View allAll Photos Tagged electronics
Ángela Bokeh, original fotógrafa y mucho mejor persona.. :)
Gracias por la tarde del sábado, no dejé de reirme.. :)
Eres genial!
[ . 336 - 365 . ]
-- Follow me on Twitter --
Chẳng thân thiết gì đâu nên đừng bao giờ lầm tưởng mình là người thân của họ.
Gettttttttttttttttttt outttttttttttttttttttt.
Please do not use this image on websites, blogs or other media without my explicit permission. PhotOvation Akshay © - All Rights Reserved. Visit PHOTOVATION.PICFAIR.COM
AF Nikkor 28-85 f/3.5-4.5N (1990 - 1999)
AF Nikkor 70-210 f/4-5.6D (1993 - 1999)
AF Nikkor 18-35mm f/3.5-4.5D ED IF Aspherical (2000 - 2008+)
Background
Just as in the old days, many zoom shooters still prefer to avoid zoom lenses that have a very wide zoom ratio and consequent decreased performance. Even some of Nikon’s newest wide-range zoom lenses are criticized for distortion and image softness. This is the origin of the classic zoom “Trinity”. The classic Nikon pro-level auto-focus trinity included the AF Nikkor 20-35mm f/2.8D, the AF Nikkor 35-70mm f/2.8D, and the AF Nikkor 80-200 f/2.8D. The eclectic set pictured here achieves more or less the same benefit as the pro-level trinity, albeit without the wide constant apertures and with more distortion, in particular at the ultra-wide end. It is interesting to compare the features of these lenses with their most current counterparts.
AF Nikkor 28-85 f/3.5-4.5N (1990 – 1999)
This is an excellent and relatively conservative mid-range AF zoom lens from the pre-D era. It is possibly the best AF 28-85 lens ever produced by Nikon. Optically, it is exactly the same as its manual focus predecessor, the Ai-S 28-85 f/3.5-4.5, which is also an excellent lens. This lens is a cosmetic upgrade to the original AF design, which was a first generation AF Nikkor. The original version had a hard plastic focusing ring, which was replaced by soft material on this upgrade. The AF Nikkor 28-35 f/3.5-4.5N is extremely sharp throughout its zoom range, and distortion is limited due to its conservative 3x ratio. The build quality is also excellent, and it was designed as a high-end mid-range zoom, just below the professional AF Nikkor 35-70 F/2.8. The lens is perfectly matched to the contemporaneous F4, which does not yet support D-technology or the “Silent Wave” internal lens AF motors. Also, the Nikon F4 still requires aperture to be controlled on the lens in Aperture Priority mode (i.e., no secondary control dial). The only slight inconvenience of this lens is that the front of the lens including the filter rotates when the lens focuses, so polarizers must be adjusted after focusing. Unfortunately, this great lens was never upgraded to a “D” version. Replacing this design were the AF Nikkor 24-85mm f/2.8-4D and the AF Nikkor 28-80mm f.4.5-5.6D. The 24-85 is not nearly as sharp as the 28-85 f/3.5-4.5, although the 24-85 included the new D-functionality to communicate distance information from lens to camera. On the other hand, the consumer grade 28-85mm f/3.5-5.6D has unexpectedly excellent optical performance in a lightweight and unsatisfying plastic design. This 28-85mm f/3.5-4.5 eschews image fuzziness and lightweight construction, and is perfectly functional even on FX digital as a high-performance mid-range zoom. However, the many mid-range zooms that have been developed by Nikon subsequent to the 28-85/3.4-4.5 incorporate newer technologies and features, if not always better optical performance. The first newer feature that one misses in the 28-85/3.5-4.5 is the (rotary gray code pattern) distance encoder ("D"-function). Although distance information is not critical most of the time, it is theoretically very useful in certain situations for the newer cameras that support it, especially for flash photography and automatic distortion correction in certain modern DSLRs. To see what other features are missing in this early autofocus design, let’s compare with its closest current counterpart, the AF-S Nikkor 24-85mm f/3.5-4.5G ED VR lens. The newer lens adds one ED and three aspherical optical elements, includes a “Silent Wave” internal AF motor in the lens, adds rapid manual/autofocus switching, and most importantly adds advanced generation VR image stabilization. Of course the filter does not rotate when the lens focuses. Unfortunately, the newest G-type lenses cannot be used on old manual focus cameras and are also inconvenient on some older autofocus cameras. In conclusion, the 28-85/3.5-4.5 is probably just as good optically as the most current comparable design, and perhaps tougher mechanically. The biggest advantages of the newest 24-85 over the 28-85/3.5-4.5, in addition to a slightly greater zoom range, are the D-functionality and of course the VR image stabilization. Although VR doesn’t help with moving subjects at slow shutter speeds, it definitely makes it much easier to shoot at slower shutter speeds without a tripod or other camera support. These days, VR is becoming more and more popular on mid-range zooms and other lenses. Indeed, the availability of VR on the newest mid-range zooms may be a reason to finally retire this lens, unless you are shooting an F4.
