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Sigma 50mm F1.4 DG HSM review
1 Introduction
|2 Next
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
I own it
I want it
I had it
Discuss in the forums
I have the Sigma 1.4 and Canon 1.2. The Sigma is sharper, but the Canon has better bokeh. I use them in different situations and will keep both of them. There are situations where one is appreciated more than the other.
I just bagged this lens last night and tried it on my 80D and my 5DMIV. Strange experience I have had, it seemed to focus better on the 80D at 1.4 and while this is not a thorough test I did, I'll share more info as I get to use the lens more extensively on both bodies. Anyone using this glass on a cropped body? How has it performed?
Sigma 50mm ART is really incredibly sharp - but only if you can get it properly focused. On my D750 I can get breath-taking sharp images if I focus it MANUALLY. However with auto-focus the story is much worse because it systematically back-focuses by .5-1.5 inch. I have tried to correct the problem using D750 "AF-fine tune" but it cannot solve the problem because the range of auto focus adjustment on D750 is insufficient. The next step will be to tune the focus on Sigma 50mm Art using Sigma USB-dock and Sigma tuning software. I have started this process but unfortunately it is NOT very simple and straightforward. I have heard and read about this problem from a number of other Sigma Art lens users so it is not unique to my case.
After spending a day trying to fix the AF problems on my Sigma 50mm F/1.4 A using the Sigma USB-dock, Sigma Optimization Pro software, and shooting hundreds of test images with various focus micro adjustment settings, it is obvious that there is a serious problem with my lens AF operation. This may not appear as a serious problem for a casual or semi-serious user (lens focuses after all but at a bit wrong point). However, for a critical perfectionist, this is unacceptable. Very similar problem is described in depth at
Cost aside would you buy the Nikon 58 mm over the Sigma Art 50 mm? I use the D750 as well and am trying to figure out best move first and then worry about cost.
Where did you buy your Sigma lens from?
I understand the only reason to micro adjust is if you open the lens to F 1.4, focus say on a persons nose and it is OOF with the eye being sharp it back focussed
If you do the same locked on to a eye and the nose is sharp.
I have not felt like i needed micro adjustment with the Nikon lenses I have and was trying to clarify how you know you need to do this and by what means do you set up the caemra to figure it out and was told use the widest aperture in manual exposure mode. I am not sure I want to bother with charts and targets etc..
I think I didn't have AF problems with mine on my D810, much more problems with 85mm f1.8 G. The biggest drawback of sigma tho is its (imo) very heavy weight. I feel if tamron is "close enough" to it, their primes might be better (since they're lighter).
I never shot or held medium format gear, but I got a feeling the sigma might be weight-wise entering in that category :/
I don't think the nikon 58mm is worth it, as it doesn't produce same kind of results wide open.. but maybe it has better bokeh than sigma / nikon's 50 1.4-1.8 G's? It simply lacks the wide open sharpness (I think both 50 G's do too) , so I'm in favor of the new tamron primes
Finally it was tested on a Quality Camera and Quality Sensor..Nikon D810. I have been using Sigma 50mm Art for a couple of years now. Nothing comes close, except Otus 55..but that is another type of Beast. Tack Sharp and yes it is heavy, but no problem. I am test driving the new Sigma 24-35mm Art in two weeks...can't wait. The Sigma 50mm Art has been a joy to use and no problems with Focus on my D810. I Highly Recommend The Sigma 50mm Art. Beautiful work it performs.
I've been in and out of my local camera store nearly once a week for the past few months trying to decide between the Sigma 1.4 Art and the Canon 1.2L. After A LOT of deliberation, I'm about to buy the Sigma. Not because it's sharper (it is), not because the AF feels a little faster(well maybe just a little), not because it's cheaper (this definetley helps), but because of the overall general aesthetic of the image it produces. It's difficult to explain, but the in-focus area when shot at 1.4 tends to really pop out. More so than the Canon. The bokeh is not as dreamy as the Canon, probably because it's sharper overall, but it's nice.
One of my main concerns though, besides it's weight, is the customer service and quality. I have nothing but good things to say about my local Canon Service Center. Their customer service is amazing. After seeing some people mention some QC problems with the Sigma, I'm feeling kind of nervous about pulling the trigger.
I finally picked up a copy of the 1.4 art 50mm and after a bit of in-body AF-fine tuning it's laser sharp.
Doing this is highly recommended as the lens needs some adjustment to get it right.
Very satisfied with results now after being a bit frustrated when initially getting the lens.
Big and heavy lens as well as very pricy at a grand but well worth it.
Great images come from big glass and big glass is heavy.
The trade off with size/weight and being pricey is definitely worth the quality you're getting.
I'm using Sony Alpha. I really impressed with this lens. Overall is perfect!!!
I can fully aggree on the conslusions, except for one thing: It puzzles me that it is regarded as expensive, given how unshamefully good it is. I mean: Next step up would be the Otus.
Anyway, I am deeply awed by it, and it is such a joy to see how Sigma has stepped up their game. (More like a quantum leap, actually.)
And no, I don´t have any close friends at Sigma.
IMO, the Sigma is really expensive, because while it's really sharp and fast and everything, it also completely lacks character and the Bokeh is far from great.
The Canon 50/1.2L may be slow and way too expensive and not really sharp wide open, but it has character and produces beautiful oof highlights.
The OTUS is an investment for life and delivers on the whole spectrum. There is absolutely nothing I could find to complain about with this lens.
@Photominion. Suspense is killing, please do tell what do you mean by character? In your opinion the 50 1.2 from Canon, despite lacking in every way, is worthy of it's price tag just because of this "Character" thing.
The Otus, on the other hand, is optically perfect lens but 4x more expensive and does not deliver on the full spectrum since it does not have AF.
On my first few shots, I have to say I wasn't particularly impressed.
I was comparing with my EF 24-70/2.8L II. Center sharpness appeared about the same.
But once I started using it more - and then (especially) fine-tuned with the USB dock this lens positively came alive. There's more to it than just sharpness, which it's certainly got to the very corners. Local contrast is amazing - this thing pulls details out of thin air.
I've loved my Nikkor 50/1.4 AI-S since the late 70's, and nothing could match its creamy bokeh until now. This lens is another winner from Sigma.
I want to buy this lens to use it on a D3200 Nikon. Are there going to be any issues with focusing with this lens on this camera and is it a good choice and should I go for it?
Thanks in advance!
D3200 has a crop factor, so this lens for FF will be a 75mm equivalent. It will certainly work.
If you're looking for a 50mm equivalent you could use their 35mm for full frame.
A $1,000 lens might not usually be paired with a D3200. Nikon and other have qualitative 50mm equiv lens for a portion of the price.
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!
does this work with nikon d7100?
Of course. But it becomes a 75mm equivalent lens because of the crop factor.
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?
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!
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 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 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.
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).
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.
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.
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.
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, 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.
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.
