Why You Need A NAS Recovery Expert

nreWith the high technology nowadays, it is always possible to do a NAS recovery when files are accidentally lost. There are a number of individuals who successfully recovered their files because they are familiar with how NAS recovery is done. However, for individuals who do not know about this, it is recommended not to attempt recovering the files. The network attached storage tool is quite complicated to fix, although there are guidelines placed in the internet. It needs knowledge on the operating system so that any recovery will be successful. That is why; you have to call an expert so that you have your network attached storage tool fixed appropriately.

Basically, it is not hard to have your NAS fixed by an expert. As long as you do proper researching, you can be directed to the right people or company. The first thing that you have to do is to ensure the credibility of the company. No matter what company you are interacting, you have to make sure that you are dealing with the right people. Check their services and price range and compare it with others. NAS recovery is easy if it is being done by an expert professional.

Is There Something Better Than RAID 5 Recovery?

Do you want to know a better way of backing up your files? It is by registering for online storage applications. Instead of using RAID 5 recovery (though it is a better way), you can simply register for an online account for storage applications. For each registration, you get at least 100 GB free storage. Yes, yes. Maybe your RAID hard drive is 1 TB big and 100 GB is nothing to you. You have two choices on how you can get more than 100 GB space. First choice is to register and buy more space so you can achieve the same number as your hard drive’s space. Compared to the hard drive’s price, the storage amount you can buy online is not expensive. Getting (or buying) 1 TB of space is not more than 30 dollars. Not bad compared to the hard drive’s price.

You can avoid using RAID 5 recovery but sometimes, you can just avoid real risk by using online storage. Anyway, the second way of getting more storage space from any online storage application is by registering for multiple accounts. As you know, each time you register you get at least 100 GB of memory space and 250 GB at most.

Before Learning How To Make A Blog, You Must Know This!

blhtmabFrom the previous articles, it is well elaborated there what the difference between blogs and article. This article will now be about the similarity and some other important things you need to know about them before you move on about learning how to make a blog. Although, they have differences, they are similar in how they are written. Some are written in a narrative form, some are written in a formal way, while others are written in a conversing way. Before you move on how to make a blog, you must always know the ways of writing a blog.

If the client wants you to write an article in a narrative form, then you should write in a way like you are telling a story to people or the audiences. The other form of writing is by writing it in a conversing way. This is very similar to writing in a narrative form but they are actually different from each other. How so? In narrative form, your article or blog should be in a form that you are telling a story while in conversing way, you will need to write it as if you are asking the opinion of the audiences.

Learn How To Set Up A Blog Fast

Do you have trouble setting up your own blog? Don’t worry, websites that you can make blogs on have their own tutorials on how to set up a blog. Making your own blog also might require some HTML knowledge if you want a specific background in the back or if you want scrolling texts. Customizing your blog will require little knowledge of HTML. If you don’t know anything about HTML, it’s good to search on the internet how to do it.

Customizing your blog can make your blog look more alive rather than let it be plain and gray. To attract readers, you have to make your blog as alive as possible. Not only do you have to customize your blog but you also have to write interesting things. You have to think about what people would like to read if you want viewers. It’s hard starting out new but once you get the hang of it, things will catch on and next thing you know you’re one of the best blogger. You wouldn’t have to ask anyone on how to set up a blog.

Other than customizing your blog and writing interesting things, you have to make sure your grammar is correct. No one would want to read a blog that contains spelling errors. You want to show the reader that you’re capable of being a mature blogger and spelling everything correctly. That is a big plus for bloggers.

Things To Consider For The Data Recovery Cost

tdrcIt is always recommended that you read a lot of reviews before you purchase a data recovery software. The software costs always vary depending on the company providing it. Some software makers provide a higher cost because of the added benefits while others are simply affordable. To ensure that you get the right amount of value for the investment you created, always know the credibility of the company. Research how long does the company exist and the type of services they provide. Sometimes, there are companies that offer a good data recovery cost, and they are also fantastic service providers.

In order to avoid this incident from happening, make sure that you are dealing with a reliable company. Always take time to research and understand every detail they provide. If you can ask a friend or anyone to help you with the decision process, do so. It takes to ask recommendations and opinions from others so that you will not be fooled by scams and other fraudulent activities. The money you spend and the data recovery cost you created will surely not turn into waste as you purchased the right product from a reliable company.

