Film cameras
Sunpak Auto 444 D User manual
User manual for Sunpak Auto 444 D. 45 pages in English. Read the original PDF, download or print a copy without registration.
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Document details
- Brand
- Sunpak
- Model / document
- Sunpak Auto 444 D
- Document type
- User manual
- Language
- English
- Pages
- 45
- File size
- 1.8 MB
- Category
- Film cameras
- Document date
- Not specified in catalog
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Page 2 · Read text
sunPnK
DTHYRTsToR auto444
ELECTRONIC FLASH UNIT,
Owner's Manual
www.butkus.usView original page 2Page 3 · Read text
T-7 r-- .l IMPORTANT SAFEGIJARDS
t
WHEN USrNG YOUR PHOTOGRAPHTC EOUtqMENT, 6. DO NOT OPERATE APPLIANCE WITH A DAMAGED
BAS|C SAFETY PRECAUTTONS SHOULD ALWAYS COR D.
BE FOLLOWED, INCLUDING THE FOLLOWING: 7. DO NOT LET CORD HANG OVER EDGE OF TABLE
1. READ AND UNDERSTAND ALL INSTRUCTIONS. OR COUNTER OR TOUCi-I HOT SURFACES.
2. CLOSE SUPERVISION IS NECESSARY WHEN ANY 8. IF AN EXTENSION CORD IS NECESSARY, CARE
APPLIANCE IS USED BY OR NEAR CHILDREN. DO SHOULD BE TAKEN TO ARRANGE tHE COND SO
NOT LEAVE THIS APPLIANCE UNATTENDED WHILE THAT IT WILL NOT BE TRIPPED OVER OR PULLED. I
IN USE. 9. ALWAYS UNPLUG APPLIANCES FROM ELECTRICAL
3. DO NOT OPERATE APPLIANCE IF IT HAS TlEEN OUTLET WHEN NOT IN USE. NEVER YANK CORD
DROPPED OR DAMAGED.UNTIL IT HAS BE EN EX. TO PULL PLUG FROM OUTLET. GRASP PLUG AND
AMINED BY A OUALIFIED SERVICEMAN. PULL TO DISCONNECT.
4. TO PROTECT AGAINST ELECTRICAL SHOCI.
HAZARDS, DO NOT IMMERSE THIS APPLIAI\ )E IN
WATER OR OTHER LIOUIDS.
5. TO AVOID ELECTRIC SHOCK HAZARD, DO NOT
DISASSEMBLE THIS APPLIANCE, BUT TAKE IT TO A
OUALIFIED SERVICEMAN WHEN SOME SERVICE OR
REPAIR WORK IS REOUIRED. INCORRECT REAS.
SEMBLY CAN CAUSE ELECTRIC SHOCK HAZARD
WHEN THE APPLIANCE IS USED SUBSEOUENTLY. SAVE THESE INSTRUCTIONS
2View original page 3Page 6 · Read text
-..".J \
Description of Parts
1. Flashtube, Ref lector and l-ens 22. Power Ratio Control Scale
2. Accessory (optional) Mounting 23. Ready Light/Test (Open Flash)
Gu ide Button
3. Bounce Flash Control Base 24. Auto OK Indicator .
4. Battery Compartment Cover 25. Interface Module Locking Lever
5. I nterchangeable I nterface Modu le 26. lnterf ace B lade
6, Auto Sensor 27 . Interlock Receptacle
7 . Knu rled Lock R ing 28. Interface Module Positioning
8. DedicatedlHot S.hoe Contact Guide
9" Auto/Manual Mode Window 29. I nterface Receptaele
10. AutolManual Selector Switch 30. lnterface Module Locking Pin
1 1. AC/510V Socket
12. Battery/Ac.HV Selector (On/
Offl Switch
27 13. Powen Ratio Selector
14. Bounce Flash Head28 15. Bounce Flap (built-in the Tele 1( it)
29 Position Indicator
16. Vertical Bounce Control Scale
17. Bounce Angte Indicator
18.' Film Speed Selector
19. Film Speed lndicator Window
(ASA}
2A. F/Stop Scale
21 . Distance Scale www.butkus.usView original page 6Page 7 · Read text
LJnique Features of the Thyristor 444 D Flash $uto
O MU LTI.I NTER FACING
MODULES . . .
