Today, we are thrilled to announce that the dream is materializing. The Grafnoct 150mm F1.6 VSF lens project is now live on Kickstarter. This isn’t just another lens; it’s our answer to a fundamental creative limitation, born from a deep passion for the large format process.

Redefining “Fast” for Large Format

Grafnoct shatters the aperture barrier for 4×5 systems. At F1.6, it opens up entirely new creative territories:

• For Classic Processes: It is a game-changer for wet plate collodion, tintype, and direct positive paper photography, where every stop of light is precious.
• For Portraiture: Achieve an intensity of bokeh and subject separation previously unimaginable on 4×5, with a natural, slightly glowing character.
• For Low Light: Capture the mood and atmosphere of nighttime or interior scenes without compromise.

The Heart of Grafnoct: Precision with Character

True innovation lies not just in speed, but in controlled artistry. Grafnoct is engineered with purpose.

• Optical Philosophy: It employs a refined 6-element, 5-group Double-Gauss design. This classic architecture, updated with modern high-refractive-index glass (like H-LAK52), provides a superb balance of sharpness, contrast, and a three-dimensional rendering we call “3D Hi-Fi.”
• Variable Soft Focus (VSF): This is our signature feature. By allowing precise adjustment of spherical aberration, you can introduce a beautiful, controllable glow directly within the lens—from crisp modern to ethereal classic. No more external filters; the mood is at your fingertips.
• Built to Last: The lens barrel is machined from durable 6061 aluminum, and the optical design accounts for thermal stability to prevent element debonding—a critical consideration for such a large aperture.

“This project started from a simple, personal desire: to shoot my Graflex handheld in lower light. It grew into a pursuit of optical excellence, to create a tool that offers both extreme speed and beautiful, adjustable character.” — Yinan, Optical Designer

Designed for the Cameras You Use

We designed Grafnoct to integrate seamlessly into a photographer’s workflow. It is engineered specifically for two iconic systems that can harness its speed:

1. Graflex Speed Graphic: Utilize the camera’s built-in focal plane shutter for speeds up to 1/1000s. (Lensboards will be available for both Anniversary and Pacemaker models).
2. Sinar DB Shutter: Enables flash synchronization, ideal for studio-based alternative processes. (An ND filter is recommended for outdoor use due to the 1/60s maximum shutter speed).

The Team Behind the Glass

Grafnoct is the product of a focused collaboration between passionate experts:

• Yinan: A PhD candidate in Advanced Imaging & Sensing, Yinan is responsible for the core optical design and simulation, ensuring the lens meets rigorous performance goals.
• Rayfor (MUTEX Tech): A renowned engineer in the open-source film community, Rayfor translated the optical design into a manufacturable, reliable product, overseeing mechanical engineering and production feasibility.

This project follows our studio’s ethos of reviving and advancing photographic tools, as seen with our well-received Goerz Hypergon 75mm reproduction.

Join Us on This Journey

Tooling for a precision lens like Grafnoct is extraordinarily costly. By launching on Kickstarter, we’re inviting our community to be foundational in bringing this tool to life.

We need your support to reach our funding goal and make the first production run a reality. In return for your pledge, you can secure your own Grafnoct lens at a significant early-bird discount and be among the first to create with it.

🔗 Back the Grafnoct Project on Kickstarter

This is more than a campaign; it’s a collective step forward for large format photography. Help us turn this optical ambition into a tool you can hold in your hands.

Share this project with anyone who believes in the future of analog creativity.

Introducing Grafnoct: The F1.6 Dream for 4×5 Large Format is Now on Kickstarter最先出现在Elevanfilm-拾忆菲林。

In the early days of the SLR camera, its parallax-free viewfinder experience won the hearts of many photographers. The sharpness of the image on the focus screen directly indicated focus accuracy. Yet, anyone who has handled vintage cameras knows the struggle: judging focus on a ground glass screen is notoriously difficult. Developing a precise focusing system became a long-standing challenge for every manufacturer.

The classic focusing screen—with its central split-image prism, surrounding microprism collar, and outer matte field—became the gold standard for manual-focus SLRs. Yet the early evolution of these screens was anything but straightforward.

Some camera designers sought to improve focus clarity by increasing viewfinder magnification. But higher magnification required shorter eyepiece focal lengths, resulting in punishingly short eye relief—a dealbreaker for bespectacled photographers. This technological impasse ultimately ushered in the split-image focusing screen’s rise to prominence.

