Gas Saving Tips You Must Read‏

Biznets

With the regular gas price hike it has become very difficult to maintain a car. The price is so much unpredictable that often it feels like having a car is more of a trouble other than help. But there are several ways you can save gas and solve this problem.



As the first step go for reducing the extra weight you car has to bear. The engine tends to consume more gas when the car has a bigger load. Seek for the extra weights and simply get rid of it.



A gas credit card can play a very effective role to save your money. You can buy gas in much more cheaper rate with a gas credit card.



You can always save a good amount of gas by marinating a steady speed on the road instead of cruising with your car at a high speed. When you tend to go for the speed your car consumes more gas than it should to go a certain distance. So by marinating a steady speed you can save a lot of gas.



It always helps to save gas when you have pre plan for the long trips. Have a clear idea about the roads that you need to follow. It will help you to save more gas and will reduce the incident of going to the wrong road and then getting back. It always costs more gas.



It creates more pressure on your break when you are pressing it too hard. It is going to burn more gas than usual. So always it is suggested to go at a average speed so that you don't need to do that.



Making a hard break is not something that you want when it comes to saving gas because it tends to give extra pressure on your car which causes more gas burn out. So try to maintain a steady speed and thus you can avoid using a hard break.



By following the driving speed limit you can save up to 10% of your gas. It is 55 mph. So in order to consume more gas, you should follow the normal driving limit.

