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Direct Buy Tires





direct buy tires






    direct buy
  • The ability for an Authorized User to buy directly from an OGS contract using its standard form, format or purchase order, and which does not require a mini-bid, best and final negotiation, creation of a procurement record, or other required process, prior to making the buy.

  • DirectBuy is a membership buying service with locations throughout the United States and Canada. It is headquartered in Merrillville, Indiana, with 160 showrooms across the United States and Canada. It is the nation's largest franchiser of members-only consumer buying centers.





    tires
  • Lose interest in; become bored with

  • (tire) exhaust or get tired through overuse or great strain or stress; "We wore ourselves out on this hike"

  • Cause to feel in need of rest or sleep; weary

  • (tire) lose interest or become bored with something or somebody; "I'm so tired of your mother and her complaints about my food"

  • Become in need of rest or sleep; grow weary

  • (tire) hoop that covers a wheel; "automobile tires are usually made of rubber and filled with compressed air"











Rigging




Rigging





This afternoon I felt rather tired and decided to take a nap, during which I had a strange, but also quite wonderful dream.

I was walking along the bank of the canal or river near my house, and I came across the boat I'd left there and forgotten about. It was the one I'd bought a long time ago, a sailing boat with elaborate rigging; it was made of a mixture of dark mahogany beams below, and pieces of chipboard with a white formica covering on some of the upper sections. It had great big strong oat-coloured canvas sails, all furled up and stored away for safe keeping, but capable of opening up and catching a good, strong wind. I'd spent a long time doing it up all on my own without telling anyone about it, and couldn't work out how I'd forgotten about it, but I realised that it didn't matter because now I'd found it again, and I was so pleased and happy and really ready to make it beautiful again. Maybe even more beautiful than before.

I'd painted the boat, and constructed a number of rooms inside it; I'd put pictures up on the walls, and I'd even climbed up the high complex of walls and sidings on the piece of land by where it was moored so that I could put out a range of big square boards I'd painted things on, to dry and harden with time. They went all the way down in location and scale, from the huge, bold, expansive ones along the tops of the buildings through to much smaller, intricate and detailed ones along the top of the boat, and all the way down to very small ones I'd left unfinished right up on the prow. So I cut the right shapes for the last few out of the wood that remained, and painted some things on them, and left them to dry. I saw that the scale wasn't always uniform across the boards; although they were all perfect squares, the ratios by which they'd been scaled, and hence the relationships between their sizes, were a bit out of whack according to convention or the way other people might have done it. At first I was a touch annoyed by this, but again I realised that it didn't matter, because they were there for me, not for other people.

I walked along the towpath next to the boat and looked at all the objects on its roof, and saw the table I'd made, or started making - it was a bit wobbly, but it could easily be fixed. The screws just weren't in very tight, and I could tighten them up. That would be no problem. Under the table were three chairs covered with a slightly faded, gold-coloured shot silk; I thought that there had been four before, but I guessed this wasn't that important, so I let it be. All of this stuff was made in slightly odd ways; other people probably wouldn't like it much, but I didn't care, because it was my boat, and it was meant for me to like and to be kitted out with things that I like.

So I sat down on the towpath and started to undo the moorings, and the boat began to move. It started forward, quite fast, and I had to hold on to it and tether it again so I could get inside and work out exactly what it was like in there. I found all these rooms, some amazingly ornate big ones mixed in with some smaller, oddly-decked-out ones, including one with a big mirror and a very old-styled telephone. There were some people on the boat, and I started looking around it with some of them, and some of them said that they were amazed at what a great boat it was, what great rooms they were, how well I'd done to build them on my own, and how good it must be for me to have such a boat to live in all by myself. I said "yeah", it was, told them how pleased I was to have found it again, thanked them, and asked one of them how he'd got there - had he just arrived or had he been there all along? Maybe he'd just come along to a party and woken up months later, or maybe he'd been squatting? (Which was fine; I didn't mind, I just wanted to find out where he'd come from.) He didn't seem to know, or perhaps I couldn't hear him - but it didn't matter, because he seemed OK, and I'd have the place to myself soon anyway.

I saw that there was a door in one of the upper rooms, a comparatively small or medium-sized room with chequered flooring; big black and white squares like the kitchen in the house next door to where I'd lived as a child. There was an old oil radiator, and the door in this room looked like the kind of door you'd have in a small terraced house; the kind which opens straight from the living room onto the street. I went straight up to it and opened it up - I wasn't scared, more just curious to know what was out there - and when I did, I found a little anteroom: the sort of cubby-hole bit of a house where you'd keep your muddy boots when you'd been out for a long walk in the fields, or to another village, and this tiny room had another door that definitely led to the outside.

This second door was painted strangely and quite darkly, and the Yale lock on it was a bit wobbly - like the table I'd made - but it was clear that it hadn't been opened for quite some time. Now I











Siriraj at dusk.




Siriraj at dusk.





Siriraj pier , previously, I think in last year,I shot the same thing with EF70-200f4LIS and 40D or 50D ..........I also shot this with D300 +AF35f2D.

