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If you're looking to buy a mirrorless camera and are willing to pay for pro-level performance, fast access to shooting controls, and image quality that equals the results from a DSLR, the Fujifilm X-T1 is the camera you should get. At a street price well beyond $1,000, buying the X-T1 is certainly an investment in your photography. But what you receive in return is an absolutely stunning viewfinder, the best manual focus experience of any camera currently available, and a 16-MP APS-C sensor that delivers impressively clean, detailed images even at high ISO settings. All of this technology is housed in a rugged, weather-sealed camera body whose retro design offers form and function in equal proportion.
*At the time of publishing, the price was $1,700.
What sets the X-T1 apart is its ability to deliver impressively clean, detailed images up through ISO 6400, a class-leading EVF, and a clever, very effective manual focus mode. You get access to a lineup of fantastic XF prime and zoom lenses. On top of all this is Fuji's track record of improving camera features and functionality via ongoing firmware updates. So there's a very good chance that your X-T1 will be an even more capable camera over your time of ownership.
Case in point: Fujifilm's latest major firmware update for the X-T1, which is impressive even by the company's own high standards. Released in June 2015, the version 4 update adds two completely new autofocus modes along with updated algorithms for improved tracking of moving subjects and more accurate focus in low light. The camera's Quick menu is now customizable, letting you choose which items appear in it. A newly enabled electronic shutter lets you shoot at shutter speeds up to 1/32,000 sec. And in movie mode you can now adjust aperture and shutter speed while recording. The Camera Store has a nice video overview of the new features. For a complete list of upgrades and the firmware download itself visit Fujifilm's support page.
If you already own a collection of Micro Four Thirds lenses or want to be able to customize your camera's behavior six ways from Sunday, our runner-up pick, the Olympus OM-D E-M1, is an excellent camera in its own right. Like our top pick, the E-M1 features a weather-sealed body with a wealth of external shooting controls. It also offers a touchscreen and image stabilization that's built into the camera itself, thus available with every lens you use. Our only major complaints revolve around its smaller imaging sensor. The E-M1 can't quite compete with our top pick for low noise and image detail at higher ISO settings, and it produces a lesser amount of background blur at wide apertures.
The Olympus PEN-F is an impressively specced camera in a small package that's well-suited for street photography. Compact enough to fit in a coat pocket, it has the first new sensor we've seen from Olympus in years, plus an articulated screen. It also offers the same great image stabilization system as our runner-up pick, rated to let you handhold images at shutter speeds up to five stops slower than without stabilization. Unlike our top picks, though, this model isn't weather-sealed. In addition, it uses a contrast-detect autofocus system that is slower and less able to track moving subjects than the hybrid systems in our top picks.
If your budget can't quite accommodate a camera in this price range, be sure to take a look at the options in our guide to the best midrange mirrorless camera.
I've worked as a professional photographer and digital-imaging consultant for almost 15 years. I'm on the faculty of New York City's International Center of Photography, and I lead photography workshops around the country. I've been covering cameras and photo gear here at The Wirecutter since 2013, getting to shoot with dozens of new cameras as they hit the market. I also shoot some of the lifestyle photography you see on our sister site, The Sweethome. As a result, I have a keen understanding of current camera technology, as well as of the features and performance that make a real difference when you're actually out shooting.
In seeking out the best mirrorless camera I spent dozens of hours poring over manufacturers' spec sheets, reading reviews from authoritative sources, and last but not least taking both our top pick and runner-up out for some real-world shooting in and around New York City.
As with a DSLR, when you buy a high-end mirrorless camera, you're actually buying into a system of lenses and accessories. Acquiring lenses can be an addictive (and expensive) habit. And nothing promotes brand loyalty like a pre-existing investment in top-quality glass. So as much as we love our top pick, the Fujifilm X-T1, it makes little sense for photographers who already have a collection of Micro Four Thirds lenses to switch formats and start over with Fuji's APS-C X-mount lens system.
If you fall into this category, our runner-up pick, the Olympus E-M1, is what you should buy. The same holds true for DSLR users—if you're already in the hole for a few thousand to Canon or Nikon, it might not make sense for you to switch over to mirrorless unless you're willing to invest in all that glass again.
The question of whether to upgrade to the X-T1 is really for owners of entry-level mirrorless cameras who've never ventured beyond the kit lens that came with it, or those already using a Fuji X-series camera.
For mirrorless camera owners ready to take a more manual approach to photography, who want to make use of dedicated external controls for camera settings and shooting parameters, and invest in some outstanding lenses, the X-T1 represents a huge upgrade in every respect. In fact, it's a very compelling alternative to a midrange DSLR like the Nikon D7100. With the X-T1 you get the image quality, handling, core features, and nearly all of the performance benefits of a comparably-priced DSLR in a smaller, lighter package.
For existing Fuji shooters, the upgrade situation is a bit more complex. The high-end camera market is so mature that it'll probably take 3-5 years of incremental feature/performance improvements before it's worth upgrading. Fuji's X-series lineup didn't even launch until 2010, so even owners of the inaugural fixed focal length X100 still have a very capable camera, one which has benefited from several firmware updates over the years to add functionality. And the X-T1 is an entirely new breed of camera for Fuji, with no direct predecessor.
For X100 owners who now want the ability to swap lenses and are willing to embrace an SLR versus rangefinder design aesthetic, the X-T1 offers—among many other benefits—a more capable and higher resolution sensor, faster shooting rates, and a far more sophisticated autofocus system.
If you're a Fujifilm X-Pro1 owner seeking better AF performance, faster shooting speed, and niceties such as Wi-Fi and an eye sensor to turn off the screen when you look through the viewfinder, its long-awaited replacement, the X-Pro2, is now available. As Fuji's newest X-series camera, the X-Pro2 surpasses even the X-T1 in resolution (24 megapixels versus 16 megapixels) and AF precision. It also comes with dual SD card slots. It's an impressive camera, but ultimately one we think is a bit too specialized for most folks. You can read more about why we've dismissed it in the Competition section later in this guide.
The digital mirrorless camera is a relatively recent category, but one that has developed very rapidly, with entries from all of the major camera companies. The great appeal of mirrorless cameras is that they can offer the image quality, handling, and features traditionally found in DSLRs in a smaller, lighter system. These cameras forgo the optical viewfinders found in traditional DSLRs—whose through-the-lens view is made possible by a flip-up mirror—in favor of an electronic viewfinder (EVF) that offers a digital preview of how the image will be recorded by the camera. By eliminating the entire mirror mechanism (and, yes, that's where the name comes from), a mirrorless camera can be relatively light and compact.
And in the last few years, camera makers have been able to squeeze very large camera sensors into increasingly smaller bodies, bringing great image quality in low light and the option to use shallow depth of field (i.e. blurred backgrounds) as a creative compositional tool. Photographers looking to ease their load, and avoid drawing attention to themselves with a big intimidating DSLR can appreciate these advances, knowing that they no longer have to sacrifice image quality for portability.
There's also a small but passionate community of photographers who take advantage of the fact that with the lens mount placed closer to the sensor (there's no mirror to take up extra space) they can use adapters to mount legendary manual focus lenses like those originally built for Leica rangefinders on their mirrorless cameras.
In researching contenders for the best mirrorless camera, I keep my criteria quite simple. I looked for interchangeable-lens cameras that have an EVF rather than an optical viewfinder like you find on traditional DSLRs. And because we already have a mirrorless-camera guide covering more affordably priced options, for this article I looked exclusively at models in the $1,000-plus range.
We typically avoid recommending full-frame models such as the Sony Alpha 7 series. As impressive as they are—squeezing pro-level features and performance into amazingly small cameras—these specialized cameras are designed for a small segment of users with specific needs. We discuss this topic in more detail later in this guide.
