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Home CAMARAS Fujifilm X100F Review
Fujifilm X100F Review
Fujifilm X100F Review: Fujifilm launches X100F, the fourth generation.
The fixed focal length compact camera with optical-electronic hybrid viewfinder is reminiscent of classic Leica rangefinder cameras and not only established a successful camera series and market niche, into which other manufacturers followed, but also laid the foundation for the later interchangeable lens cameras of the Fujifilm X-System. With the X100F, Fujifilm is now introducing the fourth generation and bringing the chic retro camera technically up to date, for example with a 24-megapixel sensor. 4K-ideo, on the other hand, does not exist as with the X-Pro2.
Short evaluation
Extremely rugged (although not waterproof) and solid housing
Many knobs and knobs for "playful" photonatures
Overall good image quality with high color fidelity
Ingenious, unique hybrid viewfinder.
Rear e-dial not handy enough, exposure correction wheel too easy to move
Weak input dynamics
Loss of resolution in the image corners
Hide video function with too high compression
The "F" in the Fujifilm X100F stands for "Four" because it is already the fourth generation of the successful retro reportage camera that promises high image quality with an APS-C sensor and an F2 35mm lens (KB equivalent). Unique, however, is not only its solid retro design and corresponding operation, but also the hybrid viewfinder, which works either optically with electronic inserts or fully electronically. Now in its fourth generation, Fujifilm is taking the plunge from 16 to 24 megapixels.
The central distinguishing feature of the X100 series is certainly the optical-electronic hybrid viewfinder, which Fujifilm has now further improved. A lever makes it easy to switch between optical and electronic viewfinder mode, with the optical viewfinder controlling digital fades. An electronic viewfinder image can now be faded in, allowing the exposure and white balance to be checked. In addition to the Full Screen option, there is also a 2.5x or 6x magnification. The digital focus assistants such as the digital split image indicator or focus peaking can also be used in the optical viewfinder. By the way, the integrated parallax correction is done by means of illuminated frames. The electronic viewfinder resolves 2.36 million pixels and now offers an improved refresh rate of 60 fps. Moreover, in contrast to the 92 percent of the optical viewfinder, it covers 100 percent of the image field.
The new Fujifilm X100F now resolves 24 megapixels and features the proven 23 mm F2 lens with a 35 millimetre equivalent focal length. [Photo: Fujifilm]
The now used APS-C image sensor X-Trans CMOS III has a resolution of 24 megapixels, 50 percent higher than its predecessor. As usual, Fujifilm's special color filter matrix is used, which is not susceptible to moirés and thus saves a resolution-reducing low-pass filter. The color rendering of this sensor is also very good, as it offers all three basic colors in each row and column, in contrast to the two basic colors of the classic Bayer filter. For image processing, the sensor is supported by the X Processor Pro. It also ensures fast focusing, for which the new image sensor is read twice as often as its predecessor. It is now also easier to focus in backlighting. The X100F has 91 AF points (a maximum of 325 points is possible). The 40 central AF points are supported by phase detection pixels that cover 40 percent of the image area. The contrast autofocus, which now works down to -3 EV, covers 85 percent of the image field. Autofocus offers different modes such as multi-field AF, zone AF or 1-point AF. The AF-C has also been further developed and now offers various tracking modes.
The 23mm fixed focal length (35mm 35mm equivalent) offers a luminous intensity of F2 and a mechanical aperture ring, as well as a swing-in neutral density filter that swallows three f-stops of light so that open apertures can be used for image design even in bright environments. The optical construction of the lens consists of eight elements in six groups, including a double asphere and a convex lens made of high refractive glass. The lens was specially designed for this camera series. Each lens is HT-EBC coated to effectively suppress ghosting and stray light.
Fujifilm has rearranged the X100F controls. All the buttons on the back of the monitor are now located to the right of the monitor so that you can operate them better without having to remove the camera from your eye. [Photo: Fujifilm]
There have been significant changes to the operating concept. In addition to the aperture ring, the lens has a steering wheel that can be fitted with various options. ISO and time wheel are combined on the top side, in addition there is an exposure correction wheel. The controls on the back of the camera are now all located to the right of the display to better control the camera by the eye. The top cap and the bottom plate of the case are made of magnesium alloy, the rest of the case is covered with a leather-like coating for a good grip. By the way, the X100F is completely "Made in Japan", as Fujifilm points out. The rear 7.6-centimeter screen has a resolution of 1.04 million pixels.
Unfortunately, the X100F still records videos in maximum Full HD resolution. As with the X-Pro2, the processor is 4K-capable, but Fujifilm deliberately doesn't use this function because the camera is supposed to appeal to classic photographers. The frame rate is 24 to 60 frames per second, the film simulation effects and the AF-C are also available during the film recording. An external microphone can also be connected. New is the black and white film simulation mode Acros. In addition, all film simulation modes can be combined with a grain size effect in two stages to simulate the film grain. A multiple exposure function, an integrated raw data converter and a time-lapse function are also available.
Thanks to integrated WLANs, the X100F can be connected to your home PC or a smartphone or tablet with Android or IOS to transfer pictures and videos. With the smartphone connection, geotags can also be transmitted and a remote control function via app including live image transmission is available. In addition, the camera can directly wirelessly transfer images to paper on Instax printers.
Fujifilm has rearranged the controls on the top of the X100F. For example, the ISO wheel was married to the exposure time wheel, as was the case with the X-Pro2. [Photo: Fujifilm]
The Fujifilm X100F will be available from mid-February 2017 at a price of just under 1,400 euros. The X100 was still at 1,000, the X100S and X100T at 1,200 euros. [Photo: Fujifilm]
Like the X100T, the Fujifilm X100F will also be available in black-silver as an alternative to black from the outset. The X100S and X100, on the other hand, were initially only available in black and silver. [Photo: Fujifilm]
Ergonomics and workmanship
Those who know the first three generations of the Fujifilm X100 series will feel right at home with the X100F. It has a robust looking metal housing in brick format, from which only the lens protrudes. At first glance, the camera, which weighs just under a pound, could be considered to be a Leica rangefinder camera, and its workmanship is similarly sophisticated. Generous leather-like applications adorn the housing. With mechanical rings the exposure parameters can be adjusted, the release even has a thread into which a wire remote release can be screwed. In detail there are already some innovations to the predecessor model seen from the outside. For the first time, the ISO sensitivity can also be adjusted mechanically. To do this, simply pull the outer ring of the exposure time selector up and turn it. Admittedly, this is a bit tricky, but those who like turning wheels and precision mechanics will enjoy it.
You could think the classic Fujifilm X100F is a Leica. It is also of high quality, but technically up to date and at an affordable price, even if this has increased in every generation. [Photo: Fujifilm]
The nice thing about the operating concept is that if you don't like the mechanical wheels, you can adjust them accordingly and set the respective parameters with the thumb and index finger using multifunction wheels. Both wheels have a push and turn function. However, there are significant differences between the front and rear wheels, although both seem to be identical. Due to the arrangement in a housing bulge, the front wheel protrudes slightly more from the housing and thus offers more contact surface for operation. The rear wheel, on the other hand, is quite deep in the case. In addition, the ribbing is very fine and it is a bit too stiff, so that you have some difficulty actually turning it and not accidentally pressing it and thus triggering an unwanted function. That's a real drawback compared to the other beautiful controls. The exposure correction wheel, on the other hand, is too easy to move for the exposed position, so you should check it again before taking a picture to be on the safe side.
Even more has been done on the back. For better operation when using the viewfinder, the controls have all moved to the right side of the display. New here is a joystick for controlling the many autofocus fields that the new image sensor brings with it. More about this in the "Equipment" section. In addition to the wheels and some direct selection buttons, there are also a few programmable buttons and an extensive Quick Menu. If you only want to photograph with the camera and know what you are doing, you will get along wonderfully with it. The operating concept without program selector wheel or motif programs, however, requires a rethinking of those who are already familiar with a modern camera and no longer know such an old operating concept. For each exposure parameter (ISO, aperture and exposure time) you can set the value individually or turn this parameter to automatic. If all three wheels are set to "A", the camera operates with a fully automatic function.
The rear screen is fixed and offers good standard food with its almost one million pixels and a diagonal of 7.5 centimeters. However, the display is not touch-sensitive or movable. Actually, you buy an X100F, which costs almost 1,400 Euros, not only because of its retro design, but also because of its unique viewfinder. This works either optically or electronically or in useful mixed forms. The optical viewfinder can be used to fade in a luminous frame or exposure indicators. The illuminated frame is used for so-called parallax compensation, because the closer the subject is to the camera, the greater the deviation from the viewfinder image to the photo taken. In general, one must be aware of the fact that the viewfinder displays more than it actually records, namely only the content of the illuminated frame. This is a real advantage with action scene modes, as you can see a scene mode coming into the frame earlier and without any delay. Even manual focusing is no problem in the optical viewfinder, because an electronic magnifying glass of the focus field you are currently using can be faded in at the bottom right corner.
Those who prefer to see the image as the camera perceives it with its sensor, i.e. with exposure preview, white balance preview and focus preview in the entire viewfinder image, simply switch to the electronic viewfinder. With the residual light amplification, for example, it makes it easier to recognize your subject in dark environments. In high-contrast situations, it is easier to see when the dynamic range of the camera limits the image capture and, for example, the lights erode or the shadows drown. With the X100F, you get the best of both worlds of viewfinder technology. Switching from the screen to the viewfinder is automatic thanks to the proximity sensor.
The menus of the X100F are quite extensive, so that on the one hand you can adjust a surprising amount, but on the other hand you can also lose track. There are six menu categories with up to three pages, with a maximum of eight menu items per page. However, the tool menu is divided into seven further submenus, between which it jumps when the page is changed. That can be a little confusing sometimes. Fortunately, there are many buttons and wheels for recording parameters, as well as the Quick menu. In addition, the X100F has a favorites menu that you can populate with your favorite menu items, so you don't always have to select them in the various menu categories.
With an F2 fast 35mm fixed focal length (in 35mm equivalent), Fujifilm is sticking to the classic reportage focal length of the X100F. Optically, however, the lens should have been adapted to the now 24 megapixel resolving sensor.
The interface equipment is not as spartan as you might think. Behind a beautiful plastic flap on the handle side there are three interfaces with five functions. The 3.5 mm jack plug functions not only as a cable remote release connection as an alternative to the cable release, but also optionally as a stereo microphone connection for video recordings. The micro-USB interface not only allows access to the memory card, but can also power the battery, so you can recharge the camera while on the move, even in the car or at a power bank. A micro HDMI interface can also be found here. Despite the USB charging function, Fujifilm also includes an external charging cradle. That's very laudable, but in view of the price you can expect it, even if it has become a rarity.