AF Nikkor 70-210mm f/4.5-5.6D (1993-1999)
This is a high-end short telephoto zoom lens that is an upgrade from its otherwise similar predecessor that lacked the D-function. This lens was positioned just below the pro-level AF Nikkor 80-200 f/2.8D ED. It has an extremely robust push-pull mechanical design and has great optical performance. It works perfectly on current FX digital cameras and takes fine images throughout its zoom range. In the film era, the relatively small f/5.6 maximum aperture on the long-end was sometimes a problem of the 70-210/4.5-5.6 in situations with limited light. However, with modern FX digital, it is an easy matter to crank up the ISO when necessary. Today’s most current alternative might be the AF-S VR Zoom-Nikkor 70-300mm f/4.5-5.6G IF ED. This new G-type lens adds a wider zoom range, two extra-low dispersion optical elements, “Silent Wave” internal focusing, and of course VR image stabilization. VR is certainly an advantage on the newest lens, although one pays for the extended zoom range, Silent Wave motor and VR, with a larger and heavier zoom than this older lens. The newest G lens lacks an aperture ring so it cannot be used on manual focus cameras and is inconvenient on some older autofocus cameras.
AF Nikkor 18-35mm f/3.5-4.5D ED IF Aspherical (2000 - 2008+)
This late model D-type lens has cosmetics that begin to resemble the current production G-type lens designs. The AF Nikkor 18-35mm f/3.5-4.5D is actually very similar to the current production AF-S Nikkor 18-35mm f/3.5-4.5G. Compared with this D-type version, the newer upgraded G-type lens incorporates a Silent Wave internal focusing motor, instant manual focus, and somewhat better optical performance. The G version has 12 optical elements versus only 11 in the D version. Both versions can exhibit significant distortion, but distortion is not unusual in a lens of this type and price range. The newest G-type lens is 12.5mm longer and slightly heavier, and it lacks an aperture ring, so it has problems with older cameras. The AF Nikkor 18-35mm f/3.5-4.5D has good performance and it is lightweight and portable, so it can be packed for travel to conveniently accommodate a wide range of ultra-wide situations.
Copyright © 2013 - 2016 Timothy A. Rogers. All rights reserved.
(DSC_6152fin5)
Note: EVF / Mirrorless cameras have thoroughly obsoleted the rangefinder as a camera paradigm. But they are also on the verge of sending the DSLR to extinction, I think. Please see some thoughts on this at this link.
Exactly two years ago, in April 2011, I said goodbye to my Leica M9 in anticipation of an inevitable "M10". During that time, I used a Sony NEX-5, then an NEX-5N quite effectively as a digital back for my M lenses.
I finally got my hands on the new 24MP M Typ 240, after a long wait. I had a chance to take 20 pictures, before I had to send the camera back to Germany, after Leica issued a factory recall. In a rare faux pas, Leica discovered the strap lugs on the new M came off! So they had to find a fix.
So in the short time I had the camera, here are my first impressions.
The best M camera ever
Undoubtedly, this is the best M camera Leica has ever made. It feels like an M, the finish is great, and it is beautiful to see, touch and feel. Emotionally, very satisfying. The classic preview lever is gone and ergonomically, it could have been a little better. But overall, the best M camera ever.
Big camera / Small lens vs. Small camera vs. Big lens
After being used to a Sony NEX for two years, the M feels big and heavy. I have been waiting eagerly for a compact Sony NEX-9 in the E-mount with a full-frame sensor, but I recently found out that such a camera will not work with M-mount lenses from Leica, Zeiss or Voigtlander.
