http://www.sony.jp/products/ms
Sony 產品對 MS記憶卡 的支援列表
スタンダードサイズのメモリースティックスロットでメモリースティ
|  | "メモリースティック デュオ"アダプター MSAC-M2 希望小売価格1,155円 （税抜価格1,100円） |
↑SONY α700 flash trailer
↑Sony Alpha 700 dSLR Preview
↑Sony Alpha DSLR-A700 preview
Full preview at http://www.cameralabs.com/reviews/Sony_Alpha_DSLR_A700/ : A nine minute preview tour around a pre-production sample of Sony's second ever DSLR, the Alpha A700 by Gordon Laing, Editor of Cameralabs.com. To see sample images and the complete preview, click the link at the start of this text. This video and the preview will be updated with a final production model once they become available
Canon EOS Integrated Cleaning System (Conon真貼心，有自動的)
↓↓↓底下是 Nikon 的教學片… 日語的↓↓↓
Source: Understanding RAW Files
因為我主要是想知道什麼是 USM，所以我只翻譯了原文中有關 USM 的那一段，該段原文我就用粗體字標明。
原文討論的是關於 RAW 檔與 JPG 檔對相機拍照存檔時的差異，寫得實在是很棒!! 想不到相機在CCD(或CMOS)感應成像到轉存成 JPG 的過程中，遺失了那麼多的細節，雖然本來就知道會有誤差，但還是很驚訝，因為… 跟想像中的比起來，實在是差太多了~ 本來只轉貼了USM那段，但是全文寫的太棒了，所以也忍不住整個轉貼過來，想知道更多的知識，請連往原站深造吧~ :-)
以下是我的翻譯，翻錯的話請不吝指正，謝謝。 :-)
沒有經過銳(利)化處理的數位相片，通常看起來比較沒有立體感、對比也較差。但人們總是希望由相機拍出來的 JPG 檔能更好看，所以就有了 USM (UnSahrp Masking) 這項技術，並且應用於數位相機所拍出來的 JPG 檔。
USM 會在找出光亮與陰暗的邊緣，然後加強它們的對比。 在這麼做的情況下，這些邊緣就會產生光暈的效果。 如果銳化太多，那列印時就會看得到這些光暈，反之如果設得太低，那也會看不出銳化的效果。 一般相機對於銳化的處理，大概會有 1 到 3 級可以選擇。
原來一般影像處理的軟體做的銳化，就是 USM 這項技術呀~
There is probably more misinformation, disinformation and lack of information regarding what raw files are all about than on any other digital imaging topic. There are also many reasons why one should shoot in raw mode, but also quite a few reasons why many people don't. Let's have a look at both.
When a digital camera makes an exposure the imaging chip (whether it's CCD or CMOS) records the amount of light that has hit each pixel, or photo site. This is recorded as a voltage level. The camera's analog to digital circuitry now changes this analog voltage signal into a digital representation. Depending on the camera's circuitry either 12 or 14 bits of data are recorded. Incidentally, if the camera records 12 bits of data then each pixel can handle 4,096 brightness levels (2^12), and if 14 bit then it can record 16,384 different brightness levels (2^14). (To my knowledge no current imaging chip records a true 16 bits worth of data).
Of course what happens after you've taken the photograph depends on whether you have the camera set to save images to the memory card as raw files or JPGs.
If you've saved the file in raw mode when it is subsequently loaded into a raw conversion program and then saved to a TIFF or .PSD format file it can be exported in 16 bit mode. The 12 or 14 bits recorded by the camera are then spread over the full 16 bit workspace. If you've saved the file in-camera as a JPG than it is converted by the camera's software to 8 bit mode and you will only ever have 256 brightness levels to work with.
Saving the Raw file
If you are saving raw files the camera creates a header file which contains all of the camera settings, including (depending on the camera) sharpening level, contrast and saturation settings, colour temperature / white balance, and so on. The image is not changed by these settings, they are simply tagged onto the raw image data.