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text:
E.J.Greater Lowell Road RunnersCry havoc and let slip the dawgs of war!May the road rise to meet you, may the wind be always at your back, may the sun shine warm upon your SPF30, may the rains fall soft upon your sweat-wicking hat, and until you hit the finish line may The Flying Spaghetti Monster hold you in the hollow of His Noodly Appendage.
hey Ed,
Howz dem Loco shoes ?
I haven't registered yet, but I'm training toward the inaugural Providence Marathon on 5/4 and hoping to move my time of 3:47 a little closer to the BQ (for 45 male) of 3:30.
Run to Win25 Marathons, 17 Ultras, 16 States (Full List)
I'll be there.
When it's all said and done, will you have said more than you've done?
Burninated Peasant
Bonkin, great to have you back! I'm jealous - you lay off for weeks at a time, and jump back in with an 8 miler. When I'm out of shape (like now), I'm happy to get in 4.
Chumbawamba: I get knocked down But I get up again You're never going to keep me down
PR's800: 2:38|1600: 5:18|3200: 11:55|3 mile:19:07
Queen of 3rd Place
Ex runner
A Saucy Wench
I have become Death, the destroyer of electronic gadgets
"When I got too tired to run anymore I just pretended I wasnt tired and kept running anyway" - dd, age 7
with triple-digit temps already here

subset: commoncrawl


text:
Museum of the City of New York
The Museum of the City of New York embraces the past, present, and future of New York City and celebrates the city?s cultural diversity. The Museum is dedicated to fostering an understanding of New York?s evolution from its origins as a settlement of a few hundred Europeans, Africans, and Native Americans to its present status of one of the world?s largest and most important cities.
Resource URL: http://www.mcny.org


text:
My New Landscape Photo Website
As far as the site goes I just looked at a few of the website sample galleries they share and the CSS and Javascript code that is available on the Smugmug Help and Dgrin websites.
I agree that it can be a tad sluggish at times but at least I can attribute that to the complex gallery format. I'm leaving Pbase because I found it to be very slow and with very simple gallery layouts. I'm happy with my decision.
Bill1234 wrote:
Great site! I love your layout and your photos. Smugmug also hosts
my site. Your layout is much better. I would like to find out how
you accomplished it.
My one issue is not with your site, but with Smugmug. Smugmug seems
to be sluggish at times and this can be very frustrating to viewers
of your site. If the speed does not improve soon, I may have to find
another host.
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|Jun 7, 2009
|Jun 7, 2009
|Jun 8, 2009
|Jun 8, 2009
|Jun 8, 2009
|DSC_9643 by NOWHITELENS
from Best Photo of the Week
|Thailand Sunrise by ozziebadger
from Ships and Boats


text:
Interview with Sister Mary Dominic
Klaseus (SD)
Conducted by Mary Kay Miller Feist (MF)
Mankato, Minnesota, 27 July 1998
Transcription by Acacia Jonas
Edited by: Jane Trygg and Linda Haag
MF: Today is July 27, 1998. I am Mary Kay Miller Feist, a volunteer interviewer for the Germans from Russia Heritage Collection at North Dakota State University Libraries in Fargo. It is a pleasure to be visiting with Sister Dominic in Good Council Mankato, Minnesota. Sister Dominic was my eighth grade teacher in Strasburg. Would you give me your chosen name? The name you chose when you became a sister?
SD: Dominic.
MF: Why did you choose Dominic?
SD: I wanted a name in honor of the blessed Mother. And every name that I had thought about had been taken. Then I didn't want any of those manufactured names, a piece of this one and a piece of that one. So I thought well Saint Dominic is supposed to have had a lot to do with the prolongation of the rosary. So I thought that would be a good name to take. That's why I took Dominic.
MF: Sister, what is your date of birth?
SD: February 26, 1928.
MF: Where were you born? Can you also give me the town, were you born at home or at the hospital?
SD: I was born right here in Mankato, Minnesota in St. Joseph's Hospital.
MF: Are you originally from here?
SD: I'm from Mankato.
MF: So you didn't travel to far from home.
SD: No, I just had to come up the hill.
MF: Great. What is your nationality?
SD: I don't know. It's a mixture of German I suppose. I suppose that's predominately what it is. My uncles and aunts, what did they always say we were? I can't even think of it right now. That little country right between France and Germany; Luxemburg. They always said we're Luxemburgers. But I think it's, what do they always say, a dog from every kennel. (Laughter)
MF: Would you tell me your father's name?
SD: Clarence.
MF: Last name?
SD: Klaseus
MF: How about your mother and her maiden name?
SD: Agnus Rohrich.
MF: Are they both living?
SD: No, they're both deceased.
MF: Do you know when your father died and where he was buried?
SD: My father died right here in Mankato. He had a heart attack in our parish church and died in church. He is buried right here in Mankato at Calvary Cemetery.
MF: How about your mother?
SD: Mother died of a stroke and she is also buried right here in Mankato at Calvary Cemetery.
MF: Do you have any brothers and sisters?
SD: I have one brother and one sister.
MF: What order are you in the birth of the family?
SD: I'm the oldest.
MF: You're the oldest?
SD: Oh, yes.
MF: I'm the oldest. So we have something in common.
SD: The role models.
MF: Well, we try to be. Were there any other family members or relatives that entered the religious life?
SD: No, not to my knowledge. There was a Sister Bernwada Klaseus, I have on idea where she is from or what branch of the family she is.
MF: Is she part of the school Sisters of Notre Dame, too?
SD: Yes.
MF: Were your parents very supportive of you joining?
SD: No, they did not want me to enter.
MF: Really?
SD: That's a fact.
MF: It seems like most parents are really excited when their daughters or sons would want to enter the Sisterhood or Priesthood.
SD: Well, this was not the case in our family. If this were not on tape, I'd tell you what my father said the first time.
MF: No, some of them aren't supportive. You know. But it's the life you chose and you have to live out your life to your satisfaction.
SD: See my father died before the rules were changed. When I entered you could only go home twice in a lifetime.
MF: Okay, Okay.
SD: My father died when he was 50 years old and our rules were still very strict. He had a very hard time with us not being able to come home, not being able to eat with the family when they came and visited. He just thought it was a bunch of nonsense.
MF: What role did the Holy Scripture and prayer play in your home life?
SD: Not a tremendous amount. We were not an overly Pius family.
MF: Who influenced you to enter the convent?
SD: I had a teacher in sixth grade, she was a Notre Dame Sister, who I thought was the best teacher I ever had. I admired her and her work. I think she was the one who really influenced me.
MF: So you went to Catholic school?
SD: Yes, I went to St. Peter and Paul School right here in Mankato from kindergarten right through senior year.
MF: Did you have the school Sisters from Notre Dame?
SD: All the way through. School Sisters from Notre Dame, there is no other order is there?
MF: I enjoyed the ones that were in our school, I know. Did your local pastor influence your decision in any way?
SD: None what so ever.
MF: Upon deciding on your religious calling, did you ever consider or think about what would be left behind with social life?