The Leica M cameras have a micro lens array that is needed to make the M lenses work with a full-frame sensor, and no other manufacturer will have this in their camera. So unfortunately, a full-frame mirrorless EVF camera from anyone not named Leica will simply not work with Leica M lenses of focal length 50mm or shorter. A huge bummer!
That means if there is an NEX-9 or similar camera, that would have to be used with traditional SLR / DSLR lenses, such as the Leica-R, Zeiss, Nikon, Canon, etc. However, the NEX-9 will be much more compact than the Leica M. So it leads to a peculiar paradigm - the relatively big M body with the tiny M lenses vs. the small NEX with the big SLR lenses.
Pictured above for comparison: the Leica M240 + Leica 50mm f/1.4 Sumilux-M shown next to a Sony NEX-5N + Leica 50mm f/1.4 Summilux-R.
The NEX + the bigger lens is still less bulky and weighs less compared to the M240 + the M lens. The M240 wins if I have to carry a camera + 3 or more M lenses. But the NEX wins for camera + 1 or 2 SLR lenses.
I am done with the RF as a camera paradigm
I used to be very good focusing with the rangefinder in my old M9. But after two years of using a Sony NEX with manual focusing lenses, I am through with the rangefinder. Done, finished, no more RF.
The more the resolution, the harder it is to accurately focus using the RF. Higher resolution ruthlessly exposes poor focusing. The vast majority of the M8 and M9 pictures uploaded on flickr today are poorly focused by proud owners of a Leica M camera who don't know what they're doing.
Although the RF in the M240 is probably the best RF Leica has ever made, unless you own bionic eyes or have a subject matter with a lot of nice, high-contrast vertical lines at the dead center of the frame, it is tough to focus with the RF. Over time, the RF coupling will also inevitably drift.
So with higher image resolution, the RF is increasingly a liability, and it is time to retire it. But a lot of people love the RF.
In my case, I have two reasons for putting the RF out of my life:
First, I am now too used to the paradigm of compose-first-focus-next. That is what the Sony NEX with its focus peaking does brilliantly. I cannot do that with a RF, which only focuses in a small region in the center of the frame. I find that extremely restricting.
Second, after my cataract surgery, although my vision has dramatically improved, I find it difficult to use a rangefinder with my glasses on. I have no problem with manual focusing using either a DSLR or an EVF/mirrorless.
So I am through with the rangefinder as a camera paradigm. Of course, I could use an EVF with the M240. But I am needlessly paying for the expensive RF mechanism, and the EVF is an expensive option I should not have to pay for!
Also, the EVF on the M 240 sucks. More detail below.
Image quality
So is it worth it, for all the cost and aggravation? Hard to say. Focused accurately and at relatively low ISOs (800 or below), and in good daylight, the M240 delivers excellent IQ, with superlative colors, sharpness, micro contrast and dynamic range. And two very smart people have independently told me the M240 images are excellent for making large prints.
In addition, Lloyd Chambers, one of the best, if not the best, independent photography bloggers (subscription highly recommended!) has taken some stunning images with this camera that show exceptional details. In fair weather, this is a fantastic camera.
BUT...
And that is the part I don't like - an $8,450 camera (see below why it is $8,450) should not come with "Buts". And the M240 comes with many Buts.
But #1: Mediocre high-ISO performance. Even though the M240 has a CMOS sensor, high ISO performance of this sensor, made by CMOSIS, is not as good as the industry-leading sensors from Sony that you can see in other cameras. I would like to see what DXO comparisons look like.
But #2: Terrible EVF/focus peaking. The EVF + focus peaking on the M240 is a very amateurish implementation that is way behind the Sony NEX. Even with the EVF on the M240, I could not match how quickly and how accurately I can focus with my Sony NEX.
Seriously, I am 2-4 times faster focusing with my Sony NEX than I am with the M240's EVF. If the camera is already on, it takes me about 4-5 seconds to compose, accurately focus and click with my Sony NEX. With the M240, it takes me anywhere from 10-20 seconds, and sometimes, longer. And even after that, I could not get the best focus in quite a few shots with the M240. With the NEX, I nail the focus almost every time without fail.
Also, the focus peaking disappears just as you start pressing the shutter release button to take the picture. That is absolutely idiotic! It is a distraction that is enough to cause an imperceptible camera shake, and loss of the best focus. The only way to avoid that is to be well supported (e.g., leaning against a wall). That is not always practical, so a lot of pictures will come out sub-optimally focused. Bad, bad implementation by Leica.
