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Nikon Secrets - Digital Photography

Mastering Nikon Compact Digital Cameras

Coolpix Series including CP950, CP990, CP995 and CP775


a high resolution eBook in PDF format to be viewed with Adobe Acrobat on Macintosh and Windows Computers

By Peter iNova
photographs made with CP950, CP990, CP995, and CP775 by the author

Combined images from CP995, Getty Center, and CP 950, cloudy sky.

www.digitalsecrets.net PHOTOeBOOKS.com

Page i

iNova, Peter, 1944


Mastering Nikon Compact Digital Cameras By Peter iNova Includes CD with software programs for image manipulation, demonstration, and eBook display for both Macintosh and Windows computer platforms.

Text editors Marian Inova, Robert Jeantet, Joan Kunter, Anita Dorich Contributing Gallery photographers Ruth Happel, Taki Bibelas, Tom Deagle, Mitchell Silver, Rex Stayskal, Furrukh Khan

ISBN 1-882383-15-6
Mastering Nikon Compact Digital Cameras. Version 3.0
Copyright 2001 by Peter iNova. All rights Reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, file duplication, or by other electronic, logical, or mechanical methods, or by any information storage and retrieval system, without prior written permission from the author and Graphics Management Press, except for brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests write to the publisher, addressed Attention: Permissions Coordinator, at the address below.

Graphics Management, Inc. P.O. Box 241811 Los Angeles, CA 90024 (310) 475-2988 E-Mail: gm@graphics-management.com
The author and publisher assume neither liability nor responsibility to any person or entity with respect to any direct or indirect loss or damage caused, or alleged to be caused, by the information, data, software, or computer files contained herein, or for errors, omissions, inaccuracies, or any other inconsistency within these documents, pages, programs, or files, or for unintentional slights against people or organizations.

Book design, layout, and CD preparation by Peter iNova All photographs, diagrams, and artwork within the text by Peter iNova unless noted otherwise. Additional photographs in the Gallery by the photographers cited. Copyrights belong to the participating photographers. Published in the USA

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Foreword/Forward
Why this eBook?
When I started this project in 1999 it was because I wanted someone else to produce it and make it available to me. But the world wasnt doing that. So I guess that meant Id have to do it myself. With a bell that cat mind-set and my trusty Nikon Coolpix 950 in hand, I set out to dig into its secrets and find out how to unravel them. I knew that the camera was capable of some fairly amazing things, and a book would be a nice addition. Add my own experiences with the digital tools of media production and special effects, and this quickly-produced book could be the result of a marriage made in Hollywood, if not in Heaven. That was June, 1999. By September, 1999, I had contacted no fewer than nine publishers, all of which had shown interest in the topic of digital photography. Some bailed out upon hearing that the book was targeted at a single product and others jumped ship when they realized the difficulty of drilling into the photographic market which, they perceived, was very different from their other digital pursuits. A few remained. Three showed various degrees of curiosity, but only one wanted to see some chapters right now. It was getting late in the year. The book had been conceived from the start as part text, part CD, and part Internet. I Fedexed the manuscript to the publisher so their crack team of reviewers could dive in on it immediately. Immediately, I was to learn, has different meanings to different people in different fields: Immediately in Internet terms is, Excuse me, Ill get back to you with... ah, here it is. Immediately in the world of special effects production usually means, As Soon As Possible! Immediately, it turned out, in the world of book publishing meant, Sometime next summer. By November, 1999, I knew the 950 book was not going to happen in the twentieth century. The software for the CD was nearly finished, the text had been through several drafts, and I had figured the publisher just didnt like what they had seen, or else they would have gotten back to me. Sigh. I bought a book on self-publishing and started talking to printers. Lesson number two: Publishing costs an arm and a leg. Especially for a 200+ page full-color book. Double sigh. One publisher called in December with an offer to bring the book out in September. My attitude was, September!? The 950 would be Very Old News by then! Fugeddaboudit. (New author. Thinks he knows something. Hah. I should have listened better, perhaps.) Besides, the next models would be introduced at the Photo Marketing Association show in Las Vegas in January of 2000. Certainly the new model would become a topic of the book, right? I put the project on hold and held my breath. ~o~ ! ~o~ As soon as the new Coolpix 990 appeared, I started back into the project again. A large new chapter for the new camera would be needed, and the form of the book changed to accommodate the larger print potential of the newer camera. I wanted the book to unambiguously display the big, sharp images from the 990 in a form that could be immediately appreciated. In July, with the revised manuscript nearly finished, the publisher from the autumn of 1999 e-mailed back. The reviewers are ecstatic. Lets talk! We talked. In one of the most enlightening, if not frustrating, conversations of my life, I witnessed a publisher of books confronting a writer of immediate, topical material while they teeter-tottered on the pivot of the Internet over the realities of life and how it is practiced. The publishers were prepared to announce the publication of a first run of 2,500 black and white, manual-sized books next March (2001) if I would simply accept the realities of the publishing business on their terms. Never mind that the book, from the beginning, had been composed using full-color images, graphics, and examples throughout. And never mind about their own reviewers positive comments which included the books marketing plan, Internet connection, and overall vision. The publishers executive committee, it seems, knew in its heart-of-hearts that a book of this type is the size of a software manual, black ink only, and probably wont find an audience, so spending money on it was not something theyd wish to invest in heavily. Certainly, they had a point. But so do I. (And if I brush my hair just right, it doesnt show.) The options of this Internet Age are larger than pages made of paper. This is the i-age, the e-age. The year of the eBook. Sure, most of them are simply text, but that isnt the end of the chain of possibilities, now, is it? eBook, eh? Well, if Stephen King can do it, why not me? Yeah, thats the spirit! Who needs those big publishers, anyhow? What did they ever do for me except waste my time? Humph, humph! (New author, remember.) But seriously, how do I really feel about it? So this eBook concept was formed. It isnt paper pages with four-color printing, but it has features no paper book could contain. Interactivity. Immediate access to the CD full of software, demos, and examples. And a feature I had not anticipated earlier; big, sharp, clear color photos that are probably much sharper than anything you have seen from an electronic publication. It is also coming to you from a more progressive publishing source, Graphics Management Press, who have embraced new technologies where the larger publishers fear to tread. (Their design and production of the 1991 book, Witness to War: Images of the Persian Gulf War, garnered a Pulitzer Prize for their client, The Los Angles Times.) The PDF files you are reading in Adobe Acrobat can be zoomed-in to 300% without passing the pixel-level of the reproduced images. Thats like sticking your face WAY into a page in a printed book to see the detail. But here, the images arent broken up with printing dots. Its rather like having pages that were photographically printed. The software has evolved, too. In a marathon session of filter writing, tweaking, and perfecting, the number of Photoshop action filters that are included has passed the 300 mark. A huge chapter on camera operation has appeared with sections on the 950 and 990 models. Its not a manual, exactly, but you still need to know what secrets lie behind each feature. Other books exist to give you the improved manual experience. If Ive done my job here, youll be taking better pictures, and you will know why they are better. Youll be printing, correcting, improving, and finessing your shots through a greater experience base, and you will be enjoying Photoshop instead of thinking its just too hard to learn. That camera in your hand is a fabulous instrument that beckons you to take pictures. It has a lot to teach you and you have a lot to teach it. Let the exposures begin. -Peter iNova, November, 2000

Addendum for Version 3.0


The eBook has proven to be a success. It is perhaps the most complex eBook on the market. Nikon digital photographers all over the world are enjoying its text and software. With two new cameras, the Coolpix 995 and 775, the number of camera operation chapters has grown to four. Photoshop has progressed to V6.01, and Test Strip is now in its third generation. Both are included on the CD in tryout versions. The iNovaFX filters have grown into new areas. One set takes 4 different images, lays them out for immediate printing on either US letter or A4 paper. Another performs extreme image rescue. New ideas are sprinkled throughout the text, and InfoBites have reached new levels of proliferation. Bon aperture... -Peter iNova, September, 2001

Page iii

Getting the Most from this eBook


This eBook is a text, a number of computer elements on CD, and an extended experience on the Internet.
Acrobat Viewing

As you read these pages in Adobe Acrobat, the page is taller than your screen, most likely, and the distance from your eyes to the screen is greater than your normal book-reading distance. In order to adjust for that, the page image will likely feel best to you at 125% or 150% scale, as set by Acrobat in the lower left corner of the display. With the page at 140% magnification, it works well on a 14- or 15-inch screen such as is found on many portable computers. You can have Acrobat show you one page at a time, pages laid out like an open book, or as one following the other in a continuous scroll.
Thumbnail Browsing

The thumbnails running down the left side of the page work well as a single column of images. They give you a chance to browse the chapter or lower-resolution entire eBook pages fairly quickly. Any page you can see is accessible by simply clicking on it. Immediately the new page will appear. The header bar has a control to turn the thumbnail images on and off.
Interactivity

You will find a certain level of Acrobat interactivity in some places. Generally, clicking the title of a topic can take you to a parallel or expanded topic if an interactive link is in place. This exists in the high resolution chapters only. Click on a chapter in the Table of Contents and the chapter will immediately appear. In the text, a citing of another chapters information on the subject will also link to it. Note that the Acrobat reader behaves much like an Internet browser and the solid arrow triangles in the header will navigate forward and backward through a string of interactive jumps.
Zooming In

The images in this book are usually made from full-size files from the CP950, CP990, CP995, and CP775. In general, you can zoom into them with as much as a 300% magnification without seeing pixels. Some images can be viewed even closer in the high resolution chapter files. The lower-resolution file is faster to move through, but its images are best viewed at 150% magnification. If you are inspecting images closely, the selection box on the thumbnail image will show you the portion of the page you are currently viewing. Clicking the cursor on any other image in the stream of thumbnails will jump to it instantly while maintaining the current magnification. This makes it easy to compare similar-sized images and peer into their details unusually quickly. Without printing dots to break up the pixel structure, the details stay more photographic.
Printing Out

You can print out ranges of pages from this book in black and white, as with a laser printer, or in color, as with an inkjet printer, any time you wish for reference. Some files are included in the Appendix for that purpose expressly. The color charts and test images are there for easy access.
iNovaFX filters

Included on the CD are the Photoshop action filters under the iNovaFX brand. These are 100% original procedures, manipulations, and helpful orchestrations of Photoshops myriad features, all of whitch are specifically designed to achieve three things: 1. Correction, perfection, and performance enhancement of Nikon Coolpix images. 2. Demonstration of, and experience with, the Photoshop Menu of Plug-ins. 3. Artistic, impressionistic, and graphic interpretation of your photographs in original ways. Included in the first group are the iBC barrel distortion filters, the iCrAb chromatic aberration reduction filters, the iCF color-repair filters, the B&W filmlook filters, the JPEG artifact-supressing filter, the ISO-boosting filters, the iFF denoise filters, and several others. Theyre all created to work particularly well with the images from these Nikon cameras. Some, like the iBC and iCF filters are tuned so specifically to these particular cameras and their individual optical systems, that using the filters on the images from other cameras will almost never give ideal results. New filters have joined the collection with this eBook version. Some last-minute instructions may be found in the ReadMe documents.
Internet Updates

It is inevitable. Data in a timely document like this may give way to new information, become obsolete, or acquire new meanings as technology progresses. After reading through this eBook you may wish to visit our special site holding updated information, links, special offers, new techniques, and the latest information about these cameras.

www.digitalsecrets.net

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Contents
Chapter 1 Nikon Digital Photography....... ....................................... 1-1 Chapter 2 Digital Color and the Photoshop Connection.............. 2-1 Chapter 3A Camera Operation Coolpix 950 ................................3A-1 Chapter 3B Camera Operation Coolpix 990................................. 3B-1 Chapter 3C Camera Operation Coolpix 995............................... 3C-1 Chapter 3D Camera Operation Coolpix 995 ................................3D-1 Chapter 4 How Do I? .......................................................................... 4-1 Chapter 5 Learning Digital Photography......................................... 5-1 Chapter 6 Printing Digital Photographs............................................ 6-1 Chapter 7 Special Effects .................................................................. 7-1 Chapter 8 Vexing FAQs ...................................................................... 8-1 Chapter 9 iNovaFX Filter Operation.................................................. 9-1 Appendix .............................................................................................A-1 Index ...................................................................................................... I-1 Digital Visions: A Gallery of Coolpix Photography ....... Bonus Volume Shooting for Effect .......................................................................Booklet

Page v

A Note to Film Photographers


Darn it. Just about the time you got real comfortable with Velvia and Plus-X, somebody came along and connected a battery to the film! What were they thinking? Not to worry, film isnt dead. But it may be time for you to start thinking about digital image capture and these recent-generation cameras from Nikon may be just the thing for you to use to get your digital feet wet. A growing number of your contemporaries, and probably even you, too, have embraced a large part of the digital photographic revolution. Slide and negative scanners, ink-jet printers, Photoshop manipulation, CD-R storagethese have all become natural parts of the contemporary film photographers world. Its gotten so digitally thick these days, that customers and clients are beginning to feel cheated if there isnt that D-word associated with the current project. How much of a jump could it be to digital acquisition? Well, in the case of the cameras about which this eBook is concerned, the price of admission starts under a thousand dollars, US. The price of accessories will add half-again as much to the bottom line, but by starting with a Nikon 9xx you will have bought into a multi-lens, unusually configured, highly versatile system that brings new opportunities and experiences. Yes, the film is free, but when did the cost of film ever stop you? The big deal here is Time. Instant results. Not Polaroids minute or films hour: Now! And with a TV hooked to your Nikon, the whole agency can watch the shot coming together on the big screen (and wont that be fun). But seriously, you can use a Coolpix as the worlds most sophisticated light meter, if you calibrate it to the film you are using. With controls in these cameras that let you adjust contrast, color temperature, ISO, and all the normal numbers of shutter speed and f-stop, you can have a light meter that tells you how to set other equipment or shows you unambiguously how your lighting is performing. A light meter that takes pictures, now thats a new one. In this eBook, you will see images that are obviously studio shots and many that are captured in the field with existing lighting or little extra lighting. That little speedlight on the camera is a good flash-fill for outdoor images, but thats about it. The twist-design of these cameras will seem odd at first, but will grow on you. It has saved my fanny hundreds of times but has never prevented me from getting a shot. Youre going to love the fact that the film cartridge holds not just a few more than the 36 exposures youve been usingit holds HUNDREDS of shots, if you let it. In all, the jump into digital is a personal journey that will provoke a whole lot of questions. Questions that you can answer yourself by playing with the camera and trying new ideas. As has happened to more than one film photographer, the experience could be a turning point in your career. Good shooting.

Page vi

Acknowledgements
An eBook like this is the product of many hands, many hours, many re-thoughts, and many mistakes. I speak with typographical errors, sometimes, so it came as no great surprise to me that I write that way. Robert Jeantet, Ph.D., deserves a particularly emphatic kudo for pointing my grammar in the right direction and for sending me a years supply of commas and hyphens. Among the many hands are the ones of the models and actors who participated in the photos throughout these pages. Thanks go to actors Molly Kiley (right), Austin Vulich, Ellen Heuer, and models Lisa Dennis, Tim Wilder, and the people of California, New York, Japan, and Oz who appear in many of my images. Gday. Thanks, too, to my friends who have suffered enough hearing about this project, appearing in images, and yet, were encouraging throughout. Then there is a special thanks to Marian iNova who helped by serving as fresh eyes and valued editor while my rants took shape. Thanks, babe. Mmm-mm-m. Will Guest, you know how much you helped this thing be born, and so do I. Heres to more sushi lunches! Lori Bender, you not only posed for shots but helped make the final eBooks. How stunningly versatile! As noted in the Foreword, the path to this eBook was Gordian: The shortest distance between two points, it was knot. A particular badge of courage should be extended to William Dorich, the publisher who took a deep breath, rolled his eyes, and decided to embrace this new publishing medium with an open mind. Your counsel and fearlessness are appreciated.

Page vii

Meet the Cameras


Eyepiece diopter adjustment Flash sync cover & socket Flash sensor Indicator lamp / Anti red-eye light Flash tube Optical viewfinder port Zoom lens 28mm rigid accessory ring LCD data screen EV +/ button (in combination with Command Dial) & Trash selector (in Play mode) Exposure regime button: Program / Aperture priority / Shutter priority (in combination with Command Dial) Optical viewfinder Flash & Focus ready lights Quality / Image Size button High-tech plastic tripod socket CF door

Nikon CoolPix 950 (mfg 1999-2000)


Millennium Edition shown
Camera swivel External power & Video out sockets & cover Command Dial Shutter release: 2-stage Mode switch: Off-Auto RecManual Rec-Playback Flash function button & ISO selector (in combination with Command Dial) Focus mode button: Infinity / Macro / Self-timer / Manual focus (in combination with Command Dial) Data I/O socket & cover Monitor On-Off button Menu On-Select-Off button Zoom control Live monitor Serial number Neck or wrist strap loop Battery door & latch

Nikon CoolPix 990 (mfg 2000-2001)


Eyepiece diopter adjustment Flash sync cover & socket Flash sensor Indicator lamp / Anti-red-eye light Flash tube Optical viewfinder port Zoom lens 28mm rigid accessory ring LCD data screen Focus mode button: InfinityMacro-Self-timer-Manual focus (in combination with Command Dial) Flash mode button: Auto-Antired-eye-Forced Flash-SLOW flash-Off Optical viewfinder Flash & Focus ready lights Quality / Image-size button Metal tripod socket

Western Hemisphere Version shown

Camera swivel Shutter release: 2-stage Mode switch: Off-Auto-ManualPlayback External power socket & cover Function 1 button (exposure regime selector) Function 2 button (EV +/) Data I/O & Video out sockets & cover Command Dial Monitor On-Off Menu On-Select-Off Zoom control Selector button Live monitor Neck or wrist strap loop CF door Serial number Battery door & latch

Page viii

Nikon CoolPix 995 (mfg 20012002 )


LCD data display External power socket Magnesium shell Robber grip surface Color inset (dark lavender for US) Battery compartment (under) Metal tripod socket (under) Swivel lock switch (under) Quick Review button Menu button Monitor button Molded plastic shell Camera monitor Focus / Self-timer / Trash button ISO/Flash mode button Qual / Image Size button

US Market Version shown

Pop-up flash Flash sensor Flash latch Optical viewfinder Anti red-eye & signal lamp Optical viewfinder diopter adjustment (under) Flash sync socket (under) 28 mm threaded accessory ring 8.2 ~ 31 mm lens (4:1 coverage)

Two-stage shutter release Rotary Auto record-Manual record-Playback-Off switch Func1 and Func2 buttons Command dial Zoom / magnify buttons Neck or wrist strap loop 1 CF card / data socket door Multi-selector Neck or wrist strap loop 2

Nikon CoolPix 775 (mfg 2001-2002)


Power On-Off switch (around shutter release) Finger grip Anti red-eye & signal lamp Battery compartment door Battery compartment lock High-tech plastic tripod socket Serial number Shutter Release (center) Wrist strap socket Flash ready LED Optical viewfinder eye port Focus lock / standby LED 1.5-inch color monitor Focus range / delete button Flash select: Auto-Auto anti redeye-Force flash- Night portrait flash-Off / review thumbs button Menu On-Off button Quick review / magnify button Scene-Auto-Play selector CompactFlash card door Scroll up / go back / monitor On-Off button Multi-selector 4-way switch Zoom tele / scroll right button External power in socket Scroll down / go ahead button Zoom wide / scroll left button Transfer/select images button Flash tube Optical viewfinder port Extending Zoom lens 3:1 Internal lens cap (when closed) Video out and computer data socket

Page ix

Chapter 1

Heres Nikon Digital Photography

1-1

CHAPTER 1 HERES NIKON DIGITAL PHOTOGRAPHY


AT THE TURN OF THE MILLENNIUM PHOTOGRAPHY WAS IN PROFOUND EVOLUTION. DIGITAL SENSORS AND COMPUTER MEMORY TOOK THE PLACE OF FILM. COMPUTER PROGRAMS TOOK THE PLACE OF SPRINGS, SPROCKETS, MOTORS, AND MECHANISM. IF YOU WERE A RECHARGEABLE BATTERY, LIFE WAS GOOD.

hen Nikon introduced its first digital, million-plus-pixel camera in the spring of 1998, they had a few things in mind that other digital camera makers missed. The camera included the normal features of advanced digital cameras of the day, zoom lens, live viewing monitor, removable storage, and battery power. But the Coolpix 900 was marked by a novel basic feature seen only in a The Nikon Coolpix 900 was few other cameras. The split-body, swivel design. Nikons first megapixel camera. 1,228,800 sensors Here was a camera that isolated the lens, optical viewfinder, and imaging chip from added together to make a the computer, monitor, storage media, and batteries. Connecting the two modules was a picture. Life is harsh for rapidly evolving technologies. The rotating pivot. A few cameras had played with this notion in the preceding months, but 900 is already a museum none of them included an optical viewfinder with the camera part of the design. piece. The Nikon could be used in two basic ways. You could frame the scene through an optical viewfinder or watch through the lens on the color monitor. The camera looked like it was housed in a slab of extruded aluminum. Unfortunately, this digital camera design left much to be desired. For every good feature, there seemed to be issues which were not addressed. Power consumption was so great that alkaline batteries were more costly than film for a similar number of exposures. Power-up took a leisurely 15 seconds and by that time, the emu would have e-moved. After power was established, the photographer had a 30-second window of opportunity to get the shot or push some button to extend the time, otherwise a shut-down would occur, and startup would be another 15-second wait. Its good features included the live monitor viewing, the ability to shoot quite nice pictures capable of being printed at 6 x 8 inches while looking very non-digital, and the ability to shoot extreme close ups without extra attachments. With 1280 x 960 pixels it found adventurous photo enthusiasts all over the world as early adopters, but other cameras seemed to have prettier designs, faster ergonomics, higher pixel counts, and better images. Six months after its introduction, a Coolpix 900S (also called the 910 in some countries) was introduced in time for the Christmas holiday market, and it featured slightly faster operation and longer battery life, but it was too little, too late. Besides, Nikon had other things in mind...

1-2

Mastering Nikon Compact Digital Cameras

ENTER THE DRAGON


In early 1999, the rumors began to fly. A prototype was privately demonstrated at the Photo Marketing Association convention that winter. Nikon had a new model camera up their sleeve. By mid-February, the rumors had teeth. In April 1999, the Nikon 950 came to market and was an immediate hit. Here was what photographers needed all along, an entry-level professional digital camera. The image chip shot a picture 1600 x 1200 pixels in size, 25% dimensionally larger than the previous model but with 56% more pixels. Wide-angle, telephoto, and fisheye lenses fleshed out the system. The Nikon add-on lenses have proved to be superior to anything previously made in the form of converter optics. The 950 was small. Smaller than a 35mm SLR body. When you think about all the history of hand held cameras, this one is closer to the form of the first pocket-sized Leica 35mm cameras from the 1920s. At seventeen ounces, the 950 didnt sit well inside a typical pocket, but it could be concealed The full frame of the CP950 creates prints up to there, if needed. I have occasionally concealed it in the inner pocket 8 x 10 that are easily confused with 35mm film images. The 990 and 995 make even larger images. of a tuxedo jacket without looking like I was packing heat. (Actress Molly Kiley.) The 950 could fit comfortably in a pocket of a photographers vest. Balancing the vest on the other side, the accessories, batteries, and lenses made it a wearable camera bag. Unlike hand-held film cameras, digital cameras have little monitor screens on them that show you what the camera is seeing and what the image you shot looks like. The 950s screen looked like a moving video monitor. Color was realistic and motion was quite fluid. Since these screens must glow to give you an image, glowing bright enough to be seen in daylight is the challenge. The 950s monitor couldnt be seen in direct sunlight (9 to 5 in summer light), but in shade and indoors it worked quite well. For many kinds of shots, the built-in optical viewfinder was all you needed, although that little TV on the back of the camera begged you to watch it. Viewing hoods and focusing magnifiers were often used for outdoor viewfinding.

Chapter 1

Heres Nikon Digital Photography

1-3

The 950s lens was fully enclosed in one part of its magnesium body. It zoomed from 38 to 115 millimeters, 35mm camera equivalent*, giving a modest wideangle to modest telephoto effect. The front optical element was only about 9/16-inch (18mm) across. Accessory lenses and filters attached through a 28mm threaded mounting ring that was rigidly fixed to the camera body. The entire camera hung quite securely from this ring on microscopes and telescopes. The 28mm mount was new with the CoolPix cameras, and if you mount optics or filters made for other cameras you need to acquire a 28 > 37mm step-up The Nikon Coolpix 950 broke new ground with nearly 2 million sensors and became the ring. (See Chapter 8 for sources of most popular digital camera in the crossover prosumer market. accessories.) The design was a complete surprise. The body was striking. A black smooth-textured finish flowed over a contoured, molded magnesium shell. The boxy, aluminum-slab appearance of the 900 was gone. The swivel was stronger than the one on the previous camera. A red finger-grip panel accented the front of the body. Now we all knew how cool the Coolpix could look. How would it perform? Ergonomic features were everywhere. Startup took only three seconds, and three metering types were available. Many features could be quickly selected with the edge of a finger wheel buried in the front of the camera. The camera could be set to increase or decrease exposure and contrast. Autofocus could be set to continuous or per-exposure operation. A feature never before seen on any camera appeared, BSS, the Best Shot Selector. With BSS, the sharpest of a series of images would be saved while the others The cameras zoom lens easily adapted to accessory optics that provided wide angle, were discarded.
telephoto, and even fisheye lenses.

*It is common to use focal length terminology based on 35mm camera equivalent numbers in digital photography.

1-4

Mastering Nikon Compact Digital Cameras

Nikon specifies that the Coolpix 950 will focus down to under 20mm, and the cameras do. In fact, they focus down to about 15mm.

The pixel count of the imager insured that photo-realistic printers would make very nice 8 x 10 prints. Nikon showed prints that were blown up to 9 x 12-inch size, and some photographers achieved full-page magazine results with this pocket-sized wonder. It used memory cards that are in the CompactFlash (CF) format. These are 1/8-inch flat chips of plastic and memory that are only 1 3/8- by 1 3/16-inch square, smaller than some postage stamps Ive seen. Hundreds of thousands of Nikon 950 cameras were sold worldwide over the course of the next twelve months, and firmware upgrades were issued over the World Wide Web allowing every camera in the field to become a better instrument by injecting updated computer code into its brain. A special variation was distributed as the Millennium Edition in November 1999, and its satin-silver finish, special accessories, and serial-numbered edition of only 2000 cameras made it a cult hit. Still, owners of the CP950 perceived a few issues as inconvenient, Type I CompactFlash cards hold up to 256 non-ergonomic, or disruptive. The CompactFlash storage media loaded megabytes of digital memory. Larger capacities through the bottom of the camera, unhandy when the camera was on a are currently on the drawing board. tripod. Worse, the door that closed over the card was perceived as flimsy, and some wouldnt stay closed. The monitor screen didnt work well in full sunlight, and owners had to invent ways of shading the screen or enclosing the monitor in a small viewing box in order to make the camera usable with accessories in the daylight. Viewfinder brightness and CF door problems were partially fixed with minor mechanical design refinements and upgrade firmware features, but a large body of owners began to speculate about the next model. Certainly the image chip would have more sensors, but what else might it have?

The 2000 Millennium Coolpix came with a special body finish of satin magnesium plus a complete array of coordinated accessories.

Image courtesy of Nikon

Chapter 1

Heres Nikon Digital Photography

1-5

Nearly the same size as its predecessor, the Coolpix 990 appeared with an exotic dark metallic finish and violettinted finger grip. In some countries, the same camera is wrapped in black finish with a red finger grip panel, the way the 950 was originally styled.

EVOLUTION HAPPENS

At the Photo Marketing 2000 show, Nikon upped the bar. The Nikon 990 was announced, and people began rubbing their eyes all over again. Slightly thicker than its predecessors, the contoured body of the 990 is a dark metallic tech-gray housing surrounding a large number of ergonomic, monitor, CF media storage, menu, feature, and operation improvements. A clear evolution over the previous cameras, this one retained the basic design principles of the original Coolpix 900 while adding a Sony imaging sensor capable of larger, 2048 x 1536-pixel images; over 63% more than the Coolpix 950. Over two and a half times the sensor population of the Coolpix 900! The CompactFlash card now loaded from the right side of the camera, a finger-pad allowed quick selection from menu items, the Command Dial was more conveniently positioned, the tripod socket, sturdier, and the entire menu system was rewritten. Two movie modes joined the still image options. One shot up to 40 seconds of half TV-size motion at 15 frames per second for Web movies. Another shot at 30 frames per second for up to 80 frames. The camera now had uses for time and motion analysis. Larger images could be captured at speeds up to two per second. Autofocus options jumped forward by giant leaps. A five-zone autofocus selector targets which part of the image the camera will focus on. This model showed a series of evolutionary steps, verifying a trend toward the day when compact digital cameras will replace the niche that compact 35mm cameras have enjoyed for over 50 years.

SUDDEN FAME
Time Magazine announced in December 2000 their annual selections for Best of the Year. George W. Bush became Man of the Year for his success in the final election tally. The Nikon 990 became Machine of the Year and the icon for the maturing new field of digital photography. Warehouses began to empty of 990s at an unprecedented rate. Suddenly, this was the most desirable digital camera of them all.

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Mastering Nikon Compact Digital Cameras

EVOLUTION HAPPENS AGAIN

In the autumn of 2000 rumors began to circulate about the next generation imaging chips from Sony. New designs were supposed to be in the works with 4 and 5 megapixels. Little was known about them and the timing was odd. A year before, the idea of a coming next-generation chip had been in September. Now the rumors themselves were months late. If designers were to have larger chips in hand in time to design cameras for introduction at the coming PMA show, they would have to be producing the new camera designs at super human speed. Alas, the rumors were flawed. No 4 or 5 megapixel cameras were announced at PMA 2001. Nikon showed a secret prototype to a very few but it was obviously nowhere near as complete as the 990 had been the year before. And it was not a camera with a larger image chip. The usual April introduction of the next 9xx model camera was not going to happen. What was Nikon up to? Slowly the vision began to coalesce. It would be an evolutionarynot revolutionarycamera with a longer zoom, a pop-up flash, and a new power source. Perhaps mid-summer. Reaction was divided. What? Give up my AA batteries? A plastic shell around the camera part? No monster megapixel chip? Good Lord, what is the world coming to? Before anybody had held one, camps of grumblers had formed to decry thiswhat did you say its name was?

Nearly the same coat-pocket size, both the Nikon CP990 and CP950 brought serious digital photographic capabilities into the hands of their users

MORE THAN HALF FULL


The new model was to be called the Coolpix 995. A half-step of a camera. Just a few improvements on the 990 design. Then people started totalling up the components of this new model and it turned out to be more than a half-step over its predecessors. Lighter, rechargeable Li-Ion battery powered, 4:1 zoom, refined image qualities, reworked menu system, long exposure noise reduction, cleaner color, higher ISO, more robust auto focus, less red-eye, and all the features from the 990not a small amount of improvement at all. Throughout April and May, 2001, it seemed like you couldnt find a 990 for sale. The cupboards were bare. Prices inched upwardthe opposite of previous models experience. Nikon moved the introduction up as much as they could. It hit the shelves in late June and the pent-up demand pounced.

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This book will focus on the Coolpix 950, 990, and 995. All are high performance instruments. All have found use in professional hands, and all are affordable by people who wish to increase their photographic awareness and experience. So many of the capabilities of all three cameras run parallel courses that, wherever possible, techniques, secrets, tips, and InfoBites that apply to each will be presented. The more recent Coolpix 880 & 885 are similar to the 990 & 995. Where the 995, 990, and 950 differ, separate instructions for achieving results are provided. A chapter featuring the Coolpix 775 is included for perspective on the simplest of the Nikon compact digitals. It is ergonomic in the extreme and has taken over much of my own point and shoot photography. Many features are common to all three of the 9xx cameras, and any of these can teach the newcomer a lot about photography. If you have film experience, you will need to unlearn some concepts and add some new ones to your repertoire. If you are new to photography and have been fortunate enough to start learning with one of these models, congratulations, you have entered into a fascinating and rewarding endeavor, made only more pleasing by the features unique to these particular cameras.

PHOTOGRAPHIC SCHOOLS OF THOUGHT


There are two basic schools of thought in photographic thinking. One school is the inside-the-camera university, the other the in-front-of-the-camera school. In front of the camera, people and objects pose for a moment to have their picture taken. Often they wont know it, but thats okay, too. In the first school, you still direct people, moving them into the best position for a picture, but here you develop an appreciation for how light paints your subjects and makes photography possible. Inside the camera a bunch of science classes are in collision. Timings, data handling, optics, color analysis, storage, sequences of events, decisionsall are progressing automatically without direct intervention. Things that impact the collision of technologies inside the camera are the first tier of things photographers must place in their awareness. Things that happen in front of the camera run a parallel course. Knowing how both of these completely different subjects, the technical and the composed, impact each other is essential to getting the most out of a given picture, shooting session, or personal photographic style. We will break the inner technologies to you gently. By function first, often followed by principle, and then by how they can be manipulated for greater use and expression. Soon, the cause and effect relationships inherent in each feature and special procedure will become second nature. The camera will become less opaque in your hands, as easy to approach as any well-understood tool. Like a figure skater who uses the entire rink for a performance, you will be using the full range of these cameras to achieve your images without crashing into the walls at the edge of the ice. The goal is to get out of school completely with a masters degree. To graduate and get past the camera to the photograph.

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BACKGROUND: DIGITS OR FILM?


Digital photography is vastly different from film photography in almost every way except that both use lenses, and both make pictures. Film is a strip of plastic coated with layers of chemical gel that responds to light. Digital imagers are computer-like chips with microscopic solid-state, transistorized light sensors arrayed over their surface. Color film has layers sensitive to different colors, and upon being developed, color dyes are chemically attached to areas of the film where color images were exposed. Every square millimeter of the surface is just as capable of forming an image as any other. Compared to the imaging surface of a 35mm film frame, the photosensitive surface of the imaging chip is tiny. About 18% of the diagonal measurement of a 35mm slide. Less than 6% of the 35mm surface area. But the individual light sensors are so small that you would need a research grade microscope to see them. Digital image sensors are identical, so there are color filters above each separate sensor which establish the Dust, fingerprints, and scratches. Things you will never color that sensor responds to. see on a digital image, unless you put them there on purpose. If each of the sensors in a Nikon 880/990/995 were an inch on a side vertically arrayed on the end of a building, the chip would be 128 feet wide by about 17 stories high (40.64 x 30.48 meters), and its diagonal measurement would be over two thirds of a football field, 213 feet (50.8 meters) long. In reality the pixels are so small that the actual diagonal measurement of the image sensing part of the chip is just about 8.6mm. Each sensor is around 0.000157 of an inch square. (This equates to under 0.004mm, far finer than the resolving power of color film.) In the Nikon 950, the chip is about 11% smaller in each physical dimension, and the sensors are each about 15% larger than the ones in the 880/990/995. The sensor The pattern of cyan, magenta, yellow, and green in the 775 is 20% smaller than the one in the 990, even though it has filters causes a full color image from one image the same pixel count. sensing chip. Electronic processing derives red, green, and blue signals from the array. The sensors are covered with color filters in an equal mix of cyan, magenta, yellow, and green. A circuit on each sensor observes how big the crowd of photons is, and these reports transfer electronically off the chip through a circuit as soon as the exposure is made. There, each sensors population is eventually given a rank from zero to 255*. From here on, everything is digital. Once in that computer, a huge amount of mathematical image processing takes place. Since it is all happening in custom silicon chips designed to expedite the process, it happens in the blink of an eye. Supercomputers that cost millions of dollars apiece during the 1980s were loafing in comparison to what a Nikon digital camera is accomplishing with every exposure. * Technically, this assumes an analog to digital conversion of 8 bits.
Higher bit counts are becoming available. The higher the bit count, the wider the potential dynamic range of the imaging system.

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Colors are redistributed, interpolated, balanced, amplified, compared with each other, and defined according to choices the photographer has made. Edges of color areas are examined, sharpened, contrasted, and mathematically analyzed and restructured in ways NASA imaging scientists find fascinating because much of the original algorithms were theirs. When it is all over, a picture is saved to another digital memory chip in the Nikons CompactFlash card. At full-speed, this can be happening up to 30 times a second in the Coolpix 990/995/775 for a reduced QVGA image, and the Coolpix 950 can take 100 TV-resolution pictures in 70 seconds.

The first thing people wonder about when they hear that this is a digital camera is image quality. These cameras make good 8 x 10 prints. Good enough for certain high quality magazine and advertising photography. Plenty good enough for you to use in your life and business.

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THE F-STOPS HERE


Cameras portray shutter speed and lens opening in powers of 2. Shutter speeds progress from 1/4 to 1/8 to 1/15 to 1/30 to 1/60 sec, and so on. Iris numbers on lenses typically progress from f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, and so on. Both of these measures are often termed stops although strictly speaking, only iris changes are f-stops, and any other doubling of light is an f-stop equivalent. When a photographer wants to give an exposure two more stops of light, there is no constraint that says this must be done strictly with the iris opening. So when you refer to doubling or halving the light, you call it stops in verbal shorthand which can mean iris or shutter adjustment or even a doubling of the sensitivity of the imager.

DYNAMIC ARRANGEMENT
Film records a deep range of tonal values from the brightest to darkest parts of an image. The dynamic range of an image is the measure of these extremes. Color negative film has a greater dynamic range than transparency film, and the Nikon digital cameras have less dynamic range. But one is forced to print color negatives in order to see what the camera gathered. As soon as a print is made, the dynamic range is compromised. Some of it is wasted, never to be seen. The lightest and darkest areas of a print are only about 200:1 in contrast. In the Nikon cameras every bit of the dynamic range is available to the print. What may have been the color negatives dynamic range of 11 stops ends up on paper as about 8 stops representing a lower printed dynamic range. In strictly practical terms, although the color negative has acquired an image covering a brightness range of perhaps 2000:1, the paper print or magazine reproduction can only portray a range of around 200:1. The blackest part of that image is only black in your sensation of it. If it were 200 times lighter, youd call it white. A supreme example of this exists in every sighting of Earths Moon. The actual color of the soil on the Moon is about as dark as the blackest ink on your morning newspaper. As one NASA researcher told me, Like fresh asphalt. (Hold your newspaper in the bright sun, and write over its headline with a black pen to understand how this rule of thumb works.) One of the photographic problems lunar astronauts encountered on the moon came from their own suits. White suits were used for thermal reasons. They didnt want to get overheated in the fierce direct sunlight, but the white suits are much brighter than the lunar soil. The reason video from the moon looked so dynamically poor was not because NASA sent poor cameras. When they shot an image of the moonscape at an exposure that revealed lunar detail, the figure of an astronaut in the frame was glaring white and overexposed. Transparency film is limited to the dynamic range between its densest black and the brightness of light passing through completely clear film. Even with the widest-range transparency film this is under 300:1. Images are stored in 24-bit format, meaning 256 levels each of red, green and blue. The image chip does gather a wider dynamic range than the 256 levels of storage accounts for and this wider range is compressed into the 8-bit per channel storage format. That digital image fits well within the printable range from blackest ink to whitest paper. Your digital Nikon is optimized to use its dynamic range to capture the best image that can be formed out of the middle approximately 450:1 brightness range of everyday subjects. When limits like that are encountered, this eBook will help you understand what to do next.
A perfect photo would make an image that duplicated reality (the gold diagonal). Film rolls off in the shadows and highlights, but digital images have even less room. This makes accurate exposure vital.

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ISO AND EV
As it turns out, an image on video, film, or digital occupies a particular zone of best performance in terms of relative luminance in compared to image results out. This zone of best performance is given a sensitivity number called its ISO Index. International Standards Organization numbers equate closely to what used to be the ASA index of film sensitivity several decades ago. One talks of film speed the same way one talks of digital camera sensitivity. The Nikon 950 cameras have a default ISO sensitivity index of 80 in full Auto mode. Additional ISO sensitivities of 100, 160, and 320 in the 950 (100, 200, and 400 in the 990/880 and an extreme ISO 800 in the 995) can be selected to increase camera sensitivity. The good reason to use low ISO values is image quality. EV stands for Exposure Value and is also expressed in f-stops. An easy method is provided to adjust the cameras automatic metered exposure up or down by 2 EV numbers making the image brighter or darker. When you put in an EV number of +1.0, you have just told the camera to constantly let in twice as much light as the meter thought it needed for the shot in question. This is not the same as adjusting the ISO sensitivity. When you adjust the ISO sensitivity upward, an image will have the same brightness but be exposed with a smaller iris opening in the lens, a shorter shutter speed, or both. More sensitivity needs less exposure. Since the total number of photons allowed in is fewer, the adjusted sensitivity compensates by amplifying the picture electronically, and usually the image picks up more random noise, which looks like grain.

IRIS: THE GRAND OPENING


The iris opening in the center of the lens is another adjustment that works on the powers of two principle. This opening is the heart of what an f-stop actually is. The number associated with the iris is a description of the size of the hole relative to the focal length of the lens. A 50mm lens with an iris opening 12.5mm across is exactly f/4. The progression from f/4 to f/2.8 is the closest round number representing an exact doubling of the previous amount of light entering the lens. F/2.8 is really f/2.828428... Notice that the multiplier from one iris number to the next all progress at a rate of 1.414... x each time; that number being the square root of 2. When a circle enlarges by 1.414... x, its area exactly doubles. A hole with twice the area of another hole will let in twice as many photons. End of the math lesson. Originally, lenses had sliding plates with different-sized holes in them that stopped at a detent when centered just behind the glass. Hence, stops. End of history lesson.

EXPOSE YOURSELF
With a coordinated orchestration of camera sensitivity (ISO), shutter speed, and iris opening, one can achieve the correct exposure for a given lighting situation. An old rule of thumb says that in full noon daylight, the appropriate shutter speed for an exposure equals f/16 @ 1/ISO number. Thus, using the Nikon 995/990/950 default ISO, the appropriate full daylight exposure would be f/16 at 1/80 sec. Thats fine, except for one thing. None of these cameras has an iris setting of f/16. The smallest f-stop opening on these cameras is only f/11. How is the exposure correctly achieved? The only things one might adjust are the ISO sensitivity or the shutter speed. The sensitivity is at minimum so shutter speed is the only option. Thus, the camera should make a good image using f/11 @ 1/160 of a second. Raise one quality by one stop, while lowering one or both of the others by a cumulative one stop, and the resulting exposure remains the same. The light is always different for each subject in each situation. Accurate metering is needed for good exposures. Since these digital cameras are attempting to achieve a good image for each shot, they have some of the most sophisticated light meters ever built into a camerathe image chip itself.

Each circle is 1.414 times the size of the one below it. Each is twice the area of the next smaller circle. F-stops, shutter speeds, and EV adjustments are all based on powers of 2.

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METER MADE
Three different types of exposure meter are in the Nikon 880/885/995/990/950 cameras. Matrix, Center Weight, and Spot are the names they go by, and while Center Weight and Spot meters may be intuitively understood, what is a Matrix meter? The Matrix meter in all of the Nikon compact cameras is a very smart metering system. It looks at the image chips live picture, divides the scene into 256 rectangular areas, observes what the average light intensity is in each area, runs those numbers through a computer, compares the results to a list of possibilities, and decides the most likely exposure. It can be fooled, but most of the time, it knows what its doing better than you do. If you are shooting an indoor scene and a small window in the back of the shot is showing a bright exterior, the Matrix meter will consider the larger interior part of the shot to be the thing you wanted to expose correctly. If the window occupies a significant contiguous portion of the whole image, the Matrix meter will assume that the contents of this bright area is the most important and will expose for that, If you were to take spot readings of brightness values from forcing the interior part of the shot to be darker. When the Matrix several zones of an image, you could make a much more meter detects a scattering of bright areas, it assumes that they may educated determination of the exposure. be lights or random details, not important enough to bring into better exposure. When the Matrix sees an ambiguous cluster of light and dark zones, it will average them and factor them differently. A famous photographer, Minor White, working closely with Ansel Adams, developed an exposure system back in the 1950s called the Zone System. What made the concept viable was the development of the spot meter. In the Zone System, spot readings were gathered by the photographer of various highlight, midtone, and shadow areas, and through a mathematical calculation, an appropriate exposure and development strategy could be previsualized. The Matrix meter does much of this automatically. In the Nikon CP880, CP885, CP990 and CP995 the images contrast can be allowed to adjust itself dynamically using the Matrix meters findings, producing a more systematically adjusted exposure and dynamic range.

An image in front of the camera is comprised of millions of details. Which are best to judge exposure? Which can be ignored? When the image is viewed as 256 light-averaged areas, a fast, accurate metering calculation can be performed.

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HERE SPOT
The Nikon 880/885/995/990/950 have Spot meters built into them. When the Spot meter is selected from Menu Page 1, a small rectangle in the center of the monitor screen comes on and shows the area that the meter is considering. The rest of the image is completely ignored. Only subjects inside the bright line are being regarded for exposure. If you have positioned someone against a picture window open to the sunlit vista beyond and want to expose for the person, not the scene, turn on the Spot meter and put the spot on the person. Now when you half-press the shutter button, the exposure is computed only for the person and the bright background is ignored. Back-lit situations like this are the most common use for this meter, but some like to keep it as their preferred meter after they learn to take advantage of it. Note that extremely front-lit subjects, like the picture above, benefit from spot metering.

The spot meter in the Nikon cameras is sophisticated. It reads only the light inside the small rectangle on the monitor. The five-point follow-focus spot meter on the 880/990/995 adds extra capability.

CENTER WEIGHT GAIN


The Center Weight meter is like the meters on most point and shoot cameras. It reads the scene and exposes for the average of brightness in the center of the shot. In a way, its like the spot meter, only the spot is large and fuzzy instead of being a well-defined small area. For many things such as portraits and outdoor scenes that are well lit, this meter can be your friend. When you are faced with a scene of even illumination, as is found in many office areas, urban vistas, and low contrast settings, try the Center Weight meter. For many situations, the Matrix and Center Weight meters will give virtually identical results. A white wall will read the same with all three. Their chief difference is the amount of image they sample and how they divide up the reading. It is worth your time to shoot a number of images just to feel how each meter works with the sort of photography you encounter.

The center weighted meter gives greater emphasis to the middle of the shot with about 80% of the reading happening in a circular area in the middle of the frame.

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RULES OF THUMB
If ever there were a place for rules of thumb, photography would be it. Perhaps the first rule of thumb would be to never get your thumb in the picture. Here are some old chestnuts and their exceptions. If you shoot exposures that are 1/30 sec or longer, you will need a tripod. When you shoot indoors, you need a flash. Keep both hands on the camera for steadiness. Photographic talent is something you are born with. The best images have the sun at the photographers back. When shooting outdoors, you dont need a flash. The best shutter speed for flash is 1/60 sec. Combined with these are the superstitions about photography. The way to get the best image is to tell everybody, say cheese. Put your subjects nose in the center of the shot. Digital cameras are poorer at taking pictures than film cameras. Everything looks worse in black and white. If the image isnt perfect in the camera, it never will be. Shadows have no color of their own. Rules are made to be broken, right? And we all know where superstitions belong. While each of these may contain a kernel of truth, they are far from the whole story. Lets take a look at how they may be transcended.

IF YOU SHOOT EXPOSURES THAT ARE 1/30 SEC OR LONGER, YOU WILL NEED A TRIPOD.
Mostly right. The subtle movement of your hand will probably spoil shots that are taken at 1/15, 1/8, and 1/4 sec or longer. Help exists in the unique Nikon feature called BSS. BSS stands for Best Shot Selector, and here is how you use it. On Menu Page 1 of any of these cameras you can turn on the BSS feature. Immediately, the camera flash is disabled and the camera enters into a new method of taking pictures. When the shutter is pressed, the camera takes a sequence of four or more shots in rapid succession. When the shutter button is released, or the internal memory of the camera is filled, the camera examines each image for indicators of sharpness. As an image is compressed, sharp edges take up more memory than soft edges. The computer routines that compress images simply work that way, getting hung-up on the details. Sharper images take up more space in memory than nearly identical, but softer images. The BSS program inside the camera finds the one most-recent image that takes up more space than the others and saves only that picture. The others are discarded. BSS has found the best shot, selected it, and trashed the losers.

BSS takes a string of images and holds them temporarily in memory. The picture with the sharpest image is saved. Even at very slow shutter speeds, one image may have enough accidental steadiness to be worth keeping.

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WHEN YOU SHOOT INDOORS, YOU NEED A FLASH.


It is nice to have a flash for most indoor shots, but the Nikon cameras have options. The 950s film sensitivity can be boosted to ISO 320 (ISO 400 in the 880/990 and ISO 800 in the 995). Underexposed images even made at this elevated ISO can be manipulated after the image is brought into a computer. Here one can recover relatively decent tonal values in some cases. Switching to B&W can cover some artifacts and cause very interesting images to be captured in night and low light conditions. The BSS feature, while not an image stabilization feature, can help one get better available darkness shots in a jam. But BSS cant capture the decisive moment the way a flash can. The use of flash may cause red eye effects on people in dark areas. Off-camera flash units such as the Nikon SB50, used with the Nikon SK-E900 flash bracket, permit better control of electronic flash exposures and lighting techniques. A number of third-party flash units work well with these cameras, and many permit bounce flash. Some take extra attachments to diffuse or change the color of Indoor images can be made without flash under normal room lighting with elevated ISO, achieving a more candid look. This image is an extreme the light, making the color of the flash match to indoor, example because it was shot at ISO 1600+. The inset shows the dark incandescent lighting.
original. Software on the CD helps you recover images like this.

KEEP BOTH HANDS ON THE CAMERA FOR STEADINESS.


The number of hands on the camera is not the thing that determines steadiness. The stability of the camera is all that counts. The most important thing is to have a secure hold of the camera body. The Grip. With your right hand firmly grasping the right half of the camera, a number of options become available. To give your right hand the greatest leverage, try to consciously press the camera into your right palm from time to time as you shoot, and re-wrap your fingers, freshening your grip. Holding the camera in both hands out in front of your face while using the monitor to frame the shot is usually less steady than holding the camera against your face while using the optical viewfinder. Your head is usually a very steady platform. After all, its the only thing stabilizing your own biological cameras. Often, the most stable grip on the camera is with a single hand touching the camera and with the other hand stabilizing the wrist of the camera hand. Your body is the most stable thing you can lock the camera to, other than a solid object. A wall, post, fence, railing, table, pole, knee, chair, window, fender, door, or tree can become an impromptu brace for your camera The goal is to steady the camera. Sometimes two hands arent as good as one steadier hand. Once the camera hand.
is firmly in your right hand, your left hand can stabilize the camera body, or your right arm or wrist.

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PHOTOGRAPHIC TALENT IS SOMETHING YOU ARE BORN WITH.


While some people can have an innate sense of artistic expression close to the surface of their consciousness, there is no photographer gene in our DNA that allows some people to be good at it while precluding others from being photographically aware. Photography is not more complex than speech. We all learned that. Like many things that appear to be dauntingly complex, the elements of photography are a number of things that can be learned, practiced, observed, critiqued, and transcended. You can learn composition by rote at first, then by habit, then by conscious awareness, then by creative invention. Thats how we learn to speak. Word play begins with our mothers naming things for us, correcting our misconceptions. We add verbs, adjectives, and inflection, we play with new combinations, create new sentences, and end up composing emails, poetry, jokes, slogans, grocery lists, novels, and love letters. Doing all that is far more complex than learning how If you can learn to speak, you have already achieved something far more complex than learning photography. to aim a camera at interesting things, zoom to compose the image, move to position the subject matter better in the frame, hold the camera appropriately, and trip the shutter.

THE BEST IMAGES HAVE THE SUN AT THE PHOTOGRAPHERS BACK.


Not necessarily. While an image is a record of the objects in front of the camera, it isnt the object you are capturing at all. Only photons* of light bounce off the object and make it into your eye or camera. When the sun is at your back it is on your subjects front. It often looks better if it is coming from slightly to one side. You can hold your hand in front of your face and see how the sun looks on flesh. Make a fist and you will see a complex of surfaces, highlight, and shadow areas. Fill light and bounced light are all present in the image of your hand in front of your face. You can begin to predict how the angle of the sunlight on your subject might work to paint the subject for a more effective photograph. Later in the book you will find instruction on basic lighting and how you can manipulate inexpensive flash units to give very professional lighting results. *Photons are the smallest units of light. Over four quadrillion of them arrive on every square millimeter of our cheek every second from the sun during the day. Numbers like that are so impossibly large we have no intuitive concept of what they imply. Try this: If you were to count all the photons during a 1/125 sec exposure that bounce off a square millimeter of your subjects nose, at one per second, it would take you over a million years.

Threat or promise? Neither; its a lighting test. Hold your fist in the same light that is falling on your subject to estimate both lighting conditions and potential remedies for problems.

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WHEN SHOOTING OUTDOORS, YOU DONT NEED A FLASH.


Much of the time this is true. Some of the time you will need to fire your flash into the scene adding a little extra fill to the picture. Not all images need sunlight to touch your subject in the face directly. With camera flash added to a close-up portrait posed with the sun behind your subject, the shadow side can be brightened while sunlight becomes a strong back light. Using the camera speedlight, Nikons term for the built-in flash, permits you to fill shadow areas of close objects very effectively. Learn how to make this idea work for you by experimenting liberally with it in the sun. You can force the camera to trigger the flash by selecting the forceflash icon (the lightning bolt arrow) with the flash mode selector.

THE BEST SHUTTER SPEED FOR FLASH IS 1/60 SEC.


There is no best shutter speed for flash. Since most flash shots are made in places with some existing light, it is often more natural to have some of that light in the shot. For this reason, a 1/30 or 1/60 sec exposure may be a good compromise. For tighter control of existing light, you can set the cameras shutter to very fast speeds. Film cameras often have a shutter that only synchroWith the sun at a high angle behind your subject, nizes at certain low speeds. With the Nikon digital cameras, the entire an on-camera flash wont look the way it does in indoor shots. Here it adds just a little fill light to the moment of exposure is closely controlled by very precise computer front of your subject reducing the contrast that strong actions that synchronize to the flash trigger. backlight produces. The 9xx cameras let you enter Shutter priority mode and set to maximum shutter speed and still sync. In the 950 this means 1/500 sec, in the 990 the camera allows 1/1000 sec synchronization. The 995 carries this all the way to 1/2000 sec!

TO GET THE BEST IMAGE, TELL EVERYBODY, SAY CHEESE.


What you really want to do is have people smile, look pleasant and unnatural, right? Oops, that wasnt what we wanted. You will have greater success with English speaking subjects if you ask them to say the word, Nice instead. Now they dont look like over-smiling loons, but have a natural pleasant look to their mouths and eyes. Part of the effect comes from the subject encountering some other thing to say than the standard cheesy line. Some of it comes from the psychology of being asked to say something nice, even if it is only that word. As subjects, we have a hard time saying nice while harboring grim thoughts, and it shows on our faces as the shutter clicks.

The Nikon cameras will synchronize flash at every shutter speed. By using Shutter priority you can have your flash and fast shutter speed, too.

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PUT YOUR SUBJECTS NOSE IN THE CENTER OF THE SHOT.


Nobody really says this, but from the look of things, too many people believe it. In composition class, as the eBook unfolds, we will discover a lot of different ways to shoot a face, a person on vacation, a family group, a kid at play, and a straight-on portrait. Some of these will actually have the nose in the middle of the shot, but not because of this old chestnut. The only reason a nose will end up in the middle of the shot is because thats where it happens to land while some other, deeper sense of composition was being exercised.

DIGITAL CAMERAS ARE POORER AT TAKING PICTURES THAN FILM CAMERAS.


Some believe that film is superior because of the numbers. Lines per millimeter. Dynamic range in f-stops. That sort of thing. Film still wins with numbers like that, but these Nikon digital cameras make extraordinarily good images without film and processing costs. They let you review the images right away, throw the bad ones out right now, and see what the shot is going to look like on a TV screen as you are working. Film cameras dont do that. Center the nose? Sometimes yes, All of the Nikon 775/880/885/995/990/950 cameras shoot images clear enough to sometimes no. Eyes are a more imporuse undetected in motion picture special-effects shots. As photographic tools, they are tant detail to emphasize. capable of things even 35mm and medium-format cameras cant achieve. As you begin to expand the types of images you shoot, you will find that the most of the Coolpix cameras will go places no film camera can, simply by the design of their physical layout. At a whirlwind shoot in the offices and work spaces of Hallmark, I was able to take photos of artists at work at their drawing boards in very limited spaces, often holding the camera in the corner of a shelf to get the shot. Any camera Today black and white photography is considered a that forces you to look through its back surface to frame the shot is special effect. (Actor Austin Vulich.) designed along traditional principles (read: obsolete). These cameras are better than film in some ways, and film is better in others. These cameras wouldnt be your first choice to shoot the team group shot, but that 6 x 7 Mamiya isnt your first choice to shoot the party that follows.

EVERYTHING LOOKS WORSE IN BLACK AND WHITE.


Paul Simon wrote that line in the song, Kodachrome, in 1969. He was kidding, but the sad thing is that many people still believe it. Later in the book you will find exercises that force you to see and shoot in black and white in order to train your eye and thought processes. Black and white is a different art form. Not all images are best seen in natural colors, and techniques will be given that let you turn color pictures into black and white images. Knowing when to shoot in black and white is something you can become sensitive to. The Nikon cameras all allow you see the black and white images on the monitor as monochrome images directly. No film camera can do that. With every film camera, one must think in black and white while watching the scene in color.

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Heres Nikon Digital Photography

1-19

IF THE IMAGE ISNT PERFECT IN THE CAMERA, IT NEVER WILL BE.


There never has been a camera that got the shot perfect in the camera every time. Its always something. The tonalities arent optimum, the color is a tad too cool, the background has a distraction in it, the exposure was too bright or dark, the shadows and the highlights were too far apart, a fly landed on the models ear just as the shutter clicked. And these are the things that have gone wrong with film and digital images since day one. How are issues like this handled in film? Scan the film into the digital realm, then fix it. With the Nikon cameras, your image starts digitally so fixing it is a lot more immediate. The next chapter deals with the most common things you can fix with the preferred software, Photoshop.

Every film image gets individual treatment in the lab from one-hour finishers to custom printers. Digital images benefit from custom treatment in your computer. The digital before/after manipulation here has cut through 12,000 feet of atmospheric haze. The iNovaFX Photoshop Action filter that does this is on this eBooks CD.

SHADOWS HAVE NO COLOR.

Interrupting a beam of light with an opaque object produces no color, but it opens up the possibility for other stray light to affect the shadow. Light that was there all along. The reason shadows arent jet-black is because they are illuminated with light bouncing off everything else. Along with sunlight comes blue sky, for instance. Where the suns rays cant reach, the sky often can. If it is intense blue, the shadows can fill up with light that includes a large component of blue sky light. Photographers call this blue spill. Your eyes often wont see it this way, since their sensors are a combination of luminance and broadsensitivity color receptor cells. Your brain needs to see the color of the object in spite of the color of the light illuminating it. Photography, both film and digital, must deal Golden rays of sunset meet the blue of the sky in this with absolute mixtures of primary colors, so dyes, inks, pigments,and unretouched image from a CP950. Under conditions glowing phosphors can portray a reasonable approximation of reality. like this, the shadow on the wall could be directly observed to contain obvious blue spill. Film is manufactured with its color sensitivity locked-in at the molecular level. Shoot with the wrong light, and the photographs will be filled with unwanted color. Yet the daylight streaming in through a window into a room lit with incandescent light looks fine to our eyes. Obviously seeing and believing are not in the same camp. Its no wonder that eyes cant see the blue sky light filling in the shadows in direct sun. Knowing this, you can train your eyes to see where blue from the sky is, or is not, creating interesting blue shadow opportunities.

CHAPTER 2 DIGITAL COLOR AND THE PHOTOSHOP CONNECTION


NIKON COMPACT DIGITAL CAMERAS ARE SO DEEP AND FEATURE RICH THEY NEED DEEP AND FEATURE RICH SUPPORT AFTER THE SHUTTER BEEP IS A DISTANT MEMORY. TOO BAD PHOTOSHOP IS SO HARD TO LEARN. OR IS IT?
COLOR BASICS
Color photography of all types deals with two different ways of forming an image. The camera and the display. Cameras must acquire the scene and somehow break it down into colors for storage. Nikon Coolpix cameras form red, green, and blue (RGB) output channels derived from their cyan, magenta, yellow, and green sensors. Computer CRT monitors have red, green and blue phosphors that glow when hit with electrons. This is no coincidence. Additive color images are formed when proportions of these pure colors As far as the camera or your pile on top of each other in our eyes. With the right mix, we see white and all the colors eye is concerned, the world of the rainbow. is glowing at it. A computer display glows and mixes colors Yellow is made when red and green in your eye from red, green, light mix on your retina. Magenta and blue segments only. The inset shows what the image is arises from blue and red light mixing perceived to be. and cyan light is what we see when blue and green are mixed. The information for each of these color channels is a black and white image its just a range of tones from darkest to brightest. Glowing red, green, and blue images piled on top of each other all at once, or when put onto a piece of film in a triple exposure, will form a full-color picture. When you cause a picture to happen from tiny glowing spots, the colors blend together in your eye. When you shine a light through an image or off a piece of Pull white light apart, and you paper, it has to absorb some of the white and only let the color picture pass through get the spectrum we see in a rainbow. Add red, green, and or bounce back. blue elements together and In prints and slides, materials are used that absorb light. Here cyan, magenta, our eyes see the result as white, even though some parts of the and yellow (CMY) inks or dyes overlay each other and let only the light they spectrum may be missing. dont absorb pass through. Why these colors? Each ink Ultraviolet Infrared actually lets 2/3 of the color spectrum pass or bounce off Visible Spectrum (human color vision) the page, so it takes two different inks or dyes to cause any given primary color like 400 500 600 700 red, green, or blue to shine Wavelength in Nanometers (billionths of a meter) through.

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Mastering Nikon Compact Digital Cameras

Red is one part magenta and one part yellow, and when magenta and yellow are mixed on the page, only red light, common to both, survives to bounce off and reach our eyes. The bluish component of magenta is neutralized by the yellow which absorbs blue. Cyan and magenta only have blue in common, and when they mix on top of each other, only blue light bounces back from that part of the picture. Yellow and cyan let only green bounce up. Each dye subtracts (absorbs) the noncommon part of the other dye (color). Pile all of them on top of each other, and they subtract it all, and if the dyes are pure enough, no color escapes and that part of the image looks black. This sort of subtractive color is used in film transparencies, photographic prints, and the inks that print full-color pages in inkjet printers and on large presses for magazines and books. Many printing inks or dyes need a little extra help in order to make good-looking dark blacks. Black ink is added on certain inkjet printers, such as the Epson models, and in mass printing processes, to boost the contrast and produce deeper blacks (as with the circle of black at the center of the figure above). Some photographic desktop printers seem to have such pure color inks that they can produce photographic results from just three colors of ink, the DeskJet Printers from HP and Bubble Jet Printers from Canon.

THE COMPUTER CONNECTION


When you wear a fabulously well-tailored suit, you dont want cheap shoes. Software in your computer will finish what the camera starts, so you would be ill-advised to stop learning digital photography as soon as the exposure is finished. You didnt get this high quality camera just so you could ignore the rest of the process and stop making the picture at the sound of the beep. To create custom prints, reduce images to Web size, maximize the impact of your images, and for all forays into the loftier realms of photography as a creative medium, you have to touch the image to bring it to a higher place. Much of this is done with lighting, framing, and exposure in the camera, and later sections of this book will give you plenty to do in these areas. On rare occasions the image from the camera will be perfect when it slides out of Daunting or easy to use? Experiyour printer unmanipulated. For the other 99.9% of the time, you will need to augment ence it for an hour or two, and your efforts in the camera with adjustments, creative opportunities, crops, size changes, youll realize that it isnt difficult and tweaks from a software program in your computer. The software you use is as to learn the basics, and you can keep learning it for years. important as the camera you have acquired. Software came with your camera that lets you do basic digital manipulations and even a range of special effects. NikonView software lets you open folders full of images and see the shots as large icons arranged as if they were a bunch of slides on a light table. This is very helpful for first determining what your shots are like. Basic judgements can be made about brightness and color at this size, and you can click on the images to open them as larger images for closer inspection. Photoshop is an element in the mastery of digital image manipulation as constant and omnipresent as Kodak is in film. It isnt everything, but its way ahead of whatever is in second place. Thats why the Photoshop Tryout is included on this eBooks CD. Its the right program to finish your shots with mastery. Other image manipulation programs are available, and all have their strong points and weak points. For many, Photoshop Elements will do a lot. Too bad it doesnt read my iNovaFX Photoshop Action filters. Still it will be your second-best choice. For the greatest benefit to your digital images, you will want to upgrade to the full strength version of Photoshop with all of its bells and whistles.

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Digital Color and the Photoshop Connection

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THE DIGITAL DARKROOM


Darkrooms arent dark any more. Think of it as a dimroom, a place without glare on the computer screen. In the chemical era, the darkroom was the only place you could efficiently organize all the enlargers, trays, developing hardware, chemical fluids, and wash systems, and it had to be absolutely lighttight to do color work. In black and white darkrooms, a deep red light was the only light you could work under because the papers were only sensitive to bluish light. Color materials had to be handled blind. Today, a computer, printer, and software cost about as much as a fully equipped color darkroom, but the flexibility and depth of achievement has skyrocketed. No chemical darkroom could ever surf the Internet. Fully equipped, the digital darkroom is the custom finishing center, the storage library, and the distribution nexus for your images. No wonder the most common form of darkroom these days, even for film originals, is the same one your Nikon feeds directlythe digital darkroom. Scans of negatives and transparencies are now the common starting place for film work. The finishing tools are the same ones your Nikon Coolpix needs. An editing program, HotBox, included with the 950, gives you the opportunity to re-size, color change, sharpen, and add some special effects to your digital images. As image manipulation programs go, it is basic and will allow you to play with some of the concepts of the digital darkroom. If you purchased a Nikon 880, 885, 990, 995, or 950 and want to finish your images with a program that is a direct match to the values of your camera, Photoshop is the answer. It is the program others are compared to and to which they aspire. Its not cheap, but then neither was your camera, nor are your images.

You have choices. A few printers can make prints from the cameras CF Card directly, and the cameras can hook up to computers for direct downloading of images, editing, and distribution on the Internet. Alternatively, the computer can download images from a CF Card Reader and become the center of a complete digital darkroom. Here images can be distributed to deep storage (represented by the CD R recorder), the Internet, and into Photoshop for the most advanced editing and printing to a wide variety of printers. One can start with the simple system and add a CF Card Reader, CD R storage, and Photoshop over time.

Cameras are portable; the rest of your production process can also be as portable. Laptops with high quality color displays, of at least 1024 x 768 pixel resolution, make it possible to do professional dimroom work anywhere in the world.

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THE FAST TRACK TO PHOTOSHOP


You can learn 80% of Photoshop in seven quick steps. Most of these steps work with Photoshop Elements, too. Many people have said that they see Photoshop as a daunting learning curve of effort and frustration. From the viewpoint of Photoshop users, this simply isnt the case. In fact, you can learn Photoshop one trick at a time and get immediate satisfaction from it with a little basic guidance. If I were looking over your shoulder while you were trying the program out for the first time, I would guide your attention to things in this order: Learn to open an image and save it under a new name, so the original wont

accidentally be replaced by future saves. (The Save As function) Learn to open an image and save it as a different form like PICT, TIFF, JPEG, and Photoshops native PS format. (The Format option in the Save As function) Learn how to change an images lightest, darkest, and middle values with the Levels control. Learn how to change an images brightness values with the Curves control. Learn how to use the gray eyedropper in the Levels or Curves control window to instantly fix color balance issues. Learn to add and subtract chroma, the amount of color, to an image with the Hue/Saturation control. Learn how to apply the Unsharp Mask filter from the filter menu. Learn how to use the Burn and Dodge tools to darken and lighten local areas of your image.

This would have taken about an hour of your time. These basic manipulations are the ones you will use 97.2% of the time. The other 2.8% of your time will be consumed in filters (easy), masks (tougher), special effects (fun), and exotic manipulations (which can be so involved that these are probably why people think Photoshop is hard to work). For many of those last items, this eBooks other files provide solutions. Since opening and saving files is such a basic function, Ill assume you already know how to do that. What follows are the other steps that will help you learn the basics of Photoshop right this hour. (Note that many Photoshop tools are selected with key shortcuts. The Command key is used in Macintosh computers and Windows computers use the Control key, Ctrl, plus individual letter keys to select some tool and windowed controls.)

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DIGITAL PHOTOSHOP DARKROOM TECHNIQUES


IN SEVEN EASY LESSONS.

PART ONE. TONAL BALANCE.


Tonal balance refers to the brightness dynamics of the image. Some programs, including Photoshop, have controls labeled Brightness and Contrast. Try to avoid these controls because they almost always cause information to be lost as they do their job. Other controls achieve the same results but let you see what you are doing. Think of it this way, a digital image is made up of not numbers but spots of brighter and brighter gray until the top one is white. This happens in each channel of the three colors necessary to build up a color picture. Red, green, and blue, RGB, each have 254 levels of gray between black, level #0, and white, level #255. For many changes in your image, you dont want to change the color, just the brightness of the image in certain central ranges. Here are tools that do exactly that.

1. LEVELS
(COMMAND OR CTRLL)

The Levels control lets you adjust the top, bottom, and middle values of the image separately. Sliding the middle control, the gamma adjustment, is a surprise to someone doing it for the first time. Wow, look at that, the whole picture got brighter. In a technical sense, just parts of it change, but the middle values are adjusted up or down with this control, giving that impression. For many images this may be all you have to do. Supporting your adjustments is a histogram of the brightness values in your shot. Its that mountain range-like graphic. As long as the range doesnt extend off the sides of its frame, you can pull the shadow point indicator in from the left and the highlight indicator in from the right and cause the mountain range to spread out over a wider space. A Contrast control would achieve the same thing, but here you can see exactly what you are doing and more importantly, when to stop. If you move the control into the space occupied by the histogram, you are defining the cutoff value for the top or bottom of your shot. Anything outside the shadow and highlight indicators will be lost into the white or black of the resulting image. The center gamma control lets you pull the middle tone of the image up or down. The effect is very much like adjusting the exposure, but the shadow and highlight extremes of the image dont change. In effect, you are changing only the center of the exposure. Play with this control a lot to see how your image behaves. You dont have to accept changes you make with it, and the next control may be more to your taste.

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Mastering Nikon Compact Digital Cameras

2. CURVES
(COMMAND OR CTRL M) (NOT AVAILABLE IN PHOTOSHOP ELEMENTS)

The Photoshop Curves control is much like the Levels control, except it can do more in a different way. When you open the control, it is a chart with a 45 slanted line across it. This line stands for the tonal value in compared to the tonal value out. You can choose to have the bright part of the image in the lower left or upper right with a click on the brightness bar under the graph. Since the image starts with its beginning values, the line is a neutral diagonal, and even though it is straight, it is called a curve. If you click anywhere on the graph, a midpoint is instantly created, and the curve immediately flows through it. The first click defines a gamma-like adjustment similar to the gamma adjustment in the Levels control. You can move this point anywhere on the surface of the graph and achieve all sorts of results on the image, both good and bad. Experience here will be its own best teacher. With a second click, a new point is created along the line. Now you have a control that is much more sophisticated than a simple gamma adjustment. With care, you can gently reshape the highlight area AND the shadow area while letting the curve flow through the middle of the graph unchanged. This gentle S curve (top image) can go a long way towards softening up a contrasty original, making it look much more like a film image. If you like the look of a particular curve, you can save it to a folder in your computer, and bring it back later, in order to apply it to other images. A folder full of curves is found on the CD, ready for you to play with, learn from, and modify to your hearts content. With more points added to the line, you can shape it into some very strange twists and make special effects. Digital solarization can be produced as soon as any portion of the line travels downward instead of steadily upward, as in the bottom image. The end points are movable, too. You can use this to cause the line to flatten out at a certain value. We will reveal a number of other uses for this control later in the book.

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PART TWO. COLOR ADJUSTMENTS.


The next group of controls adjusts the color qualities of the image. Photoshop often has several ways of achieving results, and color adjustments are made in several ways. You may prefer some to others, but it is nice to know several methods that approach the idea in a different way. This first technique is unique in that it is so very quick, easy, and accurate.

2A. CURVES OR LEVELS AGAIN


(COMMAND OR CTRL -M, -L)

The Curves and Levels controls have a special feature useful in color control of your image. Three eyedropper controls with black, gray, and white fluid in them are used to sample the images brightest, darkest, and most neutrally colored places for fast adjustment. The middle eyedropper is the one with the greatest color correction use. The default setting is for middle gray. Double click on it to see where it is set on your computer. Not gray? Easy to fix. See those boxes labeled H:, S:, B:? B = Brightness. Enter H: 0, S: 0%, B: 50% and the rest of this idea will work for you. Now touch this Gray Eyedropper cursor on any object in your scene that would naturally be close to neutral gray. It doesnt matter whether the gray part is light or dark, just so long as it is supposed to be without other color. The white trim of a house in slight shadow, a whitewall tire or the dark gray of the tire itself, a gray patch of pavement, a gray foggy sky, a colorless rock, lettering on a sign, a silver car, a white shirt all of these will work if you find the right place to click. As soon as you click on your reference object, the entire scene adjusts to re-color balance to that sample. The control adjusts the Red, Green and Blue channels in a way that turns the pixel you sampled into a neutral gray hue. The brightness of the sample isnt changed, just its hue and saturation. Play with this control a lot. Its surprising to see how dramatically it works. After a while, you will become quite adept at improving the color of images shot in shade, indoor light, office light, and in errors caused by outright mistakes. Shade often tends to look cool, due to contamination from the blue sky. Indoor light can be recorded too warm, due to incandescent bulbs on dimmers. In office light, which is often greenish due to fluorescent lights, the color is dependent on the exact formula of the bulbs and no one fluorescent setting will get all of them perfect. Then there are the mistakes. Some will be due to your forgetting to put the white balance on the right setting; some will come from mixed light situations that simply cant be correctly guessed by the Auto White Balance feature of the camera. When any of these show up on your computer screen, hit that center eyedropper in the Curves window, and start looking for a likely gray object in the shot. The image above was exposed with the camera set to the wrong white balance. Fortunately, the strip of cement (arrow) was neutral in color, and simply clicking on it with the neutrality eyedropper created the vivid, realistic result.

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Mastering Nikon Compact Digital Cameras

3. HUE/SATURATION
(COMMAND OR CTRL -U)

Photoshops Hue/Saturation control is rather like the control on your TV that pumps up the color and steers magenta faces back to pink. The Hue part should be used sparingly, since it moves all the colors in the image equally except under certain conditions that we will get into later in the book. The Saturation slider is the Kodachrome control. Here you can push the color up as much as you can stand. You can also use this control to drain all color out of an image and turn the picture into black and white. A special control on the page is called Colorize. Check this box, and the image becomes monochrome with an almost maroon, reddish look. Changing the Hue, Saturation, and Lightness sliders lets you turn your image into a wide range of tinted variations. With this control you can simulate cold and warm monochrome print techniques and duotones, and a very convincing warm sepia effect.