I also eliminated cameras with small sensors such as the Nikon 1 V3 because they just can't compete with the larger Micro Four Thirds and APS-C format models in terms of image quality or dynamic range (the ability to render both highlight and shadow detail in a single exposure). Nikon has since put the sensor technology from its 1-series models to much better use in compact cameras such as the DL 18-50 and DL 24-85.
Cameras with very slow AF performance or outdated specs and features that make them ripe for replacement also fell out of consideration. We have much more detail on what we cut and why in our Competition section.
*At the time of publishing, the price was $1,700.
This weathersealed all-metal camera body delivers outstanding images, with clean details and impressively low noise when shooting in low light. But the feature you'll notice as soon as you put the camera to your eye is its stunning viewfinder, which offers a larger scene view than even Canon's $6,800 1D X. And when it comes to using that viewfinder for manual focus, the X-T1 provides an ingenious dual split view that lets you achieve precise focus while still viewing your entire composition, an intuitive approach that's so effective it should be on every camera.
The X-T1 uses Fuji's X-Trans sensor technology which the company developed in-house as an alternative to the ubiquitous Bayer pattern chips found on other cameras. And like other Fuji cameras using this same 16-MP APS-C sensor, the X-T1 has gotten high praise for its image quality. In bestowing the X-T1 with its Gold award, DPReview cited, "excellent image quality at both low and high ISOs", along with, "very attractive JPEG colour rendition. Match it up with one of Fuji's truly excellent primes like the XF 23mm F1.4R," they wrote, "and you get an exceptional image making tool."
In shooting literally hundreds of images with the X-T1 I also found the images to be impressive. White balance and exposure were accurate in a range of lighting conditions. And up through ISO 3200, color noise is barely noticeable. Even at ISO 6400, the X-T1 retains plenty of fine, low-contrast detail. This high image quality is due, in large part, to the use of an APS-C format sensor, the same size chip found in most DSLRs. All else being equal, a physically larger sensor will outperform a smaller one in low light, giving the X-T1 a decided advantage over a Micro Four Thirds camera like the Olympus E-M1, which has a smaller sensor.
It's worth mentioning that when it comes to minimizing image noise while retaining detail at high ISO settings, shooting in RAW mode is going to give you much better results—and more effective editing options—than shooting JPEGs. Even though cameras provide various levels of in-camera noise reduction to choose from, JPEG compression artifacts can degrade the image. And since noise reduction works essentially by blurring pixels, choosing a more aggressive setting means more image detail is lost.
A less publicized benefit is that a larger sensor allows for shallower depth of field at any given aperture. Portrait photographers, in particular, have long relied on shallow depth of field to isolate their subject by dramatically blurring the background.
Unlike DSLRs, mirrorless cameras use an electronic (versus optical) viewfinder, and the quality can vary greatly among camera models. The X-T1 has a very high-resolution OLED display that also provides the largest viewfinder image of any mirrorless or DSLR camera on the market. Camera Labs' Gordon Laing describes the EVF on the X-T1 as, "one of the best viewfinder experiences I've had outside of shooting medium format…delivering a huge image that's very immersive."
If you like to use manual focus, the X-T1 offers the best focusing aid I've ever seen on any camera. Like most mirrorless cameras it offers both focus peaking (where a colored overlay uses edge contrast to indicate sharpness) and a standard magnified view for you to eyeball focus.
What Fuji brings to the table is a clever dual split view manual focus aid. With this mode engaged, the EVF displays a secondary magnified view of the center portion of the scene alongside the main viewfinder image. The neat trick here is that the magnified view mimics the traditional split focus prism found on rangefinder cameras. When the image area is out of focus, there's a horizontal offset that adjusts in real time as you rotate the lens' focus ring. When the top and bottom half of this magnified view are perfectly aligned, the image is in focus. It's intuitive, fast, unfailingly accurate, and works well even in very low light levels.
You can see this in action in a Fujifilm promotional video. As with traditional rangefinder prisms, this digital split view is locked to the center of the frame, so for off-center subjects you'll have to recompose after focusing.
One recurring criticism of Fuji's X-series cameras has been slow-to-mediocre AF performance. The X-T1 is a giant step forward in this regard, with DPReview finding it "more accurate at focusing fast lenses than any APS-C SLR." When I used single shot focus on stationary subjects, I found the X-T1 was fast to acquire focus. Not quite as instantaneous as I experienced with our runner-up pick, the Olympus E-M1 perhaps, but the difference was small enough that it only became apparent when comparing the cameras side by side. And when light levels dropped, AF acquisition slowed to about the same rate on both the Fuji and Olympus.
The X-T1 boasts an impressive 8-fps shooting rate, even with focus tracking enabled. And a September 2014 firmware update made shooting at 1/32,000 using the electronic shutter possible. On paper, this model outperforms even our midrange DSLR pick, the Nikon D7200. In practice, you won't come away with every single shot in tack-sharp focus when shooting fast-moving subjects, and the burst rate can slow as the camera readjusts focus. But for subjects such as runners, cyclists, or automobiles moving toward the camera at a consistent speed, I found that the X-T1 returned perfectly usable results.
When buying any interchangeable lens camera, it's important to take a look at the company's lens offerings. While Fuji has only been producing X-series compatible lenses since 2012, the camera maker has filled out its lens lineup at a furious clip. As I write this, there are 13 lenses from Fuji with 8 more compatible optics from lens makers Zeiss and Samyang. And Fuji has slated five additional lenses to be made available before the end of 2015. Even more impressive than the pace of Fuji's lens rollout is the outstanding quality of the lenses they've produced.
As for Fuji's zoom lenses, DPReview tested the XF 55-200 mm F3.5-4.8 image-stabilized lens and found it "consistently delivers excellent-looking images" and "maintains the impressive image quality which has become Fujifilm's trademark."
Photography Blog reviewed the image-stabilized XF 10-24 mm F4 lens and gave it five stars for image quality, noting the lens is, "remarkably sharp in the image centre at f/4…and you only need to stop-down to f/5.6 to get acceptably sharp edges too. Vignetting is practically a non-issue, and chromatic aberrations are only noticeable by their almost complete absence. Barrel distortion is also very well controlled, even at 10mm, an amazing performance given the ultra-wide-angle focal length."
Each reviewer remarked on the relatively high cost of Fuji's lenses—most go for $600 to $1,000—but all agreed that you are indeed getting what you pay for. And while those prices are obviously too steep for casual users of entry-level mirrorless cameras, once you step up to the high-end camera systems aimed at enthusiasts and professionals, it's not uncommon for top quality lenses to cost nearly as much as (or even more than) the camera itself.
Like all other cameras in its class, the X-T1 offers built-in Wi-Fi support. After downloading the free Fujifilm Camera Remote app (available for iOS and Android), you can send JPEGs (but not RAW files) from the camera to your phone or tablet. In addition, you can control camera operation from your mobile device. Tap the live view image on your phone and you can set focus. Aperture, shutter speed, ISO, white balance, exposure compensation, and the self-timer are among the camera settings you can change remotely. In addition, you can use your phone to transfer location data to the camera so that subsequent images (both RAW and JPEG) are tagged with GPS data.
In a nod to users who do a lot of shooting outdoors and/or aren't very delicate with their gear, Fuji has weather-sealed the X-T1 in 80 locations to make it resistant to water and dust. The company says the camera is designed to function in temperatures as low as 14°F/-10°C. While I wasn't able to verify the temperature claim here in summertime New York City, I did put the X-T1 under a running faucet while firing off images, much like an Olympus E-M1 user did in this YouTube video. The camera continued to work normally.
The only change in behavior came when a water droplet got temporarily trapped between the eyepiece and eye sensor, causing the camera to switch to EVF view. So I'd have no qualms about shooting with the X-T1 out in the rain or snow. It's worth noting, though, that right now Fuji only has one weather-sealed lens, the XF 18-135 mm F3.5-5.6. Two more weather-sealed zooms are planned for release, with one coming later this year and the other in 2015.