SD: No, I think that I so wanted to do this that I didn't think of those things that much. I don't know the Lord has his ways that's all that I can say.
MF: Of letting you know?
SD: He just sort of leads one on and when you look back you think oh this is why this happened, interesting.
MF: At what age did you enter the convent?
SD: Age 18.
MF: And we talked about not being far from home being you were right here from Mankato. What memories do you have leaving home to enter the convent? Like the day you left, what was it like coming here?
SD: I don't even remember if we took a cab up here or drove me up. I don't remember that. I know that Sister Charlotte, my senior home-room teacher came with us and my mother was along. I know I was running around in my slacks till the last minute and my mother finally said, "Don't you think you better change clothes?" So I did. She was weeping most of the time. You would think that I was going to die or something. It was not a happy occasion it was very difficult. I was getting what I wanted but my folks were very upset and unhappy with my decision.
MF: What was it like when you got here? Did you feel real welcome?
SD: It was very different. Yes, I felt welcome. There was a group here before us, the class ahead of us, which welcomed us and took us under their wing. They showed us the ropes as it were and got us acclimated to where we were going to sleep. My mother had to come up and make sure my bed was alright, to see if I had a good mattress.
MF: How many other gals were in your class when you started?
SD: There were 18 of us when we first started.
MF: And when you graduated did all 18 finish and become sisters.
SD: No, no. People dropped out in the candidature as we called it. I think we lost 3 in the Vishit(sp? 075). When we were professed we might have been down to about 12 or 13. I'm not so sure of my numbers right now. Two people from the class following us were pushed into our class and went to the (076) with us. So our numbers were 2 more than what we had. At the present moment there are going to be 7 of us celebrating our golden jubilee next year. Actually, of the original 18 there are 6 of us left. One died so that means the others left.
MF: But that's quite an accomplishment to have stayed in and be celebrating this big event.
SD: Well I'm looking forward to it.
MF: Will that be celebrated here?
SD: Well yes, yes. It will be celebrated here. We will have one celebration in spring for those of us living here at Good Council and at that spring celebration we can invite our friends and relatives. In August we have the Provincial where the whole providence comes together to celebrate. So that will be a year from now.
MF: What was your typical daily schedule at the convent? What did you do in the morning, afternoon, and evening?
SD: Our mornings started, depending where we lived,
most of the time at a 4:45 or 5:00. I think we had about a half
hour to dress and get ready. We went to chapel, Morning Prayer,
half hour meditation followed by breakfast. Then if we had some
time we did our little light housekeeping duties around the convent,
whatever area you cleaned. We probably mopped a room or whatever.
Then we went to school. We were in school and had a little break for lunch. Then we stayed in school until prayer time. Then usually hurried home and got home in time for the afternoon prayer which was a 15 minute meditation. That was followed by supper and supper was followed by an hour of recreation. Then we had quiet time for study so we could prepare our lessons for the next day. Lights out at 10:00.
MF: Well if you had to get up early I'm sure by 10:00 you were ready for bed. It was a long day. Did you keep in touch with classmates?
SD: No, because we were restricted in our writing. We received mail every Sunday when we first came in. We were restricted as to how much mail we could write and then even visits. So even being here from Mankato I really did not stay in contact with my classmates that much.
MF: Were you able to return home often for funerals, weddings, special occasions or birthdays being that you were so close?
SD: No because of the rules. Once we were professed
we could go home twice in a lifetime. That's the way it
was when I was professed in 1949. Then we had a change in rules
that said we could go home four times during our lifetime. I was
very fortunate because my mother and dad were celebrating their
silver jubilee, their wedding anniversary.
I used one of those four home visits and I could remember asking my Provincial. I was stationed in Wabasha, Minnesota and can still see where we were. We were standing in the kitchen and I asked if I could have permission to go home for my mom and dad's silver wedding anniversary. She said, "Well I'll have to ask my council." I said, "Well you're the Provincial why do you have to ask your council?" She said, "Because you're so young."
See I had only been professed for two years at that time. Usually two years wasn't long at all. Usually we were in for three years and then we'd have a summer and renew our vows for another three years. Then at the end of six years if we were still determined at becoming a sister we took our final vows. So I was just a sprout when I asked if I could go home for my dad and mom's jubilee wedding anniversary. I did get to go but I was not able to attend my brother's wedding.
MF: Did you ever question your decision of joining the convent?
SD: Probably the only time was when my dad died suddenly and mom was left alone. My youngest sister was only a fourth grader at the time and my brother was in the Navy. But that wasn't a very serious thing. It just came to my mind and then thought what good could I really do. Mother was a very capable woman. She was a survivor so she managed very well.
MF: So you felt very good about your calling? You felt you made the right decision?
SD: Yeah, if I had to do it over again, I'd do it with a blink of an eye.
MF: Good, wonderful. Let's talk about the training for the religious life. Describe the steps and the length of time it took you to go through the Posalance stage.
SD: Ok. We were candidates. They called us first
year candidates when we came in. So we had one full year of college
courses and learning something about religious life. The second
year was baptism by fire. They wanted to know I guess if we could
teach. They would send us out to teach after one year. We only
had one year of college under our belts, but we studied hard.
We covered a lot of territory in that one year. They sent us out
to teach and after that one year of teaching then we came back
in. If we still persevered then we entered the Vishits (sp? A141).
In the Vishits (sp? A142) we took religious classes and learned
all about the rules from the Notre Dame Stand and about meditation,
prayer, religious life. After one year then we were allowed to
be professed. So it was a three year period.
But like I said earlier we took vows for three years and then a summer of reflection to see if we wanted to go on another three. So we renewed our vows for three more years. There was a period of nine years before you really said this is it and took your final vows.
MF: What was that ceremony like when you took your final vows?
SD: It was in the context of a mass. We exchanged our white veils for the black veils and that was the real ceremony. At one point in the ceremony..... You said final vows?
MF: Yes.
SD: I'm thinking of first vows, when you took your first vows you exchanged your white veil for the black veil. There was one part in the ceremony that was very impressive. That was the part where all of us were kneeling in front of the altar. If you've seen our chapel you know what a large sanctuary we have. There was a point in the ceremony where we would prostrate ourselves on the floor of the sanctuary and there were four large candlesticks at the corners. Then they put up the black pall over us and that symbolized that we were dead to the world as it were and that part was very impressive. And of course each one of us took our vows. We said the formula of the vow together and then each one pronounced our names. It was very solemn, very solemn. I remember I was on an all time high when that happened. You know now the commitment was made. I had always made that commitment as far as I was concerned this forever the first time I walked in that door. But now it was official. Our vows were accepted by the bishop and by the church. It was solemn.
MF: So you were a sister.
SD: Yes.
MF: Ok. Describe the training you had for teaching. You got your college education up here you said?
SD: We started up here. While we were out teaching
that first year when we were still postulance (sp? A171) remember
I said we had one year here and had intensive courses? Then that
second, year even though we were teaching, we took Saturday classes.
