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Panasonic announces Leica DG Nocticron 42.5mm F1.2 (again)
Alongside the enthusiast-oriented DMC-GX7, Panasonic has announced the Leica DG Nocticron 42.5mm F1.2 - the fastest autofocus lens ever created for the Micro Four Thirds system. If you're getting a sense of deja vu that's because Panasonic actually announced this lens already (sort of) at last year's Photokina tradeshow in Cologne, Germany. But what was then a dummy lens behind glass now appears to be a real product, albeit one without any firm availability date or pricing information.
The Leica DG Nocticron 42.5mm F1.2 is optically stabilized, and covers an effective focal length of 85mm on Panasonic and Olympus Micro Four Thirds cameras, making it an attractive proposition for portraiture and low-light candid work. Details are scant, and we're expecting more information later this year.
NEWARK, NJ (August 1, 2013) Panasonic today announced the LEICA DG NOCTICRON 42.5mm F1.2 lens, the fastest (1) interchangeable lens in the Micro Four Thirds standard for the LUMIX G Series cameras.
Previously, Panasonic has marketed interchangeable lenses meeting LEICA specifications, including the LEICA DG SUMMILUX 25mm/F1.4 ASPH. and the LEICA DG MACRO-ELMARIT 45mm/F2.8 ASPH./MEGA O.I.S. The name "NOCTICRON" was defined by Leica Camera AG for this lens type continuing LEICA's legendary elements of large diameter, high quality lenses. The LEICA DG NOCTICRON 42.5mm/F1.2 achieves the fastest (1) F1.2 for a Micro Four Thirds interchangeable lens, becoming the first large diameter, high performance NOCTICRON lens.
Panasonic will continue to further advance its product development to meet the diverse needs of customers in the globally expanding Micro Four Thirds market.
Note 1. For an AF interchangeable lens, as of August 1, 2013, according to research by Panasonic.
Note 2. Details of the product specifications, the date of release and the price are yet to be announced. See the lenses road map on our website.
m43 lenses of this quality are sharp at max. aperture (my experience). This lens provides shallow enough DOF and the ability to focus in low light at low ISO. As McLoughlin stated correctly, f-stop=light intensity/unit area, therefore you should compare to 85mm/2.4 FF only if you want to match FOV AND DOF (+ 4x ISO, too, to account for exposure, see http://www.josephjamesphotography.com/equivalence/#equivalence or http://www.clarkvision.com/articles/dof_myth/index.html). What DOF do we really get? Take a "budget 85mm/1.8" on FF (I own it and need to stop down to 2.4 to 2.8 to get similar sharpness in the center as I usually have on m43 with my more expensive primes (but assume both are sharp wide open):
dist. (m) m43(cm) FF(cm)
1 2 1
2.5 12 9
5 50 36
I can live with that. Another point is focussing very fast lenses on FF handheld (easy on my OM-D). As I need to stop down a little on FF, things get comparable. That's why my FF gear stays at home most of the time.
Looks like another nice lens from Panasonic. Personally I like and use Olympus lenses on a Olympus camera body, but Panasonic sure has some nice lenses too.This one looks particularly promising. I did a search for 'yabokkie' on this page and got 32 hits. Read some, it's fun. I think he prefers the larger and heavier Nikon equipment ha, ha. I hope Panasonic will price this lens reasonable, but I think it will be expensive. Talking about pricing, I see no reason why a lens for the micro 4/3 system should be cheaper then one for a larger format. Heck, it could even be more expensive. Lenses need to be wider with a larger aperture and the small high resolution sensor is very, very demanding. The smaller lens elements need to be designed and made with utmost precision.
This is the point of micro four thirds .
BTW I used the pane 45mm f2.8 in this comparison bc the new 42.5 was not available
What the heck is "light gathering capability"? I am so confused by the formula someone come up with - "42.5/1.2 = 85/2.4 = 35.4mm". Is a 1.2 lens 1.2 regardless of their focal length? If two lenses can project the same amount of light to per square inch/cm of sensor, do they have the same "light gathering capability"?
Please help me to make sense the "42.5/1.2 = 85/2.4".
> If two lenses can project the same amount of light to per square inch/cm of sensor, do they have the same "light gathering capability"?
same "light gathering capability" to that square cm of course.
but what image we will find projected on that square cm?
an eye from say a Nikon FX and a face from CX?
and what does it mean by saying
we got the same light for an eye on FX as a face on CX?
btw, 1 sqcm is 11.6% on FX and is 86.1% on CX.
> 42.5/1.2 = 85/2.4
at a certain angle of view, there is a cone/pyramid of light entering into the lens aperture that will be ultimately projected on the image circle/sensor (whatever focal length or format).
the light gathering capacity is then solely decided by the aperture size (area). whatever happens in the lens can only lose light.
As photographers, we are mainly concerned about the maximum F-Stop, FOV ( field of view ), and DOF ( depth of field ) of the lenses we use.
In photographic terms, EVERY lens that has a maximum F-Stop of f/1.2 provides us with the SAME EXPOSURE provided the other main camera settings ( ISO and shutter-speed ) are the same.
In terms of EXPOSURE, all that matters is that the F-Stop of the lenses matches, the ISO of the camera matches, and the shutter speed of the camera matches.
Things get a little more complicated when you want to match the DOF between two cameras that have different sensor sizes.
For example, the DOF of a Canon 5D Mk3 camera using a 50mm lens at f/2.8 matches the DOF of a Panasonic GH3 camera using a 25mm lens at f/1.4. So matching the of the DOF of the 5D camera requires a lens that is 2 F-Stops faster with the GH3 camera.
Thank you for the replies but I am still confused because you were talking about comparing with 5D or FX. Why are we comparing with 35mm not, say, a medium format which may give us another formula 42.5/1.2 = 175/4.8? If the formula is right, should I always compensate my exposure on my GX1 if I do manual exposure?
Matching DOF is even more confusing to me, I can't think of a case that I need to match another camera's DOF when I am using a different one. Oh, does that mean "DOF of 42.5/1.2 on my GH3 == DOF of 85/2.4 on FF"? Then, what the heck is role of the "light gathering capacity" in this formula?
>>> should I always compensate my exposure on my GX1 if I do manual exposure?
No. Exposure is always the SAME. Same ISO, same F-Stop, same shutter speed.
If you don't need to match DOF, then forget about it and just concentrate on achieving a good shot with the correct exposure.
No photographer is concerned about "light gathering capacity", we are concerned about F-Stop, Shutter Speed, and ISO.
Mr. Yabokkie seems to have absolute "light gathering capacity" and matching DOF on the brain. It's obviously a big concern to him, but may be of no concern to anybody else.
For myself, my main concerns are capturing the moment with sharp focus and correct exposure. This is all that matters to me as a professional photographer.
> what the heck is role of the "light gathering capacity" in this formula?
what will anyone need whatever capacity in the first place? if you say image quality, then you get that capacity exactly the same at a certain AOV and aperture size regardless of formats. this "happens" to also give the same DOF as well as same diffraction and DLA.
same amount of light to the frame, to each portion of the image, be it an eye or a pair of lips, nothing to do with sensor area.
why should anyone need conversion to 35mm format term? ask Olympus or Panasonic who give equivalent focal length for all their lenses, from P&S to m4/3". all the makers use 35mm format term as standard for better communication. even a customer doesn't know well, at least he can use it to compare different product and decide which is best.
for 42.5/1.2 we know it can perform same as 85/1.8 stopped down near 1 stop, that all the photographic effects, including image quality, will be the same.
Hi Guy,
Thank you. You clarified the issue. I have a old Canon 300D (not a FF also not a 4/3 either) and 17-40, 70-200/4. After evaluating the price and weight/size of a 6D, I bought a GX1 and a 14/2.5 for the amount of hiking I plan to do. I found converting the actually focal length to a equivalent 35mm field of view helpful when buying a lens.However, when using a lens, I found the conversion is irrelevant. I got whatever the lens produce.
Then, I saw this formula which list all 4/3 lenses like 20/1.7 = 40/3.4, 25/1.4 = 50/2.8, etc. Because I use mostly A mode, the formula seems indicating that the shutter speeds should have been doubled on GX1 comparing to (or thinking of) a FF camera. Then, the question rises. What if I am thinking of a medium format camera? which makes it funny.
sorry to say you still don't understand the issue.
that format size has nothong to do with light gathering.
the light gathering capacity is decided by the aperture size regardless of the format size. because the aperture sizes of medium format lenses are actually smaller than 35mm full-frame, we won't get better low light image quality going medium format, very likely we will get worse.
e.g., popular standard prime for 645 is 80/2.8, which is 50/1.7 equiv. or at similar angle of view
80/2.8 = 50/1.7 = 28mm < 36mm of 50/1.4.
the quality of lenses is the dominating factor in photography. senser performance is also an issue but more a temporary one. btw, if you want to go back, go back to 6D for better image and value for money.
>>> Then, I saw this formula which list all 4/3 lenses like 20/1.7 = 40/3.4, 25/1.4 = 50/2.8, etc.
This is a DOF formula, so it's only useful if you need to match the DOF of a Full Frame camera.
Most of the time I shoot with Micro 4/3 and APS-C cameras, so I personally don't care about trying to match the DOF with Full Frame sensor cameras.
In terms of EXPOSURE, if the F-Stop matches and the Shutter speed matches and the ISO matches, then you have EXACTLY the SAME EXPOSURE using ANY camera with ANY sensor size.
As I posted earlier, too many people get caught up in trying to match the DOF between different camera formats, when most of the time it really doesn't matter at all.
