Frame Manual
Heartbreak Writhe
When you know just what you want and need from your chair, choose a QUICKIE rigid lightweight wheelchair. Their minimalist frames have fewer moving parts for maximum efficiency. As an extension of you, they are highly responsive, ultra lightweight, and offer precise control, superb balance, and exceptional performance.
There are a number of different wheelchair cushions available for our products. You can view our complete range of JAY wheelchair cushions online. For the best comfort we advise you to contact your nearest authorized Sunrise Medical dealership.
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In 2007, the FRAME manual was updated to reflect the adoption of Public Sector Accounting Board (PSAB) standards as generally accepted accounting principles for all Manitoba school divisions, effective July 1, 2006. PSAB is the body of the Canadian Institute of Chartered Accountants that sets the financial reporting standards and generally accepted accounting principles for governments in Canada. FRAME users should note that the adoption of PSAB includes key accounting changes from previous FRAME accounting policies regarding amortization of assets, full accrual accounting (particularly debt interest), and the consolidation of controlled entities.
In developing QUICKIE wheelchairs, we consider how you interact with your wheelchair to maintain maximum efficiency, performance, fit, and style. Reinforced frames and durable components mean you won't have to sacrifice comfort over reliability.
i have a Canon Demi and a Ricoh Auto-Half E. i tend to use the Ricoh more often since it fits better in my hand and it's better for hip-shooting (fixed focus, automatic frame advance, 2 basic shutter speeds - 1/125 in "regular" mode, 1/30 in flash mode). it's a nice change from my usual nitpicky approach to photography.
Back, very back in 1976 a friend of mine worked in a Medical Center and asked me to try is Olympus Pen F which they used to use to medical purposes. One day I went to a Racing bike in Madrid and shot some rolls of 72 pictures :-)
I had a Pen EES-2 for a couple of years and got consistently excellent results with it. The meter/aperture was right on the money - always 55 perfectly exposed shots on a 24-exp roll! - and the lens very sharp.
The EES-2 has a number of advantages over the earlier Pen EE series - metering goes up to ASA 400, it's got a hot shoe as well as a PC socket, it has a black plastic eyepiece around the viewfinder (vs. just a plain hole in the sheet metal on earlier models)- and I prefer the faster (f/2.8), wider-ranged zone-focus lens over the fixed-focus of the plain EE models. I got consistently great results with films like Royal Gold 400, TMY, and Plus-X... (Alas, the aperture mechanism eventually seized up, and I didn't have the guts to try and repair it myself. I gave it to a friend who said he had repair connections, but I never saw it again.)
I also have a Pen F, which I think is a wonderfully splendid example of design/engineering, but the viewfinder is very dim (and the plain ground glass screen hard to focus) even with the 38/1.8, and either the shutter speeds or auto-diaphragm mechanism on mine is a bit off, and I virtually always get very overexposed results. (I had the lens CLA'd, but not the camera.) It *seems* to work perfectly looking through the open back, but it's another story with film. So this one is for playing with and admiring, not shooting.
You asked for a quality half-frame...The Canons are very nice, and they provide you with more true camera control than others. I always considered them to be at the top of the pile from a quality standpoint. The 1.7 probably gets my vote. For a point & shoot, you might consider the Yashica Samurai...especially if compact-ness is not an issue. I don't think anybody made a more sophisticated half-frame than this one, and it will pump out astounding photos with few to zero mistakes. If you have kids in sports, this used to be the way to go...put it on auto mode and it will run through film so fast, you almost have a motion picture. The Pens are ok, too. Not to take anything away from them. They are just more simple.
The Olympus Pen F is really a fine camera with excellent workmanship. The ground-glass screen is adequate though not stellar. The fact that you can change lenses to something longer or wider is a big plus.
I agree with the Olympus Pen D/D2/D3 suggestions. Of all the companies that made half-frame 35s, Olympus seems to have committed to it the earliest and deepest. I loved my little D2, but parted with it in favor of a full-frame 35RC which was not much larger.
The Pen F series was a great camera too, and I've been using an FT passed down to me by my Dad, with 40/1.4 and 50-90 zoom lenses. I picked up a 25mm f/2.8 wide angle for it too -- here's a shot from my test roll with the 25...
It's sorta-kinda-compact...the like the lens numbers, 30mm f/1.7...good range of shutter speeds for a half-frame, 1/8 ? 1/500 + B...built-in self timer...X Sync...film speeds ISO 25 ? 400...CdS cell...operates in shutter priority or full manual...plus, I really like the way it looks!
I have both the Yashica Samurai and the Olympus Pen EE-3 and they are both superb. The Olympus is of course smaller and lighter and very simple, while the Yashica Samurai is larger, though still small, and quite versatile. Either is a great backup in case your compact digital camera fails. Just a reminder, either will produce results better than a Minox because of the larger negative.
Keyframing is a computer animation technique in which an animation sequence is created by manually adjusting the position/orientation of characters/props at a few key moments, and letting the computer interpolate the trajectory between them. Mutable Instruments' Frames brings this concept to your modular system, and allows up to 4 signal levels or CVs to be animated in this manner. Frames' input/output architecture is extremely flexible and allows mixing, panning, attenuation and CV generation applications - all with the morphing/interpolation capabilities of a keyframer.
The inputs labelled 1, 2, 3, 4 are directly routed to each of the four VCAs. When no jack is plugged into them, they receive instead the signal from the ALL input. For example, if you connect the output of a VCO into ALL, and the output of a drum module into 4; the VCA 1, 2, and 3 will process the VCO signal, and the VCA 4 will process the drum sound. What happens when no jack is plugged into the ALL input? The VCAs receive no signal... unless the +10V OFFSET switch is pushed. When this switch is pushed, the ALL input receives a constant +10V signal (unless a jack is inserted in!), and this signal is then routed into the 4 inputs (unless a jack is inserted in one of them!).
Once the VCAs have done their work, the 4 attenuated signals are sent to the outputs labelled 1, 2, 3, 4. Unless a jack is inserted in one of these individual outputs, the signal is also sent to the global MIX output. For example, if inputs 1, 2, 3, 4 receive the square, sawtooth, triangle and sine outputs of a VCO; and if a patch cable is connected to output 4, the MIX output will contain a blend of the square, sawtooth and triangle outputs - while the attenuated sine signal will be present on the patch cable plugged into output 4.
The big FRAME knob is used to move through the animation, from the beginning (knob turned fully counter-clockwise) to the end (knob turned fully clockwise). The animation is played as you turn the knob.
The keyframe LED G indicates whether the current position of the FRAME knob stores a keyframe (LED lit) - or whether it is just an intermediate interval between keyframes (LED switched off).
The 4 potentiometers at the top of the module adjust the gains of the 4 channels at the current keyframe. If there is no keyframe at the current position of the FRAME knob, nothing happens - the gains will be interpolated between the previous and next keyframe in the sequence and you do not have control of them.
Frames provides two types of visual feedback. Firstly, every time you create a keyframe it is given a different color, illuminating the FRAME knob and creating intermediate hues as the animation is played. Secondly, the 4 LEDs below the 4 knobs at the top of the module indicate the current value of the gains for the 4 channels.
In this walkthrough, we will create a sequence blending two waveforms from a VCO. Of course, any other signal source can be used - but throughout this section we will refer to the two input signals as the "square" and "sawtooth" inputs.
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