Back in the States, we lived in a community called Grosvenor Park. Photos I’ve taken there are featured often on my website. It was a nice place, true to its name: it was a park with a brook, ponds, trees, all sorts of vegetation and even a little forest out back. In the parking lot next to our building, there was this old black Mercedes with a diesel engine. It always sat in the same spot and every time I saw it I wondered if I could have it. After all, its owner barely used it. There it sat, spring, summer, fall and winter, cobwebs under the wheel wells. You know what they say about cars and houses… if they’re not used, they go to pieces.
We were at Tess Auto in Ghimbav (near Brasov) for service to our car recently, and we saw this beautiful antique Audi on display in the showroom. The car was so old the logo still said “Auto Union” across the four circles.
They sure don’t make cars with these designs any more. About the only company still around who makes such beautiful cars is Morgan.
I realize these designs aren’t aerodynamically efficient and they aren’t meant for high speeds. It’s also possible that the drag coefficient may be higher, meaning fuel efficiency could be better. But cars like these had something modern cars can never have: life — an organic feeling to the design which gave them life and draws our eyes to this day.
Neat infographic about Walmart. See below:
- Last year’s sales: $405 Billion.
- Walton family’s net worth: $83.6 Billion, out of which they give 2% annually to charities. By contrast, Warren Buffett’s net worth is $47 Billion, and he gives 78% annually to charities.
- It has 1,400,000 employees.
- The average salary of a Walmart employee is $20,774/year. The annual salary of Walmart’s CEO is $19,200,000.
- Walmart’s “Buy America” campaign showcased “Made in America” banners hanging over imported goods made in China and other countries.
- Walmart imports over $30 billion in merchandise from China every year.
Via: Home Loans
The BBC reported recently on how TV viewing is becoming a more social experience. When I read through that article, I said, hang on a minute, I had an idea back in October of 2005 along the same lines… I called it audience-inclusive advertising, but the thoughts I wrote in there can be applied to other content on TV, like shows, which is what’s currently happening.
It’s fun to read through my original article and see how much of the stuff has already come to fruition. Here’s one:
A site can be set up and maintained by a consortium of advertising agencies and brand owners or a neutral body, that would either track viewer product preferences through data mining and random surveys, or would actively encourage users to register and provide product preferences. Alternately, existing user data could be compiled from various databases.
Now we have Facebook and Twitter, and advertisers love to mine their data sets for user product preferences, to give them surveys (think of all the annoying quizzes on Facebook), and collect data on them every time an app is authorized. So this has already happened.
Through the medium of the website, brand owners can also take a cue from the users about the kind of products they need to advertise, this time in a more direct way, through hard data. Even more, they can more easily survey the users about the kind of new products they want to see.
Think of all the fan pages set up on Facebook by companies and brands. You can become a fan, learn more about the company, and be surveyed, live, about your preferences. Beautiful.
Another way to keep the audience is to offer prizes for watching the ads and picking through clues that are weaved through both the ads and the shows. Entries can then be registered on the show’s site or at this main site for a chance to win something, perhaps even products featured on the show, or something as banal as an actor’s coat, or the actual bottle of perfume used by an actress on the show. These aren’t things that cost much but mean a lot to the audience.
Do you notice how many product giveaways there are on Facebook and Twitter? Companies are giving away not just stuff that doesn’t cost a lot, like an actor’s wardrobe, but they’re giving fans cars, computers, cameras, TVs and other things that cost a fair bit of money. And it’s all done for the purpose of keeping users (fans, if you will) tuned into the company’s platform and brand.
It’s also fun to see what stuff didn’t get implemented (yet?), but I’ll let you do that by reading through my original article.
The nice folks at Olympus sent me a PEN E-P2 DSLR for me to review, and I got to use it for about a month. As I usually do with the cameras I review, the E-P2 became my primary camera. I took it everywhere with me, and I shot both photos and video with it. A succinct description of my thoughts on the camera goes as follows: superb design, diminutive, well-made, clearly thought out, reliable and a joy to use.