See this helpful data recovery pricing guide for a good idea of overall costs.

How To Treat A Dead Hard Drive

If your hard drive is broken, you may need advice on how to fix that broken hard drive. It is also good to know the reason why this happened. If the drive on your PC disappears, maybe a logic board is broken. A logic board is controlling the hard drive, so if it is broken or defective, it will stop the computer from working. What to do after it happens? If the hard drive cannot be powered, then the most logical thing is to change the logic board. It can be swapped by another one easily, but we must not forget that the drives should be the same.

There are two possible ways to fix a broken hard drive or damaged logic board. We can do it by ourselves, which can be tricky if we are not so experienced. Sometimes do-it-yourself solutions are faster and cheaper, but if cannot do the job, then it will be the opposite – long and expensive journey. Maybe it is good to leave a hard drive to an expert who will do it quickly and efficiently. But, to save the money next time, we can perform actions that will prevent the damage. For instance, we can keep our hard drives safe from vibrations that can affect the hard drive in a negative way.

Capturing An Air Show Takes Skill

caasDepth of field is not important for shooting flying aircraft because the lens is normally focused at infinity with nothing behind the aircraft but sky or clouds. In other words, you should feel comfortable shooting with the aperture wide open in terms of depth of field, which will give you maximum shutter speed. The trade-off you should consider is that some lenses lose clarity at large apertures. You need to experiment with your equipment for the best overall shutter speed and aperture combination for clarity.

Along with technical elements of clarity, good photographic technique is essential. This means accurately panning with the action. Panning involves following the aircraft with your viewfinder in a smooth sweeping motion as the aircraft flies by. When the aircraft is framed to your satisfaction, press the shutter release while continuing the smooth sweeping motion. It takes some practice. When you pan the camera, your pictures will have a clear image of the aircraft and the background will be blurred.

When an airplane is flying slowly, it is easier to pan and it moves a shorter distance while the shutter is open; thus you are more likely to get a clear image. This goes against your natural intuition to photograph a screaming F-14 fighter on a high-speed pass. Although such passes are impressive to watch, you won’t be able to portray the speed of the aircraft in your picture and you will be disappointed in the final image.

1. Shoot Take-offs and Landings

Take-offs and landings provide the best aerial photo opportunities. Aircraft will be flying more slowly during takeoffs and landings, which will help you obtain clearer pictures. Also, the ground provides a visual reference to give the illusion of speed in the picture.

Take-offs of fighter jets that have afterburning engines can be spectacular. You can often get a shot of the afterburner flame during takeoff. Slight underexposure of the scene will make this an impressive shot.

The white smoke of the wheels hitting the runway on landing will form a spinning vortex that makes an interesting shot. Timing is everything to catch this shot.

2. Be Open to the Unexpected

Not all of the action at an air show happens in the air. Actually, I am usually more interested in the static displays and the pre-flight and post-flight activities when shooting at an air show. Take a look at the planes parked on the ramp and talk to the pilots. Also, watch pilots doing pre-flights, especially with precision demonstration teams like the Air Force Thunderbirds, Army Golden Knights, and Navy Blue Angels. These are opportunities for great photojournalistic shots.

3. Try A Different Angle On Action

Keep an observant eye on the action at an air show. By shooting a series of related photos, you can portray a different overall view of the action. For example, during pre-flight of a group of North American T-28 trainers, I negotiated a spot next to the taxiway and set up for the parade of planes to pass by. I tried to frame and shoot each plane the same way as they were taxiing out for takeoff. Likewise, I shot each plane from a different angle and distance as they returned from the aerial demonstration. When the pictures are viewed as a set, they tell an interesting story.

4. Photograph from Natural Viewpoints

pgnvWhen shooting static displays of aircraft, there are “natural viewpoints” of airplanes that please the eye. Natural viewpoints are obtained by shooting airplanes off-center from the front or directly from the wing tip. These viewpoints show the entire aircraft and appeal to its natural aerodynamic sense. Most of the time, you will capture the engines, the cockpit, and machine guns, insignia, and other interesting elements of the plane from these two angles.