While many embraced this simple, intuitive focusing method, criticisms emerged: certain subjects stubbornly resisted clear focus confirmation on split-prism screens. Meanwhile, achieving true 1:1 magnification typically demanded bulky 5X loupes with complex four-element optics—hardly conducive to nimble fieldwork.

Japanese manufacturers promptly addressed this with microprism focusing screens. These screens, incorporating numerous “miniature split-image” structures in the central area, gained rapid popularity for their broader applicability across photographic subjects.

Microprism Focusing Screen Schematic

Both split-image and microprism focusing screens had inherent limitations. While they performed adequately with fast standard lenses, telephoto and small-aperture lenses caused their focus areas to darken significantly. The narrower light beams couldn’t fully or accurately cover the entire split-image or microprism zone (though microprisms were slightly less affected).

Another critical issue was viewfinder focus precision. Typically, 0.02mm accuracy was required (a key benchmark in many film camera tests) to confirm proper focus alignment. This demanded focusing screen textures significantly finer than this measurement – yet not so fine as to approach smooth glass, which would make focus confirmation impossible.

Early Fresnel lenses failed to gain popularity due to complaints about their pronounced ridges creating uncomfortable viewing experiences. While later Japanese SLRs solved this through precision manufacturing, the early Exakta cameras offered an intriguing solution: a plastic film on the condenser plane embedded with countless microscopic convex lenses. This design – resembling an ultra-fine microprism screen – improved focus judgment while scattering light evenly to maintain viewfinder brightness, effectively aiding both composition and focus.

The Exakta Viewfinder’s Focusing Screen (Integrated Condenser & Corrector) This ingenious design utilized a plastic film that created a subtle “fractured” appearance in out-of-focus states. The key innovation lay in its minimally-textured convex lenses – even when used with a 5x viewfinder magnifier, these microscopic elements remained unobtrusive while maintaining optimal viewfinder brightness.

Exakta’s groundbreaking concept was later adopted and refined by Japanese camera manufacturers. Through meticulous optimization of the textured patterns on the plastic films, companies like Minolta eventually developed superior high-brightness focusing screens and viewfinder systems.

However, the quest for perfect focusing solutions continued. German engineer Josef Dahl observed that photographers often “racked” the focus ring back and forth to find optimal sharpness. His innovative solution divided the focusing screen into three distinct zones – foreground, middle ground, and background. When all three zones appeared equally sharp, precise focus was achieved. While this design didn’t necessarily speed up focusing, it did provide improved accuracy in certain shooting scenarios.

Josef Dahl’s Tri-Zone Focusing Screen Design

Where Josef’s solution was unconventional, Alpa Reflex implemented a truly distinctive approach. The system projected a rangefinder’s coincident image patch into the viewfinder while displaying the focusing indicator at the top of the frame.

Alpa Reflex’s Combined Rangefinder Patch & Pentaprism System

Where does the error in SLR cameras come from?

The SLR’s optical path—comprising the lens, mirror, focusing screen, pentaprism, eyepiece, and film plane—introduces multiple potential error points. Slight discrepancies between the viewfinder image and actual film-plane projection often plague poorly manufactured entry-level SLRs.

The most overlooked culprit is the reciprocating mirror: its return position isn’t perfectly consistent! Quality SLRs maintain mirror repositioning errors within 0.03mm—negligible for photography—but cheaper models exhibit greater variance. This also explains why pressing the mirror manually for cleaning is strictly discouraged: permanent deformation of its support mechanism will inevitably cause front/back focusing issues.

Basic SLR Viewfinder Optical Path – Potential Focus Error Sources

While rangefinders have a fixed baseline (distance between viewfinder and rangefinder windows), an SLR’s “baseline” is more complex. Consider early 50mm f/2 SLR lenses with ~25mm entrance pupil diameters—smaller than the 40mm baselines of premium rangefinders. This made SLRs less precise with wide/normal lenses.

However, SLRs gain an advantage with telephotos: the magnified viewfinder image allows reasonably accurate focusing, whereas rangefinders struggle with tiny, detail-less patch images at long distances—compounded by increased mechanical margin for error.

The Lens’ Optical Aperture Determines the SLR’s Focusing Baseline Length

Of course, this is only the ideal scenario—reality is worse.The split-image focusing prism in an SLR does not utilize the lens’s full aperture for focusing (you can test this yourself: whether the lens is wide open or stopped down, the viewfinder’s focus misalignment remains similar when slightly out of focus). This makes it more difficult for the human eye to judge precise focus.

