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How To Make Your Dial Up Faster
- As opposed to a dedicated or leased line; a type of computer linkage using regular telephone lines, generally referring to the kind of connection one makes when using a terminal emulator and a regular modem.
- (of a computer system or service) Used remotely via a telephone line
- Use of a rotary or dual tone multi-frequency (DTMF) telephone to initiate a station-to-station telephone call over the public switched network.
- Dial-up Internet access is a form of Internet access that uses the facilities of the public switched telephone network (PSTN) to establish a dialled connection to an Internet service provider (ISP) via telephone lines.
- Providing detailed and practical advice
- A how-to or a how to is an informal, often short, description of how to accomplish some specific task. A how-to is usually meant to help non-experts, may leave out details that are only important to experts, and may also be greatly simplified from an overall discussion of the topic.
- Practical advice on a particular subject; that gives advice or instruction on a particular topic
- (How To’s) Multi-Speed Animations
- At high speed
- quicker: more quickly
- So as to be hard to move; firmly or securely
- (fast) quickly or rapidly (often used as a combining form); "how fast can he get here?"; "ran as fast as he could"; "needs medical help fast"; "fast-running rivers"; "fast-breaking news"; "fast-opening (or fast-closing) shutters"
- Within a short time
- (fast) abstaining from food
- brand: a recognizable kind; "there's a new brand of hero in the movies now"; "what make of car is that?"
- The manufacturer or trade name of a particular product
- The making of electrical contact
- give certain properties to something; "get someone mad"; "She made us look silly"; "He made a fool of himself at the meeting"; "Don't make this into a big deal"; "This invention will make you a millionaire"; "Make yourself clear"
- The structure or composition of something
- engage in; "make love, not war"; "make an effort"; "do research"; "do nothing"; "make revolution"
how to make your dial up faster - Canon MultiPASS
Canon MultiPASS C530 - Printer - color - ink-jet - Legal - 720 dpi x 360 dpi - up to 4 ppm - capacity: 100 sheets - Parallel - AC 120 V
It's time to bring your home office to life with an amazing machine that adds brilliant color, vibrancy and impact to everything you do. The MultiPASS C530 multifunction printer (MFP) puts five state-of-the-art business machines in a single, compact design - all delivering outstanding color output. Print reports, proposals, Web sites and promotional materials in photo-realistic color at 720 x 360 dpi. Make convenient color copies for meetings and presentations. Send and receive incredible plain-paper color faxes. Scan color photos, artwork, text and more at 600 dpi. And control it all from a unique front panel that closes when not in use to preserve the scanner's sleek, stylish look.So many capabilities, yet so easy to use - the MultiPASS C530 MFP sets up in seconds and offers features that help you work smarter, faster and more productively. Fax and scan without ever turning on your PC. Pop in an optional Photo BJ cartridge for true photo-quality printing. Scan with a single touch. Save time by loading up to 20 pages at once in the automatic document feeder, and program over 100 numbers in the speed-dial memory.The MultiPASS C530 MFP comes with Canon Creative Pro software - everything you need to take advantage of all the capabilities your multifunction printer offers. OfficeReady features a suite of templates for Microsoft Office. PhotoDeluxe helps you manipulate and enhance photos. And numerous other applications help you integrate scanned text into word-processing documents and create dynamic Web pages.
The Canon MultiPass C530 combines the functions of a color printer, fax machine, convenience color copier, and PC scanner at an almost irresistible price. The C530 is best suited to home use because of its modest performance ratings. Printing is rated at up to 2 pages per minute (ppm), and the copier function can make black-and-white copies at up to 3.1 copies per minute (cpm). Color copies range from three to nine minutes per page, depending on resolution settings.
Setup is almost as easy as plugging in a traditional ink-jet printer. We connected the C530 to our test PC with a bidirectional parallel cable, inserted the ink cartridges, and plugged in our phone line. The unit offers three RJ-11 phone jacks for line, telephone, and an answering machine. We loaded the ink cartridges by placing the color and black ink tanks into the print head, dropping the head in place, locking it in place with the blue lever, and pressing the cartridge key, which is exposed only while the cover is open.
This Canon model comes with a number of individual software elements. There are separate printer and fax drivers for outputting jobs from the PC. In addition, the C530 includes Status Monitor, which displays job status and error conditions; Send Fax Manager, which lets you monitor scheduled fax jobs; MultiPass Toolbar, which provides a customized interface to common tasks; and Desktop Manager, a flexible interface that lets you manage your scanned documents and pass them to applications through drag and drop. This multitiered combination of driver software caused us some problems during our testing. On one of our test systems, we got an initialization error every time we printed, even though the print jobs always came out fine.