5. Pay Attention to Autofocus

Autofocusing cameras can have difficulties locking focus on aircraft in flight. The problems are caused by an airplane that is too small in the

viewfinder for the autofocus to lock, or due to low contrast between the clouds and the aircraft, which also prevents autofocusing. The solution is simple: turn off autofocusing and focus the camera manually. Most of the action will be focused at infinity, so set the focus and forget about it. The only times I use the autofocus mode in my camera are to shoot aircraft on taxiways, take-offs, and landings. [Editor's note: We've had good results shooting airshow action with long lenses on AF 35mm SLRs in continuous AF mode.]

6. Shoot with the Sun at Your Back

As in almost all situations, keep the sun at your back while taking air show pictures. This is basic, but it works and it makes dramatically better pictures. With the sun behind you, the chance for flare caused by direct light hitting the front of the lens is much less. Your shots will have much better color saturation with less haze and washout.

Ground Shots Must Be Finely Tuned

pgVirtually all of my photography is done with a tripod. There are two reasons for this. First, my images are sharper than if I hand-hold the camera. Secondly, I don’t have to support the weight of my camera for long periods of time. My Mamiya RZ67 is relatively heavy, but so are 35mm cameras with motor drives and large lenses. When a photographer’s arms become tired over a period of time, it is almost impossible to hold the camera steady.

Tripods that allow a low, stable platform – where the lens is only a few inches above the ground – must offer two features. All three tripod legs must spread so that they’re equally parallel with the ground. In addition, the center column must be very short, or there should be no center column at all. With this kind of tripod, the camera can be positioned as low as possible and still be supported by a stable platform. Some tripods, like those in the Gitzo line, offer a short center column as an accessory. On one of my older tripods, I simply cut the center column with a hacksaw.

An alternative to using a tripod is a window mount manufactured by Kirk Enterprises. This unit accepts a ball head, and can be used on a car window as well as on a flat surface. It is ideal for shooting on safari where photographers often use the roof of a Land Rover as a platform. It rests on three rubber feet that position the camera closer to the ground than any tripod can.


m-rz67When I use my Mamiya RZ67 at ground level, the waist-level finder is ideal. From a kneeling position, I can simply look downward into the viewfinder and compose my shot (the image in the viewfinder is reversed, but after a day or two of shooting this way, it’s no longer distracting).

Photographers who use 35mm equipment have a problem, however, when the camera is at ground level. The painful position your neck is in when you look into the eye-level viewfinder makes this kind of photography extremely awkward. In addition, you are forced to lay on the ground where your chin and chest may be in contact with mud, poison ivy, insects, and other unpleasant things.

The solution is to use a right-angle finder. This permits you to look downward into the viewfinder comfortably, in a similar manner that a waist-level viewer works for the Mamiya RZ. This is ideal for horizontal compositions, but is awkward to use for vertical shots.


One of the problems you’ll encounter when shooting from a low angle is depth of field. The camera is physically close – sometimes only a few inches – to grass, branches, leaves, and rocks on the ground, and if the subject is a few feet or more from the lens, the foreground will be out of focus. While out-of-focus backgrounds are acceptable (and even desirable), foregrounds that are soft usually distract from the subject. In low light conditions where larger apertures are used, this problem is exacerbated.

For this reason, a wide-angle lens is a good choice when shooting from ground level. Even at large apertures, depth of field is considerably greater with a wide-angle lens. In fact, the wider the angle, the more depth of field you’ll get.

Having said this, I admit that most of my ground-level photography is actually done with medium and long telephoto lenses. Small animals, birds, and insects don’t often allow a close approach, so the only alternative for frame-filling shots is a telephoto lens. If an out-of-focus foreground results, then it’s just one of the compromises inherent in photography. Indeed, foreground elements often provide camouflage that allows a wildlife photographer to get close to the subject.


One of the aspects of shooting at ground level is that large subjects appear even bigger. For example, when a fashion model is photographed with a camera resting on the ground, her height is dramatically underscored. Likewise, an elephant photographed at a water hole from the water’s level looms extraordinarily large.

