Combined chemoradiotherapy (CRT) is the treatment of choice for stage III NSCLC. Gemcitabine (G) is a novel deoxycitidine analogue that has been proven to be a potent radiosensitizer. Twenty-two consecutive patients were treated with concurrent CRT to demonstrate the tolerability and efficacy of low dose G given weekly as radiosensitizer in stage III NSCLC.
Patients with KPS ≥70, adequate bone marrow reserve, with no prior radiotherapy (RT) and surgery were included. Eighteen patients had received prior induction chemotherapy (CT). G (75 mg/m2/week) was infused over 1 hour for 6 weeks. Thoracic RT was given two hours later over 6 weeks at 1.8 Gy/day fractions (total dose of 61.2 Gy). Pulmonary toxicity was evaluated with computed tomography scans in 6 weeks.
Median age was 60 years (range, 48–75), median follow-up was 15 months (range, 2–40). Sixty-eight percent of patients were male and median KPS score was 90. Conformal 3D-RT planning was used in 64% of patients. G was given for a median of 5 weeks (range 1–9). Twelve patients (54.6%) received all planned CT. G was stopped because of intolerance in 6 and death in 2 patients. Seven patients (31.8%) had radiation pneumonitis. Twenty patients were evaluated for overall response, 1 patient (4.5%) had clinical CR, 81.8% had PR while 9.5% had SD. Median overall survival (OS) was 14 ± 5 months (95% CI 3–25). One- and 2-year OS rates were 55% and 38%. Sixteen patients died of disease-related events (6 with progression of primary tumor, 8 due to metastatic disease), 2 patients died of other causes. One- and 2-year progression-free survival and local control rates were 56%, 27% and 79%, 51%, respectively.
G might be used as radiosensitizer for patients with stage III NSCLC who could not receive full doses CT with concurrent RT.
Lung cancer is the leading cause of cancer related deaths all around the world. About 80% of all lung cancer patients are non-small cell lung cancer (NSCLC) and 20–30% of these patients present with locally advanced disease. Although 1-year survival rate of patients with local disease is more than 70%, this rate is about 40% for patients with stage III disease . Chemoradiotherapy (CRT) is considered the gold standard treatment of these patients after significant survival advantage and increase in local control had been shown by 3 meta-analyses [2–4]. Sequential versus concurrent CRT has been further investigated and concurrent CRT has been found to be superior [5–7]. Despite advances in treatment modalities overall 5-year survival rate for locally advanced NSCLC remains less than 15% .
Gemcitabine (G) is a deoxycytidine analogue that demonstrated activity in NSCLC as single agent and in combination also has been proven to be a potent radiosensitizer. Mechanism of radiosensitizing activity of G is not well understood. Possible mechanisms that have been shown in preclinical studies are reduction of apoptotic threshold for radiation due to intracellular dATP pool depletion with simultaneous redistribution of cells into the S phase . As a result of these factors DNA damage caused by radiation cannot be properly repaired, apoptosis was induced and cell death increased. The average enhancement ratio of G is ≥1.5 and sensitization persists for at least 72 hours . Preclinical data supports that more frequent G dosing schedule with radiation could yield local control advantages in the setting of a clinical trial .
In this study it is aimed to demonstrate the efficacy and tolerability of low dose G given weekly as radiosensitizer in stage III NSCLC patients.
Consecutive patients between the ages 18–75 years with histological or cytological confirmed stage III NSCLC who had Karnofsky Performance Status (KPS) ≥70 in Medical and Radiation Oncology Clinics of Marmara University between December 1999 and July 2002 were considered for this study. Other patient selection criteria were white blood cell count ≥3000/mm3, hemoglobin level ≥10 gr/dl, platelet count ≥100000/mm3, no prior RT or lung resection accept open lung biopsy or mediastinoscopy for diagnostic purposes. All combinations and cycles of induction CT prior to planned concurrent CRT were eligible as the ones who did not receive any induction CT. All patients started CRT within 1 month after completion of induction CT. There was not a limitation to the lung volume planned to be irradiated.
The overall dose of RT was 60–61.2 Gy administered over 6 weeks with daily fractions of 2 Gy administered for 5 days each week. Planning computed tomography scan (CTS) was performed for each patient in supine position. The planning target volume (PTV) consisted of radiological visible primary tumor with a margin of 2 cm in each diameter. Elective nodal irradiation field included the PTV for the first 6 patients. After 6 patients the treatment planning and volume was amended to multiple field arrangements with custom blocking to all fields and involved hilar and mediastinal lymph nodes. Irradiation was administered with megavoltage photons of at least 6 MV. The dose of 60 Gy was specified at the isocenter of the central axis and was corrected for pulmonary heterogeneity. The spinal cord was not allowed to receive RT more than 45 Gy.
G (75 mg/m2/week) was infused each Monday by i.v. route over 1 hour in 500 cc of 0.9% normal saline for 6 weeks. RT was administered 2 hours after the G infusion. 5-HT antagonists were given 30 minutes prior to G infusion.
Patients were followed weekly with routine physical examination and complete blood count (CBC). Toxicity was graded according to the National Cancer Institute Common Toxicity Criteria (CTC), version 2.0 . If the patient had WBC ≤2500/mm3, platelets ≤50000/mm3 or grade 3 or 4 hematological toxicity, G was not administered that week. G was stopped if CBC was as low as mentioned above for 2 consecutive weeks or grade ≥3 non-hematological toxicities were seen during the treatment period.
Pulmonary toxicity was evaluated with CTS of the thorax 6 weeks after the completion of RT. Patients having ground glass appearance or alveolar consolidation on CTS were started on corticosteroids (40 mg of fluocortolon daily, which is the standard treatment protocol of the centre) for 2–4 weeks even if they were asymptomatic. Responses were routinely evaluated in 3 months. Standard World Health Organization (WHO) criteria were used to determine response . Tumor volume at the beginning of CRT was compared to the volume at the end of this treatment and this difference was used to calculate the response rate. Survival rates were calculated by using the Kaplan-Meier method.
Total of 22 consecutive patients were treated with this treatment protocol. Patient characteristics are given in Table 1. Median age was 60 years (range, 48–75) and 68.2% were male. Median KPS score was 90 (range, 70–100). This group had a median 43 pack-years smoking history (range, 0–90). Fifty percent of the patients had stage IIIA disease. Twelve patients (54.5%) had squamous cell histology. Eighteen patients had induction CT and median number of cycles was 3 (range, 2–8). One patient received 8 cycles, 3 patients received 6 cycles, 3 patients received 4 cycles of induction CT. After induction CT, 9 patients (40.9%) had partial response (PR), 5 (22.7%) had stable disease (SD) and 4 (18.2%) had progressive disease (PD). The patient who had 8 cycles of induction CT received 4 cycles of two different CT regimens and had PD after both. Two of the other three patients who received 6 cycles of induction CT had SD and 1 had PR.
Conformal 3D-RT planning was used in 63.6% of the patients. Median RT dose administered was 60 Gy (range, 32–66 Gy) with 1.8 Gy (range, 1.8–2 Gy) daily fraction in a median of 46 days (range, 29–64 days) over 7 weeks (range, 4–9 weeks). Elective nodal irradiation was given in 6 patients (27.3%). Rest of the patients (72.7%) received RT only to tumor and involved hilar and mediastinal lymph nodes (Table 2).
G was given for a median of 5 weeks (range, 1–9). Twelve patients (54.6%) received all planned CT. G was stopped in 8 patients, because of intolerance (grade 2–3 fatigue, nausea, vomiting, esophagitis and low CBC for 2 consecutive weeks) in 6 and death during treatment in 2. One patient who died of pneumonia had asymptomatic congestive heart failure and 52.5 pack-years smoking history. Another patient died with acute onset of loss of consciousness, hypotension, breathing depression, and this was considered to be secondary to cerebrovascular accident. Both deaths were seen on the 5th week of treatment. In 2 patients G was held in the middle of the treatment for 1 week because of grade 2 hematological toxicity. Neutropenia and anemia were the most significant toxicities observed (Table 2 and 3). There were only 4 patients (18.2%) who had acute grade 3 esophagitis, while no other grade 3 acute toxicity was seen. These 3 patients had recovered completely after completion of RT. Seven patients (31.8 %) had radiation pneumonitis; four (18.2%) of these had grade 1, two (9.1 %) had grade 2 and one patient had grade 5 (4.5%) (Table 3). One other patient was not assessed because of new brain metastasis was seen right after the completion of her CRT. All patients with signs of radiation pneumonitis on their CTS received corticosteroid treatment, according to our centers' protocol.
One patient (4.5%) had clinical CR, 18 (81.8%) had PR, while 2 (9.5%) had SD after CRT. Two patients who had PR were operated (1 had lobectomy, the other pneumonectomy). Two other patients received adjuvant CT after completion of CRT (Table 3).
Median follow-up was 15 months (range, 2–40 months). Median overall survival (OS) was 14 months (Figure 1). One- and 2-year OS rates were 54.5% and 37.5%. Sixteen patients (72.7%) died, 6 (27.3%) with progression of their primary NSCLC, 8 due to metastatic disease (brain metastasis in 6, contralateral lung metastasis in 2), 1 with pneumonia and another with cerebrovascular event. Median disease free survival (DFS) was 14 months, while 1- and 2-year DFS rates were 55.5% and 26.5%, respectively. Seven patients (31.8%) progressed locally, while 8 other (36.4%) had distant metastasis during follow-up after CRT. Another patient had both local progression and distant metastasis. Five of the patients with local progression had stage IIIB disease initially. First site of metastasis seen in this group was brain in 4, contralateral lung in 3, skin in 1 and neck in another patient. Local control was achieved in 63.6% of the patients. One- and 2-year local control rates were 78.6% and 51%, respectively (Table 4).
Overall survival plot for all patients.
For many years the mainstay of treatment for non-resectable NSCLC was RT alone. The results of several phase II studies provided support for the addition of CT to RT and a landmark trial was reported by Dillman et al in 1990 . He demonstrated increased rates of three-year and long-term survival . Two large meta-analyses have provided support for the benefit of CRT combinations [3, 4].
The initial phase I and II clinical experience in NSCLC had demonstrated that weekly G (600–1000 mg/m2) with concurrent standard thoracic RT was effective, but it had significant toxicity (pulmonary fibrosis, esophagitis, thrombocytopenia and neutropenia) [16–21]. Doses of G used in these preliminary phase II studies were not derived from well-planned phase I studies and were very high. Also significant number of patients had dose reductions or they missed doses during the treatment. After these unclear results dose escalating trials of G as a radiosensitizer with concurrent RT were started [22, 23]. In one of the first studies Gonzalez et al recommended that G can be used at 300 mg/m2/week dose with 50 Gy of RT, but the dose of RT was lower than standard in this trial . McMullen et al reported in their phase I/II trial (CALGB 89805) that 70 mg/m2/week was the recommended dose of G with 60–74 Gy RT . Trodella et al recommended weekly G dose of 350 mg/m2 for 5 weeks concurrent with 50.4 Gy RT after their phase I trial .
