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All Church activities are currently closed due to COVID19.
Our Sunday services are being shared at 10.30am on our YouTube channel
https://www.youtube.com/channel/UC1miZnfLzGVYKxSCZIV9U2g
Our Foodbank is open on Fridays from 1-3pm using the front entrance at 27 Ashton Lane. (Please bring identification)
27 Ashton Lane
M33 6NP
Email address: sale@salvationarmy.org.uk
Donald Montgomery
Rachel Steward
Community Manager / Charity Shop Manager
Coronavirus Donations
The Salvation Army works with some of the most vulnerable people in society. As we face the worst public health crisis in our lifetime, people on the margins need us now more than ever.
From running food banks and checking up on people who live alone, to offering counselling and supporting NHS isolation units, Salvation Army churches all over the country are responding to the crisis in dozens of different ways.
Please visit the Sale JustGiving page and donate what you can. Help us support as many people as possible.
10:30am Worship Meeting
11am Children & Youth ministry teaching
12pm Coffee Fellowship in Lounge
3:30pm - 5:30pm Messy Church (usually 3rd Sunday in every month)
"But the time is coming-indeed it's here now - when true worshippers will worship the Father in spirit and in truth. The Father is looking for those who will worship him that way" John 4:23
Come, now is the time to Worship.....
There's a lot going on at our Sunday service: Friendly, Meditative, Loud Celebrations, Testimonies, Prayer, Worship, Quiet Times, Reflection, Creative, Journey, Discussion, Exploration, Connection, Love, Meeting Place.
We welcome you and your family on Sundays to our 10.30am service. A welcoming atmosphere and child friendly - join us for coffee after the service.
COME AS YOU ARE...
You don't have to whisper in our Church!
You are very welcome to check us out, we would love to see you.
Christian faith during the week, when our doors are open to offer programmes and activties for the whole community.
9:30am Parent and Toddler Group
12pm Ladies' Prayer Group
1:30pm Body & Soul Group A - Ladies' Keep Fit
2:30pm Body & Soul Group B - Ladies' Keep Fit
10:45am Baby Massage and Baby Song
10:30am Bible Study
7:30pm Common Thread Sewing Group
10:30am Young at Heart Coffee and Chat
11am Young at Heart Singing rehearsal
12pm Luncheon Club
1:15pm Young at Heart Club Meeting
6:30pm Junior Band Rehearsal
7:15pm Songster Practice
8:45pm Senior Band Rehearsal
2pm Art Class
7:45pm Ladies' Fellowship
First Friday each month
Messy Church is a time when we invite families from our local community to come together to enjoy company, spending time with their family and also making new friends. We are busy doing crafts, painting & having fun making a lot of mess! We celebrate God together through basing our crafts on a chosen bible story and then coming together after clear up time for a brief talk about what the bible story was about and what we learnt about through our play & craft. Then we all get together for tea & pudding!
With Messy Church we are trying to be a worshipping community of all ages, centred on Christ, showing Christian hospitality - giving people a chance to express their creativity, share fellowship and have fun in a church context. At Messy Church we welcome all people of all ages, this isn't a time just for children, quite the contrary, it is a time for everyone, young and old to come together and enjoy company with each other.
Sunday school kicks off from 11am for one hour on a Sunday morning. We have lots of fun together, playing games, singing and learning about what God has to say to us about our lives. We cater for children from the age of 3 to 18yrs.
Each age group has different leaders (all DBS checked) who help the children learn more about loving God and living a Christian life. We learn in lots of different ways through craft, puzzles, reading and playing. We have a great time together, not just on Sundays as we have social times together with parties and outings.
Come down and see for yourself... we guarantee you won't be disappointed!
The Salvation Army has a wonderful musical tradition that the public greatly enjoy
Sale Salvation Army Band - About Us
Sale Salvation Army Band's purpose is the same as any Salvation Army music group: to bring glory and honour to God. Underpinning this, our responsibility, on a week-to-week basis, is to provide accompaniment for sung worship and musical items that enhance our gatherings. The band provides music to those unable to join us for worship due to health concerns and often promotes the message of the Salvation Army on the streets of Sale. We also hold annual events, including Summer and Autumn concerts in our own church and a busy Christmas programme across Manchester playing in shops, on street corners and in magnificent buildings like Manchester Cathedral.
In addition, the band has a busy schedule supporting a variety of local events: Churches Together, Manchester Airport Remembrance Service, the Manchester full and half marathons and local charity concerts. The band is available to be booked for events from Christmas Carol concerts to charity events and Salvation Army Band festivals.
Rehearsals, under the leadership of Bandmaster Jonathan Evans, take place on Thursday evenings at 8.30pm and are held in the hall on Ashton Lane. Our rehearsals are always open and visitors are welcome to attend either to listen or play. If you would like to join us and play please try and let us know beforehand so we can prepare music for you. There is no requirement for members to be Salvation Army soldiers. Rather, as what is known as an open section within The Salvation Army, members of the band are asked to be committed to the band's engagements and to the mission of the Salvation Army as a Christian Church.
The band has a significant ministry with students studying in the Manchester area. Many of our current membership are either current or former University students who moved to Manchester for education. Travel or travel expenses and lunch are provided each Sunday for our students whilst lifts can be organised to and from rehearsals and events.
For all band related enquiries and bookings please use the following email address:
saleband@salvationarmy.org.uk
Alternatively, you can contact us through our Facebook page, which is updated on a regular basis.
Sale Salvation Army Band, in one form or another, has now been proclaiming the Christian message for over 140 years. We are proud to be part of an illustrious heritage but look forward to how God will direct us to serve the present age and extend his Kingdom in the twenty-first century.
The small township of Sale had a population of under 12,000 when the Salvation Army first opened a Corps in the town in 1895. The Corps thrived. The band mainly held their open-air meetings on Sale Station Bridge, after which they would lead the march of singing and tambourine playing Salvationists down Chapel Road (paved with cobble stones) back to their hall in Egerton Street. The Corps closed sometime in 1909 and it would be 82 years before the town again had a Salvation Army Band.
Our own band can trace its history back to 1879 and the beginning of the Salvation Army's work in Manchester. Manchester Temple Corps opened their work on Grosvenor Street that year (where Manchester Central Corps can now be found). In 1884, the third Salvation Army corps opened in Manchester - Openshaw Citadel. Manchester Openshaw's musical sections were well known throughout the Salvation Army and in the post-war years led by musical heavyweights such as Harry Salthouse and Frank Crowhurst (a member of our current band). Numerous tours were undertaken and recordings made as well as participating in high profile events.
In 1973, Manchester Openshaw and Manchester Temple were amalgamated under the name Manchester Citadel and they occupied a new building near to the city centre. The fine tradition of music making continued and the band, still under the leadership of Harry Salthouse, continued to record with titles including Sounds Mancunian (1979) and An Evening at the Citadel (1982) with their motto of 'To Serve the Present Age'. During the Salvation Army's 1978 Centenary International Congress, the band were invited to open the 'Meet the Composers' Festival at Wembley, performing Brian Bowen's Festival March The Southern Cross under the composer's baton. In the same festival, the band joined in the massed bands (alongside the International Staff Band, Enfield Band, Govan Band and Upper Norwood Band) to perform The Kingdom Triumphant, led by legendary composer Eric Ball. TV appearances, UK tours (Scotland), international tours (North America) and the CD recording Praise (1991) followed under Colin Wilson before further changes in location happened.
In 1991, the corps moved again and took its new name from the area in Manchester where they settled, Sale. For the first time in 82 years, the town could boast a Salvation Army Band. In these years, the band has continued to serve its community faithfully under the diligent leadership of Bandmasters Reece, Young, Redhead, Kervin and Wilson (as well as a short time under retired BM and SL Frank Crowhurst). The band have continued to make regular local TV, radio appearances, and continue to perform at significant local events and venues whilst continuing our commitment to weekly services and maintaining our core mission: to bring glory and honour to God.
Songsters
The songsters (choir) are a group of people who meet each Thursday evening to rehearse songs for worship on Sunday. The group is made up of men and women of all ages and from all walks of life - including teachers, nurses, salesmen and those who are retired. They have a common love of singing and a desire to tell others about the Lord through their music.
Although the songsters have been singing and making music in Sale for twenty years, their history goes back much further to when the church was situated in Manchester. Over the years the choir has travelled up and down the British Isles peforming in many churches and Salvation Army centres and have made a number of excellent recordings. For the past seven years the songsters have been led by Christine Wilkinson, a retired primary school teacher.
Most of the music the Songsters use is published by the Salvation Army but it includes a number of contemporary songs from well-known Christian writers as well as more "home grown" material. Although the majority of songster members are uniformed Salvationists, everyone is welcome to come along and join in with them at practices and we'd be glad to welcome you one Thursday evening at 7.15pm!
Souled
"Souled" is our worship band at Sale and help to lead the worship in our Church. Our group has evolved over the last 20 years and what started out as just a keyboard player, a bass guitarist and a vocalist huddled round the piano has now emerged into a vibrant group of Christian musicians who want to serve the Lord using the ministry of music.
There are 12 members of Souled who work together in choosing suitable music for worship, introducing new songs and arranging all the different parts.
We meet on alternate Friday evenings and Sunday mornings before our service to prepare for worship and to share together. Our mission is to bring people into the presence of God through the medium of music - we want those who sing with us in worship to catch a glimpse of the greatness of our God. Contemporary worship music has had huge impact of the members of the group and we hope that through our music others can experience the power of God too.