Harleys for Sale

Harleys for Sale

A Guide To Medium Format Photography

In General. Medium Format cameras are often viewed as a big step up from 35mm format cameras. They are certainly the domain of the serious photographer, whether professional, aspiring professional or experienced amateur. The Price is often the most significant factor that stops most people stepping up to this format, with fully featured, automatic cameras regularly coming in at well over $4000. Before you are put off for life though, at the other end of the market, for around $400, you can find an entry level camera. Obviously cameras in this price range will not be too overloaded with all the latest state of the art features, but you will be able to explore the medium format world. For many former aspiring professionals the step up to this format has led to increases in income quickly offsetting the initial expenditure. Benefits.If you wish to sell your photographs in the commercial world then you should seriously consider a medium format camera. Your chances of success are considerably higher when you are able to present to art directors and picture editors the larger slides and negatives produced by these cameras. It is easy to understand why when you consider the fact that the negative size is typically 350% larger that a 35mm negative. Not only do the images look more impressive, but because of the level of details that can be captured in a Medium Format image, enlargements are of a far greater quality. If you are a picture editor this is exactly the level of quality that you demand. Components.Medium Format cameras have four major components. All components are interchangeable. Although it should be noted that components are not always compatible across different manufactures. There has been a move towards lighter components making Medium Format cameras easier to use for work out in the field. A number of the features now available also provide these cameras with some of the functionality you have come to expect from an SLR. The Body.The body is the control centre and forms the hub of the camera. Once the components are fitted to the body you are ready to start shooting. The body has a maximum format size that it is capable of producing, so when you see a camera quoted as a 6x6, then the camera can produce images up to 6 by 6cm. A 6x6cm image is 350% larger than a 35mm image, so you can begin to see the power of this type of camera and why they are the choice of professional photographers. The actual picture area is a shade under the format size, for example a 6x7cm format can give a 56x69.5mm picture. The Back.The camera back holds the film. Different format sizes and film types can be used, with the interchangeable backs allowing for mid roll change. If you are using a camera body with a maximum format capability of 6x7cm, then you will normally be able to use backs with film sizes 35mm, 35mm panoramic, 6x4.5cm, 6x6cm, up to 6x7cm. A popular additional back is the Polaroid instant film back. This back allows you to take a test picture and see an instant print. If you are satisfied with the instant print then you can reselect the back and shoot your image confident of the end result. There is also an increasing range of digital backs available. These allow you to maximise your investment in Medium Format equipment by adding digital capabilities. The first Medium Format cameras built for digital photography are now becoming available. Some cameras also offer a revolving film back making it possible to change from portrait to landscape shots without moving the camera. The Lens.As with any camera the lens is a vital piece of equipment. A lens of inferior quality will lead to poor quality final results. The choice of available lenses is wide and varied, including fixed and zoom. Lenses can commonly be found in the range of 40mm to 500mm. At the lower end of the range tend to be a series of wide angle lenses, with the upper end providing telephoto effects. Also included in the range are a number of special application lenses, fish eye, macro and soft focus, being among those available. There are also a number of further attachments available, affording you total control over each different shot. These include fisheye lenses, auto extension tubes for close up photography, additional close up lenses, focusing levers for rapid focusing, tele-converters and bellows attachments for continuous variations in magnifications. For lenses if the standard range you are also likely to find matching lens hoods for removing stray rays. The Finder.Cameras can come with a choice of finder. Waist and eye level finders are available. Prism finders are available for laterally correct, upright images. Top of the range finders provide additional functions such as, a choice of spot or average metering, exposure compensation, TTL automatic exposure systems and LCDs indicating the different modes currently selected, appropriate shutter speed and the exposure compensation setting condition. The finders work in conjunction with focusing screens. There is also a wide choice of focusing screens. The screen for general purpose photography is the Matte screen. Others available include the Checker for close ups, copy work and architectural applications, Rangefinder Spot for rapid, accurate focusing and the Cross-Hair for close ups and astronomical work. A series of correction lenses are also available. For precision focusing you can attach a magnifier to a eye level prism finder. These work by magnifying the centre of the focusing screen. Once focusing has been achieved they can be raised to check the overall composition. Points to Remember.Image Size.The primary reason for stepping up to the Medium Format range is the size and therefore quality of the image produced by this type of camera. Editing and Retouching.The large image size makes it easier to edit and retouch an image. Images are also perfect for cropping and enlarging. Finders.Whatever type of camera you are buying the quality of the finder is always an important aspect to consider. Medium Format cameras offer larger finders than their 35mm competitors, making it easier to see the exact image that you are about to capture. The Film.With typically 15 exposures or less per roll, film is also more expensive to buy and develop. The number of exposures per roll depends on the format of the pictures that you are planning to take. If you take 6x7cm pictures you will get less exposures per film than if you take 6x4.5cm pictures. Standard films are 120 and 220. A wide range of film speeds are available, similar to 35mm film and slide. Multi Format.By using interchangeable backs, cameras will shoot different size images. Mid Roll Change.It is possible to change film in the middle of a roll, returning to the original when required. Flash Units.There are a wide range of flash units are available for Medium Format cameras. Compatibility needs to be checked to ensure your chosen flash unit will work with your camera. TTL Metering.Highly accurate exposures can be achieved through cameras offering Through The Lens (TTL) direct light measurements at the film plane. Speed Grips.For hand held shots, out in the field, speed grips are available. The Lenses.A wide range of lenses and complementary attachments are available to suit every photographic opportunity. The Motor Drives.Motor Drives are available making continuous sequential shooting a possibility. The Bulb Shutter Mechanism.Some cameras now have a Bulb Shutter Mechanism for long exposure work. Rental.Stepping up to Medium Format can feel like a leap in the dark. So if you are not sure what to buy or uncertain about the merits of Medium Format photography, then try some cameras on rental. Rental rates can be very reasonable and this can help you decide which features you consider a must and which features you can add on later. Second Hand Market.There is also an active second hand market for Medium Format cameras and accessories, although you may not get all the latest features there are some very good deals to be found. Always ensure that you get a guarantee for any used equipment you may purchase.

http://mediumformatcamerasite.com

Depth of Field Explained

The way a subject is reproduced in a photograph can be very different from how it looked to you as you took the picture. When you cast your eye over a scene, everything in it seems more or less equally sharp, but sometimes in the finished shot only part of the subject appears acceptably sharp.This zone of sharpness is called the depth-of-field, and it extends in front of and behind the point that you actually focused on. The size of the zone is determined by three key factors - the aperture of the lens, the focal length of the lens used, and the distance you are from the subject. Varying these three elements allows you almost complete control over the depth-of-field in a picture.When most of the picture is sharp, we say there's lots of depth-of-field. When only part is sharp, we say depth-of-field is limited. As we'll see later, whether you go for extensive or limited depth-of-field depends upon the subject matter and how you want to depict it
Three main factors that can be used to control depth-of-field include :-
1 The aperture. There's a simple, direct relationship between aperture and depth-of-field - the smaller the aperture, the more extensive the depth-of-field. So if you want to keep as much as possible sharp, you should set as small an aperture as possible - preferably f/16, or even f/22 if your lens offers it. Depending on lighting conditions and your film stock, you may need to use a tripod or some other form of support at such small apertures, as the resulting long shutter speeds create a risk of camera-shake.If, however, you want to concentrate attention on just one part of the scene, and throw the rest out-of-focus, you should select a large aperture. Exactly how large this can be depends on the maximum aperture of the lens you're using. On a 50mm standard lens it will be f/1.7, f/1.8 or f/2, but on a standard zoom it will typically be f/3.5 or f/4.5.For general picture-taking, when you want most of the picture to be in focus, you might want to set a middling aperture of around f/8 to f/11.This is what a program exposure mode sets when left to its own devices Whenever possible you should take control of aperture selection and use either an aperture-priority or manual mode.

