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Rampant Ireland will go for the Triple Crown against England at Twickenham in two weeks' time after leaving Welsh hopes of achieving an unprecedented RBS 6 Nations title hat-trick hanging by a thread.
Ireland's emphatic success leaves them with a 100% record after two games, and Wales could have no complaints after being completely outclassed in every key department.
Flanker Chris Henry's first-half try, plus 14 points from the boot of Jonathan Sexton and a late Paddy Jackson touchdown that he also converted, meant midfield talisman Brian O'Driscoll could enjoy a sweet victory against Warren Gatland-coached Wales.
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It was seven months ago that 2013 British and Irish Lions boss Gatland controversially dropped O'Driscoll for a Test series decider against Australia in Sydney. The Lions won 41-16, but there was no dream script for Gatland this time.
His ineffective team never threatened Irish dominance, with Leigh Halfpenny's second-half penalty their only scoring contribution on an afternoon when the Irish forwards built an imposing victory platform.
Wales, despite fielding several of Gatland's Test Lions, had no answer to Ireland's flanker Peter O'Mahony, who emphatically bossed the breakdown.
Their control probably deserved an even bigger margin of victory, and there is no doubt new coach Joe Schmidt has made his mark with players who look refreshed and reinvigorated.
Ireland captain Paul O'Connell was delighted with the result. He said: "We knew it was going to be really tough, but we would have been disappointed if we weren't two wins out of two at home, so it gets a lot harder from here on."
The Munster lock added: "Our discipline was excellent and Johnny Sexton's kicking was excellent. That kept a lot of pressure on Wales. I'm very surprised by the result, but it's a very good one for us."
Ireland settled early and went ahead through an eighth-minute Sexton penalty as the breakdown area lived up to expectations with both teams contesting it fiercely, but it proved just as physical in midfield, with O'Driscoll laid low by a Scott Williams tackle.
O'Driscoll resumed following a short delay, but Gethin Williams was not so fortunate, departing after 17 minutes with shoulder trouble just before Sexton kicked his second penalty for a 6-0 advantage. Ireland continued to enjoy the better of the close-quarter exchanges, and wing Andrew Trimble almost broke the try deadlock 12 minutes before half time through a weaving run that Wales frantically, but successfully, defended.
The action was fast and furious, yet Wales' set-piece struggles had to have an impact at some stage, and Ireland duly punished them through a 32nd-minute try.
Lock Devin Toner won a close-range line-out, and an irresistable drive ended with Henry claiming his first Test try. Sexton added the conversion, and Wales found themselves desperately needing half time to arrive so they could regroup. There was no sign of Ireland letting up, though, as they continued to win most 50-50 scraps for the ball, leaving Wales facing an uphill second-half struggle against a side that were the only team to defeat them in last season's Six Nations.
Sexton got the second half score- board moving through an angled penalty, leaving Wales 16 points adrift and facing a first Six Nations away defeat since March 2011. Halfpenny then opened Wales' account with his first shot at goal after 56 minutes, yet that was quickly cancelled out through another Sexton strike, ensuring Ireland maintained a comfortable lead entering the final quarter.
Ireland confirmed their title credentials with Jackson's converted 79th-minute touchdown. England now stand between them and a Triple Crown, but it is back to the drawing board for Wales ahead of hosting France in 13 days' time, when a win would keep them in the title mix, but defeat will leaving them staring at mid-table mediocrity.
Skipper Sam Warburton, however, has not given up hope of retaining the title. He said: "We won the championship last time with four wins and that's still achievable this year. There's not much you can say after a defeat like that, but we'll use that as fuel for the next game."
Ireland: R Kearney, Trimble (McFadden 62), O'Driscoll, D'Arcy, D Kearney, Sexton (Jackson for Sexton 75), Murray, Healy (McGrath for Healy 68), Best (Cronin for Best 73), Ross, Toner, O'Connell, O'Mahony, Henry, Heaslip.
Wales: Halfpenny, Cuthbert, S Williams (L Williams 18), Roberts, North, Priestland, M Phillips, Jenkins (James 71), Hibbard (Owens 62), A Jones (R Jones 62), Coombs (Ball 71), A Jones, Lydiate (Tipuric 72), Warburton, Faletau.
Referee: Wayne Barnes (RFU).


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Fast and wide: Fujifilm releases XF23mm F1.4 R for X system
Fujifilm has announced the FUJINON XF23mm F1.4 R, a premium fast wideangle lens for its X system mirrorless cameras. It offers the same moderate wideangle view as the fixed-lens X100S, but with an extra stop of brightness. The overall design approach is similar to the company's recent XF14mm F2.8 R, with distance and depth of field scales for manual focusing, and fully optical (rather than digital) correction of distortion. The 23mm F1.4 will be available in October 2013 with an SRP of $899.95 / £849.99.
Some X system users might wonder why it's taken so long for Fujifilm to launch a 35mm equivalent lens - after all, it's a classic focal length to complement the rangefinder-esque X-Pro1. Cynics might suggest that it's been purely to protect sales of the X100 / X100S, which use a 23mm F2 lens, at least until the X system became more established on the market.
The explanation we've been given by Fujifilm's own representatives is slightly more prosaic. They felt that early buyers of the X-Pro1 would likely own an X100 already, so making a 23mm prime for the X system immediately would count as unnecessary duplication. Instead they decided to concentrate on producing a set of lenses with focal lengths around the X100's, to make a more flexible overall system. Once that was done, it was time to build the 23mm F1.4.
The new lens obviously doesn't just replicate that on the X100. It's a full stop faster, and therefore rather more complex, with an 11 element / 8 group design compared to the X100's 8 elements / 6 groups. This means it's also a whole lot larger - 63mm (2.5") in length, compared to 54mm (2.2") for the thickness of the X100 lens and body combined. So there could still be a place for both the XF23mm F1.4 and X100S in a photographer's bag; the former for its speed, the latter for its portability and silent operation.
Jump to:
|New lens features outstanding speed for stunning photography, even in low light
Valhalla, N.Y., September 5, 2013 – FUJIFILM North America Corporation today announced the new FUJINON XF23mm F1.4 R, a premium wide-angle lens designed to work seamlessly with the award-wining line of X-Series compact system cameras.
The FUJINON XF23mm F1.4 R has a focal length equivalent of a 35mm lens, and is ideal for a wide range of applications including portraits and landscapes, as well as everyday photography. The fast maximum aperture of F/1.4 allows users to shoot hand-held in low light conditions and achieve sharp images, while also delivering beautiful bokeh for artistic images.
"Fujifilm is committed to expanding the X-Series line of high quality FUJINON lenses, and today's announcement brings the total number of available lenses to nine," said Manny Almeida, senior vice president and general manager, FUJIFILM North America Corporation. "The new XF23mm gives photographers everything that they want in one lens: speed, performance and versatility, and we know this new lens will exceed our users' expectations."
Ideal Lens for Everyday Photography
The new FUJINON XF23mm F1.4 R provides enhanced resolving power with crisp contrast to draw maximum performance out of the highly descriptive X-Trans CMOS sensor. The fast F/1.4 aperture allows the user to reduce blurring in low light conditions and achieve stunning shallow depth to field photography.
The FUJINON XF23mmF1.4 R features a camera-to-subject distance indicator and a depth-of-field scale on the barrel. Both are useful when manually pre-focusing to capture a fast moving subject, or minimize the shutter lag to capture a fleeting moment.
Lens distortion has been reduced to an absolute minimum using only optical rather than digital correction, thereby delivering the highest possible picture quality. The rounded seven-blade diaphragm ensures smooth bokeh even when shooting portraits or product shots at a medium aperture to maintain reasonable depth-of-field.
High Speed Autofocus
The FUJINON XF23mmF1.4 R uses an internal focusing system which incorporates a lens group consisting of three cemented lens elements and one aspheric lens element in order to keep weight down. Additionally, the built-in high-torque DC coreless motor delivers ultra-fast AF performance for the most demanding shooting opportunities.
All lens elements are treated with Fujifilm's multilayer HT-EBC (High Transmittance Electron Beam Coating) which delivers enhanced durability and ensures an even spread of light across the sensor.
Compact Size and Premium Design
The FUJINON XF23mmF1.4 R weighs 10.6oz and measures just 2.48" in length making it the most compact and lightweight lens in its class. Metal parts are used for the focus and aperture rings, which are designed to give just the right amount of torque and feel.
FUJINON XF23mmF1.4 R key features
- 35mm equivalent F1.4 lens
- Fully compatible with FUJIFILM X-Mount
- 1 lens group consisting of 3 cemented lens elements and 1 aspheric lens element
- Built-in high-torque DC coreless motor
- Seven round-edged aperture blades, which offer 22 stops in 1/3 EV steps
- Lens elements treated with Fujifilm's multilayer HT-EBC (High Transmittance Electron Beam Coating)
The FUJINON XF23mm F1.4 R will be available in October 2013 for $899.95.
The current Fujifilm lens family includes the following FUJINON XF and XC lenses:
- XF 14mm F2.8
- XF 18mm F2.0
- XF 27mm F2.8
- XF 35mm F1.4
- XF 60mm F2.4
- XF 18-55mm F2.8-4.0 OIS
- XF 55-200mm F3.5-4.8 OIS
- XC 16-50mm F3.5-5.6 OIS
Fujifilm FUJINON XF 23mm F1.4 R specifications
|Principal specifications
|Lens type
|Prime lens
|Max Format size
|Focal length
|23 mm
|Image stabilization
|Lens mount
|Fujifilm X
|Maximum aperture
|Minimum aperture
|Aperture ring
|Number of diaphragm blades
|Aperture notes
|Rounded blades
|Special elements / coatings
|1 aspherical element, High Transmittance Electron Beam Coating
|Minimum focus
|0.28 m (11.02″)
|Maximum magnification
|Motor type
|Full time manual
|Focus method
|Distance scale
|DoF scale
|300 g (0.66 lb)
|72 mm (2.83″)
|63 mm (2.48″)
|Filter thread
|62.0 mm
Dec 9, 2013
Dec 18, 2013
Sep 1, 2016
Sep 1, 2016
I own it
I want it
I had it
Discuss in the forums
who knows what is the number of maximum wide open aperture in compare with full frame?
