Saturday, November 29, 2008

ASIMO

它终于来到了槟城。
今天她去QB看它,它是小孩子的最爱。
它就是ASIMO (Adevanced Step in Innovative MObility)- HONDA, The Power Of Dreams
http://www.honda.com.my/asimo
还没到7.20pm,台旁围满了许多人。
8pm,Asimo慢慢的走出来了,它跟大家问好呢。。。
它表演了许多,它走、它跑、它踢球、它跳舞、它彩画、它拿饮料。。。
8.30pm就完毕了,再见了Asimo。。。
************************************************************

日本HONDA徵召兩名不會要求加薪員工,ASIMO獲選!
在這功利主義盛行的社會中,就連總機不爽可大喊罷工不幹了,這下可讓老闆傷透腦 筋,不過像日本HONDA 就很聰明,一次雇用兩名永遠不會喊累喊加薪的員工,擔任接 待端茶工作,那就是新一代的ASIMO。
堪稱HONDA最佳代表的ASIMO,從發展至今已經到第二代,但HONDA卻又注入更多科技, 演化成具備自主性的小改款型態。隨著第二代所擁有的小跑步、蛇行等靈活性能,這回HONDA位於東京青山總部所「雇用」的兩名ASIMO,除了保留既有的特性外,更增加端茶、接待對應等功能,甚至還 可自行充電,感覺上就是科幻電影中家用機器人的翻版。在導入更多人工智慧後的ASIMO,可採用多數分工的狀態,有就是說當一名ASIMO偵測到電力不足時,便會自行到專用充電座進行吃飯補充能源動作,而另一名ASIMO 則繼 續進行分內工作,且在電腦程式設定下兩名ASIMO 都不會打架,時間分配恰到好處。 而這兩名HONDA新進員工,從12月12日起在日本東京青山總公司二樓大廳上班,雖然 接待小姐人數減少,但多了ASIMO倒也增添不少樂趣與新鮮感。當然在HONDA的規劃下,ASIMO未來勢必會更聰明,且動作行為將更像人類,只不過倘若如電影機械公敵中來個電腦大叛變,會不會有一大群ASIMO 暴動呢?或許那種情況 會很好玩,畢竟ASIMO長得太可愛,大家應不忍心對他施以暴力吧!

Wednesday, November 26, 2008

“爱”的原则

前几天,她的朋友跟她谈“爱”的原则。。。
她的朋友对她说了很深奥的“爱”,说了蛮复杂“爱”的原则。
但她总觉得“爱”是很简单的,不必想到那么的复杂的。

她想:
@你愛一個人時,你想和他在一起,那是一種牽腸掛肚的捨不得,怕他受委屈,怕他不能好好照顧自己;離開後,你也會想念,想著想著歎一口氣,'不知他現在過的怎樣?'然後又繼續你平靜的生活,希望他早日回到你身邊。
@你愛的人在你眼中是孩子,傻傻的,你不期望他做出什麼'好事'來,只一味縱容他那些讓人哭笑不得的舉動。
@希望陪在你愛的人身邊,看他在你面前睡得如此安逸甜美毫不設防的樣子,你會微笑,會覺得好幸福。
@你愛的人傷害了你,你只會獨自傷心,因為你怕對他大吼大叫會嚇著他,你憂傷地微笑著,看著他的眼睛,一旦發現他的眼裡流露出歉意和悔恨,你會立即心疼地摟他在懷裡,那一刻,你也是幸福的。
@你愛的就只有那麼一個,就那麼一個,怎麼都不會變,你以為把他忘記了,其實只是忙的沒空想起而已。
@對於你愛的人,你關注的是他的缺點,並且,那些缺點如果無關原則的話,它們在你眼裡是可愛的,獨一無二的。

常听人说愛一個人很累,的確是,因為你想為他承擔,但當你和愛的人在一起時,你的感覺就像回家了!哈哈!!