The LORD is my strength and my defense; he has become my salvation. He is my God, and I will praise him, my father's God, and I will exalt. - Exodus 15:2
Do not be anxious about anything, but in every situation, by prayer and petition, with thanksgiving, present your requests to God. And the peace of God, which transcends all understanding, will guard your hearts and your minds in Christ Jesus - Philippians 4:6-7 (NIV)
Prayer matters! Prayer makes a difference in the lives of God's people. Sometimes the only way we can help another person is to lift them to God in prayer. Here at Sale Salvation Army we take prayer seriously. Our prayer tree is placed at the front doors to our Church and can be seen of an evening by passers by as it is lit with beautiful tree lights. By this we hope that passers by will be inquisitive to what it is and come and take a look & hopefully place their prayer request on the tree. Prayers can be left anonymously if preferred, but all prayers after a period of time are removed from the tree and then prayed for individually by the Ladies Prayer Group.
If you have a prayer concern that we can pray for and with you, call the office on 0161 976 4380 or request your prayer below or pop by the Church and place your prayer on our Prayer Tree.
The Salvation Army's practical hands-on work is renowned. It has never been enough just to preach; the message of God's love is also demonstrated through its work particulary with marginalised and vulnerable people.
In corps and centres across the territory, people of all ages are welcomed and encouraged to discover how much he loves them and the possibilites he has for their lives.
Baby Massage was started at our Church about 6 years ago, shortly after I retired from work as a health visitor in Central Manchester. I enjoyed running the groups as part of my job so it's great to do it in the church where I worship.
Part of our vision is that we are a church firmly rooted in the love of Jesus. Reaching out to meet the needs of all ages, at Baby Massage this is what we do.
There are also many health benefits:
Mothers who come to Baby massage are less likely to suffer from post natal depression.
It helps deal with "Evening colic"
Babies who are massaged have fewer coughs and colds and fewer upset tummies & it helps to establish a good sleep pattern for baby.
We welcome mums, (occasionally we have had Dads or Grandmothers) and babies from about 4-6weeks old until they roll over!
£10 per half term, includes coffee/tea & chat!
Baby and Toddler Song
Baby song was first set up over 7 years ago at Sale Corps. It was started with just a few Mums and babies who would meet to spend time singing nursery rhymes with their babies in a friendly, welcoming environment. Seven years on, we have grown so much that we now have three babysong classes running every Tuesday! Each class has babies that are of a similar age or stage of their growth, so we have the babies who are learning to sit up, babies who are crawling and the toddlers.
Babysong has become a real lifeline for many of the families who have attended, new friendships have been formed and a great sense of community is present amongst the groups.
So what are the benefits of song?
Music is something magical that you can share with your child and a way of communicating even before they can talk. Singing can also calm you as well as your child, if you are feeling stressed and can provide a distraction if they are crying.
Music is the perfect vehicle for learning, for instance repeating rhymes to your child can help develop their language. Research has shown that music & song can help to develop communication, listening, concentration, sharing and social skills for babies.
Please note, due to popular demand, there is a waiting list for the babysong & toddler song groups.
£10 per half term, contact Rachel on 0161 976 4380 to book your place.
Afterwards stay and join us for a chat and a brew from 11:15am to 12:15am.
Mums 'N' Tots
Hello and welcome to Mums 'n' Tots! My name is Almey Houghton and I have been running the Mums 'n' Tots group for over 10 years. I am a qualified NNEB & CRB checked.
We welcome all Mums, Dads, Grandparents, Child Minders and of course little one's 0-4yrs, to our group twice a week. Our aim is to provide a safe, happy & welcoming environment for parents & children to meet, play & hopefully make new friends. We have a great team of volunteers who are all CRB checked, that help with putting out the toys, organising crafts & singing activities, not forgetting the toast and juice time! They also provide a pastoral outlet for people who need to talk whilst they are at Mums 'n' Tots.
Everyone is welcome - we would love to see you!
But Jesus called them to him, saying, "Let the children come to me, and do not hinder them, for to such belongs the kingdom of God" - Luke 18:16
Growing Together Garden
The Growing Together Garden & Allotment is based in the grounds of The Salvation Army Church, Ashton Lane, Sale.
A new project where people from the community can get involved to help transform this land into an area where all members of the community are welcome. The purpose of having a garden & allotment is to give opportunity for people both within the church and from the community a place to go that is safe, welcoming, interesting and where they can learn about growing plants & vegetables or just sit and enjoy company!
The aim is to offer people from the local community a share in an allotment plot, free of charge, with the proviso that 30% of what they grow will be given away to a person, family or group who are in need & would benefit from fresh produce.
An exciting new venture that we believe will benefit a wide range of people. We want the allotment to be a long-term project that we will care for and use to remind people of God's amazing creation. If you would be interested in getting involved in the community garden & allotment, please contact Rachel on 0161 976 4380 for further details.
The purpose of the art group is to enjoy art & discover your artisitc 'flair' in a christian environment with a very friendly, fun group of people who all have an interest in art. The group has been running for over 6 years and all abilities from beginners to experienced artists are welcome. All materials are provided, we ask for just a small contribution towards provision of the materials.
Come and give it a try!
Let all that you do be done with love. 1 Corinthians 16:14
As the name suggests, this is a time on the first Friday evening in the month at 7:45pm for ladies to meet together in fellowship. We meet in the community hall.
A varied programme is arranged throughout the year - including craft, visiting speakers, and an annual outing - plus a Carol Service and Meal at Christmas.
It is open for ladies of any age.
Body & Soul is a gentle keep fit class for ladies or men of all ages. The purpose of the group is to encourage exercise and fellowship amongst friends. There are two classes to choose from followed by a time of fellowship.
Body & Soul has been running for over 20 years and is organised by a member of our Church, Almey Houghton.
"Beloved, I pray that all may go well with you and that you may be in good health, as it goes well with your soul" - John 1:2
Young in Heart Choir
The Young in heart choir was formed 21 years ago in 1991 when the new Church on Ashton Lane was opened as Sale Corps. We are about 30 in number with mixed voices and a wide age range from 60-90+. We rehearse for an hour on Thursday mornings before the Young in Heart lunch club, and we sing in the Sunday worship on the first Sunday of every month.
My name is Anne Crowhurst and I took over leadership in March 2007 and really enjoy sharing fellowship and fun with this lively group of 'oldies'. They just love to sing, and together we endeavour to portray the love of the Lord with our singing, our aim being to bring blessing and inspiration to those who listen.
"Blessed are those who dwell in your house, ever singing your praise!" - Psalm 84:4
Young in Heart Day
Those who attend the Thursday 'Young in Heart' range between 60yrs - 90+yrs. The group began 20 years ago and from the very start was a big success. At the present time we have over 65 members.
The day begins at 10.30 with friends meeting in the lounge for coffee & a chat. There is also the opportunity to purchase items of clothing and books at the coffee morning. At 11am, those in the Young in Heart choir have their practice, anyone is welcome to join or to sit and listen.
At 12pm a three course home cooked meal is served followed by entertainment. A team of dedicated volunteers hold the many activities together; from transport arrangements, a welcoming coffee service, updating membership records, lunch club kitchen staff & entertainment.
For some it is the only opportunity they have to get out, meet new friends, have a good meal and enjoyable entertainment. For all, it is companionship in a caring Christian atmosphere & a fundamental service of The Salvation Army.
"In everything I did, I showed you that by this kind of hard work we must help the weak, remembering the words the Lord Jesus himself said: 'It is more blessed to give than to receive' " - Acts 20:35
Outside Groups
We have other 'outside' groups who rent a room from our building each week. Below is a list of groups that take place and contact details if you are interested in taking part in any of these groups.
Brooklands Probus is for men who are retired or partially retired from employment in either professions, commerce or industry. Speakers on wide range of subjects. Meeting every 2nd & 4th Tuesday in the month, 2-4pm.
CALL (Cancer Aid & Listening Line) is an organisation for people who have experienced cancer in some way, either as a patient, relative or friend.- Social group meets every 1st & 3rd Tuesday in the month, 2pm to 4pm. Contact trafford@canceraid.co.uk canceraid.co.uk
WEA Literature group - Every Tuesday 10:15am to 12:15pm.
WEA Gardening group - Every Tuesday 1:30pm to 3:30pm.
Weight Watchers - Every Monday 6:30pm to 7:30pm.
Manchester Speech & Drama Association (MSDA) To explore good literature, prose, poetry and drama. Meets second Wednesday in each month: 1:45pm to 4pm. Fee £15 members. £1.50 visitors each visit
Our charity shop is now located at: 7 Washway Road, Sale, M33 7AD
"Clothe Yourself With COMPASSION, Kindness, HUMILITY, Gentleness & PATIENCE" - Colossians 3:12
Definition of volunteering: Doing more than you have to because you want to in a cause you consider good
The Community programme we hold at Sale aims to improve the quality of life for people living in the community. The generosity, kindness, time and skills of our volunteers deliver a service that is well received. Currently, we have 53 volunteers, some are church members and some are local people from the community who give of their time to help out with the Church programme, events & charity shop.
There is an increase in demand of our services and support so we are continuously looking for new volunteers to join our friendly team.
As a volunteer you will have a fulfilling experience helping our community. You could gain or build upon existing skills, friendship, confidence, work experience and team-work. The volunteer roles we offer are interesting, flexible, and worthwhile.
For futher details on volunteering opportunities please contact Community Manager Rachel Steward on 0161 976 4380.
"Volunteering is the ultimate exercise in democracy. You vote in elections once a year, but when you volunteer, you vote every day about the kind of community you want to live in"
"Let us LOVE not in Word and Speech but in DEED and TRUTH" - John 3:17
We have various agencies and groups who rent room space at Sale Salvation Army. If you are interested in making a booking please contact Rachel Steward (Community Manager).
Please note we do not hire rooms for childrens parties.
Seats approx. 60-80 people, it can be used for conference or workshop facilities, toilets are located just outside the main doors to the hall and sufficient fire exit facilities are in place. £30/hour. Tea and Coffee can also be provided at 75p per person. We are unable to provide buffet lunch but you are welcome to bring your own.
Primary Room
Seats 16 at £15/hour.
Large Lounge
Youth Room
The kitchen facilities are available for use if you are providing a lunch with your room hire, there is a small additional charge for use of the cooker at £10.