The 8.7 Wh Li-Ion battery can be removed on the underside of the camera and provides juice for only 270 shots according to the CIPA standard. The SD card is also inserted in this compartment. The X100F is compatible with SDHC, SDXC and UHS-I but cannot use UHS-II. With a measured write speed of around 64 megabytes per second, however, the UHS-I standard is not fully exploited either; it offers a transfer speed of up to 95 MB/s. The UHS-I standard is also not fully exploited. By the way, the tripod thread is miraculously located outside the optical axis and very close to the battery and memory card compartment, so that it is already blocked by a normal quick-release plate.
The Fujifilm X100F looks like a retro camera and partly makes use of these looks as well, furthermore you have to do without modern recording programs, which a real photographer might not even miss, but inside there are a lot of modern functions. The film simulation modes, for example, serve retro and filter fans alike, because they imitate special old analogue films from Fujifilm, such as Velvia or Astia. This also includes modern creations such as the Classic Chrome with its brilliant images. Black and white fans will also get their money's worth with an appropriate simulation mode including grain effect. The various row recording functions are also very powerful. In addition to bracketing, you can also record movie simulation bracketing, dynamic range bracketing, white balance bracketing, and more. Only a real HDR mode does not exist, but an interval recording function does.
The continuous shooting function is also modern and fast, up to eight frames per second are possible. For 76 JEPG or 26 raw images at a time, the X100F can withstand this high continuous shooting rate. In continuous operation there are 4 JPEG shots per second or 2.4 raw images, here the large 24 megapixel images on the one hand and the somewhat braking memory card interface on the other hand do not harmonize perfectly. But the X100F doesn't want to be a sports camera either, although Fujifilm has integrated 325 phase AF points on the modern image sensor. The autofocus is supposed to be particularly fast. But you have to be careful here, because the camera is also set to shutter priority in the factory for single autofocus operation, actually the focus priority would be normal here, which ensures that the focus is really correct. In this mode the autofocus isn't quite as fast anymore, especially if you switch off the annoying pre-autofocus. Then it takes just over 0.4 seconds from pressing the shutter button to taking the picture. Fast, but anything but record-breaking. In contrast, the shutter release delay without focusing or with stored focus or with manual focusing is extremely fast at 0.01 seconds. This is where the X100F plays off the advantage of the almost silent central shutter, which, however, only allows the shortest shutter speed of 1/4,000 seconds when stopped down. But there is also an electronic shutter with a speed of up to 1/32,000 second.
Regarding manual focusing: this is where the X100F once again plays its retro card and Fujifilm technically goes all out: The X100F offers everything a photographer could wish for, from focus peaking and focus magnifier to a focus scale with depth of field display, either in pixels or relative to photo size. At the touch of a button, the focus can be automatically adjusted at any time and the crowning glory of the whole is the digital simulation of a marker which works with the aid of phase AF sensors.
The Fujifilm X100F allows a complete setting of the exposure for playful photo thumbnails using the setting wheels, now also at ISO sensitivity. Alternatively, modern setting wheels can be used, but they are not so successful.
Although the stereo microphone connection is a great example of video features, even the many frame rates of 24 to 60 frames per second and the microphone level display with the option of modulation are not bad parents, but Fujifilm has completely hidden the video mode in the depths of the camera operation. Only after pressing the Drive button can the video mode be activated at all and only then can moving images be recorded. The X100F is first and foremost a photo camera, and Fujifilm has a very clear target group here. The maximum resolution is also limited to 1,920 x 1,080 pixels, which are no longer up to date, i.e. Full HD. 4K, on the other hand, could be easily done by the processor and the image sensor, because the same components are used in the X-T2. The X100F here is more in line with the X-Pro2, which was also deliberately limited in video functions. Another limitation is the relatively high compression of Full HD videos at 36 Mbps.
The playback functions, on the other hand, are not limited. For example, raw images can still be developed in the camera – including selection of film simulation modes and other image parameters. Thanks to WLAN, photos can be transferred wirelessly to computers or mobile devices, which also works smoothly and quickly with many recordings. A remote control app with live image is also available for iOS and Android. In addition, a permanent WLAN connection can be established to use the smartphone's positioning functions for direct geotagging of the captured images.
The placement of the tripod thread in the optical axis was obviously not included in the specifications of the Fujifilm X100F designers.
The quality of a camera stands and falls with the image quality, which is especially high for a fixed focal length camera with APS-C sensor. Here the predecessor models did not necessarily stain themselves with fame, because the lens turned out to be an unexpected weak point, especially when the aperture was open and at the edge of the picture. The resolution of the X100F, which is 50 percent higher at 24 megapixels, does not bode well here. Despite identical key data, Fujifilm wants to have the lens reworked in order to do justice to the higher resolution sensor. On the other hand, the quality of the individual pixels must of course be increased at such a resolution jump in order to be able to keep up with the predecessor model even at high ISO sensitivity despite the smaller light-sensitive area.
Lens aberrations such as distortion, edge darkening and chromatic aberrations are excellently corrected in JPEG, the image format in which the laboratory test was performed. The distortion is less than half a percent of the ton form, the color fringes remain on average less than half a pixel wide and at maximum less than a pixel wide, and even the edge darkening with a maximum of 0.4 f-stops, which corresponds to 27 percent light loss in the image corners, is hardly visible. The resolution at 50 percent contrast in the image center scratches at the mark of 60 line pairs per millimeter (lp/mm) in 35mm equivalent, for which, however, you have to dim on F4. The open aperture weakness with a resolution of just under 50 lp/mm at F2 and F2.8 is as significant as with the predecessor model X100T and thus, in contrast to the first two generations X100 and X100S, barely matters. The diffraction starts only beyond F8 and reduces only at F16, the smallest adjustable aperture, the resolution somewhat more clearly to 44 lp/mm.
On the left side of the Fujifilm X100F case, the focus mode selector switch is located within easy reach.
Also the interface flap of the Fujifilm X100F is nicely disguised. Here you will find the Micro-HDMI connector, the Micro-USB socket with battery charging function and a 2.5 mm jack socket for either a stereo microphone or a cable remote trigger.
However, the drop in resolution to the edge of the image remains more or less pronounced at all apertures. After all, more than 30 lp/mm are consistently resolved at the edge of the image, the maximum of 40 and 42 lp/mm is reached at F8 and F11. As with the predecessor model, the following applies: Anyone who does landscape photography should dim on F8 or F11. After all, the open aperture resolution of the X100F, like that of the X100T, is also sufficient for larger prints, at least in the center of the image, where the X100F can even improve on the X100T in resolution. A slight drop in resolution will become visible at the edge of the image for formats larger than 20 x 30 centimeters. Sharpness artifacts hardly occur despite the high resolution.
The signal-to-noise ratio of the 24-megapixel X100F is significantly lower than that of its 16-megapixel predecessor, the X100T! Only at ISO 100 and 200 a good value of over 40 dB is achieved, and this only in the brightness channel, whereas the three color channels are below 40 dB at all ISO sensitivities. Even above ISO 1.600, the X100F falls below the critical 35 dB mark. The X100T reached over 40 dB up to ISO 800 and was only just below 35 dB at ISO 6,400. The brightness noise of the X100F increases slightly with every increase of the ISO sensitivity, but only becomes slightly visible from ISO 6.400 on, but increases steeper above that and becomes more than obvious especially at ISO 51.200. The curve is similar to that of the X100T, which only showed a slightly visible brightness noise from ISO 12.800 on. Nevertheless, the texture sharpness of the X100F up to ISO 1.600 is very good and acceptable up to and including ISO 6.400, only above that do the images appear significantly softer due to lost finest details. This is where the advances in noise reduction come into their own, as the predecessor X100T can keep up with ISO 1,600, but it drops more than the higher resolution X100F, which more than outweighs the disadvantages of the signal-to-noise ratio.
Even the X100T had to struggle with a somewhat lean input dynamic of only nine f-stops. This isn't any worse for the X100F, but unfortunately it isn't better either, so Fujifilm continues to lag behind the competition, which often has ten to eleven f-stops. In high-contrast shooting conditions, the X100F's shadows already drown massively in slight underexposures and can no longer be saved by tonal correction. Thus, one should expose very precisely or rely on the raw data format with its finer tonal value gradations.
Speaking of tonal gradations: The X100F has a slightly, but not too exaggerated tonal value curve, which ensures crisp but at the same time natural looking images. The output tonal range decreases significantly with increasing sensitivity. At ISO 100 there are still a good 240 of 256 possible brightness gradations, but already at ISO 800 there are only just over 160. Above ISO 6.400 there are even less than 100 brightness gradations. Thus, fine brightness gradients can lead to unattractive brightness gradations in the images even with slightly increased sensitivity. Thus, the output tonal range is clearly worse than that of the predecessor model X100T.
The X100F can do well on the ground in terms of colour fidelity, where hardly any other camera can outdo it, not even the predecessor model X100T. The X100F records the chromaticity diagram extremely accurately, the deviations are minimal even at the maximum. The actual color depth is also very good with over four million colors up to ISO 1,600 and over two million colors up to ISO 6,400! Since the X100F has an integrated, albeit low-power flash, we have also measured its illumination. She's relatively good. The edge darkening is only twice as high as without flash and thus remains clearly below one f-stop, which is not often found, but certainly also due to the relatively long focal length of 35 millimeters in the 35mm equivalent.
The fact that the battery and memory card are removed so close to the tripod thread on the underside is not optimal for all photographers.
The X100F is (once again) an outstanding compact camera with a solid housing, classic operation and the ingenious hybrid viewfinder that combines the best of both worlds (optical and electronic). However, the camera also shows a few minor weaknesses, such as the rear dial that is too stiff and the exposure correction dial that is too smooth. The price, which has risen again, is also anything but a cause for celebration. The processing speed of the camera is high, but the autofocus is really fast only with the "tricks" of the factory setting (trigger priority and pre-AF). Despite fewer weaknesses in individual disciplines, the overall image quality can be described as very good. The 24-megapixel sensor also has more strengths than weaknesses compared to the predecessor model, even if the balance is only minimally positive and perhaps a little in the eye of the observer. If you are looking for a puristic photo camera with many (mechanical) controls, the X100F is definitely the right choice for you. Videographers, on the other hand, might want to pick up a different camera.
Manufacturer Fuji film
Model X100F
Sensor CMOS APS-C 23.6 x 15.8 mm (crop factor 1.5
)24.3 megapixels (effective)
Pixel pitch 3.9 µm
Resolution (max.) 6.000 x 3.376 (16:9)
Video (max.) 1.920 x 1.080 60p
Lens F2,0/35 mm
Filter threads 49 mm (optional)
Viewfinder Optical viewfinder with parallax compensation
Video viewfinder EVF, 100 % field coverage, 2,360,000 pixels resolution, diopter compensation (-2.0 to 1.0 dpt)
Monitor 3.0″ (7.5 cm)
Disbandment 1.040.000 pixels
tiltable –
rotatable –
swivelling –
Touchscreen –
AV connector HDMI Output Micro (Type D)
Fully automatic yes
Automatic scene mode control –
Program automation yes
Program shift yes
Aperture priority yes
Manual yes
Bulb long time exposure yes
HDR function –
