This article will explain how to set up a Windows 11 Pro computer for unattended operation, for example when running a gallery installation or kiosk. This article is a companion to Remote Computer Access.
These articles do not assume that you are an expert, but do require you to be familiar with using Windows. If required, you can find more detailed tutorials online. My aim here is to be concise and precise since I have not yet found an overview of this kind.
I regularly create gallery installations where audiovisual material is run on a computer that a) might difficult to physically access, and b) must be run with the minimum of technical knowledge. In these cases it is much easier to administer the functionality using a second remote computer.
First, read Configuring a Computer for Gallery Use, which explains how to set up the host computer. Then return here.
I am very sorry for my friends in Brazil. It is hard not to despair.
Here are all the jobs I have had, but only including those for which I received compensation or official designation. Sometimes I even managed a working wage.
This is why I've had a hard time being middle class. Though my "standing" has supported that label, the amount of labour I've performed merely to survive has me thinking that I am "working".
Being a collection of nonsense culled from everyday experience.
Fields have eyes but woods have ears.
As metaphors go, it doesn't hold a candle to the light fantastic at the end of the tunnel.
I may not be able to describe the processes in the heart of the sun, but I can still be warmed in its light.
Everything is a cynosure if you look the other way.
After obtaining a new lens I enjoy making a few quick comparisons with what I already own, so that I can determine the strengths and weaknesses of each optic. These test are not meant to be scientific, so please take with a grain of salt. Sample variation may have a large bearing on the results.
In this article I will compare three compact 85mm (or thereabouts) lenses available (from Olympus, Carl Zeiss, and Pentax) with the native Panasonic Lumix counterpart. I find this focal length particularly useful for gig photography, since in the small places I frequent, anything longer would put people between myself and the subject on stage. Anything shorter won't have the reach needed to isolate a performer.
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This is a brief response to the hullaballoo concerning a duct-taped banana. Naive knee-jerk responses have been anticipated by both artist and buyer, both aware of their roles in this game of post-symbolic trade.
In my previous articles I introduced the Olympus Zuiko 85mm and discussed the thorny problem of variants. This post will conduct a thorough examination of the optical formulas that Olympus deployed and their relationship to the classic Ernostar and Sonnar designs.
In my last article I introduced the Olympus Zuiko 85mm and compared its properties to my other two 85mm lenses. In my next article I will describe the optical formulas employed by Olympus.
In this post I'll explore a mystery that haunts this lens. Various writers claim that there are from two to four different variants. They don't agree on the particulars beyond the important fact that there were two different optical designs. Early lenses used 6 elements in 4 groups while later lenses used 5 elements in 4 groups. Photographers enjoy the original for its classic soft portraiture and claim the latter has superior sharpness and aberration correction.
My goal is to sort out the confusion. Further information or corrections are welcome!
Olympus launched their range of single-lens reflex (SLR) cameras with the M-1 in July 1972. The next year this camera was renamed the OM-1, the initials apparently standing for Olympus Maitani, honouring chief designer Yoshihisa Maitani (1933-2009). So began the famed OM System.
This article provides information on the Olympus Zuiko 85mm. The second article will examine the mystery of the different variants. I've now finished a third article that dives into the optical design.