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Saburo Yukimura
Kazuo Takeba
Rosalie Janus
Mamoru Chiba 2019-01-21 01:56:02 102924
Mamoru heard from Kunzite who got it from the source-- Lacrima needs heals and badly, and didn't want to ask Mamoru because she knows it costs him, and Mamoru got annoyed because he'd told her, and one thing leads to another and he'd texted Lacrima and asked when he should drop by, and she'd asked to come here, so he told her to text when she was coming so he'd know to be home, and here we are.
It's a chilly day, but a jacket over a hoodie will do it, and hands in pockets, and that's what Mamoru was wearing when he headed home, and that's still what he's wearing now, coming in probably seconds ahead of Lacrima. "Yo!" he calls to the household at large, "Lacchan's coming over for +5 heals--"
And then he's shrugging out of his jacket and revealing the awful brown hoodie, and toeing his shoes off and then shlepping out of the genkan in his dumb masked house slippers. "Is there coffee?"
Saburo Yukimura 2019-01-21 02:05:22 102925
"Is there coffee, he says," Jadeite says in the kind of dramatic stage-whisper that only someone who absolutely wanted to be heard used. He's bent over a lump of clay, carving pieces away with a steel shaping tool, poking his tongue out in concentration.
"I just put a pot on. It's the only thing that keeps us all alive."
Lacrima 2019-01-21 02:05:25 102926
Lacrima had held off coming to Mamoru's for many reasons. One of the major was because-- yes it drained Mamoru like crazy. Another is that she didn't wanna spread 'responsible for death' feelings around the empath because really- those are good for no one. A third was the third practical reason that it gave her a valid excuse to not lunge at Akari if she happened across her in the wild while she was dealing with the bad feels.
It's when she drops the salt shaker the other morning when a pain shoots through the damn arm that she decides that the cons outweigh the pros and she takes Mamoru's initiation--- on the day she was going to try barging on over anyways.
So really, it works out. She arrives--- with a gentle touch down to the balcony carrying two things. One is a large box of donuts from the local artisan place she goes to. The other is two bottles of wine in a bag with bows on it. They say 'Merry Late Christmas and a Meh-hey New Year' in a light cheeky poke at things. She walks in.
"H-ello?" she calls out softly as she enters past the balcony. "I'm----" she then winces-- "-here." she says.
Kazuo Takeba 2019-01-21 02:08:43 102927
"Do we live here?" Kunzite asks, looking up from his book and giving Mamoru a briefly dubious glance. He places an actual bookmark, used to actually mark one's place rather than sticking a scrap bit or an envelope or a pen or a cellphone or something in, and rises to head kitchenward. As Jadeite adds the 'only thing that keeps us all alive' part.
His mouth might twitch just a little.
"Hello, Lacrima." Well. That means he doesn't have to hunt for cookies or see whether Naru has been manufacturing muffins out of stress again. All he has to do is be ready to get coffee so Jadeite doesn't have to detach himself from his work.
(Clay in the coffee isn't going to hurt anyone, but they'd hear about it from Mamoru for weeks.)
"Yessss," whispers the Prince with a little hiss at the end, beelining for the ki-- okay Kunzite's gonna get there first, fine fine. He's just sidestepping over to grab a couple of scraped-off pieces of clay to make a googly-eyed clay slurmy muppet-worm when Lacrima shows up at the door, and is bloody carrying things.
Dr. Worm gets placed emphatically back down next to Jadeite, and Lacrima's barely gotten to the wince before Mamoru's already over there and relieving her of heavy thing and light thing alike, and giving her a scolding look. "Not that I don't appreciate gifts, but as your doctor, I don't approve of you straining your injury like that. Come sit down."
Lacrima watches Mamoru's slurmy Muppet worm with a straight face. She blinks as Mamoru comes over to relive her of things. She at least was carrying the lighter thing in the bad side of her body. "Here." she says. "Those are donuts." she says. "The bag is... wine. From my cellar. It was there when I obtained the manor. It's an older vintage. You'll like it. Two should be enough right?" she says quietly. It's not like these people inhale alcohol or any t--wait.
Still. It should be enough. She sighs a bit. "I'm fine. But this one is deeper." she says with a slight seethe. "Than last time." she says. "About... fricken bisected me." she says lowly.
"Hi Kunzite-kun, Hi Jadeite-kun. I have donuts for the apartment." she asides in case it was not clear from earlier that there are donuts.
Because there are, and they're delicious.
The creation of Dr. Worm earns Jadeite's attention, but a Lacrima appears before it can be remarked upon. She's carrying Items and Things and wincing enough that clay and tools alike are willing put aside so he can stand. Mamoru had said something about heals, hadn't he?
"Hi Lacrima," he says cheerfully enough, though there's some distinct worry there. "Let me take those from the doctor, and he can make sure you're not almost-bissected." And he makes grabby hands at the Lacrima Gifts.
"We'll keep Nephrite away from it," Kazuo says, deadpan as usual, blithely ignoring any and all hypocrisy in play. He says nothing about keeping Jadeite away from it, mind. No. There is only fetching Mamoru coffee. There is a clear window while donuts and wine are being handled in which Mamoru has time for actual caffeine.
Rosalie Janus 2019-01-21 02:42:37 102932
Akari knows that she's taking a risk by traveling alone, but her biggest reason for wanting protection doesn't actually want to capture her, her second-biggest reason has already stolen her Linker Core and is thus unlikely to attack her again any time soon, and the third reason, random youma, hardly seems worth the effort of worrying about at the moment.
And so it is that the blue-haired Belkan girl is arriving at the ECFH alone. She's dressed in her blue track suit plus a black winter coat, and Rubindorn is hanging around her neck in pendant form, a black double-barred cross with a rose-red gem inlaid in a ring at the crux of the upper bar. She steps out of the elevator, takes a deep breath, knocks quickly, and steps in.
She's recovered enough that she can use her 'infiltration' skills to keep an ordinary, neutral expression while she's out in public. She hasn't recovered enough not to drop it the minute the door is opened; she immediately looks fairly haggard. Her emotional state is similar to Lacrima: grief, with a side order of guilt, plus extra exhaustion and nervousness to boot. "Hello?" she calls out. She blinks as she takes in the sight of everyone in the room, and then suddenly everything seems to be weighing more heavily on her. "Oh! Um ... hi, Lacrima-chan ..."
As Jadeite takes the things from Mamoru, Mamoru's really only partially paying attention to what Lacrima says is in the bags -- he's aware, he's buffering the information, but he's primarily concentrating on the word 'bisected' and the way she's moving, with or without the bags.
To say he has a look of dismay on his face is like stating that Tokyo Tower is kind of tall.
"Really," he says quietly to her as he herds her gently toward the couch. "If you can lie down, it'll probably make it easier for both of us," he says softly.
And then Kunzite's giving him caffeine, and Mamoru lets his hand linger briefly against Kazuo's as he takes the cup, meeting cloud-grey eyes for a half second, with a half smile.
While Lacrima's arranging herself and Mamoru's carefully drinking his coffee-- undoubtedly adulterated with milk so it's cool enough to chug and let it warm him all the way down in one go-- is when Akari comes in, and the prince looks up at her, expression politely blank surprise as he waits for someone to introduce them.
Lacrima makes a face. "'nearly' so. I can still walk. I'm not like, keeping myself together with duct tape. It's just... everything isn't connected right... or connected at all and I can 'feel' it this time." she says with a rasp. She moves to the couch to sit and sighs. "---he... leaned into me harder than last time. It was---" she shifts uncomfortably. "Like he was actually trying this time.. just..." she blinks and looks up.
"--oh----! Akari-chan." she says with lit up eyes. "Mamoru-kun this is Akari-chan. Akari Hayabusa. The one I'm... I'm supposed to be trying to bring in..." she mutters.
"Not here of course. One place I can meet her safely..." she says. She shifts a bit.
"....." she's silent for a few long moments as she looks thankful for the items being taken.
"...A--akari-chan. Have you.. um-- I----" she can just sputter incoherently for a bit, she doesn't know what to say.
So that's Akari-who-wants-out. Now he has a face to go with the name Minako had given him, at least. Jadeite's arms are busy with donuts (and one is possibly in his mouth, the box having been opened while no one was quite looking), and he might be taking a bottle of wine so that Kunzite doesn't have much besides Mamoru's to-be-gifted coffee, but he still manages to wave a bit in greeting.
"Wan'a do'ut?" he asks around his own donut, trying not to drop the poor innocent donut to the cold hard floor. I
Lacrima's introduced Mamoru, more or less. On limited terms, at least. "The one who has not yet noticed that sound travels poorly through physical objects is Saburo," Kazuo says to Akari, by way of greeting. Definitely by that name. Whether or not they use it that much at home. "I am Kazuo Takeba. Would you like anything besides a donut?" Because meeting Eclipse refugees in a room full of Dark Jane Goodalls and confusing boys is perfectly normal and everyday. Clearly.
