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The main advantage of hydraulic systems is they can easily multiply the relatively weak force of the pump to generate the stronger force needed to lift the elevator car (see How Hydraulic Machines Work to find out how).
The outdoor game watch had 40k, and busch is taking place of the outdoor watch. ghostofclt Yesterday, 22:48:51. Rumor: busch stadium may be opening up for a watch party. ghostofclt Yesterday, 17:35:37. Dumas question: is the Rams Dome booked?. osklister Yesterday, 18:54:31. Logistically, do they have a staff that can run it? Then the image 'logo' â Go ahead and delete after you're done playing with it â this is like a Wiki sandbox, I guess. Nothing here to convince anyone of anything, but speculative musings are a good preliminary, and the evidence is out there, after all, in public places for anyone to see. As to the conclusion a person might draw, well. You might say, yeah, same guy. But others? Most people look for reasons and motives. So it just sits there, making no claims.
Can I dry fire my S&W handgun? Where can I find S&W long gun parts & service? How can I obtain a manual for my S&W handgun or an S&W catalog?
The Walther PP (Polizeipistole, or police pistol) series pistols are blowback-operatedsemi-automatic pistols, developed by the German arms manufacturer Carl Walther GmbH Sportwaffen.[3] It features an exposed hammer, a traditional double-action trigger mechanism,[4] a single-column magazine, and a fixed barrel that also acts as the guide rod for the recoil spring. The series includes the Walther PP, PPK, PPK/S, and PPK/E models. The Walther TPH pocket pistol is a smaller calibre pistol introduced in 1971 identical in handling and operation to the PPK. Various PP series are manufactured in Germany, France and the United States.[5] In the past, the PPK version has been manufactured by Walther in its own factory in Germany, as well as under licenses by Manurhin in Alsace, France, Interarms in Alexandria, Virginia, US and by Smith & Wesson in Houlton, Maine, US. Since 2013, PPK and PPK/S models have been built in Fort Smith, Arkansas, at the factory of US-based subsidiary Walther Arms, Inc.[6][7] The PP and the PPK were among the world's first successful double action semi-automatic pistols. They are still manufactured by Walther and have been widely copied. The design inspired other pistols, among them the SovietMakarov, the Hungarian FEG PA-63, the Polish P-64, the American Accu-Tek AT-380 II, and the Argentinian Bersa Thunder 380. The PP and PPK were both popular with European police and civilians for being reliable and concealable. During World War II, they were issued to the German military, including the Luftwaffe, as well as the police.[1] PP Series[edit]
Walther PP .32 made in Germany in 1968
The original PP (Polizeipistole) was released in 1929.[1] It was designed for police use and was used by police forces in Europe in the 1930s and later.[1] The semi-automatic pistol operated using a simple blowback action.[1] The PP was designed with several safety features, some of them innovative, including an automatic hammer block, a combination safety/decocker and a loaded chamber indicator.[1] PPK[edit]The most common variant is the Walther PPK, a smaller version of the PP with a shorter grip, barrel and frame, and reduced magazine capacity. A new, two-piece wrap-around grip panel construction was used to conceal the exposed back strap. The smaller size made it more concealable than the original PP and hence better suited to plainclothes or undercover work. It was released in 1930. 'PPK' is an abbreviation for Polizeipistole Kriminalmodell (police pistol - detective model). While it's often thought to be 'kurz' (German: short) referring to the police pistol with shorter barrel and frame, the manufacturer's selection of the name 'Kriminal' appears in early original advertising brochures from Walther and the 1937 GECO German catalog.[8] Adolf Hitler shot and killed himself with his PPK (.32 ACP/7.65mm) in the Führerbunker in Berlin.[9] South Korean dictator Park Chung-hee was shot and killed by Kim Jae-gyu, using the Walther PPK. The Walther PPK pistol is famous as fictional secret agent James Bond's gun in many of the films and novels: Ian Fleming's choice of the Walther PPK directly influenced its popularity and its notoriety.