This camera made me think seriously about switching to it permanently, and using it as my primary camera all the time. I loved it so much I didn’t want to give it back (I did give it back in the end). I loved everything about it. Even its few flaws pale in comparison with the advantages it gives you. I’m not the only one who raves about it. My wife loved it too. Other photographers loved it. People on the street would stop me to ask about it. And it’s no surprise, because it looks really good.
All that wonderful design and the overall good looks wouldn’t mean much without actual performance, and boy, this camera really delivers! The photos are superb, wonderfully well exposed, details are great at 1:1 (100%), low light performance is beautiful, even with the fairly slow (f/3.5-5.6) kit lens, and auto white balance is right on the money (not too cool in low light, which was the case with earlier Olympus cameras, and not too warm, either).
The PEN E-P2 isn’t perfect. There are a few sticking points. The two you’re likely to notice are battery life and autofocus failure in low light.
I’m used to battery life that hovers around 500-700 shots per charge. Perhaps that’s why I usually take that many photos when I visit a place. Or perhaps it’s just a coincidence, I don’t know. I do carry a spare battery when I shoot with my usual camera, so that means I can usually take 1200-1500 shots before I’m out of juice. The E-P2’s battery runs out around 250-350 shots, and it may run out faster if you take a lot of photos in rapid succession. That was a bit of a surprise to me, and since I didn’t have an extra battery, it did limit the amount of shots I could take. So, my advice to you is to get an extra battery (or two) depending on your shooting habits.
In low light (and I mean fairly low light, with little contrast between lighter and darker colors) the E-P2 will keep searching, trying to focus, and it will finally give up after a few seconds. You can overcome this if you use a faster lens, or if you switch to AF+MF or MF. That way you can choose to focus manually after the camera says it can’t do it, or you can start focusing manually right away.
Expecting the E-P2 to shine all around is a mistake. No camera is going to be perfect. In every camera ever made, some features were taken out, or couldn’t be put in at all. I look at the E-P2 as I look at my MINI Cooper S. It’s diminutive, the design is gorgeous, and the performance is great for my needs. I didn’t buy my MINI expecting it to perform like a Hummer, and by the same token, you don’t buy a PEN E-P2 expecting it to work like a Nikon D3X or a Canon EOS 1D Mark IV. They’re different cameras, designed for different purposes. When you buy an E-P2, you expect it to be light, versatile, stay out of the way, take good photographs (great photographs, actually), and to shoot HD video. It does all those things beautifully, and more.
I thought I’d place some weight on the DxOMark ratings for the E-P2 after I saw them, but in the end, it wasn’t a concern. It’s like the iPad, you see. You don’t get it until you hold it in your hands. Then it clicks. It’s the same with the E-P2. After you begin using it, you get it, and you don’t want to let go of it, because you know you can get great pictures with it, and you love the way it works, and the way it feels.
Even my wife, who doesn’t like taking photos with my Canon 5D, because she thinks it’s too much work to get the camera set up and adjusted, and doesn’t like it even when it’s on full auto, loved the PEN E-P2 and was able to take great photos with it. That showed me that Olympus was able to strike a great balance between a DSLR that will cater to the needs of a pro through its many buttons and manual settings, and will also please the amateur by assisting them unobtrusively as they use it.
We’d do well to remember a few things about Olympus here:
- First company to come out with a self-cleaning sensor for a DSLR
- First company to come out with Live View for a DSLR
- First company to come out with magnified view for TTL MF on a DSLR
- First company to come out with the idea of capturing video and photos with same DSLR sensor. I call it the “idea”, because what they did was to capture Live View video shown on the camera’s display via the main sensor, and the leap from that to recording video from the sensor is a fairly small one.
- First company to come out with the smallest DSLR on the market. The E-420 was the first one, and now the PEN picks up Olympus’ famed lineage of analog cameras and takes it digital.
Even though larger companies like Canon and Nikon are reaping the benefits of implementing things like self-cleaning sensors and live view and magnified focus assist, and HD video, it’s really Olympus who did the hard work to bring these features to the market. Their implementation of these features may not be the flashiest or the loudest, but they were first.