Akari is used to The Weird Stuff at this point. Hell, she's an example of The Weird Stuff. She furrows her brow at Saburo, then bows to Kazuo. "Um, it's good to see you again ... Takeba-san," she says. "And, um, pleased to meet you, Saburo-san, and to ... to finally meet you, Chiba-san." She bows to each of them in turn. "But, um ... yes, thank you, I think a donut at least would be ... would be good. A-and probably something to drink, too."
She goes to sit down on a chair in the general vicinity of the couch Lacrima is lying on. She looks like she really doesn't know what to say, either. Still, at least one thing occurs to her that's probably going to be news. "The Wolkenritter stole my Linker Core."
"Likewise, Hayabusa-san," says Mamoru gravely, ugly hoodie and expensive jeans and glasses and all. He sets his empty coffee cup down and takes a knee beside the couch, glancing back at Jadeite with a faintly rueful smile. "I'll want one in a little while," he says. "Or five." Then his gaze - a weighty thing, right now, far older than his twenty years - settles on Akari. "Lacrima finally decided to come and let me stitch her back together. I apologize for my upcoming silence, but I can't put it off to be social."
And then he looks back and Lacrima's still sitting up, and he kisses his teeth, brow furrowed. "I mean it," he says firmly, "lie down. Here--"
And then he helps her move and resettle, hoping no one's staring because it's rude and poor Lacrima doesn't need to feel any more anxious. Once she's horizontal, he takes her hand and slowly starts taking his walls down, acclimating himself like he's stepping gingerly into icewater. "It would help," he says quietly to her, "if I could touch closer to the injury, but I'm not about to mess with your clothes. Let me know what's all right."
As soon as he takes her hand, she can feel him, the vast golden power to which the rose honey is but a sweet echo - and she can feel the pain ebb away immediately, and she can feel the trust he has in her that she won't come after him.
Lacrima ughs and protests. Lacrima doesn't like going to the doctor. Or really interreacting with anyone in a way like a doctor. She does eventually lie down on her right side in such a manner that she's facing outward. She grumbles. Sadly--it would be really awkward to take her shirt for numerous reasons. So what she does instead is show where it ends-- which she can show modestly just by lifting her shirt a bit- ending mid stomach at a slant-- and then pokes up wards to a spot through her shirt where it begins.
Like someone came down with a slant with a blade into her shoulder and down through the torso and ended near the waist. Since well-- that's exactly what happened.
The wound looks like last time. Hard and black and tacky and held together but not healed and right.
It feels the same way- too- things not connected right. Channels of darkness misaligned. Things not firing right in that part of the body because of it.
She seems to relax when she can feel that power and she winces and does her best to not let her darkness try to leech off Mamoru. She accomplished fairly well.
There's confidence there because there's two people here who will have no problem throwing her off Mamoru and kicking her until she stops- at least when Mamoru is involved-- at least.
"N--nrgh--" she mutters. She eyes Akari softly as Mamoru works, giving an apologetic look.
"I have not... ap-aproached her. Yet. I can't easily.. visit her easily. Is-- is Rei-san okay?" she asks.
"-- ah. My apologies; my attention was rather more on the injured party at the time." Kazuo bows gravely to Akari, then goes to assemble a tray. What's on hand? Coffee; he'll drink that if she doesn't. Water. Chocolate milk. Pineapple soda. Again. He would mutter about why is there always pineapple soda if he didn't have Grave Suspicions about who keeps restocking the fridge, possibly just for the sake of catching the looks he gives it.
The tray is offered to Akari so that she can retrieve her choice along with the Jadeite-supplied donut; after she's made it, he sets the tray down on the nearest small table, and regards her steadily for a moment. "You don't seem to be suffering any overt ill effects, other than the obvious. I trust you have sufficient support, wherever it is you're staying, not to have to worry about someone tracking you down during your recovery. I will not ask, in any case, in order to give Lacrima more leeway in her own troubles at the moment."
Akari actually chuckles slightly at Mamoru's 'or five'. She looks up at Kazuo and nods. "And I'm twenty-eight centimeters shorter and don't have glowing eyes anymore, so ... yeah."
She accepts one of the donuts. "I, um ... glitched, but Sakura-imouto fixed me up using the Storage Device that has all my diagnostics and stuff." She hesitates. "They got me and Cure Shield at the same time, but ... when I glitched, they panicked and thought I'd died. They stopped draining Shield-chan, and Signum took some power back from that book of theirs and shoved it back into me." She frowns. "It was contaminated with darkness, though, so I had to get purified by Princess Runealy ... again."
She frowns worriedly at Lacrima. She isn't sure who Rei is, but, well, it's getting harder to dance around the issue that got Lacrima here in the first place.
Ah. That question was not for Akari. "Mamoru and Neil visited her," Kazuo says to Lacrima. "I understand she is ... managing. And probably done recovering from the sheer amount of sweets they provided. Neil enjoys overdoing these things."
Yes good; Lacrima can participate in the conversation while Mamoru does whatever Mamoru does, which in this particular instance involves being clinically detached from a) the dark energy he's just finally plunged into as he tunes out of the conversation entirely, b) Lacrima's awful feelings poor poor thing, and c) the fact that if anyone walked in that didn't know what was going on they'd see his hand up under her shirt--
--but his eyes are closed now, and there's a dim golden glow emanating from both of his hands. It's a light power that's never hurt her, that's only ever helped.
The prince is much better at it this time, since he doesn't need to reinvent the wheel -- but he's not objectively faster with it because it's so much worse this time. One after another, he surgically removes the foreign material -- the terrible purification curse of George's sword, cauterizing and blocking and keeping Lacrima's parts apart. Once more, he's unable to directly heal her, but can build structures to bridge gaps and hold things together, like sutures, which she can then absorb and incorporate into her own energy in the correct internal configuration.
Very roundabout, but not messy at all-- incredibly precise.
It just costs, as it always does. It costs to immerse himself in the creeping corruption that comprises Lacrima's physical form-- but the cost is mitigated by Lacrima herself, who manages, no matter what she's made of, to be kind.
That's another thing she can feel from Mamoru: support, appreciation-- love. Sorrow for her grief. And he hasn't even internally flinched once.
Lacrima nods at Kunzite. That question was meant as a round about. It got answered. "G--good." she says quietly. "Glad..." she says as Mamoru works. The discussion is mostly to distract her from the fact there is everything she isn't in healing contact and the darkness wants that so bad.
She's able to stop it from leeching well enough. Lacrima relaxes when she's positive that it isn't going to happen, taking a cleaning relaxing outward breath.
She doesn't think much of what Mamoru is doing or how it might look from an outward angle. She trusts him. He trusts her. Nothing bad is gonna happen just relax.
She can feel parts of her sort of slide into place and it's weird. Like---
She imagines this is how a clogged hose feels like when someone unclogs it.
She looks to Akari and frowns a little. "S--sorry to hear that happened." she says quietly. "I've only heard about that situation in hearsay." she says. She grits her teeth, softly sighing a bit as she lets Mamoru concentrate. "T..thank you." she says to him. "It's working..." she assures.
She looks towards Kunzite. "....Right. Unmei-chan said she spoke to you the other day. She's... chosen to move in. I'm letting her. The other two roommates are fine with it." she says quietly, as Mamoru works-- the dark awful scab slowly disappearing as her body is able to regulate dark energy to those spots finally properly as they become healed.
"...this always tastes like your rose honey." she snickers just a little. "...Odd to taste it without eating it." she says.
Akari shrugs. "It's ... I guess there's not really much to say about it," she says softly. "It's just hard, not being able to speak with Rubindorn except for a few words at a time. They only partially got Shield-chan, so she can transform again now." She frowns. "Though she still hasn't completely recovered, so it's still a little bit difficult on her end ..."
"Good," Kazuo says to Lacrima. "If it's good by you and your cohort, then good. She needs enough people around that she can learn how to interpret 'friend' instead of going directly from 'casual acquaintance' to 'obviously we are meant to be life partners,' and her abilities are a potential good match to supplement those you already have in-house." Literally. The Manor, not so much Eclipse. "We've been giving her a budget, and redirecting the rent on her present apartment should go a good way to covering her expenses; I'll be happy to go over the details with you later, when you choose. And to help move her belongings, if you and she like."
And then Akari says 'still a little bit difficult on her end,' and Kazuo ... finds a fascinating point on the mural to study for a moment. That's such an interesting sky. "Unfortunately, that does happen. Usually it resolves itself with time."
"Unsurprising," says Mamoru finally, with the smallest of laughs, finally sitting back on his heels, letting his hands fall away. And when they do, there's no lingering pain or wrongness for Lacrima -- just a little stiffness while her own body works on absorbing and repurposing the energy Mamoru used on her. And then he thumps back further, slouching for a half-second before realizing that if Lacrima actually sees how tired he is again, she'll avoid coming over again if George like... actually bisects her and she's held together with duct tape and chicken wire and saltwater taffy.
