Tanto romanticismo chiuso in dinamiche sociali lontane che lo rendono posato e mai stucchevole. This book is great and it's Christmas and I wish every sentence I wrote was as gut-wrenching as Richard Ford's. Another giveaway will happen next week. The girl loves the boy. They live happily ever after. Perhaps, we like it complicated. Travel far enough to meet yourself. And I am so glad I did, because it quickly became one of my favourite Austen novels of all time!
Todos sois mis favoritos. Cada uno ocupa un lugar importante en la familia. Ayuda a afrontar los celillos y competitividad entre hermanos. El Monstruo de los colores. Un imprescindible en cualquier biblioteca. Ayuda a identificar las emociones.
OLPL antes del alba
Una historia muy bonita. Funciona muy bien y les encanta. Te quiero casi siempre. Well here it is says I. Reunited at last, the families were cradled in joy and disbelief that they were now safe. Of course you're not, you petulant devils. Just as well there's more to come. The Economist - SG Dec 22nd, Magari qualche nuovo arrivo? I'm not so good at aiming and throwing so after a walk in the gorgeous outdoors air I can curl up with a book! My best friend gave me this for my birthday Buongiorno cari, questo libro l'ho proprio bevuto L'incubo di Hill house,una storia ricca di suspense. La percezione ,l''immaginazione sono i veri protagonisti della storia.
Un libro in cui le sensazioni, del lettore giocano in tempo reale un ruolo importante nella storia Una scrittura elegante,fluida,quasi sospesa nel tempo. Questo libro mi ha risucchiato, ho avuto la sensazione di far parte pure io della Squadra del professor Montague. Zar bi te ubilo kad bi podijelio svoje misli sa mnom?
Dugo vremena je bio sam.
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- Andrés Abel!
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- Jake and the Other Girl: A Tor.Com Original (Monument 14 Series).
- Our Little Secret: A Senseless Murder;
No, zbog nje je postajao slab Ona je mogla toliko toga dati. Zna voljeti nekoga svim srcem. Ako on to ne vidi, sam si je kriv. Have you been crying? Un altro autore che amo. Rolcest , on va fer servir les primeres lletres del seu nom i llinatges. En va ser processat pel franquisme. Rolcest , en les editorials Bruguera i Valenciana, i en algunes llatinoamericanes. Son pare era mestre d'obres.
Oreste Lucchesi durant el seu processament En treballava com a descarregador en el negoci de Giovanni Marchi de Liorna. Durant l'interrogatori va dir que s'anomenava Antonio Mazzini , que estava embarcat en la tartana Umberto I ancorada a San Fiorenzo i que res tenia a veure amb la mort de Bandi. Judici als membres de la Girochin Sha 10 de setembre de O rastro foi deixado em um terreno sedimentar com lodo.
Os pesquisadores dizem que as faixas fossilizadas indicam que a musculatura desse animal mole lhe permitia mover-se pelo solo raso do oceano. Also, Cory and Chad Baumgartner. They are twins; they are comics; they say they are dorks. Marsupial se parecia com um vombate, mas tinha tamanho de um rinoceronte Foto: Das haben Sie wohl verdient, denn das Brainstorming von gestern war doch recht anstrengend.
Haben Sie den obigen Abschnitt trotz der vielen Aglizismen genau verstanden? Wie eine Untersuchung gezeigt hat, hatten zwei Drittel der Fernsehteilnehmer keine Ahnung, was das heissen sollte. Die Jury empfiehlt diesmal einen Kompromiss: Darunter auch solche der witzigen Sorte: Issfix, Flinkie, Hastmahl — einige auch noch mit Binnenreim: Aus shawl wurde Schal, aus cakes wurde Keks, aus strike wurde Streik.
Und weiter bemerkt die Stiftung Deutsche Sprache: Terreno urbano de 9. Piscina de ,00 m3. Pista de tenis m2. As pessoas vao aos parques e feiras do verde, compram plantas mas nao cuidam deixando as morrere. Nao plantam uma arvore na calcada e reclamam do calor e falta de chuva e falta de arvores. Existem tantos terrenos fechados pela prefeitura por inumeras razoes os quais poderiam. Um exemplo, proximo a estacao santa cruz, existe o terreno onde existia um bingo. Por que nao transforma lo em jardim com bancos e arvores e rosas onde os trabalhadores possam relaxar apos o al moco?
Nao existe um lugar onde possa se sentar e descansar de andar por calcadas que mais parecem trilhas do que calcadas. Fica minha sugestao de um locsl para contruir um jardim. En caso contrario yo me pregunto: Y sobre todo, no podemos hacer del odio nuestro motor impulsor. Los terrenos adquiridos por el ayuntamiento en fueron vendidos al valor de compra para transformarse en urbanizables mediante subasta en Los terrenos fueron adquiridos a 18 pesetas el metro cuadrado. Las viviendas fueron puestas a la venta entre noventa y cien mil pesetas.
Era corto y feo, de apariencia torpe, con la popa muy alta pintada bajo el fanal en colores blancos, rojos y amarillos: Es edificio protegido por normativa, tiene una gran historia, merece mejor suerte. Viviendas con fachada a un sur de horizonte abierto, con espectaculares vistas a la Alameda y al mar. Es una vieja propuesta de IU que de forma recurrente surge para volverse a poner de actualidad. Pensamos que basta con abrir un edificio que se rotule como museo para que enriquezca la propuesta cultural.
El primero fue el Picasso, metido con calzador en varios edificios. Que al menos con estos datos nos quede su recuerdo. Nunca se supo su destino. Marbella les debe mucho. Aparecieron por doquier edificios, centros comerciales, tiendas y productos con la marca Alhambra, Alcazaba, Azahara, Generalife, Oasis, al Andalus o Zoco.