Tuesday, November 25, 2008

小公主的诞生

你终于在23日11月2008年,星期日,傍晚时刻诞生了小公主。
恭喜你,丽萍,恭喜你。。。

昨天早上她接到你的短讯,说你生了。。。
她赶忙连接了丽君,昨晚就到槟郎医院(109房)去探望你。。。
之前,丽君当然买了些手信才过去咯。

看到了你,好高兴你终于当妈妈了。
接着,你就不停对她们说生孩子的过程,说生孩子的是件很困难,很痛的事。。。她们听了都好害怕呢。过后她们就到婴儿房看小公主。哎呀,小公主好可爱,脸红红的。
但那时小公主哭得好厉害哦,一定是饿了吧。
告诉你后,你就赶忙去看小公主而为小公主充饥了。。。。

过后,再聊天。
聊呀聊,直到你的老公来看你为止,她们才离开了。。。
找一天,她们再去探望你和小公主咯。

Wednesday, November 19, 2008

What ISO Means??

ISO stands for International Organization for Standardization, and that’s the group that
helped establish how the film numbering scheme works. Film around the world uses ISO
numbers, so you can buy it anywhere and it’ll all work the same. In the United States,
photographers used to call this system ASA, which stood for the American Standards
Association. That term was essentially abandoned about 20 years ago, so if you want to be
considered a grizzled old geezer, you can refer to ISO numbers as “ASA.”

A fairly typical ISO number for ordinary daylight photography is ISO 100. Increasing the
ISO to 200 doubles the sensitivity of the film, meaning it only takes an exposure half as long
to capture the same picture; dropping back to an ISO of 50 halves the sensitivity of the film,
requiring an exposure twice as long as an ISO of 100.

The ISO number has a tangible effect on the mechanics of photography. The lens is equipped
with a diaphragm—called an aperture—that has a certain diameter and consequently is designed
to allow a specific amount of light through to the film. With ISO 100 film in specific lighting
conditions (say, at midday) the shutter might need to open for a 250th of a second (1/250) to adequately expose the picture.

But what happens if you instead try to take the same picture with ISO 200 film? The film is
exactly twice as sensitive to light as the previous roll of film. And that means, all other things
being equal, that you need to leave the shutter open for only half as long (a 500th of a second, or 1/500) to take the same picture.

That’s not all. Suppose you’re trying to take a picture in late afternoon, when there isn’t as
much light available? You might need to leave the shutter open for 1/30 in that situation to gather enough light with ISO 100 film. That shutter speed is a bit on the slow side, though. Not only might you jiggle the camera as you’re taking the picture (it’s hard to hold a camera steady for 1/30), but your subject might move as well, causing a blurry picture. You can probably guess
what the solution is—stepping up to ISO 200 film will enable you to grab that picture at a much
more reasonable 1/60, and ISO 400 halves the shutter speed yet again, to a crisp 1/125.

The F/stop Ballet
So far so good—but there’s one other aspect to consider, and that’s the fact that camera lenses
can change the diameter of their aperture, thus letting in more or less light as needed.
The size of a camera’s aperture at any given moment is called the f/stop, also sometimes
referred to as the f/number of the lens. F/stops are represented by numbers that start with “f/ ”—such as f/2, f/5.6, and f/11. The larger the number, the smaller the opening, so an f/22 is very,very small (not much light gets through to the film), while a lens set to f/1.2 is a huge opening that floods the film with light. Changing the camera setting by a whole f/stop, such as from f/5.6 to f/8 or f/11 to f/16, doubles or halves the available light, depending upon which way you’re going. If you adjust a lens from f/8 to f/11, for instance, you’ve reduced the light by half.
We’ll talk about this in more detail in Chapter 4 (it’s really important, yet really simple), but
for the moment take a look at Figure below. This diagram shows the relationship between the f/stop and the shutter speed. If you reduce the shutter speed, you need to increase the diameter of the aperture in order to have enough light to take a properly exposed picture. This concept—that there are many equivalent exposure possibilities by varying the shutter speed and aperture—is illustrated in Figure. Here’s how it works: If you know that any given combination adds up to a good exposure (let’s say f/5.6 at 1/60 second), then you can find an equivalent exposure setting by traveling along a diagonal line. In this example, f/4.0 at 1/125
second will yield the exact same exposure.

Of course, there’s a relationship between aperture, shutter speed, and your film’s ISO rating as well. Look at Figure below. At any given film speed, you can take a picture with a specific aperture shutter combination. If you double the film speed without changing the lighting conditions, though, you have to adjust either the aperture or the shutter speed so that you still get a properly exposed picture.