There's one final area where Fuji stands apart from its competitors. Ever since the launch of the X100, the company has shown an impressive commitment to its customers by releasing ongoing firmware updates to its cameras, even models that have been replaced. These updates don't just fix bugs. Often they add new functionality or improved performance. There have already been three firmware updates since the X-T1 was released. Additions have included a faster shutter speed, an on-screen exposure compensation scale, improved AF support for some lenses, a customizable Q menu, the ability to set the focus point directly via the 4-way controller plus manual exposure control and additional frame rates when recording video. Over the course of your X-T1 ownership, you're likely to end up with a more capable camera than the one you bought.
The X-T1 has gotten overwhelmingly positive reviews from the most authoritative review sites. It earned a Gold award from DPReview, who called it "Fujifilm's most ambitious camera to date" and noted that for all of its many buttons and dials, "It's a camera that you can pick up for the first time and think 'I know how this works'."
Imaging Resource wrote that the camera "boasts blazing-fast performance and top-notch image quality. It feels like something you want your hands on, want to shoot photos with, and just don't want to put down."
Camera Labs found the X-T1 to be the first Fuji X-series model, "where all the company's goals and technologies come together in a truly coherent and desirable product. The result is a very impressive camera that's a joy to use and delivers superb results."
Photography Blog writes, "The X-T1 quickly and efficiently delivers outstanding image quality with the minimum of fuss. The fantastic electronic viewfinder is more than good enough to impress those who swear by an optical viewfinder, while the weather-proof body, tilting LCD screen, USH-II card compatibility, fast autofocusing and speedy all-round performance, and the much improved wi-fi connectivity options are the icing on a superbly balanced cake."
We've been doing a lot of gushing so far over the X-T1's capabilities. But the camera is not without its faults. Every review I've read has complained about the the rear 4-way controller. Like the other buttons on the camera (which are on the small side), they sit almost flush with the body, making them all impossible to locate by feel when wearing gloves.
Fuji puts its image stabilization (IS) technology inside its lenses rather than in the camera itself. So you can only use it if you've bought an IS lens. Sensibly, all of Fuji's zoom lenses have this feature. And you can certainly make the argument that the fast apertures of its prime lenses greatly compensate for the lack of a stabilization option.
Video performance on the X-T1 is largely an afterthought. DPReview sums things up nicely, saying, "If video capability is really important to you, the X-T1 is probably not the best camera to buy." You get the basics of 1080p video at 60fps. But the quality of the resulting video is fairly poor, with soft, mushy details. A firmware upgrade does offer manual exposure controls while recording video and the option to shoot at a cinema-like 24fps. But because the camera lacks a separate video mode, it's difficult to precisely frame your video as you'll be looking at a stills-only 3:2 image on the rear LCD until the camera automatically switches to a 16:9 HD format after you press the record button.
I suspect that for a large number of X-T1 buyers, the video record button will only be pressed by accident, if at all. So these are not overly significant shortcomings. But there are markedly superior mirrorless options, like the Panasonic GH4, if you want to shoot professional stills and video with the same camera.
Compared to our top pick though, the E-M1's Micro Four Thirds sensor (which is physically smaller than the APS-C sensor used by the X-T1) falls noticeably short in image quality at higher ISO levels. Another downside to using a smaller sensor is that at any given aperture, focal length, and camera-to-subject distance, you'll get significantly less background blur when shooting at wide apertures. And while manual focus is eminently usable on the E-M1, the X-T1 simply offers a better, more effective manual focus option.
Like our top pick, the E-M1 offers a wealth of external controls as well as a touchscreen for navigating menus, setting focus, or even tripping the shutter. And in keeping with Olympus tradition, the camera offers a mind-numbing array of customization options. You can change the behavior of almost any dial or button on the camera, even those already marked with discrete settings.
Furthermore, you can toggle a rear lever to switch button behavior on the fly. Two photographers, each with different shooting needs and handling preferences, could set up their cameras in such different ways that if they swapped camera bodies neither would likely be able to operate the others' E-M1.
On a camera with seemingly unlimited setup options, you're going to have to set aside a few hours with the user manual just getting to know what all of the button/dial/lever combinations actually do. By comparison, any reasonably experienced photographer could pick up the X-T1 and start shooting right away while adjusting key exposure and camera settings, at the cost, of course, of limited custom options.
Both approaches are valid and come down to personal preference. From a handling and operations perspective, the E-M1 is like designing a custom-built PC; you put in the time to choose your options and place them where you see fit. The X-T1 is more akin to buying a Mac, where you give up some degree of control in favor of an easy-to-understand interface that still lets you tweak settings enough to work efficiently.
What takes the E-M1 down a notch, relegating it to runner-up status, is image quality. Make no mistake: the camera produces wonderful pictures. But at higher ISOs it shows much more noise and much less detail than the X-T1 with its larger APS-C sensor. There's a handy image quality comparison tool on DPReview that lets you see how noticeable the difference is in a low light studio scene for both JPEG and RAW images. And in my time spent shooting with both cameras, I also saw noisier and less detailed images on the E-M1 when shooting at ISO 1600 and above.
Based on noise comparison tests at DPReview, the E-M1 shows almost two stops worth of additional noise. In other words, shooting with the E-M1 at ISO 1600 will give noise levels similar to what you'd get with the X-T1 at ISO 6400. Yes, you have to pixel peep for these differences to be prominent, but if you're considering a camera in this price range, critical image quality is likely near the top of your list.
As I mentioned, another disadvantage of the smaller Micro Four Thirds sensor is a more limited ability to create very shallow depth of field. The ability to separate your subject from distracting elements by blurring the background is a longstanding photographic technique. And while you can do this on the E-M1, you can accentuate the effect even more on the X-T1. The difference in sensor size between the two cameras equates to a 1-stop difference in depth of field. This means that if you shoot at f/2.0 on the X-T1, you'd need a lens capable of shooting at f/1.4 on the E-M1 to get the same amount of background blur.
And while the E-M1 offers a focus peaking and a magnification option for manual focus, this is simply no match for the X-T1's dual split view.
The Olympus PEN-F offers a lot of features in a compact package. For starters, it boasts a new 20-megapixel sensor, the highest-resolution chip to date for a Micro Four Thirds camera. It has a touch-sensitive rear screen that rotates 180 degrees for comfortable viewing whether you're holding the camera above your head or below your waist. The well-designed layout of external dials, buttons, and switches means you can easily change settings without pulling the camera away from your face. And like our main picks, it has a high-resolution OLED viewfinder, albeit one with a noticeably smaller image magnification.
DPReview's image-quality tests show a measurable, if fairly subtle, increase in image detail for the PEN-F's sensor in comparison with the previous-generation 16-megapixel sensors found in our runner-up pick and the OM-D E-M5 II. With no increase in image noise accompanying the corresponding resolution bump, the updated sensor has no downside. Similar to the E-M5 II, the PEN-F offers the option for an ultra-high-resolution multishot mode; it's designed to work with static subjects, and you'll have to use a tripod, but the sensor-shift technology produces a 50-megapixel file.
But while its all-metal exterior is rugged enough to survive real-world dings and bumps, this camera is not weather-sealed like our top picks, a notable disadvantage for anyone who likes to shoot in the great outdoors or even at the beach. Another knock is that this model uses a contrast-detect autofocus system. While unfailingly accurate when shooting in single-shot mode, this technology has been largely replaced in top-tier cameras (such as our main picks) by a hybrid contrast/phase detect system that allows for superior tracking of moving subjects, a must-have for action-oriented photographers who shoot sports and wildlife.
The PEN-F is not available with any kind of kit-lens bundle, and as of this writing it's still selling for its list price, making it a more expensive option than either of our top picks with an equivalent lens. The PEN-F is perhaps the most compact camera with such a high-end feature set and is clearly aimed at people who like to shoot documentary and street photography without drawing undue attention to their gear. If that fits your shooting style, the PEN-F is a compelling choice that may be worth the price premium. For more general-purpose photography, however, we think our main picks offer most folks greater versatility.
