不是一直向往用一个机身通用各厂镜头？其实不夸张说，这个想法三十年前就已经实现了,那就是——M42螺口系统！

那时的理念是用尽量少的镜片来设计出最优秀的镜头，关键在设计，所以出现了一批经典结构。而现在镜片是能加就加，甚至个别镜头的镜片组合达到20片以上！那时的镜头全部用的是光学玻璃，而现在是模铸的甚至是有机玻璃的，再镀以增透膜，制造成本要比从前低多了。比较起来，只有在抗眩光技术上，由于早期 M42镜头缺少多层镀膜技术，所以比现代镜头明显差上一截。

经典的三款老机器

镜头方面，我将按焦距段来介绍几只我个人认为不错的M42镜头。

50mm～55mm：俗话说“标头无弱旅”，我用过的不下10只M42标头没有一款差劲儿的，这里就不一一列举了。

85mm～135mm：这个焦距段常被称为人像镜头。85mm镜头的价格曾被人为炒得极高，是性价比最不合理的镜头，但因为它最适合拍半身人像，还是极受用户的追捧。Carl Zeiss Jena MC Pancolar 80mm F1.8和PENTAX SMC TAKUMAR 85mm F1.8都是难得一见的好镜头，价格当然也极高。价格因素是我至今还没找到合适的85mm镜头试拍的原因。135mm这个焦距很容易做，有许多杂牌小厂都生产过此焦距镜头，价钱也很便宜。但要做到大光圈、成像又好也不是件容易的事。我的135mm镜头比较多，所以多说两句。我目前有Carl Zeiss Jena MC Sonnar 135mm F3.5、Carl Zeiss Jena Sonnar 135mm F3.5斑马头、A.Schacht Ulm Edixa-Mat-Travenar 135mm F3.5、ISCO-GOTTINGEN Berolina-Tele-Westanar 135mm F3.5和PENTAX SMC TAKUMAR 135mm F2.5。我分别把它们和我的一只C/Y卡口的Carl Zeiss T* Sonnar 135mm F2.8镜头比较了一下，其中的PENTAX SMC TAKUMAR 135mm F2.5脱颖而出，如果Zeiss镜头的成像得95分的话，那TAKUMAR至少能得90分，而且调焦和使用手感比Zeiss镜头一点不差！

200mm～300mm：由于技术原因，那个时期长焦镜头的最近对焦距离都比较远，大约是现代同焦距镜头的一倍左右，所以实用性不够强。

综合起来讲，所有的M42镜头手感都很好，成像也不差，价格便宜，又能加上转接环和现代机身通用，可以说是目前二手市场上性价比极高的镜头群。玩儿 M42，不只因为它便宜，主要是M42中藏有太多的故事，玩儿它的同时，就能了解三、四十年前的那段历史。复古也罢，怀旧也罢，玩儿的就是那种感觉。

东德百佳所配套的Pentacon,Carl Zeiss Jena镜头资料

介绍：

当Praktica B 系列照相机推出的时候，它们附带一系列名为Praticar的镜头。这些镜头的制造者是carl Zeiss Jena,Pentacon和日本的Sigma。后来，Pentacon也从日本的Cimko和Cosina公司定制变焦镜头。德国统一之后，Carl Zeiss Jena就不再制造Praticar镜头了。接着，德国Schneider Dresden 公司控制的韩国Samyang公司，被选中为Pentacon制造变焦镜。或许，以后，Schneider公司会制造PB卡口的镜头。

Pentacon Prakticar 镜头：

Meyer光学是融合在Pentacon集团中的一家公司。当Carl Zeiss Jena镜头保持独立的时候，Meyer 光学的产品完全融合到了Pentacon集团。所以，当Praktica B系列推出的时候，镜头上不在标示Meyer-Optik,而是"pntacon Prakticar".德国统一之后，Schneider Dresden继续制造一些

Pentacon Prakticar镜头：

光圈/焦距滤镜直径重量制造者评论2.8/28mm 49mm 240g DDR/Germany 产量很大,后期产品使用塑料镜桶，1.8/50mm 49mm 230g DDR/Germany 后期产品使用塑料镜桶，2.4/50mm 49mm 160g DDR/Germany 薄饼风格的镜头。2个版本，其中之一长出4mm，2.8/135mm 55mm 465g DDR/Gernamy 产量很大，后期产品使用塑料镜桶，4/200mm 58mm 670g DDR 只有原型产品，5.6/500mm 118mm 3500g DDR M42卡口，Pre-set光圈

注意1: 未经正式的传言说50mm f:2.4现在由罗马尼亚生产

注意2: 50mm f:1.8和135mm f:2.8在德国统一后一度可以从Pentacon获得，但停止了。

注意3：有些版本的28mm f2.8,50mm f:1.8,135mm f:1.8标示"Carl Zeiss Jena P"，这是为了配合JenaFlex.

注意4:Schneider-Dresden 成立短时间之后,至少28mm f:2.8被标示为"Meyer-optic made in Germany"

Carl Zeiss Jena Prakticar 镜头

德国统一之后,Praktica和Carl Zeiss Jena生产设备被卖给了不同的公司,所以Carl Zeiss Jena Prakticar镜头的生产停止了.

光圈/焦距滤镜直径重量产地评论

2.8/20mm 67mm 310g DDR 由Flektogon 设计

2.4/28mm 49mm 350g DDR 浮动镜片. 非常稀少

2.4/35mm 49mm 255g DDR 由Flektogon 设计

1.4/50mm 52mm 320g DDR

1.8/50mm 49mm 230g DDR Pentacon 把它标示为 CZJ 以配合Jenaflex(?)

2.8/50mm 49mm 150g DDR 薄饼风格. 只有原型.

2.8/55mm 49mm 250g DDR

1.8/80mm 52mm 310g DDR

3.5/135mm 49mm 310g DDR

2.8/200mm 72mm 850g DDR 非常稀少.

4.0/300mm 72mm 900g DDR

5.6/1000mm N/A 12Kg DDR Mirror lens. M42 卡口.

2.7-3.5/35-70mm 58mm 410g DDR 真正的 Carl Zeiss Jena 变焦镜.

4.0/80-200mm 52mm 640g DDR 真正的 Carl Zeiss Jena 变焦镜

光圈/焦距滤镜直径重量产地评论

2.8-4/35-70mm 52mm 380g Japan

4.0-5.6/55-200mm 52mm 420g Japan

4.0-5.6/55-200mmAF 52mm ? Japan 自动对焦版本

4.5/70-210mm 52mm 480g Japan

4.5-5.6/80-200mm ? ? Japan

注意:上述镜头由Pentacon出售时标示为Pentacon Prakticar,同时也由Sigma和其它独立镜头厂商出售.

由三洋(samyang,韩国)制造的Prakicar镜头光圈/焦距滤镜直径重量产地评论

4.0-4.5/18-28mm 72mm 490g 韩国

3.5-4.5/28-70mm 55mm 370g 韩国

4.0-5.6/28-200mm 67mm 810g 韩国

3.5-4.5/35-70mm 52mm 310g 韩国

4.0-5.6/70-210mm 52mm 450g 韩国

4.0-5.6/75-300mm 55mm 730g 韩国

注意: The lenses available in the present from Pentacon, are the ones listedin the above table plus the 28mm f:2.8, 50mmf:2.4.

上述镜头由Pentacon出售时标示为Pentacon Prakticar,同时也由samyang厂出售,不过很稀少.Pentacon也用Exakta商标出售这些镜头.它也提供韩国制造的28mm f:2.8,也是Exakta商标.

其它镜头

倍增镜:存在2x远摄倍增镜,由日本Kenko制造.Pentacon出售时打Prakticar和Exakta商标.由sigma 制造的倍增镜有时也有出售.Tamron 镜头:腾龙提供Adaptall II转接环,以便在PB卡口照相机上使用他们的镜头.(Adaptall II Mount model 14c)M42×1镜头pentacon制造了接环,允许M42×1镜头可以在PB卡口照相机上使用.它有电子触点,照相机可以完成stepped- down测距.

T卡口镜头:没有针对PB卡口照相机的T卡口镜头接环.理论上可以使用2个转接环完成(PB转M42,M42转T)

T2卡口镜头:韩国Samyang 制造了转接环,可以在PB卡口照相机上使用T2卡口的镜头,但这个接环没有电子触点,所以照相机无法自动测距.

Improve Your Photos by Cropping

2008-05-25T11:17:00.002+08:00

It works especially well on faces because when you fill the frame with your subject’s face, there is less clutter to draw the viewer’s eye away from the pleasing face.

Cropping does almost the same thing. It allows you to improve your photos by eliminating the distractions or clutter.

Eliminate Clutter and Emphasize Subjects

Sometimes your photos have extra elements that don’t add much to the photo and can distract from your main subject. Cropping is a fantastic way to eliminate these extras.

As an example, the foreground bushes in the windmill photo distract your eye from the main subject and remove some of the impact from the image. By cropping the photo to just the windmill, there is less clutter in the image and my intended subject (the windmill) stands out more.

Crop To Improve Composition

Notice I cropped the windmill image with the Rule of Thirds in mind.

I have spoken about the Rule of Thirds previously. Try to crop an image so that the main subject (our windmill) sites on a third line. This technique can also liven a dull photo by moving a subject that may be in the middle of the frame to be slightly out of frame; or onto one of the rule of third lines.

Changing the composition has other benefits. If you zoom in on certain parts of an image, you also change the emphasis on the photo. In the below crop, I have changed the emphasis of the image completely by cropping the mother and concentrating on the child.

Cropping Wide or High

Don’t get stuck with the standard dimensions of a ‘normal’ photo when cropping. Feel free to construct an image that looks more panoramic than the original by making the image a lot wider than it is high. Or choose a crop that is a lot higher than it is wide. You can even make a vertical image from a horizontal image.

This technique works very well when you have a lot of sky or water in your image. Crop the sky out leaving just the interesting parts.


	Crop the image two different ways. Taller or Wider.

Beware of cropping too much

Be careful how much you crop. Whenever you remove parts of an image, you are eliminating pixels resulting in less pixels than the original. If you chop too much off, and then try to print the smaller photo back at the original size, you can notice some degradation of quality or lack of crispness. It does depend on the number of mega pixels in your original photo and how large you wish to print the cropped photo so if unsure, test it first.

Finally, make a copy of your image before cropping it. You always want to keep a copy of the original just in case you need it again… or you aren’t happy with your crop!

Beware of Malaysia Taxi!!!

2008-05-25T11:15:00.001+08:00

caution is best....

Air purifier in Malaysia taxis
( Must Read for your own safety!! )
No matter the taxi driver is chinese, malay or indian, PLEASE BE AWARE!
If you notice that there is a sound of spray of perfume or air purifier inside the taxi, PLEASE GET DOWN from the TAXI IMMEDIATELY!!

It just happened to me just now. It was about 12.45 am . I got into a taxi driven by a malay man. I was in the taxi for a few minutes, I suddenly heard of a sound of spray and there was a smell like air purifier. I felt weird as to why the driver put two types of air purifiers in his taxi. The smell immediately reminded me about this forwarded email that I read. I started to be aware of my surroundings. But the puff of the purifier kept appearing every few minutes. I was very worried and scared.

Gradually, I sensed that my body started to feel weaker and weaker. The purifier kept puffing from the back seat, just right behind me. As I really felt my whole body is weaken, I asked the driver to let me get down at the side road. But he kept trying to talk to me and ask me why not dropping me off at my destination. I think he was trying to drag the time. To my horror, I felt both of my hands and legs got numbed and no energy, almost could not move.

When I talked to the driver, I could not even speak properly, not to say to shout for help, 'cos I was really too weak... Immediately, at a traffic light I opened the door, jumped out and ran to a passer-by for help.

I really thank God for saving me. If not, I really can't imagine what would have happened to me. I am traumatized by this incident.

This is TRUE case. Please do keep in mind! IT IS BETTER TO BE SAFE THAN SORRY!
I feel the need to share with you guys, no matter you are men or women 'cos it is NOT a LIE , not a made-up story. It really happened. Do let your friends, family members and relatives know about this case. I believe you are just like me, don't wish anybody to be the victim of this case.

'Please be aware when aboard to a taxi, especially the ladies.'

I received an email some months ago about a lady getting into a cab and felt uneasy and become faint when she smelt something like incense being burnt. She was smart enough to order the taxi to stop immediately and after throwing some money at the taxi man quickly get out of the taxi. She later got to know that if she had not stopped the taxi and gotten out, she would have fainted and raped by the taxi man (or a gang of rapists)!

After reading this, I thought maybe this was one of those emails that you would read and just forget about it, but I was wrong!

Few weeks ago, a visitor to our Chinese church who stayed in Puchong got into a taxi driven by an Indian man. When she sat into the taxi, there was a little burner and she could smell incense burning in the taxi. After awhile, she felt weak and unable to speak or shout. The Indian taxi man drove to a lonely road where there was hardly anyone and raped her. Before she was completely knocked out, she was told by the taxi guy that she was his number six victim. She was not only raped but also robbed!

When she was conscious again, she quickly went to see a doctor. The sad thing is, the doctor knew she was raped but did not advise her what to do. The doctor just let her make the decision to make or not to make a police report. Since she does not know the rapist name and also the taxi number and in great fear after this trauma, she told the doctor that she would not dare to report to the police. The doctor said since she dare not make the report, he would just have to destroy the medical report!

Because the rapist took her whole bag with her IC in it, he got her address and even has the guts to come straight to her house and try to be funny with her.

Please remember not to get into a taxi that smells funny and if possible don't get into a taxi alone, and if you have to do so, give a call or sms back to your friends or relatives and let them know the taxi registration number and if possible, the name of the taxi man.

AND OPEN THE WINDOW!

Gals... please take note and...
Guys... please forward to your female friends...

