text:
The Sports Network
DATE & TIME: Friday, November 23, 3 p.m. (et)
FACTS & STATS: Site: Folsom Field (53,613) -- Boulder, Colorado. Television: FX. Home Record: Utah 4-2, Colorado 0-5. Away Record: Utah 0-5, Colorado 1-5. Neutral Record: Utah 0-0, Colorado 0-0. Conference Record: Utah 2-6, Colorado 1-7. Series Record: Colorado leads, 31-24-3.
GAME NOTES: With both teams eliminated from postseason consideration the Utah Utes and Colorado Buffaloes will just try to end the season on a high note when the two squads square off in Pac-12 action at Folsom Field.
There was still an outside chance for Utah to earn a bowl bid this season but not after the Utes fell for the second straight week against Arizona (34-24) last weekend. The loss was the seventh in 11 chances for the Utes who have had a school-record nine-season bowl streak put to an end. Going on the road may not be the answer for a strong end to the season as the Utes are winless in five road games this season.
If there is one team Utah has a good chance of getting a road win against it is Colorado. The Buffaloes have had a miserable season and are just 1-10 after losing its seventh straight game this past Saturday against Washington (38-3). During that losing streak the Buffaloes have been outscored 355-85 with an average losing margin of 38.5 points. Playing at home hasn't even been a safe haven, as the Buffaloes have yet to pull off a win at Folsom Field.
Both newcomers to the Pac-12 last season, Colorado pulled out a 17-14 decision in Salt Lake City to extend its all-time series lead to 31-24-3. However last season's matchup was the first between the schools since 1962.
It really wasn't the offense that stopped Utah against Arizona. However on the season there has been little consistency or production coming from the unit. Needing to shift quarterbacks on a regular basis hasn't exactly helped. Last weekend Travis Wilson got the start and played well throwing for 311 yards and two touchdowns on 28-of-40 passing. Wilson should get the start again on Friday as he has played in 11 games and leads the team in passing yards (1,183) and completion percentage (64.2).
If there has been one player the Utes can rely on it is running back John White. He has clearly shaken off the early season struggles he endured and is now within striking distance of a second straight 1,000-yard rushing season. White has piled up 873 yards on 198 carries this season to go along with seven touchdowns and has had 100 yards rushing in four straight games.
The receiving corps has no real standout with the passing production spread out among a group of receivers. Dres Anderson (35 receptions, 349 yards, 2 TDs) is the leader in receptions, while Jake Murphy (32 receptions, 351 yards, 4 TDs) leads the way in yards.
All in all, Utah has been a pretty weak offensive team ranking second to last in the Pac-12 in total offense (323.4 ypg) and passing yards (196.4 ypg).
What had kept Utah competitive this season is its defense although it was gashed for 480 yards of total offense against Arizona. That effort hurt Utah's standing in the league rankings as the UTes are now just fifth in total defense (358.5 ypg) and sixth in scoring defense (24.2 ppg). Creating negative plays has been a struggle with Utah, managing only 61 tackles for loss as a team, the third lowest total in the conference.
That hasn't stopped Trevor Reilly from having a solid season though. The linebacker has recorded a team-high 64 tackles, 6.5 TFLs and 4.5 sacks. Also getting in on the action in the pass rush are Joe Kruger (6.0 sacks), Reggie Topps (4.0 sacks) and Star Lotulelei (9.0 TFLs, 4.0 sacks).
The only team looking up to Utah in terms of offensive production is the very Colorado team the Utes face this weekend. On its way to one of its worst seasons in recent memory, Colorado has ranked dead last in both scoring (16.3 ppg) and total offense (291.7 ypg). In fact Colorado is one of just four teams in the nation to be putting up less than 300 yards of total offense per game.
One lone bright spot for the Buffaloes is freshman running back Christian Powell. Powell has rushed for 691 yards this season, the second most by a freshman running back in Colorado history. Powell has also found the end zone seven times this season, which is the second most on the squad.
Quarterback issues have also plagued Colorado. Jordan Webb, Nick Hirschman and Connor Wood have all played in at least six games this season. Hirschman is listed as questionable for Friday's game with concussion symptoms. That means Webb will likely get the start. Webb threw for a team-high 33 yards on 6-of-16 passing against Washington and leads the squad with 1,401 passing yards this season. Wood could also see time as he got into the game against Washington as well but had a rough day (3-for-6, 11 yards, 2 INTs).
Like Utah there is no go-to receiver for Colorado, although that is largely a symptom of poor quarterback play. Tight end Nick Kasa (20 receptions, 340 yards) has been a scoring machine, with eight touchdown receptions to go with his yardage total which is second on the squad. Nelson Spruce (34 receptions, 348 yards) and Tyler McCulloch (26 receptions, 334 yards, 5 TDs) have also tallied more than 300 yards this season.
Colorado does not have the privilege of falling back on a solid defense. Just as on offense, Colorado ranks dead last in the conference in a bulk of defensive categories, including points allowed (46.4 ppg) and total yardage (502.4 ypg). Colorado's defense has also not made a ton of plays on the ball with just 14 forced turnovers for a massive -15 turnover margin.
Defensive end Chidera Uzo-Diribe serves as the single best defensive force on the squad with 7.0 sacks on the season after he recorded a quarterback takedown against WAshington, his first in four weeks. Derrick Webb (62 tackles) and Terrel Smith (61) are the leading tacklers on the team.
The season will come to its merciful end for Colorado on Friday with the Buffaloes having a shot at earning their first win in front of the home crowd. Utah may not be the cream of the Pac-12 crop, but its defense is strong enough to ruin Colorado's season-finale.
Sports Network Predicted Outcome: Utah 30, Colorado 10


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Julie Walters: "We have a bit of a wand contest" in "Deathly Hallows"
Jan 28, 2010
Posted by John Admin
Julie Walters (Mrs. Weasley) speaks briefly about her role in "Harry Potter and the Deathly Hallows" in a new interview on the What's On TV website. When asked about what the actress planned to do next, Walters replied:
"It is back to Harry Potter. Mrs Weasley has a lot to do this time. I kill Helena Bonham Carter for a start ' and not many can say that. We have a bit of a wand contest, I can't wait. It will be sad, though, because I've watched all of them all grow up. It will certainly leave a void."
Walters portrays Mo Mowlam in "Mo," a new Channel 4 drama, from the 31st of January at 9pm BST. Images from the programme can be found here in our galleries. The What's On TV interview can be found via this link.

subset: commoncrawl


text:
4 simultaneous users.
Provides online audio files for materials from the Smithsonian Folkways catalog and other archival collections representing regions of the world in various genres including folk, blues, jazz, country, children's and spoken word.
Guest curated by graduate student Katie Wills
Stories from people who were children during World War II and the objects in this exhibit animate the past and inform us of a time when war took over daily life. "Retrospect is a very interesting thing," says Ruthie Kallnder. "At the time I don't recall any of the information we got as being propaganda," but the government tried to influence children to make "necessary" sacrifices. Propagandists made the war a battle between good and evil, democracy and fascism. They also asked children to share in the war effort. In response, many children took on more responsibilities. Ruthie explains that boys and girls felt "if that's what it was going to take" to win they "were willing to do it." The memories of the people in this exhibit and their wartime actions show the power of propaganda's messages and its lasting affect on their lives. Propaganda posters, children's books, and classroom assignments demonstrate how propagandists reached children and involved them in the national war effort.
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text: Few things can ruin a perfect cigar quicker than a poor cut. When opening the head of your cigar to smoke, it is crucial that the cut be made with a quick, decisive motion with a sharp tool. Mike's Cigars carries a huge selection of high quality cigar cutters, cigar scissors, and cigar punches. Whether you prefer a single or double blade guillotine, a grip cutter, punch, or scissors Mike's Cigars has the cigar accessory you need, and at every price point. Shop with confidence at Mike's and enjoy those cigars!


text:
Product 6/30
Magpul CTR Carbine Stock for Milspec AR15
The patent-pending Magpul CTR (Compact/Type Restricted) Mil-Spec Model is a drop-in replacement butt stock for carbines using mil-spec receiver extension tubes. Designed for light, fast action the streamlined A-frame profile avoids snagging and shields the release latch to prevent accidental activation. The extra-power lock mechanism uses a premium chrome-silicon spring to avert auto-collapse failure and maintains strength by resisting spring relaxation. The CTR also features a supplemental friction lock system that minimizes wobble* for enhanced weapon stability and accuracy. The Mil-Spec Model includes a standard 0.30" rubber butt-pad which provides positive shoulder purchase to prevent slippage even with body armor or modular gear.
Made in U.S.A.
FeaturesMounts on military-spec carbine receiver extension tube (not included) from manufacturers such as Colt, Armalite, S&W, LMT, and othersSupplemental friction lock minimizes accuracy robbing wobble*Premium chrome-silicon lock spring provides positive locking and long service lifeSloping cheek weld combines a slim profile with user comfortShielded release latch prevents snagging and accidental operationSide mounting slots accept optional cheek risers for NON-AR15/M16 applicationsCompatible with Magpul ASAP® and other receiver-mount sling attachmentsSling Mounts- Rear - Push-button QD sling mount accommodates up to 1.5" swivels (Ambidextrous)- Rear/Bottom - 1.25" sling loops- Toe - Lanyard hole for custom para-cord rigs
Included Accessories**Rubber Butt-Pad, 0.30" (Removable)
Specifications**CTR, Mil-Spec (w/ Rubber Butt-Pad, 0.30")- Weight, Stock: 0.48 lb.- Weight, w/ Rec. Extension: 0.79 lb.- Length, Stock: 6.60 in.- LOP Adjustment Range: 3.3 in.- LOP, M4 Collapsed: 10.1 in.- LOP, M4 Extended: 13.4 in.
* Friction lock performance may vary depending on the receiver extension's dimensional tolerances.** Specifications based on standard-length (flat-back) M4 Carbine receiver extension and may vary depending on tube manufacturer.Standard Rubber Butt-Pad, 0.30" weight: 0.09 lb. Optional Extended Rubber Butt-Pad, 0.55" weight: 0.12 lb. Optional Enhanced Rubber Butt-Pad weight: 0.15 lb.
EXPORT NOTICE: This product and/or its components is subject to the International Traffic in Arms Regulations (ITAR, 22 CFR Parts 120-130), the Arms Export Control Act (22 USC 2778), or the Export Administration Act of 1979, as amended (22 USC App. 2401 et. seq.), and Export is strictly prohibited without authorization or a license issued by the U.S. Department of State's Directorate of Defense Trade Controls.Additionally, any documents or engineering drawings, prints, etc. that can be viewed, downloaded, or printed from our Web site may contain technical data which may not be exported outside of the United States, or released or disclosed to non-US persons (i.e. persons who are not US citizens or lawful permanent residents) inside of the United States, without prior written authorization by the relevant US Government agency.Violations of these export laws are subject to severe civil, criminal and administrative penalties.