We always worked with the senior sisters, somebody who was an
experienced teacher, you had a mentor.
You learned a lot from the sister you working with. They always paired us off with someone. Then our education was peaceful as it were. I attended the college of St. Catherine and I received a lot of my so-called classes. We took our actual methods classes at teacher's college. You know how to teach math, reading, and religion. So the different types, that's how that was taken. My liberal arts course I had a major in English, Education and a minor in History.
I waited a little while and then went on for a master's degree. They wanted me to go on in English. So I went to Marquette University and spent about three or four summers there. I figured this was not my cup of tea. I couldn't see myself teaching these guys. If it would be six foot something and I'm supposed to teach them like ode to (A188). Can't you just see some big guy waxing eloquent and getting excited about (A189)? Well I didn't think that was my cup of tea. So I came back and said to my director of studies at the time and said I don't think this is for me. She said well you're a little to young to be switching masters. She said well what do you want to do? I'll put you on my problem pile.
So I guess I was on her problem pile for awhile. I didn't hear from her and finally she called me and said "Say would you like to go into Administration?" I said, "Yes, I think I would." So then I got my master's degree and my specialist degree in elementary school administration. I was licensed.
When they first put that six year program in they called it superintendent's license. You could be a superintendent if you wanted to be. Well I wasn't that crazy. I liked what I was doing, I liked being in grade school and liked being in interaction with children of that age. My favorite class I taught was sixth grade. That was the level I really enjoyed. My first experience with eighth grade was out at Strasburg. I had come from a very energetic and enthusiastic group of sixth graders. Then I came out to Strasburg and I had these eighth graders.
I can remember I'd say now would you like to do this, or what's your pleasure? How would you like to do this? They never answered me. So I had to always say if you don't want to do it this way, you don't want to do it that way so you do it my way. So that's how we did it until finally they got used to me.
I think your class was much more alive than that first group. I didn't know if they knew how to take me. I wasn't used to the lack of enthusiasm. They didn't show their feelings that much. Whereas, those sixth graders, my goodness, trying to keep track of them. I always compared them to a popper of popcorn, you always had to keep a lid on them because they were so enthusiastic they were like kernels of popcorn that would pop right of the pan if they had the chance. We had so many projects that we did.
MF: How many years were you in Strasburg?
SD: Two only two. They were two good years though.
MF: Now I had you as an eighth grade teacher but did you have an eighth grade class before my class?
SD: I had the grade ahead of you because I had Stucky in that group.
MF: Ok. Anything you want to share about that group?
SD: Well, that was a tough group to handle. It was
my first go at being an eighth grade teacher and I didn't
quite understand the difference. They were really different, I
don't know. I had come from a large city school in St. Paul,
Minnesota where I had forty some children in a class. They were
an enthusiastic bunch of kids. I just thoroughly enjoyed my work
there. They had no problem with discipline. There is a difference
being a sixth and eighth grader.
MF: I would believe that there would be.
SD: There was a big difference. Then I grew to love those kids too, though. I had my eighth grade there and then I had your class which was a fun class. I can remember Frances Feist some of the things she said were just riotous. She had such a good sense of humor.
MF: Yeah, she does. She was quite a leader.
SD: Yeah, she was.
MF: She just organized our class reunion and she was quite involved. She's teaching.
SD: I was very happy to hear.
MF: She's an administrator.
SD: Which I was doubly glad to hear.
MF: She is teaching first grade in Strasburg and is the Principal. She seems very happy. I can see Fran enjoying the kids.
SD: She enjoys life. She was living life to the full already when I had her in the eighth grade. I don't remember you that well. I don't remember if you were that quiet.
MF: I don't know.
SD: I don't know either anymore. A very gentle lady you were and are. I think you are as gentle now as you were in eighth grade. I don't know how many times you interacted with me.
MF: I got in trouble once. I remember that. I don't remember what for, but I know I got in trouble once. Where were you first stationed? What was your first assignment?
SD: My first assignment was a sink or swim situation when we went out as postulance(sp?) and taught for one year. I had a fourth grade class at St. Matthews and St. Paul and I had 54 students. I was glad I had Notre Dame Sisters because I just imitated what our teachers had done.
MF: Then you had a support group when you came back too. Did you live here then?
SD: Yes. Well, but we lived at the mission. I was
stationed at St. Matthews so we stayed right at the convent. But
because of the rules at the time there were four of us postulance(sp?)
and the irony of it was that there were two of us that were partners.
One of the postulance(sp?) taught first grade, so she had a sister
that was her partner and fully planned their work together every
Sunday. Then the other postulance(sp?) was teaching third grade.
She too, had a sister.
She would go down stairs in convent and they'd plan their work. Then there were two of us postulance(sp?), who had fourth grade. I had 54 she had 56. We sat across the table from each other and said well what are we going to do this week. We had sisters we could ask questions so that part was ok. As a profess sister my very first year out was at Holy Childhood in St. Paul. I had a third grade. Then the second year I was there I had a third and fourth.
MF: A combination classroom?
SD: Yes, which was ok. Then by the time the next
year, my third year, they usually wanted to move you around so
you had a different experience before you took your renewals.
So my third year out as a profess sister I was in Wabasha, Minnesota
and again I had a combination of fifth and sixth. That was a class.
That was probably the toughest class I've ever had. That sixth grade was something else. And you know the thing of it is I can't tell you right now how many students from the fifth and sixth grade class I had ended up being killed in car accidents and drownings.
MF: Oh, how sad.
SD: It was just unbelievable, one after the other. It was a very tragic thing.
MF: What were some of your interactions with the parents? I would assume at the beginning of your sisterhood you weren't able to leave the convent very often. Were you able to go down town? Were you able to go to people's homes?
SD: No, no we weren't. That was the rule of enclosure we called it. We couldn't go. We went from our convent, to church or to school and that was it.
MF: So how did you get your groceries?
SD: We phoned them in and they were delivered.
MF: They were delivered to the convent then? Did you have someone that prepared the meals?
SD: We didn't in Strasburg. We had someone who was preparing the meals for us in other places... When I first went out we did have what we called home service sisters and they were the ones that really made a home for us. I always called them our surrogate mothers because we would come home from school and the meals would be ready. We'd open the door after a hard day and we'd either smell fresh bread or cookies.
MF: Well I'm sure you were very, very glad not to have to prepare a meal after a full day.
SD: Now we do. Times are changed and we don't
have home service sisters anymore. So we hurry home. Even here
in our small community, where I live there are five us that live
in a small community, we prepare our own meals in the evening.
So you plan ahead just like you do. There isn't much difference.
We hurry home after our work and get the meal on the table so that by 5:30 all of us can sit down to a hot meal. But when I think about it these home service sisters were preparing for large numbers of sisters who didn't have lay folk helping you and you'd come home. For example, At Peter and Paul one time I think that there were forty sisters down there. That's a lot.
