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Barska 4-16x50 IR Sniper Scope (Green)

Blackhawk Advanced Tactical Scope, Take a long shot! SAVE BIG BUCKS! The same type of technology used by military and law enforcement, but now at a price that's just right for civilian operations. You get powerful, 4-16X magnification optics, topped off with a tactical, range-finding, ILLUMINATED 30/30 Reticle; green-coated for enhanced contrast in low-light conditions. Great for long-range hunting, varminting and blazing-hot target shooting. And here you pay LESS! Focus on this: Nitrogen-purged for 100% waterproof and fogproof protection; 100% shockproof; 4-16X magnification, green-tinted multi-coated optics; Large 50 mm objective lens lets in plenty of light; F.O.V. @ 100 yds. at 4X is 12 1/2', at 16 is 16 1/10'; Hand-adjustable target turrets can be reset to zero once you are sighted in; 1-Pc. aircraft aluminum 30 mm tube; Precise 1/4" M.O.A. adjustments; Includes 30 mm tactical rings with 1" inserts, lens covers and a spare battery; 14 1/2"l., weighs 21 ozs. Supercharge your shooting with some enhanced optics! Order Today! Blackhawk 4-16x50 mm Advanced Tactical Scope, Matte Black



The scope comes with everything you need to get started, including two rugged, brushed metal tactical mounting rings that fit weaver and Picatinny rails.
Barska's new 4-16x50 infrared Sniper Riflescope features quick-targeting exterior windage and elevation adjustments, and a military standard mil-dot reticle switches from black to illuminated green for low light shooting. With a magnification range of 4 to 16X and a 50-millimeter lens for better light transmission, the sniper scope delivers a bright, high contrast view of your target. A built-in edged sunshade eliminates glare, and additional accessories include a set of tactical mounting rings fitting all weaver and Picatinny rails.
BARSKA Sniper Scopes
BARSKA's Sniper scopes are designed for high-resolution spotting of distant targets, where precision is an absolute necessity. Minor adjustments are performed by moving scopes with small dials that adjust in tiny increments while the weapon is held perfectly still, and?after adjustments are made?dials can be zeroed out to hold the scope in the set position for multiple shots in succession. The company's sniper scope interiors are all purged with nitrogen, creating a humidity- and fog-proof environment between the lenses. Multicoated lenses offer optimal clarity for distant viewing and sighting, and also protect against the sun's UV rays while enhancing light transmission.
Features

Water-, fog-, and shock-proof
Black and illuminated green mil-dot reticle
Fully multicoated optics
Adjustable for windage and elevation
Black matte finish
Includes tactical rings, scope caps, one CR-2032 battery, and lens cloth
Specifications

4-to-16X magnification
14.6-inch tube length
30-millimeter tube diameter
50-millimeter objective lens
3.1-12.5-millimeter exit pupil
19.6-foot field of view at 100 yards at 4X magnification
5.8-foot field of view at 100 yards at 16X magnification
3.5-inch eye relief
0.125-inch click value
20.8-ounce weight
Warranty
This BARSKA optical product includes a limited lifetime manufacturer's warranty against defects in materials and workmanship.
About BARSKA
BARSKA is a worldwide optics company offering an extensive line of precision sport and scientific products including binoculars, riflescopes, spotting scopes, telescopes, and microscopes. The company's product lines are designed and built with the latest optical technology, allowing users to enjoy beloved outdoor activities even more, and achieve exacting results when studying objects large and small.

I love and hate this image.

I think the image itself is quite splendid. Those falls are just amazing. They have such a medieval or maybe it is primordial, quality to them. I have said before that if there are places of power, temples so to speak, to Nature, Falls Creek Falls in some forgotten day might very well have been such a place. And I can see that in this photo.

