天塞与松娜

工艺要求：
　　居室、厅堂地砖铺设应在最后两遍面漆未刷时进行铺贴
　　1. 地砖铺贴前应清理基层，弹出基准线、标准高度、墙面水平线。
　　2. 地砖在铺贴前应检查地砖的色号及有无质量问题，如发现材料有质量问题应及时通知有关负责人，经有关负责人妥善解决后方可施工。
　　3. 地砖如需泡水的应按不同的地砖泡水时间浸泡。地面基层应粗糙洁净和湿润，如表面光滑应预凿毛，在铺贴前应浇水湿润水泥地面。
　　4. 铺地砖一般用425#普通水泥，水泥、沙子比例为1：2.5，在铺贴过程中要注意色号、图案保持一致，无损伤。
　　5. 铺贴完后在水泥沙浆未固化前不得踏、行走，并在板面上铺硬纸或地毯等物，保护板材表面光洁度。（嵌缝用白水泥加乳胶或108胶，也可用专用嵌缝剂）

转自：焦点装修家居论坛

第一步： 看釉面有无针孔，斑点，釉面的质感，有无色差；
第二步： 看磁砖是否变形；
第三步： 看磁砖吸水率，用水滴在砖背面，扩散面积越小，吸干时间越长，吸水率越低，质量越好；
第四步： 听声音，用手敲磁砖，声音越尖脆，质量越好；
第五步： 掂重量，重量越重，质地越好；
第六步： 开箱检验，看有无破损，将不同箱产品各抽一片，平铺后看有无色差，尺寸有无大小
·······

转自焦点装修家居论坛

1、 什么是陶瓷？
陶瓷是把粘土原料、瘠性原料及熔剂原料经过适当的配比、粉碎、成型并在高温焙烧情况下经过一系列的物理化学反应后，形成的坚硬物质。
2、 陶和瓷有何区别？
区别在于吸水率。吸水率小于0.5%为瓷，大于10%为陶，介于两者之间为半瓷。
3、 日常中哪些砖是瓷质的？哪些是陶质的？
我们常见各种抛光砖、无釉锦砖、大部分卫生洁具是瓷质的，吸水率E≤0.5%；仿古砖、小地砖（地爬墙）、水晶砖、耐磨砖、亚光砖等是炻质砖，即半瓷砖，吸水率0.5%瓷片、陶管、饰面瓦、琉璃制品等一般都是陶质的，吸水率E>10%。
4、 什么是吸水率？
吸水率是陶瓷制品中的气孔吸附水分的多少占制品的百分比。
5、 陶瓷墙地砖是如何分类的？
按用途分为内墙砖、外墙砖和地砖。
按材质分为：瓷质砖——透光性好，断面细腻呈贝壳状；
半瓷质砖——透光性差，机械强度高，断面呈石状；
陶质砖——不透光，机械强度较低，断面粗糙；
按成型方法分为干压法、可塑法、注浆法。
6、 陶瓷墙地砖有哪些品种？
釉面内墙砖：瓷片、花片、腰线；
陶瓷外墙砖：彩釉砖、无釉砖、毛面砖、锦砖；
陶瓷地砖：瓷质砖、彩釉砖、劈离砖、红地砖、锦砖、广场砖、阶梯砖等。
7、 抛光砖和玻化石有何不同？
抛光砖在市场上有多种叫法，如刨光砖、通体砖、玻化砖、完全玻化石等，玻化石也就是抛光砖，市场上的通俗叫法，专业叫法为“瓷质抛光砖”。
8、 墙砖可铺于卫生间地面吗？
墙砖（瓷片）一般不可铺于地面。因瓷片是陶质的，机械强度较低，铺于地面容易受压破损；卫生间地面长期潮湿，瓷片容易受潮膨胀破裂；另外，瓷片釉面不防滑。
9、 优等品和一级品（合格品）有何不同？
优等品和一级品都是合格的产品，可正常使用的产品，使用功能不受影响。主要体现在外观质量和变形允许范围有所差异，如表面斑点、针孔等。
10、优等品就没有缺陷吗？
由于陶瓷制品是各种原料经过高温烧成的产品，杂质、变形等缺陷不可能完全避免，国家标准也允许一定程度的缺陷存在。如表面质量，抛光砖优等品规定至少有95%的砖距0.8m远处垂直观察表面无缺陷。
11、砖是用地下的泥做的吗？
墙地砖生产的主要原料为：高岭土和化工料等，高岭土主要包括砂、石粉、黑泥和白泥等，化工料主要包括发色料、减水剂等。通俗说法砖是用泥做的，但它不是一般的泥，要达到一定的化学成份，质量上乘并且稳定才能成为理想的原料。
12、红坯砖是陶质砖，白坯砖是瓷质砖，红坯砖不如白坯砖吗？
这种说法是不科学的。决定坯体颜色的是构成坯体原料中铁、钛氧化物的含量，含量越高烧成后呈现的颜色越深，它仅仅决定了坯体的颜色，不会影响到砖的质量。影响砖内在质量的因素主要是看其烧结程度，质量好的砖是真正“烧透了”的砖。
13、抛光砖为何要打蜡或涂上防污剂？
抛光砖打蜡可以更好地保护砖，施工时避免外物冲击、摩擦而受损；蜡清除后可增加砖的光泽度；更重要的是可以填充砖表面的气孔，使污垢不会塞到气孔内，易于日常清洁。
14、抛光砖铺于外墙时为何选择干挂多？
主要是安全考虑。抛光砖吸水率低，背面光滑，用水泥沙浆不易粘牢；另外抛光砖自重大，容易跌落。
15 、亚光砖与水晶砖地砖相比，哪一种防滑效果更好？
亚光砖防滑效果更好，因为亚光砖一般都用了防滑设计。
16、 抛光砖、亚光砖、水晶砖哪一个防滑效果更好？为什么？
抛光砖的防滑效果最好，因为抛光砖经抛光后砖面吸附力更强。