Carl Zeiss名詞解釋

2008-05-10T07:34:00.000+08:00

Biogon:

Biogon 鏡頭的外型是由DR. LUDWIG BERTELE發明，它現今在光學史中扔是設計的水準標記。其設計深受攝影家喜愛，經年不衰。因為相機內沒有反射鏡，可以讓鏡頭和底片之間的距離很小，此其優點之一。因此，鏡頭的設計工程師就研發出這支Biogon 頭，它幾乎可以完全矯正變形現象。Biogon 鏡頭的設計幾乎是對稱的，它的變形現象比單眼相機所使用的DISTAGON廣角鏡頭還低。它深受專業攝影家的重視。一般攝影時，均愛使用它，因為它在任何攝影情況下，均有出色的表現。
在1932年，Sonnar型鏡頭更進一步的發展引導出了Biogon f/2.8鏡頭的設計。這是一隻35mm系統的高速、廣角的鏡頭。第一隻Biogon鏡頭是由6片鏡片分成4群所組成。在1952年，它由7片鏡片所組成的新設計所取代以獲得更優秀的像場亮度以及對變形的進一
步改善。從此之後，Biogon的標誌在其他同等級的廣角鏡頭中被Carl Zeiss建立了一個標準，因為它非常的快速且像場也特別地平坦。這個特色也同時表現在Biogon f/4.5（120系統）這隻由8片5群所組成的超廣角鏡頭上，它能夠提供的角度達到90°。
這個焦長只有像場對角線一半長度的Biogon鏡頭能賦予全部的影像範圍幾乎完美的解析度和色彩飽和度，即使在全開光圈的情況下。桶狀變形和影像邊緣的失真相對上是不存在的。Biogon特別適合在建築、時裝模特兒和全景攝影，也適合拍攝在狹窄空間中的機
器或是工業流程。
　
Hologon:

Holgon鏡頭是廣角鏡頭中最有名的鏡頭。由Dr.Glatzel博士在60年代早期所發明的，15mm f8 Hologon 鏡頭110度畫角，沒有光圈葉片，變形的矯正非常優秀，對於超廣角鏡頭來說是非常難得的。
Holgon 鏡頭是廣角鏡頭中最有名的鏡頭。這個鏡頭是在60年代早期由Dr.Glatzel所發明的，這個超級廣角鏡可以在106度的角度內製造出沒有變形的影像。Holgon這個字是由希臘holos所衍生的-----意思是全部，你可以將每一樣東西拍進一張相片裡，因此在風景及建築攝影中就變得非常有名。Holgon的鏡片弧面幾乎是半球面及完全平面所組成，製造這種鏡片需要特殊的的技術，而且鏡片的定位必需非常的精準。目前只有Zeiss有能力依照規格生產這種鏡頭。Holgon稱得上是光學史上的藝術品，也是現在買得到的鏡頭中最神奇的鏡頭。
15mm f8 Hologon for LEICA 這隻鏡頭並不是因為光學表現優異 (變形矯正及顏色反差非常棒，但畫面明度不均勻，必須藉由原廠濾鏡才能使畫面亮度均勻) ，而是它的光學構造只由3片鏡片所構成的，如果對鏡頭有認識的話，應該知道廣角鏡頭是最難設計的，因為會有嚴重的變形所以要用鏡片矯正，通常20mm以下的超廣角鏡頭用個十幾片鏡片矯正是很正常的事。雖然光圈不夠大，也不如Zeiss 15mm/3.5 實用 (Leica 那隻15mm/3.5鏡頭是Zeiss做的而Nikon的15mm/3.5鏡頭則是向Zeiss買設計圖自行生產的，由此可見蔡司的設計實力) ，但Hologon有其獨特的魅力。
LEICA 那隻名鏡(Hologon 15mm f8)由於總產量不超過350支，非常稀有二手的在美國要價8000到一萬美金。Holgon稱得上是光學史上的藝術品，也是現在買得到的鏡頭中最神奇的鏡頭。(G系列那隻鏡頭是德製的，要買德製鏡頭的人可以考慮，如果只是平常拍照，不用到望遠及Macro鏡的人可以考慮G系列，因為每支鏡頭都比單眼的優秀。)　

Distagon:

Carl Zeiss選擇＂Distgon＂這個名稱做為後焦距（鏡頭最後一片鏡片到焦平面的距離）長於實際焦距的廣角鏡名稱。這種設計型式的廣角鏡在單眼相機上是特別有需要的。
在Carl Zeiss的鏡頭群中這型式的鏡頭毫無疑問的是一項重要的產物。最多可使用到13片鏡片的結構設計以得到像f/1.2這種在廣角鏡中非常高速的光圈，或是在攝角達110°時仍可維持較高的光圈速度。除了具備廣角的條件之外，Distagon鏡頭允許單眼反光機的反光鏡在最後一個鏡片和呈像平面之間的空間移動，這個距離在廣角鏡的焦距中是非常長的。
Distagon鏡頭能在高速、廣角和較長的後焦距情況下，提供優秀的像差矯正和影像品質。透過浮動鏡片的設計，或是在必須的情況之下使用非球面鏡片，使得Distagon型鏡頭在近距離拍攝時也有優異的影像品質.

Planar:

Planar鏡頭是Carl Zeiss鏡頭設計的代表作。它實現了們對於清晰、原色重現，及豐富的漸層的最高要求，這種鏡頭的絕佳表現能力，除Carl Zeiss能做到外，無人可及。Carl Zeiss鏡頭銳不可當的表現力超過任何攝影家的期望。
Planar 型鏡頭是由P.Rudolph博士於1896年在Zeiss所設計出的。這是鏡頭發展史上一個重要的里程碑。它是第一個能夠在大光圈時提供無像散的像場且能對球面像差做高度的矯正。這款鏡頭在追求高速的同時也能對色像差有傑出的矯正。傳統的Planar型設計，是由兩組對稱於光圈的透鏡所組成。尤其以光圈兩旁相對稱的高曲率透鏡弧面形成一個近似封閉的空間為其特色。由於這種設計有Gauss型望遠鏡頭的特點，所以這種目前被許多鏡頭製造廠商所使用的設計型式，都統稱為Gauss型鏡頭。
在20世紀，這型的設計更進一步引導出高速鏡頭的設計，例如為35mm電影機所設計的Biotar型高速鏡頭（f/2，f/1.4），或是光圈值達f/0.85的X光機鏡頭，發展給NASA用的50mm f/0.7 Planar。
新的Planar型鏡頭維持數十年來的傳統，將起始光圈設定在f/3.5至f/0.7之間。Planar型鏡頭也能將所有鏡頭工學上重要的改良立即吸收到它的設計之中。這項特色使得現代的Planar鏡頭始終居於領導地位。
即使在全開光圈下，整個像場上也都能呈現優越的解像力，使得Planar鏡頭真正地成為一支世界性的鏡頭。而它也特別適用於中型相機和135相機。

Sonnar:

Sonnar鏡頭採傳統式的設計，攝影家們以尋求多年。過去幾年中，不斷地加以修改，如增加其速度，減少鏡頭的像差，以達到令人難以置信的準。Sonnar 鏡頭針對小型快拍或正式人像均非常理想，即使採全面光圈它也可為影像區邊角提供高對比。

Sonnar 是採用傳統型的設計。大約在60年前，隨著Sonnar f/1.5和f/2這兩個高品質、高速的鏡頭出現，對35mm系統的攝影具有決定性的貢獻，並取得了重大的成功。Sonnar型鏡頭的小尺寸和較短的後焦距對新型35mm系統相機的進一步發展是非常重要的因素。
Sonnar型鏡頭的發展在往後很快的使這型鏡頭能運用在長焦距鏡頭和大尺寸的底片上面。
到目前為止，這型的鏡頭不斷地改善和更進一步地發展。大量的新型Sonnar都有高速、銳利、色彩飽和和優秀的像場照明等特色，一些特別的長鏡頭在專業或業餘的人像攝影、望遠攝影、新聞攝影、舞臺攝影或科技上的攝影都有極高的評價。

Tessar:

Tessar 型鏡頭是由P.Rudolph博士在1902年所設計的。特色是用最少的光學鏡片卻能得到最高品質的影像，Tessar型的鏡頭已經在世界上很普遍地被使用，這是Rudolph博士這項精巧設計的巨大成功。90年來Tessar型鏡頭已經建立起它獨特的地位，隨著鏡頭設計和光學鏡片的發展，更加證明瞭這項產品的靈巧方便和經得起考驗。它在鏡頭設計史上的藝術地位已經被確立了。今天，Tessar鏡頭意同於銳利的解析度、高透光率、均勻的像場亮度和傑出的變形矯正。這個型式的鏡頭使用在彩色攝影上不需要更改任何設計以消除色像差的問題。如同所有的Zeiss鏡頭，Tessar鏡頭在設計時就已經做好色彩矯正的工作了。
Tessar鏡頭現已被廣泛地使用在風景、建築、人像和運動等攝影上。

Tele-Tessar:

與像場的對角線相比之下，Tele-Tessar型的鏡頭有一個長的焦距。這型鏡頭所提供的優勢是它的設計簡單，同時能使最前面的鏡片到底片的距離比實際焦距還短，有時可以減少到25%的長度。
這型鏡頭的特色是擁有4到6片的鏡片，且前組聚集的鏡片群和後組較分散的鏡片群之間有一段長距離。後組的鏡片相對之下比較小因此允許光線通過狹小的機身孔。也因為重量輕，所以能夠手持拍攝，即使用的是600mm長鏡頭。
第一隻Tele-Tessar鏡頭是由W.Merte於1921年在Zeiss開發出的。由於使用新型的鏡片，適當的光學特性加上廣泛地使用電腦系統來輔助設計，使得今日的Tele-Tessar鏡頭有著非常優異的表現。也因為鏡頭的角度可以小到4°，所以當你從觀景窗看出去的時候，它就像是一支有力的望遠鏡。
在長距離、運動、新聞、探險考察的攝影領域中，Tele-Tessar型鏡頭是一個完美的選擇。而較淺的景深也時常被運用成為影像的特質。

T* Coating:

二次世界大戰以前，所有的光學系統都有一個共同的問題-------即使它們的光學設計都.非常的完美也是一樣 ﹕這個問題就是影像品質下降。是因為在所有空氣與玻璃的交界處都會產生反射。這個問題的解決方法是Zeiss科學家亞歷山卓斯馬庫拉博士（Dr.Alexander Smakula）所發現的，他發明瞭防反射鍍膜技術並且獲得1935年的專利，過了好幾年才將其中的秘訣公開。這項發明的其中一個目標是要去降低軍事雙筒望遠鏡所產生的反射，避免敵人偵測到觀測兵在哪裡。不過，主要的目標是降低玻璃和空氣接觸面所產生的反射。這項發明改革了所有光學技術的領域，而且也可以設計配有很多鏡片的高性能鏡片組，而且也不會降低對比。從那時起，Coating 就用來增進光線的傳輸。不過，防反射鍍膜的進展並未因此而停頓下來。多層鍍膜的使用甚至可以壓制一些廣泛範圍光線的反射----最後發展出有名的T*- coating，從1972年Carl Zeiss就使用在鏡片上。
今日，Zeiss利用鍍膜法讓Zeiss的每一個鏡片傳輸正確的顏色就是說， Zeiss充分利用整個光譜傳輸，包括每一種玻璃類型的光譜吸收來獲得整個光譜傳輸需求。和一般中性鏡片做比較，能夠高度傳輸藍色區段光線的鏡片叫做冷鏡，而能夠高度傳輸紅色區段光線的鏡片叫做暖鏡。要達到預期的效果，常常需要根據用在個別鏡片上特殊玻璃的折射率，規定每一種鏡片表面個別的鍍膜法-----當然，這樣會讓製造過程變得更複雜而價格相對提高。
鏡片的外表和的表面大部分的時候都很乾淨，但有時卻髒的很難處理。針對這個問題，改進鍍膜的耐久性就成為所要達成的重要目標。
在離子法鍍膜過程中，使用具有高能量的氣態離子。這些具有高能量的離子的使用有二種目的 ﹕其中一種就是，它們會釋放鍍膜的原子動能，讓原子加速。另一種目的是：它們讓這些基本鏡片的表面引起震動，讓鍍膜的原子能更緊密結合在一起。因此這些離子將鍍膜的原子帶到最適當的位置上。傳統的防反射過程裡，那些沈積的材料容易形成不正常的柱狀晶形-----沒有離子撞擊，結果變成一個不鬆不緊的結構。離子法鍍膜過程可以產生很光滑的表面，在硬度的增加和耐磨性的改進都有很好的效果。
讓我來說明更進一步方法T*--coating。這種光學相位校正鍍膜是Zeiss特別為了雙筒望遠鏡內部的頂部稜鏡（roof prism）所發展出來的，頂部稜鏡所發生的相位移.對於有使用頂部稜鏡的雙筒望遠鏡，嚴重影響其影像品質----這是Zeiss的雙筒望遠鏡可以提供給使用者的另一種更好的品質。

其他 ZF 資料

2008-05-10T07:33:00.001+08:00

Carl Zeiss ZF

2008-05-10T07:31:00.000+08:00

Zeiss的名字大家一定不會陌生,其頂級的光學科技數十年來也是聞名海外,但F-mount的nikon用家一直沒有機會可以正式體會,的確可惜....但自從日本的cosina同carl zeiss合作,為其推出了7支高質素的定焦鏡頭後,一眾nikon用家便可以嘗試高質的"副廠"鏡了~
7 支 F- mount (即Nikon mount) ZF分別為Distagon T* 25/2.8, Distagon T* 28/2, Distagon T* 35/2, Planar T* 50/1.4, Marko-Planar T* 50/2, Planar 85/1.4 和 Marko-Planar T* 100/2

ZF鏡的基本資料,特點:

1. 全金屬製造,其冰涼的手感和扎實的造工,會使你感到ZF的穩定和高質,是一眾NIKON新鏡的不可比
2. 全MF手動對焦,沒有AF,但其設計以手動對焦為首,金屬的對焦環手感好,對焦行程穩定,暢順,與一般AF鏡MF用不同,使用家樂於"手動的自主", Nikon的新機如D40,D80,D200,D300等的VF已經不小,也夠光來對焦,問題不大,但ZF雖好,始終手動對焦,追焦是痛苦的
3. 沒有鏡內CPU,所以D200以下的機種沒有測光
4. 全部ZF都內付遮光罩
5. 全機械設計,簡單沒電子部分,可以用上二,三十年,在頭一年壞的機會不大,所以不妨買水貨
6. Planar and Distagon:
Planar : 為標準廣角到135mm中望遠的鏡頭設計,是6片四組鏡頭,起初只有f/4.5,今日Planar鏡頭已作到f/1.4,Planer的特點是色差修正完善,對稱設計,變形極低
Distagon : 為逆焦式的廣角鏡頭設計,主用於18mm至35mm,特色是變形輕微且中央解像力高
7. T* : 為多層式防反光鍍膜
8. D200上更換ZF鏡頭後鏡頭資訊設置的快捷方式: (from xitek)
在f4選項中,定義機身FV鍵,可選擇第二項:閃光鎖定+鏡頭資訊.以後在更換非CPU鏡頭時,只需要按住FV鍵同時分別撥動主副撥輪就可調整回應的鏡頭焦距和光圈資訊.