Como en otros ataques masivos, especialmente en EE. Si llegan al poder en su pleno uso de facultades morales e intelectuales estoy convencido, porque odian la violencia, mientras que el hombre no la odia sino que aprende a controlarla. No es algo que se nos imponga desde fuera. Para el ser humano el tiempo que lleva civilizado es una broma comparado con el tiempo primitivo. Su yo tiene unas expectativas que no se corresponden con su identidad social y quiere crearse una nueva, un relato en el que no es un perdedor, que no sea alguien a quien le ningunean en el trabajo y que no tiene amigos.
En casa con tu pareja o con tus hijos. Otra cosa es que me digas que quien lo ejerce no se considere terrorista sino luchador. A los autores de la matanza de Orlando y Niza les daba igual la yihad y la vida musulmana: El caso del de Germanwings: La diferencia entre el yihadista y el pseudoyihadista es que el primero entre otras razones encuentra que la lucha terrorista cumple una serie de funciones que considera vitales: La masacre le da el control.
El asesino mata por causas morales, es todo lo contrario de lo que se piensa normalmente. Se considera moralmente maltratado, porque todo el mundo tiene en general los mismos grandes esquemas valorativos de la vida, todo el mundo espera los mismos objetos de privacidad. Las armas de fuego son muy complicadas de encontrar. La NASA calcula que hay una posibilidad entre La pregunta que surge es: Aunque dedicamos el primer apartado a los aspectos relacionados con dichas fuentes, podemos adelantar que, dentro del conjunto de informaciones que las mismas suministran, hay ciertos detalles o aspectos que no coinciden, lo que obliga a realizar un detenido contraste de todos los datos para poder interpretar los hechos.
Huelva, , 2' ed. Niebla", en Historia de la provincia de Huelva. No hemos podido consultar el trabajo de J. Las fuentes escritas para el estudio de la conquista de Niebla son variadas en cuanto a su procedencia, naturaleza y contenido, aunque, por otro lado, el conjunto de las mismas no resulta excesivamente abundante. Por lo que se refiere a su naturaleza, debemos distinguir en ellas entre las narrativas y las documentales. Et las gentes menudas tomauan omezillo con las moscas e por ganar aquellos dos torneses traxieron muchas 2.
Junto a este relato, disponemos de otras fuentes castellanas, en este caso de tipo indirecto, aunque no por ello menos relevantes. El retroceso territorial de al-Andalus. XIII no narran la conquista de Niebla, e incluso ni siquiera aluden a ella. Sobre este cronista cf. Como ha estudiado el prof. Por un lado, el debilitamiento de su presencia en los territorios ya conquistados y controlados de modo efectivo por los cristianos. La Frontera entre los reinos de Sevilla y Portugal. Fragmentos de tuna composivao medieval. Lisboa, , 2' ed, pp. Sevilla, , 2 ed.
Valencia, , 2' ed. Congreso Internacional conmemorativo del aniversario de la conquista de Sevilla por Fernando III Sevilla, 23 al 27 de noviembre de , en prensa. Zaragoza, , 5 vols. No obstante, resulta obvio que la referencia es demasiado ambigua como para permitir extraer conclusiones firmes. Desconocemos las circunstancias concretas en las que se produjo este vasallaje, aunque podemos formarnos una idea de los motivos que llevaron a ambas partes a llegar a este acercamiento.
Diplomatario andaluz de Alfonso X. Diplomatario andaluz de Alfonso X, p. El reinado de Alfonso X de Castilla. Sevilla, , r ed. Madrid, , 2 vols. Sevilla, , t. De hecho, existen algunos testimonios que permiten afirmar que ya el propio Fernando III tuvo el proyecto o, al menos, la idea de conquistar Niebla. Igualmente lo indica un documento de Reinado y diplomas de Ferrzando III. Moguer en la Baja Edad Media Aunque el planteamiento de ambas no es exactamente el mismo, hay cierta similitud o coherencia entre el contenido de los dos relatos.
Beirut, , 7 vols. Histoire des Benou'l-Ahmar", Journal Asiatique, t. XII , p. Alfonso X el Sabio. Diplomatario andaluz de Alfonso X, pp. Por lo tanto, a la. Es evidente, como apunta M. En este sentido, C. El Rey Sabio, p. A pesar de que J. Agqiffila como colaboradoras de Alfonso X en la toma de la ciudad.
Como ya fue puesto de Documentos, 25 , pp. El Rey Sabio, pp. El Cairo, 4' ed. Conde, arabista de principios del s. En efecto, disponemos de un documento emitido por Alfonso X "en la cerca de Niebla" y fechado el Madrid, , 3 vols. XVIII , p. Alfonso X el Sabio, pp.
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Dikr biliid al-Andalus, ed. Todo lo contrario, hay distintas formas de hablar, sin renunciar al buen uso del castellano. Saber expresarse oralmente es una necesidad vital para que nuestros interlocutores capten con claridad el mensaje que queremos expresar, es decir para dar a conocer nuestras ideas y opiniones Wikipedia Douglas Barnes en Language strategies in learning plantea al respecto: Organizar y estructurar el discurso de modo p.
La imagen auditiva tiene un gran impacto para el auditorio. La voz y los gestos permiten remarcar una idea o subrayar los puntos clave del discurso. La postura del cuerpo: Por eso, debe evitarse la rigidez y reflejar serenidad y dinamismo. Si se va a hablar de pie, lo recomendable es asumir una postura firme, erguida.
Los ojos de la persona que se expresa oralmente deben reflejar serenidad y amistad. Es preciso que se mire a todos y cada uno de los receptores, o sea, debe abarcarse en forma global como individual el auditorio. Mirar el suelo, el cielo raso o las ventanas denota inseguridad o temor y, por lo tanto, debe evitarse. El hablante debe tener un buen dominio del idioma.
La estructura del mensaje: El principio de la unidad de lo instructivo, lo educativo y lo desarrollador posibilita que los maestros se puedan capacitar para influir de modo positivo sobre la actividad expresiva y comunicativa de los alumnos. Ong habla de la profunda diferencia que se deriva de la formulareidad de la una y de la carencia de la misma en la otra. El texto oral se percibe a partir de sonidos que operan como instancias concretas de un sistema de unidades abstractas, los fonemas.
