Contrast problems with T440s

I have two T440s's, both thankfully with the AUO displays. One I've had for nearly a year, the other is new. The contrast is much worse on the new machine. Blacks are lighter, and whites are darker. I've gone through windows 8 calibration but there doesn't seem to be any way to change the contrast. Is there any solution for this or does the new machine have a defective display?
Not sure if this matters but I should mention that both the old and new T440s came originally with LG displays but I was able to get them replaced with AUO.

I have this exact issue with the ipad mini with retina display... Anytime the movie image is below a certain threshold of darkness, the contrast of the entire display is altered.. I too have been replicating it by tapping the on screen controls on and off. You can see this if you the multitask switch to a different app, the colours are washed out in that app for a few seconds as well. This appears confined to the movies app because opening a solid black image in full screen then switching apps does not cause the same effect.
I rang up apple support the other day and as per usual it was the first time they'd ever heard of it... Beginning to feel like I'm the luckiest man alive as it's always me that gets these issues. This after already having exchanged my first retina mini due to a dead pixel... And currently having saturation issues in iTunes on my MacBook Air watching videos full screen.. Again an issue reversed by the on screen controls...

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TV out low contrast problem with Tiger

I just recently upgraded to Tiger and went straight from 10.3.9 to 10.4.5.
My mini-DVI to TV adapter has always worked perfectly before, but now the display on my TV is very dim, with extremely low contrast and brightness. The TV is recognised correctly and all the settings, color profiles etc. are correct.
I have verified that this is strictly a software issue as booting from 10.3.9 fixes the problem, and the output to TV is bright and beautiful once again.
I've searched, but found no mention of this particular problem anywhere. I would love to find a solution as the TV out from the PowerBook is basically broke, and dragging the external FW drive to the TV to boot from 10.3.9 is not a practical option.
PowerBook G4 12" 1 GHz Mac OS X (10.4.5) 768 RAM

Thought it wouldn't do any harm to run MacJanitor - but it didn't do any good, either.
This continues through restarts. It is definitely local to this one machine as another Mac does not show it.
EDIT If I go in via http://discussions.apple.com/category.jspa?categoryID=160 I get the same thing except the Recent Threads only show solved/question icons, no titles or anything else.
M

I have upgraded Apple Aperture from version 2 to version 3 and I'm having a problem with the "Highlights and Shadows" adjustment. According to the user's manual, I should have access to an advanced disclosure triangle which would allow me to adjust mid co

I have upgraded Apple Aperture from version 2 to version 3 and I'm having a problem with the "Highlights and Shadows" adjustment. According to the user's manual, I should have access to an advanced disclosure triangle which would allow me to adjust mid contrast, colour, radius, high tonal width and low tonal width.
If anyone has any suggestions as to how to access this advanced section, I'd be most grateful.

Hi David-
The advanced adjustments in the Highlights & Shadows tool were combined into the "Mid Contrast" slider in Aperture 3.3 and later. If you have any images in your library that were processed in a version of Aperture before 3.3, there will be an Upgrade button in the Highlights & Shadows tool in the upper right, and the controls you asked about under the Advanced section. Clicking the Upgrade button will re-render the photo using the new version of Highlights & Shadows, and the Advanced section will be replaced with the new Mid Contrast slider. With the new version from 3.3 you probably don't need the Advanced slider, but if you want to use the older version you can download it from this page:
http://www.apertureexpert.com/tips/2012/6/12/reclaim-the-legacy-highlights-shado ws-adjustment-in-aperture.html

The problems with Logic (as I see them)