The split-image focus area doesn’t actually utilize the full optical aperture.

Imagine this: the actual focus might be off by a full meter, but because the viewfinder’s feedback is unclear, the photographer ends up capturing an out-of-focus image without realizing it.

Moreover, SLR focusing screens inherently carry their own margin of error.The split-image focusing screen struggles with low-contrast subjects compared to traditional rangefinder patches, presenting greater difficulty in achieving precise focus. More critically, many split-image screens suffer from manufacturing inaccuracies, introducing additional errors that degrade focusing precision.

Injection-molded focusing screens particularly struggle to maintain split-image prism tolerances – a key reason why the Olympus OM-1’s focus accuracy fell short of competing systems.

If the focused point aligns perfectly with the split-image focusing screen, the camera’s focus functions correctly (left image). However, if the lens achieves focus but the optical axis does not enter the split-image prism at a perfectly perpendicular angle—yet still falls within the split-image zone—the viewfinder will display a misaligned image rather than the expected half-blackout. In this scenario, the result is an out-of-focus photograph.

Enhancing Focusing Screen Brightness

Fast lenses cannot directly improve focusing accuracy, but they do increase viewfinder brightness—a critical factor for achieving precise focus, as a clearer image aids judgment. That said, beyond the lens itself, viewfinder brightness has always been a key concern.

Early SLRs relied on silver-coated pentaprisms and condenser lenses to boost brightness, but these measures were insufficient. Demands like small-aperture telephoto photography or specialty low-light shooting required exceptionally bright viewfinders. Nikon and Canon, aiming to meet photojournalists’ needs, pushed the limits to ensure split-image screens remained functional even with extreme lenses like 500mm f/8—eliminating the dreaded blackout effect, a remarkable feat for its time.

During the 1960s–70s, Japanese manufacturers began replacing Exakta-style bulky glass condensers with thinner Fresnel lenses. While early versions still showed visible Fresnel patterns, continuous brightness improvements eventually minimized this issue. Later innovations integrated condensers, Fresnel lenses, and pentaprisms, yielding significantly improved viewfinder performance.

The curved surface at the base of the pentaprism serves as the condenser lens. When combined with a Fresnel lens or bright screen at the bottom, this configuration significantly enhances viewfinder brightness and clarity.

After optimizing these components, manufacturers turned their attention to the focusing screens themselves, all working to reduce light scattering. By this point, Nikon’s focusing screens were already over 20% brighter than competing products, while Minolta’s Acute-Matte screen, with its 2.5 million tiny honeycomb-shaped conical structures, improved brightness by a full 50%.

Test data shows manufacturers were aggressively pursuing solutions to prevent split-image blackout at f/5.6 and even f/8 apertures, with Beattie even advertising a “four-stop brightness increase.” These special texture-based bright screen technologies were used by camera manufacturers well into the digital era.

It’s worth noting that before choosing third-party bright screens, photographers should understand their camera’s structure, as many models place their light metering after the focusing screen or even behind the viewfinder. Changing focusing screens might affect metering accuracy on such cameras.

Of course, focusing screens continued to improve with technological advancements. Many bright screens tend to emphasize central brightness, which some criticize as cutting corners. However, the reality is: the human eye is more sensitive to central brightness improvements, and appropriately limiting the central bright area won’t affect light meter readings – achieving the best of both worlds.

Discourse on Viewfinder Systems and Focusing Precision in SLR Cameras最先出现在Elevanfilm-拾忆菲林。

ElevanFilm Mini Projector是一类新型幻灯机，与传统幻灯机不同的是，移除了沉重的投影镜头和对焦机构，将投影的光学部分，交给您更可靠的相机；摒弃了炽热的传统光源，采用更加高效且利于散热的LED光源，减少了烘烤底片的风险。因此，EMP将提供给您相对更好的投影画质、更清凉安静的使用体验。

为了批量生产，EMP将使用3D打印制作相应的结构件。为了确保打印质量，我们优化迭代了数十个版本的打印参数、采用了物理性能好且价格较昂贵的改性碳纤维材料打印。尽管如此，因为3D打印的天然属性，我们依然无法完全控制每一台成品的外观完全一致，且打印时间较长（24小时制作一套材料），还请您理解。

