text:
|Publication number
|Publication type
|Application number
|Publication date
|Oct 21, 2008
|Filing date
|Nov 30, 2004
|Priority date
|Nov 30, 2004
|Fee status
|Also published as
|Publication number
|Robert M. Lofthus, Kristine A. German, Donald M. Bott, John R. Andrews, David Biegelsen, Armin R. Völkel
|Original Assignee
|Palo Alto Research Center Incorporated
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (16), Referenced by (11), Classifications (5), Legal Events (5)
|External Links: USPTO, USPTO Assignment, Espacenet
The field of the invention relates generally to xerography, and in particular relates to addressable fusing and heating apparatus and methods.
In xerography (also known as electrophotography, electrostatographic printing, and colloquially as "photocopying" and "laser printing"), an important process step is known as "fusing." In the fusing step, a dry marking material, such as toner, is placed in imagewise fashion on an imaging substrate, such as a sheet of paper. The toner is then subjected to heat and/or pressure in order to melt or otherwise fuse the toner permanently on the substrate. In this way, durable, non-smudging images are rendered on the substrates.
Currently, the most common type of fusing apparatus ("fuser") used in commercial xerographic printers includes two rollers, one typically called a "fuser roll," and the other a "pressure roll." The two rolls are arranged adjacent to one another and in contact, thereby forming a nip for the passage of the substrate therethrough. Typically, the fuser roll is hollow and further includes one or more heating elements in its interior. The heating elements are adapted to radiate heat in response to a current being passed therethrough. The heat from the heating elements passes through the surface of the fuser roll, which in turn contacts the side of the substrate having the image to be fused. The combination of heat and pressure is applied to the entire page, thereby successfully fusing the image.
Unfortunately, present-day fusers tend to be one of the most expensive subsystems within a xerographic printer, and can often suffer from reliability issues. Accordingly, alternative approaches for fusers have been developed. For example, U.S. Pat. No. 5,459,561 to Ingram, entitled "Method and apparatus for fusing toner into a printed medium" (hereinafter, "the '561 patent") discloses a method for fusing toner into a printed medium by projecting a high-energy laser beam onto a toner image using an optical scanner. The laser radiation serves to heat the developed toner image on the printed medium. The high-energy laser beam is synchronized with a low-energy laser beam, which is used to develop the latent image on the photoconductive drum or belt. Unfortunately, the approach of the '561 patent is rather complex and expensive, and is not particularly efficient.
Other approaches for fusing are set forth in U.S. Pat. No. 5,436,710 to Uchiyama, entitled "Fixing device with condensed LED light" (hereinafter, the '710 patent). The '710 patent discloses a fixing device for fixing toner images onto a sheet, wherein the device includes a light-emitting diode (LED) array and a cylindrical lens. The cylindrical lens is arranged to condense the light from the LED array onto the surface of the sheet, thereby fixing the toner to the sheet. The various fusing approaches set forth in the '710 patent all involve heating the entire sheet by uniform activation of the elements in the LED array. Thus, the approaches set for the in the '710 patent are not significantly different from other prior art methods in that they involve fusing an entire sheet, regardless of the toner image formed thereon.
An aspect of the invention is a fuser apparatus for selectively heating the surface of a substrate. The apparatus includes an array of addressable heating elements in radiative communication with the substrate. The apparatus further includes a programmable driver operably coupled to the array of heating elements. The driver is adapted to selectively activate the heating elements to selectively heat portions of the substrate surface as the substrate moves past the array.
Another aspect of the invention is a printer apparatus for forming a fused image onto a substrate having a surface. The apparatus includes a marking engine adapted to form an unfused toner image on the surface. The apparatus also includes a fuser having a first array of addressable heating elements and arranged adjacent the substrate surface. The fuser is adapted to receive the substrate and heat substantially only that area of the surface covered by the unfused toner image. This is accomplished by selectively activating the array addressable heating elements as the substrate moves past the first array.
Another aspect of the invention is a method of fusing toner to a substrate. The method includes forming an unfused toner image on the substrate, recording the unfused toner image, and then selectively heating substantially only that portion of the substrate covered by the unfused toner image so as to fuse the unfused toner image, based on the recorded unfused toner image.
A further aspect of the invention is a method of xerographically processing a substrate. The method includes providing a fuser having an array of addressable heating elements and passing a substrate through the fuser such that a surface of the substrate is in radiative communication with the addressable heating elements. The method also includes selectively heating portions of the substrate surface as the substrate passes by the addressable elements. In one embodiment, the substrate surface includes an unfused toner image, and the selective heating is substantially limited to that substrate surface area covered by the unfused toner image in order to fuse the toner image to the substrate.
The various elements depicted in the drawings are merely representational and are not necessarily drawn to scale. Certain sections thereof may be exaggerated, while others may be minimized. The drawings are intended to illustrate various embodiments of the apparatus and methods set forth herein that can be understood and appropriately carried out by those of ordinary skill in the art.
The apparatus and methods are first described in connection with a general example embodiment. Other specific example embodiments are then set forth. As will be evident from the description below, reduced warm-up time, lower power consumption, the reduction or elimination of sheet warpage, and greater system process latitude are just some of the advantages of the addressable fuser apparatus and methods disclosed herein.
In the description below, the phrase "unfused toner image" is used herein broadly to include not only a select arrangement of toner that is not permanently adhered to a substrate, but also to include partially fixed toner images, as well as the presence of some previously fixed toner, such as in the case of color overprinting.
Generalized Addressable Fuser Apparatus
With reference to
Fuser roll 12 and pressure roll 14 are in pressure contact at a point on their respective outer surfaces 12S and 14S, thereby forming a nip 20. Fuser roll 12 and pressure roll 14 are rotatably driven about their respective axes in the directions indicated by the respective arrows, via respective motors or other drive sources or means (not shown).
A flat substrate (e.g., a sheet of paper) 30 having a planar upper surface 32 and an opposing planar lower surface 34 is provided to fuser 10 at nip 20. Upper surface 32 includes thereon unfused toner 40 that collectively forms an unfused toner image 42. Unfused toner image 42 is formed upstream of fuser 10 at a marking engine 48 using conventional xerographic processes (e.g., a tandem color marking engine). Unfused toner image 42 may be a black and white image, a color image, a magnetic ink character recognition (MICR) image, a custom color image, or the like. The fusing of toner image 42 onto substrate 30 using fuser 10 of printer 6 is discussed in greater detail below.
With continuing referenced to
In example embodiments, array 50 is an LED array (e.g., an LED bar), a vertical-cavity surface-emitting laser (VCSEL) array, a liquid crystal pixel illuminated by a line illuminator or an edge-emitting laser diode array, e.g., such as that associated with a raster output scanner (ROS) configuration. In an example embodiment, heating elements 52 emit radiation at an infrared (IR) wavelength, such as 820 nanometers (nm). In an example embodiment, array 50 includes a relatively coarse distribution of heating elements as compared to the imaging pixel elements (not shown) associated with marking engine 48. Thus, in an example embodiment, array 50 includes on the order of ten heating elements 52 per inch.
With reference to
In another example embodiment, focusing lens 60 is translatable in the Z-direction, as indicated in
The movability/adjustability of array 50 and/or focusing lens 60 can serve to mitigate non-uniformity of illumination caused by, for example, inherent variations in heating element output, or variations due to inoperable heating elements. In an example embodiment, array 50 and focusing lens 60 are operably coupled to respective drivers 72 and 74 that are coupled to a controller 96 (introduced and discussed below) and that are adapted to move the array and/or the focusing lens in response to signals from the controller.
With reference again to
With reference to
In an example embodiment, driver 76 and electronic image storage device 80 are part of a single controller 96 that also includes a programmable processor 92. Controller 96 is coupled to marking engine 48 and to cleaning unit 90, and to optional array and lens drivers 72 and 74, and is adapted to coordinate the operation of these and other elements (not shown) in the xerographic apparatus, as described below. In an example embodiment, the coordinated operation of the controller is achieved through a set of operating instructions (e.g., software) programmed into programmable processor 92.
General Method of Operation
With continuing reference to
Substrate 30 proceeds from marking engine 48 and is then fed into nip 20 of fuser 10. As substrate 30 proceeds through nip 20, in an example embodiment heating elements 52 in array 50 are selectively activated by driver 76 based on the information in electronic image so that substantially only those portions of substrate surface 32 that include unfused toner 40 are heated.
In the selective activation of heating elements 52, it should be noted that the amount of heat provided by each heating element need not be the same for all heating elements. Thus, in an example embodiment, the amount of heat provided by each heating element 52 via the operation of driver 76 varies between the heating elements. The variation can be based on, for example, the nature of unfused toner image 42, variations in the surface finish on substrate surface 32, different toners being present on the substrate surface, or other fusing considerations. On the other hand, there are instances where it may be advantageous for each heating element 52 to provide a fixed amount of heat, i.e., where there is no variation in the amount of heat generated between the different heating elements. Such fixed heating may be preferred, for example, when unfused toner image 42 is relatively uniform in nature. Thus, in an example embodiment, programmable driver 76 is adapted to cause each of the heating elements 52 to generate a fixed amount of heat.
By way of example, consider the toner image 42 shown on substrate surface 32 in
As substrate 30 passes through and exits nip 20, the action of the heat and pressure of fuser roll 12 and pressure roll 14 fixes previously unfused toner 40 to substrate surface 32, thereby forming thereon fixed toner 140 and a corresponding fixed toner image 142. This is accomplished by only heating an area of substrate surface 32 that is minimally larger than that defined by the area covered by unfused toner 40.
With continuing reference to
In another example embodiment, the toner image is sensed directly prior to the substrate entering nip 20. In another example embodiment, a local autocorrelation of toner image 42 (or information relating thereto) with printing data is used to inexpensively determine image properties such as the (X, Y, θ) registration and warpage.