Hello Everyone,
Please keep in mind that I am writing this with the intention of expressing my frustrations, and what I feel would make Logic a better program. I realize not everyone will agree with the importance of what I say, but I am a firm believer of HAVING THE OPTIONS. Let the users choose what works for them and how they can best accomplish the tasks that they need to with their individual workflow.
That being said, here is my list of Logic's faults and why I often call Logic "Illogic".
General:
* Logic should have a feature to automatically save your song every X number of minutes. Final Cut Pro does this, why doesn't Logic? It should prompt you "Logic can automatically save your project if you save it" (assuming the current file is 'autoload') to remind users that they should create a project name and save their work.
* There should be a preference option for all windows to open as 'float'. Once upon a time holding option while double clicking parts would open them as a float (though having to hold down option every time in my opinion is an inconvenience, because I personally ALWAYS want my windows open as a float), however.. now in 7.2 that does not seem to work anymore. So, theoretically after you set your prefence to 'always float', then the when you hold option or control and click on a particular window, it will bring that window to the foreground...
* The loop region at the top of the screen is larger than the time-line ruler tab. This is the #1 annoying thing about logic. so many times, I click on an area of the ruler tab to start playing at a specific section.. and somehow I ACCIDENTALLY click on the loop area... If I could ask for ANYTHING it would be that there is an option to disable LOOPING turning on and off from clicking up there. My 2nd request would be that the ruler tab be re-sizeable so that it can be larger than the loop area. This is especially the case for the matrix window where it default opens up to a sizing where the actual time line is so tiny, and the loop region is HUGE.... Every time I open a matrix window I have to resize this and again the loop area is 2x as big as the timeline area, so I end up wasting screen space just to avoid the annoying loop feature being trued on. My suggestion is, require that the loop button on the transport be the only way to turn on the loop feature (other than key commands), and only when it's turned on can loop points to be set. Why is the loop area so big anyway?!?!
* Logic should offer a TALK BACK MIC button which will utilize the built-in apple microphone or iSight microphone and allow that to be sent to the audio interface. This would be an extremely useful feature for studio recording setups.
* Starting logic takes approximately 5 minutes for me. It says "scanning exs24 instruments" for the majority of the time, and I admit my sample library is huge. however, my sample library has not changed in over a year. Why does logic have to continuously scan it??? Can it not make a reference of how many files, compare and if its larger-- then scan???
Song Loading:
* When audio files are not found during loading a song, it asks you the first time what you want to do "search", "manual", and "skip"... if you click "skip", and then it finds another missing file, it no longer presents you with the "SKIP" option.. but forces you to either search or skip all.. Let's say you have a project that used 5 audio files that are all missing because you had them on a different hard drive, but have copied the data somewhere else. The first two files it asks for you don't need.. but you know where the 3rd file is.. So your plan is to skip the first two files and then click manually for the 3rd.. but oh.. YOU CAN'T DO THAT! You have to find your first 2 files if you want to even have the option to locate your 3rd file... Unless you are planning to locate the files within the audio window-- but still, Logic should not be so unfriendly.
Further, If you choose "manual", and what you're looking for isn't where you thought it was-- You realize you actually want to search for it.. So you click cancel and guess what.. It assumes you want to skip it, and so you either have to reload your project again, or deal with this in the audio window. Bottom line is this window should always have "Search", "Manual", "Skip", and "Skip All".
* When you open another project, Logic DUMPS all of the audio instrument data in memory. This is one of the worst things about logic. If you are working between multiple files-- such as when scoring a film, and you are using different files for different cues, then this becomes a complete nightmare and a waste of your time. Logic should be assessing "What instruments are in common between these two projects"... And utilizing all audio instruments to the best of the machine's memory capacity. There is no reason for Logic to behave like this.. I've had to revert back to previous versions of the same song because some data was different, and I am just trying to visually compare various settings one from the other.. Just clicking from one project's window to the other requires me to have to wait 3-4 minutes while Logic loads all these audio instruments (WHICH ARE IDENTICAL IN BOTH PROJECTS BY THE WAY!!!).. This is just incredibly dumb, and creatively stifling.
* BUG * -- Mind you, if you have two projects open, and you close one.. Logic begins loading all the audio instruments of the remaining project.. If you close that project as it's loading audio instruments, Logic will crash.
Matrix Stuff:
* BUG * If you have a part with lots of notes, and you begin to make a selection and scroll horizontally through all the content until then entire part is covered in the selection... After you release the mouse button and make this selection, quite often many random notes are unselected. This can be demonstrated by watching the following quicktime move:
http://www.collinatorstudios.com/video/logicbug.mov
* When you select a single note in the matrix window, it sounds.. This is a GREAT feature... However, when you make a selection of multiple of notes, they all sound at the same time.. This is just plain dumb. It once blew up my speakers... There is NO reason why a multiple selection would need to sound.. It's just dumb.. bad for your speakers, bad for your ears. The rule should be, if selection box = yes, then sound = no... else, sound = yes.
* When viewing the matrix window while recording, all note events disappear until after recording stops. This is highly annoying (and illogical) as it causes confusion if you are relying on watching the note events in that part to know where you are supposed to come in.
* The grid cannot be set to divisions other than 2 or 3. Musicians use 5 and 7!!! And also, can logic please offer an option to display the grid as NOTE symbols... It is much more musician friendly to see a 16th note with a 3 over it than "24". 24 means nothing to me as a musician.
* Quantizing should allow custom input for tuplets.. So that users can quantize odd figures such as 13:4 for example.
* If you move the song locator to a specific time location in the arrange window, and then double click a part to open it in the matrix window, the window is not opened to the locator's position. Thus causing annoyance and confusion as far as what the user is even looking at.
* During horizontal scrolling of the window, the locator temporarily disappears, making it difficult to find where the locator is-- which usually is a marker for us to know what we are trying to find-- ESPECIALLY WHEN YOU OPEN A WINDOW AND IT'S NOT EVEN DISPLAYING THE SONG LOCATOR'S POSITION!!!
* If you have two parts on the same arrange track, adjacent to each other and you enter the matrix window of the first part.. (assuming the link/chain icon is lit) When you scroll to the end of the note data, logic automatically takes you to the next part... The problem with this as it is, is that it does not take you to the FIRST note event of the text part, but rather continues to align the song locater with where ever it previously was (so you end up viewing somewhere further down in the next part).. To clarify, say you have a part what begins at MM-7 and ends at MM-14, the 2nd part begins at MM-15 and ends at MM-22.. If you begin scrolling the song locator past measure 15, then suddenly you see measure 22. When you really should be seeing measure 15. This is confusing and weird.
* Every time you enter the matrix window of a part, the chain/link button is on. For me, this is incredibly annoying. There should be a way to set this so that the button's default is OFF...
* When you move the mouse around the matrix window, whatever pitch corresponds to the vertical location of the mouse--- that particular key of the piano keyboard on the left side of the window should highlight so you could clearly see what note you are hovering over.. Logic tries to help with this by offering things like contrast options for C D E, but this clearly would be much more helpful.
* With the velocity tool you can (MOST OFTEN ON ACCIDENT) double click on empty space in the window and cause all note events in all parts to appear on the screen-- Yet once you do this, you can't double click on a particular part's note to only display that part again. You have to switch to the arrow tool to do this. This is inconsistent and ILLOGICAL...
ON A SIDE NOTE: PLEASE ENABLE A FUNCTION TO DISABLE THIS "ALL NOTES OF ALL PARTS APPEAR" when double clicking on empty space feature! I want NOTHING to happen when I double click within the matrix window... Make it a button within the window or just an option in the drop down menu only. * BY THE WAY * When you DO double click the background of the matrix window and multiple parts appear.. If you move notes of one part to match it up with other, it is incredibly slow. there is a 1-2 second pause each time you move a note move.. My g5 fan goes on each time I do this.. I'm sorry, there shouldn't be anything too CPU intensive to accomplish this simple task!!! I am only viewing 2 parts at the same time and it's slowing down my cpu...
* Occasionally when I adjust note lengths, I accidentally double click on an actual note.. This opens the event list editor, and there is an intermittent bug where this note sounds-- and for some reason when the event list opens, the note sounds on top of itself a million times, so the result is a super loud flanged note which again, almost blows up my speakers and hurts my ears... PERSONALLY, I would like an option that DISABLES the note event list from opening by double clicking. Preferences currently has "double clicking a midi region opens: <selectable>"--- why not also have "double clicking a NOTE in matrix window does: <selectable>"-- and please allow "DO NOTHING" to be one of the options.
* Why does the finger tool only change the end position of the note event??? Should this not be replaced with the bracket tool which appears automatically when using the arrow tool on closely zoomed in notes? This finger tool seems like an outdated old logic feature which has been replaced and improved upon. What would be nice is to have this bracket tool where we can be assured we are altering note start and end positions without moving things.
* In the hyper-draw >> note velocity section--- This is highly annoying to work with... It's far from user friendly. first of all, to move a note's velocity position, you have to click on the "ball".. if you click on the line, it does nothing.. Because the ball is so small to begin with, quite often the user is going to miss the ball and somehow begin to "START LINE"-- Which is weird because it's activated by holding the mouse button down briefly. There really should be a "line tool" for this, because "START LINE" is too easily accidentally activated-- this is frustrating for the user. Most important though, these 'velocity markings' should be adjustable by clicking on the line as well-- not just the ball.. there should be a 2-3% area around each ball/line which logic will recognize as part of the ball/line so that it can easily be moved. I also feel that there should be some specific features for this section, such as a way to select multiple note velocities and apply a random pattern to them, or apply a logarithmic curve to the line tool. Yes, you can accomplish this stuff somewhat with the transform tool-- but this way would be more user friendly, and allow a lot more creative flow.
Event list/Tempo list:
* When one event is selected, by moving down X number, holding shift+clicking SHOULD select all events between those two points. However, the shift key for some reason acts as the OPTION key does in the finder-- (meaning it will only add one additional selection at a time).. This is highly inconsistent with the actual behavior of a Mac... Open a finder window and hold shift and click on items that are not vertically next to each other and a group is selected... Now do it in logic, and it causes GREAT frustration and annoyance. What happens if you have a million note events that you want to erase? You have to go page by page and click with shift on each one?? Or drag a selection and wait for logic to scroll you to where you want to go?????????? No thanks.
Arrange stuff:
* "REGIONAL CONTENT" (meaning the visual representation of note events) does not accurately depict the event data as note lengths cannot be visually identified. Everything shows up as a generic quarter note... My #1 suggestion is that regional content should be customizable so that you can view it in a miniature matrix data style. The biggest problem for me is that I cannot see where my notes end-- I can only see where they start, this makes it very difficult to identify what I am looking at.
* Track automation data should only be inputable by the pencil tool. I cannot mention how many times automation data has accidentally altered when using the arrow tool. The pencil tool should allow you to raise and lower the lines reflecting automation data... What is the point using the pencil tool for automation if it's only function is to create "points" yet you can also create points with the arrow tool..??? Pencil tool should act as the arrow tool does in the sense that it raises or lowers automation data.
* Recording preferences do not offer the option to automatically merge new part with existing part when a region is NOT selected. How annoying is it to have to select a part every time you want to record something just so it will be included in that original part!
* Ruler at the top of the screen should also give an option for tuplets. 5, 7, etc.
* When in record mode, if you click on the ruler to another time position, all audio instruments cut out and it takes approximately 3-4 seconds before tracks begin playing audio. This becomes very annoying if you are trying to do a pick up and want to just start 1 measure before hand.
* There should be a way to EASILY (without having to cable two tracks together in the environment) temporarily link multiple tracks together so that automation data will be duplicated. So theoretically you can link 3-4 tracks together, and by adding automation data to one, you are adding it to all 4.
* If a part is soloed, and you hit record. The part stops being soloed and you can no longer hear it. This makes it impossible to record a pick up on a soloed track unless it's locked, but it shouldn't need to be locked.
* When you are zoomed in tightly, and you are trying to align notes within two parts on different tracks (meaning using the PSEUDO NOTATION DATA that appears in the part to align), there needs to be a VERTICAL line that snaps to the note closest to the mouse cursor. When trying to do this in parts that are a far vertical distance apart, it becomes VERY difficult to eye this alignment. Logic does this with automation data.. but for some reason they left it out for actual part alignment...
* There should be a way to force the downbeat of a measure to occur at any given moment... What I mean by this, is composing for film is an absolute PAIN in Logic. Scenes, last for odd amounts of time, and Logic's reference manual claims that you can solve this by using various tempo tricks, however it is ineffective for the most part. What Logic needs is the ability where you can click on a drop down menu item within the arrange window and FORCE that where ever the song locator is, the rest of the measure is eliminated and a new measure downbeat occurs right there. This will allow you to always have new scenes on the downbeat of a measure without having to mess with your tempo and meter.
Hyper Edit Window:
* I can't even begin to comment on this... The hyper edit window is one of the worst things I have ever seen in a music/audio program. It is a horrible interface, you can't get it to do anything correctly without messing everything up. This thing needs a complete overhaul... I mean, just try to create a simple crescendo with note velocity and it will take you all night.. Try to add pitch bend data, and it adds note velocity data as well.. It's a total nightmare, and I would love to hear someone's practical application of this window.
Score Window:
* The method that the song position locator moves along with the notation is very strange. It is not at all how a person's eyes function when reading music. A much more logical approach to this would be for a transparent colored block of some type to highlight an entire measure, and each note head will glow as it sounds. The current way is so strange, it speeds up and slows down-- makes absolutely no sense, and it is more disruptive than anything.
* When the Hyper Draw > note velocity area is exposed, if you use the velocity tool to increase/decrease a particular note's volume, the data in the hyper draw window does not update in real-time as you use the velocity tool. This behavior is inconsistent with the matrix > hyper draw's note velocity section-- where as in that area, the velocity ball/lines do update in realtime.
EXS24:
* when you are in many levels of subdirectories and you are auditioning instruments, it becomes very time consuming and annoying to have to continually trace through all the subdirectory paths. There should be a feature directly under the load instrument window that takes you to the subdirectory of the current instrument.
* Seems when SONG SETTING > MIDI > "chase" is turned on... When starting sequences using audio instruments, (I am using a harp sample within the exs24), there is a latency hiccup upon starting, which is very disruptive when trying to listen to a short isolated moment in a composition. And I do want to chase note events in general-- but this present situation makes it difficult for me to work. I would suggest that you can specify tracks to exclude chasing.. Or fix the latency hiccup issue.
Thank you.
-Patrick
http://collinatorstudios.com