制作过程中，我们会仔细检查打印件的细节，并进行手工打磨，确保部件符合装配要求。这可能导致部分部件表面可能会有小瑕疵，还请您多多包涵。

组装完成后，每一台幻灯机将进行上机测试，调整内部光学结构的位置，以达到理想的投影效果，并拍摄测试结果留存。为了方便后期进行调整及更换光学组件，EMP内部仅对对应组件做了基本的加固处理，使用蓝丁胶防止快递产生的组件位移，但这仍然不能完全确保您收到的时候，内部组件与校调的一致，您可能需要手动微调以适配您的相机。（特别针对玛米亚RZ67及哈苏500系单反相机——因为我没有这俩）

对于包装，为了环保及节约成本，我们并没有定制包装，而是采用回收纸制作的纸箱，并设计了一套贴纸进行装饰，，内里采用泡泡棉防震。您可以保留纸箱备用，若后期有产品升级需求，可使用原纸箱寄回，无需二次包装。

关于发货时间及价格。本产品制作时间较长（外壳13小时，接板两块6小时，磁吸片夹2块2小时，内支架3件3小时），难免会因为打印机宕机、物料延迟等原因，导致交期延迟，还请您多多理解，您可以从QQ群了解产品的制作信息，也可以通过B站：拾忆菲林，通过直播间实时了解制作进度。

产品从研发到定版一共耗时3个月，打样数十次,，购置了数套定制组件；制作过程需要全程人工操作，为了尽可能提高打印机的利用，需要经常通宵值守（最佳记录是连续通宵了7天），导致本人生物钟完全偏离；超长的工作时间，整月无休，以及3D打印带来的潜在健康风险，让我不得不考虑这个项目能否给我带来合理的收益。目前的价格，是我在结合对标产品、制作成本，以及大家的价格期望综合考虑而得出的。若您对产品感兴趣，也可以先在群里了解，确认需求了再购买。

Elevanfilm Mini Projector的详细产品说明，可以点击这里查看

已于11月11日发布第三版，第三版是针对前一版所反馈问题的集中更新，外观尺寸有所增大、使用手感更好、品控也更加稳定。更新详情可点击这里查看

QQ群：1033913321（点击加入）

EMP玩家返图区

若您同意以上内容，可点击以下链接进行预定：

ElevanFilm Mini Projector预定须知最先出现在Elevanfilm-拾忆菲林。

建站目标：低成本、速度可用、带顶级域名的个人站

实现方式：路由器刷写Padavan固件，通过ONMP搭建网站环境，利用内网穿透工具获取公网IP并绑定顶级域名

• 刷写Padavan固件：

Padavan固件有很多编译版本，这里选用的Hihiboy编译的最新版，因为其功能更完善，自带各种插件，方便调用。同时日常使用也有许多便利性。

Hihiboy的Padavan固件可以在https://opt.cn2qq.com/下载，选择对应路由器的版本，进入Bleed界面刷写即可

• 开启ONMP服务：

1.打开Entware软件源。

• Entware软件源可以提供丰富的安装包，方便后期进行各种网站功能补全

2.配置opt环境。

• 准备好一个高速U盘，格式化为ext4格式，插入路由器
• 按图调整路由器中对应选项，将opt镜像设置为19999M，方便后期使用
• 更新opt及script，并应用页面设置。
• 确认opt及script文件为最新版之后即可开始下一步

3.搭建ONMP环境

• 开启ONMP开关，并按照图片设置对应选项。滑动到页底保存选项并等待生效。
  • 若Log中提示Nginx未启动、LNMP未找到等问题，请手动安装ONMP环境：
    • 打开Shellinabox或者连接路由器SSH。扩展功能-配置扩展环境-网页终端中可以找到Shellinabox
    • 按照https://github.com/xzhih/ONMP中的指导手动安装ONMP服务
    • 确认安装完毕后，点击路由器中的重启LNMP按钮，等待重启并加载完毕

4.安装网站程序，并测试能否打开

• 这个就不多解释了，上一步如果正常操作，可以在内网中通过对应端口访问到目标网站。
• 对phpMyAdmin进行设置，修改账户密码并新建wordpress数据库