In a more robust example embodiment that can measure the dynamic and static registration, the (X, Y, θ) registration of substrate 30 as it enters nip 20 is measured and compared to the registration of toner image 42 as formed on substrate surface 32 during the upstream marking process. This is accomplished, for example, by capturing a second electronic image of the toner image via an image sensor 100, such as a digital camera, arranged upstream of fuser 10 and optically coupled to substrate 30 as it passes under the image sensor. Image sensor 100 is operably (e.g., electrically) coupled to driver 76, preferably through electronic image storage device 80, as shown. The second electronic image is embodied in a second electronic-image signal 104 provided from image sensor 100 to storage device 80. The relative (X, Y, θ) registrations of the first and second electronic images are then compared (e.g., with the assistance of processor 92) and any offset or warpage is accounted for in the selective activation of addressable heating elements 52.
In an example embodiment, toner image 42 includes cyan, yellow, magenta and black images, and addressable elements 52 are activated so that an area on substrate surface 32 that is at most only minimally larger than that defined by the union of these images is heated.
With reference once again to
Selective Substrate Heating
Certain printing applications call for printing on substrates having different finishes (e.g., matte or gloss). Other applications may call for printing on substrates having different finishes on the same printing surface. Likewise, certain printing applications, such as color printing, require different types of toner, which in turn affects how the fusing step needs to be carried out.
Thus, in another more general example embodiment, addressable elements 52 are activated so that a select portion of substrate surface 32 not necessarily defined solely by toner image 42 is heated. For example, substrate 30 may have a finish on surface 32 that is altered by the select application of heat. Selectively heating portions of such a finish can alter the appearance of the substrate in a desired manner. The selectively heated substrate portions can have any shape that can be programmed into or otherwise provided to driver 76, and is limited only by the resolution of heating elements 52.
In an example embodiment, the amount and distribution of heat provided to substrate surface 32 by addressable heating elements 52 is varied by driver 76 to accommodate the type and quantity of toner and/or the particular finish (or combination of finishes) of substrate surface 32. In an example embodiment, information relating to the type of finish of substrate surface 32 is inputted to controller 96 via an input device (e.g., a key pad) 160 operably coupled thereto. Thus, different surface finishes can be provided to different portions of the substrate or aspects of the type of image to be formed, e.g., a matte finish for pictorials and glossy finish for text, or vice versa. As discussed above, select portions of substrate surface 32 can be heated to achieve a desired effect in the select portion, such as changing a glossy finish to a matte finish, or by forming an image in the finish itself through the effect of heating. The resulting gloss image may be used as authenticity verification for a printed object, similarly to a watermark.
In the example embodiment wherein heat is selectively supplied to the substrate to alter the surface finish of the substrate and not necessarily for fusing unfused toner, cleaning unit 96 can also provide for cooling of the substrate, e.g. by applying a vacuum or a stream of cool air that removes heat from the substrate.
Heat Transfer Belt
In certain printing applications, variations in the absorptive properties of the toner and the substrate could lead to undesirable variations in printing quality. In such instances, it would be preferred that the transfer of heat to the substrate not depend on the toner and/or the surface characteristics of the substrate.
Fuser belt 210 preferably has a low through-sheet thermal conductivity and a low lateral thermal conductivity to facilitate the transfer of heat from the heating elements to substrate upper surface 32 as substrate 30 passes through nip 20. In an example embodiment, fuser belt 210 serves to convert optical energy into heat in portion 230. In an example embodiment, fuser belt 210 is formed from a polymer sheet, such as PET, PEN, polyimide, or like polymer sheets, that are uniformly optically transparent and thermally insulating. Other layers can be added to the sheet as optically absorbing layers, ablatable layers, and strengthening layers.
In another example embodiments where optical radiation (energy) is converted to thermal energy on the inside of the belt, fuser belt 210 is made of a thermally insulating matrix with a dense array of conducting fibers penetrating from one side of the belt to the other. The lateral thermal conductivity can thereby be much lower than the through-belt conductivity.
In an example embodiment, the interior layers may include one or more adhesive layers to strengthen inter-layer bonding, as well as one or more conformable layers composed of silicone or other elastomers. The internal and external coatings may optionally have fillers to control electrical and thermal resistivity.
Disposable Belt
With fuser rolls such as fuser roll 12 of fuser 10 of
Use of a disposable fuser belt obviates the need to clean fuser roll 12 to maintain consistent printing quality.
Fuser belt 310 is stored on a source roll 320 and is arranged so that inner surface 312 of the fuser belt passes over fuser surface 12S of fuser roll 12 at nip 20. After exiting nip 20, fuser belt 310 is taken up by a take-up roll 330. In an example embodiment, disposable fuser belt 310 is made of or includes a thin sheet of IR-transparent thermally insulating material (e.g., MYLAR, a trademark of DuPont Corporation, Delaware).
Disposable fuser belt 310 serves to protect outer surface 12S of fuser roll 12 from wear and increases its useful lifetime. Belt 310 also increases the efficiency of heat generation at the fusing point, thus allowing the fuser to operate with less input power from power supply 76 (
In an example embodiment, disposable fuser belt 310 includes an ablatable coating 350 on outer surface 314.
Two-Sided Addressable Fusing/Heating
The present invention includes example embodiments wherein addressable fusing or heating is performed on both sides of the substrate being processed. Two such example embodiments are described below with reference to the generalized one-sided addressable fuser 10 discussed above in connection with
Simultaneous Two-Sided Fusing/Heating
Fuser 10 of
Fuser roll 412 is arranged such that long axis A4 is parallel to and coplanar with (i.e., in a plane P2 with) long axis A1 of fuser roll 12. In an example embodiment, fuser roll 412 is made of glass, such as fused quartz or heat-resistant borosilicate glass, such as PYREX, mentioned above. Fuser rolls 12 and 412 are in pressure contact at their respective outer surfaces 12S and 412S, thereby forming nip 20. Note that each fuser roll serves as the pressure roll for the opposing fuser roll. Fuser rolls 12 and 412 are rotatably driven about their respective axes in the directions indicated by the arrows, via respective motors or other drive sources (not shown). In an example embodiment, fuser rolls 12 and/or 412 are coated with a transparent elastomeric layer 420 atop respective outer surfaces 12S and 412S in order to allow reasonable pressures to exist and/or be controlled across nip 20.
Fuser 10 of
Array 450 is operably (e.g., electrically) coupled to a programmable driver 476, which in turn is operably (e.g., electrically) coupled to power source 78. Driver 476 is also operably (e.g., electrically) coupled to electronic image storage device 80 and to controller 96. In an example embodiment, an electronic image is stored in device 80 that corresponds to a toner image 482 formed from toner 484 on lower surface 34 of substrate 30. Like the electronic image of toner image 42 embodied in electronic image signal 84, the electronic image corresponding to toner image 482 is obtained from marking engine 48 via an electronic-image signal 494.
The operation of fuser 10 of
In some instances, the selective application of heat to one side of the substrate can affect the other side of the substrate. Thus, in an example embodiment, addressable arrays 50 and 450 are operated to take such sensitivities into account. For example, suppose that there are two different unfused toner images 42 and 482 formed on respective upper and lower surfaces 32 and 34 of substrate 30. Further, suppose that fusing of one unfused toner image will adversely affect the other at areas where the two unfused toner images overlap. In such a case, corresponding drivers 76 and 476 can be programmed to provide reduced amounts of heat to those areas of the substrate where the unfused toner images overlap. This allows for the total amount of heat applied to such areas from above and below to be below the threshold for causing an adverse affect at the overlap positions. Thus, in general, the selective heating of opposite surfaces of the substrate can be performed in a manner that accounts for the effect that the heat applied to one side of the substrate has on the opposite side. Furthermore, two-sided imagewise heating will generally use less power per side than sequential single-side image fusing.
Sequential Two-Sided Fusing
In certain circumstances, it may prove desirable to preheat or partially fuse the lower unfused toner image 482 on the lower surface 34 to prevent disruption of the image in the nip of the first fuser 10. It may also be desirable to preheat or partially fuse the upper unfused toner image 40 on the upper surface 32 to provide a substantially similar state of the upper and lower toner images for the first and second fuser. Accordingly, in an example embodiment, fuser 510 optionally includes one or both of first and second blanket fusers 515 and 517 operably coupled to controller 96 and in operable communication with lower and upper substrate surfaces 34 and 32. First and second blanket fusers 515 and 517 are adapted to partially blanket fuse ("pre-fuse") unfused toner images 482 and/or 42, respectively to preserve the image integrity prior to the downstream addressable fusing stage carried out by fusers 10. The pre-fusing (e.g., pressure and/or heat) provided by first and second blanket fusers 515 and 517 depends on the nature of the unfused toner images and in an example embodiment is determined empirically. In another example embodiment, first and second blanket fusers 515 and 517 optionally provide for sub-threshold bias heating of respective substrate surfaces 34 and/or 32, i.e., heating below the fusing point temperature TFP of the unfused toner. Sub-bias threshold heating is described in greater detail below.
In the embodiments involving two toner images 42 and 482 on opposite surfaces 32 and 34 of substrate 30, the two toner images can be considered as first and second portions of a single toner image. Also, in an example embodiment, substrate cleaning is be performed either between the fusers or just after the second fuser.
Sensor Feedback for Heating Control
The amount of heat provided to the substrate by the one or more addressable arrays (e.g., array 50, array 450 and others, if necessary) is controlled by the amount of heat (e.g., the intensity of the optical radiation) from each addressable heating element. In a typical situation where fuser 10 is operated over a significant period of time, it achieves a slowly varying steady-state temperature that is determined by the average amount of heat generated in the fuser, including any optional sub-threshold bias heating, as described below.
As heating requirements tend to vary as a function of the different printed images, the fuser will often be in transition between different steady states. Nevertheless, it is desirable to maintain a substantially constant fusing temperature at the fusing point of the toner, i.e., at or near nip 20 (
Temperature sensor unit 620 is operably (e.g., electrically) coupled to controller 96. In an example embodiment, temperature sensor unit includes an array of temperature sensors 610 corresponding, for example, directly or proportionately to heating elements 52 in array 50. In an example embodiment where temperature sensor unit 600 is an analog device, an analog-to-digital (A/D) converter 620 is provided between the temperature sensor unit and controller 96 so that the controller receives a digital signal. Temperature sensor unit 600 could include contact temperature sensors like thermistors, thermopiles, thermocouples or non-contact temperature sensors, all of which are well-known to those skilled in the art.