Additional Items for hire during your stay.
Flip Chart - £5
Overhead screen and audio/visual equipment - £10
Christmas Present Appeal
We are taking part in the Christmas Present Appeal. Find out more about the appeal and other local activities on our Facebook page.


The argument is that a single measurement of the rate of meteoritic dust influx to the Earth gave a value in the millions of tons per year. While this is negligible compared to the processes of erosion on the Earth (about a shoe box-full of dust per acre per year), there are no such processes on the moon. The moon must receive a similar amount of dust (perhaps 25% as much per unit surface area due to its lesser gravity), and there should be a very large dust layer (about a hundred feet thick) if the moon is several billion years old.
Pettersson stood on a mountain top and collected dust with a device intended for measuring smog levels. He published calculations that measured the amount of nickel collected, assuming that nickel was only present in meteoritic dust, and assuming that some percentage of meteoritic dust was nickel, to get his final figures (the first assumption was wrong and caused his published figures to be a vast overestimate). Pettersson's calculation resulted in the a figure of about 15 million tons per year. He believed that estimate to be an over-estimate, and indicated in the paper that 5 million tons per year was a much more likely figure.
Since Pettersson's publication, much more accurate measurements have become available, from satellite penetration data (no possibility of earthly contamination). These more accurate measurements give the value of about 23,000 tons per year.2 These measurements also agree with levels of meteoritic dust levels trapped in sediments on Earth (an independent cross-check.).3 For the moon the annual accumulation of dust would be 11 thousand tons. This quantity would produce 1.2 inches of dust for a moon 4.5 billion years old. When other factors, such as decomposition from ultraviolet radiation, other sources of erosion, and impact of larger interplanetary objects, are considered 2.5 inches of dust would be produced on the moon in 4.25 billion years, which is very close to the age determined by other methods.
Even though young-earth creationists themselves have refuted this argument, the "moon dust" argument continues to be propagated in their "popular" literature and the Internet.
Snelling, Andrew A., and David E. Rush, 1993. "Moon Dust and the Age of the Solar System" in Creation Ex Nihilo Technical Journal Volume 7, No. 1, pp. 2-42.


This weekend, Rebagliati Park will be transformed into a foodie's feasting ground, as organizers host the second annual Feast in the Mountains event.
A local yoga instructor and food distributor, Astrid Cameron Kent is very involved in the local culinary scene, also sitting on the Whistler 2020 Food Task Force and coordinating Whistler's annual Feast of Fields celebrations for the past three years.
The goal of the Feast in the Mountains event is three-fold: preserve farmland, promote local farmers and agriculture, and educate consumers.
Attendees receive a wine glass, cutlery and plate upon entry, then spend the afternoon meandering between tables laden with local food and drink, nibbling and talking with fellow food lovers along the way. Imagine fresh cheeses from Moonstruck and prepared dishes from chefs at the Chophouse and The Westin. Are your taste buds tingling yet?
The event has a loyal following but it's never been a sell-out, like its counterparts in other parts of the province. Cameron Kent is looking to change that. This year, she's changing things up a bit, partnering with Watermark Communications to host a slightly tweaked version of the event, dubbed Feast in the Mountains. Eventually, Cameron Kent would like to see it grow into a culinary destination event for the community.
"In Vancouver and Victoria they have 600 to 800 people show up, and we don't - yes, we have a loyal following, but I think it could be more."
She used to produce the event through a Vancouver-based charitable organization, FarmFolk/CityFolk. But this time around, has decided to partner with Watermark, though FarmFolk/CityFolk will still have a presence at this year's event, and will continue to be the recipient of the event's fundraising efforts.
Watermark also produces Corncuopia, Whistler's annual celebration of wine and food. But Sue Eckersley, president of Watermark, points out that Feast in the Mountains is more focused on food than wine, adding that she would eventually like to see it grow.
"I'd like to see it go into a weekend and have chefs up on the musical bumps and night events going on and really expand the programming so it's almost like an end of summer Cornucopia, in a way," Eckersley said.
Ticket prices are also considerably lower - $50 this year, compared with last year's $80 price tag. The goal is to draw a larger contingent of young, local participants who have a commitment to local food.
"We were responding to feedback from people saying it was too expensive for them," Cameron Kent admitted. "...We do risk losing money, but we're hoping that over the next five years, if you take a long-term plan, that we'll make it back."


GuideStone — What is Cigna's Oral Health Integration Program (OHIP)?
What is Cigna's Oral Health Integration Program (OHIP)?
OHIP — Enhanced benefits, including additional evaluations and preventive treatments, may be available for participants who are pregnant or have been diagnosed with or treated for one of the following health issues: cardiovascular disease, diabetes, stroke, head and neck cancer radiation, organ transplants or chronic kidney disease. Complete the Cigna Dental OHIP Registration Form to enroll in the program. Once enrolled, simply visit your regular dentist for treatment, and Cigna will automatically reimburse you for the amount of any co-insurance or co-pays resulting from OHIP charges.
How can I receive services from a specialist dentist?
Can I access SmartShopper from my smart phone?
Can I go to my doctor for preventive care services?


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Universal Camera Company of New York made the UniveX Cine-8 cameras, single 8mm cameras using small spools that held about 30ft of film, so 9.14 meters. These cameras are very small, easy to work with and yes, you can slit Double 8mm film and fill up empty spools yourself if you are careful. One of their cameras even has the option to run either Straight 8mm or Double 8mm film. This single strand 8mm film was also called Single 8mm (which of course is NOT the same as the FUJI format). There were several that offered this format, most were in a reloadable film magazine/cartridge. Unless you could get several of these to reload, it would be a slower process to shoot, remove the film and reload the cartridge, but it can be done, even on location using a film changing bag. The REVERE Camera Company of Chicago, Illinois also made a Single 8mm model many years ago. The drawback to using the UniveX Cine-8 cameras is the lack of available accessory lenses. These cameras used their own screw mount design making it difficult to fit anything to these cameras unless you could ever locate an adapter or have one machined. A lot of the unique rare accessories are in the hands of collectors. The better lenses are the Univar one (made by Wollensak), an F/2.7 and the rarer F/1.9, so look for those, rather than try to use the extremely slow F/5.6 Ilex lens which came standard on many of their cameras. Also these cameras only run at 16 frames per second, with the exception of the CineMaster-8 models (these use both Double 8mm and Single-8mm films) which run at 16, 24 and 36fps. However, all of these cameras are now very old and most would require a cleaning & lubrication to make them run well. I have also noted that the cover door body castings tend to warp slightly after 60+ years on some, not all. The Model A-8 has a simple flip up aerial viewfinder on top, but the Model C-8 has an optical viewfinder going through the camera body minimizing any parallax. These cameras were designed to be low cost so that the average person could enjoy taking home movies on 8mm film, so there are various shortcomings: lack of a wind down shutoff governor so the camera will slow down at the end of a winding, lack of many lenses and the few made are difficult to locate (no wide angle lenses were made either), and lack of running speeds other than 16fps and no Single Frame option, very slow standard lenses (with the faster F/1.9 ones being rare).Other than that, they are pretty well made and are quite heavy despite being so tiny (due to the metal castings and spring clockwork motor). These cameras and spools show up on eBay here in the USA all the time. Many were made during the manufacturing years of 1938 to 1952, and some still sold a couple years after that.
Many here may not agree, but I feel there really isn't any need to shoot Super 8mm film at 24fps over the 'normal' rate of 18fps. The quality increase is so minor that it's not really necessary for anything but the most demanding imaging. 18fps is gentler on the film during projection as well. Even in digital transfer, the difference between 18fps and 24fps isn't that significant to ever get me to shoot at 24fps. And I have seen and also shot many films in full 2x Anamorphic CinemaScope at 18fps and they are sharp, steady, and just look great even when projected onto a 24ft, and 32ft projection screens. With the higher cost of Super 8mm film these days, that extra 50 seconds at 18fps is wonderful to have. It gives you more running time from these small cartridges, as well as lowers the overall cost of any project. I'm saddened that the cost of the 'new' EKTACHROME 100D is so expensive, but then all film costs have jumped up significantly in recent years. I've been in analog based photography all my life, so I will continue to shoot film when I can. However, I think I'd have a harder time coming into the film world just looking at the cost of everything. With some films, processing, shipping costs, and transfer, it can cost nearly $100 for one cartridge of Super 8mm which is insane. This is another reason I advocate for every Super 8mm film enthusiast to do as much of their own work as possible: processing and transfers. Unless you're working on a 'serious' professional grade project or one that you're being paid for, there is no need to have to pay the high costs that are being charged by some labs. I fully appreciate the operating costs of the available labs which tend to be in expensive areas where taxes to exist are high. Since these days, most films are shipped to a lab anyhow, there's no reason a lab can't move to a lower cost part of the country and pass on these lower costs to their customers, but that's another topic. So, go ahead and shoot your Super 8mm films at 18fps and have a blast. The cameras and film were initially designed around this standard to yield excellent results and they will still deliver such results when used carefully. I do shoot some moving scenes at 24fps since it smooths out the bumps and motion when projected at 18fps, but the film is still intended to be shown at 18fps since the rest of it is shot that way. Operating at low cost in Super 8mm doesn't mean lack of quality. The 8mm formats have always been so often a DIY film making experience. Lastly, I do hope Double Super 8mm or Super 8mm in bulk form will be made so it can be purchased and loaded at a much lower cost per cartridge by others as well as do it yourselfers.
The Double Super 8mm camera conversions standardized by using the same 16mm spools with square keyed shafts; adapters were made to slip over the original shafts on the BOLEX H-8 conversions and others. Actually, a piece of good quality vinyl electrical tape on the round shafts will snug up the 16mm 100ft(30.5m) spools and works quite well. This is a quick fix until you find the proper film spools. Just mark the 16mm spools so you know which side is ONE and TWO. I've used this tape method for years and it works fine. Alternatively you might be able to make or have made shaft adapters via 3D printing. Good luck.