Carl Zeiss Distagon T* 25/2.8 ZF

Technical Specifications

Focal length 25.7 mm
Aperture range f/2.8 – f/22 (1/2 steps)
Focusing range 0.17 m – infinity
Number of elements/groups 10/8
Angular field, diag./horiz. 80.2°/70°
Coverage at close range 56 x 85 mm
Filter thread M 58 x 0,75
Dimensions ø 65 mm, length 66 mm
Weight 480 g

這是一款嚴謹冷峻的光學產品，從2007年1月24日正式上市那一刻起他就備受敬仰，除了光學鏡片之外，他由內至表處處都滲透著金屬的冰冷與剛毅。蔡司Distagon T* 25/2.8 ZF採用了10片8組的光學構成，最近對焦距離0.17m，體積65×66mm，重量為480克，使用58mm口徑濾色鏡片。在與傳統135幅面單反機型匹配時，這支定焦鏡頭的精確焦距數值為25.7mm，這是一個極為個性化的焦距區段，與28mm的所謂黃金廣角相比他的視角更寬廣，也更具有視覺衝擊力。若與24mm焦距的鏡頭相比，他又擁有更好的畸變控制能力，畫面也少了幾分張揚，多了幾縷含蓄。
著名的紀實攝影大師約瑟夫•寇德卡是蔡司25mm 廣角的使用者和傳播者，他將這種鏡頭的畫面擴張力和主力躍出感表現得淋漓盡致，其展示的許多不朽攝影佳作都出自蔡司25mm鏡頭。眼前這支專為尼康用戶提供的Distagon T* 25/2.8 ZF具有不俗的近攝能力，利用F8或F11的較小光圈，通過前景聚焦與廣闊的景深範圍的結合，他可以營造出絕佳的視覺透視效果。這支鏡頭在3-5m的對焦距離上從事人物攝影時，被攝主體的立體感和細節描寫力都相當強，主體環境也被刻畫的恰到好處。
　　事實上，任何廣角光學產品都會存在中心影像與邊緣影像的畫質差距，焦距越短視角越廣，這種畫面上影像素質的差別就愈加明顯。而Distagon T* 25/2.8 ZF卻恰如其分地把握住了中心畫質的逐次降損過程，並由此掩蓋了邊緣畫質的鬆散，甚至還借助這種與生俱來的畫質遞減現象造就了無以倫比的視覺立體感！而那些從事人文攝影的大師們，正是利用了這種人與自然環境結合過程出現的視覺立體感，既捕捉到了那醉人的心靈曙光，同時又向世人展示了最原生態的自然風貌。
鏡頭點評：並不是誰都有能力把握住25mm廣角的不羈與含蓄，在我們趨之若鶩去追捧Distagon T* 25/2.8 ZF之時一定要量力而行，因為這支經典手動鏡頭在骨子裏被融入了太多的厚重、執著、與冷酷

Carl Zeiss Distagon T* 28/2

Technical Specifications

Focal length 28.5 mm
Aperture range f/2 – f/22
Focusing range 0.24 m – infinity
Number of elements/groups 10/8
Angular field, diag./horiz. 74°/65°
Coverage at close range 18 x 12 cm
Filter thread M 58 x 0,75
Dimensions ø 65 mm, length 94 mm
Weight 530 g

一個詳細的zf 28 review in english:
http://slrlensreview.com/content/view/433/93

ZF Distagon T* 2/28实际上是从80年代初蔡司和雅西卡合作复活康泰时品牌之后推出的Contax T* 28/2(MM) Distagon改了个接口而来的，它使用了浮动对焦镜组以满足缩短最近对焦距离的需求，这支头有着油画般的色彩表现，在蔡司的三支28mm镜头（Biogon 28/2.8，Distagon 28/2.8）里面它的色彩堪称首屈一指！与此同时它的平衡性做的也相当出色，具有超高的细节成像。黎明前的天空，昏暗的街角都是展示它功力的绝好战场，从大家普遍的评价来看，这支头把蔡司的色彩表现和空气感体现的淋漓尽致，也许只有一件事情会阻挡你拥有它，那就是价格不菲。

Carl Zeiss Distagon T* 35/2 ZF

Technical Specifications

Focal length 35 mm
Aperture range f/2.0 – f/22 (1/2 steps)
Focusing range 0,3 m – infinity
Number of elements/groups 9/7
Angular field, diag./horiz. 63°/54°
Coverage at close range 129 x 196 mm
Filter thread M 58 x 0.75
Dimensions ø 65 mm, length 73 mm
Weight 530 g

　　在銀鹽膠片時代，35mm焦距被視為最經典的小廣角，這種視角與標準鏡頭相比顯得更真誠、更樸實、更原汁原味。蔡司Distagon T* 35/2 ZF採用了9片7組的成熟光學結構，他的最近對焦距離是0.3m，65×97mm的體態顯得十分均衡，其重量為530克，可以使用58mm口徑濾色鏡片。與ZF系列的其他同門“兄弟”一樣，這支鏡頭在光學、機械、和外飾風格方面都是由德國蔡司公司設計的，並嚴格執行了蔡司的生產工藝標準。因此，其完美無瑕的鏡片鍍膜和柔滑順暢的操控手感都是意料之中的事，可以說德系光學產品嚴謹厚重的風範在這支35mm定焦鏡頭上得到了良好展現。
這是一支銳度適中而潤度極佳的鏡頭，無論拍人還是攝景，他所呈現給我們的畫面都極其油潤通透，似乎擺在我們眼前的不是一個喧囂的花花世界，而是一幅永遠清新的油畫。令人贊佩的是，在F2.0-F8.0之間的各通光孔徑上該鏡頭的畫質均衡一致，除了景深漸變範圍不同之外，布光均勻度和影像風格幾乎沒有差別，這種恒定不變的高畫質簡直不可思議。不得不說的是，對於尼康F3或FM2那樣精良的手動單反機型而言，Distagon T* 35/2 ZF絕對是最忠誠可靠的夥伴。但是對於尼康數碼單反用戶來說，1.5倍率的焦距折損係數不僅破壞了35mm的誠摯視角，而且光學傳遞恒量數值和通光負荷均有所變化，這會直接造成拾焦困難。簡單地說，用慣了AF自動對焦的新手，在透過DSLR的光學取景器用Distagon T* 35/2 ZF完成手動對焦過程時會感到不適應，似乎焦點永遠都不結實，似乎主體始終都在漂移不定中。
鏡頭點評：5900元是這支手動定焦精品目前行貨的身價，就是港行管道的蔡司Distagon T* 35/2 ZF也要5300元。冷冰冰的蔡司ZF鏡頭中不含有任何電子成份，他們雖是尼康MF鏡頭的絕佳替代者，但卻不會與更現代化的尼康機身之間發生任何的電子資訊傳遞。我們在由衷讚譽其非凡光學素養和一流機械品質的同時，也要提醒一下，對於純粹的N家DSLR用戶來說這支鏡頭並不容易駕馭。

More Info (與nikon 35mm 鏡頭比較): http://forum.xitek.com/showthread.php?threadid=415093

Carl Zeiss Planar T* 50/1.4 ZF

Technical Specifications

Focal length 51.7 mm
Aperture range f/1.4 – f/16 (1/2 steps)
Focusing range 0,45 m – infinity
Number of elements/groups 7/6
Angular field, diag./horiz. 45.4°/38.4°
Coverage at close range 16 x 24 mm
Filter thread M 58 x 0.75
Dimensions ø 65 mm, length 45 mm
Weight 330 g

我們常用“標頭無弱旅”來形容標準焦距鏡頭的優異光學表現，而眼前這支蔡司Planar T* 50/1.4 ZF卻正是被廣泛公認的標頭中的“帝王”。該鏡頭發佈於2006年1月18日，採用了7片6組的雙高斯結構，最近對焦距離0.45m，重330克，體積為 66×69mm。他用料考究，外飾樸素而做工極其精湛，鍍膜細膩深邃，對焦阻尼鬆弛有度手感絕佳。

其實，尼康F卡口的這支Planar T* 50/1.4 ZF是在大名鼎鼎的康太克斯RTS版本同規格鏡頭基礎上衍生而來的，而RTS版的Planar T* 50/1.4曾經在美國《大眾攝影》雜誌1999年度的評選中獲得了“世界最佳大光圈標準鏡頭”的榮譽。更引伸一步講，F1.4光圈Planar 50mm鏡頭的原版雙高斯光學結構早在1896年就已經定型了，他是由光學天才Paul Rudolph設計完成的。
　　在影像光學領域， Planar T* 50/1.4鏡頭既是所有標準鏡頭的光學設計基礎，更是標準鏡頭大家族的開山鼻祖，其“標頭帝王”的榮譽是用極致品質和悠遠歷史締造而成的。實用過程中您會發現，在F1.4最大光圈時由於景深範圍過於狹窄，因此很容易產生焦點漂移，當光孔收縮至F2.8時焦點的穩定性將會顯著提高。在F1.4-F4.0的光圈檔位上，Planar T* 50/1.4 ZF焦內銳利無比而焦外效果柔美清新，後景深視野裏還蘊含著豐富的漸變層次，這種感覺神奇而美妙。
鏡頭點評：如此精良的光學神器，他可以給予你精美絕倫的影像，也能夠令你在癡迷陶醉中玩物喪志。正宗大陸行貨蔡司Planar T* 50/1.4 ZF的身價是3950元，若買港行貨的話僅僅需要3500元就能將其收入囊中，對於這款已有110多年輝煌歷史的帝王級別的經典標頭來說，真的是物超所值。

Carl Zeiss Makro-Planar 50/2 ZF

Technical Specifications

Focal length 51.6 mm
Aperture range f/2.0 – f/22 (1/2 steps)
Focusing range 0.24 m – infinity
Number of elements/groups 8/6
Angular field, diag./horiz. 45.5°/38.5°
Coverage at close range 48 x 72 mm
Image ratio at close range 1 : 2
Filter thread M 67 x 0.75
Dimensions ø 72 mm, length 65 mm
Weight 530 g

　　這是一支擁有F2.0光圈的近攝利器，對於以微觀影像為獵影主題的微距鏡頭而言，F2.0光圈意味著更大的光線通過量，更明亮透澈的視野，以及更高的設計難度和工業成本。Makro-Planar 50/2 ZF的片組結構為8片6組，最大放大倍率為0.5倍，其鏡桶最大直徑72mm，鏡頭總長65mm，重530克，濾色鏡口徑為67mm。
在面對這支50mm焦長的微距產品時，許多資深影友也會顯得無所適從，他們覺得作為微距產品其焦距略短，但是除了微距用途之外這支鏡頭似乎又沒有其他專長，難道Makro-Planar 50/2 ZF竟是一款昂貴的光學“雞肋”嗎？
　　事實上，歐洲那些從事珠寶、鐘錶、藝術品、以及精密工業題材攝影的職業攝影師們都是這款蔡司50mm微距的忠實擁躉者，他們把這款精良微距鏡頭稱為 “一絲不苟的探秘者”。 Makro-Planar 50/2 ZF擁有0.5倍的最大放大倍率，換句話說，他的微距能力是1：2，而不是多數影友所期待的1:1。其實您不必因此而感到失望，因為對於瑞士手錶或法蘭西珠寶來說1：2的微距描寫能力已經足夠充裕了，嚴謹而固執的德國光學設計師所信奉的設計理念是“專精而純粹”，這與大多數東方客戶所追求的“一專多能”的使用思路產生了原則性的衝撞。Makro-Planar 50/2 ZF色彩忠實，對影調層次和影像的微觀細節均有極佳的刻畫能力，只要您能提供足夠的穩定性，他就會一覽無餘地將您所需要的一切質感和細節如實地展示出來。這支手動微距鏡頭對焦行程較長，但對焦過程中那種絲絲入扣的手控感受真的太令人著迷了，那一刻您甚至會覺得，如今時尚的AF對焦方式已經偷走了您太多的樂趣。
鏡頭點評：可以肯定地認為，多數弄影者都無緣領略這支頂級微距力量的無限魅力，因為他價格昂貴而又過於矜持。作為一件攝影工具來說，7500 元（行貨）對於Makro-Planar 50/2 ZF來說可謂身價不菲，但是請您記住，這支源自卡爾•蔡司的50mm微距鏡頭本身就是一件傑出的藝术品！

Carl Zeiss Planar T* 85/1.4 ZF

Technical Specifications

Focal length 84.8 mm
Aperture range f/1,4 – f/16 (1/2 steps)
Focusing range 1 m – infinity
Number of elements/groups 6/5
Angular field, diag./horiz. 28.6°/24°
Coverage at close range 24 x 36 cm
Filter thread M 72 x 0.75
Dimensions ø 77 mm, length 62 mm
Weight 570 g

　　蔡司Planar T* 85/1.4鏡頭是公認的世界上最完美的大光圈中焦鏡頭之一，世界T臺上許多頂級名模都對這款鏡頭愛恨交織，因為在那些時裝和人像攝影師掌控下，他既能使你的皮膚如嬰兒般細嫩柔滑，也能使你芳顏上的微小瑕疵暴露無遺。發佈於2006年1月18日的蔡司Planar T* 85/1.4 ZF採用了6片5組的光學設計，他最近對焦距離為1.0m，使用72mm的大口徑濾色鏡片，體重570克，“身材”為77×86mm。這支精緻的中焦鏡頭使用了堅固扎實的金屬材料，鏡片研磨非常精細，逆光時鏡片會呈現出翠綠、胭紅、橘黃、碧藍等多種色彩，由此可見其鍍膜工藝和鏡片材質的上佳品質。
這支鏡頭的光圈組件經過了特別設計，在任何通光孔徑時都能保持准圓狀態，這對人像攝影極為有益。在使用F1.4最大光圈時，Planar T* 85/1.4 ZF因景深過淺而對焦困難，這時候焦點有些飄忽不定。光圈收縮到F2.8時，拾焦過程變得友好起來，不僅焦點穩定而且畫質細膩柔和，焦外漸變異常純淨柔美。應該說F2.8這檔光圈是最受佳麗們青睞的光圈檔位，此時既能使膚質得到完美優化，同時又具有突出的立體感和適度的真實感。當通光孔徑被收縮到 F4.0-F11檔位區間時，Planar T* 85/1.4 ZF性情突變，原本柔和的影調變得異常銳利，此刻任何微小的細節都無法逃脫這支中焦鏡頭犀利的“目光”。對色彩精准明豔的再現，是這支中焦鏡頭最出彩的特徵之一，事實上，許多卡爾•蔡司麾下的光學產品對色彩都有著獨特的理解。而Planar T* 85/1.4 ZF在色彩還原方面做的似乎更好，在他那迷人的融融暖調中，模特的皮膚既擁有健康的質感，又嫩如凝脂充滿水份。
鏡頭點評：蔡司Planar T* 85/1.4 ZF目前的市價是7950元，而同樣口碑極佳的尼康人像王AF 85mm f/1.4D IF的售價為7400元，二者身價相差不大而又同樣精彩，於是不少癡迷於人像攝影的N派影友在他們之間取捨難定。其實，對於DSLR用戶來說尼克兒AF 85mm f/1.4D IF還是更合適一些，因為他迅捷銳利，更直白也更單純。而Planar T* 85/1.4 ZF則更適宜于那些使用傳統手動單反的影像玩兒家們，他們執著而不計成本，他們不為獲取只為陶醉

Carl Zeiss Makro-Planar 100/2 ZF

Technical Specifications

Focal length 97.5mm
Aperture range f/2.0 – f/22 (1/2 steps)
Focusing range 0.44 m – infinity
Number of elements/groups 9/8
Angular field, diag./horiz. 25°/20.9°
Coverage at close range 48 x 72 mm
Image ratio at close range: 1 : 2
Filter thread M 67 x 0.75
Dimensions ø 76 mm, length 89 mm
Weight 680 g