this is excellent patrick. can you number your points so that the thread can be discussed?
1. yes
2. ok
3. great idea
4. even better idea. you could set something up with aggreagate device i suppose but it would be better to have the feature to hand.
5. you need to look into your project manager prefs. scan the paths and the links to the audio files will be saved meaning they will load up in a fraction of the time.
6. yes this is nuts. you can skip all and sort it out with PM but then you shouldn't have to.
7. this exists already. perhaps it ought to be a default but you need to set your esx prefs to 'keep common samples in memeory when switching songs'. then it will do just as you wish it to. you can also use the au lab in the devlopers kit which will allow you to load in au units etc seperately from logic, which logic can then access. this is a good way of getting around the 4 GB memory limit with logic too.
8. ok, don't know about this bug.
9. yep happens here too.
10. doesn't worry me this one. you can turn off midi out.
11. yes this is silly.
12. well, i think this is something we can get used to. i am a musician and i am used to seeing '24'.
13. you can already set up groove templates to allow for quantizing irrational tuplets. i do it all the time. i would like to see step input for irrational tuplets though.
14. yes this is silly. the button for the KC 'content catch' is getting very worn out.
15. ok.
16. not sure i understand this one.
17. yes this drives me nuts too. i have to lock screensets to get this to stay off.
18. you can use KCs for 'go into/out of sequence' - but yeah.
19. ok
20. there are a couple of features that use old technology that cause hangs and poor performance. score is a good example of that. maybe the matrix is too. the score is being updated we assume with newer technology maybe the matrix will too.
21. there are probably better ways of adjusting velocity than using matrix or hperdraw velocity. have you tried holding control-option and click dragging a note in score?
22. as i pointed out in 20, this is an old feature. you could change things to be consistent with modern macs and annoy long term users such as myself, or leave them and let them be inconsistent to confuse newbies. i think depending on what it is we oldies could upgrade our work habits.
23. this one doesn't worry me so much.
24. good point (no pun intended).
25. well, i find the opposite - that merging new parts to objects i have accidentally selected to be annoying. perhaps more detailed prefs?
26. yep.
27. this will be down to your audio settings. you can improve this lag but it will be dependant on the capabilities of your system.
28. i don't know why this feature doesn't work in logic. it is supposed to have ti already and i just don't understand why it doesn't. maybe it will be fixed in the next upgrade.
29. agreed.
30. ok - i have other work flows for this but it would be nice.
31. i don't agree that logic is a pain to score with to film, i do it nearly everyday. but you are discribing an interesting feature which might be worth discussing more. i think you might find yourself getting alarming and unmiscal results doing this that will end up having to be sorted out the conventional way. but its a good idea.
32. oh yes.
33. yeah - this could be improved.
34. ok, well i wouldn't go about it this way, but yeah there is generally sticky spots with regards to updating of information al around logic.
25. very very good idea.
26. there are lots of problems with the chase function. very annoying. i certainly agree with this.
in general, some of these could well be done as their own threads. some of the missing functionality may exist. if you can confirm a bug then you are on stronger ground when you submit feedback. but this list is full of fantastic ideas.

Font problem with Montserrat and Maven Pro from google

Seems like some fonts don't render as they should in Firefox 29.0.1. I tried to use google web fonts like Montserrat and Maven Pro, no problem with downloading but this fonts don't look good.
I tried to install Montserrat to my Windows 7 (64) and deactivated css so that FF runs the font but same problem occurs.
A really strange problem is that from my computer at work this fonts don't work from FF or Chrome, all versions of IE is fine.
At home i have a laptop with same OS and version of FF and from home it works! But not Chrome..
I have search on the net and at your support site but haven't find any answers yet.
You can look at http://arenago.axiell.com for your self. Below is troubleshooting information from my version of FF where this problems occurs (Sorry about the Swedish)
Programfakta
Namn: Firefox
Version: 29.0.1
Användaragent: Mozilla/5.0 (Windows NT 6.1; WOW64; rv:29.0) Gecko/20100101 Firefox/29.0
Kraschrapporter för de senaste 3 dagarna
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Namn: Classic Theme Restorer
Version: 1.1.8
Aktiverad: true
ID: ClassicThemeRestorer@ArisT2Noia4dev
Namn: Firebug
Version: 1.12.8
Aktiverad: true
ID: [email protected]
Namn: HostAdmin
Version: 1.4.9.2
Aktiverad: true
ID: {bd54afa8-b14a-4d7a-aecf-37e34e882796}
Namn: Web Developer
Version: 1.2.5
Aktiverad: true
ID: {c45c406e-ab73-11d8-be73-000a95be3b12}
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print.printer_\\tina\Kajan_HP_LJ_P2055.print_scaling: 1,00
print.printer_\\tina\Kajan_HP_LJ_P2055.print_shrink_to_fit: true
print.printer_\\tina\Kajan_HP_LJ_P2055.print_to_file: false
print.printer_\\tina\Kajan_HP_LJ_P2055.print_unwriteable_margin_bottom: 0
print.printer_\\tina\Kajan_HP_LJ_P2055.print_unwriteable_margin_left: 0
print.printer_\\tina\Kajan_HP_LJ_P2055.print_unwriteable_margin_right: 0
print.printer_\\tina\Kajan_HP_LJ_P2055.print_unwriteable_margin_top: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_bgcolor: false
print.printer_\\tina\NRG_MP_C3501_PS.print_bgimages: false
print.printer_\\tina\NRG_MP_C3501_PS.print_colorspace:
print.printer_\\tina\NRG_MP_C3501_PS.print_command:
print.printer_\\tina\NRG_MP_C3501_PS.print_downloadfonts: false
print.printer_\\tina\NRG_MP_C3501_PS.print_duplex: -983728976
print.printer_\\tina\NRG_MP_C3501_PS.print_edge_bottom: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_edge_left: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_edge_right: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_edge_top: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_evenpages: true
print.printer_\\tina\NRG_MP_C3501_PS.print_footercenter:
print.printer_\\tina\NRG_MP_C3501_PS.print_footerleft: &PT
print.printer_\\tina\NRG_MP_C3501_PS.print_footerright: &D
print.printer_\\tina\NRG_MP_C3501_PS.print_headercenter:
print.printer_\\tina\NRG_MP_C3501_PS.print_headerleft: &T
print.printer_\\tina\NRG_MP_C3501_PS.print_headerright: &U
print.printer_\\tina\NRG_MP_C3501_PS.print_in_color: true
print.printer_\\tina\NRG_MP_C3501_PS.print_margin_bottom: 0.5
print.printer_\\tina\NRG_MP_C3501_PS.print_margin_left: 0.5
print.printer_\\tina\NRG_MP_C3501_PS.print_margin_right: 0.5
print.printer_\\tina\NRG_MP_C3501_PS.print_margin_top: 0.5
print.printer_\\tina\NRG_MP_C3501_PS.print_oddpages: true
print.printer_\\tina\NRG_MP_C3501_PS.print_orientation: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_page_delay: 50
print.printer_\\tina\NRG_MP_C3501_PS.print_paper_data: 9
print.printer_\\tina\NRG_MP_C3501_PS.print_paper_height: 11,00
print.printer_\\tina\NRG_MP_C3501_PS.print_paper_name:
print.printer_\\tina\NRG_MP_C3501_PS.print_paper_size_type: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_paper_size_unit: 1
print.printer_\\tina\NRG_MP_C3501_PS.print_paper_width: 8,50
print.printer_\\tina\NRG_MP_C3501_PS.print_plex_name:
print.printer_\\tina\NRG_MP_C3501_PS.print_resolution: 1
print.printer_\\tina\NRG_MP_C3501_PS.print_resolution_name:
print.printer_\\tina\NRG_MP_C3501_PS.print_reversed: false
print.printer_\\tina\NRG_MP_C3501_PS.print_scaling: 1,00
print.printer_\\tina\NRG_MP_C3501_PS.print_shrink_to_fit: true
print.printer_\\tina\NRG_MP_C3501_PS.print_to_file: false
print.printer_\\tina\NRG_MP_C3501_PS.print_unwriteable_margin_bottom: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_unwriteable_margin_left: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_unwriteable_margin_right: 0
print.printer_\\tina\NRG_MP_C3501_PS.print_unwriteable_margin_top: 0
privacy.cpd.siteSettings: true
privacy.sanitize.migrateFx3Prefs: true
privacy.sanitize.timeSpan: 0
storage.vacuum.last.index: 1
storage.vacuum.last.places.sqlite: 1399495195
user.js-inställningar
Din profilmapp innehåller en user.js-fil som inkluderar inställningar som inte har skapats av Firefox.
Grafik
Adapter-RAM: 512
Adapterbeskrivning: NVIDIA GeForce 7950 GT
Adapterdrivrutin: nvd3dumx,nvd3dum
ClearType-parametrar: D [ Gamma: 2200 Pixel Structure: R ClearType Level: 100 Enhanced Contrast: 50 ] D [ Gamma: 2200 Pixel Structure: R ClearType Level: 100 Enhanced Contrast: 50 ]
DirectWrite aktiverat: false (6.2.9200.16492)
Drivrutinsdatum: 1-31-2013
Drivrutinsversion: 9.18.13.783
Enhets-ID: 0x0295
GPU #2 aktiv: false
Grafikaccelererade fönster: 1/1 Direct3D 9
Leverantörs-ID: 0x10de
WebGL-renderare: Google Inc. -- ANGLE (NVIDIA GeForce 7950 GT Direct3D9Ex vs_3_0 ps_3_0)
windowLayerManagerRemote: false
AzureCanvasBackend: skia
AzureContentBackend: cairo
AzureFallbackCanvasBackend: cairo
AzureSkiaAccelerated: 0
JavaScript
Incremental GC: true
Tillgänglighet
Aktiverad: false
Förhindra tillgänglighet: 0
Biblioteksversioner
NSPR
Förväntad minimiversion: 4.10.3
Version som används: 4.10.3
NSS
Förväntad minimiversion: 3.16 Basic ECC
Version som används: 3.16 Basic ECC
NSSSMIME
Förväntad minimiversion: 3.16 Basic ECC
Version som används: 3.16 Basic ECC
NSSSSL
Förväntad minimiversion: 3.16 Basic ECC
Version som används: 3.16 Basic ECC
NSSUTIL
Förväntad minimiversion: 3.16
Version som används: 3.16