Una pregunta puede tener - como bien sabemos- el sentido de una orden. Las unidades de la lengua escrita probablemente tampoco existen en la lengua oral. Una palabra aparte se la dedicaremos a la idea de que la lengua oral se produce en "prosa". Lo que usted dice no es prosa, precisamente porque lo habla. Prosa es lo que se escribe, en las cartas, en los cuentos, en las novelas.
Con ese sentido deben preverse algunas cuestiones importantes: Debe especificarse desde el origen, a reserva que el desarrollo pueda imponer los cambios necesarios: Un taller literario no funciona con 30 o 40 integrantes. En el mejor de los casos resulta conveniente formar varios grupos que participen en sesiones distintas del mismo taller. El ideal ha sido marcado por la costumbre: Es conveniente recapitular acerca de las actividades realizadas, destacando los aspectos favorables y los que es necesario mejorar.
When you go to one of the several tracks that feature weekly Late Model racing you will typically find car counts of twenty or above with a few tracks having to run a B-Main each week in order to determine the starting field. Why do you suppose that is? Could it be the fact that the state has just one "class" of Late Models all running under the same set of rules? Nope, just one class running under one set of rules.
Yes they are UMP sanctioned, but does that matter? After finishing twelfth in the standings Nick Kurtz rises to the top of the list this year on the strength of twenty-six top five finishes, three more than any other driver. Only two of those were feature wins so it was truly consistency that took Kurtz to the top. Brandon Thirlby is second just three points back boasting four wins this season and last year's champion Eric Spangler ranked third with eight wins and twenty-one top fives.
Last year's Modified state champion David Mielke added a Late Model to his shop in and ranked fifth as a rookie in the division. A similar point can be made about the Modified division in Michigan as the B-Mod and Sport Mod class has not yet infiltrated the state thus spreading out the car counts.
Twenty-one feature wins as part of thirty-seven top five finishes added up to points for Ward using the same 5-point scale that we use for the All Iowa Points , and this point total should land the Ionia driver in the top ten when we compile the "Best of the Midwest" standings for Matt Szecsodi is a star on the rise as he did not even appear in the points, but ranks second this year with thirteen feature wins and thirty-three top fives.
The Winged Sprint Car list is tight at the top with two drivers each accumulating 47 points and a third just one point back. Ryan Ruhl and Chad Blonde will share the title in after finishing third and seventh respectively last season. Both drivers tallied twelve top five finishes with Blonde winning four times and Ruhl taking three checkered flags. Boston Mead had four wins and two more top fives, but ended up one point back of the lead duo. Driver Hometown Points 1.
Nick Kurtz Greenville 82 2. Brandon Thirlby Traverse City 79 3. Eric Spangler Lake City 72 4.
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Travis Stemler Ionia 72 5. David Mielke Gladwin 67 6. Rich Neiser Fruitport 44 7. Andrew Terrill Sanford 43 8. Dona Marcoullier Houghton Lake 43 9. Ryan Vanderveen Six Lakes 36 Derrick Hilliker Midland 33 David Hilliker Midland 32 Drew Wilkerson Revenna 28 Kyle Borgman Muskegon 26 Steven Hilliker Midland 24 Carl Ries Blanchard 23 Steve Fairbanks Twin Lake 22 Ryan Lanphierd Midland 20 Rich Bell Sheffield IL 18 Greg Gokey Buckley 16 Josh Borton Crystal 16 Alex Hupert Augres 15 Logan Arntz Vestaburg 15 Garrett Wiles Hubbardson 14 Jeep VanWormer Pinconning 14 Bill Bray Spring Lake 12 Timmy Near Midland 11 Mike Spatola Manhattan IL 10 Billy Moyer Batesville AR 9 Isaac Wolfgang Breckenridge 9 Dave Hartman Saranac 8 Kyle Roberts Beaverton 7 Rachel Carpenter Laingsburg 7 Torrey Ahrens Harbor Beach 7 Frank Heckenast Frankfort IL 6 Michael Archer Jackson 6 Scott Baker Ionia 6 Shawn Reed Grant 6 Andy Sprague Muskegon 5 Curtis Roberts Coleman 5 Jason Feger Bloomington IL 5 Jeramy Lange Muskegon 5 Rob Taylor Muskegon 5 Chad Anklam Freeland 4 Eddie Reyes Muskegon 4 Jesse Playter Greenville 4 Logan Love Vestaburg 4 Tom Dusen Muskegon 4 Wade Witherspoon Owendale 4 Jared Guinn Hudsonville 3 Kenny Playter Saranac 3 Kevin Reeve Hanover 3 Cedar Springs 3 Rod Laney Kawkawlin 3 Scott Fisk Lowell 3 Scott Wenell 3 Steve McClees Muskegon 3 Tim Moorman Twin Lake 3 Brad Harden Ovid 2 Casey Noonan 2 Hotovy Hartford 2 Bry Johnson Lowell 1 Witherspoon Kinde 1 Ken Hahn Gibsonburg OH 1 Kurt Mesman Wyoming 1 Ward Ionia 2.
