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Adam got a new computer...
Bits include:
A CoolerMaster MasterCase 5 Pro
A Corsair RM750i 750W power supply (in case he decides to overclock the crap out of it and add a gazillion hard drives and another graphics card and all)
ASRock X370 Taichi Motherboard (Good feature set without being stupidly expensive - a couple more case fan headers would have been nice though....)
AMD Ryzen 7 1700 CPU (possibly to be overclocked in the future)
16GB Corsair Vengance 3200 Memory (It actually works as advertised with the latest BIOS, as well...)
A Gigabyte Geforce GTX 1070 G1 Gaming video card (Gotta push thouse 1080p frames...)
A 500GB Samsung 960 EVO nVME SSD (Almost sub-second boot times - this thing's speedy)
A 4TB WD Black mechanical hard drive (lots of (relatively) fast space - on a clear disk you can seek forever)
An LG Blu-Ray burner (for creating dvds and things as needed)
A Razer Blackwidow Chroma keyboard (because...errr...RGB?)
Windows 10 Home (the Microsoft tax must be paid...)
I put it together with his...help ;)
The only hiccup was trying to get Windows installed - the Taichi will not boot from a USB plugged into a front USB port, but is perfectly happy to boot from one on the back panel. This may have delayed things somewhat, particularly as the board happily updated its BIOS from a USB stick in the front panel....odd.
Otherwise it's a screamer...I'm jealous...
TARANAKI, New Plymouth/New Zealand (Thursday, April 28, 2011) – ASP World No. 2 Sally Fitzgibbons (AUS) continued to ride her wave of victory to New Zealand, posting another top class performance during Round 1 of the Subaru Pro TSB Bank Women’s Surf Festival in Taranaki, today.
After strong winds delayed the start of competition until 1:15pm, Round 1 was completed in great 0.5- meter left-hand waves at Back Beach, that saw no shortage of excellent rides against the snowy backdrop of Mount Taranaki.
Fitzgibbons, fresh off her maiden ASP World Title Tour victory at the Rip Curl Pro Bells Beach in Australia this week, proved her backhand to be as polished as her forehand, netting the highest two-wave heat total of the round, an 18.45 (out of a possible 20.00) to defeat Claire Bevilacqua (AUS) and Pauline Ado (FRA).
“It still feels exciting coming straight off a win at Bells,” Fitzgibbons said. “I feel like my surfing has been on the right track for the last couple of years but I was making a few mistakes. I think I’ve learned a lot from the ins and outs of losing as well as winning so it feels really nice to get another win out here today.”
Driving unprecedented speed off her flawless bottom turns, Fitzgibbons posted the top five individual wave scores of the day, which include her winning 8.95 and 9.50 (out of 10) rides.
“I’m so psyched to be going left, we’ve had Snapper and Bells and we’ve been going right for so long, so it’s a nice change to be looking down the line the other way,” Fitzgibbons said.
Four times ASP World Champion Stephanie Gilmore (AUS) shone just as brightly in the wind affected waves, her superb wave selection proving crucial to her victory when she stroked into the best wave of the heat in the dying minutes to unleash a powerful series of backhand snaps on a reeling lefthander for a near perfect 9.00 ride.
“Its actually pretty fun out there, there’s a good little left and it was nice to feel some power in the wave,” Gilmore said. “It’s an interesting experience sitting in the lineup looking at a snow covered mountain but I love it, it’s really raw here and it’s great to be back.”
Gilmore, who has had a relatively slow start to the season, posting equal fifth and third place results at the first two events of the season, now finds herself in the ASP World No. 4 position, and while sealing a victory over Laura Enever (AUS) and Alana Blanchard (USA) today, sighted two of today’s standout girls to beat at this year’s event.
“I think Sally Fitzgibbons and Carissa Moore will be tough to beat this year, the Hawaiian girls are looking really strong and Sally having just come off a win, is looking like the girl to beat,” Gilmore said.
Local surf star Paige Hareb (NZ) attracted a large crowd during her round clash against Chelsea Hedges (AUS) and Tyler Wright (AUS), the ASP Women’s World Title Tour’s only kiwi surfer proving determined to advance in first place.
“I was lucky to get the two better waves of the whole heat,” Hareb said. “I just surfed them and didn’t try too hard, I wanted to get a score under my belt and it paid off. It’s my best result of the season so I’m stoked.”
ASP World Tour rookie Courtney Conlogue (USA) out-surfed tour veterans Silvana Lima (BRA) and Rebecca Woods (AUS), holding nothing back to advance with a pair of excellent 8.00 rides.
