Olympus Micro 4 3 Camera Review

!±8± Olympus Micro 4 3 Camera Review

The Olympus Micro 4 3 Camera is better known as the Olympus Pen EP-1, which is a 12.3 megapixels Micro Four Thirds Interchangeable Lens digital camera. This new launch by Olympus proves to be a step up and a step different in catering for the consumer market especially because of it's general make up to begin with. The body looks like a remake of the old vintage camera with a sophisticated edge. The slim compact feel quickly charms anyone who takes a fresh look at it (I had my chance and was quickly hooked on it!).

In hindsight, it looks like a bit of nostalgia flavor was added for the Olympus Micro 4 3 Camera. Or for the more informed, retro style.

With its shiny and stainless steel covering body, beautifully captures the intent behind the camera - solid yet refine. Hence the performance of the Olympus Micro 4 3 Camera succeeded in delivering just that as well. The pictures taken were excellent justified by it's clear & sharp resolution. Further functionality includes In-Creative function which allows you to set themes for the pictures accordingly (a pretty neat feature, I'd would say!). Another plus point, full video functionality that doesn't compromise on quality at all which serves to be a very useful tool to capture not just a moment, but continuous moments in itself.

A picture says a thousand words.

The 3 inch screen installed in the Olympus Micro 4 3 Camera, allows you to view your pictures in full glory without squinting your eyes and has been a pleasant deliverable. A personal favorite of mine. However, it does all short in some say, where there's no viewfinder in the camera at all. Perhaps, for it's commercial and long term usage, a viewfinder may not be that necessary.

Generally, a good pick if you want to travel light but pack in a good camera to last through heavy duty perfect shot taking and need not worry about heavy luggage or space required for it. Here's a quick snapshot of its features and technical details to help you in your decision. Good luck, snap away!

Product Features

* 12.3-megapixel interchangeable lens digital camera; Micro Four Thirds format
* Includes 14-42mm f/3.5-5.6 Zuiko digital zoom lens
* In-body Image Stabilization; 3-inch HyperCrystal LCD with Live View function
* Record HD video with high-quality audio; in-camera creative features (for still images and video)
* Capture images and video to SD/SDHC memory cards (not included)

Technical Details

* Brand Name: Olympus
* Model: Silver w/ 14-42mm Lens
* Optical Sensor Resolution: 12.3 MP
* Optical zoom: 3 x
* Width: 4.7 inches
* Height: 2.8 inches
* Weight: 0.73 pounds

Olympus Micro 4 3 Camera Review

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FOR SONY CYBERSHOT NP-BK1 BATTERY CHARGER DSC-S780 S750

!±8± FOR SONY CYBERSHOT NP-BK1 BATTERY CHARGER DSC-S780 S750

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Olympus Stylus 6000 10MP Digital Camera with 3.6x Wide Angle Optical Dual Image Stabilized Zoom and 2.7-inch LCD (Yellow)

!±8±Olympus Stylus 6000 10MP Digital Camera with 3.6x Wide Angle Optical Dual Image Stabilized Zoom and 2.7-inch LCD (Yellow)

Brand : Olympus
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Ready for an adventure with the whole family. Whatever your familys idea of adventure, the STYLUS TOUGH-6000 is ready for action. Anytime, everywhere. So durable, its even shockproof up to 5 feet -- extra protection against accidental drops and rough handling. Includes: STYLUS Tough-6000 Digital Camera, BLue USB Cable, Audio/ Video Cable Manual Wrist Strap Lithium-Ion Battery (LI-42B) & Charger (LI-41C) Olympus Master 2 Software CD-ROM Warranty Card MASD-1 (microSD Adapter)

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Night snorkel with the Manta Rays of Kailua-Kona

!±8± Night snorkel with the Manta Rays of Kailua-Kona

Snorkeling off of Kualia-Kona with several manta rays, off the coast of Kailua-Kona, Hawaii. Travel with the (excellent) Neptune Charlie's charter. I shot this with an Olympus Stylus-Tough 6000, which I'm totally loving.

