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Electric Solo/
GPSolo Magazine - September 2005
The Electric Solo
If you're a solo or are thinking about starting your own practice, anything that can give you a leg up is especially welcome. Here's a look at how you can use technology in practical ways to respond to the many demands of practicing law on your own.
Accelerating response time. By maximizing your accessibility, you build better client loyalty. Whenever you can, respond to clients' calls and e-mails at your earliest opportunity.
Both mobile phones and e-mail have become commonplace, but few lawyers come close to making the most of these tools for improving client satisfaction. If you want to realize the potential, consider this example of using a "smart" phone, a device that combines the convenience of a mobile phone with the power of a handheld computer.
You finish a meeting at a client's office, return to your car, and pick up your messages on your Treo 650, a smart phone from PalmOne. A prospective client you spoke to last week, Miranda Ramsey, called to say she wants to proceed immediately with a new business venture.
Your Treo already has Ramsey's name, e-mail address, and phone number in its address book because you entered them in your practice management software last week and synced (or synchronized) it with your Treo. You start an e-mail and paste in some standard text you use when signing a new client. Then you open your standard retainer agreement on the Treo using Documents To Go software, which lets you create and edit documents on Palm OS devices. After inserting Ramsey's contact information, you attach the document in MS Word format and send the e-mail. Next, you call Ramsey to tell her you are delighted to be working with her and have already sent the retainer agreement to her.
You don't need to become a computer expert or invest a huge sum in technology to make this happen. With wireless company discounts, a smart phone will cost between $400 and $600. That may sound pricey, but for some lawyers these combination devices can take the place of a notebook PC. Add a portable keyboard for $99, and you have a mobile office that requires no power outlet and no cable to the Internet.
Of course, real efficiency requires that you don't allow yourself to be interrupted by every incoming call and e-mail. Instead, you can group messages and respond in rapid-fire fashion to those you can handle within a few minutes. Another efficiency technique is to set up a separate e-mail address that you give out only to clients and others who have high priority. Tell them to use this e-mail address regularly so that you can give them the most responsive service.
Having total access to client information. Back at your office, technology can accelerate your turnaround rate in a number of ways. A key to efficiently managing your practice is practice management software. To illustrate the power of this sort of software, the following examples use the current market leader, Time Matters. There are many other good products in this category, including Amicus Attorney, ProLaw, and PracticeMaster.
You receive a voice mail from a prospective client, Pat Soren. A quick search of your contact list shows Soren is neither a former client nor a former adverse party. On the off chance that Soren may have been involved in one of your matters in another capacity, you use Time Matters to run a comprehensive conflicts search. After you click through a few screens and enter Soren's name, your software searches through all the text that has ever been entered into it, including e-mail messages, matter notes, and time records. It can also perform a Google-like search through the full text of all the other documents in your system.
By routinely entering information on everyone involved in your legal matters, you accomplish several important objectives. You have a good system for avoiding conflicts of interest, you have a collection of information about people you may run into again in varying capacities, you have ready access to the names of people referred to you by any other lawyers or referral sources, and you can generate matter- specific contact lists showing names, phone numbers, and other information on all the people related to a particular matter. But there's more.
Say you want to schedule an initial meeting with Pat Soren, so you click on his contact record in Time Matters and then click on the Add Phone record button to start a call. A Phone Form appears and a timer starts. You click the Dialer button and the software places the call. As you talk to Soren, you make notes of the call on a scratch pad. When done, you summarize the important facts from the call in the Memo section of the Phone record, mark it Done, and then click on Save & Close.
Soren has agreed to meet with you five days later, so you enter the appointment on the Calendar. Returning to the Contact list, you click on the Add Event button to bring up an Event Form with Soren's name already filled in. Enter the date, start time, meeting length, and a code for the meeting, then click on Save & Close.
Beyond giving you access to information about many individuals in context, practice management software allows you to create timelines for each of your legal matters.
In combination with a notebook PC, full-featured practice management software provides a key to independence from a single-work location. One approach to taking your office off-site with you is to regularly transfer all the information and documents managed by software on your main office computer onto your notebook PC. Time Matters, for example, has comprehensive, bidirectional synchronization features. With your notebook PC plugged into a network switch connected to your main office computer, you can synchronize all the new and changed information and documents on the main computer with all the information and documents on your notebook.
Other great technologies for working away from the office are remote control services and software. They spare you from hauling anything between your main office and other locations, as long as you have a computer with Internet access at the remote location.
Going ultra-wireless. Among the many technologies that can profoundly change the way solos work with clients, broadband wireless is the trend to watch. With a notebook PC, a wireless modem, and broadband service, you can remain connected to your office network and the Internet at high speeds whether you are in your office, your client's office, your home office, or anywhere else in the coverage area.
Broadband wireless differs from the wireless networks available in coffee shops, airports, and offices using Wi-Fi access points. For broadband wireless service, you use a mobile phone company account and a modem-equipped notebook PC or a compatible mobile phone that can be half a mile or more from a cell site. Wi-Fi networks reach only about 700 feet from each access point.
Embracing change. There is a risk in becoming too electric, but beware of accepting it as a rationale for resisting change. The times and tools are changing and you need to keep up. Work out for yourself how to make your clients happier in ways that work for you, too.
Wells H. Anderson is president of Active Practice LLC. He can be reached at


text: To check the balance on your Z'Tejas Gift Card, use the options provided below (phone number, website, store locations). Before you check your balance, be sure to have your card number and pin code available. All questions regarding your gift card balance should be directed at the merchant that issued the gift card.

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Hi Y'all,
I'm Karen Kay. Most people call me "KK" for short. I am from Mississippi, currently living in Jackson. Was raised in Golden Eagle country, Home of Southern Miss, where I also went to College - Hattiesburg Miss. I am married to Michael and have a son in grade school. They are my "boys" and I love 'em!
I work full time in accounting, but my primary love is in meeting and getting to know people through the internet. I have met so many wonderful folks. I do some internet marketing, mostly by promoting stuff by people I like as an affiliate. I have three blogs, one is a sort of hodge podge of internet stuff, I call it KK's InterNetwork Cafe.
My real passion right now is in promoting nature photographs. Most of the photos I have promoted so far I either found myself or were done by friends. What I do is post the photo (with artists' permission of course) and a link back to their site of choice. I then write a reflection/meditation/poetry piece about the photo to post with it. I am really enjoying the process. If you are a photographer and would like for me to submit your photo let me know - I'll be happy to take a look!
I recently had the priveledge of attending Unseminar6 in San Antonio. I have written an ebook about how I got to go, and am sharing that free.
Other than that I stay busy with the family, Cub Scouts, etc.
Thanks Brad for a great forum!
(edit: removed URLs: I think that was against the rules?)


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At about 15" long, these classic 9" x 1-3/4" strops let you use a long, full stropping stroke.
For best control, rest the square end on a table or bench as you strop the knife using a trailing stroke. It can be used with any edge tool, but excels with knives.
Available single or double sided. The double-sided strop would be used when you want green compound on one side and another type of compound (or left natural) on the other.
The set includes our double-sided leather strop and a 6 oz bar of Veritas® Honing Compound, which is very fast cutting and leaves a mirror finish.
Strops are made in Canada, honing compound is made in the USA.


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LibraryThing ReviewUser Review - wellreadcatlady - www.librarything.com
It's one of those plays you need to read through and reread to get the whole idea of what's going on. My first opinion of it was that it didn't make sense and was poorly put together, but once I read ... Read full review
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text: 014. THE CREATURES - GICLEE PRINT The eyes have it! £16.00 Quantity: at £16.00 each Add To Basket THE CREATURES More shadowy forests. This time the woods are teeming with small creatures. Their eyes reflect the moonlight, making little pinpricks of light that pierce the dark forest undergrowth. ARTWORK INFORMATION This is a high quality digital (giclee) print taken from my original artwork. The original drawing was drawn in pencil, ink and charcoal. The print will be window mounted, making the outside dimensions approx 8"x10"/20cm x 25cm. I cut the mounts to this size, so it is easy for you to buy ready made, off-the-shelf frames in this size, therefore cutting framing costs. I do use thick mount card, so the recess of the frame should be quite deep. Frames are not included with the print. I print all my own images, using Epson pigment inks onto Epson Archival paper. I then window mount them, using Daler cream mountboard and attach a backboard using the same card. When you order a print, all the watermarks will be removed. Each print is signed and has a hand written title underneath the image. POSTAGE AND PACKING Your print will be sent to you by Royal Mail first class post, for UK customers and by Standard Airmail for overseas customers. It will be placed in a cello bag which will then be packed with stiff card and put in a bubble wrap envelope. I do try and use recycled card for packaging where I can. ARTWORK CARE For the best care of prints, you should ideally frame them behind glass and keep them out of direct sunlight. This goes for all types of artwork, not just digital prints. I use pigment based inks on archival paper, so the prints I sell on my website should be very long lasting. Any kind of artwork whether it is an oil painting, watercolour, photograph, print or collage, will gradually fade if exposed to sunlight, so do be careful where you choose to display your artwork. All the artwork and designs are by Alodie Fielding and there is a copyright on all images. Enjoy browsing and thanks for looking.