周末放弃了拍摄古迹的计划，准备装修，开始对建材做研究工作了。装修无疑是生活中的一件大事，如何安排你小小的家，直接关乎你的生活态度（个人认为）。在网上看了好多装修日记，发现都不是很适合我自己的情况，于是决定潜水下去，摸一摸家装建材市场。

地板无疑是装修中的大头，于是我决定从地板材料的选择开始我的装修调研工作。周末两天都泡在建材市场了，我认为选择地板最重要的几大因素按顺序排列应该是：环保性、耐用性、经济性。

本来抱着很大希望，准备挑一个品牌的强化木地板铺设全部地面的，但是对强化木地板结构及生产工艺的了解使我不得不放弃这个念头，准备选择瓷砖。

强化木地板的结构及工艺（Coreldraw9 绘制）：

1.被商家称作耐磨层，其实就是一层三氧化二铝的涂层，就是那种号称用钥匙刮也刮不坏的表面。

2.被商家称作木纹层，其实就是一片塑料合成材料，上面有木头纹路的形状。

3.基板，其实就是废纸，废秸秆，废木削等通过胶水粘合后高压压合的高密度板。这层的用料和用胶决定了复合木板的环保性能。大部分黑心工厂都是用尿醛胶（尿素和甲醛混合液体）进行粘合，造成甲醛的超标是很自然的。有的商家会在这层里面添加木质香精，即使你在挑选的时候用鼻子闻也很难辨别。0.8cm和1.2cm的区别在于压制成板时的压力不同，其实1.2cm的板不一定比0.8cm的板用料多、密度高。

4.静音层，其实就是一块薄薄的海绵。

相比下来从环保性来看，瓷砖占上风。

一般的强化木地板，商家都号称保用15年，免费维修及换件，但是从现在105块左的售价来看，和瓷砖比性价比不是很高，而且一旦施工不好粘合拼接不过关，则渗水变形难免。而且瓷砖只要装修质量过硬也能使用很长时间并且易于清洁打理。

综上，大家在挑选地板材料时如果考虑经济实用性的话，应该考虑瓷砖。同时一种新的地板材料"竹地板"大家也可以研究考虑，至于木地板，质量好的话就很不错了，但是装修麻烦既要打龙骨还要装踢脚线。

估计每个玩摄影的人都想有一部Leica相机,然而这个品牌从机身到镜头都是是非常昂贵的,所以我就梦想着自己现在已经够钱买啦,就挑一台M7,理由如下:

1.在所有M系列中,M7是可用镜头范围最广的机身.(包括禄莱,福伦达,巧思,蔡思生产的各种M卡口镜头)

2.M7具有光圈优先模式.(无论你有多快,这个功能对于你的家人需要你拍留念照时都很好使)

3.M7的快门精度最高.(国人一向迷信全机械控制相机,其实机械快门由于金属疲劳的原理,精度永远不会有电子控制的快门高)

4.M7有超强耐用性(M7在推出之前,曾交世界12名摄影师使用,耐用性是经过考验的)

慢慢存钱啦,这个东东一定要玩一下的:)

How to choose a Leica M?
An in-depth discussion of all Leica M versions
The Leica M Series started in 1954, when the M3 was announced. The M3 has been designed by Mr Stein and his team as the best in rangefinder technology and in mechanical precision engineering. The M3 incorporated some ideas of the Leica IV (from 1936), but is clearly a new development. In the early ‘50s, the Canon and Nikon rangefinder bodies were improving fast and the aging III series could not cope with the requirements of new high speed lenses and more accurate focusing. Manufacturing techniques needed to be improved as well.

