high quality ETC2 / EAC texture compression as a standard feature, eliminating the need for a different set of textures for each platform;

This book has its name from the person who is the principal subject of it; it is by Clemens of Alexandria {a} called the Book of Mordecai also; it is commonly called, in the Hebrew copies, "Megillah Esther", the Volume of Esther; and sometimes in the Jewish writings only "Megillah", by way of eminency, "the Volume". It was written, according to the Talmudists {b}, by the men of the great synagogue, composed by Ezra; and some think it was written by Ezra himself {c}; but Aben Ezra is of opinion it was written by Mordecai, since he was concerned in, and had perfect knowledge of, all things related in it; which is rejected by Spinosa {d}, who conceits that this, and the books of Daniel, Ezra, and Nehemiah, were written by one and the same historian long after the times of Judas Maccabaeus: as to the canonical authority of it, it has been generally received by Jews and Christians; our wise men, says Maimonides {e}, openly and plainly affirm of the book of Esther, that it was dictated by the Holy Spirit; so Aben Ezra on Es 6:6, and he himself {f} affirms, that p>This is an instance when a picture would be worth a thousand words. The ES-1 instruction sheet merely says "Insert an original slide into the ES-1's slide holder." Had it included a diagram, the intent would have been crystal clear to a dummy like me.

p>Let us face it, however -- the need for digitizing film is increasingly becoming a task of interest mostly to historians, archivists, and such like. There are some good film scanners available new, but none of them fit my needs so well as the older one, but even the flatbeds are plenty good enough if web posting is your target task.

Though the versions of other books of Scripture might not be read in the synagogues, versions of this book might to those who did not understand Hebrew {g}; and so Luther {h} says, the Jews more esteem the book of Esther than any of the prophets. Whence Mr. Baxter {i} had that notion, I can not devise, that the Jews used to cast to the ground the book of Esther before they read it, because the name of God was not in it: nor is that any objection to its authenticity, since the hand and providence of God may be most clearly seen in it; in raising Esther to such grandeur, and that for the deliverance of the people of the Jews, and in counter working and bringing to nought the plots of their enemies, and in saving them: nor that it is not quoted in the New Testament; it is sufficient there is no disagreement between them, yea, an entire agreement, particularly in the account of the captivity of Jeconiah, which is expressed almost in the same words in Es 2:6 as in Mt 1:11,12. It stands in Origen's catalogue {k} of the books of the Old Testament; nor is it any material objection that it appears not in the catalogue of Melito {l}, since in that list is comprehended under Ezra not Nehemiah only, but Esther also, which Jerom {m} mentions along with it. This book is not only of use to the Jews, as it shows the original and foundation of a feast of theirs, still kept up by them, the feast of Purim, and makes for the glory of their nation, and therefore it is no wonder it should be so highly esteemed by them; but serves to show the singular providence of God in taking care of his people in adversity, in humbling the proud, and exalting the lowly, and saving those that pray to him, and trust in him; it furnishes out various instructions in the conduct of the several persons herein mentioned; it is a history but of ten or eleven years at most, from the third of Ahasuerus, to the twelfth of his reign, Es 1:3, 3:7.Apple iOS 5 or later in iPad, iPad Mini, iPhone 3GS or later, and iPod Touch 3rd generation or later greatly enhanced texturing functionality including guaranteed support for floating point textures, 3D textures, depth textures, vertex textures, NPOT textures, R/RG textures, immutable textures, 2D array textures, swizzles, LOD and mip level clamps, seamless cube maps and sampler objects;

p>As you may have guessed, I'm shooting JPEGs, not RAW. Faded slides have low dynamic range that fits easily within a JPEG, and I can adjust exposure to stretch the histogram and get it perfect. The in-camera JPEG processing saves time later in Photoshop post-processing. If a slide needs special treatment for some reason, I use the Coolscan.