So he hauls himself to his feet, and straightens his shoulders, and smiles down at Lacrima. "You should be fine now. Stick around for as long as you like, obviously -- and you're fine, too, Hayabusa-san -- I've just been putting off a practice exam in Med Term II and I'll want to jump off a bridge on Monday if I don't work on it before then."
He glances to Kazuo, and then to Akari and Lacrima again, as if only just noticing they actually were having an actual conversation he was missing, and he coughs in embarrassment. "Yes. I also think wine goes particularly well with medical terminology."
He hijacks the other bottle and a fistful of doughnuts and exits stage left. Wait. Hasn't he been basically studying medical terminology since he was like thirteen?
Maybe that's why wine.
Lacrima nods to Mamoru. "....I... feel fine now." she says sitting back up. She sighs. "I'll still need a moment. Thank you... again." she says quietly. "--and thank you for the LUSH items, by the way. It helped a lot with relaxation." She'll let Mamoru leave. She knows he's gonna be tired after this. She looks to Kunzite apologetically. An unsaid 'sorry for making your prince tired, but thank you for being here in case something bad happened.'.
When she's able to- she walks across the way to Akari and-----
She offers a hug. The healed arm is shaky, a little bit. Dark energy is still flowing where it needs to- but she wants to offer. She doesn't actually hug her-- until it's taken. She doesn't know what Akari wants or doesn't want right now.
"I... I am sorry." she says quietly. "I--I tried to... save her. Tried to... t..turn her. Give her a chance like Alexis-niisan had... But I bled out so much dark energy...." she says quietly.
"I.. I hope you're not... angry at me." she says quietly. "For that..." she says.
Akari nods to Mamoru. "I'll see you later then," she says softly. This is basically the only extant place she knows of where she can speak with Lacrima, so she's bound to run into him again sooner or later.
And speaking of Lacrima ... She pulls her into a tight hug. There's tears in her eyes now. "It's not your fault," she says softly. "You're the one who actually tried to help. I keep feeling like ... if I'd ... if I hadn't just frozen up, I could've ..."
There's just the tiniest, faintest ping from her pendant between them, and Akari sighs. "Ruby's been telling me that I couldn't've known to do anything different, but ..." She shrugs. "... it's hard. Especially now that she can't say much."
Kazuo considers the two for a quiet moment. Then rests his hand on Lacrima's good shoulder for a moment (apology appreciated but unnecessary), and steps back to collect the coffee from the tray. And to take it and one donut of his own off in the direction Mamoru went.
Some conversations don't need people who weren't there.
Lacrima softly quietly says. "You did your best, Akari-san. I didn't... I didn't foresee Ryo butting in like that." she says gently. "Doing such a thing. It's as my fault as it is your in that respect." she says gently. "--and shared pain is... lessened pain? I can't remember the quote... it's from some book.... something... Crosstime.. Bar?" she asks scratching her head.
"... I brought plenty of donuts." she says quietly. "Did you get one?..." she asks as she drags Akari over to the donuts and coffee. Even with all the fistfuls taken- there's still plenty left.
She fidgets a bit and watches Kunzite leave with a soft nod. "That was.. Kunzite. Mamoru. Jadeite." she says quietly. "Sorry I only said Mamoru earlier. They're good people. Mamoru... can't handle many people at once. Many things. Plus him healing me probably tired him out for too much conversation." she says.
"You should meet him another time when that isn't the case."
She'll sit down back on the couch. "...I hope you have a place to stay?" she says quietly. "Don't.. tell me where but... I don't like to think of you... sleeping in alleys. I hated that." she says quietly.
Rubindorn speaks up in a quiet whisper of a voice. <<KEINER DER BEIDEN VON EUCH IST SCHULD.>> Neither of you are to blame.
Akari sighs softly. "I mean ... Ruby's probably right, when you get right down to it," she says. "But ... yeah." She nods. "I grabbed a donut, but more is probably good," she says, following Lacrima and grabbing another one.
She nods at the question of a place to stay. "Virtue has safe-houses," she says. "A place to stay, and steady meals. I'm ..." She has a lopsided smile. "... I'm fine in that regard, if nothing else."
She sighs, nibbling on the donut a bit. "I don't hate Ryo-san, either," she adds. "Honestly, I feel sorry for him. Being so full of hatred ..." She shakes her head. "Maybe it's just because I'm becoming too much like Sakura-imouto or whatever, but all I can think is that it must be awful for him to be like that, even if he doesn't know it."
Lacrima scoffs as she looks down. "There are worse things than becoming someone who cares about everyone, Akari-chan. It isn't a weakness..." she says quietly. "....I want to be more like Ari-chan." she says softly. "Trying to talk things out rather than... then go straight to fighting." she says.
She nibbles a donut quietly. "...I'm glad." she says. "....I'm very upset at him. I don't know what happens next..." she says quietly. "He desperately wants the princess. He's hunting all of us that he deems 'unwholesome'..." she says.
"...Even if things get back to where I can go home... then went? Live with a murderer?" she scoffs as she settles.
"Erm. Sorry. I'm talking to myself now." she says gently. "Doing my best. Feels good to have control of my left side now." she says.
Akari nods, and smiles faintly. "I can't argue with that," she says. "I used to be a worse thing." She shakes her head. "... Gotta say, though, I'll take existential chaos over this feeling in my gut any day."
She straightens up slightly. "I'm sorry, but ... I think I should head back home," she says. "It's just ... sometimes I need to be around others, and I'm glad I ran into you today ... but ... I ..." She shakes her head. "Well ... other times I need to be alone. Not even Rubindorn can really tell which is which most of the time."
A pause. "I'm erring on the side of being around others, though." She grimaces. "... learned that the hard way, but it only took like eight hours to figure it out, after Sailor Mars dropped me off."
Lacrima nods softly. "Please go if you need to." she says softly. "Thank you for dropping by... when you did." she says. "I'm going to hang out on the couch for a bit longer until I'm sure everything is flowing right." she says gently.
"Be well... Akari-chan." she says softly.
"And-- sorry. For this all."


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Priory Country Park wins Green Flag Award for 20th year in a row
Originally published by Dave Hodgson - Mayor of Bedford Borough
The Green Flag Award is celebrating its Silver Jubilee, marking 25 years of excellence. This week the environmental charity Keep Britain Tidy, has revealed the names of over 2,000 parks and green spaces across the UK that have collected a coveted Green Flag Award for 2021.
Bedford Park, Addison Howard Park, Harrold-Odell Country Park, and Priory Country Park have once again been awarded the Green Flag.
The award is the international quality mark for parks and green space, and not only is this the 20th year in a row that Priory Country Park has won the Green Flag award, but 2021 also marks 35 years since the park was officially opened by Valerie Singleton in 1986.
The Friends of Hill Rise and The Friends of Putnoe Wood and Mowsbury Hillfort, both volunteer groups, have seen success again with Hill Rise Local Natural Reserve and Mowsbury Hillfort winning the Green Flag Community Award, and this year The Friends of Putnoe Wood and Mowsbury Hillfort have also been awarded another new Green Flag Community Award site, Putnoe Wood.
Over the last 18 months, parks have become lockdown lifelines, playing a vital role for people across the country as places to breathe, relax, exercise and meet friends and family safely.
In celebration of this year's announcement Bedford Town Bridge was lit up green last night.
Mayor Dave Hodgson said "Bedford Borough parks have once again shone by being awarded Green Flag Awards, with Priory Country Park celebrating 20 years of flying the flag. This is an amazing achievement and really reflects the hard work of the officers and volunteers at this stunning Country Park. For it to be joined by our three other Green Flags, and the three Community Green Flag Award winners too is superb, and my thanks and congratulations go to everyone involved."
The Green Flag Award scheme, managed by environmental charity Keep Britain Tidy under licence from the Department for Levelling Up, Housing and Communities, recognises and rewards well-managed parks and green spaces, setting the benchmark standard for the management of green spaces across the United Kingdom and around the world.
If you would be interested in volunteering in one of the Council's parks and green spaces, please visit https://www.bedford.gov.uk/leisure-and-culture/parks-and-open-spaces/community-volunteering/ or sign up to the Community Volunteering email bulletin.

redpajama_set_name: RedPajamaCommonCrawl


Rating: 4 by Alice Murphy.
this fruta planta diet pill is worth of the price.
I just started taking this product this week and I feel ok. I don't know if I've lost any weight, but I definitely feel less bloated, less of a full feeling all the time and I do feel better. I think this fruta planta diet pill is worth of the price.


An Elder Elven God named Shevarash bestowed his power on elves that mastered the art of archery.
