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Joe Yong
Joe works in the SQL Server engine team focused on the stretch database project with the goal to transparently extend SQL Server databases to the cloud while retaining full control on-premises. Before this, he worked on security and provisioning for PowerBI's backend services from inception to public release. Joe cut his database teeth on Oracle serving hard time as a developer then DBA. One too many ORA-01555 later, he joined Microsoft to work in the SQL Server product group and in the field with customers and partners on VLDB, high availability and migrations. After almost a decade of "harsh" Redmond campus lifestyle, Joe moved on to amass 1.4million flight miles in 6 years with a database consulting company as Chief Architect working on scalability, consolidation, performance, virtualization and migration. He was also lead architect for the SQL Server 2005 and 2008 upgrade and application compatibility testing tools and program. When not working with SQL Server, Joe tries to onsight 5.11s or cure his 2-year old Australian Labradoodle's obsession with squeaky tennis balls (the latter sometimes makes transparent scale-out and DQ issues seem trivial in comparison).


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Wall Street Decline Takes Its Toll...
Quadruple Helices Appear To Have Role...
As Immunotherapy Revolutionizes the Cancer Treatment...
LC-MS Gains Favor Due To the...
Collaboration will combine Fibrocell expansion platform with UCLA professor's technology for fibroblast-derived iPSCs.[iStockphoto]
Fibrocell Science is teaming up with scientists at the University of California, Los Angeles (UCLA) to develop a method for converting dermal fibroblasts into regenerative, functional human cell types for applications in autologous cell therapy. The firm projects the resulting technology could have applications in the treatment of disorders ranging from Parkinson disease and diabetes to heart disease.
The collaboration will combine Fibrocell's cell multiplication and expansion platform with the expertise of UCLA's James A. Byrne, Ph.D., assistant professor in the department of molecular and medical pharmacology, in the field of converting human dermal fibroblasts into pluripotent stem cells.
Dr. Byrne and colleague Renee Reijo Pera, Ph.D., are the first scientists to have isolated a subpopulation of human fibroblasts that can be reprogrammed into pluripotent stem cells relatively easily, Fibrocell claims. The firm hopes the collaboration with UCLA will progress this achievement further into the development of clinically useful cell types. "Fibrocell Science hopes to optimize the current range of clinical applications for autologous cellular therapies and broaden the use of patented Fibrocell Science technology, which can multiply human dermal fibroblasts," comments David Pernock, the firm's chairman and CEO.
Fibrocell is dedicated to the development of autologous (personalized) fibroblast-based cell therapies for aesthetic, medical, and scientific applications. A BLA for the firm's lead product, azficel-T, is currently under FDA review for the treatment of moderate to severe nasolabial fold wrinkles in patients older than 18 year of age. Successful results have in addition been achieved in Phase II/III studies in evaluating autologous fibroblast therapy in patients with acne scars and in a Phase II study in full face rejuvenation. Early clinical data in patients with burn scars and periodontal disease studies have also been promising, the firm notes.
In February Fibrocell published data from a five-patient pilot study evaluating the safety and effectiveness of autologous fibroblasts in the treatment of vocal fold scarring. The trial showed that autologous fibroblasts cultured and expanded in Fibrocell's cGMP facility and injected into the lamina propria layer of the vocal folds as an outpatient procedure was well tolerated and resulted in objective and subjective improvements in voice quality that were sustained up to 12 months after treatment.
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|EcommerceBytes-NewsFlash, Number 2574 - June 28, 2011 - ISSN 1539-5065 2 of 5
Vendio has acquired SingleFeed, a company that helps retailers manage product feeds for comparison-shopping engines. SingleFeed is a Google Product Search partner and enables online merchants to submit, manage, and optimize product listings on more than 18 comparison shopping engines starting from a single set of product details.
The SingleFeed platform also provides analytics that help merchants understand leads, sales and conversions.
Vendio Services is owned by Alibaba.com, which also owns Auctiva. Vendio will seamlessly integrate SingleFeed into its multi-channel ecommerce platform. In total, 250,000 Vendio and Auctiva merchants will be able to access SingleFeed through custom integration and take advantage of preferred pricing. Regular pricing is available on this page.
Vendio CEO Mike Effle said, "For more than ten years, we have been growing with our merchants by helping them reach buyers wherever they are shopping. We have expanded from our core eBay expertise to power Amazon marketplace sales and fully customizable, SEO-friendly free web stores that also integrate seamlessly within Facebook. SingleFeed's services not only expand the number of buyers our merchants can reach, but we were also particularly impressed by comments from existing customers who noted significant improvement in their businesses by leveraging SingleFeed's technology and expertise."
According to Vendio, the comparison shopping engines drive between 15 and 40% of an online store's monthly visits, with three of the largest engines (Bing, Google Product Search, and The Find) offering cost free programs to merchants.
About the author:
Ina Steiner is co-founder and Editor of EcommerceBytes and has been reporting on ecommerce since 1999. She's a widely cited authority on marketplace selling and is author of "Turn eBay Data Into Dollars" (McGraw-Hill 2006). Her blog was featured in the book, "Blogging Heroes" (Wiley 2008). Follow her on Twitter at @ecommercebytes and send news tips to firstname.lastname@example.com.
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Email this story to a friend.
2 of 5


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Try this recipe yourself, or browse for more recipes in this large online cookbook. Not found the recipe you're looking for? Browse all recipes on this site in alphabetic order, or use the simple one keyword search field.
Zigeuner Sauce
Yield: 2 cups
Ingredients and directions for this recipe
2 tb Ham; finely chopped 4 ts Flour
2 tb Onion; finely chopped 2 c Beef stock
2 tb Carrot; finely chopped 1 ts Salt
2 tb Celery; finely chopped 3 ea Peppercorns
2 tb Butter Bouquet garni
1 c Brown sauce (above) 3 tb Slivered mushrooms
3 tb White wine 3 tb Slivered tongue
2 ts Thick tomato puree 1 tb Butter
The Base for Zigeuner Sauce- Simple Brown Sauce:
Saute 2 tablespoons each of ham, onion, carrot, and celery, all
finely chopped, in 2 tablespoons butter for a few minutes. Blend in 4
teaspoons flour and stir well for 3 minutes. Add 2 cups beef stock, 1
teaspoon salt, 3 peppercorns, and a bouquet garni. Simmer the sauce
for 15 minutes longer and strain it. Use the sauce for meats or as a
base for other sauces. Makes 2 cups.
Zigeuner Sauce: To 1 cup brown sauce, add 3 tablespoons white wine
and 2 teaspoons thick tomato puree. Saute 3 tablespoons each of
slivered mushrooms and tongue in 1 tablespoon butter for about 3
minutes, or until the mushrooms are lightly browned. Bring the sauce
to a boil and add the tongue and mushrooms. Serve with meat.
See also:
Previous recipe Zia Bakery And Cafe Spelt Muffins
Next recipe Zigeuner Schnitzel (gypsy Cutlets)
Or try one of these recipes:
Cocoa Apple Cake
Habanero Butter


text:
Summer movies rundown
Published On: May 07 2012 08:49:55 AM PDT Updated On: Mar 01 2013 12:08:16 PM PSTSorry, Flash is not supported.
The views expressed are not those of this site, this station or its affiliated companies. By posting your comments you agree to accept our terms of use.blog comments powered by Disqus


