Archive for the ‘How To’ Category

Alice in Telecentricity Land (plus Post Update)

August 4, 2023

In a recent blog post, I wrote …

The best advantage of a truly telecentric lens is there should be little or no “focus breathing” as the camera moves closer to/farther from the subject. Essentially that means the apparent size of the subject should remain the same. That should enable better focus stacking because the outline of the subject is constant. Source Credit: Experimenting with a telecentric lens rig (plus Post Update).

Using my clone of Rik Littlefield’s 0.8x magnification telecentric lens rig, there was little or no “focus breathing” in the test focus bracket that I created from 63 JPGs, as shown in the following slideshow.

First, a brief explanation of what is shown in the slideshow. The first frame is Photo No. 1 of 63 from the focus bracket, edited to make it black and white. The last frame in the slideshow is Photo No. 63 of 63, shown in full color.

I loaded the two photos as a stack in Photoshop. Next I changed the opacity of the last image in the slideshow to 0%, meaning the first image, now black and white, is shown completely. Then I flattened the layers and saved the output. I repeated the process, changing the opacity of the last image to 25%, 50%, 75%, and 100%. At an opacity of 100% the last image is shown completely and the first image cannot be seen.

This slideshow requires JavaScript.

Look closely at the slideshow and you might notice the subject shifts slightly to the right (from first to last slide), but nothing like the “focus breathing” that typically occurs when a non-telecentric lens is used to do focus bracketing. This means the photo composition that I saw in the first photograph is essentially the same in the last photo.

The following photo gallery features full-size versions of the same images used to create the slideshow, in order of increasing opacity.

Let’s pause to review. We know the subject should appear to be larger when the camera moves closer to the subject. But in this case, the subject appears to be the same size in both the first and last shots of the focus bracket. Why? Well, this is the point where I might be beyond the limit of my expertise but based upon my understanding of telecentricity I’d say it’s because most of the light rays that pass through the lens rig are parallel.

Things are getting curiouser and curiouser

If my [educated?] guess is true, then parallel lines in a subject should remain parallel from foreground to background.

Let’s start with a thought experiment. Think about a pair of parallel railroad tracks. Many, if not most people have noticed that railroad tracks appear to converge toward a vanishing point in the distance. The same thing happens when you photograph parallel lines. Or does it? Not when a truly telecentric lens is used to shoot the photograph! Let’s look at an example.

I didn’t have time to shoot and post process an entire focus bracket of a small plastic ruler, so I shot two quick and dirty photos near the end points of the ruler. The first photo shows the foreground; the last photo shows the background.

I could have used Photoshop to edit the images so that the vertical blue lines are aligned, but I didn’t because I decided it’s more important to show another example that illustrates lack of “focus breathing.” Plus I think it’s easy to see at a glance the lines are in fact parallel, not convergent.

Yeah, yeah — I could have and should have done a better job of posing the ruler but like I said, the photos are quick and dirty. Expediency trumps perfectionism.

Post Update

Consistent with the “quick and dirty” theme for this post, I used Apple Preview to edit the preceding photos of a small plastic ruler.

I started with the first photo. I drew a horizontal red line between two vertical blue lines on the ruler. Next, I selected and copied a small area from the bottom of the photo.

Finally, I pasted the selected/copied area from the first photo onto the second photo. As you can see the vertical blues lines are virtually the same distance apart at both ends of the ruler. Therefore my Rube Goldberg lens rig is almost perfectly telecentric.

Related Resources

Copyright © 2023 Walter Sanford. All rights reserved.

Telecentric lens rig revisited

August 1, 2023

The following composite images show the results of my first test using a new telecentric lens rig, cloned from a similar rig designed by Rik Littlefield.

Helicon Focus was used to focus stack 63 “as is” JPGs from my Fujifilm X-T3 mirrorless digital camera (focused on the head only). “As is” is a descriptor that I use often in my photoblog, but that doesn’t mean the images weren’t edited — rather it means the JPGs were edited in camera using one of the Fujifilm film simulations (PROVIA / STANDARD).

63 JPGs | Helicon Focus | Rendering Method B

In my limited experience using Helicon Focus, rendering Method C seems to work better than Method B. (For what it’s worth, rendering Method A never produces good results for me.) In this case, I can’t see a clear difference in the quality of the output. Do you think one version looks better than the other?