COLOR FINESSES
Two controls allow you to really tweak the color of your image with very fine degrees of perfection. Although both look completely dissimilar, note in particular how each control lets you adjust shadow, highlight, and midtones of an image separately

4. COLOR BALANCE
(COMMAND OR CTRL B) (NOT AVAILABLE IN PHOTOSHOP ELEMENTS)

This control will help you finesse image color in a different way. Images shot in cool shade can be tweaked here with good results. When the pointer is moved, numeric indicators change at the top of the control window. You can move the pointer or enter numbers directly. A setting of +20, 0, -20 will pull a subtle blue tint out of shadow areas, for instance. A sub box of controls invites you to work on the Shadows, Midtones and Highlights separately. Like the other controls in Photoshop, these beckon you to play with them. Play here is creative play. You are learning the tools and techniques of digital photography in a fast responding darkroom that isnt dark and which doesnt have stinky chemicals.

5. VARIATIONS
(IMAGE > ADJUST > VARIATIONS)

This control is sort of the easy way to make your picture better. It isnt the fastest to work with, but for intuitive results, it cant be beat. With your picture selected, you open the control, and a large window opens on your screen with 12 miniature versions of your image on it. A group of seven shows your current pick plus six color changes, three more show density changes, and two show the original and the current pick versions of your shot side by side. Controls in the upper right let you adjust the strength of color change for highlights, midtones, and shadows, plus a check box that limits the changes to color saturation. Beyond these basic color adjustments are two finessing adjustments to make your images look sharper, both on the computer screen and in printouts, and a special tool that almost exactly mirrors a darkroom technique for locally improving the exposure in different areas of an image.

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PART THREE. FINISHING TOUCHES.


Digital images can be manipulated by space-age image processing techniques. This is one of them. Edges that were marginally well defined are now very well defined. Hair suddenly looks super sharp. The photographers dream of focusing the image after the exposure is beginning to come true.

6. THE UNSHARP MASK


(FILTER > SHARPENING > UNSHARP MASK)

Who would think that the best control to sharpen an image in a computer would begin with the word, unsharp? But it does. The Unsharp Mask control is a filter in Photoshop in the group of controls labeled Sharpening. Choose the Unsharp Mask, and a window appears with several choices and a small preview window. If the box labeled Preview is checked, the filter is already being applied to your shot. With images the size of the Nikon 990/995/885 and 950/775 shots, you should be able to leave this checked, providing your computer is of reasonably fast speed. The top slider shows the amount of sharpening the control is generating. Under that you have a window that asks for a number. This is the radius, in pixels, of the influence of the filter. It works fractionally as well. This is important. By being able to influence only about third of a pixel with an entry of 0.3, you are keeping the effect very tightly bound to the contours in your image. A 1.0 pixel radius will extend the influence of the sharpening effect a full pixel in every direction from the one being worked on. How it works is interesting. It heightens the contrast between pixels of different values. A dark pixel against a light pixel will become a darker pixel against a lighter pixel. Since the original values are slightly exaggerated, the boundary from one to the other is exaggerated, and looks sharper to the eye. Locally, the contrast between the two original features is increased, but it is our vision system that interprets this as being a sharpness improvement. It is real easy to overdo Unsharp Mask. Try numbers like these to experience how they work:

RADIUS

AMOUNT

0.2 100 - 500 0.3 80 - 300 0.5 50 - 170 1.0 20 - 90 2.0 10 - 50 Large number entries in the Radius box have a different sort of influence on the picture. Try putting in a number like 60~200 and moving the Amount slider around. Notice how areas of the picture adjust their relatively local contrast into looking more vivid? Watch out for bright areas, though, they can easily become too bright and lose detail. Often a conservative use of this technique will simply add a bit of snap to the image. Try a Radius of 80 and an Amount of 15. This control is capable of achieving several effects and is worth playing with for a while, just to get a sense of how its various settings interact.

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HANDS ON
In a chemical darkroom, burning and dodging techniques are extremely important. Almost no negatives yield perfect custom prints without a little help. Good prints dont reveal that they have areas which are burned or dodged, and this is the goal; to concentrate some areas by burning, and hold back other areas by dodging, but not so much that people notice the result on the final image.

7. DODGING AND BURNING


(THE O KEY)

Although from the names of these tools you might think they had something to do with a game of laser tag, the two terms come from techniques used in the exposure process in chemical darkrooms. Enlargers are low-brightness projectors pointing downward onto a piece of photographic paper. Usually, they project the image of a negative. Where the negative cast light, the developed paper turned dark. Under the enlarger, a photographer would often move a disk of opaque black paper mounted on a wire handle, into the beam of light as it exposed a sheet of photographic paper. The exposures for a print are often ten seconds or more, and by stopping down the enlarger lens, the photographer could easily extend that to around thirty seconds, which would provide a lot of time to manipulate the light. By holding this dodging paddle in the beam for a while over areas that were getting a lot of exposure, the photographer could hold back the light, thus lessening the exposure and making that part of the image slightly lighter. This brought out shadow detail. The blurred paddle shadow was moved during the exposure, so no shadow of its presence was perceived in the final image. The opposite technique is called burning. Some areas, where the negative in the enlarger was particularly dark, might need a bit of extra exposure to be delivered to the photo paper in order to bring detail into a very bright area of the print. When burning, the photographer would hold one hand in the beam, arranging fingers to let only a small ray of light reach the paper in the area needing extra exposure. Two hands were often used, sort of like a soft focus shadow puppet. The two icons found with the keyboard O key in Photoshop are shaped like a dodging paddle, the black lollipop icon, and a hand forming an opening with the thumb, the common method of quickly burning-in an area. These are two distinct tools but they do the same things to a digital print that the originals did for enlarger prints. Plus a whole lot more. Use the shift key with the O key to select among the options of burn hand, dodge paddle, and saturation sponge. Notice how the last brush used with each option sticks to it, changing back to where you last left things.

The top image is what the camera recorded, a table in the corner of an artists living room. Wouldnt it be nice to re-light the scene, bringing out shadow detail, and suppressing some of the brighter highlights? Burning the highlights and dodging the shadows produced the bottom result.

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DODGING
To see the shape and limits of any brush as you work, open the Photoshop Preferences window and select Display and Cursors > Painting Cursors > Brush Size. Select the dodging tool, and also select a large soft brush from the brushes window. The Options window shows two things. One is a choice among highlights, midtones, and shadows, and the other is for the strength of exposure. Set the Exposure to about 25, and select Highlights from the list. Move the tool over a fairly dark shadow area, click, and drag. Notice that the shadow area lightens, but anything very dark or black doesnt. Only tones above black are lifted proportionally. The brighter they were originally, the more they are lightened. Try changing the option to read Midtones and try it on another area. The behavior difference is subtle, but you can see how it more aggressively lifts middle densities than darker detail. Changing it to read Shadows causes the darkest parts of the image to lift but not highlights. This is a big improvement over the darkroom version, which changed everything in all tonal ranges at the same time. The smaller the Exposure numbers, the less the influence of the tool on the image. With small numbers, you can go over an area several times to build up the effect you want.

BURNING
Using the Burn tool is very much the opposite of using the Dodge tool. Here you are darkening the areas you are working on. If a highlight is too bright and indistinct, the Burn tool may help. As with the Dodge tool, a large soft brush is usually your best choice. Here, too, smaller numbers and multiple passes will build up the density you want. With Burn, the Exposure option that works best is usually Shadows. Now, only pixels that are lower than pure white will be affected proportionally. The brighter the original, the less they will be influenced. After playing with these options for a while, you will begin to develop an intuitive sense of how they work. Now you will be able to look at an image and start thinking about fixing the shadows, highlights, and local areas of brightness in new ways. You will no longer need to accept the limitations of the lighting in the original image. Play with it enough to see how far you can take the technique. In fact, it is a good idea to take it too far on a few shots, just so you can see what too much of a good thing looks like. As a general rule, if you look at a shot and can immediately see where it was burned and dodged, youve gone too far.

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SATURATION/DESATURATION
Since we are already here, a third tool appears with the burn and dodge tools: the Sponge. It can saturate or desaturate colors locally in the same way the other tools operate, on a small or large area, and the Options window adjusts its effect. No equivalent tool exists in a chemical darkroom, so that sponge icon has no direct equivalent. Here it behaves more like a sponge soaking up paint from a watercolor, or washing on dye in an exotic coloring technique. The digital darkroom borrows its metaphors freely from all the graphic processes.

CONGRADUATIONS*
That wasnt so hard, was it? These seven techniques are the key to digital manipulation for tonal scale and color adjustment in Photoshop. Moreover, you have touched the Tools, Control Windows, Filters, Preferences, and Save systems of Photoshop along the way. Each was easy to access and operate. Your fear of them is hereby declared obsolete. You deserve a diploma. Nearly all of your future explorations in Photoshop will be variations on these familiar procedures. As you use these tools more and more, you may begin to realize that one of these controls has much more influence and capability than the others: the Curves control. Except for color saturation, the Curves control can achieve most of what the other controls do for tone and color. As your experience with it grows, so will the quality of your creativity in this digital dimroom. One more post-graduate lesson: While the Unsharp Mask tool can perk up the effects of low or no in-camera sharpening, the camera has the image in memory before compressing and storing it, so the very sharpest images with the fewest artifacts will probably result from appropriate in-camera sharpening. With the 950, this is moot, since the camera has no control over in-camera sharpening, and does fine as is. But with the 775, 880, 990 and 995, the Image Sharpening control may be set to its Normal or Automatic Sharpening setting without fear. Experiment with shots made using Low in-camera sharpening followed by judicious Unsharp Mask tweaking. If you are preparing images for use on the Internet, it is doubtful that you will need to display images larger than 1024 pixels wide. Photoshops scaling tool, Image > Image Size > Resample Image: Bicubic, produces the cleanest results. Specify a dimension in pixels in the upper windows and the rest of the window will calculate itself automatically. For the best results apply any sharpening after re-scaling your shot.
*Congratulations on graduating.

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CHAPTER 3 CAMERA OPERATION


GET PAST THE CAMERA TO THE PHOTOGRAPHY. A CAMERA ANY CAMERA IS ONLY A PATH TO THE IMAGE. MASTER THE CAMERA AND THE PATH WILL STRAIGHTEN.
You read the manual that came with your camera, but it often didnt give you some of the reasons behind things. Here are a lot of the things the manual didnt say; the implications beyond the buttons. i You will benefit greatly by having the camera in your hands as you go through these topics. When you find something interesting, try it out immediatelyteach your fingers how to find the operation and play with it. The infobite symbol tracks tips and factoids that are useful but are easy to miss. This entire eBook is meant to be approached non-linearly. Some of the material is redundant, so you wont have to depend on ideas mentioned many pages earlier or later. The 950, 990, 995, and 775 sections are separate. Note the model in the page header. So, if you have the 950, you start here. i If you have the 990, jump to page 3B-1 and start there. i If you have the 995, jump to page 3C-1 and start there. i If you have the 775, jump to page 3D-1 and start there. Images, at any pixel count over 200 pixels per inch, are essentially magazine quality, and in the first year of the 950s introduction, its images appeared in fashion magazines and countless artistic and informal shots by professional photographers and advanced enthusiast photographers all over the globe. Its really a computer with an imaging chip, buttons, and a TV monitor. Consider the design challenges: Create a camera with a single-chip imaging device that is close to the resolution of a 35mm movie camera or HDTV camera. Pack in the computer to make digital images, the storage system to record them, the power supply to furnish the volts, and, oh, by the way, a zoom lens that has to work at HDTV quality over a 3:1 zoom range. Be sure to include an auto focus system with a 4000+ step range, a white balance system that goes from Mt. Everest at noon through fireside chats, and a color video monitor.

i=

InfoBite

CAMERA OPERATION: COOLPIX 950

COMPRESSION AND SIZE

What size film do you want today? Big? Medium? Small? How clear should it be? Real clear? Moderately clear? Fairly clear? What sensitivity should it anticipate? Bright sun? Bright interiors? Very low light? The Nikon Coolpix 950 will do it all. But, you must tell it specifically what you want. The size of the shot is determined by you. The largest image is 1600 x 1200 pixels and is the cameras default setting. Just hold down the button labeled QUAL below the monitor screen, and rotate the Command Dial. On the monitor, you will step through the size and quality (compression depth) options available. Full resolution 1600 x 1200, XGA 1024 x 768, and VGA 640 x 480 are your size options in pixels. VGA is the resolution of a video picture, and XGA is the size of a full screen image on many computer monitors and laptops. As you scroll through the sizes of the shot, you are given the choice for Fine, Normal and Basic compression. At the largest sizes, you also have the option of choosing Hi, which permits capturing images in a TIFF format that does not compress the shot at all.

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WARNING: images shot in Hi mode will take an inordinately long period of time to transfer to the CompactFlash card. If you accidentally put the camera in Hi and start shooting, you may think the camera is suddenly broken. There is essentially no significant quality difference between Hi and Fine images, and unless you have an exotic need to capture TIFF images directly, my advice is to avoid this setting.

Size, number of images, and compression all work together. Compression shows more unwanted The Nikon 950 creates images in four sizes from the largest 1600 x 1200 to the intermedieffects artifactsthe smaller it makes the file ate XGA 1024 x 768 to VGA 640 x 480 and the for storage. specialized 400 x 300 . The number of shots isnt fixed, because the amount of storage space is dependent on image content. Low-contrast areas of an image compress much more easily than lots of fine detail. Sharp edges are given more attention by the compression algorithms and eat up more storage space. i When printed, Normal images almost never reveal that they are only about half the storage size of Fine shots. Artifacts are very well controlled in Nikons JPEG formula. i If you know that the only use for an image is going to be in a low quality application, such as 5 x 7 or 4 x 6 prints, Basic offers an enormous advantage; even more shots per CompactFlash card. Artifacts in Basic are visible at full-size on your computer monitor, and may show a bit on large prints. i When you shrink a Basic compressed, full-size image to half-size, the artifacts politely disappear! Actually they merge and average out. Now you have an image that is 800 x 600 pixels with seemingly SIZE
Large

COMPRESSION
Hi Fine Normal Basic Fine Normal Basic Fine Normal Basic

ARTIFACT PRESENCE
As good as it gets Virtually perfect Extremely good Quite goodsome artifacts visible at full screen size Pixel-perfect Extremely good Goodsome visible at full computer screen size Pixel-perfect TV size Very good on TV screen Good on TV screen

SHOTS ON 64 MEG CARD


11 66 - 128* 133 - 180* 265 - 360 158 - 300 323 - 600 647 - 1300 415 - 820 829 - 1600 1659 - 3300

MAX PRINT SIZE INCHES /MM


8 x 10 + 8 x 10 + 8 x 10 6x8 6x8 5x7 4x6 3x4 3x4 2.4 x 3.2 200 x 250 + 200 x 250 + 200 x 250 150 x 200 150 x 200 127 x 178 100 x 150 75 x 100 75 x 100 61 x 81

XGA

VGA

* Actually achieved in tests of low-detail subjects. Extrapolated low-detail, low-contrast subject image potential.

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no artifacts and tremendously improved detail caused by the effects of down-sampling. When the destiny of your images includes 8 x 10 prints, shoot in Fine compression at full-size. If you need only about 6.75 x 9 prints, Normal is perfectly adequate to the task, and nobody will look at your prints and complain about the compression. They simply wont see its effects. As you make shots for the Internet and prints no larger than 5 x 7 inches, Basic will let you shoot a lot more images per megabyte of storage space. XGA images are only 1024 x 758 pixels in size and take up This is a small detail from a full-size, Basic-com41% of the storage space that full-size images consume. pressed original now bicubically scaled to halfAs you shoot at XGA size, images are captured at full-size in the camera size and displayed at only 100 pixels per inch. The original showed visible compression artion the image chip, then instantly reduced to less than 2/3 size before compresfacts in the cartoon hair detail. But because it sion and storage. The CP950 does a nearly perfect job of this, and the resultwas reduced after compression, it now looks ing image is extraordinarily good. Looking at an image made this way on virtually artifact-free. your computer screen, youd swear it is as good as a scan of a film original. Every six-pixel group of the original image has been reduced down to less than four pixels of the stored image by a sophisticated computer algorithm in the camera. There is no evidence of cutting mathematical corners. Down-sampling causes The exact formula is a carefully guarded Nikon secret, but Photoshop has a similar many original pixels to merge high-quality scaling algorithm called Bicubic Interpolation. into the remaining ones. i In the Photoshop version, a tiny bit of softness appears in the shrunken image, When done intelligently by but it can be easily recovered with a smidgen of Unsharp Mask filtering. Perhaps the the camera or computer, the Nikon algorithm includes a bit of each. resulting single pixel is a perVGA-size images are down-sampled the same way as XGA images, but they have fect computation of the origionly 640 x 480 pixels. nal several, which defined a The down-sampling causes them to be pixel-perfect, TV-size shots, and they only specific part of the image. take up about 39% of the space of the XGA images. As you view them on a TV The effect is dramatic on screen, you probably wont see the compression artifacts, even when you shoot them your computer screen. in Basic compression. Often the down-sampled i TV monitors are less precise than computer image is as sharp as the dismonitors, and their more forgiving nature makes it play could ever be expected possible to shoot over 2000 VGA Basic images on to create. that 64 megabyte CompactFlash card, if you intend A pixel-perfect image is the to see them on a TV screen. instant result. The only size prints from these shots that you are likely to appreciate are those made as 3 x 4-inch prints or smaller. i They will work as two-column images for newsletters and excellent single column head shots, but thats about it.

VGA image at Basic compression. It works at one newspaper column width but looks very soft and very digital at 6 x 8 inches (80 ppi detail).

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Automatic Mode

The first of the two fundamental modes of camera operation is Auto. The camera is ready to go with a number of choices already in place. You still need to inform the camera what size and quality setting it is using, but shutter speed, f/number, meter type, and focus will be determined automatically. Now the camera has Default ISOthe camera sensitivity index Matrix metera 256 element intelligent light meter system Automatic white balancea system that gets the color right Programmed auto exposureso you dont have to worry about it Auto focus that is constantly adjusting itself to the scene You still have control over Self-timer Close focusing Infinity focus EV+/- exposure compensation Flash options These settings are a well-considered mix of qualities that make the camera operate quickly with a minimum of missed or imperfect images. Default ISO is 80, good enough for work in bright environments from brightly lit offices to full daylight. White balance is tracking the view from the lens and is constantly adjusting to what the camera thinks is correct. Light is constantly being sampled by the matrix meter. Focus is on the center-most sampling area of the image chip, and the only thing missing at this point is the instruction from your right index finger to shoot the picture. i Shutter lag is minimal. The camera already knows if it has enough light, and it is already in focus. The time delay from half shutter press to exposure is under 0.2 seconds, very responsive indeed.

AUTO MODE FLASH

Flash choice is made with the top button closest to the shutter release. Confirmation can be from the monitor screen and/or the LCD window on top of the camera. Your choices are, in this order, Auto Flash, No Flash at all, Red-eye Reduction, Forced Flash, and Slow Flash. Auto Flash (Default. No icon.) The flash will fire only if there is not enough light to get an image without it. As soon as the exposure computer sees that you are shooting at 1/30 sec or longer, it locks the shutter at 1/30 sec and turns on the flash. No Flash. The camera knows that it will have no flash support, so the shot may be made at any shutter speed up to 1 second. An external flash attached to the camera will also not fire. Red-eye Reduction. It attempts to reduce red-eye effects from the camera flash by blinking a bright white light next to the lens for a second, just before the flash goes off. i It works okay on brown-eyed people less than eight feet from the camera, but it doesnt stop red-eye effects from light-eye color people from about five feet onward. Eye response varies from person to person and changes with the ambient light. i Several concepts for fixing the red-eye effect, or avoiding it, are included in the How Do I section. Forced Flash. It fires the flash no matter what light the camera sees. It assumes you know what you are asking it to do, and it pops the flash in sync with any shutter speed the camera is using from 1/30 to 1/750 sec. i Very useful outdoors as a fill-flash effect for subjects that may be back lit, it tends to add just enough light into nearby subjects to avoid featureless shadow areas.

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Slow Flash. Only fires the flash at shutter speeds longer than 1/30th of a second. People against nearly dark, post-sunset skies will be exposed both for the long exposure and with the flash. If they move during the long exposure, their ghost silhouette will blur across the frame, but the flash will capture a moment of perfect frozen time. i Playing with this feature is a lot of fun, and promotes a highly collaborative effort between subject and photographer.

EV EXPOSURE COMPENSATION

EV stands for Exposure Value, and it is also measured in stops, or powers of 2. Thus, +1.0 EV suggests an exposure of one stop over what the meter says is right. This setting lets in exactly twice as much light as EV 0.0 does, and 1.0 EV lets in only half as much. EV adjustments from 2.0 to +2.0 can be achieved in 1/3-stop increments. Such small increments will allow even the most demanding photographer to acquire perfect exposures. i These numbers remain visible on the monitor only when they are not zero. EV -1.0 EV 0.0 EV +1.0

DISTANCE AND SELF-TIMER OPTIONS

The rear button on top of the camera allows you to select normal operation, infinity focus, close focus and self-timer functions. Pressing the button repeatedly loops through these choices. Infinity Focus (twin mountain peaks icon). This forces the lens to focus at infinity come what may. Notice that it also shuts off the camera flash, too. Telephoto subjects from 20 feet to infinity will be perfectly sharp using this setting under all conditions. Wide angle zoom shots will be sharp as long as objects in the frame are from eight feet away from the camera to infinity. When smaller than wide open apertures are used, nearby objects get sharper. Smaller iris openings create greater depth of field, but remember that larger f-numbers stand for smaller diameter openings that let in less light. i Images shot in full sunlight will be sharp from about ten feet away to infinity, even at the most telephoto setting of the zoom lens, and from four feet to the horizon in the wide zoom position. Macro Focus. When the camera is in close focus mode the auto-focus range is extended closer than usual. Usual is from about 10 inches to infinity. Now the autofocus will search for sharp objects closer to the camera. i At telephoto zoom, the closest object can be about four inches (100 millimeters) from the lens. Now you can focus inside an area smaller than a 35mm slide, or fill the frame with a quarter. The Nikon CP950 does not stop there, and you can get much closer. By zooming the lens to its mid-zoom position, you can see the flower icon change color. When it changes from white to greenish-yellow, you have placed the lens at its closest focusing zoom position. Now you can get the camera to focus as close as 0.62 inches (15mm) from an object. A single bee may be too large for the frame. Tiny ants can become giants.

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Self-timer. This mode has two settings. Exposure will be ten seconds or three seconds after the shutter button is pressed. Next to the lens, the white light blinks once a second for nine seconds then stays on for the last full second so you will know that the exposure is imminent. Pressing the shutter button a second time, before the sequence is finished, changes the entire count down to three seconds. Just long enough to let the camera settle down if it is in an unstable position. To abort the count down, you must switch the camera to another mode.

AUTO MODE MENU SETTINGS

By pressing the Menu button above the monitor screen, the Auto mode menu appears. It lists these items: Folders LCD Brightness Shutter Sound Auto Off CF Card Format Seq. Xfer Date Selection of these topics is made with the zoom controls W and T buttons. Folders. All exposures are placed immediately in a folder. One default folder is always present. It has the name NIKON, and you can create seven more, each with a five-character alphanumeric name. Spaces count as characters, so the lables you create can be short. LCD Brightness. Three simple icons under the picture, o +, let you set the monitor screen slightly dimmer, normal, and a bit brighter than normal. Shutter Sound. Its the control which turns on the beep that signals when a shot was made. If it is off, the camera is so quiet that you wont know it shot the picture. i Not even the very quietest film camera can compete with the almost perfectly silent operation of the CP950 in stealth mode. Auto Off. Sets how long the camera stays awake before dozing off to save batteries. Choices are 30 seconds, 1 minute, 5 minutes and 30 minutes. i Since the camera will power up with all your choices intact in just three seconds, you may wish to keep the setting at 30 seconds. Seq Xfer. It stands for Sequence Transfer, and gives you the choice of having frames start numbering themselves from 0001, or to continue numbering from the last number the camera remembers from the previous string of exposures. i The camera wont add a smaller shot number to a memory card than its current folders lowest. i If you want to have unique numbers for each of your shots, keep the sequence on. Like a car odometer it gives you a sense of history. Soon you will see how very many images you have gathered. Card Format. This is the control that erases all previous image data.

card. Only do this if you are sure that you have downloaded every image you want to keep. The best practice is to completely off-load the card, then format it.

! WARNING: formatting the CompactFlash card obliterates any images stored on the

Date. Its really time and date. Here you set the cameras internal clock and calendar. This information is stored with every shot you make. When you examine images in Play mode, described later, you can see exactly when each shot was made.

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THINGS YOU CANT DO IN AUTO MODE

While Auto mode is quick and simplified, many of the things the Nikon 950 will do simply arent available through it. You cant manually focus. You cant set the white balance to specific sources. You cant change the sensitivity of the camera by adjusting the ISO. You cant shoot in Aperture or Shutter priority modes. You cant change the type of light meter you are working with. All these things must be done in Manual mode.

Manual Mode
EXPOSURE ELEMENTS
In Manual mode you have control over much more than you do in Auto recording mode. The exposure triumvirate of aperture, shutter, and ISO are each available for modification. Priorities can be achieved, so the shutter speed you want stays fixed, and only the aperture varies in the light, and vice versa. You can even lock the exposure at a specific white balance, shutter speed, iris size, and shoot a bunch of exposures with all those controls frozen from shot to shot.

ISO HAPPY

The sensitivity of the image chip is expressed as its ISO number. The International Standards Organization established criteria for photographic sensitivity, and the Nikon 950 operates at four ISO numbers. Manual mode allows you to choose ISO 80, 100, 160, or 320. The top forward, small button nearest the shutter release must be pressed and held while the Command Dial on the front face of the camera is rotated. On both the color monitor and camera top LCD data panel, the ISO information will be displayed for easy reference. It only shows on the data panel while it is being set. The display shows dEF, 100, +1, and +2 for brevity. ISO 80 (dEF) is the choice you would most often use for outdoor, close flash, and general shooting. The camera has enough exposure control to cover all normal brightness levels you are going to encounter at any zoom setting on the planet earth. At 1/30 @ f/2.6, the widest aperture the lens can achieve in wide zoom, the amount of light is similar to a brightly lit office in which a ceiling full of fluorescent fixtures is providing a bright work area. ISO 100 is so close to ISO 80 that the two are virtually interchangeable. ISO 160 (+1) lets you work with half as much light. Pumping up the sensitivity causes the internal circuitry of the camera to amplify the image from the chip by 2x. This also causes a little noise to creep into the image. ISO 160 shows only a modest grain increase. ISO 320 (+2) permits you to work in 1/4 of the light. The image gets still noisier, and this gives the shot more of that grainy look. Now the grain has become noticeable. i Color grain is increased to the point that you may see a pattern in flesh tones and areas of mid to light pastels. Shooting in black and white at this sensitivity doesnt show this artifact.

PROGRAM

Program exposure mode is the easiest to use. Holding the Mode button down while rotating the Command Dial selects the P making it your choice. The camera now makes intelligent assumptions about which shutter speed and which aperture are best for the lighting conditions it gathers from the light metering system. It even adjusts a little ISO value while coordinating its exposure computation.

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APERTURE

The lens on the Nikon 950 has three-step iris that starts at f/2.6 in wide angle evolving to f/4 in telephoto zoom setting at its widest opening. By allowing the effective f/stop to evolve throughout the zoom, the lens design was kept to its compact physical form. The intermediate opening starts at f/4.4 and develops to f/6.8 through the zoom range. The smallest aperture starts as f/7.4 and becomes f/11.4 as the zoom progresses. Fortunately, the exposure computer is very well aware of the way this works, so it tracks and accounts for any changes brought about by zoom position. Aperture Priority. This is a special mode that lets you control the size of the iris in the lens, forcing the camera to achieve the proper exposure by changing shutter speed. If you want to have great depth of field for a tabletop flower picture, for instance, you might wish to force a small iris opening, even though that would cause the shutter speed to run longer. It is achieved by holding down the Mode button while turning the Command Dial, stopping when the A is showing. Now release the Mode button. But, wait, theres more... i For the next eight seconds, the Command Dial remembers that you were involved in aperture adjustment, and any further spinning of the dial will cause the f/number to change. After this brief window of time is up, you will have to momentarily re-push the Mode button to reactivate the Command Dial.

SHUTTER SPEED

Shutter speed on the Nikon 950 ranges from 8 seconds to 1/750 sec according to the spec sheet. i Nikon lied. You actually can shoot at up to 1/793 sec in Aperture Priority and Program modes because the camera specification is conservative. In practice, most pictures happen from 1/15 to 1/250. You have complete control over the shutter speed you wish to shoot with by selecting Shutter Priority exposure mode. i Long shutter speeds allow you to capture motion blurs and streaks. Fast shutter speeds freeze the action. In Program or Aperture Priority modes, shutter speed is fractional. It may show up later to be 1/48th, 1/35th, 1/233rd, or a similarly unusual number. In Shutter Priority it will only lock to the number on the monitor. Shutter Priority mode is selected by holding the Mode button down while turning the Command Dial to S. i On release, the Mode button remains active for eight seconds while you decide to change the shutter speed by turning the dial. After this window of time expires, you will have to momentarily push the Mode button to reactivate the Command Dial in orderto change the shutter speed again. i To achieve the incremental targets of exposure, since both shutter and aperture are inflexible, the ISO is automatically changed slightly as lighting conditions change.

MANUAL FLASH MODE

The choices for flash in Manual mode are identical to the choices of flash for Auto mode. EV compensation in Manual mode works identically to the way it works in Auto Exposure mode.

EV EXPOSURE COMPENSATION

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MANUAL FOCUS

The Nikon CP950 has a manual focus system, as well as the auto focus system. You can manually set the focus from four inches to infinity in 10 steps. The focus settings work at any zoom position. Manual focus numbers can be read in decimal feet or meters. The closest setting, 0.33 feet (100mm), is only four inches from the lens. To perform manual focus, hold down the top rear button near the shutter release while turning the Command Dial. If you dont turn the Command Dial, the camera will assume you are setting the Infinity > Close Focus > Self-timer function, and upon releasing the button, the camera will advance one of these modes. Just remember that when you are manually focusing, you must make both gestures, or you will confuse the camera. Other choices that affect manual focus are in the Settings menu on Menu Page 2, discussed later.

Menu System

From this point forward into the complexities of the Nikon 950, the menu system is the key to accessing features and choices. To open the menu system, press the Menu button. The live image is replaced with the first page of the menu, and combinations of the W and T (Wide and Tele) buttons now work in combination with the Command Dial and shutter release to steer you through the many choices. It can be confusing at first, but after a while, your fingers will learn exactly which control does what. As a general rule, you are scrolling down to the topic you want with the W and T buttons, selecting the topic with the shutter release. Next, you scroll through the contents of a detail page of options for that topic with the W and T buttons, and confirm your choice again with the shutter release. In some topics, the Command Dial will roll through an options icons next to the name of the topic. A quick confirming half-press of the shutter release will bring up the detail page if there is one. Your choice is highlighted, and you can confirm your choice with one more half-press of the shutter. Some features, like BSS, are either on or off, so they can be changed with the Command Dial, and a check mark will indicate your selection. It gets to be a rhythm in your fingers. Buried in the menu pages on Menu Page 2 > Set Up > Controls is one of those settings that will drive you nuts if you dont know about it from the beginning. It is on a green page of options, and its labeled MENU DIR. Its only function is to change the direction of the W and T buttons for scrolling through the menus. i It seems to make a lot more sense to have this choice checked off, thus causing the W button to move backwards through a list and the T to move forward through a list of choices.

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Menu Page 1
The first page of menus appears as soon as you press the MENU button once. It gives you most of your high priority features in one quick listing. Clustered here are all the choices you must make to shoot. Other menu pages deal with more esoteric issues. Menu Page 2 has controls for shooting that you will access less frequently, and a Set Up page has things you usually set once in a long while, like the internal clock. On Page 1 you will find White Balance Metering Continuous mode BSS Image Adjustment B&W Click down to the subject you wish to select, press the shutter button to open its detail window, click down to the detail you desire, and press the shutter button again to lock it in. Any decision you ratify, by pressing that last shutter button, will now become valid and in force. i To cancel the decision process, press the Menu button once and the choice last highlighted will be ignored.

WHITE BALANCE

White Balance is the first topic on Menu Page 1 and a frequently accessed consideration. While you may get good results in Auto White Balance mode, it is not a masterful choice. The world in front of your eyes looks normal in daylight, fluorescent light, candle light, and incandescent light without your having to think about it. Imaging systems arent so lucky. i This camera will shoot in any color of light from gold candle light to the blue-white sunlight at the top of Mount Everest at noon. It achieves this astonishing range by adjusting its Red, Green, and Blue sensors in three different ways, automatically, algorithmically by factory settings, or by being told by you what the light looks like. The choices are Auto, White Preset (the one you tell it to set to), Sunny, Cloudy, Fluorescent, Incandescent and Flash. Auto White Balance is achieved by the camera in a roundabout way. The camera is looking at the world through a series of assumptions. It can only assume that the world in front of it is normal, composed of normal colors that presumably add up to neutral gray. It estimates the right color temperature of the scene by supplying its best guess at the moment of exposure. If you shoot a scene with mixed daylight and incandescent, for instance, it will make its color balance choice based on how much blue and gold is in the specific framing of the shot. Change the framing just a little, and you can cause a big difference in the color rendition of the final image. Auto White Balance is the most convenient setting, and will be your choice when there isnt enough time, or need, to get more critical. White Preset is the most accurate type of white balance, but it takes extra effort on your part to achieve that precision. With this option you get to show the camera exactly what the light looks like, and the camera will faithfully follow your instructions shooting all subsequent images exactly to that standard.

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Have a piece of white paper handy. Put it in the light you wish to set for. Press the Menu button to open Menu Page 1. Select White Preset. Press the shutter button to open the sensor window. A small square of image appears in the middle of the screen. You now see two choices, Cancel or Measure. Point the camera at the white piece of paper. Sometimes you have to hold the paper up near the lens to make sure the camera sees only it. Thats okay; for this process, focus is irrelevant. Choose Measure, and press the shutter button to confirm. The camera beeps and clicks, then returns to its normal operation: White balance has been achieved. i Images on the monitor screen may look different from the way they did before you performed the white balance, but there is no guarantee that they will look perfect. To gain confidence that the white balance is correct, shoot a test shot that includes the white paper. The image on the monitor screen should look quite good now. The paper should look white on-screen. Sunny white balance is for daylight. A sun icon confirms your choice. This setting was created at the factory to give the best results in direct sun. It is a very good choice for any full-sun shooting or for shooting things you wish to record the way they would on daylight film. i Sunsets look particularly good with Sunny white balance chosen. The warmth and richness of the color are augmented by this setting. When you move into shady areas, however, the cool blue color of the sky or back-lit clouds can cause the image to look too blue at this setting, just as it would on daylight film. i Even though you are shooting on a sunny day, shooting in shaded areas is best accomplished with White Preset. Incandescent white balance is tuned to bright quartz lamp color temperature of 3200 K. Most home lighting is warmer at c. 2900 K and gives a redder or more golden look to shots made with this setting. i When you are indoors and you want accurate color, the White Preset selection will give it to you no matter what the source, but if you want a room to look very much the way it does to your eyes, the Incandescent setting will bring it into the shot. Fluorescent white balance is guessing that your fluorescent bulbs are of the cool white variety, most often used in offices, stores, and shopping centers. If you find it works well for your lights, then use it. Fluorescent lighting has a spectral distribution that is incomplete. There are holesgapsin the spectrum of nearly all fluorescent light formulas, and not all fluorescent lights look good at this setting. i It doesnt work well with your lights? Use White Preset. Cloudy white balance is a good one for overcast days. Because your eyes adapt to color balance situations almost instantly, you wont see how much bluer the world is under cloudy skies. The camera would, if it were set to Sunny white balance. Set it on Cloudy and colors will appear to be much more natural. i When you are shooting around the corner from sunlit areas, the color in the shade is often much cooler and bluer than you would wish. Cloudy is a good first choice. Still too cool? Use White Preset. Speedlight or Flash white balance is the right setting for electronic flash pictures. Plan to use the camera flash? Set to this white balance choice, and the pictures will look natural. External flash units are best served by this setting as well.

i Here is how you teach the camera what the light is:

18% gray

will find a gray card file called 18% Gray. Print this on a black and white laser printer or on a color printer set to black ink only, and do it at several different scales. It is a dot-based approximation of an 18% gray card. Include one of these at small-size in the corner of a test shot at the start of a series of images shot under the same lighting. You dont actually want to see the printed dots as fine detail. You want the camera to see them as a patch of gray. Photoshops Curves and Levels color neutrality samplers will be able to steer the image back,very close to the original color.

i One thing will help you conquer perfect, natural color as you shoot. A reference shot. On the CD you

3A-12

Mastering Nikon Compact Digital Cameras

METER SELECTION

The second item down Menu Page 1 is the Metering selector. Three choices immediately appear, Matrix, Center-Weighted, and Spot. Matrix metering is the sophisticated, multi-element meter that samples 256 parts of the picture. It intelligently analyzes the shot for highlights vs. bright areas, shadows vs. dark objects, contiguous coverage vs. statistical sampling, and arrives at an educated guess better than a lighting director could in five minutes of spot meter sampling and paper computation. i This meter is far and away the best single meter in the camera, but it isnt the one you want for every shot. Just most of them. Center-Weighted metering gives results similar to those of a hand-held meter. It sees the center of the image but is less influenced less by subjects near the corners. Try it for portraits where the facial tones are concentrated in the center of the shot. It works well as a general purpose meter, too, and shooting the same picture with both Matrix and CenterWeighted meters will show you how similar and different they cause images to appear. Spot metering is like a very narrow focus version of the Center-Weighted meter. When this meter type is chosen, a small square appears in the middle of the monitor screen. Anything inside this square is sampled; anything immediately outside it is ignored. When your subject stands in front of a window, this meter would be your best choice, unless you want the person to look like a silhouette. By using the spot meter, you can press the shutter release halfway while holding the square over the persons face or body, and lock-in the exposure. Then you can reframe the shot the way you wish, and press the shutter the rest of the way to make the exposure. The image behind your subject may be overexposed, but your subject will be well exposed and details will be normally bright.

CONTINUOUS IMAGES, THE DIGITAL MOTOR DRIVE

Continuous mode is the third choice on Menu Page 1. Your choices here are to shoot Single, Continuous full frame, Multi-Shot 16, and VGA Sequence. Single image mode is the traditional still camera equivalent. Here is where the 950 behaves like a film camera, shooting one picture per click. Follow-up shots can be taken right away, even if the camera is not finished working on the first shot. The camera lag from shot to shot is only about 1.5 seconds. i If you create the habit of shooting, then immediately half-pressing the shutter button in anticipation of a follow-up shot, you will prepare the camera for fastest response and regain the live image on the monitor. Continuous mode is similar to the effect of having a still camera with a motor drive. As you hold down the shutter button, the camera takes a string of images as fast as it can until the internal memory of the camera is filled up, whereupon, it enters a contemplative mode for a number of seconds while it digests the shots. i With full-sized pictures, you can keep this up for a string of at least four shots spaced about one second apart. In Normal compression mode, you get twice as many. In informal tests, we were able to acquire this many images at each setting in continuous mode:

Images captured in a single string in Continuous mode SIZE OF IMAGE/COMPRESSION


Full XGA VGA 1600 x 1200 1024 x 768 640 x 480

FINE
4-7 10 - 14 28 - 33

NORMAL
8 - 13 20 - 27 50 - 60

BASIC
16 - 20 45 - 50 95 - 102

Chapter 3A

Camera Operation 950

3A-13

Источник: https://www.scribd.com/document/59470242/Nikon-Secrets-Digital-Photography

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Wondershare All-in-One Software Suite (06.01.2014) Multilanguage

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4 Hammers and Mallets, Hammers, Curve Claw Hammers HOWRD BERGER 16 OZ. STEEL CLW HMMER Drop-forged. Steel head. Tubular steel handle CLW HMMER STEEL HNDLE 16OZ E R.YX HOWRD BERGER 16 OZ. CLW HMMER Drop-forged steel head. Fiberglass handle CLW HMMER FBRGLS HNDLE E OZ R.XYX STNLEY NTIVIBE GRY FIBERGLSS HMMER Features a forged high carbon steel head for maximum durability. Fiberglass handle absorbs shocks and vibrations from the end user. Its diamond patterned handled grip features a flared end to help prevent the hammer from slipping from hand during use CURVE CLW HMMER 16OZ GRY FIBERGLSS E Y.RXZ RIP CLW HMMER 20OZ GRY FIBERGLSS E CX.OZX STNLEY FIBERGLSS JCKETED NILING HMMER Fiberglass core adds strength and provides the feel of wood. Yellow-colored shaft for easy product visibility. Exclusive rim temper reduces incidences of chipping or spalling. Curved claw, smooth face. Overall length: 13 inches NILING HMMER JCKETED 16OZ FIBERGLSS E Y.EXZ NILING HMMER JCKETED 20OZ FIBERGLSS E CX.CRX VUGHN 23-OZ CLIFORNI FRMER Fully polished head and claws. Octagon neck, hatchet eye. Extra-large striking face white hickory handle. Triple wedged into eye. Dimensions: Overall Length End to End: in. Overall Width Side to Side: 1.63 in. Overall Depth Front to Back: 6.25 in. Overall Product Weight: 2.14 Pounds CF1 CLIFORNI FRMING HMMER 23 OZ E LZ.CLX Hand & Power Tools Hammers and Mallets, Hammers, Curve Claw Hammers VUGHN 19-OZ CLIFORNI FRMER Polished forged head. Best grade 16 inch curved hickory handle for comfort and leverage. Extra large milled face. Dimensions: Overall Length End to End: 16 in. Overall Width Side to Side: 1.5 in. Overall Depth Front to Back: 5.88in. Overall Product Weight: 1.86 Pounds CF2HC CLIF. FRMING HMMER MF-19 OZ E LX.RLX Hammers and Mallets, Hammers, Rip Claw Hammers STNLEY FTMX 28 OZ. STEEL HMMER Patented nti-vibe? technology minimizes vibration and shock at impact. Forged, 1-piece steel construction for increased strength and durability. Slipresistant handle for a secure grip and added comfort. Precision balanced heads for user comfort and control FMHT51295 FTMX 1PC STEEL HMMER 28OZ E LE.HRX STNLEY STEEL HNDLE RIP CLW FRMER HMMERS nti Vibe steel rip claw hammer. One piece double forged steel head and handle for superior swing and greater durability. Patented tuning fork design reduces harmful vibrations three times more than the leading one-piece forged steel hammer. Unique grip design for both framers and nail hammers. Patented ergonomic handle designed for multiple grip positions. Rubber grip molded directly onto shaft. Specially textured handle grip for improv FMHT51293 FT MX 1PC 20 OZ RC HMMER E C.OZX STNLEY TOOLS FTMX XTREME NTIVIBE RIP CLW NILING HMMER Patented torsion control grip technology reduces the effects of torque on wrists and elbows. Patented ntivibe technology minimizes vibration and shock at impact. Precision balanced - feel the difference. Forged, one-piece steel construction for increased strength and durability SMOOTHNILING HMMER RC NTIVIBE 16OZ E LX.CX NOVEMBER 3

5 Hand & Power Tools Hammers and Mallets, Hammers, Rip Claw Hammers STNLEY STEEL NTIVIBE FRMING HMMER ntivibe III high carbon polished steel head. Smooth face. Rip claw. Patented shank materials designed to reduce vibrational energy generated during repetitive hammering. Comfort-grip is designed to reduce slip and feel comfortable, as well as secure multiple grip positions FRMING HMMER VX 22OZ E LV.VZX Hammers and Mallets, Hammers, Rip Claw Hammers STNLEY WOOD HNDLE RIP CLW HMMERS Wood Handle Nail Hammer. High-carbon, steel head. Fully heat treated and polished bell face. Hickory handle RIP CLW NIL HMMER 16OZ W/WOOD HDL E YHX STNLEY STEEL HNDLE RIP CLW HMMERS One piece double forged steel head and handle for superior swing and greater durability. Patented tuning fork design reduces harmful vibrations three times more than the leading one-piece forged steel hammer. Unique grip design for both framers and nail hammers. Patented ergonomic handles designed for multiple grip positions. Rubber grip molded directly onto shaft. Specially textured handle grip for improved performance even when wet RIP CLW HMMER 20OZ E LC.OCX STNLEY NTIVIBE FTMX RIP HMMER Patented torsion control grip technology reduces the effects of torque on wrists and elbows. ntivibe technology minimizes vibration and shock at impact. Magnetic nail start feature for extended reach and one-handed nailing capability. Forged, one-piece steel construction RIP HMMER 16OZ STEEL E CR.RZX RIP HMMER 20OZ STEEL E LC.YRX FRMING HMMER VX 22OZ E LV.LXZ STNLEY GRPHITE HNDLE RIP CLW HMMERS Graphite core provides strength and durability. Has the "feel" of wood but with overstrike protection. Rim tempered end. High carbon, polished steel head is precision balanced. New ribbed grip handle allows air to cool hand and channel sweat away. Patented head-to-handle construction. Flared grip to prevent hammer from slipping off hand RIP CLW HMMER 20OZ E CH.LOX STNLEY WORKS FTMX FRMING HMMER Forged steel head designed for larger striking surface and better overall balance. Rim-tempered edge helps reduce chipping. Checker face design to provides nail grip. Specially designed magnetic nail starter for one-hand nail setting. Contoured hand-grip provides better control and prevents hammer from slipping. Hickory handle. 22 oz. 18 in. overall length FRMING HMMER 22OZ HICK XE HNDLE E LC.HOX STNLEY FIBERGLSS HNDLE RIP CLW HMMERS Fiberglass handle bonded with polyester resin for strength and balance. Design eliminates possibility of head flying off. Rim Tempered face reduces chipping. Contoured vinyl grip. Ripping Claw RIP CLW HMMER 16OZ FIBERGLSS E CE.HZX PLUMB STEEL HNDLE RIP CLW HMMERS Solid steel hammers for ultimate strength. Full polished head that will never come off. Cushion grip for positive hole. Well balanced for extra power with less fatigue. Steel handle. Red handle for easy identification. nti-shock grip SS22RCFN RIP HMMER 22OZ CHECKER FCE SS E LZ.VXZ SS28RCFN RIP HMMER 28OZ CHECKER FCE SS E LV.ECX NOVEMBER

6 Hammers and Mallets, Hammers, Rip Claw Hammers PLUMB STEEL HNDLE RIP CLW HMMERS Solid steel hammers for ultimate strength. Full polished head that will never come off. Cushion grip for positive hole. Well balanced for extra power with less fatigue. Steel handle. Red handle for easy identification. nti-shock grip. Plain face SS16RN RIP HMMER 16OZ STINLESS STEEL E CH.OXZ SS20RN RIP HMMER 20OZ STINLESS STEEL E CY.CHX SS22RN RIP HMMER 22OZ STINLESS STEEL E LZ.VXZ PLUMB FIBERGLSS HNDLE RIP CLW HMMERS This is a premium hammer with Permabond handle to head construction. Cushion grip. Bell Face N F57R CLW HMMER 16 OZ E CV.ERX N F571R CLW HMMER 22 OZ E CH.VX PLUMB FIBERGLSS HNDLE RIP CLW HMMERS High-luster, full polished finish. Octagon shaped neck. Virtually unbreakable fiberglass handle. Contoured handle for increased comfort and reduced fatigue. Enlarged handle base for butting material. New grip material reduces handle slickness. Factory balanced for maximum striking power. Permabond construction between head and handle N NIL HMMER RIP 20 OZ FIBERGLSS E CR.RYX ESTWING STEEL HNDLE RIP CLW FRMING HMMERS ll steel construction. Exclusive nylon-vinyl deep cushion grip. Length: 16" approx E3-22S FRME HMMER SF 22OZ E OX.VX E3-28S FRME HMMER SF 28OZ E OL.EX E3-22SM FRME HMMER MF 22OZ E OC.EX E3-28SM FRME HMMER MF 28OZ E OV.LCX Hand & Power Tools Hammers and Mallets, Hammers, Rip Claw Hammers ESTWING STEEL HNDLE RIP CLW HMMERS Full polished, straight claw, leather grip. Steel handle E16S RIPPING HMMER 16OZ E L.ERX E20S RIPPING HMMER 20OZ E OL.CEX ESTWING STEEL HNDLE RIP CLW HMMERS Full polished, straight claw, nylon-vinyl grip, milled face. Steel handle E3-22SMR RIP CLW HMMER MF STEEL HNDLE 22IN E OZ.ZX ESTWING STEEL HNDLE RIP CLW HMMERS Full polished, straight claw, nylon-vinyl grip. Steel handle E3-16S RIPPING HMMER 16OZ E LZ.VX E3-20S RIPPING HMMER 20OZ E LR.CEX GRET NECK FIBERGLSS HNDLE STRIGHT HMMER Fiberglass provides extra strength. Drop forged construction HG16S STRIGHT HMMER 16OZ E XVX HG20S RIP HMMER 20OZ FIBERGLSS E Y.LRX HG24S HMMER W/FGL HDL 24OZ E CX.RVX GRET NECK 16 OZ. RIPPING HMMER Our highest quality. Contractor Series. Patented laser notched anti-slip hickory handle. Drop forged fully polished head SP16R RIP HMMER 16OZ W/WOOD E HNDLE CX.OCX NOVEMBER 5

7 Hand & Power Tools Hammers and Mallets, Hammers, Rip Claw Hammers HOWRD BERGER 16 OZ. RIP HMMER WITH FIBERGLSS HNDLE Drop-forged. Steel head. Rip head. Fiberglass handle RIP HMMER FBRGLS HNDLE 16OZ E 9.79 E.HEX VUGHN 10 OZ LITTLE PRO-INCH PROFESSIONL RIP HMMER Fully polished head, smooth face. Handle is white straight grain hickory for strength. Triple zone heat treating gives precise temper to striking face for accurate power blows. Extra large, crowned striking face for accurate power blows. Computer designed for superior balance to reduce fatigue #9 RIPPING HMMER-10 OZ E CV.XZZ Hammers and Mallets, Hammers, Tack Hammers GRET NECK MGNETIC TCK HMMER 5 oz. Drop forged construction. Magnetized, polished head. Wood handle MTH5 TCK HMMER E 7.47 V.OYX Hammers and Mallets, Hammers, Ball Peen Hammers STNLEY GRPHITE HNDLE BLL PEEN HMMERS Heat-treated high-carbon steel head for superior strength and durability. Rim Tempered process around the striking face minimizes chipping from off-center strikes. Patented head-to-handle assembly for a permanent fit. Molded jacket over graphite handle means maximum overstrike protection. Limited lifetime warranty BLL PEEN HMMER 16OZ JCKETED GRPHITE E CY.LRX VUGHN 20-OZ STRIGHT CLW HMMER Hollow-core fiberglass handle. Contoured slip-resistant grip. Straight claw ripping hammer. Generic Dimensions: -14" length. Dimensions: Overall Length End to End: 14". Overall Width Side to Side: 1.25". Overall Depth Front to Back: 5.75". Overall Product Weight: 1.8 Pounds FS999 RIPPING HMMER-20 OZ FIBERGLSS E LX.EX FS999ML RIPPING HMMER ML - 20 OZ FIBERGLSS E LV.RLX Hammers and Mallets, Hammers, Tack Hammers STNLEY WOOD HNDLE MGNETIC TCK HMMERS Forged head, black finish. Polished face, clear lacquered hickory handle. Magnetic tip. 3-3/4" head. 10-1/2" overall length MGNETIC TCK HMMER W/HICK HDL 5OZ E Y.XLX GRET NECK WOOD HNDLE BLL PEEN HMMER Genuine hickory handle. Drop forged head BP12 BLL PEEN HMMER 12OZ E 9.77 E.HVX BP16 BLL PEEN HMMER 16OZ E H.OLX BP24 BLL PEEN HMMER 24OZ E XCX BP32 BLL PEEN HMMER 32OZ E CX.XZZ VUGHN 16 OZ BLLPEIN HMMER WOOD HNDLE Handle is fitted to head by a steel wedge inserted under 3, 000 lbs of hydraulic pressure. Handle is wedged into the eye with wood and steel wedges. High carbon steel head. Dimensions: Overall Product Weight: 1.36 Pounds. Made in US TC016 BLL PEIN HMMER-12 OZ E CX.HYX NOVEMBER

8 Hammers and Mallets, Hammers, Ball Peen Hammers VUGHN 24-OUNCE COMMERCIL BLL PEIN HMMER Polished face, bevel, and pein. Head finished in rust resistant black paint. Compression wedge hickory handle. Concentrically ground, polished striking head and pein. Made in the US TC224 BLL PEEN HMMER 24 OZ E CO.CVX Hammers and Mallets, Hammers, Rigster Hatchets and Hammers Hand & Power Tools Hammers and Mallets, Hammers, Rigster Hatchets and Hammers FISKRS 14" HTCHET Ideal for chopping kindling and small- to medium-sized logs. Chops deeper with each swing to get more done faster. Perfected balance and power-to-weight ratio increases swing speed to multiply power, much like an aluminum baseball bat.shock-absorbing FiberComp? handle is lightweight yet stronger than steel to prevent overstrike damage. Textured non-slip grip reduces hand strain and improves control X7 SOFTGRIP HTCHET 14" E LH.EX PEX TOOLS PLUMB RIGSTER HTCHET Fully polished head. Checkered face. Sharp cutting edge. Hickory handle. Permabond construction between head and handle. 28 oz. head and 18 inch in length P PLUMB RIGSTER HTCHET CHECKERED FCE E LC.ZX VUGHN 28-OZ RIG BUILDERS HTCHET Wood handle. Drop forged high carbon steel. Large, milled, crowned face. 3-1/2" blade. 28 oz. head, 17" hickory handle. Hammers and Mallets, Hammers, Drywall Hammers GOLDBLTT WOOD HNDLE DRYWLL HMMERS Checkered head. Properly rounded and checkered 13 ounce head. Hickory handle. Wedge shaped blade. Made of steel G05164 CHECKERHED HMMER 12OZ E LC.LCX RB-RIG BUILDERS HTCHET-28 OZ E LH.YHX Hammers and Mallets, Hammers, Shingler Hammers VUGHN 22-OZ CRPENTERS HLF HTCHET Half hatchet. Hickory handle. Full polished head. 3.5" Cut. Handle Material: Wooden. Hammer Type: Hatchet. Generic Dimensions: 1.5" H x 6.25" W x 13.88" D, 1.88 lbs SH2 CRPENTERS HLF HTCHET-22 OZ E C.YXZ ESTWING STEEL HNDLE SHINGLER'S HMMERS For cutting and applying shingles. For use with both Metric and Standard shingles. Full polished, nylon-vinyl grip. Milled head. Replaceable blade and gauge. 1-13/16" cutting edge. 12-1/2" overall length E3-C SHINGLERS HMMER E OL.HX NOVEMBER 7

9 Hand & Power Tools Hammers and Mallets, Hammers, Brick Hammers PLUMB FIBERGLSS HNDLE BRICK HMMERS Forged head. Polished face, chamfer, bit and back. Fiberglass handle with comfortable cushion grip. Permabond. 1-1/16" Wide Bit. 12-1/4" Length. ITEM # DESC INFO SP UOM PRICE FB15 BRICK HMMER 15 OZ 1-1/16" WIDE E LX.CLX BRICK HMMER 24OZ FIBERGLSS 1/4"" LENGTH" 1-1/8" WIDE BIT\LINE13"" LENGTH" E CY.YCX Hammers and Mallets, Hammers, Brick Hammers VUGHN 24-OUNCE BRICKLYERS HMMER Bricklayer's Hammer has highly polished striking head, sides and blade. Square, flat face with beveled edges. vailable with select, 11-1/2" flame-treated hickory handle, double wedged and epoxy sealed. Steel Eagle solid steel handle with patented Shock-Blok plug in head, or fiberglass handle with shock absorbing, hollow core and cushion grip BL24 BRICK HMMER 24 OZ E LC.YX PLUMB BRICK/PROSPECT FIBERGLSS HNDLE HMMERS Fiberglass handled prospecting pick. Forged head. Polished face, chamfer and back. Fiberglass handle with cushion grip. Permabond handle attachment. Known as the Rock Hound hammer. Overall length is 12-1/2 inches PROSPECT HMMER 16 OZ E CY.HEX PLUMB WOOD HNDLE BRICK HMMERS Forged head. Durable black enamel finish. Sharp cutting bit. Strong hickory handle with Permabond process. 24 oz. head. 11" overall length P BRICK HMMER 24 OZ E CH.CZX ESTWING STEEL HNDLE MSON HMMERS Fully polished. Nylon-vinyl grip E3-20BLC MSON HMMER 20OZ E LH.HRX E3-24BLC MSON HMMER 24OZ E LY.OZX GOLDBLTT BRICK HMMER Made of high grade forged hammer steel. Use to set and cut bricks, masonry, tile and concrete blocks. Comfortable hardwood handle is carefully fitted G01153 BRICK HMMER 16OZ E CH.LEX GRET NECK BRICK HMMER Ideal for cutting and setting brick, stone, and masonry. Made of high grade hardened and tempered steel for strength and durability with a chisel edge rust resistant finish. n ergonomic rubber grit handle prevents slippage. 20 oz. ITEM # * DESC SP UOM PRICE NEW BR20 BRICK HMMER E CX.VRX Hammers and Mallets, Hammers, Chipping Hammers HOT MX CHIPPING HMMER Straight head. Used in arc welding CHIPPING HMMER STRIGHT HED E 5.76 V.LXZ Hammers and Mallets, Hammers, Dead Blow Hammers ESTWING STEEL HNDLE DED BLOW HMMERS One-piece hot cast polyurethane construction. Steel cannister and rod are welded together for strength and safety. Fully encased in polyurethane. Comfortable vinyl grip. Power from within through movement of hundreds of steel shot for maximum power and control. 2" or 51mm. 4-1/8" or 105mm head length. 12-3/4" overall length. Weight is 27 ozs E DED BLOW HMMER E LR.XZ NOVEMBER

10 Hammers and Mallets, Hammers, Drilling GRINTEX DRILL HMMER Hammers Drop forged head. Epoxy bonded. Heat treated and tempered. 10.5" handle HMMER DRILL 4LB 10INFB E CX.LCX HMMER DRILL 4LB 10IN E CX.CYX SEYMOUR WOOD HNDLE DRILLING HMMERS Drilling hammers are used to strike cold chisels, punches,star drills, brick chisels, and hardened nails. They are designed to deliver heavy blows with limited swing in tight spaces. Chamfered edges with 10-1/2 inch hickory handle HD-2 DRILLING HMMER 2LB W/10-1/2IN HICKORY HDLE E H.LOX MES JCKSON HND DRILL HMMER 4 pound double face hammer head. Used with chisels, punches, star drills and hardened nails. Permits heavy blows with limited swing inch hickory handle for strength and durability DRILLING HMMER HICKORY 10.5IN HDL 4LB E CZ.ROX STNLEY FTMX NTIVIBE ENGINEERING HMMER Ideal for striking wood, metal or stone. ntivibe technology minimizes vibration and shock at impact. Exclusive rim temper reduces incidences of chipping at impact. Forged, one-piece steel construction for strength and durability. Slip-resistant handle for a secure grip and comfort. Precision balanced. Overall length: 15 inches ENGINEERING HMMER NTIVIBE 3LB E LH.CRX Hand & Power Tools Hammers and Mallets, Hammers, Drilling Hammers VUGHN & BUSHNELL SOLID STEEL HND DRILLING HMMER The right hammer for striking star drills, cold chisels, brick chisels and punches. Broad, polished striking faces with generous bevels HMMER DRILL 4LB 10IN E CZ.OX HMMER DRILL 4LB 10INFB E CL.VXZ Hammers and Mallets, Hammers, Cross Peen Hammers SEYMOUR WOOD HNDLE CROSS PEEN HMMER Cross peen (or blacksmith) hammers are used to strike, shape, and bend unhardened metal. lso used to shape block, brick, and stone. Chamfered edges. 16 inch hickory handle HB-2 CROSS PEEN HMMER 2LB W/16IN HICKORY HDLE E H.VOX HB-3 CROSS PEEN HMMER 3LB W/16IN HICKORY HDLE E XZ Hammers and Mallets, Hammers, Engineers Hammer PYTHON 3 LB. ENGINEER HMMER Drop forged and hardened carbon steel head for superior wear and long service life. Double faced head with polished and chamfered edges to prevent chipping. Genuine merican hickory handle absorbs shock. Double wedge assembly for permanent head-handle HMMER ENGINEERS W/WOOD HNDLE 3LB E CX.LOX SEYMOUR MIDWEST ENGINEERS HMMER Engineers hammers (short handle sledges) are used to strike stone, concrete, metal, and wood. Often used to drive stakes and rods or move timbers. Chamfered edges. 16 inch hickory handle HE-2 ENGINEER HMMER 2LB W/16IN HICKORY HNDLE E H.ORX NOVEMBER 9

11 Hand & Power Tools Hammers and Mallets, Hammers, Sledge Hammer MES JCKSON FIBERGLSS ENGINEER HMMER Features a 16-inch blue fiberglass handle and a 4-pound double face forged steel hammer head, perfect for heavy hammering or demolition work. Makes driving spikes or wedges easier. Great choice for personal or professional use SLEDGE HMMER DF FBGL 16IN HDL 4LB E CV.OEX MES JCKSON SLEDGE HMMER 3 lb. engineer hammer with 16 in. hickory handle. Steel head. Perfect for heavy hammering or demolition work SLEDGE HMMER 16IN HRDWPPD HDL 3LB E CX.RX Hammers and Mallets, Hammers, Sledge Hammer GRINTEX FIBERGLSS SLEDGE HMMER Drop forged head. Heat treated and tempered. Epoxy bonded. Fiberglass handle with rubber grip HMMER SLGE 2LB 16INFG E ELX HMMER SLGE 3LB 16INFG E Y.VZX HMMER SLDGE 4LB 16INFG E CX.RLX HMMER SLDGE 6LB 36INFG E CH.YHX HMMER SLDGE 8LB 36INFG E LC.RLX HMMER SLDGE 10LB 36IN E LE.CEX HMMER SLGE 12LB 36INFG E LH.OHX HMMER SLGE 16LB 36INFG E OV.HOX SLEDGE HMMER 20LB 36IN FIBERGLSS HDL E OY.XX SEYMOUR STRUCTRON FIBERGLSS HNDLE SLEDGE HMMERS Drop forged, heat treated steel head with milled face. Chamfered edges. 36 inch double-injected fiberglass handle SH-6FG SLEDGE HMMER 6LB W/36IN FIBERGLSS HNDLE E LO.XCX MES JCKSON SLEDGE HMMER Double faced sledge hammer features a 36-inch fiberglass handle. The hammer is used for general sledging operations in striking wood, concrete, metal and stone. Traditional hickory will not splinter and will last for years to come SLEDGE HMMER DBL FCE 36IN HDL 8LB E LO.RYX SLEDGE HMMER DF FBGL 36IN HDL E LB LR.RLX GRINTEX WOOD HNDLE SLEDGE HMMER Drop forged head. Heat treated and tempered. Epoxy bonded. Hickory handle HMMER SLGE 2LB 16INWD E Y.CVX HMMER SLGE 4LB 16INWD E Y.YZX HMMER SLGE 6LB 36INHIC E CY.XEX HMMER SLGE 8LB 36INHIC E LV.VOX HMMER SLGE 10LB 36INWD E LE.VXZ HMMER SLGE 12LB 36INWD E LH.RVX HMMER SLGE 16LB 36INWD E OV.HOX HMMER SLGE 20LB 36INWD E OY.XX SEYMOUR SMRT BUY DOUBLE FCE SLEDGE HMMER Promotional quality. Chamfered edges. 36 inch hickory handle SH-8P SLEDGE HMMER DB FCE 8LB E CH.VHX NOVEMBER

12 Hammers and Mallets, Hammers, Sledge Hammer MES TRUE TEMPER SLEDGE HMMER This double faced sledge hammer is proudly Made in the US. It features a 36 inch hickory handle for maximum strength and shock resistance. The head is forged from high-carbon steel and tempered for long life. The striking face is heat-treated for the hardness to withstand many years of heavy blows SLEDGE HMMER SLIP EYE 6LB TRUE MER E LX.LCX SLEDGE HMMER SLIP EYE 8LB TRUE MER E LZ.LZX SLEDGE HMMER SLIP EYE 10LB TRUE MER E LR.XRX SLEDGE HMMER SLIP EYE 12LB TRUE MER E LY.OHX SLEDGE HMMER DF HICKORY 36IN HDL 16LB E OV.ROX SLEDGE HMMER HICKORY 36IN HDL 20LB E VC.RXZ Hand & Power Tools Hammers and Mallets, Hammers, Sledge Hammer MES RZOR BCK FIBERGLSS HNDLE ENGINEER HMMER Forged steel hammer head. Features a 15" solid core fiberglass handle. Patented head to handle connection has a reinforced steel pin for improved safety. Great for concrete, tile & drywall demolition SLEDGEHMMER DBL FCE #4 15" FBRGLS HDLE E LO.HEX SLEDGEHMMER DBL FCE#6 34" FBRGLS HDLE E OZ.LRX SLEDGEHMMER DBLE FCE#8 34"FBRGLS HD E OR.CZX SLEDGEHMMER DBLE FCE#10 34"FBRGLS H E VL.HZX SLEDGEHMMER DBLE FCE#12 34"FBRGLS H E VE.EX SLEDGEHMMER DBLE FCE#16 34"FBRGLS H E EX.VOX Hammers and Mallets, Mallets, Rubber Head Mallets JMK/IIT 3 LB. SLEDGE HMMER Drop forged, high impact BS handle. Soft cushion TPR rubber grip for a firm, comfortable hold. 3 lb. head. 1/2" length HMMER SLDGE BS BLK 3LB E CX.CX SLDGE HMMR 4# DR 16" HICKORY HNDL JKSN E CZ.HEX STNLEY WOOD HNDLE RUBBER MLLETS Tough rubber head molded to a lacquered handle RUBBER MLLET 18OZ W/WOOD HDL E CX.OHX VUGHN & BUSHNELL SUPERSTEEL DOUBLE FCED SLEDGE HMMER Polished faces with generous bevels. Rust resistant powder coat finish on both sides HMMER SLDGE 4LB 16INWD E CZ.VCX HMMER SLDGE 4LB 16INFG E CO.CHX HMMER SLDGE 8LB 36INHIC E LZ.ERX HMMER SLDGE 8LB 36INFG E LH.RLX GRET NECK WOOD HNDLE RUBBER MLLET Professional quality. Wood handle RM8 RUBBER MLLET 8OZ E 2.52 C.VRX RM16 RUBBER MLLET 16OZ E 4.03 L.OHX RM32 RUBBER MLLET 32OZ E 5.94 O.EXZ NOVEMBER 11

13 Hand & Power Tools Hammers and Mallets, Mallets, Plastic Tip Mallets STNLEY WOOD HNDLE PLSTIC TIP HMMERS Replaceable tips are made of tough plastic that won't mar finely finished surfaces. Handles are made of hickory and securely locked in oval eye body. Lacquered handle. Plastic tips are replaceable. 12" handle SOFT FCE HMMER 80Z W/12IN HNDLE E CR.HLX Mauls, xes and Wedges, Mauls, Splitting Mauls SEYMOUR SMRT BUY SPLITTING MULS Promotional quality, sledge eye head. 36 inch hickory handle SM-6P MUL SPLITTING STEEL 6LB E CH.VHX Mauls, xes and Wedges, Mauls, Splitting Mauls MES TRUE TEMPER LICKETY SPLITTER MUL The Lickety Splitter wood splitter cuts wood fast and easily with its heftyhitting 12-pound head. This tool has a durable design, featuring a 34-inch steel handle with a molded polypropylene cover for ultimate strength. It also has rubber hand grip for comfortable hand placement. Eye size is 1 inch x inches MUL LICKETY SPLITTER 12LB TRUE MER E OR.LOX MES TRUE TEMPER LRGE EYE MUL 8-pound maul with 36 inch hardwood handle and handle guard for overstrike protection. Used for splitting wood in conjunction with woodsplitting wedges by first making a notch with the splitting edge and then driving the wedge into the wood with the maul's striking face SPLIT MUL 8LB TRUE MERICN E LV.LX MES TRUE TEMPER LRGE EYE MUL 6 lb. 36 inch hickory handle with handle guard. MES TRUE MERICN 6 LB TRUE MERICN? WOODSPLITTER MUL Large-eye. Used to split wood logs. Durable design provides extra strength and durability. Drop-forged steel head. Red fiberglass handle WOOD SPLITTER MUL 6LB RED FGL HNDL E LR.XZ GRINTEX WOOD SPLITTING MUL Wood splittling maul. Drop forged, heat treated steel. Epoxy bonded MUL SPLIT 6LB 36INFGHD E CH.LHX MUL SPLIT 8LB 36INFGHD E C.EX MUL SPLIT 6LB 36INHIC E CR.ERX MUL SPLIT 8LB 36INHIC E C.XYX WOOD SPLIT MUL 6LB HICK HDL T E LZ.EVX MES TRUE TEMPER XE EYE MUL The True merican axe eye wood splitter maul is proudly made in the US. The hickory handle absorbs shock before it reaches the user. Utilize tool for splitting wood in conjunction with woodsplitting wedges by first making a notch with splitting edges and then driving the wedge with the maul's striking head. The maul has a 36-inch hickory handle length and 6-pound head weight to withstand frequent use by a user T WOOD SPLIT MUL 6LB 36IN HICK HDL E LZ.OLX T WOOD SPLIT MUL 8LB 36IN HICK HDL E L.LOX VUGHN & BUSHNELL SPLIT MUL MUL SPLIT 6LB 36INHIC E LC.ZX MUL SPLIT 6LB 36INFGHD E LO.ECX NOVEMBER

14 Mauls, xes and Wedges, Mauls, Splitting Mauls MES RZORBCK FIBERGLSS SUPER SPLITTER Provides more splitting force with less weight, reducing fatigue. The #4 forged steel head is attached to a 33 inch fiberglass handle that ensures maximum control, strength, and durability. The balanced head provides for an easy and effective swing SUPER SPLITTER #4 33" FBRGLS HDLE E OZ.LRX MES RZORBCK FIBERGLSS HNDLE WOOD SPLITTING MUL Constructed with a 34-inch fiberglass handle and forged steel head. It has an exclusive sleek design with additional functionality, safety and control. The handle features a two piece overstrike slip eye connection, TPE over mold for better control, and non-slip rounded and flared end for more precision and safety. This is a great tool for professional and personal use. Utilize tool for splitting wood in conjunction with wood splitting wedges by first making a notch with splitting edges and then driving the wedge with the maul's striking head SPLITTING MUL, #8 34" FIBERGLSS HNDLE E OZ.LRX Mauls, xes and Wedges, xes, Camp xe Hand & Power Tools Mauls, xes and Wedges, xes, Camp xe SEYMOUR BOYS CMP XE Boys (house) single bit axes are lighter duty axes used to cut saplings, split kindling, trim branches, and prune trees. Single bit 1.25 lb. head. 14 inch hickory handle X-B1 XE SB BOYS CMP 14IN WD HDLE 1.25LB E CE.LOX GRINTEX BOYS CMP XE Drop forged head. Epoxy bonded. Heat treated and tempered. Hickory handle XE BOYS 2.5LB 28INHIC E CV.XVX GRINTEX CMP XE Fully polished head. Epoxy bonded. Heat treated and tempered. 14" handle XE CMP 1.25LB 15INFG E Y.XOX XE CMP 1.25LB 15INWD E EHX JMK/IIT FIBERGLSS CMP XE 2lb. Drop forged. High impact cushioned rubber grip. Fully polished. Plastic coated fiberglass handle XE CMP FBGL 2LB E CX.ZX MES TRUE TEMPER WOOD BUDDY MINER'S XE The 20-inch hickory handle and 3.5-pound axe head provide an effective swing. Use for trimming branches, pruning trees, splitting and cutting wood. Durable tool with a hickory handle that absorbs shock, has an integrallymolded handle guard, and overstrike protection MINERS XE 3-1/2LB E LC.CLX MES TRUE TEMPER CMP XE Forged heat-treated head for the ultimate in durability and safety. Ideal for digging up roots and breaking up hard soil and clay pound camp axe with fiberglass handle. Versatile tool useful for camping, gardening and hunting CMP XE 1.25 BLK FIBERGLSS E CL.CX MES TRUE TEMPER CMP XE 1.25 pound forged steel head. 14 in. hickory handle. It is used to chop small pieces of wood and clear branches from trees and shrubs CMP XE 1.25LB TRUE MERICN E CO.OCX NOVEMBER 13

15 Hand & Power Tools Mauls, xes and Wedges, xes, Camp xe LNSKY FIREFIGHTER'S BTTLE XE Designed to be the multi-purpose "sidearm" of choice for professional and volunteer firefighters alike. It has 1075 Tool steel blade, load bearing to 600 lbs. Handle is insulated up to 10,000 volts. Leather sheath. It also acts as a pry bar, gas valve wrench, hose wrench and impact tool X-911 BTTLE XE FIRE FIGHTERS E VY.ECX VUGHN & BUSHNELL CMP XE XE CMP 1.25LB 15INFG E Y.RVX XE CMP 1.25LB 15INWD E Y.VX Mauls, xes and Wedges, xes, Boys xe MES TRUE TEMPER BOYS XE 2.25 lb. single bit Boys axe. 28 inch hickory handle BOYS XE SC 2.25LB 28IN HICK HDL T E LX.OYX Mauls, xes and Wedges, xes, Single Bit xe SEYMOUR SMRT BUY MICHIGN SINGLE BIT XE Single bit. 3.5 lb. head. Promotional quality. 36 inch hickory handle X-3P XE MICHIGN SB 3.5LB W/36IN WOOD HDLE E CH.OXZ ESTWING 13-1/2" FORGED HUNTERS XE Hand sharpened edge; Cut and maintain tree stand area; Gut hook designed to field dress large game EBH HUNTERS XE E EV.LVX SEYMOUR MICHIGN SINGLE BIT XE Single bit. 3.5 lb. head. Promotional quality. 36 inch hickory handle X-3 XE MICHIGN SB 3.5LB W/36IN WOOD HDLE E LO.LCX ESTWING 14" CMPERS XE Fully-forged in one piece with the handy tent stake puller notch and Estwing?s patented Shock Reduction grip. Each axe comes with a durable nylon sheath. Forged in the US EO-25 14IN ORNGE CMPERS XE E OX.OX SEYMOUR PULSKI XE Pulaski axes combine a single bit axe blade with a mattock blade. This blade combination makes it ideal for firefighting and for a variety of landscaping applications. Single bit. 3.5 lb. head. 36 inch hickory handle X-P3 SINGLE BIT XE PULSKI 3-1/2LB 36IN HIC E LV.VYX MES RZORBCK FIBERGLSS HNDLE COMPCT XE versatile wood cutting and shaping tool. It features a #1.25 forged steel carbon head with a 14-inch fiberglass handle for ultimate strength and durability. This high performance axe is well balanced for efficient impact COMPCT XE, #1.25, 14"FIBERGLSS HN E CY.XZZ GRINTEX SINGLE BIT XE Single bit axe. Heat treated and tempered. 36" handle XE SB 3.5LB 36INFG HDL E CH.XLX XE SB 3.5LB 36INHIC HD E CH.VZX NOVEMBER

