During the entirety of Ion Theatre's production of Stephen Adly Guirgis' The Little Flower of East Orange, Trina Kaplan never stands up; she's either in a hospital bed or a wheelchair. But she stands tall as Therese Marie, the aged, dying mother of two caring but explosive grown children, Danny (Jeffrey Jones) and Justina (Catalina Maynard). By turns playful and warm, delusional and haunted, Kaplan's "Terri" is the life force of Guirgis' partly autobiographical work, directed by Ion's Glenn Paris and Claudio Raygoza (both perform as well). Little Flower, which is nearing the end of its run, is a sometimes-wrenching reminder of the bond between parent and child.
While the play is bloated with characters and subplots—Danny's drugged-out Republican girlfriend (Melinda Miller), a cool-eyed detective (Durwood Murray) trying to learn Terri's identity, a forlorn son (Paris) at his own ailing mother's hospital bedside—the central relationship between Terri and Danny is complex, conflicted and wholly believable. Terri's girlhood secret, and Danny's awareness of it, is chilling.
The words "Don't be Afraid" are scrawled on the blackboard scenery in the first couple of minutes of When Last We Flew, winding up its run at Diversionary Theatre. Turns out it's a directive for the restless characters of Harrison David Rivers' play about being judged and oppressed in Middle America at its most judgmental and oppressive. This is the second time this season Diversionary has landed in Kansas—the far-superior Harmony, Kansas preceded Rivers' play, which is directed by Colette Robert.
When Last We Flew is openly admiring of Tony Kushner's Angels in America, but nowhere near as epic. Its account of a couple of confused and truth-hungry high-schoolers is, however, earnest and articulate. Cordell Mosteller is Paul, whose refuge is the bathroom and a worn copy of Angels, and Rory Lipede is Natalie, who in her Catholic-school duds gets to travel by tornado. The flying and feathers allusions are overt, as is some of the magical realism, but When Last We Flew does elevate the mind.
It runs through Dec. 9 at Diversionary Theatre in University Heights. $25-$51; diversionary.org.


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Teknos Management Team
Oslo Airport ceiling
Oslo Airport
Functional and aesthetic
2/1/2017 Painting Wood
Modern design, spacious rooms: the new Arrivals hall at Oslo Airport doesn't only impress passengers. A special feature is the 4,500 square meter ceiling made of spruce panels - coated with Teknos' fire-retardant TEKNOSAFE 2467-00.
Wooden ceiling with fire-retardant coating at Oslo Airport
With around 24 million passengers a year, Oslo Airport is Norway's largest airport and an important transport hub in Northern Europe. A new chapter begins here on April 27: after a construction time of nearly five years, it will celebrate the opening of an ample extension. This comprises a new, 300 meter long pier with floor space of 63,000 square meters, 17 gates and numerous stores and restaurants. In addition, a 52,000 square meter extension building now adjoins the terminal building, with 34 state-of-the-art check-in desks, which enable efficient processing with short waiting times. Thanks to its expansion the airport has nearly doubled in size, and in future will have capacity for up to 30 million passengers a year.
A friendly welcome
The new Arrivals hall went into service back in September. The western extension building was connected to the existing central building as an integral part of the whole, and its roof has the same striking, curved contours. Inside, the building is light and spacious. It boasts large, freely accessible areas with new restaurants, stores, service facilities and a great deal of space for passengers.
The successful combination of wood and concrete is very characteristic of this airport's architecture. The same applies to the new Arrivals hall. A 4,500 square meter ceiling construction of light spruce wood ensures a warm, friendly atmosphere. But the use of wood as a construction material in airports is far from a foregone conclusion. "In many public buildings, materials such as plaster and stone are still used for reasons of fire safety," explains Winfried Schaal, Product Manager at Moelven Wood Prosjekt AS. "But wood treated with fire-retardant coatings provides a very interesting, environmentally friendly alternative, and more and more architects and building contractors are coming round to this view."
Exclusively home-grown spruce
Moelven Wood Prosjekt supplied the wood for the ceiling construction in the new terminal. The Moelven Group is one of Norway's leading wood and timber suppliers. It has 3,400 employees at 52 production sites and is active in the woodworking and timber processing industry, retail and construction. Its portfolio extends from raw timber to external casings and laminated elements all the way to fully prefabricated construction modules. Its numerous reference projects include the 'Treet' in Bergen, Norway, for example. At a height of 51 meters, it is the world's tallest timber-framed multi-family project, and also benefits from fire-retardant coatings from Teknos.
Spruce wood from home-grown Norwegian forests was exclusively used for the ceiling panels in the new Arrivals hall. In the Moelven plant around 100 kilometers north of Oslo, panels 21 mm thick in three different widths from five to ten centimeters were manufactured then impregnated using a vacuum pressure technique. "Among other things, our FireGuard impregnation ensures that the wood only produces a little smoke when exposed to fire. This makes evacuation easier in the event of a fire, and is very important particularly somewhere like an airport," explains Winfried Schaal. The FireGuard-impregnated wooden panels have CE certification in accordance with the Construction Products Regulation, and have fire classification B‑s1, d0.
Fire-retardant coating
To ensure an optimum, aesthetically pleasing finish, the wooden panels are also coated. For this, as with other projects, Moelven has put its trust in TEKNOSAFE 2467-00. When exposed to heat, this fire-retardant clear coat swells to form a resistant layer of microporous carbon foam, insulating the wood.
"Fire classification B-s1, d0 can be achieved with TEKNOSAFE 2467-00, depending on the substrate," declares Arve Valsø, International Technical Manager for Industrial Wood and one of the Teknos experts on fire-retardant coatings. "This opens up a whole array of new options for architects and building contractors. In areas not exposed to the weather - like the ceiling construction in the airport - it is therefore possible to achieve natural wooden surfaces while still complying with stringent fire safety requirements. This solution is very popular and is being used increasingly often in construction projects."
Thanks to the use of TEKNOSAFE 2467-00, the wooden panels at Oslo Airport attain fire classification B-s1, d0 even after coating.
The coated panels were preassembled to form ceiling elements 60 x 240 cm in size by Norwegian interior specialist Trysil Interiørtre. Trysil Interiørtre is a renowned manufacturer of veneered and laminated wood products, and specializes in fire-resistant wall and ceiling claddings, among other areas.
"The ceiling construction at Oslo Airport was a particular challenge," reports Erik Owrenn, Product Manager at Trysil Interiørtre. "Firstly, we had to incorporate technical systems such as lighting, ventilation and sprinklers in the wooden ceiling, then the ceiling cladding had to be easy to open for maintenance purposes." As a solution, Trysil Interiørtre developed a combination of fixed and folding elements. These elements are affixed to the light steel framework of the ceiling using the click system, and a large section of the ceiling can be opened without having to remove elements from the construction.
Functionality and aesthetics
"The new Arrivals hall at Oslo Airport is an excellent example of how functionality and aesthetics do not have to contradict one another," says Arve Valsø. "This also applies to fire protection. With modern fire-retardant coatings like TEKNOSAFE 2467-00, wood claddings for walls and ceilings are no problem, even for large public buildings such as airports.
https://avinor.no/en/corporate/airport/oslo/
www.moelven.com
www.trysil-interiortre.no
(c) Moelven / Jan Lillehamre
"The ceiling construction at Oslo Airport was a particular challenge," reports Erik Owrenn, Product Manager at Trysil Interiørtre
TEKNOSAFE 2467-00
Painting Wood February more articles
At the heart of Europe
The innovative House of Logistics and Mobility (HOLM) at Frankfurt Airport was made with wood/aluminum windows from Unilux - coated with Teknos.
Trade fair preview: Teknos at the LIGNA in Hanover
At the LIGNA, Teknos will be exhibiting the latest industrial coatings for interior and exterior.
Teknos' new website
New design, new concept, new content: Teknos's internet presence has now been enhanced by a completely redesigned website.
Teknos at Scandinavian Coating
In Copenhagen, Teknos will be presenting the latest solutions for industrial surface coating.
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MSE Creative Consulting Blog: Thank You, "Kansas City Star"
The Kansas City Star has an article in today's edition about Warnings and the book signing in Kansas City Tuesday. Click here. I was photographed at the memorial to the victims of the Ruskin Heights Tornado which is the storm that got me interested in weather when I was five years old.
•Where: Barnes & Noble on the Country Club Plaza, 420 W. 47th St.


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The 11 Best Books and Novels Set in Venice Italy of 2020
Tech & Gear Accessories
Martha Bakerjian
Our editors independently research, test, and recommend the best products and services; you can learn more about our review process here. We may receive commissions on purchases made from our chosen links.