“I didn’t know if I’d scored an eight or a six so I just tried to stay busy and keep the exchanges going ‘cos its hard to hear out there,” Conlogue admitted. “I was so ready to surf at 7am this morning but it was called off until lunch time so you’ve just got to be able to turn it off and on, I’m definitely learning that this year.”
ASP World No. 1 and defending event champion Carissa Moore (HAW) joined fellow Round 1 winners by advancing into Round 3 ahead of wildcard Sarah Mason (NZL) and tour veteran Jessi Miley-Dyer (AUS).
“The waves were pretty good, but I’m not too psyched with my performance,” Moore said. “I didn’t get too many great waves and only scored two sixes. I wish I could have done a better job but we had some fun waves and at least I’m through.”
The final heat of the day revealed an intense battled between Hawaii’s Melanie Bartels and Coco Ho, the pair exchanging rides with Bartels advancing ahead of Ho by less than a point.
Surfers will reconvene at Fitzroy Beach for the next call at 06.30 tomorrow.
The TSB Bank Women’s Surf Festival will be webcast LIVE via www.nzsurffestival.co.nz/
Visit the Press Room on www.aspworldtour.com for news, images, transcribed athlete interviews and more.
TSB Bank Women’s Surf Festival Round 1 Results:
Heat 1: Paige Hareb (NZL) 15.00; Chelsea Hedges (AUS) 7.90; Tyler Wright (AUS) 6.75
Heat 2: Courtney Conlogue (USA) 16.10; Silvana Lima (PER) 14.10; Rebecca Woods (AUS) 11.20
Heat 3: Carissa Moore (HAW) 12.75; ); Sarah Mason (NZL) 11.30; Jessi Miley-Dyer (AUS) 10.50
Heat 4: Sally Fitzgibbons (AUS) 18.45; Claire Bevilacqua (AUS) 15.53; Pauline Ado (FRA) 10.00
Heat 5: Stephanie Gilmore (AUS) 16.10; Laura Enever (AUS) 9.15; Alana Blanchard (HAW) 3.10
Heat 6: Melanie Bartels (HAW) 13.95; Coco Ho (HAW) 13.40; Sofia Mulanovich (PER) 12.90
Photo Steve Dickenson / Curl Magazine www.pacificmedia.co.nz
I absolutely love this font. I need to find out what font this is....I think it might be Concord pro medium....
This PRO Weekender Barn is located in Thousand Oaks and was built with a custom 12' height and is used as an art studio.
時代に逆行してマミヤRB67proS購入しました、Flickrにメモ。
▼購入するまで
中判購入するにあたり以前ミノルタ オートコードをお借りした事があるTakeuchiさん
www.flickr.com/photos/satumahayato1224/
に伺ってこれにしました。感謝です。
レンズはセコール C 50mm F4.5とKL 127mm F3.5。
借りたと言っても4年前で数ヶ月で数本しか使っていなかったのでド素人のままです、中判について調べた事も大分忘れてる。
このカメラの何がわからないのかわからないのでTakeuchiさんに質問もちゃんとできません(-_-;
iso,絞り,シャッター速度がわかっていればどうにかなるだろうと思っていました。
■マミヤRB-キャノンEosEF アダプター
アダプター通せば自分のメイン機の5Dにも使えます。
www.discoverphoto.jp/Adapter/Mamiya-RB-Canon-EF-Adapter.h...
5Dのレンズは足りてるので使う気無いですしRB67のレンズというか昔のレンズは使うに当たって色々と不備が出そう。
↓一例でこういうの症状とか。
■バルサム切れ
detail.chiebukuro.yahoo.co.jp/qa/question_detail/q1413057...