16 Mauls, xes and Wedges, xes, Single Bit xe MES TRUE TEMPER SINGLE BIT MICHIGN XE 3.5-pound single bit axe features a 36 inch hickory handle SGL BIT XE 3.5LB HICK HDL TRUE MER E LO.CYX Hand & Power Tools Mauls, xes and Wedges, xes, Double Bit xe GRINTEX DOUBLE BIT XE Double bit axe. Heat treated and tempered. 36" handle XE DB 3.5LB 36INFG HDL E CY.REX MES TRUE MERICN SINGLE BIT MICHIGN XE 3.5 Lb. Splitting xe. Used to chop wood and clear branches from trees and scrubs. Fiberglass handle. Forged steel axe head. Splitting xe. Handle: - Fiberglass. Dimensions: Handle length: 34 inches. Overall Length: Top to Bottom: 34 inches. Overall Width - Side to Side: 8 inches. Overall Depth - Front to Back: 1.5 inches. Overall Product Weight: 5.7 lbs XE MICH SB 3.5LB FGLS HNDL 34IN RED E LV.VYX MES RZORBCK SINGLE BIT MICHIGN XE Features a 33-inch fiberglass handle and a #3.5 forged steel head. This axe is ideal for trimming branches, pruning trees, and splittling wood. The durable fiberglass handle will last for years to come XE MICHIGN SINGLEBIT#3.5 33"FBRGLS E L.ECX FISKRS SPLITTING XE Ideal for splitting medium- to large-sized logs. Designed for maximum efficiency to give you more one-strike splits. Perfected balance and power-toweight ratio increases swing speed to multiply power, much like an aluminum baseball bat. Shock-absorbing FiberComp? handle is lightweight yet stronger than steel to prevent overstrike damage. Textured non-slip grip reduces hand strain and improves control X25 SPLITTN SOFTGRIP XE 28" E VH.VXZ X27 SUPER S LITTING SOFTGRIP E XE 36" EO.HLX VUGHN & BUSHNELL SINGLE BIT SPLITTING XE XE SB 3.5LB 36INFG HDL E LC.CX XE SB 3.5LB 36INHIC HD E LO.YHX SEYMOUR MICHIGN DOUBLE BIT XE Double bit. 3.5 lb. 36 inch hickory handle X-DB3 XE DB 36IN WOOD HDLE 3.5LB E LC.XZ MES TRUE TEMPER DYTON DOUBLE BIT XE The 3.5 pound double bit axe with 36-inch hickory handle has an integrally molded handle guard for overstrike safety DBL BIT XE 3.5LB HICK HDL TRUE MER E LR.HOX VUGHN & BUSHNELL DOUBLE BIT SPLITTING XE XE DB 3.5LB 36INFG HDL E LV.EVX XE DB 3.5LB 36INHIC HDL E LE.EX Mauls, xes and Wedges, Wedges, Splitting Wedges MES TRUE TEMPER TORPEDO SPLITTING WEDGE Perfect for efficient wood splitting with each strike by projecting force in four directions. 7 inch length and 4 pound head weight for durability. Forged steel wedge for durability SPLITTING WEDGE SCN 4LB E CZ.ERX NOVEMBER 15

17 Hand & Power Tools Mauls, xes and Wedges, Wedges, Splitting Wedges MES TRUE TEMPER WOOD SPLITTING WEDGE The wood splitting wedge is drop-forged steel that is used to split wood logs. This tool features square heads for striking and driving into the log. The 3- pound wedge is durable and painted black. 3-pound forged heat-treated steel for the ultimate in durability and safety. Used for splitting wood logs. Use with a sledge hammer or maul to drive into wood log. Durable design to withstand industrial use SPLITTING WEDGE 3LB E H.YXZ Mauls, xes and Wedges, Wedges, Splitting Wedges OREGON WEDGE - FOR FLLING For falling - not for splitting. Plastic wedge helps to control direction of tree fall. Prevents saw binding in cut WEDGE FOR FLLING E 6.69 V.VZX MES TRUE TEMPER WOOD SPLITTING WEDGE Square head splitting wedge. 4lb. head inches wide WOOD SPLITTING WEDGE 4LB T E CX.LVX VUGHN & BUSHNELL SPLITTING WEDGE MES TRUE TEMPER WOOD SPLITTING WEDGE 5-pound forged heat-treated steel for the ultimate in durability and safety. Used for splitting wood logs. Use with a sledge hammer or maul to drive into wood log. Durable design to withstand industrial use WOOD SPLITTING WEDGE 5LB E CL.OCX GRINTEX BLSTER WOOD SPLITTING WEDGE Heat treated and tempered. Drop forged. Grade #45 steel construction. Ideal for splitting logs with efficiency and precision. Strong and durable WEDGE WOOD SPLIT 4LB E Y.YLX GRINTEX SQURE HED WOOD SPLITTING WEDGE Wood splitting wedge. Square head WEDGE WOOD SPLIT 4LB E H.RCX WEDGE WOOD SPLIT 5LB E Y.XX WEDGE WOOD SPLIT 5LB E CZ.XX Mauls, xes and Wedges, Peavies and Hooks, Peavies BRON MFG. HNDLE SOLID SOCKET PEVIE Peavies solid socket, driven pick with professional hardwood handle. Duckbill hooks are drop forged high carbon steel with the bill ground to a fine point. Features a drawn carbon steel socket, and a pick forged from high carbon steel before being driven into handle. Socket held securely in place with special retaining tab forged into pick. Handle turned from select white mountain hickory or rock maple, air dried to 18? moisture contact and precision fitted. Heads are painted, handles are clear lacquer finished. Note: not to be used as a wedge or prybar. Load must be applied in direction of handle brand mark. Flexing handle in a perpendicular direction of grain may cause handles fracture and result in personal injury PEVY 2-1/4X3FT E ER.EXZ PEVY 2-1/2 X4FT E RH.XX NOVEMBER

18 Mauls, xes and Wedges, Peavies and Hooks, Cant Hooks BRON MFG. HRDWOOD HNDLE CNT HOOK Cant 7/16"x7/8" duckbill hooks are drop forged with the bills ground to a fine point. Clasps and extension toe rings are ductile iron castings for long lasting service. Handles are White Mountain Hickory, air dried to 18 degree moisture content, then precisioned cut to an exact fit. Heads are painted; handles are clear lacquered finished. For log sizes 6" to 16" long. NOTE: Not to be used as a wedge or pry bar. Load must be applied in direction of handle brand mark. Flexing handle in a perpendicular direction of grain may cause handle fraction and result in personal injury CNT HOOK 2-1/4X3FT E EZ.VEX CNT HOOK 2-1/4X3-1/2FT E EH.YXZ CNT HOOK 2-1/4X4FT E RL.EX Hand & Power Tools Mauls, xes and Wedges, Peavies and Hooks, Log Lifter Hook BRON MFG. 2-1/4' X 3-1/2' LOG LIFTER Log jacks dual purpose cant/jack professional quality 2-1/4"x3-1/2' hardwood handle. Easily converts into a Cant hook by removing the lifting brace. Duckbill hook 7/16"x7/8"x8" drop forged steel. Handle made from top quality Mountain Hickory, air dried to 18? moisture content. Ideal for log sizes 3 to 12". Weight: 11 lbs LOG JCK 2-1/4X3-1/2FT E ER.EXZ Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Nail Pullers JMK/IIT NIL PULLER 12", single end nail puller. 5/8" stock size NIL PULLER 12IN E 4.91 L.YX Mauls, xes and Wedges, Peavies and Hooks, Skid Tong Hook BRON MFG. OPEN SKID TONG WITH GRB HOOK Forged from round steel to position additional steel at critical stress areas. Points are fine ground to assure long lasting sharpness. Tongs 3/4 in. and 1 in. are supported by special tong shut; tongs 1-1/4" use screw pin anchor shackles. Specially shaped to grab and hold poles and logs for skidding and dragging operations, not for lifting. Painted blue. NOTE: Designed for pulling or dragging. Skidding tongs are not load rated and should not be used for overhead lifting. Do not heat points to sharpen them. Swivel grab SKIDDING TONG W/ 3/8IN SWVL GRB HOOK 16 E VY.XCX SKIDDING TONG W/ 3/8IN SWVL GRB HOOK 20 E YC.OVX SKIDDING TONG W/ 3/8IN SWVL GRB HOOK 32 E CZL.EYX GRET NECK TCK PULLER Has a rustproof plated blade firmly imbedded in a tough plastic handle and smoothly polished back and face. The full 1/4-inch thick heavy duty shank lifts tacks, small nails, and brads TL4C TCK LIFTER CD 3.72 L.LOX STNLEY WORKS 11-INCH NIL PULLER Double-end puller features 90 degree and 30 degree offset claws. Fully sharpened claw tips. Heat-treated for durability. Limited Lifetime Warranty NIL PULLER 11IN N E CZ.VX VUGHN BER CLW NIL PULLER Forged, tempered steel with flat claw for easy wedging and minimal wood damage. Rocker head gives excellent leverage. Rust resistant finish BC12 NIL PULLER 11-3/4IN E CL.YZX NOVEMBER 17

19 Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Claw Bars STNLEY WORKS STEEL CLW BR Ideal for precision nail pulling and prying. Polished, beveled claws for precise penetration. Ergonomic grip provides a better grip and protects from extreme temperatures. Forged, highcarbon spring steel for extreme strength and durability. Flat striking face allows claw to be driven under deeply embedded nails. Tempered for safety and heat treated for durability FMHT55008 FT MX 10IN CLW BR E YX STNLEY NIL CLW BR Heat-treated forged steel. Special extracting claw has beveled nail slot. Length /4". Stock size: 9/16" NIL CLW BR 10-1/4IN E 9.67 H.LHX STNLEY BOSTITCH CLW BR Made of forged, high carbon spring steel for extreme strength and durability. Flat striking surface and polished beveled claws. Great for demolition, roofing, flooring and framing. Ergonomic grip provides a better grip and protects from extreme temperatures CLW BR 12IN BOSTITCH E CZ.RX STNLEY RIPPING CHISEL Handyman. Carbon steel/offset pattern. Beveled nail slots on both claws. Cutting edges? 1-13/16", 1-1/2". Stock size: 11/16" RIPPING CHISEL 18IN OFFSET PTTERN E 8.06 R.CXZ Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Claw Bars STNLEY PRECISION CLW BR Ideal for precision nail pulling and prying. Polished, beveled claws for precise penetration. Flat striking face allows claw to be driven under deeply embedded nails. Forged, high-carbon alloy steel for long life. Tempered to help reduce chipping CLW BR 10IN E CX.LHX STNLEY PRECISION CLW BR Ideal for precision nail pulling and prying. Polished, beveled claws for precise penetration. Flat striking face allows claw to be driven under deeply embedded nails. Forged, high-carbon alloy steel for long life. Tempered to help reduce chipping CLW BR 12IN E CO.LXZ GRET NECK NIL CLW Drop forged construction. Comfortable rubber grip NC11 NIL CLW RUBBER GRIP -DROP FORGED E 4.94 L.YCX Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Utility Bars STNLEY FTMX UTILITY BR 4-in-1 tool for prying, splitting, board bending and striking jobs. 2.5 lbs. - fits easily in the hammer loop. One piece forged steel bar for increased durability. Two-tiered jaws for grabbing common dimensional lumber & decking. Beveled nail slot for pulling and prying nails. Textured grip for excellent comfort & control, even when wet. Tempered steel that prevents chipping. 15" L UTILITY BR FTMX 2.5LB E CY.VOX STNLEY PRECISION CLW PRY BR Double ended nail puller. Forged high-carbon steel. Heat treated for durability. Polished, beveled claws allow precision nail pulling and prying. Flat striking face allows claw to be driven under deeply embedded nails PRECISION CLW BR 8IN E EYX OLYMPI UTILITY MINI BR 7 inch utility bar. Durable steel design corrosion resistant finish. Claw head striking tip inch L x 1.00 inch W x 6.89 inch H UTILITY MINI BR 7IN CD 2.59 C.EVX NOVEMBER

20 Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Wrecking Bars STNLEY RIPPING BR Forged Hexagonal Steel. High carbon steel for extra strength. Chisel end beveled. Claw and chisel end polished, claw slotted RIPPING BR 18IN FORGED HEXGONL STEEL E 7.08 E.VXZ STNLEY FTMX WRECKING BRS Cross-sectional. Larger than 3/4" hex bar. Flat "U" shaped prying end. Provides lifting without damaging surfaces. Forged recesses for better grip. Tri-Lobe cross section for greater comfort. dditional slot specifically for pulling nails. Hi-visibility yellow paint WRECKING BR 14IN FTMX E 9.27 R.YX WRECKING BR 24IN FTMX E CZ.CRX WRECKING BR 36IN FTMX E CO.VOX STNLEY BOSTITCH SPRING STEEL WRECKING BR Ideal for heavy duty demolition work. Heat-treated 3/4" diameter spring steel for extreme strength and durability. Low weight for ease of use. Precision ground edge for better penetration. Flat striking surface. Slotted claw and beveled ends WRECKING BR SPRING STEEL 24IN E CL.CZX WRECKING BR SPRING STEEL 36IN E CV.XZ Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Wrecking Bars MES TRUE TEMPER GOOSENECK WRECKING BR Made of quality steel for longevity. 3/4 in bar stock. This tool is used to lever, remove nails, pry boards, and generally break things. It also has a single curved end and flattened points with a small slot on both ends for removing nails WRECKING BR GOOSENECK 24IN E 8.59 R.VRX WRECKING BR 30IN E H.ZX WRECKING BR GOOSENECK 36IN E Y.XEX GRET NECK WRECKING BR High grade, heat treated hex shank steel. Nail pulling claws and chisel ends. 5/8" Hex Shank WR18 WRECKING BR 18IN E 7.34 V.LOX WR12 WRECKING BR 1/2X12IN E 5.75 O.VCX WR24 BR WRECKING BR 3/4X24IN E Y.CXZ WR30 BR WRECKING BR 3/4X30IN E CZ.HLX WR36 WRECKING BR 3/4X36IN E CZ.LXZ JMK/IIT WRECKING BRS 12" heavy duty. High grade, heat treated hex shank steel. Nail pulling claws and chisel ends. 1/2" Hex Shank BR WRECKING HD 12IN E 4.94 L.YLX MES TRUE TEMPER GOOSENECK WRECKING BR Made of quality steel for longevity. 3/4 in bar stock. This tool is used to lever, remove nails, pry boards, and generally break things. It also has a single curved end and flattened points with a small slot on both ends for removing nails BR WRECKING GOOSENECK E LZ.XHX GRINTEX WRECKING BR Drop forged, heat tempered BR WRECKING 24IN E 8.52 E.HXZ BR WRECKING 36IN E H.RZX BR WRECKING 48INX1IN E CY.EX NOVEMBER 19

21 Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Wrecking Bars VUGHN 5-1/2" MINI PRY BR Double polished hammer faces. Double Utility Bar. Chrome Finished. For prying and lifting boards, loosening nails. Rocker head. Heads are drop forged and perfectly heat treated for extra strength. This Pry Bar has a Unique angle & length that allows a user to remove nails much easier MINI BR-5-1/2IN E 3.79 L.EX Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars STNLEY BOSTITCH MOULDING BR Designed for the professional or serious do-it-yourselfer. 10" moulding bar is made of forged, high carbon spring steel for extreme strength, durability and tempered for safety. Flat striking surface and beveled claws. Ergonomic grip provides a better grip and protects from extreme temperatures MOULDING BR 10IN E Y.LVX VUGHN 15" ORIGINL SUPERBR Original SuperBar is an essential tool for homeowners and tradesmen. "Shepherd's Crook" rocker head design for maximum prying power; 21" length provides excellent leverage. Useful for prying molding, scraping and pulling nails. Forged, spring tempered steel for heavy duty use. Three beveled nail slots; polished, sharp blades for easy insertion B215 SUPERBR-15IN E Y.LHX B215L SUPERBR-21IN E CX.YX Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Board Benders OLYMPI FLT PRY BR - GORILL BR 15 inch. Industrial. The one bar that does it all-and more. Use for: ripping bar, utility bar, wrecking bar, T- type wrecking bar, nail puller. Leverage power increased over 50%. Wider, flatter claw for better control. Resists sink into support surface and prevents sideways roll. Oval shaped shank with rounded edge and large circumference. High grade, one-piece forged steel construction. Heat treated for strength and durability UTILITY BR 15IN E 4.49 L.REX STNLEY SUPER WONDER PRY BR Extra long length for extra reach and more leverage. Tightly radiused bend angle for precise positioning. Extra long tongue for better grip and longer reach for hard-to-get-at places. rch in center of bar gives more swing during nail pulling-no need for a wood block. Works as a panel lift: position pry end under panel, press down radiused end with foot, hands-free operation. 15-1/2" Length, Blade Width Is 1-3/4". ITEM # DESC INFO SP UOM PRICE PRY BR 15IN SUPER WONDER BR 15-1/2" LENGTH E HRX WONDER BR 21IN 21" LENGTH E CX.YLX STNLEY BORD BENDER Designed by builders to straighten deck and joist boards faster and easier. Extra heavy duty, 5/8" high carbon steel bar for extra strength and durability. Cushioned handle designed for kneeling to maintain pressure - frees both hands for nailing BORD BENDER 5/8IN STEEL BR E OH.LX STNLEY WONDER BR PRY BR Forged tool steel for extra toughness. Contoured bar has polished and beveled cutting edges and nail slots on both ends. Ideal for pulling nails, prying, lifting, scraping. Overall length /2". Blade Width: 1-3/8" PRY BR 12-3/4IN 13-3/8IN E 6.70 E.XVX NOVEMBER

22 Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars STNLEY PRECISION MOLDING PRY BR Nail puller - chisel scraper. Forged high-carbon steel. Heat treated for durability. Tempered for safety. Polished, beveled claw allows precision nail pulling and prying. Flat striking face allows claw to be driven under deeply embedded nails PRECISION MOLDING BR 8IN E RCX Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars GRET NECK MINI PRY BR 5". Double ended pry bar. Heat treated for strength and durability MIB5 MINI PRY BR E 4.06 L.VLX MIB7 MINI PRY BR 7IN E 3.55 L.CXZ STNLEY WONDER BR PRY BR Made of the finest tempered steel with nickel plated finish. Convenient size. Individually carded. 7/8" blade width. 7" overall PRY BR/ WONDER BR 7IN E 4.33 O.LRX JMK/IIT FLT PRY BR 18" flat pry with curve. Drop forged, heat treated steel construction. Bar and claw angle allows closer use near walls. Wide, flat claw base resists sink and sideway roll. Black micro sanding finish adds strength and resists rust. Meets or exceeds NSI specs FLT PRY BR W/CRV 18IN E 7.42 V.OX GRET NECK VERSBR PRY BR 15". Forged in one piece. Hardened & tempered for added strength and longer durability CVB15 VERSBR PRY BR 15IN E 5.87 O.VEX STNLEY PRECISION MOLDING BR Ideal for reducing material damage when prying molding and trim. Polished flat surface and beveled claws for precise penetration. Forged, high-carbon spring steel for extreme strength and durability. Tempered to help reduce chipping. Heat treated MOLDING BR 10IN N E CX.CHX HYDE WONDER BR PRY BR Quality high carbon steel tool to pry off mouldings, open boxes, scrape, pull out nails. Tool is 9-1/2". Card packaged BR PRY / SCRPER E 7.99 R.XCX HOWRD BERGER PRY BR Forged alloy steel. Enameled. Bevel ground edges. 1-1/4" x 15". Heavy-duty GCVB15 PRY BR HEVY DUTY 15IN E 4.35 L.EOX PEX CRESCENT DJUSTBLE PRY BR/NIL PULLER djustable jaws slide and clamp to fit onto objects for straightening and prying. Crow bar end with nail puller slot. Striking hammer head surface slot. Striking hammer head surface for striking. Large claw on head that adjusts for leverage in pulling nails DB16 PRY BR DJUSTBLE 16IN FLT BLCK E LV.OVX DB18X INDEXING PRY BR CRESCENT 18IN FLT BLCK E LX.LZX DB24 PRY BR DJUSTBLE 24IN FLT BLCK E L.VX DB30X INDEXING PRY BR CRESCENT 30IN FLT BLCK E LE.XEX NOVEMBER 21

23 Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars PEX CRESCENT INDEXING BULL BR The double fork design provides balanced lift on both sides of the nail. Boards are removed faster, cleaner and with less effort. Rugged indexing joint allows for maximum flexibility and increased leverage. Patent-pending center nail puller offering better balance and more leverage. Precision tips designed for fast access between boards and reduced damage for reclaiming materials. Gripping teeth on forks assist in preventing board slippage. Dimensions: 44in x 5.5in x 2in (L x W x H) DKB44X INDEXING BULL BR -CRESCENT 44IN E HY.XRX Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars WILDE TOOL 3-PC HNDLE PRY BR SET Square Stock Steel, Bent Tip black oxide finish. It's of durable quality and highly efficient. Handle Type. Set consists of 1 ea: 7", 12" 18" HPB3-SQ.B/CC SET 3-PC HNDLE PRY BR E LE.VEX PEX CRESCENT FLT PRY BR Precision ground ends for nail pulling with less material damage. Nail slot in end and center for access to pulling nails. Durable high visibility. Red finish is corrosion-resistant FB13 PRY BR FLT CRESCENT 13IN RED E 9.75 H.OZX FB15 PRY BR FLT CRESCENT 15IN RED E CX.VEX FB7 PRY BR FLT CRESCENT 7IN RED E 6.49 V.YX WILDE TOOL JIMMY PRY BR Natural finish. Made in the US JB2032.NP/HT PRY BR JIMMY 5/8" X 16" E COX JB2832.NP/HT PRY BR JIMMY 7/8" X 30" E CH.ECX PEX CRESCENT MOLDING NIL REMOVL PRY BR Striking face has ground surface for precision nailing. Precision ground ends for nail pulling with less material damage. Nail slot in both claw and pry ends for access to pulling. Durable high visibility red finish is corrosion-resistant MB10 MOLDING PRY BR CRESCENT 10IN RED E CZ.VCX MB12 MOLDING PRY BR CRESCENT 12IN RED E CO.HZX MB8 MOLDING PRY BR CRESCENT 8IN RED E OZX WILDE TOOL HNDLE PRY BR Square Stock Steel, Bent Tip black oxide finish. It's of durable quality and highly efficient. Handle type HPB12-7.B/HT PRY BR W/ HNDLE 12" E 9.72 H.OCX HPB16-18.B/HT PRY BR W/ HNDLE 25" E CZ.XOX HPB20-28.B/HT PRY BR W/ HNDLE 36" E CE.RYX WILDE TOOL LINE-UP PRY BR LB832.NP/HT LINE UP BR 1/4" X 16" E 8.97 R.HEX Wrecking, Claw, Pry and Digging Bars, Digging Bars, Digging Bars PYTHON BY GRDEX POST HOLE DIGGING BR Forged high carbon steel. Heat treated. Straight handle. 1" x 69" shank. Tamper head and chisel point BR DIG POSTHOLE 17LB E LE.LEX NOVEMBER

24 Wrecking, Claw, Pry and Digging Bars, Digging Bars, Digging Bars GRINTEX SN NGELO DIGGING BR Heat treated carbon steel. Flat chisel and pencil point. 1" hex CHISEL BR 14LB E LO.EYX BR DIGGING 17LB E LV.HYX Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Digging Bars, Crow Bars GRINTEX WEDGE POINT CROWBR 1" x 1/4" x 60". Rounded handle & wedge point. High carbon steel. Heat tempered BR CROW PINCH PT 18LB E OX.HEX MES TRUE TEMPER SN NGELO BR 60 inches long and weighs 14 pounds. This heavy-duty San ngelo bar is dropforged, heat treated carbon steel. Made of quality material that provides for strength for clearing rocks and roots from postholes and ditches BR SN NGELO 14LB E LR.RVX BR SN NGELO 72IN 17LB E LH.CX Wrecking, Claw, Pry and Digging Bars, Digging Bars, Crow Bars MES Drop forged, high grade steel hex bar. Heat treated. 14 lbs. 60" L x 1"" W hex shank diamond point and 1-1/8"" chisel point." SLTE BR E LO.LEX MES TRUE TEMPER WEDGE POINT CROW BR The wedge point crow bar is 60-inch long straight heat treated carbon steel bar. The long handle is utilized to pry and move heavy objects with its wedge point. The typical uses for an 18-pound wedge point bar include breaking up clay, concrete, and other hard materials. ITEM # DESC INFO SP UOM PRICE CROW BR PINCH POINT E IN 18LB 3/8"" SHNK DI." OH.CZX MES TRUE TEMPER PINCH POINT CROW BR The Pinch Point crow bar is a 48-inch long straight heat-treated steel for maximum strength. This long hand tool is utilized to pry and lever heavy objects. The typical uses for a pinch point crow bar include breaking up clay, concrete, and other hard materials CROW BR PINCH POINT 10LB E LR.VZX Chisels, Wood Chisels, Wood Chisels STNLEY FTMX SHORT SERIES WOOD CHISEL Professional Contractor Grade. Cutlery grade steel. Blades have polished finish. Crown shaped steel cap centers blow. Blade-3" long. 1/4" X 7-29/32". ITEM # DESC INFO SP UOM PRICE WOOD CHISEL 1/4IN FTMX 1/4" X 7-29/32""" E VXZ WOOD CHISEL 1/2IN FTMX 1/2" X 7-1/16""" E XCX WOOD CHISEL 3/8IN WIDE FTMX E VLX WOOD CHISEL 3/4IN FTMX 3/4" X 7-19/32""" E LCX WOOD CHISEL 1IN FTMX 1" X 7-19/32""" E YVX WOOD CHISEL 1-1/4IN FTMX 1-1/4" X 7-19/32""" E CX.VCX WOOD CHISEL 1-1/2IN FTMX 1-1/2" X 7-23/32""" E CZ.XYX WOOD CHISEL 2IN WIDE FTMX 2" X 77.7""" E CO.LHX NOVEMBER 23

25 Hand & Power Tools Chisels, Wood Chisels, Wood Chisels STNLEY BI-MTERIL SHORT SERIES WOOD CHISEL Hardened and tempered chrome carbon steel blade for superior edge retention. Short series blade for strength and control during use. Lacquered for greater corrosion protection. Ergonomically designed impact resistant bimaterial handle made from polypropylene and TPR. Dual purpose packaging enables the customer to evaluate product. Plastic hang card with snap-off, fulllength blade guard which protects working edges of blade when not in CHISEL 1/4IN BI-MTERIL E 6.91 E.LZX CHISEL 1/2IN BI-MTERIL E 7.71 E.CX CHISEL 3/4IN W/ BI-MTERIL HNDLE E 8.54 R.VX CHISEL 1IN W/ BI-MTERIL HNDLE E 9.37 H.CLX CHISEL 1-1/4IN W/ B-MTERIL HNDLE E H.LX CHISEL 1-1/2IN W/ BI-MTERIL HNDLE E OZX GRET NECK WOOD CHISEL High impact plastic handle. Drop forged blade for strength and durability. Precision ground for sharpness WC25 WOOD CHISEL 1/4IN CD 4.53 L.RZX WC50 WOOD CHISEL 1/2IN CD 4.28 L.VYX WC75 WOOD CHISEL 3/4IN CD 4.53 L.RCX WC100 WOOD CHISEL 1IN CD 4.68 L.HVX WC125 WOOD CHISEL 1-1/4IN CD 5.71 O.OX WC150 WOOD CHISEL 1-1/2IN CD 7.83 V.RXZ NICHOLSON WOODCHUCK CHISEL / RSP COMBO Steel strike plate to protect against breakage or "mushrooming". Oversize, impact resistant acetate handle. Edge teeth for removal of materials in confined areas. Forged steel to retain rasp and chisel sharpness longer WC12CMN CHISEL RSP WCHK 1/2IN E 9.53 H.LZX WC34CMN CHISEL RSP W/HNDLE 3/4IN E OCX WC1CMN RSP CHISEL WDCHK 1IN E VHX Chisels, Wood Chisels, Wood Chisels SHEFFIELD WOOD CHISEL Sheffield Wood Chisel. High carbon steel blade for strength and durability. Tapered blade for balance. High impact acetate handle. Steel end cap for striking power. Ergonomic rubber grip overlay with Sheffield Oval-Grip pattern WOOD CHISEL WITH CETTE HNDLE 1/4IN E YOX WOOD CHISEL WITH CETTE HNDLE 3/8IN E EHX WOOD CHISEL WITH CETTE HNDLE 1/2IN E LX WOOD CHISEL WITH CETTE HNDLE 5/8IN E RX WOOD CHISEL WITH CETTE HNDLE 3/4IN E OLX WOOD CHISEL WITH CETTE HNDLE 1IN E RHX GRET NECK WOOD CHISEL High carbon steel blade for strength and durability. 3-Inch blade is precision ground for accuracy. Comes with a high impact acetate handle. Limited lifetime warranty C WOOD CHISEL DYI 1/4IN CD R.CXZ C WOOD CHISEL DYI 1/2IN CD R.OCX C WOOD CHISEL DYI 3/4IN CD R.OLX C WOOD CHISEL DYI 1IN CD R.RLX C WOOD CHISEL DYI 1-1/4IN CD H.VX C WOOD CHISEL DYI 1-1/2IN CD CVX IRWIN MRPLES HIGH IMPCT CHISEL Fully-forged steel core for unbeatable strength and durability. Extra-large strike cap withstands repetitive hammer strikes and can be hit from multiple angles. Split-proof acetate handle for reinforced toughness. High quality hardened steel blade for superior performance and edge retention HIGH IMPCT CHISEL 1/4IN- MRPLES E YLX HIGH IMPCT CHISEL 1/2IN- MRPLES E Y.OXZ HIGH IMPCT CHISEL 3/4IN - MRPLES E CX.CRX HIGH IMPCT CHISEL 1IN - MRPLES E CX.YXZ HIGH IMPCT CHISEL 1-1/2IN - MRPLES E CO.CLX HIGH IMPCT CHISEL 2IN - MRPLES E CH.CLX NOVEMBER

26 Chisels, Wood Chisels, Wood Chisels IRWIN MRPLES CONSTRUCTION CHISEL This all-purpose, bevel-edge chisel has a large strike cap and split-proof handle withstands repetitive hammer strikes. Ergonomic handle design with ProTouch Grip is durable enough to withstand jobsite abuse. High-carbon steel blade delivers superior performance and edge retention, and stays sharp to the last inch. IRWIN Tools Marples chisels have been the industry leader for woodworkers for nearly 200 years MS500 CHISEL 1/4IN E 9.35 R.OYX MS500 CHISEL 1/2IN E R.ZX MS500 CHISEL 3/4IN E H.RX MS500 CHISEL 1IN E OZX Chisels, Wood Chisels, Wood Chisel Sets STNLEY 3 PC. FTMX SHORT SERIES WOOD CHISEL SET Short series. Professional Contractor Grade. High quality steel. Durable storage case sets on work area for easy selection. Hand & Power Tools Chisels, Wood Chisels, Wood Chisel Sets GRET NECK 3 PC. WOOD CHISEL SET High impact black molded plastic handles. Includes sizes: 1/2", 3/4", 1" K WOOD CHISEL SET ECON 3PC CD H.YCX SHEFFIELD 3 PIECE HIGH IMPCT CETTE WOOD CHISEL SET Sheffield 3 Piece High Impact cetate Wood Chisel Set. High carbon steel blade for strength and durability. Tapered blade for balance. High impact acetate handle. Steel end cap for striking power. Ergonomic rubber grip overlay with Sheffield Oval-Grip pattern WOOD CHISEL SET 3PC CET ST LO.CX WOOD CHISEL SET 3PC FTMX E LO.CZX STNLEY 3 PC. BI-MTERIL CHISEL SET Hardened and tempered chrome carbon steel blade for superior edge retention. Short series blade for strength and control during use. Lacquered for corrosion protection. Ergonomically designed, bi-material handle is impact resistant. Blade guard protects working edges of blade when not in use. Blade guard can be mounted to wall for home storage. Sizes: 1/2, 3/4, and 1 inch. IRWIN MRPLES HIGH IMPCT CHISEL SET Set includes 3 chisels: 1 in., 3/4 in. and 1/2 in. ll chisels feature a steel core with split proof acetate handle. multi-angle strike cap is on end of the handle HIGH IMPCT CHISEL CLM 3PC CD LY.XZZ CHISEL SET 3PC BI-MTERIL ST C.VCX STNLEY 3 PC. WOOD CHISEL SET Full size rugged, shock absorbing handles with no-roll feature. Durable precision ground cutting edges. Blades are uniformly hardened for full length use. Heat-treated steel blades, lacquer coated blades resist rust. Set includes: 1/2", 3/4", 1" WOOD CHISEL SET 3PC E Y.CZX IRWIN MRPLES 3 PIECE CHISEL SET This all-purpose, bevel-edge chisel has a large strike cap and splitproof handle withstands repetitive hammer strikes. Ergonomic handle design with ProTouch Grip is durable enough to withstand jobsite abuse. High-carbon steel blade delivers superior performance and edge retention, and stays sharp to the last inch. IRWIN Tools Marples chisels have been the industry leader for woodworkers for nearly 200 years MS500 3PC - WL - 1/2IN; 3/4IN; E IN LO.YCX NOVEMBER 25

27 Hand & Power Tools Chisels, Brick Chisels, Brick Chisels STNLEY MSON'S CHISEL One-piece hardened, quenched and tempered chrome vanadium steel. Powder coat finish. Use for cutting and splitting hard stone, brick and concrete MSON'S CHISEL 1-3/4INX8-1/2IN E 6.11 V.RXZ MSON'S CHISEL 2-3/4INX8-1/2IN E 7.66 E.HOX Chisels, Brick Chisels, Brick Chisels STNLEY CONCRETE CHISEL Ideal for cutting through and breaking up concrete. Durable bull point that cuts fast and lasts long. Ergonomic, bi-material hand guard helps protect from overstrike, reduces slipping and absorbs vibrations. One-piece construction forged for strength. 1 inch heat-treated tip allows for additional sharpening. Hardened, quenched and tempered for long life and durability. Powder-coated finish for easy visibility CONCRETE CHISEL W/ HND GURD 3/4IN E HX STNLEY BRICK SET WITH HND GURD One-piece hardened, quenched and tempered chrome vanadium steel. Powder coat finish. Use for cutting and splitting brick and concrete. Ergonomic Bi-material hand guard BRICK SET 3X8-1/2 W/BI-MTERIL HDL GURD E CLX BRICK SET 4X8-1/2 W/BI-MTERIL HDL GURD E Y.XEX STNLEY MSONRY CHISEL Ideal for cutting hard stone, brick and concrete. Ergonomic, bi-material hand guard helps protect from overstrike, reduces slipping and absorbs vibrations. One-piece construction forged for strength. 1 inch heat-treated tip allows for additional sharpening. Hardened, quenched and tempered for long life and durability. Powder-coated finish for easy visibility MSONS CHISEL W/ HND GURD 2-3/4IN E HX GOLDBLTT BRICKLYER SET WITH BEVEL EDGE Designed for scoring, cutting and trimming bricks and blocks. Length 7"- 4" wide blade G01134 BRICK SET 4IN E CX.LCX Chisels, Floor Chisels, Floor Chisels STNLEY FLOOR CHISEL WITH HND GURD With hand guard. Used for cutting, prying or ripping of hardwood flooring and nails. Designed with offset blade. Shorter bite for increased leverage. Ergonomic bi-material hand guard FLOOR CHISEL 3X11 W/BI-MTERIL HND GURD E EHX STNLEY WORKS BRICK SET Cutting edge is hardened to HRC and is ground to a precise angle for efficient cutting and durability. Striking edge hardened to 42 HRC and has chamfered edges to help resist chipping. Used for cutting and splitting brick and concrete. One-piece construction forged from chrome vanadium steel. Yellow powder-coated finish. 3 in. x 8.5 in CHISEL BRICK SET 3INX8-1/2IN E 7.85 E.YHX STNLEY FLOOR CHISEL Used for cutting, prying or ripping of hardwood flooring and nails. Designed with offset blade. Shorter bite for increased leverage FLOOR CHISEL 3INX11IN E 9.68 H.OLX NOVEMBER

28 Chisels, Cold Chisels, Cold Chisels STNLEY COLD CHISEL WITH HND GURD One-piece tempered and hardened construction. Powder coat finish. Bimaterial hand guard. For cutting/shaping wrought iron, cast iron, steel, brass, bronze, copper, aluminum, bolts, nuts and rivets COLD CHISEL 1X12 W/BI-MTERIL HND GURD E CX STNLEY COLD CHISEL One-piece tempered and hardened construction. Powder coat finish. For cutting/shaping wrought iron, cast iron, steel, brass, bronze, copper, aluminum, nuts and rivets COLD CHISEL 3/8INX5-9/16IN E 3.45 L.ROX COLD CHISEL 1/2INX6IN E 3.70 L.HYX COLD CHISEL 5/8INX6-3/4 E 3.80 L.HX COLD CHISEL 3/4INX6-7/8 E 4.63 O.VX COLD CHISEL 7/8INX8IN E 5.75 V.OX COLD CHISEL 1INX12IN E 7.32 E.ECX FLT COLD CHISEL 1-1/4INX12IN E 6.15 V.RYX Hand & Power Tools Chisels, Cold Chisels, Cold Chisels WILDE TOOL COLD CHISEL Hardened, quenched and tempered to precise specifications. Hand ground cutting edge CC832.NP/HT CHISEL COLD 1/4" X 4-3/4" E 4.12 O.XYX CC1232.NP/HT CHISEL COLD 3/8" X 5-1/4" E 4.19 O.CEX CC1632.NP/HT CHISEL COLD 1/2" X 6" E 4.79 O.RXZ CC2032.NP/HT CHISEL COLD 5/8" X 6-1/2" E 6.03 V.EVX CC2432.NP/HT CHISEL COLD 3/4" X 7" E 6.54 V.YCX CC2832.NP/HT CHISEL COLD 7/8" X 7-1/2" E 8.64 R.EXZ CCL3232.NP/HT CHISEL LONG COLD 1" X 12" E LX Chisels, Cold Chisels, Cold Chisel Sets STNLEY 3 PC. COLD CHISEL SET 3 Piece. One-piece forged chrome vanadium construction. Hardened, quenched and tempered. Powder coat finish. For cutting & shaping wrought iron, cast iron, steel, brass, bronze, copper, aluminum, bolts, nuts and rivets. Set includes: 1/2" x 6", 5/8" x 6-3/4", 3/8" x 5-9/16" CHISEL COLD KIT 3PC KT H.RX JMK/IIT 4 PC. COLD CHISEL SET Hexagonal shanks. Heat treated steel. Chrome plated. Vinyl grips. Set includes: 3/8" x 5" x 5/16" Hex, 1/2" x 5-3/4" x 7/16" Hex, 5/8" x 6" x 1/2" Hex and 3/4" x 7" x 5/8" Hex. GRET NECK FLT COLD CHISEL Drop forged steel. Heat treated for strength and durability. 5/16" bit width. 5" length x 1/4" Diameter. ITEM # DESC INFO SP UOM PRICE C FLT COLD CHISEL 5X1/4IN 5/16" HEX" CD 2.75 C.REX C FLT COLD CHISEL 5/5/16IN 3/16" HEX" CD 2.88 C.HLX C FLT COLD CHISEL 6X3/8IN 7/16" HEX" CD 3.35 C.YZX C FLT COLD CHISEL 6X5/8IN 1/2" HEX" CD 4.43 L.RZX C FLT COLD CHISEL 7X3/4IN 5/8" HEX" CD 6.23 O.HCX C FLT COLD CHISEL 8X7/8IN 3/4" HEX" CD 6.83 V.CXZ WOOD CHISEL SET 4PC ST R.EX WILDE TOOL COLD CHISEL SET 5-pc Cold Chisel set in clear, sturdy, zipper seal hang-up vinyl. Set includes 1 ea: CC1032, CC1232, CC1632, CC2032, CC CC5.NP/VP SET 5-PC COLD CHISEL E CV.HX NOVEMBER 27

29 Hand & Power Tools Punches and Nail Sets, Punches, Pin Punch STNLEY PIN PUNCH One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Use for starting drill holes STRTER PUNCH 3/32INX5-1/2IN E 3.06 L.OVX PIN PUNCH 1/16INX6IN E 2.80 L.CZX PIN PUNCH 1/8INX6IN E 2.24 C.RX PIN PUNCH 3/16INX6IN E 2.22 C.RYX PIN PUNCH 1/4INX6IN E 2.78 L.CXZ PIN PUNCH 5/16INX6IN E 2.30 C.HVX WILDE TOOL PIN PUNCH High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PP232.NP/HT PUNCH PIN 1/16" X 4-1/4" E 5.87 V.VCX PP332.NP/HT PUNCH PIN 3/32" X 4-3/4" E 5.87 V.VCX PP432.NP/HT PUNCH PIN 1/8" X 5" E 4.12 O.XYX PP532.NP/HT PUNCH PIN 5/32" X 5-1/4" E 4.12 O.XYX PP632.NP/HT PUNCH PIN 3/16" X 5-1/2" E 4.12 O.XYX PP832.NP/HT PUNCH PIN 1/4" X 7" E 4.45 O.OEX Punches and Nail Sets, Punches, Prick Punch STNLEY PRICK PUNCH Used for marking metal. One-piece construction forged from tempered tool steel for strength. Hardened and tempered for long life. Powder coat finish for increased visibility. 3/8" x 5-1/2" PRICK PUNCH 3/8INX5-1/2IN E 2.78 L.CXZ GRET NECK PRICK PUNCH 5 1/2" prick punch. Drop forged steel. Heat treated for strength and durability C PRICK PUNCH 5IN CD 3.18 C.HX Punches and Nail Sets, Punches, Center Punch STNLEY CENTER PUNCH One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Use for marking metal or making indentations for starting drill holes CENTER PUNCH 1/4INX4IN E 2.20 C.RZX CENTER PUNCH 5/16INX4-1/2IN E 3.52 L.RHX VERMONT MERICN CENTER PUNCH Ideal for centering drill bits. Hardened and tempered steel for long life. Ground point stays sharp. Double-knurled shank for easy gripping. 3-1/2" long, point diameter: 1/16" CENTER PUNCH 3-1/2IN 3.02 C.YRX WILDE TOOL CENTER PUNCH High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PC832.NP/HT PUNCH CENTER 1/4" X 4-1/4" E 4.95 O.HLX PC1232.NP/HT PUNCH CENTER 3/8" X 5" E 4.36 O.LX PC1632.NP/HT PUNCH CENTER 1/2" X 6" E 5.36 V.XOX WILDE TOOL LONG TPER PUNCH High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PLT632.NP/HT PUNCH LONG TPER 3/16" X 9" E 6.63 V.YX PLT1032.NP/HT PUNCH LONG TPER 5/16" X 11" E 7.30 E.VYX NOVEMBER

30 Punches and Nail Sets, Punches, Center WILDE TOOL SOLID PUNCH Punch High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PS432.NP/HT PUNCH SOLID 1/8" X 4-1/2" E 4.12 O.XYX PS832.NP/HT PUNCH SOLID 1/4" X 6" E 5.03 O.HX Punches and Nail Sets, Punches, Leather Punch Hand & Power Tools Punches and Nail Sets, Punches, Punch and Chisel Sets JMK/IIT 14 PIECE COLD CHISEL/PUNCH SET Premium-quality tools made of drop forged highcarbon steel, heat treated. Finely finished from their mat-black hex-shafts to polished steel working ends. Use on cold metal to flatten, indent, groove, reduce thickness, remove trash, cut rods, bars & sheets. 5 flat cold chisels; 8 round flat-end punches (4 tapered, 4 constant dia.), 1 pointed center punch. Rubberized roll-up pouch keeps them organized, evenly oiled and dry for stowing and trans PUNCH/CHISEL SET 14PC ST LX.CHX JMK/IIT REVOLVING LETHER PUNCH Heavy duty hole punch tool. Heat treated forged steel. Punches clean, neat holes in leather and other soft materials PUNCH LETHER REVOLVING CD 7.37 V.OVX Punches and Nail Sets, Punches, Punch Kits STNLEY 6 PC. PUNCH KIT 6 Piece. One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Set includes: 1/16", 1/8", 5/32", 3/16", 1/4", 5/16" all are 6" in length. STNLEY 12 PC. PUNCH & CHISEL KIT 12 Piece. One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Set includes: 1/4" x 4" Center Punch, 5/16" x 4-1/2" Center Punch, 3/32" x 5-1/2" Starter Punch, 1/16" x 6" Pin Punch, 1/8" x 6" Pin Punch, 5/32" x 6" Pin Punch, 3/16" x 6" Pin Punch, 1/4" x 6" Pin Punch, 5/16" x 6" Pin Punch, 3/8" x 5-9/16" Cold Chisel, 1/2" x 6" Cold Chisel, 3/4" x 6-7/8" Cold Chisel PUNCH & CHISEL KIT 12PC KT CY.YOX PUNCH KIT 6 PC KT CX.XEX WILDE TOOL PIN PUNCH SET 5-pc Pin Punch Set in a clear, sturdy, zipper seal hangup vinyl pouch. Set consists of 1 ea PP332, PP432, PP532, PP632, PP PP5.NP/VP SET 5-PC PIN PUNCH E CL.YX WILDE TOOL PUNCH ND CHISEL SET 5-Piece Punch & Chisel Set in a clear, sturdy, zipper seal hang-up vinyl pouch. Set consists of 1 ea: 3/8" & 5/8" Cold Chisels, 3/8" Center Punch, 3/16" Pin Punch, and 3/16" Solid Punch K5.NP/VP SET 5-PC PUNCH ND CHISEL E CO.XEX K8.NP/VR SET 8-PC PUNCH ND CHISEL E OC.YEX K12.NP/VR SET 12-PC PUNCH ND CHISEL E VE.LYX NOVEMBER 29

31 Hand & Power Tools Punches and Nail Sets, Nail Sets, Nail Sets STNLEY CONTRCTOR'S NIL SET Contractor Grade. Cushioned grip is designed for a non-slip grip in all weather conditions. Shock absorbing ribbed grip for precision hold. 25% longer length makes it easy to set nail in hidden and "hard-to-reach" areas. Color coded by tip size makes it easy to locate. Full-hardened; precision-milled steel for extra long life. Long beveled tip for easier nail head alignment. Designed by and for the pro. Lifetime warranty NIL SET -1/32IN TIP YELLOW CUSHION GRIP E 3.84 L.YX SET NIL - 2/32IN TIP GRY CUSHION GRIP E 3.84 L.YX SET NIL - 3/32IN TIP RED CUSHION GRIP E 3.89 L.YVX STNLEY SQURE HED NIL SET Hardened and tempered alloy steel nail set has square head to prevent rolling. Round knurled body with black phosphate finish. Tips are cupped and chamfered. Overall length: 4" NIL SET 4X1/32IN STEEL E 1.94 C.VRX NIL SET4X 2/32IN STEEL E 1.94 C.VRX NIL SET 4X3/32IN STEEL E 1.94 C.VHX STNLEY 3 PC. CONTRCTOR'S NIL SET Contractor Grade. 3 Piece set. Cushioned grip is designed for a nonslip grip in all weather conditions. Shock absorbing ribbed grip for precision hold. 25% longer length makes it easy to set nails in hidden and "hard-to-reach" areas. color coded by tip size makes it easy to locate. Long beveled tip for easier nail head alignment. Fullhardened, precision-milled steel for extra long life. Designed by and for the pro. Lifetime warranty. One each: NIL SET 3PC CUSHION GRIP E 8.22 R.CX Punches and Nail Sets, Nail Sets, Nail Sets GRET NECK NIL SET Made of heat treated alloy steel. ccurately sets nails for molding NS1C NIL SET 1/32IN CD 2.16 C.LHX NS2C NIL SET 2/32IN CD 2.16 C.LHX NS3C NIL SET 3/32IN CD 2.20 C.LX GRET NECK 3 PC. NIL SET Contains sizes 1/32", 2/32", 3/32". Made of heat treated alloy steel. ccurately sets nails for molding NSK NIL SET 3PC CD 5.14 L.YZX GRET NECK NIL SET 4/32 carded. Made of heat treated alloy steel NS4C NIL SET 4/32IN CD 2.20 C.OCX Planes and Files, Planes, Block Planes STNLEY BLOCK PLNE Contractor's grade. Tempered tool steel cutter positioned at 12 deg. angle planes easily across hardwood?adjusted endwise with knurled screw. djust mouth for coarse or fine work. Cast iron bottom. Finger grips in side. Plane length?6". Cutter width: 1-3/8" LOW NGLE BLOCK PLNE 6-1/4IN E O.LX STNLEY 3 PC. NIL SET ssortment of 3 nail sets. One each of 1/32", 2/32", and 3/32". Skin carded NIL SET 3PC STEEL E 5.26 O.YRX STNLEY BLOCK PLNE Cast iron bottom plane has tempered tool steel cutter positioned at 21 deg. angle. djust cutter endwise by rotating steel adjusting screw. Bottom and sides are milled and ground. Stained hardwood knob BLOCK PLNE 1-5/8IN-7IN E LX.YZX NOVEMBER

32 Planes and Files, Planes, Block Planes STNLEY BLOCK PLNE Hand adjustable. Cast iron bottom is milled. Tempered tool steel cutter adjusts by loosening wheel and moving cutter endwise. Blue finish with cast-in finger rest. Red finished lever BLOCK PLNE 1-5/8IN WD E CV.EYX GRET NECK 6-1/2" BLOCK PLNE Hardened and tempered. 1 9/16" blade. Machined and polished die cast body. Plastic handle C2 PLNE BLOCK 6-1/2IN E CZ.YX SHEFFIELD BLOCK PLNE 3 inches. Hardened and tempered 1-inch width cutter for smooth and accurate cutting. Die cast, accurately machined, body for strength. Painted to resist rust. Miniature adjustable plane for models and cabinets. Contoured shape for easy grip MINI BLOCK PLNE 3IN E 7.07 V.CYX SHEFFIELD DJUSTBLE BLOCK PLNE Sheffield djustable Block Plane. Low angle blade for precision work. Hardened and tempered 1-5/8'' width cutter for longer life. Cast iron body for strength. Machine polished to resist rust. ccepts Sheffield replacement blade BLOCK PLNE DJUSTBLE 7IN E CE.OX SHEFFIELD DJUSTBLE 9'' BENCH PLNE Sheffield djustable 9'' Bench Plane. Dual wood handles for precision work. Hardened, tempered 2'' width cutter for longer life. Cast iron, machine polished body for strength and to resist rust. Ergonomic rubber grip overlay with Sheffield Oval-Grip pattern. ccepts Sheffield replacement blade BLOCK PLNE DJUSTBLE 9IN E OZ.XVX Hand & Power Tools Planes and Files, Planes, Trimming Planes STNLEY TRIMMING PLNE Small, light plane, handy for modeling, sculpture, odds and ends of light work. Sides and trimmings are durable nickel finish. Individually carded TRIMMING PLNE 1IN X 3-1/2IN E 8.00 R.CXZ Planes and Files, Planes, Surform Planes STNLEY SURFORM PLNE Sturdy metal alloy framed and molded handle allow for heavy removal. Contoured handle and grip for comfortable control. Furnished with regular flat cut blade. Individually carded. 11-1/4" L x 1-5/8" W PLNE BLDE REGULR CUT E CX.YHX Planes and Files, Planes, Surform Shavers STNLEY SURFORM SHVER Lightweight, one handed tool works on pull stroke for curved surfaces, precision work, arts and crafts. Furnished with clip-on type regular cut blade plus one extra blade. Individually carded. 7-1/4" L x 1-5/8" W SHVER SURFORM 7-1/4IN E 3.92 L.YZX Planes and Files, Planes, Plane Blades STNLEY SURFORM TOOLS SNDING BLDES Carbide Grit. Fits Surform tools for sanding wood, plastic, paint, varnish. Outlast sandpaper, won't rip or tear. No sharpening or adjusting. Lacquer coated to resist corrosion. Steel blade coated with tungsten carbide grit 10" L x 1-5/8" W. For plane and file type Surform tools. Flat style. 10" Half-round Regular Cut. ITEM # DESC INFO SP UOM PRICE REGULR CUT 10IN REPL BLDE -HLF ROUND 10" HLF- ROUND REGULR E 5.07 O.XZ FLT REPLCEMENT BLDE -STNDRD CUT 10IN CUT" 10" FLT- REGULR CUT" E 4.91 O.HVX NOVEMBER 31

33 Hand & Power Tools Planes and Files, Planes, Plane Blades STNLEY SURFORM POCKET TYPE PLNE BLDE Versatile one handed speed cutting and trimming tool. Fits in apron or overalls pocket. Die cast zinc alloy body. Furnished with all purpose cutting blade. 5-1/2" L x 1-5/8" W POCKET PLNE 6IN PLNE TYPE E 6.37 V.HYX STNLEY SURFORM POCKET TYPE REPLCEMENT BLDE Tool steel 5-1/2" x 1-5/8". ll purpose cut. For straight cuts on hardwood, end grain, plywood, chipboard, plaster, metal, plastics, etc. Individually carded. Fits # POCKET FINE CUT REPLCEMENT BLDE 5-1/2 E 3.62 L.HOX Planes and Files, Files, Mill Bastard File NICHOLSON MERICN PTTERN MILL BSTRD FILE Bastard cut. For sharpening mill or circular saws. lso for draw filing and finishing metals. ll sizes tapered slightly in width. Two square edges. Single cut on sides and edges N MILL BSTRD FILE 6IN CD 6.20 V.RYX N MILL BSTRD FILE 8IN CD 7.18 E.VXZ N MILL BSTRD FILE 10IN CD 9.22 H.XOX N MILL BSTRD FILE 6IN E 5.10 O.RX N MILL BSTRD FILE 8IN E 6.14 V.RVX N MILL BSTRD FILE 10IN E 7.88 E.YRX N MILL BSTRD FILE 12IN E Y.OX N MILL BSTRD FILE 6IN CD 5.38 V.XVX N MILL BSTRD FILE 8IN CD 5.84 V.OYX N MILL BSTRD FILE 10IN CD 7.47 E.RLX N FILE MILL BSTRD 12IN CD Y.LRX STNLEY SURFORM SHVER REPLCEMENT BLDES Regular cut with edge cut feature. ll purpose blade for use on woods, vinyl, plaster, linoleum, autobody filler and soft metals. Carded two per card. Fits # BLDES SURFORM 1PK CD 2.73 L.XYX Planes and Files, Planes, Plane Files STNLEY SURFORM FILE Metal alloy body for long, smooth strokes on flat surfaces. Comfortable contoured handle. Ribbed section on front of body permits comfortable twohand use of tools. Furnished with regular flat cut blade. Individually carded. 15-3/4" L x 1-5/8" W FLT FILE-REGULR CUT BLDE E Y.CX SIMONDS MERICN PTTERN MILL BSTRD FILE Used for sharpening saws, farm tools, axes and various other edged tools. In machine shops it is used as a general purpose file as well as draw filing, lathe work and finishing operation on hard materials MILL BSTRD FILE 6IN E 6.63 V.OEX MILL BSTRD FILE 10IN E R.HOX GRET NECK MILL BSTRD FILE Sheffield Mill Bastard File. Rectangular shape. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle MILL BSTRD FILE 6IN E 4.90 L.YXZ MILL BSTRD FILE 8IN E 6.63 O.YXZ MILL BSTRD FILE 10IN E 7.58 V.VYX NOVEMBER

34 Planes and Files, Files, Mill Bastard File STNLEY SINGLE-CUT FLT MILL BSTRD FILE Flat file tapered in width and thickness for general material removal. Singlecut mill pattern for light removal of material. Bastard teeth spacing for generalpurpose tool sharpening and material smoothing FLT MILL BSTRD FILE - SINGLE CUT 6IN E 3.87 L.YVX FLT MILL BSTRD FILE - SINGLE CUT 8IN E 4.53 O.VZX FLT MILL BSTRD FILE -SINGLE CUT 10IN E 5.90 V.VHX Hand & Power Tools Planes and Files, Files, Multi-Kut File SIMONDS BLCK MXI-SHRP MULT- KUT FLT FILE Obtain almost any required finish simply by changing the feed pressure. Multi- Kut flat files are single-cut coarse tooth files that taper toward the point in width. Simonds exclusive Multi-Kut design features a diamond pattern "double chip-braker" allowing for fast stock removal while leaving a smooth finish. Specially treated with a black oxide coating. Files last longer due to increased resistance to loading and rust. Without Handle FILE MULTI-KUT 10IN E CO.CYX VERMONT MERICN PTTERN FLT MILL BSTRD FILE Single cut for general purpose use. Without Handle FILE MILL BSTRD 6IN 5.21 O.LYX Planes and Files, Files, Flat Bastard File NICHOLSON FLT MGICUT FILE 10" merican pattern, flat file. Leaves smooth finish. Rectangular shape, tapered point in width N FILE FLT MGICUT 10IN E CX.CX NICHOLSON MERICN PTTERN FLT BSTRD FILE Flat files are used by machinists, machinery builders, repair men and others who require rapid removal of metal. They are rectangular in cross section and taper slightly towards point in width. Double cut on both sides, single cut on both edges. Without Handle N FILE BSTRD FLT 8IN CD 9.10 R.HYX N FLT BSTRD FILE 8IN E 9.38 H.CHX N FLT BSTRD FILE 10IN E RX N FLT BSTRD FILE 12IN E CL.XOX Planes and Files, Files, Round Bastard File GRET NECK ROUND BSTRD FILE Sheffield round bastard file. Use on circular openings and concave surfaces. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle ROUND BSTRD FILE 6IN E 4.58 L.HLX ROUND BSTRD FILE 8IN E 5.92 O.ECX SIMONDS MERICN PTTERN FLT BSTRD FILE Used primarily by machinists, in factories or whenever rapid stock removal is desired. This double cut file features the exclusive Simonds "Wavy Tooth" design. It has cut edges and tapers toward the point for detail work. Without Handle FLT BSTRD FILE 8IN E H.REX FILE BSTD FLT 10IN E Y.VYX VERMONT MERICN ROUND BSTRD FILES merican pattern mill file bastard cut. Rectangular shape. Double cut for circular openings or concave surfaces. Without Handle FILE ROUND BSTRD 6IN 5.66 O.EX FILE ROUND BSTRD 8IN 6.91 V.OHX NOVEMBER 33

35 Hand & Power Tools Planes and Files, Files, Round Bastard File STNLEY SINGLE-CUT ROUND BSTRD FILE Round file tapered in width and thickness for enlarging round holes for cutting a scalloped edge. Single-cut mill pattern for light removal of material. Bastard teeth spacing for general purpose tool sharpening and material smoothing ROUND BSTRD FILE - SINGLE CUT 6IN E 3.66 L.OX NICHOLSON ROUND BSTRD FILES Bastard cut. merican pattern. Single cut. Principle use is to file circular openings or concave surfaces. Files 6" and longer are double cut. Tapered slightly toward point BSTRD FILE ROUND 8IN E 6.94 E.LRX NN FILE BSTRD ROUND 6IN CD 6.37 V.CX BSTRD FILE ROUND 8IN CD 7.28 E.ECX FILE BSTRD ROUND 10IN CD 9.05 R.VX Planes and Files, Files, Half Round Bastard File NICHOLSON MERICN PTTERN HLF ROUND BSTRD FILES Rounded on one side. Flat on the other. Used on concave and convex as well as flat surfaces. Backs of all half round bastard files are double cut. Carded without handle N FILE BSTRD H-R 8IN CD CX.XCX N FILE BSTRD H-R 10IN CD CL.VEX SIMONDS HLF ROUND NEEDLE FILES Used by jewelers, die-makers and other fine detail craftsmen. Plastic handles can be attached to make detail filing more comfortable. Filing becomes safer by eliminating finger "cramping" and scratches or cuts to fingers due to slipping. Without Handle FILE HLF RD 6-1/4IN E CO.XVX Planes and Files, Files, Half Round Bastard File GRET NECK 8 INCH HLF ROUND FILE WITH HNDLE Constructed of alloy tool steel; precision cut for long life; includes durable plastic handle HHR8C HLF ROUND FILE W/HNDLE 8IN CD 5.63 O.OVX Planes and Files, Files, Slim Taper File STNLEY SINGLE-CUT SLIM TPER FILE Triangle-shape file gradually tapered in width and thickness for cutting angles less than 90 degrees. Single-cut mill pattern for light removal of material. Bastard teeth spacing for general purpose tool sharpening and material smoothing SLIM TPER FILE - SINGLE CUT 6IN E 2.61 L.XLX GRET NECK HLF ROUND BSTRD FILE Sheffield 8 inch half round bastard file. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle HLF ROUND BSTRD FILE 8IN E 6.98 V.CXZ GRET NECK SLIM TPER FILE Sheffield 6 inch sxtra slim taper file. Use for sharpening and filing gullets between saw teeth. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle SLIM TPER FILE 6IN E 4.48 L.RZX NOVEMBER

36 Planes and Files, Files, Slim Taper File NICHOLSON SLIM TPER FILE Single cut. Edges set and cut for filing gullets between saw teeth. For filing hand, rip and wood saws M FILE TPER SLIM 6IN E 4.71 O.ERX M FILE TPER SLIM 8IN E 7.01 E.OCX N FILE TPER SLIM 6IN CD 4.68 O.ELX Planes and Files, Files, Extra Slim Taper File NICHOLSON X-SLIM TPER SW FILES merican pattern slim taper file. Made for filing saws with 60 degree angle teeth. Triangular shape. Single cut. Edges set and cut for filing gullets between saw teeth. Tapers slightly towards the point. Carded M FILE TPER X-SLIM 5IN E 4.69 O.EZX M FILE TPER X-SLIM 6IN E 5.01 O.HYX N FILE TPER X-SLIM 6IN CD 5.31 V.XZZ NICHOLSON XX-SLIM TPER merican pattern taper file, double extra-slim. Made for filing saws with 60 degree angle teeth. Triangular shape. Single cut. Edges set and cut for filing gullets between saw teeth. Tapers slightly towards the point. For all fine smooth saw filing N FILE TPER X-SLIM 6IN E 5.04 O.LX N FILE TPER XX SLIM 6IN CD 5.42 V.XX VERMONT MERICN EXTR-SLIM TPER FILE Single cut for handsaws. Triangular FILE E X TR SLIM TPR 6IN 5.71 O.RVX VERMONT MERICN XX-SLIM TPER FILE Single cut for handsaws. Triangular. Without handle FILE DBL E X TR SLIM 7IN 6.50 V.CVX Hand & Power Tools Planes and Files, Files, Handy File NICHOLSON HNDY FILE 8" handy file. merican pattern Handy file. One size is single cut for tool sharpening and smoothing metal surfaces. Reverse side is double-cut for general filing and rapid stock removal. Rectangular shape. 1 cut edge 1 safe edge. Length measured exclusive of handle. Carded N FILE HNDY 8IN CD H.HEX Planes and Files, Files, Rasp File NICHOLSON 4-IN-1 RSP 8" long. merican pattern rasp, 4-in-hand, formerly shoe rasp. For the homeowner, home craftsman, boat builder and mechanic. Half round shape. Has file selection and rasp section on both flat sides and helf-round side. Carded. Without Handle NN RSP/FILE SHOE 4N1 8IN CD OYX GOLDBLTT POCKET DRYWLL RSP Drywall pocket rasp, ergonomic soft-grip design has unique edge guides for ease of use, smooths cut edges of drywall for smooth matching edges during hanging G05026 DRYWLL POCKET RSP E R.YRX VERMONT MERICN SHOE RSP 4-IN-1. Half round. Extremly versatile. Has file section and rasp section on both sides RSP/FILE SHOE 8IN 8.15 E.LCX NICHOLSON WOOD RSPS 8" half round wood rasp bastard cut. merican pattern wood rasp, half-round, bastard cut. Used by woodworkers, hobbyist and plumbers. Half-round shape. Single cut file teeth on edges. For use on wood and soft metals. Boxed N RSP WOOD ROUND HLF 8IN E CX.YEX NOVEMBER 35

37 Hand & Power Tools Planes and Files, Files, File Handles NICHOLSON PLSTIC UNIVERSL SW HNDLE The Nicholson Universal handle is an adjustable file handle that requires no inserts and allows the user to work with a full line of hand files U NICHOLSON UNIVERSL FILE HNDLE E Y.HEX Planes and Files, Files, File Handles STNLEY BI-MTERIL FILE HNDLE Interchangeable file handle. Bi-material handle reduces vibrations. Ergonomic, slip-resistant design for comfort. Hanger opening for easy storage. Includes 3 inserts that fit most files FILE HNDLE BI-MTERIL 4.5IN E 2.44 C.YXZ Planes and Files, Files, File Sets NICHOLSON FILE HNDLE - WOODEN Made from close grain hardwood with nickel-plated ferrules. Wax finish. Handles have strong metal ferrules. ITEM # DESC INFO SP UOM PRICE N FILE HNDLE WOOD #0 5-1/4" X 1-1/2""" E 3.00 L.LX N FILE HNDLE WOOD #1 4-7/8" X 1-5/16""" E 2.46 C.RX N FILE HNDLE WOOD #2 4-1/2" X 1-3/16""" E 2.18 C.RZX N FILE HNDLE WOOD #3 3-1/8" X 1-1/16""" E 2.10 C.RXZ N FILE HNDLE WOOD #4 3-1/4" X 15/16""" E 1.86 C.VCX NICHOLSON FILE HNDLE ND INSERTS Interchangeable cushion inserts designed to fit most popular files. Handle is made of strong high-impact material. Contoured to fit hand for straight lathe and draw filing. Non-slip textured finish for easier grip. Carded file handle and 4 inserts. Handle is red plastic N FILE HNDLE W/INSERTS CD 3.90 L.YVX STNLEY 5-PIECE FILE SET Ideal for most sharpening and material removal needs. Round, flat and triangle files for filing flat, round and less than 90-degree angles. Includes: 1 each: 8 in. mill bastard file, 6 in. round file, 6 in. slim taper file, 8 in. 4-in-1 file, and 1 interchangeable handle FILE SET 5PC ST CV.RVX Planes and Files, Files, Chain Saw Files OREGON CUTTING CHIN FILE Have consistent tooth height to remove metal faster, smoother and in more quantity than other files. Oregon files have fewer teeth per inch which means filing won't get trapped and the file literally cleans itself. special heattreating process provides excellent stay-sharp. Two pack CHIN SW FILE 5/32IN CD 5.65 O.VX CHIN SW FILE 7/32IN CD 5.65 O.VX SEYMOUR MIDWEST/LINK FILE HNDLE Short ferrule. 3-1/2 inches x 13/16 inches (size #00), bore 1/8 inch for chain saws. ITEM # DESC INFO SP UOM PRICE FILE HNDLE /2IN 3-1/2" X 13/16"" BORE 1/8"" FOR CHIN SWS" E 1.49 X.YXZ FILE HNDLE /2IN FILE HNDLE 02 4IN FILE HNDLE /4IN FILE HNDLE 05 5IN 3-1/2" X 13/16"" BORE 5/32""" E 3-15/16" X 1"" BORE 3/16""" E 4-3/8" X 1-3/64"" BORE E 7/32""" 5" X 1-5/16"" BORE 3/8""" E 1.59 X.YRX 1.59 X.YHX 1.68 C.XOX 2.12 C.OXZ OREGON CUTTING CHIN FILES WITH GUIDE Two premium Oregon files with handy sharpening guide. Eliminates guesswork, keeps chain at peak cutting efficiency. Filing guide inscribed with angle indicates to maintain proper file position GUIDE FILE W/5/32IN FILE E 9.19 R.CLX GUIDE FILE W/7/32IN FILE E 9.19 R.CX NOVEMBER

38 Planes and Files, Files, Chain Saw Files OREGON FILE GUIDE File guide with 3/16 inch file. Includes: 1 premium round file, clearly marked guide and file handle, guide holds file and indicates sharpening angles, eliminates guesswork FILE GUIDE WITH 3/16" FILE E 9.18 R.LVX NICHOLSON CHIN SW FILE Round smooth chain saw file is smooth-feeling and fast cutting. For sharpening round hooded type teeth. Carded without handles CHINSW FILE 6INX1/8IN CD 3.40 L.EHX CHINSW FILE 6INX5/32IN CD 3.38 L.EVX CHINSW FILE 8INX3/16IN CD 3.38 L.EVX NICHOLSON CHIN SW FILE Round Knurl Cut. merican Pattern tooth type. Round double cut file cut for more aggressive sharpening. Hand & Power Tools Planes and Files, Files, Sure Sharp Stones JMK/IIT CHINSW SHRPENING KIT Contains all the tools needed for professional maintenance of your chain and guide bar, all in a sturdy practical pouch SHRPENER CHINSW E H.YX Knives and Replacement Blades, Utility Knives, Retractable Knives STNLEY UTILITY RETRCTBLE KNIFE Metal. Retractable blade knife has button to project and release blades to 3 positions: full, half and one quarter out. Lightweight die cast handle is in two sections providing blade storage. Furnished with heavy duty blades. Individually carded. Handle length: 6 in RETRCTBLE UTILITY KNIFE-CLSSIC 99 E 3.92 L.YVX N CHINSW FILE 6INX1/8IN E 1.16 X.YX N CHINSW FILE 8INX1/4IN E 1.45 C.CXZ NICHOLSON 3-PCK CHIN SW FILE merican pattern round chainsaw file. Knurl cut, more aggresive sharpening. 3 pack B CHINSW FILE 8X3/16IN 3PK PG 3.58 L.RYX B CHINSW FILE 8X5/32IN 3PK PG 3.60 L.HXZ B CHINSW FILE 8X7/32IN 3PK PG 3.58 L.RYX Planes and Files, Files, Sure Sharp Stones STNLEY UTILITY RETRCTBLE KNIFE Metal. Quick Change. Front loading with retractable blade and automatic blade storage magazine. Three blade positions. Furnished with heavy duty blades. Individually carded. Handle length: 6" RETRCTBLE UTIL KNIFE QUICK CHNGE 6-3/8 E 6.17 V.RVX SLIDE BUTTON REPLCE ( ) E 2.81 L.CZX OREGON REPLCEMENT STONES Electric Sure Sharp Replacement Stones. Heavy-duty, long-life stones. Packed in convenient thru-pack. Important accessory for the Electric Sure Sharp STONES SURE SHRP 5/32IN E 7.65 E.CX STONE SURE SHRP 7/32IN E 7.65 E.COX STNLEY UTILITY RETRCTBLE KNIFE Metal. Interlocking nose prevents nose spread. Three position retractable blade. Furnished with 3 each # heavy duty blades. Individually carded RETRCTBLE UTILITY KNIFE 5-7/8IN E 5.91 V.VZX NOVEMBER 37

39 Hand & Power Tools Knives and Replacement Blades, Utility Knives, Retractable Knives STNLEY UTILITY RETRCTBLE KNIFE WITH HIGH VISIBILITY Metal. High visibility fluorescent orange and green color makes it easy to find in tool box, cabinet, or pouch. Interlock nose design secures blade safely between knife halves, even in the most demanding applications. Contoured handle with diagonal ribs for a positive, non-slip grip. Furnished with three Heavy Duty utility blades RETRCTBLE UTIL KNIFE -HIGH VIS 5-7/8IN CD 5.26 O.YRX Knives and Replacement Blades, Utility Knives, Retractable Knives STNLEY UTILITY RETRCTBLE KNIFE Strong, durable construction combines a cast metal core with bi-material soft panels for a sure grip. Blade changes with the push of a button, no tools required. Curved handle design for comfort, control and balance. Swing-out blade storage for easy blade access. Integrated string cutter and retractable slide. Large hang hole for pegboard storage INSTNT CHNGE KNIFE 6-5/8IN E 9.92 H.VHX STNLEY SELF-RETRCTING UTILITY KNIFE Great for opening cartons. Spring loaded design automatically retracts blade C SELF-RETRCTING SFETY BLD UTILITY KNIFE E 7.49 E.HLX STNLEY UTILITY RETRCTBLE KNIFE luminum. Contractor Grade swivel lock. Body handle swivels open for quick easy blade change. Interlocking nose for maximum durability. 3 blades in handle. Carded. 7" length. Contractor Grade Swivel Lock SWIVEL LOCK KNIFE RETRCTBLE UTILITY 7IN E 8.68 R.EZX STNLEY UTILITY RETRCTBLE KNIFE - DYNGRIP Metal. Contractor Grade. Cushion grip surface for comfort. Non-slip grip even with gloved hands. Patented Interlock nose to secure blade. Resistance to slipping even on angled surface. dditional comfort in extreme temperatures RETRCTBLE UTIL KNIFE - DYNGRIP 5-3/8IN E 9.13 R.YRX STNLEY FTMX RETRCTBLE UTILITY KNIFE Blade wiper removes excess dirt and protects knife. Blade clamp eliminates blade wobble, gives more control. Ergonomic design for ease of use. Soft touch panels/grips allow better control, less slips. Pop-up blade dispenser for easier access and faster changeover. Supplied with FatMax blades. Push button blade change-no tools needed RETRCTBLE UTILITY KNIFE 6-5/8IN E Y.XZZ IRWIN STNDRD SFETY KNIFE Self-retracting spring action returns blade safely into the housing when not in use. Interlocking nose reduces blade wobble. Ergonomic grip fits comfortably in the hand. Two blade positions - 2mm extension for box cutting and full extension for general use. Tool-free entry. Includes 1 Irwin Bi-Metal utility blade SFETY KNIFE SELF-RETRCTING E 8.44 E.HVX STNLEY QUICKSLIDE UTILITY KNIFE Ideal for cutting string, nylon and rope. Great for multipurpose cutting, camping and outdoor activities. Spine lock button for ease and security. Easy blade change. Interlock nose prevents spreading QUICKSLIDE SPORT UTILITY KNIFE E CE.HVX IRWIN UTILITY RETRCTBLE KNIFE Optimized cutting angle for reduced fatigue. Smooth, three position slide exposes variable blade lengths. Features inside storage for up to 5 blades. Includes 6 Irwin Blue Blade Bi-Metal utility blades RETRCTBLE UTILITY KNIFE E 5.36 O.EHX NOVEMBER