One Flash for All Dedicated Camera
Systems: By using SunPak's unique
interchangeable modules, which are
available as optional accessories, your
auto 444 P*ill interface with many dedicated cameras. lt is so simple that all
you have to do is to select one of-the
Sunpak'lnterface Modu les specif ically
designed for the camera you are using
and mount it on your auto 444D.
o OU lC K . . . Fu Il came ra ded ication
with full electronic interfacing. Set not
only the 'X'synch, but much more.
lnterface Modu le:
- Total Ded icated Ci rcu itrY
- Built-in Hot Shoe Contact
--Standard Operation
Perfect coupling for todaY's 35mm
Electronic S LR cameras
Standard Shoe: (optional )
Built-in Hot Shoe and Auto SensorView original page 7Page 10 · Read text
To Install Batteries:
Alkaline or Nickel-Cadmium
Batteries?
The major advantage of alkaline
batteries is that they provide more
f lashes per set. Wh ile n ic kel-cadm ium
batteries will provide fewer flashes
per set, they will recycle your auto
444 D slightly faster and can be
recharged hundreds of times for
more economical operation over
the long run.
1. Slide the battery compartment 2. Insert four AA size batteries 3. Press the cover until it snaps into
cover toward the bottom of the (alkaline or nickel-cadmium) as place.
unit. Now gently fold up the shown. The battery compartment
cover in the direction shown. has a guide showing the correct
positioning of the batteries for
proper polarity. (+, - contacts).
www.butkus.usView original page 10Page 12 · Read text
MOUNTING THE FLASH TO THE CAMERA: To Change the Module:
CAUTION: WHEN MOUNTING
OR DETACHING THE auto
4M D THYRISTOR FROM YOUR
CAMERA. ALWAVS MADE SURE
THAT THE ON/OFF SWITCH IS
SET AT THE "OFF" POSITION
OR THE CAMERA MAY BE
DAMAGED.
1. Slip the unit onto the camera's
hot shoe. Turn the knurled lock
ring clockwise to insure secure
mounting to your camera's shoe.
Note: When using Olympus
cameras, ffidke sure that the ap- B. Connect the other end to the Your Sunpak auto 444iD is so 4. Insert the Interface Blade and
propriate accessory shoe as flash synch socket on your designed that by changing its interface the Locking Pin of the module
below is attached to your camera (usua lly mar ked 'X') . module (a hot shoe contact) the flash respectively into the Interface
camera and then put the auto In case your camera has no wi ll be f u I ly interfaced with any Receptacle and the Interlock 'Accessory use the Shoe', 444 on it. D dedicated camera. (For details of the Receptacle of the flash body. o OM-2N, For Basic OM-lN: acces- optional Sunpak
sory shoe #4 Grip (Cat. No. 651-7721. Interface Modules, please read the Then push the Locking Lever
, o For OM-2: accessory shoe #3 3. Set the Camera shutter to the separate instruction leaf let for the back into the locking position
o For OM-10: mount the auto fastest shutter speed synchro- interface modules.) until the edge of the marks align.
444D onto the built-in hot shoe. nized for electronic f lash. For Make sure the module is securely2. lf your camera does not have a SLR cameras, the highest usable 1. Open the Battery Compartment attached.
hot shoe contact, use an option- speed is generally 1/60th second; Cover and take out the batteries"
al Standard Shoe (Cat. No. 651- however, some permit f lash 2" Pull the Interface Module Lock- CAUTION: THE BATTERY COM-
O42l and optional F lash Synch synchronization of up to 1l125th ing Lever out with a metal piece PARTMENT DOOR'TO MUST BE Cord (Cat. No.651-7811 . second. To be sure, refer to like a coin as illustrated. OPEN ED PR IOR ATTACH ING
A. Insert the male end of the your camera's instruction 3. Remove the Module while holding OR DETACHING INTERFACE
the socket manual into synch and cord the Interface the Locking Lever out. MODU LES.
base www.butkus.usmanual. Modu le Shoe. of Standard instruction on the 11View original page 12Page 14 · Read text
C. For an intermediate distance D. For maximum depth-of-field Then set your camera lens
range in automatic operation, (greatest sharpness in f ront of , opening (for ASA 100 f ilm, the
move the Selector Switch to the and in back of the subject), move lens opening ls f/8). Your f lash
yellow "A" position so that the the Selector Switch to the red "A" and lens are now adjusted for
yellow line and f l4 appear. Then position so that the red "A", the correct exposure at any distance
set the same aperture on your red line and f /8 appear. between 1.6 and 15 feet.