This is a fairly basic camera, but was well built, so the one you are considering might still work fine. If you satisfied with the camera's basic functions, why not consider it then? Offer 15 Euros, but even the asking price is cheap. It only films at 18fps and single frame, but 18fps is fine. I have never seen the need to shoot at 24fps except to smooth out movement in moving shots, in a film that will be projected at 18fps. The quality difference is small, and for anyone getting into Super 8mm to learn, have fun, capture memories etc, 18fps is fine. The other versions of the SANKYO Hi-Matic feature larger zoom ratios and more features. One nice feature is that you can keep the pistol grip folded and mount the camera on a tripod this way, which helps keep it steady. Best of luck if you get this camera.
As with any Super 8mm camera that doesn't have some form of electric start for a tape recorder, you would have to use the Slate Method. But then, so many now use some form of electronic or digital sound recording. Anyhow, slate the scene at the beginning, then you'll have a visual cue in the film and an audible cue on the audio. In post via your computer software, just marry the two back up together. If there is some slight drift of image or sound, it will just require some slight tweaking of stretching or shrinking the picture or audio to fit. The truly rare method these days are for those that want to project film with audio on it. That requires magnetic sound striping of the film itself, and marrying back the audio to the film via careful alignment of the slate cues and recording it onto the film itself. I doubt that's what you're interested in, as most users these days desire to have their films digitized and work with them in post via a NLE software program. Anyhow, it's not difficult to do, just a matter of discipline to slate each shot at the beginning. With film costs and processing what they are, your slating only needs to be a couple seconds as that's plenty to find the synch point on the film and on your audio.
These are quite well made cameras which were made for ARGUS by COSINA in Japan as part of their joint venture for several years making Super 8mm cameras, 35mm SLRs and other photo products. The Model 708 camera has a nice viewfinder, fairly bright and easy to focus with, and some nice features: . All metal body so it has a solid feel and some heft to it. . The camera has Automatic and Manual exposure (although, I can't remember if the Manual Exposure is coupled to the Meter's Battery Power...which I believe it is, so if it is, it needs the battery to work in manual mode. I've got a couple versions, one is this model but can't locate it at the moment to double check). The 1.5 volt batteries will work fine if using the camera in manual mode. Just compare this against another camera or light meter, taking into the account the light loss from the beam-splitter prism, and note the exposure variation due to the higher battery voltage. Factor this in and you'll be able to use the camera's own working light meter as a guide to exposure (for those films it will meter with, for those it won't meter with correctly, just factor in the bias as well and you can still use it). . There are 3 filming speeds of 12fps, 18fps and 24fps . Manual focusing with the 8mm to 64mm F/1.7 zoom lens and micro prism center spot. . The camera's metering system/cartridge notch index system allows for automatic exposure for ISO 25/ 40 and 100/160. But with manual exposure you can use the auto as a guide and then manually compensate for whatever film type you are using and set it. Meter requires the PX13 (1.3 volt batteries or equivalent). . The camera's motor and zoom motor are powered by 4 Double A 1.5 volt batteries held in the folding pistol grip, which folds flat against the bottom of the camera, this option also allows you to use it on a tripod this way. There's also a Battery Level Check Meter on the outside of the camera with a button to activate it and also an Over/Under Exposure warning indicator. . There's a cable release socket for continuous run, and for single frame, both under the lens on the front of the camera, as well as a lever to set the camera for continuous run or trigger lock. . Nice rubber grip on the focusing and zoom rings. So power and manual zoom. So, if the camera runs okay, the lens is fine, and the meter works (mainly to be able to use the Manual Exposure), then it would be a fun camera to use. This is not an XL (existing or low light camera) since the shutter is a 170 degree type but I have used this camera and others from that era in lower light, making use of the 12 frames per second running speed to add more exposure power to filming. As to quality, the lens is sharp, the camera all metal mainly and heavy compared to later made plastic cameras, the overall finish is good, so I personally think it's a well made cameras, especially since so many still seem to run fine being over 43 years old now. Hope this helps. Make sure it runs first.....if at all possible.
Hi, as already mentioned, the latter version of the QUARZ DS8 has a fixed zoom lens, although the previous versions are removable, and of the same type design as their Super 8mm cartridge version. Since the prime 15mm lens block is in the camera body as is the aperture, you'd have to do a partial disassembly of the camera body to remove this lens block. You could also remove the aperture vane if you wanted to since it will be of no further use without the fixed 15mm prime lens in the body. Or just leave it at the open F/1.8 position if leaving it in, just in case you want to put the prime lens back into the camera body. This is a somewhat involved operation but is not impossible. You'll have to check the Angeniuex lens calibration for focus to the body, but in theory and from my own examination of the several cameras, it should be doable. I have thought of doing this for the Super 8mm cartridge version. But in the end, after shooting with the Meteor lens on all 3 versions (Double 8mm, Double Super 8mm, Super 8mm), that lens does give good results and the images are sharp and useful....so I just left it the way it is. But I see the point, it would be nice to be able to attach various other lenses, bellows, telescopes or super telephoto lenses. I like the mechanical body without the need of battery power. However, for simplicity sake and to have other nice features (variable shutter and a variety of running speeds), it's just easier to buy a decent working BEAULIEU Super 8mm camera to have the lens interchangeability feature. Good luck on your projects!
That Schneider is the better lens over the Beaulieu lens which was made in Japan, but that lens is also sharp, just I prefer the Schneider, it's wider and a bit longer. I hope your camera will work fine and give you great results!
I'll just add a couple things, since the rest was well answered by experts already. TRI-X is a nice film stock. You can process it a few different ways: . Normal B&W Reversal . Sepia Tone Reversal, nice deep rich brown tones using KODAK Developer T-19 Sulfide Developer formula . High Contrast B&W Negative, which would be using the Reversal Process but only using the First Developer and Fixer, avoiding reversal. Or us any other high contrast B&W Developer for even higher contrast. . Nice continuous tone B&W Negative using a more conventional B&W Negative Developer such as KODAK D-76, finer grain with other types, tonal changes with other types, you'd have to do a serious read on various developers and/or some testing on your own. If using a Negative Film, use ISO 100 to 125 as a starting point for your Exposure Index. Film can also be pushed or pull processed as well, and since it's in Negative form, you could even use fancy pushing type developers such as Acufine. NOTE: All of the above processing methods also apply to any 'good' KODACHROME films (those that have been cold stored).
Hi, it's worth an experiment if you don't mind the severe film aging artifacts that might results [cloudiness due to age fogging in both reversal or negative processing, significantly lower contrast unless using a higher contrast developer for Negative processing, loss of filmspeed etc]. I process these films here all the time at Plattsburgh Photographic Services. Usually, they were exposed years ago, so the goal is to save anything on the film. If you want it reversal processed, it will work, just very poor quality (I've tested much older film), and as Negative, best to process it in a developer such as KODAK D-19 or similar. This will compensate for age fogging, loss of contrast, as the developer will kick it up to a more normal level. The film grain will be much higher than what you'd expect from KODACHROME. Sadly, had this film been cold stored, even in the fridge it would be pretty a pretty good B&W film, and stored frozen it would be excellent. But, these old films are fine for B&W results, and to experiment for a variety of things, such as testing time lapse, focus settings, and anything you'd like to goof around with rather than risk using fresh film and all the incurred costs. That's where cost will get you unless you process the film yourself, as usually, it's not cheap to get it processed from the main labs that still offer such services, and only as Negative: Pro8mm, Spectra Film & Video, Film Rescue, and Rocky Mountain Film Lab. An added note: I so often have to finish off partially used cartridges that get sent in prior to breaking them open to process the film. So I also get to see what the results are from the bits I film, both in Color Reversal on old EKTACHROME films, and in B&W Reversal or Negative for the old KODACHROME films. If processing the KMA 40 as Negative, you could increase exposure by up to 1-Stop....however...it's a risk, since the age fog will exist in the unexposed silver already, so you could end up with a dense negative image. Unless you had a small stash of these films of similar age and storage history, I recommend treating this as a one off film to just do some camera testing or filming anything for fun.
Cut-off point (the widest angle you can zoom the lens out to before vignetting) is typically around 20mm depending on what adapters you are using, or if using a lollipop type arrangement which holds the lens in front of the camera lens, and that is affixed to the camera's tripod socket. Since the SANKOR 16-F lens is a 2x anamorphic compression lens, if filming at 20mm focal length on your CANON 518 Super 8, the actual horizontal focal length equivalent will be half that, thus 10mm. Some anamorphic lenses extend upon focusing toward infinity increasing the usable focal length to avoid vignetting, others shorten. The SANKOR design is of the type that lengthens, but that's okay, with care you can still get great images. While it may seem crazy to put so much glass in the path of the imaging rays, it's also possible to add a wide angle lens to the front of the anamorphic to get a wider field of view. You really need to conduct some experiments for yourself to see what works best for you. Most available anamorphic lenses that were manufactured in the film era prior to digital were intended for projection; those are the most common to find. However, that doesn't mean they can't be used to film with. With care in focusing you can get great results that are sharp. I've used the SANKOR with a few fixed lens Super 8mm and Regular 8mm cameras and have gotten excellent results. With the fixed lens Super 8mm camera, that 15mm focal length is reduced to 7.5mm on the horizontal axis. I've also been able to use it on a CHINON Pocket 8 and some others which have fixed focal lengths in the 10mm to 12mm range, thus 5mm and 6mm on the horizontal wide axis respectively. Just exercise care in using an anamorphic lens and make sure the front oval of the lens is vertical, and in the viewfinder that vertical lines are not leaning left or right, indicative of the lens not being aligned. There are even anamorphic lens adapters available from a couple vendors on eBay from time to time at very reasonable prices. If using these type of lens to filter thread mounts, be mindful of all that weight on your prime/zoom lens unit. You might want to build your own wooden support from plywood to fit under the camera, and have a cradle for the lens (lined with soft felt). There are many options of course. For just some simple test you can even just hold the lens against your camera lens and see what works. I prefer to have an empty filter on the camera lens lined with some vinyl electrical tape to act as an small protection rather than flush against the camera lens where it could possible do some damage or scratching to the filter threads or trim plate etc. What's great is that this same lens then later becomes your projection lens, or to be placed in front of your pickup camera lens to de-squeeze the image, unless doing it digitally in post using software. Hope this helps.
