XP uses the C:/Program Files directory as the default base directory into which new programs are installed. However, you can change the default installation drive and/or directory by using a Registry hack. Run the Registry Editor and go to
Look for the value named ProgramFilesDir. By default, the value will be C:/Program Files. Edit the value to any valid drive or folder; XP will use that new location as the default installation directory for new programs.
In windows we cannot use the name CON for any folder.. even tech from the Microsoft couldn't resolve it.. But here again, is the solution to create the folder named con and other system variables.
1) go to run dialog. 2) type cmd/command (command prompt gets opened) 3) go to root directory like C:\ or D:\ etc 4) type md\\.\\c:\\con ....(here is done) 5) check the folder on the respected drive.
1) Open RUN Prompt and type "telnet" (Without quotes). You can find Run Prompt by pressing the Windows and R button together or you can find it in the Start Menu.
2) A Black color Command box appears.
3) Type O and press Enter. ( O stands for Open Port in Microsoft Telnet ).
4) Now type after the prompt "towel.blinkenlights.nl" without the quotes
5) Press Enter and You will see Star Wars Movies being played out.
What amuses one is the characters in the movie , the environment , and the fonts are made out of all the characters in ASCII table.
You must have an internet connection .speed do doesn't matter.
Many motherboards feature a set of jumpers or dipswitches that will clear the CMOS and wipe all of the custom settings including BIOS passwords. The locations of these jumpers / dipswitches will vary depending on the motherboard manufacturer and ideally you should always refer to the motherboard or computer manufacturers documentation. If the documentation is unavailable, the jumpers/dipswitches can sometimes be found along the edge of the motherboard, next to the CMOS battery, or near the processor. Some manufacturers may label the jumper / dipswitch CLEAR - CLEAR CMOS - CLR - CLRPWD - PASSWD - PASSWORD - PWD. On laptop computers, the dipswitches are usually found under the keyboard or within a compartment at the bottom of the laptop. Please remember to unplug your PC and use a grounding strip before reaching into your PC and touching the motherboard. Once you locate and rest the jumper switches, turn the computer on and check if the password has been cleared. If it has, turn the computer off and return the jumpers or dipswitches to its original position.
Imagine life as a game in which you are juggling some five balls in the air. You name them - work, family, health, Friends and spirit and you're keeping all of these in the Air.
You will soon understand that work is a rubber ball. If you drop it, it will bounce back.
But the other four Balls - Family, Health, Friends and Spirit - are made of glass. If you drop one of these; they will be irrevocably scuffed, marked, nicked, damaged or even shattered. They will never be the same. You must understand that and strive for it.
A Dream is the most important Thing you will ever have. Your dream is Your direction, Your motivation Your inspiration Great things Happen, To people who Make them happen When you have a dream You’re on a roll, Because you’re working Towards a goal Whatever you want to do Begin it now, Action has a Magic power.
I have learned many things from my Friends. They gave me the tricks for a stupid activity. They gave me money when I’m empty in college canteen. They raise their hands towards me for good-bye when I’m leaving them. They love me...They care......
If your friendship be money, I’ll be richest man. If your friendship be pounds, I’ll be heaviest man. If your friendship be love, I’ll be luckiest man. But your friendship is trust & I’m the happiest man
I may have forgotten to say that I care. I may have failed to open up and share, but though no words have been spoken, my promise of friendship won't be broken.
The built-in flash on a digital camera is compact, simple to use, and often effective in providing the extra illumination needed to assure adequate exposure of a subject when ambient light is insufficient. In some instances, the internal flash is able to soften shadows in harsh light as well. So why then, would the average, non-professional photographer need or want an external flash for their camera?
More illumination is sometimes needed.
The built-in flash on the average digital camera has a useful range of about 13 to 15 feet. An external flash has more power and can illuminate a larger area; their range can be as large as 70 feet. Whether trying to illuminate a large group of people only 15-20 feet away or a single subject 50 feet away, an external flash can provide much better lighting in such situations. An external flash is particularly useful when shooting with a wide angle as many can disperse the flash to fill the width of the scene.
Shadows can be excessively harsh when illuminating a subject directly.
The internal flash on a digital camera shines directly in front of the camera lens onto a subject and can create shadows behind them when it is the primary source of lighting. An external flash offers the user greater versatility with models that tilt, swivel, and many that can be positioned well away from the camera body. An external flash can create lighting from different angles and can be bounced off of a white ceiling or reflector to significantly soften any shadows and reduce any glare. The ability to have the flash moved away from the camera lens also helps to eliminate the red-eye effect as the light is not reflected from the eyes of a subject directly back into the lens.