オールドレンズ使ってる人や中古漁ってる人には常識なのでしょうが、バルサムなんて用語初めて聞きました。
自分は初心者過ぎてバルサム切れしてるのかしてないのかとか見てもわかりません(--;
他中古調べるとモルト劣化とかカビ、コバ落ちとか調べると謎の用語が飛び交っていました。
下記のサイトとか見てちょっと勉強
■中古カメラを知るためのキーワード【コンディション編】
ボディとレンズも不安要素が多かったので最初はヤフオクやフリマ系のサイトで購入せず。
少し価格は高くなるけどネット上で実店舗を持っていて信頼できるお店で購入しました。
全ての動作確認済み、整備済みで安心もできます。
▼使用してみる
フィルムの入れ方からもちろん不明で近所のカメラ屋で購入してそのまま入れてもらいました。
この作戦は前もやりましたがフィルム買うと店員は優しくしてくれます。
フィルム買うのが目的じゃなくて教えてもらうのが目的です、少し高くても勉強代。
そして現像後にもちょいちょい聞いてます。
なんですかこの銀の板、、遮光板？シャッターってチャージするものなの、、？
ピントを合わせるのはレンズについてるフォーカスリングを回すだけでしょ♩といじっていても合わず、
蛇腹伸び縮みさせて合わせる事を知った時には何だかカルチャーショック的な衝撃を受けました。
長時間露光やるにはダ、ダブルレリーズが必要だと、、
あとはレンズでシャッターが切れるのも驚きました。
RB67のRBはレボルビングの略という事も知り、縦横アングル変えるのでフィルムホルダーが回ったのには苦笑いしました。
忙しい時期にイライラして勢いで購入して、説明書も無いのでかなり苦戦してます。
いやでもまぁカメラの説明書あったところでほとんど読んだ事無いかぁ。
35mm判と画角が違うのを失念してました、ファインダー超しに見て思い出す。
■中判カメラの焦点距離換算表
xn--35mm-y27hg92j.com/medium-format
6×7が10枚しか撮れないのも知らなくて、最初の120フィルム1本が即終了。
あれ中判て12枚じゃなかったっけと勘違いしてました(6×6しか使った事なくて)。フィルム使う前にまずここ確認すべきだった。
■120フィルム
ja.wikipedia.org/wiki/120%E3%83%95%E3%82%A3%E3%83%AB%E3%8...
220のフィルムホルダーを買えば2倍撮れるみたいですが
www.mamiya.co.jp/home/camera/RB67/RB67_fuzoku.html
カメラ屋の店員に220はもうなくなるからやらない方がいいよ、ブローニーもあと何年持つかなぁなんて言われました。
数年後にはさらに種類も生産量も減っていくのは目に見えてますが、アナログのレコードでDJする人も根強く残ってるし、DVDじゃなくてLP集めてる人もいるしなくなりはしない気がします。
んーしかしFujifilmは化粧品に力を入れて個人的に残念だけどあの成長を見る限り企業として正解だと思います、、コダックは過去にこだわり過ぎ。
1本目ネガ使用し現像したら露光不足で半分真っ黒で終了。現像後ネガがどこで切るか店員がわからずすっげぇ長い状態で渡されて失笑。
とりあえずわかる範囲で切ってもらいました。
2本目は途中でいじってたら間違ってフィルムホルダーを空けてしまって何枚かひどい事に。いや本当にひどいレベルorz
現像後店員から言われたのが自分が撮ってる設定だとアンダー目になってしまうからもう少し露光時間長くしてーとか、
5D持ってるならまずそこで正確な設定で撮り終えてから覚えてRBで撮るといいとか、、
「めんどくさいです。」と答えたら慣れだよ慣れと・・・
RAWなんて無いんで超シビア、レタッチも限界がある。
現像に出して見れるまで一週間。現像されたものを所有してるフィルムスキャナー、GTX-970でスキャンするのに数時間。
撮ってからのタイムラグもかなりあってこれもめんどくさい。
フォトショでフィルムっぽく見せるレタッチのやり方も知ってます、アクションがネット上にたくさん出回ってるのでそれ使えば一発だし。
インスタとかVscoとかさらに簡単にそれっぽく見えるのも知ってますが写真をやっと撮って現像してスキャナーで取り込んでやっと見れる。
なんだかんだめんどくさいと思いつつこのプロセス含め面白い。
脱線しますが
アナログレコードで音楽聴く時ジャケからレコード取り出して、プレイヤーにセットして針落としてスイッチ入れてやっと音が流れる、、いちいちめんどくさい。
デジタルmp3ならダブルクリックで完了。
レコードだと音楽に対して真っすぐ向き合ってる感じがしますがデジタルだと聞き流してる時が多い、自分の場合。
前者音楽を「聴く」、後者音楽を「聞く」みたいな感じ、もちろんデジタルでも一概に言えずじっくり聴いてる時あるけど。
なぜ写真は「撮る」って漢字が一つしかないのかなぁと考えた事あります。
デジタルとアナログで撮る時って大分違う気がしてます。
あとなんで「撮影」ていうのか、光を撮るから「撮光」じゃないのかとか。
大昔の人が考えたので答えなんてみつからないけど疑問に思ってます。
それとRB67のシャッター切った時の音がかっこいい、
自分の所有してるカメラで比べると
RB67 = バシャ
EOS 5D MK II = EOS 1V = カシャ
SD1 Merrill = カチャ
EOS M3 = チャ
▼かかるお金ざっくり
＞RB67
50mmレンズ付きで2万ちょいで購入。
発売当時はプロ用スタジオ向けのカメラなんで15万位したらしいです。
1970年代前半、現在の1万円の価値は5倍位あるらしいので75万位の感覚ぽい。
■70年、75年、80年の1万円の価値
oshiete.goo.ne.jp/qa/2469135.html
＞レンズ
K/L 127mm F3.5 Lはヤフオクで6,230円で購入。
少し怖かったけど状態がすごい良さそうだったのゲット。
■RB67用レンズ
www.mamiya.co.jp/home/camera/RB67/RB67_Lens.html#
こんなに高価なレンズなのにネット上に1万以下でゴロゴロ転がってます。
bodyは値下がりするけどレンズは下がらないと思ってたのですがそうでもないっぽい。CanonのLレンズもほとんど下がらないて最初聞いてたけど、アナログからデジタルに移行した時のように何かまたカメラ業界に大きな革命が起これば一気に下落しそう。
＞フィルム
それぞれ価格差は違うものの120フィルム1本約750円で計算してみて、現像に700円位なんで約1450円。
1週間1本ペースで使ってると1ヶ月約5800円。
1年で約69600円。
35mmも同時進行で撮ってたりするので1年フィルム代10万なんて余裕でいきそう。
カメラ・レンズ自体は安いけどフィルムのコスパは最高に悪い。
昔は今よりさらに高価なものだったので家族に写真を撮る人がいると家計が崩壊するなんて言われてたりしたそうです。
▼終わり
フィルムはデジタルで撮るのとまた違うワクワク感があるのでやっぱり楽しい。
慣れてないのもあって写真の一人旅とか知り合いの結婚式とか絶対にミスりたくない場面ではRB67やめようかと。