But the technical limitations of the camera I was shooting with really come back to haunt me. It was an old Nikon D1X, and it was not really meant for high quality landscape photography. Well it was not really meant for high quality anything. It's purpose in life was mostly a bang-around digital slr for photojournalists. An overpriced and underpowered camera that lost a lot of quality that the older professional film bodies achieved but at the same time facilitated the immediate response required by photojournalism. We can say all this in hindsight of course. When the D1 came out, it was top of the line, at least in terms of digital SLRs. And it did have its strengths, but especially compared to digital SLRs these days, it is a pretty worthless camera. What fascinates me though is remembering how fascinated people were by this generation of digital camera. Photographers jumped to buy these and other similar cameras when they hit the market, and this almost blind fervor did not end until the next generation of digital SLR hit and then it was completely replaced again by the third generation. Now digital cameras have gotten very very good indeed. The quality of today's digital cameras is not the issue I am driving at though, rather it was that these early cameras were honestly quite poor in terms of quality, yet they were such a must-have item. The consumer public really was so blind in its desire to jump on the digital photography bandwagon, that it overlooked the very obvious shortcomings of these cameras. I have to be very careful here, because I am not being a traditionalist, I am not bashing digital photography at all. What I am attempting to draw attention to rather is our sometimes raccoon-like trait of being mindlessly drawn to the shiny thing in the corner, seeing only that is shiny and not that it is actually on fire and covered in barbed wire. Not that I think digital photography is a physical hazard to one's health unless you walk over a cliff because you are staring at your LCD screen, but it does have some pitfalls and dangers which are a bit hidden, though they really ought not to be. Some of these shortcomings have been pretty well overcome, such as the quality issue. Gone are the days of the high-end 2 million pixel camera (remember those $400 gimmicks?) and the crummy digital printing. With cameras out now boasting up to 16 megapixels and beyond, it really is amazing the quality of images you can capture with some of these cameras. And while crummy digital printing still does exist, so does very nice, very beautiful digital printing.

But I carry on, and if I do not wrap this up shortly, by the time I am finished typing this is going to be overly long. I really posted this image because I just saw an insightful little article in The Oregonian I wanted to share. So I will commence with that. Again, please note, I am not trying to nay say digital photography, that is why I posted a digital image to go with it. I too shoot digitally on occasion. My point here rather is to try to educate, to possibly point out to some who may not realize it, on the dangers inherent in shooting digitally and to hopefully avoid some of the future problems those dangers can cause. I truly worry about the impermanence of the photographic work so many of us are doing. Where are these photos going to be in 20 years? 40? 60? 120? Will we be able to anything with that box of CDs in the attic in 30 years, or even 15 for that matter? Hard drives crash. Pictures just never get printed and eventually just deleted, lost forever. That mundane snapshot of your son when he is five, will he ever be able to appreciate it? There are some real concerns to address, and they do not necessarily lie with changing our technology, but rather in how we use our technology, and that begins with realizing what it can and does not do for us.


Studios try to avoid sad ending for stored digital films.
The Sunday Oregonian, December 23rd 2007
by Michael Cieply -- New York Times News Service

Time was, a movie studio could pack up a picture and all of its assorted bloopers, alternate takes and other odds and ends as soon as the production staff was done with them, and ship them off to the salt mine. Literally.

Having figured out that really big money comes from reselling old films - on broadcast television, then cable, videocassettes, DVDs, and so on _ companies like Warner Brothers and Paromount Pictures for decades have been tucking their 35mm film masters and associated source material into archives, some of which are housed in a K

I have been waiting a while to post this image of Rowena Crest, mainly because I like to keep a bit of variety in the images I post and I already posted one pinscape from this same roll, though it was a fairly different picture.