40 Knives and Replacement Blades, Utility Knives, Retractable Knives IRWIN UTILITY RETRCTBLE KNIFE Pro Touch. Quick change mechanism allows for easy blade removal without opening the knife. Smooth, three position slide provides increased durability for frequent use. Easy tool-free entry with push button operation opens the knife and exposes replacement blades. Features inside storage for up to 5 blades. Includes 6 Irwin Blue Blade Bi-metal utility blades RETRCTBLE UTILITY KNIFE E CX.HZX Hand & Power Tools Knives and Replacement Blades, Utility Knives, Retractable Knives SHEFFIELD DIE CST ZINC RETRCTBLE UTILITY KNIFE Retractable blade. Heavy die cast zinc handle. Blade locks in 9 positions. 2 extra blades in casing. Made in US UTILITY KNIFE DIE CST ZINC E 5.75 O.VCX UTILITY KNIFE COMFORT GRIP E 3.98 L.OEX IRWIN HI-VIS RETRCTBLE UTILITY KNIFE High-visibility orange color makes for easy spotting on the job site. Smooth, three-position slide exposes variable blade lengths. Screw permanently captured in casing to prevent loss. Features inside storage for up to 5 blades. Includes three unbreakable Blades HI VIS RETRCTBLE UTIL KNIFE CD 7.17 V.HCX SHEFFIELD SELF RETRCTING UTILITY KNIFE Sheffield Self Retracting Utility Knife. Spring loaded safety blade automatically retracts. Does not lock in the open position. Heavy duty metal case. 3 blades stores in handle. ccepts all standard utility blades UTILITY KNIFE SELF RETRCTBLE E 3.55 L.CXZ KNIFEUTILITY-TOP SLIDE E 6.92 E.OXZ GRET NECK UTILITY RETRCTBLE KNIFE Professional Utility Knife Made of cast zinc. ccepts standard utility blades. Storage for extra blades in housing. Blade locks in 9 positions. Hang hole for storage. Carded K15C UTILITY RETRCTBLE KNIFE CD 6.61 O.YLX K15PC RETRCTBLE KNIFE HI-VISIBLE E 3.18 C.EX WISS UTILITY RETRCTBLE KNIFE Retractable utility knife with 11 positions. Quick change blade release and reload. Magazine blade storage holds 3 blades, not included. Comfort grip for ease of use and slip protection. Safety string cutter with recessed blade WK500V UTILITY KNIFE QUICK CHNGE COMP-GRIP E ORX UTILITY KNIFE - RETRCTBLE W/BLDES CD 3.80 L.YLX SHEFFIELD PLSTIC UTILITY KNIFE Sheffield Plastic Utility Knife. Retractable blade. High impact plastic handle. Blade locks in 9 positions. 2 extra blades in casing. Made in US UTILITY KNIFE HVY DUTY PLSTIC E 3.33 C.YRX MINI UTILITY KNIFE E 2.28 C.OEX HOWRD BERGER RETRCTBLE UTILITY KNIFE Heavy-duty. Solid cast metal. Professional. Safety orange UTILITY KNIFE RETRCTBLE H-D ORNGE CD 4.69 L.XZ SSRK1 RETRCTBLE KNIFE W/BLDES E CE.CEX NOVEMBER 39

41 Hand & Power Tools Knives and Replacement Blades, Utility Knives, Retractable Knives WISS UTO-RETRCTING UTILITY KNIFE Blade retracts automatically the moment it loses contact with the material being cut, even when the user is still holding the blade slider forward in the open position WKR1 UTILITY KNIFE UTO RETRCTBLE E 9.79 H.OZX UTILITY KNIFE HOMEOWNERS RETRCTBLE E 3.12 L.OHX STNLEY QUICKSLIDE KNIFE The STNLEY STHT10828 QuickSlide Knife features a renovated design that is slimmer and more compact than the previous model. This new design includes a carabineer and bottle opener. It allows for easy blade change and slide operation for quick and easy loading with its simple, die-cast design. Includes 1 blade. ITEM # * DESC SP UOM PRICE NEW STHT10828 QUICKSLIDE KNIFE E 6.29 V.ZX Knives and Replacement Blades, Utility Knives, Fixed Blade Knives STNLEY UTILITY FIXED BLDE KNIFE Contractor Grade. Extra heavy duty knife die-cast in two sections?provides blade storage. Has bright aluminum finish; handy hang hole. Furnished with heavy duty blades and blade guard. Handle length: 5-1/2" FIXED BLDE 199 UTILITY KNIFE- CLSSIC E 4.77 O.RXZ STNLEY UTILITY FIXED BLDE KNIFE Lightweight handle in two sections providing blade storage. Gray enamel finish. Furnished with 3 each No light duty blades. Individually carded. Handle length: 5-1/2" FIXED BLDE INTERLOCK UTILITY KNIFE E 2.85 L.CVX Knives and Replacement Blades, Utility Knives, Fixed Blade Knives STNLEY UTILITY FIXED BLDE KNIFE Swivel-Lock. Exclusive interlocking front end. Ergonomically designed. luminum die cast FIXED BLDE KNIFE 6IN HNDLE SWIVEL LOCK E 5.82 V.OYX STNLEY FTMX FIXED BLDE UTILITY KNIFE Ergonomic design for ease of use. Soft touch panels/grips allow better control, less slips. Blade clamp eliminates blade wobble, gives more control. Pop-up blade dispenser for easier access and faster changeover. Cartridge holds up to 5 blades. Supplied with FatMax blades. Dual blade position in nose increases versatility UTILITY KNIFE FIXED BLDE E H.RX IRWIN UTILITY FIXED BLDE KNIFE Optimized cutting angle for reduced fatigue. Features inside storage for up to 5 blades. Includes 3 Irwin Blue Blade Bi-metal utility blades FIXED UTILITY KNIFE E 5.11 O.VCX IRWIN UTILITY FIXED BLDE KNIFE PRO TOUCH ergonomic grip. Optimized cutting angle for reduced fatigue. Easy tool-free entry. Features inside storage for up to 5 blades. Includes 6 Irwin Blue Blade Bi-Metal utility blades FIXED UTILITY KNIFE E HX SHEFFIELD FIXED BLDE UTILITY KNIFE Sheffield Fixed Blade Utility Knife. Fixed blade for more cutting power. Heavy duty die cast handle. ccepts standard utility blades. Includes 1 blade FIXED BLDE UTILITY KNIFE E 3.18 C.ZX NOVEMBER

42 Knives and Replacement Blades, Utility Knives, Fixed Blade Knives HYDE UTILITY FIXED BLDE KNIFE ngle Offset head for increased leverage. Die cast aluminum alloy construction. Pivots open for blade storage. 1 heavy blade included KNIFE UTILITY NGLE HED E 9.99 H.RHX Knives and Replacement Blades, Utility Knives, Folding Lockback Knives IRWIN FOLDING LOCKBCK UTILITY KNIFE Folding lockback features quick change button, wire stripper notch, wide thumb ledge, integral belt clip and rugged industrial design. Includes 1 Irwin blue blade UTILITY KNIFE LOCKBCK FOLDING E CX.ECX Hand & Power Tools Knives and Replacement Blades, Utility Knives, Folding Lockback Knives SHEFFIELD LOCK BCK UTILITY KNIFE One-hand opening, blue. This innovative and useful tool combines the best features of a lockback knife with a utility knife. Features a sturdy aluminum handle, fold out blade housing. The blade is changed easily using patented snap lock and sliding mechanism. Uses standard utility blades LOCK BCK UTILITY KNIFE E Y.HOX MERICN SFETY RZOR FOLDING UTILITY KNIFE Folds to pocket size. Quick and easy blade change. Comes with 6 blades and a blade guard dispenser FOLDING UTILITY KNIFE 7.61 E.HLX HOWRD BERGER FOLDING UTILITY KNIFE Includes 5 replacement blades. Folds to fit in pocket. SHEFFIELD ELLIPTIC FOLDING LOCKBCK UTILITY KNIFE Sheffield Elliptic Folding Lockback Utility Knife. Oval shaped handle for comfort. Manufactured of anodized aluminum for lightweight strength. Handle trimmed with hardwood. Replaceable utility knife blade FOLDING LOCKBCK UTILITY KNIFE ELLIPTIC E E.VX UTILITY KNIFE FOLDING 6IN CD 8.59 E.XRX OLYMPI TURBO KNIFE Smooth annodized aluminum red body. Fixed blade in sliding carriage. Belt clip. Locks in open or closed position. Includes 5 blades TURBOKNIFE RED/YELLOW E R.XVX SHEFFIELD QUICK CHNGE LOCK BCK UTILITY KNIFE Sheffield Quick Change Lock Back Utility Knife with Blade Storage. Patented folding lockback utility knife holds 5 blades in handle compartment. Blade changing is easy with no tool required. Heavy duty construction for contractor use. Convenient belt clip QUICK CHNGE LOCK BCK UTILITY KNIFE E CZ.YRX IRWIN FOLDING UTILITY KNIFE Patented BladeLock technology keeps blade locked in place. Blade storage that holds up to two additional blades. Liner lock for quick one-handed operation. Wire stripper for built-in convenience. 3 blades included FK100 FOLDING UTILITY KNIFE CX.XX NOVEMBER 41

43 Hand & Power Tools Knives and Replacement Blades, Utility Knives, Folding Lockback Knives IRWIN FOLDING UTILITY KNIFE Patented BladeLock technology keeps blade locked in place. Blade storage that holds up to two additional blades. Liner lock for quick one-handed operation. Wire stripper for built-in convenience. 1 blade included FK150 FOLDING UTILITY KNIFE CZ.YEX IRWIN FOLDING UTILITY KNIFE Patented BladeLock technology keeps blade locked in place. Blade storage that holds up to two additional blades. Liner lock for quick one-handed operation. Wire stripper for built-in convenience. 3 blades included FK250 FOLDING UTILITY KNIFE CV.VZX MERICN SFETY RZOR FOLDING UTILITY KNIFE Folds to pocket size. Quick and easy blade change. Comes with 6 blades and a blade guard dispenser UTILITY KNIFE - UTOLOD 9.84 H.ECX MERICN SW LENOX TRDESMN KNIFE Utility knife in gold color is a multi-use tool that includes built in bottle opener, screwdriver, wire stripper and pipe reamer. It has secure locking mechanism and easy to open and close. It features ergonomic rubberized grip for comfort and has a bi-metal blade FLK1 LENOX TRDESMN KNIFE E CO.LHX SHEFFIELD FOLDING LOCKBCK UTILITY KNIFE With plastic handle. 4 inch closed and 6.5 inch open length. Quick change mechanism. Belt clip. Includes (1) one inch blade. Uses any standard utility blade SHEFFIELD FOLDING LOCK BCK E KNIFE E.ZX Knives and Replacement Blades, Utility Knives, Folding Lockback Knives PEX FOLDING POCKET KNIFE Titanium coated stainless steel blade. Titanium is 3x stronger than steel for a longer life. Blade features piercing tip with serrated and straight cutting edges for maximum cutting abilities. Full metal frame for increased durability. Spring assisted opening. Dual thumb studs and thumb hole for quick, easy opening. Slim, ergonomic handle designed for maximum comfort. Reversible belt clip. ITEM # * DESC SP UOM PRICE NEW WKFP1 FOLDING POCKET KNIFE SPRNG SSTD OPEN E CV.CVX Knives and Replacement Blades, Utility Knives, Utility Pocket Knives STNLEY POCKET KNIFE Chrome plated pocket knife has safety lock feature. ccepts or steel blades. Individually carded. Overall length: 4-1/4 in POCKET KNIFE E 8.67 R.EX Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knives STNLEY UTILITY SNP-OFF KNIFE - DYNGRIP 25mm / 1 in. snap-off blades to help resist snapping and durability. Thumb dial blade release for easy blade change. Eight segments with eight shape tips. Rubber DynaGrip panels for secure, comfortable grip. Yellow BS plastic body SNP-OFF KNIFE DYNGRIP YELLOW BS PLS E CX.ECX T HD SUPER QUICK POINT BLDE 10PK E 6.10 V.RVX STNLEY 18MM SNP-OFF KNIFE Stainless barrel is rust resistant. Up to 20kg/50 lbs. push back force. Push button cartridge release stores up to 6 spare blades. Push button blade clamp reduces blade wobble for more precise cutting control. Bi-material slider. Blade wiper removes excess debris, to prolong the life of the knife. Removable blade snapper for faster and safer removal of a worn segment. Instant blade replacement SNP OFF KNIFE 18MM FTMX E Y.VRX NOVEMBER

44 Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knives HYDE UTILITY SNP-OFF KNIVES - MXXGRIP Reversible blades for use in left or right hand. Cut cardboard, foil, paper, wallcovering, etc. Retractable blades with auto-lock control. Built-in blade breakers. 3 blades included. Metal with soft grip KNIFE SNP-OFF MX-GP 9MM E 4.44 O.VHX HYDE UTILITY SNP-OFF KNIVES Blue plastic holder has push button project and retract blade with 12 snap-off super sharp cutting points. Built into end of handle is a removable holder to snap off point. Blister packaged card contains 2 extra blades packed under knife. 10 per box KNIFE UTILITY SNP-OFF E 3.95 L.YX MERICN SFETY RZOR STINLESS STEEL SNP-OFF KNIFE Durable stainless steel body and blade. Safety cap covers blade when stored. Cap can be used to snap off blade segments. Pocket clip provides convenient pocket storage. Textured slide grip. Hand & Power Tools Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knives STNLEY WORKS 18MM RETRCTBLE POCKET CUTTER Light-duty, retractable cutter with Quick-Point Snap-Off Blades. Blade sections snap off providing a fresh, sharp cutting point. Length: 6 in P SNP-OFF KNIFE QUICK POINT 18MM E 1.50 C.CEX PT BREK WY KNIFE E 0.87 X.RLX Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knife Displays MERICN SFETY RZOR NEON SNP- OFF 8 PT KNIFE utolock slider locks blade instantly for safety and convenience. Internal blade storage for 2 spare blades. Tough BS body with stainless steel track is contoured to fit the hand. Bucket packed. 25 Per Bucket. ITEM # DESC INFO SP UOM PRICE SNP-OFF KNIFE NEON 8 PT 25 PER BUCKET E 1.05 X.XZ SNP-OFF KNIFE 13 PT 75 PER BUCKET E 0.67 X.ECX SNP-OFF KNIFE S S 13 PT CD 3.44 L.ROX MERICN SFETY RZOR SMRTGRIP ERGO SNP-OFF KNIFE utolock slider locks blade instantly for safety and convenience. Tough BS body is contoured to fit the hand with ergonomic handle, stainless steel track and internal blade storage. Includes 3 blades SNP-OFF KNIFE ERGO 8 PT 3.94 O.XZZ SNP-OFF KNIFE ERGO 13 PT CD 3.54 L.HXZ GRET NECK SNP BLDE KNIFE For light duty cutting of paper, vinyl, leather. End of blade snaps off easily to provide a new cutting edge. Locking slide. Pocket clip. HOWRD BERGER UTILITY SNP-OFF KNIFE BUCKET Large plastic handle. Plastic wrapped and bar-coded for individual sale. Large knife with 7 snap-off points. ITEM # DESC INFO SP UOM PRICE GK7-25 UTILITY KNIFE SNP-OFF BLD BUCKET 25PC LRGE KNIFE WITH 7 SNP-OFF POINTS BK CL.LX GK13-50 UTILITY KNIFE SNP-OFF BLD BUCKET 50PC SMLL KNIFE WITH 13 SNP-OFF POINTS BK CV.VOX SBK SNP BLDE KNIFE CD 1.49 X.HX NOVEMBER 43

45 Hand & Power Tools Knives and Replacement Blades, Snap-Off Knives, Hobby Knives XCELLITE PRECISION KNIFE SET 2-piece light and medium knife set with 10 asst. blades. Great for hobbies and art XNS100 KNIFE SET PRECISION ST CZ.VX Knives and Replacement Blades, Snap-Off Knives, Carton Cutters HYDE CRTON CUTTER Metal frame construction holds single edge razor blade. Blade retracts for safety. 1 blade included. Carded CUTTER CRTON E 1.82 C.VXZ Knives and Replacement Blades, Flooring Knives, Lineoleum Knives Knives and Replacement Blades, Flooring Knives, Lineoleum Knives IRWIN LINOLEUM KNIFE Hardwood handle for increased durability. Hooked blade for cutting on the pull LINOLEUM KNIFE CD 5.71 O.YXZ Knives and Replacement Blades, Flooring Knives, Carpet Knives STNLEY UTILITY TWIN BLDE KNIFE Stanley Bostitch twin blade knife is ideal for all roofing, flooring and general contracting applications. llows users to alternate between two blades without carrying more than one knife. It has interlocking blade sliders to ensure that only one blade is extended at a time. Comes complete with two hook blades. Holds up to nine blades UTILITY TWIN BLDE KNIFE W/ 2 HK BLDS E Y.ELX HYDE VINYL KNIVES Heavy 2-1/2" long point swedged blade. Finest high carbon steel. Hardwood handle. Individually packaged KNIFE LINOLEUM 2-1/2 IN E 8.05 R.XEX HYDE LINOLEUM KNIVES Blades are finest chrome vanadium cutlery steel, hardened, tempered and honed. Individually carded. Blade is 2-1/2 in. long KNIFE FLOORING 2-1/2 IN E 6.28 V.CX HYDE DRYWLL KNIFE Cuts floor covering and drywall material. Long Point. High carbon cutlery steel blades; hardened, tempered and honed. Hardwood handles with choice of finish KNIFE FLOORING 2-1/2 IN E 7.37 E.REX STNLEY CRPET KNIVES Contractor Grade. ngular designed handle. Retractable double edge blade blades stored in handle. Individually carded. Overall length: 6-1/2" Metal RETRCTBLE CRPET KNIFE 6-1/2IN E 8.66 R.ECX IRWIN CRPET KNIFE Ideal for cutting and installing carpet. The knife handle has a 19 Degree angle built in to allow for an optimum cutting angle with out over extending the wrist. The new Irwin carpet utility knife features a 1/2 turn thumb screw that allows for tool-free access to blades and for blade changes. It features a trigger grip for cutting on the pull and the will store up to 10 blades. The knife comes with the Irwin double sided carpet blade CRPET KNIFE CD H.HEX NOVEMBER

46 Knives and Replacement Blades, Replacement Blades, Utility Knife Blades STNLEY MITEY KNIFE BLDES For use with Mitey-knife # Three blades per card. 1-1/8" MITEY KNIFE BLDE 3/CD CD 2.29 C.HOX STNLEY UTILITY KNIFE BLDES Pointed razor type knife blade made of tough carbon steel. Regular duty blade fits Stanley , , knives. # heavy duty, blade also fits Stanley knife. # for use in knife. Five blades per card. Regular. ITEM # DESC INFO SP UOM PRICE BLDES /CD REGULR DUTY UTILITY REGULR CD 1.30 X.YX UTILITY BLDES 1992 HVY HEVY-DUTY CD 0.86 DUTY 5/CD X.RVX Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Utility Knife Blades STNLEY CRBIDE UTILITY KNIFE BLDES Designed to deliver increased blade life, maintain firstcut sharpness, and offer snap resistance. High power laser technology is used to deposit tungsten carbide powder on to the edge of every blade; diamond wheels then grind a sharp finished angle to create a durable and long lasting edge while maintaining a flexible steel blade body. 5 pk R CRBIDE UTILITY BLDE 5PK E 4.24 O.LCX MERICN SFETY RZOR UTILITY KNIFE BLDES 2-Notch utility blades..025" heavy gauge high carbon knife steel for rugged use. Rounded corners for safety. Fits all standard utility knives. 5 pack carded UTILITY BLDES - REFILL HEVY DUTY CD 0.86 X.REX STNLEY UTILITY KNIFE BLDES Pointed razor type knife blade made of tough carbon steel. Regular duty blade fits Stanley knives , , lso fits Stanley heavy duty knife. 400 blades per box B UTILITY BLDES 1992 HEVY DUTY 400CT BX VX.LOX HYDE UTILITY KNIFE BLDES Best grade steel, super sharp to fit utility knives. Blades heavy duty.025" thick, 2-1/2" wide. 5 blades per card and 10 cards per box BLDES KNIFE UTILITY CD 1.62 C.LOX STNLEY FTMX BLDE Sharp, strong and long lasting FTMX BLDE 5PK PG 1.70 C.LHX L FTMX BLDE 50PK PG YVX IRWIN UTILITY BI-METL KNIFE BLDES Features patented Bi-Metal technology. Blue blades UTILITY BLDES BI-METL 5PK PG 2.15 C.VOX UTILITY BLDES BI-METL 20PK PG 8.65 E.HEX UTILITY BLDE BI-METL 100PK PG LC.EYX STNLEY UTILITY KNIFE BLDES Contractor Grade. Extra heavy duty utility blade for cutting thick, dense sheet materials. For use with fixed blade knives only. Fits knife # per card UTILITY BLDES (1991) EXTR HD 5/CD CD 1.28 X.YHX LENOX UTILITY BI-METL KNIFE BLDES Shatter resistant - Safer than carbon blades. Up to 3X the life of Carbon Steel Blades. Fits standard utility knives. Great for Drywall, Metal Scoring and all regular uses GOLD5C BI-METL BLDE 5PK PG 3.73 L.VHX NOVEMBER 45

47 Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Utility Knife Blades SHEFFIELD MIDGET UTILITY KNIFE BLDES Sheffield Midget Utility Knife Blades. 5 Pack. Finest cutlery steel. Fits Sheffield mini utility knives 12116, and MINI BLDES 5/CD CD 1.71 C.XLX Knives and Replacement Blades, Replacement Blades, Utility Knife Blades STNLEY 3 PCK DRYWLL UTILITY BLDES Cuts and scores drywall, ceiling tile, wallboard and similar materials. Length: 2-7/16 in UTILITY BLDES DRYWLL SB 3PK PG 1.58 C.LOX GRET NECK PROFESSIONL UTILITY BLDES 5 Blades Steel. Industrial Quality. Made In U.S.. IRWIN BI-METL SFETY KNIFE BLDES 5 per pack P UTILITY KNIFE BLDES 5PK E 1.69 C.XLX SHEFFIELD UTILITY KNIFE BLDES Sheffield Utility Knife Blades. 5 Pack. Finest cutlery steel. Fits all standard utility knives UTILITY KNIFE BLDES 5PC CD 1.71 C.XZZ IRWIN BI-METL UTILITY BLDES Welded bi-metal for sharp edge and flexible body. Stay sharper 3X longer than traditional carbon blades UTILITY KNIFE BLDE BI-METL 50PK CO.XCX BI-METL SFETY BLDES - 5CT 2.39 C.RXZ Knives and Replacement Blades, Replacement Blades, Hook Blades STNLEY UTILITY KNIFE HOOK BLDES Both ends of blade are razor sharp to cut full thickness on one stroke. Fits most utility knives to cut linoleum, roofing material, cartons, etc., without damage. Five blades per card BLDES 1996 HOOK 5 CD 4.05 O.XEX IRWIN 4-POINT CRBON BLDES Snaps on the score for sharp tip. Four notches for full blade extension. Twice the life of traditional carbon blades CRBON BLDES 4 POINT 5PK 1.86 C.LVX CRBON BLDES 4 POINT 50PK CZ.XEX STNLEY UTILITY KNIFE HOOK BLDES Large hook blade. Similar to , but with deeper hook for cutting thicker materials. 5 per card HOOK BLDES LRGE 5PK CD 4.23 O.CYX NOVEMBER

48 Knives and Replacement Blades, Replacement Blades, Hook Blades STNLEY REPLCEMENT UTILITY BLDES 50 pack, carbon steel hook replacement blades. Edge protection blade for cutting and trimming roofing materials, linoleum, carpet fabric, cartons, and sheet materials. Blade shape helps prevent damage to whatever is beneath material being cut. Fits most standard utility knives. Deep hook for cutting thicker material FMHT11146L HOOK UTILITY BLDE 1.875IN STEEL 50PK PG CY.YOX Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Hook Blades STNLEY 3 PCK ROOFING UTILITY BLDES Cuts shingles, felt paper and similar materials. Length 1-7/8 in UTILITY BLDES ROOFING SB 3PK PG 5.50 V.LRX MERICN SFETY RZOR UTILITY KNIFE HOOK BLDES.025" deep hook blades. Carbon steel. Used to cut carpeting and linoleum without damage to surfaces beneath. Can be used in all standard utility knives DEEP HOOK BLDES CD 3.83 L.YLX UTILITY BLDE - DEEPHOOK BX OX.XOX IRWIN HOOK BLDES 5 per pack HOOK BLDES 5CT T CD 2.88 C.YX HOOK BLDES 100CT CD LE.XX Knives and Replacement Blades, Replacement Blades, Pocket Knife Blades HYDE UTILITY KNIFE HOOK BLDES Best grade steel, super sharp to fit utility knives. Blades heavy duty.025 inch, 64mm thick, 2-1/2 inch, 64mm wide. 5 hook blades per card BLDES KNIFE UTILITY PG 2.66 L.XZZ STNLEY UTILITY / POCKET KNIFE BLDES Replacement blades for # pocket knife. Cutlery stainless steel sheepfoot blade designed for heavy cutting and carving. Individually blister packed. 2-1/2" SHEEPFOOT BLDE CD 3.09 L.OZX SHEFFIELD HOOK UTILITY KNIFE BLDES Sheffield hook utility knife blades. 5 Pack. Finest cutlery steel. Fits all standard utility knives HOOK UTILITY KNIFE BLDES 5/CD CD 2.69 C.EHX UHK5 UTILITY HOOK BLDE E 4.65 L.HRX STNLEY UTILITY / POCKET KNIFE BLDES Replacement blades for # pocket knife. The utility blade is made from cutlery stainless steel. It's designed for doing most any job well. Individually carded. 2-1/2" UTILITY BLDE FOR KNIFE E 3.25 L.VEX NOVEMBER 47

49 Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Carpet Knife Blades STNLEY CRPET KNIFE BLDES High carbon steel blade has double cutting edge. Designed with single slot to fit Stanley carpet knife. Five blades per card. Blade length is 2-1/4" CRPET KNIFE BLDES 5/CRD CD 1.87 C.VCX Knives and Replacement Blades, Replacement Blades, Snap-Off Knife Blades MERICN SFETY RZOR SNP-OFF KNIFE BLDE REFILL 8 cutting points per blade. Fits standard 18mm snap-off utility knives. Made from finest cutlery steel. 5 per card. 10-9mm Wide Blades.13 Snaps Per Blade. ITEM # DESC INFO SP UOM PRICE REFILL SNP- OFF BLDES 10-9MM WIDEBLDES\LINE1 3 SNPS PER BLDE CD 2.20 C.RHX MERICN SFETY RZOR CRPET SLITTER BLDES.017" square corner double edge blades. 10 per pack ECH CRPET BLDE SLITR D-E CD 2.89 L.CHX IRWIN CRPET KNIFE BLDES Two cutting edges. Fits most carpet knives. 5 blade pack. Durable carbon steel construction CRPET BLDES 5CT CD 2.86 C.YRX Knives and Replacement Blades, Replacement Blades, Snap-Off Knife Blades STNLEY UTILITY SNP-OFF KNIFE BLDES Several sharp cutting points per blade fits into Stanley Quick point snap off knives. Three blades per card. 3-1/2 in. blade length BLDES 9MM QUICK POINT 3/CRD CD 1.58 C.LCX SNP OFF BLDES QUIK POINT 18MM E 2.24 C.HXZ HYDE UTILITY SNP-OFF KNIFE BLDES Extra blades are blister packaged on cards, 5 blades each with 13 cutting points on each blade to make a total of 130 cutting points counting last point on blades. Knife and blades are displayed on attractive red, white and blue compact blister packaged cards following the Hyde traditional and distinctive eye and buy appeal format. 10 per box BLDES KNIFE UTILITY CD 2.51 C.YOX MERICN SFETY RZOR SNP-OFF KNIFE BLDE REFILL High carbon steel. Fits all standard breakaway or snap-off 13 point, 9mm knives. 5 blades REFILL SNP-OFF BLDES CD 1.62 C.LVX HYDE UTILITY SNP-OFF KNIVES BLDES Snap-off blades for use with Hyde snap-off knives 42028, 42030, and most other 18mm knives. Comes with 5 blades/40 points BLDES SNP-OFF 18 MM CD 3.21 L.ECX Knives and Replacement Blades, Replacement Blades, Blade Dispensers MERICN SFETY RZOR BLDE DISPENSER High carbon steel. Fits all standard utility knives. 2 notch. 100 in tray box UTILITY BLDE DISPENSER E H.YX NOVEMBER

50 Knives and Replacement Blades, Replacement Blades, Blade Dispensers STNLEY UTILITY KNIFE BLDE DISPENSERS Contains 100 utility knife blades. Wall display dispenses blades one at a time for safety and convenience UTILITY BLDES W/DISPENSER /PK PG CX.OYX STNLEY UTILITY KNIFE HOOK BLDE DISPENSERS Holds 100 of # Stanley hook blades. Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Short Cut Saws STNLEY SHRPTOOTH HND SWS - FTMX Cuts 50% faster than conventional saws. Induction hardened teeth stays sharp 3 to 5 times longer than standard teeth. Ergonomically designed handle for better grip and improved comfort. Welded handle to eliminate loose screws. Reusable blade guard for blade protection. United States Design Patent D has been granted for the ornamental appearance of the handle SHRPTOOTH SW 15IN BLD X 12PT CUT E Y.RCX SHRPTOOTH SW 20IN BLD X 12PT CUT E C.EVX HOOK BLDES CT E EO.EX STNLEY WORKS UTILITY BLDES WITH DISPENSER Engineered for general-purpose cutting. Precision-honed edge for consistent and extended cutting life. Fits most standard utility knives. Limited lifetime warranty L UTILITY BLDES W/DISPENSER H-DUTY 50PK PG 9.25 H.CXZ Hand Saws and Replacement Blades, Hand Saws, Short Cut Saws STNLEY SHORT CUT HND SWS Contractor Grade. ggressive tooth design cuts wood 50% faster than conventional saws. Induction hardened teeth stay sharp longer than nonhardened teeth. Tell-sell storage sleeve. 20" blade length HEVY DUTY SW 20INX9 PTS E CY.LRX STNLEY CROSSCUT SHORTCUT HND SWS Each tooth is precision-set and bevel-ground with three distinct cutting angles. Comfortable hardwood handles PNEL SW 20INX8PTS E CR.CZX STNLEY SHORT CUT HND SWS - FTMX +20% thicker blade for straigher cuts and to reduce binding. Sharp tooth saw technology cuts 50% faster than conventional saws. 9 teeth per inch. 65% thicker handle for the ultimate grip and comfort. Ideal for cutting all types of wood and plastic. Patent pending HNDSW 15INX9PTS FTMX E CL.YLX STNLEY SHORT CUT TOOL BOX HND SWS Delivers clean cuts faster and a compact blade for easier storage. Hardwood handle with special square/mitre feature HNDSW 15INX9PTS 15INX9 PT E CL.LX STNLEY UTILITY SWS Contractor grade. Short Cut Mini. 12 pt. inductionhardened teeth stay sharp longer than non-hardened teeth. ggressive tooth design cuts wood 50% faster. 10" blade is ideal for access in tight spaces and cutting a variety of materials such as plastic pipe, particle board, and wood. Lifetime Warranty SHORT CUT SW FINE FINISH 10INX12PPI E Y.ERX NOVEMBER 49

51 Hand & Power Tools Hand Saws and Replacement Blades, Hand STNLEY FST CUT SWS Saws, Fast Cut Saws ggressive Tooth Fast Cutting Saw. Fast cuts on both the push and pull stroke. Precision-ground, razor-sharp teeth. Handle molded for comfortable grip. Special handle design allows for back of saw to be used for marking 45 and 90 degree angles. 15" saw fits conveniently in tool box GENERL PURPOSE SW W/PLS HDL 15INX9PTS E EX STNLEY THRIFTY HND SWS Handle surrounds blade for lower center of gravity?maximizes cutting performance, more blade security HNDSW 26INX8 PT E 7.93 E.YRX Hand Saws and Replacement Blades, Hand Saws, Panel Saws GRET NECK PNEL SW 15". 8 Pt. High carbon steel blade. Precision set teeth. High impact BS handle doubles as a 45 & 90 degree square PL15 HND SW 15INX8PT E 9.30 E.VHX Hand Saws and Replacement Blades, Hand Saws, Rip Cut Saws GRET NECK 26" RIP CUT SW 26" 8 pt. high carbon steel blade. Precision set teeth. High impact BS handle PL26S RIP CUT HNDSW 8PT 26IN E R.YX GRET NECK WOOD HNDLE STNDRD SW 26" 8 pt blade. High carbon steel blade. Precision set teeth. Carved select hardwood handle. Unique handle design allows for superior cutting angle. Packed in individual sleeves C26S FST CUT HNDSW 8PT 26IN E CV.XOX NICHOLSON HNDSWS Quickcut. Economy. Good "value-to-cost" performance handsaws. SHEFFIELD GGRESSIVE TOOTH TOOL BOX SW Sheffield ggressive Tooth Tool Box Saw. Precision ground and set teeth for smooth and accurate cutting. Tri-bevel tooth design for more efficient cutting. High carbon steel for strength and durability. Heat treated teeth for longer life. Oversized hardwood handle for comfort and efficiency TOOLBOX SW SHEFFIELD 15INX9PT E Y.OCX NS503N HNDSW QUICKCUT 15X8PT E 7.22 E.VRX IRWIN UNIVERSL CROSSCUT SW Unique handle design eliminates binding and delivers full blade strokes for an efficient cut. Patented universal tooth grind delivers coarse saw speed with a fine cut finish. Comfortable grip handle. Blade profile has tapered-pitch nose for improved clearance and stability mm blade with water-based lacquer coating for speed and control UNIVERSL HNDSW 15IN E CE.RCX UNIVERSL HNDSW 20IN E CH.YXZ SHEFFIELD GRESSIVE TOOTH HND SW Sheffield 15'' ggressive Tooth Handsaw. Precision ground and set teeth for smooth and accurate cutting. Tri-bevel tooth design for more efficient cutting. High carbon steel for strength and durability. Heat treated teeth for longer life. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern TOOLBOX SW SHEFFIELD 15IN E CX.RYX NOVEMBER

52 Hand Saws and Replacement Blades, Hand STNLEY BCK SWS Saws, Miter Saws Induction hardened teeth keep cutting edge sharper 3 to 5 times longer than conventional blades. Contoured molded handle with textured finger grips for comfort BCK SW 14IN 13TPI FTMX E CZ.OLX SHEFFIELD MITRE BCK SW Sheffield Mitre Back Saw. Reinforced steel back saw for accurate cutting. Precision ground teeth for smooth, easy cutting. 3" Depth cut. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern MITRE BCK SW SHEFFIELD 14INX16PT E CL.XEX Hand Saws and Replacement Blades, Hand Saws, Miter Saws and Boxes STNLEY CLMPING MITER BOX & SWS Uniquely designed honeycomb base and cam shaped pins secure work for accurate cuts. Hassle free - just twist cam pint to securely hold material to base while cutting. Cuts miters on 45 degree and 90 degree, face angle 45 degree, and all new 22-1/2 degree angle (for octagonal shapes) popularly used on architectural details such as bay windows. Molded-in storage compartments to hold cam pins and pencil CLMPING MITRE BOX W/ 14IN SW E CR.XZZ Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Miter Saws and Boxes GRET NECK MITER BOX & SW 14" Back Saw and 12" Plastic Mitre Box with Ruler Edge BSB14 MITRE BOX 12IN W/SW 14IN E RLX Hand Saws and Replacement Blades, Hand Saws, Miter Boxes GRET NECK PLSTIC MITER BOX High impact polystyrene construction for rigidity and durability. Ruler scale for quick measurments. 45 and 90 degree angles. 12" x 4" x 2-1/4" PMB12 MITRE BOX 12IN PLSTIC E 6.85 O.YZX Hand Saws and Replacement Blades, Hand Saws, Pull Saws SHEFFIELD DOUBLE EDGE PULL SW Sheffield Double Edge Pull Saw. 10" Graduated medium rip cut / extra fine cross cut blade. Works with inter-changeable handle and blades. Perfect for dovetails, moldings, particle board, plywood, and flush cuts. Handle can be reversed for use in tight spaces. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern PULL SW DOUBLE SIDED E INX18PT CH.ECX STNLEY MITER BOX & SWS Patented new storage system, holds all Stanley 12IN x 14IN backsaws. Finger button allows easy release of saw from storage cavity. 90 degree and 45 degree miter slots as well as 22-1/2 degree slots for octagon shapes. Holes in base for fastening to a work bench. Front lip butts up against work table to reduce slippage. Miter box made from lightweight, high impact BS plastic interior is open to allow cuttings to fall through SW STORGE MITRE BOX WITH 14IN SW E Y.VRX SHEFFIELD HEVY DUTY PULL SW Sheffield Heavy Duty Pull Saw. 13 inch Rip and coarse cut blade for medium to coarse cut. Works with interchangeable handle and blades. Perfect for framing, treated lumber, log, and timbers. Handle can be reversed for use in tight spaces. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern PULL SW HVY DUTY 13INX9PT E CE.HRX NOVEMBER 51

53 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Pull Saws SHEFFIELD LL PURPOSE PULL SW Sheffield ll Purpose Pull Saw. 10-1/2 inch Cross cut blade for fine to medium cut. Works with interchangeable handle and blades. Perfect for plywood, particle board, molding, and 2x4's. Handle can be reversed for use in tight spaces. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern PULL SW LL PURPOSE 9INX17PPI E CZ.LRX Hand Saws and Replacement Blades, Hand Saws, Jab Saws SHEFFIELD DOUBLE EDGE WLLBORD SW Sheffield Double Edge Wallboard Saw. 6'' blade length. Bevel ground 3 sided teeth for versatile cuts. Hardened and tempered steel for strength and durability. Double edge design for easier, faster cutting. Pointed tip for plunge cuts. Oversized ergonomic rubber grip handle with Sheffield Oval-Grip pattern WLLBORD SW DOUBLE EDGE 6IN E 7.56 V.VYX IRWIN PULL SW Cuts on pull stroke. Pulling motion prevents binding and provides better control. Micro-thin blade and precision-ground teeth provide clean cuts. The light weight and natural flow of the pulling motion result in less fatigue than with push-stroke saws. Made for aggressive cross-cutting and ripping, with a flexible blade that makes good flush cuts. Perfect for cleaning out 90-degree circular saw cuts and bird's mouth rafter cut PULL SW 12IN GC E C.XZ IRWIN DOUBLE EDGE PULL SW Cuts on pull stroke. Pulling motion prevents binding and provides better control. Micro-thin blade and precision-ground teeth provide clean cuts. The light weight and natural flow of the pulling motion result in less fatigue than with push-stroke saws. Made for utility ripping and cross-cutting. Perfect for flush-cutting door shims and remodeling work PULL SW DBL BLDE E CY.CHX IRWIN DOVETIL PULL SW Cuts on pull stroke. Pulling motion prevents binding and provides better control. Micro-thin blade and precision-ground teeth provide clean cuts. The light weight and natural flow of the pulling motion result in less fatigue than with push-stroke saws. Made for flush-cutting dowels and fine detail cuts. Perfect for trim detail work, such as around windows and door frames PULL SW DOVETIL E CO.RX STNLEY WLLBORD SWS Cushion grip, contractor grade wallboard saw. Non-slip grip. Blade and teeth are fully hardened and tempered for maximum durability, strength and flexibility. Specially designed teeth to make clean, quick cuts with no clogging. Full lifetime warranty, Made in U.S WLLBORD SW 6IN CUSHION E 7.47 GRIP E.RX STNLEY WLLBORD SWS Designed especially for plasterboard? make cut-outs for electric outlets, etc. Self-starting (point-sharpened for plunge cuts). Hardwood handle. Individually carded. 6" blade length WLLBORD SW 6IN WOOD E 3.41 HNDLE L.EHX GRET NECK DOUBLE EDGE WLLBORD SW Hardened and tempered 6" steel blade with sharpened teeth on both edges. Easily cuts through wallboard and synthetic building materials. Large heavy duty rubber grip handle DBL EDGE WLLBORD SW 6IN E 6.71 O.YZX GRET NECK WLLBORD SW Hardwood handle. For wallboards and sheet rock. Easily makes cutouts for switches & outlets. Pointed blade for plunge cuts WL6C WLLBORD SW 6IN CD 4.77 L.HX NOVEMBER

54 Hand Saws and Replacement Blades, Hand Saws, Jab Saws HOWRD BERGER WLLBORD SW Self-starting pointed blade for plunge cuts and close quarter works. 6" blade. Deluxe rubber grip handle. Heavy-duty WLLBORD SW H-D RUBBER GRIP 6IN E 7.89 V.HLX HYDE MXXGRIP JB SWS One of the fastest and strongest multi-saws on the market: cut quickly through drywall, wood, Masonite? and plywood. Sharp point penetrates drywall without drilling. Rubberized handle is ergonomically designed for comfort and safety. Double-ground high carbon steel teeth cut in both directions (pushing and pulling). Wide tooth-set reduces binding and friction SW PRO JB MXXGRIP 6 IN E 5.75 V.OZX STNLEY FTMX JBSW The FatMax jabsaw's sharp tooth design can cut 50% faster than traditional tooth designs. Cuts on both push and pull strokes. The sharpened tip can easily cut punches through drywall. For durability, the blades are hardened and tempered. Cuts through wood, plastic and drywall. Non-slip comfort grip. Handle structure designed for strength and durability JB SW 6IN BLDE 9 PTS PER INCH FTMX E RVX GOLDBLTT JBSWS Sharp Tooth. Cuts 50% faster than conventional saws. Cuts on both the push and pull stroke. Sharpened tip easily punches through drywall. Induction hardened teeth stay sharp 3 to 5 times longer than standard teeth. Blade can cut through cement board. Ideal for drywall, wood and plastic. Ergonomic non-slip grip to maximize comfort and use. Composite handle design for strength and durability. 12" total length. Blade is 1" x 6-1/4" G20556 DRYWLL JB SW 6IN E H.VLX Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Jab Saws GOLDBLTT UTILITY JB SW Dual ground tooth design makes fast clean cuts. Thin blade design reduces friction and is great for cutting in tight areas. For use on drywall, wood and plastic. Comfort grip cushioned handle G05183 WLLBORD SW W/ CUSHION HNDLE 6IN E 5.04 O.ORX IRWIN DRYWLL JB SW Rigid (1.2mm) blade. Bi-Ground teeth. Hardwood handle. Blade Thickness 1.2mm. Blade Size 6-1/2" SPECILTY SW IRWIN DRYWLL/JB SW E 5.05 O.OYX IRWIN PROTOUCH DRYWLL JB SW Thick-body blade is exceptionally rigid for better cut control. Tri-Ground Teeth are aggressive for fastest, smoothest cutting. Ergonomic handle with ProTouch rubberized grip provides comfort and control. For roughing in drywall, cutting out HVC, plumbing, and electrical openings or cutting ceiling tile openings SPECILTY SW IRWIN PREM PRO DRYWLL E CZ.EX IRWIN STNDRD UTILITY SW 11-1/2" Blade Length. 10 Point Tooth Count. Thick-Body (1mm) blade. ggressive Tri-Ground teeth. Hardwood handle SPECILTY SW-IRWIN PROF TOOLBOX E CZ.LOX Hand Saws and Replacement Blades, Hand Saws, Keyhole Saws STNLEY KEYHOLE SWS Comfortable, lightweight pistol grip handle with one each wood cutting and metal cutting blades. Cuts into places where hacksaw cannot reach or cut. Cuts curves, circles frets in wood, nails, metal lath, composition and board. BX cable, conduit, etc. 6" and 8" blade. 6 per box WY KEYHOLE SW W/2 BLDES E 6.38 V.EX NOVEMBER 53

55 Hand & Power Tools Hand Saws and Replacement Blades, Hand GRET NECK KEYHOLE SW Saws, Keyhole Saws Features a 4-in-1 saw blade that can be fitted securely into the steel handle in the vertical cut position or the horizontal position by simply snapping it into place KEYHOLE SW GRET NECK CD 5.51 O.LHX GRET NECK KEYHOLE SW Metal handle. 4 blade positions. Includes 2 Blades: 10 pt for wood cutting, 24 pt for metal cutting KEYHOLE SW W/EXTR BLDES E 6.85 V.XOX SHEFFIELD KEYHOLE SW Sheffield Keyhole Saw. Solid steel blade for strength and durability. 4 Positions: Top facing left or right, or Side facing up or down. Includes: 24PPI blade for metal cutting & 18PPI blade for wood cutting. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern KEYHOLE SW 4-POSITIONS W/BLDES E 8.41 V.YX Hand Saws and Replacement Blades, Hand Saws, Compass Saws STNLEY FTMX COMPSS SW Used specifically for fine finish, plywood and hardwoods. Designed for precise cutting including dovetails, miters, and tenons. Heavy duty screws for secure blade to handle assembly. Solid, one-piece bi-material handle delivers increased durability and comfort COMPSS SW 9TPI 12IN E Y.VCX GRET NECK COMPSS SW Professional grade compass saw. 8 pt. high carbon steel blade. Genuine hardwood handle M212 COMPSS SW 12IN E R.RYX Hand Saws and Replacement Blades, Hand Saws, Compass Saws SHEFFIELD CORSE TOOTH COMPSS SW Sheffield Coarse Tooth Compass Saw. 12'' blade length, 8PPI. Precision ground and set teeth for smooth and accurate cutting. Heat treated teeth for strength and durability. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern COMPSS SW SHEFIELD 12IN E R.LYX Hand Saws and Replacement Blades, Hand Saws, Flush Cut Saws IRWIN DOVETIL / JMB SWS ProTouch. Wide-body blade (50mm). Reversible Flush-cut blade. Springloaded pin enables the blade to reverse for left or right cutting. Ergonomic ProTouch handle DOVETIL/JMB SW 10IN 14PT E CX.CHX STNLEY FLUSH CUT SWS Contractor Grade Flush Cut Saw. Flexible blade cuts plugs or dowels flush. 23 point blade cuts quickly and cleanly on the pull stroke. Double sided blade for convenient cutting to the left or right. Comfortable handle contoured for maximum control. Excellent for trimming through lap joints. 4-3/4" blade FLUSH CUT PULL SW BLDE 23PT E Y.HEX IRWIN MRTHON STNDRD CORSE CUT SW M2 advanced tooth geometry and Tri-Ground teeth provide a fast, efficient cut. Deep Gullets provide rapid removal of chips. Carpenter saw's 12-point, extra-fine front teeth provide a rapid, smooth start. Tapered-Pitch nose improves clearance and stability. Handsaw is designed for coarse cuts. 1mm thick blade delivers rigidity and control. Tapered-Pitch nose improves clearance and stability. Ergonomic hardwood handle provides comfort and control CRPENTER SW 15IN CORSE 9PT 1MM BLD E CZ.RX NOVEMBER

56 Hand Saws and Replacement Blades, Hand Saws, Flush Cut Saws IRWIN MRTHON STNDRD CORSE CUT SW M2 advanced tooth geometry and Tri-Ground teeth provide a fast, efficient cut. Deep Gullets provide rapid removal of chips. Carpenter saw's 12-point, extra-fine front teeth provide a rapid, smooth start. Tapered-Pitch nose improves clearance and stability. Handsaw is designed for coarse cuts. 1mm thick blade delivers rigidity and control. Tapered-Pitch nose improves clearance and stability. Ergonomic hardwood handle provides comfort and control CRPENTER SW 20IN CORSE 9PT 1MM BLD E CV.RHX Hand Saws and Replacement Blades, Hand Saws, Pocket Saws STNLEY POCKET SWS Handyman Folding. versatile saw that accepts standard sabre and reciprocating saw blades. Features extra blade storage in the handle. Plastic handle. 8" long when closed FOLDING POCKET SW 6IN E H.YX LENOX FOLDING JB & UTILITY SW Designed for cutting multiple materials. Includes plaster and general purpose reciprocating blade (635R & 636RP). Rubberized grip prevents hand fatigue during use. Reinforced locking mechanism prevents blade from pulling out or handle closing during use. luminum construction maximizes strength of handle. ccommodates hacksaw blade. Ideal for flush cutting applications or when a hacksaw is not available. pplications: Drywall, plaster, wood and metal cutting TFHS FOLDING SW E LZ.CXZ Hand Saws and Replacement Blades, Hand Saws, Multi Saws STNLEY MULTI-SWS Contractor grade. Multi-Functional Cushion Grip. Ergonomic cushioned curved handle. 6" blade length MULTI SW W/RECIP ND HCK BLDES FTMX E 8.23 R.LVX Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Multi Saws STNLEY 3-IN-1 SW SET Ergonomically designed handle made with glass-filled, high-strength nylon to support six different blade positions. No tools required for blade change. Integrated blade storage; the turn knob allows the user to conveniently store all three blades on the handle when not in use. Multipleposition handle allows access to tight corners 10 inches x 11 TPI. Universal blade cuts on the pull stroke and is less likely to jam or bend. Cuts through tree limbs, 2 x 4's and plastic pipes. 8 inch x 9 TPI Compass saw blade carves patterns and shapes out of wood. 6 inch x 24 TPI Metal cutting blade cuts through metal pipes and metal rods MULTI-PURPOSE 3-N-1 SW E CV.XYX IRWIN PROTOUCH MULTI SW Includes blades for cutting both metal and wood. Spring-loaded pin holds blade securely while making it easy to change. Ergonomic handle with ProTouch rubberized grip provides comfort and control. Use for quick and convenient cuts in PVC, wood, or metal, and flush-cutting screws or other fasteners SPECILTY SW IRWIN CUSHION GRIP MULTI E VX IRWIN COMBI-SW Primary uses - Gardening/pruning and metal cutting. Contains both wood cutting and hacksaw blades. ProTouch? Grip provides comfort and control HP300 COMBI-SW 12"/317MM HRD PT E Y.YRX Hand Saws and Replacement Blades, Hand Saws, Coping Saws STNLEY COPING SWS High carbon steel blade. Walnut stained hardwood handle. Length is 6-3/8". 4-3/4" Depth. ITEM # DESC INFO SP UOM PRICE COPING SW 4-3/4 FTMX 4-3/4" DEPTH" E 5.81 V.OHX COPING SW 6-3/4 FTMX 6-3/4" DEPTH" E 6.13 V.RCX NOVEMBER 55

57 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Coping Saws VERMONT MERICN COPING SWS Professional. For sawing in any position. 3/16" x 3/8" steel frames plated for rust resistance and durable hardwood handles. Saws are fully adjustable to cut on any curve in any position. Furnished with 10-tooth per inch spring steel blades COPING SW DEPTH 4-3/4IN E 7.79 V.VX GRET NECK COPING SW 4 3/4" Depth of cut. Nickel plated frame. 360 Degree adjustable blade. Set Includes ssorted Blades: Fine - For Thin Woods Medium - For Hard Woods nd Plastics Coarse - For Rough Cuts In Wood CP9 COPING SW 4-3/4IN W/BLDS E 9.06 E.LHX SHEFFIELD HEVY DUTY STEEL COPING SW Sheffield Heavy Duty Steel Coping Saw. 360 djustable blade for flexible cutting. Heavy duty steel frame for strength and durability. Fully polished plating to resist rust. Includes 4 blades: 1 fine, 2 medium, and 1 coarse. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern COPING SW STEEL HVY DUTY SHEFFIELD E 9.25 E.VYX IRWIN PROTOUCH COPING SW Flat-bar frame has a 5 1/2-inch frame depth. DuraSteel pins hold blades securely. High-speed blade delivers fast, smooth cuts. Ergonomic handle with ProTouch rubberized grip provides comfort and control. Use for cutting the curved profile on crown, base, or chair rail molding, or as a supplement to power tools SPECILTY SW IRWIN PREMIUM PRO COPING E H.HX IRWIN COPING SW REPLCEMENT BLDES Replacement blades for the ProTouch Coping Saw (# ). Coarse-tooth blades. Carbon Material. 3-pack SPECILTY SW CCES-IRWIN COPING SW E 3.15 L.CZX SPECILTY SW CCES-IRWIN COPING SW E 3.15 L.CZX Hand Saws and Replacement Blades, Hand Saws, Hack Saws STNLEY HIGH TENSION HCKSWS - FTMX One piece durable body for prolonged life, allowing for extra high 330 lb. tension. Quick and easy blade change with pre-tensioning. Comes with a bimetal blade 24 tpi. Power load sliding tension, gives extra leverage. Thumbdial adjustable tension mechanism with quick change features allows for tension memory, no resetting after each blade change. Ergonomically designed contoured handle and front thumb grip to give better control H-TENSION HCKSW 12IN FTMX E C.CHX STNLEY HIGH TENSION HCKSWS Contractor Grade djustable tension holds blade at up to 32,000 p.s.i. Blade storage in frame. Tension guide on handle lever. 3-7/8" depth of throat. 12" blade length HIGH TENSION HCKSW 12IN E LC.ZX STNLEY COMPOSITE HCKSWS Patented design. I-beam frame constructon. Frame made from high impact polymer with steel core. Sloped nose for access into tight, hard-to-reach places. 4" depth of cut. Ergonomic non-slip grip. Easy open lever for quick and easy blade change. High tension blade for straight accurate cuts. 12" fixed blade frame K COMPOSITE HCKSW 12IN E Y.ERX STNLEY DJUSTBLE FRME HCKSWS Handyman. Rigid steel frame adjusts for 8", 10" and 12" blades. Blade can be positioned to cut in 4 directions. Molded vinyl handle. Furnished with 10" flexible hard-edge blade. Depth of Throat: 3-7/8" STHT20139L HCKSW 12IN 12IN E ERX STNLEY FIXED FRME HCKSWS Solid Frame. Sturdy all metal frame will not break apart, pivot-load blade design, full grip protects knuckles. Blade length: 10". Depth of throat: 3-1/2" STHT20138 HCKSW SOLID FRME 12IN E 7.07 E.LHX NOVEMBER

58 Hand Saws and Replacement Blades, Hand Saws, Hack Saws NICHOLSON FIXED FRME HCKSWS For DIY and home use. Sturdy steel frame with plastic handle. 12" blade HCKSW -ECONOMY E 7.76 E.XZ GRET NECK PROFESSIONL HI- TENSION HCKSW Professional 4-1/4" Depth Cut. Hollow bar for blade storage. ccepts high tension without damage. Extra storage aluminum die cast handle for lightweight strength. nchors for straight or 45 degree cut HCKSW FRME E HXZ Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Hack Saws LENOX HIGH TENSION HCKSW FRMES Hand hacksaw frame. Heavy-duty aluminum handle. Rectangular steel crossbar. Blade storage. Converts to jab or compass saw. Blade tensions to 28,000 psi. Steel tensioning nut. Fold away tension lever. 45 degree blade holder pins for flush cutting. Resists breakage. Length is 15-1/2"; width is 6"; uses 12" long blades. High tension HT50 FRME HCKSW HT E LZ.YX HOWRD BERGER DJUSTBLE HCKSW 10" - 12" adjustable length. 3-1/2" clearance. Chrome. Cast zinc alloy handle HCK SW DJ MINI 10-12IN CHROME E 6.15 O.RLX GRET NECK PROFESSIONL HCKSW FRME Professional 3-1/2" Depth Cut. Fits 10" and 12" Blades. djusts To 4 Cutting Positions. Plated To Resist Rust. Heavy Duty Steel and l Hi-Impact Plastic Pistol Grip Handle HCKSW FRME PISTOL GRIP E H.RYX STNLEY MINI HCKSWS Contractor Grade Metal Mini-Hack Utlity Saw. Cast aluminum handle is lightweight but built for durability. Comfortable handle design. Supplied with a high performance, 10" bi-metal blade goes all the way to end of handle MINI HCK UTILITY SW 10IN METL E 4.46 O.OZX GRET NECK ECONOMY HCKSW FRME 3 1/8" depth of cut. Uses 10" or 12" blades, 9/16" x 5/32" stock. djusts to 4 cutting positions. High impact pistol grip handle ECONOMY HCKSW FRME E 7.71 V.VZX GRET NECK FIXED HCKSW FRME Economy Hacksaw Frame. 3 1/8" depth of cut. Fixed frame for 10" blades. High impact pistol grip handle FIXED FRME HCKSW 10IN E 8.94 E.LEX STNLEY MINI HCKSWS Uses regular hacksaw blades. For hard-to-get-at places and light duty cutting. Durable molded frame offers maximum hand comfort. 8-3/4" length without blade MINI HCK SW 10IN E 4.31 O.LVX LENOX HCKSWS Rugged heavy-duty aluminum handle. Includes Bi- Metal 10" (250mm) Lenox handsaw blade. 5 per box HCKSW E H.YRX NOVEMBER 57

59 Hand & Power Tools Hand Saws and Replacement Blades, Hand LENOX HCKSW FRME Saws, Hack Saws D-shaped handle with ergonomic grip and front hand rest. Flush cutting with extra blade storage. Blade tension up to 20,000 PSI. Includes 1 blade HCKSW FRME E CR.XHX GRET NECK CLOSE QURTER HCKSW 10" High. Speed Blade. 24 Teeth per Inch. luminum Frame. Textured Ergonomic Grip HF25 CLOSE QURTER HCKSW 24T LUM E 6.64 O.YLX GRET NECK MINI HCKSW FRME Molded high impact plastic handle. djustable close quarter hacksaw frame. Includes 10" standard hacksaw blade HF10 MINI HCKSW E 4.55 L.RLX GRET NECK MIDGET HCKSW FRME Designed for fine, close work with 6" x 1/4" hacksaw blade. Good for metal cutting. Uses Great Neck #615C replacement blades C MIDGET HCKSW FRME CD 3.12 C.EX Hand Saws and Replacement Blades, Hand Saws, Hack Saws SHEFFIELD QUICK RELESE HIGH TENSION HCKSW Sheffield Quick Release High Tension Hacksaw. Quick release mechanism for easy blade changes. nchors for straight or 45 degree cut. High tension screw for easy blade changes with hollow bar for blade storage. Die cast aluminum handle for lightweight strength. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern HI-TENSION HCKSW SHEFFIELD E LO.XYX SHEFFIELD HEVY DUTY STEEL DJUSTBLE HCKSW Sheffield Heavy Duty Steel djustable Hacksaw. Heavy duty steel frame for strength and durability. ccepts 10" and 12" blades. djusts to 4 cutting positions. Includes 1 12" 24TPI hacksaw blade. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern DJUSTBLE HCKSW HVY DUTY STEEL SHEFFIELD E Y.RCX LENOX 12" MEDIUM TENSION HCKSW FRME Lightweight aluminum beam achieves 20K PSI. Ergonomic and durable aluminum handle for a confident grip in most work environments. Mount blade at 45? for flush cutting applications HCKSW FRME FRME E CL.XYX SHEFFIELD TRUE CLOSE QURTER DJUSTBLE HCKSW Sheffield True Close Quarter djustable Hacksaw. 10'' blade length. djustable blade brace to fit any size, style, or type of hacksaw blade. Heavy gauge die cast aluminum for strength and durability. Includes 10" carbon steel blade. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern QURTER DJUSTBLE HCKSW 10IN SHEFFIELD E 8.04 V.HYX LENOX DJUSTBLE HCKSW FRME Hacksaws adjustable aluminum handle blade length 12 inches. Lightweight aluminum beam achieves 15K PSI; durable aluminum handle for a confident grip in most work environments; mount blade at 45 degrees for flush cutting applications DJUSTBLE HCKSW FRME E CX.HX NOVEMBER

60 Hand Saws and Replacement Blades, Hand Saws, Hack Saws COBR PRODUCTS MINI HCKSW Mini hacksaw for cutting brass, copper, iron pipe, PVC, steel and wood PST113 MINI HCKSW E 9.80 E.HX Hand Saws and Replacement Blades, Hand Saws, Bow Saws NICHOLSON COMBINTION BOWSW & HCKSW Comes with 2 blades: Hacksaw and Bowsaw. Built-in hand safety guard. Full throat makes cutting plastic pipe easy. Bowsaw cuts in both directions BOW HCK 12IN E Y.YHX GRET NECK COMBINTION BOWSW & HCKSW 12" Bowsaw/Hacksaw Combination Saw with 2 Blades Included. Bow Saw for Cutting Wood 12" Hacksaw Blade for Metal and Other Materials. Extra Heavy Duty Frame with Textured Coated Grip BOWSW/HCKSW COMBINTION 12IN E 8.57 E.XVX Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Pipe Saws LENOX PLSTIC PIPE HND SW Heavy-duty aluminum handle. Carbon steel blade. Tooth hardness Rc /8" blade width. Spring tempered blade back HSF12 HND SW PVC 12IN E CR.XLX HSF18 HND SW PVC 18IN E CH.YRX COBR PVC SW 5-angle adjustment handle. 1 per sleeve PST111 PVC SW 13IN E CRX PST112 PVC SW 118IN E CX.LZX GRET NECK PVC PIPE SW 13". Cuts PVC, CPVC, BS Wood, Drywall, and more. Heat treated blade lasts up to 5 times longer than conventional PMPVC PVC PIPE SW 13IN E R.YXZ Hand Saws and Replacement Blades, Hand Saws, Cable Saws COBR PVC CBLE SW Stainless steel cable. 24" long. 1 per card PST110 PVC CBLE SW 4.72 L.OX Hand Saws and Replacement Blades, Hand Saws, Nest of Saws JMK/IIT 12" BOW/HCKSW Durable carbon steel construction. 4 teeth per inch bow saw blade. 24 teeth per inch hacksaw blade. Can be used as Bow or Hack saw BOW/HCKSW 12IN E 7.42 V.OX STNLEY NEST OF SWS 4 piece set includes: pistol grip handle, 10" short cut finish blade (12 point), 10" compass saw blade, 6" metal cutting blade. Perfect for cutting curries, circles and trim work NEST OF SWS-3BLD E CX.HZX NOVEMBER 59

61 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades GRET NECK MIDGET HCKSW BLDES 5 pack of 6" blades with pins for midget hacksaw ITEM # DESC INFO SP UOM PRICE C MIDGET HCKSW REPL BLDE 6IN 5PK 5 PER CRD 3.16 C.RX Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades STNLEY BI-METL HCKSW BLDES Bi-Metal Hacksaw Blades Series. Made for the user who does not compromise performance. Stanley Bi-Metal blades combine the flexiblity of carbon steel backs with the cutting performance of high speed steel. 1 blade per card BI-METL HCKSW BLDE 12IN X 18T CD 1.78 C.OEX BI-METL HCKSW BLDE 12IN X24T CD 1.78 C.OEX BI-METL HCKSW BLDE 12IN X 32T CD 1.81 C.OX STNLEY HCKSW BLDES SERIES High speed steel blades cut most metals including unhardened tool steel and stainless. Individually carded. 1 blade per card HCKSW BLDE 10INX18TPI HIGH SPD STL CD 1.43 C.XYX HCKSW BLDE 10INX24TPI HIGH SPD STL CD 1.43 C.XX HCKSW BLDE 10INX32TPI HIGH SPD STL CD 1.45 C.XYX HCKSW BLDE 12INX18 TPI HIGH SPD STL CD 1.57 C.LCX HCKSW BLDE 12INX24 TPI HIGH SPD STL CD 1.54 C.CHX HCKSW BLDE 12INX32 TPI HIGH SPD STL CD 1.58 C.LOX VERMONT MERICN HIGH CRBON STEEL HCKSW BLDES Excellent for cutting most metals. Ideal blade for general use. Carded items contain 2 blades per card HCKSW BLD 10IN X 18T 2CD CD 1.25 X.XZ HCKSW BLDE 10IN X 24T CD 1.29 X.HYX HCKSW BLDE 12IN X 18T CD 1.39 X.LX HCKSW BLDE 12IN X 24T CD 1.39 X.OX HCKSW BLDE 12IN X 32T CD 1.39 X.OX HCKSW BLDE 12IN X 18T E 0.75 X.VRX HCKSW BLDE 12IN X 24T E 0.75 X.VRX HCKSW BLDE 12IN X 32T E 0.72 X.VRX STNLEY HCKSW BLDES SERIES High carbon steel blades cut mild steel, cast iron, aluminum and copper. 2 blades per card HCKSW BLDES 10INX18TPI 2/CRD CD 1.02 X.HX HCKSW BLDES 10INX24TPI 2./CRD CD 0.97 X.HVX HCKSW BLDE 10INX32TPI 2/CRD CD 1.01 X.HX HCKSW BLDE 12INX18TPI 2/CRD CD 1.02 X.HYX HCKSW BLDE 12INX24TPI 2/CRD CD 1.02 X.HZX VERMONT MERICN BIMETL HCKSW BLDES For finest sawing performance. High speed steel cutting edges welded to alloy spring steel backs. Bimetal blades are shatterproof HCKSW BLDE 10IN X 18T CD 2.05 C.LHX HCKSW BLDE 10IN 24T CD 2.05 C.LVX HCKSW BLDE 10IN X 32T CD 2.05 C.LHX HCKSW BLDE 12IN 18T CD 1.99 C.CYX HCKSW BLDE 12IN 24T CD 1.99 C.CYX HCKSW BLDE 12IN 32T CD 1.99 C.CYX HCK SW BLDE 24T REVERSE 12IN E 1.79 C.CZX NOVEMBER

62 Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades LENOX BI-METL HCKSW BLDE Bi-metal construction. Spring steel back, virtually unbreakable. Shock resistant. High heat resistance S018HE HCKSW BLDE 10INX18T CD 2.26 C.EOX S024HE HCKSW BLDE 10INX24T CD 2.26 C.ELX S032HE HCKSW BLDE 10INX32T CD 2.28 C.EOX S218HE HCKSW BLDE 12INX18T CD 2.39 C.RXZ S224HE HCKSW BLDE 12INX24T CD 2.39 C.RXZ S232HE HCKSW BLDE 12INX32T CD 2.39 C.RXZ V218HE HCK BLDE 12INX18T CD CE.LHX V224HE HCK BLDE 12INX24T CD CE.VLX V232HE HCK BLDE 12INX32T CD CE.VLX HE HCKSW BLDE 12X18T E 2.25 C.ELX HE HCKSW BLDE 12X24T E 2.26 C.ELX HE HCKSW BLDE 12X32T E 2.28 C.EOX SHEFFIELD CORSE CUT HI-SPEED STEEL HCKSW BLDES Sheffield 12" Coarse Cut Hi-Speed Steel Hacksaw Blades. 18TPI. 2 pc Pack. Flexible steel to resist breakage. Molybdenum steel for strength and durability. Lasts 5X longer than carbon blades. Hardened teeth stay sharper longer. Fits Sheffield branded and other common hacksaw frames HCKSW BLDES STEEL 12IN E 4.28 L.ELX HCKSW BLDES STEEL 12IN E 4.28 L.EVX DISSTON REMGRIT 12 IN. CRBIDE GRIT HCK SW BLDE Carbide particles bonded to a steel blade. This saw cuts extremely abrasive materials with no teeth to chip or dull. Carbide grit offers the greatest wear and heat resistance. The blade cuts on both strokes. Ideal for materials that other saws will not cut. Size: 12 in. x 34 in. x in. Dimension: 0.01 x 0.01 x in. Item weight lbs. Hand & Power Tools Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades PEX NICHOLSON SHTTERPROOF HCKSW BLDE Solid high carbon steel. Tempered to provide hard edge with flexible back. Specially hardened to induce toughness. Economy blade for sawing light to medium-hard materials. good balance of wear resistance, mechanical shock absorbing properties. Virtually unbreakable HCKSW BLDE SS INX18TPI CRBON E 0.58 X.VZX HCKSW BLDE SS INX24TPI CRBON E 0.58 X.VZX HCKSW BLDE SS INX18TPI CRBON E 0.61 X.VHX HCKSW BLDE SS INX24TPI CRBON E 0.61 X.VHX HCKSW BLDE SS1218 FLEX 2/CD CD 1.32 C.XCX HCKSW BLDE SS1224 FLEX 2/CD CD 1.32 C.XCX HCKSW BLDE SS1232 FLEX 2/CRD CD 1.32 C.XCX PEX NICHOLSON BI-METLOY HCKSW BLDE Molybdenum alloy tool steel edge. Tough flexible high carbon steel backing. Lasts twice as long as high-speed steel. Lasts up to ten times longer than carbon steel. Operates 20% to 50% faster. High tooth hardness and shock resistance HCKSW BLD NF INX18TPI BIMETLOY E 1.43 C.XYX HCKSW BLD NF INX24TPI BIMETLOY E 1.43 C.XYX N HCKSW BLD NF12 12INX14TPI BIMETLOY E 1.53 C.CRX HCKSW BLD NF INX18TPI BIMETLOY E 1.53 C.CRX HCKSW BLD NF INX24TPI BIMETLOY E 1.53 C.CRX NHCKSW BLD NF INX32TPI BIMETLOY E 1.53 C.CRX N HCKSW BLDE NF1218 BIMETL 2/CD CD 3.04 L.OLX N HCKSW BLDE NF1224 BIMETL 2/CD CD 3.04 L.OLX HCKSW BLDE NF1232 BIMETL 2/CD CD 3.04 L.OLX N HCKSW BLDE NF1018 BIMETL 2/CD CD 2.70 L.XRX HCKSW BLDE NF1024 BIMETL 2/CD CD 2.70 L.XRX GH12 HCKSW BLDE-MEDIUM GRIT 12IN E 4.79 O.LXZ NOVEMBER 61

63 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saw Blades, Rod Saw Blades RTU TUNGSTEN CRBIDE GRITTED ROD SW BLDE Saws through brick, cast metals, ceramic tile, cement backerboard, composites, fiberglass, flagstone/slate, glass, hardened steel, stranded cable, laminates, marble, PVC, and reinforced cement. Cuts tough materials that other blades won't scratch. Never needs resharpening. Cuts, contours, angles, and circles. Works in any direction - fits where other blades can't. long lasting edge - no teeth to dull or chip ROD SW BLDE 12IN CD 5.57 O.CXZ Hand Saws and Replacement Blades, Hand Saw Blades, Coping Saw Blades STNLEY COPING SW BLDES Strong and flexible blades of high carbon steel, heat treated and tempered for strength. Medium turns in wood 1/8 inches to 1-1/2 inch thick and soft material. 1-14/4 inches to 1/4 inches thick. 4 blades per card COPING SW BLDES 6-1/2INX15TPI 4/CD CD 2.57 C.YOX COPING SW BLDES 6-1/2INX20TPI (4) CD 2.57 C.YOX MD BUILDING ROD SW BLDE Replacement blade for item #49074 coping saw. Great for irregular cuts. Cut curves in a number of materials easily. Cuts tile, stone, marble and more. Use wet or dry. Steel ROD SW BLDE 6IN E 3.44 L.XX DISSTON REMGRIT 12 IN. CRBIDE GRIT ROD SW BLDE Carbide particles bonded to an alloy steel rod. This saw cuts extremely abrasive materials with no teeth to chip or dull. Carbide grit offers the greatest wear and heat resistance. Ideal for materials that other saws will not cut. Rod design gets into tight areas and cuts on both strokes. The blade fits any standard hack frame. Size: 12 in. x in. Dimension: 0.01 x 0.01 x in. Item weight lbs GG12 ROD SW BLDE-MEDIUM GRIT 12IN E 4.31 L.ZX Hand Saws and Replacement Blades, Hand Saw Blades, Pipe Saw Blades LENOX REPLCEMENT BLDES 10 Teeth per inch. 1 per pack/5 per box HSB-12 HNDSW BLDE 12IN E H.YLX HSB18 HNDSW BLDE 18IN E Y.YX Cutters, Snips and Pliers, Cutters and Nippers, Rebar Cutters HK PORTER REBR CUTTER ND BENDER Rugged contractor's tool. Shear-cut blades. Mounts easily on most flat surfaces to enhance leverage and increase safety. Cuts and bends to 90 or 180 degrees. pproximate weight 31 lbs. 52" length. 5/8" maximum capacity RBJN REBR CUTTER/BNDR 52IN E OCV.OZX Cutters, Snips and Pliers, Cutters and Nippers, Bolt Cutters H.K. PORTER POWER LINK BOLT CUTTERS 18 inch. The unique Powerlink geometry was developed using advanced computer-aided design to create a double compound action system with greater efficiency than traditional bolt cutters. Together with special engineered HKP center cut blades, Powerlink bolt cutters deliver superior cutting power and industry leading blade durability. Tubular steel handles and forged Powerlinks deliver ultimate toughness, allowing the tool to stand up in the harshest working environments. It's the perfect solution for production facilities, maintenance and repair operations, utilities, construction sites, oil and gas operations, and more MCD 18" POWER LINK BOLT CUTTER E EX.YXZ MCD 24" POWER LINK BOLT CUTTER E RE.COX NOVEMBER

64 Cutters, Snips and Pliers, Cutters and Nippers, Bolt Cutters CRESCENT HEVY DUTY BOLT CUTTER General plant maintenance tool. Drop forged, precision ground, alloy tool. Steel jaws, center cut blades cuts soft, medium or hard materials. Lockplate keeps jaws from loosening. Steel handles with rubber grips MC CUTTER CENTER CUT 36IN E COY.HZX GRET NECK MIDGET BOLT CUTTER Forged steel construction. Short cutting edge to accomodate chain link. Vinyl grips for firm hold. 8 inch length BC8 MINI BOLT CUTTER 8IN E E.YCX BC14 BOLT CUTTER 14IN E CX.YOX BC18 BOLT CUTTER 18IN E CO.HEX BC24 BOLT CUTTER 24IN E CY.LEX BC30 BOLT CUTTER 30IN E LO.RLX Hand & Power Tools Cutters, Snips and Pliers, Cutters and Nippers, Cable Cutters STNLEY CBLE CUTTERS The MaxSteel Line of Pliers provides up to 45% less cutting effort with up to 33% longer cutting edge. The dual durometer bi-material grips provide a comfortable and secure grip. High leverage design for heavy usage. Drop forged from high carbon, alloy steel for long life and durablity CBLE CUTTER 8.5IN FTMX E CX.YX CHNNELLOCK CUTTING PLIERS Made in the US. Cable cutter. Cuts up to 4/0 aluminum and 2/0 copper. Not for steel or CSR. Laser heat-treated cutting edges last longer. Only Channellock uses a knife and anvil style cutting edge to ensure perfect mating and superior cutting edge life. Channellock uses a high-carbon C1080 steel for superior performance on the job and electronic coating for ultimate rust prevention. Channellock Blue grips for comfort CBLE CUTTER 9.5IN E LO.XZ OLYMPI POWERGRIP BOLT CUTTER Heat treated, drop forged alloy steel jaws. Heat treated handles with rubber grips. Center cut, compound action jaws. For soft and medium hard metals only BOLT CUTTER POWERGRIP 14IN E LC.OEX BOLT CUTTER POWERGRIP 18IN E LE.HCX BOLT CUTTER POWERGRIP 24IN E VX.XZ Cutters, Snips and Pliers, Cutters and Nippers, Rope Cutters KLEIN TOOLS CBLE CUTTERS Special high-leverage design. Cable-gripping shear-type jaws cut up to 4/0 aluminum, up to 2/0 soft copper, up to 100-pair, 24-gauge communication cable. Makes clean efficient cuts. Compact, only 9-1/2" long. Can be carried in tool pouch. Ideal for working in confined spaces. Tough, comfortable, red plastic-dipped handles. Not designed for cutting steel or CSR CBLE CUTTER HI-LEVERGE E /2IN OX.OHX H.K. PORTER CBLE & WIRE ROPE CUTTERS Top-quality, pocket size cutter. Shear-cut blades. Excellent cutter for 3/16" hard wire rope or cable. 1/2" soft wire rope or cable, piano wire, or aircraft cable. Formed steel. Shear cut jaw design TN CUTTER CBLE/ROPE 7-1/2 E OX.VZX KLEIN TOOLS NM CBLE RIPPER n easy-to-use cable ripper. Slits the outer jacket of Romex cable (all sizes) and other nonmetallic (type NM) sheathed cable. Measures conductor wire gauge from 8 to 14 WG. Romex is a registered trademark of Southwire Company CBLE RIPPER L- STYLE W/GUGE F/14-6 E 6.05 WG V.XOX NOVEMBER 63

65

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Normalized URL:  http://crackingpatching.com:80
Submission date: Sun Oct 10 06:47:46 2021
Server IP address: 172.67.219.95
Country: United States
Server: cloudflare
CMS: WordPress
Malicious files: 0
Suspicious files: 0
Potentially Suspicious files: 0
Clean files: 79
External links detected: 2318
Iframes scanned: 33
Blacklisted: No
SSL Certificate details: Available via API only.
Источник: https://quttera.com/detailed_report/crackingpatching.com