I’m going to repeat a few things I wrote in August 2008, in an article entitled “DSLRs and video to converge“, after the Nikon D90, the first DSLR that could also shoot video, had been launched:
As good as the [Nikon] D90 is though, it will soon be eclipsed. Why? Market forces. How long do you think it will be before we’ll have a DSLR that can record 1080p HD video? Or how about an even smaller and thinner DSLR than currently possible? How about a DSLR that looks and weighs about the same as a point-and-shoot, but gives you photo quality that’s equivalent to (or exceeds) today’s DSLRs? It’s all coming.
Keep in mind the time when I wrote those things, and what came afterward. Just a few short months later, the Canon 5D Mark II came on the market, and it could record 1080p video. The floodgates had opened. And now we have a smaller and thinner DSLR than ever thought possible (Olympus PEN), one that looks and weighs about the same as a point-and-shoot camera (Olympus PEN), but gives you photo quality that exceeds that of other DSLRs. And there’s a huge difference in sensor size between that of a typical digicam and that of a PEN camera, as you can see below. (The sensor of the PEN camera is on the right.)
Here’s what else I said back then…
You know where else I’ll be proven wrong? Back when I attended the Olympus E-3 launch party, I talked about the camera’s (somewhat) limited 10 megapixel resolution, and I thought they had reached the limitations of the Four Thirds 2x cropped sensor. I thought the sensor’s surface area was too small to get more resolution out of it. But now that Canon has proven you can get 16 megapixels out of a 1.6x cropped sensor, I don’t see why you can’t get 12 megapixels or more out of a 2x cropped sensor.
I had my doubts about whether or not the Olympus engineers would be able to squeeze proper low light performance out of the four thirds sensor while increasing resolution, given the sensor’s size when compared to a full 35mm sensor, but they’ve done it! The PEN E-P2 goes up to 6400 ISO if you want it to, and the photos taken at 1600 ISO are definitely usable. Even the ones taken at 3200 ISO look pretty good to me. I’d reserve 6400 ISO for daylight use, such as when you want to take a high-speed photograph. Nighttime photos taken at 6400 ISO were fairly grainy, but then again, I was using the slower kit lens, whose aperture stops at f/3.5.
One last quote:
Wait, it gets even better. The current aspect ratio of Four Thirds cameras is 4:3. The aspect ratio of Micro Four Thirds cameras will be 16:9. That’s the same aspect ratio used in movies. Where do you think that’s going? It means your photos and your videos will have the same aspect ratio, and the line between photography and videography will get even more blurred, and it’s quite possible that in the near future, we’ll have 1920×1080p HD video recorded by a tiny little DSLR with a tiny little lens on it.
Okay, I was wrong about that one. Things are even better now. The PEN E-P2 will let you shoot at the following aspect ratios: 4:3, 3:2, 16:9 and 6:6. It shoots 720p HD video at 16:9, and it’s only a (short) matter of time before the PEN will be able to shoot 1080p HD video, as predicted. Keep in mind it will still be the tiniest little DSLR on the market, with a tiny little interchangeable lens on it, and that will make all the difference.
While I’m on the subject of video, do you want to know what else sets the PEN apart from other DSLRs that can shoot HD video? The fact that you can choose between several auto-focus modes, or image stabilization modes, or adjust both aperture and shutter speed, and apply live art filters to the videos, in-camera. I don’t know of another DSLR that lets you do this. As a matter of fact, you can shoot video in P, A, S or M modes, and you can adjust the aperture live, as you’re shooting. You can adjust the zoom, and if you have AF tracking enabled, your subject will continue to stay in focus. And you can see or preview all of the adjustments you’re making, on the screen or in the viewfinder, instantly.
Hands-on Video Review
I put together a hands-on video review of the E-P2, which includes the unboxing, a run-down of the camera’s exterior and its accessories, initial impressions and sample photos and video taken with it.