Perhaps Leica could improve its EVF and focus-peaking usability in a future firmware upgrade.
But #3: Loss of hot shoe. The EVF takes away the flash hot shoe. That means, I can't use flash photography at all. So I spend $8,450 for a camera and I can't use a flash with it?!
But #4: Bulk and weight. The M240 is much heavier than cameras like the NEX-7 or 5N, which are made of durable, Magnesium-alloy bodies. An M240 + grip + EVF is almost as big as a Nikon D800E, which costs $2700, delivers 36MP and has autofocus. For the M240 to match the image quality with subjects that are close will probably require a tripod. If I'm going to be lugging around a tripod, then why bother with an M240 at all? Why not my Nikon D800E?
But #5: Poor Live View. The Live View works only at the center of the frame. You can not zoom into any other part of the frame. That is so silly! Evey a $500 NEX-3 lets you see any corner of the frame at a 10x magnification in Live View.
But #6: Lens design compromises. As cute the M lenses are, their compact size and extreme proximity to the sensor in M cameras has meant making design compromises. And typically, this has hurt in two areas: focus shift and field curvature.
A lot of Leica M lenses show focus shift, including the $7,200 new 50mm APO Summicron-M, as Lloyd Chambers has demonstrated. A $7,200 lens should not have a focus shift problem, for crying out loud! Field curvature produces funny areas on the field that come in or go out of focus, and a lot of M lenses suffer from it, including the vaunted 35mm Summilux-M, as both Lloyd Chambers and Ming Thien have shown.
With increasing resolution, is the design of the M lenses approaching a brick wall?
But #7: Insane economics. The M 240 is $7,000, but for it to be really usable, it needs the EVF ($550, which = 75% of the cost of an NEX-6 camera!), and the grip ($900). In total, $8,450 for the most basic usable system, not counting any sales taxes.
In comparison, the top of the line 24-MP NEX-7 today costs $1000, and comes with a built-in hand-grip and EVF, as well as far better high ISO performance, WiFi, autofocus, and superior video capabilities than the M 240. The next generation of the NEX will likely also have GPS built right into the camera.
And even a full-frame NEX with a whopping 36MP sensor (the same as in the Nikon D800E) will probably cost no more than $2,500, with the option to autofocus as well as a lot of other features not in the M240. That is less than 30% of a usable M240!
But #8: Doomed to a weaker technology road map. Saddled with the RF legacy, the M cameras will always be slower to evolve compared to the rapid pace at which other camera makers have been progressing.
When the 18MP M9 was introduced in 2009, it was the state of the art. Only the Canon 5D MK-II and the Nikon D3x had greater resolution. But the Leica M lenses were superior to most of the Canon and Nikon lenses. The combination made the M9 the best 35mm camera in the world for a short period of time.
But since then, the world has raced past Leica. The Nikon D800E is the king of 35mm now, followed by other cameras like the Canon 5D MK-III, Nikon D7100, Nikon D600, Sony RX1, etc.
Mirrorless EVF cameras have been evolving especially aggressively. They barely existed three years ago, but today, APS-C sensors are almost as good as full-frame sensors, and EVF cameras are going full-frame. The Sony RX1 was the first, and within a year, it seems certain that there will be a number of EVF cameras with full-frame sensors. The prospect of a 36MP NEX-9 is especially appealing.
These cameras will work as universal bodies for any lens, except the Leica and other M-mount lenses that require Leica's special micro lens array. There are many outstanding lenses out there, including Leica-R and Zeiss ZF/ZE/E lenses that these mirrorless EVF cameras can work with.
So within a year, I expect a tidal wave of full-frame EVF cameras to hit the market, most of which will hugely outperform the M240 at a cost of about 30% of the M240. The M240 feels a little behind the times on day one.
The Leica M optics are still the appeal!
So considering everything, it is tough to logically argue the case for the M240. The only thing that keeps the M240 case alive is the optics of the M lenses.
Certain M lenses are very unique, especially the ones that use the Noctilux design (50/0.95, 24/1.4, 21/1.4). The 35/1.4 Summilux with the floating element has a strong and wavy field curvature, but it can also produce an artistic result. Lenses like these are charming for their "Leica look" images, if one knows how to use them.
