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Showing content with the highest reputation since 19/10/19 in Posts

  1. 3 points
    Taken yesterday. Temperature: 1C. Thank you for looking.
  2. 3 points
    It's not so much the mirror vs no mirror as far as I was concerned, but the smaller, lighter, quicker-handling bodies and smaller, lighter cheaper and top quality lenses that the Fuji X system developed that had me swear off all the exact opposite factors to these that came standard with the Nikon D* cameras. While this was a preference thing that didn't in itself improve the photographs I took, the old adage that my Father would often use about the tools a workman uses being reliable and well made, but most importantly enjoyable to use became the relevant thing. If you enjoy using your tools, it almost goes without exception that the work you produce with them will reflect that and invariably the quality thereof will improve. The truth of this has been demonstrated to me over decades with the cameras I either chose to use, or as often was the case, was forced to use to fulfil the end use requirements of the job. The outstanding case in point for me was the Mamiya RB67, which in the 1980's became almost the standard wedding/portrait camera of photography in Australia owing to the popularity of 16x20" or 20x24" enlargements and their contribution to the profit bottom line of that industry, which I was involved in rather heavily at the time through absolute necessity rather than desire. 6x6 and 6x4.5 formats didn't cut the mustard as far as quality of enlargement went, the downside however being that the RB67 was perhaps the most hateful, cumbersome, slow and temperamental camera to use, especially in the high-pressure, time-limited, always-rushed environment of a large wedding. I can honestly say that I have no recollection of ever having taken an outstanding shot with that camera system, and I put that down absolutely to the hatred I had for using that nasty piece of design, which by design discouraged hand-held use and therefore further encumbered things by tying the photographer to a tripod-mounted tool for the whole wedding, which added greatly to lack of choice of angles and a far greater taxing of endurance on behalf of the operator. Swapping from DSLR to mirrorless had a similar liberating effect for me as had the early 1990's acceptance of 35mm film and a more 'journalistic' style of wedding photography and less of a demand for big enlargements, which enabled me to dispense with the RB67, and thus my Nikon F4 outfit bought in 1993 to replace the RB was the analogue equivalent to the RB67 as the digital Fuji X cameras were to the D3s and its big, heavy body and lenses. So now I don't do weddings anymore, and most of my photography is in B&W of relatively static objects which should have suited the RB/RZ system I had bought to start using my preferred medium of film again, but the hatred for the thing's design and awkward handling hadn't diminished, and no outstanding work resulted, so the outfit sat and collected dust. However I still wanted to shoot medium format film, and as Hasselblad gear was skyrocketing in price, I took a chance on Soviet-bloc cameras, although it took a total of six Kiev-60 and Pentacon bodies to finally get two perfect Pentacon Six TL bodies. Now at first glance they look awkward and heavy (and to some degree they are), and they couldn't be more opposite to the Fuji digital mirrorless system if they tried, but the Carl Zeiss Jena lenses are superb (the longer lenses a stop faster than the Hasselblad's shutter-bound equivalent which, with the stop-faster 1/1000 shutter speed, further aids the possibility of hand-held shots), and they are, believe it or not, simply the best fun to use. As a result I am increasingly taking wall-hanging quality shots with those Pentacons bodies and Zeiss lenses, am enjoying the ways of using B&W film again, and though the Pentacon Six camera is heavy and bulky (and has a mirror 😲!!!), my B&W photography has once again started to match what I know I'm capable of.