The number game.
In the beginning, Leitz, when designing and producing the M3, had no long range plans for this series The M3 represented all Leitz could muster as rangefinder technology and so the 3 stands for 3 frames. The success of the model M3 induced Leitz to produce a cheaper model, which by now could only be designated 2 (for less than 3). The M1 is a much simplified model and gets a 1 (even less than 2). So what started as an identification of number of frame lines became an identification for sophistication in features. With the M4 both types of designation were in place (more sophistication than the M3 and 4 frames.) With the M5 there was the original dilemma. So now identification of framelines was dropped and sophistication reigned. It seems that Leitz uses the number of frames as major identification when there is only one model to choose from. The M4-2 is a reborn M4 and here the 2 could be identified as M4 mark 2. As with the R6 and R6.2

The M4P has six frame lines, but now it seems that the "M4" designation is a classic symbol, the P standing for Professional. The M6 again has the 6 framelines of the M4P plus exposure measurement and now the upgrade and frame numbering works again.

The M6J (“J” stands for “Jubileum”, the German word for jubilee: a twenty-fifth anniversary, in this case however it was a forty year anniversary) is a special case as it is a M6 body with a newly designed viewfinder with four framelines and the topcover with M3 look.

How to check any M model.
It is clear that collectors wish to have pristine bodies which look as unused as possible. The only exception are the black paint bodies, which should look worn out.
For a user the signs of use are less important. Beware of bodies which have indents on the topcover. The rangefinder mechanism is sensitive to knocks and the indents might indicate that the body has been dropped or at least got severe knocks.
The internal mechanics are quite strong and heavy use will not wear the mechanism down. A well used body might be in a better shape internally than a body that looks as if it had little use. The shutter tension spring mechanism uses some grease and this will harden when not used regularly. The springs are very strong and there is no difference in wear and tear if you keep the shutter tensioned or not.
A good way to check a body is to listen to the slow speeds (1/4, 1/2 and full second). Here the slowspeed escarpment and geartrain should run smoothly with no hesitations. Trained mechanics can hear the sound of the faster speeds too, but not us mere mortals.
Another check is the smoothness of the shutter release button. You should press on the release button very slowly and note every change in resistance. Quite often you will feel a rougher spot at the end of the travel, just before the shutter releases. If there is a rough spot, the mechanical linkage is a bit less than perfect. It may be called a minor point as it will not affect the precision of the shutter. Still it is an indication that some additional checks might be worthwhile.

The shutter precision.
Much has been written or discussed about the M shutter. Well the M shutter from the M3 till today is a mechanically governed shutter with curtains made of rubberized cloth. The cloth must be attached to the drums with utmost precision. A slight misalignment here and the speeds are off. The same story with the speed governing mechanism. Any mechanical shutter will be less accurate than an electronically controlled shutter. Mechanical tolerances will ensure this. So any Leica shutter might be off for 25 to 40% of its nominal speed at speeds above 1/125 sec. It can be adjusted of course, but you should learn to live with a shutter that is very dependable, very quiet, very consistent in its travel speed, but not always accurate as to the engraved speeds.
My personal trick is to ask the repairperson to adjust the topspeed to 1/900 or even 1/800. That is within tolerance for my Kodachrome slides and the shutter will stay longer in shape as the highest tension is slightly reduced.

The famous ‘seal’.
Looking at the bayonet ring you will find at the 12 o’clock position a small screw that should be covered with wax. This screw holds the topplate and the embossing in the wax will tell you if an authorized repair person has opened the camera. An embossed Gothic L has been stamped into the wax when the camera leaves the factory. A raised L indicates a repair by Leitz. This custom ended in 1981.
 
Leica M3.
The M3 body has a physical rangefinder base of 69.25mm. ALL M bodies have this base. Every Leica book and Leica expert will tell you that there are two types of bodies, the ones with a 68.5 mm base and the ones with a 69.25mm base.
The Leica brochures are partly responsible for this story as they give the two figures. But Leica brochures, fascinating as they may be, are no substitute for engineering specifications. And these will tell you that there is only one baselength: the 69.25mm.
The viewfinder magnification of the M3 is 0.92, giving an effective base of 63.71mm. The optical construction of the M3 range/viewfinder is different from that of all successor models. It is more elaborate to build, more sensitive to shocks and abuses and it will get a yellow-tinted color cast when aging. On the other hand it gives a very clear (if not the most contrasty) life size view, that is remarkably flare free when used in adverse lighting conditions.
The 50mm frame is permanently visible, with broad white lines and rounded corners. No one knows why the corners are rounded, but it might be viewing area of a Kodachrome slide when in its carton sleeve.
The 90 and 135mm frames pop up when the corresponding lens is inserted.
There are many variants of the basic M3 and these are recorded quite extensively in the literature. Older M3’s had the continental shutter speeds (1/25, 1/50, 1/100, 1/250) and later ones the international range (1/30, 1/60 etc.).
There is a persistent but undocumented story that M bodies with a serial number above 1.000.000 are of higher quality and therefore fetch higher prices in the secondhand market. There is no reliable evidence ever presented to prove this assertion. My own research in the factory archives failed to find such evidence.