In terms of light gathering ability for the same shot, it's the same (e.g. 1/250 f1.4 for the same shot on both formats).
In terms of depth of field for the same shot, this is around f2 I believe.
Nice, smooth helicoid focusing mechanism ... or fly-by-wire?
Another largish 35mm eq prime lens... Now in a Fuji X flavor. *Yawn*
Can anyone tell me if the X-Pro1 will display 35mm equivalent frame lines for this lens?
It will.
In fact, Fuji could make any focal length they liked and the framelines would appear.
Now all Sony has to do is make a lens of this quality, FL and speed for 1/3 the price in pancake form!
Saving the bucks for 56mm!
we want cameras/lense to take photos. we don't care if it's Canon or Nikon or whoever as long as it can get the job done in good quality.
what we really want in lens spec are angle of view and aperture size. not focal length or f-number which cannot be carried across different formats.
a 56/1.2 for APS-C will have the same angle of view and aperture size as a 85/1.8 for 35mm format, and same indistinguishable images as their specs suggest.
yab by "we" you mean "you" right? I don't want a big heavy camera thanks. The X cameras produce beautiful images and are small and light. I'm not sure what point you are trying to make. This news item is obviously of interest to people who HAVE or WANT a Fuji X camera and NOT those who want Canon or Nikon lenses.
Hey yab did you read the bit where I said the X cameras take beautiful images. Why are you now rambling about the G5? This 56mm lens is, going by Fuji's record, going to be a fine piece of glass that makes beautiful images on Fuji X cameras. I'm not sure where you are going with your point. Do you have one?
Yab, it's utterly pointless trying to understand your arguments for, or against anything. Someone says Fuji, you say Canon. Someone says 23mm f1.4, you say 35mm f2. Someone says optical, you say digital. Someone says resolution, you say quality. someone says metal, you say plastic. Someone says expensive, you say cheap. Someone says APS-C, you say full frame.
I don't believe that you are a photographer, or that you actually own any of the equipment you comment about here. I think you love to argue. You are a fan of nothing and a proponent against everything.
You are a guy with a calculator and a computer with 4 monitors running at once who uses specs and conversion factors to ARGUE every point about everything. Sadly, that is gratifying enough for you to continue doing despite the lack of influence your opinions have, or what anyone thinks about it.
"Mary, Mary, quite contrary" comes to mind.
Can you at least try to make statements based on experience rather than conjecture?
confirmed uk price is £799. A bit steep that I reckon.
it says "fast and wide" in the title.
I'd say moderately fast and moderately wide for a 35/2.1 equiv.
that's the work it can do, no more, no less.
I think you are not understand what is aperture. The fact is aperture not only affect DOF, f1.4 is always f1.4 in exposure triangle not matter what format the sensor are. So yes, it is fast.
Boy, It sure is amazing how much misunderstanding there is about aperture. Ever since the discovery of DOF differences between FF, APS, m43 and on, so many would be "experts" make condescending remarks about "effective aperture". Do we ever hear of it in the other direction? The effective aperture of an 80f2.8 on a MF camera? Or maybe a 360mm f5.6 on 8x10?
No, I did not think so. That is because you actually do not seem to remember that this phenomenon actually existed since the invention of lenses and that only since the recent obsession with the fashion of shallow DOF that we can adopt, yet again another pose that marks us as "effective cognoscenti".
@balios, the image quality will be exactly the same.
or more precisely, in the same environment and at the same shutter speed, the same amount of light will hit the sensor at the same angle of view (63 deg) and aperture size (16.5mm), regardless of the sensor size.
as long as it's 63 deg AOV with 16.5mm aperture, we get the same image regardless of focal length or sensor size, or about
58mm f/3.5 for 645 film,
35mm f/2.1 for 35mm format,
18mm f/1.1 for 4/3", and
13mm f/0.8 for Nikon 1.
But the shutter speed and ISO setting will NOT be the same.
If I am exposing at low light at max aperture, then I am using the slowest shutter speed that won't introduce blur, then adjusting the ISO setting to get the proper exposure. If I use a F/2.1 lens then I have reduce the shutter speed (and introduce blur) or increase the ISO (and introduce more noise). When you're shooting ISO 3200+ the affect is huge as noise tends to increase exponentially with ISO.
> the shutter speed and ISO setting will NOT be the same
shutter speeds has to be the same or it won't be a fair comparison. ISO settings should not be same for we won't get the same image quality at same ISO (ISO100 on APS-C will get us same quality as ISO240 on 35mm format).
what we want is good quality of image, not ISO settings. we cannot require different image quality as a condition for the comparison right?
Bigger sensor should theoreticaly give you more image fidelity, and 35mm size is blessed by decades of investment in lenses. So in the school of more is always better you are correct. But APSC sensors are darn good these days such that in most circumstances they work great. Given that this is also well understood seems a bit obsessive to keep on with this equivilant aperture stuff
> give you more image fidelity
and that has something to do with ISO, in that we don't have low enough ISOs for smaller sensors to compete in image quality even in good light or with slow shutter speed.
like ISO80 on a 1/1.7" sensor is about ISO1600 on 35mm format and that's the best image quality it can have.
for example, DxOMark tested Nikon P330 at ISO80=34.1dB, while Nikon D600 at ISO1600=34.2dB (with some error for sensor size and maker advertised ISO may not be given accurately).
"shutter speeds has to be the same or it won't be a fair comparison"
I'm not talking about comparisons, I'm talking about REAL WORLD usage of the lens to produce REAL PHOTOS. The purpose of a 23/1.4 lens is to produce photos, not produce comparisons to 35/2.1 lenses.
In the REAL world a 23/1.4 crop can do things a 35/2.1 ff cannot. They are NOT the same. If I am sitting in front of a stage taking photos of a performer in low light, a 23/1.4 crop and 35/2.1 FF will produce different results. The difference is because the constraints of the situation demand that they be at different shutter speeds or ISO settings. They will be at different shutter/ISO settings because one is a F1.4 lens and the other is a F2.1 lens. That means they are NOT the same.
The fact you *can* (if you want to, and under certain conditions) produce similar photos with 35/2.1 does not mean they are equivalent.
> not mean they are equivalent.
"equivalent" means different things that bring us the same result. different focal lengths, f-numbers, and ISOs yes, but the same result in the output image. some controlled by aperture are:
- image quality (photon shot noise),
- depth of field, size of bokeh,
- diffraction, size of Airy disk against the frame,
why would you ever restrict a camera to any ISO? They change ISO's easily, automatically even. Forcing a max aperture comparison with identical ISO doesn't make much sense. You have X light and you're standing Y away from it and you have time for z shutter. Everything you set internally to the camera is kind of a given that you'll be as flexible with it as possible with it don't you think? It always seems silly to me to talk about equivalent focal length but not aperture.
Of course it does better than a 35/2.1 on full frame, unless you don't count how much light it gathers. *shrug* If you disregard ISO settings, then it's pretty hard to compare, especially with as powerful APS-C sensors as the one in the Fujifilms.
ISO is a detailed technical issue that some sensors perform differently at different ISOs (like less perceived read noise at higher ISOs, Canon).
but there are also sensors that are called ISO-less (Sony) that you can just set at lowest ISOs and the image quality won't change (with small error) at whatever exposure compared with those taken with higher ISOs.
after all, it's the amount of light, not ISO, that decides the image quality. ISO is basically irrelevant.
Your doing photography by maths Yabokkie. What the heck size sensor is big enough? Those tiny sensor p&s are capable of great looking pictures if the light is reasonable the exposure is set accurately and the skill of the photographer points in an intresting dirrection
"like ISO80 on a 1/1.7" sensor is about ISO1600 on 35mm format and that's the best image quality it can have."
You suppose that 1/1.7" sensors and 36x24 sensors are made using the same technology, and you are completely wrong, the small sensors at any point in time are made on much better newer (and more expensive by sq mm) technology, and it manifests in about twice the efficiency (giving them about a stop advantage over your calculations based purely on area of the sensors). But in APS-C vs FF, you are right - they are made on the same factories and equipment, and APS-C sometimes has even a little (0.2EV or so) worse efficiency per area, obviously due to bigger interconnectors etc compared to photodiodes.
Stop your mathematical bullsh. here. If you use a FF lens, the center is sharp and the edges are generally more blurry. An apsc lens concentrates more light to the center part, just like you do with a magnifying glass in sunlight. Here you get more center sharpness on broader scale and less DOF on edges. Now, the sensor does a big difference too, since the diffraction angle is steeper in a smaller sensor, and flatter in a larger sensor, all that makes bigger sensor produce more DOF and smaller sensor better in depth sharpness. None of the both does a better shot at same small picture size. If you reduce a D800 shot to a 6 mpix size, the result will not be seen by anyone compared to the same shot taken by a 1 1/7 sensor. Yes, an adverted photographer will see it when he magnifies the picture, but is that the goal of shooting photos. Many, comparabely "bad" quality shots have made history, and today, there is no such "bad" camera on the market anymore.
> You suppose that 1/1.7" sensors and 36x24 sensors are made using the same technology
I don't.
actually I don't have to assume anything about the sensor when I'm talking about the lens, what image a lens can project on current and future sensors, what job a lens can do and how much does it worth.
lucky or not different technogies produce similar results across 5 stops in sensor area.
if we know the performance of the sensors, we can just add that to the calculation, like about 0.44 stops between D7100 and 70D according to DxOMark, no problem about that.
but remember that 0.44 stops are credit to the camera, not the lens. the lens still worths the same.
58mm f/3.5 for 645 film,
35mm f/2.1 for 35mm format,
18mm f/1.1 for 4/3", and
13mm f/0.8 for Nikon 1.