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Twice in the last 40 years I have met intelligent ten year old children who had somehow never been told in so many words that television cartoons, movies, etc, were not real. One I only found out about because during a visit I had put on a video that included a show about special effects in movies, including two movies she and her younger brother had seen. (The Empire Strikes Back, and an Indiana Jones movie) Afterward she asked her father and apparently he said that "some things were exaggerated." She asked me what part of "Thundercats" was exaggerated. I had a little trouble getting it across to her that every single part of it was not true - the bipedal, English-speaking cats with magic powers, the space ships, the villains, everything. Mind you, this girl had acted in a school play based on "Ghostbusters", yet she had still believed that the movie of it was real.
Now I'm wondering just how common this is. It's insidious - I know at least one intelligent adult with a science career who admitted that when watching Star Trek as a young adult he had unconsciously assumed that the starscapes shown on the viewscreens were done by going up in a space ship and taking moving pictures, even though he knew that the plots were fiction.
What do you think:
At what age do most children realize that the characters they see in cartoons are not real, that the stories are not literally documentaries? Is there an age at which they figure it out for themselves? Or do they have to be told?
I don't remember what happened in my own case; I know my family complained once that certain movies frightened me when I was about five or six, but I don't remember it. I have to assume that I was told before I was ten, because I remember knowing that it was just a story at that age.


text:
Microsoft is facing criticisms of its warranty practices in China that are similar to Apple's recent issues in the region. Bloomberg reports that China National Radio has highlighted warranty issues with Microsoft's Surface Pro tablet, noting that it should have a one-year repair warranty for the whole device and a two-year warranty for the parts. Microsoft currently offers a one-year warranty that covers the device and its parts, falling foul of a national law that requires a two-year parts warranty on notebooks.
Apple faced similar criticisms from the Chinese media after state broadcaster CCTV originally claimed Chinese consumers weren't getting the same level of service as Americans. The situation quickly escalated after Apple disputed the claims over its warranty replacement service for iPhone 4 and 4S models, leading Chinese state-run newspaper The People's Daily to call Apple "empty and self-praising." Apple CEO Tim Cook had to apologise for "any concerns or misunderstandings," while promising a clearer warranty policy for Apple's iPhone 4 and 4S smartphones.
Bloomberg notes that this similar situation could be the start of widespread media criticism of Microsoft in China. The software giant recently launched its Surface Pro tablet in China earlier this month, partnering with popular Chinese seller Tmall to launch an additional online store in the region. We have reached out to Microsoft for comment on the claims and we'll update you accordingly.


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I have a client with a small network.
Their DHCP is handled by their SBS 2011 server, their are two Belkin wireless devices set up as access points, and there is one tp-link un-managed switch. Other than that there is a Linksys firewall device (gateway) between their network and a cable modem.
The issue is that occasionally two specific workstations will drop off the network and I will find their IP addresses to be on the 192.168.99.x range, instead of the 192.168.100.x range. When I look at the network connection on the affected workstations, instead of seeing their domain name in the connection I see 'innotech.com'. This makes no sense to me since no one knows of any other hardware in the building. When the computer get's it's lease from the 192.168.99.x range, it cannot access the resources on their network and I can connect to a gateway on '192.168.99.1' over http and I receive a login prompt, which none of their documented passwords work with.
What should I do? How can I find out what device is giving these workstations DHCP leases on the 192.168.99.x range.
Best Answer +BudMan , 28 August 2013 - 16:04
Good news! But having a smart switch would of allowed you to figure out which port it was without having to walk around the building and trace a wire.
Might be something to look into for making your network better.. They are not very costly, give you lots of troubleshooting tools, ability to vlan in the future, rate control of connections quite likely.
Not saying you need a full managed switch like a 2k$ cisco - but a $200 smart makes a lot of sense in a small office vs just a simple dumb switch you would run in your house with a few connections. Go to the full post


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Product Information
Wish You Were Here by Tim Surrett - Digital Sheet Music
At a Glance
Wish You Were Here digital sheet music. Contains printable sheet music plus an interactive, downloadable digital sheet music file.
* This arrangement contains complete lyrics
* This product is available worldwide
Arrangement Details
The Arrangement Details Tab gives you detailed information about this particular arrangement of Wish You Were Here - not necessarily the song.
Song Details
The Song Details Tab gives you detailed information about this song, Wish You Were Here.
Related Products
The Related Products shows you other products that you may also like, if you like Wish You Were Here.
There are No Reviews written for "Wish You Were Here"
In order to write a review on digital sheet music you must first have purchased the item.


text:
- Management Staff
Dave Genevro
General Manager - Barefoot Resort and The Dye firstname.lastname@example.com
Dave is originally from the small town of Brockport, Pennsylvania. He has been with Barefoot since its inception, starting as one of the original golf professionals and has worked his way into the position of General Manager. His passion for playing golf has evolved into a dedication to offering a great golf experience and customer service levels well above the guests expectations. Dave and his staff are always striving to improve in all aspects of the golf operation.
Mike Ross
Director of Golf - Barefoot firstname.lastname@example.com
Mike is originally from Roseau, Minnesota. He has been with Barefoot since the very beginning. Having played golf and hockey since childhood, Mike is not only a great athlete, but he understands what being a professional is all about. His knack for solving problems has earned him the reputation as a true communicator. Mike is also an outdoorsman with fishing and hunting being his true passion.
Jeff Diehl
PGA - Head Golf Professional -The Dye firstname.lastname@example.com
Jeff Diehl has served as PGA Head Golf Professional at The Dye Club since March 2010. Since 2011 he has been on the Executive Board of the Myrtle Beach Area Golf Course Owners Association as the Treasury Secretary. He was elected to PGA membership in 2009. From 2008 – 2010 Diehl served as Marketing Director for the Norman, Love Fazio and Dye Courses at Barefoot Resort & Golf as well as a dual roll of 1st Assistant Golf Professional from 2006 at the Norman Love & Fazio Courses. Originally from Bethpage Long Island, he worked at the famed Black Course, host of the 2002 & 2009 US Open Championships, from 1999- 2003 under past PGA President Dick Smith. He moved here with his wife Kathy back in 2005 and they have a six-year-old son named Christian. Not only is Diehl devoted father and committed to his family he is also committed to his community. Diehl gives his time constantly by helping his church, St. Andrews, and the Knights of Columbus in a number of causes including the Make-a-Wish Foundation, the local chapter of the Alzheimer's Association, GSGDA Scholarship Fund and the American Heart Association just to name a few. He has been a regular co-host of the 100.3 The Team Myrtle Beach Golf Guys radio show as well as a regular contributor to the Carolina Forest Chronicle. He truly is the quintessential PGA Professional.
Rich Bartram
PGA - Director of Marketing and 1st Asst. Golf firstname.lastname@example.com
Rich Bartram got his start at Barefoot in February of 2008. During his tenor he has had many roles at the club including:
- Outside Operations
- Assistant Golf Professional- Outside Operations Manager
- Tournament Director
- 1st Assistant Golf Professional
- Director of Marketing
Rich is originally from Fairfax, VA. He has worked at numerous golf facilities back in his hometown. Rich attended and graduated from the San Diego Golf Academy in April, 2007. There he earned an Associate's degree in Golf Complex Operations and Management. He continued his studies and was elected as a PGA class "A" member in August 2013.
"I constantly strive to be the best employee I can possibly be each and every day"
Kurt Usner
Reservations Manager/Golf email@example.com
Kurt is originally from Lancaster, Pennsylvania. He has been with Barefoot Resort since the beginning. Kurt started with the golf course reservations department at inception. Before the historical swing bridge was installed across the Intracoastal Waterway, Kurt helped to introduce our first guests to the courses by pontoon boat and passenger van. Barefoot Resort and Golf has developed greatly since then and Kurt has grown with it compiling a vast knowledge of the property and can proudly discuss the championship courses, accommodations and local flavor with confidence and ease. Kurt lettered in football and baseball and loves to play golf. He is a huge sports fan and enjoys rock and roll and blues music.
Barry Auman
Membership email@example.com
Barefoot Resort - Barry is originally from Winston Salem NC. He has been our membership director for the last eight years. His experience in membership matters has all but solidified what we believe is one of the strongest memberships of any club in the country. As the membership grows on a daily basis Barry handles it with ease.
Jim Kane
Membership Assistant - PGA email@example.com
Jim has recently joined the Membership Department staff. Jim was raised in Ashland, VA where he grew up playing golf, soccer and baseball. In his older years he enjoyed his time rock climbing and hiking in the Appalachian Mountains. His freshman year if college he walked onto the East Tennessee State University golf team. After college he enrolled into the Army where there he learned how to be a great leader. Once removed from the rigors of the Army, he enrolled into The Golf Academy of the Carolinas. He graduated with a pronounced 3.90 GPA and earned certificates in playing ability, club repair and advanced teaching. Jim has begun his studies into the PGA Apprentice program, striving to earn his Class A membership into the PGA of America. Has lived in Myrtle Beach for the past five years with his wife Leigh, who are expecting their first child in November.
Travis Dutcher
PGA-Merchandise Director and Head Golf firstname.lastname@example.com
Travis is originally from Edmeston NY. After graduating at the top of his class from the San Diego Golf Academy, he joined the Barefoot staff in February 2006. He recently was elected as a PGA class A member. Our merchandise and retail department are in good hands with Travis as the team leader.
- Outside Operations
- Resort Staff
Rich Bartram
PGA - Director of Marketing and 1st Asst. Golf email@example.com
Rich Bartram got his start at Barefoot in February of 2008. During his tenor he has had many roles at the club including:
- Outside Operations
- Assistant Golf Professional- Outside Operations Manager
- Tournament Director
- 1st Assistant Golf Professional
- Director of Marketing
Rich is originally from Fairfax, VA. He has worked at numerous golf facilities back in his hometown. Rich attended and graduated from the San Diego Golf Academy in April, 2007. There he earned an Associate's degree in Golf Complex Operations and Management. He continued his studies and was elected as a PGA class "A" member in August 2013.
"I constantly strive to be the best employee I can possibly be each and every day"
Travis Dutcher
PGA-Merchandise Director and Head Golf firstname.lastname@example.com
Travis is originally from Edmeston NY. After graduating at the top of his class from the San Diego Golf Academy, he joined the Barefoot staff in February 2006. He recently was elected as a PGA class A member. Our merchandise and retail department are in good hands with Travis as the team leader.
James Gillespie
Tournament Director- PGA firstname.lastname@example.com
James Gillespie is originally from Winnipeg, Manitoba and has 15 years playing golf experience. James is a graduate from The Golf Academy of America, being the Valedictorian of his class in 2010. He also holds a Liberal Arts Degree from West Chester University and a Masters of Business Administration from Penn State. A 4.0 Hdcp player with a complete understanding of golf swing fundamentals.
He can help your Barefoot experience with creating, staffing, and running all tournaments, which include; scorecards and cart signs and live GPS scoring. James is currently working towards his Class A membership within the PGA. His hobbies include sports, going to the beach, and just hanging out.
Trey Evans
Assistant Golf Professional- PGA apprentice
Trey is originally from Summerville, SC. He attended Summerville High School where he excelled in baseball as well as academics. Upon graduating high school, he attended Coastal Carolina University where he walked onto the baseball team. He graduated from CCU with a business degree in finance and marketing. His excitement for learning something new and the joy of competition is what drove him to get into the golf business. Trey is enrolled into the PGA Apprentice program, with a goal of earning his Class A membership into the PGA of America.
Austin Nichols
Assistant Golf Professional- PGA email@example.com
Austin Nichols is originally from Denver, CO where he graduated from Colorado State University with a Recreation and Tourism degree and minor in business. After being around golf and playing most his life, he decided to pursue a career in the industry and moved to Myrtle Beach in the fall of 2011. Austin is currently in the Level 1 of the PGA of America apprentice program, working towards gaining his class A membership here at Barefoot Resort and Golf.
- Outside Operations
- Dye Staff
Jeff Fribance
Tournament Director- firstname.lastname@example.com
Jeff is originally from Mystic CT. He did not pick up the game until his mid-twenties after having played hockey for most of his early life. Once he began playing however like most of us he was hooked. In 2008 he began working at Shennecossett Golf Course in Connecticut and started to gain experience in all aspects of the golf business. In 2011 He took the first assistant position at Pinewood Country Club in Louisiana refining his management, teaching, fitting, and club building skills under a Top 100 teaching professional. In 2013 Jeff moved to Myrtle Beach and began working as an assistant professional at The River Club in Pawley's Island. In the spring off 2014 he joined our staff at the Dye Club.
Jeff looks forward to using his wide range of experience to contribute to The Dye Club. He will also continue to work towards his ultimate goal of becoming a Class A PGA member.
Gregory A. Motil
1st Asst. Golf Professional- PGA firstname.lastname@example.com
Gregory A. Motil, a native of southeastern Ohio, was born and raised in Pleasant City, Ohio. In April of 2000 he received his Degree in Business and Golf Complex Management from Golf Academy of America.
Upon completion of his education at the Golf Academy, he has worked at golf facilities on the Grand Strand and in Ohio. Each of these employment opportunities has provided him with invaluable knowledge of the game of golf and the daily operations of a facility. He feels very fortunate to have developed numerous long-lasting relationships with each facility's members and employees.
Gregory joined the staff of The Dye Club at Barefoot in March 2012 and looks forward to bringing his knowledge of the game and business of golf to the member community. Additionally, he will continue his education and work towards finishing his apprenticeship and gaining his Class-A PGA card.
Mike Ulman
Assistant Golf Professional- PGA Apprentice
Originally from Long Island N.Y. Mike attended college at Coastal Carolina University here in Myrtle Beach receiving a scholarship to play baseball. While attending college Mike grew a love for the game of golf.
During his time at Coastal Carolina University Mike received a Bachelor's Degree in Business Administration majoring in Finance. He worked as a Financial Advisor and Mortgage Consultant, after ten years in the Finance industry Mike elected to pursue his true passion, golf and attend the Golf Academy of America. He earned his Degree in Golf Complex Operations and Management and certificates for advanced teaching, club repair/club fitting and tournament operations. Mike also has experience in the hospitality and entertainment industry in Myrtle Beach where he held many positions from food and beverage management to lead entertainer for a nightly show at a successful entertainment complex.
He joined our staff at the Dye Club in the spring of 2014. Mike is beginning his studies toward the PGA Apprentice program and looks forward to earning his Class A membership into the PGA of America.
- Food and Beverage Staff
Amy Boyer
Restaurant Manager The Dye firstname.lastname@example.com
Amy was born and raised right here in Myrtle Beach, SC. She has been with the company about two years. Working in the customer service industry for the past eighteen years, she's dedicated to maintaining a happy and fun place not only for our members and guests but for our employees as well. She will always ensure an enjoyable experience as you visit The Dye Club. Amy loves the hands on aspect of working with people to make certain all their needs are met. She's an expert at setting up for any function whether it's a golf outing, wedding reception or dinner party. When Amy's not working she loves to spend time with her beautiful family or reading when she can find the time.
Dave Bennett
Food & Beverage firstname.lastname@example.com
Dave Bennett is originally from Waverly, N.Y. where he grew up as a competitive athlete and sports enthusiasts. Prior to joining the Barefoot team he was an Executive Chef in several high profile and distinguished restaurants. Dave's goals are to ensure a high degree of customer satisfaction by anticipating guests' needs and providing accomplished food and beverage preparation, presentation and service for a variety of events.
Ginger Martin
Head Wait Staff
Ginger is originally from Myrtle Beach SC, one of the only locals on our staff. She has been with Barefoot since 2003. Always calm, cool and collected, Ginger is one of our most efficient and reliable team members. Away from Barefoot Ginger loves spending time and caring for her two beautiful sons.