Four common techniques using depth-of-fieldUse these four common approaches when planning a shot to ensure depth-of-field works for you
1 Everything sharp. With subjects such as landscapes, groups, interiors and travel you'll usually want to keep everything sharp. Using a wide-angle lens set to a small aperture will give you extensive depth-of-field, perhaps from around one meter through to infinity. But there will be times when foreground interest is closer than that. Here you need to resort to a neat little technique called hyperfocal focusing that allows you to increase the depth-of-field. As a rule-of-thumb, there's twice more depth-of-field behind the subject than in front of it. So if you photograph a distant subject such as a landscape and focus on infinity you waste lots of depth-of-field. By focusing a little closer, you'll extend the depth-of-field at the front so it comes nearer to the camera, while still making sure that infinity falls within the depth-of-field behind the actual point of focus.

You can guess the hyperfocal focusing distance, but life is much easier if your lens is marked with a depth-of-field scale. This used to be regarded as an essential feature, but with the development of wide-ranging zooms many manufacturers now omit one. If you do have such a scale, simply line up the infinity mark against the mark for the aperture you've set and, although the image in the viewfinder will look out-of-focus, the finished image will be sharp from front to back.

2 Main subject sharp with background completely out-of-focus.There are some subjects where you want the main subject to stand out strongly from an out-of-focus background. Portraiture, where the emphasis is on the person, rather than the location, is probably the most popular area. What you need here is a use a telephoto lens at its widest aperture. It's also worth moving the subject as far away as possible from the background - in cramped studio situations this is often impossible but outside against a wall or foliage it's usually easier. Take care, though, that you focus accurately, as the limited depth-of-field will be unforgiving of any focusing errors. For portraits focus on the eye for the best results.

3 Main subject sharp, with background out-of-focus but still recognisable.Sometimes throwing the background completely out-of-focus is going too far. You want to show the subject in its natural environment, but with the background toned down to it doesn't compete for attention. A person on the beach, for instance, an animal in the zoo, or a flower in a garden. Here a standard to short telephoto lens, somewhere from 50mm to 135mm, is ideal - especially if it's coupled with a middle range aperture of around f/8.

4 Zone of sharpness deliberately limited.Occasionally you may want to limit the depth-of-field to a very specific zone. Maybe in a portrait you want just the eyes in focus, and not even the ears or the tip of the nose. Here, once again, a depth-of-field scale on the lens helps, or, failing that a depth-of-field preview facility on the camera, This will give a visual indication of what will and won't be in focus by manually stopping down the lens.

SummaryGenerally, the practical use of depth-of-field can be summed up as follows:To maximise depth-of-field and have as much sharp as possible use if possible a wide-angle lens, set a small aperture and stand back away from your subjectTo minimise depth-of-field with only a small zone of the scene sharp use a accurate telephoto lens, set a large aperture, and try get closer to your subject.

http://8x10cameras.com/

A Guide to Buying Collectible Antique Clocks Online

Many, many people love collecting antiques. This is a huge passion that many people know too well. This is the very same passion that people collecting antique clocks share as well. They would go out of their way just to find the best items. With the advent of the Internet, many of these people have discovered the convenience of buying collectible antique clocks online.

Most of the antique clocks made from the 15th century to the mid 17th century can be found in museums. Only a small number of these clocks are privately owned. Fortunately, with the Internet, many people have now better chances of gaining access to these clocks online.