This raw image data, what the imaging chip recorded along with the so-called meta-data (the camera settings and other technical information) is now saved to the card. Some cameras compress these files, others don't. In any event if they are compressed it is done losslessly so that there is no deterioration of the file due to compression artifacts. (Some companies, Nikon and Kodak specifically, use a slightly lossy compression algorithm when saving raw files).
Saving the JPG File
If you have elected to have the camera save the file as a JPG, here's what happens...
— By itself no sensor can record colour. In all imaging chips except that from Foveon (which uses three separate layers of silicon, one for each primary colour) all imaging chips use what is called a Bayer Matrix or colour Filter Array in order to record colour. The way this is done is to place red, blue and green filters over each pixel. Half of the pixels are filtered green and the remainder are either red or blue. Through a very complex algorithm the values recorded by each pixel are compared with its neighbors, and full colour information is derived. And, just to complicate things, the Sony F828 uses a four colour array pattern with Emerald Green as the fourth colour.
— Imaging chips are linear devices. That means that as twice as much light hits one pixel than another it will produce twice the voltage. But F stops and the way brightness values are rendered is logarithmic. This means that an uncorrected image appears very dark, and therefore a tone curve needs to be applied to the data to recreate a natural looking scene.
— Digital images that have not had sharpening applied look flat, low contrast and therefore unsharp. People want their out-of-camera JPGs to look good, and so USM (Unsharp Masking) is applied to the file by the camera. USM finds the edges between light and dark areas and enhances the contrast. In doing so halos are produced around the edges. If sharpening is set too high these halos will be visible in a final print. If they are set too low then sharpening may be insufficient. Cameras usually have between 1 and 3 different sharpening settings that the user can choose.
— Contrast can be set on some cameras.
— Colour saturation can be set on some cameras, with usually two or three setting levels.
— The camera converts the file from 12 or 14 bit mode to 8 bit mode. In other words, the 4,096 to 16,384 brightness levels recorded by each pixel are reduced to 256 brightness levels.
— Compression is the final setting for a JPG file. JPG by definition is a lossy format. That means that to make smaller file sizes (which is the whole point of the JPG format) some data is thrown away. If compression is set to a low level (say 2:1) then there is very little information lost and it can be almost impossible to see any data loss. High compression will increasingly cause artifacts to become visible. Most cameras offer at least two or three compression levels.
Brickworks Ruins — Toronto, May, 2004Panasonic LC1 @ ISO 100. 7mm (28mm Equiv)
So now you see the difference. A raw file is essentially the data that the camera's chip recorded along with some additional information tagged on. A JPG file is one that has had the camera apply linear conversion, matrix conversion, white balance, contrast, and saturation, and then has had some level of potentially destructive compression applied.
If it sounds like I'm editorializing though my emphasis, it's because I am. But not by that much. The above is what actually happens in each case. Now, before we go further let me add that a JPG file directly from the camera can in many cases produce very high quality prints. There are in fact numerous valid reasons why one would want to shoot JPG files.
Reasons to Shoot JPG
— Files are smaller and therefore more of them fit on a card.
— For many applications image quality is more than sufficient (family snapshots, news images).
— Small files are more easily transmitted wirelessly and online. This is important to newspaper photographers.
— Many photographers don't have the time or inclination to post-process their files.
— Many cameras (especially digicams) can not shoot quickly when working in raw mode. Some lower-end models can't record raw files at all.
Reasons to Shoot Raw
— A raw file is comparable to the latent image contained in an exposed but undeveloped piece of film. It holds exactly what the imaging chip recorded. Nothing more. Nothing less. This means that the photographer is able to extract the maximum possible image quality, whether now or in the future. A good analogy with the traditional world of film is that you have the opportunity to use a different type of developer or development time at any point in the future if one comes along that you think might do a better job of processing the image.