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By Blogger June 29, 2012
I'm a sucker for familiarity. I completely admit to watching at least one "Friends" episode a day, even though I know I have seen them all at least, at least, ten times already. Lately, I've been on a "Brady Bunch" kick. I love the simplicity of the BB time period, and I especially find myself gravitating towards their furniture. Mid century modern really grabs my attention and the house of Carol and Mike Brady is chock full of it.


text: If someone tries to sell you an 800-pound wok, the police in Wichita, Kansas would like to hear about it. The Associated Press reports that earlier this week, the massive piece of cookware was stolen from the Bamboo Express Asian Cuisine restaurant while it was sitting outside. Moving the wok most likely required more than one person, and police could really use some leads. [Associated Press] (Thanks, Derek!) [More]


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One term that you're certain to come across when researching your next DSLR purchase is 'Crop Factor'.
This is a slightly complex topic and many long article have been written explaining it – but to keep it simple let me attempt a short explanation.
While normal film cameras take 35mm film (it is a standard for the industry) there is much variety between manufacturers on image sensor sizes. The main reference point that people therefore use is the 35mm one which is considered 'full frame' size.
If you compare the size of the film in a normal SLR (film is 35mm) to the image sensor in most DSLRs you'll find that the size of the DSLRs sensor is generally smaller (unless you get what's called a 'full frame' DSLR).
Until recently 'full frame' cameras were largely in the realm of professional DSLRs and all lower end cameras had smaller sensors.
If you take a photo with a smaller sensor and the same lens it will only show a smaller area of the scene.
To illustrate this I've show how different cameras with different image sizes will see an image.
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Black – Full Frame
Red – 1.3x Crop Factor
Yellow – 1.5x Crop Factor
Green – 1.6x Crop Factor
When you enlarge images to the same size from different sensors the ones with the smaller sensors will be enlarged more – making it seem bigger.
As a result – when you fit a lens to a camera with a smaller sensor the lens is often said to have a larger equivalent lens size.
I've included a table below that shows the equivalent lens sizes for different crop factors. The column on th left is the lens focal length on a full frame camera.
So what crop factor does your DSLR have? Here's some of the most popular ones.
1.3x – Canon EOS 1D/1D MkIIN
1.5x – Nikon D40/D50/D70/D70s/D80/D200/D2XD2Hs Minolta 7D/Fuji S3 Pro Pentax *istDS/K100D/K110D/K10D
1.6x – Canon EOS 300D/400D/20D/30D
2.0x – Olympus E-400/E-500/E-300/E-1
This post was submitted by DPS reader – Shane.
Forgot to add that Canon EF-S lenses are specifically designed for DSLRs with cropped sensors.
EF lenses will fit all cameras but will be cropped or zoomed on CMOS sensors.
If youre not going Full Frame try the EF-S lenses for Canon.
Im not educated on Nikon but Im sure they have something similar.
I just wanted to add my experience of the whole sensor cropping subject. I am using 2 x Canon 40d.
Cropping of 1.6.
I have been having issues with noisey photos especially inside old churches.
My solution was to buy a full frame 5d but the cost of even an older model made it too expensive.
I am now using some software instead call Adobe Lightroom 5.
Its excellent at removing noise from photos without losing detail.
We compared a photo from the 40d using Lightroom 5 and a 5d.
Result was - the 40d with 1.6 cropping wad better.
Yes, its means more editing but I now have settled on my own preset so I can batch process my photos in 1 click.
The 5d mark 3 would be the ideal solution. Full frame and hardly no noise at high ISO settings.
I hope this helps.
Ericka, I picked up a Canon 5D "Classic" for about $700 on ebay. This came out in 2006. It is primitive in modern terms. I don't know what the equivalent FF Nikon would be - the D3 from 2008? They still seem expensive on ebay, just checked. I think there is almost everything to learn on a APS-C sensor camera. Lighting, Composition, Exposure, etc. that you can go a long, long way without FF. Unless you are thinking about doing commercial work. Many people do commercial work with APS-C cameras, just with great glass. If you don't have a top-tier lens and can only afford that or a FF body, go with the glass! I wouldn't go to the 7100, myself. Make the full leap to FF. Just make sure whatever you do, shoot every day like you mean it!
Thank you for this information. I somewhat get it. So my question is: I need a wide angle lens and am thinking of the nikon 14-24mm lens. Does this make sense if I'm not going to be able to realize the full capability of the lens with my camera, Nikon D5100. I'm also about to upgrade to the Nikond 7100 or does it make more sense to just get a full frame instead? If so, any recommendations?
The Noise about Crop Sensor cameras
In agreement to JAlex, I think the World's DSLR Owners Association (doesn't really exist) should make a Proclamation about The Explanation of Crop Sensor Properties, to once and for all clear up the misconceptions that abound in internet and printed literature about the subject.
This is all they would have to say:
1. Crop sensors are smaller than Full Frame sensors. Fact.
2. Some lenses are made specifically for crop-sensor cameras, but "standard" lenses still work on crop-sensor bodies.
3a. A camera's "sensor" is really a grid of millions of individual sensors, evenly spaced out in an x-y grid. Like, 18Million, or 22Million individual sensors, or pixels. Pixels that make up your image.
3b. There often isn't really that much difference in sheer number of pixels between Full and Crop sensors. In fact, let's say they are exactly the same number of pixels between Full Frame and Crop Sensors, for argument's sake. Hold onto this point.
4. On Full Frame sensors, the pixels are spaced out more, have more room to breathe, they are less dense. And this gives better image in low light, especially. Sensor sites, pixels, create less noise when they are spread out farther. (Read on, if you want to understand more. Otherwise skip to point 5.) Keeping sensors away from each other reduces the noise from the sensor. Take that as a scientific property of sensors, a fact. This makes a difference when using High ISO numbers. What are High ISO numbers? On digital cameras, it is a higher setting on the amplifier on the sensor. When there is Less light on the sensor, this means lower sensor signal readings, so just crank up the amplifier (again, this is your higher ISO number). Well, there is noise on the sensor. The sensor produces electrical noise. A scientific property of sensors. At some level the noise is very small compared to high sensor readings when there is a lot of light shining on them (you are getting a big signal when light is pouring on the sensor). When a little light is shining on the sensor the noise can be as much as the signal (that is an exaggeration to make a point). So, you see as much noise in the photo from the sensor as picture information. That is like there is 1 volt of noise to 1 volt of signal information. Tough to pull out that signal at those levels (fictitious numbers used to make a point). You may be getting 64 or a thousand TIMES as much light when light is pouring on the sensor from bright scenes. In that case the signal is easier to identify, the noise is so low compared to the signal.
5a. The best glass is (best lenses are) made for Full Frame sensors. Because, they work great on Full Frame bodies AND Crop Sensor. It would be redundant to make the best glass for Crop Sensor, only.
5b. This is where the crop sensor has an advantage. The image circle of Full Frame ("standard") lens is designed to just cover a Full Frame sensor. That is, the lens makes a circle big enough to go corner to corner on a Full Frame sensor. Since the Crop Sensor is smaller, the image circle of standard glass "shines" much wider than the edges of the Crop Sensor. Well, it is a fact that image sharpness, distortion, and other factors are generally worse at the edges of a lens' image circle. A Crop Sensor is using just the juicy center of the image circle, and throwing away those nasty edge pixels. So, although the pixels are denser on a Crop Sensor, it gets the best part of the image - from a standard lens. You should see better sharpness, less distortion, etc, edge to edge. Read lens reviews and you will see people peeping at the edges and corners of images produced by the lens to see how good they are.
6. There is NO magical magnification inside a Crop Sensor camera. The common 1.6 crop factor (or the 1.3, or 1.5, or whatever) bandied about ALL OVER the internet and literature is just an expression of what image you get on a Crop Sensor versus Full Frame sensor, at some focal length.
7a. Let's say you trek to your favorite scene and want to take a picture of it "exactly this wide, this high". Let's say it is Fall and there are is an oak tree on the left and a maple tree on the right, both in gorgeous colors, that frame the vista of the valley, below. You brought a Full Frame camera and a Crop Sensor camera (with a crop factor of 1.6). We're going to use 2 "standard" lenses, not ones designed for Crop Sensor-only. You are going to frame it exactly the same in both cameras (cameras are side by side, touching each other, effectively the same vantage point), to make prints to hang on your man-cave or gal-cave back home.
7b. If you brought an 80mm lens for the Full Frame camera, you would have had to have brought a 50mm lens for the Crop Sensor. 1.6 x 50mm is 80mm. The 80mm lens on the Full Frame sensor makes an image circle that just extends corner to corner on this (larger) sensor. The 50mm lens produces an image circle BIGGER than the Crop Sensor, so light spills out beyond all edges of the (smaller) sensor. Lots of light from the lens is just wasted. Sad. The part that DOES hit the Crop Sensor is exactly the same image as over in the Full Frame sensor camera.
THAT IS WHY, and HOW, people say that the equivalent value of a 50mm lens on a Crop Sensor Body is equivalent to a 80mm lens on a Full Frame sensor camera. You are WASTING all that good light!
In summary:
Crop Sensors are smaller but can be about the same pixel-count as Full Frame Sensors.
They have therefore denser placement of the individual sensor sites.
Good Thing 1: Crop Sensor cameras use the juicy, sharp middle part of the image circle from a "standard" lens. Good edge to edge image quality (IQ). Buy good glass.
Good Thing 2: There is almost no difference in pixel-count of the latest Crop Sensors compared to Full Frame sensor.
Bad Thing: The individual sensors sites on a Crop Sensor are packed more tightly together and produce more noise than on a Full Frame Sensor. This would tend to show more noise in high ISO settings.
Reality - you have to know what you environs, style, subjects you are pursuing in photography. What kind of shooting are you going to be doing? Pop Concerts in low light? You will probably be shooting with ISO's of 1600 and above. Noise could start becoming noticeable in your images. Noise translates to "grain." Notice i didn't say becoming a negative factor. You can use noise as part of your style.
I hope this presented the actual situation that people talk about when they say Crop Sensors increase the magnification of a lens, when that is not a correct inference.
For the optics experts out there: I know I did not include the resolving power of lens. Full Frame lenses (what I am calling "standard" lenses) may be designed to the very edge of resolving power specifically for the area/density of Full Frame sensors. That seems like pretty bleeding edge design, that you are at the edge of resolving power, so the tighter packed Crop Sensor are too dense for the optics.
In so saying, maybe there is loss of quality using a "standard" lens on a Crop Sensor camera. The pixels are denser than what the "standard" lens optimal ly resolves. That is one reason why the manufacturers may even bother with creating lenses specifically for Crop Sensor. The other reason is that for the same quality, you can use less glass and other material in a Crop Sensor lens, the lens just simply doesn't have to be as big for the smaller sensor, at the same resolving power.