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Why We Need Cinema Lenses
By Ryan Patrick OHara
Lenses are not cinema lenses by simply being used on a cinema camera. Cinema lenses are optically designed for top performance as well as mechanically designed for the specific and demanding use on cinema production. These lenses may not be appropriate within other realms of the industry, so it is important to note that these lenses excel in a very particular environment.
Putting a geared ring around a photography lens barrel and de-clicking the aperture ring does not a cine-lens make.
As the low-cost/large-sensor movement marches forward leaving a lens-hungry camera-saturated landscape in its wake, a few lens manufacturers are stripping down and dressing up photography lenses and advertising them as cinema lenses. Once upon a time in Hollywood, the difference between the two was obvious. Now, it is not so clear and the distinction will continue to blur as manufacturers try to release lower cost cinema lenses, which will undoubtedly forsake important characteristics of cinema lenses to hit a price point. The future will see photography lenses being called cinema lenses and cinema lenses behaving more like photography lenses.
This article is written on behalf of cinematographers, camera assistants, and directors who, in the age of 'good enough', may enjoy a reminder of what makes a real cinema lens, why they exist and the benefits they provide. Slated for review will be the optical and mechanical design points of a cinema lens and why/how they differ from photography lenses. Perhaps then it shall become clear why these lenses typically carry such prestige and price.
Before continuing, it must be recognized that there exists amazing photography lenses and wonderful cinema lenses. They differ in design because of how they are used. The photographer captures a single frame, a frozen moment in time. His images stand on their own, telling a story with just one frame. The cinematographer works within the medium of time. His images are juxtaposed together by the art of editing. His images tell a story with multiple shots usually meant to create the illusion of continuous passage of time.
As obvious as this statement is, it fundamentally changes the needs of the man behind the camera.
Optical Requirements:
Sharpness / Contrast
It is not terribly difficult for any manufacturer to make a decently sharp lens in the 21stcentury. Of course after a certain point the difficulty of designing and building a sharper lens does get exponentially more difficult and expensive. Lenses with many elements (such as zooms), very wide focal lengths, and fast aperture lenses still provide for challenging designs. The fact of the matter is this author can not remember the last time a cinema or quality photography lens made in the last 10 years was rejected for not being sharp enough for 1080 or even beyond. This matter is addressed because it often seems many consider sharpness as the definitive reason why cinema lenses are better. Thus, these individuals become convinced that photography lenses make perfectly good substitutes to cinema lenses when they discover a photography lens of close, equal or sometimes greater resolving power. Despite some cinema lenses being among the sharpest lenses in the world, there are plenty of wonderfully sharp photography lenses. There is much more to cinema lenses than sharpness. Sharpness is important but typically over-rated when evaluating a lens or lens set as a whole.
Exposure Vignetting
It is the goal of every lens manufacturer, cinema or photographic, to reduce the uneven field illumination or 'vignetting' of a lens as much as possible. However, all lenses vignette to some degree; the good ones simply remain undetectable to the eye. Cinema lenses demand higher tolerances for vignetting than their photographic counterparts. Why? Because vignetting in cinema lenses is often more noticeable in cinematography than in photography. In photography, slight vignetting is hard to notice upon a still image. It can be disguised within the image if subtle enough. On the contrary, when a lens vignette appears within a moving image, the vignette becomes considerably more noticeable as objects enter and leave the effected area of frame or when the camera pans, tilts or travels causing the vignette to move with it.
There are different causes for vignetting, one of which being the law of reflection and refraction mostly impacting wide-angle lenses. When incoming light hits an uncoated lens from a zero-degree perpendicular angle of incidence, roughly 4% of the light will bounce off the reflective glass surface and 96% of the light will continue through the lens. In fact, William Stull, ASC, wrote an article in 1940 about coated and uncoated lenses. His figures were 5.22% reflection upon every air-to-glass surface in a lens. A typical prime lens consists of 9-14 elements. If a 14 element prime lens were to be uncoated, by the time the light reached the sensor only 56% of the light would remain. That is almost one stop of light loss. Of course modern lens coatings help reduce this number greatly, but remember that figure is simply the light entering perpendicular to the lens front. Wide-angle lenses are made to accept incoming light from a wide field of view. The light entering the lens from the peripheral of the field of view will be not be perpendicular to the lens, but rather be approaching from an obtuse angle of incidence/reflection. When light from these angles reaches the front element, more light will reflect off the front element and less light will find its way through. As the angle of incidence/reflection moves away from perpendicular, the amount of light which reflects off the glass surface increases. Thus, this is one of the reasons why wide angle lenses have vignetting.
Law of Reflection/Refraction
"Cooke lens coatings reduce reflections to .1%. A brew of silicon and
titanium, hardened with magnesium fluoride coats each element. It is
1 nanometer thick, which is 1 millionth of a millimeter. Your whiskers
will grow longer than that in 1 second after the swipe of your razor."
- Jon Fauer, Film and Digital Times "Cooke Book" pdf
To correct for this vignetting, a lens must be carefully designed and at times undergo shading to help counter the loss. It is this author's understanding that larger lens designs handle vignetting much better. Presumably this is another reason why photography lenses are plagued with uneven field illumination when wide open. Photography lenses need to be small and light. Making the lens larger means larger optical elements, which will raise the price tag quite fast. Thus this can be very difficult and expensive problem to solve. This is perhaps why many photography lens manufacturers allow a certain degree of vignetting in their lenses. Allowing a certain amount of vignetting can allow a lens to be made smaller and for less cost. Vignetting usually decreases as a lens is stopped down, so photography lens manufacturers usually allow for a degree of vignetting in their lenses wide open, and after being stopped down it all but disappears.
Regarding cinema lenses, consider the following:
Alfonso Parra, AEC, tested the Cooke Panchro/is, and found they lose, at most, 2.1% of the luminance on their corners at most. The lens with the least only lost 0.99%. This number is small enough to go unnoticed by the most trained eye. If the math is correct, 2% luminance loss would be roughly 1/25th of a stop lost at the corners (stop at which tested unclear.)
Alfonso Parra Testing Light Uniformity
(photo from Alfonso's Cinematographic Evaluation)
Now examine some popular photography lens choices. On an APS-C camera, which is very similar to S35mm size sensor, a Zeiss ZE 18mm f/3.5 Distagon photogrphy lens vignettes by as much as a stop and a half in the corners at f/3.5. The Zeiss ZE 21mm F/2.8 Distagon at f/2.8 also vignettes as much as a stop and a half in the very corners! The Zeiss ZE 28mm F/2 Distagon breaks the trend and pulls just a half stop loss in the extreme corners of a APS-C sensor when at a f/2.8.
Most Canon L-series zooms vignette about half a stop in the corners of APS-C sensor cameras when at a f/2.8. The Canon EF 20mm f/2.8 vignettes just under two stops wide open at a f/2.8. The 24mm F/1.4 L series Canon lens wide open at f/1.4 shows a stop and a half loss in the corners, and about 3/10ths of a stop loss when closed to a f/2.8. Many of the L-series primes do well with vignetting once you surpass the 35mm realm or close them down. However, they all exhibit exposure vignetting when wide open. All of them. Wide open, modern cinema lenses are built and designed to eliminate vignetting.
At wide open, even the Canon EF 35mm f/1.4 L-series prime has over a stop of vignetting loss in the corners, as does the 50 f/1.2 L-series. Of course, when stopped down to f/2.8, these lenses have a corner loss of around 3/10ths of a stop; an acceptable range.
The Tokina 11-16, which is a great lens for the money and Duclos makes a great PLd version for cinema, vignettes a stop and a half at the extreme corners at 11mm and a stop of loss at 16mm.
Zeiss ZE 21mm f/2.8 Distagon at f/2.8
(center box = APS-C frame)
Canon EF 14mm f/2.8 L-Series at f/2.8
(center box = APS-C frame)
Canon EF 20mm f/2.8 at f/2.8
(center box = APS-C frame)
Tokina 11-16mm f/2.8 at f/2.8
Similar to vignetting, cinema lenses must have more strict tolerances for distortion. Distortion of a lens, within a photograph, is often less noticeable than when presented in motion. Pin cushion or barrel distortions go from subtle whispers to bloody screams the moment movement is introduced. Cinema lenses cannot get away with the amount of distortion a photography lens can, especially when going to the big screen. Very high amounts of distortion moving about encompassing a viewers' field of view can cause motion sickness in a theater. Thus, cinema lenses are made to be as rectilinear as possible, often times demanding more complicated, challenging and expensive lens designs. "Fisheye" is a funny term. Meant to sound like a deliberate design point, the term is basically one to describe a very wide lens that has absolute horrendous distortion. In general photography lenses and cinema lenses handle distortion well, however, the cinema world is more demanding and they separate from the pack, especially on the super wides.
Pincushion and Barrel Distortion
Zeiss Ultra 8Rmm vs Nikon 8mm
Price tag difference around $22,000
Color Matching
Many variables exist that effect the way a lens reproduces color. These variations are usually slight in nature, but important all the same. It is a well known fact that photography lenses are not designed to be color matched. Why would they? Color matching is another perfect example of why cinema and photography lens designs differ based upon how they are used. A photographer works with single independent images. A photograph is taken with one lens, it does not matter if other lenses in the photographers kit have unique characteristics. However, the cinematographer works with multiple shots woven and juxtaposed together to create an illusion of continuous time. When cutting between a medium-close up and an extreme close up, one cant have the medium shot look neutral-cool and the close-up suddenly have a warm/pink tone. The inconsistency will either consciously or subconsciously weaken the illusion and possibly awake the viewer to the fact they are watching a contrived work of fiction. Cohesion of the image is incredibly important and the illusion must live on. Of course a modern day digital intermediate color-correction session can fix just about any lens color rendering inconsistency. Unfortunately such a process takes time and money. If one were to shoot an entire feature with mismatched lenses, there would be two choices: either release the film with bad color timing, or spend the money and effort to fix it in post. Color timing sessions can be well over hundreds per hour. There is enough work to be done in post. Matching lenses in post color correction when they could have simply been matched on set, is the last thing a production needs to spend money on.
Color Matching Test from Alfonso Parra's Cooke Panchro/i Evaluation
(photo from Alfonso's Cinematographic Evaluation)
Chromatic Aberration
Chromatic Aberration, also called CA, is the optical occurrence when a lens fails to bend all wavelengths if light equally. Light is made of many different wavelength frequencies that create the colors we see. A lens must capture incoming light then bend and straighten it to fall upon the film/digital sensor plane as straight as possible. When the optical elements within a lens bends the light, they can consequently act as a very mild prism and separate some wavelengths from others. These offset wavelengths will fall just slightly off from their counterparts resulting in a color fringing in the image. This is why aberration is a thin line of color. The color can change depending on which frequency the elements offset. As discussed above in the vignetting section, wide angle lenses have very extreme field of views. These lenses must take incoming light from very radical angles of incidence (thus more radical angles of refraction), and bend them toward the film plane without allowing any wavelengths to be slightly offset creating CA. Thus, chromatic aberrations are often found on the edges of wide angle lens frames.
Lens test showing multiple types of chromatic aberration color and strength.
(mild orange left, mild purple middle, and strong blue right)
Page Two: Mechanical RequirementsMechanical Requirements:
Cinema lenses provide productions with the best lens mechanically. Better mechanics means the lenses are accurate, durable, reliable, and quick. Cinema lenses need little work around and are streamlined to save time, reduce the possibility of error, and deliver a image.
Size Consistency
Cinema lenses are designed and manufactured to be either very similar or the exact same in length. When using a mattebox mounted to support rods, having to readjust the mattebox and bellows placement upon every lens change takes additional time. This time can add up to minutes over the course of a day. If on steadicam, having the lens change require a mattebox adjustment can require a greater re-balance of the rig. This adds to the time the lens change requires.
Every Zeiss Master Prime pictured is 8" long.
Front Diameter
Cinema lenses are often used in tandem with a mattebox system. Unlike photography lenses, which use screw on filters and built in lens hoods, cinema lenses use a mattebox to keep extraneous light from flaring the lens and to hold filters in front of the lens. By using a mattebox, a lens can be changed much faster without having to remove and reattach filters. However, when using a mattebox, it is extremely important to keep light from entering the mattebox from behind, thus either a bellows ring, doughnut ring, or clip-on back must fit perfectly around the lens front. By having a lens set with matched front diameters, the previously listed devices need not be switched out for different sizes, thus the lens change needs no additional actions. This saves time and reduces the amount of support gear needed.
Although rare and extremely difficult, some select cinema lens sets have many focal lengths with similar or the same weight. Usually these are lenses in the typical range of lengths, as very wide or telephoto lenses have lens designs which often make them heavier in nature. Having similarly weighted lenses can help when the camera is on steadi-cam, a remote servo-head, in handheld mode, or any other delicate mounting operation when balancing the camera is very important.
Focus/Iris Ring Placement and Gears
Cinema lenses are designed to have geared focus and iris rings placed at the same point on the barrel for all focal lengths. Doing so saves the camera assistant time when changing a lens, as the follow focus module nor any FIZ motors will require being adjusted after every lens change, thus further saving time on every lens change. Additionally, photography lenses typically do not have geared focus or iris rings. They are textured as to provide a nice grip for the photographers hand, but are not geared as cinema lenses are. Geared focus and iris rings are a must if to be used with a professional follow focus or remote follow focus system.
Zeiss Ultra Speeds is a great example of what is likely one of the most consistent lens sets in regards to physical build. Every lens between 16mm and 100mm is exactly 143mm in length, have a 93mm front diameter, and matching geared focus and iris ring positions. All lenses are consistent T-stop of T/1.9, and six focal lengths within the 24-85mm range have the exact same weight of 2.2 lbs.
Zeiss ZE Canon lenses, a pretty nice photography lens set, is an example of how photography lenses are built for different types of use. Each lens is streamlined to be as small and light as possible, paying little attention to set uniformity. This particular lens set has different sized front diameters, different lengths, and dissimilar ungeared focus/iris ring placement.
When a lens is changed, the 1st AC will likely have to adjust the mattebox placement on the rails, exchange the bellows ring/back plate/doughnut, slightly adjust the follow focus, and require a greater re-balance on steadicam. This is not a big deal, as it's simply more work for the AC, but it can cost time over the course of a day. If lens changes are often, this can add up quite quickly, especially in on bigger films.
If this wasn't enough, many wonderful photography lenses no longer have an aperture ring! Manufacturers have moved the aperture ring from a physical and tactical ring on the lens to an electronic and internal function. For many lenses, the photographer must now use the camera to communicate with the lens and control the aperture electronically. On a cinema camera this immediately disqualifies the lens for use on most digital cinema cameras, as many do not have the means to communicate with a lens electronically. There are systems such as the Birger mount, which address some of these issues and does so quite well. If using internal aperture photography lenses on a cinema camera, this adapter seems to be the only sane option.
Where is the aperture ring?!
Focus Barrel Rotation & Distance Witness Markings
A photographer does not need to worry about pulling focus smoothly or tracking a subject accurately at all times. A photographer must quickly find his subject and snap the photo. He can freely focus in front and behind the subject, narrowing in his focus. His hand is on the barrel and his eye through the lens. He cannot see the lens markings on the barrel, nor does he need to. He finds focus by eye and releases the shutter on an intuitive moment. The cinematographer cannot do this. Maybe if shooting docu-style, this can be a semi-acceptable method of focusing, but for all general purposes, one does not want to call attention to the camera, and focus hunting during a shot is an effective way of doing so. The cinematographer must accurately and discretely use focus to manipulate and direct the viewers eye. The camera assistant must follow the performances of the actor and/or the movement of the camera to keep the subject in focus. He cannot hunt for focus during a shot, and thus needs assistance from the lens in order to help him accurately track his target. This assistance comes in the form of many accurate witness markings on the barrel.
Photography lenses typically have short focus throws. One can go from close to infinity focus in a simple twist of the wrist. This is helpful when needing to focus quickly on a moments notice, as many field photographers do. However, short focus throws make it difficult to gently track a subject and increases the possibility of overshooting a target. The focus distance markings on a photography lens are often few in number, only generally accurate, and are without actual witness mark lines.
Modern cine lenses typically have a 300*+ barrel rotation. Cinema lenses are usually larger in size (for optical reasons) thus tend to have a long 300*+ rotation (300* rotation on a tiny lens can be less travel than a smaller rotation on a bigger girth lens). On high quality cinema lenses, each lens is custom engraved to ensure focus witness marks are as accurate as possible. Modern cinema lenses also have two focus scales, one for each side, so the camera assistant does not have to flip the lens in order to pull from the other side of the camera.
Build Materials
It can be argued whether photography or cinematography conditions are the hardest on equipment, (it's cinematography btw) but there is little argument that cinema lenses are typically better built. Cinema lenses are built for the most rigorous of production demands. They are made from machined metal and are designed to operate from sub freezing temperatures to dangerously hot climates. They can be easily serviced, repaired, and modified. The most typical of cinema lens mounts, the PL and PV mount, are amongst the most strong, sturdy and temperature resistant designs.
Cooke S4 lenses are made from machined anodized aluminum built to operate in conditions
from -13° to 131° fahrenheit. They are not threaded lens barrels, but instead use a cam system,
which eliminates the need for lubrication, such as grease.
Linear Iris in T-stops
Cinema lenses do not have 'clicked' iris rings like many photography lenses, thus one can set the aperture to land at any value between stops. Most modern PL lenses have linear iris rings, with every third of a stop marked. Because cinema lenses are in T-stops, achieving precise and matched exposures with different lenses is as easy as setting the iris ring. Photography lenses, often have clicked iris rings, meaning they must settle on one stop or another. Trying to split a stop will result in the lens likely trying to settle one way or another. If the photography lens does not have a clicked aperture, it will likely be rated in f/stops and without sub-stop markings.
T-stops Vs F-stops
Cinema lenses are rated in t-stops, 't' for 'transmission', instead of the familiar f-stops found on photography lenses. T-stops are values which represent the true amount of light passing through the lens. Each lens is tested and marked for their T-stop values. An F-stop is simply a formula. It calculates the amount of light that should pass through a lens based on the focal length divided by the entrance pupil. Thus its decently accurate except for one thing it does not take into account the light lost from passing through the glass elements inside the lens! Thus there is always a varying degree of light loss from one lens to another. With F-stop lenses you are always playing within a margin of error.
Matching Maximum Aperture & Iris Assembly
Cinema lens sets are designed and built to have matching maximum apertures. This feature isnt as important as it is helpful, but if a lens set does not have matching maximum apertures, it is the responsibility of the cinematographer to work within the least common denominator among his lens set, or he will find himself switching to a lens that cannot support the working exposure he has already set with his lights. However, the iris assembly is different and arguably more important to the image. When shooting semi-stopped down, on a long lens, and with shallow depth of field, the shape of the iris aperture can be defined in the out of focus elements commonly referred to as lens bokeh. Lenses with matching iris assemblies will provide matching out of focus bokeh shapes. Cooke S4's and Cooke Panchro/i's use the same iris assembly design, thus if you were to use them together, they would not only be color matched, but would produce the exact same bokeh renderings at matched apertures. Having a lens set where one lens has a triangular iris assembly, another hexagonal, another octagonal, and another with 12 blades, will result in very different bokeh shapes. If consistency is the goal, this could prove problematic.
Cooke S4/i & Panchro/i 8-leaf iris assembly
picture by arturo jacoby
Zeiss Standard Speed T/2.1 9-leaf iris assembly
picture by arturo jacoby
Lens Breathing
When one changes the focus of a lens, the optical elements inside shift in concert to bend the incoming light from the corresponding distance to a focal point upon the sensor. When the optical elements inside the lens reposition themselves during the focus rack, they can slightly alter the field of view of a lens, which will appear similar to a very slow and mild zoom. This is called lens breathing. In photography, breathing is not important what-so-ever. Besides changing the composition by arguably negligible amounts, breathing is not seen in the image. To eliminate breathing, the lens design must be changed to account for the optical effect, thus eliminating breathing is not a priority of photography lens manufacturers.
In cinema, tracking focus within a shot, or racking focus from one subject to another is a very common practice, thus cinema lenses take great strides to eliminate breathing. Not long ago, to eliminate breathing all together, Zeiss created a Dual-Floating Element design for their Master Primes. This design will be recognized at the 2012 Oscars with an Academy Award for Scientific and Technical Achievement.
Barrel Extension
As explained with lens breathing, when a lens changes focus or zooms, the optical elements inside adjust and shift. When designing lenses, it is often easier to allow the lens barrel to extend forward, in order to accommodate the shifting elements. Many photography lenses, when focused or zoomed, extend their barrel forward as the optical elements shift. Because cinema lenses have connected follow focus gears and a mattebox, telescoping lens barrels are not ideal, thus cinema lens designs provide for internal realignment. All shifting and repositioning of optical elements happen silently and unnoticeable inside of the lens housing. Everything remains as is.
Barrel telescoping can be from zooming or focusing. Typically barrel telescoping is worse from zooming, however poorly designed prime lenses can exhibit troublesome barrel telescoping when focusing a great distance across the barrel. Typically the issues arise when the lens pushes against the mattebox or the geared focus ring falls off the follow focus.
Despite lens hoods being added, one can see the telescoping nature of some photography zooms.
(images from www.the-digital-picture.com)
Consistent focus and exposure throughout zoom range
Cinema zooms almost always carry exposure from one end of the zoom to the other. As an example, take the legendary Angenieux Optimo 12x zoom. It is a perfect T/2.8 from 24mm all the way to 290mm. Coupled with the other impressive optical and mechanical features of this lens, it's no surprise the thing is the size of a military shell. There are many photography zooms which hold maximum exposure throughout the zoom range, but there are photography zooms which forsake this feature in order to accommodate lens design within a small/light housing and low price. Yuck.
Angenieux 24-290mm T/2.8 Cine Zoom
Page Three: Mechanical Requirements
At the end of the day, a wonderful film can be made on photography lenses or cinema lenses. However, because these two mediums are very different in nature and thus the needs of photographers and cinematographers are very different, using photography lenses for cinema purposes is simply adding possible issues and concerns to an already full plate.
The same goes for using cinema lenses to take photographs. Using a Master Prime to take a photograph would be equally ridiculous. First of all, the lens is 8" long and weighs about 5lbs. Additionally, handheld photography is not the same as handheld cinematography. One has the luxury of taking the weight on the shoulder... the other is all taken to the wrist. Now imagine having to carry several of these lenses around for a photo-journalism assignment. Not quite appropriate for the context of use. Focusing quickly would require multiple twists of the lens barrel, and likely lost time trying to reel in the focus, perhaps missing the spontaneous moment of the photo.
Thus, just as photography, there are types of videography that also may not benefit from cinema lenses. If shooting a documentary, wedding, or event videography that involves long hours of handheld shooting in spontaneous/unpredictable environments, perhaps a very lightweight photography zoom might be a more appropriate tool despite some shortcomings.
The design points described in this writing are the ideal design points of a modern day cinema lens set. However, not all cinema lens sets contain all of these attributes. Vintage cinema lenses and new lower cost cinema lens sets do not attain all of the above. Just as that is true, the same goes for photography lenses. There are photography lens exceptions to where some lenses exhibit attributes of cinema lenses. For instance, Zeiss ZM's have f/stop markings for 1/3 stops on the barrel.
Zeiss 15mm f/2.8 ZM (Leica Mount) with 1/3 stop mapped f/stop scale
Shoot a film with the best optics available to the production. Learn the strengths and weaknesses of that lens set and go about doing what is necessary to utilize those strengths and minimize the weaknesses. Cinema lenses simply allow for less weaknesses and more strengths, leaving the burdened mind of the cinematographer to other things. It's a luxury well worth having.
Why We Need Cinema LensesThis article was originally published in forum thread: Article: Why We Need Cinema Lenses started by Ryan Patrick O'Hara View original post
57 Comments
- Categories:
- Optics
nothing - 02-03-2012, 10:30 PM
FYI the Red Pro 17-50 cinema lens is a rehoused Tamron 17-50 non-VC. It's obvious when you have them side by side.
Not a bad thing necessarily, that happens to be my favorite modern stills lens for shooting video on crop Canons. I haven't yet decided if I like the Red version.
TimurCivan - 02-04-2012, 11:28 AM
The red version is a very capable lens. Good range, and performance. Just a funny little thing cause the middle telescopes out when you zoom.
JoeJITSU - 02-04-2012, 12:49 PM
Any suggestions for my 5DM2?
Allan Black - 02-04-2012, 11:07 PM
Great Ryan, thank you very much. Does anyone else think his welcome work should be a sticky? .. has someone asked yet, before it sinks into the archives.
nothing - 02-06-2012, 05:21 PM
I don't love the lens, I'd certainly rather take any Angenieux - but that's not an option on some gigs.
Is it good enough? I didn't have the prep I wanted with it and it was thrown into battle for 3 days with an Epic. I haven't seen dailies yet. The focus marks are useless and I'm trying to teach a eager, smart yet very green 1st AC how to be a better focus puller. I love the range and size, and that's the biggest reason it's seen the use it's gotten. The mechanics are very nice, although I think it's way too heavy for what it is - but I think that of almost everything Red.
I guess I'll decide if it's good enough when I see dailies.
Ryan Patrick O'Hara - 02-08-2012, 01:04 AM
Attachment 47627
Someone posted this on RedUser, and I thought it was a great example of how some lenses are different from others. This compares a Cooke S4 to a RedProPrime, which got a lot of slack from the cinema crowd on it's witness marks. You can see how the spacing and number differ.
bill totolo - 02-08-2012, 12:55 PM
Great to have this information in an accessible place. I think I'll forward a link to a few producers.
Ryan Patrick O'Hara - 02-22-2012, 05:57 PM
Thanks for the comments. Just cleaned it up a bit, since it's finding some attention.
I hope it helps. If anyone sees something I missed, feel free to say here or PM me. Thanks!
LaForce - 04-12-2012, 12:17 AM
If this article were a woodwind instrument I would say "sweet reed".
cookinghusband - 08-08-2013, 09:14 AM
WIsh they have AF on it. SInce I am by myself I do not have an assistant focusing for me.
David W. Jones - 08-09-2013, 05:11 AM
Christina Ava - 11-04-2013, 08:49 AM
beautiful article, makes sense of all the small details that prove the point of buying/renting cinelenses.
now spot the differences..
Attachment 78175
Ryan Patrick O'Hara - 11-04-2013, 03:50 PM
I have never seen an AF system that came close to doing a focus pullers job on narrative production. Might work ok for some videography work, but I don't think it will ever replace a focus puller. Even if it could, someone would have to tell the machine when to rack, how to do it (parameters such as feathering, speed, etc) and so on.
I think the challenge here, is that it is rumored the CN-E's are basically rehoused L-series with perhaps a few tweaks and different coatings. Who knows, but if that were the case, your comparison is a difficult one optically to differentiate.
When it comes to CN-E lenses and CP.2's I think you are seeing the photography lens optics rehoused for cine-mechanics. This gives a good entry level cost to cine-primes and considering modern photography lenses have some pretty good optics, the results are often very appealing.
Perhaps the subtle nuances / differences can be recognized in the above example, should a greater resolution example be provided, but I have a feeling we are looking at a very similar lens design in both lenses from a strictly optical viewpoint.
cookinghusband - 12-17-2013, 07:21 AM
I wish I can buy 1 or 2 of the cine lens in the future
cookinghusband - 12-17-2013, 07:34 AM
Good article
Just wondering have you try the 70D and if so how many point will you give the 70D for focus pulling, if a pro focus puller is 100?
The price of the CN-E is very similiar to the Zeiss Master not really entry level.
For entry level (for the self funded guys) I think one can only try the samyang set which cost less than a C50 1.2L.
David W. Jones - 12-17-2013, 11:20 AM
jamesdrakefilms - 08-15-2014, 12:13 PM
This is a fantastic post. Thank you