> This is a DOF formula,
this is formula for all the photographic effects that you can find in the output image that are controlled by the lens aperture. there is only one aperture.
what we want it is image quality. the exposure you are talking about is irrelevant if it gives different image quality on different formats. this maybe the reason some of us get fooled by themselves.
>>> what we want is image quality
Camera image quality is controlled by a number of factors...
- Lens Performance
- Camera Sensor Performance
- Camera Electronic Performance
- Ability of the Photographer Making the Photograph
- Ability of the Person Processing the RAW Digital Image
Overall, the APERTURE of the lens is a VERY SMALL factor in the final IMAGE QUALITY of a photograph, compared to all these other critical components.
keep your cool man and don't lose your mind.
if as you say aperture size is unimportant then why should 42.5/1.2 be sold higher than 45/1.8 when there is nothing we know other than the spec.
aperture size is the single most important factor that decides value of a lens whose job is gathering light and then projecting to the sensor.
>>>aperture size is the single most important factor that decides value of a lens whose job is gathering light and then projecting to the sensor
As photographers we use the F-Stop of a lens to determine the effective photographic APERTURE of a lens. Nobody cares about the physical size of the aperture of a lens, all we care about is the photographic APERTURE.
Thus a f/1.2 lens is a f/1.2 lens, and can be compared to any other f/1.2 lens. This is the photographic speed of the lens, and the ONLY thing we are concerned about when talking about the APERTURE of a lens.
Thus a Micro 4/3 f/1.2 lens has the SAME photographic APERTURE as a Full Frame f/1.2 lens. END OF STORY.
In optics, the f-number (sometimes called focal ratio, f-ratio, f-stop, or relative aperture[1]) of an optical system is the ratio of the lens's focal length to the diameter of the entrance pupil.[2] It is a dimensionless number that is a quantitative measure of lens speed, and an important concept in photography.
A 100 mm focal length f/4 lens has an entrance pupil diameter of 25 mm. A 200 mm focal length f/4 lens has an entrance pupil diameter of 50 mm. The 200 mm lens's entrance pupil has four times the area of the 100 mm lens's entrance pupil, and thus collects four times as much light from each object in the lens's field of view. But compared to the 100 mm lens, the 200 mm lens projects an image of each object twice as high and twice as wide, covering four times the area, and so both lenses produce the same illuminance at the focal plane when imaging a scene of a given luminance.
Some people prefer to argue about things OTHER than making pictures.
They will quote technically correct "facts' until the cows come home but rarely actually shoot a picture.
We used to call them "gear-heads". Like obsessive hi fi buffs who rarely listened to an album all the way through.
Today there are other names for such OCD people, measurebator for instance
- and other even less flattering terms.
On yeah, pics are at http://photohounds.smugmug..com (or in sig)
Wanting suggestions for side by side comparisons on the EM1 and EM5.
I'll be interested in this lens, but would want to do quite a bit of shooting with one before booting the Zuiko 45mm-f/1.8. It and the 75mm-f/1.8 perform very well, as does the new 12-40mm-f/2.8 zoom.
The most important unknown at the moment is the IQ of the lens, although I'm sure the price is going to be too high for many. But it is what it is, i.e. a Leica design, f/1.2 lens. If the price is too high for, then go get the Oly 45 f/1.8. There is now a niche for both types of user, those who are happy with the Oly and its price, and those whose needs (or pockets) justify the Panny 42.5mm.
There's also the Voigtlander 42.5mm f/0.95 to boot.
There's no other lens system in the world that offers such a fantastic range in just this focal length - not even Leica has a Noctilux lens in this 85 to 90mm focal length.
So, I'm just glad m4/3 is maturing nicely. Now, let's see what the price will be.
>>> stopping down a budget prime 85/1.8 by near a stop
will beat the hell of the this Leica 42.5/1.2.
The whole reason for buying a premium lens like this is for the absolute speed and image quality of the lens.
Very likely this lens will reach near optimal performance at full aperture ( f/1.2 ), and with the benefit of the OIS system you can obtain sharp images at shutter speeds that are 2-3 F-Stops slower than shooting without the OIS system.
A FF 85mm f/1.8 lens can definitely shoot a great image, but NOT at f/1.2, and NOT with OIS, so you will need MUCH MORE LIGHT to achieve correct exposure when compared with this new Panasonic 42.5mm f/1.2 OIS lens.
this 42/1.2 is no premium lens.
it'll get you no better result as an 85/2.4 on 35mm format.
no worse result either, of course. same result.
this 42/1.2 at open can almost do the job as well as
a 85/1.8 stopped down to f/2.2 or f/2.5, so it will worth
near 60% of 85/1.8 in terms of light gathering capacity.
you are correct on IS, which is missing from D800/D600.
though it may be more difficult to make good sensor shift ones for FX, I really hope Nikon and Canon follow Pana to do the right thing.
then whats the point of buying any lens from m43 is the 42.1.2 wouldnt be a premium lens? maybe in terms of DOF it would be at 85mm 2.4 but its still 1.2 in terms of light gathering. nothing is even remotely close to this speed less it be a voigtlander which is all manual and metal.
>>> this 42/1.2 is no premium lens.
Only according to you, Yabokkie.
This new lens is a high speed "portrait" telephoto lens with a built-in optical stabilization system.
You have to STOP trying to equate a f/1.2 m4/3 lens with a f/1.8 FF lens, because they are NOT THE SAME. The m4/3 lens is 1.1 F-Stops FASTER, and likely reaches close to optimal sharpness WIDE OPEN like the other premium m4/3 lenses do.
I expect this lens will be priced around $1,200 US, and should prove very popular amongst professionals ( like myself ) who don't mind spending this kind of money on a high performance lens. Especially at this focal length which is very useful for still-photos and video work.
>>>a "high speed" lens that gives you lower image quality
Yabokkie, YOU REALLY DO NOT KNOW WHAT YOU ARE TALKING ABOUT...
If the lens has premium optics designed by Leica, combined with an effective optical stabilization system it should prove to be an outstanding quality lens.
Many of the Olympus and Panasonic premium lenses are state of the art when it comes to camera lens optical design.
Several lens testing companies have called the Olympus 75mm f/1.8 Micro 4/3 lens to be the BEST DSLR lens of ANY brand that they have tested over the past 10 years. It's an extremely good lens that is tac-sharp at full aperture, with very low levels of chromatic aberration, very low levels of distortion, very low levels of vignetting, and it's very fast when auto-focusing. It doesn't get better than this lens.
I expect this new Panasonic lens will be another outstanding lens for Micro 4/3 cameras.
yabokkie, If I imagine myself using a FF body + an 85 f1.8 in the contexts and ways I used the OMD + the 45mm f1.8, I can't stop laughing.
The 45mm is always with me. I suppose the 85mm for full frame is always at home (or studio)
Also, the "equivalence" works in both ways: 6x the volume (and weight) of camera and lens is worth that half stop of advantage of the 85 on FF?
I agree that if weren't for volume and weight, the "equivalence" would have been a lot easier.
I love my 25mm f/1.4 and I want this lens also, now give me this lens at a reasonable price.
it only worths 280 in terms of light gathering capacity,
which is nearly 1 stop less than 85/1.8 which is the choice anyone want high performance at a reasonable price.
it'll worth less if using Canon 85/1.8 as a standard.
this is a very good lens that we have been enjoying for more than 20 years.
>>exposure at the same ISO won't give you same image quality
It all depends on the quality of the lens, the quality of the image sensor, and the quality of the image processing performed by the electronics of the camera. Physical sensor size may have no relevance if the technologies used in each camera are not the same.
as far as I can tell from what I read: whereas the focal length can be doubled to have an equivalent to 35mm FF, the fstop remains the f-stop because it is the ratio between focla length and max opening of aperture. this does not translate the way you calculated. In optics, the f-number (sometimes called focal ratio, f-ratio, f-stop, or relative aperture[1]) of an optical system is the ratio of the lens's focal length to the diameter of the entrance pupil.[2] It is a dimensionless number that is a quantitative measure of lens speed, and an important concept in photography.
focal length won't change either but same focal length won't get you the same angle of view on different formats.
f-number is same. you have to use focal length to calculate f-number and you say f-number is immune from formats? there is nothing in the output photograph that you can find the same at the same f-number on different formats.
at a certain angle of view, if the absolute aperture size (like diameter in mm) is the same, you get everyting the same on whatever formats.
42.5/1.2 = 85/2.4 = 35.4mm
Buy a metabones speedbooster for NikonG to m4/3 and a Nikon 50mmf 1.8 and you end up with a 71mmf1.0. Obviously it will work with other NikonllG as well. But you will have to use a tripod as it will be all manual and no stabilization, if people have a FF system and a m4/3 or Nex system a speedbooster will give you lots to play with for not much money.
>>> why should mount a Nikkor on an inferior body?
I shoot corporate video for a living. In the world of video production, the Panasonic GH2 and GH3 cameras produce BETTER quality video than pretty much any other brand of DSLR camera.
The Canon 5D Mk3 and Nikon D5200/7100 are very close in quality, with RAW video from hacked Canon 5D Mk3 being better than the GH2/GH3 cameras.
Blackmagic has a new $995 Pocket Cine camera that is just coming on the market right now, that might prove to be the best low cost digital camera for video. And it uses the SAME Micro 4/3 lenses as the Olympus and Panasonic cameras do.
For still photography work, the Micro 4/3 cameras have proven that they can compete against the major DSLR brands ( Canon and Nikon ) when used at the SAME Mpx image settings. Lots of professionals ( like myself ) are using m4/3 cameras for paid photography and video work.
New Lens Release articles should have this warning:
Brace yourselves, the DOF equivalency posts are coming!