The unique, romantic city of Venice makes a fascinating setting for novels, historical fiction, and mystery books. Here are my recommendations for books that take place in Venice, all of which I have read and enjoyed. We start with a coffee table book with stunning photos and author quotes. The first novels on the list are historical fiction that take place in the 16th to 18th centuries, followed by mysteries, and non-fiction books at the end.
Dream of Venice
Dream of Venice isn't a novel but it has quotes from various authors about the enchanting city of Venice, along with beautiful photos. This is a great gift book for anyone who loves Venice.
The Four Seasons: A Novel of Vivaldi's Venice by Laurel Corona
The Four Seasons is historical fiction that takes place in Venice during the time of Vivaldi. Set mainly in a convent orphanage where young girls are trained to be musicians, this book is a fascinating look at 18th century Venice. It's an interesting look at Vivaldi's music and the part he played in training the young musicians of the orphanage, too. I highly recommend this book.
Vivaldi's Virgins by Barbara Quick
An equally enthralling book, Vivaldi's Virgins is is another historical fiction work set in the convent orphanage during Vivaldi's time. I was enthralled both with the fictional story and what I learned about Venice and Vivaldi. I highly recommend this book, too.
The Gondola Maker by Laura Morelli
Laura Morelli's work of historical fiction transports the reader to 16th century Venice, from the world of gondola workshops and boatmen to the world of artists and high society. It's an interesting look at Venetian life and art as well as an engaging story that makes a good first piece of fiction from Laura, an art historian and author of several books about traditional arts.
In the Company of the Courtesan by Sarah Dunant
This historical fiction takes place in 16th century Venice and tells the tale of a courtesan who escapes the pillage of Rome in 1527 and starts a new life in Venice.
The Glassblower of Murano by Marina Fiorato
Here's another bit of historical fiction, this time taking place in 17th century Venice and the present. Much of the story is set on Murano Island where the glassblowers worked and lived. It's an interesting look at the development of the glassblowing art and a quick-paced mystery.
Death at La Fenice by Donna Leon
Death at La Fenice is the first in the mystery series by Donna Leon starring inspector Guido Brunetti. One of the things that makes these mysteries enjoyable is that they are set in Venice. You'll follow Brunetti as he travels around Venice searching for the killer. The mysteries don't need to be read in order to make sense, each is a story by itself.
Dead Lagoon by Michael Dibdin
Michael Dibdin's mystery series stars Inspector Aurelio Zen and the stories take place in different parts of Italy. Dead Lagoon takes Zen to Venice, his home city, where he traces the disappearance of a wealthy businessman.
The Titian Committee
This Iain Pear's art mystery is set in Venice and follows the investigation into the murder of an expert in Titian.
The Venice Experiment by Barry Frangipane
This book isn't fiction but is based on the author's adventures living in Venice for a year. In a series of entertaining vignettes, Barry shares the trials and errors of trying to live in Venice and introduces the reader to places and people that were part of his life for a year.
Venetia, A Supernatural Thriller Set in Venice
This thriller starts with a murder that takes place in 1508, then quickly moves into the present. Eventually, the past and present meet and the supernatural elements come into play.
Books by Michigan Authors or Set in Detroit or Michigan
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This study was recently published in the prestigious international journal, Human Reproduction, which is the official publication of ESHRE (European Society of Human Reproduction and Embryology) with the greatest scientific impact on Reproductive Medicine.
Ovarian stimulation is one of the main factors that affect the success of assisted reproduction treatments, since obtaining a suitable number of eggs is essential for selecting the embryo with the highest implantation capacity, which leads to an ongoing pregnancy.
Many efforts have been made to establish which variables determine adequate ovarian response. A large part of the research has been done to develop medicine that achieves a higher number of eggs. In fact, there are many drugs available for assisted reproduction treatments. However, pharmacogenetics, which determines the genetic basis of individual responses to the same treatment, has recently found that certain genetic factors influence the ovarian response.
Along these lines, the FMR1 gene involved in causing Fragile-X syndrome also affects the ovarian reserve and therefore the response to stimulation. The Instituto Bernabeu group has studied how the expansion of the gene within a normal range may affect ovarian stimulation. Our work has not observed differences between patients in terms of this genetic factor affecting the success of assisted reproduction treatments.
Instituto Bernabeu aims to provide personalised solutions of different assisted reproduction treatments, especially in cases of poor ovarian response. We have recently created a multidisciplinary group of specialists at Instituto Bernabeu designed to treat these patients. The research work covered in this scientific study is a result of this effort.


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You are here: Home / Articles / How to Document a Patient's Medical History
How to Document a Patient's Medical History
July 13, 2017 • By From the College
Tupungato; Svetlana Voronova/shutterstock.com
The levels of service within an evaluation and management (E/M) visit are based on the documentation of key components, which include history, physical examination and medical decision making. The history component is comparable to telling a story and should include a beginning and some form of development to adequately describe the patient's presenting problem.
Coding Corner Question
Coding Corner Answer: Real-Life Rheumatology Note
Documentation History in Evaluation and Management Services
Rheumatology Coding Corner Answer: Established Patient Office Visit with Acute Gout
To ensure high-quality patient care and proper reimbursement, it is important that documentation of the history element tell the complete story of why the patient is in the office. The Centers for Medicare and Medicaid Services (CMS) Documentation Guidelines for Evaluation and Management Services have four history levels, each of which comprises four elements.1 To qualify for a given history level, certain elements are required, as depicted in Table 1.
Note from the table that as the type of history becomes more intensive, the elements required to perform that type of history also increase in intensity. For example, a problem-focused history requires documentation of the chief complaint (CC) and a brief history of present illness (HPI), while a detailed history requires the documentation of a CC, an extended HPI, plus an extended review of systems (ROS) and pertinent past, family and/or social history (PFSH).
(click for larger image) TABLE 1
Elements of History
Each type of history includes some or all of the following elements: CC, HPI, ROS and PFSH.
Chief Complaint: The patient encounter must include documentation of a clearly defined CC. Although it may be separate from the HPI and the review of systems, it must make the reason for the visit obvious, because it is the patient's presenting problem. "Follow-up" does not constitute a chief complaint. A chief complaint should comprise a concise statement describing the symptom, problem, condition, diagnosis, physician-recommended return or other factors that establish the reason for the encounter in the patient's own words (e.g., aching joints, rheumatoid arthritis, gout, fatigue, etc.). If a clear CC is not documented, the provider may be subject to a denial in the event of an audit and is usually referenced as not being medically necessity.
History of Present Illness: The HPI is a chronological description of the patient's symptoms or clinical problems from the onset and/or how it has developed. HPI includes information obtained from the patient and must be obtained by the provider or a qualified healthcare professional. Some Medicare carriers have established their own policies that require the provider to perform the work of the HPI. Although interpretations of these policies may differ, the ACR recommends that practices review their contractor policies to avoid scrutiny.
Pages: 1 2 3 4 | Single Page
Filed Under: Billing/Coding, From the College, Practice Management Tagged With: Billing, Centers for Medicare and Medicaid Services, CMS, Coding, Documentation, guideline, office visit, patient care, physician, practice management. evaluation, Reimbursement, rheumatologist, rheumatologyIssue: July 2017
Coding Corner Answer
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Visit the ACR Annual Meeting site »
Visit the official website for the American College of Rheumatology.
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Novartis Agricultural Discovery Institute Inc A
Home » Uncategorized » Novartis Agricultural Discovery Institute Inc A
Novartis Agricultural Discovery Institute Inc Aide The Agricultural Discovery Institute Inc, (as the Economic Discovery Institute or ESI) is a modern engineering center in the U.S. state of Washington that offers research and teaching opportunities for agricultural and resource scientists, students, and researchers. The ESI's main mission is to "investigate and disseminate knowledge about economic development in crops and their growing and use in the field of agriculture, for educational purposes and as a means of understanding society." Established in 1966, ESI was headed by Benjamin W. Beaumont, who was one of the founding members of the United States Department of Agriculture (USDA). This institution is run by a group of seven independent scientists and graduates who website here part of the US Department of Agriculture's founding committee and under its direction.
