12 BY 10 PHOTO FRAME - 12 BY 10

12 By 10 Photo Frame - Holiday Photo Cards On Sale.

12 By 10 Photo Frame


12 by 10 photo frame
    photo frame
  • A picture frame is a container for a picture, such as a painting or photograph, intended to enhance it, make it easier to display, or protect it.
  • Freckles photo frames are freestanding and made from padded applique fabric. Each is designed to coordinate with a different bedding theme and fit a 10 x 15cm (4 x 6”) photo or picture.
  • A frame specifically designed for standard sized photographs, often with an easel backing.
    12
  • twelve: denoting a quantity consisting of 12 items or units
  • twelve: the cardinal number that is the sum of eleven and one
  • A video game content rating system is a system used for the classification of video games into suitability-related groups. Most of these systems are associated with and/or sponsored by a government, and are sometimes part of the local motion picture rating system.
    10
  • ten: the cardinal number that is the sum of nine and one; the base of the decimal system
  • A gramophone record, commonly known as a phonograph record (in American English), vinyl record (when made of polyvinyl chloride), or simply record, is an analog sound storage medium consisting of a flat disc with an inscribed, modulated spiral groove.
  • ten: being one more than nine
12 by 10 photo frame - Coby DP-102
Coby DP-102 10-Inch Widescreen Digital Photo Frame with Built-In MP3 Player
Coby DP-102 10-Inch Widescreen Digital Photo Frame with Built-In MP3 Player
LCD Screen displays stored images / Built-in Stereo Speakers / Displays images or MP-3 & MP4 files from your memory card / Black and White Faceplates
Those old photo frames atop your dresser, desk, night stand and on your walls are vignettes of memories captured as prints in the era of film cameras. The Digital-Camera makes available a technology where photos don't have to be displayed as prints. They're displayed on screen, much like that of a TV set or a Computer monitor. This frame uses LCD flat-panel technology and, at 2-1/4" deep, fits almost anywhere a standard frame would. The difference - this frame is not limited to display only 1 or a few pictures. A digital picture frame can display dozens (if not hundreds) of images off a digital-memory card.
Here's a dandy way to display all those digital photos you're accumulating. Display one or all (in slideshow mode) directly from an SD, MMC, xD, or CompactFlash memory card. It's a great way to view your favorites on a table or on a wall - just like a regular picture frame. Yet COBY DP102 adds a unique feature. It has built-in speakers so you can play MP3 and WMA Music files from your memory cards. You can even create photo slideshows with music. The DP102 has a USB port that lets you play photos stored on digital media drives. Its LED Backlit screen delivers bright images for viewing in almost any situation.
This is a perfect frame to give to your parents and grandparents. Let them see pictures of you all the time from a memory card you provide them. It has a Dual-volt AC Adapter for international capability.