With continuing reference to
If temperature sensor unit 600 measures a temperature at fuser roll portion 606 that approaches the fusing point temperature and generates a corresponding temperature signal 622, then in an example embodiment, controller 96 responds by shutting down the operation of fuser 10 until it cools down to an acceptable fuser roll temperature to avoid blanket fusing the entire substrate. In another example embodiment, cleaning unit 90 includes a vacuum or air stream (not shown) that is activated by controller 96 to remove heat from the vicinity of the fuser roll in order to reduce its temperature or to otherwise keep the temperature of fuser 10 well below the fusing point temperature TFP.
Sub-Threshold Bias Heating
In the operation of fuser 10 of
In another example embodiment, the selective heating applied by heating elements 52 is not based on unfused toner image 42, but rather is selected to heat portions of the substrate for a purpose other than toner fixing, such as changing the finish of substrate surface 32, as described above.
Gloss Control
As mentioned above, substrate 30 can have different types of surface finish, e.g., matte or gloss. Likewise, fused toner 140 can also have a like surface finish or appearance. In certain instances, unfused toner image 42 can include both low-pile and high-pile portions, which when fused can have a different appearance. The pile height can be determined from the electronic image, and the amount of gloss corresponds to the pile height.
Thus, with continuing reference to
In another example embodiment, addressable heating elements 52 are used to make the gloss in fused toner image 142 non-uniform, thereby achieving a differential gloss effect.
Multiple-Row Addressability
With continuing reference to
Shifted Rows for Higher Resolution
Thus, whereas each row in array 50 includes on the order of ten heating elements 52 per inch, the number of effective heating elements becomes 40 per inch if four rows R1-R4 are offset relative to each adjacent row. Gaps that are present between the overlapped irradiated areas 324 formed by adjacent addressable elements are smoothed out by the action of fuser roll 12, which serves to blend the irradiated areas at substrate surface 32. Offsetting adjacent rows by more than one LED spacing allows for compensating isolated single-LED defects.
In the foregoing Detailed Description, various features are grouped together in various example embodiments for ease of understanding. The many features and advantages of the present invention are apparent from the detailed specification, and, thus, it is intended by the appended claims to cover all such features and advantages of the described apparatus that follow the true spirit and scope of the invention. Furthermore, since numerous modifications and changes will readily occur to those of skill in the art, it is not desired to limit the invention to the exact construction, operation and example embodiments described herein. Accordingly, other embodiments are within the scope of the appended claims.
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|Canon Kabushiki Kaisha
|Image fixing apparatus having linear heat generating layer with variable resistance distribution
|Aug 24, 1993
|Mar 28, 1995
|Ricoh Company, Ltd.
|Fixing device for an image forming apparatus featuring a fixing belt and heating control
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|Minolta Co., Ltd.
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|Xerox Corporation
|Power control for instant-on-integral resistive heating belt fuser
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|Oct 17, 1995
|Hewlett-Packard Company
|Method and apparatus for fusing toner into a print medium
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|Xerox Corporation
|Auto-gloss selection feature for color image output terminals (IOTs)
|Oct 2, 1997
|Aug 6, 2002
|OCé PRINTING SYSTEMS AG
|Thermal fixing system for recording media of a printer or copier device that are printed on one or both sides
|Oct 31, 2000
|Aug 13, 2002
|Fargo Electronics, Inc.
|Thermal printhead compensation
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|Oct 15, 2002
|Hewlett-Packard Company
|Method and system of fusing portions of a print medium
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|Fuji Photo Film Co., Ltd.
|Data processing method for eliminating influence of heat accumulation in thermal head of thermal printer
|Oct 11, 2001
|Nov 18, 2003
|Konica Corporation
|Fixing unit and image forming apparatus
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|Dec 9, 2003
|Nexpress Solutions Llc
|Process for controlling the gloss of a toner image and a digital image recording device
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|May 8, 2003
|Payne David M
|UV toner fusing
|Jan 12, 2005
|Jul 21, 2005
|Eastman Kodak Company
|Heater roller cleaner, method and apparatus for a fuser assembly
|Title not available
|Title not available
|Citing Patent
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|Publication date
|Jun 7, 2010
|Aug 9, 2011
|Xerox Corporation
|Scheduling system
|Mar 18, 2010
|Mar 26, 2013
|Fuji Xerox Co., Ltd.
|Fixing device, fixing method, and image forming apparatus for fixing a toner image using a first laser unit and a second laser unit
|May 5, 2010
|Apr 2, 2013
|Fuji Xerox Co., Ltd.
|Fixing device, image forming apparatus, and toner image fixing method
|May 10, 2012
|Mar 24, 2015
|Ricoh Production Print Solutions LLC
|Dynamic dryer control in printing
|Feb 4, 2015
|Jun 21, 2016
|Fuji Xerox Co., Ltd.
|Fixing device and image forming apparatus
|Feb 4, 2009
|Aug 5, 2010
|Palo Alto Research Center Incorporated
|Image-drivable flash lamp
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|Sep 23, 2010
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|Feb 17, 2011
|Fuji Xerox Co., Ltd.
|Fixing device, fixing method, and image forming apparatus
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|U.S. Classification
|399/328, 219/216
|International Classification
|Cooperative Classification
|European Classification
|Nov 30, 2004
Owner name: XEROX CORPORATION, CONNECTICUT
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Orthopedic surgery in Argentina
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Law / Justice
Looking at the state of our world today, achieving Future Justice perhaps seems idealistic, or beyond our abilities. But history is filled with many examples of fundamental change. Slavery used to be an accepted part of our world economy. A combination of resistance, laws and economic factors helped to make it the abhorrent crime that it is today. And we are not starting from nowhere. The values we need to help us improve our thoughts and actions are found in many international agreements. When recognizing the importance of fundamental needs, freedoms, rights and aspirations for fulfilled life on our Earth, the world community shows a lot of common and inspiring ground. Here are some examples:
- Universal Declaration of Human Rights
- The Earth Charter
- Convention on the Rights of the Child
- UN Millennium Declaration
And these international instruments are recognized nationally, for example in countless constitutions. But too often the agreed values and goals are over-ridden in practice. They are intentionally ignored by those whose power they might affect, or said to be unaffordable from an economic point of view. This view is very comfortable for those who are benefiting most under the rules in place. It is also a direct threat to Future Justice. We cannot continue to ignore ecological laws of our planet or fundamental rights and freedoms of all citizens if we want to secure life and peace now and in the future. We can stand up for our common needs. And we can update economics so it respects people and the planet. Changing the way we think and act towards Future Justice includes engaging for the official recognition of best available knowledge. The societal definition and acknowledgement of taboos often precedes changes in our laws and policies. Read more
On our future planet, what legal system will we have? What will be lawful? What will be unlawful?


text:
5 Must-Have Marketing Tools
The economy of the world has changed from Monopoly till monopolistic and now the market is completely competitive. So, marketing is the only way to establish yourself in the market. Customers, with the availability of different products of thesame category, has increased demand. Knowing the demand is really important for all business owners. What the customers are looking for, what they are actually willing to get from a product or service are some of the things that are mandatory for you to know.
Why Marketing Tools:
Marketing is not only to put a product or service effectively on the market. It is the strategy building up, which is going to hook a customer to the product and also the service. Thus, interaction with the customers is mostly needed. Here are the five tools that are going to do exactly what you need in your business.
Five Tools, You Must Have:
Buzz Sumo – This is a tool that is going to support your content marketing effectively. With the evolution of the online marketing, customers habit of knowing the product in details is wandering here and there. Content marketing is all about to support that wandering and give it a proper answer. The best way to do that is through this tool, which has been widely accepted by the entrepreneurs. With the tool, the product or service knowledge is best delivered to the customers.
Mention – You have so many customers, and everyone is saying so many things about you, your product and your service. What they are saying and how they are going to affect your business has to be tracked. This is the only way, where you can improve your business. Criticism makes a business successful, but those criticisms are to be known clearly. To know the same, the best way out is to use a mention.
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THE UK's youngest competitive bodybuilder has revealed the secret to his impeccable physique – sibling rivalry. While most teenagers are glued to their Playstations, 15-year-old Cosmo Taylor, from Inverness, Scotland, is more likely to be found honing his abs, quads and biceps.
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via Barcoft TV


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Beta Alphas: Sony shows mockups of upcoming FE lenses for Alpha 7 system
Beta Alphas: Sony shows mockups of upcoming FE lenses for Alpha 7 system
Sony is showing mockups of four new lenses for its full frame FE series for the Alpha 7 on its stand at CES, as well as two wide angle converters. With only six FE lenses to choose from at the moment, Alpha 7 users will be pleased to see some physical evidence of these lenses that Sony initially announced on a roadmap at the Photokina show in September.
Scheduled to ship this spring, you can click through this slideshow for some images of the upcoming lenses.
Nov 17, 2017
Nov 16, 2017
Nov 14, 2017
Nov 12, 2017
Any good 50 mm 1.8 F or better existing for A7?
I have a Minolta Maxum 35 mm film camera looks new but probably 20 years old!
I own 2 zoom lenses that I like a lot
What do I need to do to use them on the Sony Alpha 7 ?
Will I still retain some eke tonic stabilization function?
Thanks for info
You will need the LA-EA4 for screw drive lenses and you will get AF. These lenses never had IS to 'retain' but the A7 II has in body IS that will work with them.
Seems like the 24-240 would be good lens for the A7s, being a zoom lens it means you can do a lot of cropping in camera, something you don't want to do in post when you only 12 mega-pixels to play with. Having a maximum aperture of only f/6.3 at the long end should be little problem in low light for the sensor of the A7s and having built in OSS negates some of the advantages of the A7II as an alternative. The only down side is the usual size, weight and expense issues as well as quality compromises, it remains to be seen.