The photo of the three boys playing with a soccer ball exemplifies this point. I shot with a wide-angle lens from ground level, and the youths’ height is definitely exaggerated. The boy in the center was particularly short, but he appears taller than he did in reality because the camera’s angle was so low.

Talking Image Resolutions

Ideally, the image resolution should match the output resolution that the screen or printer is able to handle.

When an image’s size is not matched to the output device, whether is it a Web page or print, the best method is simply to re-scan the image at the desired size and resolution. It may take a little more time and effort than re-sizing the shot in an imaging application, but the results are worth it. However, because image usage can’t always be anticipated, the need to change image size or resolution frequently arises.


ptThere are several ways to change the size of images. One way of changing file size, at least to make it smaller, is to crop an image. This involves loading an image into an image-editing application, selecting a portion of it and then discarding the rest. That will change the dimensions and the file size, but won’t impact the resolution.

There are also re-sizing and re-resing techniques. Re-sizing involves changing an image’s dimensions. The new values can be percentages of the original dimensions or they can be specific values. In both cases, imaging programs use complex mathematical algorithms to change the size.

Re-resing involves changing the resolution of an image. This may involve increasing or decreasing it. When resed down, pixels are discarded. When resed up, pixels are added. Unfortunately, duplicated or interpolated pixels provide no additional image detail, so image quality often suffers.

With that said, there are many times when resing up is the only solution. For instance, not much else can be done if the original print or slide has been badly damaged or the subject is no longer available to shoot. In that case, load the image into an imaging application and change the image size using the resize/re-sampling option. This option forces the application to intelligently create new image data instead of just duplicating pixels. Re-sampling works, but image quality may suffer.

When a smaller file size is required, it’s possible to reduce the file size by compressing the number of pixels the image contains without changing the image’s dimensions. Image quality suffers as the amount of compression is increased. However, compressed image files work well when placed in Web pages and when used as e-mail attachment. They also take up less disk space. Most imaging applications are capable of compressing.digital image data in the GIF, JPG and TIFF file formats, among others.

Another method of changing image file size is by decreasing an image’s color depth. Twenty-four bit images use three bytes of disk space to describe each pixel. Only one byte per pixel is needed when the color depth is dropped to 256 colors. Decreasing color depth usually degrades image quality, but the effect is usually minimal, and 8-bit, 256-color images work well in Web pages.

The ability to change image sizes, file sizes and resolutions makes it possible to configure image files for the widest variety of possible uses.

A Look Into NYI’s Prestigious Photography School


One of the fundamental precepts of NYI is, “It’s not the violin, it’s the violinist.” In other words, it’s not the kind of camera or lenses you have, or how many accessories you carry around – successful images are all up to you! It’s developing your eye to see a memorable image, and gaining the technical ability to translate that idea onto film. Gadgetry is only a means to an end.

This lesson teaches you to concentrate on this process by asking yourself three questions each time you take a picture: 1) What is the subject or theme I want to portray? 2) How can I focus attention on my subject and draw the viewer’s eye to it? 3) Have I included only what draws my attention to the subject, and have I eliminated everything that is non-essential or distracting?

This first lesson is an overview of the theory that NYI ascribes to, and these questions serve as a guide for the student as the course continues.

Camera and Lens

I found that this lesson explained how many elements of your camera operate (such as the f-stop), which I had always taken for granted. This lesson also explores some of the most common problems encountered by photographers, such as perspective distortion. These problems are later discussed in conjunction with wide-angle and telephoto lens techniques.

Your camera is just a tool to help you record what you see, but the more you understand exactly how it works, the more effectively you’ll use it in the long run.

How to Use Your Camera

This lesson moves beyond theory and begins to teach you technique, starting with the photographer’s two primary creative tools: depth of field (the area from front to back in the picture that will be in focus) and shutter speed (which controls how much motion is present in your image). Focus and hyperfocal distance are also covered in this lesson.

Each unit of the course comes with a videotape to view after you have finished the text and audio portions of the lessons. While it serves primarily as a summary of the concepts you have just covered, it was advantageous to see some of it put to use. I found the demonstrations of the hyperfocal technique particularly effective, as well as the use of slow shutter speed for special effects – such as the illusion of “angel hair.”