This power was in the form of his essence and secret potions that enhanced the power of bows. Over time, as the Elves lost their way, these recipes and essenses were forgotten and abandoned. Today they are rarely found, but sometimes appear in old treasure chests.
Recipes and vials of the essence of shevarash can be found in loot chests, although can be very rare.
Alchemists can take the recipe and 5 vials and create a potion, but the fail rate is extremely high for items that are this hard to come by.
This potion is then poured over an elven craftables pure element bow, creating an extremely powerful new weapon that is permanently bound with the user.


QEMU is a generic and open source processor emulator which achieves a good emulation speed by using dynamic translation.
$ su -c "dnf install qemu"
$ su -c "yum install qemu"
In the following examples where "qemu" is, substitute your command for executing qemu. E.g.
Of course, this does not apply to "qemu-img".
Of course you are not obliged to take 5GB.
Note: Even if you take 10GB this does NOT mean that the image does really HAVE the size of 10GB. It just means that your new system is limited up to 10GB - if the new system takes only 1,2 GB also the image will only be at 1,2GB.
"-user -net" is important to have internet access within your new system. "-m 196" is the Set virtual RAM size (megabytes), default is 128 MB, I chose 196.
To get kernel output dumped to a file outside the virtual system, add e.g. "-serial file:/tmp/qemu-output.log" to the qemu command line. When booting the virtual system, add "console=ttyS0" to the kernel boot parameters.
This output is particularly helpful if you are having trouble booting the system, in which case you may also wish to remove "rhgb" and "quiet" from the kernel boot parameters.
This page was last edited on 19 November 2015, at 12:36.


text: Q: unique identifier that represents unique app installation Is there a way to get a unique identifier that represents unique app installation? For example when Jon instals myApp, his uniquie identifier for this specific application is 123456. When Maria instals the same app, her identifier is 2345678. I am not looking for identifierForVendor, because identifierForVendor just asks for the ID of device.

redpajama_set_name: RedPajamaStackExchange


Here is the whole summary of the data about Knjiznica-ptuj.si that we have retrieved.
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We constantly check Alexa ratings, so this percentage shows how many times Knjiznica-ptuj.si appeared in Alexa rankings.
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News / News
Maldives condemns attack on Saudi Arabia's Abha International Airport
A picture taken during a guided tour with the Saudi military on June 13, 2019 shows the damage on the roof of Abha airport in the popular mountain resort of the same name in the southwest of Saudi Arabia, one day after a Yemeni rebel missile attack on the civil airport wounded 26 civilians. - Saudi Arabia accused its arch-foe Tehran of ordering the missile strike on the airport on June 12, drawing promises of "stern action" from the Saudi-led coalition fighting the Yemeni Huthi rebels. (Photo by Fayez Nureldine / AFP)
The government of Maldives, on Tuesday, issued a statement strongly condemning the attack on Saudi Arabia's Abha International Airport on June 23.
According to state-run Saudi Press Agency (SPA), "a terrorist attack by the Iranian-backed Houthi militia took place at Abha International Airport" resulted in the death of "a Syrian national" and the wounding of "seven civilians".
The circular released by the Minister of Foreign Affairs, Maldives iterated the state's commitment to work closely with the international community to find peaceful solutions to conflicts across the region and fight against global terrorism.
Moreover, while reaffirming its solidarity with the "brotherly" people of Saudi Arabia, the ministry conveyed its sincerest condolences to families of the victim and wished for a speedy recovery of the injured.
On June 14, the same airport was struck by another attack, wounding 26 people.
Maldives with Saudi Arabia, pres assures after failed Huthi missile
France to launch smartphone 'terror alert' app
FBI 'highly confident' Orlando gunman was 'radicalized'
Saudi Arabia Terrorism Terrorist Attack Foreign Ministry Maldives-Saudi


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Bayelsa State Investment Promotion Agency (BIPA) promotes, co-ordinates and monitors all investments in Bayelsa.
Megastar Technical & Construction Company Limited is a registered civil engineering company with services in building and road construction.
Pepperoni Foods Limited is a confectionery and catering service provider in Yenagoa.
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The Backscatter staff have spent plenty of time shooting mirrorless cameras in the water around the world in all sorts of conditions, from our home waters of Monterey, CA, to the Caribbean, and the Indo Pacific. We've compiled this guide to help you figure out if a mirrorless camera is right for you, and if so, which one is best for your particular interest. Whether it's upgrading from a compact or going full pro, video or photo, we'll break down these cameras and go over our top pics. Best,Underwater,Mirrorless,Cameras,2021,Housing,Case,Review,Buying,Buyer's,Guide,2020,Sony,Canon,Nikon,Olympus,Panasonic,Fuji,Full Frame,MIL,Micro,Four Thirds,4/3
Best Underwater Mirrorless Cameras 2021
The Backscatter staff have spent plenty of time shooting mirrorless cameras in the water around the world in all sorts of conditions, from our home waters of Monterey, CA, to the Caribbean, and the Indo Pacific. We've compiled this guide to help you figure out if a mirrorless camera is right for you, and if so, which one is best for your particular interest. Whether it's upgrading from a compact or going full pro, video or photo, we'll break down these cameras and go over our top picks. Get the master class in the Best Mirrorless Cameras of 2021 from Backscatter's Robin Dodd.Summary of the Best Underwater Mirrorless Cameras for 2021Best All-Around Full Frame Advanced MirrorlessSony a1 The Sony a1 is hands down the best performing hybrid camera to shoot both video and photo, period. However, this much capability doesn't come cheap at $6500 for the camera body only. LEARN MORE ABOUT THE a1Best Full-Frame Advanced Mirrorless For PhotoSony a7R IV Our top pick in this category, the Sony a7R IV, has the best still image quality and resolution we've ever seen from ANY full frame camera. At a much more affordable price than the Sony a1 coming in at $3499 for camera body only, it falls a little short in the video department. LEARN MORE ABOUT THE a7R IVBest Entry-Level MirrorlessOlympus E-PL10 Anyone who is looking at a compact camera should seriously consider the Olympus E-PL10 as a great alternative. It will have much improved image quality over a compact but is not all that different in underwater size, and has a price less than most compacts at $699 for a camera and included lens. LEARN MORE ABOUT THE E-PL10Best Mirrorless for VideoSony a7S III If you're a pro level video shooter, the Sony a7S III is the most pro level mirrorless video rig available. It will come in at a fraction of the price of a cinema system at $3499 body only, but will still deliver high bit rate 4K 120p all day long. LEARN MORE ABOUT THE a7S IIIAdvanced Runner-up #1 Canon EOS R5LEARN MORE ABOUTTHE EOS R5Advanced Runner-up #2 Nikon Z 7 IILEARN MORE ABOUTTHE Z 7 IIEntry-Level Runner-up #1 Olympus OM-D E-M5 IIILEARN MORE ABOUTTHE E-M5 IIIEntry-Level Runner-up #2 Sony a6600LEARN MORE ABOUTTHE a6600Video Runner-up #1 Panasonic GH5LEARN MORE ABOUTTHE GH5Keep reading for more information about each camera and our testing criteriaABOUT OUR MIRRORLESS REVIEW Our top picks are our best all-around choices taking into consideration serving the needs of the broadest segment of users for both photo and video. Depending on an individual's shooting style, subject interest, and shooting goals, a runner-up may be a better option than one of our top picks for that particular individual. The staff at Backscatter have extensive experience with every camera in this article and can help guide your decision about which camera for underwater photography is best for your individual needs. Please don't hesitate to give us a call, we love to geek out and guide you to the best camera for you. JUMP TO A SECTIONWHAT IS A MIRRORLESS CAMERA?BENEFITS OF A MIRRORLESS OVER A COMPACT CAMERAMIRRORLESS MYTHS: MIRRORLESS VS. DSLR DEBUNKEDCATEGORIES & WINNERSWHAT IS A MIRRORLESS CAMERA? A mirrorless camera is basically just a DSLR camera without the optical viewfinder. It still has an interchangeable lens like an SLR, but rather than looking through the optical viewfinder to compose an image, it is either done by looking through an electronic viewfinder, or on the screen on the back of the camera, like a compact. While all mirrorless cameras have a screen on the back, not all have an electronic viewfinder. HUGE RANGE OF OPTIONS FROM ENTRY LEVEL TO FULL PRO Mirrorless cameras are the largest category of cameras for underwater imaging. It also has the biggest price variance and user experience range of entry-level, mid-level, to high-end of any camera category. Prices start from as low as $599 for an entry-level model and go up to $6500 for a top-notch pro-level body. The main difference between a mirrorless and a DSLR is the mirror box, prism, and optical viewfinder have been removed, making it possible to have a smaller camera.BENEFITS OF A MIRRORLESS OVER A COMPACT CAMERA Anyone looking at a compact camera should also seriously look at entry-level mirrorless cameras as an alternative. While compact cameras by themselves can be pocket-sized, once placed in an underwater housing and the addition of strobes, arms, and external lenses, it winds up not being all that much of a difference in