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Tablets and slate computers
With the release of Apple's iPad many people are asking the question, what are computer tablets? Tablet pcs are a slate-shaped portable computer device, often with a touch screen or a stylus to operate it. Many new mobile phones are designed like tablets with this ease of use in mind, meaning computer tablets are the best device to have if you are always on the move.
The physical dimensions of computer tablets offer you an increasingly more mobile way to interact with your computer and where notebooks lack practical use or functionality, the tablet pc excels. Although the term computer tablets was made popular be Microsoft in 1980, many other manufacturers are creating tablets of their own, giving you a broad range of options in what you want.
Tablets come in four different forms for functionality, adapting well to any needs, be it business or personal use. Booklet Tablets are dual screen tablets, which fold open like a laptop or book.
Typically these tablets include multi-touch screens and pen writing recognition capabilities, perfect for making notes on the move. Booklet tablets are the ideal pc for planning capabilities, internet surfing, e-reading and other media related tasks such as video watching or for playing music.
Slate computer tablets resemble old classroom writing slates and are a pc without a dedicated keyboard. These tablets require users to use handwriting recognition via an active digitizer with fingertips or a stylus. Alternatively, you can connect an external keyboard to type like you would with a laptop or PC.
These slate tablets incoporate small LCD screens and have remained a popular addition to vertical markets, i.e. health care, field-work and education, and are perfect for field or science research with many slate tablets offering longevity with heat and humidity resistance as well as additions that protect against dropping and vibrations. However, adding focus to mobility and long-life can lead to elimination of moving parts, which may hinder qualities.