text:
|Interventional GI Attending
Advanced Therapeutic Endoscopy
Biliary Obstruction, Choledocholithiasis, Pancreatobiliary Malignancy, Acute and Chronic Pancreatitis, Gastrointestinal Bleeding, Barrett's Esophagus
Endoscopic Ultrasound, Endoscopic Retrograde Cholangiopancreatography, Cholangiopancreatoscopy, Small Bowel Enteroscopy, Endoscopic Mucosal Resection,
Program for Advanced GI Endoscopy (P.A.G.E.)
Winthrop Gastroenterology Associates, PC
222 Station Plaza North, Suite 428
Mineola, NY 11501
(516) 663-2066
Winthrop University Hospital
259 First St., First Floor
Mineola, NY 11501
To schedule a procedure, please call (516) 663-2066
Internal Medicine 2004
Gastroenterology, 2008
|Medical School:
|Allama Iqbal Medical College
|Interfaith Medical Center, Brooklyn, NY
|Interfaith Medical Center, Brooklyn, NY
|New York Methodist Hospital, Brooklyn NY
|Advanced Endoscopy Fellowship:
|Columbia University Medical Center, New York, NY
American Society of Gastrointestinal Endoscopy
New York Society of Gastrointestinal Endoscopy
American College of Gastroenterology
American Gastoenterology Association
American College of Physicians
Cholangiopancreatoscopy, Endoscopic Ultrasound Assisted Cholangiopancreatography, Endoscopic Ultrasound Guided Fine Needle Aspiration
S. Iqbal, T.C. Pitea, S.N. Stavropoulos. Intact removal of seven metal stents from the bile duct in a single endoscopic session. Accepted for publication in Endoscopy.
S. Iqbal, P. D. Stevens. 'Peroral Pancreatoscopy: Removal of a Foreign Body From the Pancreatic Duct'. The DAVE Project. Retrieved Sep, 15, 2010, from http://daveproject.org/viewfilms.cfm?film_id=935
S. Iqbal, P.D. Stevens. Endoscopic Technique for the treatment of Pancreas Divisum. The DAVE Project. Retrieved Jul, 12, 2010, from http://daveproject.org/viewfilms.cfm?film_id=922.
S. Iqbal, S. Shah , V. Dhar, S.N. Stavropoulos, P.D. Stevens. Is there any difference in outcomes between long pigtail and short flanged prophylactic pancreatic duct stents? Dig Dis Sci 2010 May13.
S. Iqbal, V. Browne-McDonald, M.A. Cerulli. Recent Trends for Colorectal Cancer Screening in HIV-infected Patients. Dig Dis Sci. 2010 Mar;55(3):761-6.
S. Iqbal, P.D. Stevens. 'Side-by-Side Multiple Sectoral Metallic Biliary Stent Placement for Hilar Tumors'. Accepted for ASGE Video Library; DDW 2009
P. Brar P, S.Iqbal. A Review of Endoscopic Antegrade-Retrograde (EAR) Rendezvous Technique for Complete Esophageal Obstruction. Gastrointestinal Endoscopy 2010; volume 71 (No. 5): AB184.
S. Gonzalez, S.Iqbal, A. Sethi, J.M. Poneros, V. Dhar, P.D. Stevens. Prevention of Post ERCP Pancreatitis: Does Stent Size Really Matter? Gastrointestinal Endoscopy 2010; volume 71 (No. 5): AB230.
S. Iqbal, P.D. Stevens. 'Peroral Cholangioscopy: Removal of Foreign Body From Biliary Tree'. Presented during ASGE Video Forum; DDW 2009 Meeting. Iqbal, S. (Jun 01 2009). Peroral Cholangioscopy: Removal of Foreign Body From Biliary Tree. The DAVE Project. Retrieved Jun, 20, 2009, from http://daveproject.org/viewfilms.cfm?film_id=857
S. Iqbal, P.D. Stevens. Cholangiopancreatoscopy for targeted biopsies of the bile and pancreatic ducts. Gastrointest Endosc Clin N Am 2009;19(4):567-77.
S. Iqbal, R.N. Mir, W. Sohn. Endoscopic ultrasound-guided fine-needle aspiration using 22- and 25-gauge needles alternately. Endoscopy 2009;41:E87-E87.
Iqbal S, Kapoor A, Oberoi GS, Stevens PD. Endoscopic Ultrasound-Guided Fine Needle Aspiration: Single vs. Combined Needle Approach. Am J Gastroenterol 2009;104:S518.
M. Glick, T. Gonda, S. Iqbal, S. Nandula, J.U. Kang, V. Murty, P.D. Stevens. Fluorescent in situ hybridization in the diagnosis of indeterminate biliary strictures. Am J Gastroenterol 2009;104:S70.
V. Tewari, D, Tewari, S. Iqbal, G. Posner. A Large Reaccumulating Cystic Lesion in a Gastric Bypass Patient. ,Am J Gastroenterol 2009;104:S265.
S. Iqbal, A. Kapoor, P.D. Stevens. Failure Rate of Peroral Cholangiopancreatoscopy in Clinical Practice. Gastrointestinal Endoscopy 2009; vol. 69 (issue 5): AB272-AB273.
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This Large Pouch gives you all the storage space you need for your favorite things while skipping the bulkiness of a purse or bag. Simple and elegant - that's how we like it! Made with a four panel design, our Large Pouch has a nylon lined interior with 2 separate pockets inside. It's great for storing almost anything, like an iPad, e-reader, phone, keys, books, toiletries - just about anything you might need as the day goes on. A zipper opening on the top with large leather pull allows for quick access and keep things secure when shut. As busy as we all are nowadays, stylish storage space is always welcome, and that's what we're bringing you with our Large Pouch!
Casual yet distinctive, our Timeless collection is one of our favorites. This leather boasts a polished finish and a soft hand feel, making it a great choice for any leather connoisseur. And with the variety of colors it comes in, it's easy to find a shade that appeals to you or matches with your other accessories. As the name implies, our Timeless collection will hold up through years of use while aging gracefully every step of the way.
Please note: textures in this collection range from light grain to a lightly pebbled grain depending on which part of the hide it's from.
Bought this for my ipad mini after reading reviews of the smaller pouches. Love it. Rich leather and color. Enough room for the iPad and cords.
My friend loved it! She said it looks fancy and loves the color.
Thank you for the awesome packaging and quick shipping!
Very satisfied w purchase. Purchased as a graduation gift. Was delivered timely and packaging was beAutiful. I will purchAse from leatherology in the future!
JUST GORGEOUS! So supple and exquisite to the touch! Want in ALL colors!!
Too bad I could only give it five stars....!
Perfect size, shape and make. Both women and men could use it. Price was very, very reasonable for the quality.
Whether you are treating yourself or giving a gift to someone else, we want you to have an amazing and memorable experience. All items will be shipped using our signature gift packaging. Depending on the type and size, your item(s) will come wrapped in our signature microsuede sleeve, drawstring bag or soft velour bag (each with black tie accents), and be packaged inside a high-density bronze gift box. You will also have the opportunity to add a personalized gift note when you place your order.
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Set in 1980s seaside England, "Is Anybody There?" tells the story of 10-year-old Edward whose parents have turned their house into a retirement home. While his mother struggles to keep the family business afloat and his father copes with the onset of a mid-life crisis, Edward becomes increasingly obsessed with the ghosts and afterlives of the residents when they die. Edward's is a lonely existence until he meets Clarence, the latest arrival at the home, a retired magician and grieving widower who refuses to give in gracefully to old age. Their relationship begins at odds until Clarence notices that the boy is growing up even more fitfully than he is growing old. As they begin to face life together, Clarence comes to terms with his past, Edward tames his obsession with the unknown and they are both reminded of what magic is possible when life is lived to its fullest.
Rated PG-13 for language including sexual references, and some disturbing images.
Visit the official site
Cast: Michael Caine, Anne-Marie Duff, Garrick Hagon, Linzey Cocker, Thelma Barlow
Produced by: David Heyman, Marc Turtletaub, Peter Saraf
Directed by: John Crowley
Written by: Peter Harness
Running time: 1hr 32min
Opens: Apr 17, 2009 Limited