至此，ONMP环境已经配置完毕，已经可以实现内网访问路由器上的网站了。如果要求不高，在这一步就可以开始对Wordpress或者其他程序进行设置，并在内网使用。

• 设置内网穿透

内网穿透的方式有很多，有公网IP的同学可以使用DDNS，路由器内置了很多DDNS工具可以使用，简单配置后就可以通过直连路由器访问网站了，速度取决于你的宽带上下行速率，设置操作也很简单，这边就略过不提了（实名羡慕可以开公网IP的小伙伴）

如果你跟我一样，坑爹的ISP不提供或者说要加强才会给你动态公网IP，那么你就可以通过下面的操作实现外网通过域名访问路由器上的网站。这里使用的是内网穿透插件，比如花生壳Oray、Ngrok、Frp等，路由器固件中自带了这些插件，调用起来非常方便。

• 花生壳Oray内网穿透

小白或者要求不高的小伙伴，可以选择花生壳Oray进行穿透，其特点是：

1. 设置简单易上手
2. 自带二级域名，在国内通过二级域名建站可以不备案
3. 提供免费服务，白嫖就是快乐！！（但是使用内网穿透还是要象征性交1软妹币）

当然缺点也非常明显，免费版速度慢（1Mbps）、每月只有1GB流量、只能用2条映射、不能使用Https协议，这就看你的个人需求了。如果只是简单的静态页面，使用花生壳来内网穿透是非常合适。（花生壳细分收费项目是真的多）

这里简单介绍下花生壳内网版使用方法：

• 路由器中开启花生壳内网版的开关，并应用设置，稍加等待后即可刷新出SN码
• 进入花生壳管理，绑定自己的花生壳页面，并申请自己的花生壳二级域名（交出1元钱，另外为什么不绑定自己的顶级域名呢？因为顶级域名绑定是要收费的！！）
• 在页面中增加指向路由器对应端口的Http映射，保存，等待生效
• 若生效成功，你应该在路由器的Log中看到花生壳内网版已启动等消息，若一段时间后仍未生效，请重新启动路由器的花生壳。

一通轻松的操作过后，你就可以用花生壳的域名在外网有那么一点龟速的情况下访问路由器上的网站了，可能这就是轻松操作代价吧~

• Ngrok/Frp内网穿透

这两个内网穿透工具使用上的操作都差不多，所以就只挑我现在用的Frp来讲了。

Frp内网穿透的方式和花生壳的差不多，都是内网将数据发送至第三方服务器，再通过第三方服务器转发至你的客户端。为了自己的信息安全，一般都需要开启Https。如果需要启动Frp服务，你需要找到一家Frp服务商，网上有很多家服务商提供免费及收费的服务，可以根据自身需求进行选择。下图以供参考：

这里推荐的是Sakura Frp，免费版的资源足够用，服务器选择多，提供5个隧道及10GB的月流量，并且可以通过每日签到赠送流量。最最最重要的是，免费版竟然可以通过Https协议，将自己的顶级域名链接国内的服务器进行访问，也就是说速度会相当的快。真的是非常良心了。

• Sakura Frp内网穿透

1.  进入Sakura Frp主页，注册用户，并完成实名制认证（提交1软妹币即可，并且这1软妹币是可以退回的！）
2. 选择一条可用隧道，选择Https协议创建并关联路由器对应端口，如PHP探针192.168.1.1:81，填入自己的域名，并保存，此处端口请选择443
3. 复制配置文件至路由器的Frp设置页，保存，并开启Frp服务。（直接覆盖路由器的设置即可，若Frp服务未启动请再次更新Opt扩展环境）检查Sakura管理页中隧道是否上线
4. 将自己的顶级域名，CNAME解析到对应的Frp节点服务器（注意是CNAME!!!）
5. 等待5分钟，用Ping.cn测试域名是否链接到对应Frp服务器（判断IP所在位置是否是对应Frp服务器）

到这一步，已经完成了80%的操作了，如果你不使用Https服务进行映射，那么请选择海外节点，并且操作完成后，在此处应该可以通过域名正常访问网站了。

*（注：若第3步完成后，隧道仍未上线，请在路由器Wan口Upnp设置中，手动映射端口，如图所示）

接下来的内容与Https服务的配置有关，路由器的ONMP环境有些奇怪，所以单独进行说明。

• ONMP环境下开启网站Https协议

很遗憾，ONMP环境内置的Nginx默认不开启Https，导致这一步没法偷懒完成，如果觉得麻烦可以跳回上一步，通过Http协议，用大陆外的Frp服务器进行内网穿透网站访问。