Any M3 in good condition is a delightful instrument for taking photographs.
It s drawbacks are few. The film loading is really cumbersome and should be replaced by a M4 type take up spool. Sometimes you will find this gadget on the market. The rewind knob is also a bit out of synch with today's requirement for fast film change. Be forewarned when buying a double stroke version. The clutch mechanism can fail after so many years in service and can not be repaired. But it can be exchanged for a single stroke mechanism.
The rangefinder of the M3 is a very durable mechanism, that hardly needs adjustment. There is one hidden problem. The flashsynchro contacts of the M3 are quite deep in the body and almost touch the M3 prisms. So a strong knock on the flash contacts could upset the rangefinder. You could ask a repair person to exchange the older versions for a newer international type.
All M3 versions focus to 1 meter, which might be a limiting factor if you use lenses focusing to 70 cm. Any M3 however can be adjusted to focus to 70cm.
The add on exposure meter I would avoid. It ads bulk and is less accurate than most handheld exposure meters currently on the market. A small Seconic or Gossen meter is more reliable, more fun and much more accurate. And that is why we want to take exposure readings, don't we?

If you like to take pictures with 35mm lenses and wider angled ones, the M3 with its basically 50mm viewfinder is handicapped. You might guesstimate the 35mm view, but that is quite rough. You could wait for the new 35mm Voigtlander finders to become available or find yourself an older one.
I used for a while an older 3.5/35mm lens with a goggle on my M3. It was really bad. The finder had a fair amount of distortion and the M3 does not handle in a pleasant way with this attachment. We clearly see the limits of the M3. In its defined area, almost unbeatable, but beyond that it is a bit stressed.

 
Leica M2.
The Leitz engineers had the same feeling and therefore the M2 hit the market in 1957. In 1958 the M2 outsold the M3 as a result of the big demand. Then the M3 picked up again and only in the two last years of production (1965 and 1966) the M2 became more popular again.
The M2 has a range/viewfinder with the same physical length as the M3, but with a reduced enlargement of 0.72, thus accommodating a 35mm frame. The other two are the 50 and 90mm. The opto-mechanical construction of the M2 rangefinder is quite different from the one installed in the M3.
There are stories that the shutter and rangefinder of the M2 are improved when compared to the M3. This is again a no-substance story. The shutter of the M2 has less height than the one in the M3, but most components can be interchanged freely. The rangefinder of the M3 is in fact different form the one in the M2, but both are equally reliable and rubust.
The M2 covers the most used focal lengths of the rangefinder camera from 35 to 90 and could be the only one you ever would like to use. The slow rewind is identical to the M3 as is the absence of an exposure meter. The add-on Metrawatt is not a good alternative.
 
Leica M1 and MD and MP.
These three bodies are special versions, for scientific, registration and reporter style work. They are seldom found and so loaded with a very high price tag. Forget about these unless you find one cheap in some backyard of the populated earth.

 
Leica M4
After 13 years of experience with the M2/3 versions Leitz became convinced that a too rapid film advancement did not generate problems for the emulsion and so the M4 with rapid advance lever and quick return crank was introduced. The amount of camera bodies that could be sold was declining (the SLR effectively killed all but a few RF systems) and the M4 with four framelines (35-50-90-135) tried to consolidate the M2 and M3 factions. Based on the M2 chassis and viewfinder (same baselength and magnification), the M4 was the answer of Leitz to the SLR competition. The 135 frame s very small and was omitted from the M2 for that reason, but now Leitz assumed that many users would use the M4 with the superb Tele-Elmar-M and defect the M3. Basically the M4 is an M2 with some ergonomical improvements, including a quick loading device that indeed improves the film change action. Some regard the M4 as the last M that shares the M3 production quality and the Wetzlar mechanical engineering. Again no reliable evidence has ever been presented to support such a claim.
The M4 handles very well, has that solid feeling of high quality precision engineering that is the hallmark of all M types and is a definite improvement on the M2. If there is a drawback it would be the more masculine look. The smooth bodycontours of the M2/3 are gone. It looks slightly more assertive, as if has to defend itself more (as indeed it had to do in the SLR dominated world).
 