There are other M lenses that are functionally exceptional, such as the 50/1.4 Summilux, the Super Elmar-M 21/3.4, The 24/2.8 and 28/2.8 Elmarits, the 75/2 and 90/2 APO Summicrons, etc. The latest APO Summicron 50/2 is the best 50mm lens ever designed, with a stunningly flat MTF, although it suffers from a focus shift.
Once you get to know these lenses and how to work them, they are delightful (although I am not a fan of the focusing tab on many of the M lenses). The lenses are the appeal of the M system.
But the elephant in the room is that Leica is not providing a tool to really take advantage of the M lenses. The M8 was a joke, the M8.2 was a hastily put together fix to make the M8 somewhat usable, the M9 was OK, but had too many usability problems, the M9P was a slap in the face to the customers, driven by arrogance ($1,000 for a piece of gorilla glass over a crappy little LCD?), the M9 Mono was another overpriced offering in which Leica did not even bother to put a high-res retina-display monochrome LCD, and now, the M240. Over-priced and under-achieving.
For all the great M optics, Leica has been demanding a very unreasonable toll to access the M lenses by pricing the M cameras absurdly high for what they deliver.
The other question, as mentioned above, is: will increasingly high sensor resolution expose the weaknesses of the M lens design? (field curvature, and especially, focus shift). Lenses designed for the DSLRs or the Sony E-mount do not have focus shift problems.
Bottom line
Two years ago, my left brain and right brain had a huge battle over my M9, and my left brain won. So I sold my M9, and I have not regretted it one bit.
Now, I find myself in the same situation. My right brain says "See how beautiful the camera is! You have such a wonderful collection of fantastic M lenses! No other camera can work with them as well as the M240 can! The APS-C cameras will only give you a crop-size image, and any full-frame EVF camera simply will not work with the M lenses. So it's a no-brainer: keep the M240. I can't believe this is even open to discussion!"
My left brain says "Anyone using an RF today is either brain dead or has a vested interest in Leica. The RF is finished as a camera paradigm. In fact, the entire M system will be obsolete soon. The M240 is an absurdly priced, $8,450 camera full of compromises and almost obsolete on day one. So it is time to not only not keep the M240, but also get rid of all the M lenses! Time to switch to a more competent EVF platform, like a full-frame NEX-9 and use it with Leica-R or Zeiss ZF lenses, which are optically even better than the M lenses. There is no need for a discussion!"
So that is where I am. Usually, when I have these arguments, my left brain wins! So I shall be likely parting ways with the M240, as well. It took me 16 months to get tired of my M9, and it took me a few days to nix the M240.
Leica had a chance to design a brand new EVF-based mirrorless camera to work with all of its wonderful M and R lenses. Such a camera could have been Leica's 35mm digital camera platform for the next 60 years. Instead, Leica once again came up with yet another set of digital extensions to a 60-year old film camera design that demands way too much money and way too many compromises from the user.
That is really unfortunate. I don't want to spend that kind of money for a camera that comes with so many excuses, and gets in my way. The camera is a tool that should serve me. Not royalty that I must serve!
This is still a fabulous camera for those who love the rangefinder. But that is not me.
I will hang on to at least some of my M lenses for a while - there is a hope that Leica will be forced to come out with an non-RF EVF camera with an M mount. Or perhaps there will be some other FF EVF camera that might work with M lenses. So I will wait to see what happens in the FF EVF world before deciding on what to do with my M lenses.
_______________________________________________________________________________
Above image taken with a Nikon D4 + AI-s Nikkor 28mm f/2.8
D40_4643
Face in the window in the night
Caught for a second by the light
Ashes of memories still aglow
Only for you
Portraits and pictures you once saw
Visions in blue
~ Ultravox
After a few months, I can't get over how often I use this camera. Quirky? Yes. But so was the Leica M3 it reminds me so much of.
The menus are ... weird. And the focus can be aggravatingly slow and imprecise. But what the camera gets right makes it worth putting up with the niggling problems. One day they'll fix them. And when they do, I'll be waiting in line.
For a guy that spent a lot of time with rangefinders back in the day, the Fuji X100 is an absolute joy to use. I am headed to the UK for two weeks (family vacation) and this is all I am bringing. No external flash. Probably won't use the internal one either.