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4 Hammers and Mallets, Hammers, Curve Claw Hammers HOWRD BERGER 16 OZ. STEEL CLW HMMER Drop-forged. Steel head. Tubular steel handle CLW HMMER STEEL HNDLE 16OZ E R.YX HOWRD BERGER 16 OZ. CLW HMMER Drop-forged steel head. Fiberglass handle CLW HMMER FBRGLS HNDLE E OZ R.XYX STNLEY NTIVIBE GRY FIBERGLSS HMMER Features a forged high carbon steel head for maximum durability. Fiberglass handle absorbs shocks and vibrations from the end user. Its diamond patterned handled grip features a flared end to help prevent the hammer from slipping from hand during use CURVE CLW HMMER 16OZ GRY FIBERGLSS E Y.RXZ RIP CLW HMMER 20OZ GRY FIBERGLSS E CX.OZX STNLEY FIBERGLSS JCKETED NILING HMMER Fiberglass core adds strength and provides the feel of wood. Yellow-colored shaft for easy product visibility. Exclusive rim temper reduces incidences of chipping or spalling. Curved claw, smooth face. Overall length: 13 inches NILING HMMER JCKETED 16OZ FIBERGLSS E Y.EXZ NILING HMMER JCKETED 20OZ FIBERGLSS E CX.CRX VUGHN 23-OZ CLIFORNI FRMER Fully polished head and claws. Octagon neck, hatchet eye. Extra-large striking face white hickory handle. Triple wedged into eye. Dimensions: Overall Length End to End: in. Overall Width Side to Side: 1.63 in. Overall Depth Front to Back: 6.25 in. Overall Product Weight: 2.14 Pounds CF1 CLIFORNI FRMING HMMER 23 OZ E LZ.CLX Hand & Power Tools Hammers and Mallets, Hammers, Curve Claw Hammers VUGHN 19-OZ CLIFORNI FRMER Polished forged head. Best grade 16 inch curved hickory handle for comfort and leverage. Extra large milled face. Dimensions: Overall Length End to End: 16 in. Overall Width Side to Side: 1.5 in. Overall Depth Front to Back: 5.88in. Overall Product Weight: 1.86 Pounds CF2HC CLIF. FRMING HMMER MF-19 OZ E LX.RLX Hammers and Mallets, Hammers, Rip Claw Hammers STNLEY FTMX 28 OZ. STEEL HMMER Patented nti-vibe? technology minimizes JPEGmini Pro 2.2.3 Full Version Crack Portable Download Free and shock at impact. Forged, 1-piece steel construction for increased strength and durability. Slipresistant handle for a secure grip and added comfort. Precision balanced heads for user comfort and control FMHT51295 FTMX 1PC STEEL HMMER 28OZ E LE.HRX STNLEY STEEL HNDLE RIP CLW FRMER HMMERS nti Vibe steel rip claw hammer. One piece double forged steel head and handle for superior swing and greater durability. Patented tuning fork design reduces harmful vibrations three times more than the leading one-piece forged steel hammer. Unique grip design for both framers and nail hammers. Patented ergonomic handle designed for multiple grip positions. Rubber grip molded directly onto shaft. Specially textured handle grip for improv FMHT51293 FT MX 1PC 20 OZ RC HMMER E C.OZX STNLEY TOOLS FTMX XTREME NTIVIBE RIP CLW NILING HMMER Patented torsion control grip technology reduces the effects of torque on wrists and elbows. Patented ntivibe technology minimizes vibration and shock at impact. Precision balanced - feel the difference. Forged, one-piece steel construction for increased strength and durability SMOOTHNILING HMMER RC NTIVIBE 16OZ E LX.CX NOVEMBER 3

5 Hand & Power Tools Hammers and Mallets, Hammers, Rip Claw Hammers STNLEY STEEL NTIVIBE FRMING HMMER ntivibe III high carbon polished steel head. Smooth face. Rip claw. Patented shank materials designed to reduce vibrational energy generated during repetitive hammering. Comfort-grip is designed to reduce slip and feel comfortable, as well as secure multiple grip positions FRMING HMMER VX 22OZ E LV.VZX Hammers and Mallets, Hammers, Rip Claw Hammers STNLEY WOOD HNDLE RIP CLW HMMERS Wood Handle Nail Hammer. High-carbon, steel head. Fully heat treated and polished bell face. Hickory handle RIP CLW NIL HMMER 16OZ W/WOOD HDL E YHX STNLEY STEEL HNDLE RIP CLW HMMERS One piece double forged steel head and handle for superior swing and greater durability. Patented tuning fork design reduces harmful vibrations three times more than the leading one-piece forged steel hammer. Unique grip design for both framers and nail hammers. Patented ergonomic handles designed for multiple grip positions. Rubber grip molded directly onto shaft. Specially textured handle grip for improved performance even when wet RIP CLW HMMER 20OZ E LC.OCX STNLEY NTIVIBE FTMX RIP HMMER Patented torsion control grip technology reduces the effects of torque on wrists and elbows. ntivibe technology minimizes vibration and shock at impact. Magnetic nail start feature for extended reach and one-handed nailing capability. Forged, one-piece steel construction RIP HMMER 16OZ STEEL E CR.RZX RIP HMMER 20OZ STEEL E LC.YRX FRMING HMMER VX 22OZ E LV.LXZ STNLEY GRPHITE HNDLE RIP CLW HMMERS Graphite core provides strength and durability. Has the "feel" of wood but with overstrike protection. Rim tempered end. High carbon, polished steel head is precision balanced. New ribbed grip handle allows air to cool hand and channel sweat away. Patented head-to-handle construction. Flared grip to prevent hammer from slipping off hand RIP CLW HMMER 20OZ E CH.LOX STNLEY WORKS FTMX FRMING HMMER Forged steel head designed for larger striking surface and better overall balance. Rim-tempered edge helps reduce chipping. Checker face design to provides nail grip. Specially designed magnetic nail starter for one-hand nail setting. Contoured hand-grip provides better control and prevents hammer from slipping. Hickory handle. 22 oz. 18 in. overall length FRMING HMMER 22OZ HICK XE HNDLE E LC.HOX STNLEY FIBERGLSS HNDLE RIP CLW HMMERS Fiberglass handle bonded with polyester resin for strength and balance. Design eliminates possibility of head flying off. Rim Tempered face reduces chipping. Contoured vinyl grip. Ripping Claw RIP CLW HMMER 16OZ FIBERGLSS E CE.HZX PLUMB STEEL HNDLE RIP CLW HMMERS Solid steel hammers for ultimate strength. Full polished head that will never come off. Cushion grip for positive hole. Well balanced for extra power with less fatigue. Steel handle. Red handle for easy identification. nti-shock grip SS22RCFN RIP HMMER 22OZ CHECKER FCE SS E LZ.VXZ SS28RCFN RIP HMMER 28OZ CHECKER FCE SS E LV.ECX NOVEMBER

6 Hammers and Mallets, Hammers, Rip Claw Hammers PLUMB STEEL HNDLE RIP CLW HMMERS Solid steel hammers for ultimate strength. Full polished head that will never come off. Cushion grip for positive hole. Well balanced for extra power with less fatigue. Steel handle. Red handle for easy identification. nti-shock grip. Plain face SS16RN RIP HMMER 16OZ STINLESS STEEL E CH.OXZ SS20RN RIP HMMER 20OZ STINLESS STEEL E CY.CHX SS22RN RIP HMMER 22OZ STINLESS STEEL E LZ.VXZ PLUMB FIBERGLSS HNDLE RIP CLW HMMERS This is a premium hammer with Permabond handle to head construction. Cushion grip. Bell Face N F57R CLW HMMER 16 OZ E CV.ERX N F571R CLW HMMER 22 OZ E CH.VX PLUMB FIBERGLSS HNDLE RIP CLW HMMERS High-luster, full polished finish. Octagon shaped neck. Virtually unbreakable fiberglass handle. Contoured handle for increased comfort and reduced fatigue. Enlarged handle base for butting material. New grip material reduces handle slickness. Factory balanced for maximum striking power. Permabond construction between head and handle N NIL HMMER RIP 20 OZ FIBERGLSS E CR.RYX ESTWING STEEL HNDLE RIP CLW FRMING HMMERS ll steel construction. Exclusive nylon-vinyl deep cushion grip. Length: 16" approx E3-22S FRME HMMER SF 22OZ E OX.VX E3-28S FRME HMMER SF 28OZ E OL.EX E3-22SM FRME HMMER MF 22OZ E OC.EX E3-28SM FRME HMMER MF 28OZ E OV.LCX Hand & Power Tools Hammers and Mallets, Hammers, Rip Claw Hammers ESTWING STEEL HNDLE RIP CLW HMMERS Full polished, straight claw, leather grip. Steel handle E16S RIPPING HMMER 16OZ E L.ERX E20S RIPPING HMMER 20OZ E OL.CEX ESTWING STEEL HNDLE RIP CLW HMMERS Full polished, straight claw, nylon-vinyl grip, milled face. Steel handle E3-22SMR RIP CLW HMMER MF STEEL HNDLE 22IN E OZ.ZX ESTWING STEEL HNDLE RIP CLW HMMERS Full polished, straight claw, nylon-vinyl grip. Steel handle E3-16S RIPPING HMMER 16OZ E LZ.VX E3-20S RIPPING HMMER 20OZ E LR.CEX GRET NECK FIBERGLSS HNDLE STRIGHT HMMER Fiberglass provides extra strength. Drop forged construction HG16S STRIGHT HMMER 16OZ E XVX HG20S RIP HMMER 20OZ FIBERGLSS E Y.LRX HG24S HMMER W/FGL HDL 24OZ E CX.RVX GRET NECK 16 OZ. RIPPING HMMER Our highest quality. Contractor Series. Patented laser notched anti-slip hickory handle. Drop forged fully polished head SP16R RIP HMMER 16OZ W/WOOD E HNDLE CX.OCX NOVEMBER 5

7 Hand & Power Tools Hammers and Mallets, Hammers, Rip Claw Hammers HOWRD BERGER 16 OZ. RIP HMMER WITH FIBERGLSS HNDLE Drop-forged. Steel head. Rip head. Fiberglass handle RIP HMMER FBRGLS HNDLE 16OZ E 9.79 E.HEX VUGHN 10 OZ LITTLE PRO-INCH PROFESSIONL RIP HMMER Fully polished head, smooth face. Handle is white straight grain hickory for strength. Triple zone heat treating gives precise temper to striking face for accurate power blows. Extra large, crowned striking face for accurate power blows. Computer designed for superior balance to reduce fatigue #9 RIPPING HMMER-10 OZ E CV.XZZ Hammers and Mallets, Hammers, Tack Hammers GRET NECK MGNETIC TCK HMMER 5 oz. Drop forged construction. Magnetized, polished head. Wood handle MTH5 TCK HMMER E 7.47 V.OYX Hammers and Mallets, Hammers, Ball Peen Hammers STNLEY GRPHITE HNDLE BLL PEEN HMMERS Heat-treated high-carbon steel head for superior strength and durability. Rim Tempered process around the striking face minimizes chipping from off-center strikes. Patented head-to-handle assembly for a permanent fit. Molded jacket over graphite handle means maximum overstrike protection. Limited lifetime warranty BLL PEEN HMMER 16OZ JCKETED GRPHITE E CY.LRX VUGHN 20-OZ STRIGHT CLW HMMER Hollow-core fiberglass handle. Contoured slip-resistant grip. Straight claw ripping hammer. Generic Dimensions: -14" length. Dimensions: Overall Length End to End: 14". Overall Width Side to Side: 1.25". Overall Depth Front to Back: 5.75". Overall Product Weight: 1.8 Pounds FS999 RIPPING HMMER-20 OZ FIBERGLSS E LX.EX FS999ML RIPPING HMMER ML - 20 OZ FIBERGLSS E LV.RLX Hammers and Mallets, Hammers, Tack Hammers STNLEY WOOD HNDLE MGNETIC TCK HMMERS Forged head, black finish. Polished face, clear lacquered hickory handle. Magnetic tip. 3-3/4" head. 10-1/2" overall length MGNETIC TCK HMMER W/HICK HDL 5OZ E Y.XLX GRET NECK WOOD HNDLE BLL PEEN HMMER Genuine hickory handle. Drop forged head BP12 BLL PEEN HMMER 12OZ E 9.77 E.HVX BP16 BLL PEEN HMMER 16OZ E H.OLX BP24 BLL PEEN HMMER 24OZ E XCX BP32 BLL PEEN HMMER 32OZ E CX.XZZ VUGHN 16 OZ BLLPEIN HMMER WOOD HNDLE Handle is fitted to head by a steel wedge inserted under 3, 000 lbs of hydraulic pressure. Handle is wedged into the eye with wood and steel wedges. High carbon steel head. Dimensions: Overall Product Weight: 1.36 Pounds. Made in US TC016 BLL PEIN HMMER-12 OZ E CX.HYX NOVEMBER

8 Hammers and Mallets, Hammers, Ball Peen Hammers VUGHN 24-OUNCE COMMERCIL BLL PEIN HMMER Polished face, bevel, and pein. Head finished in rust resistant black paint. Compression wedge hickory handle. Concentrically ground, polished striking head and pein. Made in the US TC224 BLL PEEN HMMER 24 OZ E CO.CVX Hammers and Mallets, Hammers, Rigster Hatchets and Hammers Hand & Power Tools Hammers and Mallets, Hammers, Rigster Hatchets and Hammers FISKRS 14" HTCHET Ideal for chopping kindling and small- to medium-sized logs. Chops deeper with each swing to get more done faster. Perfected balance and power-to-weight ratio increases swing speed to multiply power, much like an aluminum baseball bat.shock-absorbing FiberComp? handle is lightweight yet stronger than steel to prevent overstrike damage. Textured non-slip grip reduces hand strain and improves control X7 SOFTGRIP HTCHET 14" E LH.EX PEX TOOLS PLUMB RIGSTER HTCHET Fully polished head. Checkered face. Sharp cutting edge. Hickory handle. Permabond construction between head and handle. Advanced System Repair Pro Serial Key oz. head and 18 inch in length P PLUMB RIGSTER HTCHET CHECKERED FCE E LC.ZX VUGHN 28-OZ RIG BUILDERS HTCHET Wood handle. Drop forged high carbon steel. Large, milled, crowned face. 3-1/2" blade. 28 oz. head, 17" hickory handle. Hammers and Mallets, Hammers, Drywall Hammers GOLDBLTT WOOD HNDLE DRYWLL HMMERS Checkered head. Properly rounded and checkered 13 ounce head. Hickory handle. Wedge shaped blade. Made of steel G05164 CHECKERHED HMMER 12OZ E LC.LCX RB-RIG BUILDERS HTCHET-28 OZ E LH.YHX Hammers and Mallets, Hammers, Shingler Hammers VUGHN 22-OZ CRPENTERS HLF HTCHET Half hatchet. Hickory handle. Full polished head. 3.5" Cut. Handle Material: Wooden. Hammer Type: Hatchet. Generic Dimensions: 1.5" H x 6.25" W x 13.88" D, 1.88 lbs SH2 CRPENTERS HLF HTCHET-22 OZ E C.YXZ ESTWING STEEL HNDLE SHINGLER'S HMMERS For cutting and applying shingles. For use with both Metric and Standard shingles. Full polished, nylon-vinyl grip. Milled head. Replaceable blade and gauge. 1-13/16" cutting edge. 12-1/2" overall length E3-C SHINGLERS HMMER E OL.HX NOVEMBER 7

9 Hand & Power Tools Hammers and Mallets, Hammers, Brick Hammers PLUMB FIBERGLSS HNDLE BRICK HMMERS Forged head. Polished face, chamfer, bit and back. Fiberglass handle with comfortable cushion grip. Permabond. 1-1/16" Wide Bit. 12-1/4" Length. ITEM # DESC INFO SP UOM PRICE FB15 BRICK HMMER 15 OZ 1-1/16" WIDE E LX.CLX BRICK HMMER 24OZ FIBERGLSS 1/4"" LENGTH" 1-1/8" WIDE BIT\LINE13"" LENGTH" E CY.YCX Hammers and Mallets, Hammers, Brick Hammers VUGHN 24-OUNCE BRICKLYERS HMMER Bricklayer's Hammer has highly polished striking head, sides and blade. Square, flat face with beveled edges. vailable with select, 11-1/2" flame-treated hickory handle, double wedged and epoxy sealed. Steel Eagle solid steel handle with patented Shock-Blok plug in head, or fiberglass handle with shock absorbing, hollow core and cushion grip BL24 BRICK HMMER 24 OZ E LC.YX PLUMB BRICK/PROSPECT FIBERGLSS HNDLE HMMERS Fiberglass handled prospecting pick. Forged head. Polished face, chamfer and back. Fiberglass handle with cushion grip. Permabond handle attachment. Known as the Rock Hound hammer. Overall length is 12-1/2 inches PROSPECT HMMER 16 OZ E CY.HEX PLUMB WOOD HNDLE BRICK HMMERS Forged head. Durable black enamel finish. Sharp cutting bit. Strong hickory handle with Permabond process. 24 oz. head. 11" overall length P BRICK HMMER 24 OZ E CH.CZX ESTWING STEEL HNDLE MSON HMMERS Fully polished. Nylon-vinyl grip E3-20BLC MSON HMMER 20OZ E LH.HRX E3-24BLC MSON HMMER 24OZ E LY.OZX GOLDBLTT BRICK HMMER Made of high grade forged hammer steel. Use to set and cut bricks, masonry, tile and concrete blocks. Comfortable hardwood handle is carefully fitted G01153 BRICK HMMER 16OZ E CH.LEX GRET NECK BRICK HMMER Ideal for cutting and setting brick, stone, and masonry. Made of high grade hardened and tempered steel for strength and durability with a chisel edge rust resistant finish. n ergonomic rubber grit handle prevents slippage. 20 oz. ITEM # * DESC SP UOM PRICE NEW BR20 BRICK HMMER E CX.VRX Hammers and Mallets, Hammers, Chipping Hammers HOT MX CHIPPING HMMER Straight head. Used in arc welding CHIPPING HMMER STRIGHT HED E 5.76 V.LXZ Hammers and Mallets, Hammers, Dead Blow Hammers ESTWING STEEL HNDLE DED BLOW HMMERS One-piece hot cast polyurethane construction. Steel cannister and rod are welded together for strength and safety. Fully encased in polyurethane. Comfortable vinyl grip. Power from within through movement of hundreds of steel shot for maximum power and control. 2" or 51mm. 4-1/8" or 105mm head length. 12-3/4" overall length. Weight is 27 ozs E DED BLOW HMMER E LR.XZ NOVEMBER

10 Hammers and Mallets, Hammers, Drilling GRINTEX DRILL HMMER Hammers Drop forged head. Epoxy bonded. Heat treated and tempered. 10.5" handle HMMER DRILL 4LB 10INFB E CX.LCX HMMER DRILL 4LB 10IN E CX.CYX SEYMOUR WOOD HNDLE DRILLING HMMERS Drilling hammers are used to strike cold chisels, punches,star drills, brick chisels, and hardened nails. They are designed to deliver heavy blows with limited swing in tight spaces. Chamfered edges with 10-1/2 inch hickory handle HD-2 DRILLING HMMER 2LB W/10-1/2IN HICKORY HDLE E H.LOX MES JCKSON HND DRILL HMMER 4 pound double face hammer head. Used with chisels, punches, star drills and hardened nails. Permits heavy blows with limited swing inch hickory handle for strength and durability DRILLING HMMER HICKORY 10.5IN HDL 4LB E CZ.ROX STNLEY FTMX NTIVIBE ENGINEERING HMMER Ideal for striking wood, metal or stone. ntivibe technology minimizes vibration and shock at impact. Exclusive rim temper reduces incidences of chipping at impact. Forged, one-piece steel construction for strength and durability. Slip-resistant handle for a secure grip and comfort. Precision balanced. Overall length: 15 inches ENGINEERING HMMER NTIVIBE 3LB E LH.CRX Hand & Power Tools Hammers and Mallets, Hammers, Drilling Hammers VUGHN & BUSHNELL SOLID STEEL HND DRILLING HMMER The right hammer for striking star drills, cold chisels, brick chisels and punches. Broad, polished striking faces with generous bevels HMMER DRILL 4LB 10IN E CZ.OX HMMER DRILL 4LB 10INFB E CL.VXZ Hammers and Mallets, Hammers, Cross Peen Hammers SEYMOUR WOOD HNDLE CROSS PEEN HMMER Cross peen (or blacksmith) hammers are used to strike, shape, and bend unhardened metal. lso used to shape block, brick, and stone. Chamfered edges. 16 inch hickory handle HB-2 CROSS PEEN HMMER 2LB W/16IN HICKORY HDLE E H.VOX HB-3 CROSS PEEN HMMER 3LB W/16IN HICKORY HDLE E XZ Hammers and Mallets, Hammers, Engineers Hammer PYTHON 3 LB. ENGINEER HMMER Drop forged and hardened carbon steel head for superior wear and long service life. Double faced head with polished and chamfered edges to prevent chipping. Genuine merican hickory handle absorbs shock. Double wedge assembly for permanent head-handle HMMER ENGINEERS W/WOOD HNDLE 3LB E CX.LOX SEYMOUR MIDWEST ENGINEERS HMMER Engineers hammers (short handle sledges) are used to strike stone, concrete, metal, and wood. Often used to drive stakes and rods or move timbers. Chamfered edges. 16 inch hickory drivermax crack 9.32 - Crack Key For U HE-2 ENGINEER HMMER 2LB W/16IN HICKORY HNDLE E H.ORX NOVEMBER 9

11 Hand & Power Tools Hammers and Mallets, Hammers, Sledge Hammer MES JCKSON FIBERGLSS ENGINEER HMMER Features a 16-inch blue fiberglass handle and a 4-pound double face forged steel hammer head, perfect for heavy hammering or demolition work. Makes driving spikes or wedges easier. Great choice for personal or professional use SLEDGE HMMER DF FBGL 16IN HDL 4LB E CV.OEX MES JCKSON SLEDGE HMMER 3 lb. engineer hammer with 16 in. hickory handle. Steel head. Perfect for heavy hammering or demolition work SLEDGE HMMER 16IN HRDWPPD HDL 3LB E CX.RX Hammers and Mallets, Hammers, Sledge Hammer GRINTEX FIBERGLSS SLEDGE HMMER Drop forged head. Heat treated and tempered. Epoxy bonded. Fiberglass handle with rubber grip HMMER SLGE 2LB 16INFG E ELX HMMER SLGE 3LB 16INFG E Y.VZX HMMER SLDGE 4LB 16INFG E CX.RLX HMMER SLDGE 6LB 36INFG E CH.YHX HMMER SLDGE 8LB 36INFG E LC.RLX HMMER SLDGE 10LB 36IN E LE.CEX HMMER SLGE 12LB 36INFG E LH.OHX HMMER SLGE 16LB 36INFG E OV.HOX SLEDGE HMMER 20LB 36IN FIBERGLSS HDL E OY.XX SEYMOUR STRUCTRON FIBERGLSS HNDLE SLEDGE HMMERS Mobaxterm for mac - Free Activators forged, heat treated steel head with milled face. Chamfered edges. 36 inch double-injected fiberglass handle SH-6FG SLEDGE HMMER 6LB W/36IN FIBERGLSS HNDLE E LO.XCX MES JCKSON SLEDGE HMMER Double faced sledge hammer features a 36-inch fiberglass handle. The hammer is used for general sledging operations in striking wood, concrete, metal and stone. Traditional hickory will not splinter and will last for years to come SLEDGE HMMER DBL FCE 36IN HDL 8LB E LO.RYX SLEDGE HMMER DF FBGL 36IN HDL E LB LR.RLX GRINTEX WOOD HNDLE SLEDGE HMMER Drop forged head. Heat treated and tempered. Epoxy bonded. Hickory handle HMMER SLGE 2LB 16INWD E Y.CVX HMMER SLGE 4LB 16INWD E Y.YZX HMMER SLGE 6LB 36INHIC E CY.XEX HMMER SLGE 8LB 36INHIC E LV.VOX HMMER SLGE 10LB 36INWD E LE.VXZ HMMER SLGE 12LB 36INWD E LH.RVX HMMER SLGE 16LB 36INWD E OV.HOX HMMER SLGE 20LB 36INWD E OY.XX SEYMOUR SMRT BUY DOUBLE FCE SLEDGE HMMER Promotional quality. Chamfered edges. 36 inch hickory handle SH-8P SLEDGE HMMER DB FCE 8LB E CH.VHX NOVEMBER

12 Hammers and Mallets, Hammers, Sledge Hammer MES TRUE TEMPER SLEDGE HMMER This double faced sledge hammer is proudly Made in the US. It features a 36 inch hickory handle for maximum strength and shock resistance. The head is forged from high-carbon steel and tempered for long life. The striking face is heat-treated for the hardness to withstand many years of heavy blows SLEDGE HMMER SLIP EYE 6LB TRUE MER E LX.LCX SLEDGE HMMER SLIP EYE 8LB TRUE MER E LZ.LZX SLEDGE HMMER SLIP EYE 10LB TRUE MER E LR.XRX SLEDGE HMMER SLIP EYE 12LB TRUE MER E LY.OHX Visual Importer Enterprise Activation key HMMER DF HICKORY 36IN HDL 16LB E OV.ROX SLEDGE HMMER HICKORY 36IN HDL 20LB E VC.RXZ Hand & Power Tools Hammers and Mallets, Hammers, Sledge Hammer MES RZOR BCK FIBERGLSS HNDLE ENGINEER HMMER Forged steel hammer head. Features a 15" solid core fiberglass handle. Patented head to handle connection has a reinforced steel pin for improved safety. Great for concrete, tile & drywall demolition SLEDGEHMMER DBL FCE #4 15" FBRGLS HDLE E LO.HEX SLEDGEHMMER DBL FCE#6 34" FBRGLS HDLE E OZ.LRX SLEDGEHMMER DBLE FCE#8 34"FBRGLS HD E OR.CZX SLEDGEHMMER DBLE FCE#10 34"FBRGLS H E VL.HZX SLEDGEHMMER DBLE FCE#12 34"FBRGLS H E VE.EX SLEDGEHMMER DBLE FCE#16 34"FBRGLS H E EX.VOX Hammers and Mallets, Mallets, Rubber Head Mallets JMK/IIT 3 LB. SLEDGE HMMER Drop forged, high impact BS handle. Soft cushion TPR rubber grip for a firm, comfortable hold. 3 lb. head. 1/2" length HMMER SLDGE BS BLK 3LB E CX.CX SLDGE HMMR 4# DR 16" HICKORY HNDL JKSN E CZ.HEX STNLEY WOOD HNDLE RUBBER MLLETS Tough rubber head molded to a lacquered handle RUBBER MLLET 18OZ W/WOOD HDL E CX.OHX VUGHN & Tenorshare 4ukey crack download SUPERSTEEL DOUBLE FCED SLEDGE HMMER Polished faces with generous bevels. Rust resistant powder coat finish on both sides HMMER SLDGE 4LB 16INWD E CZ.VCX HMMER SLDGE 4LB 16INFG E CO.CHX HMMER SLDGE 8LB 36INHIC E LZ.ERX HMMER SLDGE 8LB 36INFG E LH.RLX GRET NECK WOOD HNDLE RUBBER MLLET Professional quality. Wood handle RM8 RUBBER MLLET 8OZ E 2.52 C.VRX RM16 RUBBER MLLET 16OZ E 4.03 L.OHX RM32 RUBBER MLLET 32OZ E 5.94 O.EXZ NOVEMBER 11

13 Hand & Power Tools Hammers and Mallets, Mallets, Plastic Tip Mallets STNLEY WOOD HNDLE PLSTIC TIP HMMERS Replaceable tips are made of tough plastic that won't mar finely finished surfaces. Handles are made of hickory and securely locked in oval eye body. Lacquered handle. Plastic tips are replaceable. 12" handle SOFT FCE HMMER 80Z W/12IN HNDLE E CR.HLX Mauls, xes and Wedges, Mauls, Splitting Mauls SEYMOUR SMRT BUY SPLITTING MULS Promotional quality, sledge eye head. 36 inch hickory handle SM-6P MUL SPLITTING STEEL 6LB E CH.VHX Mauls, xes and Wedges, Mauls, Splitting Mauls MES TRUE TEMPER LICKETY SPLITTER MUL The Lickety Splitter wood splitter cuts wood fast and easily with its heftyhitting 12-pound head. This tool has a durable design, featuring a 34-inch steel handle with a molded polypropylene cover for ultimate strength. It also has rubber hand grip for comfortable hand placement. Eye size is 1 inch x inches MUL LICKETY SPLITTER 12LB TRUE MER E OR.LOX MES TRUE TEMPER LRGE EYE MUL 8-pound maul with 36 inch hardwood handle and handle guard for overstrike protection. Used for splitting wood in conjunction with woodsplitting wedges by first making a notch with the splitting edge and then driving the wedge into the wood with the maul's striking face SPLIT MUL 8LB TRUE MERICN E LV.LX MES TRUE TEMPER LRGE EYE MUL 6 lb. 36 inch hickory handle with handle guard. MES TRUE MERICN 6 LB TRUE MERICN? WOODSPLITTER MUL Large-eye. Used to split wood logs. Durable design provides extra strength and durability. Drop-forged steel head. Red fiberglass handle WOOD SPLITTER MUL 6LB RED FGL HNDL E LR.XZ GRINTEX WOOD SPLITTING MUL Wood splittling maul. Drop forged, heat treated steel. Epoxy bonded MUL SPLIT 6LB 36INFGHD E CH.LHX MUL SPLIT 8LB 36INFGHD E C.EX MUL SPLIT 6LB 36INHIC E CR.ERX MUL SPLIT 8LB 36INHIC E C.XYX WOOD SPLIT MUL 6LB HICK HDL T E LZ.EVX MES TRUE TEMPER XE EYE MUL The True merican axe eye wood splitter maul is proudly made in the US. The hickory handle absorbs shock before it reaches the user. Utilize tool for splitting wood in conjunction with woodsplitting wedges by first making a notch with splitting edges and then driving the wedge with the maul's striking head. The maul has a 36-inch hickory handle length and 6-pound head weight to withstand frequent use by a user T WOOD SPLIT MUL 6LB 36IN HICK HDL E LZ.OLX T WOOD SPLIT MUL 8LB 36IN HICK HDL E L.LOX VUGHN & BUSHNELL SPLIT MUL MUL SPLIT 6LB 36INHIC E LC.ZX MUL SPLIT 6LB 36INFGHD E LO.ECX NOVEMBER

14 Mauls, xes and Wedges, Mauls, Splitting Mauls MES RZORBCK FIBERGLSS SUPER SPLITTER Provides more splitting force with less weight, reducing fatigue. The #4 forged steel head is attached to a 33 inch fiberglass handle that ensures maximum control, strength, and durability. The balanced head provides for an easy and effective swing SUPER SPLITTER #4 33" FBRGLS HDLE E OZ.LRX MES RZORBCK FIBERGLSS HNDLE WOOD SPLITTING MUL Constructed with a 34-inch fiberglass handle and forged steel head. It has an exclusive sleek design with additional functionality, safety and control. The handle features a two piece overstrike slip eye connection, TPE over mold for better control, and non-slip rounded and flared end for more precision and safety. This is a great tool for professional and personal use. Utilize tool for splitting wood in conjunction with wood splitting wedges by first making a notch with splitting edges and then driving the wedge with the maul's striking head SPLITTING MUL, #8 34" FIBERGLSS HNDLE E OZ.LRX Mauls, xes and Wedges, xes, Camp xe Hand & Power Tools Mauls, xes and Wedges, xes, Camp xe SEYMOUR BOYS CMP XE Boys (house) single bit axes are lighter duty axes used to cut saplings, split kindling, trim branches, and prune trees. Single bit 1.25 lb. head. 14 inch hickory handle X-B1 XE SB BOYS CMP 14IN WD HDLE 1.25LB E CE.LOX GRINTEX BOYS CMP XE Drop forged head. Epoxy bonded. Heat treated and tempered. Hickory handle XE BOYS 2.5LB 28INHIC E CV.XVX GRINTEX CMP XE Fully polished head. Epoxy bonded. Heat treated and tempered. 14" handle XE CMP 1.25LB 15INFG E Y.XOX XE CMP 1.25LB 15INWD E EHX JMK/IIT FIBERGLSS CMP XE 2lb. Drop forged. High impact cushioned rubber grip. Fully polished. Plastic coated fiberglass handle XE CMP FBGL 2LB E CX.ZX MES TRUE TEMPER WOOD BUDDY MINER'S XE The 20-inch hickory handle and 3.5-pound axe head provide an effective swing. Use for trimming branches, pruning trees, splitting and cutting wood. Durable tool with a hickory handle that absorbs shock, has an integrallymolded handle guard, and overstrike protection MINERS XE 3-1/2LB E LC.CLX MES TRUE TEMPER CMP XE Forged heat-treated head for the ultimate in durability and safety. Ideal for digging up roots and breaking up hard soil and clay pound camp axe with fiberglass handle. Versatile tool useful for camping, gardening and hunting CMP XE 1.25 BLK FIBERGLSS E CL.CX MES TRUE TEMPER CMP XE 1.25 pound forged steel head. 14 in. hickory handle. It is used to chop small pieces of wood and clear branches from trees and shrubs CMP XE 1.25LB TRUE MERICN E CO.OCX NOVEMBER 13

15 Hand & Power Tools Mauls, xes and Wedges, xes, Camp xe LNSKY FIREFIGHTER'S BTTLE XE Designed to be the multi-purpose "sidearm" of choice for professional and volunteer firefighters alike. It has 1075 Tool steel blade, load bearing to 600 lbs. Handle is insulated up to 10,000 volts. Leather sheath. It also acts as a pry bar, gas valve wrench, hose wrench and impact tool X-911 BTTLE XE FIRE FIGHTERS E VY.ECX VUGHN & BUSHNELL CMP XE XE CMP 1.25LB 15INFG E Y.RVX XE CMP 1.25LB 15INWD E Y.VX Mauls, xes and Wedges, xes, Boys xe MES TRUE TEMPER BOYS XE 2.25 lb. single bit Boys axe. 28 inch hickory handle BOYS XE SC 2.25LB 28IN HICK HDL T E LX.OYX Mauls, xes and Wedges, xes, Single Bit xe SEYMOUR SMRT BUY MICHIGN SINGLE BIT XE Single bit. 3.5 lb. head. Promotional quality. 36 inch hickory handle X-3P XE MICHIGN SB 3.5LB W/36IN WOOD HDLE E CH.OXZ ESTWING 13-1/2" FORGED HUNTERS XE Hand sharpened edge; Cut and maintain tree stand area; Gut hook designed to field dress large game EBH HUNTERS XE E EV.LVX SEYMOUR MICHIGN SINGLE BIT XE Single bit. 3.5 lb. head. Promotional quality. 36 inch hickory handle X-3 XE MICHIGN SB 3.5LB W/36IN WOOD HDLE E LO.LCX ESTWING 14" CMPERS XE Fully-forged in one piece with the handy tent stake puller notch and Estwing?s patented Shock Reduction grip. Each axe comes with a durable nylon sheath. Forged in the US EO-25 14IN ORNGE CMPERS XE E OX.OX SEYMOUR PULSKI XE Pulaski axes combine a single bit axe blade with a mattock blade. This blade combination makes it ideal for firefighting and for a variety of landscaping applications. Single bit. 3.5 lb. head. 36 inch hickory handle X-P3 SINGLE BIT XE PULSKI 3-1/2LB 36IN HIC E LV.VYX MES RZORBCK FIBERGLSS HNDLE COMPCT XE versatile wood cutting and shaping tool. It features a #1.25 forged steel carbon head with a 14-inch fiberglass handle for ultimate strength and durability. This high performance axe is well balanced for efficient impact COMPCT XE, #1.25, 14"FIBERGLSS HN E CY.XZZ GRINTEX SINGLE BIT XE Single bit axe. Heat treated and tempered. 36" handle XE SB 3.5LB 36INFG HDL E CH.XLX XE SB 3.5LB 36INHIC HD E CH.VZX NOVEMBER

16 Mauls, xes and Wedges, xes, Single Bit xe MES TRUE TEMPER SINGLE BIT MICHIGN XE 3.5-pound single bit axe features a 36 inch hickory handle SGL BIT XE 3.5LB HICK HDL TRUE MER E LO.CYX Hand & Power Tools Mauls, xes and Wedges, xes, Double Bit xe GRINTEX DOUBLE BIT XE Double bit axe. Heat treated and tempered. 36" handle XE DB 3.5LB 36INFG HDL E CY.REX MES TRUE MERICN SINGLE BIT MICHIGN XE 3.5 Lb. Splitting xe. Used to chop wood and clear branches from trees and scrubs. Fiberglass handle. Forged steel axe head. Splitting xe. Handle: - Fiberglass. Dimensions: Handle length: 34 inches. Overall Length: Top to Bottom: 34 inches. Overall Width - Side to Side: 8 inches. Overall Depth - Front to Back: 1.5 inches. Overall Product Weight: 5.7 lbs XE MICH SB 3.5LB FGLS HNDL 34IN RED E LV.VYX MES RZORBCK SINGLE BIT MICHIGN XE Features a 33-inch fiberglass handle and a #3.5 forged steel head. This axe is ideal for trimming branches, pruning trees, and splittling wood. The durable fiberglass handle will last for years to come XE MICHIGN SINGLEBIT#3.5 33"FBRGLS E L.ECX FISKRS SPLITTING XE Ideal for splitting medium- to large-sized logs. Designed for maximum efficiency to give you more one-strike splits. Perfected balance and power-toweight ratio increases swing speed to multiply power, much like an aluminum baseball bat. Shock-absorbing FiberComp? handle is lightweight yet stronger than steel to prevent overstrike damage. Textured non-slip grip reduces hand strain and improves control X25 SPLITTN SOFTGRIP XE 28" E VH.VXZ X27 SUPER S LITTING SOFTGRIP E XE 36" EO.HLX VUGHN & BUSHNELL SINGLE BIT SPLITTING XE XE SB 3.5LB 36INFG HDL E LC.CX XE SB 3.5LB 36INHIC HD E LO.YHX SEYMOUR MICHIGN DOUBLE BIT XE Double bit. 3.5 lb. 36 inch hickory handle X-DB3 XE DB 36IN WOOD HDLE 3.5LB E LC.XZ MES TRUE TEMPER DYTON DOUBLE BIT XE The 3.5 pound double bit axe with 36-inch hickory handle has an integrally molded handle guard for overstrike safety DBL BIT XE 3.5LB HICK HDL TRUE MER E LR.HOX VUGHN & BUSHNELL DOUBLE BIT SPLITTING XE XE DB 3.5LB 36INFG HDL E LV.EVX XE DB 3.5LB 36INHIC HDL E LE.EX Mauls, xes and Wedges, Wedges, Splitting Wedges MES TRUE TEMPER TORPEDO SPLITTING WEDGE Perfect for efficient wood splitting with each strike by projecting force in four directions. 7 inch length and 4 pound head weight for durability. Forged steel wedge for durability SPLITTING WEDGE SCN 4LB E CZ.ERX NOVEMBER 15

17 Hand & Power Tools Mauls, xes and Wedges, Wedges, Splitting Wedges MES TRUE TEMPER WOOD SPLITTING WEDGE The wood splitting wedge is drop-forged steel that is used to split wood logs. This tool features square heads for striking and driving into the log. The 3- pound wedge is durable and painted black. 3-pound forged heat-treated steel for the ultimate in durability and safety. Used for splitting wood logs. Use with a sledge hammer or maul to drive into wood log. Durable design to withstand industrial use SPLITTING WEDGE 3LB E H.YXZ Mauls, xes and Wedges, Wedges, Splitting Wedges OREGON WEDGE - FOR FLLING For falling - not for splitting. Plastic wedge helps to control direction of tree fall. Prevents saw binding in cut WEDGE FOR FLLING E 6.69 V.VZX MES TRUE TEMPER WOOD SPLITTING WEDGE Square head splitting wedge. 4lb. head inches wide WOOD SPLITTING WEDGE 4LB T E CX.LVX VUGHN & BUSHNELL SPLITTING WEDGE MES TRUE TEMPER WOOD SPLITTING WEDGE 5-pound forged heat-treated steel for the ultimate in durability and safety. Used for splitting wood logs. Use with a sledge hammer or maul to drive into wood log. Durable design to withstand industrial use WOOD SPLITTING WEDGE 5LB E CL.OCX GRINTEX BLSTER WOOD SPLITTING WEDGE Heat treated and tempered. Drop forged. Grade #45 steel construction. Ideal for splitting logs with efficiency and precision. Strong and durable WEDGE WOOD SPLIT 4LB E Y.YLX GRINTEX SQURE HED WOOD SPLITTING WEDGE Wood splitting wedge. Square head WEDGE WOOD SPLIT 4LB E H.RCX WEDGE WOOD SPLIT 5LB E Y.XX WEDGE WOOD SPLIT 5LB E CZ.XX Mauls, xes and Wedges, Peavies and Hooks, Peavies BRON MFG. HNDLE SOLID SOCKET PEVIE Peavies solid socket, driven pick with professional hardwood handle. Duckbill hooks are drop forged high carbon steel with the bill ground to a fine point. Features a drawn carbon steel socket, and a pick forged from high carbon steel before being driven into handle. Socket held securely in place with special retaining tab forged into pick. Handle turned from select white mountain hickory or rock maple, air dried to 18? moisture contact and precision fitted. Heads are painted, handles are clear lacquer finished. Note: not to be used as a wedge or prybar. Load must be applied in direction of handle brand mark. Flexing handle in a perpendicular direction of grain may cause handles fracture and result in personal injury PEVY 2-1/4X3FT E ER.EXZ PEVY 2-1/2 X4FT E RH.XX NOVEMBER

18 Mauls, xes and Wedges, Peavies and Hooks, Cant Hooks BRON MFG. HRDWOOD HNDLE CNT HOOK Cant 7/16"x7/8" duckbill hooks are drop forged with the bills ground to a fine point. Clasps and extension toe rings are ductile iron castings for long lasting service. Handles are White Mountain Hickory, air dried to 18 degree moisture content, then precisioned cut to an exact fit. Heads are painted; handles are clear lacquered finished. For log sizes 6" to 16" long. NOTE: Not to be used as a wedge or pry bar. Load must be applied in direction of handle brand mark. Flexing handle in a perpendicular direction of grain may cause handle fraction and result in personal injury CNT HOOK 2-1/4X3FT E EZ.VEX CNT HOOK 2-1/4X3-1/2FT E EH.YXZ CNT HOOK 2-1/4X4FT E RL.EX Hand & Power Tools Mauls, xes and Wedges, Peavies and Hooks, Log Lifter Microsoft Toolkit 2.6.8 Download BRON MFG. 2-1/4' X 3-1/2' LOG LIFTER Log jacks dual purpose cant/jack professional quality 2-1/4"x3-1/2' hardwood handle. Easily converts into a Cant hook by removing the lifting brace. Duckbill hook 7/16"x7/8"x8" drop forged steel. Handle made from top quality Mountain Hickory, air dried to 18? moisture content. Ideal for log sizes 3 to 12". Weight: 11 lbs LOG JCK 2-1/4X3-1/2FT E ER.EXZ Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Nail Pullers JMK/IIT NIL PULLER 12", single end nail puller. 5/8" stock size NIL PULLER 12IN E 4.91 L.YX Mauls, xes and Wedges, Peavies and Hooks, Skid Tong Hook BRON MFG. OPEN SKID TONG WITH GRB HOOK Forged from round steel to position additional steel at critical stress areas. Points are fine ground to assure long lasting sharpness. Tongs 3/4 in. and 1 in. are supported by special tong shut; tongs 1-1/4" use screw pin anchor shackles. Specially shaped to grab and hold poles and logs for skidding and dragging operations, not for lifting. Painted blue. NOTE: Designed for pulling or dragging. Skidding tongs are not load rated and should not be used for overhead lifting. Do not heat points to sharpen them. Swivel grab SKIDDING TONG W/ 3/8IN SWVL GRB HOOK 16 E VY.XCX SKIDDING TONG W/ 3/8IN SWVL GRB HOOK 20 E YC.OVX SKIDDING TONG W/ 3/8IN SWVL GRB HOOK 32 E CZL.EYX GRET NECK TCK PULLER Has a rustproof plated blade firmly imbedded in a tough plastic handle and smoothly polished back and face. The full 1/4-inch thick heavy duty shank lifts tacks, small nails, and brads TL4C TCK LIFTER CD 3.72 L.LOX STNLEY WORKS 11-INCH NIL PULLER Double-end puller features 90 degree and 30 degree how to install windows 10 on usb drive - Free Activators claws. Fully sharpened claw tips. Heat-treated for durability. Limited Lifetime Warranty NIL PULLER 11IN N E CZ.VX VUGHN BER CLW NIL PULLER Forged, tempered steel with flat claw for easy wedging and minimal wood damage. Rocker head gives excellent leverage. Rust resistant finish BC12 NIL PULLER 11-3/4IN E CL.YZX NOVEMBER 17

19 Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Claw Bars STNLEY WORKS STEEL CLW BR Ideal for precision nail pulling and prying. Polished, beveled claws for precise penetration. Ergonomic grip provides a better grip and protects from extreme temperatures. Forged, highcarbon spring steel for extreme strength and durability. Flat striking face allows claw to be driven under deeply embedded nails. Tempered for safety and heat treated for durability FMHT55008 FT MX 10IN CLW BR E YX STNLEY NIL CLW BR Heat-treated forged steel. Special extracting claw has beveled nail slot. Length /4". Stock size: 9/16" NIL CLW BR 10-1/4IN E 9.67 H.LHX STNLEY BOSTITCH CLW BR Made of forged, high carbon spring steel for extreme strength and durability. Flat striking surface and polished beveled claws. Great for demolition, roofing, flooring and framing. Ergonomic grip provides a better grip and protects from extreme temperatures CLW BR 12IN BOSTITCH E CZ.RX STNLEY RIPPING CHISEL Handyman. Carbon steel/offset pattern. Beveled nail slots on both claws. Cutting edges? 1-13/16", 1-1/2". Stock size: 11/16" RIPPING CHISEL 18IN OFFSET PTTERN E 8.06 R.CXZ Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Claw Bars STNLEY PRECISION CLW BR Ideal for precision nail pulling and prying. Polished, beveled claws for precise penetration. Flat striking face allows claw to be driven under deeply embedded nails. Forged, high-carbon alloy steel for long life. Tempered to help reduce chipping CLW BR 10IN E CX.LHX STNLEY PRECISION CLW BR Ideal for precision nail pulling and prying. Polished, beveled claws for precise penetration. Flat striking face allows claw to be driven under deeply embedded nails. Forged, high-carbon alloy steel for long life. Tempered to help reduce chipping CLW BR 12IN E CO.LXZ GRET NECK NIL CLW Drop forged construction. Comfortable rubber grip NC11 NIL CLW RUBBER GRIP -DROP FORGED E 4.94 L.YCX Wrecking, Claw, Pry and Digging Bars, Nail Pullers and Claw Bars, Utility Bars STNLEY FTMX UTILITY BR 4-in-1 tool for prying, splitting, board bending and striking jobs. 2.5 lbs. - fits easily in the hammer loop. One piece forged steel bar for increased durability. Two-tiered jaws for grabbing common dimensional lumber & decking. Beveled nail slot for pulling and prying nails. Textured grip for excellent comfort & control, even when wet. Tempered steel that prevents chipping. 15" L UTILITY BR FTMX 2.5LB E CY.VOX STNLEY PRECISION CLW PRY BR Double ended nail puller. Forged high-carbon steel. Heat treated for durability. Polished, beveled claws allow precision nail pulling and prying. Flat striking face allows claw to be driven under deeply embedded nails PRECISION CLW BR 8IN E EYX OLYMPI UTILITY MINI BR 7 inch utility bar. Durable steel design corrosion resistant finish. Claw head striking tip inch L x 1.00 inch W x 6.89 inch H UTILITY MINI BR 7IN CD 2.59 C.EVX NOVEMBER

20 Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Wrecking Bars STNLEY RIPPING BR Forged Hexagonal Steel. High carbon steel for extra strength. Chisel end beveled. Claw and chisel end polished, claw slotted RIPPING BR 18IN FORGED HEXGONL STEEL E 7.08 E.VXZ STNLEY FTMX WRECKING BRS Cross-sectional. Larger than 3/4" hex bar. Flat "U" shaped prying end. Provides lifting without damaging surfaces. Forged recesses for better grip. Tri-Lobe cross section for greater comfort. dditional slot specifically for pulling nails. Hi-visibility yellow paint WRECKING BR 14IN FTMX E 9.27 R.YX WRECKING BR 24IN FTMX E CZ.CRX WRECKING BR 36IN FTMX E CO.VOX STNLEY BOSTITCH SPRING STEEL WRECKING BR Ideal for heavy duty demolition work. Heat-treated 3/4" diameter spring steel for extreme strength and durability. Low weight for ease of use. Precision ground edge for better penetration. Flat striking surface. Slotted claw and beveled ends WRECKING BR SPRING STEEL 24IN E CL.CZX WRECKING BR SPRING STEEL 36IN E CV.XZ Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Wrecking Bars MES TRUE TEMPER GOOSENECK WRECKING BR Made of quality steel for longevity. 3/4 in bar stock. This tool is used to lever, remove nails, pry boards, and generally break things. It also has a single curved end and flattened points with a small slot on both ends for removing nails WRECKING BR GOOSENECK 24IN E 8.59 R.VRX WRECKING BR 30IN E H.ZX WRECKING BR GOOSENECK 36IN E Y.XEX GRET NECK WRECKING BR High grade, heat treated hex shank steel. Nail pulling claws and chisel ends. 5/8" Hex Shank WR18 WRECKING BR 18IN E 7.34 V.LOX WR12 WRECKING BR 1/2X12IN E 5.75 O.VCX WR24 BR WRECKING BR 3/4X24IN E Y.CXZ WR30 BR WRECKING BR 3/4X30IN E CZ.HLX WR36 WRECKING BR 3/4X36IN E CZ.LXZ JMK/IIT WRECKING BRS 12" heavy duty. High grade, heat treated hex shank steel. Nail pulling claws and chisel idm 6.33 crack - Activators Patch. 1/2" Hex Shank BR WRECKING HD 12IN E 4.94 L.YLX MES TRUE TEMPER GOOSENECK WRECKING BR Made of quality steel for longevity. 3/4 in bar stock. This tool is used to lever, remove nails, pry boards, and generally break things. It also has a single curved end and flattened points with a small slot on both ends for removing nails BR WRECKING GOOSENECK E LZ.XHX GRINTEX WRECKING BR Drop forged, heat tempered BR WRECKING 24IN E 8.52 E.HXZ BR WRECKING 36IN E H.RZX BR WRECKING 48INX1IN E CY.EX NOVEMBER 19

21 Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Wrecking Bars VUGHN 5-1/2" MINI PRY BR Double polished hammer faces. Double Utility Bar. Chrome Finished. For prying and lifting boards, loosening nails. Rocker head. Heads are drop forged and perfectly heat treated for extra strength. This Pry Bar has a Unique angle & length that allows a user to remove nails much easier MINI BR-5-1/2IN E 3.79 L.EX Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars STNLEY BOSTITCH MOULDING BR Designed for the professional or serious do-it-yourselfer. 10" moulding bar is made of forged, high carbon spring steel for extreme strength, durability and tempered for safety. Flat striking surface and beveled claws. Ergonomic grip provides a better grip and protects from extreme temperatures MOULDING BR 10IN E Y.LVX VUGHN 15" ORIGINL SUPERBR Original SuperBar is an essential tool for homeowners and tradesmen. "Shepherd's Crook" rocker head design for maximum prying power; 21" length provides excellent leverage. Useful for prying molding, scraping and pulling nails. Forged, spring tempered steel for heavy duty use. Three beveled nail slots; polished, sharp blades for easy insertion B215 SUPERBR-15IN E Y.LHX B215L SUPERBR-21IN E CX.YX Wrecking, Claw, Pry and Digging Bars, Wrecking Bars, Board Benders OLYMPI FLT PRY BR - GORILL BR 15 inch. Industrial. The one bar that does it all-and more. Use for: ripping bar, utility bar, wrecking bar, T- type wrecking bar, nail puller. Leverage power increased over 50%. Wider, flatter claw for better control. Resists sink into support surface and prevents sideways roll. Oval shaped shank with rounded edge and large circumference. High grade, one-piece forged steel construction. Heat treated for strength and durability UTILITY BR 15IN E 4.49 L.REX STNLEY SUPER WONDER PRY BR Extra long length for extra reach and more leverage. Tightly radiused bend angle for precise positioning. Extra long tongue for better grip and longer reach for hard-to-get-at places. rch in center of bar gives more swing during nail pulling-no need for a wood block. Works as a panel lift: position pry end under panel, press down radiused end with foot, hands-free operation. 15-1/2" Length, Blade Width Is 1-3/4". ITEM # DESC INFO SP UOM PRICE PRY BR 15IN SUPER WONDER BR 15-1/2" LENGTH E HRX WONDER BR 21IN 21" LENGTH E CX.YLX STNLEY BORD BENDER Designed by builders to straighten deck and joist boards faster and easier. Extra heavy duty, 5/8" high carbon steel bar for extra strength and durability. Cushioned handle designed for kneeling to maintain pressure - frees both hands for nailing BORD BENDER 5/8IN STEEL BR E OH.LX STNLEY WONDER BR PRY BR Forged tool steel for extra toughness. Contoured bar has polished and beveled cutting edges and nail slots on both ends. Ideal for pulling nails, prying, lifting, scraping. Overall length /2". Blade Width: 1-3/8" PRY BR 12-3/4IN 13-3/8IN E 6.70 E.XVX NOVEMBER

22 Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars STNLEY PRECISION MOLDING PRY BR Nail puller - chisel scraper. Forged high-carbon steel. Heat treated for durability. Tempered for safety. Polished, beveled claw allows precision nail pulling and prying. Flat striking face allows claw to be driven under deeply embedded nails PRECISION MOLDING BR 8IN E RCX Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars GRET NECK MINI PRY BR 5". Double ended pry bar. Heat treated for strength and durability MIB5 MINI PRY BR E 4.06 L.VLX MIB7 MINI PRY BR 7IN E 3.55 L.CXZ STNLEY WONDER BR PRY BR Made of the finest tempered steel with nickel plated finish. Convenient size. Individually carded. 7/8" blade width. 7" overall PRY BR/ WONDER BR 7IN E 4.33 O.LRX JMK/IIT FLT PRY BR 18" flat pry with curve. Drop forged, heat treated steel construction. Bar and claw angle allows closer use near walls. Wide, flat claw base resists sink and sideway roll. Black micro sanding finish adds strength and resists rust. Meets or exceeds NSI specs FLT PRY BR W/CRV 18IN E 7.42 V.OX GRET NECK VERSBR PRY BR 15". Forged in one piece. Hardened & tempered for added strength and longer durability CVB15 VERSBR PRY BR 15IN E 5.87 O.VEX STNLEY PRECISION MOLDING BR Ideal for reducing material damage when prying molding and trim. Polished flat surface and beveled claws for precise penetration. Forged, high-carbon spring steel for extreme strength and durability. Tempered to help reduce chipping. Heat treated MOLDING BR 10IN N E CX.CHX HYDE WONDER BR PRY BR Quality high carbon steel tool to pry off mouldings, open boxes, scrape, pull out nails. Tool is 9-1/2". Card packaged BR PRY / SCRPER E 7.99 R.XCX HOWRD BERGER PRY BR Forged alloy steel. Enameled. Bevel ground edges. 1-1/4" x 15". Heavy-duty GCVB15 PRY BR HEVY DUTY 15IN E 4.35 L.EOX PEX CRESCENT DJUSTBLE PRY BR/NIL PULLER djustable jaws slide and clamp to fit onto objects for straightening and prying. Crow bar end with nail puller slot. Striking hammer head surface slot. Striking hammer head surface for striking. Large claw on head that adjusts for leverage in pulling nails DB16 PRY BR DJUSTBLE 16IN FLT BLCK E LV.OVX DB18X INDEXING PRY BR CRESCENT 18IN FLT BLCK E LX.LZX DB24 PRY BR DJUSTBLE 24IN FLT BLCK E L.VX DB30X INDEXING PRY BR CRESCENT 30IN FLT BLCK E LE.XEX NOVEMBER 21

23 Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Pry Bars, Pry Bars PEX CRESCENT INDEXING BULL BR The double fork design provides balanced lift on both sides of the nail. Boards are removed faster, cleaner and with less effort. Rugged indexing joint allows for maximum flexibility and increased leverage. Patent-pending center nail puller offering better balance and more leverage. Precision tips designed for fast access between boards and reduced damage for reclaiming materials. Gripping teeth on forks assist in preventing board slippage. Dimensions: 44in x 5.5in x 2in (L x W x H) DKB44X INDEXING BULL BR -CRESCENT 44IN E HY.XRX Wrecking, Claw, Pry and Digging Bars, Enfocus PitStop Pro Crack Bars, Pry Bars WILDE TOOL 3-PC HNDLE PRY BR SET Square Stock Steel, Bent Tip black oxide finish. It's of durable quality and highly efficient. Handle Type. Set consists of 1 ea: 7", 12" 18" HPB3-SQ.B/CC SET 3-PC HNDLE PRY BR E LE.VEX PEX CRESCENT FLT PRY BR Precision ground ends for nail pulling with less material damage. Nail slot in end and center for access to pulling nails. Durable high visibility. Red finish is corrosion-resistant FB13 PRY BR FLT CRESCENT 13IN RED E 9.75 H.OZX FB15 PRY BR FLT CRESCENT 15IN RED E CX.VEX FB7 PRY BR FLT CRESCENT 7IN RED E 6.49 V.YX WILDE TOOL JIMMY PRY BR Natural finish. Made in the US JB2032.NP/HT PRY BR JIMMY 5/8" X 16" E COX JB2832.NP/HT PRY BR JIMMY 7/8" X 30" E CH.ECX PEX CRESCENT MOLDING NIL REMOVL PRY BR Striking face has ground surface for precision nailing. Precision ground ends for nail pulling with less material damage. Nail slot in both claw and pry ends for access to pulling. Durable high visibility red finish is corrosion-resistant MB10 MOLDING PRY BR CRESCENT 10IN RED E CZ.VCX MB12 MOLDING PRY BR CRESCENT 12IN RED E CO.HZX MB8 MOLDING PRY BR CRESCENT 8IN RED E OZX WILDE TOOL HNDLE PRY BR Square Stock Steel, Bent Tip black oxide finish. It's of durable quality and highly efficient. Handle type HPB12-7.B/HT PRY BR W/ HNDLE 12" E 9.72 H.OCX HPB16-18.B/HT PRY BR W/ HNDLE 25" E CZ.XOX HPB20-28.B/HT PRY BR W/ HNDLE 36" E CE.RYX WILDE TOOL LINE-UP PRY BR LB832.NP/HT LINE UP BR 1/4" X 16" E 8.97 R.HEX Wrecking, Claw, Pry and Digging Bars, Digging Bars, Digging Bars PYTHON BY GRDEX POST HOLE DIGGING BR Forged high carbon steel. Heat treated. Straight handle. 1" x 69" shank. Tamper head and chisel point BR DIG POSTHOLE 17LB E LE.LEX NOVEMBER

24 Wrecking, Claw, Pry and Digging Bars, Digging Bars, Digging Bars GRINTEX SN NGELO DIGGING BR Heat treated carbon steel. Flat chisel and pencil point. 1" hex CHISEL BR 14LB E LO.EYX BR DIGGING 17LB E LV.HYX Hand & Power Tools Wrecking, Claw, Pry and Digging Bars, Digging Bars, Crow Bars GRINTEX WEDGE POINT CROWBR 1" x 1/4" x 60". Rounded handle & wedge point. High carbon steel. Heat tempered BR CROW PINCH PT 18LB E OX.HEX MES TRUE TEMPER SN NGELO BR 60 inches long and weighs 14 pounds. This heavy-duty San ngelo bar is dropforged, heat treated carbon steel. Made of quality material that provides for strength for clearing rocks and roots from postholes and ditches BR SN NGELO 14LB E LR.RVX BR SN NGELO 72IN 17LB E LH.CX Wrecking, Claw, Pry and Digging Bars, Digging Bars, Crow Bars MES Drop forged, high grade steel hex bar. Heat treated. 14 lbs. 60" L x 1"" W hex shank diamond point and 1-1/8"" chisel point." SLTE BR E LO.LEX MES TRUE TEMPER WEDGE POINT CROW BR The wedge point crow bar is 60-inch long straight heat treated carbon steel bar. The long handle is utilized to pry and move heavy objects with its wedge point. The typical uses for an 18-pound wedge point bar include breaking up clay, concrete, and other hard materials. ITEM # DESC INFO SP UOM PRICE CROW BR PINCH POINT E IN 18LB 3/8"" SHNK DI." OH.CZX MES TRUE TEMPER PINCH POINT CROW BR The Pinch Point crow bar is a 48-inch long straight heat-treated steel for maximum strength. This long hand tool is utilized to pry and lever heavy objects. The typical uses for a pinch point crow bar include breaking up clay, concrete, and other hard materials CROW BR PINCH POINT 10LB E LR.VZX Chisels, Wood Chisels, Wood Chisels STNLEY FTMX SHORT SERIES WOOD CHISEL Professional Contractor Grade. Cutlery grade steel. Blades have polished finish. Crown shaped steel cap centers blow. Blade-3" long. 1/4" X 7-29/32". ITEM # DESC INFO SP UOM PRICE WOOD CHISEL 1/4IN FTMX 1/4" X 7-29/32""" E VXZ WOOD CHISEL 1/2IN FTMX 1/2" X 7-1/16""" E XCX WOOD CHISEL 3/8IN WIDE FTMX E VLX WOOD CHISEL 3/4IN FTMX 3/4" X 7-19/32""" E LCX WOOD CHISEL 1IN FTMX 1" X 7-19/32""" E YVX WOOD CHISEL 1-1/4IN FTMX 1-1/4" X 7-19/32""" E CX.VCX WOOD CHISEL 1-1/2IN FTMX 1-1/2" X 7-23/32""" E CZ.XYX WOOD CHISEL 2IN WIDE FTMX 2" X 77.7""" E CO.LHX NOVEMBER 23

25 Hand & Power Tools Chisels, Wood Chisels, Wood Chisels STNLEY BI-MTERIL SHORT SERIES WOOD CHISEL Hardened and tempered chrome carbon steel blade for superior edge retention. Short series blade for strength and control during use. Lacquered for greater corrosion protection. Ergonomically designed impact resistant bimaterial handle made from polypropylene and TPR. Dual purpose packaging enables the customer to evaluate product. Plastic hang card with snap-off, fulllength blade guard which protects working edges of blade when not in CHISEL 1/4IN BI-MTERIL E 6.91 E.LZX CHISEL 1/2IN BI-MTERIL E 7.71 E.CX CHISEL 3/4IN W/ BI-MTERIL HNDLE E 8.54 R.VX CHISEL 1IN W/ BI-MTERIL HNDLE E 9.37 H.CLX CHISEL 1-1/4IN W/ B-MTERIL HNDLE E H.LX CHISEL 1-1/2IN W/ BI-MTERIL HNDLE E OZX GRET NECK WOOD CHISEL High impact plastic handle. Drop forged blade for strength and durability. Precision ground for sharpness WC25 WOOD CHISEL 1/4IN CD 4.53 L.RZX WC50 WOOD CHISEL 1/2IN CD 4.28 L.VYX WC75 WOOD CHISEL 3/4IN CD 4.53 L.RCX WC100 WOOD CHISEL 1IN CD 4.68 L.HVX WC125 WOOD CHISEL 1-1/4IN CD 5.71 O.OX WC150 WOOD CHISEL 1-1/2IN CD 7.83 V.RXZ NICHOLSON WOODCHUCK CHISEL / RSP COMBO Steel strike plate to protect against breakage or "mushrooming". Oversize, impact resistant acetate handle. Edge teeth for removal of materials in confined areas. Forged steel to retain rasp and chisel sharpness longer WC12CMN CHISEL RSP WCHK 1/2IN E 9.53 H.LZX WC34CMN CHISEL RSP W/HNDLE 3/4IN E OCX WC1CMN RSP CHISEL WDCHK 1IN E VHX Chisels, Wood Chisels, Wood Chisels SHEFFIELD WOOD CHISEL Sheffield Wood Chisel. High carbon steel blade for strength and durability. Tapered blade for balance. High impact acetate handle. Steel end cap for striking power. Ergonomic rubber grip overlay with Sheffield Oval-Grip pattern WOOD CHISEL WITH CETTE HNDLE 1/4IN E YOX WOOD CHISEL WITH CETTE HNDLE 3/8IN E EHX WOOD CHISEL WITH CETTE HNDLE 1/2IN E LX WOOD CHISEL WITH CETTE HNDLE 5/8IN E RX WOOD CHISEL WITH CETTE HNDLE 3/4IN E OLX WOOD CHISEL WITH CETTE HNDLE 1IN E RHX GRET NECK WOOD CHISEL High carbon steel blade for strength and durability. 3-Inch blade is precision ground for accuracy. Comes with a high impact acetate handle. Limited lifetime warranty C WOOD CHISEL DYI 1/4IN CD R.CXZ C WOOD CHISEL DYI 1/2IN CD R.OCX C WOOD CHISEL DYI 3/4IN CD R.OLX C WOOD CHISEL DYI 1IN CD R.RLX C WOOD CHISEL DYI 1-1/4IN CD H.VX C WOOD CHISEL DYI 1-1/2IN CD CVX IRWIN MRPLES HIGH IMPCT CHISEL Fully-forged steel core for unbeatable strength and durability. Extra-large strike cap withstands repetitive hammer strikes and can be hit from multiple angles. Split-proof acetate handle for reinforced toughness. High quality hardened steel blade for superior performance and edge retention HIGH IMPCT CHISEL 1/4IN- MRPLES E YLX HIGH IMPCT CHISEL 1/2IN- MRPLES E Y.OXZ HIGH IMPCT CHISEL 3/4IN - MRPLES E CX.CRX HIGH IMPCT CHISEL 1IN - MRPLES E CX.YXZ HIGH IMPCT CHISEL 1-1/2IN - MRPLES E CO.CLX HIGH IMPCT CHISEL 2IN - MRPLES E CH.CLX NOVEMBER

26 Chisels, Wood Chisels, Wood Chisels IRWIN MRPLES CONSTRUCTION CHISEL This all-purpose, bevel-edge chisel has a large strike cap and split-proof handle withstands repetitive hammer disk drill pro 2 - Free Activators. Ergonomic handle design with ProTouch Grip is durable enough to withstand jobsite abuse. High-carbon steel blade delivers superior performance and edge retention, and stays sharp to the last inch. IRWIN Tools Marples chisels have been the industry leader for woodworkers for nearly 200 years MS500 CHISEL 1/4IN E 9.35 R.OYX MS500 CHISEL 1/2IN E R.ZX MS500 CHISEL 3/4IN E H.RX MS500 CHISEL 1IN E OZX Chisels, Wood Chisels, Wood Chisel Sets STNLEY 3 PC. FTMX SHORT SERIES WOOD CHISEL SET Short series. Professional Contractor Grade. High quality steel. Durable storage case sets on work area for easy selection. Hand & Power Tools Chisels, Wood Chisels, Wood Chisel Sets GRET NECK 3 PC. WOOD CHISEL SET High impact black molded plastic handles. Includes sizes: 1/2", 3/4", 1" K WOOD CHISEL SET ECON 3PC CD H.YCX SHEFFIELD 3 PIECE HIGH IMPCT CETTE WOOD CHISEL SET Sheffield 3 Piece High Impact cetate Wood Chisel Set. High carbon steel blade for strength and durability. Tapered blade for balance. High impact acetate handle. Steel end cap for striking power. Ergonomic rubber grip overlay with Sheffield Oval-Grip pattern WOOD CHISEL SET 3PC CET ST LO.CX WOOD CHISEL SET 3PC FTMX E LO.CZX STNLEY 3 PC. BI-MTERIL CHISEL SET Hardened and tempered chrome carbon steel blade for superior edge retention. Short series blade for strength and control during use. Lacquered for corrosion protection. Ergonomically designed, bi-material handle is impact resistant. Blade guard protects working edges of blade when not in use. Blade guard can be mounted to wall for home storage. Sizes: 1/2, 3/4, and 1 inch. IRWIN MRPLES HIGH IMPCT CHISEL SET Set includes 3 chisels: 1 in., 3/4 in. and 1/2 in. ll chisels feature a steel core with split proof acetate handle. multi-angle strike PC Decrapifier Crack is on end of the handle HIGH IMPCT CHISEL CLM 3PC CD LY.XZZ CHISEL SET 3PC BI-MTERIL ST C.VCX STNLEY 3 PC. WOOD CHISEL SET Full size rugged, shock absorbing handles with no-roll feature. Durable precision ground cutting edges. Blades are uniformly hardened for full length use. Heat-treated steel blades, lacquer coated blades resist rust. Set includes: 1/2", 3/4", 1" WOOD CHISEL SET 3PC E Y.CZX IRWIN MRPLES 3 PIECE CHISEL SET This all-purpose, bevel-edge chisel has a large strike cap and splitproof handle withstands repetitive hammer strikes. Ergonomic handle design with ProTouch Grip is durable enough to withstand jobsite abuse. High-carbon steel blade delivers superior performance and edge retention, and stays sharp to the last inch. IRWIN Tools Marples chisels have been the industry leader for woodworkers for nearly 200 years MS500 3PC - WL - 1/2IN; 3/4IN; E IN LO.YCX NOVEMBER 25

27 Hand & Power Tools Chisels, Brick Chisels, Brick Chisels STNLEY MSON'S CHISEL One-piece hardened, quenched and tempered chrome vanadium steel. Powder coat finish. Use for cutting and splitting hard stone, brick and concrete MSON'S CHISEL 1-3/4INX8-1/2IN E 6.11 V.RXZ MSON'S CHISEL 2-3/4INX8-1/2IN E 7.66 E.HOX Chisels, Brick Chisels, Brick Chisels STNLEY CONCRETE CHISEL Ideal for cutting through and breaking up concrete. Durable bull point that cuts fast and lasts long. Ergonomic, bi-material hand guard helps protect from overstrike, reduces slipping and absorbs vibrations. One-piece construction forged for strength. 1 inch heat-treated tip allows for additional sharpening. Hardened, quenched and tempered for long life and durability. Powder-coated finish for easy visibility CONCRETE CHISEL W/ HND GURD 3/4IN E HX STNLEY BRICK SET WITH HND GURD One-piece hardened, quenched and tempered chrome vanadium steel. Powder coat finish. Use for cutting and splitting brick and concrete. Ergonomic Bi-material hand guard BRICK SET 3X8-1/2 W/BI-MTERIL HDL GURD E CLX BRICK SET 4X8-1/2 W/BI-MTERIL HDL GURD E Y.XEX STNLEY MSONRY CHISEL Ideal for cutting hard stone, brick and concrete. Ergonomic, bi-material hand guard helps protect from overstrike, reduces slipping and absorbs vibrations. One-piece construction forged for strength. 1 inch heat-treated tip allows for additional sharpening. Hardened, quenched and tempered for long life and durability. Powder-coated finish for easy visibility MSONS CHISEL W/ HND GURD 2-3/4IN E HX GOLDBLTT BRICKLYER SET WITH BEVEL EDGE Designed for scoring, cutting and trimming bricks and blocks. Length 7"- 4" wide blade G01134 BRICK SET 4IN E CX.LCX Chisels, Floor Chisels, Floor Chisels STNLEY FLOOR CHISEL WITH HND GURD With hand guard. Used for cutting, prying or ripping of hardwood flooring and nails. Designed with offset blade. Shorter bite for increased leverage. Ergonomic bi-material hand guard FLOOR CHISEL 3X11 W/BI-MTERIL HND GURD E EHX STNLEY WORKS BRICK SET Cutting edge is hardened to HRC and is ground to a precise angle for efficient cutting and durability. Striking edge hardened to 42 HRC and has chamfered edges to help resist chipping. Used for cutting and splitting brick and concrete. One-piece construction forged from chrome vanadium steel. Yellow powder-coated finish. 3 in. x 8.5 in CHISEL BRICK SET 3INX8-1/2IN E 7.85 E.YHX STNLEY FLOOR CHISEL Used for cutting, prying or ripping of hardwood flooring and nails. Designed with offset blade. Shorter bite for increased leverage FLOOR CHISEL 3INX11IN E 9.68 H.OLX NOVEMBER

28 Chisels, Cold Chisels, Cold Chisels STNLEY COLD CHISEL WITH HND GURD One-piece tempered and hardened construction. Powder coat finish. Bimaterial hand guard. For cutting/shaping wrought iron, cast iron, steel, brass, bronze, copper, aluminum, bolts, nuts and rivets COLD CHISEL 1X12 W/BI-MTERIL HND GURD E CX STNLEY COLD CHISEL One-piece tempered and hardened construction. Powder coat finish. For cutting/shaping wrought iron, cast iron, steel, brass, bronze, copper, aluminum, nuts and rivets COLD CHISEL 3/8INX5-9/16IN E 3.45 L.ROX COLD CHISEL 1/2INX6IN E 3.70 L.HYX COLD CHISEL 5/8INX6-3/4 E 3.80 L.HX COLD CHISEL 3/4INX6-7/8 E 4.63 O.VX COLD CHISEL 7/8INX8IN E 5.75 V.OX COLD CHISEL 1INX12IN E 7.32 E.ECX FLT COLD CHISEL 1-1/4INX12IN E 6.15 V.RYX Hand & Power Tools Chisels, Cold Chisels, Cold Chisels WILDE TOOL COLD CHISEL Hardened, quenched and tempered to precise specifications. Hand ground cutting edge CC832.NP/HT CHISEL COLD 1/4" X 4-3/4" E 4.12 O.XYX CC1232.NP/HT CHISEL COLD 3/8" X 5-1/4" E 4.19 O.CEX CC1632.NP/HT CHISEL COLD 1/2" X 6" E 4.79 O.RXZ CC2032.NP/HT CHISEL COLD 5/8" X 6-1/2" E 6.03 V.EVX CC2432.NP/HT CHISEL COLD 3/4" X 7" E 6.54 V.YCX CC2832.NP/HT CHISEL COLD 7/8" X 7-1/2" E 8.64 R.EXZ CCL3232.NP/HT CHISEL LONG COLD 1" X 12" E LX Chisels, Cold Chisels, Cold Chisel Sets STNLEY 3 PC. COLD CHISEL SET 3 Piece. One-piece forged chrome vanadium construction. Hardened, quenched and tempered. Powder coat finish. For cutting & shaping wrought iron, cast iron, steel, brass, bronze, copper, aluminum, bolts, nuts and rivets. Set includes: 1/2" x 6", 5/8" x 6-3/4", 3/8" x 5-9/16" CHISEL COLD KIT 3PC KT H.RX JMK/IIT 4 PC. COLD CHISEL SET Hexagonal shanks. Heat treated steel. Chrome plated. Vinyl grips. Set includes: 3/8" x 5" x 5/16" Hex, 1/2" x 5-3/4" x Easeus Mobisaver 7.6 Crack Plus Serial Key Hex, 5/8" x 6" x 1/2" Hex and 3/4" x 7" x 5/8" Hex. GRET NECK FLT COLD CHISEL Drop forged steel. Heat treated for strength and durability. 5/16" bit width. 5" length x 1/4" Diameter. ITEM # DESC INFO SP UOM PRICE C FLT COLD CHISEL 5X1/4IN 5/16" HEX" CD 2.75 C.REX C FLT COLD CHISEL 5/5/16IN 3/16" HEX" CD 2.88 C.HLX C FLT COLD CHISEL 6X3/8IN 7/16" HEX" CD 3.35 C.YZX C FLT COLD CHISEL 6X5/8IN 1/2" HEX" CD 4.43 L.RZX C FLT COLD CHISEL 7X3/4IN 5/8" HEX" CD 6.23 O.HCX C FLT COLD CHISEL 8X7/8IN 3/4" HEX" CD 6.83 V.CXZ WOOD CHISEL SET 4PC ST R.EX WILDE TOOL COLD CHISEL SET 5-pc Cold Chisel set in clear, sturdy, zipper seal hang-up vinyl. Set includes 1 ea: CC1032, CC1232, CC1632, CC2032, CC CC5.NP/VP SET 5-PC COLD CHISEL E CV.HX NOVEMBER 27