Leica M5.
Weight is a 100 grams more than the M4 and its dimensions are also enlarged, 16mm more length and 12mm more height. Introduced in 1971 it incorporated a world's first: through the lens metering in an RF body. Weight and dimensions proved to be a critical mass. The Leica community did not accept the radical departure from the classical M-line. It proved to be traumatic for Leitz and even Leica today. The ‘classical’ body contours are fixed in stone as is the famous 90-60-90 dimension of the ideal female form. The M5 had breakthrough engineering, a most ingenious and accurate exposure system, but it failed to seduce the market.
Its shutter has speeds from 1/2 to 1/1000 and the viewfinder mask is a bit larger than in the M4, making it easier for spectacled users to see the full viewing area.
Its drawback is a restricted range of lenses that can be used, due to the exposure metering swinging arm in front of the film gate.
The M5 has many advantages: TTL exposure meter, wider viewfinder mask, improved engineering and only one problem. It does not feel like a classical Leica. The Leica CL (Compact Leica) on the other hand is too small. So here Leitz tried very hard to broaden the RF concept to a bigger audience with superb engineering and a two pronged approach to accommodate feminine users and the battle hardened pro. The rest is history.
The M5 proved to be indestructible in the most demanding conditions. It is the first Leica camera to be finished in black chrome, all the predecessors were in anodized black paint.

 
Leica M4-2.
After the commercial failure of the M5 and CL, Leitz decided to stop the RF production and concentrate on the SLR line. Only a few supporters of the M-line saved the M production. Machinery and production were transferred to Canada, where the M4-2 (M4 mark 2) was resurrected in 1978. Basically an M4 with some cost reductions (no self timer) it indicated the return of the RF line. The M2/3 series had an average production of 20.000 bodies a year. The M4-2 less than 5.000 a year.
Much ink and sounds have been used to discuss the Wetzlar versus Midland quality. The M4-2 had its share of harmless cost reduction (stamped counter dial where the M4 had chrome plated brass) but basically the blackening of gears, the machining of parts, the tight fitting tolerances were the same. In fact they should be as the tooling from Wetzlar had been transferred to Midland.
If some criticism could be made it is the fitting of the topcover to the body. Here the Wetzlar products just had a slightly tighter fit.
The M4-2 has a hot shoe for flash (unlike the M4) and improved M and X synchronization. If you need a Leica for studio flash or mobile flash work, this could be one to choose.

 
Leica M4-P.
The relative success of the M4-2 encouraged Leitz to continue the line. Maybe the not overly successful SLR range also influenced the decision. With the introduction of the M4-P a new range of very high speed lenses became available, stressing the domain of the M4-P (for professional) as the silent and accurately focusing king of available light photography. The M4-P has six frames (the 28 squeezed in as the 35 would be in the M3) and the 75 added). This Canadian made body benefited from the production experience of the Midland crew and had a number of engineering changes in the geartrain to accommodate a motorwinder. (also implemented in the M4-2). The somewhat stronger feel of the M4-2 and later models, compared to the smoother, gentler feel of the M2/3/4/5 has produced one of the all time myths in Leica lore. The allegedly better production quality of the M2/3 has been based on the feel of the shutter and the film advance lever. In fact the somewhat harsher feel of the M4-2/P and M6 could be attributed to tighter tolerances of the fitting of components and the hardening of stress-related parts (steel where in the M3 brass could be used that feels softer but is not as wear prone).

 
Leica M6.
This model weights 560 grams and has a TTL exposure meter, now using a white area on the shutter curtain as a reflection type exposure meter. The weight of 560 grams is just 15 grams more than the weight of the M3. This model arrived on the market in 1984 (the Orwellian year) and has been a consistent seller at around 10.000 bodies a year till today. It has no seal, an indication of the confidence Leica has in its engineering. The exposure meter is quite accurate, but can be way off to more than two stops when the lightning is tough. A small handheld incidence meter will always be useful to correct the occasional tricky situation. In my view the M6 is the best buy of all M variants. It has engineering as good as if not better than the previous models, its ergonomics are very good and the TTL exposure meter is quite helpful when taking pictures in environments with different luminance levels.
When using the M3 and the M6 at the same time, you note a very interesting phenomenon. The M6 disturbs the stream of consciousness less than the M3.
The M6 can be improved: its viewfinder is flare prone and will sometimes black out the rangefinder patch. The .85 version is a bit better in this respect. The rewind crank is too small if you have to do a lot of film during one shooting session. The battery cover can be lost quite easily and so a few more minor irritants can be added.
The M6 has been produced in two versions: one with a .72 magnification and one with a .85 magnification. This version of the viewfinder is almost as accurate, clear and large as the viewfinder of the M3 and is the most desirable of all M6 versions.