　　在微距攝影領域流傳著“一寸長一寸強”的俗語，這其實是句經驗之談，他告訴我們用微距鏡頭洞察微觀世界時，更長的焦距會更加便捷實用如魚得水。這支蔡司Makro-Planar 100/2 ZF與同門“小弟” Makro-Planar 50/2 ZF是於2006年9月20日同時發佈的，他們都擁有F2.0的誘人光圈，但是Makro-Planar 100/2 ZF的100mm焦長使他的通用性能更加出色。他採用了9片8組的傳統光學結構，最近對焦距離0.44mm，最大放大倍率為0.5倍，體積為76× 112mm，重680克，可以配用67mm口徑的濾色鏡片。
這支微距鏡頭100mm的焦長非常適合去攝取昆蟲、花蕊等微小主體，時下流行的AF對焦方式的微距鏡頭近攝性能幾乎都達到了1：1，而Makro- Planar 100/2 ZF的微距能力卻還保持在傳統MF微距鏡頭常見的1：2狀態。事實上，有經驗的攝影師在微距攝影時從來只採用手動對焦方式，這使得AF幾乎成了尷尬的擺設。實拍顯示，這支100mm微距鏡頭具有極佳的近攝刻畫效果，其鏡中的纖小主體細節明銳，生動清新，最大光圈時也絕無邊緣失光造成的畫質下降。然而，蔡司Makro-Planar 100/2 ZF在專職於微距攝影的同時，又是一款“不務正業”的典範。一些人像攝影師嘗試利用他迷人的焦外漸變效果去拍攝美女，最後的結論是，他所營造的柔中透銳，銳中含柔的獨特效果深深打動了佳麗們的芳心。於是有人甚至提議，認為蔡司應該抹去其鏡桶標識上的“Makro”字樣，將他作為一支中焦人像鏡頭來銷售。這真的是一支強悍的多面手，在微距、人像、小品、甚至風光攝影時都有出色表現，他對影像暗部層次的精湛描寫更給人留下了深刻印象。
鏡頭點評：從任何角度去衡量，Makro-Planar 100/2 ZF都是一款完美的光學產品，他用途廣泛做工精良，光學和機械品質俱佳。當然，他11500元的身價也是足夠“完美”的。雖然按照卡爾•蔡司的設計初衷，這只是一支純粹的中焦微距產品，但事實上蔡司光學的癡迷者們已經通過大膽的嘗試，將他變成了一款“不務正業”的微距之王。
結語：由卡爾•蔡司和確善能（又譯“柯西納”）攜手打造的ZF系列鏡頭是光學領域的極致一族，我們感謝蔡司使純正的德系光學血脈傳承不息，也感謝確善能使這些光學寵兒的身價顯得更加親和。ZF系列的這6支鏡頭無疑是尼康F卡口擁躉者眼中的光學天驕，他們沒有被慵懶的AF對焦方式與數位影像時代的虛華和喧囂所污染，依舊執著地按照傳統的光學設計理念獨步前行。ZF一族是當代光學天地間值得稱道的典範，他們嚴謹精良，大氣內斂，堪稱完美影像的化身。

Two New Super Fast ZEISS ZF Macro Lenses with Nikon F Mount

At f/2, the new ZEISS Makro-Planar T* 2/50 ZF and Makro-Planar T* 2/100 ZF are the fastest macro lenses for 35mm full-frame photography today - whether for film or digital capture. The two new lenses focus manually from infinity to ½-life size, capturing an object field of approximately 50x70mm at the close-focus limit. All of the ZEISS ZF lenses feature precision metal mechanics, providing the photographer with a durable, reliable tool of lasting value.

A ‘floating element’ optical system enables the Makro-Planar T* 2/50 ZF to deliver very high image quality over the entire focusing range. The Makro-Planar T* 2/100 ZF goes several steps further by employing an optical design originally developed for the ARRI/ZEISS Master Prime T* 1.2/100 – an ultra-high performance lens for big budget feature films. Thus, the Makro-Planar T* 2/100 ZF lens offers an optical performance never before available for still photography, especially at wide-open apertures and in macro applications. This lens allows photographers to use selective focus on important details with unprecedented clarity, effectively isolating the subject from distracting surroundings. This is a common technique used by Directors of Photography in the Cine industry to direct the viewer’s attention and create what admirers call the ‘film look’.

In addition to professional and general-purpose photography, the two new Makro-Planar ZF lenses were also designed for use in a broad variety of industrial, scientific, space applications, machine vision, robotics, instrumentation, documentation and surveillance applications.

Nikon Capture NX

2008-05-09T06:58:00.001+08:00

Nikon Capture NX是一款全面的新一代数码图片编辑和处理软件，它的前身是Nikon Capture 4，Capture NX为其最新升级版本。尼康Capture NX 利用U point 科技，为您带来强大的多种工具，助您发掘在摄影方面的潜力及无穷想象。

主要功能
• U Point™技术是一个革命性的新技术，通过使用控制点，它能够在编辑过程中将用户的预想可视化。使用NEF文件能达到最佳性能，控制点允许摄影者选择并分离整张图像或图像中选定的区域，以进行图像增强，同时操作没有其他图像编辑软件那么复杂。图像的增强效果可以方便地立即取消或添加，不会影响图像的原始质量，同时U Point控制也与NEF文件的所有指令集完美兼容。
• 通过色彩控制点，摄影者可以使用多达9个不同的游标调整各个选定的区域。在默认设置中，可以使用4个游标来分别调整尺寸、亮度、对比度和色调。还可以通过各个控制点的设置栏进行进一步的设置。
• 其他的控制点包括：可方便地用于设置动态范围的黑、白点；纠正图像（甚至包括不含灰色调的图像）中的色彩表现的中性控制点；以及红眼消除控制点。

细致的编辑菜单
• 编辑菜单是Capture NX的特性和增强功能的主控制菜单。任何对图像的修改在编辑菜单中都存有记录。每一条记录都能在此菜单中被删除、修改或复制。对于控制点的改变的保存和删除可以在保存文件之前的原始操作中完成。对于NEF文件，控制点的改变能够在保存前/后进行；而对于JPEG和TIFF文件，则只能在文件保存前进行。如果需要对已保存的JPEF和TIFF文件进行修改，可以通过添加控制点来实现。
• 编辑菜单对每一步操作自动进行记录。在原始编辑过程中，可以在任何时间打开或关闭一步或多步操作，这样就可以监控和比较图像的最终效果。对于NEF文件，甚至在文件被保存并重新打开后也可以打开或关闭这些操作步骤。

强大的图像浏览器
• Capture NX浏览器的先进功能包括加标签、分类和编辑。
• Capture NX 的大部分功能都可以通过其浏览器实现，直接通过每幅图像略图进行快速调整，甚至同时调整多幅图像。在略图中选定的图像可以通过浏览器打开，并进入编辑器中。

改进的批处理功能
• 批处理功能自动地对一系列图像进行增强操作，而且对于在多张图像上立即进行一系列预先定义的调整特别有用。
• Capture NX提供了多种多样的批处理方式。

选择工具
• 出于Nikon Capture 4软件用户不断的要求，Capture NX包含了数个有用的新功能：选择各种增强工具进行正负调整，这些工具包括刷子、套索和选取框（4种）、梯度以及填充/移去。

色彩管理控制
• 色彩管理功能进行了提升，可以控制图像中的色彩与打印机能产生的色彩的匹配性。此功能的选项包括图像感知、饱和度、相对色度和绝对色度。

提高Nikon Capture 4的方便性
• Capture NX继承了各种先进的功能，包括色差控制、D-Lighting、图像除尘、晕影控制和鱼眼-直线图像转换。
• 改进的降噪功能带有最新、最先进的尼康算法。增加了新的变形控制功能，可以减小枕形失真和桶形失真。

新特性：
1.全新的Powerful U Point技术能够支持色彩调节要点，这样可以帮助用户提高直接选择图片的准确性。
2.提供25种全新工具和改进，其中黑色、白色、中色调节工具可以帮助用户删除color casts并且设置图像的动态范围，以及失真修正。
3.新增加一款功能强大的新版浏览器工具。

新的Capture NX 软件不仅可以尽展NEF（尼康电子格式）文件的强大功能，还首次使处理及编辑JPEG 和 TIFF 文件的过程如此简单、优雅，任何摄影师都可轻松上手。新的界面带来了对多种工具的直观控制，不再有繁复的操作。请与Capture NX一起，探索摄影新天地，展现您的无穷想象吧。

尼康Capture NX软件Ver 1.3.0版

2008-05-09T06:49:00.001+08:00

据悉，尼康Capture NX软件Ver 1.3.0版本相对之前的的版本改进颇多：1.增加了对相片进行基本调整的项目，2.在RAW格式调整中增加了自动D-Lighting功能， 3.针对鱼眼镜头Fisheye-Nikkor 16mm f/2.8D可以直接调整，4.去除了设置面板中的RAW影像编辑功能，使得软件进一步得到了简化，5、虚光控制功能可以直接在运用在JPEG和TIFF影像上（仅限为尼康数码相机所拍摄）

　　Nikon数码影像处理软件Capture NX，是由先前推出的 Nikon Capture 4软键改进而成的，它能为数码摄影玩家提供更强大的工具，通过简单易用的操作编辑NEF、JPEG 和 TIFF 档，以达到优化图像的作用。就其处理效果而言，绝对不输给PS系列软件，很多资深的尼康玩家都在使用该软件处理图片。

这对N家色友们无疑是一个好消息，但是三〇天的试用并不能满足广大群众热情高涨的呼声。

1）下载1.3完整版；解压缩，点击CaptureNXSetup.exe文件进行安装
简体NX1.3

http://nikon-asia.com/downloadstuff/Software/CaptureNX_1.3_Updater/NX1.3_SC.EXE

简体NX1.3说明手冊
http://chsv-soft.nikon-image.com/int/manual/cn/CAPNX13_T_(15)01.pdf

3）一路按默认选择安装下来，安装完毕，到“添加刪除程式”中卸载“Message
Center”

4）找個破解的1.2版Facade.dll文覆蓋1.3版的文件

5）用防火墙阻止NX访问网络，或者改 hosts 文件，试试这个（复制到开始菜单－运行里执行）：

cmd /c echo 127.0.0.1 sams.nikonimaging.com>>%windir%\system32\drivers\etc\hosts

6）运行NX程序，出现注册提示框，公司和个人信息任填，输入1.2的KEY，完成。
KEY：21130 06073 32026 01246 55474

1.2时代的Nikon Capture NX破解起来就已经相当费事了。由于Facade.dll文件在网上失传，1.3的破解难度进一步增大。

现提供破解方法

在NX1.3安装文件夹中找到Facade.dll文件，然后用任何可以打开dll文件的16位进制文本编辑器（如UltraEdit）
搜索到“74 45 83 E8 01 74 34 83”，把“74”替换“EB”,同样方法找到“C4 14 84 C7 FF 8D ……”，把后面“49 00”替换“90 90”，然后就保存，就OK了！

破解补丁下载：：

http://www.zshare.net/download/6426452712952e/

MangaMeeya7.4 简体中文汉化版

2008-05-09T06:41:00.001+08:00

推荐漫画资源区浏览软件MangaMeeya v740 汉化版下载

论坛漫画资源主要以rar和zip格式为主，这里主要提供这2种文件的浏览软件。

建议大家观看时可以用软件MangaMeeya，,可以不用解压压缩包，

这样在别人下载时也不会影响你的观看

这样能让发布者有更多的空间发布新漫画

软件名称：MangaMeeya
版　　本：7.4
汉化人：Fenghou
联系方式：fenghou1st@gmail.com
汉化日期：2006-07-22

MangaMeeya7.4 简体中文汉化版

下载地址：　　MangaMeeya_740_CHS.rar

备用地址：　　MangaMeeya_740_CHS

软件介绍：

MangaMeeya 是一款在日本很有名气的电子漫画阅览工具，具有速度流畅、操作灵活、书籍管理便捷等优点，并支持多种流行的图像插件，使其功能得到了非常自由的扩展。

图片读取和显示的速度极快是本软件最大的优点，而且作者一直在朝着这个方向努力。本软件复杂的运用了预读技术，您只要以正常速度阅读，图片再大也不会感到丝毫延迟。对于非常大的图片压缩包，无论再快的 CPU 也得数秒钟时间载入，这时您只要选择边载入边阅读，就可以做到一秒钟也不用浪费了。而且在读取完成之后，短时间内再次读取本压缩包将不再花任何时间。在预读功能之外，本软件的读取速度也异常优秀。如果图片大小正常，像实体书那样只用几秒钟时间从头翻到尾的事也能轻松做到。
·如何以最快的速度浏览：关闭“工具”下拉菜单内的“启用翻页效果”、“启用Avisynth滤镜”，打开“预读文件”、“预读所有文件”。
·如何实现边载入边阅读：在读取很大的压缩包时，“正在列出文件”对话框会自动出现，点击该对话框内的“在后台列出（按储存顺序）”即可。

本软件可以使用纯鼠标、纯键盘、纯手柄操作，当然也可以混合操作。所有功能的按键都可以自定义，所以绝对不会碰到操作不顺手的情况。和键盘一样，鼠标和手柄也有多键组合功能，不用担心按钮不够用。鼠标中还有一个非常有用的功能——鼠标手势（见本段尾的介绍）。鼠标手势的好处是在程序的操作上完全解放了眼睛，以前必须用眼睛确定菜单项的位置、窗口内按钮的位置、键盘按键的位置，现在则再也不用了，只要像写字一样划上几笔，就可以完成大量复杂的操作，这期间眼睛完全不用离开阅读的内容。
·如何自定义操作设置：所有的操作设置都在“工具”下拉菜单内的“操作设置”子菜单内。
·手柄如何进行组合按钮设置：每个按钮对应的功能在手柄对话框内设置，默认按钮5为“自定义控制键”，即组合键。“自定义控制键”与其他按钮组合后的功能也在同一窗口内设置。
·如何使用鼠标手势：默认设置是以右键拖拽激发鼠标手势功能，只要在主窗口内按住右键拖拽出大致的走向，就会激发该走向对应的功能。比如默认向上拖拽是切换全屏幕，按住右键向上拖拽然后放开，程序就由窗口切换为全屏了，再次向上拖拽的话，就恢复到窗口状态。在“鼠标设置-手势设置”窗口内可以自定义拖拽走向对应的命令，在左边的方框中可以进行可视模拟操作。

不管对于电子书还是实体书来说书签（也就是书籍的管理）都非常重要，本软件设立了一个专门的主菜单项用作书籍的管理，可见其重视程度。在单个书籍（文件夹或压缩包）内部的管理上，程序设有中断点一个（关闭书籍时程序自动设置），记号一个（手动设置用），书目无数个（手动设置用）。程序可以在开启某个书籍时自动转到中断点或记号处，以便继续上次阅读。书目上可以写上简短文字，为书籍分出章节，当然作为普通的书签用也行。在书籍与书籍之间的管理上，程序设有四个列表：播放列表（当前阅读的书籍）、历史（之前阅读过的书籍）、收藏夹（文字式的仓库）、书架（带图片的仓库）。您还可以把任意列表保存为其他文件，等需要时再载入，这样就不用担心列表不够用了。
·怎样设定打开书籍时转到上次关闭处：“工具-环境设置-一般设置１”内，选中“从中断处开启”。
·怎样编辑书目：打开书目列表的快捷键默认为“鼠标手势-左”。编辑书目的操作和在 Windows 下修改文件名一样。
·书架的使用：在列表内的该书籍项目上点击右键，选择“加入封底”。调好“加入位置”（纵坐标）和“加入宽度”后确定，该图块就连同文件信息一起被加入书架中。要显示图片式的书架请选择“查看-显示书架”。“加入封面”后不会显示在书架内，但可以在封面缩略图中看到。

汉化说明：

本汉化版最初参考了夏日之秋汉化的 7.0Beta 版的翻译文字，在此向夏日之秋表示感谢。

由于程序会把 txt 文件连同图片一起读取，可能会造成阅览上的不便，所以增加了一个小程序（TxtPatch.exe，和主程序在同一目录）来打开或关闭程序对 txt 文件的读取。（注意：程序无法读取 txt 文件的话，自动播放控制文件也就无法起作用了。自动播放控制文件的作用和制作方法请参考 "docs\自动播放控制文件.txt"。）

由于违反了 GPL 协议，作者已停止发布现有的版本（

Dry Cabinet

2008-05-08T07:40:00.000+08:00

FAQ

• What is a Dry Cabinet?