  3. 3 points
    I can't express adequately just how convenient and easy it is to modify some of the older film equipment in ways one couldn't even begin to contemplate with modern digital cameras. This sort of thing was standard practice when I started photography as a profession in the early 1970's. Here in Australia the winds of the Cold War meant that there was almost no trade with the Eastern Bloc countries at all, nor was there an eBay, Internet or International Free Trade Agreements. China was in turmoil during its Cultural Revolution and was struggling to feed its population, let alone be an international trading economy; cheap stuff came from Japan and not South East Asia and was also rather limited, and if you needed some photographic accessory or simple piece of equipment, you bought the raw materials and made it yourself, generally with simple hand tools and a lot of patience. Fast forward to 2019, and in this case I had originally bought a Kiev-60 medium format camera allegedly "rebuilt" by Hartblei in Ukraine, and while it was robust and built like a tank (literally - it was made in Kiev - now Kyif - during the Soviet era by a factory appropriately named "Арсенал" - Arsenal), however it had a rather annoying case of shutter bounce which left a slight shadow at one edge of the frame at 1/30, 1/60 and 1/125 sec, which wasn't too much of a problem to deal with in either printing or PP, but it was annoying. So I spent more money and bought an allegedly re-manufactured ARAX-60 body from Hartblei's competition, and whilst they undoubtedly painted the camera black, added a mirror-lock-up button, stuck some flocking to the innards and gave it a new nameplate, it never wound the shutter on properly, sometimes failing to lock the mirror and thus causing the film to be irregularly spaced, which was something I lived with until the wind mechanism failed altogether (some months after any warranty was up, of course), however that camera did come with a post-Soviet manufactured (1994) metered prism that was both accurate and had the later fool-proof timed auto-off switch which avoids draining batteries. This prism also looked quite smart, particularly when compared to my final medium format camera choice, namely the Pentacon Six TL, for which I have two bodies and one OEM metered prism which I think in itself is probably the ugliest piece of accessory camera equipment I've ever owned, as well it has a standard on-off switch which sucks battery power and is incredibly easy to accidentally bump into the "on" position. Maybe you can see where I'm going with this now? .... So using scrap materials in my shed and tools on the workbench and using the mounting plate of a broken Pentacon Six waist-level viewfinder (the internal superstructure of which had to be laboriously filed off by hand) I fashioned an adapter to mate the ARAX/Kiev-60 meter-prism to the Pentacon Six TL viewfinder fitting, maintaining the Kiev-60 mounting system as well so that I can also use a Kiev-60 waist level finder - the advantage of this being that the Kiev version of both finders has a larger coverage showing the whole Pentacon Six viewing screen and not like the OEM prism finder which crops the already-cropped view of the final image. The actual film image is 55x55mm, the screen size is 52x52mm, but the Pentacon OEM prism only shows 45x45mm, which therefore left a substantial amount of guesswork in image composition if, as I do at present, one prefers to print the edge markings and black borders of the film with the photograph. By adding a plastic spacer (actually cut from an old piece of tri-laminate guitar pick-guard ) I was able to both inlet the screws pins and spring metal retainer clips I had to fashion by bending a couple of safety pins to the rough shape of what was left of the old waist-level finder's broken clips, as well as lifting the prism a bit so that I don't have to use a viewfinder dioptre or wear glasses when focusing the image as my ageing eye now see the viewing screen at its comfortable unaided focus point, and that also makes life easier as well So the first photo shows the three pieces as I was working on them, then the completed adapter from the top with the Kiev locating pins (salvaged from a viewfinder bottom protective cover), the next showing the underside of an intact Pentacon WLF along with the plate I modified for the adapter, and finally the bracket fitted to the camera ready for a Kiev finder to be clipped on. Here are three versions of the cameras together: at left the Ugly-as-sin Pentacon Six metering prism on a standard Pentacon six TL body, the hybrid version with adapted Kiev metering prism and black front-plate with white lettering I modified at an earlier time, and a standard Kiev-60 camera with old-style metering prism (with old dial-type on-off switch - the new type on the middle prism is the barely visible black timed switch at lower left side looking from the front). And finally just the two Pentacon Sixes together (they're actually both the same height, the modified one just has a fatter tripod adapter plate fitted underneath) :
  4. 3 points
    I haven't posted in a while but thought I share a few of my latest images of African wild life. This is the part that covers some of the images that I like in b&w ... One more post to come ... Cheers Chris #1 High key try I ISO800, 1/1000s, f/2.8, 70mm #2 High key try II ISO800, 1/1000s, f/2.8, 70mm #3 Ellies are wonderful b&w subjects (at least for others who know how to produce great b&w stuff) ISO1600, 1/2500s, f/4.5, 200mm #4 as stated above ISO3200, 1/125s, f/2.8, 62mm #5 buffalos just like elephants make a good b&w subject ISO3200, 1/160s, f/3.2, 130mm
  5. 3 points
    Taken yesterday. Thank you for looking.