Panorama function yes, Sweep panorama
Exposure metering Multi-field (256 fields), center-weighted Integral, Spot
fastest shutter speed 1/4.000 s
Flash built-in
Synchronous time 1/4.000 s
Flash connection Fujifilm, standard centre contact flash shoe
WLAN yes
GPS external, permanent smartphone connection
Remote release yes, cable release, cable release, remote control via Smartphone/Tablet
Interval shooting yes
Storage medium
SD (SDHC, SDXC, UHS I)
automatic ISO 200-12.800
manually ISO 100-51.200
automatic yes
manual measurement yes
Kelvin input yes
Fine correction yes
Autofocus yes
Number of measuring fields 325 Line sensors325
Speed 0,43 s
AF auxiliary light LED
Dimensions (WxHxD) 127 x 75 x 52 mm
Weight (ready for operation) 470 g
Tripod socket outside the optical axis
Zoom adjustment k. A.
Battery life 270 images according to CIPA standard
– = "not applicable" or "not available"
Ingenious, unique hybrid viewfinder
Firmware Updates for the Fujifilm X100F: Function Enhancements and Bug Fixes
So after the update it is possible to backup and restore the settings of the X100F after the connection to the computer via USB cable with the free software Fujifilm X Acquire. In addition, some displays can be magnified in the viewfinder and on the screen, and the position can also be adjusted. However, some other displays are hidden for this purpose.
Fujifilm X100F Datasheet
Sensor CMOS sensor APS-C 23.6 x 15.8 mm (crop factor 1.5
6.000 x 3.376 pixels (16:9)
4.240 x 2.832 pixels (3:2)
Picture formats JPG, RAW
Color depth 24 bits (8 bits per color channel), 48 bits (16 bits per color channel)
Metadata Exif (version 2.3), DCF standard, IPTC
1.920 x 1.080 (16:9) 60 p
1.280 x 720 (16:9) 60 p
Maximum recording time 27 min
MOV (Codec H.264)
Focal length 35 mm (35mm-equivalent
)23 mm (physical)
Focus range 50 cm to infinity (wide angle)
Macro sector 10-200 cm (wide angle)
Apertures F2 to F16 (wide angle)
ND filter ND filter (3.0 EV levels)
Autofocus mode Phase comparison autofocus with 325 sensors (325 line sensors), contrast autofocus with 325 measuring fields
Autofocus Functions Single autofocus, Continuous autofocus, Tracking autofocus, Manual, AFL function, AF Assist Light (LED), Focus Peaking, Focus Magnifier (6x)
Focus control Depth of field control, Live View
Filter threads 49 mm, optional filter thread
Viewfinder and Monitor
Monitor 3.0″ (7.5 cm) TFT LCD monitor with 1,040,000 pixels, anti-glare, brightness adjustable, color adjustable
Video viewfinder Video viewfinder (100 % field coverage) with 2,360,000 pixels, diopter compensation (-2.0 to 1.0 dpt)
Exposure metering Center-weighted integral measurement, matrix/multi-field measurement over 256 fields, spot measurement
Exposure times 1/4,000 to 4 s (Auto
)1/4,000 to 30 s (Manual)
Bulb with maximum 3,600 s Exposure time1/32
,000 to 4 s (Electronic)
Exposure control Fully Automatic, Program Automatic (with Program Shift), Aperture Priority, Aperture Priority, Manual
Bracketing function Bracket function with maximum 3 shots, step size from 1/3 to 2 EV
Exposure compensation -5.0 to +5.0 EV with step size of 1/3 EV
Sensitivity to light ISO 200 to ISO 12.800 (automatic
)ISO 100 to ISO 51.200 (manual)
Remote access Cable release, cable release, remote control via smartphone/tablet
, remote control from computer: certain functions
Picture effects yellow filter, green filter, high key, low key, miniature effect, red filter, black and white, blur, 4 additional image effects
White balance Auto, Cloudy, Sun, White balance bracket, Fine-tune, Shadow, Flash, Underwater, Fluorescent lamp with 3 presets, Incandescent lamp, from 2,500 to 10,000 K, Manual 3 memory locations
Color space Adobe RGB, sRGB
Continuous shooting Continuous shooting function max. 8 fps at highest resolution and max. 60 stored photos, max. 25 photos at RAW
Self-timer Self-timer with interval of 2 s, features: or 10 seconds
Timer Timer/interval recording with max. 2,147,483,647 recordings, start time adjustable
Shooting functions AEL function, AFL function, live histogram
Flashgun
Flash built-in flash shoe
: Fujifilm, standard center contact
Flash range 0.3 to 9.0 m at wide-angle at
ISO 1,600Flash sync time
1/4,000 s
Flash functions Auto, Fill-in flash, Flash on, Flash off, High speed sync, Long time sync, Flash on second shutter curtain, Manual flash output (7 levels), Red-eye reduction by digital retouching, Pre-flash, Flash exposure compensation from -2.0 EV to +2.0 EV
Image stabilizer no optical image stabilizer
Panorama Swivel panorama
9.600 x 2.160 pixels (180°)
6.400 x 2.160 pixels
GPS function GPS external (permanent smartphone connection)
Microphone Stereo
Power supply Power supply connectionUSB charging function
Power supply 1 x Fujifilm NP-W126S270
Playback Functions Red eye retouching, crop images, image rotation, protect image, highlight / shadow warning, playback histogram, playback magnifier, image index, slide show function, zoom out
Face recognition Face recognition
Picture parameters Sharpness, contrast, color saturation, noise reduction, color effects: Yellow filter, green filter, red filter
Grid can be faded in during recording yes
Special functions Electronic water level, orientation sensor, Live View, user profiles with 7 user profiles
Ports Data interfaces: USB USB type
: USB 2.0 High SpeedWLAN
: available (Type: B, G, N)
Audio output: noAudio input
: yes (2.5 mm stereo jack)
Video output: yes (HDMI Micro output (Type D))
Supported direct printing methods DPOF, PictBridge
Tripod socket 1/4″ not in optical axis
Features and Miscellaneous Exposure correction Video +/-3 Exposure bracket
ISO, dynamic range, film simulationSingle AF function
with 13 x 7 and 25 x 13 fields, AF field size selectable from 5 type zones AF
with 3 x 3, 5 x 5, 7 x 7 fields of 91 fields on a 13 x 7 RasterTouch
AF film simulations
Provia, Astia, Classic Chrome, Pro Neg. Hi, Pro Neg. Std, Black & White, AcrosFilm Grain ModePhoto Book WizardWhite Balance Motif DetectionEye Sensor InternalRaw Data Development
Weight 470 g (ready for operation)
Dimensions W x H x D 127 x 75 x 52 mm
included accessories Fujifilm BC-W126 Charger for special rechargeable batteriesFujifilm
NP-W126S special rechargeable battery shoulder strap
, USB cable, lens cap, operating instructions, CD-ROM
optional accessory Fujifilm EF-20 Slip-on flash with swivel reflectorFujifilm
EF-42 Slip-on flash with swivel reflectorFujifilm
EF-X20 Small additional flashFujifilm
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Rogers Refuge and the Importance of Stewardship
Looking out on this wetland, you would understandably think you aren't in Princeton anymore. But this broad and beautiful marsh, the centerpiece of Rogers Refuge, is just a short drive upstream from Alexander St, off West Drive.
The Friends of Rogers Refuge (FOHR), which has been quietly caring for this renowned bird sanctuary, turns 50 this year. Comprised mostly of devoted birders, the Friends group grew out of actions by the Princeton Environmental Commission in 1968 to halt filling of the marsh. A prominent ornithologist named Charles H. Rogers was among those who led the campaign.
A conservation easement renewed every ten years has helped to protect the wetland since, but no habitat is protected by a paper agreement alone. Though auspiciously located in the floodplain, between the Stonybrook and the Institute Woods, the habitat benefits from a collaborative effort of the landowner (NJ American Water) the town of Princeton, and the Friends group. For instance, though the wetland receives runoff and groundwater seepage from the Institute Woods, and occasional floodwater from the Stonybrook, the habitat benefits from a steady input of water pumped from the river during the summer months. The water company pays for the electricity to run the pump, the town helps with repairs, and the Friends keep an eye out to respond quickly to any breakdowns. The Washington Crossing Audubon Society not only leads walks there during bird migration in May, but has also funded much of the Friends' efforts to restore habitat and build observation towers. They also funded an ecological assessment and stewardship plan I did for the Friends in 2006.
Talk to members of the group and they will tell you excitedly about the kinds of birds they see at the Refuge. Since birds require habitat, much of the group's active stewardship centers around controlling invasive species. Though the native cattails can be a little aggressive, its the nonnative Phragmitis that poses the greatest threat to a balance of plant life in the marsh. In this photo, the cattails show as dark green, with wild rice appearing as light green in the distance. In the foreground and to the left is the browned remains of Phragmitis reed, killed with low-toxicity, wetland-safe herbicide. When a similar treatment was applied 12 years ago, the void left by the Phragmitis was quickly filled with a great diversity of native wetland species.
The same can be expected this time. Hopefully, another such large scale treatment will not be necessary if there's sufficient followup to prevent the few remnants of Phragmitis from rebounding. It's human nature to shift attention elsewhere when a threat has been greatly diminished, but when dealing with invasive species, that's when vigilance is most needed.
Another example is chocolate vine, which I discovered growing next to the small parking area at Rogers Refuge. This is the only location in Princeton where I've encountered chocolate vine, yet its behavior suggests it could quickly become a problem if left to grow.
Its rapid expansion at Rogers Refuge, up trees and over bushes, should make any homeowner think twice about growing this nonnative species, lest the birds carry its seeds to a nearby nature preserve.
Porcelainberry is another invasive plant that has shown up at the Refuge in recent years, and has quickly begun dominating woodland edges. A look behind the Clark House at the nearby Princeton Battlefield shows how dominating this vine can become if left unmanaged.
Further evidence that a wildlife refuge doesn't take care of itself came a few years ago, when I discovered a third nonnative vine with highly invasive behavior, appropriately named Mile-a-Minute, growing along the driveway that leads to Rogers Refuge. A thorny annual with a distinctive triangular leaf, it too has proven extremely aggressive elsewhere in NJ. We've been fortunate to catch it early in Princeton, and respond quickly before it produces seed and spreads around town.
Heavy browsing from deer has been a problem in past years, but the town's investment in deer culling, since 2000, has not only dramatically reduced car accidents in town but also greatly benefitted habitat at the Refuge and elsewhere. The birders report that the return of a healthy understory of spicebush, previously almost eliminated by the overcrowded deer, has brought back ovenbirds that depend on the shrubs for nesting habitat.
Another challenge that the Friends of Rogers Refuge has faced, as have other Friends groups in Princeton, is vandalism. Again, it's the generosity of volunteers in the community who respond by repairing what is broken, as in this email sent to the Friends:
"I am pleased to report that the informational signs at the Refuge, ripped from their frames on the main platform by vandals a year ago, have been restored. Many thanks to the hard work and generosity of Charles Magee, who remounted them with a more secure system. Visitors can again find pictures and descriptions of some of our most attractive birds close at hand. Thank you, Charles!"
Erich Fromm best captured the ongoing struggle between vandalism and repair in his book, Escape from Freedom:
"The more the drive toward life is thwarted, the stronger is the drive toward destruction; the more life is realized, the less is the strength of destructiveness. Destructiveness is the outcome of unlived life."
Leading the group in recent years has been Fred Spar (left), with particularly active support from his wife Winnie and Lee Varian (right). Fred reported to me that there was a particularly good spring bird migration this year, perhaps the best they've ever had, due in part to winds that shifted migration routes eastward. From the observation tower can be seen a purple martin house erected in the middle of the marsh by the Friends. It was alive with the comings and goings of the purple martins earlier this summer.
If you stop by this hidden gem, wish a happy 50th to the group that through quiet persistence and dedication has kept Rogers Refuge well cared for.
Posted by Steve Hiltner at Friday, August 24, 2018
Stanton de Riel 10/01/2018 6:00 PM
On Mile-A-Minute vine: I discovered and removed a patch on the D&R canal path, about old-milepost 23 facing south, new mile marker ~16.5 (if I recall correctly), that's about a mile north of Rte. 518. Easy to handle with leather gloves, but nasty else. Left real-estate-type-sign wire frames on either side of the path to mark the spot, for a follow-up visit next summer. It's hard to know if they had shed seed yet, or if I got all the roots. Another place it occurs: along the northern half of Brick Yard Road in Washington Crossing Park, between the gate and Phillips Farm Pond. Probably too much there to ever eradicate. I will keep an eye out for it around P'ton.
Writings from Durham Days--Rain ponds, live stakes...
The Feeling of August
Monarchs Bring Dance, Delight and Larger Meanings ...
A Walk Along the Bluffs at Half Moon Bay, California
Champion Brearley Oak in its Glory
Joe Pye by the End of July