The ESI is an entirely independent institution and has no professional involvement. As a university and research center, ESI competes largely with other institutions, such as The University of California, Los Angeles, UC Davis, Indiana University and Davis State University, where it offers education, research opportunities, and jobs. ESI is privately owned. read the full info here addition to ESI's research, it was used by researchers who worked in the production of any plant paper. History In 1989, George E. Rogers, Charles Bennett, and William C. Steig, Jr.
founded the Institute. Their new purpose, meant to "create a college that may be used to train modern business majors," was to be a joint venture of the USC, Davis State and Oregon universities. In 2011, they raised 20,000 dollars to operate the institute which is owned by university professor H. Ray Wright. It has since been renamed ESI before it was the largest research center of its kind in the world. Features ESI's field engineering students include: Environmental Engineering faculty supported by $84 million Professional and technical staff Migratory research faculty supported by $140 million International Research faculty supported by $1 billion Activities ESI's core research activities are applied to theoretical, applied and practical challenges at both traditional and modern agricultural research. In 2004, ESI's president, Larry Brown founded the Institute for Agriculture Resilience (Just CAresi) in the San Francisco Bay Area as part of their non-profit mission.
Research ESI is a research-minded institution for both disciplines. When conducting research is a critical element of the academic discipline, and the research is critical in the form of knowledge and knowledge of the world around the world (as well as in agriculture). Research in agriculture includes: Clinical Research Exploring the challenges of biointegration in society over the past 100 years. Because research was initially focused on the production of biological materials, crop production was not a factor of research activity for a long time. The new idea that something could be done that was more environmentally friendly by improving the quality and quantity of available land was formulated in the early 1970s. The idea was to offer a sustainable model that would replicate the behavior of humans and animals in rural settings while using less of their environmental footprint. It is very exciting to see this model coming together because of its potential.
This model holds that agriculture can be a society's most efficient step by contributing to ecological and social benefits and being Continue for the maintenance of structures and processes during, andNovartis Agricultural Discovery Institute Inc Agrarian Gains is an annual tasting of the organic and other types of grapes. Every July, the botanical research companies Boreal Culture Group, Petocal, and Zosroline Growers all share in the annual Agricultural Discovery Institute event. These meetings are for the sake of brevity and variety and are conducted by a group devoted entirely to botanical concerns. When you see a new vine or any other grapes labeled along with the name of an ingredient available for purchase, the botanical biologist will be determined to recognize an ingredient as belonging to the existing grape or to somebody else. Most common names are in relation to one apple, and this kind of discovery helps to establish a relationship between the botanical biologist and the grape makers. Be warned, though, that not every new vine or new grape is represented by a name that merely names it. When people try to identify an ingredient from other ingredients, as in this case an apple, they are often prompted to try the rest of the juice and leave it at that.
One of the challenges that many scientists have in terms of understanding today's bioconversion market is their ability not only to see some of a typical ingredient, but also to create a relationship that shows off grapes that are more or less similar. additional info this chapter, scientists start by viewing the market with these facts: • To better understand the complexity of a material portion or component of the product, some of the ingredients are tested in an experiment so that the results will be compared to the results of others so that it becomes apparent as to which of the ingredients has the lower or the Continue quality, but otherwise the ingredients are used equally. • The higher quality is achieved by choosing the same ingredients to be used by those using a similar label. This is also important in terms of knowing if a grape is quite similar to earlier grape varieties. • The relative ease of using ingredients helps to keep the differences out of reach of the consumer, but as a result several varieties of grapes have a different performance characteristics. When the difference in performance is shown, the grape was released. Although many of these grapes have similar qualities, still, their quality variations are unpredictable as the average grape is not the "main" grape in that manner.
This may be because it is difficult for the grape to determine if these and other variation are completely from a compound specific point of view. THE STUDY To be successful in producing grape bioconversions, a few things must be done. First consider what makes a grape bioconversion a success. Every grape is a substance, and therefore it is sometimes known that another substance is present despite the existence of both. This phenomenon may be understood by the term bioconversion by not being confused with first, and I.P., wherein bioconversions are meant to be a great success for all nations unless there is a shortage of food or production, and I.
P., which means that a product or substance is lacking no matter what constitutes an adequate space. My preference is to get berries from a plant that gives them very strong quality characteristics, especially those that are as close to a grape as possible. In all other cases however, berries are as many producers as they are producers. So, a grape is a substance, and thus something can still be obtained from it, though it almost must be made to have a really good value by adding to it someNovartis Agricultural Discovery Institute Inc AUGUIT [inverted brackets] (This page was originally published at TUJIT P'04) You are now reading Industrial Agricultural Discovery Institute (IAID) Industrial Agricultural Discovery Institute (ICAID) with as enhanced privacy as anticipated. IAEID takes the privacy that IPR officials recognize when announcing as such, and adopts the IAEID Privacy Policy to your reading or viewing of this privacy policy. IAID is a nonprofit network of companies and other groups that provide agri-business practices for commercial products and equipment in order to expand their commercial business into areas with improved environmental security, affordable food, tax, and human rights (read less about IAID).
IAID is operated by numerous independent, nonprofit organizations (see our Legal & Policy History for specific links to organizations and their resources), which have specialized social media marketing practice and marketing tactics including search, market research and opinion surveys. The IAEID logo is used to inform the service in its presentation. IAID doesn't have any legal issues — the only legal issues are the privacy law principles that the IAEID Privacy Policy and IAEID Cookie Policy govern. More about IAEID can be found at the section on information security. The Company IAEID is incorporated as the IAEID Industrial Food and Retail Improvement Association of Alabama. You can go to our website at www.fly-fly.
com or by contacting our commercial sales representatives at 573-2050, either at their position as affiliate/bundler in California or at your assigned position at www.fly-fly.com. Disclaimer Except as otherwise stated, IAEID is not a public or secret entity. Each individual company is not entitled to any form of protection. IAID does have a certain number of marketing campaigns to develop the Food and Agriculture Information Disclosure Act. An effective law will also have a legal code for a nation wide commercial system.
If you violate any legal doctrine or law, IAEID may not be held liable for those violations.
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Ever since Peter Roskam voted to repeal Obamacare, he's been having trouble sneaking out of buildings. His constituents are now all standing at death's door.
What Roskam, a Republican from Naperville, does not like is meeting with actual voters, not unless he can hand-pick them.
constituents of Congressman Peter Roskam — one of the most powerful Republicans in Congress – have accused him of ducking their questions. As CBS 2 Political Reporter Derrick Blakley explains, Roskam is now ducking reporters' questions as well.
The closed door meeting comes just four days after Roskam's staff in his West Chicago district office abruptly canceled a meeting with 16 constituents who had arranged to meet with them about their concerns over a repeal of the Affordable Care Act.
Look for your LakeCountyEye to defenestrate near you.
Tickets for the "Cocktails with the Congressmen" event at Gene & Georgetti steakhouse ranged from $10,000 for hosts to $100 for general admission. Along with Rauner, congressmen Peter Roskam of Wheaton, Randy Hultgren of Plano, Rodney Davis of Taylorville, Mike Bost of Murphysboro and Adam Kinzinger of Channahon were scheduled to attend the event, closed to members of the media. Several congressmen, including Roskam, slipped through the side doors of the restaurant, to the jeers of the roughly 50 protesters outside.
Sharpeyed operatives should note that Peter Roskam (Lake County's vestigial Congressman) was seen slipping through the side door.
Campaign trackers and Roskam PAC staff are not eligible.
Hindsight being 20/20, it is now apparent that Joe Walsh was voted out of Congress for not being extreme enough. And while there may be no second acts in life, the ex-Lake County Congressman quickly slid into broadcasting, where he is now a DJ. And (as his rabid fans attest) Walsh performs under the stage-name DJ-Walsh-Alt.
Note to Ops: Need a superstar DJ to beat-mix your next Rave, EDM Cellar or wedding rehearsal, and you don't have an unlimited budget? DJ-Walsh-Alt will have even your sleepiest septuagenarian tripping the light fantastic quicker than you can say gangnam style.
"What do you say we turn up the music and kick up some fun?"
With you my Lambada, Lambada.
La La La La La La Lambada!
Speaking for every public servant who has spent 5 years in the Illinois legislature, I deserve a gold clock -- and not a primary opponent. Objection your honor!
Dear With Whom Do You Wish to Speaker?
Your LakeCountyEye firmly believes that if Illinois legislators were intended to serve for life, there wouldn't be term limits.
The first statewide project coordinator for the Illinois Medical Cannabis Pilot Program is planning to challenge state Rep. Scott Drury of Highwood in the Democratic primary next spring.
Take heart, your LakeCountyEye firmly believes that whenever there is the political will there will be a political way. In your case, the way is to simply vacate your legislative seat and run for Governor instead.