35mm含めどこまでフィルムで撮るかわからないのですが、適当に飽きるまでやっていきます。
都市景観と赤ちゃん、この組み合わせパッと見フォトストリームがさらにカオス感増してました。
環境が変わったり、子供が産まれたりしたんでちょっと自分のスタイルを模索してます。
The iFi iDSD Pro.
I came to discover ifi after a past of positive and negative experiences in the audio in the last 30 years, in the search for the holy grail of sound in my living room, I have had a lot of brands, Nad, Rotel, Mark Levinson, Linn, Sony, Cyrus, Audiolab, Pioneer, Marantz, Rega, Bowers & Wilkins, Castle Speakers, Vandersteen, Paragon Regent Speakers, monitor Audio, Kef, Mission Cyrus speakers, only to name a few.
Some of my old gear I sold until today I remember them as pieces I regret not having today, My Marantz CD10 and Marantz CD16, My Sony SCD1, my loving Levinson 383 had circuit board problem and was 14 months waiting an internal circuit board repair in the Portuguese representative of the brand, and because of that bad experience and some others in the audio world, I sold my Levinson at a low price and almost all audio gear I had, I loved that Levinson, and that warranty experience was something very negative for me as a user, I abandoned audio and that search that never ends, and for 8 years the computer and headphones was my way to interact with music, a big downgrade from what I was used to.
Six years ago I started looking for a DAC and some better speakers to my iMac, the speakers I found that in my opinion produced an acceptable sound was the Harman Kardon GLA-55, latter paired with a monitor audio subwoofer, and sound was ok, at least a better experience that the iMac speakers had, In a search for a good computer DAC I discovered the ifi brand and their range of products, a perfect match for what I was thinking.
The products made by ifi were good looking and they supported DSD and HD audio formats something I was willing to try as I own many SACD’s, DSD was very appealing format to me, I purchased the ifi iDSD, it came in a beautiful package and well built, I connected the iDSD to my iMac and clicked on play on the iTunes App, a glimpse of what I have had in the past for a fraction of the price, for me it was it, the holy grail in price paid and return that I was receiving, so I started a new journey, maybe a never ending one certainly full of new product discoveries, but at every step taken up is a more engaging and pleasant one.
So ifi brought me back to the audio experience, today my computer audio system is a little upgraded from the Harman Kardon GLA55 and Micro iDSD, I just acquired an ifi Pro iDSD that was launched in the end of May. It finely arrived and took the place of my ifi Micro iDSD Black, micro iTube 2 and micro iUSB 3.0, every person quantifies the upgraded differences obtained by each component change differently, for some is the same experience a little better and a justified investment or not, for others a small sonic achievement is a huge upgrade in the final result, for me and after some weeks of listening to the ifi Pro iDSD there is no way I could live anymore without it, so I acquired it.