size. The benefits from a mirrorless are going to be in a huge jump in image quality and speed of shooting. The image quality jump comes from the sensor size and the quality of the lens optics. The much larger sensor gathers more light and results in better image quality, better dynamic range, and lower noise. The image sharpness increase comes from higher grade optics in the lenses. The shooting speed comes from bigger image processors and the ability to use a hot shoe and a flash trigger for rapid-fire shooting, or the ability to have manual flash output. There's only a handful of compact cameras with manual flash capability to increase the speed of shooting. The Panasonic LX10 and Sony RX100 VII compact cameras are small in size, but the flash recycle time can stretch to 5-10 seconds after a few shots in a row, which can be extremely frustrating in the heat of the action and speed of shooting is paramount. While a mirrorless camera system CAN be configured to be significantly more expensive than a compact system, several entry-level mirrorless systems can outperform high-end compacts and come in LESS expensive. When configured for underwater shooting, an entry-level mirrorless system isn't all that much different in size or weight. This Olympus E-PL10 system is about the same size but comes in at a lower price with much greater performance and image quality compared to a Sony RX100 VII system. Price as shown: Olympus E-PL10 $2,181.63, Sony RX100 VII $3,116.63.MIRRORLESS MYTHS: MIRRORLESS VS. DSLR DEBUNKED Over the years we've come across quite a few misconceptions people have had regarding mirrorless cameras, especially when compared to DSLRs. Here a few of the more popular misconceptions to be debunked. Myth: Mirrorless cameras make for a smaller underwater camera system. Truth: By eliminating the optical viewfinder, a mirrorless camera can be made smaller than a traditional DSLR camera, sometimes much smaller. The size of the camera will depend on the size of the sensor. Mirrorless cameras range from full-frame (same size as 35mm film) to half that size. The smaller sensor mirrorless cameras like the Olympus E-PL10 can rival the size of a compact camera and the entire underwater camera system can fit in a backpack for easy carry on while traveling. A full-frame mirrorless camera has full-frame size optics which just can't be made smaller than their DSLR brethren due to the physics of light. A full-frame size mirrorless camera in a housing with a port, strobes, arms, and everything else comes out to about the same size as a similar fully kitted DSLR rig. Myth: The image quality from a mirrorless camera is nowhere near what a DSLR can do; or the image quality from a DSLR is no match for what can be had from a mirrorless. Truth: We see people attacking this topic from both sides. The image quality from a mirrorless camera and the overall performance compared to a DLSR has nothing to do with whether the camera is a mirrorless or a DSLR. It comes down to the differences between individual cameras themselves. As mentioned previously the mirrorless camera range is really wide from beginner to full level pro. It's not an apples-to-apples comparison if one tries to take an entry-level mirrorless and compare it to a DSLR or vice versa. As it stands right now the Sony a7R IV has the best image quality out of any full-frame camera, but that is because of the sensor, not because it's mirrorless. Myth: A DSLR camera can focus faster and more accurately than a mirrorless camera. Truth: This used to be a thing, but not anymore. DSLR cameras have a focusing screen in the mirror box that is used for autofocus. This technology has been around for decades and every last bit of development has been squeezed out of it, making it extremely accurate and fast. Since a mirrorless camera does not have a focusing screen, it has to focus off of the sensor. At the beginning of mirrorless, this resulted in very slow performance that could not even be close to keeping up with a DLSR. As the years have gone by much more development has advanced for mirrorless autofocus and I can say from personal experience that top-end mirrorless cameras from Sony can directly compete with my favorite fast focusing DSLR of all time, the Nikon D850. Myth: Optical Viewfinders are better than electronic viewfinders; or electronic viewfinders are the future and optical viewfinders are dead. Truth: This is often the most common topic that will start a bar fight among DLSR or mirrorless cult members. The truth is there are advantages and disadvantages to both depending on the type of shooting one is doing, and one's personal preferences, so let's break it down. Optical Viewfinder Advantages An optical viewfinder is a direct light path through the camera lens. Your eye is looking directly through the lens and as such you can see with the same dynamic range of bright to dark as the human eye. You can also see critical focus directly through the lens. In a mirrorless camera, an electronic viewfinder is a hi resolution screen with the image taken from the sensor of the camera. As such it does not have anywhere near the dynamic range of the human eye. This makes it difficult with wide angle backlit scenes to actually see details of subjects when framing shots. If one is trying to shoot a sunball for example, the sunball and everything around it will be completely blown out and you just can't see where the sunball is positioned in the frame. In this situation foreground subjects are completely shadowed, also making it difficult to frame the foreground. If you've ever used a compact camera before to shoot underwater wide angle, it is a similar experience. Another minor advantage to an optical viewfinder is that electronic viewfinders when shooting macro have a horrible cyan-ish color cast that makes it difficult to see contrast and the subject that one is shooting, but this is easily remedied by using a focus light. It's impossible to see what you're shooting in a heavily backlit scene like this with a mirrorless camera. When looking in the EVF, the sun was completely blown out and all of the surrounding water was blown out too, making it impossible to see where the actual sunball was in the frame until taking the picture and reviewing it in playback.Sony a7R IV | Canon 8-15mm | 1/250 | ISO 200 | ƒ16Electronic Viewfinder Advantages While the optical viewfinder easily takes the cake for underwater wide angle photography, macro is where there are more options for the electronic viewfinder shooter. An electronic viewfinder offers focus peaking which will show areas of the image that are in focus by outlining the in-focus edges in a color of your choice. Focus peaking allows you to see areas that are in focus WITHOUT the need to see critical focus. This is great for subjects that are in constant motion where it's hard to see focus because it never stops moving, or for shooters whose eyes might not be able to see perfect focus. Another advantage of macro is being able to see playback in the viewfinder to review an image. Firstly, it is a nice dark environment compared to a rear screen to make it easy to evaluate an image, especially in bright ambient light conditions where it is difficult to see the screen. Secondly, one does not have to move their head and ruin the camera position to see the back of a screen for image review. One could simply tap the playback button, see the image in the finder, then continue shooting in a much quicker manner without having to move position and potentially lose the subject and have to require. Electronic viewfinders are also a good substitute for a video monitor when shooting macro video, especially when paired with a 45 degree expanded finder. Trying to compose a macro video shot off of a screen on the back of the camera is almost impossible due to the screen being so close to the bottom and not being able to get your head low enough to see the screen. The long and short of it is that optical viewfinders are much better for wide angle photography, while an electronic one has more options to make macro easier. While not related directly to a viewing experience, with the elimination of the mirror box, a mirrorless camera can have in-body image stabilization where a DSLR cannot. This is a great feature for video shooters to get more steady video shots. The Panasonic GH5 focus peaking feature is critical for macro video work to see critical focus. For shooters who have problems seeing critical focus through an optical viewfinder, focus peaking eliminates the need for seeing the actual critical focus and outlines in focus areas in the color of your choice, in this case, red.CATEGORIES & WINNERS With such a huge range of camera capabilities and prices, we broke out the mirrorless offerings into 4 categories. JUMP TO A SECTIONBest All-Around Full Frame Advanced MirrorlessBest Full-Frame Advanced Mirrorless For PhotoBest Entry Level Mirrorless Best Mirrorless For VideoBACK TO TOPBEST ALL-AROUND FULL-FRAME ADVANCED MIRRORLESSSONY α1 The Sony a1 was just released this year and immediately rocketed to the top of the list. It is a Swiss Army Knife of a camera that can do all things and do them well. It's not only the best all-around mirrorless camera, it is in our opinion the best all-around camera period. That's not to say that there aren't some things that other cameras can do better, but that list is really short and the differences not so great. Others can't come close to the breadth of what the Sony a1 can do. Hi-Res, Fast Shooting, Great Image Quality Usually, these three things do not go together, they are in tension with each other. A high megapixel sensor camera used to be slow due to the amount of data to be processed. Even only a few years ago a 40+ MP camera doing over 5 frames per second was considered fast. A lower resolution camera at about 18-20MP doing 10-12 frames per second was considered fast for a "sports" camera. The Sony a1 is 50MP and shoots at 30 frames per second which is mind-boggling to think about. Sony has also in the last few years massively improved the image quality of their high-resolution sensors. While the noise and dynamic range of the Sony a1 will fall just shy of what the leading Sony a7R IV can do, that small cost comes with the blazing-fast speed the Sony a1 possesses. Sony a1 | Sony 16-35mm | 1/250 | ISO 640 | ƒ14Top Level Tracking AF Performance Anyone familiar with Nikon's 3D tracking or Sony's AF Tracking in continuous AF will never use another way to autofocus ever again. The hit rate on autofocus accuracy is near perfect. The autofocus tracking has improved over the Sony a7R IV with quicker, more accurate tracking and 1 stop improvement in low light conditions. 