In terms of light gathering capability, this will behave like a f/1.2 ..
In terms of angle of view, this will behave like an 85
In terms of equivalent depth of field, this will behave like a 85 2.x
DOF is one thing and it varies with sensor size here, aperture is another.
Whether sensor size affects DOF or not depends on how you define CoC, circle of confusion. One definition of CoC is based upon resolution of the system, e.g. pixel size. The other definition is a based upon the length of the diagonal, e.g. 1/1600 of the diagonal. But - no matter which one you choose, its absolutely not 100% depending on aperture size.
Admittedly, they did announce this lens last year, but they didn't announce it was going to be a "PanaLeica" (made by Panny, designed by both, QC by Leica), or that it was going to be optically stabilised.
This thing is going to be eye wateringly expensive!
Not everyone cares about paper thin DOF. I'm just glad to watch MFT turn into a real, system with a complete line of lenses
>a line of small aperture lenses
OK, lets see how things compare in terms of APERTURE, where we are talking about CORRECT EXPOSURE and FOV, NOT DOF.
Micro 4/3 has...
12mm f/1.6 and 12 mm f/2.0
( FF has several 24mm f/1.4, so FF wins here )
17.5mm f/0.95
( FF has 35mm f/1.2, so m4/3 wins here )
25mm f/0.95
( FF also has 50mm f/0.95, so it's a tie )
35mm f/0.95
( no FF equivalent, so m4/3 wins here )
42mm f/0.95
( no FF equivalent, so m4/3 wins here )
50mm f/0.95
( no FF equivalent, so m4/3 wins here )
75mm f/1.8
( FF has 135mm f/1.8, so it's a tie )
150mm f/2.0 ( it's a 4/3 lens, but works with m4/3 )
( FF has 300 f/2.0, so it's a tie )
14-35mm f/2.0 Zoom ( it's a 4/3 lens, but works with m4/3 )
( no equivalent 28-70mm f/2.0 FF zoom so far )
35-100mm f/2.0 Zoom ( it's a 4/3 lens, but works with m4/3 )
( no equivalent 70-200mm f/2.0 FF zoom so far )
So in terms of FOV and exposure, it looks to me that the Micro 4/3 format ( with the assist of 4/3 lenses ) is doing OK.
Just a question... don't you apply the crop factor to the aperture also, so a .95 would be 1.9 on FF?
Only when you are trying to match the DOF. ( depth of field )
Otherwise, in terms of FOV ( field of view ) and exposure, a Full Frame 85mm f/1.2 lens equates to a Micro 4/3 42.5mm f/1.2 lens.
There are pros and cons to each system...
When you want very thin DOF ( aka "paper thin" DOF ), it is much easier to achieve this with a Full Frame system, as your Micro 4/3 lens has to be 2 F-Stops faster to match the FF DOF.
When you want proper FOV and exposure, then all that matters is the actual F-Stop of the lens and that the FOV is equivalent. This gives an advantage to the m4/3 system, as the lenses are smaller and sometimes cheaper than the equivalent FF lens.
In terms of maximum detail, the Full Frame cameras have a big advantage. There is no m4/3 equivalent to the Nikon D800 36 Mpx sensor, so FF systems are the only choice here.
If technology progresses ( it always does ), eventually you will be able to buy a 36 Mpx Micro 4/3 camera while FF cameras will be 70+ Mpx or better.
there is only one aperture that controls everything an aperture can control (namely 1: light gethering capability, 2: DOF, and 3: diffraction). not a tiny bit can anything step out of line, regardless of the sensor format.
Pana 42.5/1.2 is equiv. to 85/2.4 on 35mm format (42.5/1.2 = 85/2.4 = 35.4mm aperture size). there is no way it can do more (as the spec suggests).
since 42.5/1.2 = 85/2.4 has less than 60% of light gathering capability of 85/1.8, it worths less than 60% of 85/1.8 or less than 300 US if the resolution, aberration, ... are similar.
at a certain angle of view and regardless of sensor format, if you get same DOF, you are guaranteed to get same light gethering capability and diffraction, whatever controlled by the aperture.
@Guy McLoughlin
would appreciate you calculating the aperture size before posting. the infamously ill-designed ZD35-100/2.0 got a maximum aperture size of 50mm at tele-end which is the same as 70-200/4.
>Pana 42.5/1.2 is equiv. to 85/2.4 on 35mm format
ONLY in terms of DOF.
In terms of FOV, they are the SAME.
In terms of EXPOSURE the FF 85mm f/2.4 lens is 2 F-STOPS darker, and CANNOT be used with the SAME settings to achieve CORRECT EXPOSURE.
As mentioned previously, you DON'T shoot a head-shot with a FF camera using an 85mm at f/1.2, because all you have is paper-thin DOF. The eyes will be in focus, but nothing else will be, resulting is a sh*tty shot.
...I started shooting professionally in the 80's using Nikon and Olympus 35mm film cameras ( equivalent to todays FF digital cameras ), along with a Mamiya RZ67 6x7cm roll film camera, Sinar 4x5 and 8x10 large format sheet film cameras, Speedotron Black-line 1200, 2400, 4800 watt-second flash packs. So I'm pretty familiar with how camera gear works, though I mostly shoot video these days.
Shallow DOF is a LOT less important than you may think it is.
>the infamously ill-designed ZD35-100/2.0 got a maximum aperture size of 50mm at tele-end which is the same as 70-200/4
You seem to be stuck in DOF land, when what mostly matters in photography is FOV and EXPOSURE.
The maximum photographic APERTURE of the Olympus 4/3 35-100mm f/2.0 zoom lens is f/2.0.
To match the exposure with ANY other camera at the SAME settings requires an F-Stop of f/2.0.
An F-Stop of f/4.0 on a FF camera is 2 F-Stops darker than f/2.0 and will result in UNDER EXPOSURE if all the other photographic settings are the SAME.
@yabokkie, just so I'm clear-- if you were setting up a 1/350 sec shot at f1.2 on a FF camera at iso 100, you're saying on a m4/3 camera at iso 100 I should be shooting 1/350 sec at f2.4? And on a medium format camera shooting iso 100 slide film, it would be 1/350 sec at f 0.95 or less?
f1.2 is f1.2 is f1.2. It's a ratio. And everybody talking about multipliers confuses newer photos about how exposure works.
same ISO will give you different image quality on different sensor formats.
exposure 1/350s at f/0.95 on 4/3" gives you the same image, same image quality, as 1/350s at f/1.9 on 35mm format, because both got the same amount of light to the frame.
after all, image quality is what we want, not some settings on the camera.
> f1.2 is f1.2 is f1.2. It's a ratio.
whatever it is, no one can find a single thing in the output photograph from different formats that is same at the same f-number. so it cannot be carried accross formats. just like focal length.
> talking about multipliers confuses newer photos
you don't have to worry for others. multipliers are simple straightforward calculation with sound base in physics. we know it for ages only we didn't use it so extensively as now with digital cameras.
> after all, image quality is what we want, not some settings on the camera.
yabokkie, if you believe that then why do you constantly bang on that lens prices should be based solely on the physical aperture size and completely ignore important IQ measures such as sharpness, contrast, CA, distortion etc?
Not to mention the fact that FF lenses only have more light gathering capabilities when you pair them with more expensive FF cameras, an 85mm f2.4 lens has half the light gathering capabilities of this 42mm f1.2 lens when they're both used on an m4/3 body.
Looks like a great lens and a fine addition to what is shaping up to be a very serious system in the world of photography.
Now, if only we could get a moratorium on those fruitless discussions of FF vs m43 by "serious DOFFERS".
Great lens! Funny to see such stupid comment about m43 and FF. Both systems are great !
45mm f1.2 looks amazing. Ok there is the 50mm f.95 voigtlander, but this one is made by leica made and has AF :)
All Leica did was help design and quality control the lens. They do a bit more than collect a fee, as ignorant people seem to think.
Too many people are trying to equate Micro 4/3 and FF DOF, which is largely missing the point. Equivalent FOV is what it's all about. Same F-stop, same exposure.
Micro 4/3 lenses have a 2 stop disadvantage when it comes to shallow DOF, but most Full Frame shooters aren't shooting EVERY shot wide open because often the DOF is TOO shallow.
i.e. A head-shot where the subject's eyes are in focus but their nose is out of focus is NOT a flattering shot.
I shoot corporate video for a living with Panasonic Micro 4/3 cameras, and most of the time my aperture is between f/2.0 and f/4.0 in order to get usable DOF in my shots. With a FF system I would be shooting at f/4.0 to f/8.0 to get the same DOF.
Unless you have a burning need to shoot EVERY shot at full aperture with your FF camera, the Micro 4/3 DOF difference is generally not an issue.
Now Micro 4/3 shooters have a very fast 85mm FF FOV equivalent with built-in optical stabilization, something none of the FF camera systems have.
You are right, for a portait in FF, f/4.0 and 85mm was what I used very often. Reguarding fixed focal lenses, MFT has no problem with lenses like the Oly 1.8/45mm.
But with zoom lenses, it is a total different story. There are a lot professional f/2.8 FF zoom-lenses and semi-pro f/4.0. But the best MFT has to offer right know are just two expensive f/2.8 lenses, that have the same DOF as simple f/5.6 FF-kit-lenses.
> Equivalent FOV is what it's all about. Same F-stop, same exposure.
Misleading. On FT 42.5mm/1.2 on ISO 200 gives same FOV, same DOF and same number of photons per image&time as 85mm/2.4 on ISO 800 on "FF". *That* "is what it's all about".
> have a very fast 85mm FF FOV equivalent
I would not call that "very fast", I'm rather sure I'll call it "very expensive", though.