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I think I now know how a First Place marathon runner must feel when he breaks the tape and crosses that finish line. This marathon endurance job of making an ugly Camaro look good has finally come to an end, and to tell the truth, it seemed as if it would never come. The greatest thing about crossing this finish line is the self-satisfaction of being 100-percent involved from start to finish. A big thanks to staffer Grant Peterson for banging out the nasty crease in this Camaro and giving us some good pointers on how to prep a car for paint, and also to Roy Landgrave, the instructor of the Auto Body program at Chino High School. This Camaro has evolved from being just a paint job, to a car that has a constant color theme of black and red, with a few minor custom features thrown in for fun.
If you notice, we decided not to repaint the headlight area black. Camaros don't have black eyes; they give them. We also painted the grille, louvers, and smoked the taillights. We also decided not to put all the decals back onto the car. Less is more, right? But we didn't lose the badges that fit into the lower part of the ground effects. Believe it or not, '88 IROC-Z badges are not available in any catalog I have seen. To add to the final scheme of this project, we ordered some ZR-1-style wheels from SLP performance parts. They have a new "Hyper Black" painted wheel just for the Third-Gen Camaro, which fits this whole project beautifully. To round out the package, we added a set of 245/45 Toyo Proxes tires to the SLP wheels. Take a look in Camaro Performers magazine, as we are going to do some road testing on this Camaro with its new rolling stock. There we will have the track numbers to show you.
What do you do when your daily driver is finally painted, cut, buffed, polished, and waxed? Obviously you enjoy it, and drive it. But there are a few more things that you can do to really "church it up" with the final product. Since the beginning of this project we tried to keep it as budget-oriented as possible, and we'll be showing you a few more tips on keeping your project within your desired financial boundaries.


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Jet Airways and Alitalia enter into a code share pact
Connecting India and Italy
July 3, 2014
Jet Airways, India's premier international airline, and Alitalia, Italy's leading carrier, announce the expansion of their code share partnership offering guests enhanced network connectivity between India and Italy and beyond to several Indian and Italian cities of touristic and business importance.
About Alitalia
Alitalia - Compagnia Aerea Italiana (www.alitalia.com) is a fully private company that started its operations on 13 January 2009. The Company's 2014 summer schedule offers 103 destinations, of which 26 in Italy and 77 for the rest of the world, 186 routes and more than 4,700 weekly flights. The Company carried 23.99 million passengers in 2013. Alitalia is a member of the SkyTeam global alliance and, since 2010, forms part with Air France-KLM and Delta Air Lines of the main air transport Transatlantic Joint Venture. Today, the fleet of Alitalia is one of the youngest in the world with an average age of only 7 years and is one of the most efficient thanks to a reduction in the number of aircraft types and low environmental impact. Alitalia has been recognised by the pollsters of the German Institute of Quality and Finance (ITQF) as "the best airline for the services offered to customers", winning the gold medal with an 82.6% percentage rate of satisfaction. In 2013, for the fourth year in a row, Alitalia, has been recognized as the best airline in the world for the quality of its innovative onboard dining program in Magnifica Business Class. The prize of "Best Airline Cuisine" has been awarded by the American magazine Global Traveler, which has been conducting research on the exceptional achievements of the travel and tourism industry for ten years. In 2013 Alitalia has also been awarded as with the prize Best In-Flight Wine Program at the SAVEUR Culinary Travel Awards.
For more information contact: Alitalia Corporate Communications - Email: firstname.lastname@example.com
About Jet Airways
Jet Airways currently operates a fleet of 112 aircraft, which include 10 Boeing 777-300 ER aircraft, 8 Airbus A330-200 aircraft, 4 Airbus A330-300 aircraft, 72 next generations Boeing 737-700/800/900/900 ER aircraft and 15 ATR 72-500 and 3 ATR72-600. With an average fleet age of 5.08 years, the airline has one of the youngest fleet of aircraft in the world. Flights to 74 destinations span the length and breadth of India and beyond, including Abu Dhabi, Bahrain, Bangkok, Brussels, Colombo, Dammam, Dhaka, Doha, Dubai, Hong Kong, Jeddah, Kathmandu, Kuwait, London (Heathrow), Muscat, New York (Newark), Paris, Riyadh, Sharjah, Singapore and Toronto.
About JetKonnect
JetKonnect is a dedicated product designed to meet the needs of the low fare segment. JetKonnect will also offer guests a Premiere service on nearly all domestic routes. With its mixed fleet of Boeings and ATR aircraft with nearly 251 daily flights connecting 46 destinations across India, JetKonnect provides more flexibility and choice to its guests. JetKonnect's convenient schedules, reliable service and low fares, promise to bring greater value and a seamless flying experience to our customers.
Jet Airways and JetKonnect together operate nearly 466 daily flights, both domestic and international.
© Jet Airways (India) Ltd.


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After Day 4 of competition at the 2009 Quiksilver ISA World Junior Championships, the Round 4 heats are slated for all three divisions. The repercharge heats also got running today to determine which persevering competitor in each division can surf their way through ten repercharge heats to earn a spot into the main event finals.
On the girls side of things, the French, Hawaiians, and Australians almost all have their whole girls teams' in to Round 4. The only other two women who aren't from these countries are South African Bianca Buitendag and American goldenchild Courtney Conlogue. Round 4 for them will be a good indicator of whether they can break through the outnumbering.
Things are set to get underway once again tomorrow morning at 8 a.m., and it doesn't look like the swell in Salinas, Ecuador is slowing down anytime soon. Make sure to watch the live webcast at quiksilver.com/isa and stay tuned to transworldsurf.com for constant updates. -Ryan Brower
(Salinas, Ecuador) April 1, 2009 – A powerful 6-8 foot south swell slammed into la FAE beach today making for challenging conditions for surfers at the 2009 Quiksilver ISA World Junior Surfing Championships. Amazing performances were turned in by the world's best young surfers as they bravely fought through treacherous currents and clean up sets.
"We had some high scores today but for most of the competitors, it was really difficult," said Contest Announcer Gary Linden. "La FAE is one of the most consistent waves in Ecuador because it is the most exposed. When it gets big, it is often too big. In most contests, you are always hoping the swell will come up but in this one we are hoping it backs down some. Tomorrow and through the weekend will be really good as the swell fades and these kids are able to show more performance surfing."
Under 16 Boys teammates Carlos Muñoz and Jordan Hernandez found the right waves in their heats and showed the world today that Costa Rica is home to a stable of exciting junior surfers. The team's star, Carlos Muñoz, is surfing in both Under 18 and Under 16 division. He could potentially surf an exhausting 20 heats this week.
The competition has gotten much tighter as the event continues on to the later rounds. Heat three of the Boys Under 16 was stacked with the future of surfing's powerhouses as South Africans David Brand and Mikey February faced USA's Kolohe Andino and Hawaiian Ezekiel Lau. In the end Brand took the win, followed by Andino for second, and February and Lau in third and fourth, falling to the repercharge rounds.
The standout of the day for the Under 16 Boys was Hawaii's Keanu Asing. His experience in bigger waves proved to be advantageous in today's conditions. Taking off on a solid 8 foot wave, Asing put together a combination of beautiful backhand turns, connecting to the inside and finishing off with a few more solid hacks in the shorebreak.
The French team currently leads the Under 18 Girls division with all four surfers still in the main rounds. Teammates Canelle Bulard and Justine Dupont ended up in the same heat today, but were able to both advance, taking first and second over Peruvian Nadja de Col and New Zealand surfer Rosa Thompson. French surfers Johanne Defay and Marie Dejean also made it through their heats to advance on to round four.
In heat three with the swell peaking, only eight waves were surfed between the four competitors. South African Bianca Buitendag and Australian Laura Enever were able to put together two scores a piece to finish in the one and two spots. Team USA surfer Lakey Peterson caught only one wave in the entire 20 minute heat. Peterson finished third and Hawaiian Nage Melamed finished fourth falling to the repercharge rounds.
Team USA surfer and former ISA World Junior medalist Courtney Conlogue placed second in her heat and will be the only USA Under 18 Girls surfer to continue on to round four of the main event. Teammates Peterson, Lani Doherty and Kaleigh Gilchrist will compete in the repercharge rounds starting tomorrow.
It was a difficult day for surfers in the repercharge heats at the secondary contest site with the increased swell combining with an onshore wind and bottoming tide. Organizers held only two rounds before postponing the Girls Under 18 repercharge heats until tomorrow when the swell is expected to decrease slightly.
Two of the leading teams, France and Hawaii, each saw one surfer from each team exiting the competition today, Dimitri Ouvre and Kyle Galtes bid farewell to the contest. Local Ecuadorian Fabio Dapelo kept his medal hopes alive taking the win in repercharge heat two over Hawaiian Tanner Hendrickson who finished second. Kai Ojima from Japan won his heat while teammate Taiki Kurokoshi finished second later in the round. Barbados surfer Lewis St. John kept his team in the running for the Under 18 Boys division, winning his heat over Tahitian Teiki Charles, Japan's Kaishu Tanaka and Chilean Tomas Villegas.
In the Boys Under 16 repercharge heats at Podium 1, Jamaica and Ecuador had exciting wins. The two teams had surfers in the same heat back-to-back and both teams advanced to the next round. The reaction on the beach to their wins was electric as surfing is new to these nations and their surfers are having their most successful ISA juniors event to date.
Competition will resume tomorrow at 8:00 a.m. at la FAE beach in Salinas, Ecuador with round four of Under 18 Boys and Under 18 Girls, along with repercharge rounds for all three divisions.
For more information on the Quiksilver ISA World Junior Surfing Championship, LIVE web, free photos and on-demand video highlights, visit quiksilver.com/isa.
TAGS: Ecuador, Quiksilver ISA World Junior Surfing Championship