camera (f or ASA 100 f ilm, the
lens opening is tl4l. Your f lash
and lens are now set for correct
exposure at any distance
between 3.3 and 30 feet.
www.butkus.usView original page 14Page 15 · Read text
To Verify Correct Auto Exposure:Taking the Picture
1. Move the Batt/AC HV Switch to 3. Take the picture! To verify the correct automatic ex- lf the lamp does not glow, move
the appropriate position for your Your flash will automatically posure, just aim your f lash directly closer to your subject (or, if you are
power source. provide the correct amount of towards your subject and press the shooting in yellow or red auto mode,
light for proper exposure within Ready/Test Button. This will cause switch to green and adjust the aper-
the distance range indicated. the f lash to f ire without actually tu re accordingly.). tfre 'Auto O K'
2. ln a few seconds, the Ready/Test For succeeding exposures . . . exposing any f ilm. lf the automatic provides positive verif ication in
Button on the back of the f lash Just wait until the Ready/Test exposure is correct for your subject, automatic operation that your
unit will start to glow. This con- light comes on. Make sure you the green "Auto OK" lamp will glow picture will be correctly exposed.
f irms that your f lash is ready to are within the usable auto immediately after the "test"
f ire. distance range for the lens exposu re.
opening in use and . . . Shoot!
14View original page 15Page 16 · Read text
( OPERATING INSTRUCTIONS FOR STANDARD CAMERASPower Ratio Manual ) Operation
With Sunpak's unique Power Ratio
Control you can adjust the light
output over a five stop range (from
full to 1116 power). This feature
gives you greater depth-of-field
control, the ability to control battery
life and recycle times, precise f ill-in
f lash capability, macro/close-up
capability and the ability to control
flash duration.
Using the Power Ratio 1. Set the Auto/Manual Selector 2. Set the Film Speed Scale to the 4. The scales for distance and f/stop
des i red ASA sett i ng. now show the correct combina-Control at Full Power: Switch (on the back of the flash
body) to the top so that the (Example: ASA 1 00). tion of exposure. Find the
white "M" appears. 3. Adjust the Power Ratio Control to f lash-to-subject (not camera-to-
full power by sliding the Selector subject) d istance.
Switch. (Example: 15')
5. Set your lens to the lens opening
shown for this distance.
(Example: with ASA 100 film,
the correct lens opening at 15'
www.butkus.us is f/8).View original page 16Page 17 · Read text
Using Power Ratio:
As when using the Power Ratio 3. Slide the Power Ratio Control 4. Be sure the distance scale indi-
at full power, set the Film Speed Switch until you haye the desired cates proper f/stop for the correct
Scale to the appropriate ASA f/stop opposite to this distance. exposure of your subject. lf not,
rating and be sure the Auto/ ALWAYS SLIDE THE POWER increase or decrease the power as
Manual Selector is at "M". RATIO CONTROL SWITCH TO needed.
2. Determine the distance of your A MARKED (CLICK STOP) 5. You are now ready to take your
subject f rom your f lash. When the POSITION. DO NOT SET THE picture. Remember to adjust the
auto 444 D is mounted onto the POWER RATIO BETWEEN aperture on your lens to match
camera, focus your camera's lens MARKED POSITIONS OR THE the aperture indicated on the
and read the distance indicated UNIT WI LL NOT OPERATE AS calculator scale.
by the distance scale on the lens DESIR ED. (Example: 1 1 feet
barrel. with ASA 100 f ilm, you may
choose f 111, 8, 5.6,4 and 2.8.).View original page 17Page 18 · Read text
USING POWER RATIO FOR BETTER PICTURES
1 ) With you r camera's bu ilt-in expo- 3) You have now determined theFill-in Flash Photography sure meter (or a separate meter), two required parameters for cor-
determine and set the correct lens rect exposure - aperture andYour Sunpak auto 444 D electronic opening for the brightest part of distance. Move the Power Ratio
f lash is of signif icant benef it even in the scene when exposed at the Control Selector until the required
outdoor photography. Example: a fastest speed at which your camera distance (1 1') appears above the
bright day at the beach . . . much too synchronizes with electronic f lash. required aperture (f/B). Your
bright for your subjects to face the (Automatic shutter-priority cam- f lash will now operate at the
sun. So you turn them around, and eras, such as Konica may be used correct power ratio setting for
shoot against the sunlight: a backlit in "Automatic" mode.) perfectly-balanced f i I l-in f lash.