Matt Szecsodi Clio 3. Gary Vandermark Lowell 65 4. Mitchell Hunt Greenville 62 5. Cody Bauer Farwell 60 6. Brenten DeYoung Crystal 59 7. Collin Thirlby Traverse City 57 8. David Mielke Gladwin 56 9. Chad Bauer Farwell 55 Kody Johnson Vestaburg 52 Myron DeYoung Stanton 50 Tim Wilber 48 Scott Payton Gaylord 39 Jacob Poel Spring Lake 37 Chad Wernette Sheridan 33 Steve Shellenberger 33 Chad May Rockford 30 Gavin Hunyday Fenton 30 Joey Burch Rosebush 30 Joe Rokos Interlochen 29 Josh Loomis Weidman 26 Scott Smith West Branch 26 Curt Spalding Watervliet 23 Garrett Bennett Davison 23 Cedar Springs 23 Chris Cohoon Auburn 22 Austin Wonch Stanton 21 John Taylor Shepherd 21 Dan Wiggins II Fenwick 20 Steve Fairbanks Twin Lake 20 Victorya Truemner Imlay City 20 David VanGuilder Marshall 19 Nick Stormzand Lowell 19 Toby Steele Beaverton 19 Greg Smith Montague 18 Matt Valiquette Menominee 18 Mike Shanteau Weidman 18 Milt Montgomery Sheridan 17 Rick Swartout 17 Reid Sanders Sears 16 Bill Endert Mayville 13 Matt Sprague Twin Lake 13 Bill DeLonge Hesperia 12 Josh Knoll Lake City 12 Mike Epplett Muskegon 12 Robby Henderson 12 Chris Pepin Escanaba 11 Tom Beezley 11 Chance Allen Alma 10 Jamie Iverson Escanaba 10 Jerid Bissen Muskegon 10 John McClure Clarksville 10 Russ Franks Oconto WI 10 Shannon Fisk Lowell 10 Austin Harnick Clare 9 Craig Vance Midland 9 Jeff Reay Portland 9 Paul Johnson Arcadia 9 Dave Baker Grand Rapids 8 Kevin Cavanaugh Muskegon 8 Lonnie Dalgord Escanaba 8 Mike Richer Escanaba 8 Pat Richer Bark River 8 Brian Ruhlman Clark Lake 7 Brody Bowser Stanton 7 Corey Bevard 7 Brady Hollenbeck Greenville 6 Dillon Nusbaum 6 Larry Passenier Muskegon 6 Mark Pifer 6 Steve Langdon 6 Ted Cooper Whitehall 6 Bob Baldwin 5 Caleb Kill McBain 5 Chuck Powell Harrison 5 Jason Jones 5 Jordan Ives Gladstone 5 Kyle Novak Traverse City 5 Mike Langdon 5 Ryan Cripe 5 Shaun Patrick 5 Chaz Pray Clio 4 Darryl Banks 4 Derek Passener Muskegon 4 Jason Bergman Caro 4 Matt Carney 4 Richard Swan 4 Taylor Wiles Hubbardston 4 Timmy Near Clio 4 Aaron Mieske Midland 3 Brandon Ordway 3 Casey Tasker Fenwick 3 Garrett Rons 3 Mike Nelson Cadillac 3 Ritchie Sutherland Merritt 3 Scott Besaw Oshkosh WI 3 Trent Musk Muskegon 3 Tyler Morehouse 3 Benji Leslie 2 Brent Banning West Branch 2 Calvin Stemler Ionia 2 Deuane Morley 2 Heath Grizzle Drasco AR 2 Jarrett Rendel 2 Jeff Cade Buckley 2 John Person 2 Josh Garrett 2 Phil Dixon Crosby TX 2 And it has incredibly heavy,pronounced distortion before the extremely heavy handed software correction Yeah I know, f1.
So the Fuji f1. I think most likely people use these systems with AF use these lenses and therefore I would like to compare these. Well the Loxia is pure MF lens but I've thrown it into this mix since it is my personal favorite lens for my E mount body and I use it a lot for video and paid corporate portrait work I sometimes do in the summer season in the winter I am very busy and I have no time for any kind of part time work. The Fuji is a very fast f1. This is very annoying, and this is why I do not like the optically fantastic almost flawless at least for the price FE55mm f1.
The Fuji XF56mm f1. Probably the Fuji has better copy to copy variation and tighter QC than Sony on their older fake Zeiss line lenses such as this FE55mm f1. The Loxia 50mm f2 is a lens designed after the legendary Leica mount Zeiss 50mm f2 ZM lens and its rendering characteristic is very similar to that of the Zeiss 50mm f2 ZM lens, but the Sony mount version is significantly sharper in the centers with a lot less lateral CA still more pronounced green CA than the FE 55 or FE 50mm f1.
And the Loxia is very good at handling complex contra-light scenes, and so it seldom produces terrible rainbow colored ghost So despite of its slightly slower max speed at f2 , I much prefer it to any of the other around 50mm primes for Sony or Fuji, or any of the Nikon 50mm primes. However, if I can throw the Zeiss 50mm f1. IMHO, the Milvus 50mm f1. I think the Milvus series is really underrated line of Ziess, it is actually as great as their more famous Otus line without the crazy bulk of the Otus series.
I know the Sigma Art and the Zeiss Otsus series primes are fantastic optically, but they are too impractical in real life scenes outside of studio and landscape , and therefore, I am not a fan of them. I love the Milvus line and the older ZF2 line Zeiss primes more than the new Batis or Loxia line Zeiss primes for Sony ,and I am sometimes thinking about going back to Nikon main for that very reason plus better flash and cheaper more practical lens line-up than the Sony FE or Fuji X.
But if you are simply looking for the best bang for your buck kind of a person, then I think there is nothing really beats the Nikon AF-S50mm f1. And if you are like me tend to stop it down to at least f5. And it is obvious that all current tiny bodied mirrorless systems are overpriced and without the super heavy-handed software correction they can not compete well with the best Zeiss or Sigma primes for Nikon Canon mount system, in fact, the cheap Nikon f1. I think why you may want to pay high premium for Loxia or Batis line if you shoot Sony FE system is that they seem to have very very high QC tolerances and chances are you may never get a bad copy of it at least an extremely bad one.
Sony should be ashamed with their zooms. Although I had a very good mm f4 and f2. The Sony mm f4 Z is an OK lens for the modest price and compact size, but the mm f2. In fact, lack of any quality zoom in the bread and butter range for event pros or part time paid photographers in the current Sony lens line up is a big minus point of Sony system regardless of the mirror type And another issue is no Tamron, Sigma support for Sony E and A mount any more, this is a huge drawback of the system If there was a Tamron mm f2.