Our rationale for evaluating weekly 75 mg/m2 dosing was based upon a phase I study of Blackstock et al . In that study they suggested that thoracic RT and G given with a dose of weekly 70 mg/m2 in two days appeared tolerable in patients with advanced NSCLC. Although this was a phase I study, overall response rate for 16 patients was 88% and median survival for all 17 patients was 16 months. Dose limiting toxicities were pulmonary (pneumonitis, pulmonary fibrosis), esophageal (esophagitis, esophageal stricture, ulceration), and hematological (anemia, thrombocytopenia) toxicities in this CALGB trial . They delivered almost all the planned G doses (range, 7–12). Several preclinical [25–27] and clinical [28, 29] trials have also shown G to be an effective RT enhancer, even when low doses are administered.
In this study the RT planning was changed from 2D conventional to 3D conformal multiple fields planning after the first 6 patients. G given concurrently with 3D-RT is much better tolerated than with 2D-RT and a reduction in grade 3 esophagitis was seen, as it was reported by Zinner et al . The maximal tolerated dose of G given concurrently 7 weeks on row with RT as a radiosensitizer was 190 mg/m2/week with 3D planning while 125 mg/m2/week could be administered with 2D-RT in that study. In our study the differences in the rates of grade 3 or 4 esophagitis and pneumonia between the two treatment schedules were not significant. This might be due to having small number of patients in our study. We also changed elective nodal irradiation to involved nodal irradiation after the first 6 patients. Emami et al concluded in their analysis of the RTOG data that elective irradiation of uninvolved supraclavicular and mediastinal nodes may not be necessary in the treatment of unresectable NSCLC .
Blackstock et al also reported that there appeared to be a relationship between volume of lung irradiated, pre-treatment pulmonary function and pulmonary fibrosis, although the data was limited in their phase I trial . Pre-treatment volumes of the tissue irradiated was not calculated in our patient population, but they were much larger than 2000 cm3 which was reported as a cut off in inclusion criteria in the trial reported by Price et al. . Therefore we favored to administer a much lower dose of G then what was used in the above trial.
G and cisplatin have also been studied with concurrent RT. Phase II data have been reported during the last years. Vokes et al recommended 600 mg/m2/day, day 1 and 8 of G and 80 mg/m2/day of cisplatin repeated every 21 days × 2 courses during RT (66 Gy) and this was the dose used in CALGB 9431 . There was a marked increase in the toxicities of this schedule, especially in hematological toxicities and esophagitis. Although this was a phase II study, median survival was reported as 18.3 months which is 1–2 months longer than other concurrent CRT studies. In several randomized phase III trials comparing chemotherapy (either sequential or concomitant) with RT alone, the median survival was found between 8–18 months . In our study median survival was 14 months. Although the survival data's extracted from phase II studies should not be used for comparison, this survival difference between our pilot study and other phase II data might be secondary to using lower dose of G in our study, having 2 very early deaths, lower dose of RT administered, not using cisplatin, treating patients with more tumor load or nature of the disease. But the median survival in our study was similar to the phase III data .
In our study there might be two reasons for the high incidence of radiation pneumonitis. The first reason might be the high number of cycles of induction CT. Three of the four patients receiving 6 or more cycles of induction had grade 1 or 2 pneumonitis. Although chemotherapeautic agents were found to induce radiation pneumonitis either alone or with radiation therapy in previous studies this was not seen in our patients [33–35]. The other reason might be the screening schedule of pneumonitis in our centre. All of the patients were considered for radiation pneumonitis during the first CTS examination for the tumor response. The patients received corticosteroid therapy for radiation pneumonitis according to the CTS images but most of them were asymptomatic.
The patients could not receive all planned G dose concurrent with RT. Heavily pre-treated patients with induction CT before CRT might have not tolerated weekly planned G schedule. Eighteen of the patients had induction CT, the median number of cycles were 3 and seven of the patients received ≥4 cycles. The reasons for this were that patients either progressed during induction CT and received second line CT regimens or longer induction CT was their physicians decision before referring them to our centre for RT.
G might be used as radiosensitizer for patients with stage III NSCLC who could not receive full doses CT with concurrent RT. In order to decrease the therapy associated toxicities smaller irradiation volumes used with 3D conformal techniques might be better. We need prospective randomized trials with increased number of subjects in order to figure out where this regimen exactly stands in the standard treatment of this group of patients.
UA, PFY, HC, MS, NST designed the study, followed the patients, collected the data, performed the statistical analysis and drafted the manuscript. All authors read and approved the final manuscript.


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AN: Wee, five more chapters to go! Yep, I've already planned the last couple of chapters. Well...*hopefully* I think it's five more chapters, but the more the better for you, ne?
Chapter Nine ~ Torture
Yumiko slept a dreamless sleep on the stone cold floor of her prison, too tired to try and slip out of her chains.
It wasn't like this before. When she had first arrived at Youji's new "home", she wasn't treated very badly. In fact, she was left out of Youji's presence and wandered around the villa alone. If it wasn't for one of the men that was told to keep a close watch on her, then she would've escaped Youji's villa on the second day she was there. So, strapped in chains and locked in a stone room in the basement of the villa, this was her punishment.
"I was expecting that you would do something like this," Youji had told her as she was being chained down. "That's why I made these chains especially for you, Yumi-chan."
She glared at him, unwilling to respond to his remarks. Youji just smiled as he put away the key. Then he roughly lifted up her chin so that they would meet eye to eye.
"You shouldn't stare like that, Yumi-chan," he murmured with a smile still on his face, "or else your pretty face will stay that way. We wouldn't want that, would we?"
"Don't call me 'Yumi-chan'," she said to him in a cold voice.
He stared at her for a moment before chuckling sinisterly at her. He forced her mouth into his in an unwilling kiss and pulled away after a few minutes with his hand still cupping her chin.
"I'll call you whatever I want, Yumi-chan," he replied in a dangerous voice. "Be good here and I won't do you any harm."
Youji then roughly pushed her head back to the wall before strolling back to the exit. He paused a moment at the doorway, looking back. "Your lover boy is going to be here soon, but don't let that raise your hopes because he won't last long against me."
With that, he shut the door and Yumiko's only window of opportunity escaped her. Although strapped in chains, she was well taken care of. An elderly man always came in three times each day that passed by, giving her food and drink as well as tending to the chafes around her wrists. He wouldn't speak to her, though, and it was hard for Yumiko to see his face in the dark. There was no window in the room and the only light that shined through was at the exit. Even that wasn't able to help her see.
All that Yumiko could do during the long hours of isolation was sleep and dream. Her dreams came and went, and she wondered to herself how Enishi and the children were coping. She remembered the night when she was taken away. She hoped that Enishi was all right.
A lone tear slid down her cheek as she thought about him, wishing that she was safe in his arms.
<Tokyo ~ Docks>
Enishi stared at his newly repaired nihontou in awe. It had been two days since he had met with Battousai. Kenshin...it's Kenshin now, he corrected himself.
During the two days, he had been locating and finding his sources, knocking some unconscious to get the information that he needed of Youji's whereabouts. He had also given his nihontou to Gen for repair. His plan and vague idea from the beginning soon began to take shape. He was right about Youji's hideout for one thing. It was located high above the mountains on a small island just off the coast of Yokohama, isolated from society. A perfect place to remain hidden and plan for take over. Myung, hearing word from Ayeka, arrived at the Kamiya Dojo just hours after Enishi and Kenshin reconciled and had been staying there ever since, making herself and the twins temporary residents. He hadn't seen Yumiko's family since then.
However, there was no word from Himura Kenshin.
Enishi stared at his own reflection in the blade and did some test swings to see if his skills had decreased. Seeing that they didn't, he grinned.
"Arigatou, Gen. The sword looks like it's brand new," Enishi said. "No wonder why your sister said that you were multitalented."
Gen grinned back, scratching the back of his head. "Heh, no problem. But really, though, you should thank the person who gave it to you in the first place. Your sword's really high quality. It took me a while to get the materials."
"Sorry about that. How much do I owe you?"
"Don't worry about paying me. Just get Yumiko back, huh?"
Enishi chuckled. He had been planning to leave for Yokohama the next day. He heard footsteps running towards him and turned around to see Yahiko skidding to a stop before them, out of breath. In his hand was a letter.
Still out of breath and slightly glaring at Enishi, Yahiko said, "Ken...shin...told me to give...this...to you." Yahiko handed the letter to him. "You're...a hard person to find...you know that?"
"I like to keep it that way," Enishi replied as he read the letter. He frowned at its message:
Yukishiro Enishi---
Battousai and I will be waiting for you at the police station at sunset. I have found something that might be of interest to you.
--Inspector Fujita Goro
Something of interest to me? What does he mean by that? he thought, eyes narrowing.
"Tell him I'll be there," he bluntly replied to Yahiko.
<Tokyo Police Station>
Enishi arrived as he was told to, entering the police station with some hesitation. At his desk, the police chief looked up in surprise at his visitor. However, as promised, Kenshin and Saitou stood up from their seats and were ready to meet him.
"Daijoubu, Chief-dono," Kenshin reassured the chief. "He's with us."
Enishi glanced at Kenshin for a moment and then at Saitou. "What did you want to tell me?"
Saitou withdrew his cigarette and exhaled out smoke. He returned Enishi's look with one of his own.
"Why don't we go to my office? With the two of you here out in the open, it's attracting attention," he coolly replied as he walked down the hallway.
Kenshin glared at the other man's receding form while Enishi just shrugged and followed. Whatever was behind the two former rivals had nothing to do with him.
When they reached Saitou's office and closed the door behind him, Saitou strolled to the back window and relit his cigarette.
"The government's willing to pardon you of your involvement in selling arms to Shishio Makoto and your mini-fiasco with Battousai as long as you can give us all of the information that you know about his organization that you worked for," he said.
Enishi arched an eyebrow and narrowed his eyes suspiciously, glancing sideways at Kenshin. Kenshin shrugged back as an answer.
"You're still a fugitive, Enishi," he explained. "Even though you haven't really been disrupting the government's work, they still have a bounty for your head."
Enishi drew out a breath of air, shaking his head. "Fine. I have no more affiliation with them anyway. What did you find?"
"The woman that you have been staying with," Saitou began, turning around, "Nagasaki Yumiko. She's the daughter of Nagasaki Ichiburo, one of ten key officials within the Meiji government."
He knew that already. "Yeah, so?"
"Enishi, Nagasaki Ichiburo-dono has been missing for the past two years," Kenshin elaborated.
Once again Enishi arched a curious eyebrow. "What does that have to do with Youji and Yumiko?"
"The man had been good friends with Fukihara Youji's father for quite some time," Saitou answered. "And Nagasaki Yumiko was to be wed to Youji, but something happened."