• 查询nginx模块

进行这一步，为了方便起见，请开启Padavan固件的SSH接口，并下载Putty软件。

通过Putty SSH连接路由器，登录你的路由器管理账号，用以下命令查看Nginx版本。

Nginx -V

此时会弹出一大串文字，注意观察是否有 Build with OpenSSL

若有，则可以进行下一步。若没有，请通过以下命令安装OpenSSL

opkg install openssl

• 申请域名的SSL证书（若已有可跳过）

域名证书可在域名注册服务商处申请，具体请看域名管理后台。为了方便起见，这里建议将域名的DNS解析至Dnspod，因为他们家申请免费SSL证书超级快，而且简单易操作。

若你已经将域名解析至Dnspod，只需要在域名管理界面点击对应域名的SSL图标即可申请证书，证书办理成功后将通过邮件通知你。需要注意的是，免费版本的SSL证书有效期限是一年。

• 网站挂载SSL证书并启用

1. 打开路由器的Filemanager（在搭建Web环境这个菜单里）
2. 在/opt/etc/nginx/处创建一个Cert文件夹，将你下载到的SSL证书crt和key文件上传
3. 在Vhost文件夹中创建一个Https.conf文件，并编辑填写下列代码

server {
    #SSL 访问端口号为 443
    listen 443 ssl; 
 #填写绑定证书的域名
    server_name 你的域名; 
 #证书文件名称
    ssl_certificate /opt/etc/nginx/cert/你的cert文件名.crt;
    ssl_certificate_key /opt/etc/nginx/cert/你的key文件名.key; 
    
    ssl_session_timeout 5m;
 #请按照以下协议配置
    ssl_protocols TLSv1 TLSv1.1 TLSv1.2; 
 #请按照以下套件配置，配置加密套件，写法遵循 openssl 标准。
    ssl_ciphers ECDHE-RSA-AES128-GCM-SHA256:HIGH:!aNULL:!MD5:!RC4:!DHE; 
    ssl_prefer_server_ciphers on;
    location / {
    #网站主页路径。此路径仅供参考，具体请您按照实际目录操作。
    root /opt/wwwroot/WordPress/;
    index index.html index.htm index.php tz.php;
    #php-fpm
    include /opt/etc/nginx/conf/wordpress.conf;
    }
}

保存文件，并通过路由器菜单重启ONMP服务。

重启完成后，使用 nginx -t 查看443端口是否打开，若已打开，则整套操作完毕

聊一下目前的使用体验吧，网站现在通过内地的服务器进行数据转发，速度相对于花生壳的免费套餐来说快了将近10倍，整体体验蹭蹭往上涨，相比之前在阿里云的建站成本，现在这套方案仅仅只需要域名的费用，就可以达到近似阿里云基础版网站服务器的速度，甚至比它更快，简直不要太快乐了！！

Sakura Frp免费版提供5条隧道，如果你搭建的监控或者NAS需要进行公网访问，也可以利用剩余的隧道做不少事情。并且Sakura还有免费的高防服务器，简直是业界清流了！

当然白嫖的缺点也是有的，因为网站只做了Https映射（也只能通过Https映射访问），所以正常通过80端口访问网站，将会被IDC限制，目前的想法是新建一个国外的Http隧道，通过端口转发80流量到443，应该可以解决这个问题；另外是稳定性问题，域名SSL证书偶尔被花生壳劫持、Frp服务器不稳定等问题，都会给网站连通率造成一定影响，所以最好不要在上面建重要的网站，个人站点还是可以一直挂在上面的。

整个流程里最难的是最后一步，也就是在ONMP环境里开启Https并挂载SSL证书，走了不少弯路，不过好在最后各种折腾之下解决了。

后期在使用上，可以对网站做一些优化，比如安装静态化插件、开启Gzip等等，也可以给路由器打个鸡血，在Bleed界面里可以对Newwifi进行超频，我现在用的这台就是日常稳定1Ghz的CPU，同时承受20个访问量也不是问题。

但是…这台路由器只有512MB的内存，在进行一些比较消耗内存的操作，比如上传大型图片生成缩略图的时候，会导致网站服务假死，这个时候别慌张，等待路由器处理完图片，刷新页面即可恢复访问。这个问题目前还没有解决办法，你可以尝试开启路由器的内存Swap，应该能缓解一些。

以上，有机会再写点关于自己折腾的事情~

Padavan固件路由器建站历程最先出现在Elevanfilm-拾忆菲林。