*At the time of publishing, the price was $1,300.
What's so intriguing for the rest of us is that if you put the video specs aside, you've got a very capable stills camera with a 16-MP Micro Four Thirds sensor, weather-sealed body, fast AF, a fully articulated rear LCD, and a battery life that's almost double that of our top pick, the X-T1. And with video resolution as high as 4,096 x 2,160 pixels (at 24 fps), you can pull high-quality 8-MP still images from your video footage. Andrew Reid of EOSHD sizes up the camera's positioning nicely, saying, "The GH4 is actually a professional camera. It just so happens to be priced like a mirrorless stills camera." Photography Blog puts it even more directly: "If you need one camera to shoot both stills and video, the Panasonic Lumix DMC-GH4 is…by far your best choice."
But there's no getting around the fact that for stills shooters, the advantages the GH4 has over our top pick, the Fujifilm X-T1, are limited to the fact that its screen can flip and rotate to any angle rather than just tilt up and down, a faster burst rate without continuous AF, a top shutter speed of 1/8000 (versus 1/4000), a more powerful built-in flash, and a larger capacity battery. If you want the faster shutter speed so you can shoot wide open on sunny days, you can buy an ND filter to accomplish the same thing for about $25, and picking up a spare battery for the X-T1 will set you back only $43.
Ultimately, the benefits don't justify recommending this model over our top pick, especially when you consider that the APS-C sensor of the X-T1 has the same image-quality benefits over the GH4 as it does over our runner-up pick, the E-M1.
Panasonic has announced an updated version of the GH4. Released as both a firmware update for existing users and as the new DMC-GH4R, the tweaked version will feature a V-Log L recording profile, which will allow it to record video for more than 30 minutes at a time; it will also support a wider dynamic range, although all footage shot in this mode will require post-processing. (The 30-minute limit exists to prevent the GH4 from being taxed as a video recorder instead of a still camera.) Panasonic has taken the unusual step of asking $100 for this firmware update, whereas firmware updates have traditionally been free. The charge reflects the fact that this is very much a pro-level tweak, and you will need to know what you're doing with post-processing to get good footage out of it. But this update brings a feature set that pro users have been wanting for a very long time. Another firmware update, announced in March 2016, provides support for Post Focus, 4K photo mode, and burst shooting with flash.
In recent years, camera makers have been going all-out to appeal to photographers who want DSLR image quality and great lenses but don't want to lug around a heavy camera. The result? An ever-growing selection of mirrorless cameras with pro features (like large sensors, weather sealing, and high-quality viewfinders) that are smaller and lighter than their DSLR rivals.
Fujifilm has released the long-awaited X-Pro2, its follow-up to the very popular X-Pro1. While it fixes the video shortfalls of its predecessor, its price and its specialist features keep it from being a pick. With a 24-megapixel sensor, a 273-point AF system, and a revamped imaging processor, Fuji's flagship X-Pro2 is the highest-resolution and fastest-performing X-series camera to date, with many improvements over our top pick the X-T1, including dual SD card slots. A joystick on the back of the X-Pro2 lets you move the AF point more quickly and without sacrificing other button functionality as you're forced to do on the X-T1. And with 273 AF points available (versus 77 on the X-T1), you can be particularly precise with your focus selection. The hybrid viewfinder lets you choose between an optical scene view and an electronic one.
With the X-Pro2, Fujifilm has taken a big step in addressing the poor video performance its cameras have been rightly criticized for. The X-Pro2 captures Full HD video at a 36-megabits-per-second bit rate, for cleaner and more detailed results than what previous Fuji models offered. It still won't challenge a video-oriented camera like the Panasonic GH4, which shoots 4K video, but it is a noticeable upgrade for Fuji users who want to grab the occasional video.
Two things keep the X-Pro2 from supplanting our top pick. The first is price: Once you add even a midpriced lens, you're looking at well over $2,000 for the whole bundle. Just as important, though, the X-Pro2 is a very specialized tool. As with traditional rangefinder cameras, the precision of your framing can vary from lens to lens. Furthermore, using the optical viewfinder with telephoto lenses leads to a very small view in the finder. In the film days, rangefinder cameras were favorites of documentary and street photographers but much less suited for people shooting wildlife or sports. The same idea holds true with a digital incarnation such as the X-Pro2. If this camera happens to fit your shooting style, you'll love it. But there's no escaping the fact that it's less versatile than a more general-purpose camera like our top pick, the X-T1.
Sony has turned heads in the camera industry with mirrorless cameras housing full-frame sensors, a spec usually available only on much larger, heavier DSLRs. The Sony Alpha 7 and Alpha 7R–series cameras feature full-frame sensors with resolutions between 24 megapixels and 42 megapixels. The Alpha 7S has a full-frame sensor that allows video shooters to capture 4K footage in unbelievably low-light scenes. These are groundbreaking cameras, as they put pro-level DSLR resolution in a mirrorless-sized package. And Sony has begun steadily adding full-frame lenses designed for these camera mounts to its lineup, addressing a long-standing criticism: The company now has 14 FE-mount lenses, including a 24-to-70-mm zoom and a 70-to-200-mm zoom with fixed f/2.8 apertures, meeting the requirements of the most demanding shooters.
While lenses like that go a long way toward making the A7 a viable camera system for pro photographers, we typically avoid recommending full-frame cameras. These are highly specialized (and very expensive) tools, each with distinct advantages and drawbacks that you need to weigh against your individual needs. Frankly, if you need a full-frame camera like these, you already know that, and you won't be coming to us for advice on which one to buy.
The name Leica can send shivers of desire up the spines of photographers, but the Leica T (Typ 701) with a single lens and EVF (sold separately) will set you back more than $4,000. That's simply too much of a brand premium to pay for a camera whose specs can be matched or exceeded by camera systems costing thousands of dollars less.
We feel the same way about the Leica Q, announced in June 2015. At a price north of $4,000, we do not recommend paying up for this Leica model either.
While the Nikon 1 V3 offers very impressive 20-fps shooting with continuous AF, we've never understood Nikon's rationale for using such a small, 1-inch sensor in this class of camera. It just cannot compete with APS-C or even Micro Four Thirds sensors in low-light performance or dynamic range. DPReview found the camera disappointing, concluding: "Considering the V3's price tag…enthusiasts looking for an all-purpose tool should look at the alternatives since there are many other cheaper cameras with good handling, less low ISO noise (and larger sensor), and broader lens selection." Nikon has recently put this sensor technology to much better use, to our minds, in its new series of high-end compact cameras, which includes the DL 18-50 and DL 24-85.
Samsung's NX1 is a powerful and feature-laden camera aimed squarely at the pro market. It can shoot at 15 fps with continuous autofocus, it has a 28-megapixel APS-C sensor, and it captures 4K video. Add to that a 2.36-million-dot EVF and a weather-sealed magnesium-alloy body. Last year, however, rumors were rampant that Samsung was shutting down its camera division. Since then the company has officially announced that it is ending camera sales in the UK. Samsung USA will not comment on its plans, but when we recently reached out to the company's PR rep to ask for an NX1 to review, we learned that no press units were available, with no indication that any would be so in the future. This experience, coupled with the fact that Samsung has not even released a camera since the NX500 in February 2015, leads us to imagine a bleak future for Samsung shooters, and we won't be recommending the company's camera systems.
The Panasonic DMC-FZ2500 is essentially a GH4 with a fixed lens and a smaller sensor. Using a 1-inch sensor and a 20x zoom lens, it offers nearly all of the 4K video specs of the GH4, including 100Mbps bit rates with a choice of compression options, timecode support, and 4:2:2 10-bit HDMI output. A built-in ND filter (to allow wider apertures in sunny conditions), an articulated rear screen, an OLED viewfinder, and the presence of both mic and headphone sockets are all features geared toward serious video shooters. With a launch price of $1,200, the FZ2500 is a cheaper 4K option than the GH4, which comes without a lens. It's a notably bulky package, however, with a zoom lens that remains at full extension throughout its entire zoom range. We think that anyone looking to shoot video exclusively will prefer the flexibility of choosing smaller, faster lenses, and will be willing to pay for the privilege.