  6. 3 points
    The Nikon NOCT S f/0.95 Lens Some more comments on the NOCT95. This is a heavy lens (4.4 lb./2000g) with a 4” wide barrel. The tripod foot that is built into the lens is just secure enough to avoid shake, but not quite as secure and stable as I wish. It’s OK. The stiffness of the helicoid is my only complaint (so far) with this lens and I am going to install one of my focus-pulling gears on it with a lever and see it that helps. I have my doubts. The problem is with stacking 100 images and turning that helicoid which disturbs the camera a tiny bit with each shot, after which it returns (hopefully) to where it was before. LOL. Perhaps it will loosen up with use. The build is all I could hope for and more. Optically, the colors seem fine and although some reviewers say it is not as highly corrected (APO) as we might prefer, so far, its APO quality is good enough for my work. It’s aperture collar (and whatever) works but I see no use for it so far. As for all the buttons, digital-windows, etc. on the lens, they don’t bother me, but neither do I find them helpful for my kind of work. IMO, you will need a solid tripod for this lens, at least for focus stacking. I will use an RRS tripod, with either the Arca C1 Cube or the Burzynski “Protec” ball head on it. The unremovable tripod foot on the NOCT lens, as mentioned, is OK, not as sturdy as it could be. I mounted an Arca quick release plate on the foot and the stability of the foot is not quite as unmoving as I would like for stacking images. It is just inside of the limit that I would complain about, so I am not quite complaining. The hood allows for a clear filter to be mounted within it but, because the lens moves, it will not allow external filter holders to be mounted except in a very limited range of motion. This will be a serious problem for some photographers. The bokeh is probably the best I have ever used, with its 11 blades and very fast aperture, smooth and subtle. As someone who stacks focus, this is a perfect lens because it allows me to shoot wide open and have a lovely out-of-focus background. Then, using the very narrow slice of focus at f/0.95, I can paint focus on objects in the foreground, stacking layers of focus to create whatever I want to be in perfect focus. Since it is 58mm, this additional wideness allows for subjects with considerable context surrounding them. I wish it were a macro lens since it is already quite flat, but we can’t have everything. I am glad it can do what it does. This lens does NOT take extensions well at all, although I don’t have an extension available to me that is ultra-thin. If you know of one, let me know, but even then, it would be like painting graffiti on a Ferrari. In summary, the lens is for me a keeper. I will use it for much of my in-studio work and when spring arrives, slap on a clear lens, and take it outside, but not too far because of its weight. I would like to hear from other users with their experience of this lens. https://www.flickr.com/photos/185423603@N06/?
  7. 3 points
    I haven't posted in a while but thought I share a few of my latest images of African wild life. This is the part that covers lions in daylight ... I'll post more later. Cheers Chris #1 An encounter in the bird hide ... Actually we waited for small birds to show up and were rewarded with two lions showing up. Fantastic experience to be that close to those mighty cats (less than 2m I guess). ISO6400, 1/250s, f/4, 200mm #2 Photographing from hides provides very nice angles ISO800, 1/1600s, f/3.5, 70mm #3 It was a day of the mating season :) (same hide) ISO800, 1/1250s, f/4.5, 60mm #4 This one was take from a safari vehicle ISO3200, 1/500s, f/5, 600m
  8. 3 points
    As part of my rehab. from my right hip replacement at the end of August, I've been walking two miles a day One day, while walking, I noticed a fossilized impression of a maple leaf in the concrete sidewalk, and when the leaves turned, drove back to the spot with my gear, arranged this composition and grabbed this shot. Nikon D3 Nikon 24~70 2.8 G ED 5.6 @ 1/100, ISO 200
  9. 3 points
    Nikon Z6 & 14-30mm f/4S Thank you for looking.
  10. 2 points
    Nikon Z6 & 14-30mm f/4S. Thank you for looking.
  11. 2 points
    He was not amused but patiently waited for me to bugger off! Lumix G9 + PLeica 25mm Mk2 @ 1/13 f4 ISO3200
  12. 2 points
    Another view inside the Cathedral.Dehazing and clarity adjustments plus vertical G9 + PLeica 8-18mm @ 1/15 f4 ISO500 Tried to portray the darkness inside the cathedral!
  13. 2 points
    A 1947 fully restored Beech D18S (C-45) photo pass
  14. 2 points
    Lumix G9 + PLeica 25mm Summilux 1.4 @ 1/125 f4 ISO200 since informed the colour is called Petrol Orange!