Two key strengths of this unit are its stand-alone fax and copy capabilities and its application software bundle. The C530 includes a complete fax control panel with 12 one-touch dial buttons and a number of software programs for a well-rounded small- or home-office solution. The MultiPass C530 isn't really cut out for a high-volume environment, but it is a flexible solution for a home office. --Stephen W. Plain
Stand-alone color copying and faxing
Copies, scans, faxes, and prints
Broad software bundle
Slow printing and scanning
Limited scanning resolution
Rosslyn Waterfront, Va.
[G9 ISO80 1/6s F4.6 40mm effective, dcrawH7WVNG4 > Gimp gamma 0.85, no contrast & mild USM with a decent threshold] Ok pretty-much proof that using too-much gamma to lighten the exposure will not get far as you have to put some gamma right back in there to get natural-looking contrast without blowing-out the highlights. Here the trick was to maintain the twilight reds, I sacrificed some foreground detail in exchange for "stiffer" ("fuller"? "more robust"? "bolder"?) yet natural-looking colors in the sky. Want to use "HDR" here? I don't. And I'll spare you from 15 different gamma, white-balance and exposure-variations on this. So aside from checking to see if 4-color VNG demosaicing is better/smoother/less-grainy than 4-color AHD and what the tradeoffs are there, I'm also trying to figure out what the problem is with using dcraw to create 16-bit tiffs vs 8-bit tiffs, both with gamma (to avoid *having* to much around with gamma & linearity), without using it as a plugin for either ufraw or Gimp. Ufraw is ok but I'm not going to use it in batch mode to convert a bunch of random shots, and clearly using dcraw as a plugin for Gimp doesn't give me all the control that I want. It's ok. Just not great. .... Anyway I took a ride out to Annapolis today...of course, I left there just as the sun came out below the clouds and "the Magic Hour" started...just not a big fan of riding 25 miles on strange roads at night, on a bike, or riding on a 4-lane highway at night...not unless I absolutely have to. Not really a big fan of riding at night either :) But yeah this time I missed the best light, didn't really think that we were going to get any, as overcast as it was for the hour or two before. But it cleared right up as I rode away...sun found a perfect gap in the clouds and everything turned golden-yellow and blue :) c'est la vie... Anyway so yesterday and today was the first time I have really been out "shooting" for a while now, and I didn't miss a wide-angle lens much. Though certainly I can tell that I passed on a bunch of 28mm shots that I would have taken, but it didn't really kill me...though it would kill me in the long run. If I had to rank things in importance it would be: 1: Being able to get a good shot at or near the lowest ISO of the camera, regardless of whatever camera it is. Being able to get the framing that I want, get a good AF, use a good 2-stop 3-shot bracket "just in case", and either shoot it handheld or find a rail to rest my camera on, which means having a camera that will rest on a rail easily & take good shots without futzing with the IS (because face it: there are always going to be long shots that you want to take as clean & stable as possible) 2: having a long lens...and I mean, longer than 210mm effective. That's just *barely* long enough given any halfway-decent open space to shoot over 3: a 28mm wide-end, and shooting panos. Because let's face it the # of ultra-wide shots that we need to take are few and far between. When I am approaching a point of interest, 35mm effective wide is just fine. Hell, 200mm effective wide is just fine. Not having a 28mm effective wide-end is only a problem when I'm standing right there "next to it", so to speak. Or, I can't back up far enough to get the shot either because there's no room or that injects clutter into the scene. The wider they are, the less fine-detail there is in the shot, so this is self-regulating. If the plane of focus is far-enough away there's no point in a wide-angle shot, everything will be too small to see. I think it's pretty-simple: the closer that I am to my subject and the bigger the subject is, the more that I either need a wide-angle lens or that I need to MOVE AWAY from the subject and possibly shoot faster to get the shot that I want. So moving away is an option, shooting a pano is an option. There's just one option when it comes to longer shots and that's zoom-cropping and that simply sucks beyond a factor of 2 maybe 4 in FOV. I'm not zoom-cropping a 12MP shot down below 1MP at the most, and to do that and get good results the stability, sharpness, SNR and focus have to exquisite. I don't need a huge, long lens but I need something more than 70 fucking mm effective and I would really love to have something longer than 210mm effective. Again: the Tamron 18-250 on a decent Sony subframe (with no cooked-raw) is looming large. Or sure, maybe the 30D or 40D or even D90 with a Tamron 18-270VC. Not because I need it to get the shot, but because that lens will get me an even *better* shot than what I can get with the G9...without costing an arm and a leg. Assuming a decently-sharp, well-focused image-field. Meaning the body HAS to AF reliably in low light. And the inherent advantage of body-IS is that without a motor and VC in the lens, the lens is lighter, the weight is centered in the body, and it will b