At this new information, Enishi began to remember Yumiko's words that she had told him only once: My mother said that I always attracted men like flies for some reason... His eyes widened slightly in realization as Yumiko's story began to replay back in his head.
Ran and Rikku never got to know their father...
"Yumiko became pregnant before they were ever married," he said. He left as soon as I told him. "Youji left her after hearing."
"Exactly," Saitou replied. "But why would he leave if they were to be husband and wife anyway?"
Apparently, Saitou and Kenshin knew the answer after looking over countless of files, but Enishi wanted to figure it out for himself as he pondered long and hard.
<Flashback ~ two weeks ago>
Yumiko and Enishi watched the twins play as they sat on the porch.
"Ran and Rikku never got to know their father. He left me as soon as I told him that I was pregnant," she said to him with a distant look in her eyes. She chuckled sadly. "I don't think he ever wanted for us to get married even though our parents agreed to it, but he still wanted something out of me. He knew that I could defend myself, so he used me when I couldn't comprehend what was going on anymore."
She wrapped her arms around her knees, resting her chin on top. "I drank too much that nigh. Ie, rather, he kept on coaxing me to drink more when I couldn't." She then buried her head. Enishi could see her shoulders shaking. "I...don't remember much what had happened. All I knew was that I was asking him to stop. And when he didn't, I tried to push him away, but he had me pinned down by his body. And..."
Enishi wrapped his arms around her, trying to calm her so that the children wouldn't see. "Sshh....it's okay..."
"He used me, Enishi," she continued, her voice muffled against his chest. "He used me for his own personal gain and left me in a living hell. Then otousan disowned me and left me here, too. That was why...that was why..."
Enishi held her close to him, kissing her hair. He vowed to himself never to let her experience pain again.
<End of Flashback>
"He didn't want to be held back," Enishi replied after some thought. "Everything he does is for his own gain."
"A trading ship from Shanghai was caught smuggling in thousands of boxes containing weapons of all types and classes not specified for the military, but to an unspecified place here in Japan," Saitou said, trying to get his point clear. "What exactly is Fukihara Youji planning to do besides trying to shatter your life? I'm sure you know what he plans on doing."
Enishi glared at the former third captain of the Shinsengumi in an all to familiar look for Kenshin. His own violet eyes began to flicker.
<Youji's villa - basement>
Delirium was beginning to take effect on Yumiko's head. She tried to fit it, but allowed herself to sleep. They must have put something in my food...She was in such a deep sleep that she didn't realize that someone had come into the room some hours later.
Her drugged senses heard the sound of chains knocking against one another. She shifted her position restlessly until her eyes snapped open when a strong hand gripped her wrist.
"Hey, what are you---"
"Get up," came Youji's voice, tugging her arm harshly.
She complied, wincing at the pain in her right wrist and shoulder. The tone in Youji's voice sounded too familiar to her, but her mind was too boggled to figure it out as he dragged her along. When she fell onto a soft bed, she finally realized with horror what he was going to do to her. She tried to break free, but Youji had taken advantage of her drugged body and mind, pinning her down beneath him. She could do nothing now.
Yumiko shut her eyes tight and bit her lip, tears beginning to fall. No!
AN: My mind works wonders when I rewrite a chapter five times... R&R!

redpajama_set_name: RedPajamaCommonCrawl


LINCOLN, Neb. (AP) James Palmer Jr. had 18 points and Nebraska opened up a 19-point lead midway through the first half and turned back a second half Delaware State surge to take an 85-68 win Friday.
Nebraska (9-5) ran off 14 straight to go up 20-6 on Thomas Allen's layup with 12:56 left in the opening half, and stretched that to 28-9 over the next four minutes.
A 10-2 flurry by Delaware State (2-12) cut the Nebraska lead to 11 on Kavon Waller's 3 pointer with 6:34 left in the half. But the Huskers scored eight straight to go back up 19. Nebraska, which hit 60 percent of its shots in the half, led 42-26 at intermission.
Delaware State trailed by 21 when it put together an 11-1 run to cut the Nebraska lead to 59-48 on Demola Onifade's basket with 10:35 left in the game. Anton Gill's 3-pointer two minutes later put Nebraska back up by 15 and Palmer's layup with 6:17 left gave Nebraska a 71-50 lead.
Gill and Thomas Allen each had 14 points for Nebraska, Isaac Copeland had 11 points.
Waller had 16 points to lead Delaware State. Simon Okolue and Artem Tavakalyan had 13 points each and Pinky Wiley had 12 points.
Nebraska: The Huskers were averaging 75.5 points per game entering Friday's contest, the highest scoring mark for a Nebraska team through 13 games since the 1995-96 season. Nebraska has scored more than 80 points in six of its 14 games.
Delaware State: The Hornets have been mired in a season-long shooting slump. Delaware State shot just 39.5 percent from the field through its first 13 games. The Hornets hit 37.8 percent of their shots in the first half Thursday, then made 51 percent of their shots in the second period.
Delaware State travels to Penn for its final non-conference game. The Hornets will open MEAC play Jan. 3 against NC Central.


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The Endangered, Can Art Save Them?
An International Art Exhibition
(November 7 through January 8, 2021)
The Endangered Collection
New Jersey-born, Lisa Botto Lee is an American representational artist currently living and working in her South Florida studio overlooking the everglades. She is recognized for her portraiture, figurative and wildlife art and has achieved her own distinct style of narrative realism. Her mediums are oil, charcoal and graphite. Lee was born into a family of artists and is the fifth generation which traces its roots back to mural painters in Northern Italy. Her earliest artistic influence came from her parents whom she is grateful for conveying this wonderful passion of art. Lee has been the recipient of awards in regional, national and international competitions.
I am a representational artist and my subject matter is portraits, figurative and wildlife. Moved by the beauty of majestic creatures and humanity, I am driven to share a sensitive, perspective through my eyes. The mediums I work in are oil, charcoal and graphite.
Nearly hunted to extinction, the buffalo has earned its rightful place in America. Their importance cannot be undersold and their resilience inspired me to paint them.
The elk inspire me because of its beauty and elegance. They are some of the most influential animals that help promotes our ecosystem.
I am always amazed by powerful grizzlies who play an important role as seed dispersers and regulate prey populations.
May these perspectives enrich the trail at your feet.
http://www.lisabottolee.com


If you want to play tennis in the neighborhood, you should read Nahkeel's guidelines for court bookings.
Active Sports offers tennis lessons.
Thanks Mark for informing. I've written to Nakheel today to ask them for an update on the tennis court reservations.
I got the updated info about tennis court bookings.
anyone for tennis, I live at Imperial.


Performing a home health check on your cat is an important part of their regular care. Cats are masters at disguising ailments, with many owners only noticing symptoms when their cat becomes gravely ill. In fact, most pet owners who have lost a feline friend will often reflect on how their cat suddenly became sick, seemingly overnight, and then had to be put down.
However, truth is, that cat was likely ill for quite some time.
While many ailments can be terminal, no matter how early they're detected, a vast majority can be treated if detected early enough. Thankfully, performing monthly home checks on your cat can help to spot the signs of an oncoming illness. Please note that home checks do not negate a proper veterinary check up; domestic felines should have an annual vet check up until the age of seven, and bi-annual checks after that.
First of all, take note of your cat's behaviour. Cats are very much creatures of habit, and even slight changes in behaviour can be an important sign. These changes could be evident through litter box behaviour, appetite or drinking patterns, the sound of their meows, or even small changes in how they groom themselves.
Next, take a look at their weight. Changes in weight are not common for cats who have had a consistent routine for a year or more. Weight changes can often be due to increased or decreased exercise with the changing of the seasons, or with a switch to a new food. However, if no changes in their everyday life have been made, it could signify a change in your cat's health. If you notice an unexpected change in your cat's weight, it is a good idea to see a veterinarian.
Physical changes outside of your cat's weight can also be a big indicator of a change in their health. Start by checking their skin and coat. They should have a shiny coat, with moisturized skin. Dry, flakey skin, or a dirty, coarse coat can be signs of a nutritional deficiency, allergy, or sensitivity.
Look at their eyes, nose, and ears, too. In the ears, a small amount of wax is normal, and you can gently remove it with a moist cloth. Odours and runny discharge are not normal, however, and can be a sign of infection. Their eyes should also be free from discharge, and should be clean and bright. Their pupils should be the same size, and should also react equally to light. Noses should be moist, not chapped, and should not have any discharge or bleeding.
Your cat's mouth is also an important indicator of their health. While some cats won't allow you to look into their mouth, do your best to get a peek. Their gums should be pink. If their gums are red, if there is any foul odour, or you can see visible signs of tooth decay, take them into the vet for a dental check-up. Dental diseases can prevent your cat from eating properly, which can lead to a number of additional health concerns. Your cat should also not be drooling or pawing at their mouth, both of which can indicate dental pain.
When you are done assessing their dental health, take a moment to watch their breathing. A cat should have smooth, effortless breaths, at a rate of about 20-30 breaths per minute. Time the number of breaths they take in a fifteen- second window, and multiply that by 4. They should not be coughing, wheezing, panting, or gasping for air. If you cat has rapid or seemingly laboured breaths, or is panting with their mouth open, seek immediate emergency veterinarian care.
Next, you will want to check their mobility. Encourage your cat to walk towards you or follow you. Do they seem stiff? Do they limp or have difficulty walking? Try to get your cat to jump up onto a surface, such as a chair or table, and monitor whether they have difficulty doing so. Joint and mobility problems are common with age, and thankfully there are some excellent supplements on the market to help counteract the effect of aging.
The final step to performing a home health check on your cat is to run your hands all over their body. Use gentle pressure, and check their torso, neck, and legs. If they flinch or respond with discomfort in any area of their body, have them checked by a veterinarian. Also look for things like fleas or ticks, especially between the pads of their feet, and take note of any new lumps or bumps.
While performing a home health check does not replace a professional veterinary exam, it is a simple and effective way to keep preventative tabs on your cat's health.


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S.F. equity firm launches health initiative with CalPERS, GE, others – San Francisco Business Times: – Maybe this will help California lead in Health IT.
AMNews: March 10, 2008. Insurer finds EMRs won't pay off for its doctors … American Medical News – Less health plans are requiring EHR adoption for P4P, and the AMA doesn't have a policy requiring physicians to adopt them either.
i2y – As featured at the Health 2.0 Conference. For the 68,000 GenX and GenY individuals who are diagnosed with cancer every year.
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May 30, 2021 by Josh 1 Comment
The Sony a6000 is a legend. It was the camera that made me realize that mirrorless was (is) the future.
Although I no longer own the a6000 – I have since upgraded to the Sony a6400 – the a6000 will always be one of my favorite cameras.
Sony had initially replaced the a6000 with the Sony a6100, but, likely due in part to the chip shortages of 2022, Sony has discontinued the a6100. This means that the Sony a6400 will likely be the "spiritual successor" to the a6000 camera – which up until 2020 or so, was still considered a current model and still sold as new in some markets.