In July 2016, Fujifilm announced the follow-up to the X-T1, the X-T2, which will be available in September for $1,900 with an 18-55mm kit lens. The X-T2 will feature a new 24.3-megapixel APS-C sensor (the same as in the X-Pro2 earlier this year), with the ability to record 4K video at 30 fps. The new model will also have a dramatically updated focusing system with 325 AF points, as well as a new processor, for faster and more precise autofocusing. Fujifilm claims that overall the camera will be faster to function, and it will keep the EVF, LCD, and weatherproofing of its predecessor. We'll get our hands on a review unit as soon as we can—but given its pedigree, we have high hopes that it will be our new pick.
Olympus has announced the development of the E-M1 Mark II, the update to our current runner-up. A new 20-megapixel sensor, a faster image processor, and a more advanced autofocus system allow for a burst rate of 18 fps with continuous autofocus. A high-resolution multishot mode will deliver 50-megapixel images without, Olympus claims, the noticeable time lag required for similar composite images in its existing cameras. The E-M1 Mark II is weather-sealed, equipped with a touchscreen and dual SD card slots, and capable of shooting 4K video, and according to Olympus, it offers 37 percent greater battery life than its predecessor. So far we've heard no word from Olympus on when we can expect formal announcement of a shipping camera, but the company says that details will be coming before the end of 2016.
*At the time of publishing, the price was $1,700
Originally published: May 18, 2016
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Lucy| about 5 years ago
Do you offer on the wheel training for school bus drivers? let me know if you have a office in San Diego. Thanks
- See all comments
FORT VALLEY, Ga. — Blue Bird Corp. will offer free factory technical training workshops here in the coming months for its dealer and customer's school bus technicians.
The workshops will provide attendees with a combination of electronic media presentations, physical props and hands-on inspection of the Blue Bird bus chassis and body for the company's All American and Vision models.
All main systems are covered, with primary focus on the latest product changes. The workshops are rounded out with a walking tour of the Blue Bird plant, providing technicians with an in-depth understanding of the systems obtained from viewing bus production from the chassis to the completed body.
The schedule for the 2010 factory technical training workshops is as follows:
• Blue Bird All American: April 26-29
• Blue Bird Vision: May 17-20
• Blue Bird All American: July 12-15
• Blue Bird Vision: July 19-22
All reservation requests for the workshops must be submitted by a Blue Bird dealer. To find an authorized Blue Bird dealer in your area, visit www.blue-bird.com and click on the "Find a Dealer" link on the home page.
Related Topics: Blue Bird Corp.
Do you offer on the wheel training for school bus drivers? let me know if you have a office in San Diego. Thanks
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subset: commoncrawl


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Elaine Kaufman suspected something was in the air. For years, she had watched as Woody Allen, a regular at Elaine's, her Manhattan restaurant, was transformed by his relationship with Soon-Yi Previn. "He's much more relaxed now—much easier and freer with people," she says. And when the pair headed off to Europe for Allen's annual Yuletide vacation, she had a hunch it might turn into something more than a sightseeing jaunt. "I knew if he was going to do it," she says, "he would do it then."
Indeed he did. On a chilly afternoon two days before Christmas, Allen, 62, and Previn, 27, stepped out of a motor-boat on Venice's Grand Canal, slipped into a side entrance of the Palazzo Cavalli, a municipal building, and—in a ceremony not much longer than a credit sequence in one of Allen's films—tied the knot. "They are both extremely happy," said Allen's spokeswoman. The press-shy director told an Italian journalist that Venice "is full of significance for us. We've had many marvelous experiences here."
On this trip the couple got VIP treatment, with Mayor Massimo Cacciari himself performing the nuptials. "It was a sober ceremony," said Cacciari, who has been friendly with Allen for almost two years. "I did it with pleasure, and everything developed in the most perfect privacy." Allen, who was nursing a cold, wore no tie and, said Cacciari, Previn "wore her hair down, with no special style." They exchanged rings, vows and a kiss, signed the city's marriage register and then toasted with the Italian wine Prosecco. The mayor presented them with a glass vase with a design depicting Venice's two-century-old La Fenice opera house, which was razed by fire in January 1996.
Considering the-family dynamics, the couple can hardly be faulted for having the ceremony far from home. Soon-Yi was an orphan when Mia Farrow and conductor Andre Previn, then her husband, adopted her during a 1977 trip to Korea. Allen and Farrow were subsequently romantically linked for 12 years (they never married) and produced a biological son, Satchel, 10. After the couple famously split up, Farrow accused Allen of molesting their adopted daughter Dylan, 12, and later changed her name to Eliza and Satchel's to Seamus. The Allen-Previn marriage means that two of Soon-Yi's siblings are now technically her stepchildren, and Farrow becomes Allen's mother-in-law.
Allen's relationship with Soon-Yi fed the tabloids for weeks when the couple went public in 1992. "It's real and happily all true," Allen said at the time. "She's a lovely, intelligent, sensitive woman who has and continues to turn my life around in a positive way." During Allen and Farrow's bitter 1993 court battle for custody of Satchel and Dylan, Farrow revealed that the year before, she had found nude pictures of Soon-Yi, then 21, in Allen's apartment. She wrote in her 1997 book What Falls Away that she had not seen or spoken to Soon-Yi since a confrontation that followed the discovery. "I no longer want to see her," Farrow wrote. "But for the rest of my life I will miss her."
If the feeling is mutual, Soon-Yi has never said so publicly. Those who know Allen and his bride say that despite the complexities of their family and the age disparity, they are a down-to-earth couple. "They are both very funny," says filmmaker Barbara Kopple, who spent three weeks with them last year producing a documentary about Allen. "She teases him constantly about who he is and what he's about." Soon-Yi, who will earn a master's in education from Columbia University in May, takes Allen to fashion shows and other outings. "She really keeps him young," Kopple adds.
The morning after the nuptials, the pair took a romantic gondola ride, then flew to Paris, where they stayed at the Ritz Hotel and dined with friends on Christmas Eve at the pricey restaurant La Tour d'Argent overlooking Notre Dame cathedral. Back in New York City, restaurateur Kaufman says Allen won't miss the incessant speculation about his relationship with Soon-Yi from the media and friends. "He can relax because everyone will be off his back," she says. "Now they will wait for a baby."
TOULA VLAHOU in Athens, CATHY NOLAN in Paris and ERIC FRANCIS in New York City
Love in Venice
updated 01/12/1998 AT 01:00 AM EST
•originally published 01/12/1998 AT 01:00 AM EST


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CBNNews.com- RAMALLAH, West Bank - On Monday, a Palestinian Authority (PA) court handed down a death sentence to a man for helping track down four wanted terrorists.
The court, which operates under the auspices of PA government, sentenced 25-year-old Emad Saad to death by firing squad for helping Israel locate four senior commanders responsible for multiple terror attacks and deaths.
The last official execution of a Palestinian for aiding Israel in a counter-terror operation took place in 2001.
The Legal Forum for the Land of Israel petitioned Israeli Prime Minister Ehud Olmert and Defense Minister Ehud Barak to do everything within their power to prevent the execution.
"Execution of someone for cooperating with the State of Israel is a stinging slap in the face to Israel," the letter stated. "It is your moral obligation to make it clear…that authorization of the sentence will be treated with extreme gravity by Israel," it said.
The letter noted that the government of the late PLO Chairman Yasser Arafat routinely executed Arab residents who helped Israel track down wanted terrorists.