63 JPGs | Helicon Focus | Rendering Method C

Look closely at the full-size versions of the preceding composite images and I think you will agree with me that the image quality is excellent!

Tech Tips

In a recent blog post, I wrote …

Rik [Littlefield] developed another telecentric lens rig that results in lower magnification (0.8x versus 1.69x) but better image quality. I need to order some inexpensive parts before I can build and test that rig. Source Credit: Experimenting with a telecentric lens rig (plus Post Update).

The last part I needed was delivered a few days ago, and much to my amazement all of the parts fit together! (See parts list, below.)

I used my Apple iPad mini 6 to shoot the following quick-and-dirty photos of the new telecentric lens rig.

Here’s a parts list (shown from left-to-right in the preceding photos).

  • Fujifilm X-T3 (APS-C) mirrorless digital camera [not shown]
  • Fringer EF-FX Pro II
  • [1] Canon EF 100mm f/2.8 Macro lens
  • [2] 67mm to 52mm step-down ring
  • [3] M52-M42 step-down ring
  • [4] Fotasy M42-M42 helicoid [15-26 mm long (11 mm travel).]
  • [5] M42 tube (7 mm long) [WeMacro 42mm tube set: 7, 14, 28 mm long.]
  • [6] 42mm to 52mm step-up ring
  • [7] 52mm-43mm step-down ring
  • [8] Raynox DCR-250 close-up filter (43mm thread)

Notice the focus ring on my Canon Macro lens is set for infinity [highlighted by a green rectangle]. The distance between the front of the Canon lens and front of the Raynox close-up filter is ~54 mm, based upon guidance from Rik Littlefield.

With the Canon Macro lens set for infinity, the parts in front of the Canon lens work together with the lens to make it telecentric. Adding the Fringer adapter has no effect on the telecentricity of the Canon lens — it’s only used to enable my Canon lens to work with the Fujifilm X-T3 camera.

Safe step size

I used Rik Littlefield’s excellent DOF Calculator plus personal guidance from Rik to determine the safe step size to use for focus bracketing with the new telecentric lens rig.

My input is highlighted by a red rectangle; the calculator output is highlighted in green.

Notice I input a 20% step overlap (0.2) to be sure there was no “focus banding.” The calculator suggested a step size of 0.17589 mm. That’s equivalent to 175.89 µm (micrometers).

Since the smallest increment on my NiSi NM-200 manual focus rail is 10 µm, I divided 175.89 by 10 in order to determine the number of increments to turn the larger adjustment knob on the NM-200. The answer is 17.589 increments. For simplicity and safety, I turned the knob 15 increments between shots.

Copyright © 2023 Walter Sanford. All rights reserved.

Post update: What is it?

July 28, 2023

The camera part featured in the last installment of “What is it?” is called the “Sync terminal” by Fujifilm, as shown in the following annotated image. The same part is also known as the “PC Sync terminal.”

Parts of the Camera | Fujifilm X-T3 Owner’s Manual

There seems to be some uncertainty regarding the origin of the name “PC Sync,” but it’s certainly true PC Sync is one of the older “standards” for external flash. Notice the word “standards” appears in quotes (there it is again!) because there are many different types of cables that are sold as “PC Sync” cables, so I’m confused — doesn’t “standard” mean all of the cables should look the same, or at least similar? You know, like the USB-C standard. But I digress.

Pluto

I bought the following PC Sync cable for use with my Fujifilm X Series mirrorless digital cameras and Canon EOS 5D Mark II DSLR. [My beloved Panasonic superzoom bridge cameras (DMC-FZ150 and DMC-FZ300) do not feature a PC Sync terminal.]

One end of the cable has a screw connector for a secure connection with the camera sync terminal. Buyer beware — the other end of the cable can be a potential pitfall.

This type of cable can have either a 3.5 mm male plug or a 2.5 mm sub-mini male plug. Be sure to buy the plug size that fits your external flash unit(s).

All of my “older” Godox TT685 series flashes feature a 3.5 mm female jack. My “newer” Godox TT685C II Flash for Canon Cameras features a 2.5 mm sub-mini female jack.

… the flash includes a 2.5mm sync port for basic wired connectivity. Source Credit: Godox TT685II Overview, B&H Photo.