8K 30p, 4K 120p Movie Mode—No Overheating When the Canon EOS R5 was announced the 8K movie mode was the most head-turning spec to come out. However, in practical reality, there is some limitation to its use due to overheating, which also occurs in shooting 4Kk 120p. The Sony a1 also shoots 8K, but without any practical limitation on overheating for an underwater shooter. While 8K 30p may be the eye-popping headline, 4K 120p is the more practical and sought-after spec. Being able to shoot 120p and slow down to half speed and still have 60p footage will allow for some very life-like crispness to the image while still getting a dramatic slo-mo effect. Custom White Balance Performance Custom white balance at depth underwater has always been the Achille's heel of any Sony camera, however, Sony has made incremental improvements over the last few models. Starting with the Sony a7S III (our top pick for Best Mirrorless Video Camera) the white balance has been massively improved and will now white balance at depths over 50 feet without the water turning magenta. This makes it a truly viable hybrid camera for the still/video shooter. 1/400 Flash Sync Speed—A First for a Full Frame Camera Wow! That's all I can say for this spec. Folks, we haven't seen this before. Now we can shoot high ambient light shots (think sunballs) and use a higher shutter speed (which won't affect strobe light) to pull in the exposure of the ambient light rather than being stuck with adjusting ISO or aperture (which affects BOTH ambient light and strobe light). This effectively means in these shooting situations one can shoot a higher shutter speed instead of a higher ISO or aperture and preserve 1 full stop of strobe light over what a Nikon Z7 II or Canon EOS R5 that only have a flash sync speed of 1/200. ProsThe holy grail of megapixels, speed, and quality8K 30p and 4K 120p movies with no overheating in practical usageAwesome tracking AF means you'll never miss a shot1/400 flash sync speed is amazing and is 1 full stop faster than either the Canon EOS R5 or Nikon Z7 IIIt white balances at depth for great-looking ambient light videoConsStill has a limited lens selection for underwater photographers, but Canon lenses easily work with an adapterIt's pricey but worth itThe Camera:Sony a1 Camera $6,499.99ORDER NOWThe Housings:Aquatica Sony a1 HousingORDER NOWIkelite Sony a1 and a7S III HousingORDER NOWNauticam NA-a1 HousingORDER NOWBACK TO TOPBEST FULL-FRAME ADVANCED MIRRORLESS FOR PHOTOSONY α7R IVA WHOLE NEW LEVEL OF RESOLUTION WITH NO COMPROMISE IN IMAGE QUALITY Conventional wisdom in-camera sensor design is that when pixel density on the sensor goes up (higher resolution), the light gathering capability goes down. This is due to smaller pixels not being able to gather as much light. This increases the noise level of the image and also results in diminished low light performance. When the Sony a7R III came out with its 42MP sensor, it was the first of its kind to have such high resolution but also no compromise in image quality despite the more tightly packed sensor. Sony has pulled a rabbit out of the hat once again with the Sony a7R IV. With almost 50% more resolution than the previous model, its impressive image quality and resolution can't be overstated. It is a giant leap ahead of any other full-frame camera. An obvious benefit of the high resolution is the ability to crop and still have more resolution than most cameras out there. Don't take this as a license for poor camera technique! You'll still get a better shot by framing and lighting the scene properly. Being too far away from something and cropping leads to lower image quality due to more water to shoot through between the lens and subject. The most practical application of cropping would be to do a vertical crop from a horizontal. This is especially useful in shooting super macro, where critters tend to be on the bottom in the sand. It would be impossible to frame the shot for a vertical due to the handle of the housing preventing the camera from getting low enough. Tiny critters that are still too small in the fame at the limits of the super macro are also good candidates for a purposeful post-shot crop. There's plenty of resolution to crop a vertical from a horizontal when it's impossible to position the camera for the proper composition. Even a vertical crop with the Sony a7R IV still yields a resolution of 26.8MP.Sony a7R IV | Sony 90mm | 1/250 | ISO 100 | ƒ22BEAUTIFUL AMBIENT LIGHT VIDEO COLOR IF YOU STAY SHALLOW The previous model Sony a7R III had massively improved ambient light custom white balance, and this same white balance carries on with the Sony a7R IV with no noticeable changes. It has 3 available custom white balance banks with easy access and simple execution. The white balance performs best at shallow depths and looks good in bright ambient light conditions, but only up until about 45 feet deep. At around that depth the water in the background tends to shift towards a magenta hue that becomes more difficult to correct in post the deeper it's shot. The Sony a7R IV video looks really good in the right conditions. Macro is its strong point, but the ambient light wide angle looks good down to about 45 feet.CONCLUSION The Sony a7R IV is a massive leap forward in image quality. With 61MP of resolution, it will produce big prints with tons of sharp detail like no other camera before it. Cropping a vertical from a horizontal is not a problem and will still yield more resolution than most other cameras at full frame. The color of the still images look great right out of the camera, and the dynamic range is among the best of any camera. With both image quality and resolution, you can have your cake and eat it too. 10 frames per second continuous shooting with this much resolution is crazy good performance. 10 FPS used to be reserved for sports cameras with much lower resolution, but now this camera can push those boundaries and shoot fast action. This being said, it is a little clunky to shoot fast and review, requiring extra taps of the playback and shutter buttons to switch back and forth from shooting to image review, but this is something common to all mirrorless cameras. In this area, an SLR is still king. The Real-time Tracking AF is a major leap forward in autofocus for Sony. It can now compete with the likes of the Nikon D850 for that top autofocus performance slot. In our testing however the macro autofocus capabilities of the Nikon D850 still outperform the Sony a7R IV, but you can get closer with the Sony a7R IV than ever before to the Nikon macro performance if a Canon macro lens with an adapter is used. We wish Sony would develop a proper fisheye lens and a better performing macro lens, but thankfully there is a good solution with using an adapter for some Canon glass, even if it adds a little bulk and isn't as streamlined as native glass. For video shooters, whether this camera fits their needs will depend on the type of shooting they do. It's disappointing to not see any 4K/60p from Sony yet. Canon and Panasonic both have full-frame cameras now that are shooting over 4K resolution at 60p. That coupled with the rather shallow limitations of the custom white balance, make this camera a choice for more casual video shooters whose real main interest is photo. If you're looking for the hands-down best stills image quality and biggest resolution, there is no other place to look than the Sony a7R IV. Pros61mp sensor produces the best still image quality available yetutstanding low light and dynamic range performanceReal-time autofocus subject tracking makes it easy to nail focus on every shotWide angle autofocus is super-fast, accurate, and matches or exceeds the performance of other top camerasSuper 35 mode offers more shooting crops while still maintaining 4K resolutionNatural ambient light color looks good up to about 45 feetConsBest lens choices require Canon lenses and an adapterMacro autofocus still not quite as fast as an SLRNatural light custom white balance turns water to magenta after about 45 feetWhere is the 4k/60p? It is in the Sony a7S IIIREAD THE FULL REVIEWWatch our Full Review Video for the Sony a7R IV camera.The Camera:Sony a7R IV Full-Frame Mirrorless Camera $3,499.00ORDER NOWThe Housings:Aquatica A7rIV HousingORDER NOWIkelite Sony a7R IV HousingORDER NOWIsotta Sony a7R IV HousingORDER NOWNauticam NA-a2020 HousingORDER NOWSea and Sea MDXL-a7IV HousingORDER NOWSeacam Sony a7R IV HousingORDER NOWBACK TO TOPBEST FULL-FRAME ADVANCED MIRRORLESS: RUNNERS UPCANON EOS R5 Don't get us wrong here. The Canon EOS R5 is a great camera. The image quality is the best to date from Canon and it is easy to use existing Canon EF lenses with an adapter. The video and ambient light white balance look fantastic, but that's where the rub comes. The much talked about overheating when shooting 8K or 4K 120p is too much for the camera to handle, even with the typical short clips underwater video shooters tend to do. The heat builds up over time, is cumulative, and only dissipates to a certain extent during a typical 90-minute surface interval on the boat. This isn't to say you can't shoot 8K or 4K 120p, we clearly did in our video sample clips below. But the heat has to