Many site issues can be caused by corrupt cookies or cache. 
Clear the Cache 
'''''Firefox/Tools > Options > Advanced > Network > Cached Web Content: "Clear Now"'''''
 and 
Remove Cookies '''''Firefox/Tools > Options > Privacy.''''' 
Under '''History''', select Firefox will '''Use Custom Settings'''. 
There is a button on the right side called '''Show Cookies'''. 
If there is still a problem,
'''''[https://support.mozilla.org/en-US/kb/troubleshoot-firefox-issues-using-safe-mode Start Firefox in Safe Mode]'''''
 While you are in safe mode; 
'''''Firefox Options > Advanced > General'''''. 
Look for and turn off '''Use Hardware Acceleration'''. 
Poke around safe web sites and see if there is still a problem. Then restart.
 
This may or may not help you; 
'''''[https://addons.mozilla.org/en-US/firefox/addon/nosquint/?src=external-Add-ons_Manager_Context_Menu-extension NoSquint]''''' 
NoSquint allows you to adjust the text-only and full-page (both text and images) zoom levels as well as color settings both globally (for all sites) and per site.

Problem with display

Hi - My iMac seems to have 'developed' a problem with it's display. The whole screen looks as though it has had its contrast/brightness turned up very high & there is a severe degradation to the quality of all of it.
The 'lines' & boxes around everything in a window are hardly visible, all the colours are very de-saturated & it also looks like there's a problem with 'aliasing', ie all the graphics on the dock look very 'scratchy' in quality.
I have tried system prefs, displays - but nothing on there seems to be helping...any ideas??!! - I do have 3 kids who may have been 'fiddling' but I don't know where else to look! - HELP!
Thanks

Could be someone may have found the keyboard shortcut for the
Universal Access> Seeing> 'white on black' reversal; by chance
that can be selected by random use of a keyboard combination.
If that's the case, you can visit System Preferences> Universal Access
and note options in Seeing where you can re-select Black on White, as
this is the Default.
{ I've heard of another thing called *'invert colors'* which can happen
through use of a keyboard combination; it may be the same setting:
re: http://support.apple.com/kb/HT3488?viewlocale=en_US uses
4 keys, together: Control-Option-Command-8 key combination }
+Through use of additional user accounts with less privilege settings,+
+such incidents may be avoided; along with any other account access+
+into other user files & folders. This in place of or with Parental controls.+
About keyboard shortcuts:
• Mastering keyboard shortcuts:
http://www.myfirstmac.com/index.php/mac/articles/mastering-keyboard-shortcuts
• Mac OS X keyboard shortcuts:
http://support.apple.com/kb/HT1343
• Dan Rodney's list of Mac OS X keyboard shortcuts & keystrokes:
http://www.danrodney.com/mac/
• Shortcuts:
http://shortcuts.heroku.com/
• Magical Macintosh Key Sequences: (includes vintage)
http://davespicks.com/writing/programming/mackeys.html
Hopefully this helps...
Good luck & happy computing!
PS: This does sound familiar; you've been there before:
http://discussions.apple.com/message.jspa?messageID=13124058#
+{ edited to add links }+

How do I investigate and solve Pages, Notes, Mail intermittent 'offline' and failure to synchronise problems with Mountain Lion after waking from Sleep

When I wake up my iMac after sleep, i get a variety of intermittent - but mostly FREQUENT and FRUSTRATING problems including:
Notes app is offline - as stated by a message in the window bar. If I close Notes and reopen, the app appears to be online. However, Notes does NOT update with items I know are on my iPad or in the web iCloud. Furthermore, if I create a new note on my iMac, the new Note does not upload to iCloud. This is IRRITATING!
Pages and Numbers - similar situation. I can edit a Pages or Numbers document on my iMac (stored on the iCloud). But then the Pages doc doesn't ALWAYS get uploaded to the iCloud. Then I end up with conflicted versions of the file in the cloud, my iPad, and the two iMacs I use. Then I get CONFUSED and FRUSTRATED. For example, consider these steps:
Open Pages on my iMac, edit an iCloud file, then save and close file
Pages/File/Open/iCloud - I note in the iCloud file list the edited file has a little 'cloud' icon against its name. From experience this warns me of TROUBLE - namely that the file has NOT yet been uploaded to the iCloud. However, I just checked the new Beta iCloud on the web, and to my surprise, the file edited on my iMac is apparently in the icloud. But now, I edit the iCloud version, and the changes DO NOT appear on my iMac pages version. OK I realise its in Beta version...
So now, I open my iPad, open Pages. I note the iCloud version of my edited document updates to my iPad, as indicated by a blue download line. 'It just works' as Steve Jobs claimed at Apple Developers Conference a couple of years back. Again, the edited version form my iPad is now 'up in the cloud' correctly....
Oh - and now mysteriously the Pages version on my Imac has become synchronised with my iPad/iCloud version! Luck ... but that's about all I can say. It doesn't always happen. I'm LUCKY today.
Meanwhile, the Note I created on my iMac (Item 1 above) has still not yet appeared on my iPad or iCloud... even though I HOPE it would be given that Pages on my iMac, iPad and iCloud are chatting nicely now! The Note says it's in my iCloud - but NOT. Similarly, notes updated or added on my iPad, which appear in iCloud, are NOT on my iMac.
Mail - last but NOT LEAST! and MOST INFURIATING!!! My Gmail, Vodafone NZ and Orcon accounts (in Mail) are all active and receiving after the night's sleep. However, my iCloud mail account has the dreaded offline.
The message on Mail is "There may be a problem with the mail server or network. Verify the settings for account “ICloud - [email protected]” or try again. The server returned the error: The server “p03-imap.mail.me.com” cannot be contacted on port 993." Despite the message, mail was received this morning at 8:59 am ... some time before I woke-up my computer (a late start this morning).
If I sent an email FROM my .me iCloud account TO my Vodafone account, the message whooshes away, it's in my SENT box. But it doesn't get delivered to my Vodafone account on my iMac Mail, or anywhere else, Despite the message being listed in my 'Sent' mailbox!!!
In contrast, a message sent from my Gmail account to my Vodafone account (in Mail) gets sent and received almost instantly on my iMac and iPad.
All of the above mishaps are extremely frustrating, as I rush off from working on my iMac at home, get to my iMac at work and find documents I have been updating on my home iMac not available correctly on my work iMac ... or even my iPad. I expect these things from Apple to 'just work'. Furthermore, emails I THINK I have sent (as indicated by them appearing in the Sent folder on my home iMac) ... have not actually been despatched.
Frankly, I can no longer rely or recommend the Apple iCloud stuff, so I am converting more and more to relying on DropBox and Google.
These problems only became apparent since I updated to one of the Mountain Lion versions... I can't say when.
Oh - if I shutdown and restart the computer my Mail works OK. Guess what, I don't want to do that each time I want to use Mail!
Technicals:
My iMac is connected by Ethernet cable to my Apple TimeCapsule. The TimeCapsule is connected by Ethernet cable to my Orcon Genius Modem.
Obviously, my internet connection is A-OK, as I am able to use Firefox to make this posting!
Mountain Lion 10.8.4
iMac 27 inch, mid 2010, Intel Core i5 16 Gb