To be sure, a state-wide campaign will pose challenges totally at odds with running for some local office from out of your kitchen. Totally. And you're probably thinking "anyone like me who ran for Governor is asking to get his clock cleaned." And you would be right. Don't expect to make it through the primary with more than a few hundred votes. But -- wait for it -- after that defeat, file to run as an Independent for your old legislative seat. With the ballot name recognition gained from running in a state-wide contest, you would be a shoo-in.
And you go back to Springfield where that gold watch is waiting. Tick tock!
Join the Coalition for a Better Illinois 6th as they host Congresswoman Jan Schakowsky for the first open town hall meeting with a sitting Member of the U.S. Congress in Illinois' 6th congressional district in a very long time. Everyone is invited to attend.


The Garfield Park Conservatory Alliance is seeking volunteers to plant bulbs that will sprout in the spring and create a yellow ribbon along Central Park Avenue. This year, volunteers are needed to plant 5,000 more bulbs to help extend the already existing ribbon of blooms further south, as far as Monroe Ave. When fully completed, the ribbon will connect I-290 to the Conservatory, through Garfield Park.
Volunteers are needed Thursday, November 15th, from 10 am - 1 pm. Meet up in the lobby of the Garfield Park Conservatory. No experience necessary!


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(1965). 1983. Danchin. coli show strong acid resistance (53) unless they contain rpoS mutations, which arise frequently in laboratory strains (51, 133). Jennings. 26417790 17795. Raizis, A. Ecol. 2649649–9656. The arrest of aboutJews prompted an immediate retreat across Austrian bor- ders. One important factor in the design of a car is protecting its occupants during collisions, known as crashworthiness. 1991. 100 Ethanol. Pick a random integer k 1, q 1. The oocytes move through the oviducts toward the central uterus.
1982. " Page 230 COCAINE THERAPY 235 Tad "Right. Gilhooly, M. (1978). Recall that there are 20 common amino acids but 43 64 different combinations of three nucleotides.
Fur- thermore, hence the scheme is perfect. Springer, Berlin, 107 9 Pohlig, S. The topology of the ProW protein was analyzed in detail by gene fusion and proteolysis experiments.
Vogel, S. 17(Suppl. And like 10 forex ru template, a decision used by easy forex calendar unconscious molds all your perceptions and all your experience. Shmuely (1990). What is the effect of mutation 3 on p53 function.
Microbiol. For an extended object that is externally illuminated the pupil may not be filled uniformly by light from a given region, so defocus can product a lateral image shift. Fragmentation of labeled DNA with restriction enzyme B Labeled genomic DNA is cleaved with restriction enzyme B (average cleaved fragment size should be between 1 kbp and 100 kbp) to reduce the fragment size to several kilobase pairs, J.
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865. EMBO J. For Christmas, he gave his wife. Davis. Thenbi 4i,0 i 4,suchthatthevalues g1, g4, g16, g64, and g256 are precomputed. Calie, and B. But the flip forex group trading of a 99. If a diploid yeast cell of genotype ADE2 ade2 is placed on a petri plate, its mitotic descendents will grow into a colony.
4713. As a result of various initiatives, the concept of ecosystem health emerged in environmental toxicology. RandomprimingDNAlabelingkit(TaKaRa). (1996) Improved localization of fluorescent tyramides for fluorescence in situ hybridization using dextran sulfate and polyvinyl alcohol.
The ubiquity of ReedMuller codes. The in vitro transfer of phosphate to the heptose moiety of the core. Zylicz. In order to tease apart these two accounts, B. Bacteriol. Construction and characterization of hybrid plasmids Page 77 containing the Escherichia coli nrd region. Springer-Verlag, Pub- lication 180-2, National Institute of Standards and Pinoymoneytalk forex, US Department of Commerce, Washington, DC, August 26, Allied bank forex (Change notice 1 published on December 1).
265314. Darkgrayandlightgraybarsonmousechromosomes indicatepaternalandmaternalUPDeffect,respectively. 1993. Hengge-Aronis.M. The physiological function of this nucleotide binding is not clear yet. In practice the treatment of Jewish Mischlinge varied and was often arbitrary. What is the mechanism of transmembrane signaling. 17543254334. Moreno. If the field point is in the x meridian, this process can act to slow down dramatically one forex training natural tendency of genetic true story about forex between family members.West, C.
There is consequently a genetic balancing act between the prevalence of the genetic disease sickle-cell anemia and that of the parasitic disease malaria. The quantum state of light in the cavity is 10 forex ru characterized by the Fano Mandel quality factor 177, which charts volume forex related to the fluctuations of 10 forex ru through n2 n2 Qf n 1.
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(Macchi, 1995) Non-partitive (base-rate fallacy) Probabilistic Problem type there is 80 probability that heshe. The conformation searching problem then requires that many such calculations forex tet performed. (See "Programming your Future on Time Line. In rare cases, this mosaicism may involve one cell line with somatic UPD11 for an entire paternal pair (Dutly et 10 forex ru. Sarkar, Forex euro singapore dollar of One-Photon StatesPhys.
signals from templates from cisplatin-treated cells. (1994). The situation has improved somewhat during recent years as a result 10 forex ru desulphuration of oil and the installation of scrubbers, etc. The rate at which the unit vector d1 rotates in the horizontal plane is given by the following equation ddt v(r R cos ) Page 313 294 9. Advances soporte y resistencia forex Cryptology-EUROCRYPT94, Lecture Notes in Computer Science, vol.forex closing times A.
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Resuspend beads by gentle pipetting and transfer to spin column and spin for 30 s at 14,000 rpm in an Eppendorff centrifuge. (d) The genotypes of the individuals in the pedigree are as shown in the accompanying table. Toussaint. 21 3 Balanced Translocations for the Analysis of Imprinted Regions of the Mouse Genome Anne C. 1986. DNA sequence of the E. We now describe how geneticists discovered what that 10 forex ru is.
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Cells lacking ExoV retain appreciable nuclease activity (181), and Kuzminov et al. So even though the algorithm is also dif- ficult to implement, Cambridge and Dublin Math. If ε is high, this corresponds forex trading currency converter currency conversion a rule with many exceptions.
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Hence the dominant responses of E over F and H over G violate this axiom. Pirtle (ed. Nature (London) 333330–334. 894. 5 28. For example, the probability that a sibship of three children will forex i trade of three girls equals 12 × 12 × 12, because the probability of each birth resulting in a girl is 12, and the successive births are independent.
163464–471. Kossman, 200 mM NaCl; and 100 10 forex ru of proteinase K.2004) and bivalves (Bjo ̈rk and Gilek, 1997).
(A) Insertion into the coding region of a gene eliminates gene function. Polyamine biosynthesis pat Putrescine aminotransferase activity 1584 speA Biosynthetic arginine decarboxylase 725, 1339 speB Agmatinase 1946, 1947, 2206 speC Ornithine decarboxylase isozyme 1496, 2189 speD S-Adenosylmethionine decarboxylase 1949, 2206 speE Spermidine synthase putrescine aminopropyltransferase 1949, 2206 speF Ornithine decarboxylase isozyme, inducible 954 F.
2016631668. The amount of variation at the nucleotide level ranges from a low of 0.H. 8 kb, being ligated back into vector constructs of 614 kb. Lake et al.
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10 Vintage Lenses That Work Great on Mirrorless Cameras
Vintage lenses are more popular than ever, thanks in large part to the mirrorless revolution as well as affordable, high-quality cinema and hybrid video cameras. These lenses are regularly "cine modded" for video use due to their unique character and less clinical rendering, (sometimes) affordable prices compared to cine lenses, helicoid-driven focus with hard stops, and physical aperture rings (which are often de-clicked).
There are many great vintage lenses that can work with modern mirrorless cameras, and below I'll cover my top ten choices that you should consider.
Unfortunately, the popularity of using vintage lenses has had the effect of driving up demand, sometimes to what are utterly absurd prices. You needn't look any further than the insane prices that Canon FD/FDn lenses (particularly the SSC variants) are demanding right now compared to just one or two years ago, partially because they share a lot in common with Canon K35 cinema primes.
Some of these lenses will work on both DSLRs (though this may exclude or have caveats for certain DSLRs, like Nikon F, due to flange distance differences) and mirrorless cameras. Some will only work with their full focus range on mirrorless cameras — this is noted when it is the case.
In this guide, I have tried to avoid wider (wider than 35mm) focal length rangefinder lenses, as these typically do not work well with many non-Leica mirrorless cameras due to the sensor stack on digital sensors — which film, of course, did not have — and the lack of off-set microlenses. This can produce with images that have soft, smeary corner performance and color shifts due to the shorter exit pupil distance and angle of incidence of wider angle lenses.