  15. 2 points
    Couple shots of a SNJ-5 in training squadron colors (Navy version of the T-6 Texan)
  16. 2 points
    Today I seem to be having a car day! iPhone X
  17. 2 points
    I had a couple of hours free on Saturday morning, and took advantage to go for a walk and take some photographs. Unfortunately it rained, limiting the opportunities, but being Melbourne, the weather changed... #1 - Wet Flower #2 - Water Drops #3 - Bee #4 - Bird by Chris Crowe70, on Flickr #5 - Street All shot with X-E3 and 55-200. Reasonably happy with the combination for the close up shots, although I wouldn't mind getting closer. I really need to make up my mind about how I'm going to get into the macro range with Fuji. Adding some extension to this lens is a possibility.
  18. 2 points
    This was perhaps being overly optimistic, but it worked rather well in the end, I thought. Thornton Pickard half plate camera, using Ilford Multigrade IV paper as a negative, 3 ISO, 4 second exposure whilst I was making all sorts of noises to keep the cattle looking at the camera without moving (a few failed the test, though, one having lost its head altogether) The lens on this camera is the original 8" f/8 Rapid Rectilinear brass item that isn't so rectilinear any longer - it has a very definite focus falloff on two diagonally opposite corners so I'm guessing the elements have either lost their alignment through age and handling, or were never correct in the first place. I have a 1950's Carl Zeiss Jena Tessar 4,5/210 in the mail to me from an ebayer in Japan which I'll try to adapt to the camera to cure that problem as well as give me a substantially brighter ground glass image to focus on. This, therefore, might be the last 'authentic' Thornton-Pickard photo I have taken.
  19. 1 point
    Ordered one yesterday from B&H. Scheduled to arrive on Tuesday. Greatly looking forward to this lens for hiking and other outdoor adventures. The extra 2mm on the wide end and about 35mm on the long end compared with the stellar 18-55 will make it much more useful as a single lens to carry on Nature outings. Will report back and post some images.
  20. 1 point
    I am, at the moment, looking at either upgrading my 6 year Olympus E-M1 bodies, or adding a different new system to what I already have. Not once has the notion of going back to a DSLR even entered my periphery. As far as I am concerned it is a dead technology. Did mirrorless improve my photography? Yes, I think it did. I got so much more confident with the cameras I was using because I could see what I was doing before I did it, thanks to the EVF. IBIS also helped tremendously to the point where I no longer need to sharpen my images. Less time spent in post production is always my aim and so far, apart from the HDR stuff I do for real estate and product photography, I am quite happy to off load images directly from camera to clients when I am shooting events or editorial work. Cameras currently on my radar as possible upgrades are the Olympus E-M1 Mk ii, Panasonic G9 or GX9, Sony A6400 and Canon EOS R. Why not Nikon Z series? Way, way, wayyy too expensive here and terrible after sales service. I did handle the Z6 and I liked it a lot, but from my standpoint the Canon EOS R and the entry point to the EOS line of lenses just makes a lot more sense. I’ll be writing in AOV about my current bout of GAS one of these days...
  21. 1 point
    Certinly different. The two top ones' effect doesn't talk to me, but I do like the next three. They look classical, like a portrait of a famous person in a nice frame. The two bottom subjects seem more fearsome with the effect, however. Nice experiments, I would continue to apply them to other subjects, perhaps humans also.
  22. 1 point
    Same locomotive, different angle and distance+ slightly different post process
  23. 1 point
    I did also wait for it to get dark. sunset 5 And one of the few shots from a different angle when a flock of bats flew past.... or is it a swarm of bats? sunset 4 Unfortunately the bats didn't fly across the more balanced parts of the scene, so the composition isn't quite so good.☹️
  24. 1 point
    Strawberry Cake and Cream, in Cologne. Very sadly I didn’t have any. 😪 Lumix G9 + PLeica 8-18mm @ 1/80 f4 ISO200
  25. 1 point
    Each year the Commemorative Air Force (CAF) hosts and event at their Dallas Texas headquarters called Wings Over Dallas. This year the event was held last weekend and it was their biggest show to date at that location. I'll post photos as I develop them, but to start here are a couple of FiFi, one of only two WWII era Boeing B-29 Super Fortresses in the world that still fly. Beautiful, powerful, loud and graceful are some of the words I use to describe FiFi. Nothing like watching this huge aircraft take to the air with her four radial engines at full song.