A comprehension test proved that this is no lackadaisical correspondence class with automatic grade “A”s given at the end. There were some questions I really had to stop and think about.

Photo Project

ppgThree assignments have to be turned in: A) Photograph something in motion. The photo should express a sense of speed. B) Use selective focus to achieve shallow depth of field. Make the subject stand out against a busy background. C) Photograph a beautiful outdoor vista. Use hyperfocal distance to achieve the greatest depth of field possible.

Assignment A

In Photo #1 I used a very slow shutter speed to blur the subject while the background remained sharp. I liked this image because of the various degrees of motion shown.

After this, I tried a different technique – panning the camera with the subject. I tried this at different shutter speeds before finding one that worked. I liked photo #2 because, although the bikers in motion are actually the subject of the picture, there are also varying degrees of speed in the background runners. This was the image I submitted.

Technical info: The exposure was 1/15 at f/22, shot with Kodak Max film, rated at EI 400. I used a Nikon FM2 with a Sigma 35-80mm lens, set at 50mm. The camera was on a tripod, and I panned with the subject.

Assignment B

For my selective-focus images, I photographed leaves at a shallow depth of field. Although I liked the powerful juxtaposition of primary colors in photo #3, I felt that it was almost too abstract. The subject did not really stand out enough from the background.

Instead, I chose photo #4. Although this image also has a repetitious color scheme, the branch that crosses the foreground is more distinct. I love the colors of the leaves, and this picture gives me a sense of calm – there’s space for the viewer to reflect.

Technical Information: The exposure was 1/1000 at f/1.4. I shot the image on Kodak Max film, rated at EI 200. I used a Nikon FM2 with a Nikkor 50mm f/1.4 lens.

Assignment C

For the outdoor vista assignment, I headed down to the Brooklyn Bridge one morning. The hyperfocal distance technique is interesting because the extreme background is in focus, and it allows you to put some foreground objects into the picture as well.

At first I wanted to shoot photo #5 with the flag set against the blue sky, and all the lines of the bridge drawing your eye into the center of the image. Later that week, however, I saw an advertisement with an almost identical picture. That eliminated it from contention.

Instead, I sent in photo #6 – the World Trade Center with the cable from the bridge crossing in front of it, and the bridge detail in the foreground. It’s not your typical view of the World Trade Center – it’s the way New Yorkers view it – just another building. The red crane and the apartment buildings in the image are everyday elements that make this image seem like any other place.

Technical info: The exposure was 1/60 at f/11, shot with Kodak Max film rated at EI 200. I used a Nikon FM2 and a Sigma 35-80mm lens, set at 35mm.

For more information on the New York Institute of Photography, contact them at Dept. T19, 211 East 43rd St., New York, NY 10017; 800/336-NYIP, or on the Internet at www.nyip.com.

Excerpts of the taped comments that Carolyn received on her first photo projects from NYI Instructor Joe Billera

Assignment A, Photo I: Stow Shutter Speed, Static Camera

The photo meets the terms of the assignment because the photographer blurred something in the picture, thus giving a sense of motion to the subject – the bicyclist and the dog. All photos are illusions and the job of the photographer is to create a specific illusion in order to create a specific response from the viewer. In the case of motion and movement, blurring can be effective and a key part of that illusion.

Nonetheless, this photo can be improved. NYI’s first guideline instructs the photographer to ask herself, “What is the subject of my photograph?” Here, we know from the student’s notes and the assignment that the subject is the dog and cyclist, but the subject needs to be more dominant in the picture. To do that, I suggest she get closer to the subject or use a longer lens.

In this case the subject is in the center of the photo, something we call “the bull’s-eye effect.” This is fine in a portrait, but in action photos, central placement creates a dulling effect. Generally it makes sense to leave more room in front of a moving subject.

In this case, there are two ideas for simplifying this image. First, the horse has to go. Secondly, the trees in the background compete for our attention and become very distracting. It would have been better for her to change her position to diminish the effect of the trees.

Assignment A, Photo 2:

In her second approach, Carolyn made a correct decision to use the panning technique that we teach in the first unit of the course. She threw the background out of focus, which gave the photo a nice sense of motion. The horse is gone, the cyclists are off-center and more dominant, so this photo meets the terms of the assignment and is more pleasing to the eye.