MF: Where did you live in Strasburg? Did you live in that great big huge convent or had you moved over to where the pastor used to live?
SD: Oh, no. We lived in what used to be the church. It was moved in from the countryside. That's the story I heard.
MF: I think that's correct.
SD: Yeah. I lived in that and they always said this
is historic because Lawrence Welk slept in the section of the
house as a border. It was an old, old building and I know that
we would be meditating in our chapel and they had these cedar
shingles on the rounding part.
You'd be in there and all of a sudden you'd hear this drilling sound and some woodpecker would be making this sound. It was just like being a doctor in a dentist's chair. Then we'd have Mr. Feist, our maintenance man at school, and he'd come over and get a ladder and he'd cover up the hole with little round tin. He'd nail that in. So if you looked at the back of that chapel from the outside you'd see all these little round tin.
MF: Now what Mr. Feist would have that been?
SD: That would be the one that lived down...you know there is that little cemetery there right behind the convent. If you went down that road there was a Feist farm just right there on the edge of town. It would be the road between the convent and the rectory. If you walked out Francy Feist's front door there was that road and you went right straight down there. I think that's the Feist farm because it was a Mr. Feist that was the janitor of the school.
MF: I just can't recall which Feist that is right now.
SD: I can't help you because there is so many.
MF: The convent is no longer there.
SD: That's what I heard. Then I heard they moved into what was the rectory and now I don't think Rose was living in a rectory. Wasn't she living someplace else?
MF: No. I'm not sure where Rose lived but what they did do is they built a house. It's more like a house not this big huge rectory like they used to have. I think Sister Rachard was in the old rectory. And Sister Rosie is that who it was?
SD: Rose Marie.
MF: Rose Marie.
SD: I think it's Rose Marie.
MF: I'm not sure. I didn't know her as well. I did teach with Sister Rachard. I think it was her first year there and it was my first year teaching. So it was probably in 1974. She was just wonderful. I don't know what I would have down without her. Did you have many church duties? Did you have to do a lot of things for the church like cleaning or getting things ready for Father?
SD: Oh I helped with sacrcity work especially at Sacred Heart. I remember there were three of us because there were so many Priests there. It was a huge parish. I also had servers. I taught the boys how to become servers and taught them the Latin.
MF: Which their no longer using.
SD: I did church work too at Wabasha. I remember that. Sacred Heart was the place where we spent hours over there, especially on Holy Week. Oh mother my.
MF: Oh I can believe it.
SD: All the ceremonies.
MF: Yes, yes. When you were in Strasburg, Sister, I think I remember you being in the habit.
SD: Yes I was.
MF: What do they call it the v one.
SD: No I was there with the original with the stiff
veil. The reason I had to be is because I didn't change
my habit until I was principal down here at Fitzgerald Middle
School. That was after I had been out at Strasburg. I was at Strasburg
for two years and then they sent me back here to Mankato to be
the principal and eighth grade teacher at St. Johns, which is
a grade school here in town.
After four years of being eighth grade teacher and principal, they asked me if I would be the administrator of this middle school that they were going to start. So that's what I did. I became the first principal of Fitzgerald Middle School here in Mankato. It was during that time that I was principal of that school, when I changed. Wait a minute. No...you are right. I'm thinking of when I went so-called modern. You're right we changed habits at Sacred Heart. We went out to Strasburg after Sacred Heart. Oh lordy lordy. I remember we came down into community room after getting rid of this stiff veil and what we called as a wimple.
We came down into the community room and we had peripheral vision. I ended up with a headache and I could hear so much better. That community room when we came in there, there were 20 of us at that place. When we got all of us into that room it was just like voices were bouncing off every place. I thought oh my. I didn't realize how much I did not hear. Even at that students thought we heard everything anyhow. See we had that wimple which we pulled back over our ears and beside that we had that stiff, stiff veil. Sound couldn't get through that either that well.
If I was facing directly at you there was no problem hearing. I could hear from behind. My, what a revelation that was when we came downstairs for the first time. So you are correct I did have the modified habit when I was out there. Which was the cape with a v and we had like a dickey with a little collar. The part of the veil over the front of your forehead that was still stiff. But the veil itself was soft. We could drive because we had vision then. Up to that time we wouldn't have been able to drive a car.
MF: Did you have a car in Strasburg? Did you have one available to you? Or how did you get around?
SD: We asked a lot of people to drive us places.
MF: You probably didn't have a car. I know one of the other sisters said that they were real excited when they got a car. Before that they had to asked people to take them to Linton, because that is where a lot of the doctoring was done. What were your feelings when you went into lay clothes when you actually wore regular clothes like you're wearing now?
SD: Well we went through the polyester age. That
is the material we had it could either be blue or black. I didn't
know how the students would react. In those days, I was much smaller
than I am right now. So I think they were surprised that there
was this little nun inside all that black stuff. You know the
thing that I really resented was the fact that it got to the point.
I wore that habit so long I could almost read the newspaper through it being that thin. So I knew I had to get a new habit or go into a modern garb. So I consulted with my mother and she of course wanted me to go modern. She thought this black stuff was enough. She said for heaven sakes get some color you've been in black long enough go to blue. I changed over Christmas vacation.
By that time the rule had changed to the point where I could visit because I remember I took some Christmas presents with my mother out to my sisters for her children. I still had the long habit on, but for midnight mass I changed. What really got to me was the fact my mother and my sister were wearing these long dresses at the time that was style. Here they came a long in long dresses and here I am running around in this short skirt. But I got used to it. I loved the old habit. I'd probably die of heat exhaustion now if I had to wear everything. But at that time I was younger and could handle the heat a lot better. So it didn't bother me so much.
MF: What do you feel has been one of the biggest changes from when you first came to now?
SD: Well I think for one thing. You know all of
us were either teachers or home service sisters. We lived in a
large convent and there were a lot of us around most of the time.
Even out in the rural areas. We had a quite a few sisters at Strasburg
if you remember? We had the high school there too. We always had
that community life. That to me was a shift from a large sort
of community to now we're going out in ones or twos. We're
not living in a convent.
I did that too when I worked at Buffalo. That was my first experience of living along in an apartment. I commuted to my school which was about 10 minutes away in another town. So we're scattered all over the place. The other thing is that there are so many opportunities to do so many different things than we did. Either you taught or you didn't teach. Now you can go into any number of types of work. Primarily we stayed in a classroom situation.
Now we're working in parishes and doing a variety of type of work and within in the church which is wonderful. That shift from community has really changed. I do like the many more opportunities for a variety of spiritual advantages as far as choosing different types of retreats we like to do.
Our prayer life is different. We used to all get up at the same time and all march in the chapel and we all would have this meditation sitting straight up. Half of us were still half dead I think. Now you can pray at a time that is more convenient and good for your own body. I still pray early in the morning because that to me is still the best time for me to pray.
Other people who are night people like to pray in the evening and now they can. The prayer is a much better prayer. We used to have the office of the blessed mother and now we pray the office of the church. I love the psalms. I just think our prayer life is much richer than it was. From my own personal opinion I think it is.