While you can find all the specs you’d want and more on the Olympus PEN website, I’ll point out the more important ones here:
- 12.3 megapixels resolution (4032 x 3024 pixels)
- SSWF (Super Sonic Wave Filter) dust reduction system
- Micro four thirds mount (of course)
- 17.3 mm x 13 mm LCD screen, 3 inches across, 230,000 dots, 100% FOV
- 11-area AF System: Imager Contrast AF (S-AF, C-AF, S-AF+MF, MF, C-AF+TR)
- Shutter, 60 – 1/4000 sec or up to 30 min in bulb mode
- 3 fps drive, up to 10 sequential RAW images or 12 sequential JPG images
- TTL Image Sensor Metering: 324-area multi-pattern metering, center-weighted or spot-metering, EV 0-18
- Flash synchronization: 1/30 – 1/180
- Photo ISO: Auto 200-6400 or Manual 100-6400 in 1/3 or 1 EV Steps
- Movie ISO: Auto or Manual 160-1600
- Color Space: sRGB, AdobeRGB
- RAW, JPEG, RAW+JPEG for photos
- AVI for videos, 30 fps, limited to 2 GB per file, 720p HD (1280 x 720 pixels), 480p SD (640 x 480 pixels), max recording time 7 min for HD, 14 min for SD video
- Wave Format Base Stereo PCM/16-bit, 44.1 kHz for sound
- SDHC memory card recommended (can use older SD cards, but they’re not recommended for HD video)
- Live View, 100% FOV, 7x or 10x magnification assist for MF
- Image Stabilizer for photos: 3 modes (2D, Vertical and Horizontal), up to 4EV steps compensation
- Image Stabilizer for videos: shifting electronic image (aka Digital IS)
- Aspect ratio: 4:3, 3:2, 16:9, 6:6
- Battery life: up to 300 shots
- Dimensions: 4.74in x 2.75in. (H) x 1.37 in (D) / 120.5 mm x 70mm (H) x 35mm (D) (excluding protrusions)
- Weight: 11.1oz/335g (body only), 13.6/385g (body, battery and media)
Sample Photos and Videos
I took the camera with me to the Flagler Museum and The Breakers in Palm Beach, to the Morikami Museum and Japanese Gardens in Delray Beach, to the Boardwalk on Hollywood Beach, where I met with Thomas Hawk, and to the Vizcaya Museum in Miami. If I had gotten it sooner, I’d have taken it with me to Las Vegas as well. I also used it heavily inside and outside the house. I shot photos and video with it in all sorts of light conditions — like this video on shaving. After an initial winnowing process, I have 954 photos taken with it in my photo library, and 2½ (149 minutes) of HD video recorded with it.
I didn’t get the chance to edit and publish all of the photos and video clips taken with the camera yet, but I will get to all of them in the near future, and will post them here on my blog, so stay tuned for that. Until then, here’s a good selection of what I’ve already edited.
This first photo shows what you can get right out of the camera. I set the E-P2 on i-Auto, and as you can see, the light is a mix between strong daylight and shadows. With other cameras, you’d get more contrast between the light and dark areas, and you wouldn’t see so much detail on the tree bark, for example. But the E-P2 was able to keep the sky blue and still give me vibrant, light greens and browns in the shadowy areas, which is great.
Notice again how it was able to render great detail in the shadowy areas, even when shooting directly into the sun.
Notice the fine detail and soft bokeh in this macro photograph of a palm frond. This was taken with the 14-42mm kit lens. Even though the lens is said to focus properly only from 0.25 m/0.82 ft to infinity, when the camera was set to Macro mode, it could focus much closer, up to a couple of inches away from the subject. Keep in mind this is not a point-and-shoot digicam that you can set to Macro and be done with it, but a DSLR with an interchangeable lens, which is much more complicated and normally has limitations on what it can do. After all, that’s why these lenses are interchangeable, because they’re built for specific purposes. Yet this kit lens proved to be much more versatile than I thought.
These are colors obtained right out of the camera. If you’d like to see the specifics of a photo, feel free to download it and view the EXIF data, it’s included in each sample photograph.
This next photo is unedited once more. It’s what the camera gave me at 14mm (28mm effective) and 1600 ISO. It was a fairly dark room, and I shot this against a bright window with early afternoon daylight (2 pm) coming right at the camera. Notice the detail and lack of noise in the darker areas.