Slow flash recycling can make it difficult to take shots in rapid succession.
The typical built-in flash on a digital camera can take several seconds to recycle after being triggered during which time additional shots with the flash are not possible. An external flash is often able to recycle in less than a second and thus allows multiple shots to be taken in rapid succession.
As lighting is generally considered the single most crucial factor in the quality of the image captured, using an external flash with a digital camera would seem to be an excellent choice. However, there are instances in which a user might wisely opt to forgo the additional expense and complexity of using an external flash.
Compact size or sleek styling is of primary interest to the user.
An external flash is large, bulky, and certainly does not lend itself to going unnoticed. They cannot be toted around in a pocket and thus are not a good choice for casual use.
Ease of use is critical.
An external flash often requires the user to manually adjust settings. For the most simplicity, a TTL flash (through the lens) is the best choice versus a non-dedicated or slave flash device, as a TTL flash communicates with the camera and triggers automatically. The process of purchasing an external flash can also present some complexity as the buyer must assure that the camera and flash are compatible, that they will communicate or connect (via hot shoe, cold shoe, sync-cord, adapter, and so forth) and that the voltage on any flash device that connects to their camera will not harm their camera circuitry.
Budget constraints.
An external flash, as with any auxiliary or accessory device, adds cost. The average flash will add $140-$500 to the total cost of a camera. In addition to the up front cost of the device, an external flash can also consume a significant amount of battery power adding to the life time cost of the camera.
Use of an external flash with a digital camera can significantly improve the quality of images created by giving the user much greater control over lighting. However, these devices do add another level of complexity as well as cost to the photo taking process. First time buyers merely need to weigh which features are most critical for them to determine whether or not an external flash will be a good investment.
Pets, like any member of a family, have unique personalities, individual responses to situations, and ways of expressing themselves. From a dog that loves to play hide and seek, peering from around a corner, to a cat that triumphantly perches in its favorite spot after removing any who dares to trespass on its prized territory, these small events are among the memories of pet owning families. Capturing the nuance of these situations simply requires a camera and the use of a few techniques which make photographing a pet unique.
Choosing the Shot
There are a number of ways to shoot great pictures of a pet with a camera. Portraits can be challenging with a pet, but the end results can be worth the extra effort. Using food, toys, or another person to direct a pet to look in a particular direction or to elicit a certain expression may be necessary. To obtain a more natural scene incorporating interaction with other animals or family members can help to create an image that better captures the true personality of the animal and a more typical atmosphere as attention is drawn away from the camera.
Common settings for pet pictures are where ever the animal is comfortable, such as lying on a favorite chair or gazing out a window. Another ideal setting is where ever they can be engaged in a favorite or natural activity. This helps to reduce some of the difficulty in getting an acceptable pose in front of a camera and better reflects the behavior and personality of a pet.
Setting Up the Shot
As is true when photographing other types of subjects, assuring that the background is free of clutter or distracting objects can help to focus attention in the shot on the pet. A plain background often creates the best backdrop. Wiping the eyes of a pet prior to shooting can also help to eliminate any distracting residue that will take away from the focus on their eyes.
Just as with small children anyone hoping to capture the best images of their pet will need to approach the situation with patience. Waiting for the right shot to happen is often a prime ingredient. Once the right setting or situation is selected and any needed props or helpers are assembled then the task of getting the best photo will frequently require multiple shots with the camera.
Taking the Shot
Getting photos that show the detail of a pet's features requires getting the camera up close and on their level. The pet should fill the frame and the photographer's viewpoint should be near the eye level of the pet. When getting close with the camera isn't an option, zooming can help to achieve similar results and when all else fails cropping during the editing phase can also improve results. Although the eyes of the pet should be the focus of the shot in most instances, it is important to shoot with the camera at angle if flash is used to eliminate the eerie glow that can occur when flash bounces off of the eye.
Whenever possible it is best to avoid using the camera flash with a pet. The risk of getting the unwanted reflection in the eyes is significant and some pets will even learn to avoid the flash by closing their eyes at an inopportune moment. For this reason, shooting pets outdoors is often easier, particularly early or late in the day or in the shade when harsh sunlight doesn't take away from their features. When photographing indoors and available light is insufficient, better photographs are easier with a camera that allows the in-camera flash to be disabled or removed. The photographer can then bounce the light off of a wall or ceiling to avoid any harsh glare.
Selecting the appropriate setting on the camera can help to assure optimal focusing. Many consumer model cameras have settings such as portrait and action which function nicely. Using the burst mode or sequence-shot setting when trying to capture images of a pet while playing can allow rapid shots that best capture the activity.