I gotta laugh :) After reading oceans of information I'm still confused as to what is crop factor and why is it important? I still don't know. I gotta agree with James Tibbel and Dennis Fisher from 2007.
I have a bunch of Canon FD legacy lenses on my Panny GH1 and made a comparison shoot on Canon FD 20 mm, 28mm, 50mm, 80mm, 100mm with my Lumix 14 to 140 mm lens and the differences were minute.
The photo explaining crop factors is outdated and should have listed Camera makes in order to ascertain which crop factor affects the specific camera.
Wouldn't it be easier to call it a zoom factor. The problem when you call something a crop factor is that people think they are losing something and therefore need to get a full frame. Most people think of a telephoto lense as zooming in rather than narrowing the angle.
I think the term zoom runs rings around crop any day.
I have discussion with my friend and question is:
Does crop factor affect depth of field?
Or just crop image and depth is same...
I'm only new to Digital photography, as up untill a few months ago I was still using my old EOS 630 Film Camera, but it started to become hard to find film. So I bought another EOS as I had several various lenses I used on my old film camera. Do I need to make any ajustments similar to the ones for crop sensor calculations, as I have 2, 24 - 105mm lenses, one is analogue and the other is digital, as it came with the camera, but I've noticed a difference when I take the same photo with both lenses set exactly the same. Can anyone tell me where I need to go to findout what I need to do to work this out, please!!!
My wife takes pictures with her canon x1i and after she has made some touch ups to the photos in lightroom or photoshop, some of the image when printed off is cut off. So what is on the computer screen at home does not match what is actually printed off at the store. Does anyone know what i can recommend to her to help avoid this? thanks.
Hi all, I might be missing something but I understand the crop factor when you apply it to the lower wide length but not the higher zoom lengths.
Allow me to explain. I have a 20D with a 17-85 EFS lens.On this camera, my 17mm lens looks like 28mm using the 1.6 crop calculation. This I understand because of the smaller sensor size. But at 85mm why should the image be zoomed to 135mm using the crop calculation. If the lens is 85mm zoomed out to max then how can you get to 135mm...?
It seems to me that the crop factor calculation should apply at wide angles only.......Help anyone...
Very informative stuff! I wish I had known the ramifications of sensor crop before I bought my 60D. I want to move to better L series lenses and think I would have been better off with a 5D now that I've read your article (and the comments). Especially because I like taking wide angle photos. With my 60D I'm missing a fair bit of the image that I would like to have when I use EF lenses (although I don't get any vignetting ;))
Thanks for everyone's input... it's been very helpful. Now...when is the 5D MKIII out? ;)
Why do we even need to know this?! It's so confusing and does it make me a bad photographer if I really don't understand it all?!
I think this article is lacking any information on angle of view. For example, consider a 35mm format (24mm x 36mm) compared with APS-C (14.9mm x 22.3mm). Both sensors have the same aspect ratio, 2:3. Now suppose you have a 50mm lens mounted to these two camera. The optical center of the lens will be 50mm from the sensor. In the long dimension, the 35mm sensor will extend 18mm to each side of the optical axis, but the APS-C sensor will only extend 11.15mm to each side. Talking the arctangent (the angle formed by the opposite and adjacent sides of a right triange) of these ratios 18/55 and 11.15/55 gives 35.7 degrees and 24.0 degrees respectively (for half the field of view), and the whole fields of view are (finally) 71.5 and 48 degrees. The 35mm sensor effectively has better peripheral vision.
For example, if you took a picture of a building from 50 feet away with a 50mm, the 35mm format sensor would see 36 feet of the width of the facade (because the sensor is 36mm wide), while the APS-C would only see 22.3 feet. This appears as if 7 feet of the building on each edge of the image got cropped out. So, if you want to capture more of the building, a larger sensor is better, but if you want to capture a close up of the front doors, for example, the smaller sensor is better (given the same focal length and camera placement). To get the same width of the field of view as the 35mm sensor at 50 feet, the APS-C sensor would need to be 1.6 times the distance from the building, at 80 feet.
Now, when it comes to printing, many of the APS-C and 35mm sensors have the same number of pixels, but each pixel is physically smaller on the APS-C sensor. Sensor size therefore has little effect on the sharpness of large print sizes. This is why the number of megapixels is more prominently advertized than sensor size.
With a SLR camera, the view in the viewfinder is what the sensor will record. Back to the building example, if you take a picture while viewing whole building with either format (or any lens), the whole building will be recorded in the image. Now, many of the top-of-the-line cameras not only have 35mm format sensors, but they also have a 100% view through the viewfinder, while the midrange (for example Canon Rebel T2i) will only have 95% of the sensor image show up in the view finder. An example of this is when I ignore the rule-of-thirds and compose a shot to fill the viewfinder from top to bottom (going back to our building example to have the facade stretch from bottom to top and cutting out all the ground and sky). When I look at the resulting image on the camera's screen, there shows up extra area that I did not see in the viewfinder (some of the ground and sky). This is not the crop factor. Canon refers to it as "viewfinder coverage".
i have the same question as ridwan above, can anyone provide a better answer?
I appreciated your post concerning a crop camera body and also the comments that followed.
Information like this leads to better buying choices. When I purchased my first DSLR, no one explained this to me. I think if they did, I would have bought a different camera body.
What I do not understand is that if a picture is cropped, how does that increase the zoom distance? Presumably all that occurs by cropping a picture is a reduction in the size of the rectangle around the picture and the resulting loss of some of the picture outside of that area in comparison to a full frame sensor. How does it bring you closer to the scene i.e zooming in?
Timen- the only full framed DSLR is canon's mk1/2/3, and the 5d.
WRONG! Canon, Nikon, and Sony all have full-frame sensor DSLRs at the top of their respective lines.
So a small crop factor is not alwys bad, think of it this way, you want telephoto and you have a 2,0x crop factor.
instead of buying an expensive 1200mm lens on a full frame camera (the camera also costs a fortune)
buy a DSLR with a 2,0x crop factor (cheaper) and a 600mm lens and you'll end up with the same result as the first example, a 1200mm DOF. Can someone confirm me this is true ? if so why would anyone buy a full frame camera unless he is searching for that maximum wide angle (when is such a wide angle used?!)
Thanks for your replies :)
I love the landscaped look of a Full Sensor camera. But before I really started getting into my camera and doing more research (after I purchased a crop sensored camera) I realize I want to achieve the same look...How can I use my crop sensored camera to achieve the same look?
Thanks in advance!
Maybe I am dense, but it doesn't feel right to state that a 10mm lens is actually a 16mm lens on a camera with a 1.6x crop factor.
Now, correct me if I'm wrong (because I probably am!), but if you took a full frame camera and took a picture at 16mm and compared it to a photo taken with a cropped camera taken at 10mm, the full frame camera should actually be closer. Using the diagram from the original post, it is essentially like a widescreen movie vs fullscreen. You're just cutting some of the image out, you're NOT increasing the size of the image, which actually going from 10mm to 16mm is doing, correct?
Mark, you dont always need 300 dpi. I have printed 21mp files from a 1dsmk3 at 31dpi with zero loss. 100 inches high on the short side. I repeat, zero loss or interpolation. The printer Demanded at least 150 dpi, i told them to just print the file and call me back... an hour later "I cant believe there is no loss in this image, How did you know?" was the phone call i got... and these guys have been in the business for over a decade.
This needs to be added in response to alot of folks questions. I switched from film to digital but stayed with canon eos (still own my medium format stuff). By staying with the EOS system I kept my old film lenses, but I wanted to know what i was going to get out of them. I did an old trick used for medium format photography, only it's much easier now that you don't have to wait for processing.
What you do is set up a tripod, zoom your camera in on something and take a picture, now compare what you see on the viewfinder with what you see on your screen. Now zoom it out and do the same thing. This will give you an Idea of any cropping or in my case I get more image on the picture than I see in the viewfinder. A tripod is a must for this experiment!!! Also it is best to use something like a building or a house so you can be able to tell exactly how much more or less you are getting on your sensor as opposed to what you see.
I know this has nothing to do with the article, but seems like some folks were having an issue with this.
ref wild card:
Coming from a novice point of view: Using Canon 50D crop sensor camera. EF full frame lens & EF-S made for crop sensors.
Does this mean that if I had two hypothetical lenses: EF 50-300 and an EF-S 50-300 Standing side by side looking at a subject about 1000 feet away. Would the EF-S lens actually show a closer view of the subject?
If this is so, then I assume that I'd be losing a few feet on the close-up or macro as well?
Both of your hypothetical lenses would be zoomed in at the same scale, (one would not be giving a closer image than the other) the main difference for efs and ef lenses is that an efs lens would not fit a full frame camera correctly - the back of it would hit the sensor in the camera if you tried to fit it.
to try and simplify it further,
two cameras both with 100mm lens on, mine full frame yours cropped sensor, we take a picture of a flower field, my picture shows one blue flower in the middle surrounded by yellow flowers, yours only shows the blue flower because the sensor isn't large enough to pick up the surrounding detail.
Now in order for me to get the single blue flower in my picture i would have to use a 160mm lens to narrow my field of view down (forget the increased zoom at this stage) so it is said that your lens has an equivelant focal length of 160mm or a crop factor of x1.6.
onto the zoom factor debate- this if you can call it zoom, increase only comes into play on developing a picture - lets say on an a4 piece of paper, from our 100mm pictures your flower will appear bigger than my flower because it has been stretched to fit the page whereas i still have the yellow flowers that take up some of the space so they will not be stretched as much, we both have the same detail but yours will appear like it has been zoomed in and probably lose some of its quality as a consequence of the stretch.
hope this answers your question.
For those confused about cropping for printing:
I use Gimp to edit my pictures so when I open an image taken by my Canon XSi in Gimp and set the print size to four inches tall, it automatically makes the width six inches and sets the dpi to 712dpi in both directions. Then I can crop any way I want as long as the ratio is 2:3 in my choice. At that point I can change the print size which will lower my dpi or I can scale the image which resizes and brings it back to the same dots per inch by extrapolating the missing pixels from the surrounding image. This extrapolation is similar to the optical zoom in point and shoot cameras. Some times this works but mostly it makes a blurry mess.