The most exciting thing about this shot for me was that it was taken with new film, or rather new old film. This is shot with Efke IR820 infrared film and a red 29 filter taped to the inside of my pinhole. I used to be a big fan of Maco IR820, in no small part because it was about the only IR film one could get in 120, as Konica came out once a year and the Kodak HIE cut down from 70mm was drying up. The Maco allowed me to combine a pinhole's version of the world, but in infrared too. Alas, the Maco film was discontinued. It was shortly followed by a Rollei IR 120 film that proved to be disappointing; though I have seen good results from it, I have never achieved them myself. Then one day I saw this Efke film advertised on Freestyle's website and did some research. Turns out it is basically the same film as Maco just distributed by Efke. Sorry if this is getting overly long and in depth but it was exciting for me.

Photography right now for digital photographers is great. The cameras are getting better and cheaper. But for those of us who still like the qualities that film photography embodies, it is slowly getting a bit disheartening as manufacturers slowly abandon various films. Kodak Tech Pan, Maco IR, Konica Impressa, Agfa Ultra, Kodak UC. All of these were great films that allowed photographers to capture a vision of the world. It is sad that they have become casualties in the march towards "progress". It is not that I think these films delivered superiour images to modern digital cameras, it was just that they allowed different visions. Sure, many of these effects could be emulated through Photoshop, but I get much more satisfaction from my photography by matching up the characteristics of a film to a particular vision, or seeing how a film will render a particular scene in a way I cannot imagine, as opposed to manipulating a digital file on the computer to achieve the same effect.

So in summary, it is very encouraging to see a new film, or rather an old film, re-introduced. I think there is plenty of room (and legitimate use) for all types of photography, and though I highly doubt I will ever see the so-called death of film in my lifetime, every time we lose a brand of film, we are losing the ability to see the world in the way that only that film would have translated it. And I disagree that this has to be inevitable. But those are just my feelings. Ultimately as long as there are ways to capture images, on plates, paper, film or digital, I will continue to take pictures and explore worlds.

Kit includes:
¦ 1) Nikon D5100 Digital SLR Camera & 18-55mm G VR DX AF-S Zoom Lens
¦ 2) Nikon 55-200mm f/4-5.6G DX AF-S ED Zoom-Nikkor Lens
¦ 3) Transcend 32GB SecureDigital Class 10 (SDHC) Ultra-High-Speed Card
¦ 4) Vivitar 52mm UV Glass Filter
¦ 5) Additional Vivitar 52mm UV Glass Filter
¦ 6) Nikon Starter Digital SLR Camera Case - Gadget Bag
¦ 7) Zeikos ML-L3 Wireless Shutter Release Remote Control for Nikon Digital SLR Cameras
¦ 8) Precision Design PD-57TR Photo/Video 57" Tripod with Case
¦ 9) Precision Design USB 2.0 SecureDigital (SDHC) High-Speed Memory Card Reader
¦ 10) Precision Design Memory Card Storage Wallet
¦ 11) Digital Camera/Camcorder Universal LCD Monitor Screen Protectors
¦ 12) Precision Design 6-Piece Camera & Lens Cleaning Kit
The Nikon D5100 and its included AF-S 18-55mm VR lens features a 16.2 MP DX-format CMOS sensor, 4 fps continuous shooting, breathtaking Full 1080p HD Movies with full time autofocus, a swivel Vari-Angle 3.0-inch LCD monitor, and a new High Dynamic Range (HDR) setting.
This ultra-compact, lightweight Nikon 55-200mm f/4-5.6G DX AF-S ED NIKKOR Zoom Lens has a 3.6x 55-200mm focal range. The SWM (Silent Wave Motor) provides quiet autofocus performance.
Take more high-resolution pictures faster (10MB/sec. minimum) with this 32GB High-Capacity SecureDigital (SDHC) Class 10 memory card.
The Vivitar UV Filters block out unwanted ultraviolet light.
Constructed from durable, ballistic nylon, this Nikon compact system case is ideal for storing your digital SLR camera, plus lenses and accessories.
The Zeikos ML-L3 Wireless Remote Control is a miniature infrared transmitter, that operates at ranges up to 16.4 ft./5m.
Avoid camera shake with this sturdy, lightweight 57-inch tripod.