If your at base ISO and set exposure at f3.5. 250th on your 645. Cranking your 13mm Nikon 1 lens open to f0.8 is going to blow all your highlights and midtones to hell. How can that be equivalent Yabbokie?
> If your at base ISO
so you know very well where is the problem which has nothing to do with the equivalency calculation right?
there will be no problem if Nikon 1 got a base ISO of 1/27 of that of a 645 film (sensor area ratio), or if it's Fujichrome 50 on 645, it'll have to be Nautichrome 1.852 on Nikon 1.
we don't have a consumer grade sensor that can do ISO 1.852 which is a technical issue. it's a real issue which favors larger sensors (we have some that favor small ones, too).
"so you know very well where is the problem which has nothing to do with the equivalency calculation right?"
Well it has everything to do with the equivilancy calculation Yabbokie. For me it it shows its limitations in the same way as F1.4 is F1.4. sure you can use it to show a point. But practicaly its no more use to a photographer than
1. Sticking to the lowest ISO settings for the best quality.
2. Larger format sensors give better quality
Assuming the tech is similar
F1.4 being eqivilant to F2.1. I'm sorry Yabbokie having read a I believe I understand the underlying maths I don't think its particularly useful other than showing what we know already.
Not to be offense but I think you're messing up concepts of FoV(wikipedia.org/wiki/Fov), DoF(wikipedia.org/wiki/Depth_of_field) and CoC(wikipedia.org/wiki/Circle_of_confusion). 23mm focal length in equivalence of 35mm on FF is just for FoV, nothing more. It merely means that to get the FoV of 35 on FF, you need 23 on APC-S to compensate the crop factor of its smaller sensor size.
For wide-open aperture or bokeh effect, it majorly depends on DoF and CoC. Per formula given in calculating CoC, the absolute ratio for 35/23 is approximately 2:1 given a relative close object distance, but the CoC limit of a FF sensor is also nearly twice as that of an APS-C. For DoF 35mm is for sure less than 23mm, results in more blur or out-of-focus area.
After all, this is just a 23mm 1.4 lens, which produce more DoF and slightly smaller CoC than a 35 on FF but with the same FoV. f-number (=f/A) is still 1.4, which brings fast shutter speed under same ISO. In this way, yes it is a fast lens.
> 23mm focal length in equivalence of 35mm on FF is just for FoV, nothing more.
that's right.
at a certain FoV (solid angle of square degrees), the aperture size decides DoF as well as light gathering capability regardless of format size.
this is because DoF is measured using CoC which is traditionally defined as 1/1300 diagonal. it's really 1/1300 of angle entering the lens and has nothing to do with sensor size (here CoC = 2.9 minutes for both 35mm format and APS-C).
same is true for light gathering capacity. it's the light within the solid angle that enters the aperture. what's behind the aperture cannot provide any capacity (maybe negative capacity or waste light).
since all of these are decided by the FoV and apeture (measured in mm or mm2) when the light enters the lens already, whatever sensor size or f-number can have no effect on the result.
"f-number is a convenient (but no accurate) tool for
same format, different FoVs (it's not focal lengths)
aperture (diameter or area) is a useful tool for
different formats, same FoV,
FoV and aperture decides photographic effects regardless of sensor size."
f number is a guide (accurate if your equipment is calibrated)
For exposure and exposure calibrations that spans formats.
we used to use exactly the same film across very different formats from half-size to large format and it requires same exposure and processing but image qualities are totally different.
that same exposure (to the unit area for not photographic but chemical reasons) won't get us same quality of image if the sensor size is different.
comparing at same exposure requires different image quality as precondition (the difference is propotional to the sensor area, same for both film and digital).
same exposure to the whole sensor should be used which will get us same image quality (in terms of photon shot noise).
Well, Sigma 18-35/1.8 on a a small APS-C DSLR replaces 18/2, 23/1.4, 27/2.8 and 35/1.4, $2,550 total cost, in one big swoop for just $800 (the DSLRs like D5200 are cheaper than say X-E1 too and focuses much faster and has like triple battery life). The combination is also much smaller and lighter than X-E1 with the 4 lenses, and gives you all the FLs in between and unsurpassed convenience of zoom. And the Sigma is very sharp from wide open, unlike 18/2 and 35/1.4 which only get decent by f/2.8 (I bet the 23mm is similar), so in practice if you want sharp pictures, Sigma 18-35 is faster too at any FL.
Just a reality check for Fuji buyers. X system needs to fall in price by about 2/3 before becoming competitive.
First of all, third party lenses are almost always less expensive than manufacture lenses.
Second of all, the Fujinon 35 f/1.4 definitely does not need 2 EV stopping down to perform well but is good wide open, excellent by f2 and brilliant at f/4.
And the XR 35 f/1.4 is significantly sharper than the Sigma 18-35 f/1.8 beast, which only reaches 50 lpmm max at 35mm while the Fujinon 35 f/1.4 reaches a whopping 65 lpmm!!! So there goes that theory.
Have a look for yourself.
Fujifilm 35 f/1.4
Sigma 18-35 f/1.8
> why do you have to stop down
Most lenses peak in terms of resolution at f/4-5.6, and the 65 lpmm is one of the highest marks reached for an APS-C lens on Lenstip. So "that resolution" is a great achievement.
The Sigma 18-35 f/1.8 reached 53 lpmm, still outstanding for an APS-C lens, especially a zoom.
35/1.4 for X-mount is the easiest lens to make, just like 50mm primes are the easiest and cheapest lenses to make at highest qaulity for 35mm format, and most of them at larger apertures than this Fujinon.
why it has to be called a so-so lens.
and it doesn't have a long back focus to overcome as the Sigma, which is way more difficult to design and make.
marike6, you cannot read your own links it seems. Edge (not even corner!) performance of 45/1.4 is only 27 lpmm at f/1.4, 32 at f/2, 40 at f/2.8 (decent), while 18-35 is email@example.com, 38@2, firstname.lastname@example.com (higher at every point). Now look at slrgear which shows more than just center point and edge and see what kind of junky performance this lens gives across the frame @ f/1.4 and even f/2. Your cited performance is @ f/4 and only in the very center - you don't need a prime for f/4 and the center point, even decent kit zooms are good enough at that.
Too many people think that distortion correction by software is a bad thing. Nothing is so further from the truth. In certain cases, for example, when the lens suffers from pincushion distortion, the distortion correction by software can even increase the resolution!
Another misunderstanding is that distortion correction by software reduces the angular coverage. To be exact, if the lens suffers from barrel distortion, the vertical angular coverage doesn't change after software correction. On the other hand, if the lens suffers from pincushion distortion, it is the diagonal coverage that is kept constant. Finally, less angular coverage is not a bad thing by itself. For example, a 200mm lens has less angular coverage than a 180mm lens, but 200mm has more reach than 180mm. What is better, more angular coverage and less reach, or more reach and less angular coverage?
I like the Fujinon X lenses too, but to say that nearly all APSC SLR lenses are "cheap plastic" is nonsense (no offense). Pentax DA primes are solid metal (a lot nicer quality than the Fujinon lenses). Tokina tanks like the 12-24 f/4, Sigma "Art" lenses, and the better Nikon and Canon lenses are all excellent quality build wise. You mostly get what you pay for with lenses.
"Prices in all crop sensor mirrorless systems are mind-blowing. In m43, $1000 for a f/4 UWA zoom or $1300 for a standard zoom are not exactly budget friendly prices."
Well, and what do you compare it with? Because X does not have f/4 UWA zoom OR constant f/2.8 standard zoom. And when you go ahead and compare what is available, Fuji tele zoom is $700 vs $99 (or $149) for Oly tele zoom which just 1/3EV slower or Pana 45-200 which has wider range. Oly weather-sealed full macro is $400 while Fuji half-macro is $650 - and Oly can shoot subjects 3 times as small.
It`s a pity that Fuji having such excellent lenses, use relatively small sensors in their cameras ..
Agreed. Anyway they can't compete with Nikon d5200 or Sony Nex7 for example. But their lenses are true gems, and not comparable with lossy Sony E-mount crap glass.
Look at the image quality resolution RAW comparison. NEX7 is ahead in terms of resolution. This is what i am trying to say..
If this lens replicates the performance of the 14mm and the 35mm I will be more than happy. So far it's looking hopeful that I can switch back to using primes exclusively as 35mm is my favourite focal length. With the 14 and the 60 just about everything I need is covered.
Nice going Fuji, you are doing a great job of covering the bases with consistently good optics.
I usually ignore your comments, but if you think the Fujinon 35 f/1.4 is a so-so lens, it's obvious you haven't used it.
Perhaps if you are going to comment on everything under the sun, at least take the time to read a couple of lens test reviews to avoid such embarrassing comments.
Well I hope this new 23mm is better optically than the one on the X100/S. The 22mm from the EOS M is significantly sharper wide open in close and midrange than the Fuji.
I'm still holding out for the expected X2 Pro.
Fuji has recommended from the start that you use at least F4 close-up and indeed that does the trick, no problem whatsoever then and just awesome for everything else as well, wide open or not.
Also the rendering is very pleasing unlike the sometimes very harsh images from the Canon 22mm. In the end it's not the MTF charts that you'll be showing to your friends and family you know. :)
oh man...wish Sony also focused on really fast lenses. The fastest we have on E-mount is F1.8
There are probably reasons to do it this way, but one thing that really bothers me - Focus by wire, as opposed to mechanical. I think it's losing some of the great manual control - mechanical - that is achieve with the X cameras.
We have hard dials for exposure, aperture (it might be electronically controlled inside...) we have mechanical zoom for the 18-55, and I think focus should have been kept mechanical as well.
Again, there are probably reasons for this, but it really bothers me. I am surprised very few really care about non-mechanical focus.
What am I missing?
What you're missing is that most people use autofocus. With rev 3 of the firmware, it's now very good.
You're not just mindlessly twirling a soft dial with this system - the MF ring has markings that will always correspond to the focusing distance and the lag is minimal. Not perfect, but it's a much more pleasant experience than using the 35/1.4 which has no such markings.