29 Hand & Power Tools Punches and Nail Sets, Punches, Pin Punch STNLEY PIN PUNCH One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Use for starting drill holes STRTER PUNCH 3/32INX5-1/2IN E 3.06 L.OVX PIN PUNCH 1/16INX6IN E 2.80 L.CZX PIN PUNCH 1/8INX6IN E 2.24 C.RX PIN PUNCH 3/16INX6IN E 2.22 C.RYX PIN PUNCH 1/4INX6IN E 2.78 L.CXZ PIN PUNCH 5/16INX6IN E 2.30 C.HVX WILDE TOOL PIN PUNCH High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PP232.NP/HT PUNCH PIN 1/16" X 4-1/4" E 5.87 V.VCX PP332.NP/HT PUNCH PIN 3/32" X 4-3/4" E 5.87 V.VCX PP432.NP/HT PUNCH PIN 1/8" X 5" E 4.12 O.XYX PP532.NP/HT PUNCH PIN 5/32" X 5-1/4" E 4.12 O.XYX PP632.NP/HT PUNCH PIN 3/16" X 5-1/2" E 4.12 O.XYX PP832.NP/HT PUNCH PIN 1/4" X 7" E 4.45 O.OEX Punches and Nail Sets, Punches, Prick Punch STNLEY PRICK PUNCH Used for marking metal. One-piece construction forged from tempered tool steel for strength. Hardened and tempered for long life. Powder coat finish for increased visibility. 3/8" x 5-1/2" PRICK PUNCH 3/8INX5-1/2IN E 2.78 L.CXZ GRET NECK PRICK PUNCH 5 1/2" prick punch. Drop forged steel. Heat treated for strength and durability C PRICK PUNCH 5IN CD 3.18 C.HX Punches and Nail Sets, Punches, Center Punch STNLEY CENTER PUNCH One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Use for marking metal or making indentations for starting drill holes CENTER PUNCH 1/4INX4IN E 2.20 C.RZX CENTER PUNCH 5/16INX4-1/2IN E 3.52 L.RHX VERMONT MERICN CENTER PUNCH Ideal for centering drill bits. Hardened and tempered steel for long life. Ground point stays sharp. Double-knurled shank for easy gripping. 3-1/2" long, point diameter: 1/16" CENTER PUNCH 3-1/2IN 3.02 C.YRX WILDE TOOL CENTER PUNCH High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PC832.NP/HT PUNCH CENTER 1/4" X 4-1/4" E 4.95 O.HLX PC1232.NP/HT PUNCH CENTER 3/8" X 5" E 4.36 O.LX PC1632.NP/HT PUNCH CENTER 1/2" X 6" E 5.36 V.XOX WILDE TOOL LONG TPER PUNCH High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PLT632.NP/HT PUNCH LONG TPER 3/16" X 9" E 6.63 V.YX PLT1032.NP/HT PUNCH LONG TPER 5/16" X 11" E 7.30 E.VYX NOVEMBER

30 Punches and Nail Sets, Punches, Center WILDE TOOL SOLID PUNCH Punch High Carbon Molybdenum Steel for strength and durability. Polished finish. It's of durable quality and highly efficient PS432.NP/HT PUNCH SOLID 1/8" X 4-1/2" E 4.12 O.XYX PS832.NP/HT PUNCH SOLID 1/4" X 6" E 5.03 O.HX Punches and Nail Sets, Punches, Leather Punch Hand & Power Tools Punches and Nail Sets, Punches, Punch and Chisel Sets JMK/IIT 14 PIECE COLD CHISEL/PUNCH SET Premium-quality tools made of drop forged highcarbon steel, heat treated. Finely finished from their mat-black hex-shafts to polished steel working ends. Use on cold metal to flatten, indent, groove, reduce thickness, remove trash, cut rods, bars & sheets. 5 flat cold chisels; 8 round flat-end punches (4 tapered, 4 constant dia.), 1 pointed center punch. Rubberized roll-up pouch keeps them organized, evenly oiled and dry for stowing and trans PUNCH/CHISEL SET 14PC ST LX.CHX JMK/IIT REVOLVING LETHER PUNCH Heavy duty hole punch tool. Heat treated forged steel. Punches clean, neat holes in leather and other soft materials PUNCH LETHER REVOLVING CD 7.37 V.OVX Punches and Nail Sets, Punches, Punch Kits STNLEY 6 PC. PUNCH KIT 6 Piece. One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Set includes: 1/16", 1/8", 5/32", 3/16", 1/4", 5/16" all are 6" in length. STNLEY 12 PC. PUNCH & CHISEL KIT 12 Piece. One-piece forged, tempered tool steel construction. Hardened and tempered. Powder coat finish. Set includes: 1/4" x 4" Center Punch, 5/16" x 4-1/2" Center Punch, 3/32" x 5-1/2" Starter Punch, 1/16" x 6" Pin Punch, 1/8" x 6" Pin Punch, 5/32" x 6" Pin Punch, 3/16" x 6" Pin Punch, 1/4" x 6" Pin Punch, 5/16" x 6" Pin Punch, 3/8" x 5-9/16" Cold Chisel, 1/2" x 6" Cold Chisel, 3/4" x 6-7/8" Cold Chisel PUNCH & CHISEL KIT 12PC KT CY.YOX PUNCH KIT 6 PC KT CX.XEX WILDE TOOL PIN PUNCH SET 5-pc Pin Punch Set in a clear, sturdy, zipper seal hangup vinyl pouch. Set consists of 1 ea PP332, PP432, PP532, PP632, PP PP5.NP/VP SET 5-PC PIN PUNCH E CL.YX WILDE TOOL PUNCH ND CHISEL SET 5-Piece Punch & Chisel Set in a clear, sturdy, zipper seal hang-up vinyl pouch. Set consists of 1 ea: 3/8" & 5/8" Cold Chisels, 3/8" Center Punch, 3/16" Pin Punch, and 3/16" Solid Punch K5.NP/VP SET 5-PC PUNCH ND CHISEL E CO.XEX K8.NP/VR SET 8-PC PUNCH ND CHISEL E OC.YEX K12.NP/VR SET 12-PC PUNCH ND CHISEL E VE.LYX NOVEMBER 29

31 Hand & Power Tools Punches and Nail Sets, Nail Sets, Nail Sets STNLEY CONTRCTOR'S NIL SET Contractor Grade. Cushioned grip is designed for a non-slip grip in all weather conditions. Shock absorbing ribbed grip for precision hold. 25% longer length makes it easy to set nail in hidden and "hard-to-reach" areas. Color coded by tip size makes it easy to locate. Full-hardened; precision-milled steel for extra long life. Long beveled tip for easier nail head alignment. Designed by and for the pro. Lifetime warranty NIL SET -1/32IN TIP YELLOW CUSHION GRIP E 3.84 L.YX SET NIL - 2/32IN TIP GRY CUSHION GRIP E 3.84 L.YX SET NIL - 3/32IN TIP RED CUSHION GRIP E 3.89 L.YVX STNLEY SQURE HED NIL SET Hardened and tempered alloy steel nail set has square head to prevent rolling. Round knurled body with black phosphate finish. Tips are cupped and chamfered. Overall length: 4" NIL SET 4X1/32IN STEEL E 1.94 C.VRX NIL SET4X 2/32IN STEEL E 1.94 C.VRX NIL SET 4X3/32IN STEEL E 1.94 C.VHX STNLEY 3 PC. CONTRCTOR'S NIL SET Contractor Grade. 3 Piece set. Cushioned grip is designed for a nonslip grip in all weather conditions. Shock absorbing ribbed grip for precision hold. 25% longer length makes it easy to set nails in hidden and "hard-to-reach" areas. color coded by tip size makes it easy to locate. Long beveled tip for easier nail head alignment. Fullhardened, precision-milled steel for extra long life. Designed by and for the pro. Lifetime warranty. One each: NIL SET 3PC CUSHION GRIP E 8.22 R.CX Punches and Nail Sets, Nail Sets, Nail Sets GRET NECK NIL SET Made of heat treated alloy steel. ccurately sets nails for molding NS1C NIL SET 1/32IN CD 2.16 C.LHX NS2C NIL SET 2/32IN CD 2.16 C.LHX NS3C NIL SET 3/32IN CD 2.20 C.LX GRET NECK 3 PC. NIL SET Contains sizes 1/32", 2/32", 3/32". Made of heat treated alloy steel. ccurately sets nails for molding NSK NIL SET 3PC CD 5.14 L.YZX GRET NECK NIL SET 4/32 carded. Made of heat treated alloy steel NS4C NIL SET 4/32IN CD 2.20 C.OCX Planes and Files, Planes, Block Planes STNLEY BLOCK PLNE Contractor's grade. Tempered tool steel cutter positioned at 12 deg. angle planes easily across hardwood?adjusted endwise with knurled screw. djust mouth for coarse or fine work. Cast iron bottom. Finger grips in side. Plane length?6". Cutter width: 1-3/8" LOW NGLE BLOCK PLNE 6-1/4IN E O.LX STNLEY 3 PC. NIL SET ssortment of 3 nail sets. One each of 1/32", 2/32", and 3/32". Skin carded NIL SET 3PC STEEL E 5.26 O.YRX STNLEY BLOCK PLNE Cast iron bottom plane has tempered tool steel cutter positioned at 21 deg. angle. djust cutter endwise by rotating steel adjusting screw. Bottom and sides are milled and ground. Stained hardwood knob BLOCK PLNE 1-5/8IN-7IN E LX.YZX NOVEMBER

32 Planes and Files, Planes, Block Planes STNLEY BLOCK PLNE Hand adjustable. Cast iron bottom is milled. Tempered tool steel cutter adjusts by loosening wheel and moving cutter endwise. Blue finish with cast-in finger rest. Red finished lever BLOCK PLNE 1-5/8IN WD E CV.EYX GRET NECK 6-1/2" BLOCK PLNE Hardened and tempered. 1 9/16" blade. Machined and polished die cast body. Plastic handle C2 PLNE BLOCK 6-1/2IN E CZ.YX SHEFFIELD BLOCK PLNE 3 inches. Hardened and tempered 1-inch width cutter for smooth and accurate cutting. Die cast, accurately machined, body for strength. Painted to resist rust. Miniature adjustable plane for models and cabinets. Contoured shape for easy grip MINI BLOCK PLNE 3IN E 7.07 V.CYX SHEFFIELD DJUSTBLE BLOCK PLNE Sheffield djustable Block Plane. Low angle blade for precision work. Hardened and tempered 1-5/8'' width cutter for longer life. Cast iron body for strength. Machine polished to resist rust. ccepts Sheffield replacement blade BLOCK PLNE DJUSTBLE 7IN E CE.OX SHEFFIELD DJUSTBLE 9'' BENCH PLNE Sheffield djustable 9'' Bench Plane. Dual wood handles for precision work. Hardened, tempered 2'' width cutter for longer life. Cast iron, machine polished body for strength and to resist rust. Ergonomic rubber grip overlay with Sheffield Oval-Grip pattern. ccepts Sheffield replacement blade BLOCK PLNE DJUSTBLE 9IN E OZ.XVX Hand & Power Tools Planes and Files, Planes, Trimming Planes STNLEY TRIMMING PLNE Small, light plane, handy for modeling, sculpture, odds and ends of light work. Sides and trimmings are durable nickel finish. Individually carded TRIMMING PLNE 1IN X 3-1/2IN E 8.00 R.CXZ Planes and Files, Planes, Surform Planes STNLEY SURFORM PLNE Sturdy metal alloy framed and molded handle allow for heavy removal. Contoured handle and grip for comfortable control. Furnished with regular flat cut blade. Individually carded. 11-1/4" L x 1-5/8" W PLNE BLDE REGULR CUT Visual studio 2019 features - Crack Key For U CX.YHX Planes and Files, Planes, Surform Shavers STNLEY SURFORM SHVER Lightweight, one handed tool works on pull stroke for curved surfaces, precision work, arts and crafts. Furnished with clip-on type regular cut blade plus one extra blade. Individually carded. 7-1/4" L x 1-5/8" W SHVER SURFORM 7-1/4IN E 3.92 L.YZX Planes and Files, Planes, Plane Blades STNLEY SURFORM TOOLS SNDING BLDES Carbide Grit. Fits Surform tools for sanding wood, plastic, paint, varnish. Outlast sandpaper, won't rip or tear. No sharpening or adjusting. Lacquer coated to resist corrosion. Steel blade coated with tungsten carbide grit 10" L x 1-5/8" W. For plane and file type Surform tools. Flat style. 10" Half-round Regular Cut. ITEM # DESC INFO SP UOM PRICE REGULR CUT 10IN REPL BLDE -HLF ROUND 10" HLF- ROUND REGULR E 5.07 O.XZ FLT REPLCEMENT BLDE -STNDRD CUT 10IN CUT" 10" FLT- REGULR CUT" E 4.91 O.HVX NOVEMBER 31

33 Hand & Power Tools Planes and Files, Planes, Plane Blades STNLEY SURFORM POCKET TYPE PLNE BLDE Versatile one handed speed cutting and trimming tool. Fits in apron or overalls pocket. Die cast zinc alloy body. Furnished with all purpose cutting blade. 5-1/2" L x 1-5/8" W POCKET PLNE 6IN PLNE TYPE E 6.37 V.HYX STNLEY SURFORM POCKET TYPE REPLCEMENT BLDE Tool steel 5-1/2" x 1-5/8". ll purpose cut. For straight cuts on hardwood, end grain, plywood, chipboard, plaster, metal, plastics, etc. Individually carded. Fits # POCKET FINE CUT REPLCEMENT BLDE 5-1/2 E 3.62 L.HOX Planes and Files, Files, Mill Bastard File NICHOLSON MERICN PTTERN MILL BSTRD FILE Bastard cut. For sharpening mill or circular saws. lso for draw filing and finishing metals. ll sizes tapered slightly in width. Two square edges. Single cut on sides and edges N MILL BSTRD FILE 6IN CD 6.20 V.RYX N MILL BSTRD FILE 8IN CD 7.18 E.VXZ N MILL BSTRD FILE 10IN CD 9.22 H.XOX N MILL BSTRD FILE 6IN E 5.10 O.RX N MILL BSTRD FILE 8IN E 6.14 V.RVX N MILL BSTRD FILE 10IN E 7.88 E.YRX N MILL BSTRD FILE 12IN E Y.OX N MILL BSTRD FILE 6IN CD 5.38 V.XVX N MILL BSTRD FILE 8IN CD 5.84 V.OYX N MILL BSTRD FILE 10IN CD 7.47 E.RLX N FILE MILL BSTRD 12IN CD Y.LRX STNLEY SURFORM SHVER REPLCEMENT BLDES Regular cut with edge cut feature. ll purpose blade for use on woods, vinyl, plaster, linoleum, autobody filler and soft metals. Carded two per card. Fits # BLDES SURFORM 1PK CD 2.73 L.XYX Planes and Files, Planes, Plane Files STNLEY SURFORM FILE Metal alloy body for long, smooth strokes on flat surfaces. Comfortable contoured handle. Ribbed section on front of body permits comfortable twohand use of tools. Furnished with regular flat cut blade. Individually carded. 15-3/4" L x 1-5/8" W FLT FILE-REGULR CUT BLDE E Y.CX SIMONDS MERICN PTTERN MILL BSTRD FILE Used for sharpening saws, farm tools, axes and various other edged tools. In machine shops it is used as a general purpose file as well as draw filing, lathe work and finishing operation on hard materials MILL BSTRD FILE 6IN E 6.63 V.OEX MILL BSTRD FILE 10IN E R.HOX GRET NECK MILL BSTRD FILE Sheffield Mill Bastard File. Rectangular shape. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle MILL BSTRD FILE 6IN E 4.90 L.YXZ MILL BSTRD FILE 8IN E 6.63 O.YXZ MILL BSTRD FILE 10IN E 7.58 V.VYX NOVEMBER

34 Planes and Files, Files, Mill Bastard File STNLEY SINGLE-CUT FLT MILL BSTRD FILE Flat file tapered in width and thickness for general material removal. Singlecut mill pattern for light removal of material. Bastard teeth spacing for generalpurpose tool sharpening and material smoothing FLT MILL BSTRD FILE - SINGLE CUT 6IN E 3.87 L.YVX FLT MILL BSTRD FILE - SINGLE CUT 8IN E 4.53 O.VZX FLT MILL BSTRD FILE -SINGLE CUT 10IN E 5.90 V.VHX Hand & Power Tools Planes and Files, Files, Multi-Kut File SIMONDS BLCK MXI-SHRP MULT- KUT FLT FILE Obtain almost any required finish simply by changing the feed pressure. Multi- Kut flat files are single-cut coarse tooth files that taper toward the point in width. Simonds exclusive Multi-Kut design features a diamond pattern "double chip-braker" allowing for fast stock removal while leaving a smooth finish. Specially treated with a black oxide coating. Files last longer due to increased resistance to loading and rust. Without Handle FILE MULTI-KUT 10IN E CO.CYX VERMONT MERICN PTTERN FLT MILL BSTRD FILE Single cut for general purpose use. Without Handle FILE MILL BSTRD 6IN 5.21 O.LYX Planes and Files, Files, Flat Bastard File NICHOLSON FLT MGICUT FILE 10" merican pattern, flat file. Leaves smooth finish. Rectangular shape, tapered point in width N FILE FLT MGICUT 10IN E CX.CX NICHOLSON MERICN PTTERN FLT BSTRD FILE Flat files are used by machinists, machinery builders, repair men and others who require rapid removal of metal. They are rectangular in cross section and taper slightly towards point in width. Double cut on both sides, single cut on both edges. Without Handle N FILE BSTRD FLT 8IN CD 9.10 R.HYX N FLT BSTRD FILE 8IN E 9.38 H.CHX N FLT BSTRD FILE 10IN E RX N FLT BSTRD FILE 12IN E CL.XOX Planes and Files, Files, Round Bastard File GRET NECK ROUND BSTRD FILE Sheffield round bastard file. Use on circular openings and concave surfaces. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle ROUND BSTRD FILE 6IN E 4.58 L.HLX ROUND BSTRD FILE 8IN E 5.92 O.ECX SIMONDS MERICN PTTERN FLT BSTRD FILE Used primarily by machinists, in factories or whenever rapid stock removal is desired. This double cut file features the exclusive Simonds "Wavy Tooth" design. It has cut edges and tapers toward the point for detail work. Without Handle FLT BSTRD FILE 8IN E H.REX FILE BSTD FLT 10IN E Y.VYX VERMONT MERICN ROUND BSTRD FILES merican pattern mill file bastard cut. Rectangular shape. Double cut for circular openings or concave surfaces. Without Handle FILE ROUND BSTRD 6IN 5.66 O.EX FILE ROUND BSTRD 8IN 6.91 V.OHX NOVEMBER 33

35 Hand & Power Tools Planes and Files, Files, Round Bastard File STNLEY SINGLE-CUT ROUND BSTRD FILE Round file tapered in width and thickness for enlarging round holes for cutting a scalloped edge. Single-cut mill pattern for light removal of material. Bastard teeth spacing for general purpose tool sharpening and material smoothing ROUND BSTRD FILE - SINGLE CUT 6IN E 3.66 L.OX NICHOLSON ROUND BSTRD FILES Windows 7 professional product key generator cut. merican pattern. Single cut. Principle use is to file circular openings or concave surfaces. Files 6" and longer are double cut. Tapered slightly toward point BSTRD FILE ROUND 8IN E 6.94 E.LRX NN FILE BSTRD ROUND 6IN CD 6.37 V.CX BSTRD FILE ROUND 8IN CD 7.28 E.ECX FILE BSTRD ROUND 10IN CD 9.05 R.VX Planes and Files, Files, Half Round Bastard File NICHOLSON MERICN PTTERN HLF ROUND BSTRD FILES Rounded on one side. Flat on the other. Used on concave and convex as well as flat surfaces. Backs of all half round bastard files are double cut. Carded without handle N FILE BSTRD H-R 8IN CD CX.XCX N FILE BSTRD H-R 10IN CD CL.VEX SIMONDS HLF ROUND NEEDLE FILES Used by jewelers, die-makers and other fine detail dvd copier software. Plastic handles can be attached to make detail filing more comfortable. Filing becomes safer by eliminating finger "cramping" and scratches or cuts to fingers due to slipping. Without Handle FILE HLF RD 6-1/4IN E CO.XVX Planes and Files, Files, Half Round Bastard File GRET NECK 8 INCH HLF ROUND FILE WITH HNDLE Constructed of alloy tool steel; precision cut for long life; includes durable plastic handle HHR8C HLF ROUND FILE W/HNDLE 8IN CD 5.63 O.OVX Planes and Files, Files, Slim Taper File STNLEY SINGLE-CUT SLIM TPER FILE Triangle-shape file gradually tapered in width and thickness for cutting angles less than 90 degrees. Single-cut mill pattern for light removal of material. Bastard teeth spacing for general purpose tool sharpening and material smoothing SLIM TPER FILE - SINGLE CUT 6IN E 2.61 L.XLX GRET NECK HLF ROUND BSTRD FILE Sheffield 8 inch half round bastard file. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle HLF ROUND BSTRD FILE 8IN E 6.98 V.CXZ GRET NECK SLIM TPER FILE Sheffield 6 inch sxtra slim taper file. Use for sharpening and filing gullets between saw teeth. Steel alloy for strength and durability. Comfortable ergonomic grip rubber handle SLIM TPER FILE 6IN E 4.48 L.RZX NOVEMBER

36 Planes and Files, Files, Slim Taper File NICHOLSON SLIM TPER FILE Single cut. Edges set and cut for filing gullets between saw teeth. For filing hand, rip and wood saws M FILE TPER SLIM 6IN E 4.71 O.ERX M FILE TPER SLIM 8IN E 7.01 E.OCX N FILE TPER SLIM 6IN CD 4.68 O.ELX Planes and Files, Files, Extra Slim Taper File NICHOLSON X-SLIM TPER SW FILES merican pattern slim taper file. Made for filing saws with 60 degree angle teeth. Triangular shape. Single cut. Edges set and cut for filing gullets between saw teeth. Tapers slightly towards the point. Carded M FILE TPER X-SLIM 5IN E 4.69 O.EZX M FILE TPER X-SLIM 6IN E 5.01 O.HYX N FILE TPER X-SLIM 6IN CD 5.31 V.XZZ NICHOLSON XX-SLIM TPER merican pattern taper file, double extra-slim. Made for filing saws with 60 degree angle teeth. Triangular shape. Single cut. Edges set and cut for filing gullets between saw teeth. Tapers slightly towards the point. For all fine smooth saw filing N FILE TPER X-SLIM 6IN E 5.04 O.LX N FILE TPER XX SLIM 6IN CD 5.42 V.XX VERMONT MERICN EXTR-SLIM TPER FILE Single cut for handsaws. Triangular FILE E X TR SLIM TPR 6IN 5.71 O.RVX VERMONT MERICN XX-SLIM TPER FILE Single cut for handsaws. Triangular. Without handle FILE DBL E X TR SLIM 7IN 6.50 V.CVX Hand & Power Tools Planes and Files, Files, Handy File NICHOLSON HNDY FILE 8" handy file. merican pattern Handy file. One size is single cut for tool sharpening and smoothing metal surfaces. Reverse side is double-cut for general filing and rapid stock removal. Rectangular shape. 1 cut edge 1 safe edge. Length measured exclusive of handle. Carded N FILE HNDY 8IN CD H.HEX Planes and Files, Files, Rasp Easy recovery software with crack - Free Activators NICHOLSON 4-IN-1 RSP 8" long. merican pattern rasp, 4-in-hand, formerly shoe rasp. For the homeowner, home craftsman, boat builder and mechanic. Half round shape. Has file selection and rasp section on both flat sides and helf-round side. Carded. Without Handle NN RSP/FILE SHOE 4N1 8IN CD OYX GOLDBLTT POCKET DRYWLL RSP Drywall pocket rasp, ergonomic soft-grip design has unique edge guides for ease of use, smooths cut edges of drywall for smooth matching edges during hanging G05026 DRYWLL POCKET RSP E R.YRX VERMONT MERICN SHOE RSP 4-IN-1. Half round. Extremly versatile. Has file section and rasp section on both sides RSP/FILE SHOE 8IN 8.15 E.LCX NICHOLSON WOOD RSPS 8" half round wood rasp bastard cut. merican pattern wood rasp, half-round, bastard cut. Used by woodworkers, hobbyist and plumbers. Half-round shape. Single cut file teeth on edges. For use on wood and soft metals. Boxed N RSP WOOD ROUND HLF 8IN E CX.YEX NOVEMBER 35

37 Hand & Power Tools Planes and Files, Files, File Handles NICHOLSON PLSTIC UNIVERSL SW HNDLE The Nicholson Universal handle is an adjustable file handle that requires no inserts and allows the user to work with a full line of hand files U NICHOLSON UNIVERSL FILE HNDLE E Y.HEX Planes and Files, Files, File Handles STNLEY BI-MTERIL FILE HNDLE Interchangeable file handle. Bi-material handle reduces vibrations. Ergonomic, slip-resistant design for comfort. Hanger opening for easy storage. Includes 3 inserts that fit most files FILE HNDLE BI-MTERIL 4.5IN E 2.44 C.YXZ Planes and Files, Files, File Sets NICHOLSON FILE HNDLE - WOODEN Made from close grain hardwood with nickel-plated ferrules. Wax finish. Handles have strong metal ferrules. ITEM # DESC INFO SP UOM PRICE N FILE HNDLE WOOD #0 5-1/4" X 1-1/2""" E 3.00 L.LX N FILE HNDLE WOOD #1 4-7/8" X 1-5/16""" Download eximioussoft banner maker full version - Crack Key For U 2.46 C.RX N FILE HNDLE WOOD #2 4-1/2" X 1-3/16""" E 2.18 C.RZX N FILE HNDLE WOOD #3 3-1/8" X 1-1/16""" E 2.10 C.RXZ N FILE HNDLE WOOD #4 3-1/4" X 15/16""" E 1.86 C.VCX NICHOLSON FILE HNDLE ND INSERTS Interchangeable cushion inserts designed to fit most popular files. Handle is made of strong high-impact material. Contoured to fit hand for straight lathe and draw filing. Non-slip textured finish for easier grip. Carded file handle and 4 inserts. Handle is red plastic N FILE HNDLE W/INSERTS CD 3.90 L.YVX STNLEY 5-PIECE FILE SET Ideal for most sharpening and material removal needs. Round, flat and triangle files for filing flat, round and less than 90-degree angles. Includes: 1 each: 8 in. mill bastard file, 6 in. round file, 6 in. slim taper file, 8 in. 4-in-1 file, and 1 interchangeable handle FILE SET 5PC ST CV.RVX Planes and Files, Files, Chain Saw Files OREGON CUTTING CHIN FILE Have consistent tooth height to remove metal faster, smoother and in more quantity than other files. Oregon files have fewer teeth per inch which means filing won't get trapped and the file literally cleans itself. special heattreating process provides excellent stay-sharp. Two pack CHIN SW FILE 5/32IN CD 5.65 O.VX CHIN SW FILE 7/32IN CD 5.65 O.VX SEYMOUR MIDWEST/LINK FILE HNDLE Short ferrule. 3-1/2 inches x 13/16 inches (size #00), bore 1/8 inch for chain saws. ITEM # DESC INFO SP UOM PRICE FILE HNDLE /2IN 3-1/2" X 13/16"" BORE 1/8"" FOR CHIN SWS" E 1.49 X.YXZ FILE HNDLE /2IN FILE HNDLE 02 4IN FILE HNDLE /4IN FILE HNDLE 05 5IN 3-1/2" X 13/16"" BORE 5/32""" E 3-15/16" X 1"" BORE 3/16""" E 4-3/8" X 1-3/64"" BORE E 7/32""" 5" X 1-5/16"" BORE 3/8""" E 1.59 X.YRX 1.59 X.YHX 1.68 C.XOX 2.12 C.OXZ OREGON CUTTING CHIN FILES WITH GUIDE Two premium Oregon files with handy sharpening guide. Eliminates guesswork, keeps chain at peak cutting efficiency. Filing guide inscribed with angle indicates to maintain proper file position GUIDE FILE W/5/32IN FILE E 9.19 R.CLX GUIDE FILE W/7/32IN FILE E 9.19 R.CX NOVEMBER

38 Planes and Files, Files, Chain Saw Files OREGON FILE GUIDE File guide with 3/16 inch file. Includes: 1 premium round file, clearly marked guide and file handle, guide holds file and indicates sharpening angles, eliminates guesswork FILE GUIDE WITH 3/16" FILE E 9.18 R.LVX NICHOLSON CHIN SW FILE Round smooth chain saw file is smooth-feeling and fast cutting. For sharpening round hooded type teeth. Carded without handles CHINSW FILE 6INX1/8IN CD 3.40 L.EHX CHINSW FILE 6INX5/32IN CD 3.38 L.EVX CHINSW FILE 8INX3/16IN CD 3.38 L.EVX NICHOLSON CHIN SW FILE Round Knurl Cut. merican Pattern tooth type. Round double cut file cut for more aggressive sharpening. Hand & Power Tools Planes and Files, Files, Sure Sharp Stones JMK/IIT CHINSW SHRPENING KIT Contains all the tools needed for professional maintenance of your chain and guide bar, all in a sturdy practical pouch SHRPENER CHINSW E H.YX Knives and Replacement Blades, Utility Knives, Retractable Knives STNLEY UTILITY RETRCTBLE KNIFE Metal. Retractable blade knife has button to project and release blades to 3 positions: full, half and one quarter out. Lightweight die cast handle is in two sections providing blade storage. Furnished with heavy duty blades. Individually carded. Handle length: 6 in RETRCTBLE UTILITY KNIFE-CLSSIC 99 E 3.92 L.YVX N CHINSW FILE 6INX1/8IN E 1.16 X.YX N CHINSW FILE 8INX1/4IN E 1.45 C.CXZ NICHOLSON 3-PCK CHIN SW FILE merican pattern round chainsaw file. Knurl cut, more aggresive sharpening. 3 pack B CHINSW FILE 8X3/16IN 3PK PG 3.58 L.RYX B CHINSW FILE 8X5/32IN 3PK PG 3.60 L.HXZ B CHINSW FILE 8X7/32IN 3PK PG 3.58 L.RYX Planes and Files, Files, Sure Sharp Stones STNLEY UTILITY RETRCTBLE KNIFE Metal. Quick Change. Front loading with retractable blade and automatic blade storage magazine. Three blade positions. Furnished with heavy duty blades. Individually carded. Handle length: 6" RETRCTBLE UTIL KNIFE QUICK CHNGE 6-3/8 E 6.17 V.RVX SLIDE BUTTON REPLCE ( ) E 2.81 L.CZX OREGON REPLCEMENT STONES Electric Sure Sharp Replacement Stones. Heavy-duty, long-life stones. Packed in convenient thru-pack. Important accessory for the Electric Sure Sharp STONES SURE SHRP 5/32IN E 7.65 E.CX STONE SURE SHRP 7/32IN E 7.65 E.COX STNLEY UTILITY RETRCTBLE KNIFE Metal. Interlocking nose prevents nose spread. Three position retractable blade. Furnished with 3 each # heavy duty blades. Individually carded RETRCTBLE UTILITY KNIFE 5-7/8IN E 5.91 V.VZX NOVEMBER 37

39 Hand & Power Tools Knives and Replacement Blades, Utility Knives, Retractable Knives STNLEY UTILITY RETRCTBLE KNIFE WITH HIGH VISIBILITY Metal. High visibility fluorescent orange and green color makes it easy to find in tool box, cabinet, or pouch. Interlock nose design secures blade safely between knife halves, even in the most demanding applications. Contoured handle with diagonal ribs for a positive, non-slip grip. Furnished with three Heavy Duty utility blades RETRCTBLE UTIL KNIFE -HIGH VIS 5-7/8IN CD 5.26 O.YRX Knives and Replacement Blades, Utility Knives, Retractable Knives STNLEY UTILITY RETRCTBLE KNIFE Strong, durable construction combines a cast metal core with bi-material soft panels for a sure grip. Blade changes with the push of a button, no tools required. Curved handle design for comfort, control and balance. Swing-out blade storage for easy blade access. Integrated string cutter and retractable slide. Large hang hole for pegboard storage INSTNT CHNGE KNIFE 6-5/8IN E 9.92 H.VHX STNLEY SELF-RETRCTING UTILITY KNIFE Great for opening cartons. Spring loaded design automatically retracts blade C SELF-RETRCTING SFETY BLD UTILITY KNIFE E 7.49 E.HLX STNLEY UTILITY RETRCTBLE KNIFE luminum. Contractor Grade swivel lock. Body handle swivels open for quick easy blade change. Interlocking nose for maximum durability. 3 blades in handle. Carded. 7" length. Contractor Grade Swivel Lock SWIVEL LOCK KNIFE RETRCTBLE UTILITY 7IN E 8.68 R.EZX STNLEY UTILITY RETRCTBLE KNIFE - DYNGRIP Metal. Contractor Grade. Cushion grip surface for comfort. Non-slip grip even with gloved hands. Patented Interlock nose to secure blade. Resistance to slipping even on angled surface. dditional comfort in extreme temperatures RETRCTBLE UTIL KNIFE - DYNGRIP 5-3/8IN E 9.13 R.YRX STNLEY FTMX RETRCTBLE UTILITY KNIFE Blade wiper removes excess dirt and protects knife. Blade clamp eliminates blade wobble, gives more control. Ergonomic design for ease of use. Soft touch panels/grips allow better control, less slips. Pop-up blade dispenser for easier access and faster changeover. Supplied with FatMax blades. Push button blade change-no tools needed RETRCTBLE UTILITY KNIFE 6-5/8IN E Y.XZZ IRWIN STNDRD SFETY KNIFE Self-retracting spring action returns blade safely into the housing when not in use. Interlocking nose reduces blade wobble. Ergonomic grip fits comfortably in the hand. Two blade positions - 2mm extension for box cutting and full extension for general use. Tool-free entry. Includes 1 Irwin Bi-Metal utility blade SFETY KNIFE SELF-RETRCTING E 8.44 E.HVX STNLEY QUICKSLIDE UTILITY KNIFE Ideal for cutting string, nylon and rope. Great for multipurpose cutting, camping and outdoor activities. Spine lock button for ease and security. Easy blade change. Interlock nose prevents spreading QUICKSLIDE SPORT UTILITY KNIFE E CE.HVX IRWIN UTILITY RETRCTBLE KNIFE Optimized cutting angle for reduced fatigue. Smooth, three position slide exposes variable blade lengths. Features inside storage for up to 5 blades. Includes 6 Irwin Blue Blade Bi-Metal utility blades RETRCTBLE UTILITY KNIFE E 5.36 O.EHX NOVEMBER

40 Knives and Replacement Blades, Utility Knives, Retractable Knives IRWIN UTILITY RETRCTBLE KNIFE Pro Touch. Quick change mechanism allows for easy blade removal without opening the knife. Smooth, three position slide provides increased durability for frequent use. Easy tool-free entry with push button operation opens the knife and exposes replacement blades. Features inside storage for up to 5 blades. Includes 6 Irwin Blue Blade Bi-metal utility blades RETRCTBLE UTILITY KNIFE E CX.HZX Hand & Power Tools Knives and Replacement Blades, Utility Knives, Retractable Knives SHEFFIELD DIE CST ZINC RETRCTBLE UTILITY KNIFE Retractable blade. Heavy die cast zinc handle. Blade locks in 9 positions. 2 extra blades in casing. Made in US UTILITY KNIFE DIE CST ZINC E 5.75 O.VCX UTILITY KNIFE COMFORT GRIP E 3.98 L.OEX IRWIN HI-VIS RETRCTBLE UTILITY KNIFE High-visibility orange color makes for easy spotting on the job site. Smooth, three-position slide exposes variable blade lengths. Screw permanently captured in casing to prevent loss. Features inside storage for up to 5 blades. Includes three unbreakable Blades HI VIS RETRCTBLE UTIL KNIFE CD 7.17 V.HCX SHEFFIELD SELF RETRCTING UTILITY KNIFE Sheffield Self Retracting Utility Knife. Spring loaded safety blade automatically retracts. Does not lock in the open position. Heavy duty metal case. 3 blades stores in handle. ccepts all standard utility blades UTILITY KNIFE SELF RETRCTBLE E 3.55 L.CXZ KNIFEUTILITY-TOP SLIDE E 6.92 E.OXZ GRET NECK UTILITY RETRCTBLE KNIFE Professional Utility Knife Made of cast zinc. ccepts standard utility blades. Storage for extra blades in housing. Blade locks in 9 positions. Hang hole for storage. Carded K15C UTILITY RETRCTBLE KNIFE CD 6.61 O.YLX K15PC RETRCTBLE KNIFE HI-VISIBLE E 3.18 C.EX WISS UTILITY RETRCTBLE KNIFE Retractable utility knife with 11 positions. Quick change blade release and reload. Magazine blade storage holds 3 blades, not included. Comfort grip for ease of use and slip protection. Safety string cutter with recessed blade WK500V UTILITY KNIFE QUICK CHNGE COMP-GRIP E ORX UTILITY KNIFE - RETRCTBLE W/BLDES CD 3.80 L.YLX SHEFFIELD PLSTIC UTILITY KNIFE Sheffield Plastic Utility Knife. Retractable blade. High impact plastic handle. Blade locks in 9 positions. 2 extra blades in casing. Made in US UTILITY KNIFE HVY DUTY PLSTIC E 3.33 C.YRX MINI UTILITY KNIFE E 2.28 C.OEX HOWRD BERGER RETRCTBLE UTILITY KNIFE Heavy-duty. Solid cast metal. Professional. Safety orange UTILITY KNIFE RETRCTBLE H-D ORNGE CD 4.69 L.XZ SSRK1 RETRCTBLE KNIFE W/BLDES E CE.CEX NOVEMBER 39

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42 Knives and Replacement Blades, Utility Knives, Fixed Blade Knives HYDE UTILITY FIXED BLDE KNIFE ngle Offset head for increased leverage. Die cast aluminum alloy construction. Pivots open for blade storage. 1 heavy blade included KNIFE UTILITY NGLE HED E 9.99 H.RHX Knives and Replacement Blades, Utility Knives, Folding Lockback Knives IRWIN FOLDING LOCKBCK UTILITY KNIFE Folding lockback features quick change button, wire stripper notch, wide thumb ledge, integral belt clip and rugged industrial design. Includes 1 Irwin blue blade UTILITY KNIFE LOCKBCK FOLDING E CX.ECX Hand & Power Tools Knives and Replacement Blades, Utility Knives, Folding Lockback Knives SHEFFIELD LOCK BCK UTILITY KNIFE One-hand opening, blue. This innovative and useful tool combines the best features of a lockback knife with a utility knife. Features a sturdy aluminum handle, fold out blade housing. The blade is changed easily using patented snap lock and sliding mechanism. Uses standard utility blades LOCK BCK UTILITY KNIFE E Y.HOX MERICN SFETY RZOR FOLDING UTILITY KNIFE Folds to pocket size. Quick and easy blade change. Comes with 6 blades and a blade guard dispenser FOLDING UTILITY KNIFE 7.61 E.HLX HOWRD BERGER FOLDING UTILITY KNIFE Includes 5 replacement blades. Folds to fit in pocket. SHEFFIELD ELLIPTIC FOLDING LOCKBCK UTILITY KNIFE Sheffield Elliptic Folding Lockback Utility Knife. Oval shaped handle for comfort. Manufactured of anodized aluminum for lightweight strength. Handle trimmed with hardwood. Replaceable utility knife blade FOLDING LOCKBCK UTILITY KNIFE ELLIPTIC E E.VX UTILITY KNIFE FOLDING 6IN CD 8.59 E.XRX OLYMPI TURBO KNIFE Smooth annodized aluminum red body. Fixed blade in sliding carriage. Belt clip. Locks in open or closed position. Includes 5 blades TURBOKNIFE RED/YELLOW E R.XVX SHEFFIELD QUICK CHNGE LOCK BCK UTILITY KNIFE Sheffield Quick Change Lock Back Utility Knife with Blade Storage. Patented folding lockback utility knife holds 5 blades in handle compartment. Blade changing is easy with no tool required. Heavy duty construction for contractor use. Convenient belt clip QUICK CHNGE LOCK BCK UTILITY KNIFE E CZ.YRX IRWIN FOLDING UTILITY KNIFE Patented BladeLock technology keeps blade locked in place. Blade storage that holds up to two additional blades. Liner lock for quick one-handed operation. Wire stripper for built-in convenience. 3 blades included FK100 FOLDING UTILITY KNIFE CX.XX NOVEMBER 41

43 Hand & Power Tools Knives and Replacement Blades, Utility Knives, Folding Lockback Knives IRWIN FOLDING UTILITY KNIFE Patented BladeLock technology keeps blade locked in place. Blade storage that holds up to two additional blades. Liner lock for quick one-handed operation. Wire stripper for built-in convenience. 1 blade included FK150 FOLDING UTILITY KNIFE CZ.YEX IRWIN FOLDING UTILITY KNIFE Patented BladeLock technology keeps blade locked in place. Blade storage that holds up to two additional blades. Liner lock for quick one-handed operation. Wire stripper for built-in convenience. 3 blades included FK250 FOLDING UTILITY KNIFE CV.VZX MERICN SFETY RZOR FOLDING UTILITY KNIFE Folds to pocket size. Quick and easy blade change. Comes with 6 blades and a blade guard dispenser UTILITY KNIFE - UTOLOD 9.84 H.ECX MERICN SW LENOX TRDESMN KNIFE Utility knife in gold color is a multi-use tool that includes built in bottle opener, screwdriver, wire stripper and pipe reamer. It has secure locking mechanism and easy to open and close. It features ergonomic rubberized grip for comfort and has a bi-metal blade FLK1 LENOX TRDESMN KNIFE E CO.LHX SHEFFIELD FOLDING LOCKBCK UTILITY KNIFE With plastic handle. 4 inch closed and 6.5 inch open length. Quick change mechanism. Belt clip. Includes (1) one inch blade. Uses any standard utility blade SHEFFIELD FOLDING LOCK BCK E KNIFE E.ZX Knives and Replacement Blades, Utility Knives, Folding Lockback Knives PEX FOLDING POCKET KNIFE Titanium coated stainless steel blade. Titanium is 3x stronger than steel for a longer life. Blade features piercing tip with serrated and straight cutting edges for maximum cutting abilities. Full metal frame for increased durability. Spring assisted opening. Dual thumb studs and thumb hole for quick, easy opening. Slim, ergonomic handle designed for maximum comfort. Reversible belt clip. ITEM # * DESC SP UOM PRICE NEW WKFP1 FOLDING POCKET KNIFE SPRNG SSTD OPEN E CV.CVX Knives and Replacement Blades, Utility Knives, Utility Pocket Knives STNLEY POCKET KNIFE Chrome plated pocket knife has safety lock feature. ccepts or steel blades. Individually carded. Overall length: 4-1/4 in POCKET KNIFE E 8.67 R.EX Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knives STNLEY UTILITY SNP-OFF KNIFE - DYNGRIP 25mm / 1 in. snap-off blades to help resist snapping and durability. Thumb dial blade release for easy blade change. Eight segments with eight shape tips. Rubber DynaGrip panels for secure, comfortable grip. Yellow BS plastic body SNP-OFF KNIFE DYNGRIP YELLOW BS PLS E CX.ECX T HD SUPER QUICK POINT BLDE 10PK E 6.10 V.RVX STNLEY 18MM SNP-OFF KNIFE Stainless barrel is rust resistant. Up to 20kg/50 lbs. push back force. Push button cartridge release stores up to 6 spare blades. Push button blade clamp reduces blade wobble for more precise cutting control. Bi-material slider. Blade wiper removes excess debris, to prolong the life of the knife. Removable blade snapper for faster and safer removal of a worn segment. Instant blade replacement SNP OFF KNIFE 18MM FTMX E Y.VRX NOVEMBER

44 Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knives HYDE UTILITY SNP-OFF KNIVES - MXXGRIP Reversible blades for use in left or right hand. Cut cardboard, foil, paper, wallcovering, etc. Retractable blades with auto-lock control. Built-in blade breakers. 3 blades included. Metal with soft grip KNIFE SNP-OFF MX-GP 9MM E 4.44 O.VHX HYDE UTILITY SNP-OFF KNIVES Blue plastic holder has push button project and retract blade with 12 snap-off super sharp cutting points. Built into end of handle is a removable holder to snap off point. Blister packaged card contains 2 extra blades packed under knife. 10 per box KNIFE UTILITY SNP-OFF E 3.95 L.YX MERICN SFETY RZOR STINLESS STEEL SNP-OFF KNIFE Durable stainless steel body and blade. Safety cap covers blade when stored. Cap can be used to snap off blade segments. Pocket clip provides convenient pocket storage. Textured slide grip. Hand & Power Tools Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knives STNLEY WORKS 18MM RETRCTBLE POCKET CUTTER Light-duty, retractable cutter with Quick-Point Snap-Off Blades. Blade sections snap off providing a fresh, sharp cutting point. Length: 6 in P SNP-OFF KNIFE QUICK POINT 18MM E 1.50 C.CEX PT BREK WY KNIFE E 0.87 X.RLX Knives and Replacement Blades, Snap-Off Knives, Snap-Off Knife Displays MERICN SFETY RZOR NEON SNP- OFF 8 PT KNIFE utolock slider locks blade instantly for safety and convenience. Internal blade storage for 2 spare blades. Tough BS body with stainless steel track is contoured to fit the hand. Bucket packed. 25 Per Bucket. ITEM # DESC INFO SP UOM PRICE SNP-OFF KNIFE NEON 8 PT 25 PER BUCKET E 1.05 X.XZ SNP-OFF KNIFE 13 PT 75 PER BUCKET E 0.67 X.ECX SNP-OFF KNIFE S S 13 PT CD 3.44 L.ROX MERICN SFETY RZOR SMRTGRIP ERGO SNP-OFF KNIFE utolock slider locks blade instantly for safety and convenience. Tough BS body is contoured to fit the hand with ergonomic handle, stainless steel track and internal blade storage. Includes 3 blades SNP-OFF KNIFE ERGO 8 PT 3.94 O.XZZ SNP-OFF KNIFE ERGO 13 PT CD 3.54 L.HXZ GRET NECK SNP BLDE KNIFE For light duty cutting of paper, vinyl, leather. End of blade snaps off easily to provide a new cutting edge. Locking slide. Pocket clip. HOWRD BERGER UTILITY SNP-OFF KNIFE BUCKET Large plastic handle. Plastic wrapped and bar-coded for individual sale. Large knife with 7 snap-off points. ITEM # DESC INFO SP UOM PRICE GK7-25 UTILITY KNIFE SNP-OFF BLD BUCKET 25PC LRGE KNIFE WITH 7 SNP-OFF POINTS BK CL.LX GK13-50 UTILITY KNIFE SNP-OFF BLD BUCKET 50PC SMLL KNIFE WITH 13 SNP-OFF POINTS BK CV.VOX SBK SNP BLDE KNIFE CD 1.49 X.HX NOVEMBER 43

45 Hand & Power Tools Knives and Replacement Blades, Snap-Off Knives, Hobby Knives XCELLITE PRECISION KNIFE SET 2-piece light and medium knife set with 10 asst. blades. Great for hobbies and art XNS100 KNIFE SET PRECISION ST CZ.VX Knives and Replacement Blades, Snap-Off Knives, Carton Cutters HYDE CRTON CUTTER Metal frame construction holds single edge razor blade. Blade retracts for safety. 1 blade included. Carded CUTTER CRTON E 1.82 C.VXZ Knives and Replacement Blades, Flooring Knives, Lineoleum Knives Knives and Replacement Blades, Flooring Knives, Lineoleum Knives IRWIN LINOLEUM KNIFE Hardwood handle for increased durability. Hooked blade for cutting on the pull LINOLEUM KNIFE CD 5.71 O.YXZ Knives and Replacement Blades, Flooring Knives, Carpet Knives STNLEY UTILITY TWIN BLDE KNIFE Stanley Bostitch twin blade knife is ideal for all roofing, flooring and general contracting applications. llows users to alternate between two blades without carrying more than one knife. It has interlocking blade sliders to ensure that only one blade is extended at a time. Comes complete with two hook blades. Holds up to nine blades UTILITY TWIN BLDE KNIFE W/ 2 HK BLDS E Y.ELX HYDE VINYL KNIVES Heavy 2-1/2" long point swedged blade. Finest high carbon steel. Hardwood handle. Individually packaged KNIFE LINOLEUM 2-1/2 IN E 8.05 R.XEX HYDE LINOLEUM KNIVES Blades are finest chrome vanadium cutlery steel, hardened, tempered and honed. Individually carded. Blade is 2-1/2 in. long KNIFE FLOORING 2-1/2 IN E 6.28 V.CX HYDE DRYWLL KNIFE Cuts floor covering and drywall material. Long Point. High carbon cutlery steel blades; hardened, tempered and honed. Hardwood handles with choice of finish KNIFE FLOORING 2-1/2 IN E 7.37 E.REX STNLEY CRPET KNIVES Contractor Grade. ngular designed handle. Retractable double edge blade blades stored in handle. Individually carded. Overall length: 6-1/2" Metal RETRCTBLE CRPET KNIFE 6-1/2IN E 8.66 R.ECX IRWIN CRPET KNIFE Ideal for cutting and installing carpet. The knife handle has a 19 Degree angle built in to allow for an optimum cutting angle with out over extending the wrist. The new Drivermax crack 9.32 - Crack Key For U carpet utility knife features a 1/2 turn thumb screw that allows for tool-free access to blades and for blade changes. It features a trigger grip for cutting on the pull and the will store up to 10 blades. The knife comes with the Irwin double sided carpet blade CRPET KNIFE CD H.HEX NOVEMBER

46 Knives and Replacement Blades, Replacement Blades, Utility Knife Blades STNLEY MITEY KNIFE BLDES For use with Mitey-knife # Three blades per card. 1-1/8" MITEY KNIFE BLDE 3/CD CD 2.29 C.HOX STNLEY UTILITY KNIFE BLDES Pointed razor type knife blade made of tough carbon steel. Regular duty blade fits Stanley, knives. # heavy duty, blade also fits Stanley knife. # for use in knife. Five blades per card. Regular. ITEM # DESC INFO SP UOM PRICE BLDES /CD REGULR DUTY UTILITY REGULR CD 1.30 X.YX UTILITY BLDES 1992 HVY HEVY-DUTY CD dc unlocker crack 2020 DUTY 5/CD X.RVX Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Utility Knife Blades STNLEY CRBIDE UTILITY KNIFE BLDES Designed to deliver increased blade life, maintain firstcut sharpness, and offer snap resistance. High power laser technology is used to deposit tungsten carbide powder on to the edge of every blade; diamond wheels then grind a sharp finished angle to create a durable and long lasting edge while maintaining a flexible steel blade body. 5 pk R CRBIDE UTILITY BLDE 5PK E 4.24 O.LCX MERICN SFETY RZOR UTILITY KNIFE BLDES 2-Notch utility blades.025" heavy gauge high carbon knife steel for rugged use. Rounded corners for safety. Fits all standard utility knives. 5 pack carded UTILITY BLDES - REFILL HEVY DUTY CD 0.86 X.REX STNLEY UTILITY KNIFE BLDES Pointed razor type knife blade made of tough carbon steel. Regular duty blade fits Stanley knives, lso fits Stanley heavy duty knife. 400 blades per box B UTILITY BLDES 1992 HEVY DUTY 400CT BX VX.LOX HYDE UTILITY KNIFE BLDES Best grade steel, super sharp to fit utility knives. Blades heavy duty.025" thick, 2-1/2" wide. 5 blades per card and 10 cards per box BLDES KNIFE UTILITY CD 1.62 C.LOX STNLEY FTMX BLDE Sharp, strong and long lasting FTMX BLDE 5PK PG 1.70 C.LHX L FTMX BLDE 50PK PG YVX IRWIN UTILITY BI-METL KNIFE BLDES Features patented Bi-Metal technology. Blue blades UTILITY BLDES BI-METL 5PK PG 2.15 C.VOX UTILITY BLDES BI-METL 20PK PG 8.65 E.HEX UTILITY BLDE BI-METL 100PK PG LC.EYX STNLEY UTILITY KNIFE BLDES Contractor Grade. Extra heavy duty utility blade for cutting thick, dense sheet materials. For use with fixed blade knives only. Fits knife # per card UTILITY BLDES (1991) EXTR HD 5/CD CD 1.28 X.YHX LENOX UTILITY BI-METL KNIFE BLDES Shatter resistant - Safer than carbon blades. Up to 3X the life of Carbon Steel Blades. Fits standard utility knives. Great for Drywall, Metal Scoring and all regular uses GOLD5C BI-METL BLDE 5PK PG 3.73 L.VHX NOVEMBER 45

47 Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Utility Knife Blades SHEFFIELD MIDGET UTILITY KNIFE BLDES Sheffield Midget Utility Knife Blades. 5 Pack. Finest cutlery steel. Fits Sheffield mini utility knives 12116, and MINI BLDES 5/CD CD 1.71 C.XLX Knives and Replacement Blades, Replacement Blades, Utility Knife Blades STNLEY 3 PCK DRYWLL UTILITY BLDES Cuts and scores drywall, ceiling tile, wallboard and similar materials. Length: 2-7/16 in UTILITY BLDES DRYWLL SB 3PK PG 1.58 C.LOX GRET NECK PROFESSIONL UTILITY BLDES 5 Blades Steel. Industrial Quality. Made In U.S. IRWIN BI-METL SFETY KNIFE BLDES 5 per pack P UTILITY KNIFE BLDES 5PK E 1.69 C.XLX SHEFFIELD UTILITY KNIFE BLDES Sheffield Utility Knife Blades. 5 Pack. Finest cutlery steel. Fits all standard utility knives UTILITY KNIFE BLDES 5PC CD 1.71 C.XZZ IRWIN BI-METL UTILITY BLDES Welded bi-metal for sharp edge and flexible body. Stay sharper 3X longer than traditional carbon blades UTILITY KNIFE BLDE BI-METL 50PK CO.XCX BI-METL SFETY BLDES - 5CT 2.39 C.RXZ Knives and Replacement Blades, Replacement Blades, Hook Blades STNLEY UTILITY KNIFE HOOK BLDES Both ends of blade are razor sharp to cut full thickness on one stroke. Fits most utility knives to cut linoleum, roofing material, cartons, etc., without damage. Five blades per card BLDES 1996 HOOK 5 CD 4.05 O.XEX IRWIN 4-POINT CRBON BLDES Snaps on the score for sharp tip. Four notches for full blade extension. Twice the life of traditional carbon blades CRBON BLDES 4 POINT 5PK 1.86 C.LVX CRBON BLDES 4 POINT 50PK CZ.XEX STNLEY UTILITY KNIFE HOOK BLDES Large hook blade. Similar tobut with deeper hook for cutting thicker materials. 5 per card HOOK BLDES LRGE 5PK CD 4.23 O.CYX NOVEMBER

48 Knives and Replacement Blades, Replacement Blades, Hook Blades STNLEY REPLCEMENT UTILITY BLDES 50 pack, carbon steel hook replacement blades. Edge protection blade for cutting and trimming roofing materials, linoleum, carpet fabric, cartons, and sheet materials. Blade shape helps prevent damage to whatever is beneath material being cut. Fits most standard utility knives. Deep hook for cutting thicker material FMHT11146L HOOK UTILITY BLDE 1.875IN STEEL 50PK PG CY.YOX Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Hook Blades STNLEY 3 PCK ROOFING UTILITY BLDES Cuts shingles, felt paper and similar materials. Length 1-7/8 in UTILITY BLDES ROOFING SB 3PK PG 5.50 V.LRX MERICN SFETY RZOR UTILITY KNIFE HOOK BLDES.025" deep hook blades. Carbon steel. Used to cut carpeting and linoleum without damage to surfaces beneath. Can be used in all standard utility knives DEEP HOOK BLDES CD 3.83 L.YLX UTILITY BLDE - DEEPHOOK BX OX.XOX IRWIN HOOK BLDES 5 per pack HOOK BLDES 5CT T CD 2.88 C.YX HOOK BLDES 100CT CD LE.XX Knives and Replacement Blades, Replacement Blades, Pocket Knife Blades HYDE UTILITY KNIFE HOOK BLDES Best grade steel, super sharp to fit utility knives. Blades heavy duty.025 inch, 64mm thick, 2-1/2 inch, 64mm wide. 5 hook blades per card BLDES KNIFE UTILITY PG 2.66 L.XZZ STNLEY UTILITY / POCKET KNIFE BLDES Replacement blades for # pocket knife. Cutlery stainless steel sheepfoot blade designed for heavy cutting and carving. Individually blister packed. 2-1/2" SHEEPFOOT BLDE CD 3.09 L.OZX SHEFFIELD HOOK UTILITY KNIFE BLDES Sheffield hook utility knife blades. 5 Pack. Finest cutlery steel. Fits all standard utility knives HOOK UTILITY KNIFE BLDES 5/CD CD 2.69 C.EHX UHK5 UTILITY HOOK BLDE E 4.65 L.HRX STNLEY UTILITY / POCKET KNIFE BLDES Replacement blades for # pocket knife. The utility blade is made from cutlery stainless steel. It's designed for doing most any job well. Individually carded. 2-1/2" UTILITY BLDE FOR KNIFE E 3.25 L.VEX NOVEMBER 47

49 Hand & Power Tools Knives and Replacement Blades, Replacement Blades, Carpet Knife Blades STNLEY CRPET KNIFE BLDES High carbon steel blade has double cutting edge. Designed with single slot to fit Stanley carpet knife. Five blades per card. Blade length is 2-1/4" CRPET KNIFE BLDES 5/CRD CD 1.87 C.VCX Knives and Replacement Blades, Replacement Blades, Snap-Off Knife Blades MERICN SFETY RZOR SNP-OFF KNIFE BLDE REFILL 8 cutting points per blade. Fits standard 18mm snap-off utility knives. Made from finest cutlery steel. 5 per card. 10-9mm Wide Blades.13 Snaps Per Blade. ITEM # DESC INFO SP UOM PRICE REFILL SNP- OFF BLDES 10-9MM WIDEBLDES\LINE1 3 SNPS PER BLDE CD 2.20 C.RHX MERICN SFETY RZOR CRPET SLITTER BLDES.017" square corner double edge blades. 10 per pack ECH CRPET BLDE SLITR D-E CD 2.89 L.CHX IRWIN CRPET KNIFE BLDES Two cutting edges. Fits most carpet knives. 5 blade pack. Durable carbon steel construction CRPET BLDES 5CT CD 2.86 C.YRX Knives and Replacement Blades, Replacement Blades, Snap-Off Knife Blades STNLEY UTILITY SNP-OFF KNIFE BLDES Several sharp cutting points per blade fits into Stanley Quick point snap off knives. Three blades per card. 3-1/2 in. blade length BLDES 9MM QUICK POINT 3/CRD CD 1.58 C.LCX SNP OFF BLDES QUIK POINT 18MM E 2.24 C.HXZ HYDE UTILITY SNP-OFF KNIFE BLDES Extra blades are blister packaged on cards, 5 blades each with 13 cutting points on each blade to make a total of 130 cutting points counting last point on blades. Knife and blades are displayed on attractive red, white and blue compact blister packaged cards following the Hyde traditional and distinctive eye and buy appeal format. 10 per box BLDES KNIFE UTILITY CD 2.51 C.YOX MERICN SFETY RZOR SNP-OFF KNIFE BLDE REFILL High carbon steel. Fits all standard breakaway or snap-off 13 point, 9mm knives. 5 blades REFILL SNP-OFF BLDES CD 1.62 C.LVX HYDE UTILITY SNP-OFF KNIVES BLDES Snap-off blades for use with Hyde snap-off knives 42028, 42030, and most other 18mm knives. Comes with 5 blades/40 points BLDES SNP-OFF 18 MM CD 3.21 L.ECX Knives and Replacement Blades, Replacement Blades, Blade Dispensers MERICN SFETY RZOR BLDE DISPENSER High carbon steel. Fits all standard utility knives. 2 notch. 100 in tray box UTILITY BLDE DISPENSER E H.YX NOVEMBER

50 Knives and Replacement Blades, Replacement Blades, Blade Dispensers STNLEY UTILITY KNIFE BLDE DISPENSERS Contains 100 utility knife blades. Wall display dispenses blades one at a time for safety and convenience UTILITY BLDES W/DISPENSER /PK PG CX.OYX STNLEY UTILITY KNIFE HOOK BLDE DISPENSERS Holds 100 of # Stanley hook blades. Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Short Cut Saws STNLEY SHRPTOOTH HND SWS - FTMX Cuts 50% faster than conventional saws. Induction hardened teeth stays sharp 3 to 5 times longer than standard teeth. Ergonomically designed handle for better grip and improved comfort. Welded handle to eliminate loose screws. Reusable blade guard for blade protection. United States Design Patent D has been granted for the ornamental appearance of the handle SHRPTOOTH SW 15IN BLD X 12PT CUT E Y.RCX SHRPTOOTH SW 20IN BLD X 12PT CUT E Helium music manager 14 review HOOK BLDES CT E EO.EX STNLEY WORKS UTILITY BLDES WITH DISPENSER Engineered for general-purpose cutting. Precision-honed edge for consistent and extended cutting life. Fits most standard utility knives. Limited lifetime warranty L UTILITY BLDES W/DISPENSER H-DUTY 50PK PG 9.25 H.CXZ Hand Saws and Replacement Blades, Hand Saws, Short Cut Saws STNLEY SHORT CUT HND SWS Contractor Grade. ggressive tooth design cuts wood 50% faster than conventional saws. Induction hardened teeth stay sharp longer than nonhardened teeth. Tell-sell storage sleeve. 20" blade length HEVY Regexbuddy download SW 20INX9 PTS E CY.LRX STNLEY CROSSCUT SHORTCUT HND SWS Each tooth is precision-set and bevel-ground with three distinct cutting angles. Comfortable hardwood handles PNEL SW 20INX8PTS E CR.CZX STNLEY SHORT CUT HND SWS - FTMX +20% thicker blade for straigher cuts and to reduce binding. Sharp tooth saw technology cuts 50% faster than conventional saws. 9 teeth per inch. 65% thicker handle for the ultimate grip and comfort. Ideal for cutting all types of wood and plastic. Patent pending HNDSW 15INX9PTS FTMX E CL.YLX STNLEY SHORT CUT TOOL BOX HND SWS Delivers clean cuts faster and a compact blade for easier storage. Hardwood handle with special square/mitre feature HNDSW 15INX9PTS 15INX9 PT E CL.LX STNLEY UTILITY SWS Contractor grade. Short Cut Mini. 12 pt. inductionhardened teeth stay sharp longer than non-hardened teeth. ggressive tooth design cuts wood 50% faster. 10" blade is ideal for access in tight spaces and cutting a variety of materials such as plastic pipe, particle board, and wood. Lifetime Warranty SHORT CUT SW FINE FINISH 10INX12PPI E Y.ERX NOVEMBER 49

51 Hand & Power Tools Hand Saws and Replacement Blades, Hand STNLEY FST CUT SWS Saws, Fast Cut Saws ggressive Tooth Fast Cutting Saw. Fast cuts on both the push and pull stroke. Precision-ground, razor-sharp teeth. Handle molded for comfortable grip. Special handle design allows for back of saw to be used for marking 45 and 90 degree angles. 15" saw fits conveniently in tool box GENERL PURPOSE SW W/PLS HDL 15INX9PTS E EX STNLEY THRIFTY HND SWS Handle surrounds blade for lower center of gravity?maximizes cutting performance, more blade security HNDSW 26INX8 PT E 7.93 E.YRX Hand Saws and Replacement Blades, Hand Saws, Panel Saws GRET NECK PNEL SW 15". 8 Pt. High carbon steel blade. Precision set teeth. High impact BS handle doubles as a 45 & 90 degree square PL15 HND SW 15INX8PT E 9.30 E.VHX Hand Saws and Replacement Blades, Hand Saws, Rip Cut Saws GRET NECK 26" RIP CUT SW 26" 8 pt. high carbon steel blade. Precision set teeth. High impact BS handle PL26S RIP CUT HNDSW 8PT 26IN E R.YX GRET NECK WOOD HNDLE STNDRD SW 26" 8 pt blade. High carbon steel blade. Precision set teeth. Carved select hardwood handle. Unique handle design allows for superior cutting angle. Packed in individual sleeves C26S FST CUT HNDSW 8PT 26IN E CV.XOX NICHOLSON HNDSWS Quickcut. Economy. Good "value-to-cost" performance handsaws. SHEFFIELD GGRESSIVE TOOTH TOOL BOX SW Sheffield ggressive Tooth Tool Box Saw. Precision ground and set teeth for smooth and accurate cutting. Tri-bevel tooth design for more efficient cutting. High carbon steel for strength and durability. Heat treated teeth for longer life. Oversized hardwood handle for comfort and efficiency TOOLBOX SW SHEFFIELD 15INX9PT E Y.OCX NS503N HNDSW QUICKCUT 15X8PT E 7.22 E.VRX IRWIN UNIVERSL CROSSCUT SW Unique handle design eliminates binding and delivers full blade strokes for an efficient cut. Patented universal tooth grind delivers coarse saw speed with a fine cut finish. Comfortable grip handle. Blade profile has tapered-pitch nose for improved clearance and stability mm blade with water-based lacquer coating for speed and control UNIVERSL HNDSW 15IN E CE.RCX UNIVERSL HNDSW 20IN E CH.YXZ SHEFFIELD GRESSIVE TOOTH HND SW Sheffield 15'' ggressive Tooth Handsaw. Precision ground and set teeth for smooth and accurate cutting. Tri-bevel tooth design for more efficient cutting. High carbon steel for strength and durability. Heat treated teeth for longer life. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern TOOLBOX SW SHEFFIELD 15IN E CX.RYX NOVEMBER

52 Hand Saws and Replacement Blades, Hand STNLEY BCK SWS Saws, Miter Saws Induction hardened teeth keep cutting edge sharper 3 to 5 times longer than conventional blades. Contoured molded handle with textured finger grips for comfort BCK SW 14IN 13TPI FTMX E CZ.OLX SHEFFIELD MITRE BCK SW Sheffield Mitre Back Saw. Reinforced steel back saw for accurate cutting. Precision ground teeth for smooth, easy cutting. 3" Depth cut. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern MITRE BCK SW SHEFFIELD 14INX16PT E CL.XEX Hand Saws and Replacement Blades, Hand Saws, Miter Saws and Boxes STNLEY CLMPING MITER BOX & SWS Uniquely designed honeycomb base and cam shaped pins secure work for accurate cuts. Hassle free - just twist cam pint to securely hold material to base while cutting. Cuts miters on 45 degree and 90 degree, face angle 45 degree, and all new 22-1/2 degree angle (for octagonal shapes) popularly used on architectural details such as bay windows. Molded-in storage compartments to hold cam pins and pencil CLMPING MITRE BOX W/ 14IN SW E CR.XZZ Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Miter Saws and Boxes GRET NECK MITER BOX & SW 14" Back Saw and 12" Plastic Mitre Box with Ruler Edge BSB14 MITRE BOX 12IN W/SW 14IN E RLX Hand Saws and Replacement Blades, Hand Saws, Miter Boxes GRET NECK PLSTIC MITER BOX High impact polystyrene construction for rigidity and durability. Ruler scale for quick measurments. 45 and 90 degree angles. 12" x 4" x 2-1/4" PMB12 MITRE BOX 12IN PLSTIC E 6.85 O.YZX Hand Saws and Replacement Blades, Hand Saws, Pull Saws SHEFFIELD DOUBLE EDGE PULL SW Sheffield Double Edge Pull Saw. 10" Graduated medium rip cut / extra fine cross cut blade. Works with inter-changeable handle and blades. Perfect for dovetails, moldings, particle board, plywood, and flush cuts. Handle can be reversed for use in tight spaces. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern PULL SW DOUBLE SIDED E INX18PT CH.ECX STNLEY MITER BOX & SWS Patented new storage system, holds all Stanley 12IN x 14IN backsaws. Finger button allows easy release of saw from storage cavity. 90 degree and 45 degree miter slots as well as 22-1/2 degree slots for octagon shapes. Holes in base for fastening to a work bench. Front lip butts up against work table to reduce slippage. Miter box made from lightweight, high impact BS plastic interior is open to allow cuttings to fall through SW STORGE MITRE BOX WITH 14IN SW E Y.VRX SHEFFIELD HEVY DUTY PULL SW Sheffield Heavy Duty Pull Saw. 13 inch Rip and coarse cut blade for medium to coarse cut. Works with interchangeable handle and blades. Perfect for framing, treated lumber, log, and timbers. Handle can be reversed for use in tight spaces. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern PULL SW HVY DUTY 13INX9PT E CE.HRX NOVEMBER 51

53 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Pull Saws SHEFFIELD LL PURPOSE PULL SW Sheffield ll Purpose Pull Saw. 10-1/2 inch Cross cut blade for fine to medium cut. Works with interchangeable handle and blades. Perfect for plywood, particle board, molding, and 2x4's. Handle can be reversed for use in tight spaces. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern PULL SW LL PURPOSE 9INX17PPI E CZ.LRX Hand Saws and Replacement Blades, Hand Saws, Jab Saws SHEFFIELD DOUBLE EDGE WLLBORD SW Sheffield Double Edge Wallboard Saw. 6'' blade length. Bevel ground 3 sided teeth for versatile cuts. Hardened and tempered steel for strength and durability. Double edge design for easier, faster cutting. Pointed tip for plunge cuts. Oversized ergonomic rubber grip handle with Sheffield Oval-Grip pattern WLLBORD SW DOUBLE EDGE 6IN E 7.56 V.VYX IRWIN PULL SW Cuts on pull stroke. Pulling motion prevents binding and provides better control. Micro-thin blade and precision-ground teeth provide clean cuts. The light weight and natural flow of the pulling motion result in less fatigue than with push-stroke saws. Made for aggressive cross-cutting and ripping, with a flexible blade that makes good flush cuts. Perfect for cleaning out 90-degree circular saw cuts and bird's mouth rafter cut PULL SW 12IN GC E C.XZ IRWIN DOUBLE EDGE PULL SW Cuts on pull stroke. Pulling motion prevents binding and provides better control. Micro-thin blade and precision-ground teeth provide clean cuts. The light weight and natural flow of the pulling motion result in less fatigue than with push-stroke saws. Made for utility ripping and cross-cutting. Perfect for flush-cutting door shims and remodeling work PULL VMix 24.0.0.58 Crack + Product Key Free Download 2021 DBL BLDE E CY.CHX IRWIN DOVETIL PULL SW Cuts on pull stroke. Pulling motion prevents binding and provides better control. Micro-thin blade and precision-ground teeth provide clean cuts. The light weight and natural flow of the pulling motion result in less fatigue than with push-stroke saws. Made for flush-cutting dowels and fine detail cuts. Perfect for trim detail work, such as around windows and door frames PULL SW DOVETIL E CO.RX STNLEY WLLBORD SWS Cushion grip, contractor grade wallboard saw. Non-slip grip. Blade and teeth are fully hardened and tempered for maximum durability, strength and flexibility. Specially designed teeth to make clean, quick cuts with no clogging. Full lifetime warranty, Made in U.S WLLBORD SW 6IN CUSHION E 7.47 GRIP E.RX STNLEY WLLBORD SWS Designed especially for plasterboard? make cut-outs for electric outlets, etc. Self-starting (point-sharpened for plunge cuts). Hardwood handle. Individually carded. 6" blade length WLLBORD SW 6IN WOOD E 3.41 HNDLE L.EHX GRET NECK DOUBLE EDGE WLLBORD SW Hardened and tempered 6" steel blade with sharpened teeth on both edges. RemoteScan Enterprise Server 10.819 Free Download with Crack cuts through wallboard and synthetic building materials. Large heavy duty rubber grip handle DBL EDGE WLLBORD SW 6IN E 6.71 O.YZX GRET NECK WLLBORD SW Hardwood handle. For wallboards and sheet rock. Easily makes cutouts for switches & outlets. Pointed blade for plunge cuts WL6C WLLBORD SW 6IN CD 4.77 L.HX NOVEMBER

54 Hand Saws and Replacement Blades, Hand Saws, Jab Saws HOWRD BERGER WLLBORD SW Self-starting pointed blade for plunge cuts and close quarter works. 6" blade. Deluxe rubber grip handle. Heavy-duty WLLBORD SW H-D RUBBER GRIP 6IN E 7.89 V.HLX HYDE MXXGRIP JB SWS One of the fastest and strongest multi-saws on the market: cut quickly through drywall, wood, Masonite? and plywood. Sharp point penetrates drywall without drilling. Rubberized handle is ergonomically designed for comfort and safety. Double-ground high carbon steel teeth cut in both directions (pushing and pulling). Wide tooth-set reduces binding and friction SW PRO JB MXXGRIP 6 IN E 5.75 V.OZX STNLEY FTMX JBSW The FatMax jabsaw's sharp tooth design can cut 50% faster than traditional tooth designs. Cuts on both push and pull strokes. The sharpened tip can easily cut punches through drywall. For durability, the blades are hardened and tempered. Cuts through wood, plastic and drywall. Non-slip comfort grip. Handle structure designed for strength and durability JB SW 6IN BLDE 9 PTS PER INCH FTMX E RVX GOLDBLTT JBSWS Sharp Tooth. Cuts 50% faster than conventional saws. Cuts on both the push and pull stroke. Sharpened tip easily punches through drywall. Induction hardened teeth stay sharp 3 to 5 times longer than standard teeth. Blade can cut through cement board. Ideal for drywall, wood and plastic. Ergonomic non-slip grip to maximize comfort and use. Composite handle design for strength and durability. 12" total length. Blade is 1" x 6-1/4" G20556 DRYWLL JB SW 6IN E H.VLX Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Jab Saws GOLDBLTT UTILITY JB SW Dual ground tooth design makes fast clean cuts. Thin blade design reduces friction and is great for cutting in tight areas. For use on drywall, wood and plastic. Comfort grip cushioned handle G05183 WLLBORD SW W/ CUSHION HNDLE 6IN E 5.04 O.ORX IRWIN DRYWLL JB SW Rigid (1.2mm) blade. Bi-Ground teeth. Hardwood handle. Blade Thickness 1.2mm. Blade Size 6-1/2" SPECILTY SW IRWIN DRYWLL/JB SW E 5.05 O.OYX IRWIN PROTOUCH DRYWLL JB SW Thick-body blade is exceptionally rigid for better cut control. Tri-Ground Teeth are aggressive for fastest, smoothest cutting. Ergonomic handle with ProTouch rubberized grip provides comfort and control. For roughing in drywall, cutting out HVC, plumbing, and electrical openings or cutting ceiling tile openings SPECILTY SW IRWIN PREM PRO DRYWLL E CZ.EX IRWIN STNDRD UTILITY SW 11-1/2" Blade Length. 10 Point Tooth Count. Thick-Body (1mm) blade. ggressive Tri-Ground teeth. Hardwood handle SPECILTY SW-IRWIN PROF TOOLBOX E CZ.LOX Hand Saws and Replacement Blades, Hand Saws, Keyhole Saws STNLEY KEYHOLE SWS Comfortable, lightweight pistol grip handle with one each wood cutting and metal cutting blades. Cuts into places where hacksaw cannot reach or cut. Cuts curves, circles frets in wood, nails, metal lath, composition and board. BX cable, conduit, etc. 6" and 8" blade. 6 per box WY KEYHOLE SW W/2 BLDES E 6.38 V.EX NOVEMBER 53