I bought a small adapter that features a 2.5 mm sub-mini female jack on one end and a 3.5 mm male plug on the other end. The adapter enables me to connect my older Godox external flash units with the Pluto PC Sync cable.

Why use PC Sync?

In case you’re wondering why I’ve been experimenting with PC Sync for connecting cameras with external flash units, the answer is simple: focus bracketing.

I love me some wireless remote control of external flashes, but sometimes for reasons only the photography gods understand there can be a problem with “flash dropout.” That’s when one or more flashes don’t fire, and that can ruin a focus stack. If I’m shooting one-off photos and the flash doesn’t fire, hey, no problem — just take another shot. But if reliability is critical, then I think a hard-wired connection is the way to go.

What are the take-aways?

Oddly, neither one of my two older external flash units made by Fujifilm feature a PC Sync jack. My older Canon 580EX and 580EX II flashes feature what appears to be some sort of proprietary PC Sync jack for which I have been unable to find the necessary cable.

I have tested the Pluto PC Sync cable with my Canon EOS 5D Mark II and am pleased to report it works as expected.

My Fujifilm X-T3 digital camera can be used to simultaneously fire flashes connected via the PC Sync cable, a camera-mounted flash, and/or a wireless flash controller such as the Godox XProF II. The flash is Manual mode only. High-speed sync (HSS) works, but you need to enable HSS on the flash itself.

I assume the same functionality is true for my Canon EOS 5D Mark II although I haven’t tested it yet.

Copyright © 2023 Walter Sanford. All rights reserved.

iPad/tablet tripod mount

July 18, 2023

Did you know I suffer from “decision paralysis?” I do. It doesn’t matter whether a product is expensive or inexpensive, I agonize over the decision to pick the one that’s best for me. This time, I made the decision relatively quickly with little angst.

I knew I needed to get some sort of tripod mount for my iPad mini 6. For a while, I was using a small photography clamp to hold my iPad. It was precarious at best and an expensive accident waiting to happen.

A quick Google search turned up a YouTube video that caught my attention.

The build quality looked good and the price point seemed fair, so I ordered one.

After a month or two of usage, I can say this versatile tripod mount works as advertised. I think the parts that actually support the iPad are a little narrow for my comfort, but they do work — just be careful to center your tablet on the mount and be sure it’s clamped down tightly.

The tripod mount came bundled with several “extras.” Most of them are borderline useless, but one item turned out to be a pleasant surprise.

The small wireless remote control is great for starting/stopping time-lapse videos. You can use the built-in timer featured in the Apple “Camera” app to shoot still photos and start video recording, but you still have to touch the iPad to stop recording video. That can result in “camera shake” that you need to edit out of the video, but hey, I don’t need one more thing to do when the “little remote that could” can be used for clean stops.

Is this the “best iPad mount” as the YouTube video title says? I don’t know. But it’s “good” and sometimes all you need to know is when good is good enough. Please comment if you know of a better product than this one.

Related Resources

Copyright © 2023 Walter Sanford. All rights reserved.

Experimenting with a telecentric lens rig (plus Post Update)

July 11, 2023

I’ve been experimenting with a telecentric lens rig. My rig is cloned from a similar one created by Rik Littlefield, using gear I already own.

I’m guessing you’re thinking “What is a telecentric lens?” The honest answer is “I don’t know.” I’m not sure I’ll ever understand what telecentric lenses are and how they work. I’m hoping practical experience will result in better understanding of the theoretical.

So why have I written a blog post about a topic I don’t really understand? Good question! The simple answer is because I have learned enough, mostly from Rik Littlefield, to know there are practical advantages to using a telecentric lens for macro photography.

The best advantage of a truly telecentric lens is there should be little or no “focus breathing” as the camera moves closer to/farther from the subject. Essentially that means the apparent size of the subject should remain the same. That should enable better focus stacking because the outline of the subject is constant.

My Rube Goldberg telecentric lens rig

Rik Littlefield’s telecentric lens rig features the same gear as mine (described in the next paragraph) minus the Canon-to-Fujifilm lens adapter because he uses a Canon EOS Rebel T1i DSLR camera body with his rig.

My Rube Goldberg telecentric lens rig is cobbled together using a Raynox DCR-250 close-up filter attached to my Canon EF 100mm macro lens using the plastic clip-on adapter supplied by Raynox. The lens assembly is mounted on my Fujifilm X-T3 APS-C digital camera using a Fringer EF-FX Pro II adapter.