Findland - Chapter 7
When Hutch entered S's office S didn't look up from the papers in front of him. Hutch knew that this meant S was annoyed at him. Since Hutch felt that he hadn't done anything to warrant annoyance so his response was to help himself to some of S liquor (Hutch made himself a scotch on the rocks. By rocks that is to say ice.) This got S's attention. “Sit down Hutch.” Hutch obliged, but then he planed to sit down anyway. “In your report you recommended that all other parties that had a hand in this mission be terminated. Why would I fire people after a mission that achieved its goals?” S asked. “Oh no you misunderstand me. I wasn't using 'terminated' to mean 'fired.' I meant it as 'they should be taken around to the back of the building and beheaded.” S stared at Hutch for a moment, as though waiting for him to correct himself. When Hutch did not he felt compelled to speak. “From your own report it sounds like you invited a local honeypot up to your room, at a hotel that you were not supposed to be at, and that the only reason that she didn't walkaway with the Findland crown jewel was because of the charmed bag you were issued.” Hutch took a sip of his drink. “That woman was not just some small time con artist, she was a professional and she had been hired to obtain the jewel.” S squinted “Well you make professional's job easy when you open the door for her.” S looked down and shuffled through some papers. He spoke again without looking up “How can you be so certain that she was a pro anyway?” “Well” Hutch paused to see if S would look up, he didn't “I suppose you can never be 100% certain of anything. That's what my judgment tells me, and if you want to prevent events such as this you'll eliminate the probable leaks.” At this S looked up. “We're not beheading anyone because you got hustled.” Hutch took another sip. “Well I still refuse to work with anyone else who did the prep on this mission. I mean besides the likely leak the intelligence I got was faulty. There was no way for me to get out of the museum before it opened with the tools I was given, the whole mission almost became ash.” “You seemed to do alright.” “Sure I did alright, but what if you had given this assignment to someone else?” S leaned back in his chair. He liked to think of field agents as interchangeable and disposable. It was best not to get to attached to someone whose existence you might one day have to disavow. The truth that Hutch was a cut above the rest, that he could not easily be replaced, annoyed him. That Hutch seemed aware of this annoyed him more (And though he would never even admit this, even to himself, he was also annoyed that Hutch had enjoyed a casual fling with a femme fatale.) “There will be an investigation into the intelligence work done prior to your mission. You'll understand though that it will be very low key, this mission must remain secret.” “The mission must remain secret? I think the Trellicks are going to figure it out when we put the crown jewel on display.” “Yes, well that's not going to happen until several years from now when...” S halted as he realized that he was tipping his hand to much. “Anything else about the mission you wanted to highlight?” The interest faded from Hutch's face as S changed the subject. “Well as I was journeying here a man tried to steal my horse. I believe he was just an ant hood opportunist, but as you pointed out, one can never be certain about that kind of thing.” “Hmmm...” S went back to looking through papers “Is that it then?” “That was all that's worth mentioning.” “Then you are dismissed for now. Met me at the Regin at 7 tonight, black tie.” The Regin was the only upscale restaurant in town that Hutch hadn't been to, it was reserved for the exclusive use of high level government officials. “Might I ask why?” “No.” * Hutch hadn't given the Regin much thought, so when he saw it he was surprised that it managed to surprise him. It wasn't actually a restaurant in the conventional sense. Rather than having one room for dinning he was led down a hall (by a man who knew who he was when he got there) to a private dinning room. There he found S dinning with the Minister of Enterprise. They were at a table that could accommodate 20 men, but there was only one other place setting. On the walls were paintings that had disappeared from Findland museums during the last war, even Hutch had believed that they had been stolen by Trellick, who had always claimed their innocence. S and the Minister (When people held posts of such ranking, they no longer went by their given name.) had chosen not to wait for him and had already begun dinning, they also didn't bother to stand when he entered. S briefly introduced Hutch and asked him to sit. An empty plate in front of Hutch was removed and a plate with a medium well steak was put in its place. A waiter grounded a fresh avocado into a paste and placed it along side Hutch's plate. The g
how to make your dial up faster
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