There are more clocks made from the 1800s to the 1900s. These clocks were made in mass quantities so you will find them easily online. Buying collectible antique clocks online differ from buying them in the conventional manner. You will find clocks that are worth well over $60,000. You will find models that are priced over $100,000. It is wise to get hold of a clock appraisal before you actually purchase a certain item.

Collecting and buying collectible antique clocks online is not that easy. If you are new to antique clock collection, you will be surprised to know that there are a lot of things that you need to do or to research before making a purchase. This is especially true these days because there is a widespread proliferation of reproductions, knock offs and fakes. If you are not an experienced collector, you could end up confused or worse, scammed.

Before venturing into buying collectible antique clocks online, you need to term the terms used by antique sellers and enthusiasts. Knowing the language and antique collection jargons will help you make your decisions.

There are also several things that you need to take into consideration before you purchase any item online. First of all, you need to know the history of a particular piece. This is where buying collectible antique clocks online can be a bit challenging. Most of antique items come with an expensive price tag so you cannot afford to be careless when you are making your purchases. Do not buy antique clocks that are defective. Make sure that it is carefully preserved and well-taken care of to ensure that you are paying for good value.

It is very important, therefore, that you do your research before you buy any item. The Internet is a good reference. You will find valuable information about antique pieces. You will also know the history of certain items. The need for research before buying collectible antique clocks online has always been emphasized by experienced collectors.
Of course, you also have to make sure that your online seller is trustworthy and reputable. You cannot be careless with your money. Do a background check of the online seller before you purchase anything. There are online auctions that you can check and join. You will often find great items from these online auction houses.

With the advent of the Internet amonst other things, buying antique items has never been easier. As long as you are very careful with your purchase, there is really no reason why you should not consider buying a collectible antique clock online!

http://yourclockstore.com/

BIGFOOT MONSTER TRUCK.