 
Leica M6J.
This model is a special version of the M6 with a topcover in the style of the M3. So is the film advance level and frame selection lever. The M6J has four frames (35,50, 90 and 135) and so is close to the M4. The M3 range/viewfinder mechanism could not be resurrected and so Leica had to design a new one, closer to the M2/4/5/6 types. Some will claim that the M6J has been built to a higher standard than the regular M6 types, which might explain its higher price. No evidence is being produced as usual with this type of claims. The M6J however has been assembled by the same people on the same production line as the regular M6 and shares all components, except the rangefinder mechanism and the topcover. It is highly unlikely that there is any difference in quality between the M6J and regular M6 types. The M6J has a 85 magnification which made it an interesting buy. Since the M6 HM (or M6 .85) it has lost most of its appeal for users. Collectors of course have different arguments.

 
Leica M6 TTL.
The latest version of the M6. It has a two millimeter higher body, caused by the higher topcover where room had to be made for the additional electronics (from the R8) to provide TTL flash functionality. The shutter dial has been enlarged and now turns in the same direction as the exposure indicators in the finder. The earliest versions had a sensor in the bottom of the body that could reflect some stray light into wide aperture lenses. Later versions had the sensor baffled a bit more.
On first sight the flash facility is counter intuitive to an M-Leica, which is mostly used as an available light camera. Still several situations exist where a mild fill-in of flash saves the picture. The SF20 is a capable performer, but adding this one to the body makes the M6 cumbersome and of course you can not use the 24mm with its additional finder. Again we see the limits of the M6 as a tool, and intelligent choices are to be made.
Nostalgic feelings aside, the M6 and M6 TTL versions with the .72 magnification are the most versatile of all M Leicas. Their precision engineering and mechanical quality and durability are second to none (within the Leica M range). As photographic tools they inspire confidence in their picture taking capabilities and they encourage a type of photographic image that is almost unique.

Classic or High Eye-Point or High-Magnification?
Currently Leica offers three versions of the M6 with different magnifications: 0.58, 0.72 and 0.85. The most recent addition is the 0.58. The question why 0.58 and not 0.6 can be simply answered. The ratio of the focal length of 35mm and 28mm is identical to the ratio of 0.72 to 0.58. There is one obvious difference between the 0.58 version and the other versions. The 0.58 has framelines for 28, 35, 50, 75 and 90. My testing of this body shows a very easy to use finder, that is very clear, has excellently clear and crisp framelines and a very clean rangefinder spot. While not completely flarefree under bad conditions, it is improved when compared to the 0.72 and 0.85 versions. The new finder allows for quite relaxed viewing and should be seriously considered by anyone who will use the M-body for hours at a stretch. An additional nice point is the fact that the redoubtable 24mm lens can be used with the 0.58 finder: the outer mask of the finder is approximately the angle of view of the 24mm lens. THis feature is best used wwithout wearing spectacles.

Accuracy of the new finder is without any doubt good enough for even the Noctilux and all 1.4 designs, up to the 75mm. The outstanding Apo-Summicron-M 2/90 ASPH can also be used without reservation.

Which one to choose is of course a matter of personal preferences. Some guidelines follow:

If you wish to buy only one body and do not envisage the use of the redoubtable 135mm and you are inclined to use primarily the wide angle lenses, buy the 0.58.

If you prefer the focal lengths from 28 to 90 and have occasional need of the 135, the 0.72 may be the best choice.

If you need the highest accuracy in focussing and you do use the 75 to 135mm frequently, buy the 0.85.

If you need or can afford two bodies, the choice would be the 0.58 and the 0.85.

Most frequently used lenses One body, preferred choice One body, possible choice Additional body Most used lenses
up to 90* 0.58 0.72 0.85 28, Tri-Elmar, 90
up to 135* 0.72 0.72 depends on use of lenses 35, 50, 75, 90
35 to 135* 0.85 0.72 0.58 50, 75, 90, 135
*21 and 24 have additional finders