The Fishyeye!
Not sure if I should wait for this or go for Samyang's FE version.
Really looking forward to the 35mm f1.4... I owned the 24mm F1.8 Z on the Nex-7 and loved that combo (36mm f2.7 equiv). I have the 35mm f2.8 on my A7R and its amazing how small, light and sharp they made it, but without close focusing it just doesn't perform like the 24mm on the nex7.
I'm hoping the new 35mm F1.4 will solve all, and will reserve judgement on the size/weight until I get a chance to handle it. Close focusing will be the decider for me though.
Can you clarify on that close focus issue? I'm interested in the 35mm and would like t make sure it's a worthwhile investment.
So far, non of Sony FE lens have any significant weight advantage compared to the Canon and Nikon FF lens....so what's the point of changing to a mirrorless system if only the body is 100g lighter and all the lens weigh about the same as FF DSLR lens? the FE 70-200 f4 is even heavier than the Canon 70-200 f4
Even A7II, the biggest of A7-series, is much smaller than entry-level FF DSLR http://thenewcamera.com/wp-content/uploads/2014/12/Sony-A7-II-vs-Canon-5D-Mark.jpg
tsammyc wrote:
> The currently sold Sony FE 35mm lens weighs 120g. The closes Canon 35mm lens weighs 194g. To me this is a huge difference
But the Sony lens is f/2.8 and the Canon is f/2.0? That is also a huge difference to me. I have the 5D Mark II, the old EF 35mm and the A7 with 35mm f/2.8. I do wish the Sonnar was f/2.0. I'd happily trade some milligrams for another f stop.
hippo84 wrote:
> Even A7II, the biggest of A7-series, is much smaller than entry-level FF DSLR
Yeah, but the point is that the lens is often the largest part of the camera/lens combo. Check out that 35mm f/1.4 and tell me that that the camera is the big weight. I say this a A7 owner.
I don't think a7 series was made with weight advantage in mind. Lighter? yeah by little, but a7 was more of "professional grade FF mirrorless camera"
If you want light weight FF mirrorless, go with Leica.
when they will make a 50mm and 35mm f1.8 at the same price point of Nikon and Canon? (so it means around $250)
this system won't be successful if they don't make some good quality but cheap lens
Fast, good, and cheap - pick any two. And it applies in almost any business.
No aperture ring on the 28mm?
Didn't we see the same mockups at the Photokina?
I think these lenses are discussed here in this video:
Hi all, I'm interested in FE 24-240mm f/3.5-6.3 OSS lens - does anyone have the info on the filter size (i.e. 72 mm etc)? Thanks!
I am looking (eagerly) forward to A7s mark II.
it was just an irony... there is no announcement or leaked info for a new a7s II model... and it may be long till then.
Anyway it is very little reason to replace it, and the IBIS is not big deal for video. Of course it does matter (big time) for the casual hand-held videos... but then who would buy this kind of camera just for videos of their kids (and if one does, the 28-70 lens already has stabilization)...
here, i explained it!
^ troll post.
I would expect 12 - 18 months between release of the original A7S and the Mark II. That's just the way product development and release typically go. But we can hope.
What I am looking forward is SONY finally decide to make A7s II more productive in video vs. the first try.
Body IS would be sharp edge vs. competition but the usability improvement is most needed for the A7s.
Current A7s is like the GH2 in early days - powerful yet "needy" in real operation; looks good for hobbyist but not as productive as it could be. If I set up a small video studio today, I would go with GH4 for the usability.
As I recall, Sony was the first to offer [essentially] digital camera in 1981, the Mavica. In 1995, I used Mavica to document field work. I'm not sure but it seems that Contax was the lens used by Mavica. Around 1997, I tried Minolta D'Image at a traveling Minolta trailer. The so called "Minds of Minolta" merged with Konica and years later, Konica-Minolta was purchased by Sony
Why bring this up? Contax, Minolta, and Konica had GREAT lenses for SLR. Minolta, Canon, and Nikon produced GREAT Japanese lenses that competed with the best of German lenses since the late 1940s. I don't know when Sony stopped using Contax but I assume Sony owns all the lens design and technology pf Minolta and Konica. That said, I am puzzled why Sony seem well behind Canon and Nikon in producing lenses for their DSLR
On an "aside", the best Japanese lens I ever owned was the Takumar lenses from Asahi Optical Company, aka Pentax. That was in the mid-1960s
Be free to correct any of my errors
Plus Zeiss lens b/c we get the best in the world; "Japanese electronic" + "German optical", and I guess we can not add "Japanese quality" any more because Nikon.
I had a Contax TVS III, and the IQ is surprisingly good b/c Zeiss lens.
BTW: A mint Contax TVS III 35mm is still worth $300+ even it is only a P&S Film Camera.
Moreover, I think the most important is the leadership of any given products line. Sony has edge in this regards comparing to Canon, Nikon, and all other camera makers.
Konica Minolta still exists as a company. Sony only acquired the camera division. I have no idea if Sony owns all the lens designs and technology, but the current Konica Minolta does make lenses and optical elements for compact cameras, DVD players, projectors and other devices, and there was talk a while back about them making lenses for the m4/3 system.
This is the patent Minolta filed.
@Mike - I am sure you know that Zeiss and Contax is one company (Zeiss-Contax). After I made this tread, I research Sony photo product noted that Zeiss-Contax lenses are used in several consumer products and the high-end DSLR and Mirrorless. Your management, spot-on. Sony is AGILE
@Revenant - Konica-Minolta (K-M) only sold the CAMERA division to Sony (2006). Camera Division includes lenses. In 8 short years after acquiring K-M, Sony is now RELEVANT in the "Enthusiast" level of digital photography. The K-M division continue to make lenses completely under SONY since it is a division of Sony. Sony retained the K-M name and is actually Konica-Minolta-Sony to take advantage of the K-M heritage / brand recognition
@Thoughts - Thanks for the link. There are numerous patent filings from K-M. GOOGLE search on lenses alone would give you at least ten hits
Here is one that answers my own question:
Yes, the camera division included production of lenses. But the question is, did Sony acquire all the intellectual property pertaining to lens making? I have no idea, myself.
As I said, Sony didn't acquire the whole of Konica Minolta, only the camera division, so the company named Konica Minolta is not a division of Sony. It's a separate company, and they are still in the optical business.
@Revenant - I am a retired engineer, not a lawyer. According to a former officemate who is a patent - Merger/Acquisition attorney, such transaction includes ALL Properties, physical and intellectual. Since both companies are Japanese, he does not know what it is in Japan.
Regardless, Contax is supplying lenses for the "Alpha Dog". My research shows that Contax design the lens but the lenses are manufactured in Japan. Note also that Sony DSLR use the Minolta bayonet-claw mounting. Go Figure.
"Sony retained the K-M name and is actually Konica-Minolta-Sony to take advantage of the K-M heritage / brand recognition" - No, it did not. Sony doesn't have any rights to K-M name nor any rights to use K-M heritage - which they never used. Only people familiar with the history of A-mount know that but Sony didn't advertise it's DSLRs as anything to be a successors of K-M DSLRs.
Sony never benefited from Konica Minolta brand recognition in camera industry. They were specifically forbidden from doing that. That's why even up till now people are surprised when I mention that my A-mount camera is a direct successor to the Minolta and I can use Minolta lenses with it.
"such transaction includes ALL Properties, physical and intellectual" - that's also incorrect. Sony gained most of the intellectual rights, but not all. They bought most of patents related to cameras and lenses, but that's about it. K-M continued to manufacture and design small-sensor lenses for JVC.
Again, I am quoting my Patent Attorney friend who practice law in the USA. He also said he does not know the law in Japan. I don't know if the law in other countries, say, in Poland is different.
As far as SONY NOT benefiting from K-M, it is a matter of opinion. As for the A-mount, Sony made changes on that too. I have a 58mm f/1.2 Minolta Rokkor lens on my Minolta SRT-102 and it does not fit into a Sony Alpha.
The 58mm f/1.2 does not have the Minolta AF A mount, but the older SR (MC/MD) manual focus mount (more or less back from 1959). Minolta changed bayonet/mount to the AF A mount in 1985. Sony continued that A mount unchanged. Minolta A mount lenses works perfect on Alpha A cameras.
correction - I have the SRT 101, not the 102. I purchase with the lens in Ginza, Tokyo in 1967.
@Photomino - yes, I am aware of the Minolta mount changes. But it is a mute point to me because I have committed to Nikon system when I decided to get back to photography in the mid-2000s.
My conclusion is that some people just want to diss sony products, whatever they do, they have small lens, you hear complains about slow lens, they make big and fast lens, they complain about how big they are.
Big lenses on a small body and mechanicaly poorly made mount. Glue? ;-)
Or he would be crying about the missing AF.
What I find funny is that Nikon shows how to do small optics with the 300mm f/4 PF VR. Sony makes small bodies, but their optics look no smaller than SLR equivalents.
What's wrong with mockups exactly? Would you rather they show nothing?
These are some really neat lenses. Sony is showing some real innovation with the bayonet mount converters. Rather than buy a completely different lens you just add a small converter, saves you money and space. What ever price point they come out at they'll be worth it.
Small elegant mirror less bodies, big ugly lenses... what's the point Sony?
Sony has to obey basic optical rules. Or Sony would have to have much slower lens offerings. Or lenses with much more vignetting.
Now what could happen: Sony perfects curved sensors then lenses can be smaller for the same sensor size. But that's years away, and basically would mean yet another lens mount.
Please share one of your lens designs for a Full Frame Mirrorless camera. Genius!
The basic point about how to avoid vignetting applies, it's why things like the Otuses are so big.
It is not an absolute formula.
My understanding is that the current RX1 has a film era lens design--it leaves a bit to be desired.
My point was that for a curved sensor you have to design a fixed lens. I've read some article explaining why each lens (focal length) will end up in some different curve, and that is close to impossible to have a zoom lens that will project the image on the same curve.