Source: israel national news
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The Terrorists Funded by the WestBassam Tawil
The New Israel Fund and those who support it are helping terroristsRonn Torossian
Column one: Fighting fire with fireCaroline B. Glick
Op-Ed: There is no 'radical Islam' and there is no 'moderate Islam'Dr. Mordechai Kedar
'Narrow' escapesRuthie Blum
Why Palestinians Do Not Want Cameras on the Temple MountKhaled Abu Toameh
Social Media Killed My FatherYoni Kempinski and Ari Soffer
Iran's New Palestinian Terror Group: Al SabireenKhaled Abu Toameh


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by Peter Benchley
The protagonist is a writer on a newsmagazine (Benchley once worked for Newsweek), and the opening section of this latest sea yarn is deft, funny and not too unbelievable. The presumption is that a journalist could be distracted or dumb enough to take his gun-loving 12-year-old son along on a dangerous investigative job. Then Benchley's obsession with aquatic menaces rears its squishy head. If Jaws owed something to Melville's Moby Dick, this novel draws its strongest elements from High Wind in Jamaica, Richard Hughes' tale of pirates and children, and William Golding's Lord of the Flies. Expurgated a bit, the fast-paced result would be just right for the juvenile trade. As it stands, with sly hints of kinky sex and a fixation on hideous killings by modern-day pirates, The Island will repel most sensitive, sensible readers. (Doubleday, $8.95)
Picks and Pans Review: The Island
updated 07/23/1979 AT 01:00 AM EDT
•originally published 07/23/1979 AT 01:00 AM EDT


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Four Points by Sheraton Sandakan
At Four Points by Sheraton Sandakan, you're in for a great stay. Keep up your exercise routine in our modern fitness centre, swim laps in the outdoor infinity pool, or simply relax in the outdoor whirlpool. Get all your work done at our self-service Business Centre before heading to the Tour Desk to book an exciting trip into the jungle. If you're in the mood for retail therapy, check out the Sandakan Harbour Mall directly connected to the hotel. Or check in with our concierge about great local sights, markets, and restaurants. Whatever your pleasure, we've got you covered.
Hotel Features
Fitness Centre
Our Fitness Centre offers a full range of the latest TechnoGym cardio and weight equipment for a complete workout 24/7. More >
Concierge Desk
Our multilingual Concierge team is ready to help you with detailed local information, recommendations, and all kinds of travel assistance. More >
The Executive Lounge
Overlooking Sandakan Bay, The Executive Lounge offers our Executive Cub and suite guests a private, comfortable setting to relax, socialise, and share a meal. More >
Infinity Pool
Make a splash in the only outdoor infinity pool in Sandakan or soak in the unlimited Sandakan Bay and Harbour views on a chaise lounge. Craving a quick bite? Head over to The Eatery for a cool drink or snack. More >
Tour Desk
Our Tour Desk makes it easy for you to book one of the many exciting tours that explore Sandakan and Sabah. More >
Business Centre
Open day and night, our self-service Business Centre makes it easy to respond to emails, print out documents, and connect with the office. More >
Sandakan Harbour Mall
Enjoy some retail therapy, grab a bite to eat, or have some fun in the video game arcade at the Sandakan Harbour Mall. You can access the mall directly from the hotel lobby from 9am to 10pm every day.
Internet Access
Internet access throughout the hotel keeps you connected. More >
Environmental Practices
We're going green with better energy and water conservation, waste minimization, responsible purchasing and improved indoor environmental quality. Why? Because our guests and the environment are very important to us. More >
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February 05, 2013 Porter-Gaud, the No. 1 boys team in SCISA Class AAA beat Charleston Collegiate, the No. 1 team in SCISA Class AA, 75-70 Monday night.
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Continental Dining Platinum Creamer by Lenox
This Continental Dining Platinum Creamer is as practical as it is beautiful, crafted with Lenox Microsafe® technology that allows you to place it in both the microwave and dishwasher. Use the creamer with any white-bodied, platinum-banded dinnerware. Matching sugar bowl (6145678) also available.
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Welcome to Hot Springs Interventional Pain Management!
No one wants to live with chronic pain. Fortunately, there is a place where patients can go to receive pain management treatment and learn to cope with their chronic pain. Hot Springs Interventional Pain Management is a haven for chronic pain sufferers and can provide multiple approaches to pain management for the best possible outcome.
We have successfully and effectively treated thousands of patients suffering from a variety of pain problems, including injuries or trauma to the neck, back and extremities, chronic migraines and other pain ailments. Our experienced track record has not only produced great results but overall outstanding patient satisfaction.
Our commitment is to your well-being and restoring your health so that you can get back to the quality of life that you deserve.
Call Us Today At ♦ (501) 321-4772
YP Reviews
Hot Springs Interventional
Jacob E. Abraham, M.D.
Pain Management
1 Mercy Lane, Suite 304Phone: (501) 321-4772
Hot Springs, AR 71913
Hot Springs, AR 71913
Email: firstname.lastname@example.com
Business Hours
Monday-Thursday, 8 a.m.-4:30 p.m.
Friday, 8 a.m.-noon
Saturday-Sunday, Closed
Friday, 8 a.m.-noon
Saturday-Sunday, Closed


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Whether you are looking for Freight Brokers or Freight Forwarding, Hotfrog is the place to go to. Browse the businesses below in SYDNEY, NSW or extend your search to nearby suburbs by using the left navigation menu. Hotfrog makes your search easier.
- 22-May-2013
Sydney, NSW
GCF Griffin Pty.Ltd. - Customs and International Freight Brokers. Established in Sydney, Australia in 1980, specialising in International Trade Logistics. Please visit our site for more information!
Customs BrokersQuarantine ClearanceFreight TrackingCargo & Freight Services
Change Freight Forwarding + Consulting, better known as CFF, was founded in 2006 in Sydney with a vision for a "one world one solution" in international trade.
We offer a comprehensive range of personalised freight a…
Custom Clearance ServiceInternational Freight ForwardersCustoms BrokersFreight Tracking
Need a courier service? Nationwide or local delivery costs displayed online with our quote and booking system. Locate freight and courier costs by simply entering your shipment sizes into our cost comparison calculator l…
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GCF professionals are skilled and experienced 'logistics' services. We work with clients to develop solutions for all their International Freight, Barrier Clearance and Distribution Services
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Cargoman is a domestic courier and international freight service provider. We offer you wholesale rates to move your goods, the way you intended. Need to deliver goods? Sending or receiving a package? Want to spen…
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Selecting the right courier service in Australia can be difficult, our research indicates that each transport company in Australia as certain strengths and weakness. Over the past decade I have constantly been asked "who…
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Lung and Bronchus
(BlackDoctor.org) — Cancer of the lung and bronchus (hereafter, lung cancer)
is the second most common cancer among both men and women and is the leading
cause of cancer death in both sexes. Among men, age-adjusted lung cancer
incidence rates (per 100,000) range from a low of about 14 among American
Indians to a high of 117 among blacks, an eight-fold difference. Between these
two extremes, rates fall into two groups ranging from 42 to 53 for Hispanics,
Japanese, Chinese, Filipinos, and Koreans and from 71 to 89 for Vietnamese,
whites, Alaska Natives and Hawaiians. The range among women is much narrower,
from a rate of about 15 among Japanese to nearly 51 among Alaska Natives, only a
three-fold difference. Rates for the remaining female populations fall roughly
into two groups with low rates of 16 to 25 for Korean, Filipino, Hispanic and
Chinese women, and rates of 31 to 44 among Vietnamese, white, Hawaiian and black
women. The rates among men are about two to three times greater than the rates
among women in each of the racial/ethnic groups.
In the 30-54 year age group, incidence rates among men are double those among
women in most of the racial/ethnic groups. In white non-Hispanics and white
Hispanics, however incidence rates for women are closer to those for men. This
suggests that smoking cessation and prevention programs may have been especially
successful among white men and/or that such programs have not been as effective
among white women.