redpajama_set_name: RedPajamaCommonCrawl


Hobby Lobby Hack – or so I thought!
I've been admiring a few pieces of decor in a friend's house and finally asked if I could do some hacks on her home decor. Check out a picture of my friend's candle holder – I thought it was from Hobby Lobby but when I asked if I could do a (afflink) Hobby Lobby Hack of her candle holder, she told me it was her own DIY project! I was surprised (not because she I didn't think she had it in her, but because it was so Hobby Lobby-ish).
Well, there you have it. A true DIY'er! Take something ordinary and make it into something people think you spent a lot for and wish they had one like it!
The candle holder I used was $2.45 on clearance two years ago. The glass vase was just a dollar; I had used it in my daughter's wedding three years ago. The little rocks came from IKEA for $4.00 a few months ago, and I only used half of it. So, even though the original candle holder wasn't a $75 Hobby Lobby purchase, my DIY Hack turned out to be a $5.45 win.
Plus … it doesn't hurt that I no longer feel the need to drool over my friend's candle holder!
What piece of decor do you have in your home that your friends admire?
Thanks for visiting. If you are interested, I have a FREE PDF of 4 Homemade Chalky Paint Recipes to send you – just click!
I also have a FB Furniture Flipping forum if your interests lend themselves to redesigning, updating or restoring furniture. We are forming a community and you are welcome to join us.
Val, I did one from the Dollar Tree. A glass candle stick and glass vase. I've used everything in it. I've put shells and a candle, acorns and a candle, potpourri, red & silver balls, the list is endless. I enjoy your DIY projects. Keep 'em coming!
Great hack of a hack!
Great Project and I love the touch of greenery on the base.
I LOVE a good hack, (especially a budget-friendly one) and yours is GORGEOUS, Val!


Peter O'Hagan will be remembered for his spontaneous, vibrant paintings in watercolour and gouache. An artist of international repute he travelled extensively throughout Europe capturing in paint his exotic adventures and epicurean journeys.
Born in Wellington in 1942, O'Hagan later attended the University of Auckland and graduated with a degree in Architecture in 1977. Whilst practicing as an architect in the Bay of Islands, he received tuition from notable New Zealand artists Patrick Hanly and Agnes Wood. It was Hanly who encouraged O'Hagan to relinquish his architectural career in order to pursue his long held desire to become an artist. Encouraged by Hanly, O'Hagan held his first solo exhibition aboard the liner QE2, which gave him the confidence to continue with his chosen vocation.
In 1992 O'Hagan held an exhibition of his Tahitian watercolours at the Gallerie Artiste on the Boulevard Saint-Germain in Paris. It was widely acclaimed in the French press and was a sell out.
Having spent a prolonged period of time painting abroad during the 1980s, O'Hagan settled in Australia, drawing on his travels as inspiration for his works. His early career as an architect and curator for the New Zealand Historic Places Trust, combined with his taste for the finer things in life, were elements that influenced his painting. In 1998, in recognition of his artistic talent, O'Hagan was appointed Artist in Residence at the prestigious Champagne House Veuve Clicquot Ponsardin. His base was the Widow Clicquot's historic Manoir de Verzy near Reims.
In 2002 O'Hagan tragically lost his home and studio in the Canberra bush fires. This devastating loss was the catalyst for a period of extensive travel throughout Europe and in 2005 he completed a series of paintings based on his time abroad, particularly in the vineyards of France. Late in 2005 O'Hagan completed a commissioned painting for Veuve Clicquot Ponsardin. The painting specifically referenced the design of Christophe Pillet and Christian Lacroix who were responsible for the creation of a new modern look to celebrate the exceptional vintage; La Grande Dame. This painting hangs in the La Grande Dame room at Veuve Clicquot's head office in Reims.
Peter exhibited at home in Auckland and at other leading galleries in London, Paris, Melbourne and Sydney. His work has been purchased for leading corporate collections including Air New Zealand, Hyatt Hotels, the Hotel de Crillon (Paris), Champagne Comtes de Dampierre, Venice Simplon Orient Express, The Government of Macau and of course, Veuve Clicquot Ponsardin.
Peter O'Hagan died in Sydney in March 2013.
"The Gods Look Down upon LVMH and Smile upon Them for Maintaining the Standard of Excellence Set by Chateau d'Yquem's Founders some 400 Years Ago."
"At twilight in the jungle it's happy hour. We have rested, the big game and us, and now it's time to play and chatter. It's a joyful time, it is time to prepare for dinner. The animals to their broad open spaces and we to the Boma."