[10][11] Fleming had given Bond a .25 Beretta 418 pistol in early novels, but switched to the PPK in Dr. No on the advice of firearms expert Geoffrey Boothroyd,[12] though the actual guns carried by Bond and Felix Leiter in the film were, in fact, Walther PPs.[11][13][14] Actor Jack Lord was presented with a gold plated one with ivory handgrips. Singer Elvis Presley owned a silver-finish PPK, inscribed 'TCB' ('taking care of business').[15] PPK/S[edit]The PPK/S was developed following the enactment of the Gun Control Act of 1968 (GCA68) in the United States, the pistol's largest market.[16] One of the provisions of GCA68 banned the importation of pistols and revolvers not meeting certain requirements of length, weight, and other 'sporting' features into the United States. The PPK failed the 'Import Points' test of the GCA68 by a single point. Walther addressed this situation by combining the PP's frame with the PPK's barrel and slide to create a pistol that weighed slightly more than the PPK.[4] The additional ounce or two of weight of the PPK/S compared to the PPK was sufficient to provide the extra needed import points. Because United States law allowed domestic production (as opposed to importation) of the PPK, manufacture began under license in the U.S. in 1983; this version was distributed by Interarms. The version currently manufactured by Walther Arms in Fort Smith, Arkansas has been modified (by Smith & Wesson) by incorporating a longer grip tang (S&W calls it 'extended beaver tail'),[17] better protecting the shooter from slide bite, i.e., the rearward-traveling slide's pinching the web between the index finger and thumb of the firing hand, which could be a problem with the original design for people with larger hands or an improper grip, especially when using 'hotter' cartridge loads. The PPK/S is made of stainless steel.[4] The PPK/S differs from the PPK as follows:
The PPK/S and the PPK are offered in the following calibers: .32 ACP (with capacities of 8 for PPK/S and 7 for PPK); or .380 ACP (PPK/S: 7; PPK: 6). The PPK/S is also offered in .22 LR with capacity of 10 rounds. PPK-L[edit]
A Walther PPK-L manufactured in 1966
In the 1960s, Walther produced the PPK-L, which was a light-weight variant of the PPK. The PPK-L differed from the standard, all steel PPK in that it had an aluminium alloy frame. These were only chambered in 7.65mm Browning (.32 ACP) and .22 LR because of the increase in felt recoil from the lighter weight of the gun. All other features of the postwar production PPK (brown plastic grips with Walther banner, high polished blue finish, lanyard loop, loaded chamber indicator, 7+1 magazine capacity and overall length) were the same on the PPK-L. PP Super[edit]First marketed in 1972, this was an all-steel variant of the PP chambered for the 9Ã18mm Ultra cartridge. Designed as a police service pistol, it was a blowback operated, double-action pistol with an external slide-stop lever and a firing-pin safety. A manual decocker lever was on the left side of the slide; when pushed down, it locked the firing pin and released the hammer. When the 9Ã19mm Parabellum was chosen as the standard service round by most of the German police forces, the experimental 9mm Ultra round fell into disuse. Only about 2,000 PP Super pistols were sold to German police forces in the 1970s, and lack of sales caused Walther to withdraw the PP Super from their catalogue in 1979.[18] PPK/E[edit]
At the 2000 Internationale Waffen-Ausstellung (IWAâInternational Weapons Exhibition) in Nuremberg, Walther announced a new PPK variant designated as the PPK/E.[19][20] The PPK/E resembles the PPK/S and has a blue steel finish; it is manufactured under license by FEG in Hungary. Despite the resemblance between the two, certain PP-PPK-PPK/S parts, such as magazines, are not interchangeable with the PPK/E. Official factory photographs do not refer to the pistol's Hungarian origins. Instead, the traditional Walther legend ('Carl Walther Waffenfabrik Ulm/Do.') is stamped on the left side of the slide. The PPK/E is offered in .22 LR, .32 ACP, and .380 ACP calibers.