I've returned to my sleeping iMac after a few days away. Tis time, ALL MAIL accoiunts are offline. I will follow you next set of instructions. In the meantime, here is the DETAIL from MAIL CONNECTION DOCTOR:
LevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
19.10827 STATUS [Gmail]/Trash (UIDNEXT UNSEEN HIGHESTMODSEQ)
WROTE Sep 30 08:35:11.179 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
20.10827 STATUS INBOX (UIDNEXT UNSEEN HIGHESTMODSEQ)
WROTE Sep 30 08:35:11.202 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
21.10827 STATUS "Sent Messages" (UIDNEXT UNSEEN HIGHESTMODSEQ)
WROTE Sep 30 08:35:11.226 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
22.10827 STATUS "Deleted Messages" (UIDNEXT UNSEEN HIGHESTMODSEQ)
READ Sep 30 08:35:11.254 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
* STATUS "[Gmail]/All Mail" (HIGHESTMODSEQ 561701 UIDNEXT 1666 UNSEEN 105)
13.10827 OK Success
READ Sep 30 08:35:11.494 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
* STATUS "[Gmail]/Drafts" (HIGHESTMODSEQ 561701 UIDNEXT 1 UNSEEN 0)
14.10827 OK Success
READ Sep 30 08:35:11.514 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc31616b9d0
* STATUS "[Gmail]/Important" (HIGHESTMODSEQ 561701 UIDNEXT 731 UNSEEN 8)
15.10827 OK Success
* STATUS "[Gmail]/Sent Mail" (HIGHESTMODSEQ 561701 UIDNEXT 532 UNSEEN 2)
16.10827 OK Success
* STATUS "[Gmail]/Spam" (HIGHESTMODSEQ 561701 UIDNEXT 16 UNSEEN 2)
17.10827 OK Success
* STATUS "[Gmail]/Starred" (HIGHESTMODSEQ 561701 UIDNEXT 19 UNSEEN 0)
18.10827 OK Success
* STATUS "[Gmail]/Trash" (HIGHESTMODSEQ 561701 UIDNEXT 546 UNSEEN 0)
19.10827 OK Success
* STATUS "INBOX" (HIGHESTMODSEQ 561701 UIDNEXT 603 UNSEEN 64)
20.10827 OK Success
* STATUS "Sent Messages" (HIGHESTMODSEQ 561701 UIDNEXT 138 UNSEEN 0)
21.10827 OK Success
* STATUS "Deleted Messages" (HIGHESTMODSEQ 561701 UIDNEXT 89 UNSEEN 0)
22.10827 OK Success
WROTE Sep 30 08:35:11.537 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc3186cf640
23.10827 IDLE
READ Sep 30 08:35:11.927 [kCFStreamSocketSecurityLevelTLSv1SSLv3] -- host:imap.gmail.com -- port:993 -- socket:0x7fc3182ee310 -- thread:0x7fc3186cf640
+ idling
READ Sep 30 08:35:15.472 [kCFStreamSocketSecurityLevelNone] -- host:smtp.mail.me.com -- port:587 -- socket:0x7fc31855c470 -- thread:0x7fc31858ada0
220 st11p00mm-asmtp002.mac.com -- Server ESMTP (Oracle Communications Messaging Server 7u4-27.08(7.0.4.27.7) 64bit (built Aug 22 2013))
WROTE Sep 30 08:35:24.784 [kCFStreamSocketSecurityLevelNone] -- host:mail.orcon.net.nz -- port:25 -- socket:0x7fc3161a1b00 -- thread:0x7fc315d05050
EHLO [10.1.1.4]
WROTE Sep 30 08:35:24.822 [kCFStreamSocketSecurityLevelNone] -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x7fc316e72a70 -- thread:0x7fc31850bec0
EHLO [10.1.1.4]
WROTE Sep 30 08:35:34.080 [kCFStreamSocketSecurityLevelNone] -- host:smtp.mail.me.com -- port:587 -- socket:0x7fc31855c470 -- thread:0x7fc31858ada0
EHLO [10.1.1.4]
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc316fc30e0
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc31a6fa8a0
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc316197890
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc316e813d0
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0350
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc3185c0410
INITIATING CONNECTION Sep 30 08:35:47.175 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc315ded870
INITIATING CONNECTION Sep 30 08:35:47.193 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316e729b0
INITIATING CONNECTION Sep 30 08:35:47.198 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3167d2380
INITIATING CONNECTION Sep 30 08:35:47.377 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3167d2380
INITIATING CONNECTION Sep 30 08:36:40.352 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:36:40.352 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc312c8dbc0
INITIATING CONNECTION Sep 30 08:36:40.353 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc31617f290
INITIATING CONNECTION Sep 30 08:36:40.353 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc316e729b0
INITIATING CONNECTION Sep 30 08:36:40.353 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc31615a390
INITIATING CONNECTION Sep 30 08:36:40.353 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316e3bbc0
INITIATING CONNECTION Sep 30 08:36:40.353 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc316e0cfa0
INITIATING CONNECTION Sep 30 08:36:40.368 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31829f120
INITIATING CONNECTION Sep 30 08:36:40.403 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc312c8dbc0
INITIATING CONNECTION Sep 30 08:36:40.412 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:36:40.565 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc312c8dbc0
INITIATING CONNECTION Sep 30 08:36:40.595 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:36:40.633 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:36:40.687 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:36:40.708 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:36:40.729 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc318203720
INITIATING CONNECTION Sep 30 08:37:33.322 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc3183339e0
INITIATING CONNECTION Sep 30 08:37:33.322 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3186f07e0
INITIATING CONNECTION Sep 30 08:37:33.322 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc315a9b630
INITIATING CONNECTION Sep 30 08:37:33.322 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc3163e7dd0
INITIATING CONNECTION Sep 30 08:37:33.322 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3172f6e70
INITIATING CONNECTION Sep 30 08:37:33.322 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc31616b9d0
INITIATING CONNECTION Sep 30 08:37:33.323 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:37:33.336 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316e03950
INITIATING CONNECTION Sep 30 08:37:33.462 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:37:33.463 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3163e7dd0
INITIATING CONNECTION Sep 30 08:37:33.509 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:37:33.528 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3163e7dd0
INITIATING CONNECTION Sep 30 08:37:33.557 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:37:33.598 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:37:33.624 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:37:33.646 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315d14150
INITIATING CONNECTION Sep 30 08:38:26.315 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc31686fa30
INITIATING CONNECTION Sep 30 08:38:26.316 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316fcc7d0
INITIATING CONNECTION Sep 30 08:38:26.316 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3170d8a90
INITIATING CONNECTION Sep 30 08:38:26.317 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc318521490
INITIATING CONNECTION Sep 30 08:38:26.317 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc316e81b30
INITIATING CONNECTION Sep 30 08:38:26.317 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc316fdf410
INITIATING CONNECTION Sep 30 08:38:26.318 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc315d3a890
INITIATING CONNECTION Sep 30 08:38:26.320 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316774270
INITIATING CONNECTION Sep 30 08:38:26.350 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316728a90
INITIATING CONNECTION Sep 30 08:38:26.350 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316fdaa30
INITIATING CONNECTION Sep 30 08:38:26.495 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316774270
INITIATING CONNECTION Sep 30 08:38:26.538 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316fdaa30
INITIATING CONNECTION Sep 30 08:38:26.591 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316fdaa30
INITIATING CONNECTION Sep 30 08:38:26.619 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316fdaa30
INITIATING CONNECTION Sep 30 08:38:26.642 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316fdaa30
INITIATING CONNECTION Sep 30 08:38:26.666 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316fdaa30
INITIATING CONNECTION Sep 30 08:39:19.257 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc31662a980
INITIATING CONNECTION Sep 30 08:39:19.258 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc3182e6150
INITIATING CONNECTION Sep 30 08:39:19.258 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc31605c330
INITIATING CONNECTION Sep 30 08:39:19.258 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc3184b79c0
INITIATING CONNECTION Sep 30 08:39:19.258 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc31658f5b0
INITIATING CONNECTION Sep 30 08:39:19.259 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc316e03950
INITIATING CONNECTION Sep 30 08:39:19.259 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3160d8c80
INITIATING CONNECTION Sep 30 08:39:19.265 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc31662b000
INITIATING CONNECTION Sep 30 08:39:19.287 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316073530
INITIATING CONNECTION Sep 30 08:39:19.287 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316c23cd0
INITIATING CONNECTION Sep 30 08:39:19.420 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc31662b000
INITIATING CONNECTION Sep 30 08:39:19.457 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316c23cd0
INITIATING CONNECTION Sep 30 08:39:19.505 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316c23cd0
INITIATING CONNECTION Sep 30 08:39:19.531 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316c23cd0
INITIATING CONNECTION Sep 30 08:39:19.552 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316c23cd0
INITIATING CONNECTION Sep 30 08:39:19.573 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316c23cd0
INITIATING CONNECTION Sep 30 08:40:11.346 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3161c6e50
INITIATING CONNECTION Sep 30 08:40:11.347 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc316becee0
INITIATING CONNECTION Sep 30 08:40:11.348 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc31679c620
INITIATING CONNECTION Sep 30 08:40:11.349 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc3144ad030
INITIATING CONNECTION Sep 30 08:40:11.349 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:40:11.349 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc3158e5b50
INITIATING CONNECTION Sep 30 08:40:11.349 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc316728a90
INITIATING CONNECTION Sep 30 08:40:11.363 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315c576d0
INITIATING CONNECTION Sep 30 08:40:11.518 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:40:11.518 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3168cf630
INITIATING CONNECTION Sep 30 08:40:11.548 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:40:11.568 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3168cf630
INITIATING CONNECTION Sep 30 08:40:11.597 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:40:11.638 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:40:11.660 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:40:11.683 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b8d0250
INITIATING CONNECTION Sep 30 08:41:06.173 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc318297540
INITIATING CONNECTION Sep 30 08:41:06.175 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:06.175 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc314144080
INITIATING CONNECTION Sep 30 08:41:06.175 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc315d435e0
INITIATING CONNECTION Sep 30 08:41:06.175 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc3167306a0
INITIATING CONNECTION Sep 30 08:41:06.175 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc31680f3e0
INITIATING CONNECTION Sep 30 08:41:06.175 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc3170d8a90
INITIATING CONNECTION Sep 30 08:41:06.197 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31671e630
INITIATING CONNECTION Sep 30 08:41:06.223 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:06.223 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc318569a40
INITIATING CONNECTION Sep 30 08:41:06.376 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:06.396 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc318569a40
INITIATING CONNECTION Sep 30 08:41:06.431 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:06.475 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:06.503 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:06.527 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31b9c7b90
INITIATING CONNECTION Sep 30 08:41:59.159 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:41:59.160 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316e16c90
INITIATING CONNECTION Sep 30 08:41:59.160 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3161e71f0
INITIATING CONNECTION Sep 30 08:41:59.161 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc315f45120
INITIATING CONNECTION Sep 30 08:41:59.161 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc3170d94c0
INITIATING CONNECTION Sep 30 08:41:59.161 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc3174bc990
INITIATING CONNECTION Sep 30 08:41:59.161 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc31820b7d0
INITIATING CONNECTION Sep 30 08:41:59.174 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3162884e0
INITIATING CONNECTION Sep 30 08:41:59.189 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316c2b240
INITIATING CONNECTION Sep 30 08:41:59.189 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:41:59.344 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316c2b240
INITIATING CONNECTION Sep 30 08:41:59.363 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:41:59.409 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:41:59.430 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:41:59.450 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:41:59.471 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3160bc120
INITIATING CONNECTION Sep 30 08:42:51.209 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc31a613830
INITIATING CONNECTION Sep 30 08:42:51.210 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3168ae8d0
INITIATING CONNECTION Sep 30 08:42:51.210 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc3161d6110
INITIATING CONNECTION Sep 30 08:42:51.211 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc315de6190
INITIATING CONNECTION Sep 30 08:42:51.211 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc316482400
INITIATING CONNECTION Sep 30 08:42:51.211 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 08:42:51.211 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc31829f120
INITIATING CONNECTION Sep 30 08:42:51.224 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3159e76e0
INITIATING CONNECTION Sep 30 08:42:51.372 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316c2b240
INITIATING CONNECTION Sep 30 08:42:51.372 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 08:42:51.402 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316c2b240
INITIATING CONNECTION Sep 30 08:42:51.421 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 08:42:51.466 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 08:42:51.492 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 08:42:51.514 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 08:42:51.536 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3167069e0
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:smtp.mail.me.com -- port:587 -- socket:0x0 -- thread:0x7fc315d40d90
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc315ad1930
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:mail.orcon.net.nz -- port:25 -- socket:0x0 -- thread:0x7fc316c27e30
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc315adf230
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:smtp.vodafone.co.nz -- port:25 -- socket:0x0 -- thread:0x7fc315d49010
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3159a1ea0
INITIATING CONNECTION Sep 30 09:43:23.246 -- host:smtp.gmail.com -- port:587 -- socket:0x0 -- thread:0x7fc318691eb0
INITIATING CONNECTION Sep 30 09:43:23.250 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc315f45120
INITIATING CONNECTION Sep 30 09:43:23.311 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316e1b2d0
INITIATING CONNECTION Sep 30 09:43:23.311 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31869d090
INITIATING CONNECTION Sep 30 09:43:23.427 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc315f45120
INITIATING CONNECTION Sep 30 09:43:23.471 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31869d090
INITIATING CONNECTION Sep 30 09:43:23.524 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31869d090
INITIATING CONNECTION Sep 30 09:43:23.547 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31869d090
INITIATING CONNECTION Sep 30 09:43:23.574 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31869d090
INITIATING CONNECTION Sep 30 09:43:23.598 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31869d090
INITIATING CONNECTION Sep 30 10:06:17.592 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3159227c0
INITIATING CONNECTION Sep 30 10:06:17.596 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3174e7bd0
INITIATING CONNECTION Sep 30 10:06:17.598 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc315e08640
INITIATING CONNECTION Sep 30 10:06:18.674 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316a42ed0
INITIATING CONNECTION Sep 30 10:06:19.483 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc318462600
INITIATING CONNECTION Sep 30 10:06:19.539 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3162d4270
INITIATING CONNECTION Sep 30 10:06:19.564 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3159227c0
INITIATING CONNECTION Sep 30 10:06:19.582 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316a42ed0
INITIATING CONNECTION Sep 30 10:06:19.653 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316a42ed0
INITIATING CONNECTION Sep 30 10:06:19.674 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316a42ed0
INITIATING CONNECTION Sep 30 10:06:19.725 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316a42ed0
INITIATING CONNECTION Sep 30 10:06:19.747 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc316a42ed0
INITIATING CONNECTION Sep 30 10:07:19.496 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316491d10
INITIATING CONNECTION Sep 30 10:07:19.523 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc3144bad30
INITIATING CONNECTION Sep 30 10:07:19.531 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31613c6b0
INITIATING CONNECTION Sep 30 10:07:19.534 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3172b7640
INITIATING CONNECTION Sep 30 10:07:19.550 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc315cbb960
INITIATING CONNECTION Sep 30 10:07:19.626 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc315842910
INITIATING CONNECTION Sep 30 10:07:19.665 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc316491d10
INITIATING CONNECTION Sep 30 10:07:19.715 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31613c6b0
INITIATING CONNECTION Sep 30 10:07:19.805 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31613c6b0
INITIATING CONNECTION Sep 30 10:07:19.854 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31613c6b0
INITIATING CONNECTION Sep 30 10:07:19.892 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31613c6b0
INITIATING CONNECTION Sep 30 10:07:19.915 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31613c6b0
INITIATING CONNECTION Sep 30 10:08:19.527 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3162aa260
INITIATING CONNECTION Sep 30 10:08:19.553 -- host:mail.orcon.net.nz -- port:995 -- socket:0x0 -- thread:0x7fc3162e8510
INITIATING CONNECTION Sep 30 10:08:19.555 -- host:pop.vodafone.co.nz -- port:110 -- socket:0x0 -- thread:0x7fc315ac9950
INITIATING CONNECTION Sep 30 10:08:19.564 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31643e6f0
INITIATING CONNECTION Sep 30 10:08:19.582 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3146b1020
INITIATING CONNECTION Sep 30 10:08:19.685 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc3163d82c0
INITIATING CONNECTION Sep 30 10:08:19.705 -- host:imap.gmail.com -- port:993 -- socket:0x0 -- thread:0x7fc3162aa260
INITIATING CONNECTION Sep 30 10:08:19.756 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31643e6f0
INITIATING CONNECTION Sep 30 10:08:19.800 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31643e6f0
INITIATING CONNECTION Sep 30 10:08:19.852 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31643e6f0
INITIATING CONNECTION Sep 30 10:08:19.876 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31643e6f0
INITIATING CONNECTION Sep 30 10:08:19.898 -- host:p03-imap.mail.me.com -- port:993 -- socket:0x0 -- thread:0x7fc31643e6f0