For millions of individuals and families who have pets as part of their lives, preserving memories of their time with us can be important. A good camera and knowledge of just a few photographic techniques can help to capture the kind of images that will be treasured for years to come.
In the quest to get great pictures, consumers invest significant sums of money in either a film or digital camera. After sifting through the options of lenses, zoom, resolution, and so forth, the right camera is chosen. Next, buyers need to turn their attention toward a selecting a camera bag to protect their new purchase and to make it convenient and comfortable to take along. Camera bag options are numerous but consumers can simplify the process by considering four things when making a choice.
What needs to go in the camera bag?
Think about what equipment will need to be toted around. For many people a bag that will accommodate their camera, a few rolls of film, and some batteries is enough. A small case with a couple of pouches may fit the bill.
For those who also want to carry extra lenses, cleaning cloths, a small tripod, or memory cards a larger bag with more pockets and dividers will be necessary. A good bag must accommodate all of the equipment that will be used. Some bags offer moveable pouches and dividers that allow more flexibility in storing the various sizes and shapes of accessories that might potentially go in the bag.
How well will the bag protect the camera and other contents?
The bag needs to be well constructed. The stitching on the straps for instance should be reinforced/double stitched. The fabric should be suitable for the environments in which it will be carried. A simple vinyl bag won't offer much protection in wet, rugged conditions outdoors. Waterproof bags or covers are necessary in such environments. Durable cordura is one of several materials that are more suitable. Insulated bags that allow the user to insert solid freezer packs to keep the camera and film cool are good when toting a bag for any extended period of time in hot weather.
Compartments are important to protect the contents of the camera bag. Contents should not be touching, rubbing, and hitting against each other while they are being transported; thus compartments for each item are important. Any bag selected should fit the camera well to limit its movement within the bag. Padding throughout the bag is critical as well.
Zippers offer a more secure seal on the bag than most other closures and thus offer greater protection.
Is the bag comfortable to carry?
The purpose of a camera bag is to allow the owner to take it with them wherever they go. If the bag is uncomfortable or difficult to carry it doesn't serve its purpose. Belt pouches can be a handy, no hands, means of toting around a small camera, a battery, and a few rolls of film but if more equipment is needed, bags with a shoulder strap are more appropriate. Many people find that if a bag will be carried for a significant period of time a back pack style camera bag allows more comfort as the weight is not distributed to one side.
Padding enters the picture again here with comfort. Padding wherever the bag touches the body can be beneficial; particularly on any straps. Shoulder straps generally offer the greatest comfort when they are not only padded but wide as well.
Ease of use is also a "comfort" factor. Buyers should check how easy it is to retrieve equipment and materials from the bag. This includes the ease of operating clasps, zippers and other closures as well as the arrangement of compartments within the bag. All items should be accessible.
Is the camera bag durable?
From quality fabric to reinforced stitching, the construction will determine durability. Closures are also critical. Zippers should be large toothed, and if going into wet environments, they should be covered. Metal clasps are more durable than plastic ones and tend to reduce any issues with breakage.
After investing in a good camcorder, a sales person may suggest a lens filter for your new purchase. You wonder, are they just trying to make another sale or is there a justifiable reason for considering adding on a filter? Most of us aren't professional videographers and have no intention of producing a feature film with our camcorder, but lens filters do have a purpose even for those of us who use a camcorder only for recreational purposes.
There are many types of filters for camcorder lenses, each with their own purpose but some of the most common may be of interest to the average consumer as a way of assuring better films and protecting their investment.
Protective filters
A clear filter can be used over the lens of the camcorder to protect it from dirt, fingerprints, and other debris which may scratch or otherwise damage the lens. Replacing a damaged filter is far less expensive than replacing the lens. Using a UV lens filters can also protect against damage from ultraviolet light. Protective lenses are often attached and remain on the camcorder throughout its lifetime.
Polarizing filters
A polarizing filter can act to reduce glare caused by reflected light that bounces off of surfaces such as glass, snow, and water. These camcorder lens filters are particularly useful when filming outdoors where it can be particularly difficult to control reflective light or when shooting a film through a window.
Neutral density filters
Attaching a neutral density filter on your camcorder can help to reduce over exposure in shots as they decrease the amount of light entering the lens. The darker grey the lens filter the more light they filter out and thus the darker the resulting images in the film.
Color correction filters
There are a variety of color correction or color compensating filters that can be used to create different effects. For instance, to make a sunset more red or an ocean more blue. As these tend to be used for more creative or artistic purposes these lens filters are used less frequently by the average consumer.