A Stainless PPK made under License by Ranger Arms
Manufacturing[edit]Walther's original factory was located in Zella-Mehlis in the 'Land' (state) of Thuringia. As that part of Germany was occupied by the Soviet Union following World War II, Walther fled to West Germany, where they established a new factory in Ulm. For several years following the war, the Allied powers forbade any manufacture of weapons in Germany. As a result, in 1952, Walther licensed production of the PP series pistols to a French company, Manufacture de Machines du Haut-Rhin, also known as Manurhin. Manurhin made the parts but the pistol was assembled either at St. Etienne arsenal (marked 'Made in France') or by Walther in Ulm (marked 'Made in West Germany' and having German proof-marks). The French company continued to manufacture the PP series until 1986. In 1978, Ranger Manufacturing of Gadsden, Alabama was licensed to manufacture the PPK and PPK/S; this version was distributed by Interarms of Alexandria, Virginia. Ranger made versions of the PPK/S in both blued and stainless steel and chambered in .380 ACP and only made copies chambered in .32 ACP from 1997 to 1999. This license was eventually canceled in 1999. Walther USA briefly made PPKs and PPK/Ss in Springfield, Massachusetts. From 2002, Smith & Wesson (S&W) began manufacturing the PPK and PPK/S under license at their plant in Houlton, Maine until 2013. In February 2009, S&W issued a recall for PPKs it manufactured for a defect in the hammer block safety.[21] In 2018 Walther Arms began producing them again at their new US manufacturing plant in Fort Smith, Arkansas and new ones are being shipped as of March 2019. Users[edit]
See also[edit]Notes[edit]
References[edit]
External links[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=Walther_PP&oldid=901809785'
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Phase One Capture One Pro 8I have Capture One and a few others. And none of them do RAW better than Adobe. But the catalog function is backwards, everything important seems hard to. On a single card and when I go to load them on my computer I can't even see. ![]()
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From Phase One, the maker of top-end professional photography hardware like the remarkable 100-megapixel IQ3 100MP Trichromatic, comes Capture One Pro 12, photo editing software that offers digital photo import tools, raw camera file conversion, image adjustment, local and layer editing, and some organizational features. Also featured are tethered shooting, a live monitor view, and focus tools for shooting directly from the app. Capture One (aka C1) is a strong competitor to the Editors' Choice winners Adobe Photoshop Lightroom, DXO Optics Pro, and others in the prosumer photo workflow space thanks to updates to the interface and export plug-in capability, as well as new masking tools. Getting the Software and Getting StartedYou can either buy the software outright for $299 or subscribe for $20 per month. There's also a $15 monthly plan, if you prepay for a year. These prices are a bit steep when you consider that you can get Adobe Photoshop Lightroom Classicand Photoshop for a $9.99-per-month subscription. You get three Capture One licenses for your money, up from two in past editions and more than Adobe's two-computer maximum. Upgrading from a previous version costs $149. A free, reduced-feature Express edition of Capture One is available to owners of certain Sony and Fujifilm camera models, who can upgrade to the full Pro edition for $159. A free, fully functioning 30-day trial version lets you test the software.
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Capture One Pro is available for macOS (10.12.6 or later) and Windows 7 SP1 through Windows 10 (64-bit only), and both require a machine with least a Core 2 Duo processor, 8GB RAM, and 10GB of free disk space. I tested the Windows version. It takes up a hefty 700MB of hard drive space, but that's quite a bit smaller than Lightroom Classic's 2GB. It's a 64-bit application—handy for when you have many large image files open at once. One small complaint I have with the installation process is that it requires a reboot. I had to upgrade my image catalog on the first run, but doing so was quick. I also had to activate the software with my Capture One account as well as a serial number. That's a fair amount of work to do to get started, but Adobe's validation process isn't much better. What's New in Capture One Pro 12For Capture One aficionados, here's a crib sheet on what's new for version 12:
Interface and ImportOn first run, the new Resource Hub pops over the main program window. This offers tabs for What's New, tutorials, webinars, support, and plug-in shopping. If you dismiss it, you can get it back up from the Help menu. Just about everything in the Hub opens a webpage in your browser, so I'm not sure why there isn't just a link on the program window to a web index page of all this. Phase One has tweaked Capture One's interface with larger menu fonts, some new icons, and reorganized menu options. That said, it's still recognizable to longtime C1 users, and is in general far busier than Lightroom CC and Skylum Luminar's interfaces. The dark (adjustable) gray window features two large buttons for importing and tethered capture. Unlike Lightroom Classic's interface, Capture One's is not modal. That is, it doesn't present different workspaces for different functions, such as organizing, editing, or output. Instead, you do everything in the one interface. You use buttons to switch the left panel between 10 (down from 12 in earlier versions) views based on what you're doing at the moment—Library, Capture, Lens, Color, Exposure, Details, Adjustments (including presets), Metadata, Output, and Batch. You can remove any view you don't use frequently. Along the top, 11 toolbar buttons switch you among Select, Pan, Loupe, Crop, Straighten, Keystone, Spot Removal, Draw Mask, White-Balance, and Apply Adjustments cursors. Just as in Photoshop, right-clicking (or click-and-holding) these buttons opens a drop-down of more cursor choices, including Zoom and Pan. The Apply Adjustments cursor lets you copy and paste adjustments between images. New for version 12, this paste functionality is smart enough to not include spot removal and cropping. The program offers good right-click menu options, and keyboard shortcuts (for example, C for crop, Ctrl-T to hide or show the Tools menu, and number keys for ratings). You can even create your own shortcuts for any of the program's menu options. New for version 12 is the ability to search for shortcuts, by either the key combination or the command performed. Undo and Reset buttons are always at the ready to reverse editing goofs, something I like to see in an interface. Question mark icons in every tool take you to the appropriate help entry—very helpful indeed. A simple roll of the mouse wheel quickly zooms your photo. Like Lightroom Classic, Capture One can't zoom to a specific percentage. Instead, it stops at set amounts, such as 25 percent, 50 percent, and so on. There's no indication whether the photo you're viewing has been fully rendered. In my testing, photos rendered faster than in Lightroom Classic, which does, however, indicate when the photo is completely rendered. There's a full-screen view in Capture One that shows both the side panel and your image, but this is far less useful than Lightroom Classic's true full-screen view. I also found that the basic action of switching between gallery and image view was less intuitive than it should be. Sometimes I would hit the multi-image button and the program would keep me in single image view. In Lightroom, it's a simple matter of double-clicking an image. As an alternative to the large Import button, you can set Capture One as your default AutoPlay option when plugging in camera media. The import dialog is powerful. It lets you choose the source, destination, file renaming, and copyright metadata. You can also preform a simultaneous backup during import, and even apply adjustment styles and presets such as Landscape B&W, midtone boost curve, and sharpening. Autocorrect is also a useful import option. You can zoom the preview thumbnails, view single images, and choose which images to import. You can't rate or tag them before importing, unfortunately. The program's duplicate detection (like that in Lightroom) saves you from having unnecessary copies on your drive. Like Lightroom Classic, Capture One stores information (including any edits) for your imported photos in databases called catalogs. The actual image files can be stored in a different folder location from the catalog, or right inside it. Keeping them separate means you can have the large image files on a separate NAS drive, for example. Unlike Adobe's app, Capture One lets you have multiple catalogs open simultaneously. The default is to open the catalog you're importing to as soon as the import starts. A double progress bar shows both overall import and current file-operation progress. (See the Performance section below for a comparison of import speeds; long story short: C1 imports faster than Lightroom, PhotoDirector, and ACDSee Pro.) You can start working on photos before the whole import finishes, which is handy. Most raw camera files I tested in the program look noticeably better than the unadjusted Lightroom and ACDSee equivalents, and even better than in the excellent DxO Optics Pro. Capture One supports DNG images created by Adobe programs, treating them as original raw files. Even with these, I saw more detail in Capture One than in the Lightroom's initial conversion in some photos for some camera models. With others, Lightroom's new Adobe Color raw profile provides the superior image. Capture One raw conversion on the left, Lightroom on the right (using the Adobe Color profile). In the top pair, the C1 rendering looks too saturated, and that's reversed in the second pair, shot with a different camera (Canon EOS 5D at the top 80D on the bottom). You can switch the Curve for rendering among Auto, Film Extra Shadow, Film