Hi John, processing VNF (Video News Film aka 7240 etc) won't harm the E-6 chemical process, other than normal exhaustion rates for the amount of film surface. The film doesn't have a remjet backing; it's a dye structure anti-halation coating that dissolves out in the process. The structure of VNF is different from regular E-6 type films since it was intended for rapid processing in the VNF-1 process. You could approximate this via an adjustment of the Color Developer (10 to 20% over-concentration) but that wouldn't be practical for your other films then. Alternatively if you could raise the temperature of the Color Developer to about 114F it would get you closer to getting correct results. This would have to be a one off run of course. If the film is old and has not been stored frozen since new, it will have a serious Magenta cast anyhow, if the Process is E-6 alone it will have a serious Magenta cast, if the Color Developer is too dilute it will have a serious Magenta cast, if you leave the room for a moment or look away from the film it will have a serious Magenta cast (joking on that last one of course). So, if it's just old film, not stored frozen since new, exposed years ago or recently, then the color will be way off as will its maximum density, so you could just process it as normal E-6 albeit an off color and too light reversal image. If you wanted you could adjust the First Developer time by cutting it 1-Stop to compensate for age and thus have it not so washed out (light), but even that might not be enough due to the age, storage history, amount of heat it has been exposed to etc. If it was anything important, I would ask the customer if you could do a snip test and add short amount to a normal film run and make a processing determination afterwards. Have fun!
Hi Derrick. This is a common processing artifact due to the nature of the rewind process. Small amounts of chemistry get trapped in the perforation areas and while the film is wound upon itself, those tiny pockets have more chemistry in them than what rests in the emulsion itself, so they are more active. This extra energy creates a ghost image of the perforation which is visible after processing is complete. There isn't any way to avoid this other than using a full immersion type of processing method (rack & tray, spiral reel, drum in tank etc). It doesn't hurt anything and isn't visible in the image, unless you're shooting in Ultra 16mm where part of the image protrudes into the area between the perforations. If so, then you will need to use another processing method. Hope this helps.


Google has decided not to go for a gaming console and they have decided to launch an entire service that would be called Stadia. The game would be available for starting on a server and the video feed could be streamed to a desired device. It should be also added that no additional equipment nor hardware is needed for accessing it. However, not all devices would immediately support it.
Sundar Pichai, the CEO in Google, stated, upon opening GDC, that it would be the best thing since it would enable the availability of games on Google browser, Chromebook, Chromecast, Pixel device for two million people.
The main interface that would be used for the access to the service through the usage of laptops or desktops would be Google Chrome. Additionally, if already have PlayStation 4, Xbox One or Nintendo Switch controller you would be able to access this gaming service. It should be also added that Google would release a controller of its own.
We should also add that the newest and latest Chromecast machines would immediately support this, but it may be working just fine with the ones that can use Wi-Fi.
Regarding the availability on the mobile devices, it would be available to Pixel phones and tablets at the beginning. However, the service would be later on added to all Android devices so that it can be used everywhere.
it should be also mentioned that this service has not been mentioned in relation to iPhones and iPads and its availability there. The reason for this may be the Apple's ban of the selling of third-party content in their AppStore.
We need to say that Stadia is not ready and available at this moment. Its release is expected to take place during the second half of this year. Until then, a lot of questions will be asked and they would require appropriate answers by the company.


This document describes the implementation of a geometric algebra module in python that utilizes the sympy symbolic algebra library. The python module GA has been developed for coordinate free calculations using the operations (geometric, outer, and inner products etc.) of geometric algebra. The operations can be defined using a completely arbitrary metric defined by the inner products of a set of arbitrary vectors or the metric can be restricted to enforce orthogonality and signature constraints on the set of vectors. In addition the module includes the geometric, outer (curl) and inner (div) derivatives and the ability to define a curvilinear coordinate system. The module requires the numpy and the sympy modules.
By induction these also apply to any multivectors.
Several software packages for numerical geometric algebra calculations are available from Doran-Lazenby group and the Dorst group. Symbolic packages for Clifford algebra using orthongonal bases such as , where is a numeric array are available in Maple and Mathematica. The symbolic algebra module, GA, developed for python does not depend on an orthogonal basis representation, but rather is generated from a set of arbitrary symbolic vectors, and a symbolic metric tensor .
In order not to reinvent the wheel all scalar symbolic algebra is handled by the python module sympy.
The basic geometic algebra operations will be implemented in python by defining a multivector class, MV, and overloading the python operators in Table 1 where A and B are any two multivectors (In the case of +, -, *, ^, |, <<, and >> the operation is also defined if A or B is a sympy symbol or a sympy real number).
The option to use < or << for left contraction and > or >> is given since the < and > operators do not have r-forms (there are no __rlt__() and __rlt__() functions to overload) while << and >> do have r-forms so that x << A and x >> A are allowed where x is a scalar (symbol or integer) and A is a multivector. With < and > we can only have mixed modes (scalars and multivectors) if the multivector is the first operand.
Except for < and > all the multivector operators have r-forms so that as long as one of the operands, left or right, is a multivector the other can be a multivector or a scalar (sympy symbol or integer).
Note that the operator order precedence is determined by python and is not neccessarily that used by geometric algebra. It is absolutely essential to use parenthesis in multivector expressions containing ^, |, <, >, << and/or >>. As an example let A and B be any two multivectors. Then A + A*B = A +(A*B), but A+A^B = (2*A)^B since in python the ^ operator has a lower precedence than the '+' operator. In geometric algebra the outer and inner products and the left and right contractions have a higher precedence than the geometric product and the geometric product has a higher precedence than addition and subtraction. In python the ^, |, <, >, << and >> all have a lower precedence than + and - while * has a higher precedence than + and -.
where each of the is a symbol representing all of the dot products of the basis vectors. Note that the symbols are named so that since for the symbol function .
Note that the strings shown in equation 1 are only used when the values of are output (printed). In the GA module (library) the symbols are stored in a static member list of the multivector class MV as the double list MV.metric ( = MV.metric[i][j]).
Here we have specified that and are orthonal to all the 's, , and . Using in the metric definition string just tells the program to use the default symbol for that value.
When MV.setup is called multivector representations of the basis local to the program are instantiated. For our first example that means that the symbolic vectors named a0, a1, and a2 are created and made available to the programmer for future calculations.
More generally, if metric is not a string, but a list of lists or a two dimension numpy array, it is assumed that each element of metric is symbolic variable so that the could be defined as symbolic functions as well as variables. For example instead of letting we could have where we use a symbolic function.
The empty list, , represents the scalar 1.
Table 2. Multivector basis labels and internal basis representation.
Since there are bases and the number of bases with equal list lengths is the same as for the grade decomposition of a dimension geometric algebra we will call the collections of bases of equal length psuedogrades.
contraction: Consider a basis list with element where . Then the product of the and terms result in a scalar and is replaced by the new list representation which is of psuedo grade and is replaced by the symbol .
revision: Consider a basis list with element where . Then the and elements must be reversed to be put in normal order, but we have (From the geometric algebra definition of the dot product of two vectors). Thus we append the list representing the reduced element, , to the pseudo bases list, , and append to the coefficients list, then we replace with and with . Both lists are increased by one element if .
The array is stuffed with sympy numeric objects instead of python integers so that we can perform symbolically manipulate sympy expressions that consist of scalar algebraic symbols and exact rational numbers which sympy can also represent.
The numpy.array is used because operations of addition, substraction, and multiplication by an object are defined for the array if they are defined for the objects making up the array, which they are by sympy. We call this representation a base type because the r index is not a grade index since the bases we are using are not blades. In a blade representation the structure would be identical, but the bases would be replaced by blades and self.mv[r] would represent the r grade components of the multivector. The first use of the base representation is to store the results of the multiplication tabel for the bases in the class variable MV.mtabel. This variable is a group of nested lists so that the geometric product of the igrade and ibase with the jgrade and jbase is MV.mtabel[igrade][ibase][jgrade][jbase]. We can then use this table to calculate the geometric product of any two multivectors.
where is a multivector of grade and is a vector. For our example basis the result is shown in Table 3.
Table 3. Bases blades in terms of bases.
The important thing to notice about Table 3 is that it is a triagonal (lower triangular) system of equations so that using a simple back substitution algorithym we can solve for the psuedo bases in terms of the blades giving Table 4.
Table 4. Bases in terms of basis blades.
Using Table 4 and simple substitution we can convert from a base multivector representation to a blade representation. Likewise, using Table 3 we can convert from blades to bases.
Using the blade representation it becomes simple to program functions that will calculate the grade projection, reverse, even, and odd multivector functions.
Note that in the multivector class MV there is a class variable for each instantiation, self.bladeflg, that is set to zero for a base representation and 1 for a blade representation. One needs to keep track of which representation is in use since various multivector operations require conversion from one representation to the other.
When the geometric product of two multivectors is calculated the module looks to see if either multivector is in blade representation. If either is the result of the geometric product is converted to a blade representation. One result of this is that if either of the multivectors is a simple vector (which is automatically a blade) the result will be in a blade representation. If a and b are vectors then the result a*b will be (a.b)+a^b or simply a^b if (a.b) = 0.
Convert mv1 and mv2 to blade representation if they are not already in that form.
Project and loop through each grade mv1.mv[i1] and mv2.mv[i2].
Calculate the geometric product pg1*pg2.
Project the i1+i2 grade from pg1*pg2.