> I would not call that "very fast", I'm rather sure I'll call it "very expensive", though.
What equivalent lens is faster?
We are talking about lenses that have an FOV or Angle of View of 28 degrees, that provides correct exposure at f/1.2, and also incorporates an optical stabilizer ?
The closest lens that I can think of is the Canon 85mm f/1.2 L lens that costs roughly $2,000 and does not have built-in OIS.
If I'm trying to shoot a portrait of a jazz musician in a dimly lit smoky bar, then I might choose this 42.5mm lens set to f/1.2, set my camera ISO to 3200, and use the OIS to be able to achieve a sharp image at 1/15th or 1/8th of a second.
If I was shooting with a FF camera, I might choose the Canon 85mm set to f/1.2, but without the OIS I may have to shoot at 1/125th or 1/60th second at 12,800+ ISO to get a sharp well exposed image.
...And the extra DOF I get from shooting with the m4/3 format is simply gravy. ( very unlikely I want paper-thin DOF )
> But the best MFT has to offer right know are just two expensive f/2.8 lenses, that have the same DOF as simple f/5.6 FF-kit-lenses.
Yes, in terms of DOF m4/3 lenses are expensive and can't match FF zooms for shallow DOF. With any luck Olympus will port the 4/3 f/2.0 zoom lenses over to the m4/3 format, which will be hugely expensive $2K+ but they are some of the sharpest zoom lens ever made. Pretty much tac-sharp at full aperture, which not many FF zooms can match.
I am also hoping that at some point Sigma will port their new fast f/1.8 and f/2.0 DX zooms to the m4/3 format.
Olympus is about to announce their first professional m4/3 camera body, so I'm hoping that they might announce some new lenses to go with this pro body.
What a nice addition to the M4/3 lens catalog! It just keeps getting better and better.
Odds are this will be a pretty expensive lens ($1000+?), but at least you now have a very nice portrait lens if you need the extra speed.
While I would love to own this lens, my budget says "45mm f/1.8" instead.
> sorry it's 0.77 stops difference, worths about 270 US.
But then if need to add the extra cost of a full frame camera, and the difference in sharpness between your $270 85mm lens and this one.
@goshigoo: "Also, IQ wise, 6D + 85 f/1.8 @ f/2.4 could be better than this lens.
35mm FF still has it's value when shallow Dof is needed"
No. A Leica full frame camera is king, yes, but by no means good value. Canon and Nikon FF cameras are for dorks. What's the point of all this shallow DoF when your ridiculous camera gets in the way all the time. A full frame DSLR is to photography as a cargo truck is to driving cars.
A cargo truck is what professional truck drivers use to get a load from A to B, sure, but in my spare time I'd much rather enjoy driving a fine German or Italian automobile.
And in this realm, a Leica M9 or Sony RX1 really wins. But the system Panasonic and Olympus have built up is a very fair alternative, with great lenses.
goshigoo is right, and you are completely wrong.
I would happily mate this with the new GX-7. I had a GH1 and loved the IQ. I gave it up for Sony SLT-33 because I needed faster focusing but I am now looking for a replacement system and this could be it. I need fast focusing indoors with available light. Small cameras capable of quality images need only apply;-).
Check Voightlander's (Cosina) pricing for a similar lens that should give you an idea. With the "Leica" brand it will probably be more than a bit more. The 25mm 1.4 is $600. This should at least be double.
That would be my guess, too.
As one who does a lot of night time street photography, I've been aching for this lens ever since they announced it a while back. The DOF isn't what made it so appealing (actually I don't mid a bit of DOF), the light transmission was. I'm just hoping that they keep it well under $1K.
>>> this lens has an aperture of 35.4mm at open,
while Canon/Nikon 85/1.8 got 47.2mm
Yabokkie NOBODY cares about the physical size of the aperture of a lens. All we care about is the PHOTOGRAPHIC APERTURE of a lens. So a photographic /1.2 lens is a f/1.2 lens. END OF STORY.
What we really need is an ignore option in the comments section. Jabermonkey, yabokie or whatever, is making it nearly impossible to read any comment section that has anything to do with lenses that are not FF.
Referring to some comments made below:
135 is THE FORMAT for DOF, not medium format, not large format. There is simply no equivalent of 85mm F1.2 nor 50mm F0.95 nor 200mm F1.8 in any other format.
I shoot with a Mamiya 645 and 80mm F1.9, the largest aperture in MF, but still no match for FF.
Not bad at all, I love that lens, while dreaded the Canon 50mm F1.2L
But I have yet to try a F0.95 lens :P though it is not necessary...
Damn at F1.2 with stabilization on, that must make some awesome low-noise night portraits possible, that is if the subject can hold still that long.
"That long"? At this FL on m43, stabilization is VERY MUCH needed even at 1/80s, and if you want pixel sharp picture (not just 1000 lines for which the rule of thumb was made, but the whole 3000-4000 a sensor provides), you'll need it at 1/320s. Not long at all. That is why making ANY handheld cameras without IBIS in 2013, with sensors this dense, is just useless.
Had Panasonic come out with this before the excellent and sharp-wide-open 45mm f/1.8, this would probably have sold a bit. Now more people will wait and see the test results before buying as this lens simply has to perform really well below 1.8 to be worth buying.
Unlike sentiments expressed in numerous other comments, I do like the name Nocticron. Summicron, Summilux and Noctilux probably all had some people doubting the naming choice when those came out.
Being a stop faster is nothing to scoff at too
Nocticron = late night clock. Roughly.
I have the 45mm f1.8, I'm satisfied, but it's nice to have choices.
I'm glad someone finally makes a m43 lens that fast with AF. I'm hoping for more.
Knowing Panasonic, this lens won't be cheap. It should better be many times better than the excellent but cheap Oly 45mm f1.8 lens.
Looking at the photo of the lens, it does not seem to have a manual focus scale to aid manual focus (if any). Manual focus would most likely be "fly by wire" again. This would not matter to amateurs but for experience photographers / videographers this is not a benefit.
Lets see how this lens will cost and perform. Will the brighter aperture of f1.2 instead of f/1.8 make much difference to final image quality?
CV is going to make (or at least they try) 42.5/0.95 .. price not different tho. But its faster (85/1.9 equiv).
Or you can try SpeedBooster and C/Y 50/1.4 (should be close to bit odd 70/2 lens).
That may be true, but if you need that shallow depth of field you need to buy a full frame, that is just how it is. The Canon or Nikon cannot compete in size, so there are still advantages to the m4/3 system. It really comes down to where they price this lens. I think it will fit most users demands for a ~28° FOV portrait lens.
viking79 wrote: "The Canon or Nikon cannot compete in size, so there are still advantages to the m4/3 system."
That's assuming that small size is something you want. For many people with average to large sized hands, many of the m43 bodies have somewhat cramped controls, with shallow grips and not great ergonomics vs prosumer APS-C and FF DSLRs.
One thing that Panasonic seems to have gotten right about the new GX7 is the fairly deep grip. But again, a portrait photographer working primarily in a studio or on location wouldn't necessarily make a small size body a priority. Flash system, grip, VF, ergonomics, and DOF control are all going to rate more highly than portability for many.
Re: the CV lenses, it's nice to see the excellent CV 25 f/0.95 dropping in price as I've seen it for ~ $800 new from some of the Hong Kong Ebay sellers.
Hm, I dont think m4/3s are competing against FFs. Not more than FFs are competing against MF. Simply different things for different stuff.
And not sure how you, but Im not shooting portraits wide-open even on APS-C. To have subject reasonably in DOF, you usually need bit more DOF than f1.4 - f1.8 aperture allows.
With for example 75/1.8 from Olympus you can shoot wide-open no prob (tho f2 is better sometimes). But if you use something like 85/1.4 on FF (FX) it usually isnt that useful, unless you like very limited DOF in portraits.
"But if you use something like 85/1.4 on FF (FX) it usually isnt that useful, unless you like very limited DOF in portraits."
Yep, focus on eyes, nose and ears and parts of hairs are completely OOF. Who would think that it is somehow good?
And of course all those contextless passport photos are completely boring and useless to begin with.
@marike6: "That's assuming that small size is something you want."
Well, if you are not interested in Micro 4/3, then what is your interest here?
So tiresome to see all this trolling from insecure people interested just to get the world to agree THEY have the "right system" - and others must either just plain wrong, or maybe even just plain stipid? Geez!
will this Leica perform better than my 85/1.8 stopped down to f/2.2?
Nobody knows. Its equiv. of 85/2.4 so you can stop further. :)
Most likely it will perform good, Leica designed lens usually do. Apart from idiotic name its going to be most likely good.
So someone already said it sounds like an Evil Robot Space-Baddie?
Hey it's got a proper OIS switch!
Nocticron.. sounds like one of the Decepticons from Transformers..
yes.. yes.. I know.. hush..!
Shame it's over 40mm , I can count on two hands how many times I have used mr 45/1.8 in the last few years. . Now 15 - 25mm would be very nice indeed..
So use the 25mm PanaLeica f1.4?
"Panasonic actually announced this lens already (sort of) at last year's Photokina tradeshow in Cologne, Germany. But what was then a dummy lens behind glass now appears to be a real product, albeit one without any firm availability date or pricing information."
Let us then wait for a few more updates, press announcements, and publicity flyers from them. Hey, we've got the time, right? One day, we might even know if the thing will in fact exist at some point in the future.