MF: There have been some big changes.
SD: Even being able now to interact with our families. I can go and visit my brother. If you're parents need help you can go into your own home and help them. Whereas before that you went home for a funeral.
MF: Didn't Sister Miriam go home and take care of her parent's for awhile?
SD: I don't know which ones. A lot of our sisters have been.
MF: She's back now because I interviewed her this morning.
SD: Was it a Miriam?
MF: Yes.
SD: Could have been but I don't know Sister Miriam that well so I don't know.
MF: I thought at one time that is what I heard but I don't know if it is true. Do you remember any German food that sticks out in your mind? Can you think of anything?
SD: What was that pastry they made?
MF: The round?
SD: Yes.
MF: Kuchen?
SD: Yes, that was it. That would be the thing.
MF: They could make what they called a raised kuchen with a thicker dough or thin kuchen that was kind of made with sugar and cinnamon.
SD: Both were kind of sweet to me I thought. One almost seemed like it had almost like a pudding.
MF: Yep, a custard.
SD: Yeah, yeah. What did you call that?
MF: Kuchen.
SD: So it's just called kuchen?
MF: Yes.
SD: We used to get that from the people and that was a real treat. No one in the house made it.
MF: No.
SD: None of the sisters did. Lots of times we would just have that for Sunday breakfast. Of course we used to get some mighty good homemade sausage from the people.
MF: It must have been good because someone else mentioned that.
SD: It was wonderful. Good sausage makers out there.
MF: So they would just bring it to the house?
SD: We'd have it for breakfast or even for supper.
MF: Were there a lot of German meals served at school for lunch? I don't remember going to lunch because a lot of times I'd skip.
SD: I don't even remember eating there. I remember walking the students over there and I know we ate in the church basement.
MF: Didn't you have to go from the school to the church?
SD: Yeah. That's right. That's all I remember. Then I remember that one of the sisters would be in charge of policing the place as students were appointed to clean it up. They had to mop the floors and getting everything back. I know that the students didn't realize that she understood the dialect.
MF: German.
SD: That's right. Because I know that first
year when I was there the eighth grade boys could say anything
they wanted to about me and I wouldn't know the difference
because they were speaking the dialect. That made me uncomfortable
because you never knew just what the score was. They could be
calling you everything under the sun and you wouldn't know
it. But this sister had charge of supervising the people who were
These students one day were putzing around and just weren't getting the job done. So finally she let them have it with a whole stream of the dialect. It was just like someone had taken a cattle prod to those kids. They got on those mops and got that place clean just like that. Just no time flat. I think they were in a state of absolute shock to think that a sister understood and could speak the dialect. I tell you that was a new awakening for everybody in the school. They knew now that they couldn't talk around her because she would understand them.
MF: And you sisters weren't supposed to speak German.
SD: I don't know German. We still have a custom
that when we are suberjubilarians they have a special spiritual
renew program in Rome in for us. So we went to Rome and then as
part of that program we went to Munich where our congregation
started. It was like a heritage trip. Once I had gone there and
I had met a sister who spoke English and had a great visit with
her. I wanted to know what convent life was like in Germany and
how it was different than America.
We started of course correspondence. I came back convinced I was going to learn German. Well at the time I was principal of Fitzgerald and my duties there just ate up my time. I wanted to learn the language but I never did. My grandmother spoke German because I remember as a little kid I would accompany her across the street.
She had a friend and those two would sit on the porch and talk German. I'd sit on the porch railing bored out of my gored not knowing what their talking about. Then I would walk my grandmother home again. The only German I ever got was maybe when it would lightning real hard or thundering my mother would get frightened and would say (B565). That was about the extent of my German. Then sometimes I better not say what I thought I heard. I never knew what it was.
MF: Is there any family, any people, any parish members that you can remember from Strasburg while you were there?
SD: The rules were such that you only saw your parents when they'd come to school or if you'd meet them in church. Even at that time you weren't supposed to stand around and talk to anybody. You were supposed to go to mass on Sunday and get right back to the convent.
MF: So you weren't allowed to interact?
SD: We didn't interact when I was out there. It was still pretty tight as far the rules were concerned. I can remember the janitor and his family were around a lot. I know one time it hailed and they made fresh homemade ice cream and brought it over as a treat.
MF: Is the Feist janitor you were talking about?
SD: Yes, yes. Sorry I don't know the name. Maybe someone can help you with that.
MF: I'm sure somebody will remember who it is.
SD: I didn't have that much interaction with
family that I can remember. It was a lot different say when I
got down to St. John's for example. By that time things
were loosening up. Then I could interact. I didn't visit
a tremendous number of homes. I know I never did that.
My interaction was either because they were committee members or on my school board or something of that nature. Or what we called womb mothers then I got to know people. I never really got to meet a lot of different people. In a more intimate way it was always just business. State your business and be gone.
MF: Anything else you'd like to share about your experiences in Strasburg? Highlights or anything you can remember that stands out in your mind?
SD: I know it was a year of growth for me because
as I said it was the first time I had eighth grade. So I was scrambling.
I know I was supposed to teach Earth Science. I know I took a
college class at Bismarck. I think it was a geology course. I
enjoyed it tremendously and really liked being there. I really
liked the quiet. The thing I remember is I used to pray outside
once in a while for meditation.
It was so calm and the scenery was gorgeous. A lot of people from Minnesota would say, "There's no trees!" I didn't miss that. In the yard we would have I don't know how many meadowlarks just feeding. I never saw so many meadowlarks. I always associate meadowlarks with the early morning (B594) during the daytime being in North Dakota. Even today once in awhile I hear a meadowlark in Minnesota and it will take me back to the North Dakota days.
I love the sunsets. Oh man, you'd see these buildings and they would be silhouetted. I really truly appreciated being out there. It was not a pain for me to be out there. I liked it. The convent was really a ramshackle building. When the wind would blow the dirt would sift in under the door or the snow would come in.
MF: I think I have heard stories about the convent.
SD: I had a trap line there awhile. Every season
the mice would want to come in and share your house. So I had
a trap line down in the basement. I don't know how many
traps I had. Every morning I would go down and empty them and
reset them. I'd come home from school and I'd empty
them and set them again. One time we down there and the whole
one wall right above where we had the freezer.
The whole basement wall had a section were there was a gaping whole. We saw the daylight coming through it. Mr. Feist or somebody came over and had to do that for us. You didn't mind that. It was incidental and you just laughed about it. It was the community that was so great. The nuns out there were good and it was a good situation. It was hard but it was good.
I remember Kennedy was shot and died while I was out there. I can remember sitting in that community room watching television we didn't have school we closed the school. I know everyone was in the state of shock. They were running around that school like nobody could believe it. That's where I was, I was out teaching eighth grade in Strasburg when Kennedy was shot. I had a wonderful experience teaching with a gentleman by the name of Adam (B616). He had seventh grade and I had eighth grade. I took his English classes and he took Agriculture or whatever was supposed to be taught.