— Raw files have not had while balance set. They are tagged with whatever the camera's setting was, (either that which was manually set or via auto-white-balance), but the actual data has not been changed. This allows one to set any colour temperature and white balance one wishes after the fact with no image degradation. It should be understood that once the file has been converted from the linear space and has had a gamma curve applied (such as in a JPG) white balance can no longer be properly done.
— File linearization and colour filter array (Bayer) conversion is done on a computer with a fast and powerful microprocessor. This allows much more sophisticated algorithms to be used than those done in a camera with its slower and less powerful processor and with less space for complex conversion programs.
— The raw file is tagged with contrast and saturation information as set in the camera by the user, but the actual image data has not been changed. The user is free to set these based on a per-image evaluation rather than use one or two generalized settings for all images taken.
— Possibly the biggest advantage of shooting raw is that one has a 16 bit image (post raw conversion) to work with. This means that the file has 65,536 levels to work with. This is opposed to a JPG file's 8 bit space with just 256 brightness levels available. This is important when editing an image, particularly if one is trying to open up shadows or alter brightness in any significant way.
Figures #1 and #2 below shows why. Assuming for this example a 5 stop dynamic range, you can see how much data is found in each of the brightness levels in the image. In other words with a 12 bit file the two darkest levels of the file combined have some 384 brightness levels to work with.
An 8 bit JPG file on the other hand has considerably less. Both the sRGB and Adobe RGB colour spaces use a gamma 2.2 encoding. Gamma encoding reallocates encoding levels from the upper f-stops into the lower f-stops to compensate for the human eye's greater sensitivity to absolute changes in the darker tone range. Therefore an 8 bit JPG file has just 47 brightness levels available in the bottom two stops. (The remaining levels out of 256 are for the f-stops beyond the 5 in this example).
A 12 Bit raw File
Figure #1
An 8 Bit JPG File
Figure #2
Now imagine that you want to make a modest adjustment to the file in Photoshop or any other editing program. Which would you rather have to work with, 47 levels or 384 levels? Clearly the 8 bit file will show posterization, which is the effect that one sees when instead of smooth transitions between brightness levels you see abrupt jumps.
— Because a raw file has not been processed in any way, if new and improved methods of linearizing files, applying colour filter array decoding, or other image processing advances are made, you can return to your archived raw files and work on them afresh. A JPG file, on the other hand, is fully baked.
No two manufacturers encode their raw files in the same way. Indeed many camera makers change their raw format between camera models. (We can only hope that one day the industry well agree upon a common format). Every manufacturer provides software for decoding and processing their camera's raw files. In most cases this software is free and provided with the camera purchase. In other cases this is an extra cost program to be purchased separately.
At the risk of editorializing — almost universally these programs range from poor to simply acceptable, though a couple such as high-end versions from Kodak and Nikon are quite good. Most are frequently very slow, have poor user interfaces and sometimes limited capabilities. Much better are third party offerings. There are too many to mention here, so I'll just mention the two most popular and arguably the two best, the Camera Raw converter that is now built in to Photoshop CS (it used to be available as a plug-in for Photoshop 7), and Capture One from Phase One.
Both programs are full-featured, and have excellent workflow. Capture One supports most major DSLRs while Photoshop CS now supports virtually every DSLR and digicam on the market, with updates for new models appearing several times a year as new cameras are released.
The major differences between these programs is that you currently need the full Photoshop CS program to use Camera Raw, while Capture One is a stand-alone program that can export converted raw files to subsequently be used with any image processing program. Capture One is also available in different versions for different camera types, with the version for low-end DSLRs costing the least, and that for high-end Pro models the most.
Something to consider is that every digital camera is indeed always shooting in raw mode. But, if we choose to save the file as a JPG we are committing to the raw conversion program that is built into the camera. If we allow the file to be saved in raw format though we have the opportunity to do the conversion on a more sophisticated platform, and to do so again and again if there's any benefit to this in future. In other words, the decision is — do you want to do the raw file conversion now in the camera, or later on your computer?