A Dry Cabinet is a storage cabinet which protect objects from problems cause by humidity.

• Why do you need to keep your photography equipment away from mold?

Fungus can grow on the surfaces inside your lens, providing there is enough moisture (and a bit of dust or lens adhesive to "eat"). Over time, the fugus can etch into the surface of the glass, causing permanent damage to the lens performance. The etched spots in the lens glass alter the lens surface and characteristics, reducing performance significantly and contrast in particular. A Fungus attack which hasn't altered the lens shape or etched into the glass, but only eaten away at the very thin outer lens anti-flare coating, is less damaging to lens performance. Once the lens coatings and surface are etched and damaged, removing the fugus won't return the lens to original performance levels. You have to replace the damaged lens elements, which is usually so expensive it is cheaper to just junk the lens.

• Why can't fungus be cleaned?

While fungus can be removed during a lens CLA (clean/lube/adjust), the damaged and etched lens elements may costly to replace. Not every fungus spore will be removed during even the most thorough cleaning. Even if you sterilized the lens elements (not recommended), fungus spores would still be sucked into the lens during focusing and use. Many people warn against using leather lens carrying cases or bags as a potent source of fungus infection.
But there are enough fungus spores in the air (often hundredsper cubic meter) that lenses are easily infected in general use. So since you can't get rid of fungus spores, you simply have to make your lens an inhospitable "desert" in which fungus can't live or grow.

• What can i store inside DigiCabi Dry Cabinet?

40%RH -50%RH

Video camera, camera, lens, microscope, telescope, negative, tape, video, slide, microfilm, various optic products, CD, VCD, LD, various hi-fi stereo, computer products, books, ancient paintings, paper coins, stamps, works of art.......etc

30%RH-40%RH

Precise metal material, electronic, pottery and porcelain, semiconductor, PCB, indicator, various percise instrument, metallurgic and music instrument, clothes, leather, gold and silver, various treasure collectors.

Under 30%RH

Chinese medicines, tea leaves, seeds, spices, pollen, medicines, metallurgy, power material, chemical raw material

• Why do i need DigiCabi Dry Cabinet in Singapore?

Singapore and most South-East Asia region countries fallsbetween 70%RH-90%RH. Mold is not prevented as air-conditioners and dehumidifiers usually cannot reduce RH below 60%. So the real solution to prevent fungus attack is to reduce the available moisture, so the fungus cannot grow and multiply.

• How DigiCabi Thermo-Electronic Cooling system works?

The AD Series and DHC Series uses T.E.Cooling regrigerated crystal which is a semiconductor crystal for absorbing the moisture of the cabinet interior air. Whenever the humidity of the cabinet is higher than the set RH% value, the Cooling regrigerated crystal will start to refrigerate and condense the moisture until the humidity of the cabinet is down to the set RH% value. Once crystal stops working, it begins to defrost as well as evaporate the moisture out of the cabinet.

• Is the power consumption high?

In comparision with similar products, the efficient rate of our dehumidifiers is 10 times faster but the power consumption is only 1/10 of those.

original text from here

Fake Sandisk Ultra II CF cards on eBay (pics)

2008-05-08T06:56:00.002+08:00

Just copy from forum, please becareful nowadays many fake in the market
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I thought this would be the most appropriate section of the forum for this... just wanted to warn everybody that there are a high number of counterfeit Sandisk Ultra II CF cards on eBay. I purchased 3 such 2GB cards recently, to go with my new digital SLR camera. While they all work fine and are the right capacity, I did some investigating anyway to try and confirm their legitimacy, and I concluded that all 3 cards were fake (all bought from different sellers).

My break came when I received 2 of the cards on the same day (1 had arrived a couple weeks earlier). I noticed that the packages had a different finish on them, and after investigating them a bit closer, I noticed a couple of other small differences as well. The model numbers were slightly different, and the barcodes differed by 1 number. Those were my first clues. Next I checked the cards themselves. 2 of the cards had no edge stamp whatsoever, and the third card had an edge stamp with a serial number that is known to be used on counterfeit cards. Next I decided I need to test the speed on each. My references were Rob Galbraith's database on camera write speeds using different CF cards, as well as my standard Sandisk 1gb, which I had purchased from a local retailer and know is legitimate. My testing method was to shoot in full manual, with the camera in rapid fire mode, and timed how long it took to write a full buffer to the card. My camera is a Canon EOS 20d. Timing started when I pressed the shutter release, and ended when the CF light on the camera went out. The 3 cards were fairly close, about 17 seconds. Referencing the speeds (which I can't remember, but were terribly slow) to Rob Galbraith's database (http://www.robgalbraith.com/bins/mul...?cid=6007-7303), told me that the cards were way off. I did the same test with my standard Sandisk 1GB and it finished in approx 13-14 seconds. Functionally the cards were fine, and they were the correct capacity. I did however, have a problem where some pictures would come out extremely noisy and I couldn't figure out why. I now believe it was a product of the poor quality CF card.

I then decided to go to my local store and purchase a legitimate Sandisk Ultra II 2GB CF card. I got home and again did the same test. It took about 11 seconds to complete. It also had an edge stamp with a unique serial number, as well as completely different packaging from the cards that I received from eBay. There were other subtle differences on the cards as well, but the edge stamp was a big one.

Anyway, to sum things up, I've contacted each seller for a refund, which each of them has offered. I have done some research, and found that these are common counterfeit cards (2GB seems to be the most common, I don't recall seeing any other sizes). In each case where they have been discovered, the sellers are always willing to accept the cards back without a hassle. I suspect they are knowingly selling this cards and don't want to hesitate on return requests in order to keep people quiet.

I just wanted to post this to make everybody aware of the problem, and make sure nobody gets taken. I do hope to get my money back on all 3 cards, but it is a huge inconvenience regardless. And next time you see a seemingly great deal, beware, things aren't always as they seem
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Tamron SP AF70-200mm F/2.8 Di LD (IF) Macro

2008-05-04T20:27:00.001+08:00

Tamron announced yet another lens at this year's PMA show, the SP AF70-200mm F/2.8 Di LD (IF) MACRO. This fast telezoom gets in close thanks to its 0.95m minimum focus distance, realizing a magnification ratio of 1:3.1 at 200mm. Plenty of coatings keep stray light to a minimum whilst a removable tripod mount and clutched focus ring (Canon and Nikon only) help speed up operations. Canon users will see the lens first with release scheduled for March. Nikon, Sony and Pentax fittings will follow.

The new SP AF70-200mm Di LD (IF) MACRO (Model AA001) is an F/2.8 fast tele-zoom designed for DSLRs with 35mm full-size image sensors, inheriting product concept of the existing SP AF28-75mm F/2.8 XR Di (Model A09) that is highly acclaimed as a compact and fast standard zoom lens enabling photographers to enjoy high cost　performance characteristics.

While dimensional increases are confined to the absolute minimum, the new SP AF70-200mm F/2.8 Di LD (IF) MACRO zoom lens offers the MFD (minimum focusing distance) of 0.95m over the entire zoom range for the maximum macro magnification ratio of 1:3.1 at f=200mm focal length, for stress-free photography, combined with the advantage of an internal focusing (IF) system.

It enables the user to cover a focal length range of 70mm medium telephoto to 200mm telephoto when mounted on a 35mm full-size DSLR camera and a focal length range from 109mm to 310mm equivalent* ultra telephoto (35mm equivalent, in an angle of view of 7°59’) when mounted on a DSLR camera equipped with an APS-C sized image sensor.

Main features

0.95m MFD over the Entire Zoom Range for 1:3.1 Maximum Magnification Ratio
This zoom lens, designed for use with full-size format SLR cameras, boasts a fast maximum aperture of F/2.8, yet it allows close-focusing down to 0.95m over the entire zoom range. The maximum magnification ratio is 1:3.1 at the 200mm tele-end. The filter diameter is confined to φ77mm as a result of the use of an advanced optical design pursuing optimum optical power distribution.
Soft Out-of-Focus Effect and Sharp Depiction
In order to realize soft out-of-focus effect and sharp depiction performance at the same time, the zoom lens uses three LD (low dispersion) elements. As a result, the optical system effectively compensates for lateral and on-axis chromatic aberrations that are major image-degrading factors in telephoto photography, in order to provide edge-to-edge sharpness and high-contrast image quality with flat-field characteristics over the entire zoom range in various photographic situations.
Lightweight, yet Fast F/2.8 Maximum Aperture
The lens features a fast maximum aperture of F/2.8, yet it weighs a mere 1,112.6 grams (39.2oz.), since it uses barrel parts made of engineering plastic materials having excellent dimensional stability and sufficient strength for professional use and even industrial applications.
Internal Surface Coatings Minimize Ghosting and Flare
Through the use of "Internal Surface Coatings (i.e., multiple-layer coatings on cemented surfaces of plural elements) and multiple-layer coatings to prevent reflections from lens surfaces, ghosting and flare due to reflections that occur when light enters through the front element as well as reflections caused by the imager itself in the mirror box are reduced to the absolute minimum.
One-Touch AF/MF Switchover Mechanisms (for Canon and Nikon only)
The models for Nikon and Canon cameras are equipped with AF/MF switchover mechanisms to allow one-touch switchover from AF mode to MF mode or vice versa electronically and mechanically by simply sliding the button. (Sony and Pentax systems require AF/MF switchover operation on both the camera and lens.)
Since the lens uses an IF (internal focusing) system, the focusing ring does not rotate during focusing, which ensures good holding balance at all times. In the MF mode, focusing is performed as easily and comfortably as with an MF lens. Since the overall length of the lens does not change due to zooming or focusing, it offers excellent operability and holding balance.
Detachable Tripod Grip Ring
The lens is supplied with a lightweight and rigid aluminum removable tripod socket.
Flower-shaped Lens Hood
A flower-shaped lens hood is included as a standard accessory. The special hood provides optimum shading of superfluous light rays that enter from the rectangular frame outside the image field.

Olympus Zuiko Digital 12-60mm 1:2.8-4.0 review

2008-04-13T10:06:00.002+08:00

The Digital Zuiko ED 12-60mm 1:2.8-4.0 SWD is Olympus's latest upmarket standard zoom, announced to accompany its E-3 flagship DSLR in October 2007. Firmly placed in what Olympus refers to as its 'Pro' lens lineup, this lens offers a near-ideal focal length range for a standard zoom (24mm to 120mm in 35mm-equivalent terms), combining a useful wideangle for landscapes and architecture with a telephoto extending nicely into the classic 'portrait' range. Hopefully this 5x zoom range isn't so ambitious as to introduce unacceptable optical compromises. The optical configuration is sufficiently exotic to offer great hopes in this regard; the lens boasts no fewer than three extra-low dispersion (ED) glass elements, one of which is aspherical, coupled with two further aspherical elements, and as the icing on the cake one Super ED glass element. Clearly Olympus has adopted a "no holds barred" approach to lens design here, which can only be applauded.

This lens also sees Olympus finally adopting the now near-ubiquitous ultrasonic motor for focusing, here dubbed the 'Supersonic Wave Drive', and (according to their press material at least) offering the world's fastest autofocus when used with the E-3. This in turn allows the use of a mechanically-coupled manual focus ring, in a welcome contrast to the somewhat-unloved 'focus-by-wire' mechanisms on its previous lenses. Further headline features include dust and splashproofing for protection against the elements, a 25cm close focusing distance, and a circular aperture diaphragm promising pleasing background blur. On paper at least, this makes for a hugely compelling overall package.

Of course the 12-60mm has a hard act to follow, as the spiritual successor to the highly regarded 14-54mm F2.8-3.5, which was the standard kit lens for the E-1. In comparison, the newcomer offers extended range at both wideangle and telephoto, improved focusing, and even better macro performance, but at the expense of a slightly dimmer maximum aperture throughout the range. Of course this all comes at a price, and the 12-60mm is by no means cheap; so do the optics justify the price tag?

Use of the Panasonic L10 as Four Thirds test body

We have chosen to use the Panasonic L10 as our standard test body for Four Thirds lenses purely because it gives the highest numbers in our resolution tests (which we believe is most likely due to it having a relatively weak anti-aliasing filter); this is intended simply to provide the fairest comparison to other manufacturers' systems. The samples gallery contains images taken using various camera bodies (Olympus E-3, Olympus E-510, and Panasonic L-10).

Headline features

24-120mm equivalent focal length range
Relatively fast 2.8-4.0 maximum aperture
Four Thirds mount for Olympus and Panasonic DSLRs

Olympus Zuiko Digital 14-42mm 1:3.5-5.6 ED review

2008-04-13T10:01:00.000+08:00

The Zuiko Digital 14-42mm 1:3.5-5.6 ED is the standard kit lens which Olympus supply with their lower-tier DSLRs, including the E-420 and E-510. Announced in September 2006 to accompany the launch of the E-400, it shares that camera's defining characteristic, being remarkably compact in size. Indeed it takes advantage of the relatively small size of the Four Thirds sensor to be comfortably the smallest and lightest DSLR zoom lens currently available, great for those users who wish their camera systems to be as portable as possible.

However despite its diminutive size, the 14-42mm still packs in some fairly exotic optics to deal with aberrations, in the shape of one extra-low dispersion (ED) glass element and two aspheric elements. It also incorporates a circular aperture diaphragm, which Olympus claim should provide 'beautiful rendition' of defocused areas of the image, and indeed consider to be one of the big advantages of this lens. The icing on the cake is an internal focusing system with a proper manual focus ring and a non-rotating front element, always a positive point for those photographers who like to use filters.

Olympus have long had a reputation for the quality of their lenses, plus a proven track record in the design of small but highly capable cameras and lenses (exemplified by such 1970s classics as the OM system SLRs and XA rangefinders), so the 14-42mm comes with a solid pedigree behind it. But as always with kit lenses, the biggest question is whether Olympus have cut corners unacceptably with either the optics or mechanics, in a drive to keep costs to a minimum. Let's find out.