Problem with the AF of my new 18-135mm EFS IS STM lens

Hello,
The lens came with the EOS Rebel T5i bundle.
The auto focus is working incorrectly, focusing closer than the detected area. This is happening when I use the viewfinder. When a picture is taken using the “direct view” (LCD display) it focus correctly.
I didn’t use the camera a lot since I bought it, now looking the first pictures I see that this problem is happening since I bought it.
I changed the zoom lens with another Canon camera and then my new Rebel T5i works fine and the same problem happens with the other camera, therefore I’m sure that the problem is in the lens and not in the camera body.
The out of focus is more noticeable when I'm taking pictures in 18mm position to an object farther than 2 meters but it is happening in any zoom position. It is clear when I compare the same picture taken with the viewfinder with one taken with the LCD Display.
I updated the body firmware and the problem continues.
Is it possible to update the lens firmaware? I couldn’t find them in the canon webpage.
I will go into an important trip next week, therefore I will not have time to send the camera to repair.
Any idea?
Thanks!

You may want to rent a lens for your trip and get this lens to service.
You'll want to be sure it really is a problem with the lens (it sounds like it is from your description). Test the lens against a "flat" target (such as a wall). You can hang something on the wall with high-contrast (newspaper works great) and put the camera on a tripod. The idea is that (a) the camera is definitely not moving, (b) the focus target is definitely not moving, and (c) the target is flat and there are no distracting objects in the field of view so it's not possible for the focus system to decide to lock focus on anything OTHER than your intended target.
Next... deliberately turn the focus ring to put the camera out of focus (so that the camera HAS to move the focus). This is mildly tricky with an STM lens since there's no mechanical link from the focus ring to the lens -- it's electronic. The lens only accepts focus input when focus is active (e.g. half-press the shutter button, etc. to wake it up.) I run focus all the way in and test several times, then run focus all the way out and test several times (that way it has to move focus in both directions.)
If the lens is consistently focusing closer, then it will need service.
Tim Campbell
5D II, 5D III, 60Da

Problem with K9N Ultra and Windows 7!!