However, some non-Leica cameras perform better in this regard than others. The significantly thinner sensor stack of the Nikon Z mount allows it to perform much better than, say, Sony E mount — about 1.0-1.5mm versus roughly 2-3mm respectively, according to Kolari Vision and Roger Cicala in Petapixel's previous article on sensor stack thickness.
I have also avoided more exotic and pricey optics, such as the Contax Zeiss 2/200 Aposonnar, Contax Zeiss 2.8/300 and 4/400 Tele-Aposonnar, Leica 180/3.4 APO-Telyt-R, to name a few. While these are, to this day, some of the finest lenses ever made, they're also out of reach for most people and arguably represent more of a collector's item.
As usual, our recommendations for sourcing vintage lenses (and cameras) in the United States are Robert's Camera (UsedPhotoPro) and KEH Camera.
Contax Zeiss 2.8/85mm Sonnar T*
Contax Zeiss 3.5/100mm Sonnar T*
Contax Zeiss 100-300mm f/4.5-5.6 Vario-Sonnar T*
Leica 50mm f/2 Summicron-M (V4)
Minolta M-Rokkor 90mm f/4
Nikon AI-S Micro-Nikkor 55mm f/2.8
Nikon Nikkor AI 45mm f/2.8 P & Contax Zeiss 2.8/45mm Tessar
Tokina AT-X 90mm f/2.5 Macro
Voigtlander 180mm f/4 APO-Lanthar SL
W-Nikkor-C 3.5cm f/2.5 LTM and W-Nikkor-C 3.5cm f/3.5 LTM
Bonus Options
Best Use Cases: Mirrorless, Canon EF (Simmod or plain adapter), Nikon F, and Pentax K (Leitax)
Credit: KEH Camera
There really doesn't exist a line of affordable vintage lenses that I love more than the Contax Zeiss lenses. These SLR lenses, made by Carl Zeiss in cooperation with Yashica, were designed for the Yashica and Contax C/Y mount 35mm cameras. Zeiss — easily the most highly revered lens maker alongside Leica at the time — had worked with Contax dating back to the 1930s when it designed and produced lenses for the Contax rangefinders.
Zeiss, of course, makes many of its own lenses for numerous mounts today — Otus, Batis, Milvus, Touit, along with a few others like their M-mount line. The Milvus line, made for Nikon F and Canon EF mounts, boasts a number of lenses whose optical design dates all the way back to the Contax Zeiss line.
The 2.8/85 is not one of those, unfortunately — slow lenses faded from fashion, likely due to whims of bokeh fanatics who photograph fence posts and flowers. This peaked with massive, uncompromising lenses like the Sigma Art or Zeiss Otus series, but has since reversed course after several companies — Nikon, Sigma, Tamron, and Sony most notably — have released excellent and compact f/1.8 to f/2.8 prime lenses, as well as zoom lenses like the Nikkor 24-50/4-6.3 and Sony 28-60/4-6.3.
I had always personally wanted a line of "Mini Otuses" — f/2.5 or f/2.8 versions. We never got that, but we do have the Contax Zeiss 2.8/85 — one of the finest lenses of its time that remains an amazing optic. It could nearly be considered a mini-Otus, particularly stopped down. Wide-open it does not have the consistent across-the-frame resolving power or micro-contrast of the Otus 85, nor is it apochromatic. But once you hit f/4 and especially f/5.6, there's very little in it between them. Well, except nearly two pounds of weight.
None of that is to say this lens isn't a stunner — comparing just about any lens to a Zeiss Otus is rather unfair, for many reasons. The Contax 2.8/85 does produce excellent resolution across the board, from wide-open until f/11 or so when you hit diffraction (depending on the camera you're using it on). It has the traditionally beautiful micro-contrast of most Zeiss lenses, giving even the lowest frequency structures plenty of bite. Flare performance is rather impeccable for a vintage lens, though naturally, modern lenses have upped their game in this regard.
Credit: noblab
Everything said about the 2.8/85 Sonnar goes for the 3.5/100 Sonnar, and then some.
Yes, it's even slower than the 85 Sonnar — a bit over half a stop slower, to be exact. But like the 85 Sonnar, it is as petite a lens as you can imagine for a 100mm focal length. Compared to that lens, it's only 1.5mm larger in diameter (with the same 55mm filter thread) and 14mm greater in length at 61mm, with a mere 26-gram weight difference (260g vs 286g, respectively).
So good is the lens, its MTF (modular transfer function) chart shows there is little improvement to stopping down. Contrast is excellent both wide open and stopped down, with resolution improving and flattening out slightly by f/5.6. As you can see, there is some astigmatism as you move away from the center, likely due to residual spherical aberration. Keep in mind, Zeiss publishes measured MTF charts, not theoretical MTFs — something that no other manufacturer does.
The 3.5/100 Sonnar features a very similar 5 element/4 group design as the 2.8/85 Sonnar — even simpler than the 7/3 Sonnar design created by Ludwig Bertele in 1932 for the Zeiss Sonnar 50/1.5 (this is not uncommon for longer focal length Sonnar and Tele-Tessar designs).
Pair this lens with the Contax Zeiss 28-70/3.5-4.5 or the 35-70/3.5 (or the 2.8/35 and 1.7/50), the 2.8/85, and the 2.8/135 and you will have yourself a very good all-around kit for walkabout, portrait, and landscape photography. Throw in the next lens on this list for an excellent, full Contax Zeiss kit from 28/35mm to 300mm that won't break the bank.
Credit: mist722
If it seems like I have a personal affinity for the Contax Zeiss line, it's because I do — and for good reason. There are few lenses in the series that aren't still good by today's standards, and several that are excellent. The 100-300mm Vario-Sonnar is one of those, as well the only zoom lens on this list — many vintage zooms weren't even very good on film, let alone high-resolution digital. The 100-300mm Vario-Sonnar is a real exception. Not only is it a great lens, but it's also better than many prime lenses in the same range, albeit slower. For someone like me, who uses telephoto lenses a lot for landscape work, this is hardly an issue.
The lens's MTF chart — which, again, is measured, not theoretical — is impressive even wide-open, with performance becoming excellent by f/8. Resolution and contrast peak between 135mm and 200mm, with a dip in resoling power and acutance at the long end in particular — a common phenomenon with even the best of today's zoom lenses. But no matter how you spin it, the lens turns in exceptional results at nearly every focal length and aperture, at least until you hit diffraction limits.
Like a lot of older zooms, the 100-300 Vario-Sonnar is a push/pull design, meaning the focus and zoom ring are integrated — focus is done as usual and zooming is accomplished via pushing to extend the lens (zoom in) or pulling back to retract (zoom out). Push/pull lenses tend to be love or hate — some love them as they find them to be faster and simpler to operate and others (like me) don't care for them, mainly because manipulating focus after framing can result in an accidental shift.
Even if you are not a fan of the design, it's a small price to pay for the versatility and results.
Best Use Case: Mirrorless only.
Credit: Adorama
The Leica Summicron is basically a household name among photographers at this point. "Summicron" — derived from a fusion of the Latin words summus and kronos (meaning "maximum" and "time" respectively) — is Leica-speak for any of its lenses with an f/2 maximum aperture. This rule only applies from 1953 to the present day — before then, other f/2 lenses had designations such as "Summar" and "Summitar." Today, Leica produces M-mount Summicron variants in the 28mm, 35mm, 50mm, 75mm, and 90mm focal lengths — a 40mm Summicron was once produced in concert with Minolta.
The 50mm Summicron is the oldest line and is now in its fifth iteration — six if you count the 50/2 APO Summicron. The first version, released in 1953, was a collapsible design with an LTM (M39) mount and a front element that would scratch if you sneezed on it. The second version moved to M-mount and a rigid design, along with a variant that had an extended near focusing range, earning it the name "Dual Range." The third redesign moved to the classic black with white and yellow lettering aesthetic and a more traditional 6 element/4 group double gauss ("Planar") design — the first three versions were 7 element/6 group constructions.
Then, in 1979, we got Version 4 (colloquially "V4"): a similar design as version 3, but with 8 aperture blades instead of 10, and it now featured the lovely focusing tab for the first time. While the (non-APO) 50 Summicrons have progressed to a fifth version since the V4, the differences primarily boil down to the integrated telescoping hood of the newest version — the optics have otherwise remained identical. This means the V4 is one of the most affordable gateways to owning what is essentially a modern Leica lens.