Accumulate the results for each pair of grades in the input multivectors.
In the MV class we have overloaded the ^ operator to represent the outer product so that instead of calling the outer product function we can write mv1^ mv2. Due to the precedence rules for python it is absolutely essential to enclose outer products in parenthesis.
The inner product is calculated the same way as the outer product except that in step 4, i1+i2 is replaced by abs(i1-i2) or i1-i2 for the right contraction or i2-i1 for the left contraction. If i1-i2 is less than zero there is no contribution to the right contraction. If i2-i1 is less than zero there is no contribution to the left contraction.
In the MV class we have overloaded the | operator for the inner product, > operator for the right contraction, and < operator for the left contraction. Instead of calling the inner product function we can write mv1|mv2, mv1>mv2, or mv1<mv2 respectively for the inner product, right contraction, or left contraction. Again, due to the precedence rules for python it is absolutely essential to enclose inner products and/or contractions in parenthesis.
which is proved by expanding the blade bases in terms of orthogonal vectors and showing that equation 2 holds for the geometric product of orthogonal vectors.
The reverse is important in the theory of rotations in -dimensions. If is the product of an even number of vectors and then is a composition of rotations of the vector . If is the product of two vectors then the plane that defines is the plane of the rotation. That is to say that rotates the component of that is projected into the plane defined by and where . may be written , where is the angle of rotation and is a unit blade that defines the plane of rotation.
where indicates that is to be deleted from the product. In the standard notation if a vector is denoted with a subscript the reciprocal vector is denoted with a superscript. The multivector setup function MV.setup(basis,metric,rframe) has the argument rframe with a default value of False. If it is set to True the reciprocal frame of the basis vectors is calculated. Additionaly there is the function reciprocal_frame(vlst,names='') external to the MV class that will calculate the reciprocal frame of a list, vlst, of vectors. If the argument names is set to a space delimited string of names for the vectors the reciprocal vectors will be given these names.
For a general multivector function the inner and outer derivatives are just the sum of the inner and outer dervatives of each grade of the multivector function.
A coordinate frame is derived from by . The following show the frame for spherical coordinates.
The basis and metric parameters were described in section Vector Basis and Metric. If rframe=True the reciprocal frame of the symbolic bases vectors is calculated. If debug=True the data structure required to initialize the MV class are printer out. coords is a list of sympy symbols equal in length to the number of basis vectors. These symbols are used as the arguments of a multivector field as a function of position and for calculating the derivatives of a multivector field (if coords is defined then rframe is automatically set equal to True). offset is an integer that is added to the multivector coefficient index. For example if one wishes to start labeling vector coefficient indexes at one instead of zero then set offset=1. Additionally, MV.setup() calculates the pseudo scalar, and its inverse, and makes them available to the programmer as MV.I and MV.Iinv.
To date MV.rebase works for cylindrical and spherical coordinate systems in any number of dimensions (until the execution time becomes too long). To make it work for these systems required creating some hacks for expression simplification since both trigsimp and simplify were not general enough to perform the required simplification.
If str_mode=0 the string representation of the multivector contains no newline characters (prints on one line). If str_mode=1 the string representation of the multivector places a newline after each grade of the multivector (prints one grade per line). If str_mode=2 the string representation of the multivector places a newline after each base of the multivector (prints one base per line). In both cases bases with zero coefficients are not printed.
This function directly affects the way multivectors are printed with the print command since it interacts with the __str__() function for the multivector class which is used by the print command.
Now that grades and bases have been described we can show all the ways that a multivector can be instantiated. As an example assume that the multivector space is initialized with MV.setup('e1 e2 e3'). Then the vectors e1, e2, and e3 are made available (broadcast) for use in the program .
This is only true if the statement set_main(sys.modules[__name__]) appears immediately after the from sympy.galgebra.GA import * statement.
If the value argument has the option of being a string s then a general symbolic multivector will be constructed constrained by the value of mvtype. The string s will be the base name of the multivector symbolic coefficients. If coords is not defined in MV.setup() the indices of the multivector bases are appended to the base name with a double underscore (superscript notation). If coords is defined the coordinate names will replace the indices in the coefficient names. For example if the base string is A and the coordinates (x,y,z) then the coefficients of a spinor in 3d space would be A, A__xy, A__xz, and A__yz. If the latex_ex is used to print the multivector the coefficients would print as , , , and .
If the fct argrument of MV() is set to True and the coords argument in MV.setup() is defined the symbolic coefficients of the multivector are functions of the coordinates.
__call__ returns the the igrade, ibase coefficient of the multivector. The defaults return the scalar component of the multivector.
Convert multivector from the base representation to the blade representation. If multivector is already in blade representation nothing is done.
Convert multivector from the blade representation to the base representation. If multivector is already in base representation nothing is done.
If r is a integer return the grade- components of the multivector. If r is a multivector return the grades of the multivector that correspond to the non-zero grades of r. For example if one is projecting a general multivector and r is a spinor, A.project(r) will return only the even grades of the multivector A since a spinor only has even grades that are non-zero.
Return the even grade components of the multivector.
Return the odd grade components of the multivector.
Return the reverse of the multivector. See section Reverse of Multivector.
Return true if multivector is pure grade (all grades but one are zero).
Return the partial derivative of the multivector function with respect to variable .
Return the geometric derivative of the multivector function.
Return the outer (curl) derivative of the multivector function. Equivalent to curl().
Return the inner (div) derivative of the multivector function. Equivalent to div().
If A is a vector field in three dimensions = A.grad_int() = A.div(), but = -MV.I*A.grad_ext() = -MV.I*A.curl(). Note that grad_int() lowers the grade of all blades by one grade and grad_ext() raises the grade of all blades by one.
Set the multivector coefficient of index (grade,base) to value.
All the following fuctions belong to the MV class and apply the corresponding sympy function to each component of a multivector. All these functions perform the operations inplace (None is returned) on each coefficient. For example if you wished to simplify all the components of the multivector A you would invoke A.simplify(). The argument list for each function is the same as for the corresponding sympy function. The only function that differs in its action from the sympy version is trigsimp() in its case the function TrigSimp is applied (see documentation on TrigSimp()).
These are functions in GA, but not in the multivector (MV) class.
set_main() passes the argument main_program from the main program to the GA module. The argument must be sys.modules[__name__] and the call should be placed immediately after sys and GA are imported. The purpose of this call is to allow GA to broadcast to the main program sympy variables and multivectors created by calls to GA. It is used by MV.setup() and make_symbols().
Not only will syms contain the symbols, but you can also directly use x, y, and ab as symbols in your program.
You can only directly use x, y, and ab as symbols in your program if the statement set_main(sys.modules[__name__]) appears immediately after the from sympy.galgebra.GA import * statement.
set_names() allows one to name a list, var_lst, of multivectors enmass. The names are in var_str, a blank separated string of names. An error is generated if the number of name is not equal to the length of var_lst.
reciprocal_frame() implements the proceedure described in section Reciprocal Frames. vlst is a list of independent vectors that you wish the reciprocal frame calculated for. names is a blank separated string of names for the reciprocal vectors if names are required by you application. The function returns a list containing the reciprocal vectors.
In general sympy.trigsimp() will not catch all the trigonometric simplifications in an sympy expression. Neither will TrigSimp(), but it will catch a lot more of them. TrigSimp() is so simple it is show below in its entirety. All it does is apply sympy.trigsimp() to the expressions generated by sympy.cse().
S() instanciates a scaler multivector of value x, where x can be a sympy variable or integer. This is just a shorthand method for constructing scalar multivectors and can be used when there is any ambiguity in a multivector expression as to whether a symbol or constant should be treated as a scalar multivector or not.
The following examples of geometric algebra (not calculus) are all in the file testsymbolicGA.py which is included in the sympy distribution examples under the galbebra directory. The section of code in the program for each example is show with the respective output following the code section.
This is the header of testsymbolicGA.py that allows access to the required modules and also allow variables and certain multivectors to be broadcast from the GA module to the main program.
Example of basic geometric algebra operation of geometric, outer, and inner products.
Examples of comformal geometry [Lasenby,Chapter 10]. The examples show that basic geometric entities (lines, circles, planes, and spheres) in three dimensions can be represented by blades in a five dimensional (conformal) space.
A = F(a) = 1/2*(a*a*n+2*a-nbar), etc.
Example shows the calculation of the reciprocal frame for three arbitrary vectors and verifies that the calculated reciprocal vectors have the correct properties.
Example: Reciprocal Frames e1, e2, and e3 unit vectors.
Examples of calculation of distance in hyperbolic geometry [Lasenby,pp373-375]. This is a good example of the utility of not restricting the basis vector to be orthogonal. Note that most of the calculation is simplifying a scalar expression.
The calculus examples all use the extened LaTeXoutput module, latex_ex, for clarity.
In geometric calculus the equivalent of the electromagnetic tensor is where a spacetime vector is given by where , the pseudoscalar , and are four vectors where the time component is zero and the spatial components equal to the electric and magnetic field components. Then Maxwell's equations can be all written as with the four current. This example shows that this equations generates all of Maxwell's equations correctly (in our units:math: ) [Lasenby,pp229-231].
The geometric algebra/calculus allows one to formulate the Dirac equation in real terms (no ). Spinors are even multivectors in space time (Minkowski space with signature (1,-1,-1,-1)) and the Dirac equation becomes . All the terms in the real equation are explined in Doran and Lasenby [Lasenby,pp281-283].
Curvilinear coodinates are implemented as shown in section Geometric Derivative. The gradient of a scalar function and the divergence and curl of a vector function ( is the curl in three dimensions in the notation of geometric algebra) to demonstrate the formulas derived in section Geometric Derivative.
Clifford Algebra to Geometric Calculus by D.Hestenes and G. Sobczyk, Kluwer Academic Publishers, 1984.
Geometric Algebra for Physicists by C. Doran and A. Lasenby, Cambridge University Press, 2003.