It is very pathetic sad that we Sony users are always forced to get the overpriced GM or Batis line lenses even for the focal range where we might want to just get a "good enough" cheap off-brand lens option. And in fact , in many cases I actually prefer Tamron lenses to Sony or Zeiss E mount lenses even without any discount or like that. If I had the Tamron 85mm f1. I simply prefer the Tamron to the Zeiss or Sony regardless of their prices or brand names in this case. The Tamorn 85mm f1. But in this case the Sony lens is at least very versatile and small unlike their FF zooms Well, in this comparison, I must say the Sony FEmm f4G, at least the recent copy made after ,is the best in the set.
The Sony is cheaper and sharper and comes with tripod collar. The initial or so copies had the soft mm f4 setting issue, but the copies produced after July are much better, if you read the recent review on the Sony FEmmf4 G at Ephotozine, you see it clearly, it is raved there, and they are usually an anti-Sony, pro Nikon site. So for me, in this range it is a no brainer.
It is relatively compact, sharp throughout the range, with very well corrected almost flat field at most of focal range, it is a very very good zoom at very very reasonable price point. But now it seems really dated and overpriced. It is heavier than the Sony by about g, it is a bit longer than the Sony and much bigger and heavier than the relatively small albeit darker Fuji.
The Nikon is less sharp at 70mm mark than the Sony at all aperture settings, with a bit more pronounced barrel distortion than that of the Sony. At mm setting, the Sony is still a bit sharper and better corrected. At mm f4, the Nikon might still be a bit sharper at mm f4 setting but not by much, the later recently released copies of the Sony is much better than the initially released copies that tested by most of so-called review sites, so you may see it seems much worse than it actually is at mm f4 setting at most of review sites, but it has really improved since It is not the same class of the zoom as either the Nikon or the Sony mm f4 zoom.
IMHO, the Fuji is a bit fancier version of a typical kit zoom, that is all about it. Sony FE 50mm f2. Well there is no need any serious analysis or reading at all about these lenses, I used to have all of these and I only kept the Sony. The Sony FE 50mm f2. After all, it is the third very sharpest prime ever tested on the a7R2 and a7R. For pure optical quality it is a absolute steal, it has very low CA, thanks to the amazing new ED element, it has very very low distortion, and it produces cool color not as warm as Zeiss or G branded Sony lenses and I prefer that personally, but many people especially those who love flowers or people head shots may prefer a bit warmer OOC color.
The Fuji 60mm f2. So if you need the real macro capability in mirrorless system there is no other choice than the Sony or you must go down to m43 league, and I say go down but as for macro m43 system is not actually worse than FF or especially APS-C system unless you have super expensive macro lens plus macro ring flash and always percent use a tripod. The m43 allows you to focus stack automatically for better DOF, and it has excellent but reasonably priced compact macro lens choices such as the amazing Olympus 60mm f2. And Panasonic will release long awaited Xmm f2. So for me and I think many casual macro shooters the m43 is the most interesting choice for macro work or just simple casual floower close up.
I love Sony 30mm f3. Even if it breaks, hey who cares? The cheap Sony macro is a bit less sharp than the amazingly sharp FE55mm f1. And in my test comfortably beats the Loxia 50mm f2 in the center and especially in the edges, albeit a bit more pronounced Lo-CA in highlight or OOF area. In any case, the Sony FE50mm f2. I had all of these plus the famous Voiklander mm f2.
The Sony lens also beats both the Zeiss mm f2 ZF2 and the Milvus version in resolution, CA, distortion, and light fall off, so it is an outstanding lens without any doubt. The lens really shines on the a7R2, but it is really good on any body but if your sensor is just 24mp FF , then it easily outresolves the low resolution sensor. It actually even outresolves the 42mp sensor. It is that good with respect to sheer resolution and measurable so-called objective IQ. However, it is not really easy to use in real life since it is big and not balances well on any of Sony A7X body, let alone on any of A6XXX body.
I think Sony really needs a bit bigger body for this type of truly outstanding optics that're clearly designed to resolve the next generation high resolution FF. Many internet review sites talk about the latest sensors out-resolving the lenses very often as the biggest issue of the high resolution FF camera system, but it is a big myth or even lie, it is better to have a sensor easily out-resolves any lens you can put on it because it really eliminates all sorts of bad sensor artifacts issues. Body wise, I can only repeat what I said before.
The shutter sounds very cheap with helplessly bad shutter shock, the rolling shutter in Electronic shutter mode is very bad and it gets even worse in video mode. But I never have the infamous heat issue with my A in stills mode, just in video mode. My A has terrible heat issue both in stills and in motion modes. And to be fair to Sony, no other company mirrorless system has better battery life than these Sony cameras.
So over all despite of the flawed mount design and questionable mechanical quality with terribly slow general operation speed of these cameras, I think Sony E mount system seems like still the best cost effective choice in the current mirrorless world with respect to simple body usability aspect of camera system, especially if you do not mind using fullframe lenses on an APS-C body. The X-T2 is built like a tank but quite a bit heavier in the hand than the A but not much heavier than the new A, which I also own and think also built like a tank.
The A7R2 is even heavier than the Fuji, albeit the lower quality body material used and poor body sealing quality. The Fuji is a much faster camera in the real world use, it shoots much faster than the A, the A7R2 or the A7M2 but the A is even faster than the XT2 with a much longer lasting big buffer. However, the A does not have any sort of external grip option that might have helped the balance of the system when a long tele photo lens is mounted on the camera, so the real life usability of the Fuji with a big AF lens is better than that of the A The A and the A have very fast single shot AF and decent C AF in good light, so they should have had an external grip option for better balance with a big tele photo lens for action shooting.