55 Hand & Power Tools Hand Saws and Replacement Blades, Hand GRET NECK KEYHOLE SW Saws, Keyhole Saws Features a 4-in-1 saw blade that can be fitted securely into the steel handle in the vertical cut position or the horizontal position by simply snapping it into place KEYHOLE SW GRET NECK CD 5.51 O.LHX GRET NECK KEYHOLE SW Metal handle. 4 blade positions. Includes 2 Blades: 10 pt for wood cutting, 24 pt for metal cutting KEYHOLE SW W/EXTR FxFactory Pro Offline Installer E 6.85 V.XOX SHEFFIELD KEYHOLE SW Sheffield Keyhole Saw. Solid steel blade for strength and durability. 4 Positions: Top facing left or right, or Side facing up or down. Includes: 24PPI blade for metal cutting & 18PPI blade for wood cutting. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern KEYHOLE SW 4-POSITIONS W/BLDES E 8.41 V.YX Hand Saws and Replacement Blades, Hand Saws, Compass Saws STNLEY FTMX COMPSS SW Used specifically for fine finish, plywood and hardwoods. Designed for precise cutting including dovetails, miters, and tenons. Heavy duty screws for secure blade to handle assembly. Solid, one-piece bi-material handle delivers increased durability and comfort COMPSS SW 9TPI 12IN E Y.VCX GRET NECK COMPSS SW Professional grade compass saw. 8 pt. high carbon steel blade. Genuine hardwood handle M212 COMPSS SW 12IN E R.RYX Hand Saws and Replacement Blades, Hand Saws, Compass Saws SHEFFIELD CORSE TOOTH COMPSS SW Sheffield Coarse Tooth Compass Saw. 12'' blade length, 8PPI. Precision ground and set teeth for smooth and accurate cutting. Heat treated teeth for strength and durability. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern COMPSS SW SHEFIELD 12IN E R.LYX Hand Saws and Replacement Blades, Hand Saws, Flush Cut Saws IRWIN DOVETIL / JMB SWS ProTouch. Wide-body blade (50mm). Reversible Flush-cut blade. Springloaded pin enables the blade to reverse for left or right cutting. Ergonomic ProTouch handle DOVETIL/JMB SW 10IN 14PT E CX.CHX STNLEY FLUSH CUT SWS Contractor Grade Flush Cut Saw. Flexible blade cuts plugs or dowels flush. 23 point blade cuts quickly and cleanly on the pull stroke. Double sided blade for convenient cutting to the left or right. Comfortable handle contoured for maximum control. Excellent for trimming through lap joints. 4-3/4" blade FLUSH CUT PULL SW BLDE 23PT E Y.HEX IRWIN MRTHON STNDRD CORSE CUT SW M2 advanced tooth geometry and Tri-Ground teeth provide a fast, efficient cut. Deep Gullets provide rapid removal of chips. Carpenter saw's 12-point, extra-fine front teeth provide a rapid, smooth start. Tapered-Pitch nose improves clearance and stability. Handsaw is designed for coarse cuts. 1mm thick blade delivers rigidity and control. Tapered-Pitch nose improves clearance and stability. Ergonomic hardwood handle provides comfort and control CRPENTER SW 15IN CORSE 9PT 1MM BLD E CZ.RX NOVEMBER

56 Hand Saws and Replacement Blades, Hand Saws, Flush Cut Saws IRWIN MRTHON STNDRD CORSE CUT SW M2 advanced tooth geometry and Tri-Ground teeth provide a fast, efficient cut. Deep Gullets provide rapid removal of chips. Carpenter saw's 12-point, extra-fine front teeth provide a rapid, smooth start. Tapered-Pitch nose improves clearance and stability. Handsaw is designed for coarse cuts. 1mm thick blade delivers rigidity and control. Tapered-Pitch nose improves clearance and stability. Ergonomic hardwood handle provides comfort and control CRPENTER SW 20IN CORSE 9PT 1MM BLD E CV.RHX Hand Saws and Replacement Blades, Hand Saws, Pocket Saws STNLEY POCKET SWS Handyman Folding. versatile saw that accepts standard sabre and reciprocating saw blades. Features extra blade storage in the handle. Plastic handle. 8" long when closed FOLDING POCKET SW 6IN E H.YX LENOX FOLDING JB & UTILITY SW Designed for cutting multiple materials. Includes plaster and general purpose reciprocating blade (635R & 636RP). Rubberized grip prevents hand fatigue during use. Reinforced locking mechanism prevents blade from pulling out or handle closing during use. luminum construction maximizes strength of handle. ccommodates hacksaw blade. Ideal for flush cutting applications or when a hacksaw is not available. pplications: Drywall, plaster, wood and metal cutting TFHS FOLDING SW E LZ.CXZ Hand Saws and Replacement Blades, Hand Saws, Multi Saws STNLEY MULTI-SWS Contractor grade. Multi-Functional Cushion Grip. Ergonomic cushioned curved handle. 6" blade length MULTI SW W/RECIP ND HCK BLDES FTMX E 8.23 R.LVX Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Multi Saws STNLEY 3-IN-1 SW SET Ergonomically designed handle made with glass-filled, high-strength nylon to support six different blade positions. No tools required for blade change. Integrated blade storage; the turn knob allows the user to conveniently store all three blades on the handle when not in use. Multipleposition handle allows access to tight corners 10 inches x 11 TPI. Universal blade cuts on the pull stroke and is less likely to jam or bend. Cuts through tree limbs, 2 x 4's and plastic pipes. 8 inch x 9 TPI Compass saw blade carves patterns and shapes out of wood. 6 inch x 24 TPI Metal cutting blade cuts through metal pipes and metal rods MULTI-PURPOSE 3-N-1 SW E CV.XYX IRWIN PROTOUCH MULTI SW Includes blades for cutting both metal and wood. Spring-loaded pin holds blade securely while making it easy to change. Ergonomic handle with ProTouch rubberized grip provides comfort and control. Use for quick and convenient cuts in PVC, wood, or metal, and flush-cutting screws or other fasteners SPECILTY SW IRWIN CUSHION GRIP MULTI E VX IRWIN COMBI-SW Primary uses - Gardening/pruning and metal cutting. Contains both wood cutting and hacksaw blades. ProTouch? Grip provides comfort and control HP300 COMBI-SW 12"/317MM HRD PT E Y.YRX Hand Saws and Replacement Blades, Hand Saws, Coping Saws STNLEY COPING SWS High carbon steel blade. Walnut stained hardwood handle. Length is 6-3/8". 4-3/4" Depth. ITEM # DESC INFO SP UOM PRICE COPING SW 4-3/4 FTMX 4-3/4" DEPTH" E 5.81 V.OHX COPING SW 6-3/4 FTMX 6-3/4" DEPTH" E 6.13 V.RCX NOVEMBER 55

57 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Coping Saws VERMONT MERICN COPING SWS Professional. For sawing in any position. 3/16" x 3/8" steel frames plated for rust resistance and durable hardwood handles. Saws are fully adjustable to cut on any curve in any position. Furnished with 10-tooth per inch spring steel blades COPING SW DEPTH 4-3/4IN E 7.79 V.VX GRET NECK COPING SW 4 3/4" Depth of cut. Nickel plated frame. 360 Degree adjustable blade. Set Includes ssorted Blades: Fine - For Thin Woods Medium - For Hard Woods nd Plastics Coarse - For Rough Cuts In Wood CP9 COPING SW 4-3/4IN W/BLDS E 9.06 E.LHX SHEFFIELD HEVY DUTY STEEL COPING SW Sheffield Heavy Duty Steel Coping Saw. 360 djustable blade for flexible cutting. Heavy duty steel frame for strength and durability. Fully polished plating to resist rust. Includes 4 blades: 1 fine, 2 medium, and 1 coarse. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern COPING SW STEEL HVY DUTY SHEFFIELD E 9.25 E.VYX IRWIN PROTOUCH COPING SW Flat-bar frame has a 5 1/2-inch frame depth. DuraSteel pins hold blades securely. High-speed blade delivers fast, smooth cuts. Ergonomic handle with ProTouch rubberized grip provides comfort and control. Use for cutting the curved profile on crown, base, or chair rail molding, or as a supplement to power tools SPECILTY SW IRWIN PREMIUM PRO COPING E H.HX IRWIN COPING SW REPLCEMENT BLDES Replacement blades for the ProTouch Coping Saw (# ). Coarse-tooth blades. Carbon Material. 3-pack SPECILTY SW CCES-IRWIN COPING SW E 3.15 L.CZX SPECILTY SW CCES-IRWIN COPING SW E 3.15 L.CZX Hand Saws and Replacement Blades, Hand Saws, Hack Saws STNLEY HIGH TENSION HCKSWS - FTMX One piece durable body for prolonged life, allowing for extra high 330 lb. tension. Quick and easy blade change with pre-tensioning. Comes with a bimetal blade 24 tpi. Power load sliding tension, gives extra leverage. Thumbdial adjustable tension mechanism with quick change features allows for tension memory, no resetting after each blade change. Ergonomically designed contoured handle and front thumb grip to give better control H-TENSION HCKSW 12IN FTMX E C.CHX STNLEY HIGH TENSION HCKSWS Contractor Grade djustable tension holds blade at up to 32,000 p.s.i. Blade storage in frame. Tension guide on handle lever. 3-7/8" depth of throat. 12" blade length HIGH TENSION HCKSW 12IN E LC.ZX STNLEY COMPOSITE HCKSWS Patented design. I-beam frame constructon. Frame made from high impact polymer with steel core. Sloped nose for access into tight, hard-to-reach places. 4" depth of cut. Ergonomic non-slip grip. Easy open lever for quick and easy blade change. High tension blade for straight accurate cuts. 12" fixed blade frame K COMPOSITE HCKSW 12IN E Y.ERX STNLEY DJUSTBLE FRME HCKSWS Handyman. Rigid steel frame adjusts for 8", 10" and 12" blades. Blade can be positioned to cut in 4 directions. Molded vinyl handle. Furnished with 10" flexible hard-edge blade. Depth of Throat: 3-7/8" STHT20139L HCKSW 12IN 12IN E ERX STNLEY FIXED FRME HCKSWS Solid Frame. Sturdy all metal frame will not break apart, pivot-load blade design, full grip protects knuckles. Blade length: 10". Depth of throat: 3-1/2" STHT20138 HCKSW SOLID FRME 12IN E 7.07 E.LHX NOVEMBER

58 Hand Saws and Replacement Blades, Hand Saws, Hack Saws NICHOLSON FIXED FRME HCKSWS For DIY and home use. Sturdy steel frame with plastic handle. 12" blade HCKSW -ECONOMY E 7.76 E.XZ GRET NECK PROFESSIONL HI- TENSION HCKSW Professional 4-1/4" Depth Cut. Hollow bar for blade storage. ccepts high tension without damage. Extra storage aluminum die cast handle for lightweight strength. nchors for straight or 45 degree cut HCKSW FRME E HXZ Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Hack Saws LENOX HIGH TENSION HCKSW FRMES Hand hacksaw frame. Heavy-duty aluminum handle. Rectangular steel crossbar. Blade storage. Converts to jab or compass saw. Blade tensions to 28,000 psi. Steel tensioning nut. Fold away tension lever. 45 degree blade holder pins for flush cutting. Resists breakage. Length is 15-1/2"; width is 6"; uses 12" long blades. High tension HT50 FRME HCKSW HT E LZ.YX HOWRD BERGER DJUSTBLE HCKSW 10" - 12" adjustable length. 3-1/2" clearance. Topaz ai gigapixel crack - Free Activators. Cast zinc alloy handle HCK SW DJ MINI 10-12IN CHROME E 6.15 O.RLX GRET NECK PROFESSIONL HCKSW FRME Professional 3-1/2" Depth Cut. Fits 10" and 12" Blades. djusts To 4 Cutting Positions. Plated To Resist Rust. Heavy Duty Steel and l Hi-Impact Plastic Pistol Grip Handle HCKSW FRME PISTOL GRIP E H.RYX STNLEY MINI HCKSWS Contractor Grade Metal Mini-Hack Utlity Saw. Cast aluminum handle is lightweight but built for durability. Comfortable handle design. Supplied with a high performance, 10" bi-metal blade goes all the way to end of handle MINI HCK UTILITY SW 10IN METL E 4.46 O.OZX GRET NECK ECONOMY HCKSW FRME 3 1/8" depth of cut. Uses 10" or 12" blades, 9/16" x 5/32" stock. djusts to 4 cutting positions. High impact pistol grip handle ECONOMY HCKSW FRME E 7.71 V.VZX GRET NECK FIXED HCKSW FRME Economy Hacksaw Frame. 3 1/8" depth of cut. Fixed frame for 10" blades. High impact pistol grip handle FIXED FRME HCKSW 10IN E 8.94 E.LEX STNLEY MINI HCKSWS Uses regular hacksaw blades. For hard-to-get-at places and light duty cutting. Durable molded frame offers maximum hand comfort. 8-3/4" length without blade MINI HCK SW 10IN E 4.31 O.LVX LENOX HCKSWS Rugged heavy-duty aluminum handle. Includes Bi- Metal 10" (250mm) Lenox handsaw blade. 5 per box HCKSW E H.YRX NOVEMBER 57

59 Hand & Power Tools Hand Saws and Replacement Blades, Hand LENOX HCKSW FRME Saws, Hack Saws D-shaped handle with ergonomic grip and front hand rest. Flush cutting with extra blade storage. Blade tension up to 20,000 PSI. Includes 1 blade HCKSW FRME E CR.XHX GRET NECK CLOSE QURTER HCKSW 10" High. Speed Blade. 24 Teeth per Inch. luminum Frame. Textured Ergonomic Grip HF25 CLOSE QURTER HCKSW 24T LUM E 6.64 O.YLX GRET NECK MINI HCKSW FRME Molded high impact plastic handle. djustable close quarter hacksaw frame. Includes 10" standard hacksaw blade HF10 MINI HCKSW E 4.55 L.RLX GRET NECK MIDGET HCKSW FRME Designed for fine, close work with 6" x 1/4" hacksaw blade. Good for metal cutting. Uses Great Neck #615C replacement blades C MIDGET HCKSW FRME CD 3.12 C.EX Hand Saws and Replacement Blades, Hand Saws, Hack Saws SHEFFIELD QUICK RELESE HIGH TENSION HCKSW Sheffield Quick Release High Tension Hacksaw. Quick release mechanism for easy blade changes. nchors for straight or 45 degree cut. High tension screw for easy blade changes with hollow bar for blade storage. Die cast aluminum handle for lightweight strength. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern HI-TENSION HCKSW SHEFFIELD E LO.XYX SHEFFIELD HEVY DUTY STEEL DJUSTBLE HCKSW Sheffield Heavy Duty Steel djustable Hacksaw. Heavy duty steel frame for strength and durability. ccepts 10" and 12" blades. djusts to 4 cutting positions. Includes 1 12" 24TPI hacksaw blade. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern DJUSTBLE HCKSW HVY DUTY STEEL SHEFFIELD E Y.RCX LENOX 12" MEDIUM TENSION HCKSW FRME Lightweight aluminum beam achieves 20K PSI. Ergonomic and durable aluminum handle for a confident grip in most work environments. Mount blade at 45? for flush cutting applications HCKSW FRME FRME E CL.XYX SHEFFIELD TRUE CLOSE QURTER DJUSTBLE HCKSW Sheffield True Close Quarter djustable Hacksaw. 10'' blade length. djustable blade brace to fit any size, style, or type of hacksaw blade. Heavy gauge die cast aluminum for strength and durability. Includes 10" carbon steel blade. Ergonomic rubber grip handle with Sheffield Oval-Grip pattern QURTER DJUSTBLE HCKSW 10IN SHEFFIELD E 8.04 V.HYX LENOX DJUSTBLE HCKSW FRME Hacksaws adjustable aluminum handle blade length 12 inches. Lightweight aluminum beam achieves 15K PSI; durable aluminum handle for a confident grip in most work environments; mount blade at 45 degrees for flush cutting applications DJUSTBLE HCKSW FRME E CX.HX NOVEMBER

60 Hand Saws and Replacement Blades, Hand Saws, Hack Saws COBR PRODUCTS MINI HCKSW Mini hacksaw for cutting brass, copper, iron pipe, PVC, steel and wood PST113 MINI HCKSW E 9.80 E.HX Hand Saws and Replacement Blades, Hand Saws, Bow Saws NICHOLSON COMBINTION BOWSW & HCKSW Comes with 2 blades: Hacksaw and Bowsaw. Built-in hand safety guard. Full throat makes cutting plastic pipe easy. Bowsaw cuts in both directions BOW HCK 12IN E Y.YHX GRET NECK COMBINTION BOWSW & HCKSW 12" Bowsaw/Hacksaw Combination Saw with 2 Blades Included. Bow Saw for Cutting Wood 12" Hacksaw Blade for Metal and Other Materials. Extra Heavy Duty Frame with Textured Coated Grip BOWSW/HCKSW COMBINTION 12IN E 8.57 E.XVX Hand & Power Tools Hand Saws and Replacement Blades, Hand Saws, Pipe Saws LENOX PLSTIC PIPE HND SW Heavy-duty aluminum handle. Carbon steel blade. Tooth hardness Rc /8" blade width. Spring tempered blade back HSF12 HND SW PVC 12IN E CR.XLX HSF18 HND SW PVC 18IN E CH.YRX COBR PVC SW 5-angle adjustment handle. 1 per sleeve PST111 PVC SW 13IN E CRX PST112 PVC SW 118IN E CX.LZX GRET NECK PVC PIPE SW 13". Cuts PVC, CPVC, BS Wood, Drywall, and more. Heat treated blade lasts up to 5 times longer than conventional PMPVC PVC PIPE SW 13IN E R.YXZ Hand Saws and Replacement Blades, Hand Saws, Cable Saws COBR PVC CBLE SW Stainless steel cable. 24" long. 1 per card PST110 PVC CBLE SW 4.72 L.OX Hand Saws and Replacement Blades, Hand Saws, Nest of Saws JMK/IIT 12" BOW/HCKSW Durable carbon steel construction. 4 teeth per inch bow saw blade. 24 teeth per inch hacksaw blade. Can be used as Bow or Hack saw BOW/HCKSW 12IN E 7.42 V.OX STNLEY NEST OF SWS 4 piece set includes: pistol grip handle, 10" short cut finish blade (12 point), 10" compass saw blade, 6" metal cutting blade. Perfect for cutting curries, circles and trim work NEST OF SWS-3BLD E CX.HZX NOVEMBER 59

61 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades GRET NECK MIDGET HCKSW BLDES 5 pack of 6" blades with pins for midget hacksaw ITEM # DESC INFO SP UOM PRICE C MIDGET HCKSW REPL BLDE 6IN 5PK 5 PER CRD 3.16 C.RX Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades STNLEY BI-METL HCKSW BLDES Bi-Metal Hacksaw Blades Series. Made for the user who does not compromise performance. Stanley Bi-Metal blades combine the flexiblity of carbon steel backs with the cutting performance of high speed steel. 1 blade per card BI-METL HCKSW BLDE 12IN X 18T CD 1.78 C.OEX BI-METL HCKSW BLDE 12IN X24T CD 1.78 C.OEX BI-METL HCKSW BLDE 12IN X 32T CD 1.81 C.OX STNLEY HCKSW BLDES SERIES High speed steel blades cut most metals including unhardened tool steel and stainless. Individually carded. 1 blade per card HCKSW BLDE 10INX18TPI HIGH SPD STL CD 1.43 C.XYX HCKSW BLDE 10INX24TPI HIGH SPD STL CD 1.43 C.XX HCKSW BLDE 10INX32TPI HIGH SPD STL CD 1.45 C.XYX HCKSW BLDE 12INX18 TPI HIGH SPD STL CD 1.57 C.LCX HCKSW BLDE 12INX24 TPI HIGH SPD STL CD 1.54 C.CHX HCKSW BLDE 12INX32 TPI HIGH SPD STL CD 1.58 C.LOX VERMONT MERICN HIGH CRBON STEEL HCKSW BLDES Excellent for cutting most metals. Ideal blade for general use. Carded items contain 2 blades per card HCKSW BLD 10IN X 18T 2CD CD 1.25 X.XZ HCKSW BLDE 10IN X 24T CD 1.29 X.HYX HCKSW BLDE 12IN X 18T CD 1.39 X.LX HCKSW BLDE 12IN X 24T CD 1.39 X.OX HCKSW BLDE 12IN X 32T CD 1.39 X.OX HCKSW BLDE 12IN X 18T E 0.75 X.VRX HCKSW BLDE 12IN X 24T E 0.75 X.VRX HCKSW BLDE 12IN X 32T E 0.72 X.VRX STNLEY HCKSW BLDES SERIES High carbon steel blades cut mild steel, cast iron, aluminum and copper. 2 blades per card HCKSW BLDES 10INX18TPI 2/CRD CD 1.02 X.HX HCKSW BLDES 10INX24TPI 2./CRD CD 0.97 X.HVX HCKSW BLDE 10INX32TPI 2/CRD CD 1.01 X.HX HCKSW BLDE 12INX18TPI 2/CRD CD 1.02 X.HYX HCKSW BLDE 12INX24TPI 2/CRD CD 1.02 X.HZX VERMONT MERICN BIMETL HCKSW BLDES For finest sawing performance. High speed steel cutting edges welded to alloy spring steel backs. Bimetal blades are shatterproof HCKSW BLDE 10IN X 18T CD 2.05 C.LHX HCKSW BLDE 10IN 24T CD 2.05 C.LVX HCKSW BLDE 10IN X 32T CD 2.05 C.LHX HCKSW BLDE 12IN 18T CD 1.99 C.CYX HCKSW BLDE 12IN 24T CD 1.99 C.CYX HCKSW BLDE 12IN 32T CD 1.99 C.CYX HCK SW BLDE 24T REVERSE 12IN E 1.79 C.CZX NOVEMBER

62 Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades LENOX BI-METL HCKSW BLDE Bi-metal construction. Spring steel back, virtually unbreakable. Shock resistant. High heat resistance S018HE HCKSW BLDE 10INX18T CD 2.26 C.EOX S024HE HCKSW BLDE 10INX24T CD 2.26 C.ELX S032HE HCKSW BLDE 10INX32T CD 2.28 C.EOX S218HE HCKSW BLDE 12INX18T CD 2.39 C.RXZ S224HE HCKSW BLDE 12INX24T CD 2.39 C.RXZ S232HE HCKSW BLDE 12INX32T CD 2.39 C.RXZ V218HE HCK BLDE 12INX18T CD CE.LHX V224HE HCK BLDE 12INX24T CD CE.VLX V232HE HCK BLDE 12INX32T CD CE.VLX HE HCKSW BLDE 12X18T E 2.25 C.ELX HE HCKSW BLDE 12X24T E 2.26 C.ELX HE HCKSW BLDE 12X32T E 2.28 C.EOX SHEFFIELD CORSE CUT HI-SPEED STEEL HCKSW BLDES Sheffield 12" Coarse Cut Hi-Speed Steel Hacksaw Blades. 18TPI. 2 pc Pack. Flexible steel to resist breakage. Molybdenum steel for strength and durability. Lasts 5X longer than carbon blades. Hardened teeth stay sharper longer. Fits Sheffield branded and other common hacksaw frames HCKSW BLDES STEEL 12IN E 4.28 L.ELX HCKSW BLDES STEEL 12IN E 4.28 L.EVX DISSTON REMGRIT 12 IN. CRBIDE GRIT HCK SW BLDE Carbide particles bonded to a steel blade. This saw cuts extremely abrasive materials with no teeth to chip or dull. Carbide grit offers the greatest wear and heat resistance. The blade cuts on both strokes. Ideal for materials that other saws will not cut. Size: 12 in. x 34 in. x in. Dimension: 0.01 x 0.01 x in. Item weight lbs. Hand & Power Tools Hand Saws and Replacement Blades, Hand Saw Blades, Hack Saw Blades PEX NICHOLSON SHTTERPROOF HCKSW BLDE Solid high carbon steel. Tempered to provide hard edge with flexible back. Specially hardened to induce toughness. Economy blade for sawing light to medium-hard materials. good balance of wear resistance, mechanical shock absorbing properties. Virtually unbreakable HCKSW BLDE SS INX18TPI CRBON E 0.58 X.VZX HCKSW BLDE SS INX24TPI CRBON E 0.58 X.VZX HCKSW BLDE SS INX18TPI CRBON E 0.61 X.VHX HCKSW BLDE SS INX24TPI CRBON E 0.61 X.VHX HCKSW BLDE SS1218 FLEX 2/CD CD 1.32 C.XCX HCKSW BLDE SS1224 FLEX 2/CD CD 1.32 C.XCX HCKSW BLDE SS1232 FLEX 2/CRD CD 1.32 C.XCX PEX NICHOLSON BI-METLOY HCKSW BLDE Molybdenum alloy tool steel edge. Tough flexible high carbon steel backing. Lasts twice as long as high-speed steel. Lasts up to ten times longer than carbon steel. Operates 20% to 50% faster. High tooth hardness and shock resistance HCKSW BLD NF INX18TPI BIMETLOY E 1.43 C.XYX HCKSW BLD NF INX24TPI BIMETLOY E 1.43 C.XYX N HCKSW BLD NF12 12INX14TPI BIMETLOY E 1.53 C.CRX HCKSW BLD NF INX18TPI BIMETLOY E 1.53 C.CRX HCKSW BLD NF INX24TPI BIMETLOY E 1.53 C.CRX NHCKSW BLD NF INX32TPI BIMETLOY E 1.53 C.CRX N HCKSW BLDE NF1218 BIMETL 2/CD CD 3.04 L.OLX N HCKSW BLDE NF1224 BIMETL 2/CD CD 3.04 L.OLX HCKSW BLDE NF1232 BIMETL 2/CD CD 3.04 L.OLX N HCKSW BLDE NF1018 BIMETL 2/CD CD 2.70 L.XRX HCKSW BLDE NF1024 BIMETL 2/CD CD 2.70 L.XRX GH12 HCKSW BLDE-MEDIUM GRIT 12IN E 4.79 O.LXZ NOVEMBER 61

63 Hand & Power Tools Hand Saws and Replacement Blades, Hand Saw Blades, Rod Saw Blades RTU TUNGSTEN CRBIDE GRITTED ROD SW BLDE Saws through brick, cast metals, ceramic tile, cement backerboard, composites, fiberglass, flagstone/slate, glass, hardened steel, stranded cable, laminates, marble, PVC, and reinforced cement. Cuts tough materials that other blades won't scratch. Never needs resharpening. Cuts, contours, angles, and circles. Works in any direction - fits where other blades can't. long lasting edge - no teeth to dull or chip ROD SW BLDE 12IN CD 5.57 O.CXZ Hand Saws and Replacement Blades, Hand Saw Blades, Coping Saw Blades STNLEY COPING SW BLDES Strong and flexible blades of high carbon steel, heat treated and tempered for strength. Windows 10 ISO Download Tool 8.46 With Crack Full [Latest] Free turns in wood 1/8 inches to 1-1/2 inch thick and soft material. 1-14/4 inches to 1/4 inches thick. 4 blades per card COPING SW BLDES 6-1/2INX15TPI 4/CD CD 2.57 C.YOX COPING SW BLDES 6-1/2INX20TPI (4) CD 2.57 C.YOX MD BUILDING ROD SW BLDE Replacement blade for item #49074 coping saw. Great for irregular cuts. Cut curves in a number of materials easily. Cuts tile, stone, marble and more. Use wet or dry. Steel ROD SW BLDE 6IN E 3.44 L.XX DISSTON REMGRIT 12 IN. CRBIDE GRIT ROD SW BLDE Carbide particles bonded to an alloy steel rod. This saw cuts extremely abrasive materials with no teeth to chip or dull. Carbide grit offers Antivirus VK Pro 6.1.0 Crack+ Keygen Code 2021 - Free Activators greatest wear and heat resistance. Ideal for materials that other saws will not cut. Rod design gets into tight areas and cuts on both strokes. The blade fits any standard hack frame. Size: 12 in. x in. Dimension: 0.01 x 0.01 x in. Item weight lbs GG12 ROD SW BLDE-MEDIUM GRIT 12IN E 4.31 L.ZX Hand Saws and Replacement Blades, Hand Saw Blades, Pipe Saw Blades LENOX REPLCEMENT BLDES 10 Teeth per inch. 1 per pack/5 per box HSB-12 HNDSW BLDE 12IN E H.YLX HSB18 HNDSW BLDE 18IN E Y.YX Cutters, Snips and Pliers, Cutters and Nippers, Rebar Cutters HK PORTER REBR CUTTER ND BENDER Rugged contractor's tool. Shear-cut blades. Mounts easily on most flat surfaces to enhance leverage and increase safety. Cuts and bends to 90 or 180 degrees. pproximate weight 31 lbs. 52" length. 5/8" maximum capacity RBJN REBR CUTTER/BNDR 52IN E OCV.OZX Cutters, Snips and Pliers, Cutters and Nippers, Bolt Cutters H.K. PORTER POWER LINK BOLT CUTTERS 18 inch. The unique Powerlink geometry was developed using advanced computer-aided design to create a double compound action system with greater efficiency than traditional bolt cutters. Together with special engineered HKP center cut blades, Powerlink bolt cutters deliver superior cutting power and industry leading blade durability. Tubular steel handles and forged Powerlinks deliver ultimate toughness, allowing the tool to stand up in the harshest working environments. It's the perfect solution for production facilities, maintenance and repair operations, utilities, construction sites, oil and gas operations, and more MCD 18" POWER LINK BOLT CUTTER E EX.YXZ MCD 24" POWER LINK BOLT CUTTER E RE.COX NOVEMBER

64 Cutters, Snips and Pliers, Cutters and Nippers, Bolt Cutters CRESCENT HEVY DUTY BOLT CUTTER General plant maintenance tool. Drop forged, precision ground, alloy tool. Steel jaws, center cut blades cuts soft, medium or hard materials. Lockplate keeps jaws from loosening. Steel handles with rubber grips MC CUTTER CENTER CUT 36IN E COY.HZX GRET NECK MIDGET BOLT CUTTER Forged steel construction. Short cutting edge to accomodate chain link. Vinyl grips for firm hold. 8 inch length BC8 MINI BOLT CUTTER 8IN E E.YCX BC14 BOLT CUTTER 14IN E CX.YOX BC18 BOLT CUTTER 18IN E CO.HEX BC24 BOLT CUTTER 24IN E CY.LEX BC30 BOLT CUTTER 30IN E LO.RLX Hand & Power Tools Cutters, Snips and Pliers, Cutters and Nippers, Cable Cutters STNLEY CBLE CUTTERS The MaxSteel Line of Pliers provides up to 45% less cutting effort with up to 33% longer cutting edge. The dual durometer bi-material grips provide a comfortable and secure grip. High leverage design for heavy usage. Drop forged from high carbon, alloy steel for long life and durablity CBLE CUTTER 8.5IN FTMX E CX.YX CHNNELLOCK CUTTING PLIERS Made in the US. Cable cutter. Cuts up to 4/0 aluminum and 2/0 copper. Not for steel or CSR. Laser heat-treated cutting edges last longer. Only Channellock uses a knife and anvil style cutting edge to ensure perfect mating and superior cutting edge life. Channellock uses a high-carbon C1080 steel for superior performance on the job and electronic coating for ultimate rust prevention. Channellock Blue grips for comfort CBLE CUTTER 9.5IN E LO.XZ OLYMPI POWERGRIP BOLT CUTTER Heat treated, drop forged alloy steel jaws. Heat treated handles with rubber grips. Center cut, compound action jaws. For soft and medium hard metals only BOLT CUTTER POWERGRIP 14IN E LC.OEX BOLT CUTTER POWERGRIP 18IN E LE.HCX BOLT CUTTER POWERGRIP 24IN E VX.XZ Cutters, Snips and Pliers, Cutters and Nippers, Rope Cutters KLEIN TOOLS CBLE CUTTERS Special high-leverage design. Cable-gripping shear-type jaws cut up to 4/0 aluminum, up to 2/0 soft copper, up to 100-pair, 24-gauge communication cable. Makes clean efficient cuts. Compact, only 9-1/2" long. Can be carried in tool pouch. Ideal for working in confined spaces. Tough, comfortable, red plastic-dipped handles. Not designed for cutting steel or CSR CBLE CUTTER HI-LEVERGE E /2IN OX.OHX H.K. PORTER CBLE & WIRE ROPE CUTTERS Top-quality, pocket size cutter. Shear-cut blades. Excellent cutter for 3/16" hard wire rope or cable. 1/2" soft wire rope or cable, piano wire, or aircraft cable. Formed steel. Shear cut jaw design TN CUTTER CBLE/ROPE 7-1/2 E OX.VZX KLEIN TOOLS NM CBLE RIPPER n easy-to-use cable ripper. Slits the outer jacket of Romex cable (all sizes) and other nonmetallic (type NM) sheathed cable. Measures conductor wire gauge from 8 to 14 WG. Romex is a registered trademark of Southwire Visual Importer Enterprise Crack CBLE RIPPER L- STYLE W/GUGE F/14-6 E 6.05 WG V.XOX NOVEMBER 63

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Nikon Secrets - Digital Photography

Mastering Nikon Compact Digital Cameras

Coolpix Series including CP950, CP990, CP995 and CP775


a high resolution eBook in PDF format to be viewed with Adobe Acrobat on Macintosh and Windows Computers

By Peter iNova
photographs made with CP950, CP990, CP995, and CP775 by the author

Combined images from CP995, Getty Center, and CP 950, cloudy sky.

www.digitalsecrets.net PHOTOeBOOKS.com

Page i

iNova, Peter, 1944


Mastering Nikon Compact Digital Cameras By Peter iNova Includes CD with software programs for image manipulation, demonstration, and eBook display for both Macintosh and Windows computer platforms.

Text editors Marian Inova, Robert Jeantet, Joan Kunter, Anita Dorich Contributing Gallery photographers Ruth Happel, Taki Bibelas, Tom Deagle, Mitchell Silver, Rex Stayskal, Furrukh Khan

ISBN 1-882383-15-6
Mastering Nikon Compact Digital Cameras. Version 3.0
Copyright 2001 by Peter iNova. All rights Reserved. No part of this publication may be reproduced, distributed, or transmitted in any form or by any means, including photocopying, recording, file duplication, or by other electronic, logical, or mechanical methods, or by any information storage and retrieval system, without prior written permission from the author and Graphics Management Press, except for brief quotations embodied in critical reviews and certain other noncommercial uses permitted by copyright law. For permission requests write to the publisher, addressed Attention: Permissions Coordinator, at the address below.

Graphics Management, Inc. P.O. Box 241811 Los Angeles, CA 90024 (310) 475-2988 E-Mail: gm@graphics-management.com
The author and publisher assume neither liability nor responsibility to any person or entity with respect to any direct or indirect loss or damage caused, or alleged to be caused, by the information, data, software, or computer files contained herein, or for errors, omissions, inaccuracies, or any other inconsistency within these documents, pages, programs, or files, or for unintentional slights against people or organizations.

Book design, layout, and CD preparation by Peter iNova All photographs, diagrams, and artwork within the text by Peter iNova unless noted otherwise. Additional photographs in the Gallery by the photographers cited. Copyrights belong to the participating photographers. Published in the USA

Page ii

Foreword/Forward
Why this eBook?
When I started this project in 1999 it was because I wanted someone else to produce it and make it available to me. But the world wasnt doing that. So I guess that meant Id have to do it myself. With a bell that cat mind-set and my trusty Nikon Coolpix 950 in hand, I set out to dig into its secrets and find out how to unravel them. I knew that the camera was capable of some fairly amazing things, and a book would be a nice addition. Add my own experiences with the digital tools of media production and special effects, and this quickly-produced book could be the result of a marriage made in Hollywood, if not in Heaven. That was June, 1999. By September, 1999, I had contacted no fewer than nine publishers, all of which had shown interest in the topic of digital photography. Some bailed out upon hearing that the book was targeted at a single product and others jumped ship when they realized the difficulty of drilling into the photographic market which, they perceived, was very different from their other digital pursuits. A few remained. Three showed various degrees of curiosity, but only one wanted to see some chapters right now. It was getting late in the year. The book had been conceived from the start as part text, part CD, and part Internet. I Fedexed the manuscript to the publisher so their crack team of reviewers could dive in on it immediately. Immediately, I was to learn, has different meanings to different people in different fields: Immediately in Internet terms is, Excuse me, Ill get back to you with. ah, here it is. Immediately in the world of special effects production usually means, As Soon As Possible! Immediately, it turned out, in the world of book publishing meant, Sometime next summer. By November, 1999, I knew the 950 book was not going to happen in the twentieth century. The software for the CD was nearly finished, the text had been through several drafts, and I had figured the publisher just didnt like what they had seen, or else they would have gotten back to me. Sigh. I bought a book on self-publishing and started talking to printers. Lesson number two: Publishing costs an arm and a leg. Especially for a 200+ page full-color book. Double sigh. One publisher called in December with an offer to bring the book out in September. My attitude was, September!? The 950 would be Very Old News by then! Fugeddaboudit. (New author. Thinks he knows something. Hah. I should have listened better, perhaps.) Besides, the next models would be introduced at the Photo Marketing Association show in Las Vegas in January of 2000. Certainly the new model would become a topic of the book, right? I put the project on hold and held my breath. ~o~ ! ~o~ As soon as the new Coolpix 990 appeared, I started back into the project again. A large new chapter for the new camera would be needed, and the form of the book changed to accommodate the larger print potential of the newer camera. I wanted the book to unambiguously display the big, sharp images from the 990 in a form that could be immediately appreciated. In July, with the revised manuscript nearly finished, the publisher from the autumn of 1999 e-mailed back. The reviewers are ecstatic. Lets talk! We talked. In one of the most enlightening, if not frustrating, conversations of my life, I witnessed a publisher of books confronting a writer of immediate, topical material while they teeter-tottered on the pivot of the Internet over the realities of life and how it is practiced. The publishers were prepared to announce the publication of a first run of 2,500 black and white, manual-sized books next March (2001) if I would simply accept the realities of the publishing business on their terms. Never mind that the book, from the beginning, had been composed using full-color images, graphics, and examples throughout. And never mind about their own reviewers positive comments which included the books marketing plan, Internet connection, and overall vision. The publishers executive committee, it seems, knew in its heart-of-hearts that a book of this type is the size of a software manual, black ink only, and probably wont find an audience, so spending money on it was not something theyd wish to invest in heavily. Certainly, they had a point. But so do I. (And if I brush my hair just right, it doesnt show.) The options of this Internet Age are larger than pages made of paper. This is the i-age, the e-age. The year of the eBook. Sure, most of them are simply text, but that isnt the end of the chain of possibilities, now, is it? eBook, eh? Well, if Stephen King can do it, why not me? Yeah, thats the spirit! Who needs those big publishers, anyhow? What did they ever do for me except waste my time? Humph, humph! (New author, remember.) But seriously, how do I really feel about it? So this eBook concept was formed. It isnt paper pages with four-color printing, but it has features no paper book could contain. Interactivity. Immediate access to the CD full of software, demos, and examples. And a feature I had not anticipated earlier; big, sharp, clear color photos that are probably much sharper than anything you have seen from an electronic publication. It is also coming to you from a more progressive publishing source, Graphics Management Press, who have embraced new technologies where the larger publishers fear to tread. (Their design and production of the 1991 book, Witness to War: Images of the Persian Gulf War, garnered a Pulitzer Prize for their client, The Los Angles Times.) The PDF files you are reading in Adobe Acrobat can be zoomed-in to 300% without passing the pixel-level of the reproduced images. Thats like sticking your face WAY into a page in a printed book to see the detail. But here, the images arent broken up with printing dots. Its rather like having pages that were photographically printed. The software has evolved, too. In a marathon session of filter writing, tweaking, and perfecting, the number of Photoshop action filters that are included has passed the 300 mark. A huge chapter on camera operation has appeared with sections on the 950 and 990 models. Its not a manual, exactly, but you still need to know what secrets lie behind each feature. Other books exist to give you the improved manual experience. If Ive done my job here, youll be taking better pictures, and you will know why they are better. Youll be printing, correcting, improving, and finessing your shots through a greater experience base, and you will be enjoying Photoshop instead of thinking its just too hard to learn. That camera in your hand is a fabulous instrument that beckons you to take pictures. It has a lot to teach you and you have a lot to teach it. Let the exposures begin. -Peter iNova, November, 2000

Addendum for Version 3.0


The eBook has proven to be a success. It is perhaps the most complex eBook on the market. Nikon digital photographers all over the world are enjoying its text and software. With two new cameras, the Coolpix 995 and 775, the number of camera operation chapters has grown to four. Photoshop has progressed to V6.01, and Test Strip is now in its third generation. Both are included on the CD in tryout versions. The iNovaFX filters have grown into new areas. One set takes 4 different images, lays them out for immediate printing on either US letter or A4 paper. Another performs extreme image rescue. New ideas are sprinkled throughout the text, and InfoBites have reached new levels of proliferation. Bon aperture. -Peter iNova, September, 2001

Page iii

Getting the Most from this eBook


This eBook is a text, a number of computer elements on CD, and an extended experience on the Internet.
Acrobat Viewing

As you read these pages in Adobe Acrobat, the page is taller than your screen, most likely, and the distance from your eyes to the screen is greater than your normal book-reading distance. In order to adjust for that, the page image will likely feel best to you at 125% or 150% scale, as set by Acrobat in the lower left corner of the display. With the page at 140% magnification, it works well on a 14- or 15-inch screen such as is found on many portable computers. You can have Acrobat show you one page at a time, pages laid out like an open book, or as one following the other in a continuous scroll.
Thumbnail Browsing

The thumbnails running down the left side of the page work well as a single column of images. They give you a chance to browse the chapter or lower-resolution entire eBook pages fairly quickly. Any page you can see is accessible by simply clicking on it. Immediately the new page will appear. The header bar has a control to turn the thumbnail images on and off.
Interactivity

You will find a certain level of Acrobat interactivity in some places. Generally, clicking the title of a topic can take you to a parallel or expanded topic if an interactive link is in place. This exists in the high resolution chapters only. Click on a chapter in the Table of Contents and the chapter will immediately appear. In the text, a citing of another chapters information on the subject will also link to it. Note that the Acrobat reader behaves much like an Internet browser and the solid arrow triangles in the header will navigate forward and backward through a string of interactive jumps.
Zooming In

The images in this book are usually made from full-size files from the CP950, CP990, CP995, and CP775. In general, you can zoom into them with as much as a 300% magnification without seeing pixels. Some images can be viewed even closer in the high resolution chapter files. The lower-resolution file is faster to move through, but its images are best viewed at 150% magnification. If you are inspecting images closely, the selection box on the thumbnail image will show you the portion of the page you are currently viewing. Clicking the cursor on any other image in the stream of thumbnails will jump to it instantly while maintaining the current magnification. This makes it easy to compare similar-sized images and peer into their details unusually quickly. Without printing dots to break up the pixel structure, the details stay more photographic.
Printing Out

You can print out ranges of pages from this book in black and white, as with a laser printer, or in color, as with an inkjet printer, any time you wish for reference. Some files are included in the Appendix for that purpose expressly. The color charts and test images are there for easy access.
iNovaFX filters

Included on the CD are the Photoshop action filters under the iNovaFX brand. These are 100% original procedures, manipulations, and helpful orchestrations of Photoshops myriad features, all of whitch are specifically designed to achieve three things: 1. Correction, perfection, and performance enhancement of Nikon Coolpix images. 2. Demonstration of, and experience with, the Photoshop Menu of Plug-ins. 3. Artistic, impressionistic, and graphic interpretation of your photographs in original ways. Included in the first group are the iBC barrel distortion filters, the iCrAb chromatic aberration reduction filters, the iCF color-repair filters, the B&W filmlook filters, the JPEG artifact-supressing filter, the ISO-boosting filters, the iFF denoise filters, and several others. Theyre all created to work particularly well with the images from these Nikon cameras. Some, like the iBC and iCF filters are tuned so specifically to these particular cameras and their individual optical systems, that using the filters on the images from other cameras will almost never give ideal results. New filters have joined the collection with this eBook version. Some last-minute instructions may be found in the ReadMe documents.
Internet Updates

It is inevitable. Data in a timely document like this may give way to new information, become obsolete, or acquire new meanings as technology progresses. After reading through this eBook you may wish to visit our special site holding updated information, links, special offers, new techniques, and the latest information about these cameras.

www.digitalsecrets.net

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Contents
Chapter 1 Nikon Digital Photography. . 1-1 Chapter 2 Digital Color and the Photoshop Connection. 2-1 Chapter 3A Camera Operation Coolpix 950 .3A-1 Chapter 3B Camera Operation Coolpix 990. 3B-1 Chapter 3C Camera Operation Coolpix 995. 3C-1 Chapter 3D Camera Operation Coolpix 995 .3D-1 Chapter 4 How Do I? . 4-1 Chapter 5 Learning Digital Photography. 5-1 Chapter 6 Printing Digital Photographs. 6-1 Chapter 7 Special Effects . 7-1 Chapter 8 Vexing FAQs . 8-1 Chapter 9 iNovaFX Filter Operation. 9-1 Appendix .A-1 Index . I-1 Digital Visions: A Gallery of Coolpix Photography . Bonus Volume Shooting for Effect .Booklet

Page v

A Note to Film Photographers


Darn it. Just about the time you got real comfortable with Velvia and Plus-X, somebody came along and connected a battery to the film! What were they thinking? Not to worry, film isnt dead. But it may be time for you to start thinking about digital image capture and these recent-generation cameras from Nikon may be just the thing for you to use to get your digital feet wet. A growing number of your contemporaries, and probably even you, too, have embraced a large part of the digital photographic revolution. Slide and negative scanners, ink-jet printers, Photoshop manipulation, CD-R storagethese have all become natural parts of the contemporary film photographers world. Its gotten so digitally thick these days, that customers and clients are beginning to feel cheated if there isnt that D-word associated with the current project. How much of a jump could it be to digital acquisition? Well, in the case of the cameras about which this eBook is concerned, the price of admission starts under a thousand dollars, US. The price of accessories will add half-again as much to the bottom line, but by starting with a Nikon 9xx you will have bought into a multi-lens, unusually configured, highly versatile system that brings new opportunities and experiences. Yes, the film is free, but when did the cost of film ever stop you? The big deal here is Time. Instant results. Not Polaroids minute or films hour: Now! And with a TV hooked to your Nikon, the whole agency can watch the shot coming together on the big screen (and wont that be fun). But seriously, you can use a Coolpix as the worlds most sophisticated light meter, if you calibrate it to the film you are using. With controls in these cameras that let you adjust contrast, color temperature, ISO, and all the normal numbers of shutter speed and f-stop, you can have a light meter that tells you how to set other equipment or shows you unambiguously how your lighting is performing. A light meter that takes pictures, now thats a new one. In this eBook, you will see images that are obviously studio shots and many that are captured in the field with existing lighting or little extra lighting. That little speedlight on the camera is a good flash-fill for outdoor images, but thats about it. The twist-design of these cameras will seem odd at first, but will grow on you. It has saved my fanny hundreds of times but has never prevented me from getting a shot. Youre going to love the fact that the film cartridge holds not just a few more than the 36 exposures youve been usingit holds HUNDREDS of shots, if you let it. In all, the jump into digital is a personal journey that will provoke a whole lot of questions. Questions that you can answer yourself by playing with the camera and trying new ideas. As has happened to more than one film photographer, the experience could be a turning point in your career. Good shooting.

Page vi

Acknowledgements
An eBook like this is the product of many hands, many hours, many re-thoughts, and many mistakes. I speak with typographical errors, sometimes, so it came as no great surprise to me that I write that way. Robert Jeantet, Ph.D., deserves a particularly emphatic kudo for pointing my grammar in the right direction and for sending me a years supply of commas and hyphens. Among the many hands are the ones of the models and actors who participated in the photos throughout these pages. Thanks go to actors Molly Kiley (right), Austin Vulich, Ellen Heuer, and models Lisa Dennis, Tim Wilder, and the people of California, New York, Japan, and Oz who appear in many of my images. Gday. Thanks, too, to my friends who have suffered enough hearing about this project, appearing in images, and yet, were encouraging throughout. Then there is a special thanks to Marian iNova who helped by serving as fresh eyes and valued editor while my rants took shape. Thanks, babe. Mmm-mm-m. Will Guest, you know how much you helped this thing be born, and so do I. Heres to more sushi lunches! Lori Bender, you not only posed for shots but helped make the final eBooks. How stunningly versatile! As noted in the Foreword, the path to this eBook was Gordian: The shortest distance between two points, it was knot. A particular badge of courage should be extended to William Dorich, the publisher who took a deep breath, rolled his eyes, and decided to embrace this new publishing medium with an open mind. Your counsel and fearlessness are appreciated.

Page vii

Meet the Cameras


Eyepiece diopter adjustment Flash sync cover & socket Flash sensor Indicator lamp / Anti red-eye light Flash tube Optical viewfinder port Zoom lens 28mm rigid accessory ring LCD data screen EV +/ button (in combination with Command Dial) & Trash selector (in Play mode) Exposure regime button: Program / Aperture priority / Shutter priority (in combination with Command Dial) Optical viewfinder Flash & Focus ready lights Quality / Image Size button High-tech plastic tripod socket CF door

Nikon CoolPix 950 (mfg 1999-2000)


Millennium Edition shown
Camera swivel External power & Video out sockets & cover Command Dial Shutter release: 2-stage Mode switch: Off-Auto RecManual Rec-Playback Flash function button & ISO selector (in combination with Command Dial) Focus mode button: Infinity / Macro / Self-timer / Manual focus (in combination with Command Dial) Data I/O socket & cover Monitor On-Off button Menu On-Select-Off button Zoom control Live monitor Serial number Neck or wrist strap loop Battery door & latch

Nikon CoolPix 990 (mfg 2000-2001)


Eyepiece diopter adjustment Flash sync cover & socket Flash sensor Indicator lamp / Anti-red-eye light Flash tube Optical viewfinder port Zoom lens 28mm rigid accessory ring LCD data screen Focus mode button: InfinityMacro-Self-timer-Manual focus (in combination with Command Dial) Flash mode button: Auto-Antired-eye-Forced Flash-SLOW flash-Off Optical viewfinder Flash & Focus ready lights Quality / Image-size button Metal tripod socket

Western Hemisphere Version shown

Camera swivel Shutter release: 2-stage Mode switch: Off-Auto-ManualPlayback External power socket & cover Function 1 button (exposure regime selector) Function 2 button (EV +/) Data I/O & Video out sockets & cover Command Dial Monitor On-Off Menu On-Select-Off Zoom control Selector button Live monitor Neck or wrist strap loop CF door Serial number Battery door & latch

Page viii

Nikon CoolPix 995 (mfg 20012002 )


LCD data display External power socket Magnesium shell Robber grip surface Color inset (dark lavender for US) Battery compartment (under) Metal tripod socket (under) Swivel lock switch (under) Quick Review button Menu button Monitor button Molded plastic shell Camera monitor Focus / Self-timer / Trash button ISO/Flash mode button Qual / Image Size button

US Market Version shown

Pop-up flash Flash sensor Flash latch Optical viewfinder Anti red-eye & signal lamp Optical viewfinder diopter adjustment (under) Flash sync socket (under) 28 mm threaded accessory ring 8.2 ~ 31 mm lens (4:1 coverage)

Two-stage shutter release Rotary Auto record-Manual record-Playback-Off switch Func1 and Func2 buttons Command dial Zoom / magnify buttons Neck or wrist strap loop 1 CF card / data socket door Multi-selector Neck or wrist strap loop 2

Nikon CoolPix 775 (mfg 2001-2002)


Power On-Off switch (around shutter release) Finger grip Anti red-eye & signal lamp Battery compartment door Battery compartment lock High-tech plastic tripod socket Serial number Shutter Release (center) Wrist strap socket Flash ready LED Optical viewfinder eye port Focus lock / standby LED 1.5-inch color monitor Focus range / delete button Flash select: Auto-Auto anti redeye-Force flash- Night portrait flash-Off / review thumbs button Menu On-Off button Quick review / magnify button Scene-Auto-Play drivermax crack 9.32 - Crack Key For U CompactFlash card door Scroll up / go back / monitor On-Off button Multi-selector 4-way switch Zoom tele / scroll right button External power in socket Scroll down / go ahead button Zoom wide / scroll left button Transfer/select images button Flash tube Optical viewfinder port Extending Zoom lens 3:1 Internal lens cap (when closed) Video out and computer data socket

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Chapter 1

Heres Nikon Digital Photography

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CHAPTER 1 HERES NIKON DIGITAL PHOTOGRAPHY


AT THE TURN OF THE MILLENNIUM PHOTOGRAPHY WAS IN PROFOUND EVOLUTION. DIGITAL SENSORS AND COMPUTER MEMORY TOOK THE PLACE OF FILM. COMPUTER PROGRAMS TOOK THE PLACE OF SPRINGS, SPROCKETS, MOTORS, AND MECHANISM. IF YOU WERE A RECHARGEABLE BATTERY, LIFE WAS GOOD.

hen Nikon introduced its first digital, million-plus-pixel camera in the spring of 1998, they had a few things in mind that other digital camera makers missed. The camera included the normal features of advanced digital cameras of the day, zoom lens, live viewing monitor, removable storage, and battery power. But the Coolpix 900 was marked by a novel basic feature seen only in a The Nikon Coolpix 900 was few other cameras. The split-body, swivel design. Nikons first megapixel camera. 1,228,800 sensors Here was a camera that isolated the lens, optical viewfinder, and imaging chip from added together to make a the computer, monitor, storage media, and batteries. Connecting the two modules was a picture. Life is harsh for rapidly evolving technologies. The rotating pivot. A few cameras had played with this notion in the preceding months, but 900 is already a museum none of them included an optical viewfinder with the camera part of the design. piece. The Nikon could be used in two basic ways. You could frame the scene through an optical viewfinder or watch through the lens on the color monitor. The camera looked like it was housed in a slab of extruded aluminum. Unfortunately, this digital camera design left much to be desired. For every good feature, there seemed to be issues which were not addressed. Power consumption was so great that alkaline batteries were more costly than film for a similar number of exposures. Power-up took a leisurely 15 seconds and by that time, the emu would have e-moved. After power was established, the photographer had a 30-second window of opportunity to get the shot or push some button to extend the time, otherwise a shut-down would occur, and startup would be another 15-second wait. Its good features included the live monitor viewing, the ability to shoot quite nice pictures capable of being printed at 6 x 8 inches while looking very non-digital, and the ability to shoot extreme close ups without extra attachments. With 1280 x 960 pixels it found adventurous photo enthusiasts all over the world as early adopters, but other cameras seemed to have prettier designs, faster ergonomics, higher pixel counts, and better images. Six months after its introduction, a Coolpix 900S (also called the 910 in some countries) was introduced in time for the Christmas holiday market, and it featured slightly faster operation and longer battery life, but it was too little, too late. Besides, Nikon had other things in mind.

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ENTER THE DRAGON


In early 1999, the rumors began to fly. A prototype was privately demonstrated at the Photo Marketing Association convention that winter. Nikon had a new model camera up their sleeve. By mid-February, the rumors had teeth. In April 1999, the Nikon 950 came to market and was an immediate hit. Here was what photographers needed all along, an entry-level professional digital camera. The image chip shot a picture 1600 x 1200 pixels in size, 25% dimensionally larger than the previous model but with 56% more pixels. Wide-angle, telephoto, and fisheye lenses fleshed out the system. The Nikon add-on lenses have proved to be superior to anything previously made in the form of converter optics. The 950 was small. Smaller than a 35mm SLR body. When you think about all the history of hand held cameras, this one is closer to the form of the first pocket-sized Leica 35mm cameras from the 1920s. At seventeen ounces, the 950 didnt sit well inside a typical pocket, but it could be concealed The full frame of the CP950 creates prints up to there, if needed. I have occasionally concealed it in the inner pocket 8 x 10 that are easily confused with 35mm film images. The 990 and 995 make even larger images. of a tuxedo jacket without looking like I was packing heat. (Actress Molly Kiley.) The 950 could fit comfortably in a pocket of a photographers vest. Balancing the vest on the other side, the accessories, batteries, and lenses made it a wearable camera bag. Unlike hand-held film cameras, digital cameras have little monitor screens on them that show you what the camera is seeing and what the image you shot looks like. The 950s screen looked like a moving video monitor. Color was realistic and motion was quite fluid. Since these screens must glow to give you an image, glowing bright enough to be seen in daylight is the challenge. The 950s monitor couldnt be seen in direct sunlight (9 to 5 in summer light), but in shade and indoors it worked quite well. For many kinds of shots, the built-in optical viewfinder was all you needed, although that little TV on the back of the camera begged you to watch it. Viewing hoods and focusing magnifiers were often used for outdoor viewfinding.

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The 950s lens was fully enclosed in one part of its magnesium body. It zoomed from 38 to 115 millimeters, 35mm camera equivalent*, giving a modest wideangle to modest telephoto effect. The front optical element was only about 9/16-inch (18mm) across. Accessory lenses and filters attached through a 28mm threaded mounting ring that was rigidly fixed to the camera body. Password Depot 12.0.6 Serial Key - Crack Key For U entire camera hung quite securely from this ring on microscopes and telescopes. The 28mm mount was new with the CoolPix cameras, and if you mount optics or filters made for other cameras you need to acquire a 28 > 37mm step-up The Nikon Coolpix 950 broke new ground with nearly 2 million sensors and became the ring. (See Chapter 8 for sources of most popular digital camera in the crossover prosumer market. accessories.) The design was a complete surprise. The body was striking. A black smooth-textured finish flowed over a contoured, molded magnesium shell. The boxy, aluminum-slab appearance of the 900 was gone. The swivel was stronger than the one on the previous camera. A red finger-grip panel accented the front of the body. Now we all knew how cool the Coolpix could look. How would it perform? Ergonomic features were everywhere. Startup took only three seconds, and three metering types were available. Many features could be quickly selected with the edge of a finger wheel buried in the front of the camera. The camera could drivermax crack 9.32 - Crack Key For U set to increase or decrease exposure and contrast. Autofocus could be set to continuous or per-exposure operation. A feature never before seen on any camera appeared, BSS, the Best Shot Selector. With BSS, the sharpest of a series of images would be saved while the others The cameras zoom lens easily adapted to accessory optics that provided wide angle, were discarded.
telephoto, and even fisheye lenses.

*It is common to use focal length terminology based on 35mm camera equivalent numbers in digital photography.

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Mastering Nikon Compact Digital Cameras

Nikon specifies that the Coolpix 950 will focus down to under 20mm, and the cameras do. In fact, they focus down to about 15mm.

The pixel count of the imager insured that photo-realistic printers would make very nice 8 x 10 prints. Nikon showed prints that were blown up to 9 x 12-inch size, and some photographers achieved full-page magazine results with this pocket-sized wonder. It used memory cards that are in the CompactFlash (CF) format. These are 1/8-inch flat chips of plastic and memory that are only 1 3/8- by 1 3/16-inch square, smaller than some postage stamps Ive seen. Hundreds of thousands of Nikon 950 cameras were sold worldwide over the course of the next twelve months, and firmware upgrades were issued over the World Wide Web allowing every camera in the field to become a better instrument by injecting updated computer code into its brain. A special variation was distributed as the Millennium Edition in November 1999, and its satin-silver finish, special accessories, and serial-numbered edition of only 2000 cameras made it a cult hit. Still, owners of the CP950 perceived a few issues as inconvenient, Type I CompactFlash cards hold up to 256 non-ergonomic, or disruptive. The CompactFlash storage media loaded megabytes of digital memory. Larger capacities through the bottom of the camera, unhandy when the camera was on a are currently on the drawing board. tripod. Worse, the door that closed over the card was perceived as flimsy, and some wouldnt stay closed. The monitor screen didnt work well in full sunlight, and owners had to invent ways of shading the screen or enclosing the monitor in a small viewing box in order to make the camera usable with accessories in the daylight. Viewfinder brightness and CF door problems were partially fixed with minor mechanical design refinements and upgrade firmware features, but a large body of owners began to speculate about the next model. Certainly the image chip would have more sensors, but what else might it have?

The 2000 Millennium Coolpix came with a special body finish of satin magnesium plus a complete array of coordinated accessories.

Image courtesy of Nikon

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Nearly the same size as its predecessor, the Coolpix 990 appeared with an exotic dark metallic finish and violettinted finger grip. In some countries, the same camera is wrapped in black finish with a red finger grip panel, the way the 950 was originally styled.

EVOLUTION HAPPENS

At the Photo Marketing 2000 show, Nikon upped the bar. The Nikon 990 was announced, and people began rubbing their eyes all over again. Slightly thicker than its predecessors, the contoured body of the 990 is a dark metallic tech-gray housing surrounding a large number of ergonomic, monitor, CF media storage, menu, feature, and operation improvements. A clear evolution over the previous cameras, this one retained the basic design principles of the original Coolpix 900 while adding a Sony imaging sensor capable of larger, 2048 x 1536-pixel images; over 63% more than the Coolpix 950. Over two and a half times the sensor population of the Coolpix 900! The CompactFlash card now loaded from the right side of the camera, a finger-pad allowed quick selection from menu items, the Command Dial was more conveniently positioned, the tripod socket, sturdier, and the entire menu system was rewritten. Two movie modes joined the still image options. One shot up to 40 seconds of half TV-size motion at 15 frames per second for Web movies. Another shot at 30 frames per second for up to 80 frames. The camera now had uses for time and motion analysis. Larger images could be captured at speeds up to two per second. Autofocus options jumped forward by giant leaps. A five-zone autofocus selector targets which part of the image the camera will focus on. This model showed a series of evolutionary steps, verifying a trend toward the day when compact digital cameras will replace the niche that compact 35mm cameras have enjoyed for over 50 years.

SUDDEN FAME
Time Magazine announced in December 2000 their annual selections for Best of the Year. George W. Bush became Man of the Year for his success in the final election tally. The Nikon 990 became Machine of the Year and the icon for the maturing new field of digital photography. Warehouses began to empty of 990s at an unprecedented rate. Suddenly, this was the most desirable digital camera of them all.

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Mastering Nikon Compact Digital Cameras

EVOLUTION HAPPENS AGAIN

In the autumn of 2000 rumors began to circulate about the next generation imaging chips from Sony. New designs were supposed to be in the works with 4 and 5 megapixels. Little was known about them and the timing was odd. A year before, the idea of a coming next-generation chip had been in September. Now the rumors themselves were months late. If designers were to have larger chips in hand in time to design cameras for introduction at the coming PMA show, they would have to be producing the new camera designs at super human speed. Alas, the rumors were flawed. No 4 or 5 megapixel cameras were announced at PMA 2001. Nikon showed a secret prototype to a very few but it was obviously nowhere near as complete as the 990 had been the year before. And it was not a camera with a larger image chip. The usual April introduction of the next 9xx model camera was not going to happen. What was Nikon up to? Slowly the vision began to coalesce. It would be an evolutionarynot revolutionarycamera with a longer zoom, a pop-up flash, and a new power source. Perhaps mid-summer. Reaction was divided. What? Give up my AA batteries? A plastic shell around the camera part? No monster megapixel chip? Good Lord, what is the world coming to? Before anybody had held one, camps of grumblers had formed to decry thiswhat did you say its name was?

Nearly the same coat-pocket size, both the Nikon CP990 and CP950 brought serious digital photographic capabilities into the hands of their users

MORE THAN HALF FULL


The new model was to be called the Coolpix 995. A half-step of a camera. Just a few improvements on the 990 design. Then people started totalling up the components of this new model and it turned out to be more than a half-step over its predecessors. Lighter, rechargeable Li-Ion battery powered, 4:1 zoom, refined image qualities, reworked menu system, long exposure noise reduction, cleaner color, higher ISO, more robust auto focus, less red-eye, and all the features from the 990not a small amount of improvement at all. Throughout April and May, 2001, it seemed like you couldnt find a 990 for sale. The cupboards were bare. Prices inched upwardthe opposite of previous models experience. Nikon moved the introduction up as much as they could. It hit the shelves in late June and the pent-up demand pounced.

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This book will focus on the Coolpix 950, 990, and 995. All are high performance instruments. All have found use in professional hands, and all are affordable by people who wish to increase their photographic awareness and experience. So many of the capabilities of all three cameras run parallel courses that, wherever possible, techniques, secrets, tips, and InfoBites that apply to each will be presented. The more recent Coolpix 880 & 885 are similar to the 990 & 995. Where the 995, 990, and 950 differ, separate instructions for achieving results are provided. A chapter featuring the Coolpix 775 is included for perspective on the simplest of the Nikon compact digitals. It is ergonomic in the extreme and has taken over much of my own point and shoot photography. Many features are common to all three of the 9xx cameras, and any of these can teach the newcomer a lot about photography. If you have film experience, you will need to unlearn some concepts and add some new ones to your repertoire. If you are new to photography and have been fortunate enough to start learning with one of these models, congratulations, you have entered into a fascinating and rewarding endeavor, made only more pleasing by the features unique to these particular cameras.

PHOTOGRAPHIC SCHOOLS OF THOUGHT


There are two basic schools of thought in photographic thinking. One school is the inside-the-camera university, the other the in-front-of-the-camera school. In front of the camera, people and objects pose for a moment to have their picture taken. Often they wont know it, but thats okay, too. In the first school, you still direct people, moving them into the best position for a picture, but here you develop an appreciation for how light paints your subjects and makes photography possible. Inside the camera a bunch of science classes are in collision. Timings, data handling, optics, color analysis, storage, sequences of events, decisionsall are progressing automatically without direct intervention. Things that impact the collision of technologies inside the camera are the first tier of things photographers must place in their awareness. Things that happen in front of the camera run a parallel course. Knowing how both of these completely different subjects, the technical and the composed, impact each other is essential to getting the most out of a given picture, shooting session, or personal photographic style. We will break the inner technologies to you gently. By function first, often followed by principle, and then by how they can be manipulated for greater use and expression. Soon, the cause and effect relationships inherent in each feature and special procedure will become second nature. The camera will become less opaque in your hands, as easy to approach as any well-understood tool. Like a figure skater who uses the entire rink for a performance, you will be using the full range of these cameras to achieve your images without crashing into the walls at the edge of the ice. The goal is to get out of school completely with a masters degree. To graduate and get past the camera to the photograph.

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Mastering Nikon Compact Digital Cameras

BACKGROUND: DIGITS OR FILM?


Digital photography is vastly different from film photography in almost every way except that both use lenses, and both make pictures. Film is a strip of plastic coated with layers of chemical gel that responds to light. Digital imagers are computer-like chips with microscopic solid-state, transistorized light sensors arrayed over their surface. Color film has layers sensitive to different colors, and upon being developed, color dyes are chemically attached to areas of the film where color images were exposed. Every square millimeter of the surface is just as capable of forming an image as any other. Compared to the imaging surface of a 35mm film frame, the photosensitive surface of the imaging chip is tiny. About 18% of the diagonal measurement of a 35mm slide. Less than 6% of the 35mm surface area. But the individual light sensors are so small that you would need a research grade microscope to see them. Digital image sensors are identical, so there are color filters above each separate sensor which establish the Dust, fingerprints, and scratches. Things you will never color that sensor responds to. see on a digital image, unless you put them there on purpose. If each of the sensors in a Nikon 880/990/995 were an inch on a side vertically arrayed on the end of a building, the chip would be 128 feet wide by about 17 stories high (40.64 x 30.48 meters), and its diagonal measurement would be over two thirds of a football field, 213 feet (50.8 meters) long. In reality the pixels are so small that the actual diagonal measurement of the image sensing part of the chip is just about 8.6mm. Each sensor is around 0.000157 of an inch square. (This equates to under 0.004mm, far finer than the resolving power of color film.) In the Nikon 950, the chip is about 11% smaller in each physical dimension, and the sensors are each about 15% larger than the ones in the 880/990/995. The sensor The pattern of cyan, magenta, yellow, and green in the 775 is 20% smaller than the one in the 990, even though it has filters causes a full color image from one image the same pixel count. sensing chip. Electronic processing derives red, green, and blue signals from the array. The sensors are covered with color filters in an equal mix of cyan, magenta, yellow, and green. A circuit on each sensor observes how Mocha Pro 2019 V6.0.1.128 Serial Number - Crack Key For U the crowd of photons is, and these reports transfer electronically off the chip through a circuit as soon as the exposure is made. There, each sensors population is eventually given a rank from zero to 255*. From here on, everything is digital. Once in that computer, a huge amount of mathematical image processing takes place. Since it is all happening in custom silicon chips designed to expedite the process, it happens in the blink of an eye. Supercomputers that cost millions of dollars apiece during the 1980s were loafing in comparison to what a Nikon digital camera is accomplishing with every exposure. * Technically, this assumes an analog to digital conversion of 8 bits.
Higher bit counts are becoming available. The higher the bit count, the wider the potential dynamic range of the imaging system.

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Colors are redistributed, interpolated, balanced, amplified, compared with each other, and defined according to choices the photographer has made. Edges of color areas are examined, sharpened, contrasted, and mathematically analyzed and restructured in ways NASA imaging scientists find fascinating because much of the original algorithms were theirs. When it is all over, a picture is saved to another digital memory chip in the Nikons CompactFlash card. At full-speed, this can be happening up to 30 times a second in the Coolpix 990/995/775 for a reduced QVGA image, and the Coolpix 950 can take 100 TV-resolution pictures in 70 seconds.

The first thing people wonder about when they hear that this is a digital camera is image quality. These cameras make good 8 x 10 prints. Good enough for certain high quality magazine and advertising photography. Plenty good enough for you to use in your life and business.

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Mastering Nikon Compact Digital Cameras

THE F-STOPS HERE


Cameras portray shutter speed and lens opening in powers of 2. Shutter speeds progress from 1/4 to 1/8 to 1/15 to 1/30 to 1/60 sec, and so on. Iris numbers on lenses typically progress from f/2, f/2.8, f/4, f/5.6, f/8, f/11, f/16, and so on. Both of these measures are often termed stops although strictly speaking, only iris changes are f-stops, and any other doubling of light is an f-stop equivalent. When a photographer wants to give an exposure two more stops of light, there is no constraint that says this must be done strictly with the iris opening. So when you refer to doubling or halving the light, you call it stops in verbal shorthand which can mean iris or shutter adjustment or even a doubling of the sensitivity of the imager.

DYNAMIC ARRANGEMENT
Film records a deep range of tonal values from the brightest to darkest parts of an image. The dynamic range of an image is the measure of these extremes. Color negative film has a greater dynamic range than transparency film, and the Nikon digital cameras have less dynamic range. But one is forced to print color negatives in order to see what the camera gathered. As soon as a print is made, the dynamic range is compromised. Some of it is wasted, never to be seen. The lightest and darkest areas of a print are only about 200:1 in contrast. In the Nikon cameras every bit of the dynamic range is available to the print. What may have been the color negatives dynamic range of 11 stops ends up on paper as about 8 stops representing a lower printed dynamic range. In strictly practical terms, although the color negative has acquired an image covering a brightness range of perhaps 2000:1, the paper print or magazine reproduction can only portray a range of around 200:1. The blackest part of that image is only black in your sensation of it. If it were 200 times lighter, youd call it white. A supreme example of this exists in every sighting of Earths Moon. The actual color of the soil on the Moon is about as dark as the blackest ink on your morning newspaper. As one NASA researcher told me, Like fresh asphalt. (Hold your newspaper in the bright sun, and write over its headline with a black pen to understand how this rule of thumb works.) One of the photographic problems lunar astronauts encountered on the moon came from their own suits. White suits were used for thermal reasons. They didnt want to get overheated in the fierce direct sunlight, but the white suits are much brighter than the lunar soil. The reason video from the moon looked so dynamically poor was not because NASA sent poor cameras. When they shot an image of the moonscape at an exposure that revealed lunar detail, the figure of an astronaut in the frame was glaring white and overexposed. Transparency film is limited to the dynamic range between its densest black and the brightness of light passing through completely clear film. Even with the widest-range transparency film this is under 300:1. Images are stored in 24-bit format, meaning 256 levels each of red, green and blue. The image chip does gather a wider dynamic range than the 256 levels of storage accounts for and this wider range is compressed into the 8-bit per channel storage format. That digital image fits well within the printable range from blackest ink to whitest paper. Your digital Nikon is optimized to use its dynamic range to capture the best image that can be formed out of the middle approximately 450:1 brightness range of everyday subjects. When limits like that are encountered, this eBook will help you understand what to do next.
A perfect photo would make an image that duplicated reality (the gold diagonal). Film rolls off in the shadows and highlights, but digital images have even less room. This makes accurate exposure vital.

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ISO AND EV
As it turns out, an image on video, film, or digital occupies a particular zone of best performance in terms of relative luminance in compared to image results out. This zone of best performance is given a sensitivity number called its ISO Index. International Standards Organization numbers equate closely to what used to be the ASA index of film sensitivity several decades ago. One talks of film speed the same way one talks of digital camera sensitivity. The Nikon 950 cameras have a default ISO sensitivity index of 80 in full Auto mode. Additional ISO sensitivities of 100, 160, and 320 in the 950 (100, 200, and 400 in the 990/880 and an extreme ISO 800 in the 995) can be selected to increase camera bitdefender total security 2020 offline installer. The good reason to use low ISO values is image quality. EV stands for Exposure Value and is also expressed in f-stops. An easy method is provided to adjust the cameras automatic metered exposure up or down by 2 EV numbers making the image brighter or darker. When you put in an EV number of +1.0, you have just told the camera to constantly let in twice as much light as the meter thought it needed for the shot in question. This is not the same as adjusting the ISO sensitivity. When you adjust the ISO sensitivity upward, an image will have the same brightness but be exposed with a smaller iris opening in the lens, a shorter shutter speed, or both. More sensitivity needs less exposure. Since the total number of photons allowed in is fewer, the adjusted sensitivity compensates by amplifying the picture electronically, and usually the image picks up more random noise, which looks like grain.

IRIS: THE GRAND OPENING


The iris opening in the center of the lens is another adjustment that works on the powers of two principle. This opening is the heart of what an f-stop actually is. The number associated with the iris is a description of the size of the hole relative to the focal length of the lens. A 50mm lens with an iris opening 12.5mm across is exactly f/4. The progression from f/4 to f/2.8 is the closest round number representing an exact doubling of the previous amount of light entering the lens. F/2.8 is really f/2.828428. Notice that the multiplier from one iris number to the next all progress at a rate of 1.414. x each time; that number being the square root of 2. When a circle enlarges by 1.414. x, its area exactly doubles. A hole with twice the area of another hole will let in twice as many photons. End of the math lesson. Originally, lenses had sliding plates with different-sized holes in them that stopped at a detent when centered just behind the glass. Hence, stops. End of history lesson.