Let's take a look at some of the best Sony lenses for the Sony a6400 and Sony a6100 or any of the a6000 series cameras:
Sony 18-135mm f/3.5-5.6 OSS
Tamron 17-70mm f/2.8 VC
Sony E 35mm f/1.8 OSS
Sigma 30mm f/1.4
Sony 30mm f/3.5 Macro
Sony 10-18mm f/4
Sony 18-105mm f/4 OSS
Sony 70-350mm f/2.8 OSS
Sony 20mm f/2.8
Sony Zeiss 24mm f/1.8
You can click the links to go straight to the section below pertaining to that lens.
As you can see, just from this list, Sony's lens line-up has you covered for most everything you need. There just isn't any truth anymore to the old belief that Sony 'forces' you to buy full frame lenses for their APS-C crop sensor bodies.
Not to mention, there is a lot to like with Sony's new strategy with their APS-C mirrorless camera line.
For example, Sony has trickled down their "real time tracking" auto focus technology across their entire APS-C range. Yes, even the 'lowly' Sony a6100 gets this feature. As a point of comparison, the popular full frame Sony a7III does NOT have this feature.
Sony's crop sensor lens line-up has gotten some criticism for not getting as much love as their full frame line-up. Which is probably fair.
Maybe they don't push the envelope as much as their full frame cameras, but, Sony's APS-C cameras have also come a long way from the days of the a6000, a5100 and Sony a6300.
Once you consider recent releases like the new zoom lenses from Tamron such as the Tamron 17-70mm f/2.8 and 11-20mm f/2.8 and Sony's superb 70-350mm G OSS lens (an incredible value). There just isn't a lot of holes in the line-up anymore.
Sure, the prime lens line-up may not be as extensive as that of the Fuji X-mount, for example, but it is still good. As long as you don't overlook the Sigma trio of f/1.4 prime lenses (16mm, 30mm, 56mm), you'll be able to build a killer kit.
1 Best all-in-one zoom and travel lens for the Sony a6400
1.1 Sony 18-135mm f/3.5-5.6 OSS (SEL18135)
2 Best everyday lens for the Sony a6400 (Zoom lens)
2.1 Tamron 17-70mm f/2.8 Di III-A VC RXD (B070)
3 Best everyday lens for the Sony a6400 (Prime lens)
3.1 Sony E 35mm f/1.8 OSS (SEL35F18)
4 Best low light lens for the Sony a6400
4.1 Sigma 30mm f/1.4 DC DN Contemporary
5 Best Macro Lens for the Sony a6400
5.1 Sony E 30mm f/3.5 Macro lens (SEL30M35)
6 Best portrait lens for the Sony a6400
7 Best ultra wide-angle lens and landscape lens for the Sony a6400
7.1 Sony 10-18mm f/4 OSS (SEL1018)
8 Best lens for video for the Sony a6400 (zoom)
8.1 Sony E PZ 18-105mm f/4 OSS G (SELP18105G)
9 Best lens for vlogging and video (prime lens)
10 Best telephoto lens for sports and wildlife
10.1 Sony 70-350mm f/2.8 G OSS (SEL70350G)
11 Best pancake lens for the Sony a6400
11.1 Sony E 20mm f/2.8 (SEL20F28)
12 Best lens for street photography
12.1 Sony Zeiss 24mm f/1.8 Sonnar T* (SEL2418Z)
Best all-in-one zoom and travel lens for the Sony a6400
Sony 18-135mm f/3.5-5.6 OSS (SEL18135)
aka the Disney world lens.
With a vast 27-202mm equivalent zoom range, this is the best choice if you're looking for an all-in-one zoom lens for travel photography.
When this lens was first released, a lot of people were scratching their heads – Sony already had the 18-200mm OSS and the Zeiss 16-70mm f/4 – was there really a need for this lens?
I have to admit, I was one of those people.
When this was first announced, the general consensus was that Sony should have focused on rounding out the other gaps in their APS-C line-up, instead of developing this lens.
But, that's all water under the bridge now. Sony has since added more lenses, such as the higher end 16-55mm f/2.8 and the 70-350mm G lenses to plug the major gaps in the lineup.
And, it turns out, this lens is quite a performer.
As someone who is generally not a fan of zoom lenses – this lens has been a revelation to me. It's probably my favorite "all in one" zoom lens, for any system, for any sensor size.
It has less reach than the Sony 18-200mm LE (27-300mm-equivalent), but it comes in at a smaller size and substantially lower weight. For a travel and walk-around lens, the size and weight reduction is significant.
In terms of size-weight-performance vs price, the 18-135mm OSS is one of the hidden gems in Sony's line-up.
It sort of lies under the radar, because of its unsexy aperture range of "only" f/3.5-f/5.6. But, it's sharp across the zoom range, even wide-open and has surprisingly great bokeh rendering. All in a lens that tips the scales at just over 300 grams while covering a very useful focal range.
It works great as a single travel lens, or as a combo with a fast prime lens (like the Sigma 16mm f/1.4 or Sony 35mm f/1.8 OSS) or with an ultra-wide angle lens like the 10-18mm f/4 or the new Tamron 11-20mm f/2.8, depending on your needs and shooting style.
Compared to the Sony 18-200mm (SEL18200LE) and 18-105mm f/4 (SELP18105G)
In keeping with its travel friendly specs, this lens is smaller and lighter than the other ultrazooms in Sony's APS-C lineup, mainly the Sony 18-200mm and the Sony 18-105mm f/4.
The 18-135mm extends an inch when you zoom out from the widest end all the way to 135mm. Whether stowed in the bag or when shooting, the 18-135mm is smaller than the other two ultra zooms.
On paper, it's about 100 grams lighter than the Sony 18-105mm f/4 zoom, but I can say that in real world use, the difference feels much bigger than that.
This lens is significantly easier on the neck and shoulders, especially when you're walking around all day.
If you're just trying out lenses in your living room, the difference won't feel like much, but when you're traveling and walking around all day, the 18-135mm is definitely the more portable lens.
Here, you can see the lens zoomed all the way to 135mm. As you can see, barrel extension is fairly minimal.
Compared to the Sony Zeiss 16-70mm f/4 (SEL1670Z)
The Sony Zeiss 16-70mm f/4 Vario-Tessar is the other all-in-one travel zoom option, but this lens is noticeably less sharp across the same focal range. And quite a bit more expensive, too. The Zeiss does of course have the advantage of the constant f/4 aperture and that wider range, but at a price that's 40% more, I don't think it's a good value.
Plus, the 18-135mm has the advantage of OSS built into the lens. Especially useful for cameras with no in-body stabilization, like the a6300 and a6400.
Upgrade from the Kit Lenses
Overall, the 18-135mm lens is a great step-up from the 16-50mm kit lens, and I'd prefer carrying just this lens vs carrying both the 16-50mm and the 55-210mm kit lenses together.
You give up a fair bit on the telephoto end vs the 2 kit lenses (because the 55-210mm is an 82.5-315mm-equivalent), but the quality you get is worth it. Plus, you have the advantage of not needing to swap lenses.
The close focus performance of the 18-135mm is also a nice surprise. It can do 1:3.4 reproduction. It's not a macro lens, but it can be called upon to do some close-ups of flowers and food.
There is very little to complain about here. The only thing I would have liked to see is some form of weather sealing. Unfortunately, this lens doesn't even get a rubber gasket on the mount.
Despite not being weather sealed, the advantage of an all-on-one zoom lens is that you won't need to change lenses in dusty environments
Any ultra-zoom is a compromise, and Sony made the right compromises with this lens.
It's not a constant aperture zoom, it's not weather sealed, and it doesn't cover as much range as the 18-200mm OSS, but it's small and lightweight, and it is sharp through out the range at a price that won't break the bank.
Sony 18-135mm aperture at each focal length
f/3.5 at 18mm
f/4 at 20mm
As you can see, aperture closes down quickly. It's a slow lens, so it's not the best for getting creamy bokeh. But, bokeh rendering is very pleasing, which helps a lot. Quality of bokeh is a different thing from quantity of bokeh. Besides, when you're traveling, you want to show as much of the surroundings as possible anyway.
And f/5.6 at 85mm or at the maximum 135mm is more than good enough for subject-background separation. With the smooth and not too distracting bokeh rendering, it's more than good enough. I'd rate bokeh quality as even better than some lenses with brighter apertures.
If you're willing to spend a bit more, and carry a bit more weight, the Tamron 17-70mm f/2.8 (see this lens discussed below) is the next step up, albeit with less zoom range.
Sony 18-135mm Main specs:
Price: Check the current price on Amazon
Full frame equivalent focal length: 27-202mm
Filter thread size: 55mm
Size – Length x diameter: 3.46″ x 2.65″
Minimum focusing distance: 45cm or 17.7 inches
Best everyday lens for the Sony a6400 (Zoom lens)
Tamron 17-70mm f/2.8 Di III-A VC RXD (B070)
The first of its kind. The Tamron 17-70mm f/2.8 is the only APS-C lens covering a versatile wide angle to short telephoto range (4.1x zoom) WHILE featuring a constant f/2.8 aperture.
With a bright aperture and a 26-105mm equivalent focal range, this lens can pretty much cover 95% of shooting scenarios.
Unlike Tamron's lenses designed for Sony full frame, this lens also features their excellent vibration correction (VC) image stabilization technology.
Tamron has made some of the best selling lenses for Sony full frame (FE) cameras (such as the very popular Tamron 28-75mm f/2.8), but as of this date, they've avoided adding vibration correction. Fortunately, they chose to add it here, with a minimal increase in size and weight.
This is a big deal, especially for video shooters, since the vibration correction (VC) can help get rid of a lot of the little jitters when filming.
On-lens image stabilization also works better for stills photography vs in-body image stabilization when shooting at longer focal lengths.
In another bonus for film makers, this lens has practically no focus breathing.
Like the other Tamron lenses with an RXD motor, autofocus is fast and accurate on Sony bodies. This has been Tamron's big advantage over other third-party lens makers – they've been able to take full advantage of Sony's excellent AF system.
The addition of lens stabilization means an increase in weight, but to counter that, the lens is mostly high quality plastic, but it is also fully weather-sealed. That's a trade off that I like.
The constant f/2.8 on a longer zoom range is a game changer. Not only does it help you shoot higher shutter speeds for freezing motion, or just to keep your ISO down, it also helps when shooting at the telephoto end, to get you some beautiful background blur.
Keep in mind, the 70mm f/2.8 at the long end of this lens is no different from the 70mm f/2.8 of a 24-70mm f/2.7 Pro zoom, except it's cropped to a 105mm field of view. In other words, your field of view and amount of blur is roughly the same as what you get from the long end of a 24-105mm f/4 full frame lens.