The D still blows anything from Sony, Fuji, Olympus out of the water and the AF performance gap in real lowlight between the best mirrorless and the mid level D-SLRs such as the D and 80D is not getting smaller but bigger, IMHO, especially when a big telephoto lens is mounted on them. Mirrorless lowlight AF is actually not getting any better except with Panasonic system, this is a real shame. These two Panaosnics can focus down to minus 4EV without any issue, any D-SLR or other brand mirrorless cameras cannot even touch it with respect to extreme lowlight AF accuracy The Sony A7MK2 on paper can focus down to the same level of lowlight minus 4EV, but in real life the Panasonic is a lot better in these extreme lowlight scenes.
The Jpeg quality of the Fuji is quite amazing and sometimes saves a lot of time, so I kind of appreciate that. I think the really effective automatic dust reduction system of the m43 is really underrated, and it is, I consider, one of these most effective real life weapons of the m43 system that Olympus and Panasonic might be able to effectively use against the others in their marketing or educational materials. As for Fuji UI and controls initially I liked it and I was finding my way around the camera very easily and the Q menu of the Fuji system much easier and more logical to use than any Sony menu system, there is no comparison in this department and I think Sony should focus on this area and also the over all usability with increased operation speed of the camera "system".
However, I quickly found out the amazing controls and UI of Fuji that all Fuji fanatics in Fuji rumor sites rave about is kind of working against me or many non retro prime shooters around me. I really hate the retro style bodies and controls inherited or borrowed from film era "my granpa generation", who was one of those anti-Vietnam war hipsters wearing crazy bell bottom jeans and flare shirts.
For me the film era UI and controls are very very difficult to use and very much stressful on my peace of mind. When I was shooting the XT2 there were times I literally felt wanting to throw it onto my grandpa's concrete car garage I think both the Fuji and the Sony system have serious lens issues; there is no thirdparty lens support other than obscure manual prime options from cheap obscure names. Zeiss makes a great set of primes for Sony and a couple for Fuji, but they are all primes I think they need more great zooms than primes to become true rivals to Canon and Nikon system for really budget minded average camera buyers.
I think they really need to persuade Sigma, Tamron, and Samyang to re-enter into the system. Lack of any decent quality zoom in the so-called bread and butter focal range for the Sony or the Fuji mount system is a huge issue for many. There are no decent quality zooms in range or mm FF equivalent range And in case of Sony, their mm f2. At the mm mark on this lens it gets even worse, the pinchusioning type of distortion at the mm mark on this lens is even harder to correct than the barrel type distortion at the 70mm mark.
If you are a pure prime shooter, then you might love the current great FE prime lineup and XF prime lineup, but for a mostly zoom shooter or for a documentary type of work that really requires a great mid range zoom, the Sony E system and the Fuji X system are both not great. Especially not great for those events where you do not want to change lenses over and over due to the dust issue or due to your shooting objects move fast, or you cannot simply zoom with your feet. So while I think the Sony and the Fuji systems are really good for studio or landscape or location work where you can safely change lenses all the time and allowed to work on a tripod at very slow pace.
But for any thing requires speed or a set of great or and kind of zooms , they are just a pure joke, simply useless systems. And for that type of works the DSLRs are much cheaper and much more trusted tools due to the much faster general operation speed, much better zoom lineup, much better third party lens support, much more reliable flash system,etc.
All that said both the Fuji and the Sony system are already very good for most of normal use cases and getting better and better every iteration, so I am quite positive about their short term future success And in case of Canon they are already no2 in mirrorless market only second to Olympus in total unit sales, and only second to Sony in market share by value. I think if the Sony FE system and Fuji X system will not sell very well, or will not better the all Canon Nikon D-SLRs in unit based market share, no thirdparty will make a great set of zooms or any decent moderately fast primes at reasonable prices, and this extreme focus on highend market of Fuji and Sony may eventually hurt them seriously.
In order to get more NEW users coming into their systems they really need attractive lowend bodies like improved more rugged version of their X-A3 or A In case of Fuji the cheap but very capable X-T20 may rectify this issue, but still they have very expensive for those potential consumer body buyers lens line issue and that must be fixed or they will slowly lose the momentum they've got since the XT2. Personally, if I have to choose all from scratch again, then I would still choose the Sony system as my main system and maybe m43 to back it up for documentary work done while I am traveling.
So the m43 for action travel and video, the Sony FE for serious tripod work is still the logical choice for me. It feels really anachronistic and I do not like it at all, I always try hard to like it, though. I really think Nikon needs a serious mirrorless system that fully utilizes all the current great Nikon F mount lenses at very least the E series lenses, or they will slowly falling into the irrelevant category.
After having owned about 22 Sony cameras in last 11 years or so, I have come to realize I can never fully trust Sony in the long run, and always looking for something else to move to or simply better value system, but I cannot find anything better than my current E mount set up just yet. But the continuously pushing the user base to their higher end products by incessantly replacing or discontinuing products that they do think not high-end enough or highly profitable enough for them eventually hurts them because this strategy will eventually exhaust many of their long time faithful users and at the same time it will scare potential new users away.
I interviewed many NORMAL camera buyers in my area at our camera shop and asked them to tell us about what was the main reason they did not buy so-called mirrorless any more, and why they think the market share of these mirrorless decreasing at least in the Western world and the already developed part of Asia such as Japan, Taiwan, South Korea , Singapore and HK. So they use their cellphone more even though many of them already have some sort of One cameras or cheap ILCs.
This means maybe the small sensor camera systems like the m43 and the Nikon One will all fail since there is no market for them. Not many average camera buyers are interested in ILC systems but fixed lens all around cameras with good one button wireless connection to their phones.
And not many the fanatics get interested in these cause most of them are obsessed with the best IQ possible they can get out of a camera system. Thus Olympus, Nikon and Panasonic will definitely need a bigger sensor system to entice them. In fact, any kind of lens interchangeability is not important to them, in fact it is really annoying, and if it is an all around just fixed lens camera like the Sony RX10MK3 , it is actually a better camera system than any type of ILC with a set of primes that most of camera forum denizens want.