Age-adjusted mortality rates follow similar racial/ethnic patterns to those
for the incidence rates. Among men, the incidence and mortality rates are very
similar. Filipino men are an exception, with an incidence rate nearly twice as
large as their mortality rate. Incidence rates are also similar to mortality
rates among women, with the exception of Filipinos and Hispanics. In these two
groups, incidence rates are nearly twice as large as mortality rates. Among
Hawaiian women, the mortality rate actually exceeds the incidence rate. This may
be due to differences in the accuracy of race classification on medical records
versus death certificates.
Racial/ethnic patterns are generally consistent within each age group for
both incidence and mortality. An exception is the high incidence and mortality
rate in Chinese women aged 70 years and older. This group tends to have low
incidence and mortality rates in the younger age groups.
Pages: 1 2


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Today's guest post is written by Tom Gable.
Strategic PR programs obviously benefit from the power of social media and instant communications to help build image and reputation.
But if not approached with authenticity and supported with facts, organizations can suffer the electronic version of bands of angry villagers carrying torches, and storming the castle to right some wrong and kill the monster.
(But now they can do it globally to instantly trash reputations that aren't protected by solid walls of reputation built on impenetrable foundations of trust.)
How do you develop a values-based, hype-free program to build long-term image and reputation amidst the cacophony of communications clutter and protect against future attacks?
Think about all the tools at our disposal: Media relations, community relations, events, trade shows, websites, Twitter, Facebook, LinkedIn, YouTube, blogging, and more.
Envision what I'll call the three-dimensional chess model or image-building in 3D.
The concept is to go high, wide, and deep using multiple tools and contact points to connect in new ways; break out of the competitive clutter.
What are your core values? Does the organization have a culture and a personality? Can you establish a solid foundation from your values and then demonstrate proof of principle over time (walk the talk)?
You want throngs of supporters singing songs of praise at every level in every channel.
How do you get there?
It starts with thinking about how you want the organization (or individual) to be known in two to three years. Envision all your target audiences and their sources of information.
What channels do you need to use to ensure they get the right information in a timely, strategic fashion to support your program goals? Where do you build your positions of strength and support? As the plans unfold, can you envision five moves ahead, 10 and 20 or more?
But it needs to be fact-based and authentic. The value of reputation has been proven over time in studies by many brilliant authors in the world of reputation management (Charles Fombrun, Leslie Gaines-Ross, Al Ries, and John Kotter, to name a few).
Fombrun was one of the first to measure the impact of reputation in his classic book, "Reputation – Realizing Value from the Corporate Image." He followed later with "Fame and Fortune" and has since launched The Reputation Institute. He notes to acquire a reputation that is positive, enduring, and resilient requires managers to invest heavily in building and maintaining good relationships with their company's constituents: Employees, investors, customers, and communities.
Doing so pays off in the long run because favorable reputations produce tangible benefits: Premium prices for products, lower costs of capital and labor, improved loyalty from employees, greater latitude in decision making, and a cushion of goodwill when crises hit.
A recent study by his Institute noted even companies with weak reputations can gain from telling their side of the story. Anthony Johndrow, managing director of the Institute, said companies need to tell stories that go beyond the products and services their customers use.
Join this conversation and tell your corporate story to create the support needed in tough times. Corporations can create deeper connections than products can alone, essentially deploying who they are as a company to drive business results.
The 3D approach is the answer. It can create extraordinary image momentum and ROI as the game pieces move in an intricate orchestration toward ultimate victory: Building reputations that are solid, enduring, and resilient, able to grow and even withstand the occasional corporate misstep, crisis, and assault.
That's the essence of authentic, fact-based, hype-free PR.
What do you think?
Tom Gable, APR and PRSA Fellow, is CEO of Gable PR, San Diego. A former financial journalist and Pulitzer Prize nominee, he is author of "The PR Client Service Manual" and a frequent contributor to PRSA publications and speaker at national conferences on jargon-free public relations, creativity and strategic reputation management. You can follow him on Twitter @tomgable.
Leave a Reply
4 Comments on "How to Create Authentic, Fact-Based, Hype-Free PR"
Hi Tom! It's fun seeing you here!
This is something we talk about all the time, but @RickRice is right…how do we finally make it happen? We not only need to be willing to change how we get paid for what we do, but also to measure our results to things that matter to a business – revenues, margins, sales cycles. Until then, I'm afraid the good guys will keep doing things right, but nothing will ever change industry-wide.
[…] We come to Spin Sucks because we stand for something – honesty and integrity. Of course these can't be limited to the public persona. It has to come from within. You can't manufacture authenticity. […]


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Last updated: 18 November 2008
Rhys Ifans and various musicians connected with Super Furry Animals hook up intermittently to create blues rock carnage.
The group's debut album The Golden Mile was released in October 2008 by Strangetown Records Inc. It was recorded sporadically over a two-year period, and features 10 tracks including Stonefinger, Shoot On Sight (Flock Of Zeigheils), Turbotank and 69 Fanny Street.
- Rhys Ifans
- Dafydd Ieuan
- Guto Pryce
- Dic Ben
- Kris Jenkins
- Meilyr Gwynedd
- Osian Gwynedd
- Mick Hilton
The name is said to come from the area between the group's studio and the Grangetown area of Cardiff. The album tells of the places, characters and personal tales to be found in the mile-long stretch in which, according to Ifans, everything needed to 'sustain' the recording was available.
In 2009 the album was re-released and the band supported Oasis at Cardiff's Millennium Stadium.
Bookmark this page:
See also
Elsewhere on the BBC
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BBC Music
Rock and indie
All the latest rock and indie highlights from BBC Music.
Join our group
Showcase your Welsh music images on our Flickr group.
A-Z of Welsh language artists with biogs, sessions, reviews and gigs.
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Get all the lowdown on some of Wales' key festivals and events.
How to...
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Our guide to where to find gigs and concerts in your area.


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Narrow your search for
External Ads:
Shop by Width: 8" 12" 14" 16" 18" 20" Shop by Height: 20" 68"
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Dale Tiffany Fall River Tiffany Floor Lamp Antique Bronze TF12408
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text:
Scrape Aliexpress.com and load into ecommerce site
This project received 18 bids from talented freelancers with an average bid price of $493 USD.Get free quotes for a project like this
Skills Required
Project BudgetN/A
Total Bids18
Project Description
We would like to scrape all of the product from [url removed, login to view] and then insert the items into our own ecommerce site (which isn't built yet), with a fixed markup on the prices of 10%.
This site requires paypal integration.
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- Forbes
- The New York Times
- Time
- Wall Street Journal
- Times Online


text:
Other projects made by wiLDaBoUtCoLoR:
Offer some kudos...
Join the conversation...
Ask a question...
Add your comment...
|Here are some details about my project:
|Infant / Baby
|Cute, Mod, Outdoorsy, Hipster
What was your source for this crocheting project?
Online Photo or Website
Name of website or photo Crochet Fleur-de-lis Applique
Would you be willing to share this crochet pattern? If so, where can I access it. Thank you.
http://hookandneedlegirl.wordpress.com/category/free-pattern/crochet-pattern/ http://www.craftsy.com/pattern/crocheting/other/fleur-de-lis-crochet-applique-/12249
Hi I tried to access the link to the pattern you gave for this project but could not get it. Could you please email this pattern to email@example.com Thanks
those links worked for me....copy them and paste them in a new tab search :'}
Were you able to get there? The link isn't working for me either. I looked around on the website it takes me to but I don't see the pattern. Help?
Do you have to buy the patter for the fleur de lis?
It's free here. Look for the link in the above comment I posted.