Since I seldom print any 4x6 images, when I open in Gimp personally, I will set the print size to eight inches high and that makes it 12 inches wide at 356 dpi both directions. I will make adjustments to my image like brightness/contrast (or levels) and saturation, then maybe an unsharp mask all depending on what needs to be done to the image. I will then put this image on an SD card and take it to Walgreen's where I do most of my prints. When their machine opens it, it does not care what dpi I have set in the image at all. It will look at the number of pixels wide by pixels high and size it by that. Then I open the crop dialog and crop it to the size of print that I want. In most cases I chose 8x10 and it overlays the selection box over my image(making the parts outside of the print box a grayish overlay) I can then use the arrows to move the box side to side until I have what I want in the 8x10 image box at which point I save the "crop" selection I have chosen. This tells their printer what part of the image to actually include in the finished product. Note that I have cut off two inches of the original width if it is 8 inches high. These print kiosks work the same way for 5x7 prints which are another ratio that is different than what came out of the camera, and works the same for a large poster print. It all depends on the width to height ratio of your print choice and the 2:3 ratio your camera captured.
Note the 2:3 ratio applies to all DSLR or SLR camera since they are based on the old 35mm standard of 24mmx36mm film size. Point and Shoot cameras and other format cameras have different ratios!!!
"As a followup, Margie is describing exacty the same problem I'm having."
The sensor does not effect printing, only what you see and capture on site. Your camera is a 2:3 sensor whether full frame or crop sensor. The ratio of height to width is 2 to 3 so it will print as a 4x6 print without any loss. It will also print at 8x12, or 16x24, or 20x30 without loss or any "cropping off". However those are not all standard sizes. The common 8x10 is an example. In that case you would need to decide how to chop off your 8x12 to an 8x10. This is a common thing to do at a self-service kiosk like Walmart or Wallgreen's.
I am not sure of the exact numbers for a 15mp camera are, but for my Canon XSi 12.2mp camera if I print the image straight from the camera at 4x6 inch, I have something on the order of 712 dots per inch in each direction. That is way beyond what is needed for all purposes. If I print the same image at 16x24 inches, my dots per inch drops to 178 dpi, which is just enough to get a decent print from, but not good enough for a commercial printer since they usually require 300 dpi. The main point is that prints and printers deal with total pixels or dpi in most cases and dpi comes from the total pixels divided by the print size that you want to make from the image.
Most importantly, crop factor is not the same as cropping an image after the fact.
As a followup, Margie is describing exacty the same problem I'm having.
Great simplified answer to crop factor, but the question that never seems to get answered for me is: A) how can I be sure what will and will not get cropped out of my picture that I've taken with a Canon 40D (1.6 crop factor) that I decide to have blown up to 11 x 14 and: B) should I leave the picture as is (no cropping in Aperture 2) as I'll lose some at processing time.
As an example, I've sent some photos for processing (11 x14 in size) only to have them return with some of the photo missing on the side and bottom.
Coming from a novice point of view: Using Canon 50D crop sensor camera. EF full frame lens & EF-S made for crop sensors.
Does this mean that if I had two hypothetical lenses: EF 50-300 and an EF-S 50-300 Standing side by side looking at a subject about 1000 feet away. Would the EF-S lens actually show a closer view of the subject?
If this is so, then I assume that I'd be losing a few feet on the close-up or macro as well?
I think there is a lot of over complicated descriptions of 'crop factor' .
It simply implies that a full frame sensor gets the full picture from say a 100mm lens, the person stood next to you with the same lens but with a smaller sensored camera would get a cropped picture, ie missing the peripherals of what the full frame sensor captured from the same lens.
An example of a 1.6 crop factor - If a full frame camera were to use a 160mm lens you would get the same picture boundaries from your 100mm lens, but not the same zoom factor (a closer subject) - 100mm is 100mm is 100mm, your sensor does not magnify your lens.
I need help...my pictures were taken from a 15mp Canon T1i and I want to print it 4x6..however, before cropping it to a 4x6, I wanted to edit and crop them to how I want the picture to look. My dilemma is when I cropped the final picture to a 4x6..it cut either from the head or from the bottom..Please help..how can I edit my pictures, crop them, and still be able to make a full 4x6 without losing any of the picture...
Learning any complexity, whether it's 'cropfactor' or 'Newtonian physics' requires time, consideration and one more important thing to get one's head all-the-way-around it: A variety/different experts' explanations. This is because both teaching and language are difficult and cannot be taken lightly. How many excellent [fill in blank] have you know that were great [same blank] but could not teach or explain it? Words are often interpreted in varied ways, and pronouns used too often (see above).
Botton line: Read lots of explanations about crop factor. Soon you'll 'know it cold' and be the expert yourself!
I didn't like the crop factor explanation too much. Sorry! Needs more illustrations, I think.
BTW, I already know what crop factor is... but if I didn't, I would feel this article is incomplete.
Crop factor explained at its best. Thank you
You could also have a look here : FF vs APS : Real Crop Factor explained.
Lot of good insights on crop factor by a talented photographer.
I think my earlier question was little confusing.
Here is the simplified question -
"When I look through my view fider(eye peace) do I see the image that is full frame image(i.e. crop factor needs to be applied on it) or it will be the exact image that my DSLR sensor will imprint(i.e. a crop factor is already applied on it)" ?
I understand that crop factor will cut the corners.
Here is my question - when I see through the view finder, do I still see what the lense is seeing or do I see that the sensor is going to imprint ? and I believe these two are still difference as lenses focal length is never changed. right !
Now how do I make sure that I am not losing an object which is near the corner in my view finder having the knowledge that the sensor is going to cut some portion from the corner !!
Does it mean my 18-55mm AFS to D80 is quivalent to 28mm?
Thanks, you really explained it fully without complicating matters.
I love your ability to get right to the point!
You assisted me in figuring out what crop factor means in 2 minutes and I have read several articles on crop factor in the past two years and frustration was the end resuls, I just could not get it!
I choose to learn something new about digital photography each day! Today was a great day!
Simplicity is always best!
Thank you... Thank you
Dr. Christman
So if I crop out one quarter...or less...of an overall image and enlarghe it to check sharpness, color, etc., have I come close to achieveing the same thing?
I agree with James Tibbel's comment saying that we are making far to much about it. Amatures probably don't care and professionals, especially those who migrated from film, already understand the concept although they never called it "crop factor". When you put a 4x5 back on an 8x10 view camera, or a 120 back on a 4x5, you simply looked at the ground glass and recomposed your picture or changed lenses or both. The manufacturers don't make things any easier for new photographers by hyping the pixel resolution and burying the actual sensor size.
Crop good if you want extra zoom from chosen lens,
Crop bad if you want to keep wide angle from chosen lens,
Crop good if you want a bit extra zoom while retaining the arpeture setting of the lens as it would be set to wide.
As you zoom, the DOF changes, therefore, by cropping lens you get some extra zoom while still allowing wider arpeture.
For example, if my wide angle on lens is 2.8 and i start to zoom, the f number may change to 3.5. So if i want extra zoom by using crop factor i can still shoot at 2.8.
Crop good because any soft edges or lens distorions at edge of lens are removed by the crop. (you are using more middle of lens)
Crop bad if you need a wide angle, or if you bought a lens without factoring crop, to find you now have to do multiplication, even if its only once. (and you thought you had left that all behind at school.)
Crop bad as your focal length settings in you cameras exif data will be a bit out. (only if you rely on this, but most dont.)
Crop good as you can use smaller lighter lenses to achieve the same zoom.
Crop bad as you are effectivle wasting some of the glass that you paid for, even if its only the outer edges.
Crop bad as it may increase the visibility of effect of any scratches or dust in you lens/elements. (you are enlargeing teh image at set zoom, so only very slight issue)
Crop bad because it means the sensor is physically smaller, that means either less megapixels or higher pixel density, which can lead to noise when enlarging.
Weigh it all up, then multiply it by something and hope you are not still confused. if in doubt. Put a bow-tie on you lens and ketchup in your pocket, and wear a rainbow hat, people will then ignore the confused look on your face.
In my opinion. This crop factor really is as a result of comparing film to digital and has been a major factor for those moving from film to digital. Quite frankly I think we are making far too much about it.
No DOF implications. The "crop factor" is effectively the same as zooming in on the center of the picture.
This is not all bad. You may have to step back from your subject more when using a primary (fixed) lens, but it does come in handy when using a telephoto (zoom) lens. Think of it this way. An 8.2MP camera with a small sensor will cram all 8.2MP onto the smaller sensor. This means that you can blow it up more while retaining the image quality. To get the same size subject on a full frame camera, you would have to crop in and zoom losing some of your pixels then stretching out the remaining pixels to get the same shot.
Think of it this way; At the same distance using the same lens, your subject might be 2" with the crop factor camera and 1.5 inches tall with the full frame. To make that subject 2 inches, you would have to stretch the pixels causing some distortion.
the 1D series is 1.3x crop factor
the 1Ds series is full frame
people get this confused all the time. remember it like this; 1Ds for studio, 1D for sports/photojournalism.
Are the Canon EOS 1D and 1D MkIIn really not full frame sensors?
I assumed every model higher than the 5d would be. That's kind of confusing, if it's true.
While I think this is a nice effort on whoever's part I think you should dig a little deeper and tell about the implications of this crop factor. Such as in some cases a larger DOF or whatever happens because the sensor is smaller...
Also, I don't understand why some companies, like Olympus don't make lenses to fit their crop factor (i.e. 25mm lens to turn into a 50mm one...)
Timen- the only full framed DSLR is canon's mk1/2/3, and the 5d.
Note that it's not all downside -- lenses designed for a smaller sensor only have to cover a smaller imaging area, and therefore can be significantly smaller and lighter.
I found this issue quite difficult to understand, but now it doesn't seem so complicated to me. Thanks for your explanation.
Thanks for the info.
Nice site btw.
I now understand. Thanks
i've read a lot of articels about crop factor and none of them were as short and simple as this one. Either one of them spoke about what is the crop factor or how crop factor affects the picture.
Great article for beginner. This one's must be read by everyone who's considering to get a dSLR.
Thanks a lot for this one!
I first stumbled upon this issue when I bought by first DSLR, the 350D. I find it one truly crappy issue with DSLRs.
By the way, what are the popular full-frame DSLRs?