They should realize they are not the majority of camera buyers and making and selling exactly what they want does not actually help any of these camera makers This means that the very common camera forum trend to get mirrorless for being less conspicuous in the public reason is a silly idea , no one actually cares about if it is a mirroless or a D-SLR, to them all interchangeable lens cameras are annoying and intimidating to most of non-photographers So as I already pointed out, the camera makers should focus on developing fixed multi lenses multi sensored computational cameras with easy one-button wireless connectivity to the phones.
The software must be intuitive and 21st century design rather than the current design, I think it should be user programmable and as Thom points out open the source code to the smart kids and then some of them will develop some good apps for them for free. Because of the hacked firmwares, I think it is the key. The last two weeks or so, I have been testing my Batis 85mm f1. And surprisingly enough I found the Sony cheap lens actually quite a bit sharper at f1. The bokeh or out of focus area rendition of the Batis seems to be a bit smoother, it has a bit less lateral CA, but it seems to be softer, actually obviously so.
It is not a copy issue since I have also tested 6 extra Batis we have at our store. Another big con of the Batis vs the Sony FE 85mm f1. The color tone is also different, the Batis produces a bit warmer color than the Sony and many say they prefer the look of Zeiss, but honestly if you objectively blind test it you will soon realize the Sony renders everything more naturally with a bit more neutral tone. Many Zeiss fanboys just say it is a Zeiss, so it is a special lens, well really? Not all Zeiss lenses are great, only a very few Zeiss are actually great, and these days everything is designed with computer with using the same software, so every lens in the same size range is actually identically sharp, no dramatic difference there, really..
The Tamron 85mm f1. I also prefer the cooler out of the camera color of the Sony lens over the Tamron and the Zeiss Batis. Now, we all know that Zeiss is not a better lens designer than Sony or Tamron , or any one The AF of the FE85mm f1. For weddings, I think the Batis may be a bit better since it renders our of focus area a bit smoother in extreme back lit scene.
However, I do not like the warmer color signature of the Batis and many Japanese Zeiss lenses. I suspect the actual lens designer for the Batis series is Tamron, and therefore they share very similar look to the Tamron 85mm f1. It is sad but I have to admit that almost all Zeiss Batis and Loxia lenses are just ok , nothing really special about these, except the 25mm, which is my favorite lens, and Loxia 21mm f2.
The Batis 85mm f1. I am selling the Batis and get the Sony FE50mm f1. But the most important change that this very humble Sony FE85mm f1. The Fuji 56 f1. Recently, I decided to sell some of my Sony, Nikon, and Fuji gear and the results were really surprising. The most expensive camera by far of the list was the A7R2, but surprisingly I got about identical amount of money for it to what I got for my much cheaper as a brand new D I got about yen for my X-T2, and I must say the resell value of this camera is great, I think Fuji has been controlling the price of this camera quite well. I just lost about yen on this camera and I have used it for more than 7 months, so it was a great deal.
Renting it over 5 months and paid only 45 US or less, is an amazing deal. I got only yen for my A, but I expected this so it was not really shocking, still it was a bad value camera, though. But it was replaced by the A, so I did not expect too much for this one I got about yen for my A and it was quite shocking, I expected to get more for that since I paid yen for it in last Oct.
I got about yen for my 2 year old D, and it was a positive surprise. I did not expect to get this much of money for it since I paid only about yen for it in So I realized Sony cameras seem to hold the worst resell value by far in Japan and my Thai friend told me in Thailand too.
But the shocking loss by far this time was the Batis 85mm f1. The 18mm Batis was even worse, I paid about yen for it in So now I decided never buy any more Batis series lenses, I have lost too much on this terribly built so-called Zeiss actually Tamron made lenses. I am now in the process of replacing all my Sony E mount lenses except a few with Canon EF mount lenses. I hated adapters, but after I tried the Sigma MC11, I changed my mind and I think it is much safer to use my Sony bodies with Canon lenses since Canon EF mount is the safest long term future proven mount, and the resell value of the super expensive Sony GM and so-called Sony Zeiss are too bad, the Batis line is even worse.
So I think by selling off all expensive Sony E mount lenses that cannot be reused in any other mount system in the near future, I will be more secured and adding the Sigma adapter expand the possible AF lens selection for my FE bodies. In fact, the adapter plus the lens price is the same as the Sony FEmm f4 Z alone.
And another benefit of this lens over the FEmm f4 Z is that the Canon lens does not extend its length when it zooms out or in. I will also add Sigma mm f1. I also add Canon EFmm f I also add Tamron 35mm f1. I may also add the amazing Tamron mm f2. I will keep my FE85mm f1. Many people including myself thought Nikon is dying, if not already dead by now, but in reality Nikon still sells many many more units than Sony and Nikon is now working on new type of sensor design and they may collaborate with Pentax and Olympus to set up a new sensor company.
La esperanza de Triana (Spanish Edition)
If this plays out well, then Sony will be the loser since they will have no one to sell their so-called Fullframe sensors any more. And as a result their highend camera prices will go up significantly. And now Sony has just announced they've just decided to spin off their digital-imaging division Sony DI and now it is an independent business under Sony corp's supervision, just like their sensor group This means now Sony imaging is not a part of Sony but their subsidiary, and therefore, to Sony device group, the imaging group is just a customer,nothing special, in fact,considering its size of market share in relation to that of Nikon, Sony imaging group is a lower class customer to the device group.
So there is no more reason for Sony device technology to keep the best sensor for in-house use-only. And do not forget there is always Canon if Sony does not sell anything to Nikon Canon will start selling it and there will be Panasonic and Tower Jazz also Sony must sell their best sensors to Nikon, Olympus, and Pentax , or Sony will lose them, Sony cannot choose customers any more. If Sony is smart, it will not compete with Nikon or Olympus in camera market. After all, Nikon is the biggest customer of Sony So Sony is not dominating the sensor market, or controlling Nikon as many armchair experts in many camera fora think Sony thinks every business as a short term investment and runs it to make it temporarily profitable and then spins it off.