Night snorkel with the Manta Rays of Kailua-Kona

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Contemporary Greek Flora

!±8± Contemporary Greek Flora

The majority of the tourists who visit Greece is drawn there by the crystalline waters of the seas and the splendid vestiges of its ancient culture, and probably know little about the variety and the abundance of the flora of this country, which counts an astonishing number of species-more than 6,000-plus subspecies and varieties. In proportion to its size, Greece has more species of flowers than does any other European country or the United States. The plenteousness of Hellenic flora is the result of a number of factors, first among which the particular geographical position of the country. Together with Greece's climatic conditions, it permitted the land to receive contributions from other nearby floras, above all those of central Europe and Anatolia.

Following the lowering of the level of the sea, relics of the flora of the Tertiary period that survived the glaciations of the Quaternary succeeded in gradually migrating from their areas of origin over the bridge that the glaciers had created and that united different lands. Before the last inundation of the Mediterranean Sea, species of eastern origin had reached Europe through Thrace and other areas of the central and southern Aegean regions. That the flora of Greece and of the Balkan area in general evolved from the ancient Paleozoic flora is confirmed by the presence of numerous endemic or paleo-endemic species now found only in small colonies. Examples include some species that came from the Balkans and Asia Minor, like Ebenus cretica, whose center of distribution is localized in Asia, or Jancaea heldreichii, a member of the family Gesneriaceae endemic to Mount Olympus and of a genus that groups almost exclusively tropical and subtropical plants.

Elements originating in Africa, the Caucasus region, and the northern Balkan peninsula but which did not spread to the western regions of Europe became established in Greece following the disappearance of the primigenial forests, which gave way to arid soils favorable to the growth of xerophytic Mediterranean plants.

These factors established Greece became a crossroads in the migrations of different floras, a sort of botanical refugee center in which many species native to central Europe (including many Alpine species) as wail as Mediterranean, Balkan. Near Eastern and Northern African species all settled and spread.

Another important aid peculiar fact about Greek flora is that it counts an extremely high number of endemic species about 800. Some of these are relics of ancient Tertiary flora which in other places was destroyed by the glaciations but found suitable conditions for survival in Greece; nevertheless, these archaic forms alone are not sufficient to explain the high endemism, since many of the species certainly belong to more recent geological eras and many of which originated in the places in which they were first identified.

The changes in the level and the surface area of the Mediterranean Sea resulted in the fragmentation of a great number of land masses, mountain chains, and islands, and many animal and plant species were consequently isolated at one time or another during geological history. These conditions created new habitats populated by species and subspecies typical of these environments and thus favored the evolution of extremely diversified local populations which, despite their common origin, progressively diverged the ones from the others, specialized, and gave rise to a many new endemic species. These species-which often create problems of classification, as do the many species and subspecies now evolving and not yet well defined genetically, with hybrids and local varieties that are sometimes difficult to distinguish - justify the conclusion that on Greece the factors that contributed to creating new species operated more actively than in any other European country.

We must also consider the fact that in the last 5, 000 years Hellenic flora has received a further evolutionary boost from anthropic impact. In the period of their maximum splendor, the ancient civilizations that arose on Crete and then in the rest of Greece in about the second millennium BC-of which today we admire the splendid remains of art and culture-counted more than a million inhabitants who lived off the natural environment, exploiting it and inevitably modifying its original characteristics. Extensive forested areas were razed to obtain the wood needed for use as fuel or construction material; once deforested, the land was burned to make it suitable for use for grazing or farming and was later abandoned when it was worked out.