I would still prefer mechanical manual focus as highlighted by arhmatic.
If the professional grade DSLR AF lenses can have mechanical manual focus I don't see why mirrorless cameras cannot do the same.
A long throw manual focus lens is always more precise. This is especially useful for macro photography. A mechanical infinity stop is absolutely useful for low light and landscape photography.
Sometimes, the old fashion way is still the better way. More precise and you know what you will be getting.
"Lens distortion has been reduced to an absolute minimum using only optical rather than digital correction, thereby delivering the highest possible picture quality."
Hmmm…. Compare the statement above with what Hasselblad says in a technical article in its site:
"Images shot with an HC or HCD lens are automatically corrected for distortion, lateral chromatic aberration, and vignetting when processed in our Phocus™ software."
Everybody knows that the Hasselblad lenses are made today by Fujifilm, and that Hasselblad is all about picture quality. So, when Fujifilm draws attention to the "advantages" of optical correction of distortion, Fujifilm is being contradictory, to say the least.
The true is: Optical correction of distortion was important in the film era, but has no real advantage in the digital age.
"Optical correction of distortion was important in the film era, but has no real advantage in the digital age".
Really? Do you not realise that a wideangle lens with (say) 5% distortion loses a significant degree of width (angle of view) after being corrected electronically? There's no free lunch here! Fuji's success in correcting lens distortion optically is to be applauded. It clearly demonstrates their mastery of lens design. Alas, far too many manufacturers (even Hasselblad it seems) are taking the easy (cheap) way out and doing it electronically.
People pay top dollar to get that last little bit of sharpness in the corners but they don't mind letting the camera software move the pixels around to correct the distortion.
With reference to Hasselblad's distortion correction in software - it is much easier to deal with the correction on a small sensor lens than a large one, especially if the lens' image circle is wider than the sensor. It's one of the reasons FF lenses always do rather well on APSC sensors. Most of the distortion is around the peripheral part of the image.
Also, on MF cameras, the standards of accuracy are a lot greater. The only way to eliminate it completely is through software, but the more you do in hardware the less detail you lose in the manipulation. What Hasselblad defines as "corrected" is probably at a fairly extreme level.
No, the amount of distortion is not proportional to sensor size. Otherwise, lenses for the 8x10 format would have tremendous distortion, and lenses for compact cameras, virtually zero distortion.
The standard of distortion correction for MF is not better than for smaller formats. For example, the Leica 24mm F/3.5 (wide-angle for the S system) has about 5% of distortion for close distances, and 2.5% for infinity. The Leica 70mm F/2.5 (normal lens) has distortion of 1.5%. These values are typical for lenses with similar angular coverage for all formats.
An amazing stack of moronic comments.
It's a very fine lens. You will need to learn how to work a camera to use it. You will need to learn how to use a camera well to even come close to what it can do.
That said I will probably not buy this one as the 35mm is just about perfect for what I do. I take pictures of nature. Very seldom is there a person and never a street! ;)
The 14mm is an amazing lens and I am still learning how to use it well. The 60mm is stone deadly and right where I like a lens. I will buy the 55-200mm in a while as well as the 35mm.
I think Fuji was toying with Zeiss and the results are just Fuji ads as the reviews come in.
Amazing sharpness down to the corners in the JPEG samples. Optical distortion correction is a big PLUS these days; no sacrifice on the resolving power.
The Sony E 16mm f/2.8 is an optically correct lens, yet performs terrible compared to software corrected Samsung 16mm f/2.4. Some software corrected lenses perform very well. Optical/software don't matter to user, only the results. Yes, removing barrel distortion decreases corner resolution, but so can optical corrections.
Correcting distortion optically actually risks lowering resolution. So, to have a lens that offers high resolving power AND low distortion is really quite something. The difficulty in achieving low distortion and high resolving power partly explains the high cost of Leica M lenses. The drawback with correcting distortion electronically is that it reduces the angle of view. However, for some reason, this is rarely mentioned in lens reviews.
Really only the newer Leica designs at 50mm and wider, like the 50/2 AA, resolve highly and evenly across the whole frame, and I'm still not sure that it justifies $7K. Either way, what m4/3 tends to do is make their lenses slightly wider than the stated focal length, so that, once the distortion correction is added in, the focal length equals what is listed on the lens barrel. Tricky.
Interestingly, Fuji claim a slightly wider angle of view at 18mm for the 18-55mm zoom compared to the 18mm f2 prime - 79.1 degrees compared to 76.5 degrees. Yet (according to Photozone), both lenses produce virtually the same amount of distortion - 4.8% for the 18-55mm compared to 4.6% for the 18mm prime. Your claim that m4/3 lenses with distortion are deliberately made a touch wider - so that you get the 'correct' angle of view after software correction - sounds reasonable, but is it true? Just compare the 4/3 12-60mm to the m4/3 12-60mm. The former is a much bigger, faster, and better corrected lens than its tiny m4/3 equivalent, and it delivers a significantly 'wider' view when set to 12mm. According to Photozone, the 4/3 12-60mm has around 2.3% distortion, while the m4/3 version produces a whopping 6.87%! I own both lenses, and the difference (in terms of angle of view at '12mm') is massive.
Better late than never.
This would definitely make the X series interchangeable lens cameras more complete. This would make the new X-M1 a more formidable camera to use for travelling. The f/1.4 aperture would make it a great low light performer.
Now, DPR should get hold of one as soon as possible before everyone else to give it a thorough review. Let's hope there would not be any focus issues compared to the Sigma recently.
The photo of the lens sure looks good but since it is only 300g. I don't expect the built quality to be as good as a Zeiss. Most likely, it will be mostly plastic and manual focusing will be "fly-by-wire". Hopefully, there will be an infinity stop.
To many, the asking price of $899.95 maybe a bit high for the overall built and finish. Let's see whether the quality can justify the price.
The 14 is an amazing lens, one of the best I've ever used. Build quality is first-rate. I use it on my XP1 quite often, as much as I use the 18-55.
@Stephen Scharf
You are very correct. The 14mm is an excellent lens for the X series.
Just too bad you are buying camera equipment in UK. Probably, that's the reason why there are so few camera shops left even in London.
Best to buy them in Hong Kong, Bangkok or Kuala Lumpur.
Nicely done Fuji.
I like high resolution, low aberration, light weight, and cheap f/1.8 primes for 35mm format cameras (like some recent Nikon AF-S/G ones), or f/1.2 primes for APS-C to get the job done.
tkbslc - Wait, what? What in the heck do you mean by 'sensors can't get more than f/1.4 worth of light?' What a bogus statement. The aperture of the lens has absolutely nothing to do with the amount of light the sensor can 'handle'. I assure you that an f/0.95 lens on Micro 4/3 gets a full stop of light more than an f/1.4 lens on m4/3...and that's a lot more than the difference to f/1.2.
Sensors are exposed and 'get' however much light is passed by the lens on to the sensor. The amount of light that's passed on is more based on the brightness of the light source. Interestingly enough, if I meter the blank white wall at my desk with my f/1.4 lens on, wide open, I get 1/60s at my current settings. If I remove the lens entirely, I get 1/180s, or 1.5 stops faster, equivalent to f/0.85. At this point, the lens mount is acting like the aperture. This defines the maximum possible aperture opening to the sensor, but that's about all.
Are you positive about that, JConrad?
Oh god...more DxO drivel. F1.2 is f1.2. Sensors have no problem with it.
DxOMark's study is on lenses of old design from the film age on sensors available at the time of the test.
as I said we can control how the light exits the lens, but the current trend is to do as little as possible on the lens side which often costs more than on the sensor side.
this is a temporary issue with no hard limit.
An F1.2 lens will still give more light than an F1.4 lens. The sensor might not receive the full amount of light but it will still be more than a smaller aperture lens which will also suffer some light loss.
It's the same as more MPix whch will still be better than fewer Mpix even though the lens may not resolve as well as the sensor.
Optical correction of distortion is such a novelty these days, kudos Fuji!
I mean for mirrorless.
The mechanical manual focus coupling certainly makes MF more precise and gives a solid feel, but my experiences with the same system in 14mm lens was not 100% joy only: the focus ring has often moved to MF position inadvertently when changing lenses (pushed back when placed in the camera bag). This has meant maybe a few dozen missed shots, camera (and me) on AF, lens on manual. After a few times I learned to push the focus ring forward every time after attaching the 14mm on XPro1, just in case. Some kind of lock would be nice.
About lens sizes: f/1.4 23 lens for APS-C (or any other smaller than 135 format) can not be much smaller than a same focal length lens for FF, the maximum aperture dictates the smallest possible lens diameter, no matter what the image circle is. Slightly smaller, yes, because smaller image circle means less image corrections = less lenses and lens groups. This mostly makes the length of the lens shorter, not so much smaller diameter.
Size is similar only in case of lenses with focal length around flange distance or longer. This lens is significantly smaller than SLR lens since the design doesn't have to be retrofocal. You are correct, something like an 85mm will be similar in size (probably larger on the shorter flange camera to make up the extra length).
it is quite heavy at 300g compared with about 200g of popular 35/2 lenses from the film age but is lighter than Canon 35/2IS of 335g.
for lenses wider than SLR back focus (40mm something), we should be able to make higher quality, more compact lenses at lower cost for APS-C mirrorless mounts.
image circle doesn't affect the compactness of a lens (imagine we have a variable speed booster/suppressor at the end of the lens that can change image circle freely).
the aperture size is more important (as well as peripheral performance which often requires larger caliber elements). for this lens the aperture = 23/1.4 = 16.4mm or same as a 35mm lens of f/2.1.
Spot on Fuji, they really understand their customers. The price is great next to the $1100 US Sony 24mm f/1.8, size looks right (buy x100s if smaller lens is needed).
Wonderful news. Fuji really "gets it". However I'll caution anyone about buying this for blurred backgrounds. I owned a 35/1.4 on Full Frame for about a year. It doesn't blur the bg as much as you might think. If you can get close to your subject it will blur the bg quite a bit, but at typical shooting distances it's not so dramatic. The speed is the bigger story here. Great looking lens though. Very lustworthy.