Anyone wanna buy an Olympus Zuiko 50mm f/1.2? :D :D :D I may not be needing it anymore hahaha
This looks expensive, at least 1000€ AF and OIS - waow!
and for dof only f: 2,4/85 mm...
but even better then the Olympus 1,8/75 mm - dof - 3,6/150 mm
To be frank, on Full Frame you usually stop those lenses down to f/2.8 anyway to get decent quality and so something in the frame is actually in focus :) Sure, there are some cases where you actually want to shoot an 85mm f/1.4 at f/1.4, and for those cases you should buy a full frame camera.
Oh god, more know-it-alls with their equivalency calculators I see... Good stuff!
@BJN "OMG, this is only equivalent to a 360mm f/10 on my Linhof Technika! My Nikkor-T*ED 360mm f/8 that I got for $900 has a much shallower depth of field!"
Umm. Yeah. That was useful. There is no "reality check" that is useful in this situation. This lens is a 42.5mm f/1.2 - nothing more, nothing less.
I think you meant to say "there is nothing wrong with being a little obsessed with 35mm full-frame".
Nice, f/1.2 to f/1.4 seems to me to be a sweet spot for m4/3, still get nice shallow depth of field especially with a 42.5mm lens (about 28° diagonal FOV). F/1.8 seems great on APS-C. Rarely a need to go larger aperture than that, and if you need to there are always full frame cameras.
@BJN Might want to get that checked out, mate. Frequent lens-price-induced nosebleeds can sure affect a healthy lifestyle.
"The LEICA DG NOCTICRON 42.5mm/F1.2 achieves the fastest (1) F1.2 for a Micro Four Thirds interchangeable lens"
DPreview should point out marketing lies when they paste them.
I won't believe Leica has never heard of the f0.95 Noktor hyperprime, which came out ages ago. I won't say the Noktor has better IQ, but clearly Leica's above statement is BS.
While I agree with your sentiments, Dark Goob, one with a name like yours is in no position to throw stones. . .
This lens sounds quite promising but "Nocticron" ?
That is name is...marketing $!/"@%* lol.
In Leica territory a Noctilux is "currently" F0.95
A summilux is F1.4
A Summicron is F2
So this lens is a mix of F0.95 and F2 all together (Since the use of "Lux" is impossible due to Nocti"Lux") ? lol
A F1.2 lens. Hmmm No ! A Nocticron of course ! xD
I'm not criticizing the lens...but just the name employed.
IMHO the naming seems to have some logic. ;)
Noctilux F0.95 - Nocticron F1.2 - Summilux F1.4 - Summicron F2
They've done this before, though. For lenses between the Summicron and the Elmarit, the f/2.5 lenses, they are Summarit. It's just Leica's thing. Since 'summi' is already used for Summilux, summicron and summarit, and 'lux' is in both Noctilux and Summilux, they did what makes sense: Nocti indicates faster than f/1.4, and the cron indicates that it isn't f/1.
Now, they've used f/1.2 as Noctilux before, but that was before they came out with the f/1 and f/0.95 Noctilux, which is what most people think of when they think Noctilux...so I don't begrudge them the new name.
Wikipedia lists a F1.2 Noctilux. (There's no date listed, but I believe I read 1974 somewhere.)
There's more to lenses (including Leicas) than F stops. My Summilux F1.4 75mm was sharper than my Noctilux F1.0, though the Noctilux had better colour.
My 90mm F4.0 was not particularly sharp, and far more importantly for me: It lacked good colour.
I know the first Noctilux was a F1.2 that is why I wrote "current Noctilux" are F0.95.
I'm not talking about F stop or lens quality here, but about the meaning behind the denomination of this lens which is, as Leica do, based on its F Stop.
I've read somewhere that Leica, when they cooperate with Panasonic, don't design these lenses and don't build them. They just "validate" the optical design and share their Name.
That is why the fact Panny is mixing "Noctilux and Summicron" to define this lens is a bit hilarious to me. Despite it may make sense to some, that is pure Leica-Like Marketing.
Again...I am not criticizing this lens. But its name.
Well if the in-between of a Noctilux and a Summicron becomes a Summilux why is it so ridiculous to have a Nocticron?
Right these Panasonic Leicas are made in Japan, not by Leica. I'm not sure it's publicly known which party designs the lenses. However they have a reputation as optically excellent. So clearly Leica (like Zeiss for some Japanese made Zeisses) is inputing some of its special optical knowledge into the mix.
Why not use Nocticron? The name suggests the Noctilux, and this new Panasonic Leica is as fast as the first Noctilux. My point was that I'm not sure the naming is entirely based on the maximum F stop of the lens.
The name may be marketing, but there's a reason people are excited about well done Leica-Panasonic lenses. They have it, while even the best Nikons and Canons struggle with color.
It's a lot better at wider apertures than 1.8. It's also unlikely to be noticeably better from 1.8 onwards, with the Olympus being so good already, perhaps on the border of possibility.
I'm stopping my plan of getting the 1.8, until the price of this forces me to return to that plan ...
About a stop ;)
Very nice portrait option for M4/3. This is what we were waiting for since a long time. The Oly 45/1.8 is a great lens and not expensive and does the job for many but there was simply no real alternative if you want it...
Let's hope this new lens is on par with the Pana 25/1.4 or Oly 75/1.8 in terms of IQ.
I don't think it makes much sense to compare this lens with FF systems. M4/3 is for people who want excellent image quality and a light weight system. If you want shallow DOF then get a FF and don't complain. I got both and both systems have their pros and cons.
DPR should stop using the term "effective focal length". It is misleading.
It is better to say "has FOV of".
They should start referring to APS-C and FF lenses in terms of their "effective focal length" on m43.
From Dof prespective; it will act like 85 f/2.4 on 35mm FF
a 6D + 85 f/1.8 will have shallower Dof
Also, IQ wise, 6D + 85 f/1.8 @ f/2.4 could be better than this lens
35mm FF still has it's value when shallow Dof is needed
Full frame is undoubtedly the way to go if shallow DoF is a very big priority. However, given the precedence of high quality primes on M4/3, I'm rather confident this lens will beat any 85mm f1.8 prime in overall IQ, even if stopped down to f2.4 or a bit further. Of course, portraiture tends to be one area where technical IQ points don't matter than much.
IQ wise, a 6D with an 85mm f1.8@f/2.4 will almost certainly not significantly outperform a current M4/3 sensor with this lens at F1.2. Once you stop down two stops, FF begins to lose to the more efficient small sensors, and Canon's FF cameras already lag behind newer M4/3 sensors in dynamic range.
Still, want the potential for shallower DoF? It's certainly smarter to go full frame, especially when you start comparing prices.
While it's certainly true that FF has more flexibility when it comes to DOF control, it's less of an issue at these relatively longer focal lengths. Where M43 is most constraining is when trying to shoot wide angle shots of large subjects while trying to blur out the background. That's not really the task that this lens is aimed at.
Yes, I'm sure you can concoct some specific counter-examples, but I suspect that they'd be much more the exception than the rule for the people who'd buy this lens.
For those wanting to compare this lens to a full frame 85/1.8, if you head over to DXO Mark you'll find the Nikon 85/1.8 tied for first overall with the 85/1.4, both slightly edging out the $6000 200/2. I had to look for a while but I eventually found the Olympus 75/1.8. If that lens is any indication, this new 42.5/1.2 doesn't stand a chance.
@joejack951: what you're seeing is not necessarily the lens. DxOMark will tell you that you can't compare lenses by ratings on different camera bodies. For example, that same 85/1.4 drops to a 28 (from 40 on the D600/D800) when you select tested on D700, 25 on D7000 and 22 on a D5000. The Oly 75/1.8 is 23 on a GH2, but 27 on am E-M5. The sensor plays a role in the equation. The lens itself may be just as good. I'm pretty sure that the 75/1.8 on the E-M5 being about as good as the 85/1.8 on a D700 is sufficient for even professional portrait work.
I am very happy with the DOF of my M43 system. I have FF and DX Nikon cameras and they are great, but they are also huge compared to my GX1. As far as DOF with a 1.2 lens, here is an example of my GX1 with a Minolta 50mm 1.2 MD. Pretty shallow DOF if you ask me.
f/1.2 would be awesome, but I wonder how much better it will be than the already superb 45 f/1.8 from Oly, given it will be probably 4x as expensive?
good addition to m4/3 series.
My 2 most important takeaways:
1) Leica designation practically guarantees this lens will be ludicrously expensive, as if the f/1.2 aperture didn't suggest that enough.
2) AF/MF switch on a M4/3 lens AND an aperture ring. For the love of all that is good, FINALLY.
If the IQ of this is good enough, which it almost undoubtedly will be, I'll be very happy I held off on the 75mm f1.8 for this lens.
If the aperture ring is mechanical/electronic like Nikon's AFD aperture rings, great. If not, I don't see the reason for it other than looks.
Of course, Fuji's lenses have fully electronic aperture rings for some reason or other- probably to complete the look of their cameras.
42,5 and 75 are very different focal lengths. I'd think they would complement each other well rather than compete with one another. 1,2 is certainly fast enough even on M43.
Well, personally I don't care too much about the aperture ring myself, as the OM-D has two dials, but if I were using my secondary body (a G3), I'd be very glad to have direct aperture controls so I can save the other dial for exposure comp or shutter speed. The AF/MF switch is more useful to me as it simply saves me a button.
As for the 42.5 and 75mm focal lengths, I agree and disagree with you. In a general sense, yes they are very different focal lengths. However, for my personal uses, both would generally applied to portraiture. As such, for me having a 42.5 is much more important than having a 75mm as it's more versatile overall. My main reason for going with the 75mm would be greater subject isolation, but this lens should match it or be better in some scenarios. It's virtually impossible this lens will surpass the 75mm's sharpness though, but again that's not a priority to me.
In any case, it looks to be a great addition to the system.