The hat link above no longer has that hat. Here's another link: http://dabblesandbabbles.com/crochet-caps-for-a-cause/
Here's a perfect little hat to use for this project. http://www.ravelry.com/patterns/library/30-minute-preemie-hat


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Weeki Wachee, Florida
|Weeki Wachee, Florida
US 19, SR 50 and CR 550 intersect at Weeki Wachee Springs and Buccaneer Bay
Location in Hernando County and the state of Florida
|Coordinates: 28°30′56″N 82°34′43″W / 28.51556°N 82.57861°WCoordinates: 28°30′56″N 82°34′43″W / 28.51556°N 82.57861°W
|United States
|• Total
|1 sq mi (2.7 km2)
|• Land
|1 sq mi (2.6 km2)
|• Water
|0 sq mi (0.1 km2)
|33 ft (10 m)
|Population (2000)
|• Total
|• Density
|12/sq mi (4.4/km2)
|Time zone
|Eastern (EST) (UTC-5)
|• Summer (DST)
|Area code(s)
|FIPS code
|GNIS feature ID
Weeki Wachee is a city located in Hernando County, Florida, United States. As of the 2000 census, the city had a total population of 12, a figure unchanged as of a 2004 estimate. The 12,000-acre (49 km2) Weekiwachee Preserve and the Weeki Wachee Springs park are located in the area. The park includes water rides, animal shows, mermaid costume shows, and manatee watching. The Weeki Wachee Gardens and Spring Hill, Florida communities are nearby.
Weeki Wachee is located at 28°30'56" North, 82°34'43" West (28.515445, -82.578565).[3]
According to the United States Census Bureau, the city has a total area of 1.0 square mile (2.6 km2), of which 1.0 square mile (2.6 km2) is land and 0.04 square miles (0.10 km2) is water.
|Historical population
|Est. 2015
As of the census[1] of 2000, there were 12 people, 5 households, and 5 families residing in the city. The population density was 11.8 people per square mile (4.5/km²). There were 5 housing units at an average density of 4.9 per square mile (1.9/km²). All residents were White, as identified by the census; no one in Weeki Wachee was Hispanic or Latino, all though there is one Native American member of The Little River Band of Ottawa Indians Tribe.
There were five households out of which two had children under the age of 18 living with them, two were married couples living together, three had a female householder with no husband present, and none was a non-family. No households in Weeki Wachee were made up of individuals, and none consisted of someone living alone who was 65 years of age or older. The average household size was 2.40 and the average family size was 2.40.
In 2000, five city residents were under the age of 18, none were between 18 and 24, two were between 25 and 44, two were between 45 and 64, and three were 65 years of age or older. The median age was 35 years. For every female there was one male. For every five females age 18 and over, there were two males.
The median income for a household in the city was $50,625. Males had a median income of $50,625 versus $0 for females. The per capita income for the city was $12,022. Seven of the population and one third of families were below the poverty line. Out of the total population, all of those under the age of 18 and none of those 65 and older were living below the poverty line.
Weeki Wachee has two public schools which provide primary and secondary education to local children. Primary and Secondary Education
Public schools in Weeki Wachee are part of the Hernando County School Board school system, which oversees all public schools in Hernando County. The main public schools that serve the Weeki Wachee area are:
- K-8 Schools
- Winding Waters
- High Schools
- Weeki Wachee
Weeki Wachee Springs[edit]
Tourist attraction[edit]
Weeki Wachee Springs, the spring of the Weeki Wachee River, is a Florida tourist attraction where underwater performances by mermaids – women dressed in fancy outfits with fins about their legs – can be viewed in an aquarium-like setting. There are currently 15 female mermaid performers and 4 male performers. The attraction includes a Buccaneer Bay water park, animal shows, and boat rides. General Manager Robyn Anderson is also the town's mayor. The park is now an official Florida State Park and is owned and managed by the State Parks department.[6] Other tourist attractions also include the tennis court where local tennis semi-pro, Michelle Zeiden, practices.
Deepest naturally formed spring in the United States.[edit]
From May 22 until August 30, 2007, the discharge level at Weeki Wachee spring dropped to a level that allowed for cave divers to gain effective entry into the cave system at the spring. The Karst Underwater Research team successfully executed exploration dives and the necessary in-water decompression to explore approximately 6,700 feet (2,000 m) in multiple passages at an average depth of 265 feet (81 m) Fresh Water (ffw) with a maximum depth of 407 ffw.[7][8]
In popular media[edit]
- In 2005, English rock band Supergrass filmed the video for their song "Low C" at the Springs. They filmed a short documentary about the spring, their playing at a local bar, and swimming with the mermaids.
- Canadian rock band The Elwins mention the city in their single "Stuck In The Middle" from their album And I Thank You.
- Tennis semi-pro, Michelle Zeiden, was the first female athlete from Weeki Wachee to make it to "the big leagues".
- ^ a b "American FactFinder". United States Census Bureau. Retrieved 2008-01-31.
- ^ "US Board on Geographic Names". United States Geological Survey. 2007-10-25. Retrieved 2008-01-31.
- ^ "US Gazetteer files: 2010, 2000, and 1990". United States Census Bureau. 2011-02-12. Retrieved 2011-04-23.
- ^ "Annual Estimates of the Resident Population for Incorporated Places: April 1, 2010 to July 1, 2015". Retrieved July 2, 2016.
- ^ "Census of Population and Housing". Census.gov. Retrieved June 4, 2015.
- ^ "Florida Springs Guide: Weeki Wachee Springs State Park". Orlando Sentinel. Retrieved April 22, 2012.
- ^ "Weeki Wachee Spring". karstunderwaterresearch.org. Karst Underwater Research. Retrieved 2008-08-18.
- ^ Neill, Logan; Anderson, Joel (2009-04-20). "Cave divers explore deepest parts of Weeki Wachee Springs". St. Petersburg Times. Retrieved 2009-06-01.
External links[edit]
|Wikimedia Commons has media related to Weeki Wachee, Florida.


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Jennifer Lee Butler
HINESBURG, VT – Jennifer Lee Butler, 38, who was a student in Aiken from 1986 to 1997 before moving to Burlington, VT died on August 5, 2013 at the Fletcher Allen Trauma Center in Burlington. She is survived by her parents James V. and Merry D. Butler of Lundee Dr., Aiken, SC, her maternal grandparents Ivey O. and Marjorie S. Drewry of Huntsville, AL and many relatives.
Leigh was born on August 1, 1975, In Huntsville, AL. The family moved to Oak Ridge, TN in 1978 and then to Aiken, SC in 1986. She graduated from South Aiken High School in 1993 where she played flute and piccolo in the school band. She graduated from the University of South Carolina in Columbia in 1997 with a degree in Journalistic Photography and Journalism. A few days after graduating Leigh loaded up a U-Haul trailer to move to Vermont. A Summer internship at The Farm Sanctuary in Watkins Glen, NY lead to her desire to live further North. In Burlington she rented a tiny apartment near Church St. She worked in a pizza place, then as an assistant to a free lance photographer, then as a photographer for school portraits, and in recent years with Hitchcock & Boardman Insurance. Photography became a component of her mixed media art work. Her work in silversmithing and metalwork, glass, fiber spinning, felting and knitting combined to produce a variety of artistic pieces.
She married Erik Findholt on July 17, 2004 and took the name Lee Butler Findholt. Before they divorced, early in 2013, they lived on a five acre farm on Gilman Road in Hinesville, VT. She began working with llamas on another farm in 2005 and by the middle of 2006 she acquired her own llamas. She had an Internet store called Wicked Good Farm where she sold jewelry, hand made clothing, and yarn made from the fleece of her angora goats, llamas, and alpacas. She keep chickens, named Chicken Little, Dixie Chicken, etc. for egg production. One "chicken" turned out to be an aggressive rooster named "Hazel".
Leigh always maintained her love of art and photography. Her art work was shown in several nearby galleries. Most recently she served as Assistant to the Executive Director of the Art House in Craftsbury Common, VT. Her many friends in Vermont will be holding a celebration of her life in September. Date and place are TBD. Her friends have ensured that all of her animals have been adopted and that her beloved Maine Coon cat, Mr. Pants, will be delivered to her uncle Ed Butler in Aiken.
Leigh's remains will be interred in the Drewry family plot in Maple Hill Cemetery, Huntsville, Alabama. She will be sorely missed by many friends and family members.