This was a particularly dark room. It appears well lit only because I shot this at 1/20th of a second and 1600 ISO. Notice once more how vibrant the colors are, and how good the auto white balance is.
This next photo shows that you can get some neat bokeh effects if you play with the manual focus. The photo is unprocessed, as the camera made it.
Another reason to like the PEN E-P2 is that I can take great portraits with it. Yes, you’ve got to love the bokeh you can get with really fast lenses like the Canon EF 50mm f/1.4, but you’ve also got to love the clarity of an Olympus camera. The whole face is in focus, and every minute detail can be seen if you zoom in. It feels like you can almost touch the skin of the person whose portrait you’ve taken. It’s a great characteristic, and I noticed this way back when I was shooting with the Olympus C-3000Z, as you can see in this photo from 2005. The photo you see below is of my wife, Ligia, and once again, it’s right out of the camera. It’s incredible how brilliant the colors are.
Here are a few more portraits I took of her with the PEN E-P2. I love this camera.
Here are a few more sample photos taken at Vizcaya, in Miami.
A few sample videos (shot in 720p HD) are embedded below. There are more on the way, as mentioned above. I used software motion stabilization on a fair number of the clips, as I shot them handheld, without a tripod or any other sort of external stabilization device, and I foolishly forgot to activate the in-camera stabilization.
When you buy the PEN E-P2, I recommend you definitely get the following accessories:
- Li-Ion battery (PS-BLS1) — get an extra one or even two of these, depending on how many shots you need to take per session
- MMF-2 Four Thirds to Micro Four Thirds Adapter — this is a must-have accessory, as it lets you mount any four thirds lens onto any PEN camera
- 16 GB SDHC Card — get whatever brand you like, but make sure it’s SDHC
- VF-2 Electronic Viewfinder — if you didn’t get this in a kit with your PEN camera, it’s really worth getting, as it will pivot up and act as a WLF (Waist Level Finder); you can see me using the PEN E-P2 with the VF-2 mounted onto it and pivoted upward in the second photo from the top of the article.
These next accessories come down to personal preference. Get these if you like them:
- SEMA-1 Mic Adapter Set — it’s an inexpensive way to get better audio tracks for your video clips
- Zuiko Micro Four Thirds 17mm f/2.8 ED Lens — it’s a neat prime lens for your PEN
- FL-14 External Flash, or a more capable speedlite, like the FL-36R or the FL-50R, depending on your needs
- Panasonic 45-200mm f/4.0-5.6 Lumix G Vario MEGA OIS Zoom Micro Four Thirds Lens — even though it’s a slower lens, the effective range is 90-400 mm, which makes it a tantalizingly affordable zoom with a long reach
- Cable Remote USB RM-UC1 — if you do a lot of night photography, with long exposures on tripods, you’ll need this cable release, particularly as it will allow you to lock the shutter in bulb mode
The current selection of micro four thirds lenses is somewhat slim, but it’s growing. And the beauty of having adapters like the MMF-2 I listed above is that you can use any regular four thirds lenses with PEN cameras, so you don’t have to buy extra micro four thirds lenses if you don’t want to.
But what if you’re heavily invested in Canon or Nikon gear, and would love to get a PEN camera? That’s okay too, because there’s a Canon lens to Micro Four Thirds mount adapter. It’s the same if you’re a Nikon shooter. There is an adapter that will let you use Nikon lenses with a PEN camera.
Two companies out there make these kinds of adapters: Novoflex, a German company, and Fotodiox, an American company. Since I’m heavily invested in Canon EF lenses, I called Fotodiox and asked them what they have for me. They have a specific Canon EF lens to Micro Four Thirds mount adapter, but it does not let you control aperture, so you’ll be shooting wide open. They did tell me they’re working on a specific adapter for Canon EF lenses that will let you mount them to PEN cameras and control aperture and auto-focus, just like you would with a normal lens. They said the price for it would be around $300 when it comes out later this year. That would be a very cool adapter, if it indeed delivers on its promise!