THE HISTORY OF BIGFOOT®

BIGFOOT® l began it's life in the mid 1970's. Bob Chandler, the creator of BIGFOOT® with his wife, was a construction contractor working in St. Louis, USA. Bob used his Ford 250 4X4 Pickup Truck for both work and also off road family fun at the weekends. After breaking the toughest of trucks it soon became apparent that there was nowhere close by for him to get 4X4 parts and spares. Seeing the gap in the market, Bob and his wife Marilyn started up Midwest Four Wheel Drive. The Chandler's used their truck as a work vehicle, as well as using it for various promotional purposes. They tried out new parts on the truck, and kept on making it bigger and better. It escalated so much that the truck actually became an attraction in its own right. In 1979, at the Denver car show, the Chandler's used their truck in its first paid event. Truck pulls in arenas and stadiums were soon to follow.
Two years later in 1981 Bob changed the whole concept of Monster Trucks. Just for fun he thought he would try and drive over a couple of scrap cars. He soon duplicated his stunt in a stadium show a couple of months later. That was the birth of car crushing Monster Trucks. In 1983 BIGFOOT® (named after he was told the reason he kept on breaking parts was because of his "big foot") began its sponsorship deal with Ford Motor Company, which still stands today. Many more BIGFOOT® monster trucks have been built since then, BIGFOOT® #17 has been built for use in the UK and Europe.
Inspired by the success of BIGFOOT®, an explosion of imitations came forth in the mid 1980's. In America car crushing became a staple of major truck pulling and mud racing events. After many years of just car crushing, the audience in 1987 were given a more exciting show, with monster truck racing. It is a full blown sport in America today, with multiple points series taking place across the country, and millions watch it weekly on television.
The creator of BIGFOOT® soon emerged at the forefront of monster truck technology. With the use of computer aided design packages he created a new breed of monster trucks designed with racing in mind. Radical new tubular chassis along with patented cantilever-based suspensions represent the state of the art race trucks design. BIGFOOT® 8 was the first BIGFOOT® to be born out of the new impressive mold. In 1992 BIGFOOT® 8 became world champion, 1992 saw Bob and his team place 1 and 2 in the series. 1994 saw the team place 1, 2 and 3, winning 11 out of 13 races. 1995 saw teams limited to two trucks, the BIGFOOT® team took first and third, and won 10 out of 15 races.
The History of BIGFOOT 17, Europe's BIGFOOT.
Nigel Morris, the owner of L.A. Supertrux Ltd, started building his first real Monster Truck in the autumn of 2000. This project which later was given the name Wild Child was inspired by long time friend Tim Barks, who's own project was well under way at this time. As Wild Child neared completion, Nigel had the chance to go to America as a crew member for another friend, Joe Ellis who was going to be running his race tuned Lotus Carlton in the famous Silver State Challenge road race near Las Vegas. Nigel saw this as his chance to visit the Holy Grail of Monster Trucks, BIGFOOT®. Nigel invited Tim to help with crew duties on Joe's car so that they could both extend their stay in the USA to include a visit to Dan Patrick, at his Samson workshop, and then on to BIGFOOT®.
Whilst visiting BIGFOOT® Bob Chandler extended an invitation for the lads to return in December for the MTRA annual conference. 2000 saw Nigel & Tim make the trip to be the first Europeans EVER to attend the MTRA conference and also the Tech School. Nigel was very proud to pass the technicians exam, and become one of a very small band of people who are qualified to carry out technical, and safety checks on Monster Trucks. The membership of the MTRA voted unanimously to set up a European division, and Nigel was elected president.
During 2001 Nigel worked to fine tune Wild Child and to get used to driving a Monster Truck at speed. Wild Child also appeared in music videos and television adverts, as well as the Granada TV series Men & Motors.
During his December MTRA visit Nigel had discussions with Bob Chandler about the prospect of bringing BIGFOOT® back to the UK, and maybe touring Europe. It was during these discussions that the idea was formed to have a BIGFOOT® permanently available to the European public. Further discussions led to the plan being finalised for Nigel and L.A. Supertrux Ltd building and operating BIGFOOT® #17 "The UK BIGFOOT®".
That process was completed in 2003 and BIGFOOT® #17 has been wowing the UK fans ever since. With regular appearances throughout the summer competing in the EMTRC (European Monster Truck Racing Championship), BIGFOOT® #17 and Nigel Morris were proud to take the title of 2003 Pro-MT European Champion.
In the 2004 EMTRC series Nigel and BIGFOOT® #17 were only prevented from taking the title by the cancellation of the final event. Good friend and fierce racing rival Ian Batey had blown the engine of his championship leading Lil Devil monster truck in a heat race with BIGFOOT® earlier in the day. Nigel only needed to finish the event, but sadly (for Nigel anyway) the beach race was scupperd by the incoming tide! With the event cancelled Nigel and BIGFOOT® #17 remained just 35 points away from a second title.
The 2005 EMTRC series was a torrid one for the BIGFOOT® team. With a brand new 572 cu in Big Block Ford the team had high hopes for the championship. If it wasn't for a couple of small items, who knows what might have happened. Those small items were, gearboxes we blew up 6 of them and front wheels, and we knocked 3 of these off as well. Oh and then there was this Rob Williams bloke who ran away with the championship in his rookie year. For the whole BIGFOOT® team joint third in the EMTRC table was just not good enough.
2006 saw a return to winning ways. The BIGFOOT® team had made some changes in the winter months, adding a new drag race inspired gearbox as well as custom steel steering swivels. These changes seem to have fixed the reliability issues of the 2005 season and the EMTRC title was regained in domineering fashion. Six event wins and two second places from ten events!!
2007 whitnessed the continuation of it's dominance in the EMTRC racing series with more event and race wins than any other team of the time, bringing to the BIGFOOT® #17 racing team the EMTRC title yet again. This title makes us yet again the first team ever to retain our title year on year, and the first team ever to win 3 EMTRC titles!. I think we're really back this time, don't you!