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Your girlfriend just got a new little fuzzy kitten and you need some great entertainment. While your girlfriend is out, take a massive shit in the cat box. Hilarity ensues as she gathers a stool sample and rushes the poor little sick kitty off to the vet.
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On four park-like acres The Inn at Manchester has welcomed travelers since the 1940's and we look forward to welcoming you.
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In 1999, the literary critic Steven Gould Axelrod noted a
resurgence of American interest in World War II, as was
evident from the completion of the Holocaust Museum in
Washington, the popularity of Tom Brokaw's The Greatest
Generation (1999), Studs Turkel's The Good War (1997), and
Steven Spielberg's film Saving Private Ryan (1998). This
attention has continued up to the present as the success of
Band of Brothers (2001), Pearl Harbor (2001) and the
publication of anthologies, such as Reporting World War II:
American Journalism 1938-1946 (2001) and Poets of World War
II (2003), seem to prove. "All of these recent
commemorative efforts," Axelrod argues, "reveal a national
wish to recall and to re-narrativize one of the most
climactic events of American and world history, in which an
American generation now slowly passing from the scene
sacrificed hundreds of thousands of its young in order to
intervene successfully--and many of us
believe--beneficially in history." Axelrod stated
further that "[t]he meanings of WWII seem clearer now, more
than half a century after the event. We understand what the
agreements are and what disagreements still remain."
On the eve of the sixtieth anniversary of the end of World
War II, the Netherlands American Studies Association (NASA)
is hosting a conference from June 21 through 23, 2004 at
the Vrije Universiteit in Amsterdam, about the various ways
in which the story of World War II has been told by
Americans, from 1940 to the present. Depending on the
response to this call for papers, individual sessions may
be held on children's books, fiction, illustration,
journalism, magazines, monuments, museums, music,
photography, painting, poetry, politics, religion, and
television, although interdisciplinary papers are also
requested. Proposals may relate to any aspect of World War
II, but we are especially interested in papers that show
the events of World War II from a fresh angle or that
explain how significant historic events have been ignored
and/or trivialized, or conversely glorified and/or
mythologized. Is there really a growing (American or
perhaps international) consensus about the meaning of World
War II, as Axelrod suggests, or has the meaning shifted
since the 1940s, and is the history of World War II still
being contested?
Paper presenters are expected to cover their own travel and
hotel expenses. (The conference fee is 50 euro for non-NASA
members (or 20 euro a day), 40 euro for NASA members (or
15 euro a day), 20 euro for students/PhD. students (or 10
euro a day). A selection of the papers presented at the
conference will be published in a book on the subject, to
be published in the European Contributions to American
Studies series of the VU University Press. Please send
proposals for papers before the deadline of January 15,
2004 to:


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Last quarter, Spirit Airlines booked revenue of $342.3 million. GAAP reported sales were 19% higher than the prior-year quarter's $288.7 million.
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Day two and I feel awful. Thank God, I just found the article on the "low carb flu." I'm going to take it down easy and eat some quinoa and brown rice. Some folks can't just jump in, especially those of us who are accustomed to eating less meat.
Hi! I'm new. I came here via Barefoot Ted's website. I've always enjoyed frolicking in the woods, so the fitness theory here really resonates with my sensibilities. Ive struggled with chronic illness since I was a teen and have been working to improve my health all these years. Recently, I gave up wheat and feel so much better that I wanted to take it up a notch.
I am not super into meat and used to be a vegetarian, so that part of Primal Living is a bit challenging for me. I do enjoy fish and often have fish and eggs for breakfast. I enjoy our fish and vegetable dinners, but I feel hungry all of the time. Does the body adjust to life without grains? Do some peoples bodies work better on the Primal Lifestyle than others?
Good luck to all of you on the challenge!
Unshod Sarah
Woman, Artist, Wife, Visionary, Mother, Gardener, Daughter, Tea-drinker, Friend, Believer.
Day two and I feel awful. Thank God, I just found the article on the "low carb flu." I'm going to take it down easy and eat some quinoa and brown rice. Some folks can't just jump in, especially those of us who are accustomed to eating less meat.
I dont believe there's anything wrong with relying heavily on fish and eggs. Be sure to get your fat in, especially as you adjust to lower carbs. I like adding butter or coconu milk/oil to fish dishes.
Oh, and welcome!
Welcome. I'm a PA girl too. The low-carb flu thing is hard, but once you get through it, you're golden. I used to be a vegetarian as well, and I have to say -- it screwed me. I gained 100 lbs in the 10 years I was a veg. I'm kicking myself now that I know how sensitive I am to grains.
Good luck!
Down almost 40 lbs. 70 to go.
Welcome, Unshod Sarah! Another gardener...Yeah!
Starting Weight/BMI: 184/29.7
Current Weight/BMI: 130 /21.0
Ultimate Goal: 125/18
I think I screwed up my metabolism and glucose situation when I was veg. I used to pass out from hypoglycemia all the time back in those days. But it was so easy to maintain my weight at 105lbs. I still cannot believe I've gained 30 pounds in the past four years since getting married.
I really enjoy nuts and seeds and I figure Grok would've eaten plenty of that sort of thing. I think we need a lady Grok name. LOL


text:
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text:
Help refugees in transition
20 June 2007
by Susan Watson
June 20 marks the sixth anniversary of the UN's World Refugee Day. Each year New Zealand accepts 750 UN refugees, from a variety of countries.
RMS Refugee Resettlement Northern Regional Manager Jill Conway said about 40 percent of the 750 refugees resettle in the wider Auckland region.
"The refugees bring with them a huge amount of strength as survivors, that is what they bring with them to New Zealand," she said.
New Zealand is one of around 14 countries that accepts United Nations refugees, she said.
"New Zealand's approach is a part of a humanitarian programme. Of the 750 that we except, 10 percent are women at risk, and 10 percent have disabilities, who may not have the opportunity to settle in other countries," she said.
She said there were many ways people could help refugees, such as volunteering for RMS.
"Refugees resettlement is a more positive experience if they have the opportunity to meet and talk to their neighbours," she said.
The UNHCR's "2006 Global Trends" report shows the number of refugees under the agency's mandate rising last year by 14 percent to almost 10 million, the highest level since 2002.
If you can volunteer for RMS Refugee Resettlement, helping refugees with their transition to New Zealand, please contact firstname.lastname@example.com or phone Auckland 629 6421.
© Epoch Times