AAAAAAAAAAAAAAAAAAAAAAAAAAAAA hôm nay đi ăn thì gặp 2 e Husky đẹp cựccccccccccc
đẹp hơn cả con ở Kim Mã cơ :((
trời ơi 2 con nó to vĩ đạiiiiiiiiiiii
chụp ảnh cùng thì cno' liếm hết người =))))
1 con màu xám 1 con màu nâuuuu
lông xù xù nhìn đẹp zai cựcccccc kìiiiiii í T__T
Sinh nhật bắt mẹ muaaaa :-x
ôm được 2 e mà bh vẫn chưa hết cuồng =)))))
hiiiiiiiiiiiiiiiiiiii :ppp
.
.
.
thôi đi học Ma tốc độ đây =))))))))
dạo này chăm qá mức cần thiếtttt
mình đang lơ mơ lề mề gặp bà Ma tốc độ ở Đông thái choáng luôn @@
Comt điiiiiiiiii
This is my personal GT. Purchased on ebay as non-working, I brought it back from the dead and releathered it. Works like a charm!
Can't do a macro shot without some background blur ;-)
The PCB is a infered LED driver for old vintage nigh vision equipment from the good old USSR.
One of the great works of the early twentieth century British revival of woodcut and fine printing was the work "the Song of Songs" with woodcuts by Eric Gill and printed at the private Golden Cockerel Press, a press recently purchased by another fine artist Robert Gibbings. The book - also known as the Canticle of Canticles or the Song of Solomon is taken from the Hebrew Bible and the Old Testament and Gill, whose work and religious beliefs were at times challenging, produced a stunning version with illustrations of great sensuousness and simplicity. This illustration is based on the lines "While the King was reclining mine own spikenard gave out his odour. A bunch of myrhh is my beloved to me: he shall rest between my breasts".
The full book is available here;
digitalcollections.usfca.edu/cdm/ref/collection/p264101co...
Nikon F2A just back from some spa time at Sover Wong's shop in the UK. Slowly getting all of my beloved cameras back to factory specs.
with new leather from Aki Asahi and MD Rokkor 50mm 1.4. The Camera itself was a gift, I only got it new clothes and the lens.
New macro lens! I dug out my wife's old Minolta 35 mm film camera. A bit dusty! Any comments or words of wisdom would be greatly appreciated as I am really new to this macro stuff.
FR: Je vous présente M. Mamiya M645 1000s avec son bon ami M. Zeiss 80mm 2.8 Jena Biometar. C'est le magnifique appareil avec lequel j'ai fait mes précédentes photos dans mon stream.
Croyez le ou non mais je le vends pour... Un autre Mamiya (j'adore les Mamiya)... Une version plus récente avec laquelle je pourrais changer les dos. Je suis un peu triste de le vendre (sentimental, mon 1er moyen format argentique) mais je suis définitivement pas assez riche pour tous les garder (Le D800 arrive bientôt). Donc quelqu'un aura la grande chance de te posséder l'ami.
Si vous êtes intéressé par ce Mamiya, merci de me contacter soit sur Twitter, soit en message privé sur Facebook. (je lis rarement mes mails Flickr).
UK : Please meet Mr Mamiya M645 1000s with its good friend fellow Mr Zeiss 80mm 2.8 Jena Biometar. This is the wonderful camera with which I took the previous photos in my stream.
Believe it or not but I'm selling it for... wait for it... another Mamiya (I love Mamiyas)... Just a younger brother in which I'll be able to remove & switch backs... I'm a bit sad to sell it (emotionally attached to it, my first film MF) but I'm definitely not rich enough to keep all of them. (The D800 is on its way). So someone will be definitely lucky enough to own you buddy.
Press "F" if you like it ;-)
Your kind support on my Facebook Page is much appreciated.
Feel free to ask me anything and stay in touch thru Twitter!
=====================================================
© Fabrice Drevon 2012 | NO USE ALLOWED without explicit authorization
I think i am finally happy with my Mac Set up after a few years of collecting now,
In the photo
27' iMac (Late 2009)
13' Alu MacBook (Late 2008)
iPad 64GB WiFi (Apr 2010)
iPhone 3GS 32GB (Jun 2009)
3 iPod Shuffles (2006 2007 2009)
Alu Mac Remote (Late 2009)
BT Alu Keyboard (Late 2009)
BT Might Mouse (Late 2009)
Universal iPod dock
iPad Dock
WD 1TB My Book (firewire)
Not in the Photo
1TB Time Capsule (Late 2009)
Apple TV 160GB (Late 2009)
HP LaserJet M1522
Airport Express (N)