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I have pretty problematic skin for my age, blackheads, large pores, hormonal acne, and very uneven tone. I have tried just about every type of serum/corrector/you-name-it out there, and this is the first product that I have been 100% pleased with and that I can honestly say has made a HUGE difference in my skin! It smooths and evens out my skin and minimizes my blackheads and pores dramatically. After just a week of use I was confident to go around without any makeup, which is something I haven't been able to do in years! Even people who I do not see very regularly commented on how good my skin looked. Definitely worth the price. Love this product and would recommend it to anyone with almost any skin type.
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- In love! Review by Ashley
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I absolutely love this serum. It has helped smooth out my uneven skin. If I have any break outs I know if I use this product they are practically gone in the morning. I don't know what I would do without it.
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- Worth every penny! Review by Nicole
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Youve got to invest in Glo Theraputics Renew Serum. This soft silky serum transforms your skin over night. I love how it gently attacks my problem areas on my face while I'm sleeping. I wake up with a beautiful healthy glow and my skin feels amazing.
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I've been using this serum for 3 years and after a lifetime of acne I couldn't be more pleased with the results of this product. Mild enough to use every night, it has kept my skin clear and improved some minor scarring I had. The cost is very affordable as well! Absolutely recommend this serum
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- best serum ever Review by Dina
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I've been using this serum for three years now and I love it. I have no blackheads or blemishes because it exfoliates all day long.. it takes off the dead layer of skin and lets my pores breathe... I recommends this to all. I also don't use anything else; no day lotion; nothing just this serum.
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It appears that the Sigma 50mm F1.4 DG HSM standard lens is a true winner, a very fine lens! I have a Canon digital SLR (Rebel XS), and it seems whether most photographers have and shoot with a Canon, Nikon, or other digital SLR, then this standard lens is definitely the glass to choose, and use!
Sigma 50mm F1.4 DG HSM review
The Sigma 50mm F1.4 DG HSM | Art is a fast 'normal' lens designed for full frame SLRs, and one of the most hotly-anticipated lenses of 2014. Sigma shook up the moribund 'fast 50' sector back in March 2008 when it announced the 50mm F1.4 EX DG HSM, which we considered to be 'Highly Recommended' for its impressive optics, especially at larger apertures. This marked the start of string of excellent fast primes from the Japanese lens maker, including last year's stellar 35mm F1.4 DG HSM | Art (another winner of our top award).
The latest 50mm is unusually large and expensive for its type; indeed its $950 / £850 / €1000 price tag suggests Sigma is aiming at users who might otherwise choose the Nikon AF-S Nikkor 58mm F1.4G, Canon EF 50mm F1.2L USM, or Sony Carl Zeiss Planar T* 50mm F1.4 ZA SSM. It bears a distinct family resemblance to the company's 35mm F1.4, but if anything is slightly larger, with a 100mm / 4" long barrel and 77mm filter thread. Its complex optical formula of 13 elements in 8 groups isn't based on a conventional double-Gauss design, like most 50mm primes are, but instead is of the retrofocal type.
This set of characteristics, along with Sigma's recent track record of making impressive optics, means that the 50mm F1.4 Art has inevitably invited comparison to the astounding Zeiss Otus 1.4/55 - quite possibly the sharpest lens we've yet seen. However, given that lens's $4000 price tag, it seems a little optimistic to expect quite the same qualities. But the Sigma offers autofocus via a ring-type ultrasonic motor (with full-time manual override), which means it wins out on practicality. The new lens's premium price point also means that it doesn't directly replace the older model, which we understand will continue to be sold for some time yet.
Headline features
- 50mm focal length
- Fast F1.4 maximum aperture
- Ring-type ultrasonic autofocus motor with full-time manual override
- Internal focus design
- Will be available in Canon EF, Nikon F, Sony Alpha, and Sigma SA mounts
Angle of view
The pictures below illustrate the 50mm F1.4 Art's angle of view on full frame and APS-C, taken from our standard position. As is Sigma's way, the lens is just slightly 'wide' for a 50mm prime (its measured focal length is 48mm), bringing it closer to a classic 'normal' view on full frame. On APS-C cameras it behaves like a short telephoto lens.
|Full frame
|1.6x APS-C (~80mm equivalent)
Sigma 50mm F1.4 DG HSM | Art specifications
|Date introduced
|January 2014
|Maximum format size
|35mm full frame
|Focal length
| 35mm equivalent focal length
| • 75mm (1.5x APS-C / DX)
• 80mm (1.6x Canon APS-C)
|Diagonal Angle of view
| • 47º (full frame)
• 31º (APS-C)
|Maximum aperture
|Minimum aperture
|Lens Construction
| • 13 elements / 8 groups
• 3 SLD glass elements
• 1 aspherical element
|Number of diaphragm blades
|9, rounded
|Minimum focus
|Maximum magnification
|AF motor type
| • Ring-type Hypersonic Motor
• Full-time manual focus
|Focus method
|Image stabilization
|Filter thread
| • 77mm
• Does not rotate on focus
|Supplied accessories*
| Front and rear caps
Petal-type Hood
Soft lens case
|815 g (28.7 oz)
| 85 mm diameter x 100 mm length
(3.4 x 3.9 in)
|Lens Mount
|Canon EF, Nikon F, Sigma SA, Sony Alpha
* Supplied accessories may differ in each country or area
If you're new to digital photography you may wish to read the Digital Photography Glossary before diving into this article (it may help you understand some of the terms used).
Conclusion / Recommendation / Ratings are based on the opinion of the reviewer, you should read the ENTIRE review before coming to your own conclusions.
We recommend to make the most of this review you should be able to see the difference (at least) between X, Y, and Z and ideally A, B, and C.
This article is Copyright 1998 - 2015 and may NOT in part or in whole be reproduced in any electronic or printed medium without prior permission from the author.
Sharp, great color, distortionless and exquisitely detailed. The bokeh is decidedly short of dreamy however....
does this work with nikon d7100?
Of course. But it becomes a 75mm equivalent lens because of the crop factor.
In love with the new 50mm and 35mm 'art' lenses. only had an issue with one of out of what we've sold. It's good to see Sigma have stepped up their mark a fair bit.
This Lens is exceptionnal, the bokeh are so soft and dreamy wow!
I had it for a few days, very ordinary, i prefer my 50 mm 1.4 by Canon.
Maybe i got a bad one....
I want it
ok, now I want to see a 24/1.4.....
Sigma's long standing problem has been quality control and consistency, they could design good lenses but go on to build a rather significant proportion of them that were not quite right.......I hope they have cracked it.
That problem may have been true some years ago.
But it's not an issue people have reported lately, say after the year 2010. (Excepting of course that all manufactures will have issues.)
I love my 2 brand new sigma lenses. I love the image out of them, the feel, and the look. Both needed to be sent out for repair just a few months old. I own Canon glass by buckets, mostly purchased used. Some 10-15 years old. Never had to repair a single lens. Good that Sigma offers a 7 year warranty, otherwise I would not buy even if I love the product.
I agree with the QC/QA problem but they do seem to have fixed it. I own a 35mm Art lense, my impressions so far for the last 4 months of ownership has been they have done a very good job on making sure it was a well designed product. I plan to own more sigma glass in the future because of this. (50mm Art, and a 135mm if they ever make a high end version of that)
Recent landscape shot taken w/35mm Art lense. I have been using it for a walking around lense while making children's portraits at family events as well.
Is anybody using a 50mm lens?
Is anybody *never* using a 50mm lens?
actually I do not use it, my most used lenses when not shooting sports:
1) 70-200/2.8
2) 35/1.4
3) 85/1.2
on FF cameras
I don't do photography as a hobby, when I photograph weddings I use 24-70 and 70-200 on different camera bodies.
Changing lenses on a wedding is not something I would risk doing - by the time you change the lens the moment is gone...
Using a 50mm lens for a hobbyist is justifiable cuz you can carry 24mm, 35mm, 50mm, 70mm lenses in your camera bag and take them out when you need them - good for nature on the picnic photography :)
Have to disagree on that point. As a professional photographer of 25 years.. A good 50mm like this lens is a must! ...Just not for weddings... I do commercial, industrial and investigative photography as well as in the studio 50mm are vital to have in your arsenal.. Especially one as good as the Art lens!
I know of at least one reputable pro photographer who uses the 50mm on a crop body for fashion and beauty portraits with excellent results.
Zeiss Otus 55mm f/1.4 vs Sigma 50mm f/1.4
Read more at http://www.whatdigitalcamera.com/roundups/lens/542551/1/zeiss-otus-55mm-f-1-4-vs-sigma-50mm-f-1-4.html
My Sigma 50mm Art arrived last week. I had been told by Brisbane Australia camera shops that I could not get one until late in 2014. BUT Leederville Cameras in Perth Australia has them and their service is very good.
Am I happy with the lens on a Canon 6D? After all the hype I am a touch disappointed. The lens set at "0" microfocus was alarmingly back focused. Reikan Focal suggested +12 to overcome the problem. This seems a lot to me but the images while sharper are not as I expected. They are nothing like a Zeiss 21 - perhaps not a fair comparison - not quite as good as a well set up Fuji X100s 50mm and, dare I say it, not even as sharp as my Canon 24-105 at 50mm.
I will continue to work at the micro adjustments in the hope of getting something better out of the lens.
So far I am underwhelmed. Good luck to all those who are happy with their purchase. Unless it gets better I think I will stay with Canon and Zeiss lenses.
Time to eat humble pie. I spent some time adjusting the lens again. The results are amazing on my Canon 6d. Wonderful bright colour that certainly did credit to Sydney Harbour on a sunny Sunday. Sharp corner to corner at f 5.6. I processed images using DXO but the program made minimal difference to the original RAW photos.
I am also using this lens on a Canon 6D. It is the second one I have had. The first one was returned under warranty. A couple of times the camera operation froze with this lens installed. This had never happened with any other lens I have. Returned it and the store gave me a replacement. The 2nd one has been perfect. No issues and the photos have been razor sharp. Just amazing. I have done 2 weddings and a retirement dinner shoot and couldn't be happier with the lens performance. I have previously owned the Canon 50mm f1.8, Sigma 50mm f1.4 EX DG HSM and Canon f1.2 L lenses and this one is sharper then all of them.
I am using the Sigma 50mm 1.4 Art on a Canon 5d III... had a job at a kids summer camp photographing IDs on a three dimensional backdrop ... the picture were the sharpest I have ever taken with outstanding contrast.... well done Sigma (and Canon) .