You can not really get much shallow DOF effects with wide-angles, except at very close focus. I do not think that would be the main reason for most people to by this lens. More lens speed is often nice to have in low light situations, even if the low light performance is as good as it is with Fuji. With better high ISO performance and faster lenses we seem to find darker and darker places to photograph in...
You've clearly not used the x100. The ability to use selective focus at medium distances is astounding. And at f2, what is in focus is very sharp. It's an amazing little machine. This new 1.4 looks very promising. I'm thinking an interchangeable lens x camera is in my future.
A handsome quality looking product. Resembles Leica's M series lenses a little, which is no bad thing and maybe even deliberate!
@ Dear Yabokkie.. Your comments are as stupid as you're. You're just talking with no sense. I reckon you know nothing about photography or you're living in a totally different world of photography which no one understands..!! I feel pity on you man. Come on .. Grow up..!!
Lens looks lovely, bigger than I expected it to be in terms of dimensions.
Would I buy it?
Tough call that with the 18-55mm lens I have do I need it?
Another tough call...
Oh alright then! It's on my shopping list to Santa!
or do I get the XF 18mm f2.
Interesting to compare results with the RX1, in similar lighting and for DOF control given that this is a significantly faster lens on a smaller sensor
"So there could still be a place for both the XF23mm F1.4 and X100S in a photographer's bag; the former for its speed, the latter for its portability and silent operation."
Or for me, a new lens, or a new X100.
Nice looking lens. I'm sure it will sell pretty well.
It should be very good. Let's see how user experience and the reviews pan out. Personally I'm hoping that the extra stop (over the 23mm f2) hasn't compromised other aspects of IQ like flare resistance and contra light performance.....
"fully optical correction of distortion" is the newspeak of the month...
Ok, a bit on the expensive side, but if it is near to perfect I am fine with it.
And yes, I know several people not buying into the Fuji System because that lens was missing - some of them are lost now.
For this kind of system and the adressed clients, the 35mm equiv. is the most important lens, if not the only one which counts.
Now bring fast and in sufficient quantity into the shops and everything is fine.
P.S. And please do it right with the apperture-ring, so that we can avoid discussions as we had them on the 14mm lens (too loose etc.)
you can find tons of articles comparing Zeiss or Leica lenses with the Fujifilm X series, do your really think this lens is expensive?
Im excited about this lens. If their 35/1.4 is anything to go by and the rave reviews of the 14/2.8 then I have little doubt that this thing will be the Summilux ASPH of the Fuji X series. I am still blown away by the 18/2 ~sharp at every aperture..
the 18 isn't a great lens I don't think. It's ok. The 35 is amazing.
The 18mm f2 is a much better lens than reviews would make you believe. It's just not as stellar as the 35mm with its off-the-charts sharpness, but overall it's way ahead of what Canon and Nikon offer at 20mm (sorry, no 18mm primes, only crazy-expensive 14mm), to put things in perspective.
The lens on the Ricoh GR is all round better than the fuji 18, slightly more expensive but you get a pocket camera. xpro1 + 23mm & 35mm (35 / 50) alongside ricoh 28mm / 21mm. Win
The 18mm is a very good lens. It does suffer a bit from 'middle child' syndrome, in a family with the excellent 14mm and 35mm.
Self-hypnosis is good, but here are the facts:
18/2 is very bad outside of the center at f/2 and so-so in the center, and only becomes decent (but not great) stopped down.
35/1.4 sucks even worse until you stop it down to f/2.8.
Fuji seems to do everything right, as of now. The whole X sytem makes the impression of a completely different (higher) level of perfection than the other mirrorless systems, better thought-out and much more consistent. Why do Olympus or Sony fail to design such lenses? They have nothing comparable, and what they have sometimes is still even more expensive.
On the other hand, the X system bodies do feel slightly plasticky in hand, and while the X system lenses look nice and solid, their internal mechanical parts are completely made of plastic (i've seen several cut-in-half lenses on display), so we don't know yet whether the stuff will be as durable as it looks.
Fuji's system does look compelling, and well thought out with regards to the needs of photographers. I don't think you should discount Oly/Pany/Sony's offerings though, as they do some things significantly better than Fuji (e.g. size, focus, IS etc). Everything is a compromise.
I don't think that 'perfection' can be improved upon. Fuji's stuff is interesting and certainly unique today, but it is still early. I love the X-Pro but it is a very compromised system, and, unless X is going to stay around for 30 years, requires a bit of faith in order to invest in.
The price on the bodies has fallen over 50% in Japan in less than a year. That is the biggest problem. Fuji are not protecting the market. They build for an instantly obsolete market point.
No perfect or professional-leaning product should do that. Nikon (god bless them) don't even do with their cameras that seem to get bigger and heavier every iteration.
I think Fuji need: to fix AF speed for AF users; to allow visual focusing via the OVF (patch or emulated image match); get professional support service; up quality build; up speed; and protect their products from instant market value obsolescence.
Those fixed and I will agree: in the mirror less market, at least in their niche, they'll be perfect.
All mirrorless cameras lose value quickly (at the moment), as the technology is developing so rapidly. Nikon's 1 series is one of the worst in this regard. In my opinion nobody should buy a mirrorless camera as an investment, or with the expectation of a good resale value (unless selling very soon after buying). Buy it to take photos with and you should be happy, however.
@shigzeo i couldn't find the 50% of price fall in Japan
Shigzeo? that has to be the most absurd thing i've read in a while 'unless X is gonna stay around for 30 years, it's a bit of a leap of faith in order to invest'. Put it this way, if your around in 30 years you are NOT going to be using what your using now. Unless you have some fascination with using relics or giant lenses from the past. That I know for sure. What I don't know is if Fuji or M43 or FF is going to be around in the next 10 years, and if so how.
@Don: it's not resale value I'm worried about. I've never sold a camera. It's that a 'pro' labelled camera that sold new for 1700$ was in six months selling for 1000$, and then for 800$ a few months after that.
Fujifilm could protect their market by setting a firm price for all distributors. (I used to work for audio/video distributors in Japan and found that companies that built only to sell millions with no other care let the market only dictate the price. Conscientious makers would set a price that their distributors had to follow. Barring black market stuff from factory, prices fell when the company felt the should.)
That way, every distributor in the same country sat on equal footing, offering service, not barrel scraping deals. The brand is also more respected and becomes less a commodity.
Fuji should fix that if they want their image to remain 'high' or whatever it is. They are treading dangerous water though and may find themselves in a race to the bottom if not careful.
the investment is not the camera - it is the lenses.
@ shigzeo: the same thing happens to all cameras to different degrees -- it's called depreciation. When the "new" X-Pro2 is released it will be the same thing. What I'm not getting is how you compare PRICE to RESULTS for professionals. Regardless of what happens to the price, the Internet is chock full of images shot with the XP1 by real professionals that are amazing. Same goes for the X100, which is substantially cheaper now but produces stunning results for actual professionals that use it. I don't think price is a barometer for what constitutes "professional" -- it's the results that matter.
On a sidenote, only "enthusiasts" whine like little girls about "slow AF" on the Fujis, and it seems that no matter what firmware updates released do to improve on that the same crowd is still crying in their cereal. Pros tend to say, "AF could be a bit faster, but the results more than make up for that."
"Fuji seems to do everything right, as of now. The whole X sytem makes the impression of a completely different (higher) level of perfection than the other mirrorless systems, better thought-out and much more consistent. Why do Olympus or Sony fail to design such lenses?"
Oly 12/2 is the whole stop faster than Fuji 14/2.8, and of course smaller, lighter, cheaper and sharper at f/2 than Fuji at f/2.8. Build out of metal too.
Fuji 18/2 and 35/1.4 are not any good wide open, Oly 17/1.8 is better than 18/2 and Panasonic 25/1.4 is better than 35/1.4.
And of course Oly 60 macro is sharper at macro distances than Fuji 60 half-macro, and able to shoot much, almost 3 times smaller subjects - weather sealed too.
And many, many m43 lenses have nothing comparable for X. Find replacement for 45/1.8 (56 should be when?), 75/1.8, 12-35/2.8, 35-100/2.8, 100-300, 75-300, 14-140/150, 9-18, 7-14, upcoming 12-40/2.8, all stabilized on Oly...
And of course prices - as expensive m43 is, X even more so.
Also quite large because it is fully optically corrected rather than digitally like so many mirrorless lenses these days. Even Sony dropped optical correction in favour of smaller digitally corrected lenses.
Nicely written!
"Cynics might suggest that it's been purely to protect sales of the X100 / X100S, which use a 23mm F2 lens, at least until the X system became more established on the market."
This may sound a little cynical - but I still find it far more realistic and less cynical than Fuji's explanation.
Note to Fuji - consumers may have held off buying into the Fuji system until the release of the XF 23mm f1.4 lens.
Meanwhile these same potential customers may have discovered that the micro 4/3 system meets their needs (faster auto focus, smaller form factor etc) and have abandoned the idea of purchasing Fuji altogether.
Marketing spin is amusing.
No fast wide primes for m4/3. I went and had a look. Oly 12mm F2/ Oly 17mm F1.8/ Panasonic 25mm F1.4. This does not take into account the manual focus wide VC lens - 17.5mm F0.95. There are others but you can do the search just as I did.
But never let the facts get in the way.
@tjbates by no means any of those 35mm equiv. would qualify as wide, falling more into the normal field of view. Only the 24mm equiv would make it into the category, still not wide enough for many shooters that work at 20mm equiv. and below. For those, the wider and much higher quality Fuji XF 14mm will do a better service.
ha, you're joking. Must be joking...?
Uh . . . open the box, place on the camera and take a few pictures? Sort of mundane, but I expect that will be the unboxing experience for the majority of people eh?
That said, there will probably be a small percentage of consumers who chortle or giggle while opening the box and maybe someone will get a little paper cut from the brochure packed with it.