As you can see in the graph below, the amount of background blur at 70mm f/2.8 on an APS-C sensor, is very similar to a 70mm f/2.8 full frame lens and a 105mm f/4 full frame lens.
The Tamron 17-70mm vs the Sony 18-135mm + a bright prime lens?
This is a tricky question – it requires that you be clear on what you want. Do you want the do it all lens? Or do you want to carry another lens?
Because of its longer zoom range and constant aperture, the Tamron is a great all-in-one solution. Plus, it's weather sealed, the Sony 18-135mm is not.
But, it's also larger and heavier. It's actually bulkier than the full frame Tamron 28-75mm f/2.8 and only 50 grams lighter than that lens.
The Sony 18-135mm is cheaper and smaller, and covers a longer zoom range. But, you'll typically want to pair it with a bright prime as well.
Depending on your shooting style, and whether you like changing lenses or not, this could be an advantage or disadvantage.
For me, personally, I love shooting with an 18-135mm + Sigma 16mm f/1.4 OR Sigma 30mm f/1.4 combo. It covers a great range, and the f/1.4 prime will have me covered in ultra low light, much better than the Tamron can.
Now, having the 18-135mm and a prime lens is actually heavier in the bag than having the Tamron 17-70mm alone. But this is a compromise I'm willing to make.
An f/1.4 prime offers a full two stop advantage vs the f/2.8 on the Tamron, which can be significant in low light.
Another consideration is that having two lenses is lighter in the hand.
Lighter in the hand?! What does that even mean and why does it matter? I know, I know, but, it's one of those YMMV things. As someone who always has the camera in the hand, ready to shoot, weight in the hand also matters to me and not just total weight in the bag.
I'm not the type who keeps the camera in the bag and only brings it out to shoot something. If I'm walking around, actively looking for scenes, then my camera is in my hand. That's how I shoot.
There are days where I'm walking all day, shooting thousands of images, and a heavy lens will lead to wrist pain.
So, you have to be clear on your priorities and what your shooting style is. Do you like changing lenses? If not, the Tamron is the clear winner. Do you value weather sealing? Get the Tamron. Do you want to carry a bright prime? Then it'll make more sense pairing it with the 18-135mm.
Tamron 17-70mm f/2.8 vs Sony 16-55mm f/2.8 G (SEL1655G)
The Sony 16-55mm f/2.8 is a G lens featuring Sony's latest linear AF motors. That automatically means one thing – it is the best for shooting fast action (i.e. burst mode with continuous AF) and is also, by default, the most expensive. But, it also covers less range than the Tamron.
It does have the advantage of a slightly wider field of view, but in this case, I don't find it to be a big advantage vs the Tamron.
If the Tamron were an 18mm, instead of 17mm, I would find the Sony's 16mm advantage to be worth considering, since we're then talking about 24mm vs 28mm equivalent.
But 17mm vs 16mm isn't a big deal, for me (24mm vs 25.5mm equivalent). In this instance, I'd rather have the Tamron's extra reach. YMMV.
The other advantages of the Sony over the Tamron are in build quality and better optics (i.e. it relies less on software correction). It is also smaller than the Tamron, albeit, not that much lighter. The Sony G lens is only 30 grams lighter.
For the vast majority of us, the Tamron is simply the much better value vs the Sony 16-55mm GM. It has image stabilization, covers a longer focal range, is also weather sealed, and is significantly cheaper while offering near similar AF performance.
As you can tell from the name of this website, I prefer small and lightweight lenses. This is one of those rare instances where I will recommend the slightly bigger and heavier one.
Tamron 17-70mm main specs:
Full frame equivalent focal length: 25.5-105mm
Size – Length x diameter: 4.7″ x 2.9″
Best everyday lens for the Sony a6400 (Prime lens)
Sony E 35mm f/1.8 OSS (SEL35F18)
The nifty fifty for Sony's APS-C E-mount.
It's lightweight and tiny, cheap, fast and has optical image stabilization (OSS). What's not to like?
The only con is that it isn't crazy sharp corner to corner when shot wide-open. But at this price point, whose complaining?
Stop it down to f/4 and sharpness improves noticeably. At these apertures, it's slightly sharper than the other alternative in this focal length – the Sigma 30mm f/1.4. More on this lens below.
Optical image stabilization is great to have, especially since the majority of Sony ASP-C cameras don't have IBIS.
Autofocus is fast and silent, great for both stills and videos. And the 52.5mm equivalent field of view is what is typically called a 'normal' lens.
'Normal' meaning that it's roughly the same as how our eyes see the world. Not too wide, not too zoomed in.
Add the bright f/1.8 aperture, and you're good to go.
A good everyday lens means that you're ready for most anything, without needing another lens, all while being portable.
It's long enough and bright enough to get you some beautiful background blur when shooting portraits, but it's not too long that you'll find it limiting for everyday scenes.
Sony 35mm f/1. OSS vs Sigma 30mm f/1.4 DC DN
If you scroll below, you'll see that I recommend the Sigma as the better low light prime lens.
But, I generally recommend the Sony 35mm f/1.8 OSS as the better all-rounder.
If you mostly photograph people in low light, I'll recommend the Sigma 30mm f/1.4. Provided that you're okay with the size and weight increase. As you can see below, the Sigma is quite a bit larger, but it still isn't a large lens. The Sony E 35mm is one of the smallest lenses for the Sony a6400 and the APS-C line.
For most everyone else – if you shoot a good mix of people, street/urban scapes, food – I recommend the Sony 35mm f/1.8 OSS as your everyday carry prime lens.
The other consideration is weather sealing – the Sigma has it, the Sony doesn't have it.
NOTE: Make sure you're getting the correct lens. The lens you want is the Sony E 35mm f/1.8 OSS, model number SEL35F18. Don't confuse it with the Sony FE 35mm f/1.8 for full frame, model number SEL35F18F.
When mounted on the a6400, a6100 or other Sony APS-C cameras, both lenses will work the same, albeit the 35mm OSS lens will be smaller and lighter.
When mounted on a full frame Sony camera, the FE 35mm will work like a 'real' 35mm lens (no more crop factor), while the 35mm OSS lens will only work in "crop mode" and not in full frame mode. This means that, on a full frame camera like the Sony a7III, which is a 24MP camera, the 35mm OSS will have the same field of view as on the a6400, a6100 etc… but it will 'crop' the image to only 10 megapixels.
Sony 35mm E main specs:
Full frame equivalent focal length: 52.5mm
Minimum focusing distance: 30cm or 11.81 inches
Best low light lens for the Sony a6400
Sigma 30mm f/1.4 DC DN Contemporary
With a 45mm-equivalent field of view, this is a "standard" lens for Sony a6000, a6100, a6400 series cameras.
Sigma's DC DN designation refers to lenses which were specifically designed for crop-sensor (DC) and mirrorless (DN) systems. In contrast, full frame mirrorless are designated as DG DN.
Sigma currently has three prime lenses in this DC DN contemporary range – the 16mm f/1.4, the 56mm f/1.4 and this 30mm f/1.4.
They are some of the most important lenses ever made in the history of mirrorless cameras. I kid you not.
These trio of lenses, have single handedly rounded out the lens line-ups of entire crop sensor mirrorless systems.
First, for the Sony E mount. And also for Canon's EF-M system. And, more recently, for the Leica L mount (APS-C). These Sigma trio of primes have single handedly plugged holes in these systems.
They are also available for the micro four thirds system for Olympus and Panasonic cameras, although their impact there wasn't as big as on the aforementioned systems.
You could actually buy the set, and be set ;). They cover the most used focal lengths by a daily shooter, they are fast, they are weather sealed, and they are affordable. You can buy the whole set for under $1000.
When these lenses came out, there wasn't a lot of choice in affordable, fast primes in these focal ranges on Sony E mount.
There still isn't today. The 16mm f/1.4 for example, doesn't really have any competition. All other ultra wide primes in this range are slower and optically inferior.
Anyway, back to this lens –
If you've used the old Sigma 30mm f/1.4 DC for DSLR mounts (Nikon, Canon, etc..) take note that this is NOT the same lens.
This lens is much better. By a country mile.
It is an entirely new design, and not just a ported DSLR design (which Sigma does for some of their lenses). Those lenses don't sport the "DN" designation.
Honestly, there isn't much to say about this lens.
It's sharp and bokeh rendering and fall-off is beautiful.
It's a great standard lens. Because of its f/1.4 aperture and its rounded nine-blade diaphragm, it can work as a great indoor portrait lens.
The downside? The only downside I can think of is that the AF motor is audible. I wouldn't call it noisy or distracting, but it is there, especially when compared to the silent AF in e.g. the Sony 35mm f/1.8 OSS.
This lens was the first of the Sigma trio, and was released prior to the 16mm and 56mm. It's AF motors are older, and not as silent. But, it still plays nicely with eye AF and continuous AF.
Which brings us to – which lens should you pick: Sigma 30mm f/1.4 DC DN vs the Sony E 35mm f/1.8 OSS?
Both are in the same price range. The Sony has silent AF and has image stabilization (OSS), while the Sigma has the brighter aperture?
Well.. it depends.
If you scroll up above, you'll see I recommend the Sony 35mm f/1.8 as the better everyday lens.
A lot of that has to do with the size. The Sony is simply more portable, which is a big deal if you carry your camera everywhere.
The optical image stabilization (OSS) on the Sony also helps a lot in eking out that extra bit of sharpness out of slower shutter speeds when shooting static scenes.
But, when you're shooting moving subjects in low light, nothing beats lens brightness, because it will help you keep your ISO down when shooting higher shutter speeds to freeze movement.
That's where the Sigma's f/1.4 comes in. Plus, if paired with a body with IBIS, like the Sony a6600, the Sony 35mm f/1.8 losses some of its OSS advantage.
I find the Sigma to be the better lens for "social" situations in low light, indoor places. Size aside, it's better for documenting e.g. birthdays, chasing your kid around the living room etc.. vs the Sony 35mm f/1.8.
The Sony will have the advantage when shooting non-moving subjects (landscapes, street architecture, food) because the OSS will allow you to handhold at slower shutter speeds. But, for everything else (except portability), the Sigma wins.
f/1.4 vs f/1.8 doesn't sound like much, but there is a noticeable difference in background blur that even the Sony's longer focal length can't make up for.
Overall, like its stable-mates, the 30mm f/1.4 is an incredible value punching well above its price tag, plus, it's weather sealed too.
Sigma 30mm f/1.4 main specs:
Full frame equivalent focal length: 45mm
Size – Length x diameter: 2.9″ x 2.55″
Best Macro Lens for the Sony a6400
Sony E 30mm f/3.5 Macro lens (SEL30M35)
Capable of true 1:1 macro (lifesize reproduction), this is an excellent macro lens for beginners.
This is a great option for those shooting close-ups of flowers and product images, such as jewellery etc…
Just be aware that 1:1 macro is reached at the minimum focusing distance of 3.74 inches. This means that you need to be very close to your subject to get lifesize reproduction, and you risk blocking some light because your camera and lens will be very close to the subject.