Dennis J. Bischof began his legal career in Washington, D.C. with the U.S. Navy, attaining the rank of Lieutenant Commander in the Judge Advocate General's Corps. He's been a solo practitioner since 2005.
Over the course of his career Mr. Bischof has tried a significant number of cases to jury verdict. He is a trial attorney, primarily. He has appeared in New York State Supreme Court, the New York Court of Claims, and U.S. Federal District Court. He has handled a number of appeals at the Appellate Division, Fourth Department together with appeals to New York State's highest appellate court, the New York Court of Appeals.
Mr. Bischof is active in his state and local bar associations. He is currently the Chairman of the Negligence Committee for the Bar Association of Erie County. He also serves on the Law Practice Management Committee for the New York State Bar Association. Mr. Bischof was appointed to the Supreme Court (Civil) Advisory Committee on E-Filing which advises New York's Chief Administrative Judge on E-Filing in civil courts of superior jurisdiction.
A musician, Mr. Bischof is a committee member, contributing musician, and contributing artist with Lawyers for the Arts. Lawyers for the Arts gathers an all lawyer cast of musicians and artists to raise funds for local arts groups. Lawyers for the Arts raised more than $34,000 in grants in 2016 to be awarded through Give for Greatness. The event was held at the Tralf Music Hall in Buffalo, New York.
Mr. Bischof created, organizes, and participates as team captain in a semi-annual exhibition ice hockey game "Sabres v. Esquires" - a team of attorneys from the Bar Association of Erie County who competed against a team consisting of Buffalo Sabres Alumni. The charity event raises money for the Erie County Bar Foundation and the Buffalo Sabres Alumni Association. The Sabres Alumni remain undefeated.
Elected to the Board of Directors for the Bar Association of Erie County in June 2007, Mr. Bischof served as Treasurer 2008-2009 and as Deputy Treasurer 2007-2008. Mr. Bischof is a member of the Bar Association of Erie County's Negligence Committee, Solo and Small Firm Practice Committee, and the Committee for Veterans' and Service Members' Legal Issues.
Mr. Bischof received a Special Service Award from the Bar Association of Erie County in 2006. The Special Service Award was given in recognition of Mr. Bischof's dedicated efforts in creating and chairing the Bar Association's annual admissions program to the United States Supreme Court. April 2016 marks his 23rd year of helping attorneys become admitted to the U.S. Supreme Court Bar. The Bar Association of Erie County presents special service awards to persons who have contributed to the welfare of the Bar Association and its members in an exceptional manner.
Mr. Bischof was elected President of the Buffalo Chapter for the American Board of Trial Advocates, having served as Chapter President for 2009 and 2010. Mr. Bischof previously served a one year term as Chapter Vice President in 2008. The American Board of Trial Advocates is a national association of experienced trial lawyers and judges dedicated to the preservation and promotion of the civil jury trial right provided by the Seventh Amendment to the U.S. Constitution and Article I Section 2 of the New York State Constitution.
He was Board President for Tonawanda's Council on the Arts for the Carnegie Art Center from August 2000 through August 2006. He actively participates in the University at Buffalo Law School's mentoring program for first year law students. An Eagle Scout, Dennis J. Bischof was also a member of the Eagle Scout Recognition Day Executive Committee for the Boy Scouts of America.
A 1986 graduate of Canisius College, Mr. Bischof received his Juris Doctor from Syracuse University College of Law in 1989, where he was Associate Editor of the Syracuse Law Review. Dennis J. Bischof is licensed to practice in all courts in New York State. He is also licensed to practice law in the State of Massachusetts and the District of Columbia. Mr. Bischof is admitted to practice before the United States Supreme Court, U.S. Court of Appeals, Second Circuit, and the Western and Northern Districts of the U.S. Federal Court.


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The Subtle Art of the Sidekick…
December 23, 2019 Uncategorized Comments Off on The Subtle Art of the Sidekick…
Let's talk a little bit about sidekicks in video games.
Up until now I've been doing a lot of talking over the similarities between science fiction in games and literature and film. But on the point of sidekicks there is a yawning gap, and it is one of the few places where the requirements of the medium is the key driver.
In literature, we develop a connection to the hero through their interactions with other people. How they behave with both "good" people and "bad" people tells us who they are and why we should be rooting for them. The sidekick often serves as a key element of this. The sidekick is often the one person who sees the "real" hero. They be the vehicle by which new and unfamiliar elements of the world get explained to the player/reader. They are the place in the story where theories can be surfaced and narrative plot points exposed. They help contain exposition and ensure that the player/reader knows exactly what they need to, when they need to.
The more far-future and fantastic the world becomes, the more essential this kind of character is. They serve multiple roles, all of which help to drive player/reader engagement.
Video games have a long history of "waste not, want not". Every asset is created by a team of people, and as such holds a lot of value. If a pixel is on your screen, then it has a purpose. There's a reason for it to be there. This goes doubly so for a character. In games, the sidekick usually serves a number of functions. They are there to impart world information that the player might not know, they can carry your swag, they can fight alongside you, they can provide clues and useful information and can keep you following the right path towards the final Boss.
But, in games, the sidekick is not really the medium via which the player/reader gets attached to the hero. In games, the player *is* the hero. Players map themselves, unconsciously or consciously, onto the main character of a game. We don't have to establish a connection because we *are* the connection. Whether the games point of view is first or third person, whether it's a strategy game or a puzzle game or a simulation, WE, the person/s playing the game, is always the hero.
So the value of the sidekick in terms of the narrative changes. And, to be honest, it gets a little weird sometimes.
Humans attach themselves to things. Pets, cars, plots of land, other humans. It's is one of our defining characteristics; that we seek a connection and almost any interaction is improved by the existence of said connection. This includes the arguably solitary experience of playing a videogame. Players in games get unreasonably attached to their sidekicks. Whereas, in literature, the reader is expected to empathise with the main character when their sidekick gets kidnapped, or broken, or killed, that relationship is still one step removed. In games, that relationship is *personal*. The player is not observing from even the comfortable distance of the written word. This is fan-fiction levels of personal.
As an example, the Weighted Companion Cube in the game Portal starts out as a bit of an inconvenience. You need to carry it around and use it to hold doors open, solve puzzles and an array of small tasks. All the while, the research AI keeps talking to you as if the companion cube is an actual living, feeling companion. You are warned that it will never abandon you, that ideally it will never stab you or cause you bodily harm in any way.
There is never any indication that the cube is anything other than an extra-fancy box with hearts painted on it. Players drag it around, use it to advance through the level, giggle at the research AI trying to convince you that the cube is alive and has feelings.
And then the player must destroy the cube in order to advance to the next level.
This moment in the history of game-playing has become near-legendary. This is the moment that the Weighted Companion Cube goes from being an inanimate object, to something that players are willing to fight and die for. Thousands of hours have been spent trying to find a way through this level *without* the need to sacrifice the Companion Cube.
This inanimate cube has spawned poetry, fan-art, postcards, mini-films and even wholly cube-centric game experiences, and this "sidekick" is by no means alone.
In linear narratives (film and literature, primarily) once the sidekick has served their primary purpose, once they have brought the reader into the world, shown them how to love the hero and read them in on everything they need to know, they become a primary plot-driver as often as not. They get killed or kidnapped, held hostage to ensure the hero's compliance (which never works), sometimes they turn evil.
But in video games it's almost an unwritten rule that the sidekick cannot be used as a direct plot driver. Which seems a little odd, given the strong responses shown above to Lydia and the Companion Cube. They can retire, they can get married or simply quietly vanish, written out of the story or converted to an average NPC after the last training quest, but the minute you try to take overt *advantage* of a player's ability to get attached to the sidekick, something strange happens.
The player stops caring.
And this happens for a very simple reason.
The goal of a game is to play the game. This high-level understanding is present all the time in most players (there are, of course, always exceptions). The moment you impinge on this suspension of disbelief, the moment you try to coerce a player into an action through emotional means, the game ceases to be player versus game. The game becomes "player versus game designer". Players stop playing the game as it is laid out before them, and they start playing the higher-order "meta" game.
Meta gameplay is different from immersive gameplay. In immersive gameplay, the player is functioning as a part of the in-game world. They are in tune with the game's mechanics, with the quirky physics, the occasional visual glitches. They are *forgiving* because all of these things are part of that world, flawed though it may be. The rules of that world are established and they will accept that cats can be blue and if you just hit the controller buttons fast enough you can fly. The same way the reader of a novel will accept that FTL (Faster than Light) travel is the kind of thing a two-seater life-pod can easily handle.
But once a player starts playing the meta-game, they cease to be immersed. Once the emotional blackmail kicks in, they will take a step back and evaluate everything more rationally. They will break their emotional connection to the sidekick because suddenly that sidekick has become an object. They have become a piece of the game mechanics and as such the player knows they are now disposable in the service of the game's designer. And in order to complete the game, the player will need to be ready to sacrifice that sidekick.
It is a key point of difference between the use of the sidekick in games and the use of the sidekick in more linear storytelling, like games and film. And at the end of it all, the reader can breathe a sigh of relief that Han and Chewbacca are back together again, but the game-player must mourn the loss of the Weighted Companion Cube, even if they've found a way to beat the level so they survive.
The acronyms are coming…
March 17, 2010 Videogames Comments Off on The acronyms are coming…
So DRM is the new "hate" oriented buzzword in games (Digital Rights Management) but it's not just *our* problem, it covers ebooks, music, pretty much anything in a downloadable format. It's a sticky wicket because it gets into actual ownership issues, ie, without an actual *physical* object in hand (and even if you *do* have a physical object in come cases) can that content be taken away at the whim of the publisher?
In recent news, Valve has announced the upcoming release of "Portal 2" the sequel to one of the more popular first-person games out there. In preparation, they have gone back and modified the original game so include content that will more cleanly lead into the second, included cookies, etc. They have even gone so far as to modify the ending of the original to give us a clean transition into the sequel.