Now if only it were weather sealed...
"I'll be very happy I held off on the 75mm f1.8 for this lens."
Very different FLs, very different perspectives/distances when shooting the same object. Hard to replace one with another unless your object is small and just 2m away.
And for the boring and useless head portraits (aka passport photos some love so much), even 45/1.8 is more than enough shallow, blurring even tips of ears a little when focused on eyes.
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The government will hold one or two auctions of shale-gas blocks this year, the land ministry said on March 1, without giving details. China Petroleum & Chemical Corp. and Henan Provincial Coal Seam Gas Development and Utilization Co. won the rights in June to explore two areas.
Sinopec, as China Petroleum is known, recorded a "high" industrial flow rate of shale gas at a test well at its Yuanba field in Sichuan, parent China Petrochemical Corp. said on March 8. The well produced 507,000 cubic meters a day, it said.
China's shale formations may hold 1,275 trillion cubic feet (36 trillion cubic meters) of technically recoverable gas, or 12 times its conventional gas deposits, the U.S. Energy Information Administration said in April last year.

subset: commoncrawl


text:
Look at other dictionaries:
Unchain — Un*chain , v. t. [1st pref. un + chain.] To free from chains or slavery; to let loose. Prior. [1913 Webster] … The Collaborative International Dictionary of English
unchain — index break (separate), disencumber, disengage, disenthrall, dissociate, free, liberate, parole … Law dictionary
unchain — (v.) 1580s, from UN (Cf. un ) (2) opposite of + CHAIN (Cf. chain) (v.). Figurative sense of to liberate is recorded from 1793. Related: Unchained; unchaining … Etymology dictionary
unchain — [spelling only] … English World dictionary
unchain — transitive verb Date: 1582 to free by or as if by removing a chain ; set loose < unchain workers from their desks > … New Collegiate Dictionary
unchain — unchainable, adj. /un chayn /, v.t. to free from or as if from chains; set free. [1575 85; UN 2 + CHAIN] * * * … Universalium
unchain — Synonyms and related words: cast off, detach, discharge, disengage, doff, emancipate, free, liberate, loose, loosen, manumit, release, remove, take off, unbar, unbind, unbolt, unbridle, unbuckle, unbutton, uncage, unclasp, undo, unfasten,… … Moby Thesaurus
unchain — (Roget s IV) v. Syn. liberate, unbind, discharge; see free 1 … English dictionary for students
unchain — v. release from chains or restraint, set free … English contemporary dictionary
unchain — v. a. Unbind, unshackle, set free, liberate, set at liberty … New dictionary of synonyms


text:
BOSTON (CBS) – Boston Bruins star defensman Zdeno Chara was hospitalized last night for dehydration. The team confirmed this morning that Chara was admitted to the hospital.
He is currently being evaluated by the Bruins medical staff.
As of Saturday morning, it was unclear whether Chara would be able to play in Saturday night's playoff game against the Canadiens.
The Bruins official website quotes Coach Claude Julien as saying, "until our medical staff tells us he can't go, he's in (tonight)." Julien added, "they have yet to tell me he can't."


text: Free Webinar-Based Training on July 10, Looks at How to Approve and Promote Cloud Applications Across Development, Test and Production Clouds Palo Alto, CA – June 26, 2012 – Increasingly, organizations are adopting DevOps principles and automating governance to improve development processes, reduce risk and increase project visibility. However, in order to achieve these modern best practices, many IT architects and developers must painfully leave existing tools behind. The fourthWSO2 Cloud Summer School class of 2012 will explore how IT professionals can successfully integrate applications with existing build management, continuous deployment, cloud management services, and registries to maintain tool chain compatibility and optimize the cloud development experience. The interactive online class, "Adopting DevOps and Automating Governance," is being offered at no cost as a part of the WSO2 Cloud Summer School program. It will be held on Tuesday, July 10, 2012 from 9:00 a.m. – 11:00 a.m. Pacific. To participate, register at: https://wso2.com/library/webinars/2012/07/wso2-summer-school-2012-adopting-devops-automating-governance. The class will explore why DevOps and automated governance are core platform-as-a-service (PaaS) attributes. The session also will examine how WSO2 Carbon middleware platform archive assets can be automatically deployed across cloud instances. Additionally, the class will preview how the forthcoming WSO2 AppFactory can be used to approve and promote cloud applications across development, test and production clouds. Class Presenters Chris Haddad, WSO2 vice president of technology evangelism, works closely with developers, architects, and C-level executives to increase WSO2 technology adoption, improve the middleware platform, and maximize customer value. He has been advising Fortune 500 companies and charting a vision toward "Cloud 2020," both in his current role and as a former research vice president at the Burton Group and Gartner. Senaka Fernando, WSO2 technical lead and a member of the WSO2 integration technologies management committee, focuses on the WSO2 Governance Registry and WSO2 Cloud Services Gateway. He has provided technology consulting on customer engagements, helping to successfully implement governance, enterprise application integration, SAP integration, and on-premise portal solutions. Cloud Summer School 2012 Since 2009, the popular WSO2 Summer School program has helped more than 2,000enterprise IT architects and developers become more familiar with service-oriented architecture (SOA) technologies and best practices. The all-new classes for 2012 will focus on the cloud: from selecting a cloud platform to developing cloud applications, scaling cloud deployments, and demonstrating cloud value. Taught by some of the industry's leading technical experts, the classes offer an opportunity to obtain thousands of dollars worth of professional training at zero cost. For details on the program and how to sign up, visit https://wso2.com/summer-school. About WSO2 WSO2 is the lean enterprise middleware company. It delivers the only complete open source enterprise SOA middleware stack purpose-built as an integrated platform to support today's heterogeneous enterprise environments—internally and in the cloud. WSO2's service and support team is led by technical experts who have proven success in deploying enterprise SOAs and contribute to the technology standards that enable them. For more information, visit https://wso2.com or check out the WSO2 community on the WSO2 Blog, Twitter, LinkedIn, Facebook, and FriendFeed..


text:
Channel Islands ferry services disrupted by weather
Fast ferry sailings between the UK and Channel Islands have been cancelled due to high winds and rough seas.
Winds of up to force seven have been forecast, with a predicted drop to force four overnight.
Condor Ferries inter-island services and those to St Malo in France will run at rescheduled times.
The conventional ferry is due to operate as normal with an overnight sailing due to arrive in Weymouth on Saturday morning.
The company said it was offering all of its passengers alternative sailing options.


text:
Former talk show host Ricki Lake executive produced Abby Epstein's documentary, The Business of Being Born. The film which has enjoyed all sorts of critical acclaim and press, just opened in New York City where Ricki Lake and Keri Russell were spotted hobnobbing outside the theater at its debut.
To learn more about the fascinating documentary,
The movie focuses on claims that doctors and hospitals are making huge profits from delivering babies. They believe women have been convinced that having a hospitalized medicated birth is the norm and that age old methods of home birthing and drug–free births are passé, even dangerous.
In the trailer, a panel of women in white coats were asked how often they get to see a completely natural birth. They answered, "Rarely. Almost never." It also states, "The United States has the second worst newborn death rate in the developed world," which I was shocked and even a bit scared to read. The movie highlights the positives to old–fashioned birthing methods and shows Ricki Lake having one of her own.
For those of you who are debating your delivery, this movie might help you make your decision.


text:
OAKLAND — Community activists and City Council members on a neighborhood bus tour denounced the scourge of urban blight, attacking banks and commercial property owners as negligent landlords and pushing for urgent reforms.
"The banks have been using Oakland as a dumping ground," said Shirley Burnell, a West Oakland resident and volunteer at the Alliance of Californians for Community Empowerment, or ACE, which organized a two-hour bus tour Thursday to see the damage up close. "The banks are responsible for creating this blight, so they need to be responsible for cleaning it up."
There may be as many as 6,000 foreclosed properties in Oakland, particularly in the flatlands, parts of which are a patchwork of vacant, bank-owned or up-for-auction homes where dumping is rife. Neighbors are fed up, and say the vacancies soon lead to trouble as squatters, prostitutes, drug dealers and animal vermin take up residence instead.
"One blighted house infests the whole neighborhood," said Beverly Williams, who has been patrolling Oakland's streets looking for blight for the past 18 years, "It's a war for the neighborhoods."
A California bill passed in January 2010 aims to hold banks and property owners more accountable by leveraging $1,000 daily fines against owners if the blighted properties are not cleaned up within 45 days of being notified. Before that, banks had little incentive to address the problem at all.
But City Council members, neighbors and activists say the bill has been largely ignored. They claim banks have successfully circumvented the new law by passing the expenses on to buyers instead through liens and by increasing the purchase price.
"Everyone has been too tolerant of the banks," said Councilmember Desley Brooks, who represents the Eastmont-Seminary district, who spoke in the driveway of a blighted property in the 1400 block of 88th Avenue, where trash was strewed along the ground, and clear signs of illegal dumping were visible in the backyard. "We need to make this work, not for the banks, but for the people who live here."
The city has taken some steps to pressure banks to do more. In 2007, Oakland passed an ordinance demanding that banks restructure foreclosed loans. Two years later, it forced the banks to provide the numbers of foreclosures they processed, and banks received hefty fines for not registering vacant buildings.
But Councilmember Jane Brunner, who represents North Oakland, said it hasn't been enough, and that the city still hasn't figured out how to prevent banks from shuffling the additional costs on to future buyers. At the end of the day, she said, "the banks don't really care if these houses sell or not."
"We need to figure out how to go after the banks," she said.