OMG not even one decent image with the best lens you have ever reviewed (well maybe there was but I gave up) . Look guys I like the site but come on how about some guest photographers or something! Pretty please. : )
Thanks for the info - will definitely add this my list of gear to buy for wedding photography :)
I did my own tests comparing the Zeiss Distagon T* 24mm f/2 and the Sigma, and head to head it was pretty much identical in terms of stellar resolving power with very little CA. I'd have to give the edge to the Sigma, but both were very impressive. The ONLY thing I really miss and wish the Sigma had was a focus hold button. Really miss that. But the Sigma IS all it's cracked up to be, stellar! It's heavy too!
No surprise the Sigma outperforms virtually all other 50/1.4s and even the Canon EF 50mm f1.2L (which isn't awfully sharp wide open and has unattractively nervous bokeh)–my Sigma 35mm f1.4 Art, after a year of continual use, still impresses the hell out of me with its spectacular build quality, sharpness (especially wide open) and superb contrasts. Sigma is on a mission, it seems, and I'm along for the ride.
I have the Sigma 35mm and as of a few days ago the 50mm, love them both. I've also had a Sigma 20mm f/1.8 for years now and although it's a fun lens to use (incredible flares whether you want them or not!) you can see how far Sigma have come. It's as much a tank as the Art lenses (82mm filter thread!) but it's a clown-car in comparison to the Art build quality.
Blown away by these recent samples! Of course the best ones would have been taken with the D4s.
i like
I did now a short astrophotography test and I am very happy! http://www.dpreview.com/forums/post/53811756
I do not see anything in the samples to make me buy one, and my old Nikkor will just have to do. It's great to know they can be made, but outside of controlled studio conditions,with no IS either to get that resolution, as there is no weatherproofing at all, the risk that electronically it may die, or be ruined by damp and/or dust tells me that Sigma do not care about buyers.Like most makers these days...
You would need to stop taking pictures if it rained, and now ALL of the modern fast primes we compare it to are useless outside in normal weather conditions. This from a country with a climate like our own and subject to tsunami and volcanic eruptions makes no sense at all.
Weighs three times a Nikon 50mm f1.4 does too
When, by most reports, this lens optically outperforms anything but a Zeiss Otus, and you don't see anything special about one particular set of samples, I suggest you look for other samples and/or use a better monitor.
As to weather sealing, well that would be nice, but SLR lenses worked before weather sealing.
If the Nikon 50mm 1.4 has the optical performance you seek, use that Nikon.
I've been out in the rain with unsealed lens more than once. The truth is you'll be seeking shelter long before the lens will crap out. I had my unsealed Sigma 35mm gone thru the occasional beer dousing at wedding receptions with no ill effects...
Nothing beats a leica summilux f1.4 asph.
Cheaper than an Otus, way smaller and way lighter than both Otus and this Sigma lens. The only thing this Sigma has for it is better value per dollar and autofocus. Its a very good lens but I still cannot accept weight a size compromises you have to make to enter dslr world. The biggest joke is when u compare an Othus to the Leica Lux...it looks like a serious joke from size.
The Sigma trumps the Leica in every category, except size/weight.
The Sigma is way sharper across the entire frame at any aperture, has way less distortion and less vignetting.
For a lot less quality on the Leica, you have to pay more and lose AF.
At least with the Otus, it is sharper than the Sigma on the corners. Perhaps that is worth the additional $3000 (but I myself am not willing to pay that much dollars for the difference in corner sharpness).
You reply to me with two charts? Just me laugh.
That Leica 50mm f/1.4 costs more, not a lot, than the Zeiss Otus.
Then the lens that beats the Leica 50/1.4? The Leica 50/2.0--costs a bit more than the Otus though.
Since you love test charts I will prove you with test charts that you are wrong :)
Better sharpness across the entire frame ? LoL
Far less distortion ? LoL
Vigneting ? LoL
Oh and wait...3 times lighter, E46, wayyyy smaller.
Indeed for that price we should expect no less. Makes us all wish that all full frame cameras had lenses the size of Leica glass. Still Sigma is still the more practical purchase for the rest of us.
summilux and otus are pretty much a full on hobby lenses. while they do edge out the 50mm art in sharpness, the difference is so marginal that you will not notice it if you don't spend an hour examining a picture at 100% crop.
in our day and age i see no reason to even consider a manual focus lens unless you are on a ridiculously tight budget or you prefer to do things the hard way.
if your photography is 100% portrait work, i can see a reason to possibly consider a super sharp manual lens, but otherwise, good luck focusing manually on fast moving subjects...
I've not used this Sigma 50, so can't be sure. But good Leica and Zeiss lenses, besides being sharp, do subtle colour real well.
And that's something that's pretty easy to see with a decent print or raw file and a good display.
So this Sigma looks real promising, but thinking that resolution is the only reason to use say a Leica M is misleading.
"but otherwise, good luck focusing manually on fast moving subjects..."
I always laugh when i read things like this. I shoot fast moving musicians using a manual focus Summilux all the time. I've also shot sports such as boxing and even sport bike racing (200+mph) using a manual focus lens.
Sorry to break this to you, but it's not luck, it's skill.
Sorry to break this to you, but it doesn't take much skill to focus on a motorcycle going at even 250 mph because you are sitting in the stands that are 50+ meters away. from that vantage point you have plenty of time to track them as they go past you. for the most part they are moving in a straight line and taking occasional turns. but they are following a track so there aren't any surprises as to where they are going to be when you hit the shutter button.
want to test your "skills"? try to focus on your subject when you have to take 50+ degree turns at any unpredictable moment in a matter of 3 seconds. like photographing a basketball player maneuvering around the defenders from near the court side. see how well that works out for you. even "cat like" reflexes won't help you much.
How about professional boxers from ringside about a meter away? You think those guys are predictable? Less than 3 seconds my man. DONE IT. How about BMX and skateboarding? Done that too.
Also just to clarify, I don't sit in the stands when I shoot MotoGP. I'm 15-20 feet away on the infield track.
Seriously dude. Maybe YOU can't hack it, but some of us can.
@JDThomas If what you claim is true then you are indeed very skilled. However the point still stands, modern autofocus especially with a high end cameras like the 1DX or the D4s with the Sigma will still outperform your manually focused Summilux regardless how skilled you are.
I can show you the photos if you want. I'm not just saying it for the hell of it.
The real truth of it is that zone focus will beat AF always, but leaving that out, I'd rather manually focus and get one exceptional image than have my camera autofocus and get 30 mediocre images.
And even if the AF captured a great moment, the satisfaction of catching a great moment against the odds by manual focusing is more fulfilling. I mean don't get me wrong, I use AF when I have to get the shot for the money, but I always love the photos that I work for best.
@JDThomas Although I have mingled with a few sports photographers I have yet to meet someone who shoots fast sports action on manual focus though I don't deny that photographers of the past shot iconic sports photography on full manual. So, yes please send me a link, I'm genuinely curious.
However, I remain skeptical that zone focus will beat the modern AF of a camera like the 1DX or D4s - at least if one's criteria is reliability and output. Quality, well, in my opinion having a reliable tracking autofocus means one less thing to worry about for the photographer which mean he/she can focus more on things like composition. However if it is the visceral satisfaction you get from shooting fast action with a manual lens than you are correct.
As you said not everyone can cut it or even want to cut it if given the choice.
This is the highest score I remember seeing on this site. Well done Sigma.
My only complaint about this lens is that it is not readily available.
i went to B&H to pick one up locally. they had a substantial shipment on release but they were all pre ordered and there were even pre orders that could not be fulfilled.
How in the World can the price be in "CON"???
This glass is CHEAP compared to all PRO Lenses... beats the Canon 1.2L Lens and its like 500$ cheaper.
Zeiss costs 4000 Bucks.. and you dont have AF.. Quality is slightly better but most of you wont notice it anyway. and did i mention the Price of the Sigma?
ONLY!!!! 949$...! get your head straight guys!
Yes, I agree. People complain about the silliest things. This lens is a bargain. With Zeiss-like quality at one quarter the price, this is a great deal and I'm getting one. I was going to buy the Otus, but decided this is a much better deal with negligible image quality differences.
My new SIgma has exceeded all expectations. Build quality and optical quality is amazing, significantly (hands down) better than both my Canon 50mm f1.2L and my Zeiss f1.4 ZE planar, both of which are on sale on craigslist. Sigma has surpassed Canon as a lens builder. Possibly even Zeiss. And this is coming from a Sigma hater!!! To reiterate, the Sigma is sharper wide open than either of those stopped down to any level. It even humiliates my Canon 100mm macro IS L. I find myself in disbelief
How does the colour, in your estimation, compare to that from the Zeiss 50 f/1.4?
I realize the Sigma is sharper.
Which Canon DSLR are you using the Sigma on? Do you shoot raw at ISO 3200 and above?
The colors are much richer, contrast and micro-contrast is superior and sharpness is otherworldly. The Sigma simply outclasses the other 50s. no small feat.
FYI, I use a Canon 5D series body and a T4i. With the 5D the shallo DOF is spectacular, on the t4i it becomes a supern 80mm portrait lens. unbeatable. I do not use the lens past 800ISO.
Chris Y:
I'd be interested to see what you think of higher ISO shooting (raw) above ISO 3200, but if that's not what you shoot, I understand why you'd skip that.
For one, the 5d doesn't go past 1600 ISO, and I rarely use the t4i past that.
I guess I didn't realize you were using the 5D MarkI. I'd forgotten it doesn't go above ISO 3200.
Yeah, I'm still using the old 1st Generation 5D and cranking out beautiful photographs. The t4i is also a fun camera to use. It just depends on my mood really. I'd love to get a Canon Mirrorless, but it has to have a viewfinder.
Chris Yates:
It's a nice body, I just have these higher ISO--low light needs.
I think there are better mirrorless than Canon's mirrorless, and if you're comfortable with manually focusing you can use those Canon lenses, and the Sigma, on various mirrorless bodies. Fuji+Sony+Samsung all have adapters and all have bodies with electronic VFs.
Just shot my first assignment with Sigma 50mm f1.4 Art on Nikon D4: totally amazingly sharp full open. Accurate and fast AF also. It is a keeper! Next I have to play with D800e...