Then I called Novoflex and asked them whether they have a Canon EF to Micro Four Thirds adapter, but they don’t. They do have a Canon FD to Micro 4/3 adapter, which if I’m not mistaken will let you mount EF lenses as well, but you’ll be shooting wide open, without the ability control aperture, and of course you’ll be focusing manually.
I also found out that Canon makes a nice, simple metal EF lens to Micro Four Thirds mount adapter, and it’s only $40! So if you don’t mind shooting wide open and using manual focus, then definitely get this adapter, because it looks sturdy and it’s inexpensive.
It’s time to wrap things up. What can I say, other than what I’ve already said? I’m in love with this camera!
A number of significant design and engineering ideas from Olympus came together beautifully in the digital PEN: diminutive size, great sensor, beautiful design, IS, SSWF, Micro Four Thirds, HD video, light and capable lenses, a whole host of features design to make things easier for the photographer, and beyond the hardware, a tangible sense of soul, a certain something that binds you to the camera as you begin to use it.
Just like the analog PEN revolutionized the way people thought of cameras and of how they took photos, the digital PEN is a wonderful continuation of the PEN legacy, a beautiful leap through time, from film to the digital world of today.
We’ve recently finished putting together a “severe weather” garden shed in our yard, made by a company called Arrow. We wanted a model that could withstand hurricane-force winds, since we live in South Florida, where hurricanes do occur from time to time. The particular model that we purchased was the Homestead 10′ x 8′ (HS108). We filmed our progress along the way (it took 1½ months from beginning to end), and you can see the video below.
The process of selecting and getting the garden shed approved and built highlighted several areas of concern when it comes to the manufacturing, retail and inspection aspects of this particular model. It all turned out to be more involved and more costly than we thought. It certainly was an adventure in do-it-yourself construction.
We looked for guidance from our city (Hollywood, FL) when we made the decision about what garden shed to get, but they were not helpful. All they told us was that many of the sheds sold at local building stores may not be approved for use and may not pass the inspections, and that we needed a product approval sheets for the shed.
We went to Home Depot looking for sheds, but we thought the pre-assembled ones they had on display were flimsy and might not withstand strong winds. Then we went to Lowe’s looking for a shed, found one made by a company called Arrow, only to be given the run-around when it came to the product approval sheets. The store clerk thought they were on the Lowe’s website. They weren’t. The management thought the Contractor Services department had them. Perhaps they did, though we couldn’t get them to help us. Then we tried the Arrow website, where they should have been listed alongside the shed specs. They weren’t.
Fortunately (or perhaps unfortunately), we did find a particular model on the Arrow website, called the Homestead, rated for “severe weather” and engineered for the Miami-Dade county building code, which is stricter than what we have in Broward county. That meant it was sure to be approved for use here, and would pass the inspections if assembled correctly. The price was much higher than we thought though (about $1,700) for a pre-fab, un-assembled shed that came in two flat boxes and was only 10 feet by 8 feet (80 sq ft). Still, I remembered seeing a Homestead model at Lowe’s, so we went back to check. To our surprise, it was on sale for a little under $500. We thought ourselves in luck, but the clearance price should have raised a red flag for us. We bought it, knowing we’d at least have no problems getting it approved with the city.
Sure enough, it was approved, and the time for the initial inspection came. The clerks at Lowe’s told us we’d need to pour a six-inch concrete slab. Fine, no problem. Wrong. According to the building inspector, the engineering plans for the shed (put together by Arrow to supposedly comply with the Miami-Dade building code) required a house-sized foundation, which meant digging a trench all around the edge of the foundation that was 1 foot wide by 1 foot deep, with a 45-60 degree slope on the inner lip, using re-bar around its perimeter, not just wire mesh, and naturally filling it all up with concrete. That more than quadrupled our original estimate of the amount of concrete that we needed to purchase. We thought 1 pallet would be enough for a 6-inch slab. We ended up buying over 4 pallets of concrete (almost 5) in the end.