High Contrast, Film Standard, and Linear Response. The first few modes are more saturated, and the last two give the most detail. As its name suggests, tethered capture is a strong point for Capture One—it offers more than just about any competitor, with its live-view Sessions feature. There's also an iPad app, Capture Pilot, that lets you show, rate, and capture photos using Apple's tablet as a remote. Organizing PhotosCapture One lets you add star ratings via thumbnails across the bottom of the interface screen and at the lower-right corner of the main photo view. There aren't simple Pick or Reject buttons for people with less-granular processes. There are, however, color labels, for those who organize that way. The Keyword tool accessible from the Metadata tab lets you add keywords to build a Library. The next time you start typing in the text box, any matching entry in the library is suggested. You can even import or export keyword libraries and add hierarchical keywords. The program doesn't, however, offer you a prepopulated keyword library. I still prefer the treatment of keywords in Lightroom Classic, however, which offers exhaustive help and presets for organizing your photos in this most useful way. You can create your own albums (including smart albums based on ratings, color codes, or search criteria), projects, or groups (which can include any combination of the above). But forget about integrated geo-tagged maps or people tags, such as you get in Lightroom. Capture One does offer good search options by date, filename, rating, and keyword. One helpful organizational tool in Capture One is called Variants. Similar to Lightroom Classic's Snapshots feature, Variants let you create multiple copies of a photo with different adjustments and edits. Variants are the only way to get a before-and-after view of your adjustments, and even that method doesn't work as well as Lightroom Classic and DxO's side-by-side views. Adjusting PhotosOrganization may not be Capture One's forte, but in its selection of standard adjustment tools—exposure, contrast, shadows, highlights, white balance, and so on—Capture One is up there with the best. The program offers an adjustable histogram, white balance, exposure, HDR, and clarity. The last offers a few modes of its own, with Punch, Natural, and Neutral being more effective than Classic mode, which just seems to sharpen images. A couple of Lightroom Classic tools I miss in Capture One are Vibrance and Dehaze. The latter has made its way into several competing applications, so its absence in C1 is now egregious. For the record, the haze-removal tools in DxO PhotoLab and Skylum Luminar worked better than the one in Lightroom, which added a color cast. I can usually get a better-looking end result using Lightroom Classic's tools, even though Capture One gets more detail at initial raw conversion. A big A button above the side-panel buttons makes the appropriate autocorrect adjustments for the current window. You can undo the autocorrect changes of any given setting (exposure, white balance, and so on) individually, without undoing the others. The program's High Dynamic Range section offers just two sliders, for highlights and shadows. Their purpose is not to deliver special effects, but rather to perfect an image, and for that they're useful. By comparison, CyberLink's PhotoDirector can create HDR images with much more impact. As for true HDR using multiple images of the same scene shot at different exposures, Capture One is completely lacking, with no such tool. The same holds for multi-shot panorama merging. Both of these are strengths of Lightroom Classic (but also not found in the lightweight Lightroom CC). The Levels and Curves tools in C1's Exposure panel are far more useful for making vivid images. But Capture One is all about image fidelity—though there are Styles that apply color and Black and White effects, as well as a Film Grain tool. Capture One includes profile-based tools for correcting lens-geometry distortion, though the 70-300 Canon lens for my Canon DSLR wasn't included. Chromatic aberration correction comes under this lens-correction subset. A generic option did quite a good job in my testing. The Purple Fringing option is also effective. DxO Optics Pro remains my top pick for really doing away with chromatic aberration, though Lightroom has also gotten very good at it. You do get a noise-reduction option in Capture One, but Lightroom's similar feature is more effective in reducing noise, and it maintains more of the original photo's detail in a low-light shot. DxO Optic Pro offers the ultimate in noise reduction, however, with its time-consuming Prime tool. I still find cropping in Capture One a little strange: You can't just hit Enter after selecting the rectangle you want; the crop only takes effect after you switch to another cursor. It's not a horrible process, just a bit unusual. The crop tool does helpfully show you each side's dimensions in inches or pixels, however. The straighten tool has you draw a line that will become