EXPOSE YOURSELF
With a coordinated orchestration of camera sensitivity (ISO), shutter speed, and iris opening, one can achieve the correct exposure for a given lighting situation. An old rule of thumb says that in full noon daylight, the appropriate shutter speed for an exposure equals f/16 @ 1/ISO number. Thus, using the Nikon 995/990/950 default ISO, the appropriate full daylight exposure would be f/16 at 1/80 sec. Thats fine, except for one thing. None of these cameras has an iris setting of f/16. The smallest f-stop opening on these cameras is only f/11. How is the exposure correctly achieved? The only things one might adjust are the ISO sensitivity or the shutter speed. The sensitivity is at minimum so shutter speed is the only option. Thus, the camera should make a good image using f/11 @ 1/160 of a second. Raise one quality by one stop, while lowering one or both of the others by a cumulative one stop, and the resulting exposure remains the same. The light is always different for each subject in each situation. Accurate metering is needed for good exposures. Since these digital cameras are attempting to achieve a good image for each shot, they have some of the most sophisticated light meters ever built into a camerathe image chip itself.

Each circle is 1.414 times the size of the one below it. Each is twice the area of the next smaller circle. F-stops, shutter speeds, and EV adjustments are all based on powers of 2.

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Mastering Nikon Compact Digital Cameras

METER MADE
Three different types of exposure meter drivermax crack 9.32 - Crack Key For U in the Nikon 880/885/995/990/950 cameras. Matrix, Center Weight, and Spot are the names they go by, and while Center Weight and Spot meters may be intuitively understood, what is a Matrix meter? The Matrix meter in all of the Nikon compact cameras is a very smart metering system. It looks at the image chips live picture, divides the scene into 256 rectangular areas, observes what the average light intensity is in each area, runs those numbers through a computer, compares the results to a list of possibilities, and decides the most likely exposure. It can be fooled, but most of the time, it knows what its doing better than you do. If you are shooting an indoor scene and a small window in the back of the shot is showing a bright exterior, the Matrix meter will consider the larger interior part of the shot to be the thing you wanted to expose correctly. If the window occupies a significant contiguous portion of the whole image, the Matrix meter will assume that the contents of this bright area is the most important and will expose for that, If you were to take spot readings of brightness values from forcing the interior part of the shot to be darker. When the Matrix several zones of an image, you could make a much more meter detects a scattering of bright areas, it assumes that they may educated determination of the exposure. be lights or random details, not important enough to bring into better exposure. When the Matrix sees an ambiguous cluster of light and dark zones, it will average them and factor them differently. A famous photographer, Minor White, working closely with Ansel Adams, developed an exposure system back in the 1950s called the Zone System. What made the concept viable was the development of the spot meter. In the Zone System, spot readings were gathered by the photographer of various highlight, midtone, and shadow areas, and through a mathematical calculation, an appropriate exposure and development strategy could be previsualized. The Matrix meter does much of this automatically. In the Nikon CP880, CP885, CP990 and CP995 the images contrast can be allowed to adjust itself dynamically using the Matrix meters findings, producing a more systematically adjusted exposure and dynamic range.

An image in front of the camera is comprised of millions of details. Which are best to judge exposure? Which can be ignored? When the image is viewed drivermax crack 9.32 - Crack Key For U 256 light-averaged areas, a fast, accurate metering calculation can be performed.

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Heres Nikon Digital Photography

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HERE SPOT
The Nikon 880/885/995/990/950 have Spot meters built into them. When the Spot meter is selected from Menu Page 1, a small rectangle in the center of the monitor screen comes on and shows the area that the meter is considering. The rest of the image is completely ignored. Only subjects inside the bright line are being regarded for exposure. If you have positioned someone against a picture window open to the sunlit vista beyond and want to expose for the person, not the scene, turn on the Spot meter and put the spot on the person. Now when you half-press the shutter button, the exposure is computed only for the person and the bright background is ignored. Back-lit situations like this are the most common use for this meter, but some like to keep it as their preferred meter after they learn to take advantage of it. Note that extremely front-lit subjects, like the picture above, benefit from spot metering.

The spot meter in the Nikon cameras is sophisticated. It reads only the light inside the small rectangle on the monitor. The five-point follow-focus spot meter on the 880/990/995 adds extra capability.

CENTER WEIGHT GAIN


The Center Weight meter is like the meters on most point and shoot cameras. It reads the scene and exposes for the average of brightness in the center of the shot. In a way, its like the spot meter, only the spot is large and fuzzy instead of being a well-defined small area. For many things such as portraits and outdoor scenes that are well lit, this meter can be your friend. When you are faced with a scene of even illumination, as is found in many office areas, urban vistas, and low contrast settings, try the Center Weight meter. For many situations, the Matrix and Center Weight meters will give virtually identical results. A white wall will read the same with all three. Their chief difference is the amount of image they sample and how they divide up the remo recover software full version free download. It is worth your time to shoot a number of images just to feel how each meter works with the sort of photography you encounter.

The center weighted meter gives greater emphasis to the middle of the shot with about 80% of the reading happening in a circular area in the middle of the frame.

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Mastering Nikon Compact Digital Cameras

RULES OF THUMB
If ever there were a place for rules of thumb, photography would be it. Perhaps the first rule of thumb would be to never get your thumb in the picture. Here are some old chestnuts and their exceptions. If you shoot exposures that are 1/30 sec or longer, you will need a tripod. When you shoot indoors, you need a flash. Keep both hands on the camera for steadiness. Photographic talent is something you are born with. The best images have the sun at the photographers back. When shooting outdoors, you dont need a flash. The best shutter speed for flash is 1/60 sec. Combined with these are the superstitions about photography. The way to get the best image is to tell everybody, say cheese. Put your subjects nose in the center of the shot. Digital cameras are poorer at taking pictures than film cameras. Everything looks worse in black and white. If the image isnt perfect in the camera, it never will be. Shadows have no color of their own. Rules are made to be broken, right? And we all know where superstitions belong. While each of these may contain a kernel of truth, they are far from the whole story. Lets take a look at how they may be transcended.

IF YOU SHOOT EXPOSURES THAT ARE 1/30 SEC OR LONGER, YOU WILL NEED A TRIPOD.
Mostly right. The subtle movement of your hand will probably spoil shots that are taken at 1/15, 1/8, and 1/4 sec or longer. Help exists in the unique Nikon feature called BSS. BSS stands for Best Shot Selector, and here is how you use it. On Menu Page 1 of any of these cameras you can turn on the BSS feature. Immediately, the camera flash is disabled and the camera enters into a new method of taking pictures. When the shutter is pressed, the camera takes a sequence of four or more shots in rapid succession. When the shutter button is released, or the internal memory of the camera is filled, the camera examines each image for indicators of sharpness. As an image is compressed, sharp edges take up more memory than soft edges. The computer routines that compress images simply work that way, getting hung-up on the details. Sharper images take up more space in memory than nearly identical, but softer images. The BSS program inside the camera finds the one most-recent image that takes up more space than the others and saves only that picture. The others are discarded. BSS has found the best shot, selected it, and trashed the losers.

BSS takes a string of images and holds them temporarily in memory. The picture with the sharpest image is saved. Even at very slow shutter speeds, one image may have enough accidental steadiness to be worth keeping.

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WHEN YOU SHOOT MOBILedit Forensic Express Pro 11.5.0 Crack + Activation 2021, YOU NEED A FLASH.


It is nice to have a flash for most indoor shots, but the Nikon cameras have options. The 950s film sensitivity can be boosted to ISO 320 (ISO 400 in the 880/990 and ISO 800 in the 995). Underexposed images even made at this elevated ISO can be manipulated after the image is brought into a computer. Here one can recover relatively decent tonal values in some cases. Switching to B&W can cover some artifacts and cause very interesting images to be captured in night and low light conditions. The BSS feature, while not an image stabilization feature, can help one get better available darkness shots in a jam. But BSS cant capture the decisive moment the way a drivermax crack 9.32 - Crack Key For U can. The use of flash may cause red eye effects on people in dark areas. Off-camera flash units such as the Nikon SB50, used with the Nikon SK-E900 flash bracket, permit better control of electronic flash exposures and lighting techniques. A number of third-party flash units work well with these cameras, and many permit bounce flash. Some take extra attachments to diffuse or change the color of Indoor images can be made without flash under normal room lighting with elevated ISO, achieving a more candid look. This image is an extreme the light, making the color of the flash match to indoor, example because it was shot at ISO 1600+. The inset shows the dark incandescent lighting.
original. Software on the CD helps you recover images like this.

KEEP BOTH HANDS ON THE CAMERA FOR STEADINESS.


The number of hands on the camera is not the thing that determines steadiness. The stability of the camera is all that counts. The most important thing is to have a secure hold of the camera virtual dj pro - Crack Key For U. The Grip. With your right hand firmly grasping the right half of the camera, a number of options become available. To give your right hand the greatest leverage, try to consciously press the camera into your right palm from time to time as you shoot, and re-wrap your fingers, freshening your grip. Holding the camera in both hands out in front of your face while using the monitor to frame the shot is usually less steady than holding the camera against your face while using the optical viewfinder. Your head is usually a very steady platform. After all, its the only thing stabilizing your own biological cameras. Often, the most stable grip on the camera is with a single hand touching the camera and with the other hand stabilizing the wrist of the camera hand. Your body is the most stable thing you can lock the camera to, other than a solid object. A wall, post, fence, railing, table, pole, knee, chair, window, fender, door, or tree can become an impromptu brace for your camera The goal is to steady the camera. Sometimes two hands arent as good as one steadier hand. Once the camera hand.
is firmly in your right hand, your left hand can stabilize the camera body, or your right arm or wrist.

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Mastering Nikon Compact Digital Cameras

PHOTOGRAPHIC TALENT IS SOMETHING YOU ARE BORN WITH.


While some people can have an innate sense of artistic expression close to the surface of their consciousness, there is no photographer gene in our DNA that allows some people to be good at it while precluding others from being photographically aware. Photography is not more complex than speech. We all learned that. Like many things that appear to be dauntingly complex, the elements of photography are a number of things that can be learned, practiced, observed, critiqued, and transcended. You can learn composition by rote at first, keyshot 9.3.14 crack by habit, then by conscious awareness, then by creative invention. Thats how we learn to speak. Word play begins with our mothers naming things for us, correcting our misconceptions. We add verbs, adjectives, and inflection, we play with new combinations, create new sentences, and end up composing emails, poetry, jokes, slogans, grocery lists, novels, and love letters. Doing all that is far more complex than learning how If you can learn to speak, you have already achieved something far more complex than learning photography. to aim a camera at interesting things, zoom to compose the image, move to position the subject matter better in the frame, hold the camera appropriately, and trip the shutter.

THE BEST IMAGES HAVE THE SUN AT THE PHOTOGRAPHERS BACK.


Not necessarily. While an image is a record of the objects in front of the camera, it isnt the object you are capturing at all. Only photons* of light bounce off the object and make it into your eye or camera. When the sun is at your back it is on your subjects front. It often looks better if it is coming from slightly to one side. You can hold your hand in front of your face and see how the sun looks on flesh. Make a fist and you will see a complex of surfaces, highlight, and shadow areas. Fill light and bounced light are all present in the image of your hand in front of your face. You can begin to predict how the angle of the sunlight on your subject might work to paint the subject for a more effective photograph. Later in the book you will find instruction on basic lighting and how you can manipulate inexpensive flash units to give very professional lighting results. *Photons are the smallest units of light. Over four quadrillion of them arrive on every square millimeter of our cheek every second from the sun during the day. Numbers like that are so impossibly large we have no intuitive concept of what they imply. Try this: If you were to count all the photons during a 1/125 sec exposure that bounce off a square millimeter of your subjects nose, at one per second, it would take you over a million years.

Threat or promise? Neither; its a lighting test. Hold your fist in the same light that is falling on your subject to estimate both lighting conditions and potential remedies for problems.

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WHEN SHOOTING OUTDOORS, YOU DONT NEED A FLASH.


Much of the time this is true. Some of the time you will need to fire your flash into the scene adding a little extra fill to the picture. Not all images need sunlight to touch your subject in the face directly. With camera flash added to a close-up portrait posed with the sun behind your subject, the shadow side can be brightened while sunlight becomes a strong back light. Using the camera speedlight, Nikons term for the built-in flash, permits you to fill shadow areas of close objects very effectively. Learn how to make this idea work for you by experimenting liberally with it in the sun. You can force the camera to trigger the flash by selecting the forceflash icon (the lightning bolt arrow) with the flash mode selector.

THE BEST SHUTTER SPEED FOR FLASH IS 1/60 SEC.


There is no best shutter speed for flash. Since most flash shots are made in places with some existing light, it is often more natural to have some of that light in the shot. For this reason, a 1/30 or 1/60 sec exposure may be a good compromise. For tighter control of existing light, you can set the cameras shutter to very fast speeds. Film cameras often have a shutter that only synchroWith the sun at a high angle behind your subject, nizes at certain low speeds. With the Nikon digital cameras, the entire an on-camera flash wont look the way it does in indoor shots. Here it adds just a little fill light to the moment of exposure is closely controlled by very precise computer front of your subject reducing the contrast that strong actions that synchronize to the flash trigger. backlight produces. The 9xx cameras let you enter Shutter priority mode and set to maximum shutter speed and still sync. In the 950 this means 1/500 sec, in the 990 the camera allows 1/1000 sec synchronization. The 995 carries this all the way to 1/2000 sec!

TO GET THE BEST IMAGE, TELL EVERYBODY, SAY CHEESE.


What you really want to do is have people smile, look pleasant and unnatural, right? Oops, that wasnt what we wanted. You will have greater success with English speaking subjects if you ask them to say the word, Nice instead. Now they dont look like over-smiling loons, but have a natural pleasant look to their mouths and eyes. Part of the effect comes from the subject encountering some other thing to say than the standard cheesy line. Some of it comes from the psychology of being asked to say something nice, even if it is only that word. As subjects, we have a hard time saying nice while harboring grim thoughts, and it shows on our faces need for speed hot pursuit crack only download - Free Activators the shutter clicks.

The Nikon cameras will synchronize flash at every shutter speed. By using Shutter priority you can have your flash and fast shutter speed, too.

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Mastering Nikon Compact Digital Cameras

PUT YOUR SUBJECTS NOSE IN THE CENTER OF THE SHOT.


Nobody really says this, but from the look of things, too many people believe it. In composition class, as the eBook unfolds, we will discover a lot of different ways to shoot a face, a person on vacation, a family group, a kid at play, and a straight-on portrait. Some of these will actually have the nose in the middle of the shot, but not because of this old chestnut. The only reason a nose will end up in the middle of the shot is because thats where it happens to land while some other, deeper sense of composition was being exercised.

DIGITAL CAMERAS ARE POORER AT TAKING PICTURES THAN FILM CAMERAS.


Some believe that film is superior because of the numbers. Lines per millimeter. Dynamic range in f-stops. That sort of thing. Film still wins with numbers like that, but these Nikon digital cameras make extraordinarily good images without film and processing costs. They let you review the images right away, throw the bad ones out right now, and see what the shot is going to look like on a TV screen as you are working. Film cameras dont do that. Center the nose? Sometimes yes, All of the Nikon 775/880/885/995/990/950 cameras shoot images clear enough to sometimes no. Eyes are a more imporuse undetected in motion picture special-effects shots. As photographic tools, they are tant detail to emphasize. capable of things even 35mm and medium-format cameras cant achieve. As you begin to expand the types of images you shoot, you will find that the most of the Coolpix cameras will go places no film camera can, simply by the design of their physical layout. At a whirlwind shoot in the offices and work spaces of Hallmark, I was able to take photos of artists at work at their drawing boards in very limited spaces, often holding the camera in the corner of a shelf to get the shot. Any camera Today black and white photography is considered a that forces you to look through its back surface to frame the shot is special effect. (Actor Austin Vulich.) designed along traditional principles (read: obsolete). These cameras are better than film in some ways, and film is better in others. These cameras wouldnt be your first choice to shoot the team group shot, but that 6 x 7 Mamiya isnt your first choice to shoot the party that follows.

EVERYTHING LOOKS WORSE IN Adobe Premiere Pro CC Patch AND WHITE.


Paul Simon wrote that line in the song, Kodachrome, in 1969. He was kidding, but the sad thing is that many people still believe it. Later in the book you will find exercises that force you to see and shoot in black and white in order to train your eye and thought processes. Black and white is a different art form. Not all images are best seen in natural colors, and techniques will be given that let you turn color pictures into black and white images. Knowing when to shoot in black and white is something you can become sensitive to. The Nikon cameras all allow you see the black and white images on the monitor as monochrome images directly. No film camera can do that. With every film camera, one must think in black and white while watching the scene in color.

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IF THE IMAGE ISNT PERFECT IN THE CAMERA, IT NEVER WILL BE.


There never has been a camera that got the shot perfect in the camera every time. Its always something. The tonalities arent optimum, the color is a tad too cool, the background has a distraction in it, the exposure was too bright or dark, the shadows and the highlights were too far apart, a fly landed on the models ear just as the shutter clicked. And these are the things that have gone wrong with film and digital images since day one. How are issues like this handled in film? Scan the film into the digital realm, then fix it. With the Nikon cameras, your image starts digitally so fixing it is a lot more immediate. The next chapter deals with the most common things you can fix with the preferred software, Photoshop.

Every film image gets individual treatment in the lab from one-hour finishers to custom printers. Digital images benefit from custom treatment in your computer. The digital before/after manipulation here has cut through 12,000 feet of atmospheric haze. The iNovaFX Photoshop Action filter that does this is on this eBooks CD.

SHADOWS HAVE NO COLOR.

Interrupting a beam of light with an opaque object produces no color, but it opens up the possibility for other stray light to affect the shadow. Light that was there all along. The reason shadows arent jet-black is because they are illuminated with light bouncing off everything else. Along with sunlight comes blue sky, for instance. Where the suns rays cant reach, the sky often can. If it is intense blue, the shadows can fill up with light that includes a large component of blue sky light. Photographers call this blue spill. Your eyes often wont see it this way, since their sensors are a combination of luminance and broadsensitivity color receptor cells. Your brain needs to see the color of the object in spite of the color of the light illuminating it. Photography, both film and digital, must deal Golden rays of sunset meet the blue of the sky in this with absolute mixtures of primary colors, so dyes, inks, pigments,and unretouched image from a CP950. Under conditions glowing phosphors can portray a reasonable approximation of reality. like this, the shadow on the wall could be directly observed to contain obvious blue spill. Film is manufactured with its color sensitivity locked-in at the molecular level. Shoot with the wrong light, and the photographs will be filled with unwanted color. Yet the daylight streaming in through a window into a room lit with incandescent light looks fine to our eyes. Obviously seeing and believing are not in the same camp. Its no wonder that eyes cant see the blue sky light filling in the shadows in direct sun. Knowing this, you can train your eyes to see where blue from the sky is, or is not, creating interesting blue shadow opportunities.

CHAPTER 2 DIGITAL COLOR AND THE PHOTOSHOP CONNECTION


NIKON COMPACT DIGITAL CAMERAS ARE SO DEEP AND FEATURE RICH THEY NEED DEEP AND FEATURE RICH SUPPORT AFTER THE SHUTTER BEEP IS A DISTANT MEMORY. TOO BAD PHOTOSHOP IS SO HARD TO LEARN. OR IS IT?
COLOR BASICS
Color photography of all types deals with two different ways of forming an image. The camera and the display. Cameras must acquire the scene and somehow break it down into colors for storage. Nikon Coolpix cameras form red, green, and blue (RGB) output channels derived from their cyan, magenta, yellow, and green sensors. Computer CRT monitors have red, green and blue phosphors that glow when hit with electrons. This is no coincidence. Additive color images are formed when proportions of these pure colors As far as the camera or your pile on top of each other in our eyes. With the right mix, we see white and all the colors eye is concerned, the world of the rainbow. is glowing at it. A computer display glows and mixes colors Yellow is made when red and green in your eye from red, green, light mix on your retina. Magenta and blue segments only. The inset shows what the image is arises from blue and red light mixing perceived to be. and cyan light is what we see when blue and green are mixed. The information for each of these color channels is a black and white image its just a range of tones from darkest to brightest. Glowing red, green, and blue images piled on top of each other all at once, or when put onto a piece of film in a triple exposure, will form a full-color picture. When you cause a picture to happen from tiny glowing spots, the colors blend together in your eye. When you shine a light through an image or off a piece of Pull white light apart, and you paper, it has to absorb some of the white and only let the color picture pass through get the spectrum we see in a rainbow. Add red, green, and or bounce back. blue elements together and In prints and slides, materials are used that absorb light. Here cyan, magenta, our eyes see the result as white, even though some parts of the and yellow (CMY) inks or dyes overlay each other and let only the light they spectrum may be missing. dont absorb pass through. Why these colors? Each ink Ultraviolet Infrared actually lets 2/3 of the color spectrum pass or bounce off Visible Spectrum (human color vision) the page, so it takes two different inks or dyes to cause any given primary color like 400 500 600 700 red, green, or blue to shine Wavelength in Nanometers (billionths of a meter) through.

2-2

Mastering Nikon Compact Digital Cameras

Red is one part magenta and one part yellow, and when magenta and yellow are mixed on the page, only red light, common to both, survives to bounce off and reach our eyes. The bluish component of magenta is neutralized by the yellow which absorbs blue. Cyan and magenta only have blue in common, and when they mix on top of each other, only blue light bounces back from that part of the picture. Yellow and cyan let only green bounce up. Each dye subtracts (absorbs) the noncommon part of the other dye (color). Pile all of them on top of each other, and they subtract it all, and if the dyes are pure enough, no color escapes and that part of the image looks black. This sort of subtractive color is used in film transparencies, photographic prints, and the inks that print full-color pages in inkjet printers and on large presses for magazines and books. Many printing inks or dyes need a little extra help in order to make good-looking dark blacks. Black ink is added on certain inkjet printers, such as the Epson models, and in mass printing processes, to boost the contrast and produce deeper blacks (as with the circle of black at the center of the figure above). Some photographic desktop printers seem to have such pure color inks that they can produce photographic results from just three colors of ink, the DeskJet Printers from HP and Bubble Jet Printers from Canon.

THE COMPUTER CONNECTION


When you wear a fabulously well-tailored suit, you dont want cheap shoes. Software in your computer will finish what the camera starts, so you would be ill-advised to stop learning digital photography as soon as the exposure is finished. You didnt get this high quality camera just so you could ignore the rest of the process and stop making the picture at the sound of the beep. To create custom prints, reduce images to Web size, maximize the impact of your images, and for all forays into the loftier realms of photography as a creative medium, you have to touch the image to bring it to a higher place. Much of this is done with lighting, framing, and exposure in the camera, and later sections of this book will give you plenty to do in these areas. On rare occasions the image from the camera will be perfect when it slides out of Daunting or easy to use? Experiyour printer unmanipulated. For the other 99.9% of the time, you will need to augment ence it for an hour or two, and your efforts in the camera with adjustments, creative opportunities, crops, size changes, youll realize that it isnt difficult and tweaks from a software program in your computer. The software you use is aAvast Internet Security 20.9.5758 Crack - Free Activators to learn the basics, and you can keep learning it for years. important as the camera you have acquired. Software came with your camera that lets you do basic digital manipulations and even a range of special effects. NikonView software lets you open folders full of images and see the shots as large icons arranged as if they were a bunch of slides on a light table. This is very helpful for first determining what your shots are like. Basic judgements can be made about brightness and color at this size, and you can click on the images to open them as larger images for closer inspection. Photoshop is an element in the mastery of digital image manipulation as constant and omnipresent as Kodak is in film. It isnt everything, but its way ahead of whatever is in second place. Thats why the Photoshop Tryout is included on this eBooks CD. Its the right program to finish your shots with mastery. Other image manipulation programs are available, and all have their strong points and weak points. For many, Photoshop Elements will do a lot. Too bad it doesnt read my iNovaFX Photoshop Action filters. Still it will be your second-best choice. For the greatest benefit to your digital images, you will want to upgrade to the full strength version of Photoshop with all of its bells and whistles.

Chapter 2

Digital Color and the Photoshop Connection

2-3

THE DIGITAL DARKROOM


Darkrooms arent dark any more. Think of it as a dimroom, a place without glare on the computer screen. In the chemical era, the darkroom was the only place you could efficiently organize all the enlargers, trays, developing hardware, chemical fluids, and wash systems, and it had to be absolutely lighttight to do color work. In black and white darkrooms, a deep red light was the only light you could work under because the papers were only sensitive to bluish light. Color materials had to be handled blind. Today, a computer, printer, and software cost about as much as a fully equipped color darkroom, but the flexibility and depth of achievement has skyrocketed. No chemical darkroom could ever surf the Internet. Fully equipped, the digital darkroom is the custom finishing center, the storage library, and the distribution nexus for your images. No wonder the most common form of darkroom these days, even for film originals, is the same one your Nikon feeds directlythe digital darkroom. Scans of negatives and transparencies are now the common starting place for film work. The finishing tools are the same ones your Nikon Coolpix needs. An editing program, HotBox, included with the 950, gives you the opportunity to re-size, color change, sharpen, and add some special effects to your digital images. As image manipulation programs go, it is basic and will allow you to play with some of the concepts of the digital darkroom. If you purchased a Nikon 880, 885, 990, 995, or 950 and want to finish your images with a program that is a direct match to the values of your camera, Photoshop is the answer. It is the program others are compared to and to which they aspire. Its not cheap, but then neither was your camera, nor are your images.

You have choices. A few printers can make prints from the cameras CF Card directly, and the cameras can hook up to computers for direct downloading of images, editing, and distribution on the Internet. Alternatively, the computer can download images from a CF Card Reader and become the center of a complete digital darkroom. Here images can be distributed to deep storage (represented by the CD R recorder), the Internet, and into Photoshop for the most advanced editing and printing to a wide variety of printers. One can start with the simple system and add a CF Card Reader, CD R storage, and Photoshop over time.

Cameras are portable; the rest of your production process can also be as portable. Laptops with high quality color displays, of at least 1024 x 768 pixel resolution, make it possible to do professional dimroom work anywhere in the world.

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Mastering Nikon Compact Digital Cameras

THE FAST TRACK TO PHOTOSHOP


You can learn 80% of Photoshop in seven quick steps. Most of these steps work with Photoshop Elements, too. Many people have said that they see Photoshop as a daunting learning curve of effort and frustration. From the viewpoint of Photoshop users, this simply isnt the case. In fact, you can learn Photoshop one trick at a time and get immediate satisfaction from it with a little basic guidance. If I were looking over your shoulder while you were trying the program beyond compare software for the first time, I would guide your attention to things in this order: Learn to open an image and save it under a new name, so the original wont

accidentally be replaced by future saves. (The Save As function) Learn to open an image and save it as a different form like PICT, TIFF, JPEG, and Photoshops native PS format. (The Format option in the Save As function) Learn how to change an images lightest, darkest, and middle values with the Levels control. Learn how to change an images brightness values with the Curves control. Learn how to use the gray eyedropper in the Levels or Curves control window to instantly fix color balance issues. Learn to add and subtract chroma, the amount of color, to an image with the Hue/Saturation control. Learn how to apply the Unsharp Mask filter from the filter menu. Learn how to use the Burn and Dodge tools to darken and lighten local areas of your image.

This would have taken about an hour of your time. These basic manipulations are the ones you will use 97.2% of the time. The other 2.8% of your time will be consumed in filters (easy), masks (tougher), special effects (fun), and exotic manipulations (which can be so involved that these are probably why people think Photoshop is hard to work). For many of those last items, this eBooks other files provide solutions. Since opening and saving files is such a basic function, Ill assume you already know how to do that. What follows are the other steps that will help you learn the basics of Photoshop right this hour. (Note that many Photoshop tools are selected with key shortcuts. The Command key is used in Macintosh computers and Windows computers use the Control key, Ctrl, plus individual letter keys to select some tool and windowed controls.)

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Digital Color and the Photoshop Connection

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DIGITAL PHOTOSHOP DARKROOM TECHNIQUES


IN SEVEN EASY LESSONS.

PART ONE. TONAL BALANCE.


Tonal balance refers to the brightness dynamics of the image. Some programs, including Photoshop, have controls labeled Brightness and Contrast. Try to avoid these controls because they almost always cause information to be lost as they do their job. Other controls achieve the same results but let you see what you are doing. Think of it this way, a digital image is made up of not numbers but spots of brighter and brighter gray until the top one is white. This happens in each channel of the three colors necessary to build up a color picture. Red, green, and blue, RGB, each have 254 levels of gray between black, level #0, and white, level #255. For many changes in your image, you dont want to change the color, just the brightness of the image in certain central ranges. Here are tools that do exactly that.

1. LEVELS
(COMMAND OR CTRLL)

The Levels control lets you adjust the top, bottom, and middle values of the image separately. Sliding the middle control, the gamma adjustment, is a surprise to someone doing it for the first time. Wow, look at that, the whole picture got brighter. In a technical sense, just parts of it change, but the middle values are adjusted up or down with this control, giving that impression. For many images this may be all you have to do. Supporting your adjustments is a histogram of the brightness values in your shot. Its that mountain range-like graphic. As long as the range doesnt extend off the sides of its frame, you can pull the shadow point indicator in from the left and the highlight indicator in from the right and cause the mountain range to spread out over a wider space. A Contrast control would achieve the same thing, but here you can see exactly what you are doing and more importantly, when to stop. If you move the control into the space occupied by the histogram, you are defining the cutoff value for the top or bottom of your shot. Anything outside the shadow and highlight indicators will be lost into the white or black of the resulting image. The center gamma control lets you pull the middle tone of the image up or down. The effect is very much like adjusting the exposure, but the shadow and highlight extremes of the image dont change. In effect, you are changing only the center of the exposure. Play with this control a lot to see how your image behaves. You dont have to accept changes you make with it, and the next control may be more to your taste.

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Mastering Nikon Compact Digital Cameras

2. CURVES
(COMMAND OR CTRL M) (NOT AVAILABLE IN PHOTOSHOP ELEMENTS)

The Photoshop Curves control is much like the Levels control, except it can do more in a different way. When you open the control, it is a chart with a 45 slanted line across it. This line stands for the tonal value in compared to the tonal value out. You can choose to have the bright part of the image in the lower left or upper right with a click on the brightness bar under the graph. Since the image starts with its beginning values, the line is a neutral Soda PDF Home Crack 12.0.186.2161 & License Code [Latest] 2021, and even though it is straight, it is called a curve. If you click anywhere on the graph, a midpoint is instantly created, and the curve immediately flows through it. The first click defines a gamma-like adjustment similar to the gamma adjustment in the Levels control. You can move this point anywhere on the surface of the graph and achieve all sorts of results on the image, both good and bad. Experience here will be its own best teacher. With a second click, a new point is created along the line. Now you have a control that is much more sophisticated than a simple gamma adjustment. With care, you can gently reshape the highlight area AND the shadow area while letting the curve flow through the middle of the graph unchanged. This gentle S curve (top image) can go a long way towards softening up a contrasty original, making it look much more like a film image. If you like the look of a particular curve, you can save it to a folder in your computer, and bring it back later, in order to apply it to other images. A folder full of curves is found on the CD, ready for you to play with, learn from, and modify to your hearts content. With more points added to the line, you can shape it into some very strange twists and make special effects. Digital solarization can be produced as soon as any portion of the line travels downward instead of steadily upward, as in the bottom image. The end points are movable, too. You can use this to cause the line to flatten out at a certain value. We will reveal a number of other uses for this control later in the book.

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Digital Color and the Photoshop Connection

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PART TWO. COLOR ADJUSTMENTS.


The next group of controls adjusts the color qualities of the image. Photoshop often has several ways of achieving results, and color adjustments are made in several ways. You may prefer some to others, but it is nice to know several methods that approach the idea in a different way. This first technique is unique in that it is so very quick, easy, and accurate.

2A. CURVES OR LEVELS AGAIN


(COMMAND OR CTRL -M, -L)

The Curves and Levels controls have a special feature useful in color control of your image. Three eyedropper controls with black, gray, and white fluid in them are used to sample the images brightest, darkest, and most neutrally colored places for fast adjustment. The middle eyedropper is the one with the greatest color correction use. The default setting is for middle gray. Double click on it to see where it is set on your computer. Not gray? Easy to fix. See those boxes labeled H:, S:, B:? B = Brightness. Enter H: 0, S: 0%, B: 50% and the rest of this idea will work for you. Now touch this Gray Eyedropper cursor on any object in your scene that would naturally be close to neutral gray. It doesnt matter whether the gray part is light or dark, just so long as it is supposed to be without other color. The white trim of a house in slight shadow, a whitewall tire or the dark gray of the tire itself, a gray patch of pavement, a gray foggy sky, a colorless rock, lettering on a sign, a silver car, a white shirt all of these will work if you find the right place to click. As soon as you click on your reference object, the entire scene adjusts to re-color balance to that sample. The control adjusts the Red, Green and Blue channels in a way that turns the reaper mac crack - Crack Key For U you sampled into a neutral gray hue. The brightness of the sample isnt changed, just its hue and saturation. Play with this control a lot. Its surprising to see how dramatically it works. After a while, you will become quite adept at improving the color of images shot in shade, indoor light, office light, and in errors caused by outright mistakes. Shade often tends to look cool, due to contamination from the blue sky. Indoor light can be recorded too warm, due to incandescent bulbs on dimmers. In office light, which is often greenish due to fluorescent lights, the color is dependent on the exact formula of the bulbs and no one fluorescent setting will get all of them perfect. Then there are the mistakes. Some will be due to your forgetting to put the white balance on the right setting; some will come from mixed light situations that simply cant be correctly guessed by the Auto White Balance feature of the camera. When any of these show up on your computer screen, hit that center eyedropper in the Curves window, and start looking for a likely gray object in the shot. The image above was exposed with the camera set to the wrong white balance. Fortunately, the strip of cement (arrow) was neutral in color, and simply clicking on it with the neutrality eyedropper created the vivid, realistic result.

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Mastering Nikon Compact Digital Cameras

3. HUE/SATURATION
(COMMAND OR CTRL -U)

Photoshops Hue/Saturation control is rather like the control on your TV that pumps up the color and steers magenta faces back to pink. The Hue part should be used sparingly, since it moves all the colors in the image equally except under certain conditions that we will get into later in the book. The Saturation slider is the Kodachrome control. Here you can push the color up as much as you can stand. You can also use this control to drain all color out of an image and turn the picture into black and white. A special control on the page is called Colorize. Check this box, and the image becomes monochrome with an almost maroon, reddish look. Changing the Hue, Saturation, and Lightness sliders lets you turn your image into a wide range of tinted variations. With this control you can simulate cold and warm monochrome print techniques and duotones, and a very convincing warm sepia effect.

COLOR FINESSES
Two controls allow you to really tweak the color of your image with very fine degrees of perfection. Although both look completely dissimilar, note in particular how each control lets you adjust shadow, highlight, and midtones of an image separately

4. COLOR BALANCE
(COMMAND OR CTRL B) (NOT AVAILABLE IN PHOTOSHOP ELEMENTS)

This control will help you finesse image color in a different way. Images shot in cool shade can be tweaked here with good results. When the pointer is moved, numeric indicators change at the top of the control window. You can move the pointer or enter numbers directly. A setting of +20, 0, -20 will pull a subtle blue tint out of shadow areas, for instance. A sub box of controls invites you to work on the Shadows, Midtones and Highlights separately. Like the other controls in Photoshop, these beckon you to play with them. Play here is creative play. You are learning the tools and techniques of digital photography in a fast responding darkroom that isnt dark and which doesnt have stinky chemicals.

5. VARIATIONS
(IMAGE > ADJUST > VARIATIONS)

This control is sort of the easy way to make your picture better. It isnt the fastest to work with, but for intuitive results, it cant be beat. With your picture selected, you open the control, and a large window opens on your screen with 12 miniature versions of your image on it. A group of seven shows your current pick plus six color changes, three more show density changes, and two show the original and the current pick versions of your shot side by side. Controls in the upper right let you adjust the strength of color change for highlights, midtones, and shadows, plus a check box that limits the changes to color saturation. Beyond these basic color adjustments are two finessing adjustments to make your images look sharper, both on the computer screen and in printouts, and a special tool that almost exactly mirrors a darkroom technique for locally improving the exposure in different areas of an image.

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Digital Color and the Photoshop Connection

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PART THREE. FINISHING TOUCHES.


Digital images can be manipulated by space-age image processing techniques. This is one of them. Edges that were marginally well defined are now very well defined. Hair suddenly looks super sharp. The photographers dream of focusing the image after the exposure is beginning to come true.

6. THE UNSHARP MASK


(FILTER > SHARPENING > UNSHARP MASK)

Who would think that the best control to sharpen an image in a computer would begin with the word, unsharp? But it does. The Unsharp Mask control is a filter in Photoshop in the group of controls labeled Sharpening. Choose the Unsharp Mask, and a window appears with several choices and a small preview window. If the box labeled Preview is checked, the filter is already being applied to your shot. With images the size of the Nikon 990/995/885 and 950/775 shots, you should be able to leave this checked, providing your computer is of reasonably fast speed. The top slider shows the amount of sharpening the control is generating. Under that you have a window that asks for a number. This is the radius, in pixels, of the influence of the filter. It works fractionally as well. This is important. By being able to influence only about third of a pixel with an entry of 0.3, you are keeping the effect very tightly bound to the contours in your image. A 1.0 pixel radius will extend the influence of the sharpening effect a full pixel in every direction from the one being worked on. How it works is interesting. It heightens the contrast between pixels of different values. A dark pixel against a light pixel will become a darker pixel against a lighter pixel. Since the original values are slightly exaggerated, the boundary from one to the other is exaggerated, and looks sharper to the eye. Locally, the contrast between the two original features is increased, but it is our vision system that interprets this as being a sharpness improvement. It is real easy to overdo Unsharp Mask. Try numbers like these to experience how they work:

RADIUS

AMOUNT

0.2 100 - 500 0.3 80 - 300 0.5 50 - 170 1.0 20 - 90 2.0 10 - 50 Large number entries in the Radius box have a different sort of influence on the picture. Try putting in a number like 60~200 and moving the Amount slider around. Notice how areas of the picture adjust their relatively local contrast into looking more vivid? Watch out for bright areas, though, they can easily become too bright and lose detail. Often a conservative use of this technique will simply add a bit of snap to the image. Try a Radius of 80 and an Amount of 15. This control is capable of achieving several effects and is worth playing with for a while, just to get a sense of how its various settings interact.

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Mastering Nikon Roboform review Digital Cameras

HANDS ON
In a chemical darkroom, burning and dodging techniques are extremely important. Almost no negatives yield perfect custom vuescan full crack - Crack Key For U without a little help. Good prints dont reveal that they InPixio Photo Cutter Crack areas which are burned or dodged, and this is the goal; to concentrate some areas by burning, and hold back other areas by dodging, but not so much that people notice the result on the final image.

7. DODGING AND BURNING


(THE O KEY)

Although from the names of these tools you might think they had something to do with a game of laser tag, the two terms come from techniques used in the exposure process in chemical darkrooms. Enlargers are low-brightness projectors pointing downward onto a piece of photographic paper. Usually, they project the image of a negative. Where the negative cast light, the developed paper turned dark. Under the enlarger, a photographer would often move a disk of opaque black paper mounted on a wire handle, into the beam of light as it exposed a sheet of photographic paper. The exposures for a print are often ten seconds or more, and by stopping down the enlarger lens, the photographer could easily extend that to around thirty seconds, which would provide a lot of time to manipulate the light. By holding this dodging paddle in the beam for a while over areas that were getting a lot of exposure, the photographer could hold back the light, drivermax crack 9.32 - Crack Key For U lessening the exposure and making that part of the image slightly lighter. This brought out shadow detail. The blurred paddle shadow was moved during the exposure, so no shadow of its presence was perceived in the final image. The opposite technique is called burning. Some areas, where the negative in the enlarger was particularly dark, might need a bit of extra exposure to be delivered to the photo paper in order to bring detail into a very bright area of the print. When burning, the photographer would hold one hand in the beam, arranging fingers to let only a small ray of light reach the paper in the area needing extra exposure. Two hands were often used, sort of like a soft focus shadow puppet. The two icons found with the keyboard O key in Photoshop are shaped like a dodging paddle, the black lollipop icon, and a hand forming an opening with the thumb, the common method of quickly burning-in an area. These are two distinct tools but they do the same things to a digital print that the originals did for enlarger prints. Plus a whole lot more. Use the shift key with the O key to select among the options of burn hand, dodge paddle, and saturation sponge. Notice how the last brush used with each option sticks to it, changing back to where you last left things.

The top image is what the camera recorded, a table in the corner of an artists living room. Wouldnt it be nice to re-light the scene, bringing out shadow detail, and suppressing some of the brighter highlights? Burning the highlights and dodging the shadows produced the bottom result.

Chapter 2

Digital Color and the Photoshop Connection

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DODGING
To see the shape and limits of any brush as you work, open the Photoshop Preferences window and select Display and Cursors > Painting Cursors > Brush Size. Select the dodging tool, and also select a large soft brush from the brushes window. The Options window shows two things. One is a choice among highlights, midtones, and shadows, and the other is for the strength of exposure. Set the Exposure to about 25, and select Highlights from the list. Move the tool over a fairly dark shadow area, click, and drag. Notice that the shadow area lightens, but anything very dark or black doesnt. Only tones above black are lifted proportionally. The brighter they were originally, the more they are lightened. Try changing the option to read Midtones and try it on another area. The behavior difference is subtle, but you can see how it more aggressively lifts middle densities than darker detail. Changing it to read Shadows causes the darkest parts of the image to lift but not highlights. This is a big improvement over the darkroom version, which changed everything in all tonal ranges at the same time. The smaller the Exposure numbers, the less the influence of the tool on the image. With small numbers, you can go over an area several times to build up the effect you want.

BURNING
Using the Burn tool is very much the opposite of using the Dodge tool. Here you are darkening the areas you are working on. If a highlight is too bright and indistinct, the Burn tool may help. As with the Dodge tool, a large soft brush is usually your best choice. Here, too, smaller numbers and multiple passes will build up the density you want. With Burn, the Exposure option that works best is usually Shadows. Now, only pixels that are lower than pure white will be affected proportionally. The brighter the original, the less they will be influenced. After playing with these options for a while, you will begin to develop an intuitive sense of how they work. Now you will be able to look at an image and start thinking about fixing the shadows, highlights, and local areas of brightness in new ways. You will no longer need to accept the limitations of the lighting in the original image. Play with it enough to see how far you can take the technique. In fact, it is a good idea to take it too far on a few shots, just so you can see what too much of a good thing looks like. As a general rule, if you look at a shot and can immediately see where it was burned and dodged, youve gone too far.

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Mastering Nikon Compact Digital Cameras

SATURATION/DESATURATION
Since we are already here, a third tool appears with the burn and dodge tools: the Sponge. It can saturate or desaturate colors locally in the same way the other tools operate, on a small or large area, and the Options window adjusts its effect. No equivalent tool exists in a chemical darkroom, so that sponge icon has no direct equivalent. Here it behaves more like a sponge soaking up paint from a watercolor, or washing on dye in an exotic coloring technique. The digital darkroom borrows its metaphors freely from all the graphic processes.

CONGRADUATIONS*
That wasnt so hard, was it? These seven techniques are the key to digital manipulation for tonal scale and color adjustment in Photoshop. Moreover, you have touched the Tools, Control Windows, Filters, Preferences, and Save systems of Photoshop along the way. Each was easy to access and operate. Your fear of them is hereby declared obsolete. You deserve a diploma. Nearly all of your future explorations in Photoshop will be variations on these familiar procedures. As you use these tools more and more, you may begin to realize that one of these controls has much more influence and capability than the others: the Curves control. Except for color saturation, the Curves control can achieve most of what the other controls do for tone and color. As your experience with it grows, so will the quality of your creativity in this digital dimroom. One more post-graduate lesson: While the Unsharp Mask tool can perk up the effects of low or no in-camera sharpening, the camera has the image in memory before compressing and storing it, so the very sharpest images with the fewest artifacts will probably result from appropriate in-camera sharpening. With the 950, this is moot, since the camera has no control over in-camera sharpening, and does fine as is. But with the 775, 880, 990 and 995, the Image Sharpening control may be set to its Normal or Automatic Sharpening setting without fear. Experiment with shots made using Low in-camera sharpening followed by judicious Unsharp Mask tweaking. If you are preparing images for use on the Internet, it is doubtful that you will need to display images larger than 1024 pixels wide. Photoshops scaling tool, Image > Image Size > Resample Image: Bicubic, produces the cleanest results. Specify a dimension in pixels in the upper windows and the rest of the window will calculate itself automatically. For the best results apply any sharpening after re-scaling your shot.
*Congratulations on graduating.

Chapter 3A

Camera Operation 950

3A-1

CHAPTER 3 CAMERA OPERATION


GET PAST THE CAMERA TO THE PHOTOGRAPHY. A CAMERA ANY CAMERA IS ONLY A PATH TO THE IMAGE. MASTER THE CAMERA AND THE PATH WILL STRAIGHTEN.
You read the manual that came with your camera, but it often didnt give you some of the reasons behind things. Here are a lot of the things the manual didnt say; the implications beyond the buttons. i You will benefit greatly by having the camera in your hands as you go through these topics. When you find something interesting, try it out immediatelyteach your fingers how to find the operation and play with it. The infobite symbol tracks tips and factoids that are useful but are easy to miss. This entire eBook is meant to be approached non-linearly. Internet download accelerator chrome - Free Activators of the material is redundant, so you wont have to depend on ideas mentioned many pages earlier or later. The 950, 990, 995, and 775 sections are separate. Note the model in the page header. So, if you have the 950, you start here. i If you have the 990, jump to page 3B-1 and start there. i If you have the 995, jump to page 3C-1 and start there. i If you have the 775, jump to page 3D-1 and start there. Images, at any pixel count over 200 pixels per inch, are essentially magazine quality, and in the first year of the 950s introduction, its images appeared in fashion magazines and countless artistic and informal shots by professional photographers and advanced enthusiast photographers all over the globe. Its really a computer with an imaging chip, buttons, and a TV monitor. Consider the design challenges: Create a camera with a single-chip imaging device that is close to the resolution of a 35mm movie camera or HDTV camera. Pack in the computer to make digital images, the storage system to record them, the power supply to furnish the volts, and, oh, by the way, a zoom lens that has to work at HDTV quality over a 3:1 zoom range. Be sure to include an auto focus system with a 4000+ step range, a white balance system that goes from Mt. Everest at noon through fireside chats, and a color video monitor.

i=

InfoBite

CAMERA OPERATION: COOLPIX 950

COMPRESSION AND SIZE

What size film do you want today? Big? Medium? Small? How clear should it be? Real clear? Moderately clear? Fairly clear? What sensitivity should it anticipate? Bright sun? Bright interiors? Very low light? The Nikon Coolpix 950 will do it all. But, you must tell it specifically what you want. The size of the shot is determined by you. The largest image is 1600 x 1200 pixels and is the cameras default setting. Just hold down the button labeled QUAL below the monitor screen, and rotate the Command Dial. On the monitor, you will step through the size and quality (compression depth) options available. Full resolution 1600 x 1200, XGA 1024 x 768, and VGA 640 x 480 are your size options in pixels. VGA is the resolution of a video picture, and XGA is the size of a full screen image on many computer monitors and laptops. As you scroll through the sizes of the shot, you are given the choice for Fine, Normal and Basic compression. At the largest sizes, you also have the option of choosing Hi, which permits capturing images in a TIFF format that does not compress the shot at all.

3A-2

Mastering Nikon Compact Digital Cameras

WARNING: images shot in Hi mode will take an inordinately long period of time to transfer to the CompactFlash card. If you accidentally put the camera in Hi and start shooting, you may think the camera is suddenly broken. There is essentially no significant quality difference between Hi and Fine images, and unless you have an exotic need to capture TIFF images directly, my advice is to avoid this setting.

Size, number of images, and compression all work together. Compression shows more unwanted The Nikon 950 creates images in four sizes from the largest 1600 x 1200 to the intermedieffects artifactsthe smaller it makes the file ate XGA 1024 x 768 to VGA 640 x 480 and the for storage. specialized 400 x 300. The number of shots isnt fixed, because the amount of storage space is dependent on image content. Low-contrast areas of an image compress much more easily than lots of fine detail. Sharp edges are given more attention by the compression algorithms and eat up more storage space. i When printed, Normal images almost never reveal that they are only about half the storage size of Fine shots. Artifacts are very well controlled in Nikons JPEG formula. i If you know that the only use for an image is going to be in a low quality application, such as 5 x 7 or 4 x 6 prints, Basic offers an enormous advantage; even more shots per CompactFlash card. Artifacts in Basic are visible at full-size on your computer monitor, and may show a bit on large prints. i When you shrink a Basic compressed, full-size image to half-size, the artifacts politely disappear! Actually they merge and average out. Now you have an image that is 800 x 600 pixels with seemingly SIZE
Large

COMPRESSION
Hi Fine Normal Basic Fine Normal Basic Fine Normal Basic

ARTIFACT PRESENCE
As good as it gets Virtually perfect Extremely good Quite goodsome artifacts visible at full screen size Pixel-perfect Extremely good Goodsome visible at full computer screen size Pixel-perfect TV size Very good on TV screen Good on TV screen

SHOTS ON 64 MEG CARD


11 66 - 128* 133 - 180* 265 - 360 158 - 300 323 - 600 647 - 1300 415 - 820 829 - 1600 1659 - 3300

MAX PRINT SIZE INCHES /MM


8 x 10 + 8 x 10 + 8 x 10 6x8 6x8 5x7 4x6 3x4 3x4 2.4 x 3.2 200 x 250 + 200 x 250 + 200 x 250 150 x 200 150 x 200 127 x 178 100 x 150 75 x 100 75 x 100 61 x 81

XGA

VGA

* Actually achieved in tests of low-detail subjects. Extrapolated low-detail, low-contrast subject image potential.

Chapter 3A

Camera Operation 950

3A-3

no artifacts and tremendously improved detail caused by the effects of down-sampling. When the destiny of your images includes 8 x 10 prints, shoot in Fine compression at full-size. If you need only about 6.75 x 9 prints, Normal is perfectly adequate to the task, and nobody will look at your prints and complain about the compression. They simply wont see its effects. As you make shots for the Internet and prints no larger than 5 x 7 inches, Basic will let you shoot a lot more images per megabyte of storage space. XGA images are only 1024 x 758 pixels in size and take up This is a small detail from a full-size, Basic-com41% of the storage space that full-size images consume. pressed original now bicubically scaled to halfAs you shoot at XGA size, images are captured at full-size in the camera size and displayed at only 100 pixels per inch. The original showed visible compression artion the image chip, then instantly reduced to less than 2/3 size before compresfacts in the cartoon hair detail. But because it sion and storage. The CP950 does a nearly perfect job of this, and the resultwas reduced after compression, it now looks ing image is extraordinarily good. Looking at an image made this way on virtually artifact-free. your computer screen, youd swear it is as good as a scan of a film original. Every six-pixel group of the original image has been reduced down to less than four pixels of the stored image by a sophisticated computer algorithm in the camera. There is no evidence of cutting mathematical corners. Down-sampling causes The exact formula is a carefully guarded Nikon secret, but Photoshop has a similar many original pixels to merge high-quality scaling algorithm called Bicubic Interpolation. into the remaining ones. i In the Photoshop version, a tiny bit of softness appears in the drivermax crack 9.32 - Crack Key For U image, When done intelligently by but it can be easily recovered with a smidgen of Unsharp Mask filtering. Perhaps the the camera or computer, the Nikon algorithm includes a bit of each. resulting single pixel is a perVGA-size images are down-sampled the same way as XGA images, but they have fect computation of the origionly 640 x 480 pixels. nal several, which defined a The down-sampling causes them to be pixel-perfect, TV-size shots, and they only specific part of the image. take up about 39% of the space of the XGA images. As you view them on a TV The effect is dramatic on screen, you probably wont see the compression artifacts, even when you shoot them your computer screen. in Basic compression. Often the down-sampled i TV monitors are less precise than computer image is as sharp as the dismonitors, and their more forgiving nature makes it play could ever be expected possible to shoot over 2000 VGA Basic images on to create. that 64 megabyte CompactFlash card, if you intend A pixel-perfect image is the to see them on a TV screen. instant result. The only size prints from these shots that you are likely to appreciate are those made as 3 x 4-inch prints or smaller. i They will work as two-column images for newsletters and excellent single column head shots, but thats about it.

VGA image at Basic compression. It works at one newspaper column width but looks very soft and very digital at 6 x 8 inches (80 ppi detail).

3A-4

Mastering Nikon Compact Digital Cameras

Automatic Mode

The first of the two fundamental modes of camera operation is Auto. The camera is ready to go with a number of choices already in place. You still need to inform the camera what size and quality setting it is using, but shutter speed, f/number, meter type, and focus will be determined automatically. Now the camera has Default ISOthe camera sensitivity index Matrix metera 256 element intelligent light meter system Automatic white balancea system that gets the color right Programmed auto exposureso you dont have to worry about it Auto focus that is constantly adjusting itself to the scene You still have control over Self-timer Close focusing Infinity focus EV+/- exposure compensation Flash options These settings are a well-considered mix of qualities that make the camera operate quickly with a minimum of missed or imperfect images. Default ISO is 80, good enough for work in bright environments from brightly lit offices to full daylight. White balance is tracking the view from the lens and is constantly adjusting to what the camera thinks is correct. Light is constantly being sampled by the matrix meter. Focus is on the center-most sampling area of the image chip, and the only thing missing at this point is the instruction from your right index finger to shoot the picture. i Shutter lag is minimal. The camera already knows if it has enough light, and it is already in focus. The time delay from half shutter press to exposure is under 0.2 seconds, very responsive indeed.

AUTO MODE FLASH

Flash choice is made with the top button closest to the shutter release. Confirmation can be from the monitor screen and/or the LCD window on top of the camera. Your choices are, in this order, Auto Flash, No Flash at all, Red-eye Reduction, Forced Flash, and Slow Flash. Auto Flash (Default. No icon.) The flash will fire only if there is not enough light to get an image without it. As soon as the exposure computer sees that you are shooting at 1/30 sec or longer, it locks the shutter at 1/30 sec and turns on the flash. No Flash. The camera knows that it will have no flash support, so the shot may be made at any shutter speed up to 1 second. An external flash attached to the camera will also not fire. Red-eye Reduction. It attempts to reduce red-eye effects from the camera flash by blinking a bright white light next to the lens for a second, just before the flash goes off. i It works okay on brown-eyed people less than eight feet from the camera, but it doesnt stop red-eye effects from light-eye color people from about five feet onward. Eye response varies from person to person and changes with the ambient light. i Several concepts for fixing the red-eye effect, or avoiding it, are included in the How Do I section. Forced Flash. It fires the flash no matter what light the camera sees. It assumes you know what you are asking it to do, and it pops the flash in sync with any shutter speed the camera is using from 1/30 to 1/750 sec. i Very useful outdoors as a fill-flash effect for subjects that may be back lit, it tends to add just enough light into nearby subjects to avoid featureless shadow areas.

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Slow Flash. Only fires the flash at shutter speeds longer than 1/30th of a second. People against nearly dark, post-sunset skies will be exposed both for the long exposure and with the flash. If they move during the long exposure, their ghost silhouette will blur across the frame, but the flash will capture a moment of perfect frozen time. i Playing with this feature is a lot of fun, and promotes a highly collaborative effort between subject and photographer.

EV EXPOSURE COMPENSATION

EV stands for Exposure Value, and it is also measured in stops, or powers of 2. Thus, +1.0 EV suggests an exposure of one stop over what the meter says is right. This setting lets in exactly twice as much light as EV 0.0 does, and 1.0 EV lets in only half as much. EV adjustments from 2.0 to +2.0 can be achieved in 1/3-stop increments. Such small increments will allow even the most demanding photographer to acquire perfect exposures. i These numbers remain visible on the monitor only when YTD 6.9.17 Crack patch - Crack Key For U are not zero. EV -1.0 EV 0.0 EV +1.0

DISTANCE AND SELF-TIMER OPTIONS

The rear button on top of the camera allows you to select normal operation, infinity focus, close focus and self-timer functions. Pressing the button repeatedly loops through these choices. Infinity Focus (twin mountain peaks icon). This forces the lens to focus at infinity come what may. Notice that it also shuts off the camera flash, too. Telephoto subjects from 20 feet to infinity will be perfectly sharp using this setting under all conditions. Wide angle zoom shots will be sharp as long as objects in the frame are from eight feet away from the camera to infinity. When smaller than wide open apertures are used, nearby objects get sharper. Smaller iris openings create greater depth of field, but remember that larger f-numbers stand for smaller diameter openings that let in less light. i Images shot in full sunlight will be sharp from about ten feet away to infinity, even at the most telephoto setting of the zoom lens, and from four feet to the horizon in the wide zoom position. Macro Focus. When the camera is in close focus mode the auto-focus range is extended closer than usual. Usual is from about 10 inches to infinity. Now the autofocus will search for sharp objects closer to the camera. i At telephoto zoom, the closest object can be about four inches (100 millimeters) from the lens. Now you can focus inside an area smaller than a 35mm slide, or fill the frame with a quarter. The Nikon CP950 does not stop there, and you can get much closer. By zooming the lens to its mid-zoom position, you can see the flower icon change color. When it changes from white to greenish-yellow, you have placed the lens at its closest focusing zoom position. Now you can get the camera to focus as close as 0.62 inches (15mm) from an object. A single bee may be too large for the frame. Tiny ants can become giants.

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Self-timer. This mode has two settings. Exposure will be ten seconds or three seconds after the shutter button is pressed. Next to the lens, the white light blinks once a second for nine seconds then stays on for the last full second so you will know that the exposure is imminent. Pressing the shutter button a second time, before the sequence is finished, changes the entire count down to three seconds. Just long enough to let the camera settle down if it is in an unstable position. To abort the count down, you must switch the camera to another mode.

AUTO MODE MENU SETTINGS

By pressing the Menu button above the monitor screen, the Auto mode menu appears. It lists these items: Folders LCD Brightness Shutter Sound Auto Off CF Card Format Seq. Xfer Date Selection of these topics is made with the zoom controls W and T buttons. Folders. All exposures are placed immediately in a folder. One default folder is always present. It has the name NIKON, and you can create seven more, each with a five-character alphanumeric name. Spaces count as characters, so the lables you create can be short. LCD Brightness. Three simple icons under the picture, o +, let you set the monitor screen slightly dimmer, normal, and a bit brighter than normal. Shutter Sound. Its the control which turns on the beep that signals when a shot was made. If it is off, the camera is so quiet that you wont know it shot the picture. i Not even the very quietest film camera can compete with the almost perfectly silent operation of the CP950 in stealth mode. Auto Off. Sets how long the camera stays awake before dozing off to save batteries. Choices are 30 seconds, 1 minute, 5 minutes and 30 minutes. i Since the camera will power up with all your choices intact in just three seconds, you may wish to keep the setting at 30 seconds. Seq Xfer. It stands for Sequence Transfer, and gives you the choice of having frames start numbering themselves from 0001, or to continue numbering from the last number the camera remembers from the previous string of exposures. i The camera wont add a smaller shot number to a memory card than its current folders lowest. i If you want to have unique numbers for each of your shots, keep the sequence on. Like a car odometer it gives you a sense of history. Soon you will see how very many images you have gathered. Card Format. This is the control that erases all previous image data.

card. Only do this if you are sure that you have downloaded every image you want to keep. The best practice is to completely off-load the card, then format it.

! WARNING: formatting the CompactFlash card obliterates any images stored on the

Date. Its really time and date. Here you set the cameras internal clock and calendar. This information is stored with every shot you make. When you examine images in Play mode, described later, you can see exactly when each shot was made.

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THINGS YOU CANT DO IN AUTO MODE

While Auto mode is quick and simplified, many of the things the Nikon 950 will do simply arent available through it. You cant manually focus. You cant set the white balance to specific sources. You cant change the sensitivity of the camera by adjusting the ISO. You cant shoot in Aperture or Shutter priority modes. You cant change the type of light meter you are working with. All these things must be done in Manual mode.

Manual Mode
EXPOSURE ELEMENTS
In Manual mode you have control over much more than you do in Auto recording mode. The exposure triumvirate of aperture, shutter, and ISO are each available for modification. Priorities can be achieved, so the shutter speed you want stays fixed, and only the aperture varies in the light, and vice versa. You can even lock the exposure at a specific white balance, shutter speed, iris size, and shoot a bunch of exposures with all those controls frozen from shot to shot.

ISO HAPPY

The sensitivity of the image chip is expressed as its ISO number. The International Standards Organization established criteria for photographic sensitivity, and the Nikon 950 operates at four ISO numbers. Manual mode allows you to choose ISO 80, 100, 160, or 320. The top forward, small button nearest the shutter release must be pressed and held while the Command Dial on the front face of the camera is rotated. On both the color monitor and camera top LCD data panel, the ISO information will be displayed for easy reference. It only shows on the data panel while it is being set. The display shows dEF, 100, +1, and +2 for brevity. ISO 80 (dEF) is the choice you would most often use for outdoor, close flash, and general shooting. The camera has enough exposure control to cover all normal brightness levels you are going to encounter at any zoom setting on the planet earth. At 1/30 @ f/2.6, the widest aperture the lens can achieve in wide zoom, the amount of light is similar to a brightly lit office in which a ceiling full of fluorescent fixtures is providing a bright work area. ISO 100 is so close to ISO 80 that the two are virtually interchangeable. ISO 160 (+1) lets you work with half as much light. Pumping up the sensitivity causes the internal circuitry of the camera to amplify the image from the chip by 2x. This also causes a little noise to creep into the image. ISO 160 shows only a modest grain increase. ISO 320 (+2) permits you to work in 1/4 of the light. The image gets still noisier, and this gives the shot more of that grainy look. Now the grain has become noticeable. i Color grain is increased to the point that you may see a pattern in flesh tones and areas of mid to light pastels. Shooting in black and white at this sensitivity doesnt show this artifact.

PROGRAM

Program exposure mode is the easiest to use. Holding the Mode button down while rotating the Command Dial selects the P making it your choice. The camera now makes intelligent assumptions about which shutter speed and which aperture are best for the lighting conditions it gathers from the light metering system. It even adjusts a little ISO value while coordinating its exposure computation.

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APERTURE

The lens on the Nikon 950 has three-step iris that starts at f/2.6 in wide angle evolving to f/4 in telephoto zoom setting at its widest opening. By allowing the effective f/stop to evolve throughout the zoom, the lens design was kept to its compact physical form. The intermediate opening starts at f/4.4 and develops to f/6.8 through the zoom range. The smallest aperture starts as f/7.4 and becomes f/11.4 as the zoom progresses. Fortunately, the exposure computer is very well aware of the way this works, so it tracks and accounts for any changes brought about by zoom position. Aperture Priority. This is a special mode that lets you control the size of the iris in the lens, forcing the camera to achieve the proper exposure by changing shutter speed. If you want to have great depth of field for a tabletop flower picture, for instance, you might wish to force a small iris opening, even though that would cause the shutter speed to run longer. It is achieved by holding down the Mode button while turning the Command Dial, stopping when the A is showing. Now release the Mode button. But, wait, theres more. i For the next eight seconds, the Command Dial remembers that you were involved in aperture adjustment, and any further spinning of the dial will cause the f/number to change. After this brief window of time is up, you will have to momentarily re-push the Mode button to reactivate the Command Dial.

SHUTTER SPEED

Shutter speed on the Nikon 950 ranges from 8 seconds to 1/750 sec according to the spec sheet. i Nikon lied. You actually can shoot at up to 1/793 sec in Aperture Priority and Program modes because the camera specification is conservative. In practice, most pictures happen from 1/15 to 1/250. You have complete control over the shutter speed you wish to shoot with by selecting Shutter Priority exposure mode. i Long shutter speeds allow you to capture motion blurs and streaks. Fast shutter speeds freeze the action. In Program or Aperture Priority modes, shutter speed is fractional. It may show up later to be 1/48th, 1/35th, 1/233rd, or a similarly unusual number. In Shutter Priority it will only lock to the number on the monitor. Shutter Priority mode is selected by holding the Mode button down while turning the Command Dial to S. i On release, the Mode button remains active for eight seconds while you decide to change the shutter speed by turning the dial. After this window of time expires, you will have to momentarily push the Mode button to reactivate the Command Dial in orderto change the shutter speed again. i To achieve the incremental targets of exposure, since both shutter and aperture are inflexible, the ISO is automatically changed slightly as lighting conditions change.

MANUAL FLASH MODE

The choices for flash in Manual mode are identical to the choices of flash for Auto mode. EV compensation in Manual mode works identically to the way it works in Auto Exposure mode.

EV EXPOSURE COMPENSATION

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MANUAL FOCUS

The Nikon CP950 has a manual focus system, as well as the auto focus system. You can manually set the focus from four inches to infinity in 10 steps. The focus settings work at any zoom position. Manual focus numbers can be read in decimal feet or meters. The closest setting, 0.33 feet (100mm), is only four inches from the lens. To perform manual focus, hold down the top rear button near the shutter release while turning the Command Dial. If you dont turn the Command Dial, the camera will assume you are setting the Infinity > Close Focus > Self-timer function, and upon releasing the button, the camera will advance one of these modes. Just remember that when you are manually focusing, you must make both gestures, or you will confuse the camera. Other choices that affect manual focus are in the Settings menu on Menu Page 2, discussed later.

Menu System

From this point forward into the complexities of the Nikon 950, the menu system is the key to accessing features and choices. To open the menu system, press the Menu button. The live image is replaced with the first page of the menu, and combinations of the W and T (Wide and Tele) buttons now work in combination with the Command Dial and shutter release to steer you through the many choices. It can be confusing at first, but after a while, your fingers will learn exactly which control does what. As a general rule, you are scrolling down to the topic you want with the W and T buttons, selecting the topic with the shutter release. Next, you scroll through the contents of a detail page of options for that topic with the W and T buttons, and confirm your choice again with the shutter release. In some topics, the Command Dial will roll through an options icons next to the name of the topic. A quick confirming half-press of the shutter release will bring up the detail page if there is one. Your choice is highlighted, and you can confirm your choice with one more half-press of the shutter. Some features, like BSS, are either on or off, so they can be changed with the Command Dial, and a check mark will indicate your selection. It gets to be a rhythm in your fingers. Buried in the menu pages on Menu Page 2 > Set Up > Controls is one of those settings that will drive you nuts if you dont know about it from the beginning. It is on a green page of options, and its labeled MENU DIR. Its only function is to change the direction of the W and T buttons for scrolling through the menus. i It seems to make a lot more sense to have this choice checked off, thus causing the W button to move backwards through a list and the T to move forward through a list of choices.

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Menu Page 1
The first page of menus appears as soon as you press the MENU button once. It gives you most of your high priority features in one quick listing. Clustered here are all the choices you must make to shoot. Other menu pages deal with more esoteric issues. Menu Page 2 has controls for shooting that you will access less frequently, and a Set Up page has things you usually set once in a long while, like the internal clock. On Page 1 you will find White Balance Metering Continuous mode BSS Image Adjustment B&W Click down to the subject you wish to select, press the shutter button to open its detail window, click down to the detail you desire, and press the shutter button again to lock it in. Any decision you ratify, by pressing that last shutter button, will now become valid and in force. i To cancel the decision process, press the Menu button once and the choice last highlighted will be ignored.

WHITE BALANCE

White Balance is the first topic on Menu Page 1 and a frequently accessed consideration. While you may get good results in Auto White Balance mode, it is not a masterful choice. The world in front of your eyes looks normal in daylight, fluorescent light, candle light, and incandescent light without your having to think about it. Imaging systems arent so lucky. i This camera will shoot in any color of light from gold candle light to the blue-white sunlight at the top of Mount Everest at noon. It achieves this astonishing range by adjusting its Red, Green, and Blue sensors in three different ways, automatically, algorithmically by tally erp 9 release 6.4. Product Key - Crack Key For U settings, or by being told by you what the light looks like. The choices are Auto, White Preset (the one you tell it to set to), Sunny, Cloudy, Fluorescent, Incandescent and Flash. Auto White Balance is achieved by the camera in a roundabout way. The camera is looking at the world through a series of assumptions. It can only assume that the world in front of it is normal, composed of normal colors that presumably add up to avant browser old version - Crack Key For U gray. It estimates the right color temperature of the scene by supplying its best guess at the moment of exposure. If you shoot a scene with mixed daylight and incandescent, for instance, it will make its color balance choice based on how much blue and gold is in the specific framing of the shot. Change the framing just a little, and you can cause a big difference in the color rendition of the final image. Auto White Balance is the most convenient setting, and will be your choice when there isnt enough time, or need, to get more critical. White Preset is the most accurate type of white balance, but it takes extra effort on your part to achieve that precision. With this option you get to show the camera exactly what the light looks like, and the camera will faithfully follow your instructions shooting all subsequent images exactly to that standard.

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Have a piece of white paper handy. Put it in the light you wish to set for. Press the Menu button to open Menu Page 1. Select White Preset. Press the shutter button to open the sensor window. A small square of image appears in the middle of the screen. You now see two choices, Cancel or Measure. Point the camera at the white piece of paper. Sometimes you have to hold the paper up near the lens to make sure the camera sees only it. Thats okay; for this process, focus is irrelevant. Choose Measure, and press the shutter button to confirm. The camera beeps and clicks, then returns to its normal operation: White balance has been achieved. i Images on the monitor screen may look different from the way they did before you performed the white balance, but there is no guarantee that they will look perfect. To gain confidence that the white balance is correct, shoot a test shot that includes the white paper. The image on the monitor screen should look quite good now. The paper should look white on-screen. Sunny white balance is for daylight. A sun icon confirms your choice. This setting was created at the factory to give the best results in direct sun. It is a very good choice for any full-sun shooting or for shooting things you wish to record the way they would on daylight film. i Sunsets look particularly good with Sunny white balance chosen. The warmth and richness of the color are augmented by this setting. When you move into shady areas, however, the cool blue color of the sky or back-lit clouds can cause the image to look too blue at this setting, just as it would on daylight film. i Even though you are shooting on a sunny day, shooting in shaded areas is best accomplished with White Preset. Incandescent white balance is tuned to bright quartz lamp color temperature of 3200 K. Most home lighting is warmer at c. 2900 K and gives a redder or more golden look to shots made with this setting. i When you are indoors and you want accurate color, the White Preset selection will give it to you no matter what the source, but if you want a room to look very much the way it does to your eyes, the Incandescent setting will bring it into the shot. Fluorescent white balance is guessing that your fluorescent bulbs are of the cool white variety, most often used in offices, stores, and shopping centers. If you find it works well for your lights, then use it. Fluorescent lighting has a spectral distribution that is incomplete. There are holesgapsin the spectrum of nearly all fluorescent light formulas, and not all fluorescent lights look good at this setting. i It doesnt work well with your lights? Use White Preset. Cloudy white balance is a good one for overcast days. Because your eyes adapt to color balance situations almost instantly, you wont see how much bluer the world is under cloudy skies. The camera would, if it were set to Sunny white balance. Set it on Cloudy and colors will appear to be much more natural. i When you are shooting around the corner from sunlit areas, the color in the shade is often much cooler and bluer than you would wish. Cloudy is a good first choice. Still too cool? Use White Preset. Speedlight or Flash white balance is the right setting for electronic flash pictures. Plan to use the camera flash? Set to this white balance choice, and the pictures will look natural. External flash units are best served by this setting as well.

i Here is how you teach the camera what the light is:

18% gray

will find a gray card file called 18% Gray. Print this on a black and white laser printer or on a color printer set to black ink only, and do it at several different scales. It is a dot-based approximation of an 18% gray card. Include one of these at small-size in the corner of a test shot at the start of a series of images shot under the same lighting. You dont actually want to see the printed dots as fine detail. You want the camera to see them as a patch of gray. Photoshops Curves and Levels color neutrality samplers will be able to steer the image back,very close to the original color.

i One thing will help you conquer perfect, natural color as you shoot. A reference shot. On the CD you

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METER SELECTION

The second item down Menu Page 1 is the Metering selector. Three choices immediately appear, Matrix, Center-Weighted, and Spot. Matrix metering is the sophisticated, multi-element meter that samples 256 parts of the picture. It intelligently analyzes the shot for highlights vs. bright areas, shadows vs. dark objects, contiguous coverage vs. statistical sampling, and arrives at an educated guess better than a lighting director could in five minutes of spot meter sampling and paper computation. i This meter is far and away the best single meter in the camera, but it isnt the one you want for every shot. Just most of them. Center-Weighted metering gives results similar to those of a hand-held meter. It sees the center of the image but is less influenced less by subjects near the corners. Try it for portraits where the facial tones are concentrated in the center of the Pianoteq Pro 7.4.2 Crack+ Serial Key Free Download 2021. It works well as a general purpose meter, too, and shooting the same picture with both Matrix and CenterWeighted meters will show you how similar and different they cause images to appear. Spot metering is like a very narrow focus version of the Center-Weighted meter. When this meter type is chosen, a small square appears in the middle of the monitor screen. Anything inside this square is sampled; anything immediately outside it is ignored. When your subject stands in front of a window, this meter would be your best choice, unless you want the person to look like a silhouette. By using the spot meter, you can press the shutter release halfway while holding the square over the persons face or body, and lock-in the exposure. Then you can reframe the shot the way you wish, and press the shutter the rest of the way to make the exposure. The image behind your subject may be overexposed, but your subject will be well exposed and details will be normally bright.

CONTINUOUS IMAGES, THE DIGITAL MOTOR DRIVE

Continuous mode is the third choice on Menu Page 1. Your choices here are to shoot Single, Continuous full frame, Multi-Shot 16, and VGA Sequence. Single image mode is the traditional still camera equivalent. Here is where the 950 behaves like a film camera, shooting one picture per click. Follow-up shots can be taken right away, even if the camera is not finished working on the first shot. The camera lag from shot to shot is only about 1.5 seconds. i If you create the habit of shooting, then immediately half-pressing the shutter button in anticipation of a follow-up shot, you will prepare the camera for fastest response and regain the live image on the monitor. Continuous mode is similar to the effect of having a still camera with a motor drive. As you hold down the shutter button, the camera takes a string of images as fast as it can until the internal memory ms office 2019 crack download for windows 10 - Free Activators the camera is filled up, whereupon, it enters a contemplative mode for a number of seconds while it digests the shots. i With full-sized pictures, you can keep this up for a string of at least four shots spaced about one second apart. In Normal compression mode, you get twice as many. In informal tests, we were able to acquire this many images at each setting in continuous mode:

Images captured in a single string in Continuous mode SIZE OF IMAGE/COMPRESSION


Full XGA VGA 1600 x 1200 1024 x 768 640 x 480

FINE
4-7 10 - 14 28 - 33

NORMAL
8 - 13 20 - 27 50 - 60

BASIC
16 - 20 45 - 50 95 - 102

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Источник: https://www.scribd.com/document/59470242/Nikon-Secrets-Digital-Photography
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