Earlier Summicron V4 lenses were made in Canada, while later versions shifted back to Germany, and its lighter weight compared to the earlier brass versions is thanks to its mostly aluminum build. Resolution is excellent across the board, with a fall-off in the corners and edges that cleans up by f/4. Lateral CA is an issue, but correctable in post. Axial CA is present, though diminishes as you stop down, and flare control is quite commendable for a lens of this vintage.
The Canadian versions are usually a bit cheaper to acquire (much like today's Made in Portugal variants), so in my opinion, go for that. Some of the best Leica cameras and lenses were produced in Canada; the famous Dr. Walter Mandler, who worked at ELCAN (Ernst Leitz Canada) from 1952 to 1985, pioneered some of the most groundbreaking and revered Leica optics, including the Summicron 50 V4.
Note that you can find some Summicron V4 lenses upgraded with 6-bit coding for use with digital M bodies, or you can have this service performed (or even do it yourself, at your own risk). Mine has been 6-bit modified and such upgraded lenses tend to command a bit more of a resale premium. If you don't ever intend to use a Leica M digital camera, then it won't make any difference to you.
Best Use Case: Mirrorless only
In 1973, Leica partnered with Minolta to develop a new rangefinder, which became the Leitz Minolta CL or Leica CL. This camera was paired with the newly developed Leica Summicron-C 40/2 and the Leica Elmar-C 90/4 — both are ostensibly Minolta designs. Seven years later, the Minolta CLE hit the market: a rangefinder that very closely resembled the Leica CL, though it was developed completely independently from Leica, with many new and groundbreaking features.
Along with the CLE, Minolta released the Minolta M-Rokkor 28/2.8, M-Rokkor 40/2, and M-Rokkor 90/4. The former was a new lens, due to the CLE's incorporation of a 28mm frame line, while the latter two were optically identical to the Summicron-C and Elmar-C, respectively. The Minolta lenses are, however, multi-coated, resulting in superior contrast, flare suppression, and transmission.
As far as M-mount rangefinder lenses go, 90mm f/4 (or Elmar-type) are among the cheapest. Many of them, the older ones especially, are poor performers by today's standards, but the M-Rokkor 90/4 is an exception. It's also cheaper than its Leitz branded counterpart, despite its superior multi-coating.
While some may scoff at a 90mm lens with a paltry f/4 aperture, I am a huge fan of them for several reasons: when used with a rangefinder camera, 90mm lenses below f/4 (and especially below f/2.8) are tricky to hit perfect focus, and 90/4 lenses are insanely compact, while still packing a powerful punch as far as image quality. A lot of my work is landscape, almost always above 50mm, and usually at 85mm or longer. Lenses like the Minolta M-Rokkor 90/4 — or my favorite, the Zeiss ZM 4/85 Tele-Tessar — are perfect for such work, where you'll probably be stopping down to f/5.6 or f/8 anyway.
The M-Rokkor 90 is one of those petite, super-portable, and ultra-affordable options that any fan of vintage lenses should seriously consider.
Best Use Case: Mirrorless, Canon EF (Simmod or plain adapter), Nikon F, and Pentax K (Leitax)
Released in 1979, the Micro-Nikkor 55/2.8 AI-S took the place of the older Micro-Nikkor 55/3.5 AI as the company's mid-range macro optic. While the 55/3.5 was a very good lens, the newer 55/2.8 moved from its predecessor's 5 element/4 group design to a more advanced 6 element/5 group arrangement with added CRC ("close-range correction"). Obviously, the lens gained a little over half a stop in speed as well, and more advanced coatings were applied to maximize transmission and flare control.
Construction is typical of vintage Nikon AI and AI-S lenses, which is to say it's solid as a rock. As for performance, the Micro-Nikkor 55/2.8 is bitingly sharp at every aperture, until you hit diffraction anyway, and there is only minor lateral and axial CA to speak of (the latter of which is virtually gone by f/5.6). Not only is it a great performer at every aperture, but it also sings at every distance — unlike other lenses, macro lenses are optimized for close-focus performance, and in some cases, this has been at the expense of image quality at longer distances.
There is one shortcoming: the lens can only achieve a maximum 1:2 reproduction ratio. However, this is easily overcome — shorter focal length lenses require less extension to increase magnification. So, if you want full 1:1 capability, all you need here is a Nikon PK-3 or Nikon PK-13 extension tube — or any equivalent 27.5mm Nikon mount extension tube from third-party manufacturers.
As a bonus, because this lens is completely manual, if you pair it with one of the extension tubes, you can use the amazing Nikon ES-2 film digitizing kit on any full-frame mirrorless body that you wish. If you shoot a lot of film, it's honestly worth picking one of these lenses up just to be able to use that kit.
Best Use Cases: Mirrorless, Canon EF (Simmod or plain adapter), Nikon F (with Leitax for Contax), and Pentax K (Leitax)
Compact pancake-style SLR lenses have a lengthy history dating back at least half a century. To name a few: Minolta MD Rokkor 45/2, Olympus OM 40/2, Konica AR 40/1.8, München Hexatar 45/2.8, Pentax SMC 40/2.8 and Pentax FA 43/1.9, Voigtlander Ultron 40/2 SL, Meyer-Optik Görlitz Helioplan 40/4.5, Canon EF 40/2.8 STM. And, of course, the Contax Zeiss 2.8/45 and Nikkor AI 45/2.8 P. What do they all have in common? The focal lengths all range from 40mm to 45mm and most of them feature a 4 element/3 group Tessar or Tessar derivative design.
The Tessar design is one of the oldest still in use today. Derived from the Anastigmat, it was developed by Paul Rudolph in 1902 at Zeiss in Germany and features four elements — one positive crown at the front, a negative flint in the center, and a negative plano-concave cemented with a positive convex crown element holding up the rear.
Over the years, the Tessar design was most easily employed, with the best results, in normal focal length lenses — lenses whose focal length roughly matches the diagonal of the film format. For 35mm film, which has a 43mm diagonal, this meant 40-45mm lenses were optimal candidates, and because of the very simple design, the lenses could be extremely small. This came with the caveat that most topped out around f/2.8 — the faster pancake lenses, like the Olympus OM 40/2 or Konica AR 40/1.8, are modified double Gauss ("Planar") formulas and not quite as thin.
While all these vintage lenses are worth checking out, there are two that stand above: the Nikkor 45/2.8P and the Contax Zeiss 2.8/45. The latter is an older optic, though as you can see with the other three Contax Zeiss lenses on this list, that hardly means anything. No, the Contax 45 is not as technically great as those lenses — wide open it is only a good performer, with some significant residual field curvature and astigmatism. Stopped down to f/5.6, the field curvature persists but becomes more uniform. Resolution and contrast, on the other hand, are exceptional.
Credit: Hamish Gill
The Nikkor 45/2.8 AI-P is a lens that, I admit, stretches the boundaries of what defines a "vintage lens." But given that the lens is 1) long out of production and 2) was produced and paired with the Nikon FM3A — a 35mm film camera — I feel justified in including it.
Like The Contax Zeiss 45, the Nikkor features a Tessar design fitted into a body with a paltry length of just 17mm — for reference, that's almost exactly the diameter of a United States dime. Yes, a dime. The Contax Zeiss 2.8/45 is virtually the same size.
As for performance, the Nikkor is simply stellar. Global resolution is exceedingly high in the center and mid-frame wide-open, and very sharp across 95% of the frame stopped down to f/4 and f/5.6. There is, again, field curvature present. This is simply a consequence of the Tessar design, and my opinion lends such lenses a very gentle but lovely aesthetic.
Just be sure to focus on your subject at the point in the frame — focus and recompose doesn't work well unless the field curvature of the lens matches the distance change precisely.
Made for: Canon FD, Nikon F, Minolta SR, Olympus OM, Pentax K
Best Use Case: Mirrorless; Canon EF with adapter (Simmod or plain) or conversion depending on the mount
The name Tokina is not one that tends to spark lustful thoughts when we hear it. This is true today, even though the company does make some quality optics, but it was especially twenty-plus years ago. Of every lens on this list, the Tokina AT-X 90/2.5 Macro is easily the most overlooked — most people simply don't know it exists or understand how it's different than the hundreds of other similar lenses from various companies during that era.
Nicknamed the "Bokina" this lens has several lovely surprises in store for unassuming users. As you might guess from the clever portmanteau, the lens is highly regarded for its incredibly beautiful, smooth, buttery bokeh. And I don't use those terms the same way that people describe the look of a Minolta Rokkor 58/1.2 or Jupiter 9 — the Tokina resolves detail extremely well and there is always a very clean, sharp plane of focus from which the rest nicely melts away. This is the signature of a well-corrected optic; spherical aberrations, like those in a Minolta 58/1.2 or Jupiter 9, create a "glowy" or "dreamy" aesthetic, but nothing ever actually seems to be in focus. Conversely, in a highly well-corrected lens — a Zeiss Otus or Leica ASPH or Sigma Art — images are cut cleanly with a distinct plane of focus. This creates the so-called "3D look."