text:
[L to R: John Jones, Fred Spicer, Robert Martin, John Floyd]
Sara Askew Jones dedication held on Tuesday
On Tuesday, June 4, the recently completed Sara Askew Jones Arbor was dedicated at the entrance of the Hess Camellia Garden at Birmingham Botanical Gardens. Named for the longtime Healthy Living Editor at Southern Living, the arbor was installed by Robinson Iron Inc. and volunteer John Jones. It was made possible through a generous donation by the Jones family, friends and former co-workers at Southern Living, the Lucille S. Beeson Charitable Trust, Rebar Express and Ready Mix U.S.A. The arbor was also made possible with in-kind service from the City of Birmingham. It was designed by former Southern Living Architecture Editor Robert Martin.
Martin, a 1992 graduate from Auburn University's School of Architecture, began his career as a field architectural draftsman for the Historic American Engineering Record before becoming the Architecture Editor for Southern Living. Along with two other Southern Living alums, he created an online business, www.getmorecurbappeal.com, in 2010 where he serves as the Head Residential Designer. A native of Hartselle, Martin now resides in Birmingham.


text:
Acid Phosphate is a cool ingredient to work with since it provides a pure sour taste without added flavours, like the oils in lemon or lime contribute. It also enhances flavours because it contains salts of calcium, potassium and magnesium. This means it can either crank up the flavour profile of a strong drink or enhance a more delicate flavour, like honey.
Having moved out to the country, I have taken to doing things, like beekeeping. Why? Because I can, and I'm just a curious person. The thing with bees is that they produce a lot of honey. A single, healthy hive can produce 100 to 200 lbs of honey in a season. That's a lot more honey than the bees need to survive the winter, so in exchange for building them the hive, doing the maintenance, being their healthcare practitioner and advocating on their behalf, they pay rent in the form of honey.
So what does one do with all of this honey? If you are me, you try to make a drink out of it. The honey produced in this area is light with a pleasant floral aroma and a mild acidity. There are some honey-based cocktails, like the Air Mail and Bees Knees, but I've never found the combination of honey and lemon or lime to work well, it always seems that the honey is overpowered by the citrus flavour. This is where the neutral Acid Phosphate flavour comes in handy.
Though honey, soda and Acid Phosphate make a refreshing drink, it lacks the complex kick that many people have come to love about modern cocktail culture. The solution is to add a complimentary flavour or a touch of alcohol. Gin would work well, but I'd recommend a lighter style of gin. G'Vine seems to be an obvious choice here. Vodka would also work as the neutral flavour won't obscure the delicate honey flavour of the drink.
As for complimentary flavours, essential oils and floral waters are a good way to go. If you want to make a floral type of soda, try using lavender, chamomile or rose. To make a floral syrup:
Take 1 oz of essential oil dissolved in one pint of alcohol (essence).
Then take 1 oz of the essence and add to a 1 quart of simple syrup.
Soda syrup was typically 3three parts sugar to 2 parts water. In my case, I'm using honey instead of sugar.
Sticking with the honey theme, I decided to make a Honey Myrtle (melaleuca teretifolia) syrup. Honey Myrtle is native to Australia and the key essential oil in it is Citral (80% to 90%), which is a major component of lemon grass and lemon verbena. It is a minor component in lemons and limes. The aroma has elements of lemon grass and a unique honey aroma, hence it's name. Oddly, citral is a component of a pheromone that bees release to communicate, so it seems appropriate to make a honey-based drink.
I've made some modifications to the syrup since the Honey Myrtle essential oil is rather potent, I used half the normal amount. I also reduced the size of the recipe for convenience. Always feel free to adjust your recipe to suit your tastes. You could substitute lemon grass essential oil and get similar results.
Honey Myrtle Essence
¼ oz Honey Myrtle Essential Oil
½ pint Vodka (72% abv)
Honey Myrtle Syrup
¼ oz Honey Myrtle Essence
8 oz Honey Syrup (3 parts honey 2 parts water)
Honey Myrtle Phosphate
1 oz Honey Myrtle Syrup
7 oz Soda Water (cold)
4 dashes Acid Phosphate
Fill an 8 oz glass with 7 oz of soda water and then add the syrup, Phosphate and stir gently. This is also known as serving still.
Honey is not very colourful, and neither are essential oils so for a visual effect you can use a fancy glass, or make a tincture of saffron or turmeric and vodka and use that to give the drink a bright, all natural, yellow colour.


text:
Justin Morrill
A high school drop out at the age of 15 years, Justin Morrill opened the doors of higher education to millions of Americans. He retired as a gentleman at the age of 39 years to study architecture and gardening – and to build a charming 17 room gothic mansion. Retirement was short lived as he was soon elected to the U.S. Congress and later to the Senate.


text:
Alexandra Lehman (pictured) posted four wins over the weekend in singles and doubles play.
CAMBRIDGE, Mass. – The Harvard
Invitational featured players from Harvard, Brown, Cornell and
Louisiana State. Players competed in three singles flights and
three doubles flights.
In singles flight 1, freshman Alex Lehman dropped her first match to Brown's Misia Krasowski, 5-7, 6-3, 6-1, but bounced back to win the two additional matches she played. Sophomore Samantha Gridley also competed in flight 1, but lost her first match to Cate Steward of Brown, 6-3, 6-3.
Junior Agnes Sibilski defeated Brown's Emily Ellis, 7-6(3), 2-6, 6-4, in the opening round of flight 2, before falling to Cornell's Sarah O'Neal, 6-3, 6-1, in the semifinal round. LSU's Ebie Wilson beat sophomore Caroline Davis 7-5, 6-3, in the opening round of the flight. Singles flight 3 was a round robin format, and sophomore Louise Laciny won both of her matches. Saturday morning, Laciny defeated LSU's Sloane Mathis, 6-2, 7-6(2) and beat Leah Seyburn of Cornell Sunday afternoon, 6-3, 6-0.
The doubles flights used a round robin format, giving teams at least two matches over the course of the weekend. In flight A, freshman Hideko Tachibana and Lehman paired up to win both of their matches, defeating the duo of Misia Krasowski and Julie Flanzer or Brown, 9-7, and Susan Sullivan and Sarah O'Neal of Cornell. Sibilski and Davis competed in flight B, dropping both matches they played. Gridley and Laciny competed in flight C, and won two of their three matches.
The Crimson opens the spring with a dual match agasint local rival Boston University Jan. 23.