The Pro iDSD has a lot of functionality that you could see on the ifi website ifi-audio.com/home/products/pro/ I will focus more on the sound and changes I have noticed from the micro iDSD Black.
The global sound grows in small big changes, the separation, fluidity, speed, soundstage of the tracks is so better defined that you can’t stop playing and thinking constantly “this one is really on another level of gear”. That’s not a subtle change, the global sound character is similar to the micro iDSD Black Label, but sounds are presented very fast, the sense of speed is really impressive, the impact, transients, instrument separation, identification of the elements on the soundstage, multiple voices are perfectly separated, it’s all there, every audio file you play on the Pro iDSD is a new experience. I do remember in the past of investing a lot more and get almost none.
If you own one of the other ifi product line like the nano, micro, or even other brand DAC of the same price level, when you connect the Pro iDSD you will have a constant audio discover on each track of your library, it’s noticeable right away if your system has the quality to show and reveal what the iDSD pro can archive you will be amazed.
The micro iDSD Black was a feat for the price, but the Pro iDSD takes every aspect from the micro iDSD BL and gives him super powers.
The iDSD Pro has almost all features you will ever need, there are two absent from the pro iDSD the XBass and 3D sound, you can have this feature in the Pro iCan, but having them in the Pro iDSD is a miss in my most minimalistic good sounding system I can have, and to add these features the pro iCan is a necessary add-on that comes with more cables and more accessories in the middle of the sound signal. The iDSD approach for me is more a puristic approach and first a DAC, all the other features come for me as a bonus, it’s a product that will reveal all elements of the sound presentation, and plays your music files from multiple formats, it’s very easy to setup and very well built, and the oled in the middle of the unit makes me in love by it
So the iDSD Pro for me it’s finesse, fireworks, emotion, love, an even better capacity of turning small detail perceptible in a way that appears natural to my ears, it’s adds macro to the texture detail in the mix, better quality bass, initially the bass appears to be less present, less present in this case of the Pro iDSD is not less bass, but a bass with musical scale and better defined, there is no 3D or XBass, but there is a lot more to take out from every track.
The iDSD Pro will not hide a bad recording, It will show without any guilt the quality of a bad studio engineer or a low quality mix, if the mix is bad it will sound very bad, but if you give the Pro iDSD a better quality track, you will make your speakers rock has they never think they would be capable of, after that you will not let the iDSD Pro go back to the store.
There are a lot of offers in this segment, some more expensive, some less, I have built my system from the beginning on the original ifi IDSD Sound Signature, so in my case it was a perfect match.
I didn’t focus on many aspects like streaming, digital filters, upsampling to DSD1024, playing directly from SD or SSD USB HD, and finely Airplay, the Airplay functionality is my favorite and there is a lot more the Pro iDSD can do, In the last weeks I tried some of this functionality for curiosity and they all shine in a way that describing it will take weeks or months, my main use will be in the desktop computer and I am loving it.
If you are serious about your audio, the ifi Pro iDSD should be one of the higher priorities on your list of a DAC acquisition. If the price is too hot, the micro iDSD Black Label could give you a lot from the Pro iDSD at a very affordable price, and is my favorite DAC in the price / sound return equation.
All devices where connect to an Audioquest Nigara, the power cables including computer and ifi IDSD Pro were with Audioquest Tornado, and Audioquest Thunder for each of the Speakers.
USB Cables in use are ifi Gemini 3.0 and Audioquest Diamond USB Cable, also used ifi iUSB 3.0 in between.
Speakers are Focal Solo 6BE.
Interconnect Linn Silver balanced.
Software used, Roon and Audirvana.
The related review is a personal opinion of the experience and use of the products acquired. All products were acquired at retail price, in normal stores that have them in stock, and I am not sponsored by any of the brands mentioned or any kind of brand.
Mamiya 645 Pro Tl
Mamiya Sekor C 55/2,8
Svema-100 @100
Dev D-23 Stock 18 min on three segments 20°C
Fixer ФК-2
Scanning with a Sony HX50 camera
The shelf life of the film expired 2011
Negative Lab Pro v3.0.2 | Color Model: Basic | Pre-Sat: 3 | Tone Profile: Linear | WB: Auto-Neutral | LUT: Frontier