Hello,
I have the following system:
- K9N Ultra (MS7250 - Version:2.0)
- AMD Athlon 64 3500+
- 4x Kingston KVR533D2N4/512
- NVIDIA GForce 7300GS
- Seagate Baracuda: ST3120827AS (7200rpm)
- NEC DVDRW ND4571A
I am running Windows XP SP3 but when I try to install Windows 7 (either 32 or 64 bit versions), when the system boots up, I choose to run from CD/DVD, the files are being loaded in the beginning but then the system is stuck in the next screen where it says Starting Windows with the green bar. I have left it for up to 90 minutes and it remains there, no change. I have tried with several different disks, always the same. I tried disabling legacy USB drivers, disabling on board audio, disabling USB and having a normal keyboard and mouse, always the same, no change whatsoever, the system halts at the same point every time.
Can someone please offer some help?

i tried once more, again disabling onboard audio, legacy, floppy, everything.....same thing, when the files are loaded and the screen goes at the green bar, the DVD spins down and halts there for ever.
i am really pissed with this problem. i have installed windows 7 in all of my computers and this is the only one that absolutely refuses for windows 7 to be installed!
hmm..what do you mean about the PSU? why would the installation of 7 have a problem with the PSU? 2 days ago i installed again windpws xp sp3 (just to see if they would install in contrast to 7) without a problem. i am really tired of changing keyboards, DVDs, taking RAM in and out etc to it...i could live without the need to take a PSU out of another pc and install it to that one, is there some BIOS fix for the problem you mention?
the bios is version 3.00 from what i read.
also..what is nvidia boot agent that is the fourth option of boot in my bios??

VGA problem with FiFA 2003 and Audio Problem with NHL2003

i use onboard VGA
800 x600for both games
with no problem
but for Fifa 2003
the screen looks so dark...
all players look like a black people(all black color hair
and black face))
some audio problem with NHL 2003...

Have you tried the following?
Adjust monitor settings? i.e. contrast/brightness
Video settings within the game? Some have gamma or brightness settings.
Gamma correction in "Display Properties"?
for starters anyway......

Isolating problems with MPEG2 VBR "best"

There have long been discussions here around problems with the quality of MPEG2 compression with Compressor v2.x, usually difficult to quantify or "solved" with "It doesn't work, use something else" such as a different product, Compressor v1 or a Quicktime MPEG2 export component. Maybe I'm an optimist, but I have to believe that someone who owns the code behind the Compressor product really does care to improve the quality of the compression, and is just waiting for a decent test case to figure-out what everyone is complaining about.
That in mind, I would like to propose that the most visible problems I've seen can be isolated to something to do with what is done when switching from "VBR" compression to "VBR best" compression, either in 1-pass or 2-pass mode. I would be curious if others who have had similar quality complaints could also check if they are using "VBR best" compression, such as the various default presets for "DVD: MPEG2 best quality..." which use "2-pass VBR best". In short, it seems as though one can get rid of the most serious artifacting problems by taking a "best quality" preset and changing the quality from "2-pass VBR best" to simply "2-pass VBR" (and similarly for 1-pass).
My own example: I've taken a short clip (less than 30 seconds) from the start of a recent home movie and published it along with some results on my iDisk's Public folder (Finder > Go > iDisk...): member name "dickermn" [sic], with no password. There you will find the folder CompressorTest, containing...
-> 2006winter - a self-contained QT movie with the DV source material.
-> dualG4 - a folder with the results of Compressor's MPEG2 compression with various settings, as run on a dual-1GHz G4 system.
-> coreDuo - a folder with the results of the same settings as above, but with Compressor run from a coreDuo mini.
-> *.png - two pairs of window-capture shots showing the same frames as compressed with "VBR" and "VBR best" settings.
Background: after having various odd and intermittent problems with MPEG2 compression results, I've used the recent upgrades to start with a clean slate: on the G4 system I ran Software Update, then removed all the components of DVD Studio Pro 4, Compressor and Qmaster, along with all preferences, application support files, frameworks, receipts, etc, as recommended in these web pages to remove these programs, then did a full install of my unversal upgrade to Final Cut Studio, and re-ran Software Update. This got me up to the current ProApps updates and Compressor v2.3.
Using only Compressor's default presets, selecting "DVD: Best Quality 150 minutes - 4:3" (2-pass VBR best, 3.7Mbps average rate), gives results with very visible artifacting. Using this same preset but changing the quality to "2-pass VBR" appears to clear up the most visible problems. Similarly, selecting "DVD: Fastest Encode 150 minutes - 4:3" (1-pass VBR) gives good results, but changing the preset's quality to "1-pass VBR best") produces visible artifacting.
For the purposes of testing, I also installed just Compressor on my coreDuo mini - a clean install - then ran Software Update to bring this to Compressor v2.3. Running the same tests as above on the Intel-based machine produced similar artifacting problems when selecting "best quality", but in different places in the media than on the G4. Using the same quality settings as above, but moving the average bitrate down to 3.0Mbps has similar behavior, but the artifacts are just more pronounced, and using a default preset with higher bitrate (5Mbps average, not included here) the artifacts are still quite visible, but less pronounced. From the 3Mbps results on the G4, the still frames captured show good examples of the problems at hand, though the artifacts are much more visible with the video in motion. These are the examples described below.
The clip shows some still titles against a still, horizontal-blurred background. At the end of the titles, the blurred background "un-blurs" and the motion starts: a horizontal pan, a wipe transition, and a downward pan. The subject is all falling snow, trees, our back deck, my son and me. The footage was taken with a consumer-grade Sony handheld camcorder.
The problems first noticable in the video appear as a blockiness to the images, particularly notable against the floor of snow where the image shifts visibly to different intensities of gray/white as the camera moves. More severe are blocks which don't move correctly with the camera, at first visible as a jerkiness to the opening background as it un-blurs, but more pronounced in the trees and decking during the downward pan at the end.
At about 14s is a good still of the blocking artifacts, seen here in the 1-pass VBR still frame. Note the large blocks in the snow in the "best" encoding, which are small enough to be lost in the noise for the "not-best" encoding. These shimmer between the different shades of gray as the camera moves.
At the last half of the clip, as the camera pans down, parts of the trees appear to jump independently of their branches. This is very clearly visible around the straight-lines of the railing in the lower part of the frame as the clip ends. The still is from about 23s into the clip, and you can see a block of the railing in the lower right which has clearly jumped-above the rest of the railing. Interestingly enough, this is the correct placement for those pixels in the next frame (as the camera continues to pan downward). In each of these "jumpy" cases, it would appear as though blocks of pixels show-up one frame early, and their surrounding blocks catch-up in the next frame (while these hold still). Again, when using the same settings without "best" quality, the jumping does not occur.
Note that with each pair of still (png) images you can group-select the pair and double-click to open them both in Preview, which allows you to toggle back-and-forth easily between the "best" and "not-best" versions. Comparing the two, you can easily spot several blocks in the frame which shift relative to their surroundings.
While I am aware that MPEG2 at low bitrates is a complicated thing (though I will leave open for debate how low 3-4Mbps is in today's world), and consumer-grade video has lots of noise which the encoder has to dance-around, I do believe it is fair to assume that the "best" settings should give visibly better results than their faster "non-best" counterparts, all else being equal - at the very least, the results should not be visibly worse. It is worth noting that the "best" VBR settings do appear (subjectively) to give better contrast or color-depth, so clearly something right is going-on - I just have to believe that there is something going awry in the whole process which creates artifacts negating the other benefits, but which, with any luck, could easily be fixed.
Please post with your comments, experiences or similar issues... or exactly what is the proper way to get this information to someone who could fix it?
dual 1GHz G4 + coreDuo mini Mac OS X (10.4.8) Compressor v2.3 / Final Cut Studio (univseral)

Well, I've found one more piece to this puzzle: hardware graphics accelerators.
In short, I tried this same test running Compressor on my G4 PowerBook (with Radion Mobility 9700) and got better results. The terrible blockiness and pixelation problems seem - dare I say it - gone from the MPEG2 video. In this regard, the video compressed as both the default "2-pass VBR best" and the same preset adjusted to use "1-pass VBR best" both looked cleaner than any of the VBR "not best" encodings produced on this machine, or either of the others.
Unfortunately, we're not completely out of the woods: the problems evidenced later in the clip - blocks which appear displaced in space/time for one frame - are still there, though they have moved to different locations in the frame.
This gets me to thinking: my PowerBook is just barely past current muster in terms of hardware-accelerated graphics (enough to run Motion, for example), whereas my other two machines are not (NVidia GForce4Ti & mini's Intel graphics). So this starts to get to the root of "If these presets don't work, why does Apple label them best - or distribute them at all?" I'm going to hazard a guess that there are various pieces to the codecs which can take either a software-only path or a hardware-accelerated path, and the bugs seen here exist only in the software (non-accelerated) path. Anyone testing on the latest top-notch hardware with a fancy-shmancy graphics card wouldn't go down that path and see any problems. And the problems are subtle enough that they'd even slip by the occasional testing of the slower path.
So now I'm out to find a more-current-than-my-PB graphics card to run the test, to see if I can get rid of the other problem. Updating to Compressor v2.3 got rid of most of the problems, and if buying new hardware is all it takes to fix MPEG2 compression, I might just spring for it - and hey, I'd get to run Motion, too.
So anyone out there with a whiz-bang graphics card care to run these tests and compare/contrast with what I've got here? I might know someone with a new MacBookPro, which I hear has a pretty current graphics chip in it...

Problems with colors running CS4 and W7.