With a JPG file you are largely committing yourself at the time of exposure to several of the most important aspects of image quality, namely white balance, overall contrast, colour saturation and the like. With a raw file you are free to make decisions about these settings at your leisure.
Because JPG files require little or no additional processing when adjustments are made in post-processing, care needs to be taken to keep these within a limited range, or processing artifacts will be seen. For some photographers the ease and speed of use is a benefit, for others not. Certainly anyone looking for the best possible image quality will want to shoot in raw mode whever possible.
Some cameras can save both raw and JPG files simultaneously, and for many photographers this is an ideal solution. It provides a ready-to-use image for many applications, while a raw file is available for later and more comprehensive processing. The only downside to this double format is the extra space that it takes on memory cards.
Some people complain that raw files are too large, and that they take up too much space. With memory card, hard disk and DVD-R disks at all-time low prices the cost for storage is relatively small. It does require good record keeping though to keep track of all of these files, and good back-up and archiving procedures are also required, but that's a subject for another article.
I'd like to thank Michael Tapes of Phase One and Thomas Knoll of Adobe for their feedback and contributions toward this article. If there are any novel insights to be found here it is likely as a result of their feedback. If there are any factual errors they are likely mine.
— Mchael Reichmann
↑基隆河岸,河濱公園 - 遠方是松山機場，左邊的高樓是台北火車站前的新光三越。
Sony DSC-F717 Pool set in Flickr ← 我有很不要臉的放到 Sony F717 的 Gourp 哦~ 哈哈哈~
要多拍一些台灣的美景，然後放到網路上，讓全世界看看… 只是首先… 我要先學好拍照呀~ XD
加油~
最近在看 Nikon Digital Learning Center ，這裏的教學真的很不錯，我看了很有啟發~ ^^
我朋友是 Lomo Taiwan Group 的一員，自稱是 拍立得區的大廈管理員 ，這是他們出的書哦!!
我很喜歡他的攝影，平凡的東西，被他隨手一拍就是很有感覺，不知道我能不能也有那樣的一天^^"
朋友的flickr相簿 : http://www.flickr.com/photos/fab34/
Source: 博客來書籍館 > 就是愛LOMO(三種顏色封面 隨機出貨)
★一起用超棒的照片來記錄生活！從相機情報到入門技巧一應俱全的LOMO百科
★鮮藍、桃紅、豔黃三款暗角書封，同時上市！
LOMO是一家生產相機公司的名稱，也是一種生活態度與攝影模式。
成立於西元1904年的列寧格勒光學機械協會（Leningradskoje Optiko Mechanitscheskoje Objedinenie，簡稱L.O.M.O.）就是原始LOMO的來源。
據傳，1982年，俄羅斯的一位軍官將日本製的cosina CX-2相機交給了下屬，希望他們仿照此相機製作出一台可以全天候拍攝，並適合大眾使用的相機，因此而誕生了LC-A。這款相機不只是在俄國銷售，更外銷到越南、古巴、東德等其他國家。1991年，兩位奧地利的學生Wolfgang Stranzinger和Matthias Fiegl在捷克旅遊時，於相館中發現了此相機，拍照後發覺了LC-A的無窮魅力，於是創立Lomographic Society來推廣此相機並與同好交流。
自1992年以LOMO LC-A為基礎而成立了此協會後，致力將LOMO LC-A推廣至各地。而LC-A所拍出的這種特殊失焦模糊並有隧道效果之影像，也在世界各地深深吸引了不少愛好者，也創造出Lomography（以LOMO相機拍照、用LOMO相機拍的照片）、LOMO Wall（將LOMO照片集結展出的影像牆）這類的相關名詞。
而今，有些人認為，廣泛的定義，Lomography就是LOMO，LC-A就是LOMO，LOMO是種攝影手法……
由於近年來，Blog以及個人相簿的流行，讓LOMO更是異軍突起，於年輕族群中，受到不少注目。在數位相機當道之時，LOMO的特殊影像和意念，讓更多年輕人希望藉由此表達與眾不同的影像表現。因此，希望藉由此書讓初學者或是希望了解LOMO的人，可以更容易輕鬆進入LOMO的世界。
作者簡介
Lomo Taiwan Group(lomotw.com)
是一個非官方性的社群，由幾個同好共同凝聚而成。以相機交朋友，以LOMO與所有華文世界的朋友溝通。一直以來，除了彼此分享數以萬計的影像，更不斷的激盪出不同的想法與技巧。
除以網站經營、分享與LOMO相關之圖文，還定期舉辦不同主題之攝影聚會，並積極參與不同團體的邀約，參展或舉辦各種攝影活動。
Source: FUJIFILM Global | FinePix S5 Pro : Features - Real Photo Technology Pro
Adobe RGB Color Gamut (chromaticity diagram)
怎麼把 Geotag 加到相片裏? 那… 什麼又是 geotag . 簡言之… 有了 geotag 的相片，上傳到 google map 或 panoramia 之類的地圖網站時，就可以自動做定位的動作，不用自己找位標啦~
而 geotag 是如在相片檔 (.jpg) 裏的經緯度座標資訊。
底下節錄的是整篇文章裏的第2段，講的是一些相關資訊。而整篇文章 ( Geotagging Photos With iTag - Free Geography Tools ) 則是講解怎麼完成這件事。
Source: Using GPS Data To Geotag Photos: The Basics - Free Geography Tools