Although this lens is outstanding, I may sell it to fund for the 24-70f2.8N cause I may buy the D700 if its price drops more by Oct.

And I have the 35f2D also, now I am getting all FX lenses no more DX lenses although I will always keep a couple of DX bodies.

If the D400 is coming very soon , I will get that but I am not too optimistic about it cause I know Nikon is, as with Canon, not serious about DX any more , they are crippling DX format and force us to move up to FX as soon as possible.

it is very ironic cause I felt this was happening in Canon mount and so I got Nikon in addition to Canon and I thought I secured myself but Nikon is now doing the same thing as Canon did in 2007; started crippling all EFS bodies.

I think I will get the 105f2.8VR or 105f2DC soon but which one? I know both are very sharp lenses but I want to get almost flare free lens like my EFS10-22f2.8USM and EFS60f2.8USM ,these Canon lenses are excellent optically and better than their full frame counterparts,i.e. the EF17-40f4L and EF100f2.8USM.

But I sell these 2 lenses to fund for EF35f1.4L and Nikon 105f2.8VR or 105f2DC.

I tested a couple of DC but I could not have a good sunny day to take it out with me so I am not sure if it is as resistant to flare as the 105f2.8Vr or 60f2.8micro.

the 60 looks best optially though.

so, I think my ideal Nikon kit for now would be:
1 Nikon D300.
2 Tamron10-24DX(cheap so does not hurt me when I need to get rid of it).
3 Nikon AFS24-70f2.8N.(I prefer this lens on my D300 than on a D700 , cause I use it for street stuff and I like the 35-105 eqv view on DX, 24-70 range is boring to me, so when I go full frame , I will skip mid range and get the AFS17-35f2.8, AF80-200f2.8D and 70-300VR.)
4 Nikon AFS50f1.4G or AF35f2D and AFS60f2.8N micro.
5 Nikon AF104f2DC or AFS105f2.8VR(I dont like the 85f1.4D much, prefer the 1.8D cause the 1.8 is sharper at corners and I think the 1.4D has very cold colors).
6 Nikon AF80-200f2.8D.
7 Nikorn AFS70-300f4.5-5.6VR(optically and AF wise it is much better than most think it cheap price suggests).
8 SB 900 and SB600.

I just hope the D90 successor will get the D300 AF , then it will definitely an ideal walk around body, but now , I think the D90 replacemnet will be a cheap plastic FX body, just to compete the new Sony A850 and upcoming Canon's cheap fullframe(probably 4D).


My ideal Canon kit is:
1 Canon EOS5D2.
2 Canon EF16-35f2.8USM.
3 Canon 35f1.4L.
4 Sigma50f1.4HSM.
5 Canon EF85f1.2LUSM.
6 Canon EF70-200f4LISUSM.
7 Canon EF135f2L.
8 Canon EF100-400f4.5-5.6ISUSM(waiting it to be replaced cause I dont like the old IS in it but optically it is a great lens).

I never use my Canon for my flash work, I use Nikon for it so I do not have any more Canon flash , I used to have a 580 EX, a 430EX and some Sigma flashes for Canon.

I think Canon is a decade behind Nikon in CLS control and design, seriously if you use flash a lot , there is no choice but Nikon or Sony , IMO.

UPDATE: the new A850 will change alot , it has a huge impact on this segment of D-SLR market and most of high-end or prosumer DX will die or may already have killed by Sony.

This is probably the real reason why Sony just dropped its long been respected A7xx series body without its direct successor.

I think Sony is clever enough to know how market and typical buyers of this class of body think about the A700-D300 class of DX bodies when there is 1800FX right next to them even if its feature-set is nothing serious at all.


Cause for many folks , IQ is everything that matters and many just know that in that department , a cheap FX wins over a great pro level DX.

Plus , Sony in-body IS is a big deal , in the long run it saves a lot of money for me, I am thinking about getting the A850 with the new SAM28-75 and SAL70-200f2.8 SSM or Sigma 70-200f2.8HSM................good thing about the Sony is Idont have to buy over priced Sony Zeiss lens , cause old Minolta or Tamron/Sigma will also be stabilized.

I also like the fact my Minolta 35f2 will be stabilized on it and my Sony 50f1.4 lens too stabilized.

I think the poor high ISO of the Sony will be compensated by the Super steady shot and its high ISO is not that bad as long as I shoot RAW any way.

Plus , its crop mode is roughly 12mp so no need for DX any more.

I think Canon and Nikon should worry about Sony more seriously , the D700 can not compete unless Nikon drops its price to about 1.8k.

5D2 looked ok and I thought I would buy it until I used it, but after using it for a week for some work I simply got tired of it , its AF was so slow and shutter lug was worse than my 50D......................the 50D and D300 are much faster than the 5D2.

Plus , I hate live view , I like the Sony more real camera to me , like old Minolta A9.

So, I am waiting for Nikon to come up with much rumored D700X or









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