Since very ancient times, therefore, the activities of man have modified the composition of the habitats, shifting the original state of equilibrium and organization -the so-called "climax state"- toward degraded forms. Over the course of history, as the human population grew the available natural resources progressively decreased and at the same time a new type of vegetation appeared. It is composed of resistant, frugal species with scarce nutritional requirements, which until becoming dominant had always been subordinate to other types of vegetation. The maquis, the garrigue, and the phrygana are examples of the new vegetation formations that took the place of the original forest mantle, as new are commensal species that cohabit with crops. Other species yet were imported and adapted perfectly to the local climate, like the Indian prickly pear and the American agave, so that over the centuries a great number of exotic plants began to grow alongside the autochthonous species, widening the variety of Greek flora but also reducing the number of original habitats.

The evolution of flora in Greece was thus greatly influenced by man, the unknowing cause of the survival and diffusion of many species that flower in uncultivated land and the cultivated fields, among which species introduced as ornamentals or crops that became acclimatized in loco and now are a stable and integral part of the contemporary flora of the region.

Nevertheless, if on the one hand deforestation caused irreparable damage to the original climax communities, on the other it contributed to creating local micro-climates in which graze-resistant herbaceous species, including many neo-endemics, became acclimatized. The work of man has undoubtedly catalyzed evolutionary changes, stimulating the rise of new species with characteristics of greater variability, but it remains difficult to establish the importance of these recent transformations in relation to the broad immensely broad scale of geological time.

This guide describes the most common and at the same time most important flowers that botany enthusiasts may observe during their holiday stays in Greece. To facilitate species recognition, the plants have been grouped by distribution areas: coastal habitats (sandy and rocky), phrygana and garrigue, maquis, woodlands, rupestrian habitats, wetlands, gorges, and anthropized environments (roadsides, old walls, cultivated land, abandoned fields); a separate chapter is dedicated to the naturalized exotic plants that are by now a common feature in the Greek landscape.

Obviously, many plants are common to more than one environment; this is especially true for the phrygana -in which many of the plants listed in the section on the garrigue are also found- and for the gorges, composite environments in which we find the plants that typically live on cliffs and along watercourses in many other areas. For easier identification of similar plants distributed in different areas, we suggest consulting the appendix for a complete list of all the plants illustrated and described and a glossary of the technical terms used in the text. Each species is listed by its scientific name, which is composed of the capitalized genus name, the species name, and the abbreviated name of the author who first described each. The family to which each species belongs is given in parentheses.

Contemporary Greek Flora

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All About Dye-Sublimation Printers

!±8± All About Dye-Sublimation Printers

Dedicated photo printers differ from all-purpose printers as they are designed to print photos only, as opposed to text or graphics documents in addition to photos. They are generally compact in size and lightweight, and some models even feature batteries that allow you to print without the need for an outlet. Most photo printers, including dye-sublimation (or dye-sub) printers, are built around a thermal dye engine, though there are a few that feature inkjet technology.

For many years, dye-sublimation printers were specialist devices used in demanding graphic arts and photographic applications. The advent of digital photography led to the entry of this technology into the mainstream, forming the basis of many of the standalone, portable photo printers that surfaced in the second half of the 1990s.

The term "dye" in the name refers to the solid dyes that were used in the process instead of inks or toner. "Sublimation" is the scientific term for a process where solids (in this case, dyes) are converted into their gaseous form without going through an intervening liquid phase.

The printing process employed by true dye-sublimation printers differs from that of inkjets. Instead of spraying tiny jets of ink onto a page as inkjet printers do, dye-sublimation printers apply a dye from a plastic film.
A three-pass system (featuring solid dyes in tape form on either a ribbon or a roll) layers cyan, magenta, yellow, and black dyes on top of one another. The print head on a dye-sub printer uses tiny heaters to vapourise the dye, which permeates the glossy surface of the paper. A clear coat is added to protect the print against ultraviolet light. Although this method is capable of producing excellent results, it is far from economical. Even if a particular image does not need any one of the pigments, that ribbon segment is still consumed. This is the reason it is common for dye-sub printer compatible paper packs to contain a transfer film capable of producing the same number of prints. In addition, dye sublimation inks need a paper that allows the ink to remain on the surface of the paper.