The foreclosure crisis is nowhere near ending. Fully 10 percent of single family homes in Oakland are foreclosed, far more than most states, Brunner said. And last year, powerful banks with a local presence, such as Chase and Wells Fargo, reset loans on some 1,600 homes across the city.
Ray Derania, deputy director of Oakland's Community and Economic Development Agency, said the vast majority of banks do, in fact, pay their fines on time — but they only do so once they've received a notice of blight, which means the properties can go unattended for weeks, if not months, because the city can't pay for a comprehensive survey to assess the scope of the problem.
"Oakland has had a problem with blight for years," said Derania. "But the foreclosed properties have exacerbated the problem, no doubt."
Other cities have devised schemes that seem to be working, including Richmond, which reduces the fines if the banks maintain their properties in a timely manner. So far, however, Oakland's city managers haven't found the right leverage tool, and the problem persists.
"The linchpin now is finding a way to structure these fines so that the banks can't pass on the costs to the new owners," said Brunner.
Contact Scott Johnson at 510-208-6429. Follow him at Twitter.com/scott_c_johnson and Twitter.com/oaklandeffect.


text:
Maturity Ratings
Each Second Life destination has a maturity rating of General, Moderate, or Adult. You can choose to show or hide destinations based on their maturity rating.
Learn more about maturity ratings.
Content Guidelines
Looking to dress up your avatar in Second Life with the latest styles? Shop for the latest in fashions and clothes at one of these fine stores.
Page 1 of 15
The Little Bat
Since opening its doors in 2011, The Little Bat strives to create original, affordable goodies that caters to every alternative taste. Here you'll find everything from kawaii to creepy, to casually dark, to all out gothic. Be it mesh clothing, jewelry, Slink shoes, Slink nails and accessories, to horns, there's a little something for everyone - For the little bat in you!View this destination »
Dark Passions
Welcome To Dark Passions, Est. 2004. Dark Passions provides quality mesh clothing,shoes and Koffin Nails brand of cosmetic nail appliers for Slink, Maitreya & Belleza.View this destination »
Designer Circle
The Designer Circle is a platform for SL designers and a bi-weekly event since 2010, that offers limited-time deals several items from each participating designers with prices between 50 and 100 Lindens. There are many bargains to find — but you'll need to act quick!View this destination »
[Cynful] Clothing & Co
[Cynful] Clothing & Co. is a fashion line created by Cynthia Ultsch for the women of Second Life. Her creations are specifically made for women who love to wear smart casual designs that show off a little bit of sex appeal. The [Cynful] Clothing & Co. line also includes creations made by Promise Hollow and Angelina Courier.View this destination »
LRD features quality mesh clothes and shoes for women and men. You'll find all different kinds of styles here, including the brand Don't Mesh With Me.View this destination »
Java Fashion Designs
Java Fashion Designs is a chic place to dine and discover fashions for any budget.View this destination »
The 'stuff Lounge
Visit The 'stuff Lounge, a hub for everything fashion in Second Life. This is the homebase for the popular menstuff, womenstuff and homestuff communities and events, too.View this destination »
{Pretty Things} Boutique District
This beautiful modern inspired district is decorated with parks and photogenic spots for all the photography lovers, shoppers and fashion conscious shoppers. Explore all the shops and events that are hosted here everyday and you will discover so much in this impressive shopping environment.View this destination »
AVENGE Fashion
AVENGE is redefining SL style. Shop for handmade skins,shapes, accessories and more.View this destination »
Shop everything from couture to casual at Rayne, located at the Yorkshire Dales.This shop can be found in a beautiful rural countryside that has been recreated for SL and is ideal for photos, time out and romance.View this destination »
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A list of products including, Studies in Words (Canto), Reflections on the Psalms (Harvest Book), The Discarded Image: An Introduction to Medieval and Renaissance ...Clive Staples Lewis, commonly known as C. S. Lewis (29 November 1898 – 22 November 1963), was a novelist, poet, academic, medievalist, literary critic, essayist ...Have you read The Magician's Nephew? We've found that while readers like to know what we think of a book they find additional reader reviews a massive help in ...The Great Divorce [C. S. Lewis] on Amazon.com. *FREE* shipping on qualifying offers. C.S. Lewis' The Great Divorce is a classic Christian allegorical tale ...The Chronicles of Narnia is a series of seven high fantasy novels by author C. S. Lewis. It is considered a classic of children's literature and is the author's best ..."In this fiftieth year since he died, I offer this little book as a celebration of the influence of C. S. Lewis in my life. I hope I do so in humility.The CS Lewis Review is an online resource for reflections on C. S. Lewis and the tradition he exemplifiesC.S. Lewis' "The Screwtape Letters" The secret's out. You've stumbled upon a mysterious series of recorded conversations between two demons tasked with ...Michael Ramsden, Director of the Oxford Center for Christian Apologetics, calls the C.S. Lewis Fellows Program "the most effective discipleship program I've seen ...Table of Contents The central goal of this book is to teach the reader how to design user interfaces that will enable people to learn computer systems quickly and use ...
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text:
This comes straight from the Githead Headquarters: a heated discussion between Robin Rimbaud, Malka Spigel and Colin Newman. They were arguing about things like:
- Hawkwind
- Bands on tour
- Age and the record industry
- Professor Scanner
- English expressions we all hate
- The author Michael Crichton
And of course lots of talk about their latest and so far best album, Landing.
Enjoy the podcast and buy the album. Because it's great.


text: Mekal 0 Report post Posted October 15, 2008 (edited) Intro: "Is that a ship! After 3 months of being stranded on this island, we are finally being rescued!" the man yelled. "Let me see, we are wanted in 17 states, we killed half of a cruise ships roster, and are supposed to be dead. " Said the Techie. "So, The Problem is, even if they ARE coming for us… they will put us into custody." "Way to put a damper on this. We haven't seen one sign of civilization in 3 months. "Replied the Hitman "Well don't get your hopes down yet, the boat is heading towards the island." Said the Framer "Wait a second, if it is heading towards the island then there must be some other civilization here. Hey, Hitman, toss me those binoculars you saved." Said the Techie. The Hitman tossed him the binoculars and he looked through them. "What the… that's a cruise ship!!! And it is also is another royal Caribbean!!!"The techie exclaimed. "Well, whose up for a Payback?" the Threatener coolly said. "Something big to announce our survival…" Beneath the surface of the sea… The Sea God Mekal was swimming on his hippocampus when he first felt the dark presence. He felt around through the water to find what was wrong. Using his omnipresence, he looked at the problem. It was the man that had stained his clear blue water with red blood. An extreme hatred came over the Sea God. Not only had this man stained his water, but his evil spirit was also roaming around the seas. Suddenly, his omnipresence also alerted him of trouble in Atlantis. He had to get rid of the evil spirit and didn't have enough time to send him to the underworld. So he did the one thing that was possible in the short amount of time. He brought the terrorist back to life. "I am putting you back on shore, and if you ever touch my water again I will drown you, bring you back to life, drown you again, and then finally send you to Hel." In a little bit, the terrorist woke up. He was lying on the beach, and noticed he had an unusual fear of water… On Oasis of the Seas… "I am sorry sir, but I can't let you in without a card." Said the dock worker "But I am telling you, I lost my card! My wallet with my passport and my drivers license fell overboard when I got off ship! Can't you just look at the registry!" yelled the Threatener. The Techie had already hacked into the ships registry and added their names with the laptop the Hitman stole from a Best Buy. "Once again, I am sorry, but it is against policy to check up on that" replied the Dock worker. Wrong choice. The Hitman stepped up to the dock worker. "I'll take care of this." Came a cold snakelike voice… And then the Hitman shot her. Meanwhile… The terrorist had been walking up to the ship when he heard the gunshot. He started running towards the Ship to see what was happening, but by the time that he got there all he saw was a woman dead on the gangplank and bleeding horribly. Well, the terrorist thought with a smirk, Looks like my work just got a lot simpler. What the terrorist didn't know was that the Registry Worker had already called the S.W.A.T agent, His long time enemy… And with that, the night begins!!! The night will end when I get all of the neccacary P.M.'s in. (Prisoners, Nurses, and S.W.A.T) All P.M.'s are due by 8:00 P.M. tomorrow night. Cruise ship mafia Note: the Ship used in this is based off of the royal Caribbean cruise liner "Oasis of the Seas" A copy of the deck plans are here: Deck Plans The Baddies: The Prisoners: After washing up on shore on an island, they joined up and snuck aboard. The Framer (All): The most elusive baddie… Any night, but not 2 nights in a row, gets the ability that of the person killed by the prisoners the night before. The Threatener (Prisoner): Can send a message every night which will be posted in the night post. When the Threatener is killed, his role is revealed. The Techie (Prisoner): Stole a computer and hacked onto the cruise registry. Any night, but not 2 in a row, can see the faction (Innocent/Terrorist) of a player. The Hitman (Prisoner) - Kills anyone that visits him/her at night. Terrorist (terrorist): The sea god did not want his evil spirit in the sea, so he granted life once more to him. Kills on even nights. Once The S.W.A.T dies, he is out of the game. Invincible for the first night and day. Goal is to kill the SA. The Innocents: (2)The Nurses(Saving): Picks a target to save each night. Cannot pick the same target to save twice in a row. Can save self only once. Have