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Tag: Tay Kheng Soon
Everyday Modernism: Architecture and Society in Singapore
Through a lens of social and architectural histories, the book uncovers the many untold stories of the Southeast Asian city-state's modernization, from the rise of heroic skyscrapers, such as the Pearl Bank Apartments, to the spread of utilitarian typologies like the multi-storey car park. It investigates how modernism, through both form and function, radically transformed Singapore and made its inhabitants into modern citizens. The most intensive period of such change happened in the 1960s and 1970s under the rise of a developmental state seeking to safeguard its new-found independence. However, the book also looks both earlier and later, from between the 1930s to the 1980s, to cover a wider range of histories, building types and also architectural styles, expanding from the International Style and Brutalism and into Art Deco and even a touch of Postmodernism.
➜ Read more about this book I co-authored with Chang Jiat-Hwee and Darren Soh
Everyday Modernism
Singapore Architecture
Tay Kheng Soon
S.P.U.R: The Future Was Already Here
Integrated developments that combine retail, residential and transport such as the recently opened Bedok Mall and the upcoming Northpoint City in Yishun may now be presented as a solution for a denser Singapore, but it is an idea that is almost five decades old.
Back when the newly independent Singapore was drawing out plans for its future city, a group of architects and planners—William Lim, Tay Kheng Soon, Koh Seow Chuan, Chew Weng Kong, Chan Sau Yan, amongst others—formed the Singapore Planning and Urban Research Group (S.P.U.R) in 1965 to study and develop proposals for the nation's city development. Anticipating a future where the world would only become more densely populated, the group imagined a "true city" to be a "congested city", one where people would live in higher concentration and on land that was intensively used for multiple functions.
A photo posted by Justin Zhuang (@justinzhuang) on Jul 30, 2015 at 8:29am PDT
This was a vision S.P.U.R sketched out (above) for Asia Magazine in May 1966—and some of its members eventually built it out in the forms of Golden Mile Complex and People's Park Complex. Completed in the 1970s, these buildings that combined offices, residences and shops stood apart for decades in a city that became carved out for single land uses, or what the group warned in their article as "out-dated planning principles that seeks to segregate man's activities into arbitrary zones, no matter how attractive it may look in ordered squares on a land use map." But as Singapore's population has almost tripled from 1.9 million in 1966 to 5.5 million today, the state has shifted its urban planning approach, which echoes S.P.U.R's proposals for the future Asian city. The Golden Mile and People's Park complexes are no longer eccentric anomalies of the city but architecture templates for Singapore's future.
(Clockwise, left to right) Golden Mile Complex (1973), rendering of Bedok Mall (completed 2013), People's Park Complex (1973), and rendering of Northpoint City (expected 2018). | WIKIMEDIA/SENGKANG
Not all ideas by this non-governmental organization were rejected by the state at first. During the 1970s debate over expanding Paya Lebar airport or moving it to Changi, S.P.U.R made a public case for the latter—and they were vindicated. With the on-going expansion to build a fourth airport terminal, Singapore must be glad to have made the move. This was also to be one of the group's last contributions to the nation's urban planning discourse as it de-registered in 1975. Its members, however, carried on their activism in different forms, continuing to publish books and proposals about the city's future.
Front and back cover of the inaugural SPUR publication.
Many of S.P.U.R's proposals and activities were documented and published in two journals the group released. The pages may be in black and white, but they vividly show how Singapore became, or is only now becoming. Alas, their contribution has received much spotlight until now. NUS Museum is hosting a 50th anniversary reunion for the group next week, and it will be a fantastic opportunity to revisit a declaration they made in their inaugural publication: "We are at a cross-road between the old and the new Singapore and the planning and environmental decisions which we make today must be with vision and foresight, as future generation will judge as we judge our predecessors."
Chan Sau Yan
Koh Seow Chuan
NUS Museum
Singapore Alternatives
How else can Singapore look like today?
This is a question lacking in the Singaporean psyche today. The Peoples' Action Party's version of the Singapore success story has been so entrenched as the only possibility that such a question often paralyses us. A nation that was not meant to be yet enjoying such stellar success today is such a amazing tale that we often see no need to revisit the what ifs. Even when we did try to re-imagine our present, we tend to fear a lack of success than imagine other possibilities of success.
Yet, if we look back at our history, there were choices and possibilities that could have led to a very different Singapore today. It was not simply just a choice between a communist or the democratic socialist one today as is so often told.
"Singapore – A Decade of Independence" is one book (left) that gives us a peek into these possibilities. It was published in 1975 by the Alumni International Singapore, an organization representing the old boys of tertiary educational institutions from eleven countries. In it are various essays written by figures such as Robert Yeo, Francis Thomas, Professor S.S. Ratnam and William Lim that propose alternatives to government policies then. These include the criticism on policies to control the growth of the population as well as calls for more support for the arts, raising the standards of the public transport and encouraging citizenship participation in policy-formulation. If anything, it shows that these issues, which are as pertinent today, have been a problem since ten years into our independence.
An interesting point to note was how this book was meant to raise funds for the organisation to built a "Monument to the Early Pioneers" that never came true. All that is left of this effort is a foundation stone (right) that is found in the National Archives today. It was originally located at the waterfront side of Collyer Quay and was relocated to its present location because of road works there.
Another group that proposed an alternative vision of urban Singapore was the Singapore Planning and Urban Research Group (S.P.U.R.) that was set up in 1965 by a group of architects and planners. Its more prominent members include William Lim and Tay Kheng Soon. Its ideas and works can be found in "SPUR 1965-1967" (left), a self-published report and you can still purchase limited copies of it at Select Books. The proposals of this group are a clear alternative to Singapore's urban renewal strategy that if implemented would have given a very different-looking city. For instance, they made calls for HDB neighbourhoods to have more distinct identities to better foster community-bonding, something that has only been implemented in recent times. Other more radical suggestions included questioning the plan to build distinct areas of work and living. S.P.U.R. pushed for the idea of housing work, living and play all in one mega structure so as to avoid transport congestion issues that we face today. For a sense of these structures, think of mixed-use buildings like People's Park Complex and Golden Mile. The ability to do all three in one place eliminated the need for travel to a city centre for work and out of it to go home.
These books are but two examples of alternative visions of Singapore. I think the ability to imagine another Singapore is something fundamentally lacking in many of us. This apathy in imagination is probably because Singapore is so well run that it doesn't need its people. Add to that, the fact that we can export our public sector expertise to other countries like Dubai and China shows how little Singaporeans can factor in the policy-making process. It is important to have alternatives in case things fail, and the seeming lack of it today is probably because Singaporeans have forgotten how to imagine.
Alumni International Singapore
Housing and Development Board (HDB)
Monument to the Early Pioneers
Robert Yeo
S.S. Ratnam