text:
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text:
Marie-Agnès Gillot: A New Star at the Paris Opéra Ballet
By Patricia
"I was overwhelmed to be given the title of
étoile after dancing Signes", the twenty-eight year old dancer
told me in an interview several days later. "It's the first time an
étoile has been nominated after dancing a contemporary ballet. I think
many people were surprised as modern works are generally considered less
important than the classics, although they now represent half the repertoire of
the company."
However, there could have been no surprise as regards
the nomination, because this magnificent dancer has been quietly emerging as a
most gifted and versatile young ballerina for some time. Not only is she an
extraordinary interpretive dancer in contemporary works, but she is also
utterly beautiful in the classics. She has the authority and dramatic
intelligence that makes her an obvious choice for the leading roles in almost
all the full-length traditional ballets, while she is simply spectacular in
both Balanchine and Robbins.
Marie-Agnès Gillot was born in Caen and began
dance at the age of five, when her mother took her to ballet class once a week
as an outlet for her surplus energy. Fortunately, her teacher was Chantal
Ruant, wife of the Paris Opéra's Francis Malovik*, who quickly saw her
potential, and suggested she audition for the Paris Opéra school at the
age of nine.
"I adored every moment of my time there", she told me,
"although I'd never been away from home before. I was so well looked after by
Madame Beaumont. At first, we lived in a lovely apartment on Boulevard
Haussmann, before moving to the new school in Nanterre for the last three
years. Moreover, I got on wonderfully well with Claude Bessy **. The shock came
when I joined the company in September 1990!"
"Carolyn Carlson marked a turning point in my career",
Gillot told me. "She taught me what to do with my femininity. Up until then,
people had been interested by my force and vitality, and I was repeatedly given
technically difficult roles, whereas Carolyn drew out my fluidity and made me
realise I was a woman, not some androgynous being. It was the first time I'd
been encouraged to be myself, to show the person behind the technique, and in
many ways Signes in 1997 marked the beginning of my career."
A currently exciting project is a trip to Stockholm to
work exclusively with Mats Ek, the Swedish choreographer who has chosen her to
interpret his Giselle, in the role created by the great Ana Laguna in 1982. The
fact that Ek, who doubtless appreciated her dramatic gifts in The
Apartment, has asked for her, had given her an enormous bout of confidence
this last year.
Patricia Boccadoro writes on dance in Europe. She contributes to The Guardian, The Observer and Dancing Times and was dance consultant to the BBC Omnibus documentary on Rudolf Nureyev. Ms. Boccadoro is the dance editor for Culturekiosque.com.
If you value our reviews, please tell a friend or join our mailing list!
[ email Patricia Boccadoro | Back to Dance Magazine | Back to Culturekiosque ]


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AUSTIN, TEXAS—A bold passing manoeuvre at the end of a long straightway slipped Lewis Hamilton past Sebastian Vettel, and the McLaren driver went on to win the U.S. Grand Prix on Sunday in the first Formula One race on American soil since 2007.
The drivers' championship will be settled next week in Sao Paolo, Brazil, after Red Bull's Vettel finished second and Ferrari's Fernando Alonso third.
"Wicked!" said Hamilton, who pumped his fists, waved to the crowd and danced a jig on the nose of his car after his fourth win of the season. "This is one of the best, if not the best Grand Prix, we've had all year."
Vettel started the race in the pole position and led the first 41 laps before Hamilton caught him, sneaking past Vettel just before they reached the tight corner on turn No. 12 at the Circuit of the Americas. Hamilton started in the No. 2 position and pushed Vettel at every opportunity.
"It was a close fight with Lewis. He had one chance and took it. There wasn't much between us," Vettel said.
Vettel, the defending two-time Formula One champion, remains slightly ahead of Ferrari's Alonso in the drivers' championship, meaning the title will come down to the final race of the season.
Hamilton, who won the last U.S. Grand Prix, talked all week about how much he loves the United States and how badly he wanted to win in his return.
With the stars and stripes of the American flag painted on top of his helmet, Hamilton pulled off the daring move of the race with his pass. Vettel had been dominant in practice and qualifying on the new $400 million track that none of the teams had driven before this week, but couldn't hold off the former world champion Sunday.
Vettel survived the chaos of the start as the drivers reached the top of the 133-foot elevation at the signature first turn, then whipped around and down into the second before hitting a series of curves.
Vettel kept clear of the congestion and looked to be off and running to a victory. But Hamilton kept looking for his chance on every pass through the straightaway before he finally found the room he needed.
"I knew that lap was going to be the lap that I was going to try, so I turned the engine up and went for it," Hamilton said.
Alonso had to work hard to keep up and keep the chase for the drivers' championship going.
Alonso was set to start in eighth. He got a boost to seventh when Ferrari broke the gearbox seal of Alonso's teammate, Felipe Massa, incurring a five-spot penalty for Massa that allowed Alonso to move up.
"The reason for this was for strategy considerations, with the objective of maximizing Alonso's start potential given that he's still in with a chance to win the drivers' championship," Ferrari said in a statement. "It was a decision agreed by both drivers."
Alonso used the better position to immediately advance three spots on the first lap. He ran into trouble with a bad pit stop when his crew struggled to replace his rear left wheel, but made up enough ground to finish third.
"Today it was not possible to keep pace (with the leaders)," Alonso said. "They were too far ahead."
Vettel still leads the drivers' championship race by 13 points. The 25-year-old German would be just the third driver to win three consecutive titles, joining Juan Manuel Fangio and Michael Schumacher.
Alonso, 31, of Spain, won consecutive titles in 2005 and 2006.
"We try to look at Brazil with a possibility to fight for a world championship," Alonso said.


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Grace Hotels
Hotel Category: Hotel Corporate Offices and Hotel Brand Corporate Office
Welcome to Grace Hotels® – an exclusive, privately owned group of luxury boutique hotels in the world's most stylish destinations and resorts. Our promise is elegance, simplicity and supreme service. Each Grace hotel offers discerning guests a wholly authentic expression of its locality. From romantic whitewashed seafront properties in the Greek islands to a ranch-style estate property high in the wine growing region of Argentina, to an ultra-modern tower in the heart of Panama, each experience is truly unique. The Mayflower Grace, The Vanderbilt Grace and The White Barn Inn form a collection of historic, landmark hotels in New England. Further new additions will include Grace Marrakech, a tranquil hideaway with its own farmstead amid breath-taking views of the Atlas Mountains, Grace St. Moritz, Grace Kalamata and Grace Kea in Greece, and La Dolfina Grace in Argentina. The latter represents our collaboration with iconic polo and lifestyle brand, La Dolfina, and will be located on the world-famous La Dolfina Polo Ranch. The estate, located just outside Buenos Aires, is the vision of Adolfo Cambiaso, widely regarded as the best polo player ever to play the sport.
We pride ourselves on the gastronomic experience at each hotel, where carefully crafted menus represent the best of local, seasonal cuisine. Our collection of top boutique hotels with outstanding restaurants and destination spas are a byword for perfect hospitality, seamlessly delivered, in some of the most amazing locations. Our properties turn style into an art form. Ever since we opened the first Grace boutique hotel in Greece we have earned top design and hospitality industry accolades from around the world. Every Grace hotel is a style icon – the food, the position, the swimming pools, the furniture, every aspect of design… come and see for yourself.


text:
'prove output is inhibited
Major Section: OTHER
General Forms: (set-print-clause-ids t) :set-print-clause-ids t (set-print-clause-ids nil) :set-print-clause-ids nilThis command affects output from the theorem prover only when
output is inhibited; see set-inhibit-output-lst. Calling this macro with
t as shown above will cause subsequent proof attempts with
'prove output inhibited to print the subgoal number, so that you can see
the progress of the proof; value
nil reverts to the default behavior,
where this is not the case. On a related note, we point out that you can
cause output to be saved for later display; see pso and see pso!.


text:
|OU Baseball Tradition | 1951 National Champions
|OU Baseball Main
Oklahoma came from behind to defeat the University of Tennessee, 3-2, in the championship game to become the first team in College World Series history to claim the title after winning the double-elimination tournament in straight games without defeat.
The title also gave the University of Oklahoma the distinction of becoming the first school to win three national titles in one school year after the football and wrestling teams both captured national championships.
As OU Head Coach Jack Baer recalled years later, the title was a credit to the team's dedication and competitiveness.
"We just weren't a great team, but everybody worked hard," said Baer. "We had a couple of good hitters and two good pitchers, three really."
It was a fine pitching performance by one of those good pitchers that lifted the Sooners to victory in the championship game. Oklahoma starting pitcher Jack Shirley held the Volunteers to only two runs on three hits while facing only five batters over the minimum and putting the side down in order in seven of the nine innings. After surrendering a single and a double in the first inning, the righthander from Altus, Okla., quieted the Tennessee bats until the fifth inning when he gave up a RBI-single that drove in the Volunteers' second run of the inning. The win was Shirley's second of the tournament after leading the Sooners to victory in their first game against Ohio State, and his eighth in nine starts that year. Shirley's game-ending numbers included four walks and six strikeouts while stranding three Volunteer baserunners.
Offensively, Oklahoma pounded out 11 hits off of two Tennessee pitchers. Most of the Sooners' offensive production came from three players: catcher John Reddell, leftfielder Phil McKee and first baseman Gene Sheets. Reddell led all hitters with a 3-for-5 performance, while McKee and Sheets both turned in two-hit efforts.
However, it was centerfielder Charley Pugsley who delivered the key hit for the Sooners that day. With the game tied at two and two outs in the top of the eighth inning, Pugsley hammered his only hit of the evening into centerfield to score third baseman Ray Morgosh with the winning run.
OU scored its first run of the game in the sixth inning when UT's starting pitcher walked in Reddell with the bases loaded. Reddell figured into the Sooners' next scoring play when he singled home McKee from third to tie the game at two in the top of the seventh inning.
The Sooners struggled in their first game of the College World Series before routing its next two opponents to make it to the championship game. It took Oklahoma extra frames to defeat Big Ten Champ Ohio State, 9-8, in 10 innings after OU committed six errors and left 16 men stranded on the base paths. Despite walking 15 batters, Oklahoma pitcher Jim Waldrip hurled a two-hit ballgame against Springfield (Mass.) College in the second game of the tournament as the Sooners emerged 7-1 victors. Then, OU took its spot in the national championship game by defeating Southern California, 4-1. Another pitching star for Oklahoma, Floyd Murphy, led the Sooners to victory over the Trojans as Murphy scattered eight hits, while the Sooner defense aided the effort by turning four double plays in the game.
After beginning the season with six straight losses, OU finished the regular season 12-9 and captured the Big Seven Conference crown after compiling a 10-1 mark in league play. The Sooners' shaky start melted away into a hot streak which saw OU win its last 13 games en route to the title. The 13-game streak currently stands in a tie for third all-time as the longest win streak to end a season by a College World Series champion.
Oklahoma 3, Tennessee 2 - Sunday, June 17 - Omaha, Neb.