be managed by turning the camera off between clips to allow the camera to cool (or more accurately, not continue to build heat). At the end of the day with monitoring air, deco limits, and where the $#@! is the boat, it's just another thing to have to manage on a dive which is why we can only recommend this camera for stills shooters who only have a passing interest in video. If you're a Canon shooter who does primarily stills, this is the best image quality Canon has ever put out and you won't be disappointed. Canon EOS R5 | Nauticam WACP | 1/200 | ISO 640 | ƒ18This wide angle demo reel was shot on location in the Maldives by Backscatter Video Pro Joel Penner with a pair of Backscatter Macro Wide 4300 Video Lights and the Canon EOS R5 Mirrorless Camera.The Camera:Canon EOS R5 Full-Frame Mirrorless Camera $3,899.00ORDER NOWThe Housings:Aquatica AR5 HousingORDER NOWIkelite Canon R5 HousingORDER NOWIsotta Canon R5 HousingORDER NOWNauticam NA-R5 HousingORDER NOWSea and Sea MDX-R5 HousingORDER NOWSeacam Canon R5 HousingORDER NOWBACK TO TOPNIKON Z7 II The Nikon Z7 II is a minor upgrade for the most part from the Nikon Z7. It has the same image sensor and will produce the same image quality as the Nikon Z7, which is not a problem at all since the Nikon Z7 did some amazing photos. The Z7 series are the only cameras in this review to go down to an actual ISO of 64, allowing for a more dynamic range by preserving highlight detail while maintaining low noise in the shadows. The Nikon Z7 II gains a faster processor that allows for 4K 60p video, a faster 10 frame per second for stills, and a bigger shot buffer. The autofocus is improved in low light over the original Nikon Z7. With a relatively shallow ambient light white balance depth of about 40 feet, the Nikon Z7 II is best for stills shooters who have a passing interest in video. Anyone with previous experience with a Nikon DSLR and the killer 3D tracking autofocus will be a little disappointed that the autofocus system is completely different and unfamiliar with the Z series. The camera body is quite small and lightweight and great for topside shooting. We recommend this camera for Nikon shooters who are looking for great image quality but aren't primarily interested in video. The Camera:Nikon Z7 II Full-Frame Mirrorless Camera $2,996.95ORDER NOWThe Housings:Ikelite Z7 HousingORDER NOWIsotta Z7 II HousingORDER NOWNauticam NA-Z7II HousingORDER NOWBACK TO TOPOTHER FULL FRAME MIRRORLESS CAMERAS Here's a list of other full-frame mirrorless cameras. Contact one of our underwater imaging experts if you have any questions. Sony a9 II Sony a7C Canon EOS R6 Canon EOS R Nikon Z6 II Nikon Z7 Nikon Z6 Nikon Z50 Panasonic S1 Panasonic S1H Panasonic S1R Panasonic S5BACK TO TOPBEST ENTRY LEVEL MIRRORLESSOLYMPUS PEN E-PL10The Best Bang For Your Buck in Underwater Photography Striking a balance between value, performance, and ease of use is the ideal trinity of underwater photography equipment. The Olympus E-PL10 camera and limited edition Backscatter E-PL10 Octo Housing create a system that is not only more affordable than similar rigs, but also has outstanding shooting specs and image quality while staying compact and easy enough for even the first-time underwater photographer. The Olympus E-PL10 can be shot like a point-and-shoot camera with external wet conversion lenses or shot like an SLR with dedicated wide angle and macro lenses and ports. Keep it simple and versatile, or go for the best image quality possible – the choice is up to you. Straight out of the box the system has everything needed to get started and can be upgraded and expanded to pull off any shot imaginable. At only $699.99 for the camera with lens and $649.00 for the housing, it's truly the best bang for the buck in underwater photography. An Ideal Upgrade from TG Cameras—Or Any Other Compact Camera If you're one of the thousands of underwater photographers who have fallen in love with their Olympus TG-series compact camera but are now ready to take their gear to the next level then look no further than the Olympus E-PL10. Any Olympus user will feel right at home with the familiar menus, controls, and operation of the camera. The ability to swap between such a wide variety of lenses is the standout feature of this camera when compared to the Olympus TG-6 because it allows the user to get wider shots, more macro working distance, and sharper overall results. When shooting macro with the Olympus 14-42mm EZ and a diopter you'll have a much greater working distance to the subject than with the Olympus TG-6, which will make macro shots much easier to pull off. The Olympus E-PL10 offers full manual exposure control, which is a major advantage over the Olympus TG-6 when it comes to obtaining great underwater image results easily. This is especially helpful for wide-angle background exposure control, which is where shutter speed control becomes essential. The Olympus TG-6 offers limited shutter speed control at best, and never without an Auto-ISO caveat. The Olympus E-PL10 can completely separate shutter speed from ISO just like any other fully manual camera providing the user with complete exposure control for the perfect image. For shooters that are ready to graduate from their tried-and-true TG camera but aren't quite ready to go all-in for a full-frame SLR, then the Olympus E-PL10 is the best choice for a major step up in performance at a fraction of the price of other options. Fast-action scenes where rapid firing is required are much easier to pull-off with the Olympus E-PL10 than the Olympus TG-6.Olympus E-PL10 | Backscatter E-PL10 Octo Housing | Olympus 8mm | 1/200 | ISO 400 | ƒ11Exemplary Image Quality from a Micro Four Thirds Rig The Olympus E-PL10 produces satisfyingly sharp image detail and crispy resolution. High-key highlights don't look blown out, and dark shadows aren't noisy or grainy. Color saturation is vibrant and packs plenty of pop. Whether shooting backlit sunballs or black-background macro, the results across the board were excellent and among some of the best from current-gen Micro Four Thirds sensor cameras. Overall the results are comparable to cameras such as the Panasonic GH5 and Olympus OM-D E-M1 III. When compared to the Olympus TG-6, the larger sensor of the Olympus E-PL10 creates much sharper image detail, better dynamic range, and lower noise in low-light situations. Given the relatively minor size increase of the Olympus E-PL10 body, the user gets all the benefits of a larger sensor higher-end camera without adding significantly to the overall weight or underwater system size. Balancing perfect foreground and background exposures is made much easier thanks to the full manual control of the Olympus E-PL10.Olympus E-PL10 | Backscatter E-PL10 Octo Housing | Olympus 8mm | 1/125 | ISO 400 | ƒ14Responsive Autofocus for All Situations Autofocus speed is snappy and accurate in both wide angle and macro scenarios. Whether tracking moving a subject through the frame or locking on to the eye of a close-up critter the camera does a great job of sticking the sharpest part of the frame right where desired. Using dedicated wide and macro lenses will yield even better results than the kit lens with wet-mount conversion lenses. The controls can be configured to enable back-button autofocus operation. By separating the focus control from the shutter button we gain a huge advantage over compact cameras and take the next step towards SLR-like camera control. This custom control assignment is easy to set up in the menu and can be simply set once and forgotten about. CONCLUSION The Olympus E-PL10 and Backscatter E-PL10 Octo Housing are the "best bang for your buck" in underwater photography. Together they can be operated as easily as a compact camera by utilizing wet-mount conversion lenses. Alternatively, the system can be set with dedicated lenses and ports for either wide or macro just like an SLR, but at a mere fraction of the overall SLR system price, Starting at $1,349.99 for both the camera, lens, and housing. The image quality produced by the camera is just as good as any other current Micro Four Thirds sensor camera, with sharp detail, vibrant colors, and great dynamic range detail. This is our favorite system for striking an ideal balance between affordability, high-end performance, and simple ease of operation. ProsBest bang for your buck in underwater photoCompact-like size and simplicity with SLR-like performance at a competitive priceShoot it like a compact with wet lenses, or like a pro with interchangeable lensesOffers an ideal upgrade path for new shooters, or those moving up from a beginner rigBackscatter E-PL10 Octo Housing has cooler graphics than your buddies housingConsRelatively shallow ambient light white balance limit for wide angle video shootersREAD THE FULL REVIEWWatch our Full Review Video for the Olympus E-PL10 camera.Camera Options & HousingOlympus E-PL10 Camera Mirrorless Camera Body $599.99ORDER NOWOlympus E-PL10Camera and 14-42mm EZ Lens $699.99ORDER NOW Backscatter E-PL10 Octo Underwater Housing $649.00ORDER NOWBACK TO TOPBEST MIRRORLESS FOR UPGRADING FROM A COMPACT CAMERA: RUNNERS UPOLYMPUS OM-D E-M5 III One could think of the Olympus OM-D E-M5 III as an all-around upgraded Olympus E-PL10. It has more resolution, faster shooting, an upgraded autofocus system, better image stabilization, faster maximum shutter speed, an electronic viewfinder, and a bigger body with more dedicated control dials and buttons. It's is a very nice camera, but it does come with a higher price and a significantly larger system size when put in an underwater housing. While camera geeks and pixel peepers will salivate over these extra features and performance, the end result is an image that is not lightyears ahead of the PEN. We still think most people coming up from a compact camera will be impressed by the combination of small size, performance, and value that make the PEN what we call the "best bang for your buck" in