Using Picasa, PicasaWeb or iTag to geotag your photos through Google Earth (or Google Maps) is fine for the occasional photo, or for photos from the past where you don’t have specific location data, i.e. latitude and longitude. But if you’re going to be geotagging a lot of photos in the future, doing it manually will turn into a chore very quickly. There’s a way to simplify that task: Take location data from a GPS unit, and then embed it into your photo’s EXIF header or IPTC tags with software that automates the process. There are a lot of free and cheap programs that let you do that, and I’ll be covering many of the Windows options in upcoming posts. First, though, I want to go over some of the basics of equipment and data.
Equipment: Some day, most cameras may come with GPS capabilities built-in, so that they can automatically geotag your photos as you take them. But I’ve heard of only two cameras with built-in GPS released to date: the Navman iCN750 (discontinued), and the Ricoh Pro G3 GPS Camera, a two-year-old 3-megapixel model. So for now, the only reasonable choice is to use a handheld GPS receiver that can log your position continuously as a function of time, save that data, and then upload it to your computer (typically in GPX format).
Most handheld GPS units can do all of this, with the cheapest units running less than a hundred dollars. If you don’t need a large, handheld GPS receiver with all its features (data screen, input, maps, etc.), another option is to buy a simple GPS datalogger, like the Sony GPSCS1KA or Sony GPS-CS1units. Both Sony units are described as being specifically designed for digital camera use, but any GPS datalogger capable of saving data in GPX format will work just as well (do a Google search for GPS data logger). You won’t save that much money buying a datalogger instead of a basic handheld GPS unit, but they are often much smaller in size and weight, and can have longer battery lives and store more data than handheld units.
Data: You need to have both position and time data stored by the GPS units in order to geotag the photos,. The position data is obviously needed for the geotagging, but the time data plays a critical part as well. The software programs that I’ll be posting about match up the time you take your photo with the location the GPS data says you were at for that time, and then embed that time-specific location data in the photographs. Dataloggers will normally save both the location and time together automatically, but handheld GPS units may require you to specify that both time and position data be recorded in a GPS tracklog. Handheld units often let you specify whether your position is recorded continuously based on distance, time, or some combination of the two.
There’s another catch: some GPS units (like my Garmin) strip out the time data if you save the track in a separate tracklog, separate from the active track. So if you save a track in these units, make sure you don’t clear out the active track as well, or else you’ll have no way to synchronize your position with the time you took a photo. Found this out rather annoyingly after having taken a whole bunch of photos, saving the track, and then discovering that all the time data was gone. The newer Garmin x-series models let you log time and position data continuously to a GPX file on their microSD memory cards, bypassing the need to manage track data completely (and letting you record literally months worth of position and time data on a single microSD card).