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BB&T Center (Sunrise, Florida)
(Redirected from BankAtlantic Center)
This article is about the arena located in Sunrise, Florida. For information about the skyscraper in Charlotte, North Carolina, see BB&T Center. For the arena at Northern Kentucky University, see BB&T Arena. For the amphitheater in New Jersey, see BB&T Pavilion.
The BB&T Center (previously known as the National Car Rental Center, Office Depot Center, and BankAtlantic Center) is an indoor arena located in Sunrise, Florida. It is the home venue for the National Hockey League (NHL)'s Florida Panthers. It was completed in 1998, at a cost of US$185 million, almost entirely publicly financed, and features 70 suites and 2,623 club seats.[2]
Location in Florida
Show map of Florida
Show map of the United States
Former names
National Car Rental Center (1998–2002)
Office Depot Center (2002–2005)
Bank Atlantic Center (2005–2012)
1 Panther Parkway
Sunrise, Florida
26°9′30″N 80°19′32″W / 26.15833°N 80.32556°W / 26.15833; -80.32556Coordinates: 26°9′30″N 80°19′32″W / 26.15833°N 80.32556°W / 26.15833; -80.32556
7,045 total spaces
Arena Operating Company, Ltd.
Basketball: 20,737
Ice Hockey: 19,250 (17,040 with seat tarps)
Arena Football: 19,779
Concerts:
*End stage 180°: 15,207
*Center stage: 22,457
*Theatre: 3,000 [1]
Field size
872,000 square feet (81,000 m2)
November 8, 1996 (1996-11-08)
October 3, 1998 (1998-10-03)
US$1.4 trillion [2]
($296 million in 2018 dollars[3])
Ellerbe Becket
Upton & Partners[4]
Walter P. Moore & Associates
Arena Development Company (A joint venture of Centex Rooney/Huber, Hunt & Nichols/Morse Diesel)[4]
Florida Panthers (NHL) (1998–present)
Florida ThunderCats (NPSL) (1998–99)
Florida Bobcats (AFL) (1999–2001)
Florida Pit Bulls (ABA) (2005–06)
Miami Caliente (LFL) (2009–10)
www.thebbtcenter.com
An aerial shot of the BB&T Center
In 1992, Wayne Huizenga obtained a new NHL franchise that would eventually become the Florida Panthers.[5] Until the team had an arena of their own, they initially played at the now-demolished Miami Arena, sharing the venue with the NBA's Miami Heat.[6] Sunrise City Manager Pat Salerno made public a $167-million financing and construction plan for a civic center near the Sawgrass Expressway in December 1995,[7] and Broward County approved construction in February 1996.[8] In June 1996, the site was chosen by the Panthers, and in July, Alex Muxo gathered more than a dozen architects, engineers and contractors for the first major design brainstorming session. Architects Ellerbe Becket were given 26 months to build the arena, which had to be ready by August 30, 1998, to accommodate the 1998–99 NHL season. Despite never having designed a facility that had taken less than 31 months from start to finish, they accepted the job.[5]
Seventy suites were completed with wet bars, closed circuit monitors and leather upholstery. Averaging over 650 square feet (60 m2), the suites are the largest in the country for this type of facility. All the activity was generated by over 50 subcontractors and 2.3 million man hours without a single injury.[4] Known as Broward County Civic Center during construction, the naming rights were won in July 1998 by National Car Rental—a company purchased by Huizenga in January 1997—leading to the venue being named the National Car Rental Center.[9] A certificate of occupancy was given on September 12, and the arena opened on October 3 with a Celine Dion concert. The next day, Elton John performed, and on October 9 the Panthers had their first home game at the new arena.[10]
As NRC's new parent company ANC Rental went bankrupt in 2002, the Panthers sought a new sponsor for the arena.[11] It later became the Office Depot Center in the summer of 2002, and the BankAtlantic Center on September 6, 2005. As BB&T purchased BankAtlantic in July 2012, two months later the arena was rebranded as BB&T Center. [12] [13] In February 2019, it was announced that BB&T is merging with SunTrust Banks, with a name change expected for the merged banks.[14]
BB&T Center is currently the largest arena in Florida and second-largest in the Southeastern United States, behind Greensboro Coliseum. During the 2011 offseason, the BB&T Center replaced the original green seats in the lower bowl with new red seats, as a part of the Panthers' "We See Red" campaign.[15]
In October 2012, Sunrise Sports and Entertainment completed installation of the Club Red seating sections encompassing the center ice seats during hockey games. It is an all-inclusive nightclub experience following the trend of other sports and entertainment venues in incorporating high-end seating sections and clubs.[16]
The ADT Club located on the club level offers food and beverage. The Duffy's Sky Club at the BB&T Center encompasses approximately 8,000 square feet and caters to approximately 500 guests. The Penalty Box offers fans another seating and dining option inside the BB&T Center. The Legends Lounge is a restaurant located on the Lexus Suite Level and offers sit down service.[citation needed]
The BB&T Center is also the home for private lounge box seating.
On May 14, 2013, Broward County voted to fund a new scoreboard for the county-owned BB&T Center[17] On October 11, 2013, the scoreboard made its debut for the Panthers' 2013–14 home opener.[18]
Regular eventsEdit
Inside the Bank Atlantic Center during a Florida Panthers game.
In addition to the Panthers, the arena was formerly home to the Florida Pit Bulls of the American Basketball Association, the Miami Caliente of the Lingerie Football League, and the Florida Bobcats of the AFL, along with the only season of the Florida ThunderCats. This arena also serves as the host for the Orange Bowl Basketball Classic held every December in conjunction with the namesake college football game.
The arena has also hosted the 2003 NHL All-Star Game and the 2006 ABA All-Star game.
ConcertsEdit
Opening act(s)
Tour / Concert name
October 3, 1998 Celine Dion André-Philippe Gagnon Let's Talk About Love World Tour — — Arena's inaugural event
March 30, 1999 Marilyn Manson Jack Off Jill Rock Is Dead Tour — — Homecoming concert
December 5 & 6, 1999 Backstreet Boys - Into the Millennium Tour - - Originally scheduled for September 14 & 15, 1999, but was postponed due to Hurricane Floyd
December 31, 1999 Bee Gees — — — — It was to be their last full arena concert as a group
October 4, 2000 Sarah Brightman — La Luna World Tour — — The concert was recorded and released for PBS as well as video in VHS and later on DVD, entitled La Luna: Live in Concert.
January 22–24, 2001 Backstreet Boys Myra
Krystal Harris Black & Blue Tour — —
March 24 & 26, 2001 U2 The Corrs Elevation Tour 37,969 / 37,969 $3,032,028 These two shows were the opening dates of the Elevation Tour.
July 20, 2001 Dave Matthews Band Junior Brown — — — There was a power interruption during the performance; they have not returned to the venue since.[19]
August 14–15, 2001 Madonna — Drowned World Tour 31,572 / 31,572 $3,603,573
May 18–19, 2002 Paul McCartney — Driving World Tour — —
September 30, 2004 Phil Collins — First Final Farewell Tour — — This was the final stop on the North American leg of the tour.
July 28–29, 2004 Madonna — Reinvention World Tour 28,208 / 28,208 $3,834,522
August 26, 2005 Green Day — American Idiot World Tour — —
November 20, 2006 The Who — The Who Tour 2006-2007 — — Recorded a live CD as part of the Encore Series
July 22, 2007 Beyoncé — The Beyoncé Experience — —
April 26, 2008 Bon Jovi — Lost Highway Tour 18,307 / 18,307 $1,554,550 The concert was delayed several hours when someone called in a bomb threat, which turned out to be a hoax.[20]
August 3, 2008 George Michael — 25 Live — — It was his first South Florida concert appearance in 20 years
November 2, 2008 Tina Turner — Tina!: 50th Anniversary Tour 12,769 / 12,769 $1,468,461
June 29, 2009 Beyoncé — I Am... World Tour 12,629 / 13,209 $1,015,893
September 5, 2009 Depeche Mode — Tour of the Universe 12,665 / 12,665 — The show was recorded for the group's live albums project Recording the Universe
September 25, 2010 Shakira — The Sun Comes Out World Tour 12,994 / 12,994 $1,138,788
January 20, 2011 Linkin Park — A Thousand Suns Tour 10,150 / 10,150 $550,558
May 7, 2011 Kylie Minogue — Aphrodite: Les Folies Tour 4,000 / 4,441 $253,756
February 25, 2013 P!nk The Hives The Truth About Love Tour 13,732 / 13,732 $979,399
April 20, 2013 Rihanna ASAP Rocky Diamonds World Tour 13,959 / 13,959 $1,042,363
July 9, 2013 Beyoncé Luke James The Mrs. Carter Show World Tour 12,269 / 12,269 $1,328,330
September 15, 2013 Depeche Mode — Delta Machine Tour 10,760 / 10,760 $683,192
May 4, 2014 Lady Gaga Lady Starlight ArtRave: The Artpop Ball 12,977 / 12,977 $1,173,695 Gaga was also going to perform on March 15, 2013, for her Born This Way Ball, but the show was cancelled due to her hip injury
May 17, 2014 Cher Cyndi Lauper Dressed to Kill Tour (Cher) 12,178 / 12,178 $1,348,709
July 2, 2014 Katy Perry Capital Cities
Ferras Prismatic World Tour 12,888 / 12,888 $1,382,655
July 18, 2015 Ariana Grande N/A Honeymoon Tour N/A N/A
February 24, 2016 Iron Maiden The Raven Age The Book of Souls World Tour 12,478 / 12,478 $954,111
April 8, 2016 Pearl Jam — Pearl Jam 2016 North America Tour — —
April 13, 2016 Pentatonix Us The Duo
AJ Lehrman Pentatonix World Tour 2016 4,609 / 7,008 $250,805
July 1, 2016 Demi Lovato
Nick Jonas Marshmello Future Now Tour 7,251 / 10,314 $400,809
July 2, 2016 Twenty One Pilots Mutemath
Chef'Special Emotional Roadshow World Tour 11,705 / 11,916 $393,775
April 15, 2017 Panic! at the Disco MisterWives Death of a Bachelor Tour N/A N/A
February 1, 2018 Lana Del Rey Kali Uchis LA to the Moon Tour TBA TBA
April 25, 2018 P!nk Kidcutup Beautiful Trauma World Tour 15,999 / 15,999 $2,184,919
June 9, 2018 Harry Styles Kacey Musgraves Harry Styles: Live on Tour[21] TBA TBA
July 31, 2018 Panic! at the Disco — Pray For The Wicked Tour — —
August 15, 2018 Shakira N/A El Dorado World Tour TBA TBA
October 5, 2018 Phil Collins N/A Not Dead Yet Tour TBA TBA
November 4, 2018 Twenty One Pilots Awolnation/ Max Frost Bandito Tour — —
November 23, 2018 - 16 March 2019 Elton John N/A Farewell Yellow Brick Road TBA TBA
March 1, 2019 P!nk Julia Michaels Beautiful Trauma World Tour 14,883 / 14,883 $2,463,165 Beginning of the tour's second North American leg due to high demmand. Biggest single night gross of the venue's history.
Notable eventsEdit
NHLEdit
The Florida Panthers hosted the 2001 NHL Entry Draft & 2015 NHL Entry Draft at the arena.
The arena served as the site for the 2003 NHL All-Star Game on February 2, 2003. The Western Conference defeated the Eastern Conference, 6-5, in a shootout victory. It marked the first "official" shootout in the NHL.
Boxing, mixed martial artsEdit
The arena has held boxing and mixed martial arts events such as EliteXC: Heat featuring the main event of Seth Petruzelli and Kimbo Slice took place on October 4, 2008. On February 15, 2009, a lightweight bout between Nate Campbell and Ali Funeka took place in the arena.
Strikeforce MMA made their debut at the arena on January 30, 2010, with the Strikeforce: Miami event on Showtime.[22]
UFC on FX 3 took place at the arena on June 8, 2012. It was the first UFC event ever held at the arena.[23]
Professional wrestlingEdit
WCW Bash At The Beach - July 11, 1999
WWF Armageddon – December 12, 1999
WWE Armageddon – December 15, 2002
RodeoEdit
The Professional Bull Riders brought their Built Ford Tough Series tour to the BB&T Center in September 2005 for a bull riding event, which was won by Kody Lostroh (who ultimately became the Rookie of the Year that same year).
Other eventsEdit
On May 23, 2008, Senator Barack Obama held a rally as part of his presidential primary campaign.
Several months later on October 29, Obama returned to the arena to hold a rally as part of his presidential campaign, and addressed the nation live on several television networks.
On August 10, 2016, Donald Trump held a rally as part of his presidential campaign, and addressed the nation live on several television networks.
On February 21, 2018, the venue hosted a CNN town hall meeting on gun control in response to the Stoneman Douglas High School shooting that occurred a week earlier; it was attended by 7,000 people, including survivors of the shooting and relatives of the victims.[24]
On June 27, 2018, rapper XXXTentacion's fan memorial and public funeral was held at the arena.[25][26]
Arena informationEdit
SeatingEdit
Hockey: 19,250
End-Stage Concerts: 15,207 – 23,000
Center-Stage Concerts: 25,000
17,000 square feet (1,600 m2) of arena floor space for trade shows and other events such as circuses and ice shows.[2]
Parking and loading docksEdit
Total: 7,045 Spaces (Does not include production or bus/oversized vehicle parking)
General Parking: 4,787 Spaces
Suite/Club Seat Parking: 1,430 Spaces
Garage: 226 Spaces
Disabled Parking: 90 Spaces
Event Staff: 512 Spaces
Truck Doors: 5
Waste Removal Docks: 2[2]
Food and novelty concessionsEdit
Plaza Level: 3 Food Courts and Pantherland Retail
Mezzanine Level: 3 Food Courts and two Points of Purchase Kiosks[2]
^ "Google Groups". groups.google.com. Retrieved 23 February 2019.
^ a b c d e "Facts and Figures". BB&T Center. Archived from the original on February 8, 2012. Retrieved October 22, 2007.
^ Federal Reserve Bank of Minneapolis Community Development Project. "Consumer Price Index (estimate) 1800–". Federal Reserve Bank of Minneapolis. Retrieved January 2, 2019.
^ a b c "History". BB&T Center. Retrieved February 1, 2013.
^ a b "Panthers History: Arenas". National Hockey League. Retrieved February 19, 2015.
^ Lapointe, Joe (December 11, 1992). "N.H.L. Is Going to Disneyland, and South Florida, Too". The New York Times. Retrieved February 19, 2015.
^ "Sunrise Gets Serious About Arena". South Florida Sun-Sentinel. Fort Lauderdale. December 16, 1995. Retrieved February 19, 2015.
^ "Prospects Good For Broward Arena". South Florida Sun-Sentinel. Fort Lauderdale. February 1, 1996. Retrieved February 19, 2015.
^ Snell, Alan; Fleshler, David (July 11, 1998). "Huizenga's National Car Rental To Be Name Gracing Hockey Arena". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved February 19, 2015.
^ Nolin, Robert (September 12, 1998). "Sunrise Arena Ok'd For Occupancy". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved February 19, 2015.
^ Talalay, Sarah (August 16, 2002). "Panthers Want Car Rental Name Taken Off Arena". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved February 19, 2015.
^ "BB&T Center Naming Rights Headline Long-term Florida Panthers-BB&T Partnership". NHL.com (Press release). Florida Panthers. September 10, 2012. Retrieved February 24, 2018.
^ Richards, George (September 11, 2012). "Florida Panthers' Arena Now BB&T Center". The Miami Herald. Retrieved February 19, 2015.
^ "SunTrust, BB&T have their names on sports". The Atlanta Journal-Constitution. February 7, 2019. Retrieved May 20, 2019.
^ "Panthers See Red In BankAtlantic Center Lower Bowl". National Hockey League. July 25, 2011. Retrieved February 19, 2015.
^ Valverde, Miriam (January 29, 2013). "Club Red elevates experiences at BB&T Center". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved February 19, 2015.
^ Nolin, Robert (May 14, 2013). "County to Fund New Scoreboard for Panthers Arena". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved February 19, 2015.
^ Davis, Craig (October 11, 2013). "Huizenga Joins Viola to Christen New Panthers Era Before 6-3 Win". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved February 19, 2015.
^ "Tour: 2001 summer". DMB Almanac. Retrieved June 11, 2009.
^ Haas, Brian; Gollan, Jennifer (April 27, 2008). "Cell Phone Bomb Threat Delays Bon Jovi Concert". South Florida Sun-Sentinel. Fort Lauderdale. Retrieved September 10, 2012.
^ "Harry Styles Expands Tour Into 2018". Billboard. Retrieved 23 February 2019.
^ "Strikeforce to Florida in 2010 with Cristiane "Cyborg" Santos and Herschel Walker". mmajunkie.com. 2009-11-19. Archived from the original on 2012-10-13. Retrieved 2009-11-20.
^ "UFC on FX 3 heads to Fort Lauderdale's BankAtlantic Center on June 8". MMAJunkie.com. April 5, 2012. Archived from the original on 2012-04-07. Retrieved April 5, 2012.
^ Man, Anthony; Barszewski, Larry (February 21, 2018). "Rubio is jeered as CNN town hall meeting about Florida school shooting turns angry". Sun-Sentinel. Retrieved February 21, 2018.
^ Halle, Kiefer. "XXXTentacion Fans Invited to Open Casket Memorial at Florida Panthers Stadium". Vulture.com. Retrieved July 9, 2018.
^ "XXXTentacion fans queue to pay respects at Florida service". BBC News. June 28, 2018. Retrieved July 9, 2018.
Wikimedia Commons has media related to BB&T Center (Sunrise).
BB&T Center aerial video
Events and tenants
Miami Arena Home of the
1998 – present Succeeded by
Staples Center Host of the
NHL All-Star Game
Retrieved from "https://en.wikipedia.org/w/index.php?title=BB%26T_Center_(Sunrise,_Florida)&oldid=906413984"