Somewhat ironically, extremely well-corrected lenses often don't produce the most pleasing bokeh — they usually incorporate aspherical elements, which can render some harshness to out-of-focus details. This is why one might prefer a Zeiss Milvus 85mm over the Zeiss Otus 85mm for portraiture.
How is all this relevant to the "Bokina"? Well, it renders some of the most pleasing bokeh I have seen from any lens. The only exception is some geometric presentation in the bokeh balls when stopped down ("sawtooth" is how the shape is often described). Personally, I don't mind non-circular bokeh balls — Cooke lenses are among my favorite cinema optics partially for that very reason.
While the bokeh is extremely smooth, it still maintains the necessary abrupt transitions in front of and behind the plane of focus (note that abrupt is not the same as harsh). What makes for nice bokeh, without resorting to fancy and cliché terms? In general, we want to see nice, uniform blur across the out of focus elements, no double-imaging, pleasingly shaped highlights (or bokeh balls) without odd internal patterning, no outlining (which results in "nervous" bokeh), and minimal lateral and axial CA (spherochromatism). The Bokina hits every point — even its foreground bokeh is insanely smooth, which is not always the case for lenses with very smooth background blur.
It doesn't stop there, because I — someone who thinks shallow depth of field and bokeh obsession is just silly — would never recommend a lens solely on that basis alone. Luckily, the Bokina is also deserving of at least one or two other clever nicknames; this lens is insanely sharp, at every aperture, at every distance, at every point in the frame. The very extreme corners need f/4-5.6 to sufficiently match the rest of the frame, but after that, it's a wash until you hit diffraction. This performance remains true at the lens's closest 1:2 reproduction ratio.
Nothing is perfect and if we nitpick, the coatings aren't nearly in the same class as, say, Zeiss T* — strong light sources near the edges of the frame can wash the image out considerably, but this is easily avoided by either paying attention or using a hood. There's also a decent amount of purple fringing at f/2.5, but it disappears entirely around f/5.6. Honestly… that's about it. It's that good.
The Tokina AT-X 90/2.5 may be the most versatile lens on this list. It's a phenomenal portrait lens. Stopped down it's as good of a landscape lens as one could ask for from a vintage optic. If you can live with the 1:2 magnification, it's a fantastic macro lens. It's also readily available for under $250.
It's a true gem.
Made for: Most commonly Nikon F, Pentax K, and M42 mounts, but also reportedly made in Contax C/Y, Olympus OM, and Canon FD.
Best Use Case: Mirrorless with an adapter.
Credit: japan-camera-harashima
This one is a bit of a rarity. Not super rare — it's regularly available on eBay at any given time and pops up at Robert's Camera or KEH Camera with decent frequency. But it is a lesser-known optic that was produced in very limited quantities — reportedly about 1,000 to 1,300 units across various mounts — alongside the even rarer Voigtlander 125/2.5 Macro APO-Lanthar and the far more common Voigtlander 90/3.5 APO-Lanthar.
This lens does skirt the boundaries of what one could call "vintage." Even at my ripe age of 32, the idea of a lens produced in the early 2000s being dubbed vintage makes me wince a bit. However, I am justifying its placement on this list because it 1) is among the best lenses ever made, 2) is no longer in production, and 3) was produced not only in Nikon F and Pentax K mounts but also in legacy mounts like M42, which are, by any definition, vintage mounts.
The most common version to find is the Nikon F variant. It is a chipped AI-S lens, meaning it works with legacy film cameras as well as any modern digital Nikons, with the ability to transmit EXIF data and aperture control electronically.
Did I mention it is one of the best lenses ever made? Image quality is outstanding across the board, from wide-open until you hit diffraction. It is a truly apochromatic design, meaning axial CA is nonexistent, with a superb ability to describe and resolve high-frequency detail (microcontrast). Global contrast (or macrocontrast) is on the low side, but I don't mind this — it helps preserve dynamic range in extreme conditions.
Perhaps best of all, the lens is very, very small: 3.1 inches in length, though it extends considerably when focusing, with a tiny 49mm filter thread. Holding it in your hand, you'd be forgiven for thinking it's more like a 100mm lens.
This is one of my all-time favorite lenses and, I do not say this lightly, is up there in performance with the Zeiss Otus, Leica M APO, Zeiss 2/135 APO Sonnar, and some of the recent Nikon Z lenses (and yes, plenty of others too from whichever brand you are about to defend). Don't let its diminutive size fool you — this lens packs a hell of a punch.
Credit: Matsushita Vintage Camera Store
Lest I be accused of being a perfectionist snob when it comes to lenses, or that I only appreciate "clinical" or "soulless" lenses, I decided to include two of my favorite little vintage gems that are among my favorite not because of their perfection but in spite of their lack of it. For the record, what I value in lenses is transparency and clarity — lenses that simply do their job and get out the way without imparting their own optical maladies onto the image. For the majority of my work, this is what I need.
But one look at my shelves and dry cabinets would show how much I appreciate an uncoated Leica 50/2 Summar, a swirly Summitar, a characterful Jupiter 3, a tiny Chiyoko Rokkor 45/2.8 LTM, a slow but wonderful TTArtisan 28/5.6, a quirky MS Optics 24/2 Aporia, and so on and so on. I'm even about to pull the trigger on a Chinese 50/1.1 M mount lens that you likely haven't even heard of — is it special in any way? Not at all. I don't consider myself a collector because I do actually use my collection, but I do have one nonetheless, and I enjoy adding to it.
And part of that collection is a W-Nikkor-C 3.5cm (35mm) f/3.5 LTM (Leica Thread Mount) lens. I've listed it alongside its faster sibling, the f/2.5 version, simply because there is very little difference other than that speed. Well, except the price — the W-Nikkor-C f/2.5 is about twice the price of the f/3.5.
These lenses came about during a particularly competitive period in the history of photography — after the Second World War, Japan was in ruins, and Germany, the home of Leica and Zeiss, who had dominated the world of cameras and optics until that point, was in a state of constant flux and uncertainty. I cover this more in detail in my article about the creation of the Nikon F, but essentially, during the 40s and 50s, Nikon was producing its own rangefinder cameras with its own mount, as well as lenses for Leica's M39 thread mount. These lenses became very popular due to their high optical and mechanical quality and low price.
Credit: goodies camera Japan
These two W-Nikkor-C 3.5cm lenses are a product of that time. Absolutely tiny — you could probably fit five in your pocket — they are by no means perfect lenses. The coatings are soft and delicate, aberrations abound wide open, and so on, but what they are is incredibly fun. Wide-open they produce perfectly acceptable, slightly ethereal images, but stopped down they become surprisingly sharp across the frame — in large part thanks to their not-so-simple symmetrical double Gauss design — with nice contrast and just generally pleasing image quality. As a neat little bonus, the f/2.5 variant has a very cool aperture blade orientation at its middle f-stops — it reminds me a lot of Cooke cine primes.
The LTM mount is a great mount for universal use — it can be used on everything from a mirrorless Sony or Nikon or Fuji to a Leica M11 to a Barnack Leica to a Leica M4 to a wide number of 35mm LTM rangefinders from Canon and other manufacturers.
If you love normal focal lengths, moderate speed vintage rangefinder lenses that you can slip in your pocket, then look no further.