Diffusion filters
Both diffusion and fog filters on a camcorder can soften images. Diffusion filters in particular are used when filming up close shots of people to flatter their faces by softening any lines or imperfections on the skin.
Although many consumers do not opt to purchase additional accessories for their camcorder, lens filters can be very useful. While some provide a very affordable alternative for protecting expensive camcorder equipment, others allow users to produce better films with less overexposure and more creative effects.
Most digital cameras today boast of greater resolution and picture quality. What does that mean to the amateur or occasional photographer? You hear of cameras with 3 megapixals up to 6 or 7 megapixals. What is that? The book that comes with the camera explains all the buttons, bells and whistles, but does not explain megapixels. Most people do not like to work with numbers much, but it is necessary to understand pixels. So here's my attempt to explain pixels. I'll try not to involve too many numbers.
To understand pixels, one must first remember the good old days when you took pictures on film and let the development labs worry about pixels. But, they didn't really have to, because the exposed negative just captured the image that was reflected through the lens. It was all there and the only thing that affected quality was the size of the negative. The bigger the negative was, the larger the picture that could be produced. When the world went digital, the pixel was invented. So what is a pixel? If you divided a picture in hundreds of horizontal and vertical lines, you would actually have a large number of little squares that when put together, created the picture. Each square is a pixel. So, when a digital camera says it has 1-megapixel capabilities, it means that the total number of horizontal and vertical squares produced when a picture is taken equals 1 megapixel (1,000,000 pixels).
A 3 megapixel camera produces a picture that has 3 million pixels in its makeup. If all the pictures were the same size in each camera, it would be easy to understand why a camera that produces more pixels would be a better quality camera. Here is where the camera makers are not forthcoming with information. What they don't tell you is that as far as I can tell, every digital camera produces pictures that have 72 pixels per inch per picture both horizontal and vertical. The only difference is that a 3 megapixel camera produces a larger picture than a 1 megapixel camera and a 5 megapixel camera produces an even larger picture yet. The reason I say "as far as I can tell" is that I have not tried all cameras or studied the information on all cameras. There may be some out there different, but they probably are not in the amateur photographer's price range.
Conclusion: For video uses only, your camera purchase decision should be based on features other than the number of pixels.
Why is a 3 megapixel camera better than a 1 megapixel camera? It really depends on how you intend to reproduce the picture. The reason cameras produce pictures at 72 pixels per inch is that this format is standard in video uses such as television and DVD. So there is no noticeable difference in quality when viewing pictures on a TV or DVD. The difference appears when you are cropping and/or printing these pictures. If you are not familiar with the term cropping, I will explain it later. But first let's talk about printing.
Even the most inexpensive of printers these days are capable of printing at 300 dots per inch (dpi). Most are capable of printing at 600 dpi and you can buy relatively affordable printers that print at 1200 dpi and above. You may have noticed that with cameras it's called pixels per inch and with printers it is call dots per inch. The terms are hardware specific, but relate to the same principal. A printer prints a specific number of dots of ink per inch on the paper whereas a TV displays a specific number of pixels per inch on the screen. In either case, combining the dots or pixels creates the picture.
So how does this affect quality? If we're printing a picture that has 72 pixels per inch from a 1-megapixel camera on 4x3 printer paper we've got a problem. (Here is where I have to crunch some numbers, so please bear with me.) Let's figure it out. Four inches times 72 pixels (dots) per inch equals 288 pixels (dots) on the vertical line. Three inches times 72 pixels (dots) equals 216 pixels (dots) on the horizontal line. The total picture would have 288 times 216 or 62,208 pixels. That's way short of one million.
So where did the other pixels go? If you're printing this picture at a store or camera shop that has conversion capabilities, the machine that you are printing on actually crunches the picture down for you. The size of the picture taken by a 1-megapixel camera is approximately 16 inches x12 inches. (16x72=1152 and 12x72=864 and 864x1152=995,328 pixels). The machine makes this picture into a 4x3 by increasing the number of pixels per inch. The 4x3 picture is 1/4th the size of the 16x12 so there has to be four times as many pixels per inch to reduce this picture to 4x3. Four times seventy two equals two hundred eighty eight pixels (dots) per inch. With more pixels or dots per inch, the picture can be reproduced at a higher quality level making details sharper and more distinct. So a 1-megapixel camera can produce a reasonably good quality 4x3 inch picture on a 300 dpi printer. That's what most amateur photographers get with their snapshot cameras. If you try to get larger pictures, then the picture quality begins to deteriorate. Part 2-2 will deal with larger prints.