That is why no one really trust Sony in the long run, we long term Sony users just use its cameras but always know it is a back-up plan or step-gap solution After all no serious camera buyers are as obtuse as many spec-chasers and review sites think they are. No one buys into a big expensive camera system just for an amazing set of features in a body or two I think Sony should try to be an Intel of camera.
I attended a few academic conferences in Osaka, Kobe and Kyoto. And I visited many many very crowded tourists venues there and I have come to realize the death of real camera thing is nothing but extremely exaggerated by those silly clickbait sites. And that makes me worry about the long term future of so-called Mirrorless, if Sony and Fuji actually going under before Nikon?
To be honest, there are many many Nikon shooters and of course Canon guys and girls, but no A7 or XT2 guys at all. In my last academic conferences in Tokyo area, I found it the same, and in Bangkok and Korea I did not see any Fuji or Sony high-end mirrorless bodies at all. And more worrying fact was that there were so many Chinese tourists there with big cameras, but none of them shooting a Sony or a Fuji, that makes me really nervous about the future of Sony.
Sony is investing a lot of money very quick into the FE system but the ship seems to be sinking. I think the stupid shill marketing and silly "mirrorless taking over the entire industry "hype generated by Fuji and Sony paid internet sites is not at all working for them , but maybe working against them. When the Wheeler Opera House first opened its doors to theatergoers on April 23, , the building symbolized prestige, progress and culture for the citizens of Aspen.
Only ten years earlier, the first pioneer prospectors had come over the continental divide from Leadville and into the Roaring Fork Valley. Soon Aspen boomed from a muddy camp with three prospectors into a town with brick and stone businesses and an opera house that was among the largest, most-substantial and best-furnished buildings. From the start of construction in to the end of World War II, the Wheeler Opera House saw good times, dark times, and quiet times. Wheeler had already made his name in Aspen history as the man who finally completed a working smelter for reduction of silver ore, finally making silver mining profitable and realizing the dream of Aspen's many mine-holding interests.
Designed as an urban, multi-use building, the Wheeler Opera House was to reflect Aspen's meteoric growth during the s into a full-fledged city. Its basement was to house a barber shop and storage space; the main floor a large clothing store, bank and ticket booth; the second floor six offices; and the third floor, the opera house. As stone cutters worked at "dressing up the corners" of the building, townspeople noticed that the east wall looked strange, with an apparent concavity.
During the rebuilding of that wall, as a swinging scaffold twenty-five feet above the sidewalk gave way, four workmen fell. As a result of this accident, an editorial in the Aspen Daily Times started a campaign to build Aspen's first hospital, which was completed in September The opening of the Wheeler on April 23, , was hailed as "one of the most notable events in the history of Aspen's most eventful year.
Shortly after eight o'clock the curtain was raised and the big, glamorous, and elegantly costumed Conried Company presented a comic opera, The King's Fool. When the performance ended, celebrations of the theater opening continued through the night. To reach the auditorium of the Wheeler, patrons used the main entrance on Hyman Avenue. The ticket office was located on the ground floor under the wide stairway, which was finished with a highly-polished wood balustrade. On the third floor at the top of the stairs was the ladies retiring room and cloakroom adjoining the auditorium. Modern and dazzling lighting equipment enhanced the house.
The chandelier, a work of art, was suspended for the handsomely frescoed ceiling by a wire rope. This chandelier was the crowning glory of the house, hand-made of hammered brass, trimmed with silver and set with three dozen incandescent lights, each with an opalescent shade, flaring out at the end in the form of a flower.
The sloped floor and padded seats permitted visual and physical comfort. The splendid surroundings of fine woodwork, elegant draperies and frescoed walls all superbly lighted by the handsome chandelier created an aesthetic atmosphere to remove patrons for the work-a-day world of the mining town.
The Wheeler stage offered what a modern city theater of the time might have had: The famous "Olio" curtain, a representation of the Brooklyn Bridge, was designed by two New Yorkers, world famous for their scenic art, and painted by no less than Chicago's opera house scene painter Burke. It pictured not only the bridge and the East River, but ships from over the world. With the opening of the opera house, Aspen became part of what was known as the Silver Circuit - mining towns that drew big-name entertainment. Offerings at the Wheeler from through early included traveling companies that brought Shakespeare, minstrels, vaudeville, comic opera, extravaganza, burlesque, melodrama, concerts, lecturers, and even boxers.
Home talent performers presented concerts, musical programs, and some plays and operettas.
The glory days of the Wheeler Opera House were short-lived. With the demonetizing of silver in , the Wheeler became a place of town meetings and benefits for a city that was struggling to survive in a world that had deemed silver worthless. Although the Wheeler didn't close, it made little news until when two fires ripped through the three-story building in one week, gutting the opera house. The first fire occurred after a moving picture show at The second fire, attributed to arson, occurred only nine days after the first.
The fire was actually started in three places; in or near the box seats; among the scenery on the stage; and in the locked ushers' room, originally the ladies' retiring room. It was discovered a few minutes past 2am and the Fire Department did not have it controlled until 4am. On stage a chimney effect developed due to the unfortunate positioning of a skylight directly above the stage.
Flames were pulled upwards through all the sets and scenery and then spread out over the auditorium into the attic between the roof and ceiling. The heavy timber trusses became charred, but remained structurally sound. The auditorium ceiling's wooden lath burned next and the plaster, having lost its support, fell in chunks covering the specially fabricated opera chairs. Heat became so intense that the steel support cable for the beautiful electric chandelier melted and it too came crashing down.
The Wheeler had a special place in the hearts of Aspenites and its destruction was particularly lamented by the town newspapers:.