text: CANADA, NORTH AMERICA - Biggest Classifieds: American Classifieds: Local Directory Classified Business Advertising Wednesday, 26 June, 2019 CANADA, NORTH AMERICA Home • Post Ad Home / NORTH AMERICA / CANADA / Make a Post Make a Post NORTH AMERICA » CANADA » Business » Home Based Business (Change) You will be charged $1.50 for making a post to this section. NOTICE FOR ADVERTISERS:- ALL advertisements and web pages of BiggestClassifieds.com are easily viewable / can be displayed by any web browser, with special exception of this page (called Post Ad page) which due to technical reasons, may not be fully viewed / displayed by certain web browsers such as Google Chrome browser. If you face such difficulty, first method, please pause or disable your pop up/ad blocker, else the entire form with input fields would not show up. If you face such difficulty, second method, if the problem continues, please try to use for eg. Mozilla Firefox or other browser, to Post Ad page of BiggestClassifieds.com PLEASE READ THIS BEFORE YOU CONTINUE... BiggestClassifieds.com is a long established and top ranking classifieds. Due to this status and increasing popularity, we are experiencing very huge and high website traffic to our website (which is very healthy and encouraging). We are NOW pleased to announce that advertisers would only need to donate USD10 to enable a Featured Ads and / or only USD1.50 for an ordinary ads listing. Your Ads would not be listed at all even if you have verified the links in your email and there is no payment on your side. Your donation is highly appreciated to fund our Research and Development, which will benefit YOU as our valued advertiser and user. We also thank many donors / sponsors for your support so that we could ensure high quality service and continuity of BiggestClassifieds.com service to the local and world community. DON'T MAKE MISTAKE and DON'T WASTE YOUR TIME. SO, KINDLY READ THIS USE-US-BUT-DON'T-ABUSE-US POLICY:- Please Be Reminded This Is a Family Friendly Site. *SPAMMING is strictly NOT ALLOWED. *EXCESSIVE DUPLICATES are NOT ALLOWED & would be removed! *EXCESSIVE daily posting that point to a common website is NOT ALLOWED & would be BANNED and REMOVED from our website and YOUR ACTION would RESULT in your WEBSITE BANNED as well as in our other network of classifieds! *PORNOGRAPHIC in nature OF ANY KIND NOT ALLOWED! *ESCORT service OF ANY KIND NOT ALLOWED! *BLACK MAGIC of any kind NOT ALLOWED! *ILLEGAL SUBSTANCE / DRUGS such as MORPHINE or METHADONE, etc. NOT ALLOWED! Your ad will be displayed for 7 days. Please CHOOSE, DONATE and ENJOY the Featured Ads or Extended Ad package if you would like your ad to appear at the top page and to run longer (country category applies). Your CONTRIBUTION is APPRECIATED to HELP US in our website R&D to continue to enhance this community service. Title: Location: (Select) AbbotsfordBarrieBurnabyCalgaryCharlottetownCoquitlamEdmontonFrederictonGatineauGreater SudburyHalifaxHamiltonKamloopsKelownaKingstonKitchenerLavalLondon, OntarioLongueuilMontrealNanaimoOshawaOttawaPrince GeorgeQuebec CityReginaRichmondSaguenaySaint JohnSaskatoonSherbrookeSt. AlbertSt. CatharinesSt. John'sSurreySydney, Nova ScotiaThunder BayTorontoTrois-RivičresVancouverVictoriaWindsorWinnipeg (Other) or specify Post: * Preview Your Email: * Do not display my email Do not display my email but allow users to contact me through the contact form Display my email on the site Security Code: * Enter the code shown above into this textbox Upload Pictures: Maximum filesize: 200KB People can contact me with commercial interests. I agree to the terms of use by making a post Promote your ad Featured Ad Featured ads are placed top-most in each category and are shown highlighted. Select the appropraite option from below if you want to make this a featured ad. None 60 days ($8.50) Extended Ad Want to have your ad running longer? Consider buying one of the following promotions. None + 180 days ($30.00) Post Now Copyright © 2008 - 2019 Biggest Classifieds: American Classifieds: Local Directory Classified Business Advertising. All Rights Reserved | Terms of Use | Privacy Policy | Contact US Powered by Largest Web Hosting


text:
Featured Content
Holidays & Occasions
Featured Collections
Products by Category
Cooking Tips
World Cuisine
10 servings, 1 piece (135 g) each
Read MoreRead Less
Tap or click steps to mark as complete
Savour a serving of this indulgent special-occasion dessert that is perfect for a party. One pie makes enough for 10 servings.
Substitute 1 ready-to-use refrigerated pie crust for the homemade pie crust.
Warm chocolate slightly by heating it in the microwave for a few seconds until you can just smudge the chocolate with your thumb. Hold the chocolate steadily between your thumb and fingers of one hand and draw a vegetable peeler slowly over flat bottom of chocolate piece. Allow a thin layer of chocolate to curl as it is peeled off the bottom. This will make long delicate curls. To make short curls, use the same technique on the narrow sides of the chocolate piece. To arrange curls on a dessert, use a toothpick to lift them into place.
* Nutrition information is estimated based on the ingredients and cooking instructions as described in each recipe and is intended to be used for informational purposes only. Please note that nutrition details may vary based on methods of preparation, origin and freshness of ingredients used.


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The great debate over the "Great Rotation" continues to evolve on Wall Street.
Today, Gerard Minack, Head of Global Developed Markets at Morgan Stanley, picked apart the thesis in his Downunder Daily note to clients.
Minack thinks a big "rotation" into stocks - a continuation of the strong flows into equity funds observed in January - could conceivably occur in 2013. However, that doesn't mean stock prices will keep going up.
Minack presents several reasons for skepticism.
"First," Minack writes, "the idea of a 'great rotation' from debt into equity presupposes that there has been a massive rotation from equity to debt. It's not clear that that has happened."
The chart below shows flows into and out of money market, bond, and equity funds since 2007. While it's true that money has flowed out of equity funds and into bond funds over that period, it's clear that there is more to the story.
This illustrates that the size of the outflow from equities in the past five years doesn't explain the massive inflows into bonds. The big redemptions from money market funds over the same time period may be the missing link: the rotation in recent times may be more aptly described as one out of cash and into debt.
Regardless, it's not even quite fair to say that money has just poured out of stocks in recent years. In fact, even though equity mutual funds have sustained hundreds of billions of dollars in outflows, the truth is that equity ETFs have seen even bigger inflows over the same period, as the chart below reveals.
The next issue Minack raises is U.S. pension funds' current allocation to equities. Right now, it's hovering just above its long-term average of 50 percent. It is thus hard to see how the big, "real money" investors could provide much impetus for big marginal flows into equity funds.
Minack also fleshes out an argument mentioned by Gluskin Sheff economist David Rosenberg earlier this week: sometimes flows are correlated with returns, and sometimes they are inversely correlated.
The chart below plots the relative return of equities over Treasuries versus the relative flows into equity funds over those into bond funds.
While one would expect these to display a positive correlation, the fact is that there have been long periods - in the late 1980s, for example, or the mid-1990s - when returns displayed an inverse correlation with flows.
Even though the economy appears to be on the rebound, economic fundamentals are still the biggest open question, according to Minack:
More to the point, while investor sentiment has clearly improved over the past half-year, it's not clear that that sentiment could withstand material bad news. We've seen this upbeat equity mood before over the past three years. Likewise there have been significant set-backs to debt.
The recent ~50bp rise in the 10 year US Treasury yield, for example, compares with the 11⁄2% rise in 2009 or the 11⁄4% rise in 2010. The equity bullishness/Treasury bearishness then evaporated when the fundamentals changed.
"For sure," Minack says, "if the fundamentals continue to improve, equities will do better, and flows may shift."
If the fundamentals don't improve, however, Minack doesn't see inflows into equity funds as any sort of cure.
MORE: CITI: This Big Thrust Into Stocks Is Probably Just Seasonal, And That Means A Correction Is Looming >


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Tired of the same old hidden picture games that everyone else is playing?
This is a "Big Free Hidden Object Game", which has been designed keeping in mind the needs of both young and old players. This game features BIG OBJECTS, which means no more straining your eyes when you try to find concealed objects, which are not easy to find.
Big Play School presents Hundreds Clothing, a Free Hidden Object game where we have carefully hidden 10 objects per level in a total of 25 levels to give you 250 objects to find.
Some of Hundreds Clothing Features :
• 25 Fun Packed Levels
• 10 Objects to find Per Level
• 250 Total Hidden Objects to Find
• Unlimited hints to help you find objects
• Pinch and zoom functionality to find objects that are particularly difficult to find
Unlike other no-cost hidden object games that offer one or two "teaser" levels before prompting users to pay for more, in Hundreds Clothing, there are no in-app purchases necessary to unlock more levels. So if you like to find objects, instead of having to pull out your credit card, users can enjoyably focus on making their way through 25 ultra-fun levels.
Each hidden picture level features 10 meticulously well-hidden objects to find (250 in total for the hidden picture game). In addition to the aforementioned spectacular graphics – which are richly detailed, stunningly realistic and crafted in vibrant colors – our games have been designed with a number of special features that hidden object game addicts will truly appreciate, especially if you love to find objects.
We do not bore users with pointless stories that distract them from the goal of unlocking achievements and finding hidden objects and of course, we don't force users to make in-app purchases in order to keep playing our hidden picture games to find objects.
Our Free Hidden Object Games are difficult, challenging and therefore more suitable for adults, however we are extremely careful about the type of objects and props that we use. Everything is child-friendly, and users never have to worry about their children accidentally stumbling across the app and encountering something age-inappropriate.
This is a fun seek and find item hunting game that challenges you to solve tons of different picture puzzles and problems one by one. Picture stages give you images of the items you need to find, making it easy to complete challenges by matching item to item. You never know what mystery will happen next in this Hidden Objects Game full of numerous little objects to search and make it one of the best hidden object games. It is a very challenging and addictive find hidden objects puzzle full of entertainment for both kids and adults.
So are you ready to locate and find all the lost objects in this free hidden object game while discovering concealed hidden secrets? Uncover the mystery, detect and spot the concealed hidden objects. Can you find all the missing concealed objects in each colorful hidden picture stage?
If you like Hundreds Clothing, and you like to find objects. When you complete the game press More Games button in the app to install more hidden object games for free.
線上24小時玩Hundred Clothing Hidden Object APP免費
下載解謎APP-在線上免費玩Hundred Clothing Hidden Object APP
Google Play
下載 App


text: First, I followed the Debian install for the DNS , Here but used Fedora instead. Does that matter? Second, I have the manual for ISPConfig 3 we purchased, but having some difficulty importing the Zone files from our existing BIND server. Third, One of the servers I built is on a VMware that crashed and a new build will be needed since the snapshot failed. Does it matter if the base OS is on different versions?