You should also check to make sure that your camera is set to the same time as your GPS unit; if the camera’s time is off, or in a different time zone, that can complicate the process of matching up the GPS track time with the time the photo was taken. Many programs come with the ability to adjust for such a time difference, but it will make life a lot easier if you make sure they’re in time synch right from the start. GPS track times are recorded in UTC (aka Greenwich Mean Time), and while most programs can correct for the difference, some have problems with that correction.
Uploading the data to your computer from your GPS is usually straightforward; if the software that came with your GPS can’t take track data and save it in GPX format, a free program like EasyGPS or GPS TrackMaker does a great job.
Summing up: to automate geotagging your photos with GPS, you’ll need a GPS receiver that can log both your position and time on a continuous basis, and then upload the data to your computer in GPX format, where it can be synchronized with your photos based on time.Source: 青蛙小站討論區 :: 觀看文章 - 螢光蕈
Address : <http://photo.froghome.tw/phpbb/viewtopic.php?p=1982>
用 Google 找 螢光蕈 ，就能找到許多相關的資訊哦。
這裏也有另一篇 (這篇有蠻多詳細的介紹哦~)
Source: 夏夜螞蟻路燈～螢光蕈 & 雨蛙
墾丁也有耶~ 通常在梅雨的季即，雨過的夜晚，尤其是竹林裏，就能看到它們的縱影哦~
自由電子報-生活新聞 - 墾丁螢光蕈 發亮僅3天
 |
| 墾丁螢光蕈的形狀、大小、蕈褶與其他區域螢光蕈有明顯差異，不排除是獨立螢光蕈品系。（記者郭芳綺攝） |
〔記者郭芳綺／屏縣報導〕屏東墾丁社頂自然公園雨後的竹林裡，有一種發光小菇「螢光蕈」，是台灣少見的夜間發光植物之一。
螢光蕈發光機制始終成謎，屏科大森林系研究生劉景能觀察四年螢光蕈，除察覺螢光蕈發光有週期性，也發現社頂的螢光蕈形狀、蕈褶，與其他區域的螢光蕈都有差異，可能是當地特有螢光蕈種，透過ＤＮＡ種源鑑定即可揭曉謎底。
多雨的季節裡，夜晚螢光蕈的綠色淡淡光芒，有如綠色小燈，但並非每處竹林都有螢光蕈蹤跡，螢光蕈極挑剔生長環境，若污染及人為干擾多則很難見到螢光蕈，近年來螢光蕈也被當成環境優劣的指標性植物。
劉景能發現，從螢光蕈「出菇」後，約可存活三天，且只有蕈傘會發光，蕈柄及菌絲體並不會發光，白天將螢光蕈移入暗室並不會發光，若打亂螢光蕈發光的生理時鐘，白天暗室螢光蕈也會發光，可見螢光蕈發光有其週期性。
螢光蕈是一種發光真菌，在國外，北美洲居民稱呼這些發光蕈菇「狐火」、「鬼火」，日本則稱為「夜光茸」，在台灣有「夜精靈」之稱，除了螢光蕈，還有皮傘、叢傘絲牛肝菌、黃緣螢光小菇三種發光蕈菇，人類對發光植物瞭解和研究不多，螢光真菌為何會在夜間發光仍是謎。
劉景能說螢光蕈夜晚發光，一般推測是為繁衍傳宗接代，利用光亮吸引昆蟲幫助其散播孢子，但螢光蕈波長與螢火蟲相近，應該也和螢火蟲一樣發光具有警告意味，恰與此種說法存在矛盾。
EOS-1D Mark III Intro Video
Canon EOS Mark III's burst mode 超高速模式 (Large jpeg in compression ratio 8)
allowed: jpg jpeg png gif bmp tif tiff swf < 1.5 megabytes
Source: ImageShack® - Hosting
Address : <http://www.imageshack.us/>
桂林山水甲天下，陽朔山水甲桂林
http://www.panoramio.com/map/#lt=24.770525&ln=110.483665&z=5&k=2&a=1&tab=2
桂林 Guilin
陽朔 Yangshuo
廣西 Guangxi
世界其他地方的美景
http://www.panoramio.com/map/#lt=20.851754&ln=106.988983&z=6&k=2&a=1&tab=1 越南
http://www.panoramio.com/map/#lt=34.687322&ln=135.524168&z=2&k=2&a=1&tab=2 日本.大阪.天滿橋 + 大阪城
Exifer for Windows
Address : http://www.exifer.friedemann.info/
下載網址 http://tucows.alaska.net/files3/exifersetup.exe
以下是官網的介紹，功能又多又好用，但是我主要是…
1. 拿來把我拍的相片改檔名，為每個檔案的檔名加上一些ExIF裏的資訊(比如說是拍攝日期)
2. 相片加浮水印，比如說… 有些相機不支援為相片右下角加上日期的功能，這套軟體就能做到，字體顏色也能自選。