  26. 1 point
    A gorgeous North American T-6A Texan (N9790Z) Lifting Off During The Wings Over Dallas Event
  27. 1 point
    You are absolutely right, the vehicle offers other possibilities, so your approach of combining it with the hide seems the best way to go. I really enjoyed all of the images you posted in all of your 5 posts, thanks for that.
  28. 1 point
    Thanks so much Rodrigo! You are absolutely right regarding the vantage point ... Getting low makes all the difference for that kind of photographs. In the overnight hides you actually sit a bit below water level. I couldn't agree more to all what you wrote! However, there are other kinds of images where a vehicle is very useful and where even the back row (aka the "Disney Seat") is the preferred option. I got some images of leopards in the tree or birds in flight (and other stuff) that wouldn't have been possible from within a hide. Following a pack of wild dogs in a vehicle also was an experience that I'll never forget. again thanks Rodrigo, Chris
  29. 1 point
    Not the same film I was talking about but the same outcome:
  30. 1 point
    Thanks a lot for your kind words Dave! There were no rifles around at that place (at least not that I am aware of and I am pretty sure I would have noticed). The hides are securely locked (usually two doors) so there is no way lions can enter. Elephants however are a much bigger potential threat because they can easily smash the windows of the hides if they would be interested to do so which they aren't. It is of course strictly forbidden to leave the hides without a ranger nearby. All in all I always felt safe but the mileage of others varies . Guides / Rangers at Sabi Sabi and Phinda always have a rifle in the safari vehicle and they take it when they leave the car and expect an animal nearby. I have however no clue which calibur it is. I am not into rifles ... it is much safer to behave yourself and anticipate the environment and the mood of the animals. I remember encounters with Elephants where the rangers did not trust to get too close to them. Those rangers and the trackers can literally read the bush and do everything to avoid situations where a rifle is the last solution ... and they are extremely good!
  31. 1 point
    A gorgeous North American T-6G Texan (N6253C) providing ride flights at the event
  32. 1 point
    Chris, Thanks for the kind words, on both the picture and my recovery. Robert
  33. 1 point
    I used this app to analyze my macOS systems. It found a lot of older Adobe components that their uninstall / upgrade tools missed. https://www.stclairsoft.com/Go64/ I deleted all my Adobe software, ran it again, and it still found cruft on my system. I removed all this extraneous cruft and re-installed my Adobe CC Lightroom Classic and Adobe CC Photoshop. No more 32-bit Adobe cruft after this cleanup. Most of the remaining 32-bit pieces are Apple so I’m not worried about this. I did find some third party tools like WonderShare DVD Ripper were out of date and no longer made. This Go64 app is free and really helpful.
  34. 1 point
    Amazing detail indeed and as always I am impressed with the way you deal with colours ... I'd love to have that skill ... very cool!
  35. 1 point
    Same here Mike, guess I was around 7 or 8. Once together it was almost indestructible as I recall, perfect for a young boy to play with outside.
  36. 1 point
    Love the prop blur in the first photo.
  37. 1 point
    Thank you for looking.
  38. 1 point
  39. 1 point
    The 12-100 mm is my „luxury travel lens“. it is a big and heavy lens and my pen-f is dwarved by it (even though the tripod adapter makes it a combination easy to hold). iIt is nevertheless the smallest travel kit I owned in years! Adding 1 or 2 small prime lenses creates a travel kit that is still considerably smaller than my usual Nikon FX kit.
  40. 1 point
    looking forward to seeing the pictures.
  41. 1 point
    Thanks Dallas. Yes, that's all gold ornate. And it's a lot of it. And also outside 😉 I'm pretty sure in its heyday all the brown decorations on the facade were also gold plated.
  42. 1 point
    My friends Elaine’s & Jayne’s garden in August. Lumix GX8 + PLeica 8-18mm @ 1/160 f6.3 ISO200
  43. 1 point
    For the benefit of those members who do not wish to purchase a subscription, here's how you can hotlink your images hosted elsewhere into posts on Fotozones.
  44. 1 point
    Thanks Mike. I have watched a few already. To be honest, I don't like this fella's style of video, but I will give him another chance.