shot. You can take a close-up meter Example: Set your camera's Example: Where an aperture of
reading of their faces, to insure that shutter to 'X' speed (or to the f /8 is required at a distance of
the exposure is based upon the sub- fastest speed synchronized for 1 1 feet, a "power ratio" of
jects'faces (relatively dim) and not electronic f lash without exceed- 1 12 is set for ASA 100 f ilm.
upon the background light (ex- ing 1 /700th second ) . You r meter 4) Shoot! Your picture will be per-
tremely bright). While this tech- indicates correct exposure for fectly exposed, because the light
f lash on your subject isnique will produce a well-exposed the brightest area of the scene - of the
image of the subject, the back- usually the background. Example: now balanced perfectly with the
ground will be rendered far too Set your lens to f /8. exposure required for the brlght-
light; the brightness value in the 2l Focus, and read the camera-to- est part of the scene !
scene is beyond the ability of any EXAMPLE: subject distance (feet) f rom your
film to record. Full f ill-in n l2 power) lens' distance scale.
Sof ution: Sunpak auto 444 D . . . Shutter speed: 'X' speed (Example: 11 feet.)
and its unique Power Ratio Control. Distance to subject: 1 1 feet
F ilm speed: ASA 1 OO
Apertu re: f 18 www.butkus.usView original page 18Page 19 · Read text
Full fill-in ( 1 12 powerl 112 till-in (1l4tn power) 114 fill-in (1l9th power) 1lB fill-in (1/16tn power)
The technique described above o Should you prefer a lqss pronounced o Alternatively, you may wish to a Power Ratio one step over
provides equal brilliance on the sub- fill-in effect (less light on subject), employ a more pronounced fill-in the power indicated Example: - ject and the brightest area of the move the Power Ratio Control to f lash effect when your subject full power instead of 112.
overall scene. This effect is called the next smallest position: for has darker complexion or is in an o Experiment, when possible, to deter-
"full" fill-in and gives excellent example, 1l4th when 112 is extremely dark shadow and not mine the ratio most pleasing to you
results witb a majority of subjects. indicated. Use this technique when well lit as other bright areas of the with subjects representative of your
your subject is surrounded by a scene. This "extra" f ill-in effect normal picture-taking.
faint shadow or has an unusally is achieved simply by dialing
18 light complexion or appearance.View original page 19Page 20 · Read text
Depth-Of- F ield Control
f l2"B ill1
Foreground in focus Background and fore-
ground in focus Examples:
In addition to controlling the exposure, the lens opening or the lensaper- When photographing still life, more For portraits, use the lower power
ture, the Power Ratio Control also regulates the depth-of-field of your depth-of -f ield is of ten required. Use settings and larger lens openings for
image. When a lens has a smallaperture, such asf 116 orf ll1, the the higher power settings and smaller less depth-of-field.
area in front of and behlnd your subject will be in focus. However, when lens openings for best results.
the fensaperture becomes wider, such as at tl2.8or f 12, the area in focus
will be significantly reduced. Thus, when you use a wider aperture, your
portraits will be more pleasing because distracting backgrounds will be all
but eliminated. For other subjects, such as still life, you will want the entire
area to be in focus. With the Sunpak Power Ratio Control, you can adjust
the power ratio setting to the aperture you desire for extra creative control. www.butkus.usView original page 20Page 23 · Read text
I
Full fif l-in (112 powerl 112 tall-in (1l4tn power) 114 fall-in (1/Btfr power) 1lB fill-in (1/16tfr power)
The technique described above o Should you prefer a lqss pronounced o Alternatively, you may wish to a Power Ratio one step over
provides equal brilliance on the sub- f ill-in effect (less light on subject), employ a more pronounced f ill-in the power indicated - Example: ject and the brightest area of the move the Power Ratio Control to f lash effect when your subject f u ll power inst€ad of 1 12 .