p>My NEX 7's resolution is high enough where it resolves even Kodachrome at the grain level, so I feel pretty confident that I'm managing to eke out just about everything a slide has to offer. So I don't feel I'm losing anything resolution wise. Now, I dunno about the Coolscans, but my Epson flatbed's resolution becomes noticeably worse whenever I engage its ICE function, which is why I never use it. So is a Coolscan giving up resolving power when ICE is used? If so, then my NEX is doing a better job than the Coolscan. Actually, it is already, since its resolution is actually better than a Coolscan's.

p>BTW, I have a Nikon Coolscan V with which I've scanned more than a thousand slides and negatives, but it's slow. I have so many more slides to copy that I needed a faster method. The Coolscan and its Digital ICE software are still preferable for dirty, scratched slides, but the ES-1 is faster for cleaner slides that don't need as much retouching. The 40mm f/2.8G lens can focus to a 1:1 reproduction ratio and is sharp enough at f/8 or f/11 to resolve the film grain. Earlier this year I sent 500 slides to ScanCafe for scanning but was disappointed with the results. I can do better with the ES-1.

p>The photos I posted before showing my dupe rig illustrate how one can turn a marginally effective "tube" into an effective one by stripping it of most of its stuff. The bare flanged tube allows me to connect my 55/2.8 Micro-Nikkor and a slide stage, with a few other pieces that are necessary to bring things to 1:1 for a 1.5x APS-C setup.

several of the more technical drawing modes are eliminated, including frontbuffer and accumulation buffer; p>Thank you, Wayne F., for making me feel really stupid. You are correct -- I was inserting the slide into the ES-1 holder incorrectly. I was inserting it between the metal clips and the frosted glass, because the gaps between the clips and glass led me to believe that's where the slide should go. When I insert the slide between the clips and the tube -- per your advice -- the slide goes all the way down to the bottom of the holder, is centered in the viewfinder, and allows me to photograph the entire image. Perfect!

p>Considering the time it takes for preparation and documentation, why not shoot RAW images and go for the best possible latitude and quality. JPEGs are false economy.

p>
The BR2/BR3 rings can be substituted with an extension tube of the appropriate length -- about 25mm or so, and the K5 ring can be substituted with any other sort of 52mm extension of the same length. It is my experience that 52mm extensions are uncommon and expensive, so the original Nikon part might be the best and cheapest way to go. Plus, if you're using an ES-1, you're probably gonna need about twice the 52mm extension than I show here, which will be critical for it to work with the 55mm Micro-Nikkor.

p>I was going to let it drop, but after repeated efforts to distinguish among these artifacts, the problems of slide to camera copying are not limited to cheap plus lenses in some of them. Nor did I ever say so.
The Spiratone cheapies {and not all of them are} were certainly awful, but the quantity of ES-1s on the market in "as new" condition is not negligible, either. These were designed, in any case, for slide copying, rather than "digitalization".
I will simply state that the best way to get really consistent results with camera copying/reproduction is to go to something like the Honeywell Repronar where light, exposure, filtration, and other such variables are well controlled. Spiratone, and a number of others did make similar apparatus, and one can be cobbled together out of a color enlarger head and copy stand and bellows, if you have those lying around the house.
I have a "Universal Repronar" and have tried it out very throughly. But when my CanoScan 4000 died, I gladly spent time and rather a lot of money getting a CoolScan 9000.

p>In the end, the quality is barely worthy of a postcard. Of all the methods, flatbed scanning is the least satisfying. Considering the high quality of modern digital cameras, the least satisfying part of using one to "scan" film is the obvious limitations of the film itself. On the other hand, the memories preserved are priceless.

p>Your rigs are much more complicated than mine. With a DX body, all that's needed is the Nikkor 40mm f/2.8G Micro lens and the Nikon ES-1 slide holder. Really. This rig allows full-size slide copies -- the slide image completely fills the viewfinder. You can rotate the slide using the ES-1's telescoping tube, and you can zoom into the slide for some in-camera cropping if you want. There's enough play in the holder to reposition the slide slightly in any direction.