Rik developed another telecentric lens rig that results in lower magnification (0.8x versus 1.69x) but better image quality. I need to order some inexpensive parts before I can build and test that rig.

Testing 1, 2, 3.

The following closely-cropped composite image shows the result of my first test of the telecentric lens rig.

I shot 57 images of a toy plastic lizard using my NiSi NM-200 manual focus rail. I used an aperture of f/8 and a step-size of 100 microns, as recommended by Rik Littlefield.

Helcion Focus Method B was used to focus stack the “as is” JPGs from my camera. The resulting TIF file was cropped using Apple “Preview” — that’s about as quick and dirty as cropping gets!

Post Update

The first time I heard about telecentric lenses is when Allan Walls teased the topic during one of his YouTube live-streams. During a subsequent live-stream, Allan demonstrated how to make a lens telecentric using a rig similar to one that Rik Littlefield created.

Telecentric Lenses – Macro Talk Too – from Allan Walls Photography, June 29, 2023 (1:12:10)

Allan’s YouTube live-streams are one hour in duration, but there’s usually a lot of chit-chat during a typical live-stream that might not interest readers of my blog.

In this case, I recommend that you watch the segment from 11:22 to 30:21. A lot of what I have learned about telecentric lenses from Rik Littlefield and Allan Walls is covered during that part of the video. (If you continue watching the video beyond the 30:21 mark, then you will hear my name mentioned twice.)

Copyright © 2023 Walter Sanford. All rights reserved.

Updating broken links

June 30, 2023

The Internet is dynamic. Resources come and go, and Web addresses change. As a consequence, my blog is littered with a lot of broken links. I’m unaware of many of the broken links, and I’m disinclined to make the effort to fix some of the others.

But when someone takes the time to let me know about a broken link to a useful resource, I make an effort to update my blog. Case in point, Sharon Pitcairn Forsyth gave me a heads-up recently that two links were broken in my Stylurus spiniceps exuvia blog post. I’m happy to report the problem is solved.

Gomphids to Genus, by Kevin Hemeon | NymphFest 2016

Stylurus to Genus, by Kevin Hemeon | NymphFest 2016

Full disclosure: Both of these Microsoft PowerPoint presentations were created by Kevin Hemeon and presented by Kevin during NymphFest 2016 on March 04-06 in Bennington, Vermont. I’m not sure whether I’m authorized to redistribute these reference documents, but in my defense they were released into the wild by workshop host Bryan Pfeiffer soon after the end of NymphFest 2016. And as anyone who has dealt with genies knows, it’s impossible to get them back in the bottle after they’re released.

Related Resources

Copyright © 2023 Walter Sanford. All rights reserved.

Customizable buttons

June 23, 2023

Customizable buttons is one of the better features of modern mirrorless digital cameras. There was a time when camera buttons weren’t customizable and you had to live with the way a camera was designed — take it or leave it. Now it’s possible to customize most (if not all) of the camera buttons so they work the way you prefer.

For example, I love me some “back-button focus.” Fujifilm got it right when they designed the X-T1 and X-T3 — the button is exactly where it should be, highlighted by a red circle in the following annotated images.

Fujifilm X-T1. AF-L button is used for “back-button focus.”

Fujifilm X-T3. AF-L button is used for “back-button focus.”

But Fujifilm lost their way on the X-T5. By default, the button assigned to back-button focus (AFON) is too far from my right hand that’s holding the camera grip. Instead, the button assigned to the Quick Menu is located where back-button focus had been for years.

Fujifilm X-T5. Swap functions of AFON and Q buttons.

Hey, no problem — just customize the buttons to perform different functions, in this case, change one to the other and vice versa.

There are several good YouTube videos that demonstrate how to customize the buttons on your Fujifilm X-Series camera, such as the one listed under Related Resources. Here’s an overview of the steps to follow.

Power-on the camera. Press and hold the “DISP/BACK” button until a graphic appears on screen that shows all the camera buttons and their default function. Use the D-pad to navigate to a button you would like to customize; press the right D-pad button to select a function button and choose a new function from a long list of options. It’s that easy!

Related Resources

Copyright © 2023 Walter Sanford. All rights reserved.