 
The quality of engineering, assembly and tolerancing of the several M versions.
There is a persistent, but totally unfounded position that the Wetzlar based products are he best in terms of choice of material, care of assembly, quality control and a host of mostly intangible parameters. In the past the story was that Midland was not as good as Wetzlar. Later it became Wetzlar versus Portugal and now it is Wetzlar versus Solms/Portugal.
Let me start by stating that no one who has made claims for the superiority of one manufacturing location or base versus another one has ever brought forward substantial evidence to support the claim or has even defined what superior manufacturing quality is.
In my view choice of materials, the quality of machining of parts, the fit of parts should be measured if any quantifiable statement can be made. Choice of materials could be classified in terms industry standards as to the parameters of metal alloys, synthetic materials and other components: the stress coefficients, the durability estimates etc. The machining of parts would be defined in terms of surface roughness indicators, tolerance bands for dimensions and more industrial parameters. The same for the fit of parts.
Any quality difference between the M3 and the M6 should be quantified by stating that some M6 gear #205 is of inferior alloys, has a higher roughness indicator, Young’s modulus is lower and the tolerance is ±0.02mm where the M3 for the same gear has ±0.01mm. Or the roller bearing in the M3 shutterspindle is fitted in the M3 with a play of 0.005mm where the M6 has another value. Or the average breakdown period of this gear is 10 years in the M3 and 9 years in the M6.

I have been able to observe the assembly of the current M6, and discussed all the engineering measures with the production people and quality assurance people at the factory . I took great care to compare the M3 components with the M6 components : I watched while a qualified repairperson dismantled the M6 and M3 and I could discuss every small item with this person. I even repeated this procedure with a second person to check any bias.
My considered view is this: there is some costcutting in the changes from the M3 to the M6. Basically however (shutter, rangefinder, transport mechanism etc.) the M3 and M6 are identical in all measures of engineering and production quality.
In reliability, durability and quality feel every M is a precision engineering mechanical masterpiece. There are real differences of course and they should be assessed intelligently. The change from brass to steel for some gears made the M4-2 suitable for the motorwinder (which I personally would never recommend) and the steel makes for more durable components. If the gears jam however the strong steel will destroy the winder mechanism, while the weaker brass gear will fall apart without doing damage to the mechanism. Which version is better?
The Wetzlar products were made in the tradition of the fully integrated production cycle, where most components were made in the factory or by closely allied suppliers. This was the traditional way of manufacturing as deployed since the start of the century.
The current M6 is built according to the modern, or maybe postindustrial technology of manufacturing, that blends manufacturing with the service industry.
The factory is now changing from a high cost handcraft based production and assemblage facility to a combination of new technology, lean production and supply chain management to produce the M models (and of course the R models too).
Nowadays the smooth and relaxed relationships between a manufacturer as Leica and its customers and suppliers defines a new type of manufacturing company, one that is capable and able to produce the opto-mechanical precision instruments to the same if not higher level of quality and precision as the previous type of industrial manufacturer that Leitz was.
The nostalgic feelings to the classical products of the Leitz era are quite understandable and even enjoyable. The idolization of the Wetzlar products to the detriment of the Solms products, shows a gross ignorance of the facts.

The classical Leica products as M2/3/4, and this is part of their enduring charm, evoke a feeling of confidence and material solidity, Current Leica products as the M6, while as reliable and durable as the predecessors, have a different look and feel. And some manufacturing changes are clearly the result of simple and harmless type of reduction of cost of production: the frame counter is a clear example of cost cutting. Sometimes the components have changed to implement a simplified assembly and so saving on labor costs. The change of filt for the shutter trapdoor to a composite material is such an example. These changes however are in part of a cosmetic nature. Cosmetic because the basic functioning and reliability are not jeopardized. The number of adjustment possibilities has also been reduced, partly because adjustments are not always necessary and partly because of cost reduction. In the latter case, we should have the camera adjusted a bit more frequently.

Bottom line we should accept that the M6 is as reliable and durable as an older one, is assembled with the same or even higher precision and tighter tolerances as an older one. We should also note that the M6 has an improved viewfinder and some nice additions as the exposure meter. On the other hand the M6 needs to be adjusted in slightly shorter intervals than the M2/3/4 when in heavy duty use and the simplification of some components make it a bit more sensitive on occasion. Let us have no illusions. Any Leica cameramodel can develop a fault. Look at a typical Leica repairshop and you will see every model represented: M3's as well as M6's.
 
The engineering of the current Leica M bodies, the quality of production and the high level of shop testing ensures that a new Leica M will function according to specs and with the reliability and longevity that is part of the charm of the Leica. Engineering is a human act however, and incidentally a fault will occur, such is Murphy's Law.
 