However, I still suggest getting a little closer to tile subject. She shot the picture at 1/15 at f/22, using ISO 400 film. I would have liked to see the results at 1/8, using a slightly slower film. At slow speeds it is important to follow through on the panning movement – it should be one fluid motion.

Assignment B: Selective Focus

Carolyn has used a large aperture to make her subject sharp against a busy background. Here, we can clearly see the branch that interests her, and the blue sky and other foliage in the background is soft. With regard to selective focus, the a word of caution: It is not a cure-all for a distracting background. Here the photographer set up a very pleasant relationship between subject and background.

This is a very nice image. The lighting is soft and beautiful. However, I would like to see a little more sharpness on the leaves. I think that if she had shot the image at 1/500 at f/2, or even 1/250 at f/2.8, there would be enough depth to cover the subject without making the background sharp.

Assignment C: A Vista With a Sense of Near and Far

In this assignment, we ask students to use a hyperfocal setting to capture a grand vista that includes everything close to the camera as well as in the distance. In a scenic like this, we want the viewer’s eye to travel from the foreground to the background, and the sharpness of a small aperture keeps everything in focus. Sharpness equals significance.

However, the Brooklyn Bridge is such a powerful subject, and has such sculptural mass, that it becomes the subject of the photograph. This is a lovely photo of the bridge, but not as a vista of the New York skyline. It’s not the photo we asked for in this assignment, but there’s a lot that Carolyn can learn by reviewing this image.

The elaborate cable rigging of this suspension bridge leads the viewer’s eye up to the stone arches and to the edges of the photograph, forcing the viewer to stay within the foreground area, depriving the viewer of a sense of extreme distance.

To improve this photo, she could have tried a very low angle. Too many photographs are taken at eye level. If she got on a very low level with the camera, we would see more sky and some of the cable rigging would be eliminated, simplifying the image, Secondly, a large dramatic space in the foreground sometimes benefits from being filled in a little. This is a picture about structure, and I wouldn’t want to see the space filled with a portrait subject waving at the camera, but a bicycle or the back of a person could help give a sense of scale.

Traveling And Photos – Always Good Fun

tpWhile traveling, people are often engaged in activities such as hiking, water sports, or other situations where you can get action shots. For these pictures, you’ll want to use a relatively fast film, perhaps in the ISO 200-400 range. Plan ahead and find a vantage point that will allow you to capture the action as it passes by, such as a spot on the bank of a river where you can photograph a raft as it speeds past.

Many vacationers love to photograph landscapes, national parks, and other scenic areas. If your camera has a zoom lens with a wide-angle to moderate telephoto range, you’ll be able to shoot a wide range of compositions. You can use your wide-angle lens to capture vistas like the Grand Canyon, or zoom in to emphasize a smaller part of it, like an interesting cliff face or tree. Sometimes these details make for better, more unique images than those shot from the typical photo spots that everyone photographs.

If you’re visiting an interesting city or rural town on your trip, you may want to capture the local color on film by photographing a cityscape or the town streets. Your challenge is to find an interesting vantage point to shoot from. Many times, you can take your pictures from a hotel room on one of the upper levels, or find an area where you can shoot the city skyline from a distance. Nearby hills and bridges also offer good vantage points for great photos, such as the picture-postcard views of San Francisco shot from across the bay.

Whether your subjects are landscapes or cities, however, remember that photography is generally best early or late in the day. Sometimes it’s hard to coordinate photography with your travel plans, but you’ll enjoy the results better if you can shoot early in the morning or very late in the afternoon. Pictures shot at midday often appear washed out and dull.

Tell a story with your travel pictures – plan ahead to create a photo album of your vacation. If you keep track of when and where you shot each picture, it will really help when you organize them after returning home. If your camera has a data-imprinting feature that will date-stamp your photos, turn the date stamp on for at least the first and last few shots of each roll, so that you’ll remember later when you shot your images.

When you organize your photo album, make it interesting by mixing pictures of landmarks with interesting detail shots and family portraits. In addition to the pictures you take, you may want to add other trip memorabilia to your photo album, such as postcards, maps, or restaurant menus.