Henry Moore Sundial Sculpture

June 9, 2023

The Henry Moore Sundial Sculpture is located at Sundial Plaza alongside the Adler Planetarium & Astronomy Museum in Chicago, Illinois USA. (41° 52.006′ N latitude, 87° 36.426′ W longitude.)

Bowstring Equatorial Sundial

This type of sundial is a variety of the classic equatorial sundial, often referred to as a “bowstring equatorial sundial” because it looks somewhat similar to the “bow” in “bow & arrow.”

Remember, an equatorial sundial is a reduced model of the Earth. (More about that in a follow-up blog post.) A bowstring equatorial sundial is a “reduced equatorial sundial” — think of it as a kind of skeleton equatorial sundial.

The large red circle shown in the following annotated photo represents the Earth.

The dial plate (representing the equatorial plane) has been reduced to a semi-circular band that represents approximately one-half of the Earth’s Equator, This part of the sundial is referred to as the “equatorial band.” The equatorial band serves as the “time scale.”

Parts of a “bowstring equatorial sundial.”

The gnomon (or style) is a thin rod (the “bowstring”) representing the Earth’s axis of rotation.

The vertically-oriented “bow” represents a single meridian (line of longitude) and is referred to as the “meridian band.” The bowstring is connected to the bow at the equivalent of the Earth’s North and South Poles.

The bow is attached to a pedestal or “foot” (ped- is Latin for foot).

Time scale or time band, showing time of day.

The hour lines for the bowstring equatorial sundial are laid out on the inner surface of the equatorial band. Every hour is 1/24 of a day, or exactly 15 degrees wide. The shadow of the gnomon (or style), cast among the hour lines on the equatorial band, shows the time. The meridian band (“bow”) bisects the equatorial band (“time scale”); the 12 o’clock noon hour line is located on the time scale where the two bands intersect (since solar noon occurs when the Sun crosses the observer’s meridian). Facing north, morning times are located on the left side of the equatorial band; afternoon times are on the right.

In contrast to the classic equatorial sundial, the primary advantage of the bowstring equatorial sundial is that the style shadow is cast upon a single time scale all year long (regardless of whether the Sun is north or south of the Celestial Equator). Unlike the classic equatorial sundial, the bowstring equatorial sundial should work on the day of the equinoxes (although the author has not witnessed this firsthand).

Setting the Sundial

Similar to setting the correct time on an analog clock or wristwatch (by moving the hands of the timepiece into proper position), properly orienting an equatorial sundial will move the gnomon (or style) shadow into position so that the time scale displays the correct time of day.

The gnomon should be parallel to the Earth’s axis, inclined at an angle equal to the latitude of the observer.

41° 52.006′ N latitude.

North American Sundial Society member Fritz Stumpges is shown using a “SmartTool” to measure the angle of inclination of the gnomon (“bowstring”).

41.9 degree angle of inclination.

The dial plate/equatorial band should be parallel to the plane of the Earth’s Equator (perpendicular to the gnomon), inclined at an angle equal to the complement of the observer’s latitude — the angle that when added to the angle of the observer’s latitude equals a right angle in measure (90°). This angle is also known as the colatitude.

Colatitude 48.1 degrees.

Place the sundial on a horizontal surface; the top of the gnomon should point toward the Celestial North Pole (i.e., Polaris, the North Star). More simply, the sundial should be set so the 12 noon hour line is aligned with your local meridian.

Related Resources

Tech Tips

When I visited this sundial in 2005, I owned almost no photography gear. I used a one-time use film camera to shoot the photographs featured in this blog post. After I returned home, I had the film processed, digitized, and saved to a photo CD. The photo of the time scale/time band has a resolution of 3091 x 2048 pixels.

Copyright © 2023 Walter Sanford. All rights reserved.

“Magic Mylar” Moonlight

June 6, 2023

In a recent blog post entitled “Magic Mylar” diffusion material (plus Post Update), I shared the results my initial experimentation with a new material for light diffusion. Since then I added more mylar for multiple layers of diffusion and I must say I’m liking the results!

Toy dinosaur.

I used single point focus, positioned over the eye of the dinosaur. See why it’s necessary to use focus bracketing/focus stacking?

By now, some of you might be tired of looking at my toy dinosaur. That’s OK, he has thick skin [Get it?] and can withstand a little good natured griping. But seriously, he’s the perfect model for testing light diffusers due to the highly reflective plastic of which he is made.