I bit large (I'm used to rangefinder lenses), but looks like a solid release for X users. I am an X-Pro 1 user, but I think I will keep with M mount stuff simply because it is smaller, lighter, and practical for a number of different cameras.
If I didn't have the M and LTM stuff, I would definitely jump.
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We understand that not everyone shares our passion and enthusiasm for car audio, bluetooth hands free car kits, iPod car kits, in car DAB radio, dashboard cameras and car stereos, so we've created the Advice Centre which we hope will answer any questions or queries you have.
If you can't find the answer to your question, or want more specific or general information, please call us on 01254 694537. We're looking forward to hearing from you.


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It's difficult to explain why, but national studies have shown that emotional and social health translate into improved physical health. And that's exactly what St. Louis NORC (Naturally Occurring Retirement Community) sets out to achieve with its many programs and services, says program manager Karen Berry-Elbert.
An affiliate of the Jewish Federation of St. Louis, St. Louis NORC is a non-sectarian program that serves seniors ages 65 and older, who live within a 3-mile neighborhood in the Creve Coeur area. A NORC simply is a geographic area with a high density of seniors. Often, they are formed by individuals aging in the neighborhood over a long period of time. But what makes St. Louis NORC special is that it's currently the only officially recognized NORC-supportive program in Missouri, serving 1,600 residents, Berry-Elbert notes. "It was one of the first five communities funded by the U.S. Administration on Aging to develop an experimental way of delivering services," she says. It began as a public-private partnership of the Jewish Federation of St. Louis, Washington University Center for Aging and several other service agencies, and continues to have partnerships that provide its members with a variety of benefits.
NORC provides many programs that are available to any senior in the community, regardless of whether they live in the geographical boundary. Those include cultural, health and wellness programs, as well as educational ones. "Anyone can participate in our day trips—most recently we visited the Missouri Botanical Garden. We try to make sure our folks have an opportunity to visit all of our community gems, and get their fix of cultural and educational offerings."
Apart from those services, St. Louis NORC also offers added benefits to members, who pay a nominal annual fee. "We also subsidize it, so what you can afford is what you pay. No one would be turned away because they can't pay," Berry-Elbert notes. Members have access to NORC's band of volunteers, who are available to perform simple but important services around the home, such as computer assistance, changing light bulbs, fixing a leaky faucet, flipping a mattress, or whatever needs to be done. "They're things we might take for granted, but the reason we put the volunteer services at a high premium is that every day you lose some capacity," she says. "It wasn't so long ago you could flip your own mattress or reorganize your closet; but as you lose those capabilities, a lot of people want to throw up their hands and say, I can't do this, I have to move. Let's get rid of that frustration, because we can take care of these small things and you can stay where you are. Ninety percent of the population wants to age in their own home."
Other member services include a discount to use at area businesses, monthly nurse visits, blood-pressure checks and in-home safety assessments from occupational therapists.
And the results are definitive: 62 percent of respondents in a NORC survey said that living in the NORC made them feel like they were part of a strong and growing community; and the average age for moving into assisted living in the 3-mile area is 87, five years older than the national average. "People say that living in the NORC gives them comfort and a sense of safety. They feel more connected to the neighborhood and to one another," Berry-Elbert says, adding. "We give them reasons to leave home and be amongst friends."
For more information about NORC, call 442-3859 or visit jewishinstlouis.org.
Volunteer Spotlight: Andrew Goldfeder
Andrew Goldfeder first heard about St. Louis NORC when he ran across a pamphlet at a leadership class through the Jewish Federation of St. Louis' Young Professionals Division (YPD). "I started to look into it and immediately thought this was right up my alley," he says.
Goldfeder contacted NORC to learn about volunteering, and has been involved ever since—for six years now. He has always had a passion for working with older adults, a passion that also plays out in his day job as the museum coordinator at the Holocaust Museum & Learning Center. "What I like about NORC is the program allows older adults to maintain their independence in their own homes, but still have assistance here and there to help with little things," he says.
As a volunteer, typical tasks Goldfeder helps with range from changing light bulbs to flipping mattresses and yard work. "I installed a door-knocker on a woman's front door in her condo. They'd had a fire drill and she was hard of hearing, so she never heard the alarm. The fire department suggested that she install the knocker to help with being notified."
Goldfeder says it's rewarding to see people he's helped out in the community. "I work and go to the gym in the NORC area; so when I approach them at a restaurant, I can automatically have a friendly rapport. It allows them to understand that they're an important part of the community and they haven't been forgotten. In no way is that a pity party, but we can befriend each other and feel like a community." He adds that it's not uncommon to visit someone to change a light bulb and then stay for an hour just for of the conversation. "It's a huge learning experience. You never know who you're going to meet and what kind of story they're going to tell. We're changing their lives, but they're changing our lives, as well."


text: It is that time again and Liquid is proud to announce the date of the 3rd Annual Surf Swap Meet on Saturday June 8th. The event starts at 10:00 and goes into the wee afternoon hours. Anyone is allowed to come and setup; bring your unwanted boards, wetsuits, memorabilia, skimboards, & skateboards. You must set up your own stuff, Liquid is not responsible for your items. NO FEE is taken by Liquid and this is a FREE event. The Big Chill Cantina will be open for lunch/dinner and will be serving up cool brews to make sure that everyone has a great time. Some come hang out with everyone, get rid of some stuff, and most importantly have a great time. We look forward to seeing you there!


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Lyla Ch. 05: Summer Lovin'— Lyla tells Halle about her favorite fuck.
Lyla Ch. 04: Meets her Match— Lyla watches Clarke fuck Cassie in his office.
Whose Turn is It?— Intense sex.
Lyla Ch. 02: Respecting her Elders— #2 Lyla gets fucked by Clarkes 70 year old mentor.
Mason: Letter 02— Mason shoots a scene with a big toy.
Mason: Letter 01— 22 yr old porn star tells his story through letters.
Betrayed Pt. 02— Sophomores in college, a slender MILF, and a new adventure.
Maria's Oral Adventures Continue— Maria continues her adventures on a cruise of a lifetime.
April Fools Suprise— A rainy night and car trouble lead Maria to an interesting situation.
Gift of Another for my Valentine— Two traumatized lovers share a night of erotic pleasure.
That Jagged Little Shiver— Elaine is made to discover her inner bitch.
Blackmarket Brothel: Client 03— A different perspective.
My Best Friend's Boyfriend Ch. 05— Jessica has a wet dream about Mason.
Betrayed Pt. 01— Freshmen in college, a busty MILF, and a devious chick.
Blackmarket Brothel: Client 01— Kidnapped! But she's got more pressing concerns...
Enhancement: Experiment Ch. 06 Final— The test subject has an illicit encounter.
Enhancement: Experiment Ch. 05— The mistress shows off her Experiment.
Enhancement: Experiment Ch. 04— Her second milking involves some volunteers.
Enhancement: Experiment Ch. 02— She wakes to see her results.
Wandering Eye: A Cheater's Story— Couple pursues an open relationship.
Knowing When To Give In— We were always such a responsible couple...
Double Date— A double date turns into a threesome, with one man cuckolded.
Wet Bar— A failed date turns into a night of pleasure for local.
Thresholds Ch. 13— We meet others for the evening.
The Set Up— Jayson knows his dad can't resist a bukkake party.
For My Man— Like a Good Girl Does.
Ms. Morgan, An Obsession— Infatuation leads to sweet release.
Floating in a Sea of Cock— A wife gives her man a morning handjob and a fantasy.
Skin Ch. 03— Toby's journey through the bellies of the beast.
I'll Fuck That White Bitch Ch. 01— Trenton talks about servicing white girls.
My Friend Joana Ch. 01— My friend Joana gives me head while masturbating.
Cum Slut Sophie Ch. 04— Sophie's desire for cum is insatiable!
Cum Slut Sophie Ch. 03— Sophie's housemate Mel joins the fun.
Maria the Witch Ch. 03— An evening of titties, cum, cocks, and magic for MILF & co.
Black Cock Era 02— The busty white slave Hannah travels with her black master.
Cum Slut Valerie Comes Over— Hot ex-girlfriend wants to fuck like a porn star.
Three— Mom decides son's wife needs to be bred.
But Mom, He's Black! Pt. 01— Two friends, their two hot moms, a black cock, & sexy Maddie.
Faye Fellatio Ch. 05-06— Faye literally blows the guys away at her next audition.
A Visit to Yukiko's Place— A visit to an old college girlfriend leads to sexual desire.
Sloppy Seconds— He finds out just what 'sloppy seconds' means!
Three Days in Arcadia Ch. 02— Harem-girl room service on the Island...
Sweet to Eat— I love the taste of my man's cum.
Early Days of Summer Ch. 04— James yearns for a repeat with Matt and Laura.
Party Mom Ch. 05— The diary entry of sexy friend Sonny in the sex resort.
Maricon— Gay gang-bang by a soccer team.
Party Mom Ch. 04— Mom and crew take mysterious trip. (No need to have read 1-3)
A Fairy Tale— A gorgeous young maiden is kept safe in a pen.
Ten Years Gone— A young woman returns to her first love.
Maria the Witch Ch. 02— Magical sexy girl decides she needs to fuck his real mom too.
Maria the Witch Ch. 01— An old friend with strange powers lives out her fantasy.
18 Years Old - That was a Fun Time Ch. 03— Double teamed.
18 Years Old - That was a Fun Time Ch. 02— Outside fucking.
18 Years Old - That was a Fun Time— Fucking with my friends.
The Basketball Team Ch. 02— Athletes continue invasion into towel boy's hot mom.
Party Mom Ch. 03— Mom stars in a new porn movie.
Danielle's Legacy— A mom's misled feminism has some sexy humiliation for son.
In Her Erotic Mind— The thoughts of a woman obsessed with semen.
A Blowjob— He is ecstatic; she ends covered in jizz.
It's What's Inside That Matters— Sex with an experienced mature guy.