  45. 1 point
    GH5 should serve you well, Dallas. BMPCC 4K looks nice and much cheaper than GH5, but you would need lots of additional parts to make full use of it. Unlike E-M5 Mk I and II, the new E-M5 Mk III uses the same battery as those for E-M10 series, which may be a nice idea to encourage the existing E-M10 users who already bought spare batteries to upgrade, but the battery life per charge is a little sacrificed, which is not good for the power hungry video use.
  46. 1 point
    This shot looks like it could be album art for a prog rock band. Good job, Alan.
  47. 1 point
    I suppose this superfluous model was probably in development before they realised their ship was taking on a lot of water and the market had moved to more technically sensible options. I will also never purchase a mirror based digital camera again. Unless it's a rangefinder.
  48. 1 point
  49. 1 point
    Hopefully there'll be some interest in this Analogue Club along with a few posts as well. I've been back with film (monochrome only) for over two years now, and for me it's been the best thing I've done for a long while, having completely reversed what was a declining interest in taking photographs, which I had initially thought was just a natural thing after nearly 50 years of being involved professionally, but has since been proven to have been caused by a boredom and disenchantment with the digital methods having taken over, and the predictability and expense of both the outcomes and the incessant update cycles of both camera and computer equipment that has resulted. Having recommissioned my dormant darkroom and bought a virtual barrow-load of film cameras from 35mm through to a half-plate Thornton Pickard, including a bunch of pristine lenses to suit (and all for less than the cost of a single pro digital body), I have an equipment arsenal that will outlast me with nothing further to buy than film (after I get through the dozens of rolls in the freezer left over from when digital became mandatory in the industry), and fresh photographic paper when and as needed (which costs less than plain cotton-rag inkjet paper), and therefore I'm all set for a film-based retirement. Meanwhile my digital outfits have been gathering dust, other than when I use the Fuji to photograph my film cameras and lenses to illustrate posts on my equipment the Internet, or the Sigma sd Quattro H to photograph the negatives to post the images online. I have now settled on the somewhat quirky Pentacon Six cameras as my go-to system , and somewhat enjoy the intrigue of why there is always a question in the back of my mind when I am using them as to whether they're working correctly or not (everything is pre-1990 in manufacture, after all). However the results continue to please me greatly, and that is no doubt helped by being familiar with the medium through having spent the greater part of my career using nothing but film, and most of all B&W film. Unfortunately I have discovered that the conversion of film negs to digital and the reduction in resolution through resizing for the Internet is not at all successful in transmitting what an actual photographic print from the negative actually looks like, an idea of the appearance of the finished article can be obtained. However, and almost inevitably, interpolation accentuates the graininess of the image often to a ridiculous degree, which is partially why I am sometimes reluctant to post. However, that aside, I welcome this subset club of Fotozones and hope that it does attract at least a few participants. Last Friday I escaped the dreary cold of the fog shrouded valley in which I live to take a day's drive up into the Tasmanian Midlands town of Ross, and once again came away amazed that I'd managed to spend a day with my camera and yet only shoot 10 frames on one film, most of which I was perfectly happy with. The difference between that and the now over-shot barrage of images that a normal digital shooting day routinely involves is obvious, and it's a working style I far prefer, carefully composing and calculating each shot before pressing the button, rather than "shooting around the shot" and leaving a headache of editing in front of a computer monitor to follow. Again, low-res copies, but here are a few that I took, mostly with the extraordinarily good and flare-free Carl Zeiss Jena 4/50 lens on a Pentacon Six body and expired Ilford 400 Delta Pro film. There's nothing in Australia to beat the Tasmanian mid-winter light on a still, cool day, and nothing like the silvery glow of B&W film to to justice to that light. Church Street, Ross, without the summer hordes of tourists: Ross Uniting Church: 1836 Ross bridge: Overgrown sign at the Scitch Thistle Inn: And one for good measure - the next morning the fog still hadn't lifted in New Norfolk, but that, and freezing temperatures were not enough to stop hardy Tasmanians holding the usual Saturday morning street market, even if attendance was below par:
  50. 0 points
    One of those lost the crane on top when a hurricane blew through NY in 2012. Pieces of it crashed 40 or 50 stories. Miraculously no one was hurt
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