overall scene. This effect is called the next smallest position: for has darker complexion or is in an o Experiment, when possible, to deter-
"full" fill-in and gives excellent example , 1l th when 112 is extremely dark shadow and not mine the ratio most pleasing to you
results witb. a majority of subjects. indicated. Use this technique when well lit as other bright areas of the with subjects representative of your
your subject is surrounded by a scene. This "extra" f all-in effect no rmal picture-taki ng.
faint shadow or has an unusally is achieved slmply by dialing
18 light complexion or appearance.View original page 23Page 24 · Read text
Depth-Of- Field Control
t l11 t 12.B il2.8 | Background in focus Foreground in focus I Background and fore- ground in focus Examples:
In addition to controlling the exposure, the lens opening or the lens aper- When photographing still life, more For portraits, use the lower Power
ture, the Power Ratio Control also regulates the depth-of-field of your depth-of-field is often required. Use settings and larger lens openings for
image. When a lens has a small aperture, such as f/16 ortl11, the the higher power settings and smaller less depth-of-field.
area in front of and behind your subject will be in focus. However, when lens openings for best results.
the fensaperture becornes wider, such as at tl2.8or f 12, the area in focus
will be significantly reduced. Thus, when you use a wider aperture, your
portraits will be more pleasing because distracting backgrounds will be all
but eliminated. For other subfects, such as still life, you will want the entire
area to be in focus. With the Sunpak Power Ratio Control, you can adiust
the power ratio setting to the aperture you desire for extra creative control. www.butkus.usView original page 24Page 27 · Read text
TOTAL BOUNCE CONTROL SYSTEM: OFF CAMERA FLASH
Off-camera flash offers many of the Your flash will measure and deliver
benefits of bounce flash. ln addition, the exact light required for your
it allows the full power of the flash subject . . . and the highly direc-
(and smaller lent illumination. Since the flash A.- tosionalbe used,lightingthuseffectspermitting profes- tional lighting will provide excel- l+'*., lens openings) irrespective of distance is aimed towards your subject off
or ceiling ref lectance. lt's easy to the optical axis, shadows will be
from the subject 9l' use. directed away
out of the picture area. Off-Camera Flash By
professional lighting /\V\lt Extension Cord: It's a basic
lu 1. Detach the lnterface Module f rom technique . . . made easy by your
the flash body and slip it onto the Sunpak's unique Ouick-Release
hot shoe of your camera. Interface Module System !
In addition to its bounce f lash head, Bounce Lighting Kit: 2. Just connect the flash body and
your auto 444D 's unique accessories For more extensive bounce lighting the lnterface Module by the
are ideal for better bounce lighting. effects, Sunpak Bounce Lighting Kit Sunpak Dedicated Remote
Bounce Flap: Cat. No. 651-795 (to be attached Cord (optional). For details refer
The bounce f lap gives multiple to the Sunpak Tele Kit TL-8 or to the Dedicated Remote Cord
lighting effects. A predetermined Filter Holder) is available as an instruction leaf let. f lash to the "Auto" posi-portion of light illuminates your optional accessory. For details, 3. Set the
subject directly and the rest of the refer to the Bounce Lighting tion, and adjust the camera lens
light bounces to the ceiling. ldeal for Kit instruction manual. to the f /number indicated in the
vivid and lively effects. (Built-in the f/stop Scale. Take the picture!optional accessory, Sunpak Tele Kit 4.
TL-8 Cat. No. 651-842l..
22View original page 27Page 30 · Read text
X Wrong Way
C n isht way
In close-up photography, many excellent For extensive use in portrait photography, NOTE: To determine the bounce lighting
lighting effects can be achieved by using one or many photographers prefer "umbrel la" technique which satisf ies you, try
more pieces of white cardboard as ref lective lighting created by bouncing the f lash off experimenting by using all of the
surfaces in bounce f lash. The soft, diff used a white or silvered umbrella. The Sunpak f lash head positions. ,
effect of "bounce" light often reveals Bounce Lighting Kit is ideal {or this use.
fascinating details of small objects.
www.butkus.usView original page 30Page 31 · Read text
Copy Photography
Because of its unique Power Ratio Control, your auto444D is ideal for copy photography. A TYPICAL COPY SET UP FOR
By adjusting the power you can control the auto444D's light output, which is criticalwith DOCU MENTS
relatively short f lash-to-subject distances.