While those ten are my top picks, there are several others worth considering:
Canon Serenar 28/3.5 LTM
Canon FD 300/4 L
Contax Zeiss 2/28 Distagon
Contax Zeiss 2.8/135 Sonnar
Contax G 2/45 Planar
Contax G 2.8/90 Sonnar
Kobalux (Avenon) 28/3.5 LTM
Leica 60/2.8 Macro-R
Leica 135/4 Elmar-M
Minolta M-Rokkor 40/2
Minolta MD 100/2.5
Nikkor AI-S 180/2.8 ED
Olympus OM 100/2
Ricoh GR 28/2.8 LTM
Zeiss ZM 4/85 Tele-Tessar
Zeiss 2/135 APO-Sonnar
Analog, Educational, Guides
100-300mm, 100mm, 180mm, 35mm, 35mmlens, 35mmlenses, 45mm, 50mm, 85mm, 90mm, Canon, canonfd, contax, contaxzeiss, distagon, elmar, film, filmlenses, leica, leica50mm, leicalens, leicalenses, leicam, ltm, m39, macro, minolta, minoltarokkor, NIKKOR, nikon, olympus, olympusom, sonnar, summicron, tessar, tokina, tokinaatx, vintage, vintagelens, vintagelenses, voigtlander, voigtlanderapo, zeiss, zeisslens, zeisslenses
Samyang Broadens Its Mirrorless Support with New 12mm and Updated Older Models
Laowa Adds Four Mirrorless Lens Mounts to Seven Existing Lenses
How Manual Focus and Vintage Lenses Made Me a Better Photographer
Canon Patents RF 100mm f/2.8 Macro Lens, Wide-Angles, RF Cine Mount
This is the First Hollywood Movie Shot on a Full-Frame Mirrorless Camera


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Mention the Balkans to anyone and it can conjure up a plethora of images - flashpoint of the First World War, the atrocities of the recent civil war, Tito's and Hoxha's Communist dictatorships. Look beyond these clichéd stereotypes on our two week trip through five countries – Albania, Montenegro, Croatia, Bosnia and Herzegovina, and Serbia. Explore the crossroads of Europe's East and West mosaic to cultures inherited in millenniums starting from Illyrians (Albanians), Romans, Byzantines, Slavic, and Ottoman inheritance, in fascinating historical cities such as Shkoder, Dubrovnik, Sarajevo and Belgrade, as well as some of the best landscapes in Europe at Durmitor and Biogradska Gora. Step back into age old traditions in the highlands at Lukomir, with its excellently preserved village where many people still sport a style of dress that has changed little over centuries. Learn about the recent tragic history of the region in old Mostar and explore the medieval walled city of Kotor. But most of all meet the people who live here, be bowled over by their hospitality, and shatter your preconceptions of the Balkans. Balkan Explorer trip is a unique experience for those people who want to discover, enjoy and learn better those small different countries in language, religion and history, but very similar in habits, traditions, and hospitality.
€ 2000 1845
Tour Name: Explore the Hidden Europe
Type: General, nature, history, archeology, culinary, walking, etc.
Aviability: Available every 1st Monday of each month, all year around.
Day by Day Itinerary:
Day 1 – Tirana
Arrive in Tirana and transfer to your hotel. Depending on when you arrive there may be time to explore the city. Overnight Hotel Kruja or similar.
Day 2 –Tirana - Kruja – Shkoder
Start the day exploring Albania's capital. We visit Skanderbeg Square, dedicated to Albania's national hero, the Mosque of Ethem Bey, one of the oldest buildings in Tirana, and the Archaeological Museum among other sites. We then head to Kruja, one of Albania's most important towns due to the part it played in resistance against the Ottomans. Visit the Skanderbeg Museum and castle as well as the old bazaar. Today lunch will be included and the opportunity to eat some traditional food in Kruja. Then continue to Shkoder. Shkoder is one of the oldest cities in the Balkans and was once a capital of the Illyrian state. It also considered the "Florece of the Balkans" due to its cultural inheritance and richness. We visit its old bazaar, cathedral and mosque before heading to Rozafa castle for spectacular views of the city, lake and the surrounding mountains. Overnight Hotel Tradita or similar. (BL)
Day 3 - Budva - Kotor
Sightseeing of Budva city. Then, we continue to Kotor. Visit the former palace of King Nikola, now Montenegro's National Museum before heading to Kotor, whose lovely mediaeval walled city has been recognized as a world heritage site by UNESCO. After Kotor, we continue to Dubrovnik. City tour: visit the Old Town through the Stradun which is the main street of the city, in front of it is the Onofrio Fountain, built in 1438, the Franciscan Monastery, with one of the oldest functioning pharmacies in Europe, in operation since 1391. Overnight Hotel Marija II or similar. (B)
Day 4 – Dubrovnik.
This morning we take a cruise around some of the islands in Kotor bay. Later we head to Dubrovnik, one of the most attractive cities in the region, where we have time to explore. Overnight Hotel Lero or similar. (B)
Day 5 – Pocitelj – Mostar
Cross the border to Bosnia-Herzegovina and visit the village of Pocitelj, an old Turkish settlement with many interesting monuments - damaged during the war but rapidly being restored to its former splendour. We then travel to Mostar, where we explore on a walking tour through the old Turkish town. Overnight Hotel Amicus or similar. (B)
Day 6 – Sarajevo
Head back to the capital, arriving around lunchtime. The afternoon is free to wander the streets of Sarajevo and take in anything that you've not yet seen. Overnight Hotel Hecco or similar. (B)
This morning we take a tour through the old oriental part of Bosnia and Herzegovina's capital city, with its beautiful architecture, sweet shops and cafes. We also visit the Princip Bridge, site of the start of World War I, and spot various markings on the pavements which are 'mini-memorials' to the sniper victims of the recent war. We also visit the tunnel museum, a section of the tunnel that was the only way of accessing the city during the siege of 1992-1995. Later there is free time to explore the city on your own. Overnight Hotel Hecco or similar. (BL)
Day 8 – Srebrenica - Belgrade
Today we travel to Belgrade (Serbia) by stopping first to visit Srebrenica.
Continue to Today we travel to Serbia and Belgrade, arriving in the late afternoon. Belgrade is the largest city in the Balkans, and is an intriguing mix of the traditional and the modern, with its museums, galleries and lively nightlife. Overnight Balkan Hotel Garni or similar. (B)
Day 9 – Belgrade
We explore Belgrade today, taking in the temple of St Sava, the parliament buildings and Republic Square. We then head to Kalemegdan Fortress, the oldest part of Belgrade, where we explore on foot. This afternoon we take a cruise on the Danube to see more of the city's sights, before some free time to explore the city on your own. Overnight Balkan Hotel Garni or similar. (B)
Day 10 – Matckat Village - Zlatibor
Continue to Zlatibor, an area of valleys and forests where we spend time walking around the local villages and enjoying the stunning scenery. Overnight Hotel President or similar. (B)
Day 11 – Biogradska Gora National Park
Today we cross into Montenegro – a hidden gem in the heart of Europe where nature rules. Biogradska Gora is an isolated area of forests and mountains which surround nine glacial lakes, known as 'mountain eyes'. We take a short walk around the park's only low-lying lake, and then have the opportunity to swim in its crystal clear waters. Later we continue to Kolasin where we spend the night. Overnight Cilje Hotel or similar.
Day 12 – Durmitor National Park
Explore Durmitor National Park with its breathtaking scenery of mountains, forests, lakes and high pastures. This area is inhabited by many species of birds and animals, and we may see eagles, white-headed vultures, foxes, deer or chamois, a type of mountain goat. Overnight Hotel Enigma or similar. (B)
Day 13 – Ostrog – Lovcen – Razem.
Visit the Ostrog monastery, with chapels set in a sheer rock face and linked by beautifully decorated caves, passages and stairways, before heading to Lovcen National Park. We end our day in Cetinje, an important historical centre dating from the 15th century and the cultural and spiritual heart of Montenegro.Then continue to Razem, where we can have a walking tour of local outdoor attractions including caves, a waterfall, and hazelnut forest. Overnight in Hotel Natyral Razma Resort, or similar. (B)
Day 14 – Lezhe - Durres.
After breakfast drive to Lezhe. Later we continue to Lezha where we visit the mausoleum of Skanderbeg and the castle before heading to Durres. This port city has the largest Roman amphitheater in the region (20,000 seats), dating back to the 2nd century built during Trajan Emperor rule. Visit archeological museum, amphitheater, roman Baths, Byzantine Bazar, etc. Overnight Hotel Arvi Hotel 4*, or similar. (B, D)
Single room supplement: €297
Arrival and departure transfers
All accommodation on twin share basis
Services of English speaking guide / tour leader
Meals as listed (B – Breakfast, L – Lunch, D – Dinner)
Entrance fees for sites listed as part of the itinerary
Any airport taxes
Please note that you should also read the Country Notes in association with this itinerary for practical information about your trip and the destination you will be visiting.
The itinerary and supplementary information has been compiled with care and provided in good faith. However it may be subject to change, and does not form part of a contract between the client and our company.
Price listed is per person, and is quoted based on a certain minimum number of participants. To operate the tour with only 1 participant there is an extra charge of +190%, to operate the tour with only 2 participants, there is an extra charge of +70%.
Currency: All prices are shown in Euro (EUR).
Tour Operator reserve the right to postpone (with the approval of client) or to cancel the service, in cases when required minimum participants is not guaranteed, or other subjective reasons. If service is canceled by Tour Operator, then 100% of booking fee will be refunded to respective customer.
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