Alternative Macro Lenses – the Sony FE 50mm f/2.8 (SEL50M28) or Sony FE 90mm f/2.8 G (SEL90M28G)
For insects or for other macro work where you want to have some distance between you and your subject, you will be better off with either the Sony FE 50mm f/2.8 Macro or the Sony FE 90mm f/2.8 G lens.
Both lenses are full frame lenses, and cost more than the 30mm f/3.5. But, on a crop sensor camera like the a6000 or a6400, they are equivalent to the field of view of a 75mm and 135mm lens, respectively. This means that your working distance from subject to camera widens quite a bit.
On advantage of the 90mm f/2.8 is that it can also double as an excellent portrait lens – provided you have the space. 135mm-equivalent on a crop sensor is pretty long for some indoor situations.
But, if you're just getting started with macro, the Sony 30mm f/3.5 is hard to beat. It's relatively cheap, it's compact, and it's crazy sharp.
Sony 30mm macro main specs:
Minimum focusing distance: 9cm or 3.74 inches
Best portrait lens for the Sony a6400
This lens is one of the best examples of why APS-C still holds a lot of advantages over full frame.
It's fast, tiny, weather sealed and will get you some gorgeous bokeh.
The equivalency-army will tell you that this is "only" equivalent to an 85mm f/2 full frame lens. While they are technically wrong, they aren't far off either.
And, that's actually a good thing.
With a field of view roughly equivalent to 84mm in full frame terms, this is the perfect portrait focal length.
The f/1.4 aperture will render some creamy bokeh, indistinguishable from full frame in most scenarios.
All in a lens that is smaller, lighter and cheaper than the "equivalent" full frame lens!
Here it is – with its hood! – next to the full frame Sony 85mm f/1.8 FE, sans hood. That's a significant difference in the hand, and in the bag. Especially if you consider that this focal length isn't a typical walk around lens. Unless you're specifically going out to shoot head and shoulder portraits, these lenses typically start the day in your bag.
Anyways, I've always found 85mm to be a great portrait focal length. Long enough to minimize facial distortion and give creamy backgrounds, but not too long that you'll have a hard time using it indoors.
Yes, a real 85mm lens mounted on a crop sensor would give you thinner depth of field, but at a ~127mm field of view equivalent, it's an outdoor-only lens for most people.
There is more to portraits than just thin depth of field.
This lens has great bokeh, smoother even than some longer lenses. What's equally important is the quality and rendering of the bokeh, not just the quantity.
f/1.4 is absolutely fantastic for low light shooting. It also helps in maintaining higher shutter speeds for photographing kids in motion, for example.
I've said this before, and I'll say it again, lens design is all about compromises.
A good lens, is about making the right compromises. A perfect lens is optically perfect, but is big and heavy and expensive.
This is a lens that makes the right compromises.
It has just the right amount of sharpness and contrast at f/1.4, with beautiful fall-off and pleasant and smooth bokeh.
Stop it down to f/4, and it's like a completely different lens. It's sharp, sharp, sharp. Too sharp, even.
There is some vignetting wide-open, and corner sharpness suffers a bit at f/1.4 to f/2. Overall, aberrations are well controlled. It also works perfectly with eye AF even at f/1.4. Sharp eyes, creamy bokeh, it's just beautiful.
Would it be better if this lens had image stabilization? Maybe. But it wouldn't be this small and light. It would be more expensive too.
If you moved to mirrorless because of the promise of smaller and better optics, or if you ignore the full frame train because you don't like big and heavy lenses – then this lens is for you.
It is an EXCEPTIONAL value, and there is very little here not to like.
It's one of those lenses that you expect to just be 'okay' or 'good enough' because of the price. But the results will blow you away.
Best ultra wide-angle lens and landscape lens for the Sony a6400
Sony 10-18mm f/4 OSS (SEL1018)
An oldie, but a goodie.
The lens for big skies and vast landscapes.
Nearing 10 years since it was released, some people say Sony should update this lens to become a 10-24mm.
Personally, I don't see the need.
Yes, 10-24mm would be a more useful focal range, but it's almost guaranteed to be bigger and heavier.
Sometimes, Sony gets a lot of flak for its APS-C line-up. Whiners say it's not updated as fast as their full frame line-up, that there aren't enough "pro" lenses etc.. etc..
But if you actually look at Sony's APS-C lineup, their cameras included, you'll see that they have done their best to stay true to the APS-C mirrorless ethos – that of small and compact.
Sony's APS-C line-up may not be as extensive as others – but their lenses are also decidedly smaller and lighter compared to others.
And the Sony 10-18mm is a perfect example of that.
With a 15-28mm equivalent field of view, this lens is the best lens for vast landscapes.
But, if that's not your thing, this lens can do a lot more.
It's also the best lens for interiors and real estate photography.
Its lightweight and compact design also makes it a great lens for video gimbal work. It extends just a tiny bit when zooming, but not enough that you need to completely re-balance your gimbal every time.
Optical image stabilization (OSS) is also a welcome addition, especially since it did not result on a larger lens.
This is not only great for hand holding lower shutter speeds in low light (e.g. not so well lit interiors) but it's also great for reducing micro-shakes for video.
Even when you're on a three-axis gimbal, having OSS on still results in noticeably less shake vs just using the gimbal without OSS.
There aren't a lot of UWA choices for Sony APS-C. You're either looking at a prime like the Zeiss Touit 12mm f/2.8 or a manual focus lens like the Samyang 12mm f/2.
Either you'll love that this lens is small and compact, or you're disappointed that it isn't a weather sealed 10-24mm.
This isn't a super crazy sharp lens, but it is more than sharp enough for all but the ultimate pixel peepers. The only other complaint I can make is the lack of weather sealing. But the size advantages more than make-up for it.
For example, for real estate videos where quick set-up on a gimbal is great to have, this lens is hard to beat.
It's also a great hiking lens. When every gram counts, but you also want the flexibility of a zoom vs a prime, you'll be grateful that you have a lightweight zoom lens with great quality.
The size and weight of this lens is hard to convey in a review. If you don't hold it in your hand, and compare it to 10-24mm lenses from other brands, or to full frame lenses, it's hard to appreciate.
But it really is a fraction of the size and weight of pretty much any zoom alternative. Taking everything into consideration, this lens is pretty much weightless.
Can you use the 10-18mm f/4 on full frame cameras?
Yes – to a certain extent.
You can of course mount it on full frame cameras on crop mode, where it will behave exactly like it would on an APS-C body.
But, what if you want to use it in full frame mode?
It will actually work in full frame mode – giving you real full frame coverage from 14-16mm.
Anything wider or longer than that and you'll start seeing the corners of the lens.
So, no, it's not really recommended. But it is a nice bonus, if you need it. But I wouldn't go out and buy this specifically to use at 14-16mm on a full frame body.
Sony 10-18mm main specs:
Full frame equivalent focal length: 15-28mm
Minimum focusing distance: 25cm or 9.84 inches
Best lens for video for the Sony a6400 (zoom)
Sony E PZ 18-105mm f/4 OSS G (SELP18105G)
For the longest time, prior to the release of the 16-55 and 70-350 G lenses, this was the only consumer G lens in Sony's APS-C lineup.
Prior to this lens, the only other lens with a "G" designation was the Sony 18-110mm f/4 G OSS, which is an expensive Cine lens.
Now that the landscape has changed with the release of lenses like the Sony 18-135mm and the Tamron 17-70mm f/2.8, does this lens still make sense?
Yes, it does. Because this lens has some unique advantages for video work.
Compared to the Sony 18-135mm, this of course has a constant f/4 aperture. The constant f/4 aperture is particularly useful if you operate the zoom while filming, because that means your exposure remains constant as you zoom in and out.
The downside is that this is a larger lens than the 18-135mm and has less reach.
Optically, the lens is excellent, but the 18-135mm has the advantage in corner to corner sharpness, even at similar apertures. But that's only noticeable in side-by-side comparisons. The 18-105mm is still plenty sharp.
Compared to the Tamron 17-70mm f/2.8, the big advantage of this lens is its power zoom feature and its internal zooming design.
The 'PZ' in the lens designation means this is one of the few lenses with a power zoom mechanism.
That means that you can smoothly operate the zoom via a zoom rocker on the side of the lens. It's similar to the zoom lever you see on camcorders.
You can still zoom the lens using the regular zoom ring, but using the power zoom rocker does have a lot of advantages.
For one, you eliminate the jerkiness of zooming via the zoom ring, and you'll have better control on how fast or slow you zoom.
If you've ever tried zooming with a zoom ring while filming, you'll know that no matter how you try to operate it smoothly, footage will be mostly unwatchable. Either you buy a really expensive cine lens, or, you get this – a lens with a power zoom.
Although it gives up one stop of light vs the Tamron 17-70mm at comparable focal lengths – the 18-105mm does still have other advantages.
First, it is an internal zoom design. That means the lens doesn't get longer when you zoom out. This is especially useful for gimbal work, since you won't be rebalancing the gimbal as you change focal lengths.
The weight will still shift a bit, since internal lens elements will still move as you zoom and out, but it does mean less strain on your gimbal motors compared to a lens that physically gets longer and shorter as you zoom in and out.
The second advantage over the Tamron is of course the longer reach. The Tamron tops out at 105mm-equivalent while this goes noticeably longer at 157mm-equivalent. Using the excellent clear image zoom feature while filming 4K video, you can even go longer, increasing its versatility.
What about background blur?
An f/4 lens isn't really what you go to if you want creamy backgrounds. But, as you can see above, it is doable, in a pinch.
As long as you have space, shooting wide-open at f/4 at the tele end (105mm) will give you very similar background blur as the Tamron 17-70mm f/2.8 at 70mm f/2.8.
Of course, the Tamron will have a one stop advantage at all other similar focal lengths.
The Sony's rounded aperture blades also helps with its bokeh rendering.
Autofocus for stills and video is fast and accurate, even in dim lighting.
So, you have to be really clear on what you want. Do you primarily do video? Or do you mostly shoot stills and occasionally shoot short clips?
Another way of looking at it would be – do you need the advantages that this lens give for video? Primarily the power zoom, the constant aperture, and the internal zoom mechanism?
If not, take a look at the Sony 18-135mm or the Tamron 17-70mm f/2.8 (scroll to the top, these are the first and second lenses discussed in this article, respectively.)
Sony 18-105mm f/4 main specs:
Size – Length x diameter: 4.33″ x 3″
Best lens for vlogging and video (prime lens)
Handheld vlogging with the camera at arms length and home studio set-ups typically require a wide angle lens.
That's not hard to find – your 16-50mm kit lens can do that. Even your iPhone with its 26mm equivalent 'wide' lens can do that, no problems.
But, what they can't do, is give you that beautiful blurry background while maintaining a wide angle of view.