a 50/50 chance of getting BTSC at the beginning (one will be alerted that they cannot save the Minor Thief because of their moral beliefs.) Stage Magician (Saving): A real magician who passes as an entertainer. The SM can make a powerful illusion to save someone each night from the terrorist only. If the terrorist dies the SM uses his magic to save 1 person on any night once. After that they are a vanilla character. Mission Handler (saving): The person who helps the SA keep updated. As long as the MH is alive, The SA cannot be killed at night. If the S.W.A.T is lynched then he uses his high tech equipment to find out the role of anyone 1 time. After that he becomes a Vanilla character. S.W.A.T (SA)(Misc.): A Expert in his field who kills for the Innocents. Since he is an accomplished fighter ever since the events on "Freedom of the Seas", he was sent to eliminate the new threat. He kills on prime nights. Cannot be killed at night while MH is alive. The Minor Thief (misc.): A minor Thief who breaks into staterooms for fun. After the amount of loot he got in on "Freedom of the seas" he decided to try his hand on this ship. PMs me the name of a player each day and I PM their role. Room Cleaner (Saving, Misc.): After years of Cleaning rooms and seeing the ongoing of the cruise, The RC has finally gotten a promotion. The cleaner picks a player and then I tell them what the action is(cleaning, killing, saving, spy, role manipulation, or previous choice) to which they can either decline or carry out the action. Role manipulation is when the janitor chooses a role and chooses his own targets, and the person with the role is unable to use their ability Registry Worker (misc.): The RW PMs me the name of a person and that person is removed from voting for the day, The RW also has a ¼ chance of finding out that persons role The Prison Guard (misc.): arrests a person for one night (must PM me the player's name before the day post). The Person is stuck and can make only 3 posts while in jail (or else they get gang beat and stay in the hospital for another day). They may not use any day or night power while in prison, but they have a 50/50 chance of safety if they are attacked and saved. Rules >Nights and days are 24 hours in central time. Night one will start 8:00 P.M. Central time, and will end when ever P.M.s are in, latest being 8:00 P.M > If someone didn't participate in lynching , they will be asked to be replaced, if no replacement is found, then they will be killed the second lynching that they are not active in. > When you die, you have two 'ghost-post' in gray to make, but it CANNOT reveal any information or hint at anything or relate to the game, it must be entirely off-topic… > There will be hints… But in the scavenger hunt way… keep your eyes open in the INTRO post for a clue… > Nonsense posters will be warned and then punished Don't spam the thread (as much as I hated this rule, it is still in effect) > Rules are rules, so don't complain. Also keep in mind that Mafia is a game of elimination, and dying is part of it. > The roles will be determined completely randomly, so don't bias > Have fun … Or else > you may not post anything from outside the thread >Tidal waves are subject to hit… especially after the annoying of the sea god. New Rule addition: Because of the pure size, the oasis of the seas has certain activities at can benefit you. However, you can only use 1 once. You must PM me to activate your activity… Zip line: this thrill seeker levels up your adrenaline. That night you have a 50% chance of escaping from an attacker. Flow rider: you have a 50% chance of falling of your board and hitting your head (causing the removal of your vote) or being totally beastly (your popularity soars and you get your vote x2) Shopping: This gives you a chance to shop for the cruise. You have a 50% chance of finding something good to wear, letting you go off the boat while at the port of call, causing no day roles(But still lynching) to affect you… and a 50% chance of finding nothing, which does what you find. Roster: Sea God: Mekal 1)GC 2)CP 3)JS 4)woon 5)FIF 6)Kat 7)dms172 8)limeliam 9)silverheart 10)PG 11)Slick 12)Reaymond 13)Panther 14)footonthehill Edited October 15, 2008 by Mekal Share this post Link to post Share on other sites


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200 Things You Can Learn On The Interwebs
I can't believe I didn't think of this?!?!?!?! The internet is truly a place of learning. It should be like a university. Say, if you spend three hours online a day surfing for at least six months, you should get some kind of degree. And not a joke degree either… it could be like a degree in online sociology or something! Either way, I'm a big fan of this chick after just one view. She's fabulous! BTW, I learned about Control T from this video… and Target.com really is hard to navigate! Be careful! There are some expletives!


text:
Robert Duncan did not join in the Modernist denigration of Shelley, but the following rewriting of Shelley's "Arethusa" is both tribute and reproach, it seems to me -- a tribute to Shelley's vivid re-imagining of the myth and a reproach to his tin ear!
Duncan's poem is from his Roots and Branches, published by New Directions.
Note: I have attempted to reproduce the spacing of both poems, a typographical feature that was particularly important to Robert Duncan. This may result in some unintended run-over lines unless the page is viewed using Netscape on a large monitor -- or by reducing the font size to 10 by use of the font section of the options menu. -- S.C.
Percy Bysshe Shelley
Robert Duncan
|Shelley's arethusa set to new measures
|Arethusa arose
|Now Arethusa from her snow couches arises,
|From her couch of snows
|Hi! from her Acroceraunian heights springs,
|In the Acroceraunian mountains, --
|down leaping, from cloud and crag
|From cloud and from crag,
|jagged shepherds her bright fountains.
|With many a jag,
|She bounds from rock-face to rock-face streaming
|Shepherding her bright fountains.
|her uncombed rainbows of hair round her.
|She leapt down the rocks,
|Green paves her way-fare.
|With her rainbow locks
|Where she goes there
|Streaming among the streams; --
|dark ravine serves her
|Her steps paved with green
|downward towards the West-gleam.
|The downward ravine
|As if still asleep she goes, glides or
|Which slopes to the western gleams;
|lingers in deep pools.
|And gliding and springing
|She went, ever singing,
|In murmurs soft as sleep;
|The Earth seemed to love her,
|And Heaven smiled above her,
|As she lingered towards the deep.
|Then Alpheus bold,
|Now bold Alpheus
|On his glacier cold,
|aroused from his cold glacier
|With his trident the mountains strook;
|strikes the mountains and opens
|And opened a chasm
|a chasm in the rock so that
|In the rocks -- with the spasm
|all Erymanthus shakes, and the black
|All Erymanthus shook.
|south wind is unseald,
|And the black south wind
|from urns of silent snow comes, Earthquake
|It unsealed behind
|rends asunder
|The urns of the silent snow,
|thunderous the bars of the springs below.
|And earthquake and thunder
|Did rend in sunder
|Beard and hair of the River-god
|The bars of the springs below.
|show through the torrent's sweep
|And the beard and the hair
|where he follows the fleeting light of the nymph
|Of the River-god were
|to the brink of the Dorian,
|Seen through the torrent's sweep,
|margins of deep Ocean.
|As he followed the light
|Of the fleet nymph's flight
|To the brink of the Dorian deep.
|'Oh, save me! Oh, guide me!
|Oh save me! Take me untoucht, she cries.
|And bid the deep hide me,
|Hide me,
|For he grasps me now by the hair!'
|for Alpheus already grasps at my hair!
|The loud Ocean heard,
|The loud Ocean heard,
|To its blue depth stirred,
|to its blue depths stirrd and divided,
|And divided at her prayer;
|taking her into the roar of its surf.
|And under the water
|And under the water she flees
|The Earth's white daughter
|white Arethusa,
|Fled like a sunny beam;
|the sunlight still virginal in her courses,
|Behind her descended
|Earth's daughter, descends,
|Her billows, unblended
|billowing, unblended in the Dorian
|With the brackish Dorian stream: --
|brackish waters.
|Like a gloomy stain
|Where Alpheus,
|On the emerald main
|close upon her, in gloom,
|Alpheus rushed behind, --
|staining the salt dark tide comes,
|As an eagle pursuing
|black clouds overtaking the white
|A dove to its ruin
|in an emerald sky, Alpheus
|Down the streams of the cloudy wind.
|eagle-eyed down streams of the wind pursues
|dove-wingd Arethusa.
|Under the bowers
|Under those bowers they go
|Where the Ocean powers
|where the ocean powers
|Sit on their pearled thrones;
|brood on their thrones. Thru these coral woods,
|Through the coral woods
|shades in the weltering flood,
|Of the weltering floods,
|maiden and raging
|Over heaps of unvalued stones;
|Alpheus swirl.
|Through the dim beams
|Over forgotten heap, stone upon stone,
|Which amid the streams
|thru dim beams
|Weave a network of coloured light;
|which amid streams
|And under the caves,
|weave a network of colord lights they go,
|Where the shadowy waves
|girl-stream and man-river after her.
|Are as green as the forest's night: --
|Outspeeding the shark,
|Pearl amid shadows
|And the sword-fish dark,
|of the deep caves
|Under the Ocean's foam,
|that are green as the forest's night,
|And up through the rifts
|swift they fly,
|Of the mountain clifts
|with the shark and the swordfish pass into the wave
|They passed to their Dorian home.
|-- he overtaking her,
|as if wedding, surrounding her,
|spray rifts in clefts of the shore cliffs rising.
|come home.
|And now from their fountains
|When now from Enna's mountains they spring,
|In Enna's mountains,
|afresh in her innocence
|Down one vale where the morning basks,
|Arethusa to Alpheus gladly comes.
|Like friends once parted
|Into one morning two hearts awake,
|Grown single-hearted,
|at sunrise leap from sleep's caves to return
|They ply their watery tasks.
|to the vale where they meet,
|At sunrise they leap
|drawn by yearning from night into day.
|From their cradles steep
|In the cave of the shelving hill;
|Down into the noontide flow,
|At noontide they flow
|into the full of life winding again, they find
|Through the woods below
|their way thru the woods
|And the meadows of asphodel;
|and the meadows of asphodel below.
|And at night they sleep
|Wedded, one deep current leading,
|In the rocking deep
|they follow to dream
|Beneath the Ortygian shore; --
|in the rocking deep at the Ortygian shore.
|Like spirits that lie
|Spirits drawn upward,
|In the azure sky
|they are divided
|When they love but live no more.
|into the azure from which the rain falls,
|life from life,
|seeking their way to love once more.
Table made with the help of TableMaker.