text:
Elizabeth Fones
|Groton Manor, Suffolk, England
|Died in Newtown, Queens, NY
|Place of Burial:
|Long Island, New York, United States
|Immediate Family:
Daughter of Thomas Fones, II and Anne Fones, (Younger)
|Managed by:
|Annamaria Job
|Last Updated:
Historical records matching Elizabeth (Fones) (Winthrop) (Feake) Hallet
Immediate Family
About Elizabeth (Fones) (Winthrop) (Feake) Hallet
Elizabeth Fones (21 January 1610 - 1668) was an early settler in the Massachusetts Bay Colony where her uncle John Winthrop served as Governor. Her subsequent behaviour would scandalize the Puritan colony.
* 1 Early Life
* 2 Massachusetts Bay Colony
* 3 Scandal
* 4 References
[edit] Early Life
Elizabeth Fones was born in Groton Manor, Suffolk, England on 21 January 1610. She was the daughter of Thomas Fones, an apothecary of London and his wife, Anne Winthrop.[1]The Fones family was staunchly Puritan. As a young girl, Elizabeth worked in her father's apothocary shop in London. On 25 April 1629 she married her first cousin Henry Winthrop, son of Governor Winthrop. A year after the marriage, Henry sailed for Massachustts Bay Colony on the ship "Talbot". On account of her pregnancy, Elizabeth remained behind in England. Her daughter, Martha Johanna was born on 9 May 1630. Upon his arrival in America, Henry was killed in a drowning accident on 9 July 1630 when he went swimming in the North River after visiting an Indian village near Salem.
[edit] Massachusetts Bay Colony
Elizabeth sailed to the Massachusetts Bay Colony with her infant daughter aboard the "Lyon", arriving on 2 November 1631. Her uncle, John Winthrop, who was also her guardian, served as governor of the Colony. Elizabeth married Lt. Robert Feake (born 1602) a wealthy landowner in 1632 in Watertown, Middlesex County He owned land in both Massachusetts and Connecticut. In 1640, Robert and Elizabeth acquired more land in what is now Greenwich, Connecticut.[2] They had five children: Elizabeth (born 1633), Hannah (born 1637), John ( born 1639), Robert ( born 1642) Sarah (born before 1647). In 1647 Due to financial, domestic, and personal problems, Lt. Feake went insane, and abandoned his wife and children.[3]
[edit] Scandal
Following her husband's desertion, Elizabeth deeply scandalised the rigid Puritan society in which she lived by co-habiting with her husband's business manager, William Hallet, by whom she had two sons, William ( born c.1648) and Samuel( born c.1650).They married in August 1649, her former brother-in-law John Winthrop, Jr. officiated at the marriage.[4] Only her close blood relationship to the Governor saved her from being prosecuted for adultery which could have resulted in her being given the death penalty. Nevertheless, Elizabeth, her new husband and family, were forced to leave Massachusetts for the more tolerant Dutch colony of New Netherlands New York, where they were eventually recognised as husband and wife possibly due to the friendship Elizabeth formed with Judith, wife of Director-General Peter Stuyvesant. Elizabeth and William settled in what is now known as Hallett's Cove, Long Island near Hell Gate. In September 1655, Elizabeth and her family survived an attack by the Hackensack tribe of Indians; however the Indians set fire to their house and farm, burning both to the ground. She purchased land in Flushing and Newtown, Queens County on 1 October from Edward Griffin. The following year, William was made "schout" or chief-official of Flushing.[5] In 1668, at the age of 58, Elizabeth died in Newtown, Queen's County New York. Elizabeth has numerous descendants in America.
Elizabeth is the subject of Anya Seton's book: The Winthrop Woman.
ELIZABETH FONES was born in England about 1610, daughter of Thomas and Ann Fones, and died in Long Island about 1667. She married three times:
1) Her first marriage was to her cousin Henry, second son of the great John Winthrop, in London 25 April 1629. When the Winthrop Fleet sailed in the spring of 1630, Henry was taken along to assist his father, because John, the eldest and most reliable son needed to stay at home to mind the family and business there. Elizabeth also stayed home, because she was pregnant; she was waiting until the child was born and old enough to travel before she joined Henry in America. The baby was born 9 May 1630 and christened Martha Joanna. Then Henry drowned .A diarist, Hubbard, is quoted in the footnotes to Winthrop's History; "A sprightly and hopeful young gentleman he was, who, though he escaped the danger of the main sea, was unhappily drowned in a small creek, not long after he came ashore, even the very next day, July the 2nd." He was a strong swimmer, but a. got a cramp and died very close to his friends who were unable to help him because none of them could swim. .
2) Elizabeth came later, bringing the baby, on the ship Lyon, landing 2 November 1631. Governor Winthrop quickly married her off to Robert Feake, in Watertown, Massachusetts, 2 months later. The Feakes stayed in Watertown for several years, and Robert was appointed lieutenant and elected deputy and selectman. Then his commanding officer, Captain Patrick persuaded them to by some property from the Indians in Greenwich, Connecticut.There are many stories about Elizabeth and Patrick; she was undoubtedly a flirt, undoubtedly bored with Robert, and probably did have an affair with him, and equally probably Robert was well aware of it.. Then Patrick was assassinated in Greenwich in 1644; and W illiam Hallett was put in charge of the Greenwich property because Robert was ill and then was away.
3) In the meantime Elizabeth and William Hallett had become a pair. Again.it not quite clear what happened. Because of Robert's insanity, Elizabeth obtained some kind of a divorce in New Amsterdam. She had another child, William Hallett's, towards the end of 1648..A "legal separation" was supposedly granted by the Dutch, but at least until May of 1649, no marriage had taken place between William and Elizabeth.. The council in Fort Amsterdam on 9 March 1649, banished William from Dutch lands, so they had to flee to New London in Connecticut where her cousin John Winthrop was deputy governor. When it looked as if they would be charged there too for adultery, they fled again, this time to Long Island. To quote McCracken:"We have found no evidence of how William Hallett and his "wife" Elizabeth finally made their peace with the authorities." Governor Eaton wrote to John Winthrop Jr., "it is possible that William Hallett and she that was Mr. Feakes his wife, are marryed; though not only the lawfulness and validity of such a marriage but the reality and truth is by some questioned (LIF)." Jacobus studied the documents and said he thought it was a legitimate marriage.(LIF) Whatever the truth was, Elizabeth had another Hallett baby, Samuel, born sometime around 1652.
William Hallett became Sheriff of Flushing, Long Island. While holding that office he permitted William Wickenden, "the famous Baptist evangelist of Rhode Island" to hold services at his house, and this so angered Governor Stuyvesant that he again banished William, but that was somehow smoothed over. Elizabeth died before 1669; after the death of Elizabeth,William married Susanna (Booth) Thorn as her second husband .But that marriage did not work out and a separation was arranged. A third wife, Katherine, is on record in 1684 and in 1686 a fourth wife, Rebecca, widow of John Bayliss. William Hallett died at Hell Gate, Long Island in 1706.
Elizabeth 1) FONES b 21 Jan 1609 Groton Manor, Suffolk, England - she died
1673 at Newtown, Queens, New York - Elizabeth married first 25 Apr 1629
Groton Manor, Suffolk, England to her 1c Henry 2) WINTHROP - he was born 19
Jan 1608 in Groton, Suffolk, England, the s/o Gov. John 1) WINTHROP
1587-1649 and his 1/wf Mary -1) FARTH - Henry 2) WINTRHOP died by drowning
on 2 July 1630 in Salem, Essex, Massachusetts
They had one child -
1. Martha 3) WINTHROP
Elizabeth 1) FONES-WINTHROP married 2nd
1632 at Boston, Suffolk, Massachusetts TO: Robert 1) FEAKE born 20 Sep 1602
in London, England, he died 1 Feb 1660/1662 at Watertown, Middlesex,
Massachusetts - he was the s/o James -1) FEAKE 1567-1625
and Judith THOMAS 1568-1625
They were parents of 5 children
(2) 1. Elizabeth 2) FEAKE
b. 1633 Watertown, Middlesex,
d. ...Killingwoth, [Oyster
Bay], Long Island, New York
md. 1648 Boston, Suffolk, MA
John 1) UNDERHILL s/o John-1]
b. 1600 Leicester,Warwickshire
d. 21 Sep 1672 Killingworth,
[Oyster Bay] LI, NY
5 children -all born Killing-
worth, LI, NY
(3) 2. Hannah 2) FEAKE [10gm]
b. 1637 Killingworth, NY
d. 31 Jan 1677/8 London, Eng
md. 7 May 1656 Flusing, NY
TO: John BOWNE 1627-1695
(4) 3. John 2) FEAKE b. 1639/40
(5) 4. Robert 2) FEAKE
bp 17 July 1642
(6) 5. Sarah 2) FEAKE bp Apr 1647
Elizabeth 1) FONES-WINTHROP-FEAKE md3)
William HALLETT as his 1/wf - she was 7 years his senior. William was born
1616 county Dorsetshire, England - he died 1706 in Newtown, Queens, Long
Island, NY
I don't know his parents -
Their children were:
(7) 1. [Captain] William 2) HATTETT
b. 1648 Flushing, Queens, NY
d. 1729 Newtown, LI, NY
md. ........
TO: Sarah WOOLSEY 1650-1691+
(8) 2. Samuel 2) HALLETT
b. 1652 Hallet's Cove, Queens,
d. 27 Dec 1724 Queens, NY
md. .........
NEHG Register 48:216 (1894) contained this query: (...) Early in 1647 Robert Feke (Feake) went to England, leaving his lands in charge of William Hallett (...) and Mrs. Feke. In August 1647, we have a hint at an improper intimacy between Hallett and Mrs. Feke; this is again mentioned in March, 1648; in April 1648 Mrs. Hallett is with child, and in July of the same year there is again some mention as to the validity of her marriage with Hallett. (a list of references appears here) Any information that might lead to the date of this marriage would be very welcome (...).
Feake returned from England sometime before September 1649 to find his wife had taken up with his former friend, and that she had sold off all his lands to Robert Husted and the Dutch Governor. No doubt these events contributed in large measure to his subsequent "loss of reason".
In 1958 "The Winthrop Woman" by Anya Seton, a historical novel based on the life of Elizabeth Fones Winthrop Feake Hallett, was published.
Ann is the subject in the fictional account of her life in:
"The Winthrop Woman."
Elizabeth Fones married (1) her cousin Henry Winthrop (son of Governor JOHN WINTHROP, whose sister Anne was Elizabeth's mother), 25 April 1629, who then left her to accompany his father to Massachusetts Bay, and immediately died swimming ashore there. She joined the Winthrop family in Massachusetts Bay as a very young widow with an infant. She married 2nd Robert Feake between 2 November 1631 and 27 January 1631/2 in Boston, MA. They had five children: Elizabeth Underhill, Hannah Bowne, John, Robert, & Sarah. George E. McCracken went into great detail on Robert Feake, and particularly on the matter of his "divorce," arguing that the couple had in fact received only a legal separation, and that Elizabeth (Fones) (Winthrop) Feake was not free to remarry. In 1966 Donald Lines Jacobus reviewed the same problem, and came to the conclusion that Robert Feake and his wife did obtain a divorce from the Dutch government, that she had married William Hallett by August 1649, and that the marriage was performed by John Winthrop Jr., her former brother-in-law. Source: Anderson's Winthrop Fleet.
Elizabeth is buried with her 3rd husband William Hallett at Hallett's Cover in the Hallet Burying Ground on Long Island. They had two sons, William & Samuel.
Her biography by Missy Wolfe: Insubordinate Spirit: A True Story of Life and Loss in Earliest Americs, 1610-1665 (Guilford CT: gpp, 2012). See also a video "That Winthrop Woman," published by
Elizabeth (Fones) (Winthrop) (Feake) Hallet's Timeline
January 22, 1608
Bromsgrove, Worcester, England
January 21, 1610
Groton Manor, Suffolk, England
May 9, 1630
Age 20
Groton Manor, Suffolk, England
November 2, 1631
Age 21
November 2, 1631
Age 21
May 1633
Age 23
Watertown, Massachusetts Bay Colony
June 16, 1637
Age 27
Watertown, Massachusetts
Age 28
Watertown, Middlesex, Massachusetts