“Magic Mylar” — where it all began

A friend and expert in macro photography kindly shared several sheets of diffusion material with which he is getting great results. The material is made of mylar plastic, matte on both sides.

Tunnel of Light II

I created a variation of my friend’s “Tunnel of Light.” Using my set-up, the mylar is almost perfectly round and surprisingly rigid.

Tunnel of Light (front/side view). Don’t mind the background clutter!

A single sheet of mylar is clamped to the white plastic top from a big jug of pretzels. The round top is ~4.5″ in diameter.

The jar top is held in place by a Wemberley The Plamp II. At a price point of $49.00, I don’t recommend buying a Plamp in order to make your “Tunnel of Light” — I just happened to have one on-hand and it does the job. I’m sure you can find a suitable clamp using off-the-shelf materials.

Tunnel of Light (rear/side view).

Three Impact ABS 3.75″ Small Spring Clamps (6-Pack) are used to hold the mylar in place. The orange “pivoting nylon pads for uneven surfaces” snap on/off, and as you might expect, tend to snap off at the worst times! For that reason, I DO NOT recommend these clamps. The price was right [$5.40] but you can’t count on them to perform in a pinch without fail. [See what I did there?]

I’m thinking about replacing the white plastic jar top with a PVC pipe fitting, the advantage being it would support the mylar while allowing a view of interchangeable backgrounds through the tunnel of light.

“Magic Mylar” everywhere …

How I got the shot

The toy dinosaur was placed inside the “Tunnel of Light II.” Two small LED light panels were used to light the scene for both setting exposure and focusing. Two external flash units were added for “pop.” All of the light sources were diffused with “Magic Mylar” plus one or more additional light diffusers such as the Altura flash modifier, shown in the preceding photo.

The goal is to use several light sources, set for low power, that add up to nice soft light that’s both bright and relatively free of specular highlights. Looks like I’m on the right track.

Copyright © 2023 Walter Sanford. All rights reserved.

Helicon Focus: Rendering in action (plus Post Update)

June 2, 2023

In my last blog post, I shared a composite image that was created using Helicon Focus to focus stack 99 JPG photos taken automatically using my Fujifilm X-T5 set for AUTO FOCUS BKT.

The following video demonstrates two strengths of Helicon Focus.

  1. It’s relatively simple to use. Creating a focus stacked composite image can be as easy as a two-step process: add source images to Helicon Focus by drag-and-drop; click the “Render” button.
  2. Rendering works quickly. For example, 99 photos focus stacked in ~50 seconds! (~00:08 s to ~00:58 s.)

The main window features two panels: the panel on the left shows the source images as the focus stack is created; the panel on the right shows the final output.

The right sidebar shows a list of filenames for the source images. When a filename in the list is highlighted, the corresponding image is displayed in the left panel of the main window.

Look closely at the final output, shown in the right panel in the main window. Notice the “ghost” artifact that’s visible near the tip of the toy dinosaur’s tail. Otherwise, the composite image looks perfect.

Click here to see a Screen Recording of the Rendering process.

I have no idea what caused the artifact. For whatever reason, some of the composite images I have created using Helicon Focus have one or more artifacts.

In contrast, every time I have used Fujifilm AUTO FOCUS BKT it has worked perfectly. (He said with fingers crossed.)

Related Resources

  • https://youtu.be/jr5SMaO4qWI
  • When dinosaurs attack! – This blog post shows the final image after I used Helicon Focus “Retouching” to fix the “ghost” artifact.
  • Focus bracketing and focus peaking – When I watched the real-time display of Helicon Focus rendering “Method C” for the first time, I was reminded of a blog post featuring two videos I created to demonstrate how focus peaking can show the way focus bracketing works. Those videos aren’t as steady and smooth as I’d like, but hey, not bad for a manual focus rail!

Post Update

When I tested the link to the video I noticed a problem with “flash dropout.” Two small LED panels and two external flash units were used to light the scene. Notice the flash on the right side of the subject didn’t fire in photo DSCF1214.JPG. That flash was a Godox MF12. Up until now, the MF12 flash has never failed to fire. For those who might be wondering, the Lithium Ion battery in the MF12 was fully charged before I started the focus bracket. I’ll watch it more closely to see whether reliability is an issue.

Copyright © 2023 Walter Sanford. All rights reserved.