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Nikon 12-24 VS Tokina 12-24
Nikon 12-24 VS Tokina 12-24
Porque? Esta comparacao surgiu apos eu ver as minhas primeiras fotos com a recem-adquirida Nikon Nikkor AF-S DX 12-24mm f/4.0G IF-ED. As fotos, que me pareciam muito boas e nitidas a primeira vista, quando comparadas com as minhas outras lentes, ja nao pareciam assim tao nitidas! Entao pedi emprestada ao colega Paulo “Maxim” a Tokina XR 12-24mm f/4.0 PRO DX para comparar. Os resultados sao os que se seguem. O teste. O mesmo enquadramento, mesmas definicoes (tiradas em RAW e processadas no Capture One com o modo standard que uso em todas as minhas fotos: 60% de sharp a 3 pixels de treshold, modo standard, curva film standard com 12% de saturacao), WB em cloudy, exposicao 1/20s a f/8.0, tripe e focagem auto no ponto central. As fotos. A esquerda, as fotos originais redimensionadas, a direita crops a 100% (pixel-size se vistas na resolucao maxima). Os crops, em cima um crop ao centro, precisamente onde as objectivas foram focadas, no meio um crop central mais baixo, para determinar a focagem e nitidez na periferia, em baixo um crop ao extremo superior esquerdo, para ver a nitidez dos extremos, assim como as aberracoes cromaticas de ambas as objectivas. Resultados. A Nikon revelou apenas aquilo que todos os reviews apontam. E mais nitida do que a tokina, e os seus 12mm sao mais amplos, eu diria uns 2? no minimo, do que a sua concorrente. A nivel de aberracao cromatica ambas sofrem dela, a Nikon um pouco menos pronunciadamente. A distorcao, embora nesta foto nao seja muito evidente, e tambem inferior na Nikon. A Tokina na minha opiniao sofre tambem de um “mal” que e quase comum a todas as UGA: excesso de contraste! Embora a exposicao seja igual em ambas as fotos (mesmo medida na altura) a Nikon apresenta mais e melhor detalhe nas sombras, com o mesmo nivel de intensidade das luzes altas. A Tokina neste campo comporta-se como a Tamron 11-18 e a Sigma 10-20, talvez um compromisso assumido pelos fabricantes de forma a deixar passar uma ideia (errada!) de mais nitidez. A nivel de peso e qualidade de construcao, a Tokina parece ser um pouco mais pesada, ambas muito bem construidas. A nivel de focagem, a Tokina nao consegue competir com a focagem SWM da nikon ;) Conclusao: Afinal eu andava mesmo era mal habituado, LOL, pois a Nikon e mesmo uma excelente objectiva, mas dentro da distancia focal dela. Nao se compara em nitidez as minhas restantes objectivas, mas e provavelmente a melhor que o dinheiro pode comprar. E e precisamente nesse ponto que a Nikon perde para a Tokina, custar mais do dobro! Se procuram uma boa UGA e o dinheiro nao e problema, comprem a Nikon. Caso contrario, nao ficarao desapontados com as prestacoes da Tokina. A nao ser que consigam comprar a Nikon ao preco que eu comprei a minha ;) Why this test? The reason for this comparison has to do with the fact that, after buying my Nikon Nikkor AF-S DX 12-24mm f/4.0G IF-ED, when first looking at the photos, they appear very good and sharp. But when compared to all my other lens, it appears to be the less sharp of them all. I then took some photos for comparing with a Tokina XR 12-24mm f/4.0 PRO DX from my friend Paulo “Maxim”. Results are as follows. The Test. Same framing, tripod mounted, focused in Auto using the centre sensor, WB set to Cloudy, exposure at 1/20s f/8.0 and same processing (RAW converted using Capture One with my standard settings, that I apply to all my photos: Sharped at 60%, 3 pixel threshold, standard mode, film standard curve with 12% saturation). The Photos. Left, the original photos, resized to fit, Right, some 100% crops (pixel-size when viewed at the maximum resolution). The top photos show a centre crop, in the middle a centred lower crop to determine sharpness and focusing far from the centre, and at the bottom, the extreme upper left corner, to determine extreme corner sharpness as well as chromatic aberrations. The Results. This test only revealed what all the reviews say about this lens. The Nikon is noticeably sharper than the Tokina, and at 12mm is a bit wider also, I would say about 2 degrees. Chromatic aberrations they both have, less so on the Nikon, and although this photo doesn’t show, the Nikon also has less distortion. The Tokina, has the Sigma 10-20 ou the Tamron 11-18 suffer from, in my opinion, exaggerated contrast: although both exposures are the same (as the lighting also was), the Nikon revealed more detail on the shadows. I’m thinking this may be purposely intended by the manufactures to obtain a “falsely” more detailed picture. Construction wise, both feel very solid with a good “touch”, being the Tokin maybe a bit heavier. Focusing speed is, of course, much faster and very silent on the Nikon, due to the SWM motor. Conclusion. Apparently I was being “picky” with this lens ;) When compared to my other lens, this is probably the least sharp of them all, but as a Ultra-Wide-Angle it is one of the best, if not the best DX lens money can buy. And it’s precisely in the “money” field that it looses for the
samyang 14 vs. canon 10-22 vs. ts-e 24 ii
samyang 14 vs. canon 10-22 vs. ts-e 24 ii