I didn't quite understand the physics explained, and can't find now the link to the article, but the bottom line was that the curved sensor idea can be applied (for now at least) to fixed lens - sensor pair.
And the RX1, of course, has a flat sensor...
I think they (Sony) may work out curved sensor use with more than one lens; effectively the Leica M8 pointed the way years ago with a curved microlens array at the sensor.
Bigger, more open, pixels would be an approach. Or just bigger pixels off center should help.
In years to come, more than 20, 3D metal printers should be able to build the curved sensor directly, instead of having to bend a sensor made originally as flat.
Sony FE lenses are seriously too expensive. If Sony wants to sell the A7 series, they should drop the lens prices down to realistic levels.
Canon 50mm f1.4 = $400
Canon 50mm f1.8=$150
....Sony FE 55mm f1.8 = $1000
Canon 35mm f/2 IS USM = $600
Canon EF 40mm f/2.8 STM = #200
....Sony FE 35mm f2.8 = $800
Canon 17-40 f4 = $800
...Sony FE 16-35 f4 = $1350
Canon 28-135mm = $500
Sony 28-135mm = $2500
As an amateur, I would be interested in buying an A7 camera if it wasn't for these ridiculous prices.
Half decent Zeiss lenses, even of the SonyZeiss variety, are always optically better than Canon L lenses.
And yes there are SonyZeiss lenses for this mirrorless system.
The photographic industry is full of products not designed for every photographer but for a specific genre – you are not the a7 genre Sony has designed for. Move on!
I totally agree. It just doesn't make ANY sense to release a ground-breakingly-affordable FF body first (a7) with ground-breakingly-expensive lenses.
For many, the main advantage of FF is not the ultimate pixel-level IQ : it's more freedom to control DOF. Sony should have released affordable f2 primes first, which will bring a LOT of people into their system.
What if the problem is that good lenses cost money? Sony can't bring down the prices of good lenses (especially fresh out of the R&D labs) so it started by bringing out cheaper body? The lenses are a little bit more expensive than Canikon ones, yes, but these are all-new designs, whereas Canikon lenses have had the luxury of their entire design costs being absorbed (1) by more users and (2) for a longer period of time, while (3) having more competition (Tokina, Sigma and Tamron for example).
Early adopters wanted good lenses, and that's what Sony came out with. The rest who were waiting for A7 to come down to sub-$1,000 prices can wait, they aren't the big spenders whom Sony should concentrate on.
Quezra, you are misusing the word "whom". If you want to use it, you'll have to say "spenders on whom Sony should concentrate". Scotelly, I dony have any gear at the moment, but thinking about buying sony a6000.
@HowaboutRAW, canon EF 50mm f1.4 is a really nice lens for$400. I don't see any sony FE lens that can produce such pleasant bokeh.
Boss of Sony:
See, I've not shot with that lens, and perhaps the out of focus backgrounds are good with it.
It's still not optically close to a well done SonyZeiss, and there are a few for this system. A good Zeiss always has better color than even a good Canon.
Quezra did NOT misuse the word "whom", and despite what you may think there is NO rule against ending an English sentence with a preposition. (You can chose to follow a style rule, but that's completely different.) Basically one can't end a Latin sentence with a preposition, and that's from whence the "rule" derives.
The A6000 is a fine camera, the Sony APSC lenses for that system aren't great, there is an expensive SonyZeiss and then Sigmas and Zeiss Touits. Irony.
Yes, he did misuse "whom". I apologise if you're semi-literate, but perhaps you should read more books.
I never said one can't end a sentence with a preposition. I said he misused "whom".
Boss of Sony:
No, "whom" be used correctly by quezra.
"On" compels the use of the word "whom" by q above.
Insistence otherwise doesn't do you any favors. "on" does NOT have to precede "whom", when it's used in the dative.
"Whom" is not the subject of the sentence:
"they aren't the big spenders whom Sony should concentrate on."
"they" is the subject. And you can't have on connected with "who".
Boss of Sony:
Thought about it more, and here's the correct terms beyond just saying "dative":
The verb "to concentrate" takes an indirect object. And "who" can never be an indirect object--"whom" is the construction.
Differently: One never says:
"on he"
"on I"
"on they".
I disagree. I think 'who" is perfectly fine in this sentence, and most people wouldn't be bothered by it. I was just nitpicking for fun.
Wow, that 28mm f2 is TINY. The bayonetted extensions look very clever.
I don't get it why people call such things "cheap tricks" and so on...
If the thing is well made (optically and also the connecting bayonet) what you get is actually a new lens. There are no real draw-backs.
I guess you know... any lens is made of a stack of pieces of glass... you have one stack, you have the 28mm, you add another small stack (so you get a lens with more glass elements) and you get a new lens. That's it.
And as a bonus, you don't expose the sensor when you change the lens. :)
It's a cheap solution to fill some holes in the lens-lineup. Not a trick and not a bad idea (it has been done a few times before by multiple company's). It's cheaper and faster this way to develop/make and cheaper for the consumer. But at a cost of IQ. It has it's pro's en con's. But apparently everything Sony does must be like the second coming and can't be normally discussed.
Fuji's X100 converters are awesome. With them attached , the "cost of IQ" isn't observed as I would have expected.
I have an X100, and am skeptical of converters, but so far, from everything I've seen and read, I haven't seen evidence of performance degradation.
Sony may have achieved the same.
Big heavy and expensive lenses, where CA, vignetting and distortion are corrected in camera. Is that a progress? Compared with the excellent AF and very compact 28mm f2.0, 35mm f2.0, 100mm f2.0, 200mm f2.8 from Minolta. It's more difficult to design an compact lens and it needs a more accurate assembly.
Wow, these lenses are confirming all that I've been saying about the Full Frame mirrorless systems. Big sensors = Huge optics. No size benefits in the FF mirrorless systems as far as lenses are concerned. I can't believe how huge the the coming Sony 90mm F/2.8 macro is.
True, the lenses can only be reduced in sized marginally (if at all) for Sony's FF mirrorless system. Still their bodies are smaller and lighter than FF DSLR equivalents and they bring the benefits that EVF/Live View shooting offer to the table.
I like the size of my A7II (even when I have the LA-EA4 attached) better than the D610 or 6D.
Read again, Oly's m43 are smaller than their own 4/3 DSLR lenses. Same format, same speed, same focal length. Same everything.
Rokinon, same lens, same speed, both FF, one for Sony A, one for Sony FE. Mirrorless lens is almost half the weight and I suspect they just used the same barrel. I bet it could be made smaller as well.
So yes, mirrorless lenses can be made smaller.
@Erick L - Perhaps the old 4/3 lenses were larger so they would provide better balance (in terms of looks and weight) on the bodies that they were made for.
The old 4/3 system was also a DSLR system and the bodies were bigger (though generally small compared to their competition).
I bet they could have reduced the size back then but by doing so they may have run the risk of their cameras not looking like a "serious" DSLRs. Micro 4/3 may have lead the recent trend to make high performance cameras smaller and light but before that big equipment was sign of "high performance" (and it still is to an extent).
Also which Rokinon were you referencing? I compared the 85mm f/1.4 they have on B&H and the e-mount one was lighter (570g vs 635g) but it is also a updated model which could attribute to the weight savings.
These days, most of the things can be achieved, and quite easily ... the whole thing is a matter of decision (mostly marketing).
Yes, a truly excellent lens comes with size (see zeiss otus, sigma art lenses that rival the otus in sharpness etc) and generally a small lens, means low performance, and plastic all the way.
But if cost does not really matter you can get an excellent very small lens (see the leicas and co) ... now, redesign the to have a tiny and amazing AF system... and you'll pay some incredible amount of money.
Put that in balance: how many would buy a 15.000$ 35/1.4 that is half the size of a similar spec-ed, similar performance of a 1.500k$ ... well... also considering that the "big one" is reasonable... not a huge monster that requires a robotic lifter or anything...
@Erik L - Which Rokinon FF lenses? I just picked up a Canon fit 14mm Samyang branded one and bought an adapter for E-mount as looking at the images it was just a DSLR lens with a Rokinon/Samyang made adapter screwed onto it!
Plus aren't most of the Samyang lenses completely manual so you don't have to have AF motor or any electronics in them either so they should be a little smaller/lighter given that fact alone.
The Rokinon 14/2.8 for Sony A and FE are the same size but the mirrorless version is much lighter. Both are MF so there's no advantage for either.
Same for the Olympus 9-18/4-5.6 in m43 vs plain 4/3, which is pretty small to begin with.
That's exactly what mirrorless promised: size/weight reduction in bodies and wide angles, not so much for longer lenses.
My Samyang box has a chart on the side that states:
Mount : Canon - Weight : 550g - Length : 96.1mm
Mount : Sony E - Weight : 575g - Length : 122.1mm
I can only assume this is the weight/size of the screw fixed adapter.
The Rokinon website doesn't seem to have an E-mount 14mm lens listed other than the Cine version. And it lists as 1lb for both the A mount and E mount versions. Although my Samyang version is 14 elements in 10 groups rather than the Rokinon which is 14 in 12 groups. All very confusing :)
Perhaps they've made a revised design for mirrorless finally instead of just bolting on adapters?
Seems the E-Mount is the "Red ring" verison that the Samyang model I have for Canon also has which is 14 element/10 group.
The "Yellow/Gold ring" A-Mount version is 14 element/12 group. Seems there are two different designs, but doesn't seem to be lighter specifically for mirrorless, but simply two differing designs. I looked to see if there was any major difference in quality between "Red" and "Gold" ringed versions and never noticed a grouping or weight difference.
Not sure you are partially missing missing what I'm saying:
- I have a 550g(printed on the box) Canon fit Samyang (Rokinon is a rebranded Samyang lens) 14mm F2.8 UWA. So the lighter design that you thought was a lighter "mirrorless" lens is available for Canon EOS.
-It also states on the box that the Four Thirds lens weight is 560g and Micro Four Thirds is 570g. This suggests that the red ring lens design that I own with the 14 element/10 group design (which is the lighter of the two 14mm lens designs listed at B&H) was made available to all mounts, most probably by the inclusion of a factory fitted adapter.