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Good old religion.
It's what allows people to abuse a child by teaching him to do this…
And then turn right around in the face of public outrage and make this statement on their webpage.
If the spectacle of adults cheering homophobic hate they trained a child to sing doesn't quite reconcile with their claims they don't hate anybody, welcome to the bizarro world of Christianity. You know, as vile as this is, it's also kind of awesome. Really. My hope is that by more and more incidents like this coming to public attention, Christianity will become further and further marginalized as this appalling, fringe community no decent, moral, emotionally mature and well-adjusted adult would be seen dead being a part of. The Millennial generation are already leaving the faith in droves, much to the chagrin of the fundie old guard, and it must be said that Christianity's constant message of hate, ignorance, fear and bigotry has been a major factor in turning people off.
I would love for nothing more than to see this toddler, years from now as an adult, reformed in Nathan Phelps or Marjoe Gortner style, speaking before atheist and secular organizations about the evils of the faith. And the crazy thing is, it could just happen!


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Findings from an economic effectiveness study of the Cotton Research & Promotion Program (CR&PP) show that the Program, administered by the Cotton Board and conducted by Cotton Incorporated, continues to be very effective in its activities executed on behalf of U.S. Upland cotton producers and importers.
Conducted by two economics professors at Texas A&M University – Dr. Oral Capps, Jr. and Dr. Gary Williams – in part with Forecasting and Business Analytics (FABA), LLC, the evaluation sought to answer two key questions – first, how effective has the Program been at increasing the demand for cotton and cotton products and improving cotton's competitive market position and second, what was the overall return on investment (ROI) for U.S. cotton producers and importers who fund the CR&PP.
The study confirmed the Program's overall effectiveness by analyzing consumer, production and trade data collected between 1986-2004. In addition, the study showed a return on investment (called benefit-cost ratio by the authors) of 5.7 to 1 for U.S. producers and 14.4 to 1 for U.S. importers.
"These results explain how the higher benefit-cost ratio for importers reflects revenue gains not only from additional sales of 100-percent cotton textiles but from 'spillover' sales of man-made textiles comprised of other fibers in addition to cotton," explains Capps.
The positive impact of the Program's promotional activities is apparent in the study's findings. Results show that between 1992-2004, cumulative retail sales revenues for cotton textiles attributed to the check-off program reached nearly $140 billion – averaging about $11 billion annually. The study also found that average U.S. consumption of cotton textiles was about 10 percent higher than would have been the case without the Program.
"To summarize the findings of the study, this analysis clearly demonstrates that importers, just like producers, benefit from the cotton check-off," comments the Cotton Board's Chair, Nancy Marino.
Conducted every five years, this independent study is part of a requirement established in the 1996 Farm Bill for all check-off programs. The results of this evaluation were consistent with the findings from the two past similar studies of the Program, which were conducted in 1996 and 2001.
About FABA: Authors Capps and Williams are part of Forecasting and Business Analytics (FABA), LLC – a limited liability company formed in Texas in 2001 to provide complete forecasting and business analytic solutions that improve business decision making. For more information about FABA, visit www.faba-llc.com.
About the Cotton Board: The Cotton Board administers and oversees the Cotton Research & Promotion Program conducted by Cotton Incorporated and funded by America's cotton producers and importers. The Program works to increase the demand for and improve the market position of cotton. For more information about the Cotton Board, visit www.cottonboard.org.


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They say familiarity breeds contempt.
But does it also breed apathy?
We certainly hope note, because we come to you today with a reminder of the importance of The Star�s annual Empty Stocking Fund drive.
For newcomers to this area, The Empty Stocking Fund is just what it sounds like � a money-raising effort to make sure, figuratively at least, that no stockings are empty this Christmas.
Sometimes the needs vary from house to house and child to child, but overall, the need is always greater than the help provided.
The beneficiary of The Star�s Empty Stocking Fund is The Salvation Army, which provides food, clothing and emergency utility assistance to less fortunate families in Cleveland County. And, during the holiday season, The Salvation Army provides Christmas gifts for children.
We have learned a sad truth in the newsroom � when we publish upbeat requests for help to the Empty Stocking Fund, money is slow to roll in. But when we highlight the truly tragic and sad stories of children or families in our community stuck deep in the morass of poverty, contributions increase.
Please don�t wait for those stories.
We promise you, our reporters and photographers who move through our community see plenty of poverty and neglect. The sources with whom we speak in our community � from social workers, to police officers to school volunteers � tell us heart-wrenching stories of families who literally have no Christmas to celebrate.
Yes, there may be some blame to lay somewhere, but is that really what the Christmas season is all about? Did Jesus command us to help the poor �only if they didn�t do anything to end up in poverty?�
Of course not.
There seems to be a grumpiness leftover from a contentious election season. This year�s Empty Stocking Fund campaign is a great time to instigate a momentum change.
For whatever reason, lots of folks around here need help � some of them desperately.
Whether you are a long-time donor to The Empty Stocking Fund, have never given before, or have given intermittently, we urge you to make a donation this year.
The red kettle and the name may be the same, but the need is oh so familiar.


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Product Description 2016 Space Blanket ATR 141 Wakeboard - Metallic Blue / Brushed Orange & Black:
A new next generation line of camber boards with one goal - increased glide speed. The Space Blanket has over 20% less resistance with the water and increased glide speed than last years Bandwagon - proving that there is nothing slow about camber. For a rider that wants all of the benefits of that unique neutrally balanced camber riding style and the stability of a big board, that rides small - without comprising speed and resistance with the water.
ATR Construction - A bulletproof layup process complete with 8 different fins to fine tune your boat or cable riding needs.


text:
55 results for
Flutter plugin for reading and writing simple key-value pairs. Wraps NSUserDefaults on iOS and SharedPreferences on Android.
Flutter plugin for launching a URL on Android and iOS. Supports web, phone, SMS, and email schemes.
Flutter plugin for getting commonly used locations on the Android & iOS file systems, such as the temp and app data directories.
Flutter plugin for selecting images from the Android and iOS image library, and taking new pictures with the camera.
Flutter plugin for Cloud Firestore, a cloud-hosted, noSQL database with live synchronization and offline support on Android and iOS.
Flutter plugin for Firebase Core, enabling connecting to multiple Firebase apps.
Flutter plugin for Google Sign-In, a secure authentication system for signing in with a Google account on Android and iOS.
Flutter plugin for Firebase Cloud Messaging, a cross-platform messaging solution that lets you reliably deliver messages on Android and iOS.
Flutter plugin for Firebase Auth, enabling Android and iOS authentication using passwords, phone numbers and identity providers like Google, Facebook and Twitter.
Flutter plugin for discovering the state of the network (WiFi & mobile/cellular) connectivity on Android and iOS.
Check our help page for advanced search expressions.


text:
In The Box
- 1 x Samyang 14mm f/2.8 f2.8 IF ED UMC AE Aspherical Lens for Sony NEX
- 1 x Lens Cap
Product Features
The Samyang 14mm f/2.8 IF ED UMC Aspherical is a full format ultra-wide angle prime lens. It is, obviously, an extreme lens in its native playground but it's still fairly wide when using it on an APS-C DSLR - the field of view is equivalent to ~22mm (full format) here. There's a bunch of APS-C zoom lenses which outclass the Samyang in this respect but it performed extremely well in our full format test so it's surely interesting to see whether it can keep this performance level in this scope. The lens is also sold/co-branded by other companies including Bower, Rokinon, Walimex and a couple more.
Product Specification
|14mm f/2.8 f2.8 IF ED UMC AE Aspherical Lens for Nikon
|Warranty Period
|Warranty Type
|No Warranty


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GetYourView.com is a national company catering to Real Estate Sales and and Vacation Home projects. Our personalized service and attention to quality and detail is unsurpassed in today's high traffic internet market.
There are "virtual tour" companies and then there's GetYourView.com! Simply put, you will not find a higher quality tour on the web.
With over 15 years in photography GetYourView.com understands the casino and hospitality industry. We have the tools, experience and technical knowledge to deliver a product at the top of its class that will increase sales and bookings.
Contact us today for a quotation on your next photography project.
Find a photographer in your local area utilizing the GetYourView.com National Network of Photographers. Our Photographers are handpicked for their experience, excellence and attention to detail.
With photographers across the US and Canada, you can be sure we can provide our services in your area.