underwater photography. The Camera:Olympus OM-D E-M5 III Camera $1,199.99ORDER NOWThe Housings:AOI UH-EM5IIIHousingORDER NOWIkelite Olympus OM-D E-M5 III HousingORDER NOWIsotta Olympus OM-D E-M5 III HousingORDER NOWNauticam NA-EM5III HosuingORDER NOWBACK TO TOPSONY α6600 The Sony a6600 is the flagship model of the 6000 series of mirrorless cameras from Sony. The 6000 series has a larger sensor than the Micro 4/3 size from Olympus and Panasonic but still smaller than full-frame. This makes image quality top-notch, on par with that of a Nikon D500 cropped sensor DSLR. However, there are some limitations with this camera, with two of the biggest being related to flash. The internal flash is TTL only, with no manual option. This results in some really slow shooting waiting for the camera's internal flash to recycle when using it to trigger an underwater strobe. This can be overcome with some compatible housing models by either using a flash trigger or a hardwired electrical sync cord circuit. The second flash issue is the relatively slow flash sync speed of the shutter at 1/160. That means one cannot use a shutter speed faster than 1/160 if using a flash which is quite limiting in high ambient light conditions such as sunballs or shallow reefs with bright sun. All other cameras in this review have a flash sync speed of at least 1/250. READ THE FULL REVIEWThe Camera & Housing:Sony a6600Camera $1,399.99ORDER NOWNauticam NA-A6600 HousingORDER NOWBACK TO TOPOTHER OPTIONSOther Mirrorless for Upgrading From a Compact Camera Here's a list of other entry-level mirrorless cameras. Contact one of our underwater imaging experts if you have any questions. Sony a6400 Olympus OM-D E-M1 III Olympus OM-D E-M10 III Olympus OM-D E-M1 X Panasonic GX85 Panasonic G9 Fuji X-T4BACK TO TOPBEST MIRRORLESS FOR VIDEOSONY α7S IIIA Mirrorless Camera Tailor-Made for Video The Sony a7S III camera looks and feels similar to other cameras in the a7 series, but under the hood, it is dramatically different. This camera was made for video shooters. The camera allows for shooting up to 4K 120p at 280mbps with 10-bit color in a 4:2:2 color space with no practical limitations for an underwater shooter as far as time limits or heat concerns. The lower resolution 12MP sensor won't turn heads for photo shooters, though a 12MP image is great for social media and online use, and can scale up to a moderate size for printing. The excellent low light performance and video specs are what sets this camera apart. This macro demo reel was shot on location at Lembeh Resort by Backscatter Photo Pro James Emery with the Backscatter Macro Wide 4300, Backscatter Optical Snoot OS-1, Backscatter Color Filter System, and Sony a7S III Mirrorless Camera.White Balance Massively Improved—Finally On Par With Canon In the past, the weakest link in the Sony a7S series of cameras was the underwater white balance performance. Every other spec and feature of the camera was fantastic. However, none of that matters if the color isn't right, but this time Sony got the color right. Taking a manual white balance underwater in wide angle ambient light only conditions is the true test of any camera's worth for use underwater. We tested underwater manual white balance in various conditions and depths and are very pleased to report that even in excess of 70 feet, the color still looks great. We see none of the magenta water that would creep in at about 45-50 feet with the Sony a7R IV. With 4 white balance banks and an easy to execute procedure, this camera is one of the top picks for all-around video use. We're very pleased with the ambient light wide angle manual white balancing of the Sony a7S III. Even at depths exceeding 70 feet, the colors look fantastic. Although the clip at 95 feet doesn't show a lot of color, the main thing to look at these extreme ambient light depths is that the water stays true to color. Previous Sony cameras and other poor performing custom white balance cameras typically render the water a magenta color, which is near impossible to fix in post. This is a major upgrade and makes the Sony a7S III a truly viable underwater video camera.Best Choice for a Mirrorless Video Camera Sony clearly chose to make an all-out video camera with the Sony a7S III. The video specs of shooting up to 4K 120p with a lower resolution, faster readout, low noise, high dynamic range sensor on paper make this a great choice for a video camera. But in real-world performance, Sony has always fallen short, sometimes really short in earlier models, of being able to execute the most important task of a manual white balance underwater for wide angle ambient light scenes. As we have said many times before, a camera can have all the best specs in the world, but if the color is crap, nothing else matters. And now that problem is solved. Being able to capture 4K 120p at 280mbps with 10-bit color and a 4:2:2 color space in such a small package, and on top of that to an internal card, makes this a great run and gun camera for shooters who want top pro-level image quality, but want a relatively small package. In the past specs like this required a large external recorder or a much larger cinema camera. While it's not necessary to have an external recorder some folks will still like to have an external monitor. Even without an external monitor, the camera's screen and super hi resolution EVF are all that's needed to get in the water and start shooting. The quality of the footage in 4K will rival that coming from other 4K 60p full-frame capable cameras. While the Sony a7S III lacks being able to shoot 5.5K like the Canon 1DX III, 6K like the Panasonic S1H, or even the 8K of the Canon EOS R5, in the end, it doesn't really matter. What everyone wants is a 4K 60p timeline with the ability to shoot 4K 120p and slow it down. There's no overheating issues like the nearest competitor to this camera, the Canon EOS R5 has in 8K or 4K 120p. If you already own Canon glass, the Sigma MC-11 mount converter allows you to use Canon lenses on the Sony body if one was so inclined. The next time we need to shoot some video, the Sony a7S III is at the top of our list for its small size, killer video specs, and excellent ambient light white balance underwater. ProsFinally, an underwater white balance Sony can be proud ofTop level 4K 120p 4:2:2 10 bit color, no external recorder neededExcellent low noise performanceGreat dynamic rangeSame great Autofocus for stills as the Sony a7R IVNothing holding this camera back from being someone's top choice for an underwater video rigCons12MP resolution is a great sensor for video, but not enough pixels to be a true photo cameraBetter off to lock focus in movie mode due to constant AF updatesREAD THE FULL REVIEWThe Camera:Sony a7S III Camera $3,499.99ORDER NOWThe Housings:Aquatica Sony a7S III HousingORDER NOWIkelite Sony a1 and a7S III HousingORDER NOWIsotta Sony a7S III HousingORDER NOWNauticam NA-a1 HosuingORDER NOWNauticam NA-A7SIII HosuingORDER NOW Seacam Sony a7S III HousingORDER NOWBACK TO TOPBEST MIRRORLESS FOR VIDEO: RUNNER UPPANASONIC GH5 & GH5S The Panasonic GH5 has been a video workhorse since it came out. It was the first mirrorless camera capable of shooting 4K 60p and was the camera to beat. Countless pro-level productions used this camera for broadcast and cinema. However, by today's contemporary standards, 4K 60p is now a quaint video spec, more of a requirement for any camera at this point rather than a standout feature. The white balance looks good, which is why this model became so popular. The camera has been out for a while, but that doesn't take away from its great-looking video capabilities that can be had for a relative bargain compared to other 4K 60p or 120p cameras listed in this article. If you've got the cash, the Sony a7S III is the clear choice, but if you're looking for a budget mirrorless video camera to shoot 4K 60p, then the Panasonic GH5 is the go-to rig. READ THE FULL REVIEWThe Panasonic GH5 is the best camera for video in this entire article review. In this video see wide angle and macro shots for both video and photo along with our breakdown of all the new features of the camera.See our in-depth breakdown of the Panasonic GH5 camera in our first look review.Panasonic GH5 & Nauticam NA-GH5 Housing Underwater Review by Adil Schindler.Panasonic GH5 & Aquatica AGH5 Housing Review×The Cameras:Panasonic GH5Camera $1,599.99ORDER NOWPanasonic GH5sCamera $2,099.99ORDER NOWThe Housings:Aquatica AGH5 HousingORDER NOWIkelite GH5 HousingORDER NOWIsotta GH5 HousingORDER NOWNauticam NA-GH5 HousingORDER NOWSubal GH5 HousingORDER NOWSeacam GH5 HousingORDER NOWCONCLUSION We hope you have enjoyed this in-depth survey of the underwater mirrorless camera market. At Backscatter, our team is staffed with active divers who get out and shoot with all of the equipment that we sell. Our sales staff have direct experience with the gear you purchase with us and are just a phone call away if you ever need help. It's that level of expertise that we put into this annual roundup of compact cameras so that we can share with you what we've learned, and why we recommend certain cameras over others. Please support the development of more content like this by purchasing your gear from us. Why buy direct from Backscatter?Free lifetime tech support with every purchase. We will beat any advertised price. Free shipping to USA and Canada and low-cost international shipping. BACK TO TOPRelated PostsSony a1 Underwater Camera Review The Sony a1 on paper looks like the "one" camera to rule them all. With high resolution (50mp), speed (up to 30 fps stills), and 8K 30p/4K 120p video, can this camera live up to being a jack of all tr... Read More GoPro HERO 10 Underwater Review The GoPro Hero 10 Black offers new 4K 120p & 2.7K 240p super slo-mo video, new HyperSmooth 4.0 digital image stabilization with automatic Horizon Leveling, and a new processor that makes the touch... 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