- The box also lists "Sony Alpha" lens weight as 560g. So there should be a version of the lighter lens available for the A-mount, further reinforcing that they do not have a "lighter mirrorless" version of the lens.
In summary the lighter lens isn't a "mirrorless" only design. That's the point I was trying to make.
Nerd 2,
The Lumix 45mm F/2.8 is tiny! It's physical dimensions are 2.48 x 2.46 inches and weighs 7.94 ounces (225 grams). The Sony on the other hand is 3.11 x 5.14 inches and weighs 1.32 pounds (602 grams) It's a huge size and weight difference. The Sony is the same old story, big and heavy, as that of other lenses built for Full Frame cameras such as the Nikon 105mm F/2.8 which is 3.3 x 4.6 inches and 1.58 lb (720 g). Just because it's mirrorless doesn't mean it's smaller and lighter. Full Frame mirrorless requires Full Frame lenses as the new Sony Macro proves. Beware of those that suggest you get a smaller and lighter system by going with mirrorless. That's not the case or Full Frame mirrorless like the Sony A7 series of cameras.
If you take the original A7 vs a D810 or 5DMK3 you are still saving over 500g. That's still a considerable saving. The A7 + 35mmF2.8 is lighter than the 5DMK3 body without lens. At shorter FL you can have smaller lenses on mirrorless, not sure about the engineering/physics behind it, but at longer FL the FF lenses will be pretty much the same as FF DSLR. To have truly smaller lenses you have to have a smaller sensor system. Simple as that.
You said it Zapirian. That's the same song I've been singing. Pretty simple.
I'd love to see some lower priced good quality lenses for my A6000. The 16-50 kit lens copy I have is not bad, I've already made sharp 16X20 prints with it.
These lenses look like they are standard Alpha lenses with an extended rear case to make for the longer FL. Why not make E mount lens cases shorter for the shorter body depth, something like my 16-30 is now. It would reduce weight, cost and increase lens quality .
It seems to me, Sony is trying to get rid of it's Minolta heritage, the best flash foot design ever, the best auto fill flash, in body stabilization among other things.
If they are simply A-mount versions with extended rear cases, where is the SAL24-240? Where is the SAL90/2.8 macro? Where is the SAL28/2.0 + converters? And conversely why weren't the first lenses for FE a 50/1.4, Zeiss 24/2.0, 85/1.4, and 135/1.8? That leaves only a 35/1.4... but just take a look at the rear element and see how much clearance there is from the mount: Yes, that's right, none at all. And wait, the SAL35/1.4G is not a Distagon design anyway. So much for your theory of reusing Minolta/A-mount designs.
The thing that bothers me about the Sony lens map is that there is so little for the A6000. The crop-sensor E-mount cameras are great cameras for the money, but the lens selection is terrible.
Let's say you get tired of the 35mm 1.8 and want a fast zoom...
35mm f1.4 seems to be almost exactly the size of the 16-35mm, which is good for me. 28mm seems to be about 1cm shorter than the 55mm and seems about the same length with WA adapter (it integrated hood) as 55mm with hood.
I bet the 28/2.0 will be the sales champion for Sony ever since the company started lens production.
...plus...even in crop,42 fl is the perfect all around solution,better than 50 or 35..great,great !!!
Sony should make 35mm and 50mm f/4.0 (or darker) pancakes.
P.S. And 24mm too.
You aren't going to get a 50 down to pancake size if it's f/2.8.
If Sony did something like Canon's 40mm f/2.8 STM that would be great. That lens is cheap, sharp, small, light, and well built. At 40mm it also makes for a great walk around lens.
I'm pretty sure the lenses would be popular. If Sony would be smart and make them cheap, they would also serve well as kit lenses.
Otherwise, I'm interested in the "reversed equivalent" lenses: FF lenses which match (as good as they can, software correct and all) the size of m43 lenses.
All look huge except for the 28/f2.0. Will their price be equally huge?
The lens focal lengths I am interested in are 1.4 50mm, 1.4 35mm, 1.4 24mm, 2.8, 17mm, 1.4 85mm, 2.8 100mm macro 1:1. Tilt shift 24/17mm. These can all be manual focused if it means they're as small as leica lenses. I want as small as possible lenses I can have for street photography. I know this is asking for a lot but there's no harm in mentioning what I'd like! Please don't suggest voigtlander, I hate the bokeh on those
While I agree with you on the 35/40mm f1.4 Voigtlanders, by all accounts the 50mm f1.5 seems to be quite nice and the upcoming 35mm f1.7 Ultron should also be quite a step above these two (and designed for digital) as the old one was. Haven't seen any significant drawbacks to the 75mm f1.8 either.
If you have a tiny body, you will still have to use large lenses(full frame). Smaller lenses = 4/3rds, APSC.
Not true; look at leica lenses and their design
Lens size is dictated more by field of view, depth of field and aperture than by format size. A 135mm f/4 lens can be extremely small (large format film camera) for a very large sensor size. Granted, by nature it has to be further from the sensor so the system is larger for a larger sensor, but the lenses aren't always larger.
Actually, equivalent lenses for larger sensors are generally smaller, especially standards and wide angles.
My Leica DG Nocticron 42.5mm f/1.2 for my GH4 takes 67mm filters so it's not so small a lens.
Everything is relative, and we cannot simply saying something is fast without comparison.
FF 1.8 is faster because a) You can have faster shutter speed with same amount of noise b) You can have more control of DOF compared to m43 1.2, so m43 1,2 is "by all practical purposes" slower.
28 and not 24? The 35 looks interesting.
People keep complaining about the sizes of these lenses, but the way I see it for most outings all I need is the 28mm f/2, 35mm f/2.8 and the 55mm f/1.8 on the A7. Small enough for me, even when compared to my Fuji XE-1 kit.
I already own the 35 and the 55 - they are small enough and simply fantastic lenses. I only hope the 28mm f/2 is as good.
Eventually, I'll either add the 21mm adapter (if its decent) or keep using my Oly 21mm f/3.5 - which is tiny and very good.
Screw the E mount zooms, I agree that they are too large, but who needs them with such sweet and small primes!!
Small enough is subjective.
Always complain; compliments didn't make formula 1 cars what they are today.
As a mechanical engineer I can tell you that Leica lenses are smaller in design not just because of a small motor. Lenses are not super expensive purely on design or materials used. Products cost little to make and get sold for thousands.
I do not want big lenses. Some of these lenses look too big. If people want to blame that on a tiny autofocus motor... I'm happy for zeiss to design a small manual focus lens like they do for canon.
I'll rephrase. I want some leica-like lenses without leica prices. I'd be happy if zeiss said, sorry the tiny 5mm motor has caused the lens to be 2.5 times bigger than it needs to be, would you care for a manual focus lens? I would accept that. Have you seen the price of the leica mirrorless cameras? They're ridiculously expensive, all of leica products are. So it is reasonable to believe leica rip us off not just for cameras but the lenses too
I dunno.. People in need of zooming perhaps? ;-)
I like primes myself (especially manual primes), but i'm a bit curious about that 24-240.. Probably not worth it, but i could have some use of it.
Mirrorrless please - Leica is a high quality manufacturing company. They do most work in house. Their lenses are The best and for the majority of products they dont have motors in the lenses. They are manual focus!!! Forget this typ T camera, it is no measure of what Leica really is.
Those who complain that the lense is huge and why do Sony have to create another mount system(E-mount and FE mount) when there is already A-mount. Well you guys doesn't know sh*t about "Flange Focal Distance". Sorry for the harsh words, but I should say it so that you guys should learn just in case you haven't read about it.
Given the low price of Sony bodies, would it matter if Sony changes the mount to reduce lens size and weight?
The A7II and A7S and A7R are low priced? (I guess none are priced like D4S or Leica M240.)
You know these lenses aren't just for the APSC bodies, some of which can be had inexpensively?
Camera makers change mounts in exceptional circumstances. The electronic revolution (AF) was one good reason. The mirrorless revolution was another good reason. Size and weight are not good reasons since those are dictated by the laws of optics, and you can just buy slower lenses.
@Smartypants...... humunnnnnnnngous!
I would still like to see a Sony statement on who they think is going to buy the A7 system and who they think will be buying the A77/99 system. With their separate lens systems.
I'm pretty sure that Sony's view of who will buy the SLT cameras boils down to "too few to bother with". Ignoring A77 II as a minor refresh, the last new SLT was A99, a bit over 2 years ago.
In that same time, they've brought out 7 mirrorless alphas, including the 7 body in 3 different resolutions.
I pointed out that SLT was a "stopgap" 4 years ago. The surprise isn't that it's going away, it's that the Rube Goldberg hung on as long as it did.
The A77II is overhauled on practically all levels (CMOS sensor, AF sensors, processor, controls, buffer depth, seals and build, connections, LCD, range limiter, on sensor PDAF, Wifi, etc.). Don't be fooled by the name, as it's arguably more of an update than most other cameras replacing their predecessors.
Just guessing, wont Sony introduce a new mount, before those are left from factory?
A-mount, two lens series: aps-c and FF
E/FE-mount, two lens series: aps-c and FF
Why do you think there should be a new mount???
Didn't think of of the MF rumors - maybe a H mount (Hasselblad) ... :-)
And today, in early 2015, Sony is not shipping a medium format body.
It is simple; FF lenses can not be small unless they are MF. Then Leica size lenses are possible, but otherwise, the present FF lense size is what you will get for the Sony A7 line. That is why there is no F1.4 lenses available so far. The faster, the bigger.
The option is to use MF lenses like the Nikon or Minolta AI lenses or the Canon FE. If you want really small lenses on a small body, then go MFT. I did and I print 40x60 cm quality prints no problem.
You just gave the proof. MFT lenses are tiny and lightweight. And they do have AF motors built in.