Forget the clearance price! The ridiculous foundation requirements in effect raised the price of the shed to well over its original retail price once again!
I have to lay the blame for this squarely in Arrow’s lap. After all, they were the ones who hired an engineering firm to put together the plans for the shed, and to get them approved with Miami-Dade. I sincerely doubt there’s anything in the Miami-Dade building code that specifies one must have a house-sized foundation for a flimsy pre-fab shed. That makes no sense whatsoever. All other sheds on the market do just fine with a 4-6 inch concrete slab, yet this model, which is shorter and smaller than the rest, somehow needs a house-sized foundation? No way. Someone was careless or fearful when they drew up the plans, and the customers are now paying for it!
I might have been more lenient in my overall view of the shed, had it proven sturdier during the assembly and in the final review. But it’s just as flimsy and cheaply made as the rest of the pre-fab garden sheds on the market, many of which come pre-assembled and cost a third of this shed’s original retail price. There’s nothing to set it apart for me from the rest, other than the presence of extra wall beams at waist height, and the lack of a need to use hurricane anchors to strap it to the ground once it’s assembled. The sheet metal used for its walls and doors is just as cheap and easily bent or dented, the doors open and close just as badly as on other pre-fab sheds, and to top it all off, it’s so darn short I bang my head on the lintel every time I go in and out!
Oh, and lest I forget, let me mention that Arrow forgot to provide the sufficient number of bolts and nuts needed to assemble the shed properly. We were delayed by a day during the assembly process because we needed to make a trip to the store to get some more hardware, which should have been included with the shed to begin with. On the bright side, they did include the Hilti anchors needed to anchor the shed to the concrete foundation, though I expected to need to get those myself.
Yes, the shed is now fully assembled, approved, and we’re using it. But it proved to be much more expensive in the end than it should have been, it took much more time and effort to get the project completed, and in my eyes at least, it wasn’t really worth all that. Imagine how those people who bought this shed at its original retail price felt! They must have felt they were ripped off royally. Thank goodness we at least got it at clearance price.
The City of Hollywood could also have been more helpful when I called them asking for guidance on garden sheds. Instead of dismissing me with some generic advice, they could have said, hey, here’s one of our building inspectors, talk to him and he can recommend sheds that he knows will get approved, cost less, and take less time to put together. While I understand that a government employee can’t recommend specific brands and models, at least I could have gotten helpful advice that could have saved us money, time and effort. Instead, the City of Hollywood was the only city in Broward County to raise property taxes this year, during a big recession, making me wonder exactly what we’re paying for, if they’re not helpful to us, its residents.
All I can say is this shed better hold up when the next hurricane comes, or Arrow will hear from me again.
I can’t take credit for this cure. A life-long nurse told me about it a few years ago, and it’s worked for us ever since. I’m not sure if she’d be comfortable having her name revealed here, so I won’t do it. But I’ll always be grateful to her for the advice.
In a few words, cold sores are cured and even prevented by Lysine. Any brand should do. Just go to your local supermarket or drug store and pick up some Lysine pills. They’re white, round, medium-sized as pills go, and they’ll do a number on your cold sore.
I, for example, have had these things since my childhood. Whenever I got stressed, or ate too much sugared stuff, or happened to be recovering from a cold or some other illness and my immune system was down, I got a cold sore. I used to be terribly embarrassed about them, and I still am, to some degree. Sometimes I’d get them four or five times a year, and each one took about 2-3 weeks to go away completely.
Now, whenever I feel that tingle in my skin and know that one’s on the way, I take a Lysine pill. You can take up to 3-4 pills a day, just don’t take them all at once. It’s not a sure-fire, 100% kind of thing, but I would say the overwhelming majority of the time, the cold sore doesn’t even show up on the skin. It just goes away. And when it does manage to break out, taking Lysine while you have it will make it go away sooner.
I don’t know why other cures don’t work, particularly the useless brand-name cremes that cost upwards of $20 for a tiny little tube (they only make things worse for me) — but inexpensive Lysine does the job just great. For less than $10, you get a huge pill bottle that will likely last you more years than you’ll remember.