 

 

先说出下面几个名称，我自认为对于大部分昆明人来说是陌生的。

地藏寺经幢（大理寺经幢）、大德寺双塔、1950年解放军入城纪念门。怎么样，我敢说您没有听说过也没有看见过这些昆明市的古迹。地藏寺经幢位于昆明市博物管大厅，1950年解放军入城纪念门位于昆明市体育局正门，大德寺双塔位于五华山东侧的一个居民小区里。

周末背着相机骑着单车在街上乱逛，从拓东体育馆看完一场业余足球以后准备到宝善街捏几张片子，走到半路就看见了路边的1950年解放军入城纪念门，7根柱子，上面有旗杆却没有彩旗飘舞，与众不同的建筑风格吸引了我，简单而不华丽，朴实中透显庄严之气。为何不拍一组被大家日常忽略的历史建筑的照片呢？好主意，开始干！走到路对面一整狂捏，F4的快门和过片的声音实在令我惬意：）。身后就是昆明市博物馆，前不久在这里举办了美国国家地理杂志的图片展，参观地藏寺经幢要5块钱的门票，但是我身上只带了一块钱（自行车停车费），好说歹说说服了看门的大娘免费让我进去拍了几张照片，由于是“免费”进来的，对于经幢的介绍没敢细看（改天带好5块钱来好好研究喽）。本周的计划还有一个目的地，就是华山东路上面的大德寺双塔，这个双塔我早就关注了，每次从旁边过都东张西望准备看看双塔的模样，但是一直没有见过。问了小区门口的一位老奶奶，才知道双塔就在他们小区里面，老奶奶还说让她帮我看着自行车，我慢慢进去看。不愿意麻烦她老人家，我推车进了院子，上了一个小坡，左转再右转，终于看见双塔啦，嘿嘿！一阵狂捏，双塔的护院里还有几位民工在作着双塔维护前的准备工作。

记得小时候就曾逃课去看东寺塔，想来昆明还是有不少宝塔的。从小就喜欢宝塔，一看见宝塔就会下意识的找进入宝塔的门在哪里，想顺着幽暗的楼梯扒上塔顶，吹风、吸烟、看风景，近距离体验历史的沧桑。但是唯一一次扒上古塔的经历是在鸡足山的金顶，残破的砖墙，透出青色的砖，偶尔还会在砖面上看见烧砖的年代，在上面静静任凭头发随风乱舞，心里会很踏实很感动。

下个周末，还有几个目的地，闻一多遇难处（准备到师大拍个闻一多的雕像再和遇难处的照片合成一张片子），还有关上的一个什么人的墓要去落实一下，华山西路也有一个名人故居也要捏几张。

拍完一起上片啦，不会让大家失望哦，这些地方一定值得看看的，搜集完照片资料，就开始查越历史文献，一定要把这个栏目好好办一下：）

曲艺是北方流传的多种民间艺术的总称，昨天偶尔在电视上看到了马三立的相声表演，今天在酷狗上一搜，还真是不少啊。尤其喜欢他晚年说的相声，表情憨厚幽默，语速不紧不慢，声音沙哑，每次听都会情不自禁的发笑。

什么时候找一套正版VCD去，敬重他老人家，所以要买正版的：）

虽说身在国企混，换汤不换药地吃大锅饭，但是我所受到的教育不允许我没有工作责任心。今天来料加工手册有点问题，已经在网站上提交了申请修改的变更，审批的人又不知到哪里去了，说是下午才来。已经不是第一次这样等待。政府职能部门大都开奥迪或是帕撒特，然而它们的效率有如牛车，尤其是在云南。

无论你自己或者是你所在企业一年缴纳多少税收，你还是得无奈的等待，这种等待的心情就像你兴致勃勃去老丈人家里送礼结果吃了闭门羹。政府的做事效率就像一个巨大的减速齿轮，无论你转得再快它也会将你的速度降低减缓。

＝吧，慢慢地等，生命就在这样的等待中终结，不要怪我性子太急，是因为你们实在太慢。然而，逢年过节，还是得舔着脸去“做工作”。

这辆车需要的到底是什么润滑油？

城市的四个瞬间：

一.二环北路开始拆迁扩建，小孩子和他的父母来到废墟上，用铁锤砸开混凝土，取出里面的钢筋铁丝去换钱维持生计，城市的发展偶尔会为外来的没有技能的人提供一点维持生活的“外块”，然而像这样的小孩如果不受到关注并获得良好的教育的话，他以后还将带着他的孩子到6环以外来敲打灰色的混凝土。

二.骑车卖泡菜坛子的人，照完这张照片，我骑车追上他聊了聊，这些坛子不是他自己做的，是进来的货，做点这样的小生意，他必须费劲的在春风中骑行10多公里，后来我看见他停在路边吸烟，样子很悠闲。

三、四.两个老人在北市区仅有的一片未被开发成住宅区的菜地里劳动，记得小时候我经常在这片广阔的菜地里抓鱼摸虾，晚上还有一阵阵的蛙鸣。现在，背后的建筑就像一个高大的怪兽凝视着这仅有的田地。老头默默无语，当我提出要给老奶奶照张片子时，她用昆明特有的农村口音说：“像我们这样的，长的不好看，照出来也不好看的。”然而她还是大方的在我的镜头前露出淳朴的微笑。