![]() ![]() In other models, even within the same brand (for example, the Nikon ProStaff 7S), this focusing issue was less noticeable, and they performed well in this regard. With binoculars you want a happy medium that focuses fast but allows for granular accuracy. Less rotation between silence and loudness means you can get between the extremes quickly, but you may not be able to get to precisely the level you want on the other hand, a volume knob with too much rotation takes forever to adjust. This sounds confusing, but it makes sense if you think of a focusing knob the way you might a volume control. Some models, like the Nikon ProStaff 5, focused very quickly, but that often translated to loss of detail at distance, or basically, the smooshing together of anything more than a couple hundred feet away into one focusing position. It smoothly and accurately adjusts across a wide range of focal depths. ![]() One of the best features of the Athlon Midas ED was the ease and precision of adjusting the focus. These field-of-view differences proved more noticeable when I was trying to differentiate spot-breasted wrens from rufous-and-white wrens as they crawled through vine tangles in southern Mexico, for example the Nikon pair’s narrower field, which had otherwise excellent glass, seemed to require more time to find the birds than the Athlon Midas ED did (and tellingly, by the end of the trip, I was grabbing the Athlon pair each morning). The Carson 3D binoculars were impressively sharp and easily as bright as the Athlon set, but they felt almost as if they had tunnel vision, likely because their field of view was around 20 percent narrower than that of the Athlons. The Nikon was 361 feet at 1,000 yards versus 426 feet for the Athlons, Bushnells, and Celestrons, which had the widest fields of view of the models I tested. Neither the Nikon nor the Carson model had the wide field of view at distance that the Athlon Midas ED boasted. In a flashback where Emma found Gracie's medallion, the stone was red, but it is supposed to be blue.During testing in Southern California and southern Mexico, a few other models-including the Bushnell Legend L Series, Celestron TrailSeeker, Carson 3D, and Nikon Monarch 5-proved very good at bringing in color under harsh conditions.In Season Two, however, Max Hamilton tells the teenage mermaid that she actually dropped it in the Moon Pool. In that same episode, Miss Chatham tells Cleo that her ex-best-friend Gracie had 'lost' her locket on Mako Island.Trent Sullivan as Elliot and Craig Horner as Ash are credited, but do not show up in the episode.Claire Holt ( Emma Gilbert) is absent for this episode, but she is still credited.Then Cleo gets most of the focus for the rest of the episode. Moreover, Rikki is only seen for the first two minutes of the episode.Emma does appear for a few seconds but only in a flashback to her finding the locket at the bottom of the Moon Pool. Emma is absent for this part 1, but appears in part 2, making Emma the first main character to be absent from the series, the second being Lewis. ![]() Charlotte is upset because Lewis now is avoiding her. Lewis discovers a powerful ally in Max, who helps him continue on with his research. When Cleo is out of earshot, Max tells Lewis that Cleo and Lewis should never have broken up because he "knows when people should be together". Max tells Cleo and Lewis he created the lockets, loved Gracie, tried to discover Mako's secrets and being dumped by Gracie. Lewis takes him the locket to get it fixed and Max reveals that he knows what Cleo is. Max realizes Cleo is one of the mermaids when he spots her locket - the very same one he made for Gracie, one of the original mermaids, fifty years ago. While looking research trying to uncover the secrets of the moon pool, Lewis uncovers the work of Max Hamilton, who fifty years earlier found himself in much the same role that Lewis is in now. ![]()
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