Use of the Panasonic L10 as Four Thirds test body

Headline features

28-84mm equivalent focal length range
'Focus by wire' manual focus system
Four Thirds mount for Olympus and Panasonic dSLRS

EOS 40D Firmware Update Version 1.0.8

2008-04-09T21:47:00.001+08:00

download it at here

[b]Firmware changes[/b]
This firmware update (Version 1.0.8 ) incorporates the following improvements and fixes.

1. Fixes a phenomenon in which Image Stabilization operation emits a sound when certain buttons are pressed, with the EF-S 55-250mm f/4-5.6 IS lens attached to the camera.
2. Fixes a phenomenon in which the Image Stabilization operation emits a sound from the lens when IS lenses are attached to the camera.
3. Fixes a phenomenon in which a part of the image looks unnatural when reviewed on the LCD.
4. Corrects errors in the Spanish and Norwegian menu screens.

The Version 1.0.8 firmware being released this time is for cameras with firmware up to Version 1.0.5. If the camera's firmware is already Version 1.0.8, it is not necessary to update the firmware.

Apple Aperture 2.1

2008-04-09T06:58:00.001+08:00

Apple® today released Aperture™ 2.1, which introduces an open plug-in architecture that makes it easy for photographers to use specialized third party imaging software right from within Aperture. Available today as a free software update, Aperture 2.1 includes the Apple-developed plug-in, Dodge & Burn, which adds brush-based tools for dodge (lighten), burn (darken), contrast, saturation, sharpen and blur. Over the coming months, third party software developers will deliver image editing plug-ins for localized editing, filters and effects, noise analysis and reduction, fisheye lens correction and more. “The image quality in Aperture 2 has won over the most demanding photographers,” said Rob Schoeben, Apple’s vice president of Applications Product Marketing. “Now, thanks to our open plug-in architecture, users can access an entire industry’s worth of imaging expertise without ever leaving Aperture.” “To date, maybe two percent of my photographs needed to be touched up outside Aperture,” said John Stanmeyer, founding member of the VII Photo Agency and contributing photographer for Time and National Geographic magazines. “Now that I can dodge and burn right within Aperture’s new plug-in, I can’t imagine when I’ll have to open any other application to tone my images.” By clicking on one or more images within Aperture, users can choose from a menu of installed plug-ins and apply specialized imaging operations to either TIFF or RAW images. Apple is working closely with key developers to bring the most requested plug-ins to Aperture such as: • Nik Software’s Viveza plug-in, powered by U Point technology, which provides a powerful, precise and easy way for photographers to selectively control and adjust color and light in their digital images;

• PictureCode’s Noise Ninja plug-in that delivers advanced high ISO noise analysis and reduction;

• Digital Film Tools’ Power Stroke plug-in that features a simple, stroke-based interface to quickly mask and intuitively perform targeted adjustments;

• The Tiffen Company's Dfx plug-in that provides an expansive suite of creative filters and effects;

• dvGarage’s dpMatte plug-in, which is a high performance chroma key tool for creating seamless composites, and the HDRtoner plug-in that enables the selection of multiple photos to create a single high dynamic range (HDR) image; and

• Image Trends’ plug-ins that include Fisheye-Hemi to quickly and effortlessly correct fisheye lens distortion, ShineOff which automatically removes shine from faces and PearlyWhites that automatically whitens and brightens teeth.

Adobe Photoshop Express Beta

2008-04-09T06:55:00.001+08:00

Adobe Systems Incorporated (Nasdaq:ADBE) today announced Adobe® Photoshop® Express public beta, a free Rich Internet Application (RIA) available to anyone who wants to store, sort and show off digital photos with eye-catching effects. During the public beta period, Adobe will solicit Photoshop Express user feedback on product features and functionality, which will continue to evolve over time. As the newest addition to the Photoshop family line, Photoshop Express has taken much of Adobe’s best image editing technology and made it simple and accessible to a new online audience. Photoshop Express allows users to store up to 2 gigabytes of images online for free, make edits to their photos, and share them online in creative ways, including downloading and uploading photos from popular social networking sites like Facebook.

“Photoshop is trusted technology that has changed the visual landscape of our world. Now, Photoshop Express allows anyone who snaps a digital photo to easily achieve the high-impact results for which Adobe is known,” said Doug Mack, vice president of Consumer and Hosted Solutions at Adobe. “Photoshop Express is a convenient, single destination where you can store, edit and share photos whether you’re at home, school or on the road.”

Simple, Fun and Accessible

With Photoshop Express, digital photos can be uploaded and sorted anytime, edited non-destructively to always preserve the original image, and shared from anywhere, on any Web browser. In a few easy clicks, Photoshop Express empowers anyone to make standard edits, such as removing blemishes and red-eye, converting to black and white, cropping and resizing, and much more.

No experience is required to add special effects that will impress friends and family. In keeping with its one-click approach, Photoshop Express offers tricks like Pop Color which selects an object in an image, mutes the background color of the photo and allows the user to swap the object’s color so it jumps off the page. Sketch effects help photos look like drawings and the Distort feature allows you to distort facial features or objects within the images for a comical or artistic effect. Even users with limited photo editing knowledge can simply select what looks best from a line-up of sample photos with visual hints showing different variations of the added effect.

Photoshop Express offers a variety of creative sharing options, including uploading and showing off photos and slideshows in your own online “Gallery” hosted by Adobe, or conveniently embedding or linking photos to social networking sites and personal blogs without having to leave the application. Slideshows never looked better with animation that makes photos float and fly across the screen, allowing for viewer interactivity and unique presentation styles.

Adobe Photoshop Family

Adobe Photoshop CS3 and Photoshop CS3 Extended are at the heart of the Photoshop family, joined by solutions for users at every level who want to bring out the best in their digital images. Photoshop Lightroom™ addresses the workflow needs of professional and serious amateur photographers. Photoshop Elements provides exciting tools and sharing options for photo hobbyists.

Photoshop Express is the latest step Adobe is taking to leverage the advanced technology that underpins its award-winning creative products and deliver it to new online communities. In early 2007, Adobe also announced the availability of Adobe® Premiere® Express, an online video editing and mash-up tool on partner sites such as MTV and Photobucket. Adobe Premiere Express leverages the functionality found in Premiere Elements, a fully-featured desktop video editing program.

Free and Available Now

Adobe Photoshop Express beta is available now for free via any Web browser at http://www.photoshop.com/express. Photoshop Express was created with Flex, Adobe’s free, open source framework for building RIAs. Flex applications provide a consistent, rich user experience across operating systems and all major browsers, including Firefox, Internet Explorer, Safari and others. An Internet connection and an up-to-date Flash® Player 9 are all that are required to experience Adobe Photoshop Express. In its early phases, Photoshop Express is available to US residents-only in English. Users may experience slow performance if accessed outside of the US. Future plans include availability in other languages and countries.

Canon EOS 450D

2008-04-09T06:51:00.002+08:00

today launches its latest D-SLR, the EOS 450D. Featuring a 12.2 Megapixel CMOS sensor, EOS Integrated Cleaning System, 3.0” LCD with Live View mode and a new 9-point AF system, the model presents consumers with an unprecedented level of image quality and versatility at this end of the market.

The EOS 450D employs features already proven in Canon’s professional EOS-1 series cameras, including the DIGIC III image processor and a redesigned menu system that enables features such as direct control of Speedlite flash units from the camera LCD. A choice of 13 custom functions allows the photographer to customise the camera to their shooting style.

“The EOS 450D bears the fruits of more than 20 years of ongoing investment into EOS,” said Mogens Jensen, Head of Canon Consumer Imaging, Europe. “This camera continues Canon’s policy of taking technologies proven in the professional arena and putting them within reach of a wider market of amateur photographers.”

The EOS 450D features:

12.2 Megapixel CMOS sensor
Canon’s EOS Integrated Cleaning System
3.5 frames per second
3.0” LCD with Live View shooting
9-point wide-area AF system with f/2.8 cross-type centre point
Picture Style image processing parameters
DIGIC III image processor
Digital Photo Professional RAW processing software1
Compact and Lightweight body
Fully compatible with all Canon EF and EF-S lenses and EX-series Speedlites

The EOS quality advantage

With all key components developed and manufactured in-house, EOS offers photographers a unique quality advantage. The EOS 450D’s specially designed 12.2 Megapixel sensor employs Canon’s high-sensitivity, low-noise CMOS technology to produce richly detailed images with minimal grain. The DIGIC III processor ensures superior image rendering and rapid response times, with an almost instant 0.1 start up. Image data is processed at 14 bits for Delivering a burst rate of 3.5 frames per second, the DIGIC III processor works with the image buffer to handle up to 53 JPEGs (6 in RAW) without interruption.

Built for better photos

The EOS 450D is designed to make photography a fluid experience for photographers of all levels and experience. Housed in a compact body that weighs less than 475 grams, the camera features an improved grip design that provides a natural, ergonomic fit with the user’s hands. A large, bright viewfinder makes image composition clearer and more comfortable. The menu system inherited from professional EOS cameras uses a simplified tab structure that does away with scrolling. It includes a user-defined My Menu tab for instant access to frequently used settings.

Several custom functions are available to optimise the quality of photos captured in a range of situations. Highlight Tone Priority boosts the dynamic range at the highlight end, providing better tonal detail from wedding dresses, cloudy skies and other bright objects. The new Auto Lighting Optimiser corrects brightness and contrast during image processing, while improving skin tones in portraits by ensuring correct exposure for faces. Photographers can also enable additional noise reduction for shots captured at high ISO speeds.

Live View

Available for the first time on a Canon consumer D-SLR, Live View mode makes it easier to shoot from awkward angles, such as ground-level macro shots or when shooting from a tripod. The image from the Live View mode is displayed as a smooth, 30fps video feed on the 3.0” LCD, which is 50% brighter than the screen of the EOS 400D. A grid line display and live histogram can be selected to help with shot composition and exposure. While focusing, the photographer can zoom in on specific details with up to 10x magnification of the image displayed on the LCD screen. Two types of auto focus are available: Quick AF flips the camera mirror momentarily to engage the AF sensor; Live AF uses the image contrast data to focus - a method familiar to anyone upgrading from a compact digital camera.

For studio environments, remote Live View lets the photographer compose, adjust settings and capture the shot from a PC using the supplied EOS utility software.

Other improvements

The EOS 450D complements its headline features with a host of smaller improvements that enhance the photographic experience. The viewfinder now displays all key exposure information including ISO speed. The addition of spot metering (4% of viewfinder) allows for greater control over exposure in tricky lighting conditions. PictBridge functionality has been expanded so that photographers can correct horizons and add picture effects before printing. A new high capacity battery extends shooting time on a single charge to a maximum of 500 shots.

Software

The EOS 450D is supplied with a comprehensive software suite that provides everything the photograph needs to manage and process images. This includes Digital Photo Professional (DPP), a powerful RAW converter that provides complete RAW image processing control. DPP also integrates with camera features such as Dust Delete Data and Picture Styles. The supplied Picture Style Editor software can be used to create custom Picture Styles for fine control over colour display. The camera also comes with EOS Utility, Image/Zoom Browser and Photostitch.

CMOS

Canon’s CMOS technology is one of the company’s key competitive advantages, with noise reduction circuitry at each pixel site delivering virtually noise-free images. In comparison with CCD technology, the lower power consumption characteristics of Canon’s CMOS sensors also contribute to longer battery life.
Signal conversion in Canon’s CMOS sensors is handled by individual amplifiers at each pixel site. Unnecessary charge transfer operations are avoided, vastly speeding up the process of getting signal to the image processor. Noise generation is reduced, power consumption is limited and faster frame rate potential is increased.

EOS Integrated Cleaning System

The EOS Integrated Cleaning System combats sensor dust in three important ways: Reduce, Repel and Remove.

Reduce - Internal camera mechanisms are designed to minimise dust generation. The redesigned body cap prevents dust generation through wear on the cap itself.
Repel - Anti-static technologies are applied to the low-pass filter covering the front of the sensor so as not to attract dust.
Remove - A Self-Cleaning Sensor Unit uses hi-frequency vibrations to shake dust from the infrared filter for a period of approximately one second after each start up. For instant shooting after power up, this feature is disabled immediately the shutter release is depressed.

Picture Style

Picture Style pre-sets simplify in-camera control over image qualities. Picture Style pre-sets can be likened to different film types – each one offering a different colour response. Within each selectable pre-set, photographers have control over sharpness, contrast, colour tone and saturation. The camera’s factory default configuration is set to deliver immediately-usable JPEG images without need for additional menu settings. Picture Style presets applied to a RAW image can be revised with Canon’s Digital Photo Professional software.

The six pre-sets include:

Standard – for crisp, vivid images that don’t require post-processing
Portrait – optimises colour tone and saturation and weakens sharpening to achieve attractive skin tones
Landscape – for punchier greens and blues with stronger sharpening to give a crisp edge to mountain, tree and building outlines
Neutral – ideal for post-processing
Faithful – adjusts colour to match the subject colour when shot under a colour temperature of 5200K
Monochrome – for black and white shooting with a range of filter effects (yellow, orange, red and green) and toning effects (sepia, blue, purple and green).

The User Defined Picture Style can be used to store up to three customised pre-sets, or any of the pre-sets available for download from Canon’s web site at www.canon.co.jp/Imaging/picturestyle/file/index.html.

Software

Digital Photo Professional Software

Digital Photo Professional software provides high speed, high quality processing of lossless RAW images. Processing with Digital Photo Professional allows real-time display and immediate application of image adjustments, giving control over RAW image variables such as white balance, dynamic range, exposure compensation and colour tone. Images can be recorded in camera with sRGB or Adobe RGB colour space. Digital Photo Professional supports sRGB, Adobe RGB, ColorMatch RGB, Apple RGB and Wide Gamut RGB colour spaces.

ICC (International Colour Consortium) profiles can be attached to TIFF or JPEG images when converted from RAW. This allows faithful reproduction of colours in software applications that support ICC profiles, such as Adobe Photoshop. For improved efficiency, a set of image adjustments can be saved as a recipe and applied.

EOS Utility

The latest version of EOS Utility provides essential support for Live View remote shooting, camera configuration and image transfers. Tightly integrated with Digital Photo Professional, EOS Utility can be configured to monitor ‘hot’ folders, automatically renaming and moving incoming images to a structured file system.

The 123 of digital imaging 5.0

2008-04-09T06:49:00.000+08:00

Site contributor Vincent Bockaert has today announced a totally new version of his excellent 'The 123 of digital imaging Interactive Learning Suite'. A favorite piece of reference material I never hesitate to recommend this excellent interactive electronic book which will provide you with both pathways for learning as well as reference. No matter what your knowledge level there will be plenty to learn from the 123 of digital imaging. On top of a major expansion in content (now 4,200 pages covering 153 topics) the new version is now fully Mac OS X compatible and has a completely redesigned user interface.

Click here to visit 123di.com to download the free demo

A publication like no other, the usage of animations and user-interactivity makes 123di an unrivalled and unmatched digital photography learning tool.