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Hi! My name is Sophie
I am Domestic Shorthair from Saskatoon, SK
Nicknames: I always call my cat Oosa, Kitten, or sophia.
Age: 13 years old
Gender: F
Coat: short haired
Education: My cat learned how to sit in 1 week. my cat has done a backflipe off the couch. She also has jumped as high as the roof to my house.
My favorite tricks and treats are: Sophie knows when it's supper she has jump on her perch and sit (I taught her how to sit). and Sophie LOVES her chicken flavour treats so i buy them all the time.
Where I hang out: She hangs out on my piano, cabnit, and in the living room.
My favorite grubs: Sophie loves Eating Ham but i give her some only once and a while.
My pet peeves:
What I love about my owners: sophie loves me the most out of everyone in my family. thats wat i think she loves me because i play with her feed her and bath her. she likes being bathed.
My cat hobbies: My cat loves it when i chase here and she loves playing with string and catnip. when i go to school she enjoys sleeping. she also loves going outside.
Pet motto: me and sophie will stand as one and fight as one
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This is a long story so brace your self. One day i was at my G'ma and G'pa and my G'ma said we should go to my auntie sandy's clinic in assinaboi. when we got there there was an orange and white cat. the next day i went there with my mom. i asked my mom if we could have it cuz it didnt belong to anyone. she thought about it the next day and said ok if its alright with my auntie. my auntie said a man was comin for her tomorrow and if he never came in the mornibg i could have her. the next day in the afternoon she phoned me sayin i got the cat so duh i was happy be fore we went home we picked up the cat and named her sophie. we didnt have to [ay for her or surgery cuz it was my auntie giving me the cat. thats how i got sophie
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Morsels for the mind – 26/7/2013
Every day we provide you with #SixIncredibleThingsBeforeBreakfast to nibble away at. Here you can fill your brain with the most intellectually stimulating "amuse bouches" from the past week – a veritable smorgasbord for the cranium. They're all here for you to load up your plate – this week's "Morsels for the mind". Enjoy!
Feather, fur & fin – birds, beasts, fishes, and the things they do
Super shrew! If there was one beastie that captured attention this week, it was a remarkable shrew. No need for backup here, this critter has massive vertebrae that can carry the weight of the world. Great coverage by Becky Crew, Rich Johnston, Kelly Servick, and Melissa Hogenboom.
Cool for cats. Cheetahs don't overheat when they sprint.
Meow mix. Of cats, science, mythology, and more cats. Purr-fectly blended.
You want to go where everybody knows your name. So do dolphins. Each has a signature whistle that functions as its name. That's the game of the name, if you will.
On the right track. Amazing piece by Philip Hoare on the decimation and reappearance of North Atlantic right whales.
Performing under pressure. How whales keep blood flowing at great depths.
Song stylists. Male bats can be crooners. Singing songs for the lady bats.
Call of the wild. New app identifies species on the basis of their calls. Speaking of animal calls:
Caller ID. Individual wolf identities revealed by their calls. Small sample size but sounding good. Speaking of small samples sizes:
Hey hue! Small study suggests that dogs can discriminate colour better than thought.
Quite a mouthful. A modern-day, sabretooth…opossum.
Gee whiz! Mouse urine smells of emotion – glee and futility.
Toilet tales. A history of creatures lurking in the bowl. Moral: look before you sit.
Data dump. Faeces provide evidence for impact of elephant diet on rhino diet.
All in the family? Is sibling inbreeding the only way to save the Sumatran rhino from extinction? Maybe.
Living on the edge. Human activity is pushing other primates to the periphery. Literally.
Pet peeve. Web-based videos of an endangered animal don't necessarily educate. More likely to create a desire to have it as a pet.
Catastrophic cashmere. Making the cloth threatens rare big cat and native ungulates.
Unnatural selection. The conflict one feels when taking sides in nature doing its thing. In this case, jays versus a quail fledgling. A wonderful reflection by Chris Clarke.
Mapping a mystery. Geography of a wildlife disaster. Great collaborative work by Nadia Drake and Greg Miller.
Disturbing dophin deaths. High mortality calls for greater resources to solve mysterious occurrence.
Raccoons are freaky. 'Nuff said.
Sun worshippers? The sunbathing habits of our fine feathered friends.
This doesn't suck. How the remora evolved its super sucker.
A good grasp of the situation. Guppies use genital claws to hold on during sex. A case of claws and effects.
Successful celibacy. How bdelloid rotifers get by without sex.
Getting a head in life. Planaria just regrow one. It can help when they've lost their head.
Look! There's a dinosaur outside! Brian Switek takes a look at modern-day dinosaurs.
No sweat? How much can a person perspire before they run dry?
Bugs' life – insects and other things that creep, crawl and otherwise delight
Speedy swarm. Caterpillars gather to gather speed. Mind-boggling science, beautifully explained by Aatish Bhatia.
Holding on with all their mite. It's hitchhiking mites! They are truly riding things out.
Size matters. How the rhino beetle got its horn.
Matter of taste. For a butterfly, it's in her feet.
Bringing home the bacon. Sometimes it's to remove a screwworm infestation in your scalp. Yum. Deliciously disgusting stuff courtesy of Rebecca Kreston.
Nothing civil about it. Pests and disease were strategically deployed during the US Civil War.
Hungry for grub? What's stopping us from eating insects?
Beautiful botanicals – wonders of the photosynthesising world – that is, mainly plants
Bad buzzness. Plants prefer return customers when it comes to pollination. And if they lose even one species, there's a low return on investment.
Baobabs are beautiful. And they are also in trouble.
Beating the heat. What plants do when temperatures rise.
Surprising signals. Plant cells use same signalling molecule that animals use.
Taking a meal in the garden. The dining habits of carnivorous plants.
What goes around comes around. Why crop rotation works.
Root of the matter. Plant action underground.
Lasting impression. How 1976 drought left its mark on forests.
It's a gas! How chemistry puts a ripe banana in your groceries.
Oil's well that ends well? Might the oil palm genome help in making it a more sustainable crop? Maybe, maybe not. But first use of genome shows how it could help improve yield.
Seeing red. Photosynthesis observed around the world using infrared..FROM SPACE!
Fossil finds – organisms of times past – dinosaurs and beyond
Butting heads over heads butting. New evidence suggests that some dinosaurs used their skulls as weapons, but some folks are not so convinced.
What do dinosaurs wear? Their teeth!
Never ending story. Veg-eating dinosaurs replaced teeth at an amazing rate during their lifetimes. Sometimes as quick as every 14 days.
Quite a tail to tell. Complete, articulated hadrosaur tail has just one thing missing – the rest of the hadrosaur.
Reality bites. Sabretooth left a nasty mark in a hominid skull.
Big mouth strikes again. Comparing sabretoothed cats with sabretoothed marsupials.
Mammoth undertaking. Did sabretooth cats bring down giant pachyderms?
A bone to pick. Steve Mirsky ponders the troubles of becoming a good fossil in this great piece from 1998.
Microscopic marvels – smaller than the eye can see, but big in action – bacteria, fungi and viruses
A fascination with smut. Darwin, a suffragette, citizen science, an app, and a plant disease, masterfully woven together by Rose Eveleth.
All packed up. Bacteria hunt as a swarming mob.
Bugs will tear us apart again. Gut microbes prevent species from hybridising.
Land ho! Fungi may have taken to terrestrial living much earlier than previously thought.
Preposterous pathogens. Absurdly large viruses, Pandoraviruses, are making people think outside of the box. They are living life large. Literally.
Beloved bugs. Staying healthy involves embracing our microbiome.
A losing battle? The number of antibiotics to which bacteria have resistance continues to grow.
A beastly problem? Is antibiotic use on livestock fuelling a human health disaster?
Molecular machinery – the toils of the macromolecules of life – nucleic acids and proteins (and others)
X factor. The "female" sex chromosome helps sperm do their stuff.
Weimaraner wiring. Breed-specific mutation gives rise to canine neural disorders.
Better living through chemistry. Chemicals alone reprogram stem cells.
Beauty is more than skin deep. The horrible beauty of medical photography.
A bright spot. Light might be used to improve cancer therapy delivery.
"We're doing it wrong." There's, er, a slight problem when it comes to assembly of genome sequence data.
Code comfort? Might DNA be the best medium to store data in the event of an apocalypse?
Earth, wind and fire – planet shaping – geology, meteorology, oceanography & the climate
The view from on high. Sun glint and "gravity waves" are just some of the awesome features one can see from above.
Long hot summer just passed me by? If only. Some hypotheses to explain what's up with the heat & humidity.
Something in the way it moves. Exploring plate tectonics on the Earth..and beyond!
A little respect. The Volcanic Explosivity Index is a thing. And it needs adjusting to give small eruptions their due.
Star attractions – the final frontier, space
Everything in perspective. Earth and its Moon are mere specks in space when viewed from Saturn. It's a humbling selfy.
Out for a spin. Lovely lenticular spiral galaxy.
That's cool. Infant planetary system has snow.
It's foxy! A nebula like the Firefox logo. Natural, cosmic advertising.
Black holed sun. Amazing coronal "hole" near the solar pole.
Hot stuff. Just how close is "too close" to the Sun?
The space between us. Joe Hanson does a wonderful job explaining distances in our Solar System.
On the flip side. Think you know the face of moon? Think again.
Is there anybody out there? Lone Signal aims to connect with smart aliens. Yes, really!
We are stardust. Or images of stardust. Beautiful portraits constructed using Hubble photos.
The final frontier. Using Lagrange points to explore the cosmos.
Forces of nature – big-ticket items – cosmology, ecology, evolution, physics, mathematics, chemistry
Time out. What would elimination of a leap second do? Lots. Great time piece by Dava Sobel.
Wasted lives. Floating reefs of plastic refuse are creating entirely new ocean ecosystems.
Reef or madness? Tourists are literally loving coral ecosystems to death.
Pressure paradox. Curious crystal actually expands when put under stress.
Mews of the day. Millions of Schrödinger's "kittens" made from entangled photons.
A whole other dimension. The stranger, deeper side of nature's building blocks.
Flipping out. Neutrino "flavour" flipped.
Sound and vision. Jennifer Ouellette muses on music and subatomic particles.
Good way to B. Ripples from the Big Bang leave behind B-mode polarisation.
"Send all available rescue vehicles, there's a wave of molasses!" Ferris Jabr tells a remarkable story of a cooking ingredient, physics, and a city-wide disaster.
Revelling in radicals. Thomas Blunt and the discovery of free radicals.
Gravity of the situation. And 20 things you may not have known about it.
Getting sucked in. A cloud of gas does battle with a supermassive black hole at the centre of our galaxy.
Let's split! Astounding division of magnetic fluid.
Just a little attractive. Magnetism observed inside a single molecule.
Light at the end of the tunnel? The challenges of hunting for dark matter.
Lightening up? Is dark matter lighter than we thought? Intriguing possibility.
Matters of mind – how we, and other animals, perceive our world and our place in it
Doggie see, doggie do. Dogs are amazing imitators. They just need to know when to do it. It's called deferred imitation.
The way we were. Other apes seem to have autobiographical memory too. It can last for years, and be recalled in a Proustian fashion.
"I myself become the wounded person." Whitman, Darwin and empathy. A brilliant piece by Eric Johnson.
The curious moonlight. If you were sleepless in Seattle, it may have been a full moon. It's a sleep wrecker. This was discovered using old data by co-authors who "thought of it after a drink in a local bar one evening at full moon". Awesome.
Waisting the night away. Increased girth could be due to decreased sleep.
Child's play. Swapping body size with a kid does make everything seem bigger.
Try not to think of a polar bear. Of Dostoevsky & self control. Wonderful homage to Daniel Wegner, by Maria Konnikova.
Muggy minds? Is there a reason why the heat and humidity make us less productive? You betcha.
Think pink? Boys, girls, and colour preference – what's going on? Jordan Gaines does a great job of covering a subject that is far from black and white.
Against all odds. The gambling mind of the extrovert. Fascinating insight by Tom Stafford.
Forget what you know about amnesia. It is probably wrong.
A turn for the worse. Nocebo, the evil opposite of placebo, can worry you sick.
Writing by numbers. How forensic linguistics finds author's trends, and thereby outed JK Rowling's latest. Virginia Hughes delivers a real page turner.
Learning curve. As machines get smarter, they learn to learn like we learn.
War! What is it good for? Our species may be violent, but not necessarily warmongering. So says analysis of modern hunter-gatherers.
"Health inequity and globalisation are intertwined like coils of rope." Tania Browne reflects on a timely health issue. These reflections question some of the Western world's most fundamental beliefs.
Making sense without scents. Words create odours when you have anosmia. Heart-wrenching reflection by Rebecca Steinitz.
Behind the scenes – the workings of the museum – discovery and communication
Piecing it together. Research on tidewater glaciers illustrates how science is like a jigsaw puzzle. Wonderfully assembled by Sarah Boon.
Science solidarity. Was a time when science was more politically charged. Have we lost that edge?
Larger legacy. Considering a bigger picture of Rosalind Franklin on the occasion of the 93rd anniversary of her birth.
Ever wonder how some science communicators get so much accomplished? Rose Eveleth's secrets are revealed.
"The sad fact is that nobody outside of scientists cares about basic research." How to tackle that grim reality? Some great thoughts by Lisa Willemse.
"Being a scientist and a feminist is a win-win situation." Thought-provoking reflections, plus some good comments, and others that will make your head explode.
Buy the numbers? Spurious data are all too often reported as fact.
"If an academic can talk to a colleague or a friend, they already know why and how to tweet." The whys and wherefores of academic twitter use.
"A narrative playground for science." Paige Brown on the awesome power of science fiction.
Make 'em laugh, make 'em laugh, make 'em laugh. The importance of humour in communicating science.
Invincible? Hardly! Science shows Wolverine's weakness. And Kyle Hill shows his great skill at conveying science through pop culture.
"Idealism takes many shapes. A stone wall is one of them." Gorgeous piece on the taming and re-wilding of Nature, and the relationship between science writing and nature writing, by Kim Moynahan.
Ferocious argument? Not at all. How to teach the T. rex "nontroversy" regarding its position as predator versus scavenger.
Branching out. Rethinking the teaching of the tree of life. Larry Moran considers chopping the tree. Interesting comments, including a useful one by Jonathan Eisen.
Write on! Great advice on keeping a research journal that is distinct from a lab notebook.
Accelerated artistry. The latest artist's tool? A particle accelerator. Yes, really.
"One of the most beautiful things you'll ever see in a war zone." Genius, poignant piece by Kyle Smith. Read of the week.