Yep. They changed the ending.
And in addition to this, the changes seem to have been made automatically, in order to play the game, you need to be connected to Valve's "Steam" server and distribution system and the game was modified *there*. Which means that unless you purchased the "Orange Box" DVD originally, you don't have a copy of the original any longer, they've gone ahead and made the changes for you. As far as I know (and if anyone else knows, please post a comment so *I* know too) Portal requires a link to Steam to be played. So even if you install a fresh, clean copy, you're still going to get it patched behind your back.
The real problem here is one of control. Who "owns" the game, and, by extension, who has the rights to modification. One of the bigget things I keep hearing is not about the changes, or the potential changes, but rather whether or not those changes are optional and/or reversible. The IP universe these days is riddled with "alt-universes" and spinoffs and whatifs. There ought to be room for two StarWars films, one where Han shoots first and one where Greedo shoots first. Some people prefer the original Portal, but others, particularly those who are new players, may not care so much (just like the majority of the 10 year olds who started in the StarWars universe with the "prequels" don't really get why the originals are "better").
I think there would be much less hullabaloo if we had a choice, but *that* is what is slowly being taken away. I think if, when you opened up Portal it asked you if you wanted to play through "classic" or "improved" mode, you'd have a whole bunch of happy fans, delighted to pay for additional content (and to stay more loyal to the brand) because you are not fu**ing with the emotional investment they have made in these worlds. When you change up something that a player (or a moviegoer) has invested hours of time in and has made an emotional connection with, you're going to piss them off, there is going to be an element of emotional betrayal (even if they are interested in seeing the new stuff).
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in: Male centenarians, Cameroonian centenarians, 1901? births,
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Changes: David Ankoh
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(Source added)
{{Infobox centenarian
'''David Ankoh '''(1901? - fl. 9 August 2010) was a centenarian from Cameroon.
|David Ankoh
|image =
|caption =
|sex = Male
|status = deceased-centenarian
|nationality = Cameroonian
|birthyr = 1901? |birthplace = Cameroon
|deathyr = |deathplace = Boumba-Bek National Park, Cameroon
|sort = Ankoh, David
'''David Ankoh''' (1901? – fl. 9 August 2010) was a [[centenarian]] from Cameroon.
==Biography==
David Ankoh was born in Cameroon in 1901. He was last reported to be alive on 9 August 2010 at the age of 109 years when he lived in in a village at the periphery of the Boumba-Bek National Park, sub Saharan country of Cameroon<ref>[https://www.worldwildlife.org/stories/centenarian-supporter-of-wwf-attests-to-disappearance-of-wildlife Centenarian supporter of WWF attests to disappearance of wildlife]</ref><ref>[https://web.archive.org/web/20161010125423/http://ecolutionist.com/wildlife-loss-confirmed-by-cameroon-centenarian/ Wildlife Loss Confirmed by Cameroon Centenarian]</ref>. If his age is true, he could be oldest known man from Cameroon.
David Ankoh was born in Cameroon in 1901. He was last reported to be alive on 9 August 2010 at the age of 109 years when he lived in in a village at the periphery of the Boumba-Bek National Park, sub Saharan country of Cameroon.<ref>[https://www.worldwildlife.org/stories/centenarian-supporter-of-wwf-attests-to-disappearance-of-wildlife Centenarian supporter of WWF attests to disappearance of wildlife]</ref><ref>[https://web.archive.org/web/20161010125423/http://ecolutionist.com/wildlife-loss-confirmed-by-cameroon-centenarian/ Wildlife Loss Confirmed by Cameroon Centenarian]</ref> If his age is true, he could be oldest known man from Cameroon.
[[Category:Semi-supercentenarians]]
[[Category:Articles without pictures]]
[[Category:Article stubs]]
[[Category:Date of death missing]]
[[Category:Articles in need of an infobox]]
David Ankoh
Birth: 1901?
Death: fl. 9 August 2010
Boumba-Bek National Park, Cameroon
Age: 109+ years?
Country: CMR
Centenarian
David Ankoh (1901? – fl. 9 August 2010) was a centenarian from Cameroon.
David Ankoh was born in Cameroon in 1901. He was last reported to be alive on 9 August 2010 at the age of 109 years when he lived in in a village at the periphery of the Boumba-Bek National Park, sub Saharan country of Cameroon.[1][2] If his age is true, he could be oldest known man from Cameroon.
This article is a stub. You can help Gerontology Wiki by expanding it.
↑ Centenarian supporter of WWF attests to disappearance of wildlife
↑ Wildlife Loss Confirmed by Cameroon Centenarian
Male centenarians
Cameroonian centenarians
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Best Lenses for Canon Rebel T5i, SL1, T4i, T3i DSLR camera. Looking for recommended lenses for your Canon EOS Rebel camera? Here are the top rated Canon Rebel camera lenses.
The Canon EOS Rebel T5i and the Canon EOS Rebel SL1 are the two different models from the gigantic company Canon. Both of these cameras share similar specifications with minor differences. Both have an 18 megapixels APS-CMOS sensor with a native ISO range of 100 – 12,800.
Since both of these cameras are similar, the external lenses which could be attached to them are also similar. Following is the list.
The Sigma 18-300mm f/3.5-6.3 DC MACRO OS HSM has the most suitable all-in-one zoom for APS-C cameras (which have an extremely versatile focal length equivalent of 28.8-480mm), as it has a 16.6x zoom ratio, it can cover all focal lengths from wide to telephoto. This lens delivers a very sharp autofocus which is surprisingly quick, quiet, and accurate. The Sigma 18-300mm f/3.5-6.3 costs only $499(cheaper than other options) so, it is an excellent all-in-one lens option.
The Canon EF-S 15-85mm f/3.5-5.6 IS USM is an ideal lens for travel and everyday photography. This walk around lens has a focal length range equivalent to 24-136mm in 35mm format, image stabilization, and high-precision optics; as a result, this lens offers stellar performance throughout wide-angle to telephoto range.
The Canon EF 40mm f/2.8 STM Lens got an 84% overall score and a gold award from the experts at DP Review. Having a featherweight of 4.6 oz, this is one of the lightest lenses in the EF family. It can produce exceptional images with almost no distortion and its STM functionality provides quiet, smooth and continuous autofocus during video shooting. If you like wide-angle the Canon 40mm produces precise images of the highest quality.
This expensive lens is a professional portrait Lens with a large 1.4 aperture and produces super sharp images. The Sigma 50mm f/1.4 prime lens is a pro-level performer for shooting everything including portrait photography, landscape photography, studio photography and street photography. It is a full frame lens having a 50mm focal length and it can be used on Canon APS-C cameras which have 80mm equivalent focal length.
This highly recommended Sigma 18-35mm f/1.8 DC HSM Art lens got a 86% overall score and Gold Award from the experts at DP Review. The Sigma 18-35mm f/1.8 DC HSM Art is the first wide-angle to a standard zoom lens which can achieve a large aperture of 1.8, which is ideal for landscapes, portraits, still, life photography, snapshots, casual photography, and close-ups. While it's Hyper Sonic Motor (HSM) ensures smooth, fast and accurate auto focusing. The Sigma 18-35mm 1.8 DC HSM is a new benchmark in photographic history and a must have for every camera bag.
The Sigma 20mm f/1.4 DG HSM Art is a pro-level lens. This lens delivers suitable brightness and a compensating bokeh and is an ideal high-speed lens for snapshots. The combination of advanced optics and optimized lens power distribution; minimizes spherical aberration, axial chromatic aberration, and field curvature, producing an outstanding image quality. It has a class-leading performance, this lens is ideal for landscape photography, astrophotography, lowlight or indoor photography, event photography and even video shooting. All in all, this lens is worth the high cost.
The Canon EF-S 10-22mm f/3.5-4.5 USM has an excellent optical quality, superior AF performance, and speed. This lens can amazingly capture sharp wide angle photos as it has a focus equivalent to a 16-35mm zoom; it offers excellent performance and has optics designed from the ground-up for digital SLR use. In addition, it can focus up to 9.5 inches which makes this lens an appealing lens option.
This lens is for photographers and videographers who are looking to add versatility and range to their lens collection, the new EF-S 55–250mm f/4–5.6 IS STM telephoto zoom lens is the one to choose as it has a great telephoto zoom for video shooting. This lens is Compact and lightweight with an Optical Image Stabilizer for up to 3.5 equivalent stops of shake correction; it extends the camera's reach significantly as it is best utilized when you're capturing sharp images of faraway objects, even when handheld.
Spanning a versatile, long-reaching range, this Tamron SP 150-600mm G2 lens builds upon the success of the current SP 150-600mm (Model A011)while also including better overall optical performance, faster AF speed, VC enhancements, Euori1e Coal, FLEX ZOOM LOCK and a teleconverter. This new zoom lens combines smart engineering and high performance with quality craftsmanship, durability and user-friendliness. It is designed for full-frame cameras, and can also be used with APS-C models where it will provide a 240-960mm equivalent focal length range. So, this lens is definitely worth the high cost.


As this year comes to a close I'd like to thank all of my clients who have helped make it a very prosperous one! Shotgun Blast Comics, David Gaona and G Films, Primeway Credit Union, Iguana Entertainment, Jerry Carrillo at JerryVision Productions, plus a handful of other clients. You guys are the bomb. Not sure who's gonna see this but I thought I'd let everyone know.
I haven't posted much lately, partially because of confidentiality of certain projects, but also I just got a brand new PS3 and I've been sittin' my way to a new groove on the couch. That being said, this is my last post for this year. With a slew of new projects in the works, 2014 will once again be a prosperous year, even better than this one. New comics at Shotgun, as well as Screw Comics #3, plus my return to comic conventions, so much more. I have been grinding away in my sketchbook. Of the show-worthy pieces here's a couple to ogle until next year.
And so, everyone, have a happy holdaze, a blasted new year and I'll see ya'll in the funny pages.