123di covers all aspects of the digital imaging workflow:

Understanding digital imaging and digital camera selection
Enhance your images in the "pixelroom"
Manage, view, share, and print your images

Highly Integrated and Interactive Content

123di contains over 4,200 interactive screen-size pages filled with thousands of full color graphics and animations organized into 153 topics. The practical content is highly cross-referenced with digital photography background theory.

Three Selectable User Levels

1. Starter sections are like "executive summaries". These brief introductions with simplified and synthesized content are ideal if the reader has little time and wants to keep it simple.

2. Essential sections get the reader up to speed quickly and are a must read for beginners. But even for advanced readers they are a nice refresher before diving into the advanced sections. Image editing tutorials in the essential sections are based on Adobe Photoshop Elements 6, 5, 4, 3 & 2.

3. Advanced sections build on the essential sections and are more in-depth and detailed, and technical at times. Image editing tutorials in the advanced sections are based on Adobe Photoshop Lightroom, Photoshop CS3, CS2, CS, and 7, including Photoshop CS3 Extended features that are relevant for digital photography.

10 Key Software Packages Covered

Adobe Photoshop Elements 2, 3, 4, 5 & 6 Editor, Photoshop Elements 3, 4, 5 & 6 Organizer, Adobe Photoshop 7, CS, CS2, CS3 & CS3 Extended, and Photoshop Lightroom are featured with animated tutorials and unique interactive graphical user interfaces. Clicking on any menu item, tool, or palette in the interactive interfaces brings the user to the corresponding explanation page which also links to practical tutorials and theoretical background information within 123di. Many other software packages such as ACDSee 9 & 10, PTGui, Photorescue, etc. are also briefly covered.

A separate version for Nikon users covers, Nikon Scan 3 & 4, Nikon Capture 4.4 & Capture NX 1.3, and Camera Control Pro 2, in addition to the content of the regular version.

A Canon version, covering Canon DPP, Canon printers, and Canon technology will be available in the second quarter of 2008.

Users of the regular version can upgrade to the Nikon or Canon version at any time by topping up the price difference (no additional upgrade fee).

Unique Navigation

Besides reading 123di like a printed book, 123di offers many alternative ways to quickly find the information such as the above mentioned interactive graphical user interfaces, digital imaging workflow diagrams, index, before and after images, frequently asked digital imaging questions, interactive slide show, custom bookmarks, etc.

Complete Theory on Digital Photography

123di has extensive coverage on digital photography concepts such as resolution, compression, color bit depth, dynamic range, noise, focal length multiplier, sensor types, etc. The inner workings of cameras, scanners, accessories, monitors, and printers are explained in detail. Detailed full color graphics, animations, interactive simulations and interactive calculators allow for an accelerated way of learning that gets the reader involved.

Buying Guides for Cameras, Scanners, Monitors, and Printers

Detailed buying guides for cameras, scanners, monitors, printers, and accessories help in the reader's buying decision process.

Practical Image Editing Techniques

Useful image editing techniques cover various approaches to create spectacular images and overcome limitations of the scene, the photographer, or the camera.

Color Management

Color management is featured throughout 123di to ensure consistent and accurate color during the entire workflow. The coverage is substantially improved in Version 5.0, covering both Macintosh and Windows platforms.

Working in RAW

123di has a comprehensive practical and theoretical coverage of working in RAW. Practical examples are based on Adobe Camera Raw for all Adobe Photoshop versions. The Nikon version also covers Capture NX 1.3 and Nikon Capture 4.4, while the upcoming Canon version will cover Canon DPP.

New Content in Version 5.0

Content updated for Windows and Macintosh platforms.
Extensive coverage of Adobe Photoshop Elements 6 (Editor and Organizer), Photoshop Lightroom, Photoshop CS3 & CS3 Extended, including Camera Raw 4, from a digital photographer's perspective. The content about Photoshop Elements 2, 3, 4 & 5 and Photoshop 7, CS & CS2 is still included.
Chapter 12 - "Working in RAW mode" is updated for Adobe Camera Raw 4.x, Capture NX 1.3 (for the Nikon version), and in-depth RAW background information to get the most out of RAW images. The content of Nikon Capture 4.4, Camera Raw 1.x, 2.x, and 3.x is still included.
Extensive revision of the color management and printing content, including coverage of CBL Lens, and Datacolor Spyder3Elite and Spyder3Print.
Thousands of modifications and updates were made to the content and hundreds of pages were added to keep 123di fully updated with the latest technology changes.

New Features in Version 5.0

Brand new Content Visualization Engine for Windows and Macintosh (Universal Binary).
More than 500 fully controllable animations with “back”, “forward”, “play”, and “pause” buttons.
Print button to print individual pages as a reference.
Compared to the Standard Edition, the new Extended Edition comes with additional navigation features:
- New Search Engine providing instant results
- “Add Bookmarks” and “View Bookmarks” buttons allowing the reader to add and organize an unlimited number of bookmarks
- “Add Notes” button to add notes to any page.
- Transfer Bookmarks & Notes between computers
- Reduce or enlarge the default font size to enhance readability.
- Opens on the Last Page you viewed in your previous session.
- Opens with the window size and position of your previous 123di session.
Users can upgrade from the Standard to the Extended Edition at any time by topping up the price difference (no additional upgrade fee).

Nikon D60 Review

2008-04-09T06:46:00.001+08:00

The D60 is the third incarnation of Nikon's compact, user-friendly entry-level SLR line that started back in 2006 with the D40 (which replaced the first Nikon 'starter' model, the D50). The original D40 was a hugely important camera for Nikon and can be given a lot of the credit for the resurgence in Nikon's fortunes at the volume end of the SLR market (which had been totally dominated by Canon since the launch of the EOS 300D / Digital Rebel). The D40's success (which continued long after the D40X made its swift appearance only 6 months later) isn't hard to explain; it was keenly priced, nicely designed and built and capable of excellent results. It was also a camera that proved cameras do not sell on megapixels alone (even at launch its 6MP resolution was far from 'class leading').

The D40X, which was positioned as a premium alternative to the D40 rather than its replacement, didn't mess around with the formula much at all; a new sensor with more (ten) megapixels and a lower base ISO, plus a slightly higher continuous shooting rate. The D60 is a direct replacement for the D40X (the D40 will stay around for a while as Nikon's budget option), and once again it's not a major upgrade; the sensor remains the same (though now has a dust reduction system) and the external design is almost identical. There's a few new features, including the same Expeed processing 'concept' seen in the D3 / D300, Active D-Lighting, an eye sensor (to control the screen display), and some tweaks to the interface, but perhaps the most significant change isn't to the camera at all; the move to an optically stabilized version of the kit lens.

Auto Focus only for AF-S or AF-I lenses

As with the D40 and D40X, the new D60 doesn't have an built-in focus drive motor which means it can auto focus only with lenses which have their own drive motor (AF-S and AF-I lenses). The lack of a drive motor can be seen by the missing mechanical focus drive pin on the lens mount (see images below). One of the D60's new features is an electronic rangefinder to help manual focus on non AF-S / AF-I lenses.

Nikon D60 key features

10 megapixel DX format CCD (1.5x FOV crop)
Nikon EXPEED processing 'concept' (as per D300, D3)
3D Color Matrix Metering II, 420 pixel sensor
Multi-CAM530 three area AF sensor
New Image sensor cleaning system
Eye sensor (turns off LCD display)
ISO sensitivity range 100 - 1600 plus HI 1 (3200 equiv.)
3.0 fps continuous shooting*, unlimited in JPEG
No status LCD, LCD monitor based status / settings screens (now rotates)
Help suggestions on LCD monitor (eg. scene too dark, try using flash)
Large 2.5" 230,000 pixel LCD monitor
Short shutter lag and viewfinder blackout
Support for SDHC (SD cards over 2 GB in capacity)
In-camera retouching
- Quick Retouch
- D-Lighting (shadow / highlight enhancement)
- Red-eye reduction
- Trimming
- Monochrome
- Filter effects
- Small picture
- Image overlay
- Raw processing
- Stop-motion movie
USB 2.0 with PTP and Mass Storage device support
Very compact, light body
Improved menu user interface
EN-EL9 Lithium-Ion battery (7.2V, 1000 mAh)
New stabilized AF-S DX 18-55 mm kit lens

Differences compared to the D40X

EXPEED processing
Image sensor cleaning system with Airflow control system
Automatically rotating user interface (for using camera vertically orientated)
Stop motion movie function
New stabilized kit lens (AF-S DX NIKKOR 18-55mm f/3.5-5.6G VR)
Eye sensor
Electronic 'rangefinder' for manual focus
Active D-Lighting with dedicated button
In-camera Raw processing
New JPEG retouch effects (Cross Star and Color Intensifier)

Sigma 50mm f/1.4

2008-04-09T06:43:00.001+08:00

Sigma bolsters its top-end EX range with the announcement of a HSM focusing-motor-equipped 50mm f/1.4 lens. Offering a moderate telephoto field of view on APS-C cameras, Sigma's DG designation means it will also work as a standard lens on full-frame digital cameras. We believe this is the first time a 50mm f/1.4 lens has been offered with a ring-type focus motor. Pricing and availability information to follow as soon as we have it.

The Sigma Corporation is pleased to announce the new large aperture 50mm F1.4 EX DG HSM standard lens. For Sigma, Canon, Nikon, Pentax* and Sony*

Standard lens with large maximum aperture of F1.4.
It creates sharp images with high contrast and ensures superior peripheral brightness.
Incorporates molded glass aspherical lens, perfectly correcting coma aberration and creating superior image quality.
Super multi-layer coating reduces flare and ghosting.
Hyper Sonic Motor (HSM) ensuring silent, high-speed AF

This is a large aperture prime lens with a standard focal length of 50mm, ideal for digital cameras. This lens is perfectly suited for a wide range of subjects enabling outstanding, sharply defined images against a nicely blurred background. The fast, F1.4 aperture makes this lens desirable for use with Digital SLR cameras. This lens effectively becomes an 80mm medium telephoto lens on digital cameras with APS-C size image sensors. The optimum optical design and molded glass aspherical lens elements provide excellent correction for all types of aberrations. This lens has superior peripheral brightness and provides sharp, high contrast images even at the maximum aperture. Superior optical performance is also ensured throughout the focusing range. The super multi-layer lens coating reduces flare and ghosting. This lens has a minimum focusing distance of 45cm (17.7”) and has maximum magnification of 1:7.4. It creates a very attractive blur, even when a small aperture is used.

This lens incorporates HSM (Hyper Sonic Motor), which ensures a quiet and high-speed AF as
well as full-time manual focus override.

手机耐用方法（很实用哦）！交你怎么保护心爱的小K！（不顶别来）

2008-03-16T17:42:00.000+08:00

经维修人员告知一重要常识，可提供给各位如手机要自杀时的紧急小常识

　　手机一进水，请切记不要作任何按键动作，尤其是关机（一按任何动作，水马上会跟
　　
　　着电路板流串），正确的方法为马上打开外盖，直接将电池拿下，直接强迫断电，可
　　
　　保主机板不被水侵袭。
　　
　　这个常识非常重要，故转告各位，使大家的手机可用久一点。学一学吧！以后以备不
　　
　　时之需啊！
　　
　　---------------------------------------
　　
　　《手机信号剩一格时不要使用》
　　
　　手机信号剩一格时不要使用，收讯满格与只剩一格时相比,发射强度竟然相差1000倍以上.
　　
　　所以..常讲手机的人...要注意哦..
　　
　　昨天从一位交大教授那儿获得一项很重要的讯息,那就是当你发现手机的收讯强度只剩
　　
　　下一格的时候,宁可挂断不谈或者是改用公用电话.千万不要再滔滔不绝、口沫横飞、
　　
　　浓情蜜意、欲罢不能、没完没了…为什么呢?大家都知道手机的电磁波一直是让人担心
　　
　　的问题.而手机的设计为了在收讯较差的地区仍能保有相当的通话质量,会加强手机的
　　
　　电磁波发射强度.当收讯满格与只剩一格时相比, 发射强度竟然相差1000倍以上.电
　　
　　磁波强度高达0.6W(瓦特).0.6W究竟有多强呢?我无法具体描述它对你的脑袋会有什么
　　
　　不良影响,但可以换成两个例子来比较
　　
　　1.把喇叭直径约4公分左右的小型收音机音量开到最大然后贴在耳朵上 ,那样的噪音能
　　
　　量一般为0.25W,不到0.5W
　　
　　2.把手指头放在输出强度0.1W的雷射光前面(相当于光纤网络的? D干线能量)几秒钟内
　　
　　你会有灼痛的感觉,你能长时间忍受上述这两种状况吗?
　　
　　那你又如何确认0.6W的电磁波紧贴在你的耳朵上会没事呢?
　　
　　为了你的健康在使用手机之前建议你先检查一下收讯格数用免持听筒也是个不错的办
　　
　　法 ~!
　　
　　---------------------------------------
　　
　　如何让手机电池起死回生
　　
　　当你的行动电话电池使用时间变短(记忆效应或老化)时,你是否会再买一颗电池来更换
　　
　　呢?
　　
　　下次当你碰到这种情况时请省下你的钱,告诉你一个很有效的方法不妨试试看
　　
　　1.把电池用报纸包起来再放进塑料袋裹包好放入冷冻库三天(报纸可吸收多余水份)
　　
　　2.三天后取出常温下放二天
　　
　　3.二天后将电池充电 , 充饱后装进行动电话裹测试 (预估可救回 80%-90%)
　　
　　本讯息由知名电池厂商工程师透露,根据测试过的朋友指出效果相当有效.
　　
　　至于有没有效果,反正电池快没用了,而且冰箱人人有,各位朋友不妨试试看吧 !
　　
　　给你的手机做个CPR吧！
　　
　　妳的手机是否常断电？或是明明充饱了电没多久就又没电了？
　　
　　妳一定怀疑过是不是手机的寿命终了？
　　
　　别担心，它只是一时“心跳停止”，只要一块小小的橡皮擦就能起死回生了！
　　
　　把电池取出后用橡皮擦把电池上的接点（黄铜片）擦干净，再装回手机上，妳会发现
　　
　　真是太神奇了！它竟然活过来了！还像颗新的呢！
　　
　　真的很有用，提供大家做参考！
　　
　　---------------------------------
　　
　　教你如何消除手机屏幕刮痕
　　
　　大家是否常常会遇到手机屏幕有刮痕而不知如何处理的情况呢？
　　
　　告诉大家一个好用的秘方....（前几天在电视上看到的）
　　
　　把牙膏适量挤在湿抹布上后用力在手机屏幕
　　
　　刮伤处前后左右来回用力涂匀.....
　　
　　你将发现.....手机的屏幕刮痕会因此而消失....很神奇吧... !!
　　
　　更神奇的事....在用干净的抹布或卫生纸擦干净后..手机屏幕还会变得更亮哦....
　　
　　台大化学教授表示：原理为牙膏它只是刷牙的辅助用品，具有磨擦作用（修补作用）
　　
　　和去除菌斑，清洁抛光牙面，因此使用在手机屏幕上面会有同样的效果。