MF: Adam is living in Linton. He works at the bank in Strasburg. I just visited with him at the end of June or beginning July. He seems to be doing well. Adam is Adam very talkative, very friendly and very outgoing.
SD: I want to know if he still has his dish of ice cream of breakfast. I think that is something we ought to find out. That is of historical value. It was the first time I have ever heard of eating ice cream for breakfast was out there. Adam was funny and had a good sense of humor.
MF: And the German accent...
SD: Yes. That caused us some being from not having the German when the note the come, "Please excuse Jerry he has to go to the doctor for a jack up." instead of for a checkup.
MF: I always remember him say something about, "Is that a yolk?" a joke.
SD: He would probably say Chudy and Cherry.
MF: Right. Do you remember El Dosch?
SD: Yes, He was a coach?
MF: Yes.
SD: Yes alright. Ok what relation was Al Dosch to Mike Dosch who was such a good friend of Lawrence Welk? I know Lawrence would bring Mike along and Mike would play the squeeze box. I remember we had a tag dance one time when Lawrence came.
MF: Oh you remember Lawrence Welk?
SD: He came out.
MF: To the school?
SD: Yes. We went down to the auditorium or whatever the gym. Didn't we have a gym?
MF: Yes.
SD: Ok. We were going to have a tag dance. Mike
played the accordion and nobody was dancing right away. So Lawrence
said am I doing something wrong is this permitted. Yeah it sure
was permitted. Then the girls started loosening up and they started
to dance with him.
I remember one little fourth grader. Oh my goodness I wish I could remember her name! She could polka like mad. She was just a stitch. She went out there and she just danced her little feet off. She was very hospitable. Those of us from Minnesota were in awe, but the kids around there that was no big deal because he was a relative.
MF: I remember him passing out pencils.
SD: I don't remember that.
MF: Maybe that was when we were younger. But I know he used to come up to the school and it was a treat to have him come up and play. We knew somebody famous.
SD: That's right and he was. My mother would not miss Lawrence Welk when I went home to visit her. That was a ritual you didn't talk, you watched him. She knew everybody in his band, she knew who was married to whom and she knew who was pregnant. She knew everybody.
MF: I think he ran his show as one big family.
SD: Yep. He did.
MF: He was real interested in all of us band members.
SD: My mother loved it. So I was brought up on that one. That's when I went home to visit with my mother. I was at St. John's at a time when the rules were such that my mother could come into the convent, she could eat with us and I could go to mass with her. When she got to the point she couldn't clean her house that well, a couple of us could go down and clean the house for her. We decorated for her at Christmas time and put up a Christmas tree. I was so sorry that my dad didn't live long enough to see that.
MF: To be able to see you come home and see that the rules had changed.
SD: Yes. I really feel bad. It was the parents that
had to keep the rule. I got what I wanted. I wanted to be a sister.
The rules were there and I kept them. It was hard on the folks.
The other thing I remember is I lost contact with my relatives.
I don't have a lot. We only have those few relatives, but
there are a lot of second cousins. I never got to know those people
because I left right after high school.
So that was it. So when I come back there are whole generations that I don't know. You talk about your family tree. I don't know much about my family tree. There is no one. I have four first cousins and that's it. So it is kind of a small relationship. Luckily my brother had five children so that kind of beefs things up again. My sister had two girls and that helps. My brother lives in (B670) so I don't see him that much even though he is here in Minnesota. My sister is living in Raleigh, North Carolina. I'm sitting here talking to you.
MF: I think we have pretty much covered everything unless you have anything else you want to share.
SD: No, I think that's probably it.
MF: I'd like to thank you sister. I really enjoyed it. It was just wonderful to see you again. It was quite an experience for me to come down to Good Council. I've always wanted to come and see what this would have been like.
SD: I'm sorry I sounded so foggy. I hope the
tape is going to be ok. I know my voice.....


text:
Dance class recommendations - Saturdays in Guildford(5 Posts)
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An injury marred junior season kept Rockaway Park (N.Y.) Beach Channel defensive tackle Folorunso Fatukasi off the field last season. Still, that hasn't kept the 6-foot-4, 290-pounder from landing his first offer.
"I did pretty well last year," he said. "I only played in two games cause I had a knee injury. I'm a lot better now.
"In the first game I played I got nine tackles and two sacks, and in the second game, a playoff game I had 13 tackles and four sacks."
Article Continues Below
Few schools know about Fatukasi at this stage, however, Buffalo does as they are the lone offer to date.
"I want to say I got the offer last month during spring ball," he said. "They are a pretty good school. I like the facilities and athletically it fits pretty well. Academically it's nice and they have my major there, engineering."
The lineman may be verge on another offer soon.
"Connecticut says they are going to offer me," he said. "They just keep telling me to push. They want me to keep my grades up and by I believe June they should offer. They want to see me at their prospect camp."
In addition, Fatukasi has interest from Arizona State, Boise State, Fordham and Syracuse.
The defensive tackle discussed what he wants in a school.
"I'm looking for a place where I can stay focused, no distractions," he said. "In college, I'll have my fair share of fun, but I want to stay focused and get a high level education. My goal is to make it to the NFL hopefully, but if not I want to fall back on my education."


text:
Written on: 27/11/2012
Ordered a new office chair as a bit of a distress purchase, unexpected office move at short notice. Took a gamble buying without trying out the chair beforehand. Ordered at midnight on Friday, delivered mid-morning Monday. Assembled Monday evening - a bit of a bu***r to get the arms aligned with the seat back, but got there okay - assembly took about 40 minutes, mainly due to aligning arms difficultu.


text:
From the moment she came into the world, Abby Romero was destined to be a superhero. Her mom and dad made sure of it. The three of them —1-year-old Abby and her parents, Melissa and Luis Romero —donned masks, capes and utility belts Saturday morning, and traveled from Tarpon Springs to attend the Tampa Bay Comic Con. "(Abby)'s been collecting comic book stuff since before she was born," said Melissa Romero, between posing for cell phone photos with the stream of people who wanted pictures with the young family in the matching Batman costumes. "Before she was even born, we were already filling her room with superhero stuff." Hundreds of costumed and noncostumed fans of superhero movies, anime, comic books and zombies swarmed the Doubletree Hotel in Tampa for the 12th year of the annual convention.The two-day event celebrates not only comic books, but also cult movies, games, toys, cartoons and science fiction in general. Saturday afternoon featured a standing-room-only discussion with actor Chandler Riggs, who talked about his role as pre-teen zombie apocalypse survivor Carl Grimes on the hit cable series "The Walking Dead." There were celebrity comic book artists, costume contests and table after table of vendors selling toys, posters and thousands of comic books in protective plastic sleeves. And for some, like the Romeros, it was a chance to combine their love of geek culture with some family bonding time. Tampa resident Tony King was there with his father, son and daughter, selling comic books out of his vast private collection. Also for sale at their table was a series of paintings his father E.J. King had done, including a large portrait of Muhammad Ali boxing Superman. "It's all about togetherness," Tony King said. "Comic books are something you can share with people." Tony King, who now works as a respiratory therapist, started collecting during his childhood, but eventually realized it could be a lucrative business too. He said he started selling his comic books as a street vendor in New York City's financial district, and turned a nice profit until the Sept. 11 attacks made him decide to stop. He left the city behind, but never his love for comics. "To me, comic books are a positive thing," he said. "When I was a kid, you'd sit on your stoop and you'd read with your friends, and it kept you from going out and doing all this criminal stuff. It kept you out of trouble." You can check out more photos from the convention here.