After getting all excited about my new 24-105mm zoom, I found a strand of thread sticking resolutely to the interior of the front lens. It was definitely inside, and I couldn’t get it to go away. Even if it came loose, it would still be inside, and would probably stick to one of the other interior lenses. It was a factory defect.
I called B&H Photo, who graciously shipped out another lens to me, free of charge, and also paid for the return shipment of my defective lens. While I may be disappointed in Canon’s quality control process, I have only good things to say about B&H. Incidentally, I waited patiently for them to re-open after the Jewish High Holidays (they were closed for over a week) so I could order the lens. It was worth the wait. Things I order from them get here the very next day, because they ship out of New Jersey and I live in Maryland. I pay for Ground and get what is essentially Overnight shipping. It’s an added advantage to their great prices and customer service.
My 580EX II speedlite is another disappointment. It’s been acting strangely since March of this year. Sometimes it refuses to work with the 100mm f/2.8 macro lens. The aperture and shutter settings get completely messed up and the shutter won’t fire. Until now, I had to take it off the camera, take the batteries out, let it rest for a bit, then put it back together and on my 5D, and sometimes it still wouldn’t work.
Yesterday, I finally decided I’d had enough and shipped it to Canon for repairs. I hope they’ll choose to treat it as still under warranty, because I filed the original repair request back when it still had a couple of months of warranty left. We’ll see.
Meanwhile, I got my replacement lens from B&H today, and I have reason to be disappointed with Canon once again. Their QC should be better, especially for L series lenses. This new lens has two tiny specks on the inside of the rear lens. You could almost say they’re not there, except that they are, and it’s really bothering me. Maybe I’m overreacting to this, having been sensitized by the previous defect. I don’t think it’s going to affect the quality of the photos (I hope for that at any rate), but for a lens that costs over $1,000, I expect better build quality.
I leave you with a series of short videos that demonstrate how Canon make their lenses. They’re narrated in Japanese. I saw the English version (in a single video) a while back, but I can’t find it now. For those of you that won’t see the embedded video below (like the feed subscribers), here are the links to each video clip: part 1, part 2, part 3. With all of that emphasis on checking the lenses after they get made, you wouldn’t expect to find strands of thread or specks inside the lenses like I did.
After the new video iPod launched, and the possibility to purchase and download ad-free TV shows came to light, I realized that the advertising industry would have to come up with some clever ways to keep their audience if they were to maintain revenues. The following ideas sprung to mind:
- A site can be set up and maintained by a consortium of advertising agencies and brand owners or a neutral body, that would either track viewer product preferences through data mining and random surveys, or would actively encourage users to register and provide product preferences. Alternately, existing user data could be compiled from various databases.
- Advertising during TV shows that certain user groups watch could be more closely targeted to those groups by ad personalization. Users could register for the chance to have an ad dedicated to them. For example, a sample user we’ll call Jane could indicate that she likes the MINI Cooper, and so when an ad for the Cooper runs during a show that she likes to watch, names can be selected at random from the database of users, and if her name comes up, that ad could say: “This goes out to Jane” before it runs, and end with a “Thanks, Jane!” Quite simple, really, but it serves to capture the audience, since people will stay tuned during the ads just to see if their name will come up.
- This concept can be expanded to include groups of users, perhaps up to 3-5 identifiable users per ad.
- Through the medium of the website, brand owners can also take a cue from the users about the kind of products they need to advertise, this time in a more direct way, through hard data. Even more, they can more easily survey the users about the kind of new products they want to see.
- Another way to keep the audience is to offer prizes for watching the ads and picking through clues that are weaved through both the ads and the shows. Entries can then be registered on the show’s site or at this main site for a chance to win something, perhaps even products featured on the show, or something as banal as an actor’s coat, or the actual bottle of perfume used by an actress on the show. These aren’t things that cost much but mean a lot to the audience.
- People are making a big deal about product placement, but I think that reaches a saturation point very quickly. You can’t plaster products all over the screen and detract from the value of the story or the entertainment. Product placements works when it’s subtle, weaved into the story, and reinforced through the regular ads.