I have it now since a week and tested it a lot on my 5DIII. To make it short: my EF 50/1.2 is on ebay now. To make it a bit longer: great sharpnes and contrast already wide open (for what I want to use it). Focus quite reliable (-2MA at close distances, 0 at infinity, will be corrected via USB dock). Nice handling and it mixes nicely with my EF 85/1.2II from its color rendering... Interesting finding: dpp allows for a DLO correction! Nevertheless I do it with DXO anyway.
Horses for courses as usual. The Sigma is obviously a very fine lens: no question.
However a point of order here: Most DSLR lenses from Canon and Nikon have very low contrast.
I am lucky enough to own a Nikkor 135 F2 DC: to my mind this has THE best bokeh of any 35mm lens. However, it has, in comparison to my MFT lenses, and particularly the 75 1.8 frighteningly low contrast. This is not a small difference: it is massive and its a key reason that Nikon and Canon DSLR's are so lax at CD. CD relies on contrast. So, my point is when are the "big 2" going to get real and start producing lenses that make crap PD systems obsolete?
Anyway well done Sigma.
What?!! Most lenses ???? Doesn't apply to any of my Canon L lenses.
In this review, there is a good comparison with Canon's 50L with regards to bokeh on identical situations.
It looks like the Sigma easily beats the more expensive 50L.
In the past Sigma Lens seldom get mentioned by Pro's etc but today it's brand that's not only getting recognised but getting good review rank. This Japanese company come a long way. Very patient, great achievement. Only thing is, the price of their fine achievements are going upwards to.
You love primes ?
One word : PENTAX
And another word : Limited
After that, you can speak about overpriced Zeiss, Sony, Sigma Tamron, Canon, Nikon, whatever lenses.
That link isn't terribly relevant here, as it predates the Sigma 50mm F1.4 Art.
Can someone explain me something about the 3 shots of the distant clock to point out focus inaccuracy?
As the clock is really distant, I guess focus is set on infinity, right ? Moreover, focusing and exposure is always measured the aperture fully open, that is 1.4. So why is there misfocusing? Infinity is infinity, no ? There's no infinity + a little front focus or back focus.
Thanks for explaining.
The focus *should* be at infinity, but the camera's autofocus system didn't actually set it correctly (it front-focused slightly instead). That's really all there is to it.
Thank you Andy. I understand that. I must have expressed myself badly...
What I meant is that it seems the clock is so far away that it's way beyond the hyperfocal distance (93.1m @50mm f/1.4 on APS-C). So what I don't get is : if the camera front-focused a little, it should still be within the "sharp focus range". No ? Unless the camera front-focused a lot.
Sorry for bothering...
So there are two points here. Firstly, it really doesn't take very much movement of the focus ring to blur the image by the amount seen in those shots. If you look at the [distance scale](http://www.dpreview.com/lensreviews/sigma-50mm-f1-4-dg-hsm/images/scale.jpg), there's a very small angle between infinity and the first marked distance, which is just 3m.
Secondly, depth of field calculations use a concept of 'acceptable sharpness' that's defined by the diameter of the 'circle of confusion'. For APS-C this is normally about 0.02mm, which is a blur circle covering 4 pixels. By these standards all three of those images would be considered to be 'in focus'. This reflects the fact that DOF calculations aren't about looking at 100% crops, but instead viewing prints.
Thanks again ! This really helps.
I wrongly thought that if there was so small an angle between infinity and the 3m marked distance, it was because there was almost no room for change when travelling from 3m to infinity. I understood something like : "Beyond 3m or so, it's (almost) the same. So why bother having a long distance scale in that range, it won't help/improve things".
So I understand that there's obviously a design choice by Sigma to optimize the focus ring travel distance from 1.7 to 3m. Should be the range they expect people to use the lens most and/or where the slightest change has the biggest impact. So it's the range where there's the most part of the focus distance...
Put that way, it makes sense. Ideally the mechanical travel distance should be infinite too as there is but one 100% perfect focus plan...
Thanks again!
I don't understand. The Sony FE 55mm f1.8 is sharper than this and has more pleasing bokeh.
I've both the Zeiss 55 ZA and the Sigma 50 Art, the Sigma is IMO just a touch sharper, with regards to the out focus rendering I think it all depends on the elements being thrown out of focus, I've not found either the Zeiss or Sigma to be better than the other in every situation so far, I do prefer the rendering from the Zeiss though, seems to give a bit more of a 3D look.
The sharpest lenses manufacturers from now on are Carl Z and Sigma.
Nikon will come after Canon.
Have you used the new Leica 50mm f/2.0?
For APSC mirrorless, Fuji and Samsung both make sharp lenses.
Not every Zeiss is particularly sharp.
Come on Sigma put a 4/3 mount on a few of them. I'm sure you have some left over from the old 50mm F1.4. I still us for portrait work.
Not much point really is there? The original 4/3 mount is pretty dead these days and adapting a DSLR lens to mirrorless doesn't make sense (it's a waste of space behind the rear element). Really they should start fleshing out their mirrorless lens range.
This new lens can almost compete with a 35 year old 55mm f2.8 AIS Nikkor for sharpness and CA! I think I'll keep the 55 and buy a tripod to cover those rare f1.4 moments.
The Sigma is sharper than the Nikkor, even if the Sigma is at 1.4 and the Nikkor is at 2.8. When you put the Sigma at 2.8, it trumps the Nkkor big time.
The Nikkor isn't very sharp for an f/2.8 prime to begin with.
Yes, Nikkor 55/2.8 is an extremely sharp lens. I compared it to Sony FE 55/1.8 on Sony A7 -- they are about equal optically at normal shooting distances. Both at f/2.8 -- FE 55 is a tiny bit sharper in the center has lower lateral CA and nicer bokeh, but the Nikkor has significantly lower longitudinal CA (much harder to get rid of in post). At close focusing distances, the Nikkor (being a macro lens) obviously just spanks the FE Zeiss.
As for the SLRgear report -- this is not the only strange result in their site. Micro Nikkor 55/2.8 is one of the sharpest lenses ever made (and I used Canon 100/2.8 IS, Sigma 70/2.8 macro), its sharpness is "beyond outstanding" for macro applications: http://coinimaging.com/nikon_55microais.html
Having said that, Sigma 50 is not a bad value at all (if you are willing to handle the bulk and weight): after all, it is full two stops faster! Every stop at least doubles the price. Plus it has AF which the Nikkor does not.
Correct me if I'm wrong, but I'm not quite sure the comparison of the center to corner image quality (on the Westminster photo) at wider apertures on the "Image Quality" chapter is fair. At f1.4, the focal plane is so shallow that the "lack of image quality" in the corner may be due to the fact that it's not in the same plane and DOF is causing the blurring.
I'm pretty sure they're far enough away that the whole thing is in the same focal plane.
At that point the Thames is about 250m wide (that's the span of Westminster Bridge, according to Wikipedia). The lens was critically manually focused using 10x live view, so that should be a very close estimate of the focus distance. If you plug the numbers into a depth of field calculator you'll find that the far limit of acceptable focus is about 1500m, even if you use an extremely critical circle of confusion that's equal to the 6D's pixel pitch (~0.006mm). So while the Elizabeth Tower isn't in exactly the same plane as the centre crop, it's not going to be out of focus either.
The take home message from that comparison should actually be just how implausibly sharp the Sigma is at F1.4, even in the extreme corners.
Thanks for the explanation. As an engineer, I feel like I should have been able to figure this out...
It is just as heavy and big as Canon 24-70/2.8 II. I would consider having 5DIII+Sigma 50/1.4 combo. Having Sigma as the only lens would be a good discipline. I already have Sigma 35/1.4, which I find a bit short for the photography I do, so only 50/1.4 would be perfect (alternatively EF 24-70/2.8II or combo Sigma 35/1.4 and upcoming 84/1.4)
I remember reading an interview with Leica's then chief designer aeons ago, probably pre-internet. When asked what he would need to produce still sharper designs he said no size or weight constraints.
He said it was much easier to get good performance from a big heavy lens.
The biggest challenge with Leica M lenses, and I suppose why they are so expensive, was to get such good quality from small relatively light lenses.
I can imagine this from Leica Leica wants to reach the top in both optical/image quality and mechanical quality.
Sigma wants to reach the top in image quality for an affordable 'consumer' orientated price. So compromises have to be made.
If it was said in pre-internet era, you can just forget it.
What was true back then (before relatively cheap aspheric lenses were available) is no longer relevant.
Short answer, to produce still sharper designs, you must up the number of aspheric surfaces. Even a single AS would allow the sharpest possible (diffraction limited) performance in the center ... at one subject distance. More elements/surfaces would help reduce off-axis aberrations.
Actually this is why modern triplet-based ("Sonnar") designs started to compete with a more powerful (sharpness wise)design form -- the Double Gauss: Triplets have good bokeh, and aspheric elements bring about the sharpness.
That's why cinema lenses from those all-spherical days were so big. Or at least the good ones were.
The downside of aspherical is, you have much more difficult tolerances in manufacturing that will inevitably lead to an even bigger sample-to-sample variation than we have seen with easy-to-make, all-spherical lenses.
well the lenses I like most are both heavy and were supposedly designed by Leitz: Panaleica 25mm and Nocticron
I know it's a lot of work, but I sure wish you'd taken some of those test images side-by-side with the Canon 50mm f/1.4. It would make it far easier to decide whether this expensive lens is worth it.
As it is... I have a lot of respect for all of the work (you did an excellent job), but the result are a lot of "take my word for it" accolades, and it's hard to see for myself if the praise is justified, because there's no baseline.
I don't think it's worth it. The EF 50mm f/1.4 just isn't sharp enough especially in the corners. Why even bothering doing a comparison if they're worlds apart?
Highest rating lens ever on dpreview?
The next highest rated on dpreview is another Sigma - the 35mm Art.
There are good questions as to why the lens is so big and heavy, weighing as much as Sony FE 55/1.8 with the camera. I haven't seen good answers though.
It's not because of the flange distance, it's a normal lens for Pete's sake! There are plenty of normal lenses, sigma included, which are a lot smaller and lighter. And it's not because this lens is much brighter -- it's practically the same as Sony, i.e. measured T/1.7 for Sigma and T/1.8 for Sony.
It's because the lens has a retrofocal design, c.1950. It's a well known fact that retrofocus lenses require more and larger glass elements with bigger light loss. Therefore manufacturers avoid retrofocal designs unless necessary (wide angle lenses). The moment Sigma decided to make a ormal lens retrofocus it had a FAIL written all over it.