http://welovetruckssite.com/

The Fountain Powerboat Offshore Racing Team Sweeps The World Championships

Fountain Powerboat Industries, Inc. (AMEX:FPB), is a leading manufacturer of high performance sport boats, fish boats and express cruisers, announces recently that Fountain Powerboat teams secured the World Championship Titles in every single offshore sanctioning body, capping off a very spectacular season of competition, both domestically and abroad. With multiple racing organizations, there is always the chance that a manufacturer or team can run and secure a Championship title for bragging rights and marketing power. Consequently, there are always plenty of teams that claim to be world champions in multiple classes confusing the fans, and diluting the value of the title. Fountain Powerboats’ solution to this dilemma is to compete in every championship event, and win. And, not only did Fountain Powerboats teams win, they dominated.
In the European Powerboat P1 series, sanctioned by the Union of International Motorboating (UIM), Craig Wilson and James Sheppard piloted their 42’ Fountain “The King of Shaves / Fountain Worldwide” to a World Championship title. The Powerboat P1 series is a vee-bottom series featuring a truly international field of competitors, including long time Fountain Powerboat rival manufacturers Donzi and Outerlimits. Despite missing the first event of the year in Malta, the team set the new standard for performance in the series, besting the international competitors, as well as the US manufactured teams. The “King of Shaves” features Arneson surface drives and Ilmore 625 horsepower V-10 “Viper” engines.
In Destin, Florida, the Offshore Super Series (OSS) hosted their third annual World Championship event in the calm gulf waters. The Fountain Super-V teams answered the call fielding two entries. Brett Furshman and Wyatt Fountain secured the US National championship for 2007 in the OSS in the 42’ Fountain “Miccossukee Indian Gaming”, owned by Brett Furshman. They squared off against the rival team of Michel Karsenti and Michael Seebold in the “Yachts International” 42’ Fountain. In the best of two race format, the French team of “Yachts International” took the top honors and the championship title, with “Miccossukee Indian Gaming” securing second place overall for a one-two finish.
Key West, Florida was the site of the final show-down of the year, featuring a 75 boat field of competitors from North America and Europe. Superboat International (SBI) produced the event, and it also carried the APBA and UIM accreditations as well. The 27th annual event in Key West is the premier event in the United States, and is a best of three race format, testing the overall endurance of the teams and the equipment. This year the endurance would be measured in terms of engine longevity due to the uncharacteristically calm Key West waters.
The Fountain Powerboats teams covered 5 classes, and proved to be the superior boats in each of the classes they entered.
Factory 1 is the single engine vee-bottom class and the 29’ Fountain “AMF Offshore” with Scott Brown and Trent Weyant at the controls captured 1st place overall, leading from start to finish in each of the three races.
The Production classes are divided by maximum performance capabilities, and Fountain had teams in the competitive premier classes of P1 and P2. Performance class racing places catamarans and vee-bottoms against one another with different engine and drive configurations allowed. In P1, “Cintron Energy Drink”, a 42’ Fountain piloted by Nick Monaco and John Stanch defeated a large field to take the championship ahead of “On the Chip”, a 38’ Fountain piloted by Jimmy Winters and Curtis Cropper for a one-two finish. In P2, the father and son team of Ed and Anthony Smith piloted their 38’ Fountain “Wazzup” to the championship ahead of Robert Nunziato and Dave Branch in their 38’ Fountain “Muscle”.
In the most competitive vee-bottom class, Super-V, “Miccossukee” and “Yachts International” squared off once again. This time, Michel Karsenti was joined by his regular driver Serge Allegre to see if they could back up the 2007 SBI US National championship they secured, and repeat their 2006 world championship performance. This time it was Brett Furshman and Wyatt Fountain in “Miccossukee Indian Gaming“ that captured the Championship just ahead of “Yachts International”. The brand new 42’ Fountain “Predator”, with Gabriel Pacheco and Dennis Delatorre at the controls secured the third position after an accident in testing put the boat upside down between the 1st and 2nd race of the event. Their finish provided a 1-2-3 sweep of the podium for the Fountain Team.
In the fastest of the vee-bottom classes, Superboat V Unlimited, Fountain again swept the podium securing the top three positions. David Knight and Michael Seebold piloted the 44’ Fountain “Shogren Performance Marine” to the championship, leading every lap of the event. With long time sponsor Rio Roses, and new sponsor Integrated Power Solutions on the boat, the championship was the perfect complement to their 2007 US National Championship. Second place went to “The King of Shaves / Fountain Worldwide”, piloted by Craig Wilson and James Sheppard. Although they had less than half of the horsepower of the “Shogren Performance Marine” entry, they put on an awesome display for the thousands of fans in attendance. Peter Meyer and Bob Oliver completed the podium dominance in Superboat V Unlimited in the 42’ Fountain “Instigator”.
Reggie Fountain, Jr., CEO of The Fountain powerboats team, was ecstatic with the performance of his teams. “I am very proud of all of them", and their dominating performances. They took the top spot in every class, and showed without a doubt that our boats are the fastest in the world. today!

http://boatguysite.com/