Doctor of Desire Ch. 09— Casey is asked to help a farmer's daughter.
Tube of White— An artist paints a model, with cum.
The Basketball Team Ch. 01— Towel Boy watches athletes with a hot girl and his hot mom.
Quality Control— An American Woman participates in a Japanese Bukkake.
My Mom is a Sex Goddess Ch. 01— A reluctant son watches his mom get sexier and sexier.
Weekend at Varun's Ch. 01— A steamy weekend with my office colleague and lover.
Party Mom Ch. 02— Wild mom goes even sluttier with son's friends.
Party Mom Ch. 01— Kid and wild mom head to friend's party.
A Thankful Cumslut Ch. 03— Rick, Lucia - and a lucky delivery guy.
Taylor, Gabi, Creampies, and Me!— Hot young couple uses business exec as a personal slave!
My Friends and My Milf Mom Ch. 02— Mom and friend have more sex in front of poor son.
A Thankful Cumslut Ch. 02— Rick continues to reap the rewards for his generosity.
After Store Hours— One coworker cums in another.
My Friends and My Milf Mom Ch. 01— Hot mom loves son's friends' cocks, to son's humiliation.
My Guitar Hero— A man fulfills his curiosity for sucking cock.
Coach Made My Mouth Water— A coach and a jock exchange blow jobs!
Oral Arguments— The adventures of a (not very) reluctant fellatrice.
Cleaning Up— Small cocked guy deals with sexy babes.
Cum Sweet Cum Ch. 03— Fulfilling both of our fantasies.
Used By My Temp Assistant— Temp assistant jerks off boss in a playful way.
Allison Sucks 100 Feet of Cock— Slutty girls finds small dicked nerds during cock marathon.
Jerking off to Jessica— Busty Jessica humiliates small dicked friend.
Subway Romp— He wants piss - she has other ideas.
Who knew I'd like facials?— A BiMM meets a guy and receives a hot facial.
Creampie Rewards Program— Sign me up today! I want to be a frequent eater.
Two Gossiping Porn Stars— Melinda and Kaitee recall the best and worst fucks.
Killing Me Softly— Hot 'n Steamy and a Screaming Orgasm.
Wet Miranda's Sperm Swap Ch. 02— The kinky night continues.
Adventures of John and Holly Ep. 01— Open minded college lovers.
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Celebrating after your team wins a big match is totally acceptable in society.
But, please guys, be careful out there.
Sometimes emotions can get the better of you and the celebration is over done.
You can even end up with broken electronics -- just ask the guy in the video below.
This die-hard Brazilian World Cup fan, whom we learned about from Extra Mustard, got a little too excited on Sunday following his team's 1-1 (3-2) victory over Chile in the Round of 16.
He slaps his television screen -- a maneuver usually performed when reacting negatively to something -- and the whole thing smashes:
For future reference, here is an excellent example of how to celebrate your team's victory without the hazard of breaking household items:


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LaVern Kenneth Asmus
Funeral services for LaVern Kenneth Asmus of St. Cloud, formerly of Morris will be held Friday, Jan. 14, 2011 at 1 p.m. at Faith Lutheran Church in Morris. Rev. Dell Sanderson will be officiating. Visitation will be held from 11:30 a.m. to 1 p.m. at the church on Friday. Burial will be in Chokio Lutheran Cemetery in the spring.
LaVern Kenneth Asmus, son of Walter and Hazel (Miles) Asmus, was born May 7, 1922 in Chokio, where he grew up and attended school. On May 14, 1944, he was united in marriage to Lila Wollin. Following their marriage the couple made their home in Morris and LaVern worked as a carpenter. When he retired in 1977, he and Lila became building caretakers. Over the years, this profession took them too many different towns in Minnesota. In 1992, LaVern and Lila settled in St. Cloud, where they have continued to live since that time.
LaVern died on Saturday, Jan. 8, 2011 at Country Manor Nursing Home in Sartell, having lived to reach the age of 88 years.
He is survived by his wife: Lila Asmus of St. Cloud; one son: Gary (Vicki) Asmus of Apple Valley; two daughters: Diann Richards of Arlington and Valerie Lutz of St. Cloud; eight grandchildren; 12 great-grandchildren; two brothers: Delroy (Loretta) Asmus of Morris and Norman Asmus of Minneapolis and many nieces and nephews. He was preceded in death by his parents; three brothers: Lesley, Stan and Floyd Asmus and three sisters: Dene Froelig, Bertha Hennen and Darlene Hickey.
Pallbearers for the service are: Audrey McNally, Tina Wilson, Maria Fischer, Heather Eisenschenk, Richard Asmus, Clyde Roberts and Brian Lutz. Rita Lambert will serve as organist for the service with Holly Giese serving as soloist. Pedersen Funeral Home in Morris is in charge of the arrangements.
To send online condolences visit the website at www.pedersenfh.com.
A memorial service will also be held Sunday, Jan. 30, 2011 at 1 p.m. at Salem Lutheran Church in St. Cloud.


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Dr Kerstin Eder has been awarded a Royal Academy of Engineering Industrial Secondment to work with XMOS on "State of the Art Power-Aware System Design". From October 2010 onwards Dr Eder will be working for one year alongside engineers at XMOS investigating energy efficient system design from silicon to software.
While hardware designers make every effort to conserve both static and dynamic power, it has become clear that the biggest power savings can be made when the software executing on processors is power-aware. Hence, by measuring power consumption data on the hardware, and by enabling the compiler, optimiser and software engineer to use this data, a better power profile can be attained, whilst maintaining a simple design flow.
The secondment is hosted by XMOS and will bring a fresh insight into the effectiveness of the power-saving features on the XMOS chip, especially when it comes to energy-efficient application software development.
To ensure the knowledge gained can be utilized for teaching and also for research in the future, Cadence Design Systems, a leading EDA tool provider, are supporting this secondment and in particular the knowledge transfer back into the university with state-of-the-art EDA tool licenses for our labs.


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Help: Search Form Submit to iFrame in new page
Hey folks,
I'm trying to submit a search form to a library database that will show results in an iFrame that's located in another page. I believe it has something to do with the target attribute, but haven't really managed to get anything useful happening. The code below works to search the db in its own new window.
<form name="catalog-search" action="http://www.coala.org/uhtbin/cgisirsi/W0RuTQQHuY/0/0/57/5" method="GET"> <p> <input name="search_type" value="search" type="hidden" /> <input name="user_id" value="DELRAY" type="hidden" /> <input name="password" value="guest" type="hidden" /> <input name="library" value="DELRAY" type="hidden" /> <input type="text" size="18" name="searchdata1" maxsize="100" style="font-size: 10pt" value=""> <select name="srchfield1"> <option value="GENERAL^SUBJECT^GENERAL^^words or phrase">Keywords</option> <option value="AU^AUTHOR^AUTHORS^Author Processing^author">author</option> <option value="TI^TITLE^SERIES^Title Processing^title">title</option> <option value="SU^SUBJECT^SUBJECTS^^subject">subject</option> <option value="SER^SERIES^SERIES^Title Processing^series">series</option> <option value="PER^PERTITLE^SERIES^Title Processing^periodical title">periodical title</option> </select> <input type="submit" value="Search" border="0" alt="Search"> </form>
I'm building this in wordpress and have access to all the template files so if I need to edit those that's not a problem.
Any help would be greatly appreciated.
Last edited by holdenhenry; 02-15-2012 at 04:50 PM. Reason: clarification


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|$50 Gift Card To Sports Authority? Just Comment To Enter!
Just comment on the post above with what you eat before and after your workouts and you are entered to win! The more detail the better, and include any soy products you take as well! Be sure to tell your friends as well and share! Just make sure to comment by the end of November 20th! Good luck readers!


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-The Music Library now has a memory card reader available for checkout. The loan period is 2 hours in the library only. It works with 15 types of media: XD Picture Card, CompactFlash I, CompactFlash II, SmartMedia, Secure Digital, Mini Secure Digital (Mini SD), MultiMediaCard, RSMMC, IBM Microdrive, Memory Stick, Memory Stick Pro, Memory Stick Duo, Memory Stick Pro Duo, Memory Stick MagicGate, and Memory Stick MagicGate Duo.
Please ask for it at the Circulation Desk.
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The Dartons: A Bibliographical Checklist
The Dartons, Publishers of Educational Aids Pastimes & Juvenile Ephemera, 1787 – 1876: A Bibliographical Checklist. Together with a description of the Darton Archive as held by the Cotsen Children's Library, Princeton University Libray & A brief history of printed teaching aids. By Jill Shefrin. Los Angeles: Cotsen Occasional Press, 2009. 522 pp. 284 color illustrations.
Full linen binding with color dustjacket. Printed mailing folder.
This bibliographical checklist of the educational aids and pastimes published by the Darton firms at Gracechurch Street and at Holborn Hill, brings together for the first time the rich diversity of teaching pastimes and ephemera issued by the print trades in this period. A companion volume to the late Lawrence Darton's checklist of the books published by his family's firms, it was undertaken by Jill Shefrin at his request. The scholarly apparatus includes additions to his checklist of the books, a concordance of identifiers to his checklist and those to the Cotsen collection, and a description of the Darton Archive now held by the Cotsen Children's Library as well as historical background on printed teaching aids.
About the author:
Jill Shefrin is a rare book librarian, consultant and scholar in the field of historical children's books and education. Her research focuses on the use of pastimes in early modern and nineteenth-century education, particularly for girls, and she has published and lectured extensively on educational ephemera. She has authored two other Cotsen Occasional Press publications, "Neatly Dissected, for the Instruction of Young Ladies & Gentlemen in the Knowledge of Geography": John Spilsbury & Early Dissected Puzzles (1999) and "Such Constant Affectionate Care": Lady Charlotte Finch, Royal Governess to the Children of George III (2003), as well as numerous articles. Co-organizer of the conference 'Educating the Child in Enlightenment Britain' at Cambridge University in 2005 and co-editor of Educating the Child in Enlightenment Britain (Ashgate, 2009), Ms Shefrin teaches the Children's Books course at the University of London Rare Books Summer School.