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Well, I do not know whether Pitkeev will have a quad this upcoming season and if he does if it will be consistent. However, I did read a few weeks ago that he is working on it so that shows Tutberidze definitely understands that she needs to teach him the quad in order for him to be successful on the senior stage next year. I would not be too surprised to see him trying it in competition next year.
If a country has two entries, they have to place in the top 13 in combined placements to get three spots. (example: 3rd and 10th, 6th and 7th, etc). They need to place like 26 or something else really high in combined placements to keep the two spots.
A Menshov/Gachinski Team Russia would make me so happy. (Not least because it would mean Artur is skating well again.)
I have a soft spot for Menshov and am really glad he got his Euro bronze. I'd also like Voronov to get more opportunities (IMO, he was screwed out of an Olympic team medal by Plushenko). Pitkeev's time will take a while. I don't think he'll get his quads as quickly as Kovtun did (essentially half a season to put in 2 quad toes, and one season later a 4S and programs with 3 quad attempts). Menshov can also easily do 4S in practice, so I'd love to see him bust out 3 quad programs.
^^Credit to Kovtun for getting fourth place, because yes, we don't know for sure Voronov/Menshov would've placed top 10. But we also don't know for sure if Russia will have Team gold had Voronov skated at the Olympics. The Russian Federation screwed him over, if you're going to use those terms. Not Plushenko.
Kovtun landed one quad at Worlds LP. Quads attempted =/= quads landed. I'd rather Pitkeev skates some solid, consistent programs than if he runs around attempting a million quads, because the latter probably won't work out for him (if it does, bye bye Kovtun, Gachinski, Voronov, Menshov, Plushenko, everybody. Darn it, the Kovtun-Gachinski drama would've been over before it started).
Oh no... Y/M are one more year on junior level. I really hoped that they would change their mind after I/K catastrophe.


text:
No .... huh???
Catabolism = The breakdown of body tissue for whatever reason.... primarily energy.
Anabolism= The building of body tissue.
You are always catabolic when using body fat for energy. You are being anabolic when building muscle or storing fat. If you are fat adapted yet eating a ton.... i.e. more than what you are breaking down for energy, then by definition you are being more anabolic as you are storing more. If you are breaking down more fat than you are taking in then by definition you are in a more catabolic state. What state you are in at this very moment depends mostly on the last time you ate and sleep/wake.


text:
FOR IMMEDIATE RELEASEJun 11, 2007
Contact: Rodney L. SharpPhone: (904) 824-1140Cell: (937) 414-7571
JACKSONVILLE, FL The Florida Linux Show 2008 has expanded its show concept to include Linux as a solution for Greener PCs. Of the 35 million tons of CO2 released in the atmosphere each year by United States PC users, Linux offers a solution to cut those emissions by almost 50%. In addition to owning a green PC, Linux also affords average users and companies to save green from their wallets and bottom lines. Attendance at the show will provide all these answers and more.
- more -
Please visit the website at http://www.floridalinuxshow.com/index.php?pr=Press_Releases.


text:
Begin Your Search
WineAccess Travel Log
Read stories from the world's greatest wine trails.
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2007 Domaine Leflaive Batard-Montrachet
Producer: Domaine Leflaive
Style: White Wine
Grape Type: Chardonnay
Origin: France
Region: Burgundy
Appellation: Cote de Beaune
95 Points | Stephen Tanzer's IWC - September/October 2009
($430) Pale, green-tinged yellow. Knockout nose combines musky pineapple, lime and powdered stone; seems less exotic than the 2008. Wonderfully silky on entry, then explosively ripe and sweet in the middle, with powerful, palate-staining flavors of lime and flowers. Very rich and impeccably balanced, with its sweetness perfectly countered by firm buffering acidity. A great showing for this extremely long grand cru.


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It's a wrap for Bike Wise!
Even though Bike Wise has wrapped up there are some great resources which you may find useful. The Bike Wise 'how to' guides, fact sheets, media, posters and planning templates will help you organise a Go By Bike Day, Big Bike Tune Up, Be Bright campaign or the new 'Bike Wise Explorer'. Check out the resources page.
What's happening?
Bike Wise rides into the future1 July 2016
After more than a decade in the saddle, Bike Wise is parking up from 30 June 2016.
Read more
Pit stop at Be Bright and win a $50 voucher20 May 2016
The days may be getting shorter and cooler, but many of us are braving the elements to continue using our bikes for transport, fitness and fun. Doing so safely, however, depends on Being Bright: lights, high visibility clothing and reflectors are an absolute must. Pull into one of the many Pit Stops that Bike Wise has established around the country, complete a quick survey and you could win a $50 bike store voucher.Read more
2walk and cycle conference13 May 2016
Have you ever wanted to meet up with like-minded individuals striving for a more active, healthier community? The 2WALKandCYCLE Conference 2016 delivers just that.Read more