I think modern AF lenses are more heavily corrected due to much higher sensor resolution nowadays (35mm negative film was grainy and only comparable to 6MP). See zeiss otus 55mm lens. It is MF and huge.
good knowledge @nerd2
Big lenses, like the Otus (which doesn't have AF) are easier to engineer so the light hits the sensor perpendicularly across the entire plane of the sensor, thereby avoiding some much vignetting. Film was more able to compensate than a photo sensor.
Just compare the newish Nikon 85mm f/1.4 with the old Zeiss 85mm f/1.4. And of course the Otus 85mm f/1.4 is much bigger than both.
Leica M lenses get some compensation built into the curved array of micro-lenses at the sensor.
While housing a motor is space-consuming, its volume is trivial compared to the assembled lens. The main benefit of the small backfocus distance of a mirrorless design is in wideangle lenses, which need not be retrofocus designs and, thus, can be quite small.
Mitigating that somewhat, except on Leicas, is the exit path of the photons strikes the edges of the sensor at an inefficient angle; retrofocus designs make a straighter exit angle, and now seem to be preferred for lenses even of normal focal lengths, as in the new Zeiss 50mm f1.4 FF.
The bottom line: Wideangles can be smaller or faster on a ml, but not necessarily, and many lenses longer than 40mm or so are not affected at all except for the longer barrel needed to reach the flange. In most cases, a 200mm lens has a focal point exactly 200mm from the sensor, whatever the flange-to-sensor distance.
To some extent, size of lenses is also a matter of fashion.
As a mechanical engineer I can tell you this information is false. Please look at some patent designs readily available on google. Furthermore, even if it were true, I'd be happy with the option to have some zeiss manual lenses, like canon has. They're nice and small. Er. Yeah okay
Here we go again!
Sony announces lens for its small bodied cameras and the unwashed masses go crazy complaining about the size.
Don't you think if it was easy to create quality/affordable FAST optics that are as small as some here want Sony and other manufactures' wouldn't do it?
I'm not an expert on optical design but it's clear to me that if you want a quality lens at f2.8 or faster it's going to be out of scale to the small bodies in many focal lengths.
Nikon just announced a replacement for its 300 f/4 that is much smaller and lighter as has Canon with some of its new lenses so it's clear that manufactures are listening but it's a different story if you want a fast f/2.8.
I can't help but wonder how big is too big. Would a 70-200 f/2.8 with maybe a 55mm or 49mm filter thread element be better for FE bodies?……………….good luck seeing that made.
Looks like a very flexible set, adding a lot of capability in a very compact set of lenses. I already have stunningly complete lens coverage in manual and A-mount lenses I use on my E/FE-mount bodies (from 8mm-1,250mm), but these three lenses cover a heck of a lot very nicely. The first two provide nicer alternatives to the Tamron SP 90mm f/2.5 macro and Sigma 28-200mm A-mount that are among the lenses I use most often. A Minolta MC 28mm f/2.5 is another favorite of mine, and the 28mm f/2 looks like a potential upgrade from that. The wide and fisheye converters sound interesting too, if IQ is good enough. The fisheye could be particularly attractive. The only "miss" I see is that I think 21mm isn't quite wide enough for the wide converter, somebody probably figured that it's a better middle ground between fisheye and 28mm....
Those lenses look huge. Better off buying Micro Four-Thirds for the size and getting a DSLR when you need FF and proper continuous focus.
Micro four/thirds cameras are huge for their sensor size, better off buying a pocketable 1" RX100 camera instead!
What are you guys talking about? A GM1/5 and E-PM2/E-PL7 are tiny and so are the accompanying primes. For the price you pay for the Sony FE glass, you're better off buying Nikon 1.8 G glass or even the Sigma Art lenses which are just as good if not better than the Zeiss offerings.
What we are talking about is that 'huge' is a relative term and you can not call a camera/lens huge if you do not take in account what you receive for its size in return!
However, the fact is that Sony's FE mount system is the most compact full frame system and lowest priced as well. Of course it can't compete with DSLRs in couple of areas, but if you don't require these specific features this would likely be your best option for a full frame system.
On the other hand if a M4/3 size sensor is sufficient for you, you will be much better off with a RX100 or LX100 camera that would be MUCH more portable and cheaper that the overpriced and over-sized M4/3 system cameras.
I cannot wait to get hands on the new macro. I hope it won't be too expensive.
Shouldn't be too bad. It's not wearing the Zeiss label.
|_MG_5100 by tim and jan
from Welcome to the Saloon!
|The Grimm 11 year old by Ryan Gardner
from Trick or Treat
|Heron with fish by APenza
from A Big Year - birds
Read the story behind this gorgeous wedding photo captured at Trolltunga in Norway by husband and wife duo Priscila Valentina Photography. The 14 hour hike in the rain that preceded this shot was TOTALLY worth it.
Go behind the scenes with filmmaker Nick Arcivos, who recently created a beautiful cinematic short film in Paris using only the iPhone X, a couple of gimbals, and a few lights. The results are very impressive.
A Bay Area startup offering a pay-by-the-photo camera service cleverly addresses the pain points photographers experience when they pick up their first DSLR. But can it survive the smartphone?
It's been a big year for software innovations, dual cameras and huge displays. Take a look at our picks for the top smartphone cameras and why we think they stand out.
We're counting down our top 10 most popular sample galleries of 2017. At the #7 spot is the ready-for-any-weather Olympus Tough TG-5.
By combining his skills as a time-lapse filmmaker and an engineer, Julian Tryba created this out-of-this-world creative 'layer-lapse' of New York City that alternates between night and day in time with the music.
Canon Japan's new lineup of novelty camera-themed gifts was just revealed online, including a lens mug and lens thermos, two retro camera-themed USB drives, and a picnic mat.
The Profoto A1 most certainly isn't for everyone [...] But for those who are used to using the Profoto systems, and want something that pairs seamlessly with the strobes you already have, there is no better companion.
Fujifilm has asked a US district court to clear it of any wrongdoing, after allegedly being threatened with trademark litigation by Polaroid.
While a couple of our reviewers are out testing the Sony a7R III in Arizona, back in Seattle we slapped the camera in front of our studio scene to get a close look at its image quality. See how it stacks up against the competition.
We're counting down our top 10 most popular sample galleries of 2017, and the #8 ranking belongs to the Nikon D7500.
B+W has announced a new aluminum filter holder that offers three slots so users can use multiple filters at the same time. The holder goes with the 2mm thick 100mm square filters it launched earlier this year.
8K video is coming a lot faster than you think, and Blackmagic is ready for it. Meet the DeckLink 8K Pro, a new high performance PCI-E capture and playback card built to handle 'real time high resolution 8K workflows.'
"Glass is everywhere in photography. From Eugène Atget's reflective vitrines to Lee Friedlander's sly self-portraiture, photographers have long been in thrall to the visual complications glass can inject into a composition."
Former Apple Aperture lead developer Nik Bhatt has designed an iOS app called RAW Power that lets you edit raw photos from your professional camera using your phone and tablet.... color us intrigued.
Advertising photographer Blair Bunting got his hands on the new Microsoft Surface Book 2, and it blew him away. Bye bye MacBook Pro...
The OnePlus 5T retains many of the 5's features and specs, but comes with an edge-to-edge display and a dual-camera that is optimized for low light.
Sony's recently announced IMX461 backside illuminated medium format sensor will bring 100MP resolution and almost 2x the speed to the next-gen Fuji GFX and Hasselblad X1D.
With the 'Rent a Hasselblad' camera equipment renting program, the camera makers is aiming to give enthusiast and professional photographers easier access to its medium-format photography products.
They say seeing is believing, and that's exactly what happened when one DPR staffer took the Google Pixel 2 out for an afternoon shooting under challenging conditions.
We're counting down our top 10 most popular sample galleries of 2017. At the #9 spot we have the Fujifilm GFX 50S, a medium-format camera that took CP+ 2017 by storm.
Instagram is testing a new feature that lets you follow hashtags in addition to people, making it possible to keep track of your favorite #landscapes or #portraits without leaving your home feed.
Despite the gigantic volume of second hand film bodies in existence, it seems there is still a demand for new 35mm SLRs with a retro feel. The latest is a remake of the Ihagee Elbaflex from the 1960s, but with a Nikon F mount.
The Polaroid Insta-Share Moto Mod straps an instant printer directly to your Moto Z smartphone, so you can print your photos as soon as you've captured them.
The Mitakon Speedmaster 135mm F1.4 lens is being relaunched in 7 different mounts, including: Sony A, Sony E, Canon EF, Nikon F, Fujifilm G, Pentax K, and Leica L. Got an extra three grand lying around?
In January, Kodak announced it would bring back the beloved slide film Ektachrome. The timeline has been pushed back a bit, but Kodak says you can expect to purchase Ektachrome again in 2018.
Instagram popularity is threatening some of the most beautiful landscapes in the US, as hordes of 'nature lovers' trample over the same spots over and over again in search of the same exact shot.
You'd have to be pretty brave to immerse your $50K RED cinema camera underwater. But if you've got the guts, Gates just released a new housing you can be pretty sure won't wreck your unbelievably expensive toy.
Adobe has released a 'Lightroom Downloader' app for Windows 10 and macOS High Sierra that allows you to download all of your images from the Adobe Cloud, all at once.
After releasing a popular 4K action cam and an affordable mirrorless M43 camera, Chinese camera maker YI is diving into yet another market: 360° VR. Meet the YI 360 VR: a powerful little two-lens camera that can shoot and stream in 4K.


text:
Stephan Mikés's musical talents became apparent at a an early age. At age 7 he began his musical training with Maestro Carmelo of Italy and gave his first public performance at age 9. Discovering the guitar when he was 11, Stephan was playing professionally and teaching that instrument by the time he was 16. Around this time, Stephan first heard George Harrison's experimental Sitar work with the Beatles, and then Ravi Shankar's performances at Woodstock and elsewhere, and he discovered there was a new musical universe to be explored. Stephan knew he had to play the sitar, and after working a number of years as a producer and arranger for hire, he had his chance. Stephan was taken on as an apprentice to one of the greatest Sitar masters in the world, and he trained for an initial period of 10 years.