Available for purchase from the Cotsen Children's Library or online at Oak Knoll


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Saturday, November 28, 2009
Update on Moses
Well, I feel very fortunate to have all the cats I do at this point. I have been bringing them into my office so they can watch Moses. He loves the company and always wants to eat when he sees them. It is so sweet. All my therapy animals. I call them. Moses has eaten a whole can of soft food this morning and I am sure he will be fattened up in no time. He is cleaning himself right now. A good sign. The crust on his eye is gone, so I am thrilled about that. I will keep you updated. Moses has a long road ahead of him. He will be caged here in my office for a few weeks, at least. Then I will see what I will do. Chin Chin has been walking around the house now. Always skittish, but it seems to get better every day. I figure that Moses will be happy with all his buddies. We'll just have two cats that don't care for humans. Someday, they will warm up to us, I am sure, but at least they will be spoiled as much as they can be.
Posted by Jenny Carter at 9:30 AM 5 comments: Links to this post
Friday, November 27, 2009
Poor Moses
Moses was living in a dirty basement, hiding under cupboards. We had thought he escaped thru a door we left open for him. When I rescued him he was too old to be tamed and he escaped from his cage, so I could not control him. We decided to let him live in Joan's basement. She has a feral colony that lives under her house. So, at least he would have shelter. He never escaped and Joan stopped putting food and water in his location because we thought he took off. Today, I was over there scanning in homework and I hear a cry. I called Joan and she captured him and we moved him back home. In my office. He immediately start drinking the water when he say CC and Dana. He remembers them, so now I am keeping him beside me for months, if I have to. He has lived a horrible life the last couple months. I am so sad for that, but he will be taken care of here. This now makes 10 cats. I am glad I have a big house, but this is gotta stop. I have the kittens for so long they are like a family. I don't think anyone could give them a better home. That is sad. Really. Pray for my Moses here. He is so dehydrated and emaciated and his eye is all crusted over. I hope he is happy now and learns to accept me. This place is paradise from where he was, so maybe he will finally get it.
Posted by Jenny Carter at 3:22 PM 3 comments: Links to this post
Friday, November 20, 2009
Kitten Update
I have been letting Pete and Suede, the foster kittens out of there room. They love the basement. There so much room to chase each other. Too cute. Dana is here tolerating. She's getting better. Then there is Chin Chin, she gets stuck in the library. She is too skittish to have space to roam. She does love the neck massage, though
Posted by Jenny Carter at 9:06 AM 3 comments: Links to this post
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SIMON THOMAS O'NEILL from Oasis Travel had the pleasure of travelling to New York and Bermuda…
New York and Bermuda are unique destinations and are the perfect combination as New York is so busy and Bermuda is the perfect place to chill and unwind.
New York is so diverse, making it a melting pot of all its diverse cultures and districts. Whilst Bermuda has the most stunning scenery and very hospitable genuinely nice people who are proud of their heritage. They also have famous pink sand beaches! New York and Bermuda really should be at the top of every discerning traveller's wish list.
I departed from Dublin Airport's new terminal 2, and had pre-booked the business lounge - go on treat yourself. I cleared customs and immigration in Dublin in 15 minutes which is a big bonus. On arrival in New York I transferred to The Beacon Hotel – Upper West Side. The journey is 30 minutes.
This was a fabulous place to stay and it is only one metro stop from Times Square which you reach in 10 minutes. The next few days were spent shopping, sightseeing, dining in fabulous locations. Who wouldn't want to sip a cocktail in a revolving restaurant looking over the Manhattan skyline at night? Right?
On day 4 - I headed off on a 1 hour 45-minute flight to Bermuda, upon arrival we were whisked away to our beautiful Hotel – Cambridge Beaches where we settled in and enjoyed lunch which was amazing. The attention to service and detail is amazing. I then walked around the beautiful gardens and later that evening enjoyed a sumptuous dinner.
During my stay, I hopped on the local buses and toured the Island. Bermuda is a paradise island, famed for its pink beaches as mentioned earlier. The island is very interesting and full of culture and history.
One of my main highlights here was relaxing on the beautiful beach and conjuring up memories of the most amazing time I had in New York and the feeling of calm, tranquillity and sophistication of this paradise island.
Please put New York and Bermuda on your travel hit list – you will not be disappointed.
Contact Details
- NI Travel News
- Unit 1, Windsor Business Park
- Belfast
- 028 9066 6151


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Crazy Love Episode 96
Crazy Love Episode 96 English Sub
Comments (18) ADD COMMENT
I so agree with all comments. i stop watching and just get the recap @asianaddict as it even hurt to watch it. this drama is by far the worse i have ever seen in my ripe age of 57. the Actors must have been so embarrassed trying to improve what is given to them by the writers. if there is an award for "THE WORSE DRAMA EVER" this is it
cray01You just made my day, I totally agreed with you. There is no more drama that so stupid like this one.
dramaqueen22True, true, true.
esperif i have to rate this drama it will get a -poor rating, the writer is so desperate to come up with a good drama but it turned out to be a horrible drama I think the writer is a rookie
This is the first time I have ever commented on any board regarding dramas, but I couldn't resist. This is by far the stupidest and worse drama I have watched...and I have watched a lot! The writer's should really be banned from ever writing another drama again. Both of the main casts (So Mi & the Attorney), completely forgot how their so-called loved one had died, only to once again be manipulated by the murderers into complying with their demands. Personally, I'm so sick of them that I think they almost deserved it. Why bother crying as if your life depended on, when you don't have the gall to take any action. The most ludicrous thing is that they both have the evidence to convict the criminals, and yet, they dilly-dally over if someone's feelings will be hurt if the truth is revealed? OMG! Everyone already knows the truth...except for the cops! Geez...the characters are seriously lacking some brain cells.
FardosaUsseles Drama!! Where is The revenge?? Or Do u Really mean this is a Revenge or did i get Wrong? And wat u mean when MO Si find out who is the murder of her daugther is this what she can do!?? THE WORST DRAMA I AVE EVER WATCHED ON KOREAN DRAMA.......DISGUSTING....
MAYATHELLI felt like to hit the screen of the computer to to satify my anger and yell out loud STUPID WRITER EVER. GO TO HELL
Damn these koreans are stupid. Just call the damn police. Forget forgiveness. This drama is tooo Underdramatic... Who the hell would wait for their daughters killer to turn themselves in? and she has the nerve to still be a bit**. She would already have died in the US
I don't understand why the writers decided to have so many people have so many secrets in this drama. NY power continues to grow as a result of slip of the lips and secrets untold. Turn her rusty behind in so she can get punished. HY pls find a girl friend soon. You're going to go crazy.
dramaqueen22If there is revenge, Miso won't be part of it, that's for sure. The idea of revenge is REALLY screwed up when "Oppa" is hiding the murderer of Mi So's child. This drama is getting more weird by the minute. Right now, I'm just looking at the last few seconds of every episode to see if anything worthwhile is finally happening. So far, not yet.
2222this is not a revenge drama, if you want a good revenge the watch pink lipstick, it is soo good, this one sucks, stupid and booring.
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Czech genealogical society to host veterans tribute
The Texas Czech Genealogical Society will host "Let Freedom Ring – A Tribute to Czech Veterans" on Saturday, March 27 at Caldwell Civic/Visitor Center, 103 Presidential Corridor Hwy. 21W (at North Main), in Caldwell.
The special event will pay tribute and honor all Czech veterans. The public is invited to attend.
Special speakers and entertainment include Emil Faltisek Jr., Carroll Brincefield, Doug Kubicek, Major Gen. John Simek (ret.) a nd t he Da l la s Czech Orchestra.
The event w ill begin w ith registration, coffee, kolaches and Czech fellowship at 8 a.m. Opening ceremonies begin at 9, followed by the special speakers.
Lunch will be served at noon.
One of the treats of the day will include the availability of the Texas Czech Genealogical Society two-volume set of Czechs in Uniform. This long-awaited set contains more than 1,000 pages filled with experiences, memories and pictures of Czech veterans from the very early Austrian military through the Iraq and Afghanistan wars, submitted by more than 400 individuals.
Ken and Stacey (Veselka)) Hightower will have a World War II exhibit, including a refurbished 1943 Willys MB Jeep.
A silent raffle, door prizes and special Wall of Honor will also make up the events of the day.
Registration is $16 per person if postmarked on or before March 20, or $21 per person postmarked after March 20, or at the door. Registration should be sent to Bennie Stasny, 8402 Shenandoah Dr., Austin, TX 78753.
For more information, contact Stasny at 512-836-8084 or by e-mail at email@example.com. Full information is also on the Texas Czech Genealogical Society website located at www.txczgs.org.


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What's the Deal?
Take in a relaxing bird's-eye view of one of North America's most beautiful cities – or thrill to a roller-coaster-like ride.
Where's it at?
The peak of Vancouver's Grouse Mountain is renowned for its stunning 360-degree views of the city, sea and snow-covered mountains. Experience that panorama with a tandem paragliding flight with North Shore Paragliding. After a short safety briefing, your instructor will lay out the canopy and fit you into a full body harness. He'll then attach you to his front and ask you to take a few steps down the slope while he pulls the canopy into the wind. Before you've managed a few strides, you'll be soaring at 40 kilometres an hour a hundred metres or more above the chalet and gondola, with the Lions Peaks, Capilano Lake and the city as your backdrop. Flying in a seated position, your instructor will take photos and video of your flight and once you've relaxed a bit, will ask if you want to try some wingovers or spiral dives: Be prepared, these G-force-inducing descents will leave you as dizzy as the scariest roller coaster. Your 20-minute flight will finish 1,000 metres lower in a grassy field at the base of the mountain and you'll want to do it all over again.
Who's it for?
Those who don't like waiting to take the gondola down the mountain.
North Shore Paragliding runs tandem flights from June through late September. The cost is $199.