This is where the ultrawide Sigma 16mm f/1.4 comes in. That amazingly bright f/1.4 aperture can give you some beautiful background blur while still being wide enough for vlogging.
The big downside – and it could be a deal breaker for some – is that it doesn't have image stabilization. Not a huge deal if you have the Sony a6600, but for the a6000, a6100, a6400 with no IBIS? Something to consider.
The other option is the Sony 10-18mm f/4, which goes even wider and does feature optical steady shot (OSS) stabilization. BUT, the problem with this lens is that it only goes to f/4.
That's a full 3 stops LESS than the Sigma. If you're filming in low light, 3 stops is the difference between nice, useable footage at ISO 1600 vs grainy, pixelated footage at ISO 12800. That's a big deal.
If you're mostly walking around carrying the camera at arms length during the day, then yeah, get the Sony 10-18mm f/4.
But for everything else – you're better off with the Sigma 16mm f/1.4 and making as much use of a small tripod plus warp stabilizer in Premiere.
Even for a home studio set-up with lights, that f/1.4 really gives a nice look for talking head videos.
Best telephoto lens for sports and wildlife
Sony 70-350mm f/2.8 G OSS (SEL70350G)
It took Sony a while top plug this hole in their line-up. But, oh boy, did they deliver.
It's easy to say that this is the best telephoto lens AND the best sports lens AND the best lens for wildlife on the Sony a6100, a6400, a6600 series, because it's the ONLY high performance telephoto in the lineup right?
No, it really is quite good. And if you consider that it has an MSRP of less than $1000, it's an incredible lens.
This lens is smaller and lighter than the equivalent 100-400mm telephoto lenses on full frame – while delivering even longer reach on crop sensor a6000 series cameras (it becomes an effective 105-525mm!)
If you're a sports or wildlife shooter, that alone is enough reason to pony up for an APS-C body for this lens.
What Sony was able to do with the size here can't be under-stated. They are enroaching on micro four thirds territory here. Plus, you get the benefit of Sony's superior AF performance.
What makes this lens an incredible performer is Sony's decision to use its XD LM (Extreme Dynamic Linear Motor) technology to drive the focus and lens elements.
This is the same AF technology in the Sony 135mm f/1.8 GM lens as well as the $13,000 Sony 400mm f/2.8 GM OSS. It's silent, fast and accurate and can keep up with the continuous AF algorithms of today's high speed cameras.
This being a G lens, Sony also includes a customizable button (defaults to focus hold). Optical image stabilization (OSS) is also included, which is a necessity for such a long focal length. Not only is this necessary at the longest end of the zoom, it's actually great in stabilizing your 'view' through the viewfinder.
As someone who actually does NOT shoot wildlife or birds or airshows, this isn't a lens I would typically have in my bag.
But, as a parent with an active child, I've come to enjoy shooting with this lens. It has also become my default landscape lens.
I'm not a big landscape shooter, but when I do shoot 'scapes, I prefer the compression from a telephoto vs shooting with an ultra-wide.
This is probably my least used lens out of all lenses (and camera systems) I own, but I can say that it is worth every penny.
If, like me, you care about performance AND size and weight, you'd probably be willing to pay MORE for this lens. That it costs what it costs is just crazy to me.
If you are an occasional telephoto zoom shooter like me, this is just a no-brainer. It costs significantly less than the full frame Sony 100-400 GM, is still less expensive than the Sigma 100-400mm DG DN, and is half the weight of those lenses.
The full frame Sony 200-600mm G OSS is larger and heavier still, weighing over 3kg. An a6600 and the 70-350mm will clock in at less than half that. Which combo would you rather carry when hiking or birding?
I can't really think of any cons to this lens. Maybe that it lacks a tripod mount? For what I use this lens for, it's not an issue for me. It's small and light, a tripod mount would just get in the way. But, maybe birders or wildlife shooters will miss having a tripod foot.
Sony 70-350mm G main specs:
Full frame equivalent focal length: 105-525mm
Minimum focusing distance: 1.1 meters or 3.61 inches
Best pancake lens for the Sony a6400
Sony E 20mm f/2.8 (SEL20F28)
One of two* pancake lenses for Sony E-mount crop sensor cameras, the Sony 20mm f/2.8 is significantly better than the other option (The Sony E 16mm f/2.8)
*Other people like to throw in the Sigma 19mm f/2.8 DN lens into the discussion, but it's not a pancake lens at all.
The Sony 20mm f/2.8 is a true pancake, sticking out less than an inch from your camera.
If you want ultimate portability and discreteness, this is what you want.
It's not a lens that's going to win awards for sharpness or optical prowess. Let's get that out of the way first.
The reason you want this lens is because you want the smallest possible lens on your camera, while maintaining auto focus, and with a jack-of-all-trades focal length.
That's not to say that it's optically bad – it's more than decent – but it doesn't compare well to other lenses in the same focal range, especially in the corners. Of course, those other lenses are also much bigger.
It IS sharper than the 16-50mm kit lens though.
Paired with the smaller a6000 series cameras, like the a6100, it's almost like carrying a point and shoot.
It's 'only' f/2.8, which is why I did not recommend it as the best walk-around lens, but for those who don't need anything faster, and who prefer a wider field of view than the Sony E 35mm f/1.8 OSS, this is easily a great option that is more portable.
This lens is also compatible with the Sony VCL-ECU2 0.75x ultra wide converter. This nice, little add on lens is made in Japan and screws on to the front of the lens, giving you a wider field of view (24mm-equivalent). It's an inexpensive way to add versatility to your set-up, although with the converter attached, your lens won't be a pancake anymore.
Sony 20mm f/2.8 vs Sony 16mm f/2.8 (SEL16F28)
Okay, so, why pick the 20mm over the other pancake lens in Sony's line-up?
Generally, I'd recommend that you pick based on focal length preferences.
The 16mm f/2.8 (24mm-equivalent field of view) is very slightly larger (not enough to make a difference in portability) – but it is also less sharp than the Sony 20mm f/2.8.
Generally, if you want a pancake lens, you're also looking for a one-lens solution that will keep your camera as small as possible. For most people, the 20mm f/2.8 is the more flexible focal length.
But, if you're looking for a walk-around combo, maybe the 16mm would fit your needs, depending on what other lens you plan to take with you.
For example, for walking around with either the Sony E 35mm f/1.8 OSS or the Sigma 30mm f/1.4, the Sony 16mm f/2.8 pancake would be the better choice, since it gaps better with those lenses.
The 20mm f/2.8 would be too close in focal length to the 35mm or 30mm.
But, if you're walking around with a portrait lens or a short telephoto like the Sigma 56mm f/1.4 or the Sony E 50mm f/1.8 OSS, the 20mm f/2.8 would be the better pair.
The 16mm f/2.8 could be too far, leaving too big a gap.
Again, it all depends on shooting style and focal length preferences.
The important thing is, either of these pancake lenses can fit in your pocket.
The Sony E 16mm f/2.8 is also compatible with the Sony VCL-ECU2 0.75x ultra wide converter, turning that lens into one with an 18mm field of view.
That's quite a bit wider. But, this is where the sharpness advantage of the 20mm f/2.8 comes in. Paired with the converter, sharpness degrades further. And the 16mm f/2.8 has less sharpness to start with, and adding the converter might be a step too far for some people.
Again, it's not that it's unusable. It's just not great when shot wide-open, even for moderate pixel peepers.
And since most of the things you want to shoot at 18mm are landscapes and interiors, you might find yourself a bit disappointed if you pixel peep a bit.
If you don't pixel peep, and just want great images for web sharing or social media, it is highly recommended. It's hard to find an ultra-wide 18mm lens at this size and price, with autofocus.
Sony 20mm f/2.8 pancake lens main specs:
Best lens for street photography
Sony Zeiss 24mm f/1.8 Sonnar T* (SEL2418Z)
Looking for the best street photography lens is sometimes like asking people what their favorite food is.
You're going to get a lot of different answers, a lot of them very opinionated, too.
Well, here is my very opinionated answer too.
A lot of street photography comes down to comfort level. How close can you get to your subjects?
Don't know yet? Why not start with a zoom, like the 16-50mm kit lens?
Want to work from a comfortable distance without the compression of a telephoto? Start with a normal lens like the Sony E 35mm f/1.8 OSS or the Sigma 30mm f/1.4 DC DN.
Want to get up close and personal? Stick with a wide lens like the Sigma 16mm f/1.4.
Just want the smallest and most discrete lens? Get the Sony 20mm f/2.8 pancake lens discussed above (scroll up a bit).
Want to know what I recommend it?
It's the Sony Zeiss 24mm f/1.8 Sonnar.
It's not cheap, unfortunately.
On the Sony a6000 series, a6100, a6300, a6500 etc.. this lens sees like a 36mm lens.
Close enough to the 35mm focal length that is considered the "classic" street photography focal length by many street photographers.
The great thing about a '35' is that it is neither too wide or too tight. It's wide enough so that you can layer your street photographs, wide enough to add drama if you shoot close, but not too wide that it adds a lot of distortion.
It's also long enough that you can shoot wide-open with a fast-ish aperture and still have some form of subject isolation.
A lot of success with street photography comes down to just watching and waiting.
Watching scenes evolve, watching the ebb and flow of people, waiting for the right light.
And, bringing the camera up to your eye when the elements come together. Click. Camera goes back down. It all happens in a split second.
Apparently, the human eyes see at about 55 degrees field of view. That's approximately the field of view of a 43mm lens (in full frame terms).
Well, in my opinion, when we're being observant, like when we're shooting street photography, we see a bit wider than that.
In other words, the 35mm field of view (or thereabouts) is perfect.
Because when you're standing there watching and observing, mentally framing the scene – there isn't a lot of difference between what you see and what you see through the 35mm (equivalent) lens when you finally raise the camera up to your eye.
I hope that makes sense.
But, why this particular lens?
Well, there isn't a lot of choice in this focal range, unfortunately.
Plus, this lens has a lot going for it. Whether it's worth the price tag, I leave that up to you to decide.
First, what are the downsides?
The first is price. Unfortunately, you're paying a fair bit of Zeiss tax here.
The second is the lack of weather sealing. At this price point, I'd expect a lens to be at least dust and moisture proof.
That's about it.
What makes this lens worth it, for me?
First, is the contrast. Maybe it's that fabled Zeiss magic?
Technically, it probably sort of is. The great contrast and micro-contrast out of this lens is likely partly due to the coatings that Zeiss uses.
Is that a big deal? Maybe. But if you post-process all your photos, then not really.
You can get 98% of the look with another lens and working on it in post.
But, if you like great straight-out-of-camera contrast, this lens delivers.
It's particularly great for black and white. Set your camera to the black and white profile, +2 contrast, -4 sharpness. This lens will sing.
Second, is its versatility.
The f/1.8 aperture isn't a big deal in the streets, unless you shoot a lot in low light.