Actually it IS the flange distance—well related to it. The Otus and the ART designers (and probably the FE55mm) realized the traditional fast 50mm design was reaching a point of diminishing returns. All three lenses use non-traditional designs for a "normal" prime. The FE55 has the advantage of a short flange distance so it can use tele-centric (Sonnar) design without the need for retrofocal corrections. Because of the mirror box the Otus and ART require a lot more corrections & glass and therefore size & weight.
I believe it would be impossible to use the FE55 design on a camera with a longer flange distance (unless the focal length of the lens exceeds the flange distance by a good margin AKA the SAL85f2.8 which uses a similar Sonnar design).
So 1000 euro equals 1390 usdollar. Why is this lens 39 percent more expensive here in Europe? The 390 $ difference almost buys you a plane ticket to the USA to go and get one and have a weekend in NY included..
The price of socialism (actually only small part of it).
We LOVE PAYING TAXES over here in Europe. I wake up and feel wonderful
Only those who pay little or no taxes love high tax rate paying by all who work hard to achieve their prosperity. Another word for socialism is parasitism.
the americans print their dollars like crazy...they have the highest debt in the world, growing every second...there is absolutely no economic rule that say print valueless money when you have great debts....but they do...and the europeans are paying their debts...thats american capitalism in combination of power
be patient, Ukip will change all that, hahahaha
I gladly pay taxes through the nose if it's the price for being European.
In Singapore the lens is actually only US$800 in stores and that includes the 7% sales tax. :)
The US price is 950 USD (about 700 Euros) so it's about $440 more in europe...
In the end it doesn't matter, demand will be higher than stock. Prices are just arbitrary numbers, they aren't related to the product value in any way. Sigma is simply trying to get the highest possible price out of your pocket like any other manufacturer. :)
You are not comparing like-for-like. The US price is before sales tax while the European price includes VAT.
US Sales tax is going to run you from 0 to 8+% and VAT in Europe is going to be somewhere in the 18-23% range, depending on country. When you take that into consideration the prices become much closer. Europe is still more expensive, but not by as great a margin as you present.
Fortunately the VAT standard rate isn't allowed to be lower than 15% under EU law in any EU state. :)
i bought in italy at 720€ with 3 Years of warranty from the local importer
You can avoid paying US sales tax by ordering out of state(except if you live in People's Republic of New York). I usually buy from B&H tax free, plus perks. I'd like to see how people can avoid confiscatory taxation in EU/UK.
Hey forepetesake, do not worry to much. Europeans like sex and are afraid of war, Americans like war and are afraid of sex. So guess where I want to live ;-)
The US price is before sales tax. The European price is post sales tax. UK sales tax is 20%, so there's a big chunk of the difference already.
@pwmoree: we had those here too, marching under "make love, not war" slogans. As Reagan quipped, "Those guys look like they can't make either of both"
If you buy in the US (as an European), you need to pay sales tax and customs dues at the arrival. And please keep your receipts ... as there may be problems afterwards.
Nobody pays customs.
I can assure you, when you pass customs and don't have the proof of payements, YOU will pay them!
There is an easy omission. Send home the box and receipt via ups, take the lens with you in your camera bag.
Proof of payment IS required! not that easy! If they let you pass, you are a lucky guy!
Well if do consider buying one it will have nothing to do what is reviewed here. When your links are called campaign then you moved beyond editorial content into the realm of advertising and selling. I can't even read the review because I feel its an advitorial.
Well then perhaps you'd like to pay their salaries & operating expenses Paul?
I'm sure if you cover their costs you'd be welcome to set up the site any way you want. But you don't, do you?
So stop b*tching about a website that's free, or go somewhere else.
It isn't an advertorial, regardless of what you feel.
a newspaper or magazine advertisement giving information about a product in the style of an editorial or objective journalistic article.
Definition of 'Marketing Campaign'
Specific activities designed to promote a product, service or business. A marketing campaign is a coordinated series of steps that can include promotion of a product through different mediums (television, radio, print, online) using a variety of different types of advertisements. The campaign doesn't have to rely solely on advertising, and can also include demonstrations, word of mouth and other interactive techniques.
I didn't call it a campaign the site did.
Oh, I now realise you're confused by the use of the word 'campaign' in the 'utm_campaign' section of the URL. This is simply Google Analytics code that allows us to track better how users progress through our site. It has nothing to do with advertising or product promotions at all.
(For example, you might see something like 'utm_ campaign=internal-link&utm_ source=mainmenu&utm_ medium=text&ref=mainmenu'. This simply tells us that the user arrived at the page from an internal link, using the main site menu. It's nothing more than that.)
Thanks for randomly providing a definition of the word 'advertorial', but it's completely irrelevant here - this review is not paid for by any external party.
I've never bought a Sigma because some people say there is no guarantee they will work with future models of the camera brands they are reverse engineered to work with. I've also heard to many people bemoan the 'Sigma lottery,' of getting a nice copy of a lens. I expect a 'nice copy' of a lens on my first purchace from Canon, and bar one in 2007, have always got one.
Is this me missing out on some lovely glass though?
If it stops working with a future camera body, simply update the lens firmware. That's possible for decades.
If you check out the lensrental site you will see that not every Canon lens is a good copy, far from it.
Sigma's USB dock lets you update the firmware in the lens - it can be updated to handle new cameras.
This lens definitely needs controlled backgrounds for its bokeh character
The Sony FE 55/1.8 appears as having much smoother bokeh.
I prefer the CZ 135/1.8 for my Sony Alpha A mount FF for its combination of sharpness matching this lens a n d silky smooth bokeh. It appears as much more forgiving if you cannot avoid a busy fore/background.
I agree with your comments on the Sony ZA 135mm ( yes, the one DXO has never tested ).
It is the best lens I have seen for the A mount and superb for portraiture.
The Zeiss 135mm looks like maybe the best 135f1.8 untill now, but we are talking about 50mm here, otherwise, you could also speak about the canon 135L or even better: the 200mm f2.0L!!! And that one most likely completely puts the Zeiss to chame in Bokeh!!! ;D
If anything it has smoother bokeh than the Sony Zeiss 55mm with subjects up to 1.5m away, between 1.5-3m distance the bokeh flips to be busier
What does the zeiss 135mm have to do with this sigma review?
I owned the 135mm, it's one of the best af portrait lenses ever made.
But... Comparing it to a 50mm is Apple's to oranges. Might as well compare the Nikon 24mm g to the Canon 85mm 1.2 while you're at it.
Way off topic.
Yup, throwing the CZ 135/1.8 in here is pointless. If I'm looking for a 50mm I don't care about 135mm.
why would you compare a 135mm lens to a 50mm?
I brought the 135mm in for what I wrote: There is the possibility to combine sharpness and pleasing bokeh, and if you look for that, the Sigma ART 50/1.4 fails at that.
I hope that clarifies the "pointless" point.
Nope but who cares...
Yep different focal lengths for different applications.
I guess I just don't get the point of an expensive, heavy, bulky 1.4 lens if the bokeh is as hideous as what I'm seeing on these DPR sample shots. The chap with the bridge behind him is a truly ugly, discombobulated looking shot, to single out one.
Would be nice if people would post examples how it should look like. :)
I have to agree with Reilly.
The bokeh is just a matter a taste after all, but most of the people agree that smooth color transition in out of focus areas is what makes a "nice bokeh".
This lens doesn't do it "so nice" but the otus doesn't either.
Anyway, depending on background (it's colors, it's "business", it's distance relative to the subject, etc) all lenses make both "nice" and "bad" bokeh.
Just some lenses are generally better for bokeh (nikon 58/1.4, canon 50/1.2) others are better for sharpness the sigma, the otus. It's hard to have everything on one lens.
Yes indeed Badi! Zeiss even mentioned already LOOOONG time ago that one of it's 50mm was NOT as Sharp wide open PRECISELY to get a better rendering of the out of focus áreas!
It is information available on the net for those who prefer to find it instead of looking for some bad photos! But i have already understood what is the reality of 60% of all the coments in here :/
kudos for 'discombobulated'...top word.
kick in the pants for your point however since, not everyone wants or needs pretty, de-focussed areas, and if you read the whole article, you can find Sigma hinting about future releases with different design motivations (the bit about the date imprint under the lens). Maybe the 15 or 16 will have the pretty blurs you need?
The bokeh is busy at longer focus distances, but it's very nice at shorter focus distances.
"Just some lenses are generally better for bokeh (nikon 58/1.4, canon 50/1.2)".
I don't get the Canon 50/1.2. It isn't sharp and its bokeh is pretty ugly in many situations - especially that nasty swirly stuff.
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BEGIN:VCALENDAR VERSION:2.0 PRODID:-//126.96.36.199//NONSGML kigkonsult.se iCalcreator 2.20// CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:ABA Accredited Law School | Atlanta'\;s John Marshall Law School X-WR-CALDESC: X-FROM-URL:http://www.johnmarshall.edu X-WR-TIMEZONE:America/New_York BEGIN:VTIMEZONE TZID:America/New_York X-LIC-LOCATION:America/New_York BEGIN:STANDARD DTSTART:20151101T020000 TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST END:STANDARD BEGIN:DAYLIGHT DTSTART:20150308T020000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:email@example.com DTSTAMP:20150708T021648Z CATEGORIES;LANGUAGE=en-US:Alumni CONTACT:Chad Dillard\; (404) 872-3593 ext. 287\; email@example.com DESCRIPTION:
The Fulton County After Work Gathering will take place from 5:30 p.m. to 7:30 p.m. on July 12\, 2012\, at Flavor Café Bakery\, in Sand y Springs. There is no fee to attend. This is a perfect opportunity to win d down after work and connect with other AJMLS alumni in a fun and excitin g setting. Flavor has a great menu and the setting is wonderful\, so bring a friend and stay for dinner.\n
We hope to see you there!\n


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text: Saket is a 19 year old tech enthusiast who currently lives in Ranchi, Jharkhand. He loves playing with gadgets, especially Android and owns a tech blog, TechSplurge. He can be found messing around on Facebook or stalking people on Twitter @techsplurge. Saket Narayan has written 14 articles for us and can be contacted at firstname.lastname@example.com.