3. 備份還原 ExIF
缺點有一個… 不支援中文，這一點倒是還好，用 ACDsee 來做就行了。
因為刪了CF卡裏的照片後，又誤刪了硬碟裏的照片，所以急須救回，還好找到了這個好用的工具，非常的簡單好用而且是實用，真的把我的相片都救回來了。
Zero Assumption Digital Image Recovery
http://www.z-a-recovery.com/digital-image-recovery.htm
以下是官網的簡介，任何卡都適用，軟體本身有許多功能，大多不是免費的，但是其中的 救回數位圖片(就是從SD,CF,XD,MS卡救回已刪照片) 的功能是免費的，所以… 如果是要救回卡裏的照片的話，就放心下載來用吧。
Our flagship product ZAR 8.1 now includes the (freely available) mode to recover digital images. Generally, program should work with any media type (e.g. CompactFlash, MemoryStick, SmartMedia and so on) accessible by means of operating system. You need the use your camera or the appropriate card reader you normally use to transfer images from camera to PC.
Standalone Digital Image Recovery tool has been discontinued 30 December 2005. Scroll down for reasons as to why.
Current version (ZAR 8.1) supports digital photo recovery for the following file formats:
For a list of compatible camera models please check Zero Assumption Digital Image Recovery system requirements.
The following information is available regarding Canon .CR2 raw format, thanks to Jeff of Jeff Berner Photography and Art:
ZA Digital Image Recovery recovers Canon .CR2 files as TIFF. To open recovered files, Jeff used Photoshop CS "Open With" feature, which allows to specify image format override.
 | General usage instructions |  |
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For a flash demo of a digital photo recovery, click here | ||
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Why did you discontinue the standalone tool?
This serves as the platform for future image recovery function enhancement. We decided that it would be much easier to implement some heavyweight image recovery algorithms this way.
Original Digital Image Recovery was freeware, but ZAR 8.1 seems not?
The digital picture recovery functions are implemented in the trial version of ZAR 8.1 in full. Hence you just need to download the evaluation version of ZAR 8.1 and it does the job at no charge. So, picture recovery functions are actually freeware. There are no plans to charge for it.
終於變的不錯用的看圖軟體 XnView 1.90.3
我自己常用的是，拿 XnView 來觀看我拍的照片，且於畫面上顯示該照片的 ExIF ，檢討以後該怎麼拍~Import about 400 graphic file formats
工具 - 選項 - 檢 - 全螢幕 - 顯示資訊(打勾)
units. Both Sony units are described as being specifically designed for digital camera use, but any GPS datalogger capable of saving data in GPX format will work just as well (do a Google search for GPS data logger). You won’t save that much money buying a datalogger instead of a basic handheld GPS unit, but they are often much smaller in size and weight, and can have longer battery lives and store more data than handheld units.
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