For copying, you can use a copy stand, modified enlarger baseboard and girder or a tripod 1. An ideal set-up for shadow-f ree copies;
which can have its pan head mounted to the bottom of the c€nter column. In addition, you take two auto444 D's, one connected to
can use one, two or four auto444 Ds. your camera, another to the Sunpak Auto
Slaw, aimed at a 45" angle to the subiect on
the same axis as the camera. As the
illustration shows, twice the normal amount
auto 444D with auto laa D with C;opy Photography: Practical, Fun of light is hitting the subject, so you should
standard shoe and slave standard shoe and Ouick either close down the lens aperture by one
stop (two stops when using four units) or
* Hobbies: You can reproduce stamps, coins, adjust the Power Ratio Control by half the
seashells, butterflies, plant life and other Power Ratio setting (-l stop).
items. Note: To mount the auto slave to auto
* Vital Documents: DiPlomas, birth 422D, f irst attach the standard shoe to the
certif icates, cancelled checks, lic€nses, etc. 444D and connect the auto slave and the
* Charts: You can keep a photographic record standard shoe with PC cord.
of any charts or graphs you prepare for school
or business. In addition, color transparencies 2. lf you own another electronic flash unit,
of the charts can be made for slide you can use the Power Ratio Control on
p rese ntat io ns. your auto 444D to set the unit at a similar
* Valuable Possessions: ltems such as jewelry, power level as the other unit. Simply match
silverware and works of art can be photo- the guide number from the specif ication
graphed and used for insurance purposes. chart on page 38 with the appropriate
power level to your other unit.View original page 31Page 32 · Read text
Hints for laking Photographs Using a Copy Set-Up
1. When photographing a three-dimensional subject, such as
a coin, try setting the flash units at a 120o axis from the
lens. This is also excellent for subjects with an irregular
'r7-120\z' flat surface such as an oil painting, and high gloss subjects.
For best possible results, experiment with different angles \/\/\,/ until you get the results you like.
2. For showing shadow and texture on a threedimensional
subject, use your auto 444D at different power levels.
Again, experimentation is the best way to discover what tt.,
1/4 ,r' 1/2 is the best lighting ratio between the auto 444D for the Power t.. ,' Power subject you are copying.
3. For a softer lighting effect, fire the 444D through a
material that will diffuse its light. ltems such as artist's
tracing paper and photographic diffusion material are
ideal. For special effects, use one auto444 D with an
accessory color f ilter at a higher power level than an
auto 444 D without a filter.
4. For lighting a highly-ref lective subject with controlled
light, try the tent lighting method by simply taking
heavy white paper or oak tag and bending it so the light
from the unit surrounds, but won't directly hit, the
sub ject as illustrated .
www.butkus.usView original page 32Page 33 · Read text
Other Flash Hihts
Multiple Exposures Open Flash
When shooting multiple exposures, your auto When shooting at night, you can use your auto
444 D is idea I because of its m u lt id irect io na I 444 D to act as a f ilf -in flash while setting your
capability. Be sure to use a dark background shutter speeds for background exposure.
and center your flash on each individual Simply push the Test (open flash) Button on
subject. When placing the same people in one your unit for one, two or more flashes while
background scene, a tripod or other rigid the shutter is open.
camera support is recommended.
Special Effects Macro/Close-Up
One of the most popular special effects today By using the lower power levels on your auto
is the "Shoot" technique of superimposing one 444 D, the exciting world of Macro/Close-Up
image over another. The only requirement is photography can be mastered. Because of the
a roll of paper towels on a simple cardboard fower power levels available f rom the auto 444D,
tube. Take the f irst exposure using available you can properly expose close-ups even when
light and center the area of the image you your flash is very close. To lower light intensity
wish to superimpose the image on. Then, take even further, bounce the light or use the
a second exposure on the same f ilm, using your diffusion filter available in the accessory
auto 444 D. Simply use the tube to cover all but filter kit.
the centered area. For smaller centering areas,
use two tubes for'a telescope effect. Because
the light from your auto 444 D is higher than
the available light in most cases, the.image shot
through the tube will dominate the available
light image. For best results using this tech-
nique, make your superimposition on a dark
area.View original page 33From the M. Butkus archive. Original publisher and archive notices are retained.
Check the model and edition against your equipment.
PDF verified 2026-10-10.