情绪

情绪,情绪是什么?情绪是身体对行为成功的可能性乃至必然性,在生理反应上的评价和体验,包括喜、怒、忧、思、悲、恐、惊七种。行为在身体动作上表现的越强就说明其情绪越强,如喜会是手舞足蹈、怒会是咬牙切齿、忧会是茶饭不思、悲会是痛心疾首等等就是情绪在身体动作上的反应。情绪可说是一个很恐怖的一个东西,而每个人都有自己的情绪。但往往人的情绪都被放纵了,都让情绪胜于了自己。无论如何,别让情绪来控制我们。我们应该好好控制情绪。。。如果情绪控制了你,你会失去理智,失去自己。。。而做出了不该做的行动,伤害身边的亲人、朋友,甚于伤害了自己。必然有因就有果,事物之间也是矛盾的存在,所以人有了一定的情绪也是说那一定有个原因。情绪可以说是像天气一样是短暂性的表现,这种状态的产生,我们暂时可以通过产生当下情绪的因和果来改变我们的情绪。没法子,我们一定要停止情绪,不然你的生活可说是为了情绪而活的。她猜想大部分的情绪都是因周围的信息而产生的,那就通过改变周围的信息来改变我们的情绪,如同换个城市工作,去公园感受花等。她在百科找到了改变情绪的一个简单的思考事情方法:1.已经发生的事情对我来说的好处与坏处是什么 2.还有什么更好的我没有得到;3.我如何做才能得到未得到的好处,4何时开始做。百科也说:依据情绪发生的强度、持续度和紧张度 , 情绪可分为心境、激情、热情 ( 另有一说分为心境、激情、应激 , 应激指突发而强烈 的情绪状态 ) 三种状态 ; 依据情感的性质和内容 , 情感可分为道 德感、理智感和美感。还蛮深奥的,但她只要记得“不要让情绪控制你,而你去控制情绪”。

Monday, November 17, 2008

Gurney Plaza

15日11月,星期六,Gurney Plaza的New Wing终于开张了。
昨天,她与哥哥和妈妈到那儿去。。。
New Wing不是很大,一下子就走完了。
New Wing开了不少的Restaurant。
在那儿可找到Sakae Sushi呢,嘻嘻。。。
那儿Parkson也开了,而且开阔了,专卖名牌、高贵的东西。

Sunday, November 16, 2008

蝴蝶公园

今天她跟一般同事去butterfly farm,是AMD举办的。
早上8.45pm就到那儿,吃了早餐就开始她摄影的活动。
那儿的蝴蝶很多,但种类很少。来来去去只有那几种。
因为这次AMD举办的目的是“画石头”。。。所以半小时后就进房间里去画画。
在房里,那里的工作人员也介绍了一些稀有的动物呢。。。


Saturday, November 15, 2008

照相机

前几个星期,她的照相机进了灰尘,怎么办???
她真得很担心,因为拍出来的照片都多了一个黑点。。。
因为那天是星期日,她只能带着她的宝贝去Shalom找CK。
CK帮她“清理”了机里的灰尘,清洁了。
CK劝说要买“火箭”式的一种工具(Giotto Rocket Blower)。。。但到今天她还买。。。
看一有机会就要去买一些基本用具,偶尔要帮宝贝冲凉以下。。。


Clean Your Lens
There’s no way to avoid dust sticking to the front of your lens. You can prevent grime from
affixing itself directly to the front of your expensive lens by always keeping a filter such as a
Skylight filter attached. Many camera shops will suggest that you get a filter along with the
initial lens purchase, in fact. My opinion? I’d rather clean my lens occasionally than add an
inexpensive plate of glass to the front of my camera that will dilute the quality of my lens. But
your mileage may vary—if you prefer to use a filter to protect your lens, by all means do it. Even if you use a filter to protect your lens, you’ll still want to clean that occasionally.

So what do you need? Make sure your camera bag includes a blower, the kind you squeeze
with your hand to force air through a tube, not compressed air in a can. You should also have a
microfiber cloth and some lens cleaning fluid. My favorite blower is the awesome Giotto Rocket
Blower, which you can see in the following illustration:


Always start by blasting the dust off the lens with your blower. Harder-to-remove gunk, like
fingerprints, can be removed by wiping the lens in a circular motion with a microfiber cloth. If
necessary, add a couple of drops of the cleaning fluid to the cloth first.


caution:Never apply the fluid directly to the lens. Always put it on the cloth first.