the horizon, or you can manually tilt your photo while using the Composition panel's Rotation tool. Color management is a special strength in Capture One. You can adjust color ranges or individual colors, and you can also fine-tune skin tones, in particular, using a color picker. Other skin helpers are the Clone and Heal tools, which do a very good job of blemish removal. They work just about the way Photoshop's similar tools have for years, but Adobe's content-aware tools are more effective. The Mask From Color option in Capture One lets you create adjustment layers based on color-selected areas for local adjustments. Masks and LayersThe program offers accurate masking with a feathering tool and refinements for difficult selections like hair or trees. New for version 12 are masking with luminosity as well as using linear and radial gradients. The luminosity mask option (called Luma Range and accessible from a button on the Layers dialog) is good for isolating bright or dark areas and especially helpful for selective noise reduction. There's no blur tool for selective focus effects, but you can reduce sharpness and clarity using the mask. The gradient options are good for selective focus treatments. The Levels and Color Balance tools work in layers, and you can adjust the opacity of each edit layer. The Annotations feature is useful for collaborative editing, so the initial photographer/editor can send notes to a retouching professional or client about areas on the photo. It's basically a drawing tool that creates a layer, which you can hide or display and include as a separate layer if you export to PSD. I am sorry to see that the tool doesn't work with touch monitors, which would be a perfect fit. You can, however, choose pen size and color, and an eraser tool eases fixing mishaps. Output of Photos in Capture OneCapture One includes a capable printing feature. It lets you select a color profile and offers standard layouts such as contact sheets and A3/A4 formats. You can customize layouts with your choice of column and row counts and spacing, and text and image watermarking are options. You can save your own custom layout templates, too. The View menu offers a good number of Proof Profiles to show how your image will look on a selection of displays and print output types, but it doesn't highlight nonprinting colors the way Lightroom Classic's Soft Proofing feature does. One weakness in Capture One's usefulness as a workflow solution is its lack of online sharing capabilities. There's a Make Web Contact Sheet choice that creates HTML for a web server, but aside from that the software basically leaves you to your own devices, with no web- or email-sharing features. There's no built-in export to popular services like Flickr, 500px, or SmugMug, nor is there any integrated book layout and export tool such as you get in Lightroom Classic. New with version 12 is export plug-in support. At present there are only three available plug-ins. One supports the Format portfolio service, another is for Helicon Focus, which works with the focus-stacking feature in the Phase One XF Camera System, and the third takes advantage of JPEGmini's technology for smaller file sizes (requires a $59 purchase). PerformanceIn standard use, Capture One feels responsive; I never noticed having to wait an inordinate amount of time for a procedure. For more measurable performance, I tested import speed with 175 raw images (a total of 5GB) from a Canon 80D. My test computer was an Asus Zen AiO Pro Z240IC running 64-bit Windows 10 Home and sporting a 4K display, 16GB RAM, a quad-core Intel Core i7-6700T CPU, and an Nvidia GeForce GTX 960M discrete graphics card. I imported from a Class 4 SD card to a fast SSD on the PC. For this test, Capture One took 3:30 (minutes:seconds), besting the rest of the field. Lightroom Classic took 4:42, ACDSee Professional took 3:44 and CyberLink PhotoDirector took 3:49 for the same task. The Top Capture Tool?For professionals who need tethered-shooting capability and serious amateurs who want excellent raw camera file import quality, Capture One is a fine option. Layer fans and those who need to mark up photos for collaborative editing will also appreciate it. But the program still trails our Editors' Choice pro photo workflow application, Adobe Photoshop Lightroom Classic, on the basis of interface fluidity, organizational tools, panorama and HDR merging, and profile support for cameras and lenses. Bottom Line: Phase One Capture One offers pro and prosumer digital photographers excellent detail from raw camera files, and local adjustments including layers, but it trails in organization tools. Aug 09, 2014 Released on Voyage Direct (Tom Trago's own label) Taken from the Rush Hour site: ‘Use Me Again’ is Tom Trago’s evergreen club classic. Originally released at the start of 2010 it became a. Use Me Again - Carl Craig Rework, a song by Tom Trago, Carl Craig on Spotify We and our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. ![]()
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