The Khronos Group has written a document describing the differences between OpenGL ES 2.0 and ordinary OpenGL 2.0. [15] Extension Name p>The ES-1 was designed before the 40mm macro lens, and also before full frame digital sensors. It does not mention either of those. :)

a new version of the GLSL ES shading language [22] with full support for integer and 32-bit floating point operations;all the books of the prophets, and all the Hagiographa (or holy writings), shall cease in the days of the Messiah, except the volume of Esther; and, lo, that shall be as stable as the Pentateuch, and as the constitutions of the oral law, which shall never cease.'' p>Nice thing about this stage is I can maneuver it up and down and move the slide from side to side, so I have total control over positioning the slide in the stage. Now, obviously, with the ES-1, you don't really need the above tube or stage, but the ES-1 doesn't let you move the slide around and it will require more extension than I use, if you wan't to use a dupe rig like mine. Speaking of which, here it is:

We find in this book, that even those Jews who were scattered in the province of the heathen, were taken care of, and were wonderfully preserved, when threatened with destruction. Though the name of God be not in this book, the finger of God is shown by minute events for the bringing about his people's deliverance. This history comes in between ( Ezra 6 and Ezra 7 ) . p>As another contributor noted, it helps to set the camera's contrast curve to the lowest possible contrast. Slide copies tend to gain contrast, which is why Kodak used to sell a special low-contrast copy film. It's easy to increase contrast in Photoshop but less effective to reduce contrast.

p>But the DX sensor is smaller than the slide, and at 1:1, could only copy a smaller area of it. So the slide must be mounted farther out, less than 1:1, and so to do that, the ES-1 on a DX body needs some extension, in FRONT of the lens (Not behind it). My 55mm macro on ES-1 is much better with about 10mm extension on DX, and my 60mm macro needs about 20 mm on DX... extension between the ES-1 and the lens. This allows some adjustment with the telescoping range of the ES-1. The ES-1 threads are 52mm filter threads, so an extension with 52mm threads is needed.... in front of the lens.

p>At the heart of my rig is an old pre-AI 55mm f/3.5 Micro Nikkor. Everything else, including the TC-14, are necessary to get the image to the right size. I'm not saying this is the only way to do it, just the way I do it, a way that works.

OpenGL ES 1.0 added an official 3D graphics API to the Android [30] and Symbian OS v8.0a [31] [32] operating systems, as well as by QNX [33] It is also supported by the PlayStation 3 as one of its official graphics APIs [34] (the other one being low level libgcm library) with Nvidia's Cg in lieu of GLSL. [35] The PlayStation 3 also includes several features of the 2.0 version of OpenGL ES. p>The big difference is what happens next. The Coolscan takes several minutes to scan the slide, partly because it must scan it three times -- once for the preview, then again for the full-resolution scan with visible light, and then a third time with infrared light for Digital ICE dust-and-scratch removal. Whereas copying the slide with a DSLR takes only a few seconds if the first exposure is correct, and only a few seconds more if the exposure needs tweaking. The time saved is HUGE.

The API is cross-language and multi-platform. The GLU library and the original GLUT are not available for OpenGL ES, freeglut however, supports it. OpenGL ES is managed by the non-profit technology consortium Khronos Group. Vulkan, a next-generation API from Khronos, is made for simpler high performance drivers for mobile and desktop devices. [4] Versions [ edit ] Various Nokia phones (such as Symbian p>As Wayne says, the Nikon ES-1 slide copier is actually just two metal tubes and a slide holder. No lens. The copy lens is the Nikkor 40mm Micro (for a DX body) or the Nikkor 55mm Micro (for an FX body). Both are high-quality macro lenses -- as good as the glass in a film scanner. My 40mm lens easily resolves the film grain.

OpenGL ES 1.1 added features such as mandatory support for multitexture, better multitexture support (including combiners and dot product texture operations), automatic mipmap generation, vertex buffer objects, state queries, user clip planes, and greater control over point rendering. [7]