Stephan arrived in South Beach in 1992, taking the island by storm,and was soon playing five nights a week hitting every major venue in town. This period inspired the first of his sitar jazz fusion albums, combining the exotic Eastern sound of his Sitar with the sultry melange of Afro-Cuban, Reggae, Haitian, and Latin Jazz he discovered in South Beach.
After his second album was released in 1995, Stephan's composition "Medium Rara" was picked up by world music label Putumayo Records, and his music has now been released in over 100 countries, with unit sales in six figures. He has performed in concert halls like the Wang Center in Boston and The Kravis Center in Palm Beach on the East coast and the Museum of Modern Art in San Francisco on the West coast, and has been featured at hundreds of music and arts festivals across the US. Stephan has been invited to accompany onstage Classical Master Ravi Shankar and pop icons like Donovan and Cheap Trick, and in the world of Latin Music, the sound of Stephan's sitar has been used on recordings by Carlos Ponce and Emilio Estefan.
Locally, Stephan has been twice honored by the Miami New Times, as Best Acoustic Performer and Best Solo Performer. Ft Lauderdale's XS Magazine named him Best New Age Musician. WLRN Television filmed
a full length feature on Stephan's music, and he has performed live on WLRN radio many times, and at other NPR affiliates around the country.
To this date, Stephan has released over 10 recordings of different styles, some his modern sitar world jazz, some classical sitar music and also music for massage and meditation. Current works in progress include an album of Sitar Electronica, an album of sitar fused with traditional Latin forms, and more music for massage and meditation.
"The sitar is back and one of it's new contemporary
masters is Stephan Mikés."
- The Palm Beach Post
"Sounds just like the Buddha Bar in Paris."
- George Hamilton
" A master at blending cool Indian-inspired ragas with upbeat
instrumental world jazz."
- 20th Century Guitar Magazine
"He's a Genius."
- Shirley Jones, Broadway, TV and Movie Star
"Playing sitar is extremely challenging, Playing one as well as he does is as rare as a rabbi in the Himalaya Mountains."
- New Times Miami
Stephan's corporate clients include Armani, AirBus International, Bank of America, GlaxoSmithKline, International Polo Assn, MetLife, Merck, J.P.Morgan, Morgan Stanley Dean Witter, Walt Disney World, General Motors, and more.


text:
A Brief Introduction...
Apart from premium quality wood, a woodworker needs to be equipped with hi-tech machinery to be able to craft beautiful wood works. Rohini Machinery Company is leading manufacturer and exporter of a comprehensive range of wood working machinery such as Four Slide Planer, Drum Sander, Two Side Thickness Planer, Thickness and Surface (Pair) Machine, Chain Mortiser, Tenoning Machine, Circular Saw with Rebating attachment, etc. These products are available under the brand name of "Rohini". Our machines offer the carpenter/craftsman with integrated technology, greater precision and increased operational comfort. The excellent quality of our products have helped us to develop a strong customer base in India as well as in different parts of world.
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The principles that are the mainstay of our business endeavors can be summarized as follows:
- To work diligently and only enter into agreements that one knows one can honor
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- Advance fearlessly.
- Two Side Thickness Planer
- Thickness & Surface Planer (Pair)
- Thickness Cum Surface Planer
- Thickness Planer (Standard)
- Tenoning Machine
- Circular Saw (with Cross Cutter Attatchment)
- Rip Saw Machine
- Chain Mortiser
- Cold Press
- Double Head Circular saw
- Edge Jointing Press
- Four side Planer
- Heavy Duty Rip Saw Machine
- Movable Router
- Notcher Machine
- Spindle Moulder with Linear Slide
- Surface Planer with Circular Saw
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- Door Frame Corner Jointer
- Finger Joint Machine
- Auto Panel Copying Machines
- Circular Saw with Rebating Attachment
- Finger Joint Press
- Light Rip Saw
- Wooden Pallets Machinery


text:
All parents have been there. But when San Francisco dad Ben Patterson decided to look after his toddler son so his wife could go out with friends, his brief single-parenting experience involving "projectile vomit" turned into a nightmare, and then promptly went viral, as these things often do.
Patterson, who describes himself as a "sympathetic vomiter," had to pull over on the side of the road after his son threw up in the car on the way home.
The ensuing texts (or cries for help) to his wife are nothing short of hilarious, though Patterson later clarified on Facebook that the part about police arriving was a joke:
"I just pulled over and am trying not to throw up myself."
"Call me."
"I just threw up trying to clean him up."
"It smells SO BAD."
"I'm puking on some lady's lawn in Burlingame and she comes out to ask me if I'm drunk while driving the kids."
"I'm trying to explain that I'm a sympathetic vomiter and can't handle the smell."
"This is SO BAD."
And then the cops showed up, he wrote in a text to his wife.
"Because they have nothing better o do in Burlingame."
"And now a breathalyzer."
"Meanwhile Declan continues to barf."
The next text is perhaps what helped his Facebook post go viral: "WHAT DID HE EAT BECAUSE IT SMELLS LIKE ROTTING WHALE BLUBBER."
"Trying to drive home with the windows down and breathing through my shirt."
Oh, and in case you're wondering, Patterson says he passed the breathalyzer test.


text:
A week before Lunar New Year, I went to get my hair fixed at a Salon called Rise Hair Studio. My initial hair colour was a lighter shade of brown with a tinge of red. It was rather 'flat' in my opinion so I decided to go with the idea of blonde highlights. I've always wanted to go full-on blonde but there are a few setbacks. One of which would be the objection of my parents. There was once when I dyed my hair ash blonde but it came out to be an awful mess of green, blue and grey hues. Since then they have never been less disapproving haha.
To be honest I can't remember a time when I was completely satisfied with my hair result after a visit to the salon. Glad that now I am able to say otherwise. This was my first time getting a full head highlights and I LOVE IT SO MUCH. I'm just really pleased with it and was actually genuinely satisfied after I left the salon. I even had people approaching me and asking me where I got my hair done(this is a first).
The hair dyes used by Rise are usually Loreal and Shisedo colors. A special technique called Balayage was used, which is also known as hand painted highlights!
On top of the highlights, I was also given a Hair Manicure service such that my hair dye would retain and not fade as easily. Besides, it also helps to give my hair a permanent glossy-like texture which I definitely needed after doing countless of things to my almost-damaged hair. Apparently, this is what Kpop stars use(not that I am a fan of course).
So a huge THANK YOU to Rise Hair Studio for giving me better looking locks!
(These photos were taken about a month since the visit to the salon.)
1. Take the train to Telok Ayer on the Downtown MRT line. After tapping out, turn right and head up the escalator going towards Cross Street.
2. This should be what the exit looks like, after which take a left turn towards Telok Ayer Street.
3. Walk all the way straight till you see a sign that reads Amoy street.
4. Walk even further up till you see the sign 'Club Street' and then walk towards the left.
5. You should be able to see the sign 'Gemmill Lane' and take a left turn again.
6. Walk further up towards the right and you should be able to see the signboard with the letter 'R'.
7. You have reached your destination!
"Gorgeous Hair is the best form of Revenge" Word!
The shampoo, conditioner and treatment used on my hair is by a brand called 'John Masters'. Apparently it is a highly popular organic solution from the states.
The boxes were made from recycled materials thus are environmentally friendly.
At Rise, they also offer amenities such as magazines and varied selections of TWG tea. These are some of the tea favours offered, Sliver Moon, Eternal Summer, Jasmine Green and French Earl Grey yum!
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Quote "FARAHFARZZ" to receive 20% off all original priced services!


text:
Princeton E-ffiliates Partnership is proud to partner with leading companies in diverse industries to foster a vibrant exchange of people, ideas, and technologies. These partnerships extend to all industries with deep interests in the efficient, sustainable use of energy and how such energy use affects the environment, as well as interests in protection and remediation related to the environment.
ExxonMobil is the world's largest publicly traded international energy company. We apply science and innovation to find better, safer and cleaner ways to deliver the energy the world needs.
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- Eric Herbolzheimer, Senior Scientific Advisor and Section Head for Engineering Physics, Corporate Strategic Research Laboratory (August 2015 to present)
PSEG is an integrated generation and energy transmission and delivery company that seeks to provide safe, reliable, economical, and green energy through its companies Public Service Electric and Gas Company (PSE&G) and PSEG Power.
- Somayeh Moazeni (June 2013 to April 2014)
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- Kevin Quinn, Vice President – Corporate Strategy (January to June 2012)
Southern Company is the premier energy company serving the Southeast. A leading U.S. producer of clean, safe, reliable, and affordable electricity, Southern Company brands are known for energy innovation, excellent customer service, high reliability, and retail electric prices that are below the national average.
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Join Princeton E-ffiliates Partnership
For more information, read about membership levels and program benefits. For further details contact Spencer Reynolds, Senior Associate Director, Corporate Engagement and Foundation Relations.


text:
Memento (2000)
His Review:
When Christopher Nolan (Inception, The Dark Knight, Insomnia) makes a movie, expect it to be dark, edgy and make your brain hurt when your done with it. Memento is his first hollywood picture that covers all those bases. Memento is the story of Leonard (Guy Pearce), a man who is tracking down the man who killed his wife. The catch is, Leonard can't remember anything short-term since the events of his wife's death. He makes notes, takes Polaroids and tattoos his body to leave messages to himself in the pursuit of the mysterious "John G", the person he believes killed his wife. Christopher Nolan takes his younger brother's script and makes a brilliant thriller that is unlike any other I've ever seen. How is it unlike any other movie you may ask? It tells the story forwards AND backwards, with the story meeting in the middle. The forward part is the story of another man with the same condition as Leonard and how he was influenced by them and the backwards story starts from the death of the man who killed Leonard's wife. Don't take your eyes off the screen or you will miss what Nolan is trying to tell you. Also you might have to watch Memento several times to get the full effect. Co-starring Carrie-Anne Moss and Joe Pantoliano.
9/10 Stars – Great original story that tells it in an original way
Click below for links to IMDB and Rotten Tomatoes
3 Comments on "Memento (2000)"
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