Trending Now


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PORTLAND, Ore. (KOIN) — An alleged bank robber who tried to flee in a taxi jumped out of the cab when the dye pack exploded on his hands and was detained by construction workers in the area until police arrived.
Around 10:45 a.m., the man went into the Bank of the West, 8135 SE Division Street, and gave the teller a note demanding money. He got the money and quickly left the bank.
A cab driver told KOIN 6 News he picked up the suspect — Frazer Scott Piccolo — prior to the robbery and drove him to the bank. He said that a few minutes after entering, the suspect came running out with a bag of money that contained an exploded red dye pack.
While in the backseat, police said, the dye pack exploded and covered his hands with red paint. He jumped out of the cab and started running in the 7900 block of SE Grant Street.
Construction workers in the area noticed the man running down the street with red paint on his hands and figured he may have just robbed a bank. As they confronted him, the alleged robber swung and missed at one of them. The construction worker punched the man and knocked him down.
They held him until police arrived.
Piccolo is currently in the Multnomah County Jail but will face federal bank robbery charges.
[lin_video src=http://eplayer.clipsyndicate.com/embed/player.js?aspect_ratio=16×9&auto_next=1&auto_start=0&div_id=videoplayer-1376973141&height=354&page_count=5&pf_id=9621&show_title=1&va_id=4232226&width=650&windows=2 service=syndicaster width=650 height=354 div_id=videoplayer-1376973141 type=script]


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Mission Critical workload protection Demo
Live workload migration
VMware with VPLEX Metro & Cisco OTV on Vblock Infrastructure Platform
Move applications seamlessly between sites to reduce the need for planned outages due to maintenance work on storage, fabrics, servers or sites.
Jointly validated VCE architecture using Cisco Overlay Transport Virtualization to reduce impact of required stretched IP subnets between sites.
Title: Mission Critical Business Continuity Demo
Come view the Mission Critical Business Continuity Demo and see how VMware, Cisco, EMC and VCE are partnering to bring the private cloud to life. Cisco, EMC & VCE have brought the live demo to the show floor and will be providing attendees the chance to get hands on with the technology. Leverage the new vSphere iPad application to initiate a live workload migration. The dream of active/active datacenters and always on solutions is made real with Cisco's Overlay Transport Virtualization(OTV), EMC's VPLEX Metro, VMware's vSphere all running together on VCE's Vblock infrastructure.
If you are attending VMWorld 2012 in Barcelona stop by the EMC, VCE or Cisco booth to catch the live demo:
Tuesday, October 9 – 12:30 pm VCE, 1:30 pm Cisco, 2:30 pm EMC
Wednesday, October 10 – 1:30 pm VCE, 11:30 a.m. Cisco, 3:30 pm EMC
Thursday, October 11 - 11:00 am VCE, 1:00 pm Cisco, 2:30 pm EMC
In case you missed the live demo here it is:


text:
Transfer news: Harry Redknapp doubts QPR deal for Andros Townsend
Harry Redknapp doubts that Queens Park Rangers could afford to bring Andros Townsend on board from Tottenham Hotspur.
Last Updated: 19/08/13 4:24pm
The midfielder did spend time at Loftus Road last season, but was unable to prevent QPR from slipping out of the Premier League during a short-term loan spell.
Redknapp would welcome the opportunity to land the 22-year-old for a second time, but appreciates that Spurs would not let him go cheap.
With QPR now competing in the Championship, and having seen a number of big-money deals turn sour, they cannot afford to take financial risks.
Redknapp understands that and concedes that Townsend may be out of his reach.
He is quoted as saying by West London Sport: "I couldn't see us being able to buy him. I think Andros would be too expensive for us.
"Andros did great last season, but Tottenham don't want to sell him as far as I know."
Asked if it might be possible to put another loan agreement in place, Redknapp added: "I'd love to loan him, but whether they would do that I'm not sure."


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arbcombo -- South Coast Air Quality Management District's Smog Check Technology Forum and Roundtable Posted: 16 Mar 2007 14:44:48
South Coast Air Quality Management District's Smog Check Technology Forum and Roundtable Discussion Wednesday, March 21, 2007 -- 9 a.m. to 4 p.m. South Coast Air Quality Management District Headquarters Auditorium 21865 Copley Drive Diamond Bar, CA 91765 Background California's Smog Check Program has been, and continues to be, the cornerstone of a regional air district's control strategy for purposes of demonstrating the region's ability to attain healthful ambient air quality standards. For the South Coast Air Quality Management District (AQMD), which experiences the highest ozone and fine particulate matter concentrations in the country, and where more than 11 million cars are registered and driven in the region, emissions from automobiles and other vehicles dominate the overall emissions inventory. Recent studies have shown that in-use emissions from vehicles are critical to a region's ability to achieve healthful ambient air quality standards, in-use testing program has drawn very focused attention. It has long been suspected that many vehicles are not in compliance with California's Smog Check Program requirements which results in a small fraction of vehicles contributing a majority of the pollution for that particular vehicle category. Technology Forum Description AQMD is pleased to host this one-day technology forum and roundtable discussion on current and upcoming technologies which could be applied to improve California's Smog Check Program and to examine opportunities for additional emission reductions. The morning sessions will consist of formal presentations by a panel of experts on the smog check program. Topics will include program implementation, emissions estimates, repair issues, remote sensing, on-board diagnostics and measurement of particulate emissions. In the afternoon, there will be a roundtable discussion among the panelists to facilitate exchange of views and suggestions. The roundtable will be moderated by Dr. Judith Lamare, Acting Chair of the California Inspection and Maintenance Review Committee. Members of the public will also be able to ask questions of the Technology Forum/Roundtable participants. A technical summary of the panel discussion will be prepared and made available on the AQMD website. The AQMD encourages anyone interested in this topic to attend this forum free of charge. This forum will also be webcast live, and copies of the agenda, presentations, and the webcast will be posted on the AQMD's Technology Forum/Roundtable website at http://www.aqmd.gov/tao/ConferencesWorkshops/techforum.htm. If you have any questions about this forum, contact Mr. Dean Saito, Manager Mobile Source Strategies, (909) 396-2647. You are receiving this single arbcombo email because you are a subscriber to or have made a public comment to one or more of the following lists: research, seminars.