Nowadays, a number of inkjet printers on the market are capable of deploying dye-sublimation techniques. The cartridges in such printers spray the ink, covering the page one strip at a time. The print head heats the inks to form a gas, controlled by a heating element that reaches temperatures of up to 500° C (higher than the average dye sublimation printer). A big difference in the results with dye-sublimation technique is that because the dyes are applied to the paper in gas form, they do not form distinct dots with a hard edge like inkjet printers. Instead, the edges are softer and blend into each other easily. Additionally, the infusion of the gaseous dye into the paper yields a more colour-fast picture.

Comparing Dye-Sublimation Printers and Inkjet Printers

Although it is difficult to point out every possible advantage and disadvantage when comparing inkjet and dye-sub printers, the following list mentions the major points that apply to most people printing photos at home.

Advantages of Inkjet Printers over Dye-Sub Printers:

· Prints are very precise with sharp edges

· Latest models offer incredible detail that exceeds most dye-sub printers

· Variety of papers/surfaces available--including matte, luster, glossy.

· Not locked in to one manufacturer's paper

· Some archival inkjets can produce prints that long-lasting

· Most inkjets can print on many different surfaces that are designed to accept ink, including CDs, CD inserts, envelopes, etc.

· Inkjets have a considerably larger colour gamut and usually produce more vivid photos than dye-subs

· Easier to obtain large format inkjets that can print 11x14, 13x20 sizes, or larger

· Inkjet printing is often cheaper than dye-sub printing

Inkjet Printer Disadvantages:

· Often much slower than dye-sub printers

· Most non-archival inkjets produce prints that fade a little (sometimes a lot) faster than dye-sub prints

· Print heads sometimes clog and require cleaning, or even replacement

Advantages of Dye-Sub Printers over Inkjet Printers:

· Very fast

· Relatively maintenance-free

· Smooth with no dot patterns visible, even under magnification

· Produce excellent shadow detail in dark areas where some inkjets may be "blotchy"

· Prints are usually more durable and more waterproof than inkjet prints

· For many viewers, dye-sub printers produce photos that look and feel more like real photographs due to the smoothness of the prints and the absence of visible dot patterns

Dye-Sub Printer Disadvantages:

· Consumer level models often smear high contrast edges (like a black square on a white background) to some degree, making charts, graphs, and line art look a little less "precise"

· Dye-sub prints typically only last as long or slightly longer than a good non-archival inkjet printer and are generally not considered "archival"

· Paper type selection is very limited and while dye-sub printers produce excellent glossy photos, most fall behind or do not even offer the option of matte prints

· Dye-sub printers use an entire page and an entire page worth of ribbon even to print one small wallet size photo

· Pages cannot be normally fed through the printer twice to fill more of the page as they can in inkjets

· Dust can sometimes get inside and cause vertical scratches on prints

· Dye sub printing and the cost of paper and toner (ribbon) is often higher than inkjet printing

Few Popular Models of Dye-Sublimation Printers

Canon Selphy CP710

Dye-sub printer for 150x100mm photographs

Samsung SPP-2040 photo printer

Dye-sub printer with 300x300dpi resolution

Samsung SPP-2020

Digital photo printer that produces 100x150mm snapshots

HiTi Photo Printer 641PS

Dye-sub printer for 152x102mm photographs

Sony PictureStation DPP-FP30

A user-friendly dye-sub photo printer

Kodak EasyShare Printer Dock 6000

A dye-sublimation printer for compatible Kodak cameras

Kodak EasyShare Printer Dock 6000

A dye-sublimation printer for compatible Kodak cameras

Olympus P-10 Digital Photo Printer

A dye-sublimation printer that prints straight from your Olympus digital camera

Polaroid PP46d photo printer

A dye-sub photo printer

Olympus P-440

Dye-sub printer capable of printing A4 photographs

Sony DPP-EX50

Dye-sublimation photo printer

All About Dye-Sublimation Printers

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