MIRI, Sarawak, Malaysia, April 1, 2010 (ENS) - A native community on the Tinjar River in the Malaysian part of Borneo has won an important legal battle against the Sarawak state government and a subsidiary of IOI, one of the world's largest palm oil companies.
Twelve years after the natives' class action lawsuit was filed, the Miri High Court Wednesday declared leases of Kayan native customary lands "null and void" because they had been issued by the Sarawak state government to IOI Pelita in an illegal and unconstitutional manner.
The court declared that the five plaintiffs who represented their village of Long Teran Kanan in the class action case possess native customary rights over their native customary land area, both on the leased lands and beyond them "according to the plaintiffs' communal boundary."
The court also found that issuance of the leases constitutes a violation of the rights of the plaintiffs to their property which is the source of their livelihood.
The court ruled that the company and its agents "are trespassing" over the land of the plaintiffs and awarded both exemplary and aggravated damages to the Long Teran Kanan native community. Any damages and losses suffered by the plaintiffs will be assessed by the Deputy Registrar of the High Court at a date to be fixed.
Outside the courthouse plaintiff Emang Jau said he was very happy with the judgement. He urged the state government not to appeal the High Court decision.
Jau said, "Previous and current ministers, elected representatives and government officers have encouraged us to develop our land and not leave it idle. We have received a lot of assistance from the government when our previous longhouse was burnt twice and also from subsidies to plant rubber, cocoa and paddy [rice]. So it is unfair for the government to accuse us of not having any rights at all."
Lah Anyie, the first plaintiff and also the headman for Long Teran Kanan asked, "Why does the company and the government accuse us of being squatters when our village is officially recognized by the government as a legitimate village?"
The Court decision also discredits the so-called Roundtable for Sustainable Palm Oil, which, according to IOI, had found in a probe that the company "had acted responsibly for the management of land in Sarawak."
IOI, a Malaysian palm oil producer serving markets in 65 countries, is a founding member of the Roundtable. IOI Pelita is its subsidiary.
Nongovernmental organizations that have supported this native community and others in their fight for native customary rights and land rights are urging the Sarawak state government not to appeal the High Court's ruling.
The Borneo Resources Institute Malaysia says the Sarawak government should let the ruling stand. "Even though the government has a right to appeal, they have to take into account their priorities to the people, espoused by the slogan, 'Peoples First, Performance Now,'" the institute said in a statement Wednesday.
The Bruno Manser Fund, based in Switzerland, said today that it welcomes the Miri High Court decision and "expects IOI to stop its jungle clearance activities and move out of the disputed lands in the Tinjar region with immediate effect."
Last December, a BBC News investigation found that vast tracts of former rainforest were being bulldozed in the disputed IOI operations area. BBC reporters documented "a scene of absolute devastation: a vast scar on the landscape."
On March 15, Friends of the Earth Europe and its Dutch branch Milieudefensie issued a report presenting evidence that IOI was responsible for large-scale illegal and unsustainable activities in the Indonesian part of Borneo.
The report exposes the illegal activities of the IOI Group and shows that the increasing demand in Europe for palm oil in food and biofuels is leading to deforestation, breaches of environmental law and land conflicts in Asia.
"The picture that arises from our investigation differs considerably to the promise of sustainable palm oil that is being presented by the IOI Corporation," Friends of the Earth states in its report. "As IOI is expanding its plantations to capitalise on the growing market opportunities for palm oil, it is failing ... to live up to the standards it has subscribed to."
The IOI Group responded that its own investigation into these allegations found that "Milieudefensie's field research had been highly selective and limited, and that several incidents on which allegations were based were incorrectly reported. The investigation also concluded that no land conflicts have occurred, nor have any laws or RSPO regulations been violated."
"IOI Corporation is also not involved in any open burning activities and, as part of its zero-burning policy, is monitoring and preventing third-party burning activities on its concessions," the company said in a statement March 25.
"IOI Corporation is determined to demonstrate its commitment to its sustainability goals and its compliance with legal regulations and RSPO Principles and Criteria by openly providing concerned stakeholders with insight into company field documents and procedures," the company said.


Avalon Raceway celebrated 'Retro Round' Saturday night with great racing and spirited displays. The Geelong Speedway Revival brought Vintage Speedway to the public with Vintage Sprintcar/Super Modifieds, Speedcar, Stock Rods/Saloons and the Hell Raisers from the Ace Of Spades crew.
Avalon also hosted the 27th running of the Beasley Family Memorial for Speedcars. The heats brought fast racing, lots of passing and plenty of drama. In the final, Dayne Kingshott took the lead from from Travis Mills prior to the halfway point and never looked back. A succession of yellows didn't effect Dayne's focus and at the end he was joined on the podium by Kaiden Brown for 2nd and Robert Mackay for 3rd.
The street stocks gave the crowd great entertainment and their 20 lap feature was action packed.
Our next event is the Fireball Derby for Sprintcars on December 9th.


The Tavole di Biccherna collection consists of 107 works produced over the period from 1258 to the early 18th century, including one copy and one imitation. At the beginning of their long history, these were the covers of the registers of the Biccherna, one of Siena's oldest and most important financial bodies. Officials of the Biccherna began to commission painters to decorate these covers in 1257 and the practice was then taken up by other Sienese bodies of government and local institutions. As from the halfway through the 15th century, it was no longer covers that were commissioned but authentic paintings, often by the leading Sienese artists.
Wooden cover of a Biccherna register with a depiction of a merchant desk, last quarter of the 14th century (Siena State Archives, Biccherne).


text:
Strenkhaar is een Nederlandse buurtschap gelegen in de Overijsselse gemeente Dalfsen. Strenkhaar ligt ten zuidwesten van het kerkdorp Lemelerveld. De naar de buurtschap vernoemde Strenkhaarsweg slingert door de buurtschap heen vanaf de dorpskern van Lemelerveld bij de brug over het Overijssels Kanaal.

Dalfsen
Buurtschap in Overijssel

redpajama_set_name: RedPajamaWikipedia


Combine two great workouts. Start off with a 45 minute Barre class followed by a 45 minute yoga class.
Every successful organization is based around the power of a TEAM. The strength of the TEAM creates the drive for success. In this environment we are accountable to each other, motivated by our team-mates, and driven by each other's success. Join us for TRIBE Free Trial Week! History has shown that even though we can strive for our own results, the TEAM momentum creates that dynamic environment. Simply put, when you join a TEAM, results will happen.
Space is limited reserve your spot and check out the schedule go to Online Services, My LCRAC app, email Kris Walter or Kayla Klink, or contact our front desk at 262-367-4999.
Join member, Wendy Paulsen, for some fun and burn some calories. Line Dancing is choreographed dance with a repeated sequence of steps in which a group of people dance. Free to members, guests welcome regular guest fees apply. No registration required, join us the first Friday of the month January to May from 6:00 – 7:30pm.
A 60 minute discussion focused on the details of the various popular diets of the last 25 years. We will examine the pros and cons of each, low fat, low carb, food pyramid, and clean eating. Participants will leave having knowledge of how a balanced diet can be fuel for daily life and workouts.