Clean Your Sensor
Since dust can also find its way onto the sensor when you change lenses, let’s investigate how
to remove dust that builds up inside your D-SLR. Before we get too far, you should know that
cleaning the image sensor is a delicate operation. If you are not careful, you can damage the
sensor, which effectively ruins your expensive digital camera. If you don’t feel up to the task,
you can let your local camera shop do this for you. In reality, though, cleaning your sensor is not
difficult, it just sounds scary. Some prep work, the right tools, and common sense are all you need.


Detect Dust
Before you worry about the logistics of getting dust out of your camera, it’s helpful to know if
you really have a problem. Simply put, you know you have dust when you can see the same dark spots in a variety of your photos. You can scan your existing photos for telltale dust bunnies or
do it more methodically. Here’s how to do that.

~~Start by setting your camera to its lowest ISO, manual focus mode, and your lens’s smallest
aperture setting, such as f/22. Point it at a light-colored surface, such as a white wall or a large
white poster board and focus the camera. Since you’re shooting with a very small aperture, the
shutter speed might be several seconds. If it is, you might want to mount the camera on a tripod. Take a shot. Then reorient the camera. If you took your first picture in landscape mode, for
instance, take a second shot in portrait.
Now compare the photos, looking at them on your computer screen at 100 percent
magnification. Rotate the second picture so it is oriented the same as the first. If you see spots
in exactly the same place in both shots, congratulations, you’re the proud owner of dust on the
sensor. Check out two photos of my own camera’s sensor. Can you spot the dust
spots? I’ve circled them.


Tools of the Trade
To do the cleaning, you need to get some sensor cleaning gear from your local camera shop.
You’ll need a blower—again, the kind you squeeze with your hand, never a can of compressed
air. In addition, be sure the blower does not have any sort of brush or bristles on the end (you can use my recommended Rocket blower for this job too). You should also get specialized sensorcleaning swabs, which you’ll use to actually sweep the dust off your sensor. There are a number of popular brushes available, though I am fond of the Sensor Sweep II (www.copperhillimages .com). Another popular option is VisibleDust (www.visibledust.com). Delkin also sells the SensorScope (www.delkin.com), an all-in-one package that contains a bunch of sensor cleaning swabs, as well as a little vacuum and even an illuminated magnifying glass you can put on the camera’s lens mount to more easily see dirt on the sensor. You can see the sensor over the lens mount, ready to help you find dust.


Roll Up Your Sleeves…
Cleaning your sensor is an understandably scary proposition. If anything goes wrong, you can
end up damaging the most sensitive and expensive component of your camera, requiring a trip
to the equivalent of the camera emergency room: the manufacturer’s repair center. But as long as you’re diligent, careful, and use common sense, cleaning the sensor is little more than a routine maintenance operation.
Start by removing the lens and using the blower to blast any loose particles out of the mirror
chamber. Keep the camera pointed down so gravity will help get the dust out. Be sure that the
blower doesn’t come in direct contact with the mirror.
Next, get the mirror out of the way. You’ll need to refer to your camera’s user guide for
details on how to do this. Many Canon cameras, for example, have a sensor cleaning mode in the
menu, while some Nikon cameras have a mirror-up control that reveals the sensor, as you can
see in the following illustration. To be on the safe side, do this with your cameras connected to

AC power, because if your camera turns off because of a low battery, the mirror can snap back in place with no warning, trapping the brush in an ugly disaster.

Now you’ll want to use the blower to remove loose dirt, like you just did for the mirror. It’s
a good idea to do this while holding the camera upside down so gravity will help dust get blown
out of the camera, instead of just moving it around in the sensor chamber. Use the sensor swab
(with one or two drops of sensor cleaning fluid) to gently wipe away the more stubborn dirt
particles. Check the directions that came with the swab. You can see a typical sensor swab.
That’s all there is to it. Follow your camera manual’s instructions to disengage the mirror
lockup, and then take a couple of new test shots. Inspect them for signs of dust and, if necessary,
clean the sensor again. As long as you are careful about not leaving your sensor exposed to the
environment for long while you change lenses, you should only need to clean your sensor once
every six months or more.


TIP: Some Digital SLRs now come with a “self cleaning sensor.” These cameras vibrate the
sensor to shake dust loose. That’s a great feature, but it doesn’t completely eliminate the
need to clean the sensor by hand occasionally, since this automatic cleaning cycle only
shakes the dust around inside the chamber—and the electrostatic nature of the sensor
will eventually just attract the dust all over again.

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