For the way I shoot the streets, I'm actually at f/4 to f/11 most of the time.
But, it's when you take a break from the streets that the f/1.8 comes in useful. If I'm traveling with my family, I'm shooting street scenes, then I decided to take a break, meet up with them in a lovely cafe etc.. I won't need to change lenses, or bring another lens. This lens can transition from street to family documentary in a heart beat. Plus, that f/1.8 can save you the trouble of lugging around a tripod just to shoot the occasional low light architecture shot.
Sony Zeiss 24mm main specs:
Minimum focusing distance: 16cm or 6.3 inches
Are there any cheaper alternatives to the Sony Zeiss 24mm f/1.8?
Yes! You're not entirely out of luck here. But, that will mean looking at third party lens options.
Viltrox 23mm f/1.4 Autofocus STM for Sony E-mount
This is an auto focus lens from Viltrox, and unlike the other lenses below, this lens is designed specifically for APS-C. That means that this is the closest in size to the Zeiss lens.
Coming in at a third of the price of the Zeiss lens, you'd think this lens would be a poor performer, but it's not. It's more than decent actually.
It's not as sharp, but it gets you 80% of the way there. You won't notice it in most scenarios. The bokeh rendering is different though. The Viltrox has a more distinct rendering, with a tiny bit of a swirl. It's a pretty cool look.
The AF motor is surprisingly good and plays nice with Sony's eye AF and animal eye AF.
The most annoying thing about this lens is the big, bold lettering announcing the lens name (why?).
The aperture ring is a nice touch, but as with most Viltrox lenses released so far, it's a clickless aperture ring. That's great for video, but it leads to a "detached" shooting experience for stills.
Samyang 24mm f/1.8 FE – Samyang/Rokinon tiny lens series
This is actually a full frame lens, designed by South Korea's Samyang Optics (sometimes sold under the Rokinon brand) for Sony's FE cameras, like the Sony a7iii, a7riii etc… But, it also comes in at half the price of the Zeiss 24mm f/1.8. When mounted on APS-C cameras like the Sony a6100, this lens works the same as the Zeiss 24mm.
The big advantage is that if you also have a full frame E mount camera, or if you plan to upgrade in the future, this lens will also work as a real 24mm lens on those full frame sensors.
The disadvantage is that because it's a full frame lens, it's a bit larger than the Sony Zeiss 24mm f/1.8. Although it is only marginally heavier.
But, for a full frame lens, it is not obscenely large. It's part of Samyang's tiny lens series for full frame, which are some of the smallest lenses for Sony full frame cameras.
Filed Under: Buying Guides, Lens Reviews, Sony Cameras, Sony Lenses Tagged With: best lenses for sony a6100, best lenses for sony a6400, best travel lens for sony a6400
Jeff says
Any thoughts on the new Samyang 12mm with AF. Does adding AF edge it closer to the sel1018? It's doesn't zoom but it's brighter and half the cost. Then again a used sel1018 would be similar cost. There's also no OSS but I don't know if that's as important with landscape unless it's long exposure. On the other hand, the 12mm can do astro.


Thumped, the sequel to Bumped, manages to be satiric, scary, and romantic at the same time. It continues the story of separated-at-birth twins, Melody and Harmony, girls as engaging as McCafferty's Jessica Darling. These sisters are the most popular teen girls on the planet. To their fans, they seem to be living ideal lives. Harmony is married to Ram and living in Goodside, the religious community that once meant everything to her. Melody has the genetically flawless Jondoe as her coupling partner, which means money and status — and a bright future.
But both girls are hiding secrets. And they are each pining for the only guys they can't have… The biggest risk of all could be to finally tell the truth.


ATRIUM Software, part of the Manhattan Software Group, is the UK's leading innovator of Enterprise Asset Management solutions with a twenty year track record of success and marketplace firsts. The company specialises in providing enterprise property asset management, as well as planning and highways software for the public and private sectors.
By enabling customers to make more efficient use of their property estate to reduce costs and enhance performance, ATRIUM addresses the demands of both day-to-day operational property management, as well as the longer term strategic planning of the portfolio as a whole.
As part of its solution, ATRIUM provides hosted applications to organisations that manage or own large property estates. Typical large customers include Network Rail, the largest owner of above ground property assets nationwide, and the Department of Justice, including all of HM prisons throughout the UK. With its Oracle-based IT environment, the company's latest cloud solutions are based on Oracle 11g Application Server Enterprise Edition.
"We do our hosting with Rackspace, who provide the hardware and connectivity, but they don't have the necessary Oracle support skills for our needs," said Matt Laing, Business and Software Development Director for ATRIUM Software Ltd.
With numerous large enterprise organisations running ATRIUM's hosted solution, the number of site properties runs into the tens of thousands, and users include end clients, as well as their respective supply chain partners – equating to hundreds of users of the system. Prior to Manhattan Group's acquisition of ATRIUM Software, the company comprised just 30 people, and was highly reliant on a small number of key individuals to manage and support the cloud environments and Oracle platform.
ATRIUM Software appointed Nymad as its support partner in November 2012, based on its deep Oracle technical expertise, flexible commercial approach, and alignment of cultures between the two companies.
On-going Support – Providing Oracle technical support during core business hours, managing major incidents and alerts, and working in conjunction with ATRIUM's internal support team.
Database Server – Managing the database creation and maintenance, as well as implementing a robust recovery and backup solution.
Application Server – Investigated, tested and implemented a cost effective new multi-tenancy Oracle Forms solution, giving ATRIUM control over its individual customer Forms Services.
Monitoring – Implementation of extensive monitoring and alerting at all server levels, including Windows and Oracle Database resources and processes, Forms, Reports, Discoverer and Apache availability.
As an Oracle Gold Partner, Nymad maintains a strong Oracle stack focus, as well as expertise across competing database technologies to reflect the diverse needs of its client base of FTSE 500 companies, large public sector organisations, and SMEs.
Nymad's services are not only delivering benefits to ATRIUM's solutions and day-to-day business, but also to the company's in-house support team, who are now able to focus their efforts on product development and customer support.


3rd annual report ranks the marketing quality of 25,000 Microsoft Partners.
The report has been released to coincide with the opening of Microsoft Inspire (formally WPC), Microsoft's annual conference for its partner community in Washington, D.C. The report is recognised by Microsoft as a vehicle for celebrating the importance of high-quality digital marketing.
It's a chance to identify the best practices when it comes to marketing, and celebrate the teams that are building highly positive customer experiences.
Many Microsoft Partners share the same challenges when it comes to marketing. This report is truly unique in that it showcases the excellence of partners' marketing efforts across the board and sets a benchmark for others to learn from and build upon.
You can visit here to read the report, or if you are attending Microsoft Inspire, head over to booth #1236 to pick up a copy and talk to the Fifty Five and Five team. Chris will also be giving a talk at Inspire which draws on some of the themes touched on in the report—head to EXP07 Ten Steps to Create Consistently Great Content at Inspire on Monday 10th July at 2.30pm.
Fifty Five and Five is a full service digital and content marketing agency based in London. Working exclusively with Microsoft Partners, they help companies communicate more effectively, reach new audiences and drive leads. Their services include SEO, social media management, web design and build, email marketing/automation, analytics, marketing strategy, PPC, video, design and more.
Fifty Five and Five Announces New Tools To Help You Improve Your Marketing IT – Just In Time For Christmas!


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Meirin Work shoo "MuDA SEITAI and Movement "
"MuDA Seitai" is a super-manual therapeutics by a specialist who handles the body, Hyper Performance Group "MuDA" (It treats for pain, numbness, discomfort, etc. caused by bone distortion). In the workshop, you will learn the technic for recovery by yourself.
The shop operated by Hyper Performance Group "MuDA". We sell MuDA original items and related artist works.
MuDA will join the performance festival "K.R.O.P.P Extended" held in Uppsala in Sweden.
*Pair tickets are valid only for two guests watching at the same performance on the same day.
*Student needs to show the student license at the reception desk.
*Please inform us your name, ticket type, number of sheets by e-mail.
MuDA will be participated in the program of "Djakarta Teater Platform" organized by Jakarta Arts Council. MuDA will held a work shop and create new performance with WS participants. At the end, it'll be held the showing.
Body specialist "MuDA" will introduce its own physical recovery method and circulation movements in this workshop.
MuDA will be particpated in the performance festival held at Toji. MuDA will appear around 16:30.
New performance and exhibition of hyper performance group "MuDA" will be held at former "Kodama gallery" located in Minami-ku, Kyoto.The performance of collision and construction carryes out with using a large amount of trash. At an exhibition it will be presented traces of the performance. They will present spesific MuDA method of construction based on own philosophy.
YAMAMOTO Holdings Co., INC. Sunagawadenki Fukuidensetsu Co., Ltd.
CALL FOR MuDA HYPER MEMBER !
Happy new year. And thank you very much for your support and help last year.
Now we are looking for new member of MuDA.
So, please contact us with no hesitation if you are interested in our activity.
We are looking forward to meeting with new member.
Hyper performance group "MuDA" was founded in Kyoto, Japan in 2010, centered around QUICK (Dancer・Director). The purpose of MuDA is embodying and propagating the activity of life to rise such as "the rhythm of the universe = starting something new after a collision", "the rhythm of life = continuing to rise up after falling down". MuDA carries out performances, exhibitions, work-shop using specific spaces, various art forms such as human, sound, video image, objects and spatial art in various places. Every activities of them are composed with "collision dance" which always collide with others, objects and the earth, and also "construction-recovery-circulation movements" based on MuDA philosophy of the activity of life to rise.
In this workshop, MuDA will introduce its own method of body preparation with moving the body.
73 Jl. Cikini Raya, Menteng , Central Jakarta 10330, Indonesia.
An outdoor performance by the MuDA hyper-performance group. With the ocean, the source of life, as the stage, the group will perform a ritualistic work that gives shape to the forces that stimulate life. The work unfolds by using a variety of media focused on unique body techniques that take collision as their principle.
※You can buy a door ticket only at the reception desk in Takamijima.
Inujima Performing Arts Program "MuDA IRON"
*When you make a reservation by e-mail ,please put 'performance reservation' on a title,and in the text, please specify your name, the number of people, the date, and a ticket class. With a reply from us, your reservation will be completion.
MuDA (performance group), and 'Humanelectro' = Ryo Fujimoto from Berlin, will present the world premiere of its new production: Hyper Performance Project "SPYRAL".
Location: Yamamoto Noh Theater, a registered tangible cultural property in Japan.
Under elementary school student is free.
*There are parking for 70 cars.
MuDA's private performance in the deep forrest.
Please gather at Konze community center.
*From Konze community center we prepare shuttle bus for Konkonyama. It leaves every 15min between 17:00 to 18:00.
Please take a bus for Konze community center,and take off there.
Please gather at Kusatsu st on 16:30.We can take you Kokonyama straight.
*It needs to make a reservation.
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