Hey everyone.
I'm having some MASSIVE problems with colors on my system.
Windows 7 Prof 64bit
Photoshop CS4 64bit
6g Ram
1T hard drive
Nvidia GeForce 9800 GTX+
Dell SE198WFP Monitor
The system itself is a Dell Inspiron 530 that I put into a Black Widow V9 gaming tower.
Here is an example of the issue I'm having:
http://findae.deviantart.com/art/Converge-101214480
http://i38.tinypic.com/bjcymr.jpg
The top image is a (admittedly old and crappy, but it shows the problem) photo that I had previously edited and put in my portfolio. The tinypic below is the result of copying that photo from the portfolio, pasting it into photoshop, and then saving it into a jpg. As you can see, the transitions between colors and the contrast are a complete mess.
Thing is, my hard drive recently quit on me, and I had to install the operating system and such on a new drive. I remember having this problem with the system when I first had it, but it either went away on its own or I fixed it somehow before. Now I can't remember for the life of me how I got rid of the problem, and I certainly don't know what the problem is in the first place. I'm tempted to think it may not be photoshop itself, but the problem seems to be especially bad when I'm working with photos.
Anyone have any idea what the problem might be and how to solve it?
Edit: I also noticed it when viewing http://findae.deviantart.com/gallery/#/d1hni37 in firefox, whereas the other photo appeared to be ok before I copied and pasted it. It has extremely obvious lines of green and orange in the transition from light skin tone to dark skin tone. Annoyingly enough, this doesn't show up in the thumbnail within my gallery at all, only when I click on the thumbnail and see the fullsize image. Extremely frustrating.
Here's another good look at the problem while selecting a color in photoshop: http://i37.tinypic.com/2h6t7gh.jpg All I did was screenshot it a few times, and it deteriorated to that point.

Screen glitches like color blocks appearing where they shouldn't could indicate a problem with your video drivers.
Go to the nVidia site and see if they've released any updated drivers; people often report that updated drivers are correcting current problems with Photoshop.
http://www.nvidia.com/object/win7-winvista-64bit-258.96-whql-driver.html
Note the recent (3 weeks ago) release.
-Noel

An visual illustration of my problem with V4's "process 2012"

Tonight's sunset taken with a Nikon D700 w/400mm f2.8 lens. Here is the same photo and its virtual copy with very little done to them yet except one is set to 2012 and the other set to 2010. both were left at Adobe Standard, then set to auto tone to get the fairest comparison possible:
2012. Notice the thick yellow transition of mostly one color. While the background looks a little clearer, you must butcher it to death in order to smooth out that ugly band.
And I am pretty sure the shadow color is very slightly "off". I realize that "off" is relative, but I would call this one "off" because it is the newer process. This 2012 color might actually look slightly better, but that's not the point --it should look identical to 2010 "as shot". But I can live with that --the big issue is what is causing the thick ugly band.
2010: Notice that the gradient from bright to dark is much smoother (and easier to work with). This is a much easier start point for developing. I'd say 10 steps max would turn this into a decent image. I have no idea if it could even be done in 2012.
This is the core of my problem with 2012 --the contrast does not work evenly across all brightnesses. They made some things look good at the great expense of others. You cannot adjust one brightness range of a photo without thoroughly trashing another.
2012 appears to work great on perfect auto-matrix-exposed photos of medium dynamic range. Another kind of photo I take are action event photos in uneven arena lighting which are all deliberately underexposed because there is no second chance to capture a winning moment (a blown-out photo will not get used by an exhibitor -- this camera body is quite forgiving of underexposure). These are similarly difficult to work with in 2012 for the same reasons.
How many types of different photos (e.g., action, portrait, landscape, various exposure extremes, etc) was this alpha version tested on? And who do they have evaluating these test results, software engineers or actual artists?
One answer might be to just keep using 2010 --that is not the point I am trying to make. That would mean this product is no longer improving for me, the user.
Any constructive feedback, suggestions, links, history lessons, etc. would be very appreciated.

Hi George,
You're welcome. And, nice view from your backyard!
Yeah, I think it's a common mistake to dive into the shadows or highlights slider before taking a good-enough whack at exposure. And, in my opinion, nothing wrong with doing that, as long as you remember that exposure is a very key adjustment in PV2012, and it should always be revisited before finalizing / fine tuning. It's always good to take a whack at contrast too before hitting highlights and shadows, but in my opinion, it is far less critical to overall tonability than exposure is. Once exposure is set correctly, you can fine tune contrast & highlights/shadows with relative impunity, but it does not work so well to try and set contrast/highlights/shadow and then fine tune exposure.
Also, it's possible that exposure needs to be set higher on average than most newerbies realize, and if it's too bright knock it down with -highlights and -blacks. The opposite may also be true for some people, I don't know. But for me, in Lr3, I was very careful not to set exposure too high for fear of blowing out the highlights (and not being a big fan of Lr3 highlight recovery), *and* I was careful not to set brightness too high to keep from washing out the midtones. Which left fill-light, which I used to brighten, but Lr3 fill would often degrade quality if pushed too hard. So, I often lived with not optimally brightened photos, brightened here or there with a touch of tone curve (and/or locals).
That same technique does not work so well in Lr4, since shadows slider may not have enough kick to it until exposure is boosted - one of the reasons people coming from Lr3 often complain about Lr4 shadows slider, before they've really learned how to set exposure.
In Lr4, highlight recovery is sorta like an improved right-side version of Lr3 fill. i.e. one can "over-brighten", and rely on highlights slider to check it (analogous to "under-brightening" in Lr3 and using fill to compensate). -whites is more akin to Lr3 highlight recovery, only different...
Another thing: I almost always start out editing with the exact same values for -highlights as +shadows. And only during fine tuning, maybe choose to diverge. It's surprising how often having those values equal and opposite can allow one to find the correct exposure, and only then, maybe, skew highlights/shadows, as a fine tuning thing.
Also, for concert photos, or any other situation when there is a big lump of really dark tones that are important, and a small lump of really light tones that are important (e.g. concert lights), and a dearth of midtones, -whites and +blacks sliders can play bigger roles than -highlights and +shadows for "recovery & fill", than in other more "normal" photos.
Lastly, my Lr4 tone curves, more often than not (and more often than in Lr3), have a debrightening shape to them, since sometimes it seems good to set exposure higher than I really want in order to achieve overall "tonability", then drop brightness strategically using the curve (and/or locals).
I'm sure other people do things differently with equal success.
PS - Where should I send the DNG? (you can contact me via PM or my website).
Final thoughts:
The "recipe" I've given here (-blacks, +whites, relatively high exposure & contrast, fairly strong -highlight = +shadows, a modicum of clarity) makes for a very punchy photo with highly detailed shadows, midtones, and highlights. I tend to like such a look on many photos - shooting landscapes and macros, etc... But it can be a bit too intense for portraits or if for whatever reason you prefer a more subtle "natural"/neutral look. One of the awesome things about PV2012 is that you can control the style of look you get. If you want the opposite, then do the opposite, e.g. easy on the -blacks or even use +blacks instead of +shadows, back off on the contrast and exposure so you need less -highlights, use whites = 0 or -whites. You can end up with a very old-school photo kinda look that way - more subtle and gentle, softer...
Rule 5: Enjoy!
Cheers,
Rob

2.1: problem with Highlights & Shadows

The 2.1 update is amazing. But there seems to be a pretty serious problem with the H&S brick: pushing the Mid Contrast slider too high now results in what looks like solarized blacks. Here's an example: http://homepage.mac.com/leary/Bug/large-1.html
Obviously this is pushed way too high, but the problem is apparent even at lower values and is new to 2.1.
This is from a RAW D40 file but the problem is the same on D80 and D300.
Anyone else seeing this?

Also, with proper use of the recovery and black point sliders, I'd think it would be pretty rare to really crank those "Advanced" values.
There's a creative side to this brick that I find goes beyond simple recovery. I admit to using it less now that we have the definition slider, but it still allows for a certain "look" that I can't get with the other controls. For that, I use the advanced settings a lot and this is a problem that is entirely new to 2.1.
The problem seems to only be dependent on the Mid slider - the amount in the Shadow slider doesn't seem to matter at all. Even at 1.0 on the Shadow slider, pushing Mid C creates this effect.
Obviously going back to Black Point Comp can alleviate the problem, but there's a limit that didn't exist before.
I just noticed that playing with Radius affects it as well. Of course all of this is tied to the black levels in the picture but again, it didn't used to be this way.

Mark 2 Af problem with groupings

problem with af group shots mostly,

Firstly, I'm assuming you're referring to the 5DII rather than the 1DII, in which case, I identify! The flakiness of the outer focus points in dark and challenging situations is well known. I have both the 5Dc and 5DII and have long since learned to fall back on centre point 'focus-and-recompose'. Second, I don't know your level of experience - if any of the below is obvious, feel free to ignore . . .
If it's a single-line group and you're shooting wide angle and have to shoot wide open, you may want to arrange the line in a shallow arc so that all parties match the field of curvature and all are in focus. If you're shooting tight on the group, be aware that wider angle glass will horizontally 'stretch' the peripheral figures.
If ambient light or flash permits, I usually crank down two-three stops from wide open to give best IQ and increase DoF.
If it's a two-line group, I'll try to focus on a high-contrast ear on the front row - giving the 1/3 front, 2/3 rear DOF ratio a chance to bring both rows into sharp focus.
Three line groups are simpler - just focus on a good contrast area in the middle row.
Don't be afraid to bump up your ISO if you need to stop down for decent DoF; the body gives excellent results at 3200 and is quite acceptable at 6400 in decent lighting.
Hope that helps.

Contrast problems with T440s

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