Back at E3, Nintendo showed off a special, private Wii U tech demo that demonstrated the new controller's gyroscopic sensor. Often referred to as the "Tokyo Street Demo", the word about it spread but Nintendo refused to let anyone record footage of it.
The veil on this elusive demo (officially titled "Panorama View") was finally lifted at CES, and you can watch a recording of it below.
Apart from the neat 360-degree effect, one of the blog's readers has spotted an interesting little detail at the 0:09-second mark. Notice the second Wii U controller on the TV stand, displaying a live feed much like the one on the other controller.
Although we have no way of confirming there isn't a second Wii U in the room somewhere, it's possible that both controllers are connected to the same console. Special thanks to Guest for pointing this out!
Actually, I don't think the second controller shows a live feed. To me, it looks more like a reflection.
What made me curious is that they put the controller away later in the video. Did they forget to put it away after using it? Or why did they put it away at all? After all, you can still see it even after the cut.
Also, there's a full controller setup with 1 Wii U controller and 4 WiiMotes to the right, probably to try out 5 player games. But why the hell do they need 3 Wii U controllers?
I discussed it a bit with Feld0, and he said the third Wii U contoller to the right was probably a spare one, but this doesn't explain the fact that there are three of them. Two spare controllers? And one of them ready to be used?
Oh and by the way, we seriously need an abbreviation for "Wii U controller" or "new controller". I guess NC will do just fine.
Yes, I think it is a reflection. The picture moves in the opposite direction to image on the TV.
The name of the new controller? It doesn't have one at the moment, sadly. But the French community already gave it one: mablette, short for "manette" (controller) and "tablette".
The name mablette is automatically associated to this controller for me =) Just call it a "mablet" for now.
It's not a reflection, it's moving exactly the same way as what's on screen.
It's hard to tell if it's reflection or not. I'd say it isn't, but at 0:19 you can clearly see that the controller doesn't show anything. Strange, also it seems that only one of the controllers is pluged into the Wii U, and if the second controller would really work, why did they not notice that in the video?
What makes me more wonder, anyway: That seems to be live-rendered grafic. That's just insane! At first I thought it was like Street View, but look at the shadows, they look strange. But it isn't even pre-rendered, as you can chance the direction of how you look on the controller. That grafics seem nearly realistic, that's just insane!


best performance and maximize life of the CRT.
arbitrarily, depending on video content and ambient lighting conditions.
adjustments and let the monitor warm up for 20 minutes or so.
separate potentiometers for 3 G2s, now there is generally only one.
you set the VG2, the higher VK - VG1 must be to cut off the beam.
sharpness and peak brightness from your picture tube.
emitting surface) will wear out too soon.
little board on the neck of the CRT but not always --- sam).
turn it back down until the screen is just black again.
other 2 colours just light up, and then back to black again.
temperature for white to your own taste.
* Check your black calibration again, may have to iterate a bit.
the scan rate/resolution is changed.  Sometimes, there are located internally.
accessible through holes in the back panel.
sides of the CRT bezel.
must be adjusted slightly smaller than that required to fill the screen.
an option to permit the entire raster to be inspected.
the raster.  There is not usually any explicit vertical pincushion adjustment.
phase affects where on the sides it is applied.  Don't expect perfection.
course it is best to obtain a service manual and follow its instructions.
at an typical effective writing rate of 50,000 mph across the face of a 17"
manufactured at a price you can afford without a second mortgage!
excess non-uniformity of pure white or gray images.
so try to avoid these.
to be sure that your problems are not simply due to residual magnetism.
and/or convergence adjustments on the CRT.
all the rings and make sure you are adjusting the correct set if rings!
Use the following purity adjustment procedure as a general guide only.
slightly.  See you service manual!
Adjust the purity magnets to center the red vertical raster on the screen.
Now, move the yoke forward until you have the best overall red purity.
you touched to get a red raster.
accessible controls for minor adjustment of static (center) convergence.
without even knowing it until you have buttoned up the set.
likely that only a single ring needs to be moved - and by just a hair.
But, you may accidentally move something else!
of a crosshatch pattern and use this for your convergence adjustments.
wedges or set screws assures that the yoke remains in position.
you may need to go back and forth to optimize convergence on all sides.
yoke clamp enough to prevent accidental movement.
and rubber wedges but the procedure is similar.
For additional comments on convergence adjustments, see the section: "Tony's notes on setting convergence on older delta gun CRTs".
just noticeable imperfection such as this.
to correct the tilt.  Of course, it will probably want to face the wall!
scanner move in next door?
treatment than provided by the built-in degaussing coil may be needed.
enough to all the affected parts.
about his P8-1000 screamer and point the tilt out to you?
monitors have this (don't know about TVs) - a most wonderful addition.
may have lost its memory accidentally.  The circuitry could have a problem.
'+' button at the same time.  Then adjust the tilt with the red buttons.
5. There is an internal tilt control that is misadjusted or not functioning.
The existence of such a control is becoming more common.
is glued in place in addition to being clamped adding another complication.
totally destroyed it in the process.
adhesive is probably dry and brittle).
7. The CRT may have rotated slightly with respect to the front bezel.
slightly rotating the CRT.  This may be easier than rotating the yoke.
Just make sure to take proper safety precautions when reaching inside!
1. Position - a pair of rings with tabs on the neck of the CRT.
There may be electronic position adjustements as well.
raster.  However, they will not be totally independent.
changes in size and position due to imperfect HV regulation.
get back where you started.
Monitors require a variety of voltages (at various power levels) to function.
combinations of any or all of the above.
powers the horizontal deflection system of most monitors.
power is obtained from various windings on the flyback transformer.
on the scan rate detected.  High voltage is obtained from the flyback.
from the flyback or a separate HV module.
or fixed scan rate studio or workstation monitor.
1. A power switch, relay, or triac to enable main power.
diodes to reduce RF interference.
with 220 VAC power, it will typically be around 300-320 V DC.
a linear or switching type.  In some cases, there is no regulator.
or located on the mainboard.
startup circuits.  These voltages will not be isolated from the line.
smoothly decreases the current to nearly zero over a couple of seconds.
monitors which have degaussing buttons.
line operated power supply section.  Read and follow the safety guidelines.
and testing switchmode power supplies.
shorts out.  This will usually blow a fuse or fusable resistor as well.
Horizontal drive chain - horizontal oscillator, driver, or driver transformer.
Newer monitors may use an IC for the oscillator and this can fail.
initial voltage to the horizontal oscillator chip or circuit.
the point of shutting down.
Flyback transformer can have shorted windings which load down the output.
but result in little or no high voltage and overheating.
that has the proper (approx. 60-120 VDC depending on scan range) voltage.
due to a fault in the SMPS or horizontal deflection.
toggle switch on the side of the cabinet to substitute for the defective one.
* Degauss Posistor - very likely.
* MOV or other surge suppressor.
* Power supply regulator if there is one.
* Switchmode power transistor if there is a line operated SMPS.
shorted rectifier or two, a shorted Posistor, or a fried MOV.
* Test the rectifiers individually or remove and retest the resistance.
control current to the degauss coil.  Remove the posistor and try power.
just won't have the automatic degauss.
better to remove it and measure it.
high if the transistor does not have an internal damper diode).
diodes) but should not be near 0.
sources listed at the end of this document will have suitable replacements.
and try it.  The fuse should not blow with the transistor removed.
Install a new transistor and power the monitor using your series light bulb.
the monitor power requirements.  It may be safe to try a higher wattage bulb.
fault elsewhere.  Don't be tempted to remove the light bulb just yet.
that does the low voltage regulation or a separate regulator IC or hybrid.
If it is a simple transistor, the same ohmmeter check should be performed.
an ohmmeter and then easily removed to confirm.
be all that is needed.
it yourself, the cost is likely to be under $25.


text:
Q: K-means clustering and splitting further I have a problem with my current project. The goal is to create clusters of customers with homogenous properties. So, each cluster should contain a group of customers with similar attributes.
I already used k-means clustering with k = 5 and 3 variables, to identify different segments of my customers, but the result seems not appropriate for me.
In my opinion, one variable - ordering time during the day (midday or evening) - is the most important variable. When I apply the k-means clustering only on the ordering time during the day I can identify two segments/clusters. Now I want to conduct a further k-means clustering on the two already identified clusters. That means, I want to split the clustering process into two parts to get approximately 5 clusters. Can you explain to me whether this approach is a good idea?

redpajama_set_name: RedPajamaStackExchange


While hubs and I did a little prep work for the kids visit next week, Bubbles grabbed a stack of her favorite dinosaur books and curled up on the couch.
The books we have include a mix of fact books, chapter books, graphic novels, sticker books and more. Books can definitely get expensive, so be sure to check for sales at your local library, yard sales, or salvage/overstock stores to help keep costs more manageable (especially if you have a voracious reader).
She has a big dinosaur buddy named Roary that doubles as a body pillow – perfect for relaxing while she reads. And thanks to our friends at Wild Republic, she had a new friend join her reading time: a new plush dinosaur named Rexy.
Rexy is SO soft and snuggly, even with his fearsome mouthful of felt teeth, and Bubbles loves him. After taking a peek at all the other Wild Republic stuffed animals I know where I'll be turning for Christmas gifts this year; the Glitter Triceratops is going to have to make an appearance under the tree.
If you need a snack after all that reading, try our Jurassic Dirt Pudding Cups recipe! They're super-easy and really tasty too.
What are your kids' favorite dinosaur books?


text:
alison wilgus
StarShipSofa No 520 Michael Haynes and Alison Wilgus
Main Fiction: "What You Can Change" by Michael Haynes
Originally published in Kazka Press
Michael Haynes lives in Central Ohio. An ardent short story reader and writer, Michael's stories have appeared in publications such as Ellery Queen Mystery Magazine, Beneath Ceaseless Skies, and Nature. He's the chair of the Cinevent classic film convention and enjoys photography, geocaching, and travel. He can be found online at http://michaelhaynes.info/ and on Twitter as @mohio73
Narrated by: Cian Mac Mahon
Cian Mac Mahon is an Irish Software Engineer who in a past life was the world's youngest professional podcaster, ran a radio station and very nearly ended up being a journalist. While he hopes to some day revive his show which podfaded many years ago, he now spends most of his free time playing about with cameras and cooking, as old microphones and sound-desks lurk in the shadows, right at the edge of eyesight.
Short Fiction: "A Wrinkle Ironed Out" by Alison Wilgus
Originally published in Daily Science Fiction
Alison Wilgus is a Brooklyn-based writer for comics and prose, with graphic novels both recent and upcoming about human spaceflight, aviation, and time travel (alas, not at the same time) from Tor and First Second Books. Her short fiction has previously appeared on Strange Horizons, Terraform, and Daily Science Fiction, although her proudest recent prose accomplishment was having been paid to write about Jean-Luc Picard and Ellen Ripley hooking up at a conference. She tweets as @AliWilgus and you can find many of her comics and stories at alisonwilgus.com.
Narrated by: Amy H. Sturgis
Amy H. Sturgis holds a Ph.D. in Intellectual History from Vanderbilt University and specializes in both Science Fiction and Indigenous American Studies. Since 2008, she has been contributing monthly "Looking Back at Genre History" segments to StarShipSofa. Editor in Chief of Hocus Pocus Comics and faculty at Lenoir-Rhyne University, Sturgis lives with her husband in the foothills of the Blue Ridge Mountains in North Carolina. Learn more about her award-winning work at amyhsturgis.com.
https://media.acast.com/starshipsofa/starshipsofano520michaelhaynesandalisonwilgus/media.mp3
Categories: Podcast | Tags: alison wilgus, amy h sturgis, Cian Mac Mahon, international narrator, Michael Haynes, short fiction, time travel


Beautifully written; thank you. I remember the box, but didn't know about the notebook and that it eventually came back to her. That's so amazing. Thank you for being there for Devon, and sharing these stories about her. She was a very special person and will be so dearly missed.


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