Conclusion: If you have a printer with more than 300 dpi capabilities and all you want is 4x3 inch prints, then you are not using all your printer's abilities. If you want prints larger than 4x3 inch, then you need a camera with a higher quality output capability. If all you want is 4x3 inch prints and video reproduction without cropping much, then a 1-megapixel camera and 300 dpi printer should serve you fine.
Note: Different printers produce different quality prints. Since this is a discussion of pixels and digital cameras, I do not get into choosing printers for the quality. Suffice it to say, if you have a reasonably good quality printer, then the information provided should work for you.
Note 2: There are ways to enlarge prints with lower dpi rates and size and still get quality results. This information will come in later discussions and is probably geared toward the more advanced photographers and digital dark room users.
Who can deny the usefulness of cameras? As we all know, cameras are meant to capture our most precious memories on film. Some of those moments, however, happen to take place in less than ideal environments. Hence the camera of choice is required to be more sturdy and versatile then your average or standard camera. As you undoubtedly know, digital cameras have now all but replaced the conventional film cameras we've all grown up with. Since digital cameras rely on sophisticated computer boards and microprocessors that are more prone to damage by the elements such as water, the demand for waterproof digital cameras is very strong indeed.
Many occasions such as weddings, parties, and nightclubs where we want to take pictures are full of events that may endanger your precious camera. Among the more common dangers include spilled drinks, watery foods, swimming pools, toilet bowls, and sinks. These are events where a waterproof camera would be an ideal choice.
Fortunately, most if not all the manufacturers offer a waterproof version of thier most popular cameras for sale. In the event that one is not available, all is not lost. There are many protective cases and coverings, some even custom made for your camera, that you could use to protect your camera.
Of course there is the issue of the cost being higher for a waterproof camera, however, when you compare the small difference in cost, it is really not that large considering the benefits you will receive.
Given the choice between a standard digital camera and it's waterproof counterpart, and assuming all other features are similar, it would seem that the waterproof camera would be a wiser choice. This would insure that your investment is secure and your camera will carry with it, the added peace of mind of knowing that you need not worry about the inevitable perils of water damage.
As always, be sure to check out the many resources available online to assist you in making the right buying decision.
Taking a good photo isn't as hard as you may think. You don't need the most expensive camera or years of experience, just 10 simple tips.
Enjoy!
Tip 1 - Use All Your Available Space Don't be afraid to use all the space in your photo. If you want to take a picture of something, it's ok for it to take up the whole shot with no or very little background showing. Keep distractions out of your shot
Tip 2 - Study Forms This is a vital aspect to photography. Understanding forms in your photos. Don't see an object, she its shape and its form and find the best angle to photograph it from. Form is all around us and I highly suggest you read as many books on it as possible.
Tip 3 - Motion In Your Photos Never have motion in your photos if you are photographing a still object. If there is something moving while you are trying to photograph a stationery object, your photo won't turn out anywhere near as well. Also never put a horizon line in the center of your frame.
Tip 4 - Learn To Use Contrasts Between Colors. Some of the best photos have shades of white, gray and black. You can take great shots with just one color on your subject, but the contrasts between colors in a shot is what makes you a great photographer.
Tip 5 - Get Closer To Your Subject This is one of the biggest mistakes most photographers make, not getting close enough to their subject. Get up and personal and close the distance gap. You can always reshape and resize a good shot but you can't continue to blowup a distant object.
Tip 6 - Shutter Lag Shooting action shots with digital camera's can be tricky due to shutter lags. What this means is, when you press the button to take the photo, it can take up to a second for the shutter to take a photo, by that time what you were photographing would have moved or changed somehow. This means you have to compensate for shutter lag by predicting what your subject is going to do and taking the photo just before it takes the action you want. More expensive digital cameras don't have this problem.
Tip 7 - Pan If you are taking an action shot and your shutter speed is slow, pan with the object. Follow through with the subject, from start to finish and one of those shots will be a winner. You have more chance of getting a good shot if you take more then one photo.
Tip 8 - Continuous Shots To pan like I suggested above you will need a camera that does continuous shots and doesn't need to stop and process after every shot.
Tip 9 - How To Take Fantastic Night Time Shots Night time shots can be spectacular, almost magical.... if done right! If not they can look horrible. Really horrible. Without adequate lighting, even good camera's can turn out crappy photos if the photographer doesn't know what he or she is doing.
Tip 10 - Study Your Manual If your digital camera has a special night time mode, read the manual and follow their instructions on how to use it properly.