爱立信手机秘籍

2008-03-16T17:22:00.000+08:00

*#0000# 查看网络全称

进入网络菜单
当手机显示网络
可用时键入 * 即可显示网络全称
接口：底部视图，键盘朝上，从右边数
1 = + 外部

电源 (7.2Volt - 600mA)
2 = RS232 输入 (TTL)
3 = 地 (数字 )
4 = RS232 输出 (TTL)
5 = +5V 输出
6 = 测试 (0=普通 - 1=测试模式 )
7 = 静音
8 = 内部 /外部 MIC 和耳机 (0=外部 1 （open)= 内部
9 = 地 (模拟 )
10 = ?
11 = BF输入
12 = BF 输出
ERICSSON 218/337

??IMEI??*#06#
????????-> * <- <- * <- * CLR
????????> * < < * < * CLR

ERICSSON 318/388

显示IMEI号：*#06#
显示软件版本号：-> * <- <- * <- * CLR

ERICSSON 628

显示IMEI号：*#06#
显示软件版本号：-> * <- <- * <- *
读所有编程的文本：-> * <- <- * <- * ->
查看电话网络锁状态：< * * < (等待3秒)
快速拔上一个电话：0#
将电话菜单语言设为英语：*#0000#
看电池容量：当关闭电话时快按并放开on/off　　

DH353/GH318/377/PH337/GH388/GF388
1 In 麦克风输入
2 In +5V表示外接电源，0V表示电池供电
3 Out 外置喇叭控制
4 　模拟地
5 Out 喇叭输出
6 Out +5V表示手机开，0V表示手机关
7 Out 充电器控制: "1"700MA,"0"30MA
8 　数字地
9 In 0V表示普通，+5V测试，+12V测试+重写
10 In 外接免提产生信号
11 In 数据输入
12 Out 数据输出
13 In 保持0V1秒，进行手机关闭/打开
14 In 直流供电
GA628
1 Out 喇叭输出(16Ohm)
2 In 麦克风输入(<2kOhm)
3 In 接地可用外置麦克风和喇叭
4 　模拟地(0V 参照)
5 In 免提控制口
6 Out 音乐静音
7 In 0V表示普通，+5V测试，+12V测试+重写
8 Out +5V表示手机开，0V表示手机关
9 Out 数据输出
10 GND 数字/直流地
11 In 数据输入
12 I/O 输入作电池供电，输出可供外置设备供电
no 　　
no 　　

ERICSSON 688

显示IMEI号：*#06#
显示软件版本号：-> * <- <- * <- * CLR
将电话菜单语言设为英语：*#0000#
另外还有：>*<<*<*>
>*<<*<*>>用于编辑

ERICSSON 788

显示IMEI号：*#06#
显示软件版本号：* -> * <- <- * <- *
按 * <- <- *可设置锁(建议不要玩,以上机型也可以)

ERICSSON 688
1 In 外接电源7.2V@600ma
2 In RS232 输入(TTL电平)
3 GND 数字地
4 Out RS232 输出(TTL电平)
5 Out +5V输出
6 In 测试（5V）
7 Out 0V表示普通，1表示在呼叫
8 Out 1表示内麦克风和喇叭，0V表示外置
9 GND 模拟地
10 外置麦克风和喇叭
11 In BF输入
12 I/O BF输出
ERICSSON 788
1 Out 喇叭输出
2 In 麦克风输入
3 In 接地可允许外置麦克风、喇叭
4 　模拟地
5 In 外接免提产生信号
6 Out 高电平表示手机在使用中
7 In 0V表示普通，+5V测试，+12V测试+重写
8 Out 逻辑输出，电流超过100ma
9 Out 数据输出
10 GND 数据地
11 In 数据输入
12 In 直流供电(充电)

爱立信手机特殊秘籍

　　在爱立信手机上按“→＊←←＊←＊”（并非爱立信的所有型号都支持此功能），你将会看到如下显示(举例)：
　　CXC125131
　　PRG
　　981125 1213。
　　以上的画面即表示，在九八年十一月二十五日，该手机十二时十三分“乘搭”编号CXC125131的班机，由生产地运到目的地。

如何建立一个自己的FTP服务器（SERV-U使用教程）

2008-03-08T10:33:00.001+08:00

在网上做过软件下载的人都知道，建立一个FTP下载服务器相对比较简单，一般用WIN2000下自带的 IIS就可以，但IIS在功能上好多都不尽人如意，下面我就介绍一款功能非常强大，但使用简单的FTP服务器构建软件-Serv-U FTP Server，让我们也来体验一下自己DIY FTP服务器的快乐！
在说明使用之前，让我先大致介绍一下Serv-U（本文中提到的Serv-U版本为3.0.0.17，使用笔者所做的汉化程序）：
Serv-U 是一个可以运行于Windows 95/98/2000/ME 和 Windows NT 4.0下的FTP服务器程序

有了它，你的个人电脑就可以模拟为一个FTP服务器，也就是说，你所连接的网络中的计算机用户可以访问你的个人电脑，通过FTP协议（文件传输协议）复制、移动、删除你的电脑中的文件或文件夹，可以做一切权限所允许的事情。FTP协议规定了计算机之间的标准通讯方式，使所有不同类型，不同操作系统，不同格式的电脑之间得以互换文件。它可以用最简单的方式创建用户帐号，并且在硬盘空间上划分一定的区域用以存放文件，让用户以各种FTP客户端软件（如 CuteFTP、WS_FTP等）上传或下载所需要的文件。
有许多FTP服务器和客户端软件可用于不同的系统中，Serv-U是用于运行MS-Windows 并且已安装了WinSock 版本 1.1 兼容 TCP/IP 协议的个人电脑中的，这几乎包括了所有的Windows操作系统。
Serv -U由两大部分组成，引擎和用户界面。Serv-U引擎（ServUDaemon.exe）其实是一个常驻后台的程序，也是Serv-U整个软件的心脏部分，它负责处理来自各种FTP客户端软件的FTP命令，也是负责执行各种文件传送的软件。在运行Serv-U引擎也就是ServUDaemon.exe文件后，我们看不到任何的用户界面，它只是在后台运行，通常我们无法影响它，但在ServUAdmin.exe中我们可以停止和开始它。Serv-U引擎可以在任何Windows平台下作为一个本地系统服务来运行，系统服务随操作系统的启动而开始运行，而后我们就可以运行用户界面程序了。在Win NT/2000系统中，Serv-U会自动安装为一个系统服务，但在Win 9x/Me 中，你需要在“服务器”面板中选择“自动开始”，才能让它转为系统服务。Serv-U用户界面（ServUAdmin.exe）也就是Serv-U管理员，它负责与Serv-U引擎之间的交互。它可以让用户配置Serv-U，包括创建域、定义用户、并告诉服务器是否可以访问。启动Serv-U管理员最简单的办法就是直接点接系统栏的“U”形图标，当然，你也可以从开始菜单中运行它。
在此有必要把Serv-U中的一些重要的概念给大家讲清楚：每个正在运行的Serv-U引擎可以被用来运行多个“虚拟”的FTP服务器，在管理员程序中，每个“虚拟”的FTP服务器都称为“域”，因此，对于服务器来说，不得不建立多个域时是非常有用的。每个域都有各自的“用户”、“组”和设置。一般说来，“设置向导”会在你第一次运行应用程序时设置好一个最初的域和用户帐号。服务器、域和用户之间的关系大家可以参考下表：
*Serv-U 服务器
*域 1
*用户帐号 1
*用户帐号 2
*用户帐号 3
*域 2
*用户帐号 1
*用户帐号 2
*域 3
*用户帐号 1
*用户帐号 1
这个表有点类似与Serv-U管理员中服务器、域和用户的排列。
Serv-U FTP Server 是试用软件，安装后三十天内，你可以作为“专业版本”使它，但试用期过后，你就只能作为免费的“个人版本”使用了，只有基本功能了。
好了，说了这么多，还没到关键部分-如何自己来建立FTP服务器。下面我就一步一步来说明。
一、安装原版软件和汉化补丁，这个过程就不多说了，想必没人不会的。
二、建立第一个本地FTP服务器
安装完成后程序会自动运行，你也可以在菜单中选择运行。
1、第一次运行程序，它会弹出设置向导窗口

将会带你完成最初的设置，
2、单击“下一步”，出现“显示菜单图像”的窗口，问你是否在菜单中显示小图像，看各人喜欢了；
3、单击“下一步”，这个窗口是让你在本地第一次运行FTP服务器，只要“下一步”就行了。
4、接下来要你输入你的IP地址

如果你自己有服务器，有固定的IP，那就请输入IP地址，如果你只是在自己电脑上建立FTP，而且又是拨号用户，有的只是动态IP，没有固定IP，那这一步就省了，什么也不要填，Serv-U 会自动确定你的IP地址，“下一步”；
5、在这儿要你输入你的域名
如果你有的话，如：ftp.abc.com，没有的话，就随便填一个；
6、 “下一步”，询问你是否允许匿名访问

一般说来，匿名访问是以Anonymous为用户名称登录的，无需密码，当然如果你想成立一个会员区什么的，就应该选择“否”，不让随便什么人都可以登录，只有许可用户才行，在此我们填“是”；
7、 “下一步”，问你匿名用户登录到你的电脑时的目录

你可以自己指定一个硬盘上已存在的目录，如F:\temp\xyz；
8、 “下一步”，询问你是否要锁定该目录，锁定后，匿名登录的用户将只能认为你所指定的目录（F:\temp\xyz）是根目录，也就是说他只能访问这个目录下的文件和文件夹，这个目录之外就不能访问，对于匿名用户一般填“是”；
9、 “下一步”，询问你是否创建命名的帐号，也就是说可以指定用户以特定的帐号访问你的FTP，这对于办会员区可很有用哦，你可以对于每个人都创建一个帐号，每个帐号的权限不同，就可以不同程序地限制每个人的权利，方法将在后面讲到，这里选择“是”；
10、 “下一步”，请你填入所要建立的帐号的名称，如：ldr，

11、 “下一步”，请输入密码，如：123，
12、 “下一步”，询问登录目录是什么，这一步与第7步一样，如：F:\temp
13、 “下一步”，询问你是否要锁定该目录，同第8步，这里选择“否”；
14、接下来询问你这次创建的用户的管理员权限，

有几项选择：无权限，组管理员，域管理员，只读管理员和系统管理员，每项的权限各不相同；这里选择“系统管理员”；
15、最后一步，点击“完成”就OK了，你有什么需要修改的，可以点“上一步”，或者进入Serv-U管理员直接修改。
至此，我们建立了一个域ftp.abc.com，两个用户，一个Anonymous，一个ldr。
三、既然我们已经建立好FTP服务器，那么我们就应该可以用FTP客户端软件来尝试登录。
怎么办呢？其实很简单，我们不用上网，就可以测试。我们知道，不上网时，本地机的IP地址默认就为127.0.0.1，FTP端口号为21。打开FTP客户端软件，我就用FlashFXP来说明，打开快速连接，填入相应内容，

然后连接，可以看到，我左边窗格以Anonymous登录，右边窗格以ldr登录，由于是本地机，所以速度奇快，上网后，假如我要让你登录到我的电脑上，我只要把我的上网时的IP地址给你，你就可以匿名访问我的电脑了（注意不要开防火墙），是不是很方便？
四、Serv-U管理员中的各项设置
在设置完成后，将会进入Serv-U管理员的主界面，

左边窗格中显示各个栏目，右边窗格中显示各个栏目的具体选项，下面就大概讲一讲设置内容。
1、在图11中，我们可以人为地控制Serv-U引擎的运行或停止，记住，在Win 9x/Me 中，我们就要在此选择“系统服务”，才会运行Serv-U引擎。
2、 “许可”，如果你花美元买了注册号，就可以在此输入。
3、 “设置”，这个设置是对于“本地服务器”来说的。“常规”设置中，

可以限制服务器的最大速度，可以拦截FXP（站点到站点传送），也可以限制用户的数量，这样不至于你的服务器被拖跨。“目录缓存”设置中，

允许你自己确定目录列表的个数以及超时时间，在Windows 95 和 NT下，目录列表默认设置为25，当缓存满了之后，新的请求将替换老的请求。“高级”设置中，可以让你自己定义服务器、Socket、文件的上传和下载的各项设置。
4、 “活动”，在这里记录了用户的活动日志，已封锁的IP的活动日志，以及任务日志；任务日志中显示的就是你开始停止的各项操作记录，你可以点击右击，选择一此过滤文本，使其只显示你所想见的内容。

5、 “域”，这里包含了你一开始根据向导所建立的用户、设置、域等。“域--设置”中所设置的内容其实与第3步差不多，只是它更加具体，可以对于每一个不同域定制。“域--活动”中记载了这个域下所有用户的活动情况。
6、 “域--组”，我们可以自己建立一些便于管理的组，然后把一类的用户归到一个组中。
7、 “域--用户”中，大家可以看到一开始我们建立的两个帐号，一个Anonymous，一个ldr。现在就帐号ldr来对其中的细节设置说明一下。
A、“帐号”栏：

对于一些不守规则的人，我们可以选择“禁用帐号”，虽然有帐号，但可以使用户一时间无法登录；你也可以设置让程序到达某个日期后自动删除某个帐号；下面几栏是这个帐号的基本信息，我们都可以在此更改，其中密码改过后并不显示，而是统一显示<>，特别要注意选项 “锁定用户于主目录”，什么意思呢？大家应该碰到，每次我们登录到FTP服务器上后，在根目录下只显示“/”，选择这项选项后，就是这样，如果不选，会出现什么情况呢？你可以做一下试验，在根目录下将显示“/f:/temp/”,也就是说显示了你硬盘中的绝对地址，这在某些情况下是很危险的，有不怀好意的高手，你就麻烦了！
B、“常规”栏：

你可以隐藏属性为隐藏的文件，可以限制同一IP的登录个数，是否允许用户更改密码（这需要客户端软件的支持），最大上传下载的速度，超时时间以及空闲时间，你也可以限制最大用户数量，如20，说明同时只能有20个用户登录。
C、“目录访问”栏：

在此你可以控制用户对于文件目录的权限，对文件有读取、写入、删除、追加、执行等操作，对于文件夹有列表、创建、删除，以及是否继承子目录；
如果觉得目录不够，你也可以添加可访问的目录。
D、“IP访问”栏：

在这里你可以规定某个IP是否可以访问你的FTP服务器，你可以拒绝它的访问，只要填上相应的IP地址，以后由这个IP的访问通通被拦下。
E、“上传/下载率”栏：

在这里你可以设置上传和下载之间的比值，控制好上传和下载之间的数据流量关系。
F、“配额”栏：

这里你可以为每个FTP用户设置磁盘空间，点击“计算当前”，可以知道当前目前下的所有空间大小，在“最大”一栏中填入你想要限制的容量。
最后有一点，改过设置后一定要点击右键，选择“应用”使设置生效才行，否则一切都白做了！！
到此，想必大家对于如何建立属于自己的FTP有点眉目了吧？看着自己可以随意限制并监视访问者的上传、下载，以及用户的空间大小，是不是有点飘飘然的感觉？好象自己也是个无所不能的网管了

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