On Wednesday I took delivery of a new Bower 14mm f/2.8 lens. You wouldn't know it from the B&H listing (which warns it's an APS-C-only lens) or even the box itself (which labels it a fisheye), but this is a rebranded Samyang 14mm f/2.8 full-frame rectilinear lens. Samyang is a relatively new Korean lens manufacturer with a growing line of good, fast, affordable, full-frame primes. The catch is they are fully manual—they have no electronics or motors. That means not only is focus manual, but so is stopping down the aperture. But, since this is an ultrawide lens, that's not as big a deal as you might think. My Canon EF-S 10-22mm f/3.5-4.5 has autofocus and auto-aperture and yet I still use it mainly in full manual mode on a tripod—mainly because it is difficult to level and center an ultrawide composition handheld. Those who buy a $1700 Zeiss 21mm f/2.8 or $1700 Nikkor 14-24mm f/2.8 + $200 G-to-EOS adapter also have only manual focus and aperture. Yeah, but it's worth it because the Zeiss and Nikkor are so sharp, you say? Well, let's see what ~$400 gets you. Top: Canon EF-S 10-22mm f/3.5-4.5 @ 10mm on a Canon Rebel XSi (16mm-equivalent FOV) Middle: four-frame shift-stitch of a Canon TS-E 24mm f/3.5L II on a Canon 5D Mark II (15-and-change-mm-equivalent FOV) Bottom: Samyang 14mm f/2.8 on a Canon 5D Mark II (14mm FOV) Test notes - All frames taken at f/11, 1/180s, ISO 100. - Tripod not moved between frames, not even when shifting. - All frames manually focused in Live View @ 10x magnification on the base of the central tower. See Observations section about field curvature. - All frames RAW-processed in DPP with Standard Picture Style, Daylight WB, zero noise reduction, zero sharpening, no lens aberration corrections. - 10-22 frame brightened in DPP 2/3rds of a stop to match others. (It was a clear day and the shots were taken minutes apart so I guess this is either light loss in the lens or a reported ISO/sensitivity difference between the XSi and 5DII.) - TS-E and Samyang frames resized with Photoshop Bicubic to match vertical pixel count of EF-S frame. - Four-frame stitch with shift axes 30 degrees off horizontal yields a 1.59:1 aspect ratio; hence that frame is a little wider than the others. Observations - All three frames are remarkably similar at 12 megapixels (almost 10"x15" @ 300dpi). - The Samyang is slightly yellower than the other two. - At first I thought the EF-S was cooler than the TS-E, but the more I look at it the more I think the L lens is just more saturated. - The TS-E shows slightly more vignetting in the corners than the other two (keep in mind this is at full shift). - The Samyang has a hefty amount of moustache distortion. This can be almost completely removed by selecting the Samyang 14mm f/2.8 profile in PTLens. - As advertised, the Samyang has almost zero CA. Possibly even less than the vaunted TS-E with both movements centered. - This particular lens appears to be slightly decentered, with the lower right corner of this frame slightly blurry. Other frames (at different focus ring orientations) have the left side blurry or nothing blurry at all (since it only affects the outer 10-15% of the frame, if the blurry region is oriented to the top or bottom it will be out of frame). Stuff not shown in pictures - Sizable vignetting wide open. I'm talking 50 f/1.4 and 24-105 f/4 levels of vignetting. - Focal length visibly changes with focus distance. It is an internal-focus lens, after all. - It has a markedly different field curvature than the EF-S. This can be seen by moving focus from the near grass to the middle tower foundation. The EF-S requires almost no change - i.e. both are in focus wide open. With the Samyang, only one or the other is in focus all the way up to f/22. - The TS-E displays a similar focus behavior on the same subject. I'll go out on a limb and guess that both the Samyang and TS-E have a near-flat field, while the EF-S has strong field curvature, with the center of the frame focused much farther away than the corners. - If the Live View preview is any indicator, evaluative metering is way, way off. Going by the histogram yields a frame 3-2/3 stops overexposed. [Edit 9/8/2010: Live View metering way off in Manual exposure mode, but metering accurate in Av with and without Live View.)] - It is already sharp wide open—almost all the way to the corners. - Bokeh is decent by ultrawide standards. It's still got nisen ("bright ring") bokeh, but it seems smoother than the Tokina 11-16mm f/2.8's bokeh. - Wide-open aperture markings seem optimistic. Switching from f/3.3 (half a stop smaller than f/2.8) to f/2.8 lets in less than a quarter stop more light in the center (corner exposure is completely unchanged due to vignetting). Going from f/4 to f/3.3 (again, nominally half a stop) lets in a third stop more

12 by 10 photo frame
12 by 10 photo frame
ViewSonic VFM1530-11 15-Inch 256 MB High Resolution Multimedia Digital Photo Frame (Ebony)
The 15-Inch ViewSonic VFM1530-11 brings consumers the perfect digital image viewing experience. The ultra fine resolution of 1,024x768 and high quality digital LCD panel deliver the most vivid color and sharp detail performance to display your most precious memories. The 4:3 aspect ratio ensures no image distortion or data loss. The multimedia capabilities support full audio and video functions, which make the VFM1530 a versatile device to showcase your life style in the most fun and creative format. The elegantly designed and detailed finish of the wooden frame compliments any decor at home or in the office. A perfect combination of excellent decor and high-tech gadget, the VFM1530 is the gift for any occasion or to just frame your most favorite memories.